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[ [ "DOCTOR STEVENS\n I don't want to get your hopes up.\n We put you on this experimental", "GEORGE\n I've got some crazy blood disease.\n They think I'm going to die in six\n months to a year. Some weird\n thing, almost nobody has it. All\n these are experimental.", "experimental medicine. And the\n last time he went to the doctor\n they couldn't detect his blood\n disease. They think it might be\n gone.", "medication without much optimism,\n but as of right now I don't see any\n traces of the disease in your blood\n work. I don't want to speak too", "George's face turns white. He knows what this means. The\n doctor keeps talking but the sound keeps coming in and out--\n it is now all a jumble of words.", "really don't have a treatment for\n it. There are things we can try.\n They're all very experimental in\n nature.", "LAURA\n I never said that he was still\n sick. He just took some medicine\n and it's looking better. You can't\n detect it in his blood, but it\n could come back.", "GEORGE\n I appreciate that.\n\n LAURA\n He's been fighting the good fight.\n His doctors are taking very good\n care of him.\n Ira can believe this conversation is happening.", "Chinese doctor and he gave me some\n herbs that tasted like dogshit, but\n they worked.", "George sits in the doctor's office staring at the photos of\n the doctor with his beautiful young children. DOCTOR STEVENS\n enters and sits down. He takes a deep breath.", "IPA\n When George got sick they didn't\n think they had any medicine that\n would help, so they put him on", "DOCTOR STEVENS (V.0.)\n I think you need to hope for the\n best and prepare for the worst. Is\n there someone who can help you get\n your affairs in order?", "GEORGE\n Well, I actually am sick. And I'm\n not going to survive.", "GEORGE\n I'm feeling good, so I'm going to\n the doctor.\n\n IRA\n You're not feeling good?", "GEORGE\n I can't imagine suffering through\n the final stages of this. So...I\n was going to ask you if you would\n be willing...to euthanize me.", "IRA\n He was trying to cure you with\n herbs. He seems like a great guy.\n\n GEORGE\n This is none of your fucking\n business. Just stay out of it.", "IRA\n I don't know if you've heard, but\n it looks like George's medicine is\n working.\n\n LAURA\n What do you mean?", "MARK\n In front of you?\n\n IRA\n No.\n\n MARK\n So being terminally ill makes you a\n cock-blacker?", "CLARKE\n Do you know who might be able to\n help you? A Chinese doctor. Have\n you explored Eastern medicine at\n all?", "GEORGE\n I'll give you fifty thousand\n dollars in cash. You'd be doing me\n a favor. It would be the kindest\n thing you could ever do for\n somebody." ], [ "George's face turns white. He knows what this means. The\n doctor keeps talking but the sound keeps coming in and out--\n it is now all a jumble of words.", "The content of George's act is meant to portray him in a more\n positive, sympathetic light to Laura. He talks about being\n sick and the lessons he learned in a very dark, hilarious,", "GEORGE (CONT'D)", "As George continues his act, it starts getting darker and\n darker until he is talking about death and the lack of\n meaning in it all.", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "George sits in the doctor's office staring at the photos of\n the doctor with his beautiful young children. DOCTOR STEVENS\n enters and sits down. He takes a deep breath.", "George walks around his grounds, slowly. And one gets the\n sense he's never looked around and seen where he lives\n before. He likes it.\n\n INT. IMPROV - NIGHT", "INT. GEORGE'S HOUSE - AFTERNOON\n\n Ira enters.", "George is walking around his yard at night. He's clearly\n never walked the grounds at night. He seems at peace.\n\n INT. GEORGE'S LIVING ROOM - DAY", "!NT. CAR - DAY\n George drives home. We hear the voice of his doctor in his\n head.", "George is sitting with his parents. It is clear he recently\n told them about his situation, and although there is sadness\n in the air, they look happy to be close for the first time in", "GEORGE\n You shouldn't joke about my\n disease. That was very serious.\n Very scary.\n Clarke punches him several times, but they are more like\n martial arts hits.", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "George sits back down, the thrill of his performance is gone,\n he is bored and alone again. He hits play on his TV and\n begins watching his show from the same spot it was at before.", "GEORGE (CONT'D)\n Look at that crazy motherfucker.", "GEORGE\n Well what the fuck do I do now?\n\n INT. LIVING ROOM\n\n Ira's eyes are wide with shock.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "GEORGE\n I appreciate that.\n\n LAURA\n He's been fighting the good fight.\n His doctors are taking very good\n care of him.\n Ira can believe this conversation is happening.", "IRA\n George? George?\n He walks through the house, finds George in bed. For the\n first time he seems sick.\n\n IRA (CONT'D)\n Are you all right?", "GEORGE\n So that's how it's going to be.\n\n INT. GEORGE'S HOUSE" ], [ "GEORGE wakes up in a large, clean, modern house. He is all\n alone. We get the feeling that he hired someone to decorate", "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "GEORGE\n None of you fuckers can hurt me.\n George pauses, then leaps onto Ira and they roll on the\n ground for a moment. Ira makes his-way free and gets up.", "GEORGE\n That's why I hired you, to write\n jokes about computers.\n Ira takes out the long list of jokes he's written.", "They all applaud. Ira notices Laura looking at George with\n admiring eyes that reek of more than friendship.", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "GEORGE (CONT'D)", "GEORGE\n I'm an asshole, you were about to\n kill me. For fifty grand! That's\n not even a lot of money.", "GEORGE (CONT'D)\n What the hell is that?\n Ira arrives. George starts yelling at Ira.", "GEORGE\n So this is where you work.\n\n IRA\n Back in the saddle.\n\n GEORGE\n I thought we were writing a\n screenplay.", "George walks around his grounds, slowly. And one gets the\n sense he's never looked around and seen where he lives\n before. He likes it.\n\n INT. IMPROV - NIGHT", "In the dark, he can barely see George making phoney calls by\n himself. Ira listens for awhile, not sure what to make of\n this. George doesn't see him.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "INT. GEORGE'S HOUSE - AFTERNOON\n\n Ira enters.", "GEORGE (CONT'D)\n Look at that crazy motherfucker.", "GEORGE (CONT'D)\n Holy shit!\n\n IRA\n What happened?\n\n GEORGE\n The monster showed himself.", "GEORGE\n Here's a grand for the jokes and\n the gig. Even though you should be\n paying me after that.\n Ira's eyes widen.", "IRA\n Oh my god, oh my god!\n Ira goes to hug George, but it's a very awkward moment. Ira\n really wants a happy hug, but George is instantly\n uncomfortable." ], [ "George is talking to an EX-MANAGER and his WIFE.", "They all applaud. Ira notices Laura looking at George with\n admiring eyes that reek of more than friendship.", "INT. LIVING ROOM - DAY\n\n George is talking to LAURA, a very pretty woman in her late\n thirties. Laura is showing George a photo of her two\n daughters.", "Laura leans in and kisses George. George is not big on\n public displays of affection. He kisses back, but you can\n tell that he's very uncomfortable.", "LAURA\n It was, for awhile.\n Reveal George in the wings trying to get a look at them from\n a distance.", "GEORGE\n This woman my agent set me up with.\n She raises money for this\n environmental group. I guess she's", "GEORGE (CONT'D)\n And then one day, somebody told\n her, I don't know who. And that was\n that.", "Lisa and her husband are now over, and George is talking to\n them and playing with her two-year-old boy.\n\n EXT. GEORGE'S HOUSE", "GEORGE\n Don't set me up for jokes like\n that. You're ruining the moment.\n She smiles. They hug.\n\n INT. IRA'S HOUSE - NIGHT", "George, that it was a great\n pleasure to meet someone who had\n such a big impact on my wife's\n life. I really like you. And wish", "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "GEORGE (CONT'D)", "ahead and turn a corner. Then she stops the ATV and turns\n around and kisses George.\n George looks surprised, but happy. Laura just stares at him,", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "George performs at the Improv. We see him gesture to a woman\n that she can come up on stage and she hugs him. The crowd\n erupts. She runs back to her seat. George continues with\n his act.", "Laura looks for Clarke at the news stand.\n\n INT. LAURA'S RANCH - NIGHT\n\n George is on the phone.", "GEORGE\n Laura, tell him. Tell him you want\n to be with me now.\n Laura doesn't answer.\n\n GEORGE (CONT'D)\n Laura?", "22.\n -- George focuses on Mandy, flirting and preparing her to go\n home with him.\n -- The other girl is now talking to a very uncomfortable Ira.\n She is not into it.", "George and Ira enter. People are very excited to see George.\n They give him a nice table.\n -- George and Ira talk to two women, MANDY and DAWN. They\n both seem really into George. Ira feels kind of left out.", "INT. BEDROOM - NIGHT\n\n George has sex with a girl in her early twenties.\n\n INT. BEL AIR HOME - NIGHT" ], [ "LAURA (CONT'D)\n Bye. I'll see you then.\n She looks at Ira. As she exits--", "LAURA (CONT'D)\n We're free.\n\n GEORGE", "87.\n\n LAURA (CONT'D)\n You were good too.", "LAURA\n It was, for awhile.\n Reveal George in the wings trying to get a look at them from\n a distance.", "LAURA\n I really never thought I was going\n to see you again. I grieved for\n you like you were dead.\n They continue to kiss. Suddenly she stops.", "They all applaud. Ira notices Laura looking at George with\n admiring eyes that reek of more than friendship.", "LAURA\n I'm so glad you're home, honey.\n Laura gives Clarke a hug and a peck. Then Ira walks over.", "Laura is alone in her room, crying. (she might be on the\n phone, talking honestly with a friend.)\n\n INT. GUEST ROOM - NIGHT", "LAURA\n All right! Here we go.\n They start driving down a path that goes around the edge of\n the ranch. George has his hands around Laura's waist as they\n drive. Ira looks over, concerned.", "LAURA\n Who the fuck are you? Get the fuck\n out of my life! You and George\n have to get the fuck out of my\n life. You are ruining everything!", "Laura leans in and kisses George. George is not big on\n public displays of affection. He kisses back, but you can\n tell that he's very uncomfortable.", "Laura looks for Clarke at the news stand.\n\n INT. LAURA'S RANCH - NIGHT\n\n George is on the phone.", "CLARKS, Laura's husband.", "LAURA\n Okay.\n An awkward beat. Laura gives Ira a hug goodbye, then hugs\n George goodbye, trying to make it appear as if they have\n equal weight.", "INT. LIVING ROOM - DAY\n\n George is talking to LAURA, a very pretty woman in her late\n thirties. Laura is showing George a photo of her two\n daughters.", "Everyone gets up and heads toward the kitchen. Laura opens\n the front door, George is a few steps behind her. A handsome\n man of forty appears. This is not the pizza guy. It's", "LAURA\n Ira. Oh my gosh. You were so\n good.\n\n IRA\n You seem surprised.", "GEORGE\n Laura, tell him. Tell him you want\n to be with me now.\n Laura doesn't answer.\n\n GEORGE (CONT'D)\n Laura?", "LAURA\n I'm sorry too. I love you so much.\n It was just a flirtation. It never", "LAURA\n (under her breath)\n Oh, fuck." ], [ "LAURA\n Clarke's company is about forty-\n five minutes from here. This town\n seemed so perfect when we were", "Laura is alone in her room, crying. (she might be on the\n phone, talking honestly with a friend.)\n\n INT. GUEST ROOM - NIGHT", "LAURA (CONT'D)\n Bye. I'll see you then.\n She looks at Ira. As she exits--", "O.S.\n\n MABLE (O.S.)\n Mom! Mom!\n Laura hits the gas and they continue the tour.", "Laura looks for Clarke at the news stand.\n\n INT. LAURA'S RANCH - NIGHT\n\n George is on the phone.", "Laura points out a small pond and a fenced-in riding area.\n Laura slows down and allows Ira, Mable and Ingrid to get", "LAURA (CONT'D)\n We're free.\n\n GEORGE", "George sleeps on the bed. Ira sleeps on a couch across the\n room. The door slowly opens, Laura enters wearing a bathrobe.", "LAURA\n You fucked up my life. And now I\n fucked up yours. But just a\n little. Probably just for a day.\n She walks back into the house.", "LAURA\n A tank could roll through this\n place, it wouldn't wake them up.\n They kiss some more. She moans louder.", "CUT TO:\n\n INT. LAURA'S SUV - DAY\n\n Laura is driving through town. George sits in the passenger\n seat.", "87.\n\n LAURA (CONT'D)\n You were good too.", "LAURA\n Hi? We've been waiting for you.\n Come on in.\n\n INT. LAURA'S RANCH - CONTINUOUS", "EXT. LAURA'S RANCH - GUEST HOUSE\n\n George and Laura park in the driveway, then sneak around to a\n back guest house.", "LAURA\n All right! Here we go.\n They start driving down a path that goes around the edge of\n the ranch. George has his hands around Laura's waist as they\n drive. Ira looks over, concerned.", "LAURA\n It was, for awhile.\n Reveal George in the wings trying to get a look at them from\n a distance.", "INT. LAURA'S RANCH - NIGHT\n\n Ira is on the floor with the kids. He watches the headlights\n of Laura's car disappear down the driveway.\n George walks back into the room.", "INT. LIVING ROOM - DAY\n\n George is talking to LAURA, a very pretty woman in her late\n thirties. Laura is showing George a photo of her two\n daughters.", "Everyone gets up and heads toward the kitchen. Laura opens\n the front door, George is a few steps behind her. A handsome\n man of forty appears. This is not the pizza guy. It's", "George and Ira drive up to the house. It's a large one-story\n house that is part of a ranch with a lot of land and a horse\n stable." ], [ "GEORGE\n Well what the fuck do I do now?\n\n INT. LIVING ROOM\n\n Ira's eyes are wide with shock.", "GEORGE (CONT'D)\n (calling to Ira)\n Hey man, you had some funny shit\n tonight.\n\n IRA\n Thanks!", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "George with the kids. Oblivious to what is happening.\n\n EXT. AIRPORT - MOMENTS LATER\n\n Ira comes back out, his car is about to be towed.", "GEORGE (CONT'D)\n (to Ira)\n Hey don't go, I'll be back in a\n second.\n\n INT. LIVING ROOM - LATER", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "George lays on the bed. Ira is pacing around the room.\n\n IRA\n What the fuck is going on? Did you\n guys do something?", "GEORGE\n None of you fuckers can hurt me.\n George pauses, then leaps onto Ira and they roll on the\n ground for a moment. Ira makes his-way free and gets up.", "IRA\n Oh my god, oh my god!\n Ira goes to hug George, but it's a very awkward moment. Ira\n really wants a happy hug, but George is instantly\n uncomfortable.", "24.\n George looks over his shoulder at Ira, as if to say, \"A man's\n gotta do what a man's gotta do.\"", "GEORGE (CONT'D)\n Holy shit!\n\n IRA\n What happened?\n\n GEORGE\n The monster showed himself.", "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "Ira drives, in a panic, on his cell phone. The phone goes\n through to George's voice mail.", "GEORGE (CONT'D)\n What the hell is that?\n Ira arrives. George starts yelling at Ira.", "INT. GEORGE'S HOUSE\n\n Ira walks into George's house.", "George punches Ira in the face. Ira fires back two punches\n at George's face and he stumbles back.", "INT. LAURA'S RANCH - NIGHT\n\n Ira is on the floor with the kids. He watches the headlights\n of Laura's car disappear down the driveway.\n George walks back into the room.", "George is in bed, sleeping. Ira starts sneaking out. George\n wakes up, calls Ira back to keep talking to him.", "IRA\n How do you get to the fucking\n airport?!\n\n INT. LAURA'S RANCH - NIGHT\n\n George calls Ira, gets voice mail." ], [ "GEORGE\n Well what the fuck do I do now?\n\n INT. LIVING ROOM\n\n Ira's eyes are wide with shock.", "On stage Ira does his act. He is much more comfortable than\n we have ever seen him on stage before. He is no longer\n searching for his comic identity. He has found a way to be", "Ira's on stage doing his act. He tells two jokes that don't\n do very well. And then he panics and does the joke about", "Ira goes into the house. Mark is there.\n\n MARK\n I told you I was going to give you\n 10 days. That was three weeks ago.", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "INT. LAURA'S RANCH - NIGHT\n\n Ira is on the floor with the kids. He watches the headlights\n of Laura's car disappear down the driveway.\n George walks back into the room.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "Ira drives, in a panic, on his cell phone. The phone goes\n through to George's voice mail.", "Ira, takes the stage. He starts trying to do his act, but he\n is unsure of himself and unable to figure out how to take the\n weird energy of the room and spin it to his advantage. He", "George with the kids. Oblivious to what is happening.\n\n EXT. AIRPORT - MOMENTS LATER\n\n Ira comes back out, his car is about to be towed.", "GEORGE (CONT'D)\n (to Ira)\n Hey don't go, I'll be back in a\n second.\n\n INT. LIVING ROOM - LATER", "IRA\n Uh oh.\n Ira runs out of the lounge. Laura runs out also.\n\n INT. LAURA'S HOUSE - NIGHT", "24.\n George looks over his shoulder at Ira, as if to say, \"A man's\n gotta do what a man's gotta do.\"", "LAURA (CONT'D)\n Bye. I'll see you then.\n She looks at Ira. As she exits--", "IRA\n He's killing the crowd. Jesus, I\n can't follow this shit.\n After completely losing the crowd, and some minor\n confrontations with audience members, he exits the stage.", "Ira is unpacking a dufflebag of clothes he grabbed from his\n apartment when he was kicked out. George pops his head in.", "INT. SUPERMARKET -- DAY\n\n Ira is back behind the counter, working at the Deli with\n Chuck and Gail. He doesn't look too unhappy to be there.", "IRA\n Oh my god, oh my god!\n Ira goes to hug George, but it's a very awkward moment. Ira\n really wants a happy hug, but George is instantly\n uncomfortable." ], [ "GEORGE SIMMONS, 42, sits in a giant living room watching bad\n television on a 70-inch flat screen TV. He looks bored and", "GEORGE\n (on the phone)\n Hey, it's George Simmons, I'm\n coming in.\n\n INT. NIGHTCLUB - NIGHT", "ANNOUNCER (O.S.)\n Ladies and Gentlemen. Here's the\n man you came to see. George\n Simmons.\n The place EXPLODES.\n\n IRA", "DAVE\n Ladies and gentleman, George\n Simmons.\n George does a few Apple jokes that do kill, and then he\n segues into his normal act. When he wants to be, he is a\n great performer.", "LAURA\n Okay, you're not Simon anymore.\n (to George)\n Simon, what did you think?", "IRA\n That was George Simmons. He wants\n me to write jokes for him.\n\n LEO\n Holy shit. That is awesome. You\n are so lucky.", "George walks around his grounds, slowly. And one gets the\n sense he's never looked around and seen where he lives\n before. He likes it.\n\n INT. IMPROV - NIGHT", "MANAGER\n Hey man. George Simmons just got\n here, he wants to go up. You're\n bumped. We'll put you on after\n George.", "LEO\n That was good, right? Some of the\n new stuff worked.\n\n IRA\n I just got bumped by George\n Simmons.", "George sits in the doctor's office staring at the photos of\n the doctor with his beautiful young children. DOCTOR STEVENS\n enters and sits down. He takes a deep breath.", "George is making a phoney phone call on a speaker phone. Ira\n listens.", "GEORGE wakes up in a large, clean, modern house. He is all\n alone. We get the feeling that he hired someone to decorate", "George is walking around his yard at night. He's clearly\n never walked the grounds at night. He seems at peace.\n\n INT. GEORGE'S LIVING ROOM - DAY", "GEORGE\n (speaking like an old", "GEORGE\n So this is where you work.\n\n IRA\n Back in the saddle.\n\n GEORGE\n I thought we were writing a\n screenplay.", "INT. GEORGE'S HOUSE - AFTERNOON\n\n Ira enters.", "GEORGE (CONT'D)", "George hits balls in his home batting cage. Then we see him\n driving golf balls inside there. In the background we see\n his modern, space ship looking house. It is enormous.", "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "GEORGE\n You know, I always wanted to be\n part of the comedy field.\n As the camera pulls back, George continues to pitch Ira jokes" ], [ "GEORGE SIMMONS, 42, sits in a giant living room watching bad\n television on a 70-inch flat screen TV. He looks bored and", "ANNOUNCER (O.S.)\n Ladies and Gentlemen. Here's the\n man you came to see. George\n Simmons.\n The place EXPLODES.\n\n IRA", "George's face turns white. He knows what this means. The\n doctor keeps talking but the sound keeps coming in and out--\n it is now all a jumble of words.", "GEORGE\n (on the phone)\n Hey, it's George Simmons, I'm\n coming in.\n\n INT. NIGHTCLUB - NIGHT", "GEORGE\n You shouldn't joke about my\n disease. That was very serious.\n Very scary.\n Clarke punches him several times, but they are more like\n martial arts hits.", "George sits in the doctor's office staring at the photos of\n the doctor with his beautiful young children. DOCTOR STEVENS\n enters and sits down. He takes a deep breath.", "GEORGE\n I've got some crazy blood disease.\n They think I'm going to die in six\n months to a year. Some weird\n thing, almost nobody has it. All\n these are experimental.", "DAVE\n Ladies and gentleman, George\n Simmons.\n George does a few Apple jokes that do kill, and then he\n segues into his normal act. When he wants to be, he is a\n great performer.", "CLARKE\n So this is what you want? Was he\n ever sick in the first place?\n\n IRA\n He was sick. He was very sick.", "MABLE\n .I'm Simon, and I thought it was\n horrible. I don't how you made it\n this far in the competition.\n\n (MORE)", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "GEORGE\n Well, I actually am sick. And I'm\n not going to survive.", "call anybody. There's nobody in sight. We see images of him\n thinking about the unthinkable and the life he's lead.\n He sits in his office, surrounded by photos of himself at", "George lies alone in bed, alone. Eyes wide open. It's\n really bright in his room.\n George hits a button. The shades automatically close. The", "LEO\n That was good, right? Some of the\n new stuff worked.\n\n IRA\n I just got bumped by George\n Simmons.", "GEORGE\n Well it's easier with you because I\n don't know you. I don't feel weird\n around you. I don't want to be\n treated like a guy who's going to\n die.", "As George continues his act, it starts getting darker and\n darker until he is talking about death and the lack of\n meaning in it all.", "IRA\n That was George Simmons. He wants\n me to write jokes for him.\n\n LEO\n Holy shit. That is awesome. You\n are so lucky.", "LAURA\n Okay, you're not Simon anymore.\n (to George)\n Simon, what did you think?", "this.\n He walks back to where the kids are. They are watching tv.\n All around the room are family pictures. He is beginning to\n feel bad about what is happening." ], [ "GEORGE\n I've got some crazy blood disease.\n They think I'm going to die in six\n months to a year. Some weird\n thing, almost nobody has it. All\n these are experimental.", "medication without much optimism,\n but as of right now I don't see any\n traces of the disease in your blood\n work. I don't want to speak too", "DOCTOR STEVENS\n I don't want to get your hopes up.\n We put you on this experimental", "LAURA\n I never said that he was still\n sick. He just took some medicine\n and it's looking better. You can't\n detect it in his blood, but it\n could come back.", "George's face turns white. He knows what this means. The\n doctor keeps talking but the sound keeps coming in and out--\n it is now all a jumble of words.", "experimental medicine. And the\n last time he went to the doctor\n they couldn't detect his blood\n disease. They think it might be\n gone.", "GEORGE\n I appreciate that.\n\n LAURA\n He's been fighting the good fight.\n His doctors are taking very good\n care of him.\n Ira can believe this conversation is happening.", "GEORGE\n Well it's easier with you because I\n don't know you. I don't feel weird\n around you. I don't want to be\n treated like a guy who's going to\n die.", "GEORGE\n Well, I actually am sick. And I'm\n not going to survive.", "CLARKE\n So this is what you want? Was he\n ever sick in the first place?\n\n IRA\n He was sick. He was very sick.", "GEORGE\n You shouldn't joke about my\n disease. That was very serious.\n Very scary.\n Clarke punches him several times, but they are more like\n martial arts hits.", "really don't have a treatment for\n it. There are things we can try.\n They're all very experimental in\n nature.", "MARK\n In front of you?\n\n IRA\n No.\n\n MARK\n So being terminally ill makes you a\n cock-blacker?", "IRA\n He just found out. He doesn't want\n to jinx it. He doesn't want people\n to get excited, and then have it\n come back again.\n The lights go down.", "GEORGE\n I can't imagine suffering through\n the final stages of this. So...I\n was going to ask you if you would\n be willing...to euthanize me.", "GEORGE\n I thought a lot about you when I\n was sick, and I would do anything\n for another chance. I know it", "CLARKE\n Is it looking better? Or is he\n better?\n (to Ira)\n Is he sick anymore?", "George a compassionate look, the type of look you give a man\n you think is dying.", "long time ago. Let it go or I will\n kill you. I will literally kill\n you till you're fucking dead. That\n disease didn't kill you. But I", "DOCTOR STEVENS (V.0.)\n I think you need to hope for the\n best and prepare for the worst. Is\n there someone who can help you get\n your affairs in order?" ], [ "DAVE\n Ladies and gentleman, George\n Simmons.\n George does a few Apple jokes that do kill, and then he\n segues into his normal act. When he wants to be, he is a\n great performer.", "from the world. And he's trying to\n distract himself by doing stand-up\n and having sex with a lot of women.\n And he doesn't want anyone to know", "Ira's on stage doing his act. He tells two jokes that don't\n do very well. And then he panics and does the joke about", "ANNOUNCER (O.S.)\n Ladies and Gentlemen. Here's the\n man you came to see. George\n Simmons.\n The place EXPLODES.\n\n IRA", "Shots of George doing stand up on stage at a comedy club.\n The place adores him. We see quick images of him after the\n show interacting with people. He is clearly a very famous\n comedian.", "IRA\n That was George Simmons. He wants\n me to write jokes for him.\n\n LEO\n Holy shit. That is awesome. You\n are so lucky.", "GEORGE SIMMONS, 42, sits in a giant living room watching bad\n television on a 70-inch flat screen TV. He looks bored and", "GEORGE\n You know, I always wanted to be\n part of the comedy field.\n As the camera pulls back, George continues to pitch Ira jokes", "GEORGE\n I'm just doing stand-up to have\n fun, forget about it on stage.\n There's nothing funny about that.", "GEORGE\n Yeah. I guess so.\n They watch some more and we see a really happy, young George\n getting big laughs with something really silly.", "As George continues his act, it starts getting darker and\n darker until he is talking about death and the lack of\n meaning in it all.", "The content of George's act is meant to portray him in a more\n positive, sympathetic light to Laura. He talks about being\n sick and the lessons he learned in a very dark, hilarious,", "Ira, takes the stage. He starts trying to do his act, but he\n is unsure of himself and unable to figure out how to take the\n weird energy of the room and spin it to his advantage. He", "GEORGE\n (on the phone)\n Hey, it's George Simmons, I'm\n coming in.\n\n INT. NIGHTCLUB - NIGHT", "MANAGER\n Hey man. George Simmons just got\n here, he wants to go up. You're\n bumped. We'll put you on after\n George.", "rather do comedy full-time if I\n could.\n The camera pulls back as Ira continues to talk, and we begin\n to HEAR George snoring, as Ira continues to talk anyway.", "jokes. As he continues his set, he gets more confident and,\n for the first time in the film, we think he has the potential\n to be a strong comic.", "himself on stage, and tells jokes which are more personal\n than we have seen before.\n Not everything kills, but when something eats it he does not", "IRA\n I know, that's why I became a\n comedian, because everyone used to\n beat me up!", "GEORGE\n Well, I made a lot of people laugh.\n I guess that's something.\n\n IRA\n It's a lot." ], [ "They all applaud. Ira notices Laura looking at George with\n admiring eyes that reek of more than friendship.", "George is in bed, sleeping. Ira starts sneaking out. George\n wakes up, calls Ira back to keep talking to him.", "George walks around his grounds, slowly. And one gets the\n sense he's never looked around and seen where he lives\n before. He likes it.\n\n INT. IMPROV - NIGHT", "George is sitting with his parents. It is clear he recently\n told them about his situation, and although there is sadness\n in the air, they look happy to be close for the first time in", "George, that it was a great\n pleasure to meet someone who had\n such a big impact on my wife's\n life. I really like you. And wish", "GEORGE\n And just say he's a friend of mine,\n and I think he's funny.", "GEORGE\n Yeah. I guess so.\n They watch some more and we see a really happy, young George\n getting big laughs with something really silly.", "As George continues his act, it starts getting darker and\n darker until he is talking about death and the lack of\n meaning in it all.", "GEORGE\n None of you fuckers can hurt me.\n George pauses, then leaps onto Ira and they roll on the\n ground for a moment. Ira makes his-way free and gets up.", "George is walking around his yard at night. He's clearly\n never walked the grounds at night. He seems at peace.\n\n INT. GEORGE'S LIVING ROOM - DAY", "INT. GEORGE'S JAM ROOM\n\n George and a few of his friends are playing a famous rock\n song for fun. But they are very good. The music continues\n through the following sequence.", "FRIEND\n It is such a tucked up situation.\n Life is fucked. It makes no sense.\n\n GEORGE\n Well, I really appreciate you\n coming by.", "GEORGE (CONT'D)", "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "George walks up, rings the bell. Inside the apartment he\n hears a bit of a scuffle, as if the friends are fighting over\n who can open the door.\n Leo opens the door, sweaty, with a welt on his face.", "Ira notices George is falling asleep, so he talks more\n quietly. He's gotten good at this.", "INT. BEDROOM - LATER\n\n George is in bed under the covers, comfortably laying on his\n pillow. Ira sits in an easy chair located right next to the\n bed.", "side of it.\n Clarke hugs George.", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming..." ], [ "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "GEORGE (CONT'D)\n (to Ira)\n Hey don't go, I'll be back in a\n second.\n\n INT. LIVING ROOM - LATER", "INT. GEORGE'S HOUSE\n\n Ira walks into George's house.", "IRA\n Oh my god, oh my god!\n Ira goes to hug George, but it's a very awkward moment. Ira\n really wants a happy hug, but George is instantly\n uncomfortable.", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "George comes in and wakes Ira up.\n\n GEORGE\n Come on. We're gonna go do a gig\n tonight. Up north. And you're\n gonna open up for me.", "GEORGE\n Well what the fuck do I do now?\n\n INT. LIVING ROOM\n\n Ira's eyes are wide with shock.", "George with the kids. Oblivious to what is happening.\n\n EXT. AIRPORT - MOMENTS LATER\n\n Ira comes back out, his car is about to be towed.", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "George and Ira drive up to the house. It's a large one-story\n house that is part of a ranch with a lot of land and a horse\n stable.", "George is in bed, sleeping. Ira starts sneaking out. George\n wakes up, calls Ira back to keep talking to him.", "GEORGE\n Here's a grand for the jokes and\n the gig. Even though you should be\n paying me after that.\n Ira's eyes widen.", "GEORGE\n What do you got?\n Ira is surprised to hear him ask this, since he has never\n asked this before.", "George is making a phoney phone call on a speaker phone. Ira\n listens.", "GEORGE (CONT'D)\n (calling to Ira)\n Hey man, you had some funny shit\n tonight.\n\n IRA\n Thanks!", "INT. GEORGE'S HOUSE - MORNING\n\n George walks into the guest room, where Ira is sleeping.", "GEORGE\n None of you fuckers can hurt me.\n George pauses, then leaps onto Ira and they roll on the\n ground for a moment. Ira makes his-way free and gets up.", "In the dark, he can barely see George making phoney calls by\n himself. Ira listens for awhile, not sure what to make of\n this. George doesn't see him.", "24.\n George looks over his shoulder at Ira, as if to say, \"A man's\n gotta do what a man's gotta do.\"" ], [ "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "IRA\n Oh my god, oh my god!\n Ira goes to hug George, but it's a very awkward moment. Ira\n really wants a happy hug, but George is instantly\n uncomfortable.", "GEORGE (CONT'D)\n What the hell is that?\n Ira arrives. George starts yelling at Ira.", "GEORGE\n Well what the fuck do I do now?\n\n INT. LIVING ROOM\n\n Ira's eyes are wide with shock.", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "George punches Ira in the face. Ira fires back two punches\n at George's face and he stumbles back.", "GEORGE (CONT'D)\n (calling to Ira)\n Hey man, you had some funny shit\n tonight.\n\n IRA\n Thanks!", "INT. GEORGE'S HOUSE\n\n Ira walks into George's house.", "GEORGE (CONT'D)\n (to Ira)\n Hey don't go, I'll be back in a\n second.\n\n INT. LIVING ROOM - LATER", "24.\n George looks over his shoulder at Ira, as if to say, \"A man's\n gotta do what a man's gotta do.\"", "George with the kids. Oblivious to what is happening.\n\n EXT. AIRPORT - MOMENTS LATER\n\n Ira comes back out, his car is about to be towed.", "George lays on the bed. Ira is pacing around the room.\n\n IRA\n What the fuck is going on? Did you\n guys do something?", "GEORGE (CONT'D)\n Holy shit!\n\n IRA\n What happened?\n\n GEORGE\n The monster showed himself.", "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "George is in bed, sleeping. Ira starts sneaking out. George\n wakes up, calls Ira back to keep talking to him.", "GEORGE\n None of you fuckers can hurt me.\n George pauses, then leaps onto Ira and they roll on the\n ground for a moment. Ira makes his-way free and gets up.", "INT. LAURA'S RANCH - NIGHT\n\n Ira is on the floor with the kids. He watches the headlights\n of Laura's car disappear down the driveway.\n George walks back into the room.", "Ira is now watching the end of the movie by himself. George\n sticks his head in.", "LAURA\n The whole thing is a bad part.\n George LAUGHS in a slightly flirty fashion with Laura. Ira is\n getting uncomfortable with the subtext." ], [ "GEORGE\n Well what the fuck do I do now?\n\n INT. LIVING ROOM\n\n Ira's eyes are wide with shock.", "On stage Ira does his act. He is much more comfortable than\n we have ever seen him on stage before. He is no longer\n searching for his comic identity. He has found a way to be", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "George with the kids. Oblivious to what is happening.\n\n EXT. AIRPORT - MOMENTS LATER\n\n Ira comes back out, his car is about to be towed.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "Ira's on stage doing his act. He tells two jokes that don't\n do very well. And then he panics and does the joke about", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "IRA\n Uh oh.\n Ira runs out of the lounge. Laura runs out also.\n\n INT. LAURA'S HOUSE - NIGHT", "Ira goes into the house. Mark is there.\n\n MARK\n I told you I was going to give you\n 10 days. That was three weeks ago.", "Ira drives, in a panic, on his cell phone. The phone goes\n through to George's voice mail.", "LAURA (CONT'D)\n Bye. I'll see you then.\n She looks at Ira. As she exits--", "IRA\n Oh my god, oh my god!\n Ira goes to hug George, but it's a very awkward moment. Ira\n really wants a happy hug, but George is instantly\n uncomfortable.", "George punches Ira in the face. Ira fires back two punches\n at George's face and he stumbles back.", "INT. LAURA'S RANCH - NIGHT\n\n Ira is on the floor with the kids. He watches the headlights\n of Laura's car disappear down the driveway.\n George walks back into the room.", "Ira, takes the stage. He starts trying to do his act, but he\n is unsure of himself and unable to figure out how to take the\n weird energy of the room and spin it to his advantage. He", "IRA\n He's killing the crowd. Jesus, I\n can't follow this shit.\n After completely losing the crowd, and some minor\n confrontations with audience members, he exits the stage.", "39.\n Ira walks out the store. As he walks out, he turns to a lady\n (in her 40s) at the register.", "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "INT. AIRPORT - NIGHT\n\n Ira runs around the airport, looking for Laura and Clarke.\n\n INT. AIRPORT - FIRST CLASS LOUNGE - NIGHT" ], [ "INT. COMEDY CLUB\n\n George and Ira are doing sets again.\n\n INT. GEORGE'S BEDROOM - NIGHT", "INT. SUPERMARKET - MOMENTS LATER\n\n There is a small seating area in the supermarket where people\n eat food at the deli counter. George and Ira sit across from\n each other.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "George and Ira are sitting in the dressing room, nibbling\n from the fruit tray. There's a knock at the door. A\n Security Person escorts Laura into the dressing room. Ira is\n thrown.", "George with the kids. Oblivious to what is happening.\n\n EXT. AIRPORT - MOMENTS LATER\n\n Ira comes back out, his car is about to be towed.", "George and Ira drive up to the house. It's a large one-story\n house that is part of a ranch with a lot of land and a horse\n stable.", "George and Ira sit on the plane, on the way back.\n\n GEORGE\n We'll be on the ground in a half\n hour. Want to go to a bar? Do\n something fun?", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "GEORGE (CONT'D)\n (to Ira)\n Hey don't go, I'll be back in a\n second.\n\n INT. LIVING ROOM - LATER", "George and Ira are eating with several famous comedians,\n shooting the shit, having a good time.\n\n EXT. IMPROV -- NIGHT", "INT. DRESSING ROOM - AFTER THE SHOW\n\n Laura is talking to George and Ira.", "One of the MANAGERS walks George and Ira through the back of\n the theater toward the dressing room. They walk across the\n stage and we see the empty 2,000 seat theater. Ira is freaked\n out.", "INT. HOTEL ROOM - NIGHT\n\n Ira and George are in a room that has two queen-sized beds.\n They each lay on their bed in the dark.", "George and Ira are waiting at the parking valet. The car\n pulls up. As they get in:", "INT. BEDROOM - LATER\n\n George is in bed under the covers, comfortably laying on his\n pillow. Ira sits in an easy chair located right next to the\n bed.", "George is in bed, sleeping. Ira starts sneaking out. George\n wakes up, calls Ira back to keep talking to him.", "57.\n George and Ira start watching the act and laughing along,\n like any audience member.\n\n INT. JAM ROOM - DAY", "INT. GEORGE'S HOUSE\n\n Ira walks into George's house.", "EXT. SANTA MONICA MOUNTAINS - DAY\n\n George and Ira hike up a hill." ], [ "INT. COMEDY CLUB\n\n George and Ira are doing sets again.\n\n INT. GEORGE'S BEDROOM - NIGHT", "George punches Ira in the face. Ira fires back two punches\n at George's face and he stumbles back.", "George and Ira drive up to the house. It's a large one-story\n house that is part of a ranch with a lot of land and a horse\n stable.", "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "George and Ira are sitting in the dressing room, nibbling\n from the fruit tray. There's a knock at the door. A\n Security Person escorts Laura into the dressing room. Ira is\n thrown.", "GEORGE\n None of you fuckers can hurt me.\n George pauses, then leaps onto Ira and they roll on the\n ground for a moment. Ira makes his-way free and gets up.", "INT. SUPERMARKET - MOMENTS LATER\n\n There is a small seating area in the supermarket where people\n eat food at the deli counter. George and Ira sit across from\n each other.", "George and Ira sit on the plane, on the way back.\n\n GEORGE\n We'll be on the ground in a half\n hour. Want to go to a bar? Do\n something fun?", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "George is in bed, sleeping. Ira starts sneaking out. George\n wakes up, calls Ira back to keep talking to him.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "INT. HOTEL ROOM - NIGHT\n\n Ira and George are in a room that has two queen-sized beds.\n They each lay on their bed in the dark.", "George and Ira enter. People are very excited to see George.\n They give him a nice table.\n -- George and Ira talk to two women, MANDY and DAWN. They\n both seem really into George. Ira feels kind of left out.", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "EXT. SANTA MONICA MOUNTAINS - DAY\n\n George and Ira hike up a hill.", "were married to cheat. It buys\n you another chance.\n Clarke punches George. Ira is on the ground. He doesn't get\n up.", "They all applaud. Ira notices Laura looking at George with\n admiring eyes that reek of more than friendship.", "George and Ira are skiing. There is no music, no noise. It\n is very peaceful. George stops in a spot where he is\n surrounded in all directions by gorgeous, majestic mountains.\n He looks around, taking it all in.", "57.\n George and Ira start watching the act and laughing along,\n like any audience member.\n\n INT. JAM ROOM - DAY", "George comes in and wakes Ira up.\n\n GEORGE\n Come on. We're gonna go do a gig\n tonight. Up north. And you're\n gonna open up for me." ], [ "George's face turns white. He knows what this means. The\n doctor keeps talking but the sound keeps coming in and out--\n it is now all a jumble of words.", "George sits in the doctor's office staring at the photos of\n the doctor with his beautiful young children. DOCTOR STEVENS\n enters and sits down. He takes a deep breath.", "GEORGE (CONT'D)", "George is sitting with his parents. It is clear he recently\n told them about his situation, and although there is sadness\n in the air, they look happy to be close for the first time in", "GEORGE\n You shouldn't joke about my\n disease. That was very serious.\n Very scary.\n Clarke punches him several times, but they are more like\n martial arts hits.", "The content of George's act is meant to portray him in a more\n positive, sympathetic light to Laura. He talks about being\n sick and the lessons he learned in a very dark, hilarious,", "As George continues his act, it starts getting darker and\n darker until he is talking about death and the lack of\n meaning in it all.", "George and Ira are eating.\n\n IRA\n I was thinking you need to tell\n someone about your situation... your\n condition.", "GEORGE\n I've got some crazy blood disease.\n They think I'm going to die in six\n months to a year. Some weird\n thing, almost nobody has it. All\n these are experimental.", "GEORGE\n Well, I actually am sick. And I'm\n not going to survive.", "IRA\n George? George?\n He walks through the house, finds George in bed. For the\n first time he seems sick.\n\n IRA (CONT'D)\n Are you all right?", "George a compassionate look, the type of look you give a man\n you think is dying.", "GEORGE\n I appreciate that.\n\n LAURA\n He's been fighting the good fight.\n His doctors are taking very good\n care of him.\n Ira can believe this conversation is happening.", "George is in bed, sleeping. Ira starts sneaking out. George\n wakes up, calls Ira back to keep talking to him.", "INT. GEORGE'S HOUSE - AFTERNOON\n\n Ira enters.", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "GEORGE (CONT'D)\n Look at that crazy motherfucker.", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "George is walking around his yard at night. He's clearly\n never walked the grounds at night. He seems at peace.\n\n INT. GEORGE'S LIVING ROOM - DAY", "George lays on the bed. Ira is pacing around the room.\n\n IRA\n What the fuck is going on? Did you\n guys do something?" ], [ "George sleeps on the bed. Ira sleeps on a couch across the\n room. The door slowly opens, Laura enters wearing a bathrobe.", "Ira sits with one of his roommates, LEO, who is also an\n aspiring comedian. They sit across from each other, kicking", "INT. HOTEL ROOM - NIGHT\n\n Ira and George are in a room that has two queen-sized beds.\n They each lay on their bed in the dark.", "IRA\n (into the phone)\n Hi, this is Ira, I'm a friend of\n George's. He asked me to call you.\n His roommates are making a commotion outside. Ira covers the\n receiver.", "INT. GEORGE'S HOUSE\n\n Ira walks into George's house.", "GEORGE\n Well what the fuck do I do now?\n\n INT. LIVING ROOM\n\n Ira's eyes are wide with shock.", "Ira comes home, deep in the evening. He's eating some food.\n Daisy walks out of Mark's bedroom, dressed in Mark's long-\n sleeve t-shirt. She's clearly just had sex.", "INT. COMEDY CLUB\n\n George and Ira are doing sets again.\n\n INT. GEORGE'S BEDROOM - NIGHT", "INT. BEDROOM - LATER\n\n George is in bed under the covers, comfortably laying on his\n pillow. Ira sits in an easy chair located right next to the\n bed.", "INT. LIVING ROOM\n\n George sits with THREE COMEDIANS. They are all laughing and\n telling old sex stories from george's younger days. Ira sits\n with them and listens and laughs along.", "INT. GEORGE'S HOUSE - MORNING\n\n George walks into the guest room, where Ira is sleeping.", "IRA\n No, I think we had kind of an\n instant connection.\n The other roommate, JAY, walks by.\n\n JAY\n You fucked him?", "George lays on the bed. Ira is pacing around the room.\n\n IRA\n What the fuck is going on? Did you\n guys do something?", "EXT. GUYS' APARTMENT\n\n Ira pulls up to his apartment.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "INT. GUYS' APARTMENT - LIVING ROOM - DAY\n\n Ira is talking to Leo.", "INT. IRA'S APARTMENT\n\n Ira answers the phone.\n\n IRA\n Hello.", "INT. IRA'S BEDROOM\n\n Ira is asleep. The clock says noon.\n The phone rings. He answers it, groggy.", "Ira is unpacking a dufflebag of clothes he grabbed from his\n apartment when he was kicked out. George pops his head in.", "and GAIL, a very skinny, very old, straight-talking,\n humorless woman in her fifties.\n Ira is in the middle of a very long conversation with a" ], [ "LAURA (CONT'D)\n Bye. I'll see you then.\n She looks at Ira. As she exits--", "LAURA (CONT'D)\n We're free.\n\n GEORGE", "87.\n\n LAURA (CONT'D)\n You were good too.", "LAURA\n It was, for awhile.\n Reveal George in the wings trying to get a look at them from\n a distance.", "LAURA\n I really never thought I was going\n to see you again. I grieved for\n you like you were dead.\n They continue to kiss. Suddenly she stops.", "They all applaud. Ira notices Laura looking at George with\n admiring eyes that reek of more than friendship.", "LAURA\n I'm so glad you're home, honey.\n Laura gives Clarke a hug and a peck. Then Ira walks over.", "Laura is alone in her room, crying. (she might be on the\n phone, talking honestly with a friend.)\n\n INT. GUEST ROOM - NIGHT", "LAURA\n All right! Here we go.\n They start driving down a path that goes around the edge of\n the ranch. George has his hands around Laura's waist as they\n drive. Ira looks over, concerned.", "LAURA\n Who the fuck are you? Get the fuck\n out of my life! You and George\n have to get the fuck out of my\n life. You are ruining everything!", "Laura leans in and kisses George. George is not big on\n public displays of affection. He kisses back, but you can\n tell that he's very uncomfortable.", "Laura looks for Clarke at the news stand.\n\n INT. LAURA'S RANCH - NIGHT\n\n George is on the phone.", "CLARKS, Laura's husband.", "LAURA\n Okay.\n An awkward beat. Laura gives Ira a hug goodbye, then hugs\n George goodbye, trying to make it appear as if they have\n equal weight.", "INT. LIVING ROOM - DAY\n\n George is talking to LAURA, a very pretty woman in her late\n thirties. Laura is showing George a photo of her two\n daughters.", "Everyone gets up and heads toward the kitchen. Laura opens\n the front door, George is a few steps behind her. A handsome\n man of forty appears. This is not the pizza guy. It's", "LAURA\n Ira. Oh my gosh. You were so\n good.\n\n IRA\n You seem surprised.", "GEORGE\n Laura, tell him. Tell him you want\n to be with me now.\n Laura doesn't answer.\n\n GEORGE (CONT'D)\n Laura?", "LAURA\n I'm sorry too. I love you so much.\n It was just a flirtation. It never", "LAURA\n (under her breath)\n Oh, fuck." ], [ "Laura looks for Clarke at the news stand.\n\n INT. LAURA'S RANCH - NIGHT\n\n George is on the phone.", "LAURA\n I'm so glad you're home, honey.\n Laura gives Clarke a hug and a peck. Then Ira walks over.", "LAURA\n Clarke's company is about forty-\n five minutes from here. This town\n seemed so perfect when we were", "LAURA (CONT'D)\n Clarke, oh my gosh. What are you\n doing home?", "Laura is talking to Clarke, emotional. Clarke is crying.", "EXT./INT. LAURA'S RANCH - NIGHT\n\n Clarke arrives at the house. He sees George sitting with\n the kids.", "LAURA\n Oh, Clarke. George had a\n performance last night in town,\n which I went to, and him and his", "LAURA\n Yes. Clarke, my husband, was a\n real city boy. But for some reason\n he loves horses. Of course I'm\n lef t to take care of them. But\n yes, we have three horses.", "CLARKE (CONT'D)\n What the fuck is going on around\n here?\n (to Laura)\n Is that true?", "GEORGE\n Laura, tell Clarke to stop!\n\n LAURA\n Clarke, please don't do this.", "INT. AIRPORT - NIGHT\n\n Laura walks into the airport lounge. She sees Clarke. She\n looks at him for a moment, then heads over to him with\n determination.", "LAURA\n I spoke to Clarke. He's going to\n fly back to China tonight. I was\n thinking about driving to the", "MABLE\n Are you two going to fight?\n\n CLARKE\n Ye s.\n\n EXT. LAURA'S HOUSE - NIGHT", "INT./EXT. AIRPORT - NIGHT\n\n Laura gets to check-in, looks around. She does not see\n Clarke.\n\n INT. LAURA'S HOUSE - NIGHT", "CLARKE\n Come on girls. Let's go inside.\n Mable and Ingrid run inside. Clarke turns to George.", "LAURA\n He's doing really well. He's been\n very strong.\n\n CLARKE\n It's a terrible situation. I'm so\n sorry.", "GEORGE\n Laura, what's it going to be? Are\n you going with him, or are you\n going with me?\n Laura looks at Clarke.", "INT. AIRPORT - NIGHT\n\n Ira runs around the airport, looking for Laura and Clarke.\n\n INT. AIRPORT - FIRST CLASS LOUNGE - NIGHT", "CLARKE (COIN' D )\n What the fuck is going on? What\n the fuck is going on, Laura?\n\n LAURA\n I don't know what to say.", "CLARKE\n It is really nice to meet you,\n George. Laura talks about you all\n the time, and we're obviously big\n fans of your movies." ], [ "MABLE\n I think my mom's in love with him.\n Ira looks doubly disturbed. He quickly goes back to his\n popsicle sticks.", "love to him. George is surprised but not completely shocked\n and goes along happily with it.\n ANGLE ON: Ira, he never wakes up.", "Ira comes home, deep in the evening. He's eating some food.\n Daisy walks out of Mark's bedroom, dressed in Mark's long-\n sleeve t-shirt. She's clearly just had sex.", "They all applaud. Ira notices Laura looking at George with\n admiring eyes that reek of more than friendship.", "IRA\n Oh my god, oh my god!\n Ira goes to hug George, but it's a very awkward moment. Ira\n really wants a happy hug, but George is instantly\n uncomfortable.", "LAURA (CONT'D)\n Bye. I'll see you then.\n She looks at Ira. As she exits--", "IRA\n Well, you smell right to me.\n Daisy smiles at Ira, just as Leo stomps back into the room.\n He charges right up to Ira, pissed off.", "22.\n -- George focuses on Mandy, flirting and preparing her to go\n home with him.\n -- The other girl is now talking to a very uncomfortable Ira.\n She is not into it.", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "amused by his struggle. He sees something he likes in Ira.", "were married to cheat. It buys\n you another chance.\n Clarke punches George. Ira is on the ground. He doesn't get\n up.", "LAURA\n Okay.\n An awkward beat. Laura gives Ira a hug goodbye, then hugs\n George goodbye, trying to make it appear as if they have\n equal weight.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "INT. AIRPORT - NIGHT\n\n Ira runs around the airport, looking for Laura and Clarke.\n\n INT. AIRPORT - FIRST CLASS LOUNGE - NIGHT", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "IRA\n Uh oh.\n Ira runs out of the lounge. Laura runs out also.\n\n INT. LAURA'S HOUSE - NIGHT", "George sleeps on the bed. Ira sleeps on a couch across the\n room. The door slowly opens, Laura enters wearing a bathrobe.", "INT. HOTEL ROOM - NIGHT\n\n Ira and George are in a room that has two queen-sized beds.\n They each lay on their bed in the dark.", "INT. LAURA'S RANCH - NIGHT\n\n Ira is on the floor with the kids. He watches the headlights\n of Laura's car disappear down the driveway.\n George walks back into the room.", "GEORGE (CONT'D)\n (to Ira)\n Hey don't go, I'll be back in a\n second.\n\n INT. LIVING ROOM - LATER" ], [ "LAURA\n And my husband cheated on me, said\n he did it once but I know because I", "CLARKE (CONT'D)\n What the fuck is going on around\n here?\n (to Laura)\n Is that true?", "were married to cheat. It buys\n you another chance.\n Clarke punches George. Ira is on the ground. He doesn't get\n up.", "LAURA\n Oh, Clarke. George had a\n performance last night in town,\n which I went to, and him and his", "LAURA\n I'm so glad you're home, honey.\n Laura gives Clarke a hug and a peck. Then Ira walks over.", "CLARKE\n Hit the road before I put you\n through another round.\n\n GEORGE\n You cheated on her too!", "Laura looks for Clarke at the news stand.\n\n INT. LAURA'S RANCH - NIGHT\n\n George is on the phone.", "GEORGE\n Laura, tell Clarke to stop!\n\n LAURA\n Clarke, please don't do this.", "LAURA\n He's doing really well. He's been\n very strong.\n\n CLARKE\n It's a terrible situation. I'm so\n sorry.", "LAURA\n Yes. Clarke, my husband, was a\n real city boy. But for some reason\n he loves horses. Of course I'm\n lef t to take care of them. But\n yes, we have three horses.", "LAURA (CONT'D)\n Clarke, oh my gosh. What are you\n doing home?", "LAURA\n Clarke's company is about forty-\n five minutes from here. This town\n seemed so perfect when we were", "GEORGE\n Laura, what's it going to be? Are\n you going with him, or are you\n going with me?\n Laura looks at Clarke.", "LAURA\n No. I have kids now.\n\n GEORGE\n See, that was my mistake. I should\n have had some kids with you before\n I cheated.\n she laughs.", "CLARKE (COIN' D )\n What the fuck is going on? What\n the fuck is going on, Laura?\n\n LAURA\n I don't know what to say.", "LAURA\n I spoke to Clarke. He's going to\n fly back to China tonight. I was\n thinking about driving to the", "Laura is talking to Clarke, emotional. Clarke is crying.", "LAURA\n I'm sorry too. I love you so much.\n It was just a flirtation. It never", "CLARKE\n No one who's married is fucking\n happy. Leave us alone! You fucked\n up. You fucked it up with her a", "LAURA\n And the funny thing is...my\n husband, he is on the road a lot\n for business. He did the same\n thing last year.\n\n GEORGE\n Did you leave him?" ], [ "CLARKE (CONT'D)\n What the fuck is going on around\n here?\n (to Laura)\n Is that true?", "Laura looks for Clarke at the news stand.\n\n INT. LAURA'S RANCH - NIGHT\n\n George is on the phone.", "LAURA\n I'm so glad you're home, honey.\n Laura gives Clarke a hug and a peck. Then Ira walks over.", "LAURA\n Oh, Clarke. George had a\n performance last night in town,\n which I went to, and him and his", "LAURA\n And my husband cheated on me, said\n he did it once but I know because I", "were married to cheat. It buys\n you another chance.\n Clarke punches George. Ira is on the ground. He doesn't get\n up.", "CLARKE\n Hit the road before I put you\n through another round.\n\n GEORGE\n You cheated on her too!", "INT. AIRPORT - NIGHT\n\n Laura walks into the airport lounge. She sees Clarke. She\n looks at him for a moment, then heads over to him with\n determination.", "Laura is talking to Clarke, emotional. Clarke is crying.", "GEORGE\n Laura, tell Clarke to stop!\n\n LAURA\n Clarke, please don't do this.", "LAURA (CONT'D)\n Clarke, oh my gosh. What are you\n doing home?", "INT. AIRPORT - NIGHT\n\n Ira runs around the airport, looking for Laura and Clarke.\n\n INT. AIRPORT - FIRST CLASS LOUNGE - NIGHT", "LAURA\n Clarke's company is about forty-\n five minutes from here. This town\n seemed so perfect when we were", "LAURA\n I spoke to Clarke. He's going to\n fly back to China tonight. I was\n thinking about driving to the", "LAURA\n He's doing really well. He's been\n very strong.\n\n CLARKE\n It's a terrible situation. I'm so\n sorry.", "INT./EXT. AIRPORT - NIGHT\n\n Laura gets to check-in, looks around. She does not see\n Clarke.\n\n INT. LAURA'S HOUSE - NIGHT", "EXT./INT. LAURA'S RANCH - NIGHT\n\n Clarke arrives at the house. He sees George sitting with\n the kids.", "CLARKE (COIN' D )\n What the fuck is going on? What\n the fuck is going on, Laura?\n\n LAURA\n I don't know what to say.", "GEORGE\n Laura, what's it going to be? Are\n you going with him, or are you\n going with me?\n Laura looks at Clarke.", "LAURA\n It was, for awhile.\n Reveal George in the wings trying to get a look at them from\n a distance." ], [ "LAURA (CONT'D)\n Bye. I'll see you then.\n She looks at Ira. As she exits--", "On stage Ira does his act. He is much more comfortable than\n we have ever seen him on stage before. He is no longer\n searching for his comic identity. He has found a way to be", "IRA\n Uh oh.\n Ira runs out of the lounge. Laura runs out also.\n\n INT. LAURA'S HOUSE - NIGHT", "IRA\n Oh my god, oh my god!\n Ira goes to hug George, but it's a very awkward moment. Ira\n really wants a happy hug, but George is instantly\n uncomfortable.", "INT. GEORGE'S HOUSE\n\n Ira walks into George's house.", "and GAIL, a very skinny, very old, straight-talking,\n humorless woman in her fifties.\n Ira is in the middle of a very long conversation with a", "19.\n As they're having a conversation, Ira seems really freaked\n out. Ira pretends he isn't.", "Ira is on the phone. There is a paper with a bunch of\n numbers in front of him.", "Ira comes home, deep in the evening. He's eating some food.\n Daisy walks out of Mark's bedroom, dressed in Mark's long-\n sleeve t-shirt. She's clearly just had sex.", "George with the kids. Oblivious to what is happening.\n\n EXT. AIRPORT - MOMENTS LATER\n\n Ira comes back out, his car is about to be towed.", "INT. SUPERMARKET -- DAY\n\n Ira is back behind the counter, working at the Deli with\n Chuck and Gail. He doesn't look too unhappy to be there.", "INT. HOTEL ROOM - NIGHT\n\n Ira and George are in a room that has two queen-sized beds.\n They each lay on their bed in the dark.", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "Ira goes into the house. Mark is there.\n\n MARK\n I told you I was going to give you\n 10 days. That was three weeks ago.", "GEORGE\n Well what the fuck do I do now?\n\n INT. LIVING ROOM\n\n Ira's eyes are wide with shock.", "INT. AIRPORT - NIGHT\n\n Ira runs around the airport, looking for Laura and Clarke.\n\n INT. AIRPORT - FIRST CLASS LOUNGE - NIGHT", "IRA\n Well, you smell right to me.\n Daisy smiles at Ira, just as Leo stomps back into the room.\n He charges right up to Ira, pissed off.", "things Ira does in between jokes. We can tell that he is\n proud of Ira and misses him.", "IRA, a 25-year-old, works at the deli counter, along with\n CHUCK, a large, sweet-looking 45-year-old deli counter lifer," ], [ "LAURA (CONT'D)\n Bye. I'll see you then.\n She looks at Ira. As she exits--", "IRA\n Uh oh.\n Ira runs out of the lounge. Laura runs out also.\n\n INT. LAURA'S HOUSE - NIGHT", "IRA\n Oh my god, oh my god!\n Ira goes to hug George, but it's a very awkward moment. Ira\n really wants a happy hug, but George is instantly\n uncomfortable.", "CUT TO the wings of the stage.\n Ira's walking off stage.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "Ira goes into the house. Mark is there.\n\n MARK\n I told you I was going to give you\n 10 days. That was three weeks ago.", "On stage Ira does his act. He is much more comfortable than\n we have ever seen him on stage before. He is no longer\n searching for his comic identity. He has found a way to be", "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "Chuck takes a step to Ira like he's going to hit him. Ira\n steps back a few feet.", "IRA (CONT'D)\n Will you guys shut the fuck up?\n Shut the fuck up!\n Ira slam the door.", "7l.\n The moment is ruined. Ira doesn't know what to say.\n\n CUT TO:\n\n INT. KITCHEN - MOMENTS LATER", "INT. LAURA'S RANCH - NIGHT\n\n Ira is on the floor with the kids. He watches the headlights\n of Laura's car disappear down the driveway.\n George walks back into the room.", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "39.\n Ira walks out the store. As he walks out, he turns to a lady\n (in her 40s) at the register.", "George with the kids. Oblivious to what is happening.\n\n EXT. AIRPORT - MOMENTS LATER\n\n Ira comes back out, his car is about to be towed.", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "Leo jumps up suddenly and walks out of the room without\n saying anything. Ira watches him go, concerned.", "GEORGE\n Well what the fuck do I do now?\n\n INT. LIVING ROOM\n\n Ira's eyes are wide with shock.", "Ira closes the door.", "IRA\n Ok.\n\n GEORGE\n Today. Seriously. Ok. Later.\n Ira hangs up and turns to his friends." ], [ "Ira knocks on the window. We see that George is sitting in\n his car in a world of pain. He's clearly been crying. The\n knock startles him. He turns to Ira.", "Ira drives, in a panic, on his cell phone. The phone goes\n through to George's voice mail.", "GEORGE\n Well what the fuck do I do now?\n\n INT. LIVING ROOM\n\n Ira's eyes are wide with shock.", "Ira is introduced. He walks onto the stage. We see George\n walk to the very back corner of the club and sit down at a\n table by himself.", "George with the kids. Oblivious to what is happening.\n\n EXT. AIRPORT - MOMENTS LATER\n\n Ira comes back out, his car is about to be towed.", "Ira goes into the house. Mark is there.\n\n MARK\n I told you I was going to give you\n 10 days. That was three weeks ago.", "George pulls out, turns the car around, and as he passes by\n Ira, he steers his car as if he's going to run him down, and\n starts screaming...", "INT. LAURA'S RANCH - NIGHT\n\n Ira is on the floor with the kids. He watches the headlights\n of Laura's car disappear down the driveway.\n George walks back into the room.", "On stage Ira does his act. He is much more comfortable than\n we have ever seen him on stage before. He is no longer\n searching for his comic identity. He has found a way to be", "Ira's on stage doing his act. He tells two jokes that don't\n do very well. And then he panics and does the joke about", "IRA\n Uh oh.\n Ira runs out of the lounge. Laura runs out also.\n\n INT. LAURA'S HOUSE - NIGHT", "GEORGE (CONT'D)\n You're gonna die!!! I'm gonna kill\n you!\n Then he smiles at Ira and drives off. Ira smiles. This is\n the greatest thing that's ever happened to him.", "INT. AIRPORT - NIGHT\n\n Ira runs around the airport, looking for Laura and Clarke.\n\n INT. AIRPORT - FIRST CLASS LOUNGE - NIGHT", "39.\n Ira walks out the store. As he walks out, he turns to a lady\n (in her 40s) at the register.", "INT. SUPERMARKET -- DAY\n\n Ira is back behind the counter, working at the Deli with\n Chuck and Gail. He doesn't look too unhappy to be there.", "LAURA (CONT'D)\n Bye. I'll see you then.\n She looks at Ira. As she exits--", "IRA\n Oh my god, oh my god!\n Ira goes to hug George, but it's a very awkward moment. Ira\n really wants a happy hug, but George is instantly\n uncomfortable.", "Ira is unpacking a dufflebag of clothes he grabbed from his\n apartment when he was kicked out. George pops his head in.", "Ira, takes the stage. He starts trying to do his act, but he\n is unsure of himself and unable to figure out how to take the\n weird energy of the room and spin it to his advantage. He", "In the dark, he can barely see George making phoney calls by\n himself. Ira listens for awhile, not sure what to make of\n this. George doesn't see him." ] ]

[ "What percent chance do the doctors give the experimental drug? ", "What does George return to do after being diagnosed? ", "Who does George hire as his assistant? ", "What ex-fiancee does George reconnect with? ", "Who is Laura married to?", "Where is Laura's house located? ", "What does Ira say to George, when he gets fired? ", "What does Ira go back to do to make a living after being fired? ", "What is George Simmons profession?", "What is Simmons diagnosed with?", "What is the chance the treatment for his disease will be effective?", "Why does Simmon's decide to do stand up comedy?", "Who becomes George's closest friend?", "What does George hire Ira to do?", "Why does George end up firing Ira?", "What does Ira do once he is fired?", "Where do George and Ira meet up again?", "What do George and Ira do that puts them on equal ground when they do meet up again?", "What is George diagnosed with?", "How many roommates does Ira have?", "Who is Laura married to?", "Where do Laura and Clarke live?", "Who's side is Ira on in the love triangle?", "How many times did Clarke cheat on Laura?", "Where did Clarke cheat on Laura?", "What is Ira's job?", "How does Ira quit?", "Where does Ira go to work after he gets fired?" ]

[ [ "Eight percent", "80 percent" ], [ "Stand up comedy", "Stand up comedian and movie star." ], [ "Ira Wright", "Ira" ], [ "Laura", "Laura" ], [ "Clarke", "Clark" ], [ "Marin County", "Marin County" ], [ "That he has not learned anything from his death experience", "That he learned nothing from his near death experience" ], [ "His old food service job", "his old food-service job" ], [ "He is a movie star", "stand-up comedian turned movie star" ], [ "acute myeloid leukemia", "acute myelod leukemia" ], [ "8 percent", "80%." ], [ "He believes he is going to die", "He believes he is going to die." ], [ "Ira", "Ira" ], [ "Be his personal assistant and joke writer", "His assistant and joke writer." ], [ "Because he wasn't on his side when George was involved in a love triangle with his ex, Laura, and her husband, Clarke", "Because George does not end up with Laura" ], [ "Returns to his old job in food service", "returns to his old food-service job" ], [ "Back in comedy - when Ira is doing stand up.", "At a small comedy club." ], [ "Tell each other comedy jokes.", "They travel the country doing comedy gigs." ], [ "Leukemia", "accute myeloid leukemia" ], [ "2", "2" ], [ "Clarke", "Clark" ], [ "Marin County", "Marin County." ], [ "Clarke's", "Laura" ], [ "once", "1" ], [ "A massage parlor", "At a message parlor. " ], [ "He is George's assistant and joke writer", "aspiring stand-up comedian" ], [ "George fires him", "by calling him out from learning nothing from his cancer" ], [ "He goes to work in fast food", "In a restaurant" ] ]

[ [ "ORIENTAL MAN\n It is called ' Mogwai ' .\n (a beat)\n A very rare and intelligent animal.", "LYNN\n I think he's just darling.\n Mogwai.\n Rand holds the creature out to Billy.", "BILLY\n (staring at Mogwai)\n What is it? A.monkey? A rat?.\n\n RAND\n Your new pet.\n\n BILLY", "PETE\n What's in there?\n Pete walks over and opens the case. Mogwai hops out, onto\n the bed. The creature giggles. Pete is, taken aback.", "PETE\n What is it?\n\n BILLY\n A present from my Dad.\n Pete picks up the creature and pets it. Pete likes Mogwai.", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "BILLY\n Little bastard.\n Mogwai scurries back to Rand. He pets the creature,\n comforting it", "MOGWAI\n is inside. Its mouth is full of tangled wires and plugs\n that the creature has ripped from the engine. Mogwai\n giggles at Billy.", "There's blood on his�4ingertips.\n Billy looks at Mogwai.\n The creature looks at Billy. It giggles.", "A CREATURE\n hisses. Behind Billy.\n Billy turns. Mogwai leaps at him.\n Billy raises his sword and swings.", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "But there is no sign of Mogwai.\n Billy spots footprints leading away from the snowman.\n Mogwai has escaped.\n Billy runs after the footprints.", "BILLY\n (angry, to Mogwai)\n You stupid little...", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "BILLY\n grabs the creature. Mogwai is still wounded and dazed.\n But it manages to bite and scratch at Billy.", "Billy raises the sword over.Mogwai. He's ready to kill\n the tiny creature.\n Mogwai loo] .s up at Billy. The creature is shivering. It", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature." ], [ "Billy comes out of the woods and sees the creature ahead.\n Mogwai runs to the building.\n Billy follows.", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "He watches Mogwai climb into-the building through\n small chimney.\n Billy runs to the front door. He tries to open it.\n Locked.", "But there is no sign of Mogwai.\n Billy spots footprints leading away from the snowman.\n Mogwai has escaped.\n Billy runs after the footprints.", "PETE\n What's in there?\n Pete walks over and opens the case. Mogwai hops out, onto\n the bed. The creature giggles. Pete is, taken aback.", "Breaking into homes.\n Scattered human screams echo through the night.\n People are dying.\n Mogwai is taking over the. town'.", "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "BILLY\n (staring at Mogwai)\n What is it? A.monkey? A rat?.\n\n RAND\n Your new pet.\n\n BILLY", "PETE\n What is it?\n\n BILLY\n A present from my Dad.\n Pete picks up the creature and pets it. Pete likes Mogwai.", "BILLY\n grabs the creature. Mogwai is still wounded and dazed.\n But it manages to bite and scratch at Billy.", "Several feet away, Billy so-es Mogwai The creature is on\n top of,Pete's body\n Billy rushes, to the scene.", "The Mogwai move to the tree.", "Both creatures lie in the snow. Dead.\n Billy turns to the last Mogwai. With two swings of his\n blade, he kills the creature.", "LYNN\n I think he's just darling.\n Mogwai.\n Rand holds the creature out to Billy.", "BILLY\n Little bastard.\n Mogwai scurries back to Rand. He pets the creature,\n comforting it", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "He takes the fish. Mogwai hops back into the box.\n Rand shakes his head. Amazed by the animal.\n he Oriental takes a bit from the raw fish. Juice runs" ], [ "FOUR NEW CREATURES\n popout. Clones of Mogwai.\n The spots on Mogwai's body bond together and disappear, as", "Suddenly, another creature bursts from Mogwai's body.\n NINE IDENTICAL CREATURES now stand on the desk top.", "Pete reaches down to pick up Mogwai. His hand clumsily\n knocks over the water bottle.\n A few drops of water splash Mogwai.", "BILLY\n Watch this.\n Billy squeezes a drop of water on one creature. Mogwa'", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "A CREATURE\n hisses. Behind Billy.\n Billy turns. Mogwai leaps at him.\n Billy raises his sword and swings.", "BILLY\n grabs the creature. Mogwai is still wounded and dazed.\n But it manages to bite and scratch at Billy.", "PETE\n What's in there?\n Pete walks over and opens the case. Mogwai hops out, onto\n the bed. The creature giggles. Pete is, taken aback.", "Mogwai tenses up. The spots on its body that were hit with\n water begin to bubble... .expand...'\n Billy can't believe his eyes.", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "He quickly spins around, knocking the other Mogwai to the\n ground. He stabs the creature in the throat. He twists", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "But there is no sign of Mogwai.\n Billy spots footprints leading away from the snowman.\n Mogwai has escaped.\n Billy runs after the footprints.", "BILLY\n Little bastard.\n Mogwai scurries back to Rand. He pets the creature,\n comforting it", "Both creatures lie in the snow. Dead.\n Billy turns to the last Mogwai. With two swings of his\n blade, he kills the creature.", "BILLY\n (staring at Mogwai)\n What is it? A.monkey? A rat?.\n\n RAND\n Your new pet.\n\n BILLY", "Billy falls backward, with Mogwai holding onto him.\n They tumble into the swimming pool. The deep end." ], [ "Small lumps have formed over all of the cocoons. Slowly,\n the lumps rise up and down-. Bubbling,. Breathing. Coming\n to life.\n\n CUT TO:", "another. Cracks begin to cover all the cocoons.\n Green smoke seeps from the thin openings. A slow soft\n hiss is heard.\n They're hatching.", "The cocoons are bubbling furiously; as if they were being\n baked in an oven.\n Suddenly, a crack appears on one. Then another. And", "ROY\n Exactly. Those things in the\n attic-are cocoons. Inside,. the\n creatures are going through some\n sort of change...a metamorphosis.", "INT. PELTZER ATTIC\n\n Green smoke has filled the room. The cocoons quiver.\n Shake. Each one is covered with cracks.", "Lynn is covered with bites and scratches.\n Billy looks away. Angry. Saddened.\n He notices the cocoons. All hatched.", "ROY\n Billy, don't be hasty...You've\n stumbled onto a new life form.\n What comes out of those cocoons\n could be a major scientific\n discovery...", "ANOTHER CLAW\n breaks through the shell of another cocoon.\n They all begin to hatch., Claws emerge from each one,\n reaching for the air.\n\n INT. KITCHEN", "A THREE FINGERED BLACK CLAW\n suddenly breaks out of one cocoon. It clutches at the\n air.", "Billy stands beside him. They're inside-theattic.\n Rand shuts off the torch. He touches the cocoon. It\n appears unharmed.", "They arrive at the outskirts of town. Frank notices some-\n thing up ahead.\n He can see the shadows of the creatures. Crawling on", "\"Their bodies start to smolder.\n Cracks appear in their skin.\n The creatures begin to melt. Like candles.\n Billy,wat'hes in horror.", "THE Y.M.C.A.'S FRONT DOORS BURST OPEN\n Droves of creatures pour out into the night.", "he wasn't halucinating. He splashes a little more water\n on one of the new creatures.\n The process begins again. The creature's body,contorts.", "RAND\n How long until they hatch?\n\n ROY\n A week...a month...I really can't\n say.\n\n BILLY", "INT. LIVING ROOM - LATER THAT NIGHT\n\n Rand sits in a chair, opposite Billy. The 8 creatures\n climb all over Rand. Playfully tugging at his hair and", "A CREATURE\n crawls out of the swimming pool.\n It is followed by anoth'r creature.\n They are followed by three more.\n Then five more. Eight more. Ten more.\n They keep coming. In droves.", "Suddenly, another creature bursts from Mogwai's body.\n NINE IDENTICAL CREATURES now stand on the desk top.", "creatu es. They see nothing.\n Billy spots something. He nudges his Father.\n There are NINE INDIVIDUAL PODS, stuck to various places-on", "lets out a scream. A lump appears on the creature's back.\n The lump gets bigger...bigger...bigger ...\n Roy watches with wide eyes." ], [ "another. Cracks begin to cover all the cocoons.\n Green smoke seeps from the thin openings. A slow soft\n hiss is heard.\n They're hatching.", "Small lumps have formed over all of the cocoons. Slowly,\n the lumps rise up and down-. Bubbling,. Breathing. Coming\n to life.\n\n CUT TO:", "INT. LIVING ROOM - LATER THAT NIGHT\n\n Rand sits in a chair, opposite Billy. The 8 creatures\n climb all over Rand. Playfully tugging at his hair and", "Lynn is covered with bites and scratches.\n Billy looks away. Angry. Saddened.\n He notices the cocoons. All hatched.", "FOUR NEW CREATURES\n popout. Clones of Mogwai.\n The spots on Mogwai's body bond together and disappear, as", "(FALSETTO)\n 'Help! The little gremlins are\n eating my baby!'\n Gary laughs hard at his joke. They exit the police station.", "INT. PELTZER ATTIC\n\n Green smoke has filled the room. The cocoons quiver.\n Shake. Each one is covered with cracks.", "INTBILLY'S ROOM - LATER\n The curtains are drawn. The lights are dim. The eight\n creatures are on the desk top. Giggling. Humming in", "The cocoons are bubbling furiously; as if they were being\n baked in an oven.\n Suddenly, a crack appears on one. Then another. And", "Billy moves quickly. He dashes across the room and plugs\n in the blender. It starts with'a loud whirr.\n The startled creature spins inside.. Mogwai's screams", "But the two other creatures come out of Tracy'.s bedroom\n window. They see Billy and Tracy below. They climb oft\n after them, down the ladder.", "DORRY\n Mischevious little devils,\n aren't they?\n No one disagrees.\n Tracy suddenly notices something. She cries out.", "Lynn and'Bill are startled. They stare at the creature in\n wonderment.\n Barney hates it. He growls at Mogwai.", "THE CREATURES\n crash through the Greenhouse doors. Several of them\n surround the tool box. Mogwai screams from inside. Others", "36\n Lynn and Billy stand a few feet away, in the hallway.\n Rand lets the creatures loose in the attic. He quickly", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "A-CREATURE\n pops out of each stocking. Growling. Snarling.\n Startled, Billy jumps back.\n The three creatures hop to the floor and move towards", "Lynn's body jumps and twists. Her feet kick as she is\n pulled up into the attic.\n There are a few seconds of silence.\n Then we hear the sounds.\n Chewing. Swallowing. Giggling.", "ROY\n Exactly. Those things in the\n attic-are cocoons. Inside,. the\n creatures are going through some\n sort of change...a metamorphosis." ], [ "THE Y.M.C.A.'S FRONT DOORS BURST OPEN\n Droves of creatures pour out into the night.", "Suddenly, another creature bursts from Mogwai's body.\n NINE IDENTICAL CREATURES now stand on the desk top.", "FOUR NEW CREATURES\n popout. Clones of Mogwai.\n The spots on Mogwai's body bond together and disappear, as", "THE CREATURES\n crash through the Greenhouse doors. Several of them\n surround the tool box. Mogwai screams from inside. Others", "INT. LIVING ROOM - LATER THAT NIGHT\n\n Rand sits in a chair, opposite Billy. The 8 creatures\n climb all over Rand. Playfully tugging at his hair and", "Billy moves quickly. He dashes across the room and plugs\n in the blender. It starts with'a loud whirr.\n The startled creature spins inside.. Mogwai's screams", "LAUGH)\n Let me get this straight... You're\n telling me that 'little monsters'\n are multiplying by the hundreds,\n down at the 'Y'?", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "(SARCASTIC)\n But this is an emergency. We\n gotta warn everybody! The gremlins\n are coming!\n Gary laughs. Frank sighs", "A CREATURE\n leaps from the attic, into the hallway.\n Billy jumps back.\n Mogwai snarls at him.", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "A-CREATURE\n pops out of each stocking. Growling. Snarling.\n Startled, Billy jumps back.\n The three creatures hop to the floor and move towards", "THE CREATURES\n climb the tree, scurrying up to Billy and Tracy.\n Billy fights off the oncoming Mogwai with his sword.", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "He quickly spins around, knocking the other Mogwai to the\n ground. He stabs the creature in the throat. He twists", "INT. THEATER\n\n Countless pairs of green eyes shine in the darkness. The\n creatures murmur among themselves.\n Billy whispers to the others.", "EXT. Y.M.C.A\n\n Billy runs from the building.\n\n CUT TO:\n\n R �'", "A CREATURE\n hisses. Behind Billy.\n Billy turns. Mogwai leaps at him.\n Billy raises his sword and swings." ], [ "They arrive at the outskirts of town. Frank notices some-\n thing up ahead.\n He can see the shadows of the creatures. Crawling on", "Silent. Dark. Billy sleeps.\n Distant sounds are heard. Animal-like noises. Gurgling.\n Slurping. Chewing.", "An ambulance is overturned on the roadside.\n Phone lines are town down.\n The creatures have made their way across town. They now", "(SARCASTIC)\n But this is an emergency. We\n gotta warn everybody! The gremlins\n are coming!\n Gary laughs. Frank sighs", "Breaking into homes.\n Scattered human screams echo through the night.\n People are dying.\n Mogwai is taking over the. town'.", "LIVING-ROOM\n Gary's cigarette lighter illuminates the room. Everyone\n stays quiet. They listen.\n THE GIGGLING of several creatures echoes from outside.", "OUTSIDE\n The rows of once peaceful, cheerful homes are now the\n scenes of frenzied horror.", "(FALSETTO)\n 'Help! The little gremlins are\n eating my baby!'\n Gary laughs hard at his joke. They exit the police station.", "All that remains are pools of smoldering liquid.\n The nightmare is over. Mogwai is dead.\n Billy takes a breath.", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "BILLY\n Shut up.\n Mogwai stops singing. Billy goes back to his writing.", "OUTSIDE\n The creatures are making their way down M in Street.\n They are everywhere.\n On rooftops. Front lawns. Smashing through windows.", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "THE CREATURES\n crash through the Greenhouse doors. Several of them\n surround the tool box. Mogwai screams from inside. Others", "Inside, Mogwai screams and pounds against the glass door.\n Soon, the creature falls.' Its body quivers. The armor-,.", "Several feet away, Billy so-es Mogwai The creature is on\n top of,Pete's body\n Billy rushes, to the scene.", "THE PACK OF CREATURES\n moving down Main Street. They have arrived. Looking for\n food.\n Many break into the house across the street. There are\n some human screams. Then the house lights go out.", "Both creatures lie in the snow. Dead.\n Billy turns to the last Mogwai. With two swings of his\n blade, he kills the creature.", "The building appears calm. Peaceful. No sign of the\n creatures.\n The police car pulls.into the parking lot. I\n\n INT. POLICE CAR" ], [ "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "Billy brings down his blade. Hard.\n It slices Mogwai's head off. The creature's body quivers.\n It dies.\n Billy moves to the living room.", "Both creatures lie in the snow. Dead.\n Billy turns to the last Mogwai. With two swings of his\n blade, he kills the creature.", "the sword until Mogwai chokes to death on its own blood.\n The remaining creature attaches itself to Billy's leg.\n It takes a bite from his calf.", "Billy slams his blade 'nto Mogwai. He whacks the creature.\n Again and again.\n Finally, Mogwai falls to the floor.", "All that remains are pools of smoldering liquid.\n The nightmare is over. Mogwai is dead.\n Billy takes a breath.", "Billy stabs the creatur Mogwai dies with a long hiss.\n Billy looks back to thelattic.\n Sword extended, he rushes to the ladder and climbs into the", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "He quickly spins around, knocking the other Mogwai to the\n ground. He stabs the creature in the throat. He twists", "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "Inside, Mogwai screams and pounds against the glass door.\n Soon, the creature falls.' Its body quivers. The armor-,.", "Billy moves quickly. He dashes across the room and plugs\n in the blender. It starts with'a loud whirr.\n The startled creature spins inside.. Mogwai's screams", "Mogwai's claw tears at the wires in the electrical box.\n\n CUT TO:", "But there is no sign of Mogwai.\n Billy spots footprints leading away from the snowman.\n Mogwai has escaped.\n Billy runs after the footprints.", "He watches Mogwai climb into-the building through\n small chimney.\n Billy runs to the front door. He tries to open it.\n Locked.", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "Billy comes out of the woods and sees the creature ahead.\n Mogwai runs to the building.\n Billy follows.", "MOGWAI\n is inside. Its mouth is full of tangled wires and plugs\n that the creature has ripped from the engine. Mogwai\n giggles at Billy." ], [ "Exit door.\n They move carefully. Slowly. Silently. They make it\n to the Exit. They Crawl out. safe.-\n The creatures still watchthe movie.", "The film's reel ends. The screen goes blank.\n The creatures are puzzled. Distracted. They throw\n their candy boxes and paper cups at the screen.", "BILLY\n drives faster.\n\n BILLY\n\n (PANIC)\n I gotta warn people. . .1 gotta tell", "I\n His body is covered with scratches and bites. He's dead. ( \n Billy picks up Dorry's body. He carries it to the front\n of the theater. Tracy follows.", "They have killed the dog.\n Billy tries to move. He's frozen.\n The creatures are eating the dog.\n They look up at Billy.", "RAND\n We should all get back to sleep.\n Rand puts his arm around Lynn. They walk to their bed-\n room.\n Billy looks up at the attic door.\n The creatures' scratching is heard.", "He falls to the ground. Beside Tracy.\n The hungry creatures surround Billy.\n Weak. Defeated. Billy closes his eyes.\n He finally gives", "Their'bodies collapse to the floor.\n The become mounds of unrecognizable liquid.\n Their screams fade. Die out.\n Billy gets to his feet. He looks around.", "other, was when I was six years\n old.\n (everyone listens)\n It.was Christmas Eve. My sisters\n and I were decorating the tree", "(SARCASTIC)\n But this is an emergency. We\n gotta warn everybody! The gremlins\n are coming!\n Gary laughs. Frank sighs", "I'll watch the door.\n Everyone agrees. Billy moves his chair in front of the\n door.\n .Dorry relaxes.inhis rocking chair.", "All that remains are pools of smoldering liquid.\n The nightmare is over. Mogwai is dead.\n Billy takes a breath.", "from the others. They cried out.\n Clawing. Screeching.", "Loud high pitched screaming is'heard. Creatures are\n dying.\n Billy stands up from the sn w drift. H loo s at T acy.", "Their bright green eyes are fiery.\n Blood covers their mouths.\n They smile.\n They giggle.\n Billy screams.", "The charred creature collapses into the flames. Dead.\n Billy checks his leg. A small bite.\n He walks to the kitchen.", "Another creature attacks Gary. Followed by another.\n And another.\n They bring him to the ground. They eat. He dies.\n Billy quickly picks up his sword, before the creatures", "Inside, Mogwai screams and pounds against the glass door.\n Soon, the creature falls.' Its body quivers. The armor-,.", "lets out a scream. A lump appears on the creature's back.\n The lump gets bigger...bigger...bigger ...\n Roy watches with wide eyes.", "of the light.\n Everyone nods. Gary turns on the flashlight.\n Tracy takes Billy's hand. Gary is jealous.\n They enter the theater." ], [ "DISSOLVE TO:\n\n CLOSE-UP\n\n RAND PELTZER.\n A pensive, tired look covers his face.", "RAND PELTZER\n walks through the owd. An American businessman.1-He", "MR. DEAGLE\n Did you say 'Peltzer'? Billy\n Peltzer?\n\n MR. FUTTERS\n 1 Yeah...", "RAND\n He likes you.\n Billy looks nauseous. Lynn stands.", "Rand is on the pay telephon His baggage rests beside\n him.\n Mogwai is inside of a small plastic pet box. The creature's\n bright eyes shine from inside.", "' HE PELTZER HOME\n blends in with the others. But it's a little nicer,\n better kept. A row of colored lights is draped across", "CAMERA PULLS BACK\n We'.re inside of a hospital room. Rand sits in a chair,\n across the room from", "RAND\n He's not really involved in\n sports...\n The woman puts away the basketball. She picks up a Sony\n \"Walkman\". Rand again shakes his head.,", "LYNN PELTZER\n Billy's Mother. 53 years old. Slightly heavy. Well", "RAND\n\n (SMILES)\n Billy .. ,\n Billy walks to his Father. They embrace.", "FRANK\n (into the mike)\n Peltzer?...Peltzer?...\n (slams down the\n\n MIKE)\n Damn.\n\n GARY", "Rand sits in front of them, on a leather easy chair. He\n rests Mogwai's case on his lap. He opens the case.\n Mogwai leaps out, onto the coffee table.", "EXT. PELTZER HOUSE - MORNING\n\n The sun rises behind the house. Snow is falling.\n\n INT. ATTIC", "RAND\n What?...\n Billy jumps out of bed. He tears the I.V. out of his arm.\n He opens the closet and starts to get dressed.", "3.\n Rand is very puzzled.\n The Oriental rests the box on a stack of crates. He opens\n the box.", "RAND\n He's singing.\n\n BILLY\n Sounds kind of creepy.\n Barney still growls.", "INSIDE\n Rand follows the man up a narrow, dark set of stairs.\n At the top, they enter a room.\n\n INT. ROOM", "RAND\n I'm sorry, son. I never expected\n to...\n\n BILLY\n Forget it.\n Billy stares coldly at his Father. Embarrassed, Rand looks\n away.", "BILLY\n Damn things are stuck to the\n floor.\n Rand picks up a baseball bat. He raises it over his head", "Rand is eating his airline dinner. AN ORIENTAL STEWARDESS\n walks up and refills his coffee. He looks at her.\n with the word 'Mogwai'?" ], [ "BILLY\n Thanks, Dorry.\n\n DORRY\n My pleasure, son.\n Billy and Pete exit the store.\n\n CUT TO:", "RAND\n\n (SMILES)\n Billy .. ,\n Billy walks to his Father. They embrace.", "RAND\n I'm going to market these things.\n\n BILLY\n (hates the idea)\n Oh, Christ. C'mo'i,Dad...that's ...", "LIVING ROOM\n Dimly lit. The fireplace burns. The Christmas tree lights\n flash.\n Billy enters.", "RAND\n I'm sorry, son. I never expected\n to...\n\n BILLY\n Forget it.\n Billy stares coldly at his Father. Embarrassed, Rand looks\n away.", "BILLY\n Damn things are stuck to the\n floor.\n Rand picks up a baseball bat. He raises it over his head", "MR. DEAGLE\n Did you say 'Peltzer'? Billy\n Peltzer?\n\n MR. FUTTERS\n 1 Yeah...", "CUT TO:\n\n BILLY\n sprints down his driveway.\n He arrives at the porch of his home.\n He opens the front door.", "LIVING ROOM\n Billy enters. He looks to the floor. Beneath the'Christmas\n tree.\n The creatures surround Barney.", "RAND\n What?...\n Billy jumps out of bed. He tears the I.V. out of his arm.\n He opens the closet and starts to get dressed.", "Billy slowly moves across the room. His eyes dart back\n and forth, looking for creatures.'\n He walks by the fireplace.", "RAND\n Son, you've got to stop worrying.\n\n CLOSE UP - BILLY\n A doubtful, uncertain expression on his face.", "There's a ladder beside the garage...\n Billy runs to the garage side. e reaches down and picks\n up a rusty aluminum ladd r.", "DISSOLVE TO:\n\n CLOSE-UP\n\n RAND PELTZER.\n A pensive, tired look covers his face.", "Billy walks to the front door. He tries to open it. It's\n jammed. He pulls hard. Finally., it opens.", "BILLY\n running to the group of carolers.\n They are puzzled by the.sword in his hand, his tattered,", "Suitcases rest on the floor.' Beside them, is, Mogwai's\n plastic case.\n Billy enters. Rand sees him.", "INT. LIVING ROOM - LATER THAT NIGHT\n\n Rand sits in a chair, opposite Billy. The 8 creatures\n climb all over Rand. Playfully tugging at his hair and", "Billy hears another sound. He shines the light to another\n area.\n Again. Nothing.\n Billy starts to tremble. He runs to the light box.", "INT. HALLWAY\n\n\n RAND\n .and.finish them off.\n Lynn nods. Rand looks at Billy." ], [ "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "He watches Mogwai climb into-the building through\n small chimney.\n Billy runs to the front door. He tries to open it.\n Locked.", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "Inside, Mogwai screams and pounds against the glass door.\n Soon, the creature falls.' Its body quivers. The armor-,.", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "Both creatures lie in the snow. Dead.\n Billy turns to the last Mogwai. With two swings of his\n blade, he kills the creature.", "PETE\n What's in there?\n Pete walks over and opens the case. Mogwai hops out, onto\n the bed. The creature giggles. Pete is, taken aback.", "But there is no sign of Mogwai.\n Billy spots footprints leading away from the snowman.\n Mogwai has escaped.\n Billy runs after the footprints.", "Pete reaches down to pick up Mogwai. His hand clumsily\n knocks over the water bottle.\n A few drops of water splash Mogwai.", "Mogwai lets out a high scream. Frightened of the bright\n light, Mogwai jumps back, accidentally scratching Billy's\n cheek.", "A CREATURE\n hisses. Behind Billy.\n Billy turns. Mogwai leaps at him.\n Billy raises his sword and swings.", "BILLY\n (staring at Mogwai)\n What is it? A.monkey? A rat?.\n\n RAND\n Your new pet.\n\n BILLY", "BILLY\n Get off of me.\n Mogwai just looks at him.", "BILLY\n grabs the creature. Mogwai is still wounded and dazed.\n But it manages to bite and scratch at Billy.", "There's blood on his�4ingertips.\n Billy looks at Mogwai.\n The creature looks at Billy. It giggles.", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "He takes the fish. Mogwai hops back into the box.\n Rand shakes his head. Amazed by the animal.\n he Oriental takes a bit from the raw fish. Juice runs", "Billy moves quickly. He dashes across the room and plugs\n in the blender. It starts with'a loud whirr.\n The startled creature spins inside.. Mogwai's screams" ], [ "Mogwai lets out a high scream. Frightened of the bright\n light, Mogwai jumps back, accidentally scratching Billy's\n cheek.", "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "Inside, Mogwai screams and pounds against the glass door.\n Soon, the creature falls.' Its body quivers. The armor-,.", "PETE\n What's in there?\n Pete walks over and opens the case. Mogwai hops out, onto\n the bed. The creature giggles. Pete is, taken aback.", "Mogwai.hops from the shelf. Staying out of the direct\n light, the creature moves across the desktop and cuddles\n up to Billy's arm. He jumps back.", "Billy moves quickly. He dashes across the room and plugs\n in the blender. It starts with'a loud whirr.\n The startled creature spins inside.. Mogwai's screams", "He watches Mogwai climb into-the building through\n small chimney.\n Billy runs to the front door. He tries to open it.\n Locked.", "lead pipe and bats off the oncoming Mogwai.\n Gary finally turns on the flashlight beam. It keeps some\n of the Mogwai at bay.", "Dark. The Mogwai cluster around the trap door. They\n scratch at the door. They want out.\n\n RAND (0. S . )\n Tomorrow we'll take them out in\n the sun...", "There's blood on his�4ingertips.\n Billy looks at Mogwai.\n The creature looks at Billy. It giggles.", "But there is no sign of Mogwai.\n Billy spots footprints leading away from the snowman.\n Mogwai has escaped.\n Billy runs after the footprints.", "Billy comes out of the woods and sees the creature ahead.\n Mogwai runs to the building.\n Billy follows.", "BILLY\n (staring at Mogwai)\n What is it? A.monkey? A rat?.\n\n RAND\n Your new pet.\n\n BILLY", "FOUR NEW CREATURES\n popout. Clones of Mogwai.\n The spots on Mogwai's body bond together and disappear, as", "PETE\n What is it?\n\n BILLY\n A present from my Dad.\n Pete picks up the creature and pets it. Pete likes Mogwai." ], [ "LYNN\n I think he's just darling.\n Mogwai.\n Rand holds the creature out to Billy.", "BILLY\n Little bastard.\n Mogwai scurries back to Rand. He pets the creature,\n comforting it", "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "RAND\n C'mon. He won't bite.\n Billy forces himself to take the creature. Mogwai nestles\n close to Billy. Rand smiles at his son.", "BILLY\n (staring at Mogwai)\n What is it? A.monkey? A rat?.\n\n RAND\n Your new pet.\n\n BILLY", "RAND\n Just imagine the excitement when\n word gets out. Everyone will want\n a Mogwai of their very own.", "PETE\n What is it?\n\n BILLY\n A present from my Dad.\n Pete picks up the creature and pets it. Pete likes Mogwai.", "Rand sits in front of them, on a leather easy chair. He\n rests Mogwai's case on his lap. He opens the case.\n Mogwai leaps out, onto the coffee table.", "Rand is on the pay telephon His baggage rests beside\n him.\n Mogwai is inside of a small plastic pet box. The creature's\n bright eyes shine from inside.", "Rand is eating his airline dinner. AN ORIENTAL STEWARDESS\n walks up and refills his coffee. He looks at her.\n with the word 'Mogwai'?", "PETE\n What's in there?\n Pete walks over and opens the case. Mogwai hops out, onto\n the bed. The creature giggles. Pete is, taken aback.", "them to the man.\n The Oriental smiles and claps his hands. Mogwai jumps\n onto Rand's shoulders. Rand pets it. Mogwai emits a cute", "He takes the fish. Mogwai hops back into the box.\n Rand shakes his head. Amazed by the animal.\n he Oriental takes a bit from the raw fish. Juice runs", "it to Rand. Mogwai hops onto Rand's lap.\n Lynn and Billy are amazed...", "RAND -\n I want you to take good care\n of him.\n Lynn focuses the camera on Billy and Mogwai.", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "RAND\n Barney! Be a good dog and go up-\n stairs!\n Barney reluctantly hops off Billy's lap and exits.\n Lynn stares at Mogwai.", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "door. Rand picks up Mogwai's case. Lynn turn's to her\n husband.", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against" ], [ "Pete reaches down to pick up Mogwai. His hand clumsily\n knocks over the water bottle.\n A few drops of water splash Mogwai.", "Several feet away, Billy so-es Mogwai The creature is on\n top of,Pete's body\n Billy rushes, to the scene.", "BILLY\n Watch this.\n Billy squeezes a drop of water on one creature. Mogwa'", "PETE\n What is it?\n\n BILLY\n A present from my Dad.\n Pete picks up the creature and pets it. Pete likes Mogwai.", "PETE\n It's neat.\n Billy shrugs. Mogwai sees the brownies. The creature hops\n from Pete's hands, onto the desk. Mogwai grabs a brownie\n and starts to eat.", "PETE\n What's in there?\n Pete walks over and opens the case. Mogwai hops out, onto\n the bed. The creature giggles. Pete is, taken aback.", "BILLY\n (staring at Mogwai)\n What is it? A.monkey? A rat?.\n\n RAND\n Your new pet.\n\n BILLY", "Billy moves quickly. He dashes across the room and plugs\n in the blender. It starts with'a loud whirr.\n The startled creature spins inside.. Mogwai's screams", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "There's blood on his�4ingertips.\n Billy looks at Mogwai.\n The creature looks at Billy. It giggles.", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "BILLY\n Get off of me.\n Mogwai just looks at him.", "Billy slams his blade 'nto Mogwai. He whacks the creature.\n Again and again.\n Finally, Mogwai falls to the floor.", "REV. 4/30/82 60.\n Pete is dead.\n Billy covers Pete's body with his coat. Billy is angry.\n Sickened.\n He quickly runs after the. creature.", "Mogwai tenses up. The spots on its body that were hit with\n water begin to bubble... .expand...'\n Billy can't believe his eyes.", "BILLY\n Little bastard.\n Mogwai scurries back to Rand. He pets the creature,\n comforting it", "Billy raises the sword over.Mogwai. He's ready to kill\n the tiny creature.\n Mogwai loo] .s up at Billy. The creature is shivering. It" ], [ "MR. DEAGLE\n Did you say 'Peltzer'? Billy\n Peltzer?\n\n MR. FUTTERS\n 1 Yeah...", "RAND PELTZER\n walks through the owd. An American businessman.1-He", "RAND\n He likes you.\n Billy looks nauseous. Lynn stands.", "Rand is on the pay telephon His baggage rests beside\n him.\n Mogwai is inside of a small plastic pet box. The creature's\n bright eyes shine from inside.", "LYNN PELTZER\n Billy's Mother. 53 years old. Slightly heavy. Well", "RAND\n We should all get back to sleep.\n Rand puts his arm around Lynn. They walk to their bed-\n room.\n Billy looks up at the attic door.\n The creatures' scratching is heard.", "' HE PELTZER HOME\n blends in with the others. But it's a little nicer,\n better kept. A row of colored lights is draped across", "DISSOLVE TO:\n\n CLOSE-UP\n\n RAND PELTZER.\n A pensive, tired look covers his face.", "BILLY\n My Mother is dead. So is my friend.\n I am not imagining things.\n Billy glares at Frank. The Sheriff sighs. He looks at\n Officer Brent.", "INT. LIVING ROOM - LATER THAT NIGHT\n\n Rand sits in a chair, opposite Billy. The 8 creatures\n climb all over Rand. Playfully tugging at his hair and", "RAND\n What?...\n Billy jumps out of bed. He tears the I.V. out of his arm.\n He opens the closet and starts to get dressed.", "CAMERA PULLS BACK\n We'.re inside of a hospital room. Rand sits in a chair,\n across the room from", "RAND\n\n (SMILES)\n Billy .. ,\n Billy walks to his Father. They embrace.", "BILLY\n Damn things are stuck to the\n floor.\n Rand picks up a baseball bat. He raises it over his head", "BILLY\n (stern, bitter)\n Dad, they killed Barney. Or\n have you already forgotten?\n Rand just looks'at his son. Lynn pops a valium in the\n background.", "FRANK\n (into the mike)\n Peltzer?...Peltzer?...\n (slams down the\n\n MIKE)\n Damn.\n\n GARY", "BILLY\n Little bastard.\n Mogwai scurries back to Rand. He pets the creature,\n comforting it", "Rand sits in front of them, on a leather easy chair. He\n rests Mogwai's case on his lap. He opens the case.\n Mogwai leaps out, onto the coffee table.", "it to Rand. Mogwai hops onto Rand's lap.\n Lynn and Billy are amazed...", "RAND\n I'm sorry, son. I never expected\n to...\n\n BILLY\n Forget it.\n Billy stares coldly at his Father. Embarrassed, Rand looks\n away." ], [ "He falls to the ground. Beside Tracy.\n The hungry creatures surround Billy.\n Weak. Defeated. Billy closes his eyes.\n He finally gives", "BILLY\n C'mon. Just stay in the light.\n They're afraid of the light.\n Gary walks. He looks scared. Helpless.\n They get to the police car. Billy opens the door.", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "BILLY\n They're here.\n A frightened Gary holds Tracy.\n\n GARY\n Now what do we do?\n The giggling gets louder. Closer. Billy turns to Dorry.", "Billy slams his blade 'nto Mogwai. He whacks the creature.\n Again and again.\n Finally, Mogwai falls to the floor.", "There's blood on his�4ingertips.\n Billy looks at Mogwai.\n The creature looks at Billy. It giggles.", "BILLY\n Give me your T-shirt.\n Gary reluctantly takes. off his T-shirt. Billy ties the", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "Billy nods.Gary lets him go.He turns and walks away.\n Billy straightens his clothes. He glares at Gary.", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "Several feet away, Billy so-es Mogwai The creature is on\n top of,Pete's body\n Billy rushes, to the scene.", "BILLY\n Damn things are stuck to the\n floor.\n Rand picks up a baseball bat. He raises it over his head", "Billy stabs the creatur Mogwai dies with a long hiss.\n Billy looks back to thelattic.\n Sword extended, he rushes to the ladder and climbs into the", "BILLY\n Watch this.\n Billy squeezes a drop of water on one creature. Mogwa'", "He watches Mogwai climb into-the building through\n small chimney.\n Billy runs to the front door. He tries to open it.\n Locked.", "They have killed the dog.\n Billy tries to move. He's frozen.\n The creatures are eating the dog.\n They look up at Billy.", "Billy falls backward, with Mogwai holding onto him.\n They tumble into the swimming pool. The deep end.", "BILLY AND TRACY\n emerge from behind the building. They walk towards Gary.\n Billy walks up. He's holding Dorry's body. He lowers\n the body-to the ground. He glares at Gary.", "BILLY\n You bastard. You ran out on us.\n Left us alone. To die.\n Billy drops his sword and jumps Gary. They fall to the\n ground. Fighting. Punching.", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against" ], [ "Billy moves quickly. He dashes across the room and plugs\n in the blender. It starts with'a loud whirr.\n The startled creature spins inside.. Mogwai's screams", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "He quickly spins around, knocking the other Mogwai to the\n ground. He stabs the creature in the throat. He twists", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "There's blood on his�4ingertips.\n Billy looks at Mogwai.\n The creature looks at Billy. It giggles.", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "Billy slams his blade 'nto Mogwai. He whacks the creature.\n Again and again.\n Finally, Mogwai falls to the floor.", "(SARCASTIC)\n But this is an emergency. We\n gotta warn everybody! The gremlins\n are coming!\n Gary laughs. Frank sighs", "Billy brings down his blade. Hard.\n It slices Mogwai's head off. The creature's body quivers.\n It dies.\n Billy moves to the living room.", "A CREATURE\n leaps from the attic, into the hallway.\n Billy jumps back.\n Mogwai snarls at him.", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "21.\n Rand lights a cigarette. He turns to Mogwai and claps\n his hands. The creature picks up an ash tray and carries", "A CREATURE\n hisses. Behind Billy.\n Billy turns. Mogwai leaps at him.\n Billy raises his sword and swings.", "(FALSETTO)\n 'Help! The little gremlins are\n eating my baby!'\n Gary laughs hard at his joke. They exit the police station.", "Rand sits in front of them, on a leather easy chair. He\n rests Mogwai's case on his lap. He opens the case.\n Mogwai leaps out, onto the coffee table.", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "36\n Lynn and Billy stand a few feet away, in the hallway.\n Rand lets the creatures loose in the attic. He quickly", "Billy stabs the creatur Mogwai dies with a long hiss.\n Billy looks back to thelattic.\n Sword extended, he rushes to the ladder and climbs into the" ], [ "Suddenly, another creature bursts from Mogwai's body.\n NINE IDENTICAL CREATURES now stand on the desk top.", "FOUR NEW CREATURES\n popout. Clones of Mogwai.\n The spots on Mogwai's body bond together and disappear, as", "He quickly spins around, knocking the other Mogwai to the\n ground. He stabs the creature in the throat. He twists", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "Billy moves quickly. He dashes across the room and plugs\n in the blender. It starts with'a loud whirr.\n The startled creature spins inside.. Mogwai's screams", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "A CREATURE\n hisses. Behind Billy.\n Billy turns. Mogwai leaps at him.\n Billy raises his sword and swings.", "A CREATURE\n leaps from the attic, into the hallway.\n Billy jumps back.\n Mogwai snarls at him.", "Mogwai writhes in pain. The spots on its body expand more,\n getting bigger, bigger.. .ready to explode.\n Billy and Pete stare. Fascinated.", "BILLY\n grabs the creature. Mogwai is still wounded and dazed.\n But it manages to bite and scratch at Billy.", "There's blood on his�4ingertips.\n Billy looks at Mogwai.\n The creature looks at Billy. It giggles.", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "the sword until Mogwai chokes to death on its own blood.\n The remaining creature attaches itself to Billy's leg.\n It takes a bite from his calf.", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "THE CREATURES\n crash through the Greenhouse doors. Several of them\n surround the tool box. Mogwai screams from inside. Others", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "INT. LIVING ROOM - LATER THAT NIGHT\n\n Rand sits in a chair, opposite Billy. The 8 creatures\n climb all over Rand. Playfully tugging at his hair and", "Both creatures lie in the snow. Dead.\n Billy turns to the last Mogwai. With two swings of his\n blade, he kills the creature.", "Billy stabs the creatur Mogwai dies with a long hiss.\n Billy looks back to thelattic.\n Sword extended, he rushes to the ladder and climbs into the" ], [ "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "He quickly spins around, knocking the other Mogwai to the\n ground. He stabs the creature in the throat. He twists", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "There, he lunges forward with his sword. Bullseye. Mogwai\n is stabbed. Straight through the chest.", "Both creatures lie in the snow. Dead.\n Billy turns to the last Mogwai. With two swings of his\n blade, he kills the creature.", "Billy slams his blade 'nto Mogwai. He whacks the creature.\n Again and again.\n Finally, Mogwai falls to the floor.", "Mogwai has changed.\n It stands two feet tall.\n The brown fur is gone, replaced by rock hard, rippled armor.", "A CREATURE\n hisses. Behind Billy.\n Billy turns. Mogwai leaps at him.\n Billy raises his sword and swings.", "Billy raises the sword over.Mogwai. He's ready to kill\n the tiny creature.\n Mogwai loo] .s up at Billy. The creature is shivering. It", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "Mogwai is-bored. The creature leaps up to the bed.. It\n sees the sword. Mogwai lifts one end, examining it. It's", "Inside, Mogwai screams and pounds against the glass door.\n Soon, the creature falls.' Its body quivers. The armor-,.", "Billy stands. He raises his sword to finish off the creature.\n Mogwai dodges theblade, jumping to the window ledge.\n Billy moves toward the creature.", "the sword until Mogwai chokes to death on its own blood.\n The remaining creature attaches itself to Billy's leg.\n It takes a bite from his calf.", "Billy brings down his blade. Hard.\n It slices Mogwai's head off. The creature's body quivers.\n It dies.\n Billy moves to the living room.", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "Billy stabs the creatur Mogwai dies with a long hiss.\n Billy looks back to thelattic.\n Sword extended, he rushes to the ladder and climbs into the", "He takes the fish. Mogwai hops back into the box.\n Rand shakes his head. Amazed by the animal.\n he Oriental takes a bit from the raw fish. Juice runs", "Mogwai fal is to the gro4nd. Thick green blood pours from\n a. deep• wou nd ;in its the t.", "MOGWAI\n is inside. Its mouth is full of tangled wires and plugs\n that the creature has ripped from the engine. Mogwai\n giggles at Billy." ], [ "Mogwai tenses up. The spots on its body that were hit with\n water begin to bubble... .expand...'\n Billy can't believe his eyes.", "BILLY\n Watch this.\n Billy squeezes a drop of water on one creature. Mogwa'", "Mogwai has changed.\n It stands two feet tall.\n The brown fur is gone, replaced by rock hard, rippled armor.", "Pete reaches down to pick up Mogwai. His hand clumsily\n knocks over the water bottle.\n A few drops of water splash Mogwai.", "He takes the fish. Mogwai hops back into the box.\n Rand shakes his head. Amazed by the animal.\n he Oriental takes a bit from the raw fish. Juice runs", "A CREATURE\n hisses. Behind Billy.\n Billy turns. Mogwai leaps at him.\n Billy raises his sword and swings.", "Inside, Mogwai screams and pounds against the glass door.\n Soon, the creature falls.' Its body quivers. The armor-,.", "Billy falls backward, with Mogwai holding onto him.\n They tumble into the swimming pool. The deep end.", "Mogwai fal is to the gro4nd. Thick green blood pours from\n a. deep• wou nd ;in its the t.", "21.\n Rand lights a cigarette. He turns to Mogwai and claps\n his hands. The creature picks up an ash tray and carries", "He quickly spins around, knocking the other Mogwai to the\n ground. He stabs the creature in the throat. He twists", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "Mogwai writhes in pain. The spots on its body expand more,\n getting bigger, bigger.. .ready to explode.\n Billy and Pete stare. Fascinated.", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "Mogwai is-bored. The creature leaps up to the bed.. It\n sees the sword. Mogwai lifts one end, examining it. It's", "There, he lunges forward with his sword. Bullseye. Mogwai\n is stabbed. Straight through the chest.", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "There's blood on his�4ingertips.\n Billy looks at Mogwai.\n The creature looks at Billy. It giggles.", "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets" ], [ "THE Y.M.C.A.'S FRONT DOORS BURST OPEN\n Droves of creatures pour out into the night.", "EXT. Y.M.C.A\n\n Billy runs from the building.\n\n CUT TO:\n\n R �'", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "he wasn't halucinating. He splashes a little more water\n on one of the new creatures.\n The process begins again. The creature's body,contorts.", "THE. WATER\n Billy separates himself from the creature. He swims to the\n side of the pool and gets out.", "A CREATURE\n leaps from the overhead chandelier. It lands on Billy's\n back.\n The creature tries to bite Billy's neck.", "Divided into two sections. One side: A basketball court.\n The other: A swimming pool.\n It's dark. Billy enters.", "Mogwai's claw tears at the wires in the electrical box.\n\n CUT TO:", "A CREATURE\n crawls out of the swimming pool.\n It is followed by anoth'r creature.\n They are followed by three more.\n Then five more. Eight more. Ten more.\n They keep coming. In droves.", "He quickly spins around, knocking the other Mogwai to the\n ground. He stabs the creature in the throat. He twists", "DROVES OF MOGWAI\n are still coming out of the swimming pool.\n Brent is frozen. He tries to scream.", "Billy falls backward, with Mogwai holding onto him.\n They tumble into the swimming pool. The deep end.", "All that remains are pools of smoldering liquid.\n The nightmare is over. Mogwai is dead.\n Billy takes a breath.", "Billy stabs the creatur Mogwai dies with a long hiss.\n Billy looks back to thelattic.\n Sword extended, he rushes to the ladder and climbs into the", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "A CREATURE\n leaps from the attic, into the hallway.\n Billy jumps back.\n Mogwai snarls at him.", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "INT. LIVING ROOM - LATER THAT NIGHT\n\n Rand sits in a chair, opposite Billy. The 8 creatures\n climb all over Rand. Playfully tugging at his hair and", "36\n Lynn and Billy stand a few feet away, in the hallway.\n Rand lets the creatures loose in the attic. He quickly", "gets there and quickly flips open the box.\n Billy drops the flashlight and sword.\n The creature's sharp fingernails clutch onto Billy's chest." ], [ "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "Billy slams his blade 'nto Mogwai. He whacks the creature.\n Again and again.\n Finally, Mogwai falls to the floor.", "Billy stabs the creatur Mogwai dies with a long hiss.\n Billy looks back to thelattic.\n Sword extended, he rushes to the ladder and climbs into the", "Both creatures lie in the snow. Dead.\n Billy turns to the last Mogwai. With two swings of his\n blade, he kills the creature.", "He quickly spins around, knocking the other Mogwai to the\n ground. He stabs the creature in the throat. He twists", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "Billy brings down his blade. Hard.\n It slices Mogwai's head off. The creature's body quivers.\n It dies.\n Billy moves to the living room.", "the sword until Mogwai chokes to death on its own blood.\n The remaining creature attaches itself to Billy's leg.\n It takes a bite from his calf.", "There, he lunges forward with his sword. Bullseye. Mogwai\n is stabbed. Straight through the chest.", "All that remains are pools of smoldering liquid.\n The nightmare is over. Mogwai is dead.\n Billy takes a breath.", "He falls to the ground. Beside Tracy.\n The hungry creatures surround Billy.\n Weak. Defeated. Billy closes his eyes.\n He finally gives", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "Inside, Mogwai screams and pounds against the glass door.\n Soon, the creature falls.' Its body quivers. The armor-,.", "Another creature attacks Gary. Followed by another.\n And another.\n They bring him to the ground. They eat. He dies.\n Billy quickly picks up his sword, before the creatures", "Billy's hand finally reaches the sword. He snatches it.\n He brings down the blade, into the creature's arm.\n Mogwai jumps back. Wounded.", "The charred creature collapses into the flames. Dead.\n Billy checks his leg. A small bite.\n He walks to the kitchen.", "REV. 4/30/82 60.\n Pete is dead.\n Billy covers Pete's body with his coat. Billy is angry.\n Sickened.\n He quickly runs after the. creature.", "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "the wall.\n Mogwai takes a step closer.\n Billy reaches for the sword.\n The creature leaps and lands on Billy's chest, knocking", "Billy stands. He raises his sword to finish off the creature.\n Mogwai dodges theblade, jumping to the window ledge.\n Billy moves toward the creature." ], [ "MR. DEAGLE\n Did you say 'Peltzer'? Billy\n Peltzer?\n\n MR. FUTTERS\n 1 Yeah...", "DISSOLVE TO:\n\n CLOSE-UP\n\n RAND PELTZER.\n A pensive, tired look covers his face.", "RAND PELTZER\n walks through the owd. An American businessman.1-He", "FRANK\n (into the mike)\n Peltzer?...Peltzer?...\n (slams down the\n\n MIKE)\n Damn.\n\n GARY", "Rand is on the pay telephon His baggage rests beside\n him.\n Mogwai is inside of a small plastic pet box. The creature's\n bright eyes shine from inside.", "Rand sits in front of them, on a leather easy chair. He\n rests Mogwai's case on his lap. He opens the case.\n Mogwai leaps out, onto the coffee table.", "MR. FUTTERS\n ,No, it's this Peltzer kid. He\n thinks we're gonna get: eaten up\n by wild animals. And he's\n carrying a sword.", "INT. LIVING ROOM - LATER THAT NIGHT\n\n Rand sits in a chair, opposite Billy. The 8 creatures\n climb all over Rand. Playfully tugging at his hair and", "GARY\n Why didn't you think of that before,\n Peltzer?\n\n BILLY\n I did. But nobody would listen.", "RAND\n Just imagine the excitement when\n word gets out. Everyone will want\n a Mogwai of their very own.", "RAND\n C'mon. He won't bite.\n Billy forces himself to take the creature. Mogwai nestles\n close to Billy. Rand smiles at his son.", "BILLY\n Little bastard.\n Mogwai scurries back to Rand. He pets the creature,\n comforting it", "GRANK\n What's going on Peltzer? Where's\n Officer-Brent?.\n\n BILLY (V.0.)\n He was kiljed by.ithe creatures.\n What? Whe", "Rand is eating his airline dinner. AN ORIENTAL STEWARDESS\n walks up and refills his coffee. He looks at her.\n with the word 'Mogwai'?", "it to Rand. Mogwai hops onto Rand's lap.\n Lynn and Billy are amazed...", "LYNN\n I think he's just darling.\n Mogwai.\n Rand holds the creature out to Billy.", "CAMERA PULLS BACK\n We'.re inside of a hospital room. Rand sits in a chair,\n across the room from", "RAND\n He's singing.\n\n BILLY\n Sounds kind of creepy.\n Barney still growls.", "GARY\n You did it. You killed all\n those people.. You're. a murderer,\n Peltzer.", "(PUZZLED)\n Billy Peltzer?...What's going on\n here?.." ], [ "DOUGAL'S ANTIQUES\n A huge, three story home, with an antique shop set up on\n the first floor.\n Billy and Pete get out of the car and enter the store.", "All of the antiques have been smashed or broken by the\n creatures.\n Dorry is shocked to see his store in this state.", "Dorry has fallen asleep in his chair.\n Billy sits. Sword on his lap. He guards the door.\n Sounds still echo-from downstair•s,.throughout the antique\n store.", "DOUGAL'S ANTIQUE STORE - ON THE OUTSKIRTS OF TOWN\n Closed.. But the upstairs lights are on. Someone is\n home.", "He bats the plate away with his sword.\n Mogwai continues to throw plates at him.\n Billy dodges the plates, making his way to the China Cabinet.", "Rand looks around; fascinated by the vast array of people\n and merchandise. He stops at a booth. A tiny ORIENTAL,\n WOMAN stands behind the counter. Rand gives her a polite", "DORRY DOUGAL\n the 64 year old storekeeper, stands behind the counter.\n Dorry is husky, bald on top, with thick patches of red hair", "The Oriental flips on a dim light bulb. He leads the\n nervous, apprehensive Rand to a dark corner of the room.", "AN ORIENTAL MAN\n passes by. He is very old. Deep wrinkles. Long white\n hair. Ragged clothes. A rotted smile. Overhearing\n Rand, the man stops to eavesdrop.", "3.\n Rand is very puzzled.\n The Oriental rests the box on a stack of crates. He opens\n the box.", "Dorry smiles. He reaches to a shelf behind the counter.\n He removes ,a long object, wrapped in a piece of green cloth.\n He rests it on the counter.", "BILLY\n Thanks, Dorry.\n\n DORRY\n My pleasure, son.\n Billy and Pete exit the store.\n\n CUT TO:", "ORIENTAL MAN\n Come. Take a look. It will cost\n you nothing.\n (a beat)\n You won't be disappointed.\n The Oriental enters. Rand shrugs and follows.", "He takes the fish. Mogwai hops back into the box.\n Rand shakes his head. Amazed by the animal.\n he Oriental takes a bit from the raw fish. Juice runs", "Rand sits in front of them, on a leather easy chair. He\n rests Mogwai's case on his lap. He opens the case.\n Mogwai leaps out, onto the coffee table.", "REV. 4/30/82\n The creature screams, writhing in pain. It falls from the\n China shelf to the floor. Dead.", "own his chin. He smiles at Rand.", "Mogwai removes a raw tuna from the crate. It tears off a\n chunk of the fish and carries it to the oriental man..", "ORIENTAL MAN\n I offer something very different.\n Very unusual.\n Rand is puzzled. The Oriental leads him to a doorway.", "INSIDE\n A wall clock reads 5:25. Billy counts out money to a\n customer. Tracy works beside him.\n Finished with the customer, Billy looks to the line of\n waiting people." ], [ "She opens her eyes.\n She gives a weak smile to Billy.\n He lightly kisses her on the lips. He holds her tight.", "BILLY\n Can I ask you a personal question?\n (Tracy nods)\n What is it with you and Gary? Is\n he your boyfriend?\n\n TRACY\n He thinks he is.", "Billy nods. Tracy moves a carpet next to Billy's chair.\n She lies on the carpet. She closes her eyes.\n Gary watches from the sofa. Jealous.", "Billy puts on his coat, preparing to leave.\n In the background, Mr. Fresco consoles Mrs. Deagle.\n Tracy walks up to Billy.", "BILLY(\n arrives in Peggy's backyard. He sees the young girl's\n legs kicking from the snowman's torso.", "BILLY\n They're here.\n A frightened Gary holds Tracy.\n\n GARY\n Now what do we do?\n The giggling gets louder. Closer. Billy turns to Dorry.", "Billy rushes over. He grabs Peggy's legs. A tug of war.\n Billy pulls Peggy out of the snowman.\n Peggy brushes the snow from her face.", "BILLY\n You look very pretty today.\n\n TRACY\n\n (FLATTERED)\n Thanks, Billy.", "A few silent, uncomfortable moments pass.\n Lynn looks back to Billy. She smiles. Time for the\n tender approach. She touches his hand.", "BILLY'S CAR\n Billy drives, as fast as possible through the heavy snow.\n He's headed out of town. Tracy sits beside him. She\n looks out the window..", "TRACY\n Billy...\n He looks at her. She gives him a comforting smile.", "CUT TO:\n\n INT. BILLY'S ROOM - LATER", "BILLY\n Okay.\n\n LYNN\n Have you asked that Tracy girl\n out yet?", "CUT TO:\n\n INT. BILLYS ROOM - LATER THAT NIGHT", "DISSOLVE TO:\n\n INT. BILLY'S ROOM - LATER THAT NIGHT", "TRACY '\n Billy...I thought you were great.\n He smiles. Gary watches the two of them.", "INSIDE\n Billy sees Lynn's body. She lies on the floor. Dead.\n Billy walks to her.", "Real weirdo.\n The others agree. Tracy doesn't. She likes Billy.\n Billy continues to read, totally caught up in his book.\n Totally caught up in his fantasy.", "She screams.\n Billy gets to Tracy. He quickly pulls her out of the\n window. They begin to climb down the ladder.", "BILLY\n (happy to see him)\n Hi, Dad.\n They hold each other for a second. Lynn closes the front" ], [ "But there is no sign of Mogwai.\n Billy spots footprints leading away from the snowman.\n Mogwai has escaped.\n Billy runs after the footprints.", "He knocks the creature down. He stabs Mogwai.\n Mogwai dies with a long scream.\n Billy looks up and sees", "All that remains are pools of smoldering liquid.\n The nightmare is over. Mogwai is dead.\n Billy takes a breath.", "Scared of the firelight, Mogwai lets go.\n Billy stabs the creature.. He holds Mogwai in the roaring", "Billy comes out of the woods and sees the creature ahead.\n Mogwai runs to the building.\n Billy follows.", "Mogwai smashes through'the window, escaping into the night.\n Billy hurries out of the house.", "Both creatures lie in the snow. Dead.\n Billy turns to the last Mogwai. With two swings of his\n blade, he kills the creature.", "will kill it.\n Rand nods. He takes Mogwai from his shoulder and puts it\n into the box. Rand puts the box under his arm. The\n Oriental smiles", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "He watches Mogwai climb into-the building through\n small chimney.\n Billy runs to the front door. He tries to open it.\n Locked.", "BILLY\n grabs the creature. Mogwai is still wounded and dazed.\n But it manages to bite and scratch at Billy.", "Billy stabs the creatur Mogwai dies with a long hiss.\n Billy looks back to thelattic.\n Sword extended, he rushes to the ladder and climbs into the", "Several feet away, Billy so-es Mogwai The creature is on\n top of,Pete's body\n Billy rushes, to the scene.", "Billy pokes at the creature with his sword.\n Mogwai takes a few steps back.\n Billy still pokes at Mogwai, forcing the creature into\n the oven.", "BILLY\n Little bastard.\n Mogwai scurries back to Rand. He pets the creature,\n comforting it", "BILLY\n Get off of me.\n Mogwai just looks at him.", "Billy brings down his blade. Hard.\n It slices Mogwai's head off. The creature's body quivers.\n It dies.\n Billy moves to the living room.", "Mogwai sees Billy. The creature gets scared and dashes off.\n Billy stops", "it to Rand. Mogwai hops onto Rand's lap.\n Lynn and Billy are amazed...", "Mogwai leaps out of the way, onto the kitchen cabinet.\n Billy turns to the creature.\n Mogwai stands in front of the open microwave oven." ], [ "CUT TO:\n\n INT. THEATER\n\n The creatures are clustered in their seats. Puzzled.\n Fascinated by the animated screen", "CUT TO:\n\n INT. THEATER", "CLANG, CLANG, CLANG.\n\n CUT TO:\n\n INT. THEATER", "THE CREATURES\n are frightened by the images on screen. The light hurts\n their eyes. But gradually, they become interested in the\n movie.\n\n PROJECTION BOOTH", "INT. THEATER\n\n Countless pairs of green eyes shine in the darkness. The\n creatures murmur among themselves.\n Billy whispers to the others.", "The film's reel ends. The screen goes blank.\n The creatures are puzzled. Distracted. They throw\n their candy boxes and paper cups at the screen.", "(SARCASTIC)\n But this is an emergency. We\n gotta warn everybody! The gremlins\n are coming!\n Gary laughs. Frank sighs", "Exit door.\n They move carefully. Slowly. Silently. They make it\n to the Exit. They Crawl out. safe.-\n The creatures still watchthe movie.", "He watches Mogwai climb into-the building through\n small chimney.\n Billy runs to the front door. He tries to open it.\n Locked.", "Mogwai watches Billy. from the darkness of the book shelves.\n Above Billy., The creature begins to sing.\n Billy tries to ignore Mogwai's singing. No good. It gets", "Billy comes out of the woods and sees the creature ahead.\n Mogwai runs to the building.\n Billy follows.", "of the light.\n Everyone nods. Gary turns on the flashlight.\n Tracy takes Billy's hand. Gary is jealous.\n They enter the theater.", "eyes. Mogwai screams and jumps. off the desk, to the floor.\n Billy looks down at the creature.", "THE CREATURES\n crash through the Greenhouse doors. Several of them\n surround the tool box. Mogwai screams from inside. Others", "Tracy holds the tool box open. Billy forces Mogwai inside.\n He closes the tool box and locks it shut.\n Mogwai is trapped inside. The creature pounds against", "Billy moves quickly. He dashes across the room and plugs\n in the blender. It starts with'a loud whirr.\n The startled creature spins inside.. Mogwai's screams", "There's blood on his�4ingertips.\n Billy looks at Mogwai.\n The creature looks at Billy. It giggles.", "BILLY\n Watch this.\n Billy squeezes a drop of water on one creature. Mogwa'", "The second reel of \"Snow White\" fills the screen.\n The seven dwarfs are singing \"Hi-Ho, Hi-Ho, it's off to\n work we go...\" The song echoes through the theater.", "A CREATURE\n leaps from the attic, into the hallway.\n Billy jumps back.\n Mogwai snarls at him." ], [ "They have killed the dog.\n Billy tries to move. He's frozen.\n The creatures are eating the dog.\n They look up at Billy.", "BILLY\n Why did they attack my dog?\n\n ROY\n Simple. They're animals. They\n were hungry. Aside from water,\n food is their main concern.", "Several feet away, Billy so-es Mogwai The creature is on\n top of,Pete's body\n Billy rushes, to the scene.", "BARNEY\n a friendly Irish Setter, greets Billy. He pets the dog\n and hangs his coat in the hail- closet.\n\n INT. KITCHEN", "Billy cries out in pair.\n Mogwai stays on. Biting hard.\n Billy kicks his leg near the fireplace.", "BILLY\n Little bastard.\n Mogwai scurries back to Rand. He pets the creature,\n comforting it", "BILLY\n running through the snow. Following Mogwai's footprints.\n\n CUT TO:", "I\n His body is covered with scratches and bites. He's dead. ( \n Billy picks up Dorry's body. He carries it to the front\n of the theater. Tracy follows.", "BILLY\n Let's go.\n Billy picks up Dorry's body. Tracy protects him by batting\n away any oncoming creatures.\n They hurry out of the boiler room.", "INT. BANK - LATER\n\n Billy puts on his brown winter coat and green scarf.\n He picks up his dog eared copy of \"The Once And Future\n King\". He walks to the bank lobby.", "30.\n clothes, licking his face. Rand loves the adorable\n little things.\n Billy has a worried look on his face.", "BILLY\n There are these little things...\n animals...They're all over the\n place! They'll kill you and your\n family!...\n Mr. Futters starts to laugh.", "TWO CREATURES\n are inside. They don't notice Billy.\n One has crawled into the large blender. It laps up the", "He falls to the ground. Beside Tracy.\n The hungry creatures surround Billy.\n Weak. Defeated. Billy closes his eyes.\n He finally gives", "BILLY\n Thanks, Dorry.\n\n DORRY\n My pleasure, son.\n Billy and Pete exit the store.\n\n CUT TO:", "RAND\n Barney! Be a good dog and go up-\n stairs!\n Barney reluctantly hops off Billy's lap and exits.\n Lynn stares at Mogwai.", "But there is no sign of Mogwai.\n Billy spots footprints leading away from the snowman.\n Mogwai has escaped.\n Billy runs after the footprints.", "Billy puts on his coat, preparing to leave.\n In the background, Mr. Fresco consoles Mrs. Deagle.\n Tracy walks up to Billy.", "BILLY\n Well, you're the closest thing\n this town's got to a scientist...\n and I need some information about an\n animal.\n\n ROY\n What kind of animal?", "BILLY\n Get off of me.\n Mogwai just looks at him." ] ]

[ "What was english name for \"mogwai\"?", "Where was the town that the mogwai was taken to?", "How many mogwai are created after water is splled over Gizmo's back?", "What did the cocoons hatch into?", "After their cocoon hatched, what three actions did the mischievous Gremlins perform?", "How was the massive army of Gremlins created at the YMCA?", "Where were the gremlins when the town fell silent?", "What happened at the Montgomery Ward that stopped Stripe from spawning more gremlins?", "At the end of the story, what was the audience warned to do?", "What is Randall Pelzer's profession?", "Where does Randall Pelzer go to look for a Christmas gift for his son Billy?", "When should a mogwai not be fed?", "What will very bright lights/sunlight do to a mogwai?", "What does Randall name the first mogwai?", "What happens when Billy's friend Pete overturns a glass on water on Gizmo?", "What is the name of the town where Randall Pelzer lves?", "What does Stripe's gang trick Billy into doing?", "What does his Gremlin do to Mr. Hanson?", "How does Stripe spawn a multitude of Gremlins?", "What will kill a mogawi?", "What happens when a mogawi gets wet?", "What did Stripe create at the YMCA pool?", "What finally kills Stripe?", "Who is Randall Peltzer?", "Who owns the antique store in China town?", "Who is Billy's girlfriend?", "Who left with Gizmo in the aftermath of the Gremlins rampage?", "What were the Gremlins are watching in the theatre?", "What is Billy's dog named?" ]

[ [ "The english name means monster. ", "Monster. " ], [ "Kingston Falls", "Kingston Falls" ], [ "Five", "five " ], [ "Mischevious reptilian gremlins", "mischevious, reptilian Gremlins" ], [ "They tortured Gizmo, tried to murder Billy's mother, and killed Hanson.", "Torture Gizmo, try to murder Billy's mother, and kill Hanson" ], [ "Stripe jumped into the YMCA swimming pool. ", "A Gremlin jumped into a pool and spawned them. " ], [ "In the movie theater watching Snow White.", "Watching Snow White and the Seven Dwarfs." ], [ "A skylight was opened", "Gizmo exposes Stripe to sunlight. " ], [ "Check for gremlins if things are going wrong", "Check their house if things go wrong because there might be gremlins causing the trouble" ], [ "An inventor.", "An inventor" ], [ "An antique shop located in Chinatown.", "A Chinatown antique store." ], [ "After midnight.", "After midnight" ], [ "Kill it.", "Kill them. " ], [ "Gizmo.", "Gizmo." ], [ "Five new mogwai are spawned from his back.", "Five more mogwai spawn from his back. " ], [ "Kingston Falls.", "Kingston Falls" ], [ "They trick Billy into giving them food after twelve a.m.", "Feeding them after midnight." ], [ "His Gremlin kills Mr. Hanson.", "Kills him." ], [ "He jumps into a swimming pool at the local WMCA.", "by climbing into a fountain" ], [ "Bright lights or Sunlight would kill a mogawi", "Bright lights or sunlight." ], [ "It multiplies into more mogawi", "many more mogwai are spawned off the one that got wet" ], [ "Stripe created an army of Gremlins", "An army of gremlins" ], [ "Gizmo letting the sunlight in through the sunroof kills Stripe", "sunlight streaming through a skylight" ], [ "Randall is Billy's Dad", "Billy's Dad" ], [ "Mr. WIng is the owner", "Mr. Wing." ], [ "Kate Beringer is billy's girlfriend", "Kate Beringer." ], [ "Mr. Wing took Gizmo", "Mr. Wing" ], [ "Snow White and the Seven Dwarfs ", "Snow White and the Seven Dwarfs." ], [ "Barney is Billy's dog.", "Barney" ] ]

[ [ "MELANIE (O.S.)\n\t\tThat's where the Brenners live.\n\n\tTWO SHOT - MELANIE AND THE CLERK", "MELANIE\n\t\tThe Brenners? Mr. and Mrs. Brenner?\n\n\t\t\t\tCLERK\n\t\tNope, just Lydia and the two kids.", "MELANIE\n\t\tIt said, \"Dear Mr. Brenner, I think \n\t\tyou need those lovebirds, after all. \n\t\tThey may help your personality.\" \n\t\tThat's what it said.", "FADE OUT\n\n\tFADE IN\n\n\tINT. BEDROOM IN BRENNER HOUSE - MED. SHOT - MELANIE", "DISSOLVE\n\n\tINT. BRENNER KITCHEN - MED. SHOT - MELANIE", "there patiently, as if it is threading itself through a crowd, \n\tnot a sound, over the gulls, and then lifting to show the \n\tBrenner house in the distance.", "DISSOLVE\n\n\tINT. BRENNER LIVING ROOM - CLOSE SHOT - A HAND\n\n\treaching down to pick up a dead bird.", "MAN\n\t\tIs that for Mitch Brenner?\n\n\t\t\t\tMELANIE\n\t\t\t(curtly)\n\t\tYes.", "truck, gets in. The woman shouts something to a man -- Mitch \n\tBrenner, probably, though it is difficult to tell from this \n\tdistance -- and he comes over to the truck.", "EXT. BRENNER HOUSE - WAIST SHOT - MELANIE - MOVING P.O.V.", "CLOSE SHOT\n\n\twatching, biting her lip.\n\n\tLONG SHOT - THE BRENNER HOUSE\n\n\tMitch reaching the barn and entering. Silence.", "MELANIE\n\t\tNo, it's me, Mrs. Brenner. I thought \n\t\tyou might like some tea.\n\n\tTWO SHOT - LYDIA AND MELANIE", "MELANIE\n\t\tWhy, Mrs. Brenner?", "written there in Melanie's handwriting: MR. MITCHELL BRENNER.\n\n\tMED. SHOT - MELANIE", "FULL SHOT - THE BRENNER HOUSE\n\n\tas they ENTER, CAMERA FOLLOWING them throughout into dining \n\troom where Lydia dials phone, talking to Mitch all along.", "HIGH SHOT - THE BRENNER HOUSE The place is decorated with \n\tballoons strung from the house to various points on the lawn.", "FULL SHOT - THE CAR\n\n\tas it pulls into the Brenner yard.\n\n\tMED. SHOT - MELANIE", "LONG SHOT - THE APPROACH ROAD to the Brenner house. Melanie's \n\tcar is driving along the shore. Behind her, the sky is stained", "Music begins to play. The music is sweet, with violins and \n\tlong piano arpeggios, almost too much to bear against the \n\ttension being played in front of it.", "CLOSE SHOT - MELANIE\n\n\twatching, waiting.\n\n\tLONG SHOT - THE BRENNER HOUSE\n\n\tNot a sign of life." ], [ "There is another silence. A curious thing is happening in \n\tthis room. Lydia, for perhaps the first time since her \n\thusband's death, is discussing it with another person. \n\tCuriously, the person is Melanie.", "She is puzzled by Melanie who, exquisitely dressed and \n\tgroomed, seems singularly out of place in Bodega Bay. She \n\tstudies her openly.", "Melanie nods.\n\n\t\t\t\tANNIE\n\t\tI guess you knew that, anyway.\n\n\t\t\t\tMELANIE\n\t\tI suspected as much.", "There is another moment where Annie appraises Melanie's \n\tattitude, and then accepts it. She suddenly smiles warmly.", "MELANIE (O.S.)\n\t\tYes?\n\n\t\t\t\tCLERK (O.S.)\n\t\tAnd the white house?", "There is a long silence. It is Melanie who has the strongest \n\treason for fearing the birds. It is Melanie, her fear growing, \n\twho makes the decision.", "(silence)\n\t\tMelanie needs help.\n\t\t\t(silence)\n\t\tMother, the house won't take another", "throughout following, recording her reactions as Melanie \n\ttalks to Mitch in the background.", "MELANIE\n\t\t\t(at phone; coolly)\n\t\tHello? Yes, this is Melanie. Fine,", "not the Melanie we saw at the beginning of the picture. Her \n\thair is disarrayed, and her face and clothing are streaked \n\twith soot. But beyond a surface physical appearance, there", "There is a moment where both women look at each other... \n\tWhen Melanie answers, it is abrupt and a trifle cold -- she \n\tis again telling Annie to mind her own business.", "MELANIE\n\t\t\t(in background)\n\t\tMitch? I'm glad I caught you. \n\t\tSomething terrible has happened.\n\n\tHer background conversation continues through following:", "MELANIE\n\t\tThen why did she object to you?\n\n\t\t\t\tANNIE\n\t\tBecause she was afraid.", "down to the bird-cage. Melanie's eyes move toward him. Self-\n\tconsciously, she stands with the cage of CHATTERING birds.", "Annie rises to greet her. As Melanie ENTERS THE SHOT:", "ANNIE\n\t\tThen go.\n\n\tThe room is silent. Melanie nods, slowly, and then smiles.\n\n\t\t\t\tMELANIE\n\t\tThank you, Annie.", "LYDIA\n\t\tMelanie?\n\n\tAt the door, Melanie turns.\n\n\tCLOSE SHOT - LYDIA\n\n\ther face soft.", "The man looks about him, holding the match I his fingers. As \n\the catches sight of Melanie, the match burns his finger and \n\the drops it.\n\n\tCLOSEUP - MELANIE", "She begins opening the play yard door. Suddenly, the door \n\tfrom the corridor bursts open, and Melanie rushes wildly", "CLERK\n\t\t\t(to Melanie)\n\t\tIt's Alice.\n\n\t\t\t\tMELANIE\n\t\tAre you sure?" ], [ "MELANIE\n\t\tThe Brenners? Mr. and Mrs. Brenner?\n\n\t\t\t\tCLERK\n\t\tNope, just Lydia and the two kids.", "MELANIE (O.S.)\n\t\tThat's where the Brenners live.\n\n\tTWO SHOT - MELANIE AND THE CLERK", "MELANIE\n\t\tNo, it's me, Mrs. Brenner. I thought \n\t\tyou might like some tea.\n\n\tTWO SHOT - LYDIA AND MELANIE", "MELANIE\n\t\t\t(angrily)\n\t\tLook, Mr. Brenner...\n\n\t\t\t\tLYDIA (O.S.)\n\t\tMitch?", "The man looks about him, holding the match I his fingers. As \n\the catches sight of Melanie, the match burns his finger and \n\the drops it.\n\n\tCLOSEUP - MELANIE", "MELANIE\n\t\tWhy, Mrs. Brenner?", "written there in Melanie's handwriting: MR. MITCHELL BRENNER.\n\n\tMED. SHOT - MELANIE", "EXT. BRENNER HOUSE - WAIST SHOT - MELANIE - MOVING P.O.V.", "MELANIE\n\t\tHey, wait a minute!\n\n\tShe goes after him. Mitch turns, stops, smiles, enjoying her \n\tbafflement immensely. Melanie studies him. Then:", "MELANIE\n\t\tIs that so important, Mrs. Brenner? \n\t\tYou liking me?", "Clerk steps out. He walks a little distance as Melanie watches \n\thim, then stops, turns and looks at her surprised, as if \n\the'd expected her to be right behind him. He stands stock", "She begins opening the play yard door. Suddenly, the door \n\tfrom the corridor bursts open, and Melanie rushes wildly", "MELANIE\n\t\t\t(at phone; coolly)\n\t\tHello? Yes, this is Melanie. Fine,", "She is puzzled by Melanie who, exquisitely dressed and \n\tgroomed, seems singularly out of place in Bodega Bay. She \n\tstudies her openly.", "MELANIE\n\t\tIt said, \"Dear Mr. Brenner, I think \n\t\tyou need those lovebirds, after all. \n\t\tThey may help your personality.\" \n\t\tThat's what it said.", "MAN\n\t\tIs that for Mitch Brenner?\n\n\t\t\t\tMELANIE\n\t\t\t(curtly)\n\t\tYes.", "He is smiling with amused recognition; he lowers the \n\tbinoculars and dashes OUT OF FRAME.\n\n\tCLOSE SHOT - MELANIE (PROCESS)", "She scurries out behind the counter and out of sight. Melanie \n\tfinishes writing her address and stands impatiently by the \n\tcounter. She taps her teeth with the pencil.", "MELANIE\n\t\t\t(imitating them)\n\t\tChee-chee-chee-chee-chee.\n\n\tFULL SHOT - MELANIE", "BARKING again as the front door opens. Melanie looks up." ], [ "His face is poring with blood: his head and shoulders are \n\tcovered with attacking birds. He disappears from sight. \n\tMelanie, now almost in a faint, opens her eyes to see Tides", "Three or four gulls are still attacking and they flutter \n\taway as the men appear to beat them off. Suddenly Melanie in \n\tthe foreground turns in full profile to her right and looks \n\tdown.", "She begins opening the play yard door. Suddenly, the door \n\tfrom the corridor bursts open, and Melanie rushes wildly", "He hurls himself against it. Inside the room, where Melanie \n\tstruggles, we HEAR his hammering on it. Melanie is overwhelmed \n\tby the birds.", "As in fury, Mitch picks up stones and begins hurling them at \n\tthe birds. Melanie dashes forward.", "Melanie, fighting off the attack at the same time. He begins \n\tdragging her out of the room. Her clothes have almost been", "as she changes her tactics, stops dead, and then cautiously \n\treaches out in front of her at the air. The gull suddenly \n\tswoops at her, hitting her shoulder. She whirls.", "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "She gets out of the car and walks onto one of the docks, the \n\tbird cage in her hand. Melanie approaches a waiting fisherman.", "in the room swinging the lighted flashlight as the birds \n\tattack her.\n\n\tCLOSE SHOT - MELANIE", "Shooting over the shoulders of Melanie and Mitch, they \n\tapproach Annie's house. Melanie glances apprehensively over \n\ther shoulder toward the crows.", "We see the stream of water swing to and from among the birds. \n\tMelanie turns back from this at the sound of a roaring car.\n\n\tEXT. TIDES TOWN - FROM HER VIEWPOINT", "until the penultimate shot in the picture. The silence is \n\tdeafening. There is not a bird in sight. The door to Melanie's", "in the room, as the owl hits her full in the face.\n\n\tMED. SHOT - MELANIE\n\n\tswinging the flashlight as the birds attack her.", "shows the hose snaking wildly and jumping. At one moment the \n\twater turns and comes in a powerful stream hitting the windows \n\tof the phone booth.\n\n\tCLOSEUP - MELANIE", "The sky is full of seagulls.\n\n\tCLOSE SHOT - MELANIE", "MELANIE\n\t\t\t(pointing to the ground)\n\t\tLook.\n\n\tCLOSE SHOT - A DEAD SEAGULL\n\n\tCLOSE SHOT - ANNIE", "She is puzzled by Melanie who, exquisitely dressed and \n\tgroomed, seems singularly out of place in Bodega Bay. She \n\tstudies her openly.", "There is not a sign of activity as the boat drifts just a \n\tlittle closer. As Melanie watches, the front door opens and", "There is a long silence. It is Melanie who has the strongest \n\treason for fearing the birds. It is Melanie, her fear growing, \n\twho makes the decision." ], [ "ANNIE\n\t\tChildren, they were only seagulls.\n\n\tAnd then the meaning of what she has just said strikes her, \n\tand she remembers the bird hitting her door the night before.", "then collapses over the gasoline hose pipe, pulling it out \n\tand causing it to spill. The third and fourth gulls sweep \n\tby. The gas begins to flow away.", "A nearer view of the gas station. A second gull hits the man \n\ton the back -- he falls -- hits his head on the pump and", "as she changes her tactics, stops dead, and then cautiously \n\treaches out in front of her at the air. The gull suddenly \n\tswoops at her, hitting her shoulder. She whirls.", "as gull strikes the back of her head. She recoils and looks \n\tup with shock and pain.\n\n\tGULL - MELANIE'S P.O.V.", "She sees a man with a gun shooting up at birds but to no \n\tavail. One or two descend upon him. He throws the gun down", "The first gull reaches the gas station but misses the \n\tattendant who is in the act of filling the car. The owner is \n\tseen disappearing into the men's room.\n\n\tINT. TIDES", "Three or four gulls are still attacking and they flutter \n\taway as the men appear to beat them off. Suddenly Melanie in \n\tthe foreground turns in full profile to her right and looks \n\tdown.", "There is a kind of stunned silence among the people. We can \n\thear the sound of the screaming gulls outside. Suddenly a \n\twoman's voice SCREAMS out:", "She rushes off. He struggles grotesquely with the birds. \n\tThere is a wild fury in him, and a methodical dedication. He", "left we see a horse with its head covered with gulls; its \n\tpalomino-colored body covered with crows. It is bucking and \n\tleaping and kicking its van to pieces.", "until the penultimate shot in the picture. The silence is \n\tdeafening. There is not a bird in sight. The door to Melanie's", "His face is poring with blood: his head and shoulders are \n\tcovered with attacking birds. He disappears from sight. \n\tMelanie, now almost in a faint, opens her eyes to see Tides", "as the car approaches them. The windows are all broken, and \n\tmerchandise is lying on the sidewalk. Birds are everywhere, \n\twaiting.\n\n\tCLOSE SHOT - A DEAD MAN", "The moment the child has dropped, Mitch suddenly looks up. \n\tHe slams the window as two or three birds crash into the \n\twindows. They disappear into the building.\n\n\tCLOSEUP - MELANIE", "Looking about her frantically. She turns her face up again \n\tto see the descending gulls. She is driven to take refuge in \n\tthe phone booth.", "Melanie, collapsed at the base of the door, is no longer in \n\tview. Neither are the birds, whose fluttering shadows we see \n\ton the door as Mitch again hits it from outside.", "as she follows his gaze upward.\n\n\tLONG SHOT - THE SKY\n\n\twith hundreds of gulls in it, wheeling.", "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "LONG SHOT - THE BAY\n\n\tcovered with sitting gulls. In the distance, the town is \n\tstill smoldering. But the sky is clear of birds." ], [ "fluttering at the window, almost in exploration. He hangs \n\tthere for a moment, then wings back to the playground \n\tequipment.\n\n\tCLOSE SHOT - MELANIE", "THE CAMERA DOLLIES along the play yard. It is again full of \n\tcrows.\n\n\tCLOSE SHOT\n\n\tThey walk stealthily past.", "Her head has twisted around to follow the flight of the crow. \n\tShe is almost looking into the play yard.\n\n\tMED. SHOT - PLAY YARD", "The children walk two-by-two to the corridor door. John opens \n\tit, and they begin filing out. Melanie turns to look at the \n\tplay yard.\n\n\tCLOSE SHOT - A SINGLE CROW", "A crow slowly descends to the play yard and as the CAMERA \n\tFOLLOWS it down, we see for the first time that the number", "A low angle of five or six crows filling the screen.\n\n\tEXT. PLAY YARD", "with the pencil. There is no menace in the birds surrounding \n\ther. They are active and beautiful as they dart behind the \n\tbars and mesh of their cages. Off screen, the puppy begins", "speaking. They go to the front door. He opens it, looks at \n\ther, then looks out across the town and the bay. He extends \n\this arm and points.", "Music begins to play. The music is sweet, with violins and \n\tlong piano arpeggios, almost too much to bear against the \n\ttension being played in front of it.", "EXT. PLAY YARD - DOLLY SHOT\n\n\tA side view of the crows as seen by Melanie.\n\n\tFULL SHOT - THE INTERIOR CORRIDOR", "Through the windows, we can see the waiting crows. One moves \n\trestlessly into flight, then settles on the equipment again.\n\n\t\t\t\tANNIE\n\t\tQuiet down, children! Quiet down!", "her wristwatch indicating that she'll be finished in a few \n\tminutes and motions for her to wait in the play-yard outside. \n\tMelanie turns and starts down the corridor again.", "as she moves abruptly away from him, and starts toward where \n\tthe children have begun playing Blind Man's Bluff. Mitch", "stares after her for a moment, moved by this sudden glimpse \n\tof character, and then follows her down the dune. The children \n\tare all in a circle. Annie is busy changing the blindfold", "rising over the schoolhouse roof and descending toward and \n\treaching the running children. Shot as a moving background \n\twith six or seven children in front on a treadmill with the", "CLOSE SHOT - THE TWO\n\n\tThey advance cautiously. When they are level with the play \n\tyard, we see what they see.\n\n\tMED. SHOT", "her face. She twists completely around to look at Lydia as \n\tthough she were wondering if Lydia sees what she sees. \n\tSuddenly we HEAR a little boy's voice crying:", "CLOSER SHOT - PLAY YARD\n\n\tThe play yard is full of crows.\n\n\tCLOSE SHOT - MELANIE", "until the penultimate shot in the picture. The silence is \n\tdeafening. There is not a bird in sight. The door to Melanie's", "against the door. Everything seems all right. She goes into \n\tthe kitchen, again, checks the door, and then plays the beam \n\ton the boarded windows. Satisfied, she goes down the corridor" ], [ "Through the windshield we see crows attacking. Bay and running \n\tchildren in distance.\n\n\tINT. STATION WAGON (3) (P)", "The screen is filled with crows. About fifty or more. All of \n\ta sudden we HEAR the distant PATTERING of children's feet as", "they start running. Immediately the crows rise and the CAMERA \n\tPANS UP with them into the sky.", "Through the windows, we can see the waiting crows. One moves \n\trestlessly into flight, then settles on the equipment again.\n\n\t\t\t\tANNIE\n\t\tQuiet down, children! Quiet down!", "CLOSER SHOT - PLAY YARD\n\n\tThe play yard is full of crows.\n\n\tCLOSE SHOT - MELANIE", "His face is poring with blood: his head and shoulders are \n\tcovered with attacking birds. He disappears from sight. \n\tMelanie, now almost in a faint, opens her eyes to see Tides", "She rushes off. He struggles grotesquely with the birds. \n\tThere is a wild fury in him, and a methodical dedication. He", "CLOSE SHOT\n\n\tCAMERA PANNING ALONG the waiting crows.\n\n\tCLOSE SHOT", "Shooting over the shoulders of Melanie and Mitch, they \n\tapproach Annie's house. Melanie glances apprehensively over \n\ther shoulder toward the crows.", "THE CAMERA DOLLIES along the play yard. It is again full of \n\tcrows.\n\n\tCLOSE SHOT\n\n\tThey walk stealthily past.", "left we see a horse with its head covered with gulls; its \n\tpalomino-colored body covered with crows. It is bucking and \n\tleaping and kicking its van to pieces.", "The FULL SHOT showing the children running toward the CAMERA - \n\tAnnie herding them at the rear. The crows - about two hundred -", "He joins Melanie and Cathy. The CAMERA MOVES AHEAD of the \n\tthree of them as they silently make their way past the crows", "There are a few blackbirds on it.\n\n\t\t\t\tMELANIE'S VOICE\n\t\tLook... the crows again.\n\n\tCLOSE SHOT - THE TWO", "EXT. PLAY YARD - DOLLY SHOT\n\n\tA side view of the crows as seen by Melanie.\n\n\tFULL SHOT - THE INTERIOR CORRIDOR", "pulls her into the corridor and then, holding the door shut \n\tbehind him with one hand, delivers swinging furious blows at \n\tthe few birds that have escaped into the corridor.", "attacks it from the side of the road, but it speeds into \n\tthem and through them. The gap grows wider and wider. They \n\tare well ahead of the birds now.", "A crow slowly descends to the play yard and as the CAMERA \n\tFOLLOWS it down, we see for the first time that the number", "Three or four gulls are still attacking and they flutter \n\taway as the men appear to beat them off. Suddenly Melanie in \n\tthe foreground turns in full profile to her right and looks \n\tdown.", "She runs to him, grabs his arm, struggles with him as he \n\tmaniacally continues hurling stones at the birds, who are \n\tnow hovering flight." ], [ "She laughs, and Mitch joins her, but it is hollow this time. \n\tLike children who have told themselves a too realistic horror \n\tstory, they are becoming a little frightened.", "SHOLES\n\t\tMaybe we're all getting a little \n\t\tcarried away by this. Admittedly, a \n\t\tfew birds acted strangely. That's no \n\t\treason to believe...", "His face is poring with blood: his head and shoulders are \n\tcovered with attacking birds. He disappears from sight. \n\tMelanie, now almost in a faint, opens her eyes to see Tides", "MELANIE\n\t\t\t(airily)\n\t\tYes, we call them that too.\n\t\t\t(she moves away)", "There is a kind of stunned silence among the people. We can \n\thear the sound of the screaming gulls outside. Suddenly a \n\twoman's voice SCREAMS out:", "MELANIE\n\t\t\t(nodding)\n\t\tIt's hard to believe anything at all", "MRS. BUNDY\n\t\tRidiculous!", "She rushes off. He struggles grotesquely with the birds. \n\tThere is a wild fury in him, and a methodical dedication. He", "pulls her into the corridor and then, holding the door shut \n\tbehind him with one hand, delivers swinging furious blows at \n\tthe few birds that have escaped into the corridor.", "MRS. BUNDY\n\t\tOf course it does. If we believe \n\t\tthat birds are attacking, why... why \n\t\tnext we'll believe that grasshoppers \n\t\tand cockroaches are capable of...", "attacks it from the side of the road, but it speeds into \n\tthem and through them. The gap grows wider and wider. They \n\tare well ahead of the birds now.", "MRS. BUNDY\n\t\tThe point is that no one seemed to \n\t\tget upset about it. They were gone \n\t\tthe next morning, just as if nothing \n\t\tat all had happened. Poor things.", "Melanie goes to stand beside Annie. Puzzled, Annie unlocks \n\tthe door, and then opens it. She looks out into the night. \n\tThere is nothing but the SOUND of the wind.", "Three or four gulls are still attacking and they flutter \n\taway as the men appear to beat them off. Suddenly Melanie in \n\tthe foreground turns in full profile to her right and looks \n\tdown.", "She hangs up. Mrs. Bundy is at her elbow.", "She covers the cage. Under the cover, the birds are still \n\ttweeting madly. Lydia stares at the covered cage for a moment, \n\tand then signs heavily.", "MRS. BUNDY\n\t\t\t(with a superior smile)\n\t\tI hardly think either species would", "MELANIE\n\t\tWith all my clothes on! The newspaper \n\t\tthat ran the story happens to be a \n\t\trival of my father's paper. Anything \n\t\tthey said...", "sound distracts her. Cathy is sorting candles at the couch. \n\tThere is evidence of preparation everywhere: flashlights,", "She scurries out behind the counter and out of sight. Melanie \n\tfinishes writing her address and stands impatiently by the \n\tcounter. She taps her teeth with the pencil." ], [ "He GOES OUT OF PICTURE. Melanie watches him. Over her shoulder \n\tis the white face of Cathy. We HEAR a DRAGGING SOUND and \n\tthen a door is CLOSED.", "Melanie interrupts her playing to take another puff at her \n\tcigarette.\n\n\t\t\t\tCATHY\n\t\tIs smoking fun?", "She begins opening the play yard door. Suddenly, the door \n\tfrom the corridor bursts open, and Melanie rushes wildly", "And Cathy flings herself into Melanie's arms, almost knocking \n\ther off her feet, hugging her fiercely.", "Melanie, fighting off the attack at the same time. He begins \n\tdragging her out of the room. Her clothes have almost been", "His face is poring with blood: his head and shoulders are \n\tcovered with attacking birds. He disappears from sight. \n\tMelanie, now almost in a faint, opens her eyes to see Tides", "once more, Melanie holding Cathy close to her. They look out \n\tcautiously to the right.", "He hurls himself against it. Inside the room, where Melanie \n\tstruggles, we HEAR his hammering on it. Melanie is overwhelmed \n\tby the birds.", "MELANIE\n\t\tOh, I suppose so.\n\n\t\t\t\tCATHY\n\t\tCould I have a puff?", "MELANIE\n\t\tI know.\n\n\t\t\t\tCATHY\n\t\tAre you coming to my party?", "CATHY\n\t\t\t(in terror)\n\t\tI'm... I'm sick, Melanie. I want.. I \n\t\twant to throw...", "There is a long silence. It is Melanie who has the strongest \n\treason for fearing the birds. It is Melanie, her fear growing, \n\twho makes the decision.", "CATHY\n\t\tI think you ought to stay the night, \n\t\tMelanie.\n\n\tINT. LIVING ROOM - CLOSE SHOT - LYDIA", "this, and while she is putting the blindfold round the eyes \n\tof Cathy, she is looking to her right and obviously is \n\twatching Mitch and Melanie.", "MELANIE\n\t\tAnd locked it.\n\n\t\t\t\tCATHY\n\t\tMitch, can I bring the lovebirds in \n\t\there?", "Melanie stops, looks back and sees Cathy and Michele, heads \n\tof other children rushing by in foreground. Birds swirling. \n\tMelanie dashes out left.", "state of shock. The CAMERA PANS him over to Melanie who holds \n\tCathy to her.", "Cathy does not turn: she is staring ahead of her, her eyes \n\twide, her lip trembling. They drive in silence, and then", "CATHY\n\t\tMiss Daniels?\n\n\t\t\t\tMELANIE\n\t\tYes?", "CATHY\n\t\tDon't you like us?\n\n\t\t\t\tMELANIE\n\t\t\t(touching her hair)\n\t\tDarling, of course I do!" ], [ "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "MELANIE\n\t\tHey, wait a minute!\n\n\tShe goes after him. Mitch turns, stops, smiles, enjoying her \n\tbafflement immensely. Melanie studies him. Then:", "as the boat comes closer. The boat drifts in toward a second \n\tboat tied up at the dock. Mitch crosses the docked boat, \n\tleaps into Melanie's boat.", "as Mitch goes out. Melanie looks after him for a moment, and \n\tthen picks up the tray. Outside, we HEAR the SOUND of his", "Mitch is running for his car. The car door SLAMS. The ENGINE \n\tSTARTS. The car practically leaps out of the driveway.\n\n\tCLOSE SIDE-ON SHOT - MELANIE", "close to the Tides Restaurant entrance. We see Mitch drag \n\tMelanie from the phone booth and run with her toward the \n\tCAMERA through the birds into the restaurant.\n\n\tINT. THE TIDES", "there is a quick glimpse of Melanie and Mitch in embrace in \n\tthe garden. Then the tires shriek, and the truck turns and \n\tbarrels into the front yard.", "MELANIE\n\t\t\t(in background)\n\t\tMitch? I'm glad I caught you. \n\t\tSomething terrible has happened.\n\n\tHer background conversation continues through following:", "CARTER, who owns the restaurant with his wife, alternates \n\this attention between serving his customers and watching the \n\tWestern. He looks up immediately when Mitch and Melanie ENTER.", "MELANIE\n\t\tMitch?\n\n\tThere is no answer.\n\n\t\t\t\tMELANIE\n\t\tMitch?", "EXT. ANNIE'S HOUSE\n\n\tMelanie and Mitch arrive. They come to a sudden stop.\n\n\tLONG SHOT - ANNIE'S HOUSE", "Melanie, collapsed at the base of the door, is no longer in \n\tview. Neither are the birds, whose fluttering shadows we see \n\ton the door as Mitch again hits it from outside.", "CLOSE SHOT - MELANIE\n\n\tThere is anticipation on her face now. She watches Mitch \n\tcoming toward her, her eyes glowing.\n\n\tFULL SHOT - MITCH", "EXT. BODIGA STREET\n\n\tThere are one or two gulls flying around. Others are perched \n\ton roofs as we see Mitch and Melanie dashing along the \n\tsidewalk.", "The door opens. Mitch and Al Malone come in.\n\n\t\t\t\tMITCH\n\t\tMelanie?\n\n\tAt the far table, the salesman begin singing, rowdily.", "inside the Tides. Mitch dashes toward the door -- Melanie \n\tafter him. Through the glass windows into the street we see", "as Mitch and Melanie cross it to her car. A wind is blowing \n\toff the water, and high fast clouds are scudding across the \n\tface of the moon.", "Deke Carter comes running from behind the bar to join Mitch. \n\tThey both EXIT. Melanie dashes back to her original place at", "Mitch is coming out of the house, from the front door, wearing \n\ta different shirt, buttoning it as he walks to her.\n\n\tTWO SHOT - MELANIE AND MITCH", "They walk quickly up the slope to the Tides, establishing \n\tgas station across the road, the collection of stores \n\topposite, the cars pulling in and out. Mitch opens the door \n\tfor her, and they ENTER." ], [ "MITCH\n\t\tOf birds?\n\n\t\t\t\tMELANIE\n\t\tCertainly, of birds.\n\n\tMitch grins.", "The bird is wearing a distinctly hangdog expression.\n\n\t\t\t\tMITCH\n\t\tYes, I see.\n\t\t\t(pause)\n\t\tAbout those lovebirds, Miss...", "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "sees her and starts running toward the booth.\n\n\tHIGH SHOT - MITCH\n\n\tbeating his way through the birds. He reaches the booth.\n\n\tLOW SHOT", "CLOSE SHOT - MITCH\n\n\tlooking at the birds, wondering.\n\n\tCLOSE SHOT - THE BIRDS", "from outside as Mitch opens it wider. The door is scarred \n\tand splintered. As he opens the door, one or two dead birds", "MITCH\n\t\t\t(exploding)\n\t\tYes, the bird war, the bird attack,", "MITCH\n\t\tShhh! Shhhh!\n\n\tHe tiptoes up to the bird, hat in hand. Quickly, he covers \n\tthe bird with his hat, then reaches under to grab it.", "The moment the child has dropped, Mitch suddenly looks up. \n\tHe slams the window as two or three birds crash into the \n\twindows. They disappear into the building.\n\n\tCLOSEUP - MELANIE", "Melanie, collapsed at the base of the door, is no longer in \n\tview. Neither are the birds, whose fluttering shadows we see \n\ton the door as Mitch again hits it from outside.", "LYDIA\n\t\tYou did say birds?\n\n\t\t\t\tMITCH\n\t\tYes, lovebirds. We couldn't let you...", "MITCH\n\t\t\t(at the finches)\n\t\tAren't these lovebirds?\n\n\t\t\t\tMELANIE\n\t\tNo, sir, those are... redbirds.", "As in fury, Mitch picks up stones and begins hurling them at \n\tthe birds. Melanie dashes forward.", "They walk quickly up the slope to the Tides, establishing \n\tgas station across the road, the collection of stores \n\topposite, the cars pulling in and out. Mitch opens the door \n\tfor her, and they ENTER.", "MITCH\n\t\t\t(deadpan)\n\t\tLovebirds.\n\n\t\t\t\tMELANIE\n\t\tLovebirds, sir?", "MITCH\n\t\t\t(secretly)\n\t\tA little birdie told me.\n\t\t\t(he smiles politely)", "CATHY\n\t\tMitch? Why are they doing this? The \n\t\tbirds.", "Mitch rises and puts more wood on the fire. The SOUND of the \n\tbirds is still everywhere around the house. He looks at his", "as Mitch carries the canary back to the cage. He opens the \n\tdoor.", "MITCH\n\t\tYou came all the way up here to bring \n\t\tme those birds?" ], [ "MELANIE\n\t\tHey, wait a minute!\n\n\tShe goes after him. Mitch turns, stops, smiles, enjoying her \n\tbafflement immensely. Melanie studies him. Then:", "MITCH\n\t\tWhat for?\n\n\t\t\t\tMELANIE\n\t\tTo see a friend of mine.\n\t\t\t(she winces)\n\t\tWill you please be careful?", "MELANIE\n\t\tMitch?\n\n\tThere is no answer.\n\n\t\t\t\tMELANIE\n\t\tMitch?", "MELANIE\n\t\t\t(still whispering)\n\t\tMitch?\n\n\tCLOSE SHOT - MITCH\n\n\tasleep.", "throughout following, recording her reactions as Melanie \n\ttalks to Mitch in the background.", "MELANIE\n\t\t\t(in background)\n\t\tMitch? I'm glad I caught you. \n\t\tSomething terrible has happened.\n\n\tHer background conversation continues through following:", "MELANIE\n\t\t\t(judiciously)\n\t\tI think maybe you'd better deliver \n\t\thim. Let me give you my address.\n\t\t\t(she begins taking \n\t\t\toff her gloves)", "as Mitch goes out. Melanie looks after him for a moment, and \n\tthen picks up the tray. Outside, we HEAR the SOUND of his", "MITCH\n\t\tWhat did it say?\n\n\t\t\t\tMELANIE\n\t\tNone of your business.\n\t\t\t(pause)\n\t\tAm I still bleeding?", "when Melanie COMES IN. She looks at what he is doing with \n\talarm. Mitch looks in the direction of where his mother is \n\tand then back to Melanie, with an expression almost of", "written there in Melanie's handwriting: MR. MITCHELL BRENNER.\n\n\tMED. SHOT - MELANIE", "MELANIE\n\t\t\t(whispering)\n\t\tMitch?\n\n\tMED. SHOT - MELANIE\n\n\tas she turns toward him.", "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "MITCH\n\t\tOf birds?\n\n\t\t\t\tMELANIE\n\t\tCertainly, of birds.\n\n\tMitch grins.", "MELANIE\n\t\tMitch...! Mitch!\n\n\tWe see her look up to the sky.\n\n\tLONG SHOT - THE SKY", "MITCH\n\t\tMelanie, Melanie...\n\n\t\t\t\tMELANIE\n\t\tI'm frightened, Mitch.", "(silence)\n\t\tMelanie needs help.\n\t\t\t(silence)\n\t\tMother, the house won't take another", "EXT. ANNIE'S HOUSE\n\n\tMelanie and Mitch arrive. They come to a sudden stop.\n\n\tLONG SHOT - ANNIE'S HOUSE", "Mitch starts off. Melanie restrains him.\n\n\t\t\t\tMELANIE\n\t\tCareful, Mitch. The crows may be \n\t\tback in the play yard.", "MITCH\n\t\tMelanie...\n\n\t\t\t\tMELANIE\n\t\t...everything I know.\n\n\tShe looks up at him suddenly." ], [ "as Lydia crosses to a fence and cups her hands to her mouth.\n\n\t\t\t\tLYDIA\n\t\t\t(shouting)\n\t\tHi, there!", "LONG SHOT - THE FARMHAND\n\n\tHe stops the tractor, turns toward Lydia, shading his eyes.\n\n\tCLOSE SHOT - LYDIA", "Lydia at the wheel, pulling into the Fawcett farm, the name \n\tof the farm clearly visible on a painted arch over the gate.", "her face. She twists completely around to look at Lydia as \n\tthough she were wondering if Lydia sees what she sees. \n\tSuddenly we HEAR a little boy's voice crying:", "spill into the room. He steps out into the yard. Lydia is \n\tdirectly behind him.", "There is another silence. A curious thing is happening in \n\tthis room. Lydia, for perhaps the first time since her \n\thusband's death, is discussing it with another person. \n\tCuriously, the person is Melanie.", "to the floor. Lydia is staring down at Melanie in terror and \n\tcompassion. He takes the rope from her, loops it over the", "She backs away from the house again. The barnyard is silent. \n\tIn the distance, we can HEAR the SOUND of the tractor.\n\n\t\t\t\tLYDIA\n\t\tDan? Are you home?", "He struts up to the scattered grain.\n\n\tCLOSE SHOT - LYDIA\n\n\twatching him.\n\n\tCLOSE SHOT - THE CHICKEN", "as she crosses the barnyard again. There are several chickens \n\tscurrying about. She walks closer to them, sees an open bag \n\tof feed lying against the fence.", "rushing to Lydia, swinging the cloth at her head. She is \n\thysterics now, BABBLING. The SHRIEK of the birds is a wild \n\tcacophony.", "behind it. The farm is still again. Mitch stands looking \n\tafter the truck for a moment, and then begins walking up \n\ttoward the barn in the distance.", "There is no answer. She shades her eyes and looks out over \n\tthe fields.\n\n\tLONG SHOT - FARMHAND ON TRACTOR\n\n\tFULL SHOT - THE BARNYARD", "LYDIA\n\t\tThen he saw.\n\n\t\t\t\tMELANIE\n\t\tHe must have. He sent for the Santa \n\t\tRosa police.", "a small knowledgeable nod of her head. The chicken's reaction \n\tstrengthens her determination to talk to Fawcett. She turns.\n\n\tFULL SHOT - LYDIA", "as it begins moving forward again at an excruciatingly slow \n\trate of speed, into the town and the waiting birds.\n\n\tCLOSE SHOT - LYDIA", "Lydia stares at her doubtfully.\n\n\t\t\t\t\t\t\t DISSOLVE\n\n\tEXT. ANNIE HAYWORTH'S HOUSE - FULL SHOT", "And then, one weekend, he asked me \n\t\tup to meet Lydia.", "Lydia gets out of the truck and walks to the front door. She \n\tknocks. There is no answer.", "A kerosene lamp is burning. Melanie is awake, watching the \n\tfire. Lydia has fallen into a semi-recumbent position asleep" ], [ "He GOES OUT OF PICTURE. Melanie watches him. Over her shoulder \n\tis the white face of Cathy. We HEAR a DRAGGING SOUND and \n\tthen a door is CLOSED.", "as Cathy, carrying her schoolbooks, runs to the pickup truck \n\tand climbs in. The truck moves out of the yard and down the \n\troad. It turns the bend, and moves out of sight.", "Melanie stops, looks back and sees Cathy and Michele, heads \n\tof other children rushing by in foreground. Birds swirling. \n\tMelanie dashes out left.", "once more, Melanie holding Cathy close to her. They look out \n\tcautiously to the right.", "They move on and go past Melanie's waiting car outside the \n\tschool. Suddenly Melanie brings him to a halt.\n\n\tLONG SHOT - ANNIE'S HOUSE - FROM THEIR VIEWPOINT", "Melanie interrupts her playing to take another puff at her \n\tcigarette.\n\n\t\t\t\tCATHY\n\t\tIs smoking fun?", "There is a long silence. It is Melanie who has the strongest \n\treason for fearing the birds. It is Melanie, her fear growing, \n\twho makes the decision.", "INT. STATION WAGON (2) (P)\n\n\tMelanie looks out and sees:\n\n\tEXT. SCHOOL ROAD - P.O.V. (6) (FP)", "Melanie drags Cathy and Michele to the station wagon. We see \n\tthe Bay in the distance and children running on the bottom \n\tof the street.", "Melanie, picks her up and carries her to the steps, Lydia \n\tfollowing. As they go downstairs:", "MELANIE\n\t\tI know.\n\n\t\t\t\tCATHY\n\t\tAre you coming to my party?", "MELANIE\n\t\tHe wants me to go to Cathy's party \n\t\ttomorrow afternoon.\n\t\t\t(pause)\n\t\tI said I would.", "EXT. SCHOOL ROAD (3) (S)\n\n\tMelanie reaches Cathy and Michele -- Michele is now on her \n\tfeet. Birds swirling -- Melanie looks about -- sees.", "MELANIE\n\t\tOh, I suppose so.\n\n\t\t\t\tCATHY\n\t\tCould I have a puff?", "She begins opening the play yard door. Suddenly, the door \n\tfrom the corridor bursts open, and Melanie rushes wildly", "And Cathy flings herself into Melanie's arms, almost knocking \n\ther off her feet, hugging her fiercely.", "CATHY\n\t\tMiss Daniels?\n\n\t\t\t\tMELANIE\n\t\tYes?", "this, and while she is putting the blindfold round the eyes \n\tof Cathy, she is looking to her right and obviously is \n\twatching Mitch and Melanie.", "as Mitch goes out. Melanie looks after him for a moment, and \n\tthen picks up the tray. Outside, we HEAR the SOUND of his", "inside the schoolhouse. Melanie is puffing away at her \n\tcigarette and occasionally glances in the direction of the \n\tschool. We hold on this shot of Melanie for a very long time" ], [ "He kneels silently by the body. Gently, he touches Annie's \n\tface, and then gently and illogically takes off his jacket", "She hangs up and looks at Annie in embarrassment.", "ANNIE\n\t\tChildren, they were only seagulls.\n\n\tAnd then the meaning of what she has just said strikes her, \n\tand she remembers the bird hitting her door the night before.", "She nods pleasantly, starts the car, pulls away.\n\n\tCLOSE SHOT - ANNIE\n\n\twatching the car, a look of sad resignation on her face.", "Annie.\n\t\t\t(pause)\n\t\tShe pushed me inside.", "ANNIE\n\t\tSo it ended. Not immediately, of \n\t\tcourse. I went back to San Francisco,", "Melanie flops in exhaustion over the wheel as Annie comes \n\tround to the side window and starts to open the door.\n\n\t\t\t\t\t\t\t DISSOLVE", "INTO the room. She goes directly to Annie, shoves her out of \n\tthe way, and SLAMS shut the play yard door.", "as Annie, stooping, looks up at her. On their puzzlement and \n\tconsternation:\n\n\t\t\t\t\t\t\t FADE OUT\n\n\tFADE IN", "QUICK CLOSE SHOT - ANNIE\n\n\tdead.\n\n\tQUICK CLOSE SHOT - MITCH\n\n\tThe shock registering on his face.", "the dunes. They are absorbed in each other. The CAMERA PANS \n\tOFF them and BRING INTO the picture Annie, surrounded by the", "There is an awkwardness here. Annie wants to know more. She \n\tpuffs on the cigarette, smiles, tries a friendly approach.", "They move on and go past Melanie's waiting car outside the \n\tschool. Suddenly Melanie brings him to a halt.\n\n\tLONG SHOT - ANNIE'S HOUSE - FROM THEIR VIEWPOINT", "Melanie is at the door to Annie's room now. She opens the \n\tdoor and looks in.\n\n\tFULL SHOT - ANNIE - MELANIE'S P.O.V.", "ANNIE\n\t\tFour years ago. Of course, that was \n\t\tshortly after his father died. Things \n\t\tmay be different now.", "ANNIE\n\t\tThen go.\n\n\tThe room is silent. Melanie nods, slowly, and then smiles.\n\n\t\t\t\tMELANIE\n\t\tThank you, Annie.", "Annie rises to greet her. As Melanie ENTERS THE SHOT:", "DISSOLVE\n\n\tINT. ANNIE HAYWORTH'S LIVING ROOM - MED. SHOT - ANNIE", "MELANIE\n\t\tThen why did she object to you?\n\n\t\t\t\tANNIE\n\t\tBecause she was afraid.", "Melanie nods. They are both silent, watching the bay.\n\n\t\t\t\tMELANIE\n\t\tI keep thinking of Annie.\n\t\t\t(she squeezes her \n\t\t\teyes shut)" ], [ "as Mitch goes out. Melanie looks after him for a moment, and \n\tthen picks up the tray. Outside, we HEAR the SOUND of his", "MITCH\n\t\tWhat for?\n\n\t\t\t\tMELANIE\n\t\tTo see a friend of mine.\n\t\t\t(she winces)\n\t\tWill you please be careful?", "MELANIE\n\t\tHey, wait a minute!\n\n\tShe goes after him. Mitch turns, stops, smiles, enjoying her \n\tbafflement immensely. Melanie studies him. Then:", "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "MELANIE\n\t\tMitch?\n\n\tThere is no answer.\n\n\t\t\t\tMELANIE\n\t\tMitch?", "Mitch starts off. Melanie restrains him.\n\n\t\t\t\tMELANIE\n\t\tCareful, Mitch. The crows may be \n\t\tback in the play yard.", "MELANIE\n\t\t\t(still whispering)\n\t\tMitch?\n\n\tCLOSE SHOT - MITCH\n\n\tasleep.", "MELANIE\n\t\t\t(in background)\n\t\tMitch? I'm glad I caught you. \n\t\tSomething terrible has happened.\n\n\tHer background conversation continues through following:", "Mitch is running for his car. The car door SLAMS. The ENGINE \n\tSTARTS. The car practically leaps out of the driveway.\n\n\tCLOSE SIDE-ON SHOT - MELANIE", "MELANIE\n\t\t\t(whispering)\n\t\tMitch?\n\n\tMED. SHOT - MELANIE\n\n\tas she turns toward him.", "As in fury, Mitch picks up stones and begins hurling them at \n\tthe birds. Melanie dashes forward.", "They arrive at the car.\n\n\t\t\t\tMELANIE\n\t\tYou drive, Mitch.", "as the boat comes closer. The boat drifts in toward a second \n\tboat tied up at the dock. Mitch crosses the docked boat, \n\tleaps into Melanie's boat.", "MELANIE\n\t\tYou must be exhausted.\n\n\t\t\t\tMITCH\n\t\tHow about you?", "MITCH\n\t\tOf birds?\n\n\t\t\t\tMELANIE\n\t\tCertainly, of birds.\n\n\tMitch grins.", "MELANIE\n\t\tMitch...! Mitch!\n\n\tWe see her look up to the sky.\n\n\tLONG SHOT - THE SKY", "as Mitch closes the door to the cage. Melanie is slumped \n\tagainst the wall. He goes to her and takes her in his arms.", "throughout following, recording her reactions as Melanie \n\ttalks to Mitch in the background.", "when Melanie COMES IN. She looks at what he is doing with \n\talarm. Mitch looks in the direction of where his mother is \n\tand then back to Melanie, with an expression almost of", "TWO SHOT - MELANIE AND MITCH\n\n\tHe takes her in his arms suddenly, to comfort her. She goes \n\tto him longingly." ], [ "looking at the lovebirds in puzzlement. There is suddenly a \n\tNEW SOUND offscreen, the splintering of wood, the tearing \n\tsound of bigger beaks. Alarmed, he turns.", "She rushes off. He struggles grotesquely with the birds. \n\tThere is a wild fury in him, and a methodical dedication. He", "LYDIA\n\t\tYou did say birds?\n\n\t\t\t\tMITCH\n\t\tYes, lovebirds. We couldn't let you...", "in anger and desperation as he throttles the bird with his \n\thands. He reaches behind him to grab the doorknob again, and \n\tis immediately attacked by the other bird.", "She covers the cage. Under the cover, the birds are still \n\ttweeting madly. Lydia stares at the covered cage for a moment, \n\tand then signs heavily.", "The birds are CHIRPING wildly in their cage. The man and \n\tMelanie stand silently side by side. The man's eyes wander", "MITCH\n\t\t\t(deadpan)\n\t\tLovebirds.\n\n\t\t\t\tMELANIE\n\t\tLovebirds, sir?", "wood on the fire. In the dining room, the lovebirds still \n\tare CHATTERING wildly. Their chirping is the only sound in \n\tthe house.", "She runs to him, grabs his arm, struggles with him as he \n\tmaniacally continues hurling stones at the birds, who are \n\tnow hovering flight.", "CLOSE SHOT - THE LOVEBIRDS\n\n\twatching him. Is there menace or innocence in their eyes? \n\tHe cannot tell.\n\n\tCLOSE SHOT - MITCH", "The bird is wearing a distinctly hangdog expression.\n\n\t\t\t\tMITCH\n\t\tYes, I see.\n\t\t\t(pause)\n\t\tAbout those lovebirds, Miss...", "He hurls himself against it. Inside the room, where Melanie \n\tstruggles, we HEAR his hammering on it. Melanie is overwhelmed \n\tby the birds.", "pulls her into the corridor and then, holding the door shut \n\tbehind him with one hand, delivers swinging furious blows at \n\tthe few birds that have escaped into the corridor.", "Ahhh, here we are, Lovebirds...\n\t\t\t(and stops before a \n\t\t\tcage of canaries)", "She sees a man with a gun shooting up at birds but to no \n\tavail. One or two descend upon him. He throws the gun down", "MITCH\n\t\t\t(at the finches)\n\t\tAren't these lovebirds?\n\n\t\t\t\tMELANIE\n\t\tNo, sir, those are... redbirds.", "rushing to Lydia, swinging the cloth at her head. She is \n\thysterics now, BABBLING. The SHRIEK of the birds is a wild \n\tcacophony.", "up the bird cage, carries it back to the elevator. The birds \n\tare COOING and CHIRPING madly.", "MELANIE\n\t\t\t(as she dials)\n\t\tDo you have any lovebirds?", "with the pencil. There is no menace in the birds surrounding \n\ther. They are active and beautiful as they dart behind the \n\tbars and mesh of their cages. Off screen, the puppy begins" ], [ "pulls her into the corridor and then, holding the door shut \n\tbehind him with one hand, delivers swinging furious blows at \n\tthe few birds that have escaped into the corridor.", "There is a long silence. It is Melanie who has the strongest \n\treason for fearing the birds. It is Melanie, her fear growing, \n\twho makes the decision.", "cars. At this time, the birds are filling the area around \n\tthem. They suddenly turn the hose up into the birds.", "in anger and desperation as he throttles the bird with his \n\thands. He reaches behind him to grab the doorknob again, and \n\tis immediately attacked by the other bird.", "She sees a man with a gun shooting up at birds but to no \n\tavail. One or two descend upon him. He throws the gun down", "She rushes off. He struggles grotesquely with the birds. \n\tThere is a wild fury in him, and a methodical dedication. He", "His face is poring with blood: his head and shoulders are \n\tcovered with attacking birds. He disappears from sight. \n\tMelanie, now almost in a faint, opens her eyes to see Tides", "The screen is totally black for perhaps five seconds. In the \n\tblackness, we HEAR the birds clawing and ripping, and the \n\tSOUND is enormously MAGNIFIED. A flashlight suddenly goes \n\ton.", "There is a kind of stunned silence among the people. We can \n\thear the sound of the screaming gulls outside. Suddenly a \n\twoman's voice SCREAMS out:", "\"THE BIRDS\"\n\n by\n\n Evan Hunter\n\n Based on the novel \"Birds\"", "attacks it from the side of the road, but it speeds into \n\tthem and through them. The gap grows wider and wider. They \n\tare well ahead of the birds now.", "EXT. TIDES TOWN\n\n\tFrom Melanie's viewpoint inside the booth we see the people \n\twho have been rushing to put out the fire now faced with \n\tclouds of birds coming on them.", "as the car approaches them. The windows are all broken, and \n\tmerchandise is lying on the sidewalk. Birds are everywhere, \n\twaiting.\n\n\tCLOSE SHOT - A DEAD MAN", "MRS. BUNDY\n\t\tOf course it does. If we believe \n\t\tthat birds are attacking, why... why \n\t\tnext we'll believe that grasshoppers \n\t\tand cockroaches are capable of...", "Mrs. Bundy, crows or blackbirds. If \n\t\tthey attacked the school, that's \n\t\tpretty serious.", "MITCH\n\t\t\t(exploding)\n\t\tYes, the bird war, the bird attack,", "looking at the lovebirds in puzzlement. There is suddenly a \n\tNEW SOUND offscreen, the splintering of wood, the tearing \n\tsound of bigger beaks. Alarmed, he turns.", "left we see a horse with its head covered with gulls; its \n\tpalomino-colored body covered with crows. It is bucking and \n\tleaping and kicking its van to pieces.", "as the bird strikes at his face. He reaches out with his \n\thands, grasping the bird, letting go of the door knob. \n\tAnother bird flutters into the corridor.", "the bird plague, you can call it \n\t\twhat you want to, they're out there \n\t\tmassing someplace and they'll be" ], [ "MITCH\n\t\tOf birds?\n\n\t\t\t\tMELANIE\n\t\tCertainly, of birds.\n\n\tMitch grins.", "The moment the child has dropped, Mitch suddenly looks up. \n\tHe slams the window as two or three birds crash into the \n\twindows. They disappear into the building.\n\n\tCLOSEUP - MELANIE", "as Mitch goes out. Melanie looks after him for a moment, and \n\tthen picks up the tray. Outside, we HEAR the SOUND of his", "Melanie, collapsed at the base of the door, is no longer in \n\tview. Neither are the birds, whose fluttering shadows we see \n\ton the door as Mitch again hits it from outside.", "MITCH\n\t\t\t(at the finches)\n\t\tAren't these lovebirds?\n\n\t\t\t\tMELANIE\n\t\tNo, sir, those are... redbirds.", "MELANIE\n\t\tLovebirds.\n\n\tTaking this as a further indication of Melanie's relationship \n\twith Mitch:", "as Mitch closes the door to the cage. Melanie is slumped \n\tagainst the wall. He goes to her and takes her in his arms.", "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "MELANIE\n\t\tHey, wait a minute!\n\n\tShe goes after him. Mitch turns, stops, smiles, enjoying her \n\tbafflement immensely. Melanie studies him. Then:", "LYDIA\n\t\tYou did say birds?\n\n\t\t\t\tMITCH\n\t\tYes, lovebirds. We couldn't let you...", "As in fury, Mitch picks up stones and begins hurling them at \n\tthe birds. Melanie dashes forward.", "MELANIE\n\t\t\t(still whispering)\n\t\tMitch?\n\n\tCLOSE SHOT - MITCH\n\n\tasleep.", "The bird is wearing a distinctly hangdog expression.\n\n\t\t\t\tMITCH\n\t\tYes, I see.\n\t\t\t(pause)\n\t\tAbout those lovebirds, Miss...", "MITCH\n\t\t\t(deadpan)\n\t\tLovebirds.\n\n\t\t\t\tMELANIE\n\t\tLovebirds, sir?", "down to the bird-cage. Melanie's eyes move toward him. Self-\n\tconsciously, she stands with the cage of CHATTERING birds.", "He hurls himself against it. Inside the room, where Melanie \n\tstruggles, we HEAR his hammering on it. Melanie is overwhelmed \n\tby the birds.", "CLOSE SHOT - CATHY\n\n\tShe is carrying the cage of lovebirds. She hesitates just \n\toutside the doorway. She looks at Mitch.", "Mitch starts off. Melanie restrains him.\n\n\t\t\t\tMELANIE\n\t\tCareful, Mitch. The crows may be \n\t\tback in the play yard.", "MELANIE\n\t\tMitch?\n\n\tThere is no answer.\n\n\t\t\t\tMELANIE\n\t\tMitch?", "as the boat comes closer. The boat drifts in toward a second \n\tboat tied up at the dock. Mitch crosses the docked boat, \n\tleaps into Melanie's boat." ], [ "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "She is puzzled by Melanie who, exquisitely dressed and \n\tgroomed, seems singularly out of place in Bodega Bay. She \n\tstudies her openly.", "MELANIE\n\t\tI'm Melanie Daniels. I'm sorry to \n\t\tbother you, but...\n\n\tCLOSE SHOT - ANNIE", "MITCH\n\t\tOf birds?\n\n\t\t\t\tMELANIE\n\t\tCertainly, of birds.\n\n\tMitch grins.", "MITCH\n\t\tThat's right. What are you doing in \n\t\tBodega Bay?\n\n\t\t\t\tMELANIE\n\t\tDo you practice here?", "MELANIE\n\t\tHey, wait a minute!\n\n\tShe goes after him. Mitch turns, stops, smiles, enjoying her \n\tbafflement immensely. Melanie studies him. Then:", "close to the Tides Restaurant entrance. We see Mitch drag \n\tMelanie from the phone booth and run with her toward the \n\tCAMERA through the birds into the restaurant.\n\n\tINT. THE TIDES", "The moment the child has dropped, Mitch suddenly looks up. \n\tHe slams the window as two or three birds crash into the \n\twindows. They disappear into the building.\n\n\tCLOSEUP - MELANIE", "She gets out of the car and walks onto one of the docks, the \n\tbird cage in her hand. Melanie approaches a waiting fisherman.", "CAMERA is high enough to see Melanie and Mitch COME IN, very \n\thurriedly close the door. We see the gulls wheeling outside.", "MAN\n\t\tBodega Bay. He goes up there every \n\t\tweekend.\n\n\t\t\t\tMELANIE\n\t\tBodega Bay? Where's that?", "EXT. BODIGA STREET\n\n\tThere are one or two gulls flying around. Others are perched \n\ton roofs as we see Mitch and Melanie dashing along the \n\tsidewalk.", "CLERK\n\t\tRight here. Bodega Bay.\n\n\t\t\t\tMELANIE\n\t\tYes, but where?", "Melanie, collapsed at the base of the door, is no longer in \n\tview. Neither are the birds, whose fluttering shadows we see \n\ton the door as Mitch again hits it from outside.", "MITCH\n\t\tWhat for?\n\n\t\t\t\tMELANIE\n\t\tTo see a friend of mine.\n\t\t\t(she winces)\n\t\tWill you please be careful?", "MITCH\n\t\t\t(at the finches)\n\t\tAren't these lovebirds?\n\n\t\t\t\tMELANIE\n\t\tNo, sir, those are... redbirds.", "MELANIE\n\t\t\t(in background)\n\t\tMitch? I'm glad I caught you. \n\t\tSomething terrible has happened.\n\n\tHer background conversation continues through following:", "as the boat comes closer. The boat drifts in toward a second \n\tboat tied up at the dock. Mitch crosses the docked boat, \n\tleaps into Melanie's boat.", "MITCH\n\t\tNo, San Francisco. What are you...?\n\n\t\t\t\tMELANIE\n\t\tWhat kind of law?", "there is a quick glimpse of Melanie and Mitch in embrace in \n\tthe garden. Then the tires shriek, and the truck turns and \n\tbarrels into the front yard." ], [ "He hurls himself against it. Inside the room, where Melanie \n\tstruggles, we HEAR his hammering on it. Melanie is overwhelmed \n\tby the birds.", "and steadily. The house is almost still. There is no longer \n\tthe sound of the clawing and pecking, but there is another", "there patiently, as if it is threading itself through a crowd, \n\tnot a sound, over the gulls, and then lifting to show the \n\tBrenner house in the distance.", "with the pencil. There is no menace in the birds surrounding \n\ther. They are active and beautiful as they dart behind the \n\tbars and mesh of their cages. Off screen, the puppy begins", "She joins in the chase around the room. The bird flutters up \n\tto the ceiling, and then lands on the counter and watches \n\tthem suspiciously.", "as the bird strikes at his face. He reaches out with his \n\thands, grasping the bird, letting go of the door knob. \n\tAnother bird flutters into the corridor.", "is the FLUTTER of wings. And then, like another section \n\tentering, we begin to hear the SCRATCHING and CLAWING at the \n\troof.", "falling onto the paper in the fireplace. It flickers for a \n\tmoment, then catches. Birds are still pouring out, past the \n\tpaper beginning to catch.", "The screen is totally black for perhaps five seconds. In the \n\tblackness, we HEAR the birds clawing and ripping, and the \n\tSOUND is enormously MAGNIFIED. A flashlight suddenly goes \n\ton.", "His face is poring with blood: his head and shoulders are \n\tcovered with attacking birds. He disappears from sight. \n\tMelanie, now almost in a faint, opens her eyes to see Tides", "Silence. Into the silence, another pane of glass, SHATTERING, \n\tthe THUD of a bird against the boards. Silence. More panes", "MALONE\n\t\tWell, these birds live in chimneys, \n\t\tyou know.\n\n\t\t\t\tMITCH\n\t\tNot by the thousands.", "as she crosses the barnyard again. There are several chickens \n\tscurrying about. She walks closer to them, sees an open bag \n\tof feed lying against the fence.", "Mitch rises and puts more wood on the fire. The SOUND of the \n\tbirds is still everywhere around the house. He looks at his", "pulls her into the corridor and then, holding the door shut \n\tbehind him with one hand, delivers swinging furious blows at \n\tthe few birds that have escaped into the corridor.", "wood on the fire. In the dining room, the lovebirds still \n\tare CHATTERING wildly. Their chirping is the only sound in \n\tthe house.", "from outside as Mitch opens it wider. The door is scarred \n\tand splintered. As he opens the door, one or two dead birds", "in anger and desperation as he throttles the bird with his \n\thands. He reaches behind him to grab the doorknob again, and \n\tis immediately attacked by the other bird.", "She rushes off. He struggles grotesquely with the birds. \n\tThere is a wild fury in him, and a methodical dedication. He", "looking at the lovebirds in puzzlement. There is suddenly a \n\tNEW SOUND offscreen, the splintering of wood, the tearing \n\tsound of bigger beaks. Alarmed, he turns." ], [ "as Lydia crosses to a fence and cups her hands to her mouth.\n\n\t\t\t\tLYDIA\n\t\t\t(shouting)\n\t\tHi, there!", "rushing to Lydia, swinging the cloth at her head. She is \n\thysterics now, BABBLING. The SHRIEK of the birds is a wild \n\tcacophony.", "spill into the room. He steps out into the yard. Lydia is \n\tdirectly behind him.", "She backs away from the house again. The barnyard is silent. \n\tIn the distance, we can HEAR the SOUND of the tractor.\n\n\t\t\t\tLYDIA\n\t\tDan? Are you home?", "Lydia gets out of the truck and walks to the front door. She \n\tknocks. There is no answer.", "to the floor. Lydia is staring down at Melanie in terror and \n\tcompassion. He takes the rope from her, loops it over the", "This is too much for her. She screams at sight of the birds, \n\tand then turns her face into Lydia's shoulder.\n\n\tTWO SHOT - LYDIA AND MELANIE", "Melanie, picks her up and carries her to the steps, Lydia \n\tfollowing. As they go downstairs:", "LONG SHOT - THE FARMHAND\n\n\tHe stops the tractor, turns toward Lydia, shading his eyes.\n\n\tCLOSE SHOT - LYDIA", "her face. She twists completely around to look at Lydia as \n\tthough she were wondering if Lydia sees what she sees. \n\tSuddenly we HEAR a little boy's voice crying:", "They leave the room. Mitch and Lydia sit in silence. We HEAR \n\tCathy retching offscreen, almost drowned out by the shuffling", "Lydia at the wheel, pulling into the Fawcett farm, the name \n\tof the farm clearly visible on a painted arch over the gate.", "There is a long silence. It is Melanie who has the strongest \n\treason for fearing the birds. It is Melanie, her fear growing, \n\twho makes the decision.", "turning and running for the door. The CAMERA FOLLOWS her in \n\tan unbroken headlong flight, the scream continuing as if she", "There is another silence. A curious thing is happening in \n\tthis room. Lydia, for perhaps the first time since her \n\thusband's death, is discussing it with another person. \n\tCuriously, the person is Melanie.", "is the pickup truck, too small to hold all of them. Lydia \n\tcomes to the door and quickly crosses the yard, not looking", "LYDIA\n\t\tThey're gone. God have mercy, they're \n\t\tgone.\n\n\tFULL SHOT - MITCH", "LYDIA\n\t\tI'm frightened, terribly frightened. \n\t\tI... I don't know what's out there, \n\t\tMitch.", "as it begins moving forward again at an excruciatingly slow \n\trate of speed, into the town and the waiting birds.\n\n\tCLOSE SHOT - LYDIA", "It is silent. Mitch looks across at Lydia who sits as still \n\tas a stone in her chair. The door closes gently on a note of \n\tutter helplessness." ], [ "happenings around the gas station. With this half-drawn \n\tattention, he strikes the match and holds it to the cigar.", "has come to a stop and a man emerges. He is in the act of \n\tlighting his dead cigar, but his attention is drawn to the", "The line of flame running swiftly from the burning cars, \n\tfollowing the gasoline on the ground, directly to the pump, \n\twhich blows up as the men are jumping away with the injured \n\tattendant.", "building adjacent to the flaming and smoking gas station. \n\tMitch dashes across and goes up the short staircase into the \n\tsmoking building.", "highway, endeavoring to put out the two fires. We see \n\tautomobiles coming to a stop on Highway One, and the oil \n\tsmoke beginning to rise from the burning gas station and the", "through the window. She suddenly looks toward the gas station.\n\n\tMED. SHOT - THE CAMERA PANS\n\n\talong the flowing gas back to the station.", "A nearer view of the gas station. A second gull hits the man \n\ton the back -- he falls -- hits his head on the pump and", "then collapses over the gasoline hose pipe, pulling it out \n\tand causing it to spill. The third and fourth gulls sweep \n\tby. The gas begins to flow away.", "We see the flow of gasoline trickling toward the car parked \n\tbelow her. At this particular moment, a car has pulled up,", "taking the matches. He lights one. A bird hits his arm. He \n\tdrops the match. He lights another one.\n\n\tCLOSE SHOT - THE MATCH", "The man looks about him, holding the match I his fingers. As \n\the catches sight of Melanie, the match burns his finger and \n\the drops it.\n\n\tCLOSEUP - MELANIE", "The first gull reaches the gas station but misses the \n\tattendant who is in the act of filling the car. The owner is \n\tseen disappearing into the men's room.\n\n\tINT. TIDES", "as the car approaches them. The windows are all broken, and \n\tmerchandise is lying on the sidewalk. Birds are everywhere, \n\twaiting.\n\n\tCLOSE SHOT - A DEAD MAN", "in and out of the windows of the car. We can see the arm \n\tand hand of the driver trying to beat them away. In the \n\tbackground of this scene we see the fire truck arrive.", "people dashing off to the right, in the direction of the gas \n\tstation. At the door, Mitch turns.", "Three fast explosions in a row as the man's car, Mitch's \n\tcar, and the one next to it go up in flames.", "as the car passes. A barricade has been set up on the front \n\tporch, and a man is leaning over it, dead, a shotgun in his", "Cathy rushes to them with a roll of bandages and a blanket. \n\tBy the light of the lantern, Mitch drapes the blanket over", "as the children begin drifting back toward the table and the \n\tcake. There is the curious feeling of lighting having struck \n\tvery close by without having injured anyone. All that", "inside the schoolhouse. Melanie is puffing away at her \n\tcigarette and occasionally glances in the direction of the \n\tschool. We hold on this shot of Melanie for a very long time" ], [ "She scurries out behind the counter and out of sight. Melanie \n\tfinishes writing her address and stands impatiently by the \n\tcounter. She taps her teeth with the pencil.", "there is a quick glimpse of Melanie and Mitch in embrace in \n\tthe garden. Then the tires shriek, and the truck turns and \n\tbarrels into the front yard.", "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "There is a long silence. It is Melanie who has the strongest \n\treason for fearing the birds. It is Melanie, her fear growing, \n\twho makes the decision.", "Melanie, picks her up and carries her to the steps, Lydia \n\tfollowing. As they go downstairs:", "They move on and go past Melanie's waiting car outside the \n\tschool. Suddenly Melanie brings him to a halt.\n\n\tLONG SHOT - ANNIE'S HOUSE - FROM THEIR VIEWPOINT", "covering her face.\n\n\tMED. SHOT - MELANIE\n\n\treaching for small fireplace broom.\n\n\tCLOSE SHOT - LYDIA", "Melanie stops, looks back and sees Cathy and Michele, heads \n\tof other children rushing by in foreground. Birds swirling. \n\tMelanie dashes out left.", "MELANIE\n\t\t\t(whispering)\n\t\tHurry!\n\n\tEXT. PLAY YARD - FULL SHOT (6)", "Melanie, collapsed at the base of the door, is no longer in \n\tview. Neither are the birds, whose fluttering shadows we see \n\ton the door as Mitch again hits it from outside.", "He GOES OUT OF PICTURE. Melanie watches him. Over her shoulder \n\tis the white face of Cathy. We HEAR a DRAGGING SOUND and \n\tthen a door is CLOSED.", "The man looks about him, holding the match I his fingers. As \n\the catches sight of Melanie, the match burns his finger and \n\the drops it.\n\n\tCLOSEUP - MELANIE", "Mitch is covered with soot. Melanie puts down the broom \n\twearily. The attack is over.", "past the gas station and beyond to the parking area and the \n\tdocks, continuing Melanie's slow observation of the place.\n\n\tCLOSE SHOT - MELANIE - (PROCESS)", "She begins opening the play yard door. Suddenly, the door \n\tfrom the corridor bursts open, and Melanie rushes wildly", "She gets out of the car and walks onto one of the docks, the \n\tbird cage in her hand. Melanie approaches a waiting fisherman.", "not the Melanie we saw at the beginning of the picture. Her \n\thair is disarrayed, and her face and clothing are streaked \n\twith soot. But beyond a surface physical appearance, there", "as the door opens. Melanie ENTERS quickly, and closes the \n\tdoor behind her. She glances around for a moment, getting \n\ther bearings. The house is silent.", "Melanie, fighting off the attack at the same time. He begins \n\tdragging her out of the room. Her clothes have almost been", "A kerosene lamp is burning. Melanie is awake, watching the \n\tfire. Lydia has fallen into a semi-recumbent position asleep" ], [ "shows the hose snaking wildly and jumping. At one moment the \n\twater turns and comes in a powerful stream hitting the windows \n\tof the phone booth.\n\n\tCLOSEUP - MELANIE", "CLOSEUP - INSIDE THE PHONE BOOTH - MELANIE\n\n\tslams the door shut. Gulls are now beating at the glass all \n\taround her.", "MELANIE\n\t\t\t(at phone; coolly)\n\t\tHello? Yes, this is Melanie. Fine,", "Looking about her frantically. She turns her face up again \n\tto see the descending gulls. She is driven to take refuge in \n\tthe phone booth.", "as the boat comes closer. The boat drifts in toward a second \n\tboat tied up at the dock. Mitch crosses the docked boat, \n\tleaps into Melanie's boat.", "Melanie, fighting off the attack at the same time. He begins \n\tdragging her out of the room. Her clothes have almost been", "close to the Tides Restaurant entrance. We see Mitch drag \n\tMelanie from the phone booth and run with her toward the \n\tCAMERA through the birds into the restaurant.\n\n\tINT. THE TIDES", "Melanie rises and goes to the phone. The CAMERA FOLLOWS Annie \n\tto the wing chair in the foreground and stays on her", "and clowning around throughout following at a table in the \n\trear. The phone from behind the bar has been placed on the \n\tcounter, and Melanie is speaking into it while Deke listens.", "in the phone booth. She turns and looks swiftly in the \n\tdirection of the car park.\n\n\tEXT. TIDES CAR PARK", "the window. The CAMERA RETREATING with her, we come to the \n\twindow and over Melanie's shoulder we see the men arrive to \n\trescue the attacked gas station attendant.", "They move on and go past Melanie's waiting car outside the \n\tschool. Suddenly Melanie brings him to a halt.\n\n\tLONG SHOT - ANNIE'S HOUSE - FROM THEIR VIEWPOINT", "She begins opening the play yard door. Suddenly, the door \n\tfrom the corridor bursts open, and Melanie rushes wildly", "MELANIE\n\t\t\t(whispering)\n\t\tHurry!\n\n\tEXT. PLAY YARD - FULL SHOT (6)", "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "(silence)\n\t\tMelanie needs help.\n\t\t\t(silence)\n\t\tMother, the house won't take another", "MELANIE\n\t\tYes.\n\t\t\t(pause)\n\t\tMay I use your phone? I'd like to \n\t\tcall home.", "MELANIE\n\t\t\t(in background)\n\t\tMitch? I'm glad I caught you. \n\t\tSomething terrible has happened.\n\n\tHer background conversation continues through following:", "MELANIE\n\t\tHey, wait a minute!\n\n\tShe goes after him. Mitch turns, stops, smiles, enjoying her \n\tbafflement immensely. Melanie studies him. Then:", "there is a quick glimpse of Melanie and Mitch in embrace in \n\tthe garden. Then the tires shriek, and the truck turns and \n\tbarrels into the front yard." ], [ "He kneels silently by the body. Gently, he touches Annie's \n\tface, and then gently and illogically takes off his jacket", "INTO the room. She goes directly to Annie, shoves her out of \n\tthe way, and SLAMS shut the play yard door.", "ANNIE\n\t\tChildren, they were only seagulls.\n\n\tAnd then the meaning of what she has just said strikes her, \n\tand she remembers the bird hitting her door the night before.", "She hangs up and looks at Annie in embarrassment.", "Melanie flops in exhaustion over the wheel as Annie comes \n\tround to the side window and starts to open the door.\n\n\t\t\t\t\t\t\t DISSOLVE", "She nods pleasantly, starts the car, pulls away.\n\n\tCLOSE SHOT - ANNIE\n\n\twatching the car, a look of sad resignation on her face.", "They move on and go past Melanie's waiting car outside the \n\tschool. Suddenly Melanie brings him to a halt.\n\n\tLONG SHOT - ANNIE'S HOUSE - FROM THEIR VIEWPOINT", "the dunes. They are absorbed in each other. The CAMERA PANS \n\tOFF them and BRING INTO the picture Annie, surrounded by the", "Melanie is at the door to Annie's room now. She opens the \n\tdoor and looks in.\n\n\tFULL SHOT - ANNIE - MELANIE'S P.O.V.", "Annie.\n\t\t\t(pause)\n\t\tShe pushed me inside.", "as Annie, stooping, looks up at her. On their puzzlement and \n\tconsternation:\n\n\t\t\t\t\t\t\t FADE OUT\n\n\tFADE IN", "There is an awkwardness here. Annie wants to know more. She \n\tpuffs on the cigarette, smiles, tries a friendly approach.", "Shooting over the shoulders of Melanie and Mitch, they \n\tapproach Annie's house. Melanie glances apprehensively over \n\ther shoulder toward the crows.", "Melanie rises and goes to the phone. The CAMERA FOLLOWS Annie \n\tto the wing chair in the foreground and stays on her", "Melanie goes to stand beside Annie. Puzzled, Annie unlocks \n\tthe door, and then opens it. She looks out into the night. \n\tThere is nothing but the SOUND of the wind.", "Annie rises to greet her. As Melanie ENTERS THE SHOT:", "LITTLE BOY (O.S.)\n\t\tLook! Look!\n\n\tAnnie swings round and the CAMERA RUSHES INTO her face as \n\tshe looks up.", "ANNIE\n\t\tThen go.\n\n\tThe room is silent. Melanie nods, slowly, and then smiles.\n\n\t\t\t\tMELANIE\n\t\tThank you, Annie.", "as she walks to the long table, her eyes still on the couple. \n\tDuring this we see Annie in the foreground sending Cathy \n\toff.", "QUICK CLOSE SHOT - ANNIE\n\n\tdead.\n\n\tQUICK CLOSE SHOT - MITCH\n\n\tThe shock registering on his face." ], [ "their hair in curlers, old ladies carrying shopping bags. \n\tThis is Saturday morning, and the town -- such as it is -- \n\tis alive with its inhabitants. We see them from Melanie's", "There is a long silence. It is Melanie who has the strongest \n\treason for fearing the birds. It is Melanie, her fear growing, \n\twho makes the decision.", "speaking. They go to the front door. He opens it, looks at \n\ther, then looks out across the town and the bay. He extends \n\this arm and points.", "We see a car zig zag down from the town in a drunken manner \n\tcoming toward her in the phone booth. We can see birds flying", "MITCH\n\t\tI only know we've got to drive them \n\t\taway from town -- before they drive \n\t\tus away.\n\n\t\t\t\tSHOLES\n\t\tHow?", "THE TIDES TOWN\n\n\tThe fire volunteers with birds descending around them drop \n\ttheir hose.\n\n\tCLOSER SHOT", "CLERK\n\t\tThat case, I tell you what you do. \n\t\tYou go straight through town 'til", "CLERK\n\t\tFollow the road straight through \n\t\ttown 'til it curves off on the left. \n\t\tThat'll take you right around the \n\t\tbay to their front door.", "LONG SHOT - THE BAY\n\n\tcovered with sitting gulls. In the distance, the town is \n\tstill smoldering. But the sky is clear of birds.", "MELANIE\n\t\tThe town looks clear.\n\n\t\t\t\tMITCH\n\t\tThe bay doesn't.", "as it threads its way slowly and cautiously along the winding \n\troad to town. The birds are sitting on some of the still-\n\tstanding wires, watching, waiting.", "CLERK\n\t\tNope. That's the road. Straight \n\t\tthrough town, stay on your left, \n\t\tright around the bay to the front \n\t\tdoor.", "There are still one or two gulls or crows in evidence as \n\tthey move along past the last street and come into the more \n\tcountrified part of the town.", "MELANIE\n\t\t\t(in utter despair now)\n\t\tYes. Yes, someone's got to feed them.", "studying the town. The car turns into road by gas station.\n\n\tFULL SHOT - THE TOWN", "as the car approaches them. The windows are all broken, and \n\tmerchandise is lying on the sidewalk. Birds are everywhere, \n\twaiting.\n\n\tCLOSE SHOT - A DEAD MAN", "Through the windows, we can see the waiting crows. One moves \n\trestlessly into flight, then settles on the equipment again.\n\n\t\t\t\tANNIE\n\t\tQuiet down, children! Quiet down!", "A very high shot shows the beginning of the people of the \n\ttown rushing around the car park and the streets across the", "gone and gulls are coming in. Two or three of the men who \n\tare on the edge of the crowd turn and go back toward the \n\twindow, beating them out. They succeed in doing this.", "waiting for their lunch, listening to the conversation; \n\tbecoming very nervous.\n\n\tBACK TO SCENE" ], [ "MELANIE\n\t\tThe two kids?\n\n\t\t\t\tCLERK\n\t\tYep. Mitch and the little girl.", "It is silent. Mitch looks across at Lydia who sits as still \n\tas a stone in her chair. The door closes gently on a note of \n\tutter helplessness.", "(she shrugs a little \n\t\t\tsadly)\n\t\t...Mitch has his own life.\n\t\t\t(pause)", "MELANIE\n\t\t\t(in background)\n\t\tMitch? I'm glad I caught you. \n\t\tSomething terrible has happened.\n\n\tHer background conversation continues through following:", "She laughs, and Mitch joins her, but it is hollow this time. \n\tLike children who have told themselves a too realistic horror \n\tstory, they are becoming a little frightened.", "out from the restaurant and look up in the sky. Gulls begin \n\tto descend into the scene, driving the people back into the \n\trestaurant. Melanie is seen in the distance calling for Mitch:", "MELANIE\n\t\tMitch?\n\n\tThere is no answer.\n\n\t\t\t\tMELANIE\n\t\tMitch?", "MELANIE\n\t\t\t(still whispering)\n\t\tMitch?\n\n\tCLOSE SHOT - MITCH\n\n\tasleep.", "as Mitch goes out. Melanie looks after him for a moment, and \n\tthen picks up the tray. Outside, we HEAR the SOUND of his", "LYDIA\n\t\tShe's a charming girl, isn't she, \n\t\tMitch?\n\n\t\t\t\tMITCH\n\t\tYes, very.", "MELANIE\n\t\tHey, wait a minute!\n\n\tShe goes after him. Mitch turns, stops, smiles, enjoying her \n\tbafflement immensely. Melanie studies him. Then:", "its silence. Her gaze comes to rest on Mitch and the thin \n\tcolumn of smoke again. In the distance, Mitch sees her and", "LYDIA'S VOICE\n\t\tMitch! Mitch! Mitch, I'm going to \n\t\tdrop Cathy off now.", "MITCH\n\t\tOf birds?\n\n\t\t\t\tMELANIE\n\t\tCertainly, of birds.\n\n\tMitch grins.", "LYDIA\n\t\tMitch...\n\n\t\t\t\tMITCH\n\t\tShhh. Shhh.", "shredded from her body, and her face is torn and bleeding. \n\tWe catch only quick glimpses of her near-nudity, as Mitch", "They leave the room. Mitch and Lydia sit in silence. We HEAR \n\tCathy retching offscreen, almost drowned out by the shuffling", "She goes round the far side and gets into the car. Mitch \n\tslips in behind the driver's seat. The car turns into the \n\tCAMERA and goes down the school road.", "She turns her attention away from Mitch, and walks to the \n\tend of the garden toward the shore. A wind is blowing off", "Mitch laughs, and she laughs with him. Exhausted, they stand \n\tin each other's arms, laughing in that weary, silly, dead of" ], [ "MITCH\n\t\tFor Cathy. For her birthday. By the \n\t\tway, where is she?\n\n\t\t\t\tLYDIA\n\t\tAcross at Brinkmeyer's.", "MITCH\n\t\tThese are for my sister... her \n\t\tbirthday you see. As she'll be eleven", "CLOSE SHOT - CATHY as she approaches. She is an eleven-year-\n\told child, clear-eyed, bright, uninhibited, wearing a shirt", "Across the expanse of the desolated yard.\n\n\t\t\t\tCATHY\n\t\tMay I take them, Mitch?\n\n\tHe does not answer. She continues looking at him.", "CLOSE SHOT - CATHY\n\n\tShe is carrying the cage of lovebirds. She hesitates just \n\toutside the doorway. She looks at Mitch.", "CATHY\n\t\tJust listen to them!\n\n\t\t\t\tMITCH\n\t\t\t(to Melanie)\n\t\tSome cream?", "MITCH\n\t\tBe careful with that door.\n\n\tCathy closes the door gently, and almost soundlessly. Mitch \n\tdoes the same with his door.", "MITCH\n\t\t\t(shouting)\n\t\tCathy, get some matches!\n\n\tMED. SHOT - CATHY", "LYDIA'S VOICE\n\t\tMitch! Mitch! Mitch, I'm going to \n\t\tdrop Cathy off now.", "MITCH\n\t\t\t(putting wood on fire)\n\t\tI don't know, honey.\n\n\t\t\t\tCATHY\n\t\tWhy are they trying to kill people?", "CATHY\n\t\t\t(whispering)\n\t\tMitch, let's turn back.\n\n\t\t\t\tMITCH\n\t\tShhh. Shhhhh.", "MITCH\n\t\tWe've got to get Cathy.\n\n\tThey open the door and make their way out into the street, \n\trunning and looking about them desperately.", "They leave the room. Mitch and Lydia sit in silence. We HEAR \n\tCathy retching offscreen, almost drowned out by the shuffling", "Cathy rushes to them with a roll of bandages and a blanket. \n\tBy the light of the lantern, Mitch drapes the blanket over", "CATHY\n\t\tMitch likes it very much. He comes \n\t\tup every weekend, you know, even", "CLOSE SHOT - MITCH\n\n\tturning to follow Cathy's gaze.\n\n\tCLOSE SHOT - MIXED BIRDS", "MELANIE\n\t\tAnd locked it.\n\n\t\t\t\tCATHY\n\t\tMitch, can I bring the lovebirds in \n\t\there?", "this, and while she is putting the blindfold round the eyes \n\tof Cathy, she is looking to her right and obviously is \n\twatching Mitch and Melanie.", "CLOSE SHOT - MITCH\n\n\tlooking back at her.\n\n\tFULL SHOT - CATHY, MITCH, AND LYDIA", "It is silent. Mitch looks across at Lydia who sits as still \n\tas a stone in her chair. The door closes gently on a note of \n\tutter helplessness." ] ]

[ "What does Brenner want to purchase?", "Why had Melanie been in court before?", "Who does Brenner mistake melanie for as a prank?", "What attacks melanie on the shore?", "How does the seagull die?", "What is massing in the playground?", "Who do the crows injure?", "Who dismisses the reports as fanciful?", "Who attacks melanie in cathy's ?", "Where does Mitch run into Melanie at?", "Why was Mitch at the bird shop?", "Why did Melanie need Mitch's address?", "In what shape did Lydia find her neighbor that was a farmer?", "Why does Melanie go to pick up Cathy from school?", "How did Annie die?", "Why is Mitch trying to take Melanie to the hospital?", "How crazy are the lovebirds being through all this commotion with the other birds?", "Why may the military be called to take action in this even of the killer birds?", "What does Mitch do after Melanie delivers the lovebirds and goes to leave?", "Where does Melanie Daniels meet Mitch Brenner?", "What type of animal invades the Brenner house through the chimney?", "Why does Lydia flee the farmers house?", "What happens when a bystander lights a cigar near the gas station?", "Where does Melanie take refuge shortly after the gas station fire?", "Who rescues Melanie from the phone booth?", "How is Annie killed?", "Why must the military come to town?", "What is the name of Mitch's younger sister?", "What does Mitch want to buy for Cathy's eleventh birthday?" ]

[ [ "Lovebirds", "lovebirds" ], [ "Breaking a window", "She broke a plate glass window." ], [ "A salesperson", "A salesperson" ], [ "A seagull", "seagull" ], [ "It hits the door", "Flying into front door" ], [ "A flock of crows", "Crows" ], [ "Children", "Melanie." ], [ "An Ornithologist", "An amateur ornithologist" ], [ "The birds", "Birds" ], [ "At a bird shop in San Francisco.", "San Francisco bird shop" ], [ "Mitch wanted to buy his sister a pair of lovebirds for her birthday present.", "To purchase lovebirds" ], [ "Melanie had to locate a pair of lovebirds for Mitch so she needed his address to know where to deliver them.", "So she could take him a pair of birds. " ], [ "The farmer was dead and the birds had pecked his eyes out.", "Dead with his eyes pecked out" ], [ "Every where the birds are attacking and being very violent therefore they all worry for Cathy's safety.", "She is worried about her" ], [ "The crows killed Annie while she was protecting Cathy and trying to keep her safe.", "by the crows" ], [ "Melanie was attacked by birds and they hurt her really bad.", "she has been injured in a bird attack" ], [ "The lovebirds just seem to be staying still and being good.", "Not at all crazy" ], [ "The regular law and officials are not having much luck and can not handle the bird epidemic.", "Civil authorities are unable to combat the attacks" ], [ "Mitch invites Melanie to have dinner.", "Rescues her." ], [ "She meets him at the bird shop.", "In a bird shop" ], [ "Sparrows invade the house through the chimney. ", "Birds" ], [ "She saw the farmers eyeless corpse.", "the wife killed by birds" ], [ "The bystander becomes incinerated. ", "Set on fire." ], [ "She takes refuge in a phone booth. ", "Phone booth" ], [ "Mitch rescues Melanie from the phone booth.", "Mitch" ], [ "She is killed by crows when ushering Cathy to safety. ", "By the crows when she tries to get Cathy to safety. " ], [ "The civil authorities are unable to combat the unexplained attacks on the town.", "Bird attacks" ], [ "Cathy is Mitch's sister. ", "Cathy." ], [ "Mitch wants to buy lovebirds.", "Love Birds." ] ]

[ [ "MACREEDY\n (pleasantly)\n I'd like a room.\n\n PETE\n All filled up.", "It is a typical small town hotel, but crummier, with a tiny \n lobby. Macreedy is waiting at the empty desk as Hector strolls", "Macreedy leans over the counter to a rack of keys. He runs \n his splayed fingers over the key rack as...\n\n MACREEDY\n Lots of vacancies.", "EXT. STREET\n\n Frowning, deep in thought, Macreedy walks down the dusty \n street. As he reaches the hotel...", "The lobby empty except for Pete behind the desk. Macreedy \n goes to him. Pete seems elaborately occupied arranging and", "Macreedy has just passed) and the hotel just ahead. In the \n yard are a few tractors, and among them huddles a tiny office.", "MACREEDY\n (patiently)\n I asked where's the hotel?\n\n Hastings points.\n\n MACREEDY\n Thanks.", "EXT. MAIN STREET - MACREEDY\n\n walks thoughtfully down street. He comes abreast of hotel.\n\n EXT. PORCH OF HOTEL", "As he peers through the dust toward the dingy hotel. It has \n a narrow stoop and outsize bay windows on each side. Macreedy", "Macreedy notes the inscription with a sort of wry bemusement. \n He walks on, reaching the facade of the weather-beaten hotel.", "Macreedy says nothing. The wales along his face harden. He \n picks up his bag and climbs the stairs. As he disappears, \n Hector lumbers to the desk and grabs the ledger.", "COLEY\n (blocking doorway)\n Anything I can do for you?\n\n MACREEDY\n You run this hotel?", "MACREEDY\n Where's the hotel?\n\n Hastings looks at him blankly. The thousand-yard stare of a \n hypnotic glazes his features.", "MACREEDY\n If you're expecting any extra cowboys, \n my room is available.\n\n PETE\n You're checking out?", "SHOOTING down the street as Macreedy slowly walks toward the \n hotel. Not a person has moved, each eye is glued on the \n stranger.", "HECTOR\n What you want?\n\n PETE\n He's still in his room. Macreedy, I \n mean.", "Macreedy ignores the exchange of words. He walks across the \n frayed carpet to the nearest chair and drops into it. Doc, \n who has followed him, stands looking down at Macreedy for a \n long moment. Then...", "Sam is still working on his finger nails. He evidences little \n interest in the stranger, but at the bar in b.g. the loafers \n stiffen. Macreedy takes a stool in front of Sam.", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "As Macreedy walks down hotel steps, a station wagon pulls up \n just before him. Tied with a rope to the right front fender" ], [ "SMITH\n (quietly)\n You're looking for what, Mr. Macreedy?", "as they speed down the long empty ribbon of road. Liz drives \n hard. Macreedy turns in the bucket seat, looking back toward \n Black Rock.", "Macreedy turns slightly and looks up the mountain-side with \n the road at its summit...\n\n WHAT HE SEES: EXTREME LONG SHOT - COLEY", "MACREEDY\n One thing about Black Rock -- \n everybody's polite. Makes for gracious \n living.\n\n TIM\n Nobody asked you here.", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "HASTINGS\n You for Black Rock?\n\n MACREEDY\n (easily)\n That's right.", "Macreedy wipes the last of the fragments from his eyes. His \n face is still streaked with dirt and shale. He turns,", "SMITH\n (o.s.)\n Mr. Macreedy.\n\n Macreedy stops, looks toward Smith as he walks out to meet \n him.", "TIM\n (shrugs)\n You name it.\n (studies Macreedy)\n What do you want?", "MACREEDY\n I don't know just why you're \n interested -- but the name's Macreedy.", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "COLEY\n (takes a breath, then)\n I think Macreedy's a nothing. A \n nobody.\n\n SMITH\n Is he?", "what he seeks. I believe you're a \n big man, Mr. Macreedy.", "Macreedy comes out of the door, carrying his suitcase. For a \n moment he pauses, looking at the uplifted faces of the people", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "MACREEDY\n (flatly)\n Tough.\n\n SMITH\n What do you do in Los Angeles, Mr. \n Macreedy?", "toward him. Now Hastings puts down his glass, picks up the \n form and scans it hurriedly. He looks at Macreedy, eyes glazed \n with anxiety...", "as Macreedy rushes out. He pauses, looking quickly right, \n then left. He sees a jeep parked at the curb far down the", "HECTOR\n What you want?\n\n PETE\n He's still in his room. Macreedy, I \n mean." ], [ "MACREEDY\n (eyeing him)\n A man named Komako.", "MACREEDY\n Komako, like I told you. Like you \n told me, he wasn't there.\n\n Smith laughs quietly.", "MACREEDY\n You killed Komako. Sooner or later \n you'll go up for it. Not because you", "HASTINGS\n (meeting Macreedy's \n eyes)\n I never seen Komako in my life. \n Honest.", "For a moment heavy silence. Finally...\n\n MACREEDY\n What about Komako?", "SMITH\n (no hesitation)\n Komako -- Sure, I remember him -- \n Japanese farmer. Never had a chance.\n\n MACREEDY\n No?", "Pete rises. Macreedy halts him momentarily, gripping his \n arm...\n\n MACREEDY\n (flatly)\n She's dead.", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "MACREEDY\n Joe Komako died in Italy, saving my \n life. They gave him a medal. I came \n here to give it to his father.", "MACREEDY\n (softly)\n Did Komako have any family besides \n his son Joe?", "MACREEDY\n ...and Komako made you mad.", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "MACREEDY\n I wrote these letters to Komako. \n They weren't forwarded. They were", "MACREEDY\n (with grim amusement)\n Sure. And Smith is the kid who changes \n 'em.\n\n She doesn't answer. Macreedy goes to her.", "MACREEDY\n What happened to Komako?", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "What else is left for you?!\n (mounting anger)\n You're as dead as Komako, only you \n don't know it!", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "TIM\n (starting after him)\n What about Adobe Flat?\n\n MACREEDY\n I'm looking for a man named Komako.", "Macreedy laughs quietly.\n\n SMITH\n What's funny?" ], [ "Macreedy rises to go out. As he passes Coley, Coley takes \n his limp left arm and spins him slowly but firmly around. \n The two men face each other.", "SMITH\n (with admirable candor)\n You mean, because of your arm?\n (slaps Macreedy's", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "Macreedy shakes free of Coley's grasp. Coley lunges. His big \n right fist streaks toward Macreedy's face. Macreedy ducks,", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "He takes a belt that would incapacitate half the county. He \n finishes, smacks his lips, lays the bottle down, and falls \n into a chair. He looks up at Macreedy.", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "Macreedy wipes the last of the fragments from his eyes. His \n face is still streaked with dirt and shale. He turns,", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "SMITH\n I think I understand. You're an Army \n man.\n (looking at Macreedy's \n stiff arm)\n Where'd you get it?", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "HECTOR\n (slowly, his eyes \n glued to Macreedy's \n stiff arm)\n You look like you need a hand.", "Macreedy turns slightly and looks up the mountain-side with \n the road at its summit...\n\n WHAT HE SEES: EXTREME LONG SHOT - COLEY", "and perplexity. His body lolls forward. Macreedy steps back. \n He raises his right shoulder a few inches. His bent right", "favoring Macreedy as he tears out of the hole. He hurls \n himself at Smith. Wooden-faced, almost dreamy-eyed, he shovels", "Sam is still working on his finger nails. He evidences little \n interest in the stranger, but at the bar in b.g. the loafers \n stiffen. Macreedy takes a stool in front of Sam.", "MACREEDY\n (flatly)\n Tough.\n\n SMITH\n What do you do in Los Angeles, Mr. \n Macreedy?", "Smith stops. Macreedy's face is wooden, with a trace of \n sullenness around the hard lines of his mouth. Working", "as Macreedy pulls up to the curb in front of the jail and \n cuts the ignition. He grabs the rifle, and steps around to \n Smith.", "Macreedy says nothing. The wales along his face harden. He \n picks up his bag and climbs the stairs. As he disappears, \n Hector lumbers to the desk and grabs the ledger." ], [ "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "The Sheriff reaches for his bottle. In his haste he drops \n it. Macreedy's hand moves quickly, catching the bottle before \n it hits the floor.", "MACREEDY\n (with grim amusement)\n Sure. And Smith is the kid who changes \n 'em.\n\n She doesn't answer. Macreedy goes to her.", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "Macreedy comes out of the door, carrying his suitcase. For a \n moment he pauses, looking at the uplifted faces of the people", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "Macreedy shakes free of Coley's grasp. Coley lunges. His big \n right fist streaks toward Macreedy's face. Macreedy ducks,", "Macreedy pauses, looking at Doc, who blandly returns his \n stare.\n\n MACREEDY\n Thanks.", "MACREEDY\n Joe Komako died in Italy, saving my \n life. They gave him a medal. I came \n here to give it to his father.", "Smith stops. Macreedy's face is wooden, with a trace of \n sullenness around the hard lines of his mouth. Working", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "MACREEDY\n I don't know just why you're \n interested -- but the name's Macreedy.", "favoring Macreedy as he tears out of the hole. He hurls \n himself at Smith. Wooden-faced, almost dreamy-eyed, he shovels", "TIM\n Hold it, friend.\n\n He manages to crawl off the bunk and out toward Macreedy.", "Macreedy wipes the last of the fragments from his eyes. His \n face is still streaked with dirt and shale. He turns,", "COLEY\n (takes a breath, then)\n I think Macreedy's a nothing. A \n nobody.\n\n SMITH\n Is he?", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "Macreedy turns slightly and looks up the mountain-side with \n the road at its summit...\n\n WHAT HE SEES: EXTREME LONG SHOT - COLEY", "Sam is still working on his finger nails. He evidences little \n interest in the stranger, but at the bar in b.g. the loafers \n stiffen. Macreedy takes a stool in front of Sam.", "Macreedy slowly puts down the phone. Doc sips his milk, all \n the while staring queasily over the glass at Macreedy. He \n puts it down, his gaze still fixed on the stranger..." ], [ "What else is left for you?!\n (mounting anger)\n You're as dead as Komako, only you \n don't know it!", "We were all drunk -- patriotic drunk. \n We went out to Komako's for a little \n fun, I guess -- scare him a little.", "MACREEDY\n You killed Komako. Sooner or later \n you'll go up for it. Not because you", "MACREEDY\n (eyeing him)\n A man named Komako.", "MACREEDY\n ...and Komako made you mad.", "SMITH\n (no hesitation)\n Komako -- Sure, I remember him -- \n Japanese farmer. Never had a chance.\n\n MACREEDY\n No?", "A SHOT rings out. She falls forward, rolling slowly down the \n embankment. She lies there. Blood trickles from the corner", "girl's shoulder is like a steel trap. He pushes her down \n beside Komako's grave, hugging the side of the jeep as a", "For a moment heavy silence. Finally...\n\n MACREEDY\n What about Komako?", "COLEY\n (squirming)\n But what can he find out? That Komako \n was...?\n (Smith glares at him)\n Suppose he finds out?", "TIM\n (abstractedly)\n He asked about Komako.\n (looking up at Smith)\n You think he'll kick up a storm?", "SHOT rips the gravel at their feet. Pulling the girl with \n him, he takes cover in the slight concavity of the grave.", "TIM\n (starting after him)\n What about Adobe Flat?\n\n MACREEDY\n I'm looking for a man named Komako.", "MACREEDY\n Komako, like I told you. Like you \n told me, he wasn't there.\n\n Smith laughs quietly.", "SMITH\n Trouble? You don't know anything \n about Komako, now do you, Tim?\n\n TIM\n I do not. That's the point.", "MACREEDY\n What happened to Komako?", "shot him. I didn't even know Smith \n had a gun.", "as they fall to the earth. Macreedy pins her down. Then in \n quick succession, four emphatically loud SHOTS from a rifle \n squirt into the shale around them.", "He brings the rifle down, aiming almost casually at Liz. Her \n eyes go wide. She steps back, spins around, running crazily \n down the steep incline.", "HASTINGS\n (meeting Macreedy's \n eyes)\n I never seen Komako in my life. \n Honest." ], [ "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "SMITH\n (with admirable candor)\n You mean, because of your arm?\n (slaps Macreedy's", "favoring Macreedy as he tears out of the hole. He hurls \n himself at Smith. Wooden-faced, almost dreamy-eyed, he shovels", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "shoulder, helping him up. Smith looks at Macreedy through \n eyes bleary with fear and pain and shock.", "SMITH\n (o.s.)\n Mr. Macreedy.\n\n Macreedy stops, looks toward Smith as he walks out to meet \n him.", "Smith stops. Macreedy's face is wooden, with a trace of \n sullenness around the hard lines of his mouth. Working", "as Macreedy marches Smith up the steps. The jail door opens. \n A man emerges, wearing a Mackinaw over his vest and carrying", "MACREEDY\n (tonelessly, prodding \n Smith off the fender \n with his rifle)\n Hands behind your head.\n\n Smith complies.", "Macreedy swings his rifle from Tim to Smith. Tim lowers his, \n stepping to one side, allowing Smith, covered by Macreedy,", "where Smith is still sitting. For a moment he watches Macreedy \n speculatively, then...", "SMITH\n (quietly)\n You're looking for what, Mr. Macreedy?", "He takes a belt that would incapacitate half the county. He \n finishes, smacks his lips, lays the bottle down, and falls \n into a chair. He looks up at Macreedy.", "SMITH\n Sort of. Maybe you can figure it \n out.\n\n Macreedy gets up, half turns to Smith.", "MACREEDY\n (with grim amusement)\n Sure. And Smith is the kid who changes \n 'em.\n\n She doesn't answer. Macreedy goes to her.", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "the ashy dirt over Smith's prone chest, putting out the fire. \n Smith struggles halfway to his feet. Macreedy grabs his", "Smith, a puzzled expression on his face, watches Coley fall. \n He takes half a step toward him. Macreedy looks at Smith.", "SMITH\n Yes, you are.\n (a beat; looking hard \n at Macreedy)" ], [ "COLEY\n (takes a breath, then)\n I think Macreedy's a nothing. A \n nobody.\n\n SMITH\n Is he?", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "He takes a belt that would incapacitate half the county. He \n finishes, smacks his lips, lays the bottle down, and falls \n into a chair. He looks up at Macreedy.", "You can blame that on Macreedy, too. \n He said I had too many witnesses.", "Macreedy slowly puts down the phone. Doc sips his milk, all \n the while staring queasily over the glass at Macreedy. He \n puts it down, his gaze still fixed on the stranger...", "TIM\n (shrugs)\n You name it.\n (studies Macreedy)\n What do you want?", "MACREEDY\n I don't know just why you're \n interested -- but the name's Macreedy.", "as Macreedy marches Smith up the steps. The jail door opens. \n A man emerges, wearing a Mackinaw over his vest and carrying", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "Sam is still working on his finger nails. He evidences little \n interest in the stranger, but at the bar in b.g. the loafers \n stiffen. Macreedy takes a stool in front of Sam.", "Macreedy rises to go out. As he passes Coley, Coley takes \n his limp left arm and spins him slowly but firmly around. \n The two men face each other.", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "MACREEDY\n (with grim amusement)\n Sure. And Smith is the kid who changes \n 'em.\n\n She doesn't answer. Macreedy goes to her.", "Macreedy has just passed) and the hotel just ahead. In the \n yard are a few tractors, and among them huddles a tiny office.", "favoring Macreedy as he tears out of the hole. He hurls \n himself at Smith. Wooden-faced, almost dreamy-eyed, he shovels", "Macreedy shakes free of Coley's grasp. Coley lunges. His big \n right fist streaks toward Macreedy's face. Macreedy ducks,", "SMITH\n (quietly)\n You're looking for what, Mr. Macreedy?", "Macreedy turns slightly and looks up the mountain-side with \n the road at its summit...\n\n WHAT HE SEES: EXTREME LONG SHOT - COLEY" ], [ "SMITH\n (quietly)\n You're looking for what, Mr. Macreedy?", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "SMITH\n (o.s.)\n Mr. Macreedy.\n\n Macreedy stops, looks toward Smith as he walks out to meet \n him.", "MACREEDY\n I don't know just why you're \n interested -- but the name's Macreedy.", "TIM\n (shrugs)\n You name it.\n (studies Macreedy)\n What do you want?", "Macreedy turns slightly and looks up the mountain-side with \n the road at its summit...\n\n WHAT HE SEES: EXTREME LONG SHOT - COLEY", "COLEY\n (takes a breath, then)\n I think Macreedy's a nothing. A \n nobody.\n\n SMITH\n Is he?", "Macreedy comes out of the door, carrying his suitcase. For a \n moment he pauses, looking at the uplifted faces of the people", "Sam is still working on his finger nails. He evidences little \n interest in the stranger, but at the bar in b.g. the loafers \n stiffen. Macreedy takes a stool in front of Sam.", "as Macreedy marches Smith up the steps. The jail door opens. \n A man emerges, wearing a Mackinaw over his vest and carrying", "Angeles. Tell him to find out all he \n can about John J. Macreedy. Tell him \n I want to know fast. Sign my name.", "what he seeks. I believe you're a \n big man, Mr. Macreedy.", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "Macreedy slowly puts down the phone. Doc sips his milk, all \n the while staring queasily over the glass at Macreedy. He \n puts it down, his gaze still fixed on the stranger...", "HECTOR\n What you want?\n\n PETE\n He's still in his room. Macreedy, I \n mean.", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "Macreedy thinks it over and comes to a swift decision. He \n checks the phone book. Then, picking up phone...", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "MACREEDY\n (flatly)\n Tough.\n\n SMITH\n What do you do in Los Angeles, Mr. \n Macreedy?" ], [ "Macreedy rises to go out. As he passes Coley, Coley takes \n his limp left arm and spins him slowly but firmly around. \n The two men face each other.", "MACREEDY\n He had one. But he's dead, too. He's \n buried in Italy.", "MACREEDY\n (interrupting)\n I know. To enlist. He was turned \n down.", "MACREEDY\n Joe Komako died in Italy, saving my \n life. They gave him a medal. I came \n here to give it to his father.", "favoring Macreedy as he tears out of the hole. He hurls \n himself at Smith. Wooden-faced, almost dreamy-eyed, he shovels", "Macreedy shakes free of Coley's grasp. Coley lunges. His big \n right fist streaks toward Macreedy's face. Macreedy ducks,", "EXT. GRAVE - MACREEDY\n\n pinned down in the direct line of fire. The burst of the \n rifle stops.\n\n EXT. RANCH - SMITH", "MACREEDY\n So are you.\n (Smith snorts)\n Whatever happens -- you're lost.\n\n SMITH\n You got things a bit twisted...", "MACREEDY\n Where's the hotel?\n\n Hastings looks at him blankly. The thousand-yard stare of a \n hypnotic glazes his features.", "MACREEDY\n (tonelessly, prodding \n Smith off the fender \n with his rifle)\n Hands behind your head.\n\n Smith complies.", "through, Macreedy's elbow smashes beneath Coley's cheekbone. \n Macreedy's arm goes past the astonished, wind-burned face,", "Macreedy in the center \n of the room)\n But why should I bore you with my \n triumphs?", "MACREEDY\n See these wild flowers? That means a \n grave. I've seen it overseas. I figure", "SMITH\n (with admirable candor)\n You mean, because of your arm?\n (slaps Macreedy's", "Macreedy wipes the last of the fragments from his eyes. His \n face is still streaked with dirt and shale. He turns,", "MACREEDY\n I know --\n (unconsciously his \n right arm strays to", "from Macreedy's elbow. On the right front fender of the jeep \n Smith sits precariously, his shirt scorched and ragged. He", "COLEY\n You ought to be careful, man -- all \n that one-arm driving.\n\n MACREEDY\n I'd be glad to pay the damages.", "and perplexity. His body lolls forward. Macreedy steps back. \n He raises his right shoulder a few inches. His bent right", "MACREEDY\n (slowing up)\n 'Afternoon.\n\n No reaction from Hector." ], [ "SMITH\n The physical. They wouldn't take me. \n The morning after Pearl, I was the", "SMITH\n (sincerely)\n Tough. I tried to get in myself, the \n day after those rats bombed Pearl \n Harbor.", "MACREEDY\n (interrupting)\n I know. To enlist. He was turned \n down.", "first man in line at Marine recruiting \n in Sand City. And they wouldn't take \n me.", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "SMITH\n Nothing. It's just -- I don't believe \n you. I believe a man is as big as", "SMITH\n He got here in '41 -- just before \n Pearl Harbor. Three months later he", "SMITH\n That's different. After the sneak \n attack on Pearl Harbor... after \n Bataan...", "SMITH\n (interrupting)\n Sit down.", "He goes to Coley, bending down over him. Smith has remained \n motionless as a monument. Now he doubles shut the knife in", "Because of this. I thought I'd never \n be able to function again.\n (turning to Pete)\n Thanks to your friend Smith, I found", "SMITH\n (quietly)\n About what?\n (Hector doesn't answer)", "Smith ignores him, thinking. Hastings breathes heavily. \n Finally...", "SMITH\n (interrupting)\n Hector...\n (wearily)\n Come on, Hector.", "at Smith, waiting for a reaction -- everyone except Tim, who \n stares straight ahead, seeing nothing, and Doc, whose eyes \n are locked sympathetically on Tim. Smith finishes reading", "SMITH\n You wonder too much, and you talk \n too much.\n (pauses)\n It's a bad parlay, Doc.", "under it. Again Smith opens up on him. Bullet after bullet \n pours into the confined space, nicking the wall, ricocheting", "SMITH\n (with admirable candor)\n You mean, because of your arm?\n (slaps Macreedy's", "MACREEDY\n (going to her)\n Need a little help?\n\n The girl looks at Smith, who has made no attempt to help \n her.", "MACREEDY\n (tonelessly, prodding \n Smith off the fender \n with his rifle)\n Hands behind your head.\n\n Smith complies." ], [ "MACREEDY\n (eyeing him)\n A man named Komako.", "MACREEDY\n Joe Komako died in Italy, saving my \n life. They gave him a medal. I came \n here to give it to his father.", "MACREEDY\n You killed Komako. Sooner or later \n you'll go up for it. Not because you", "HASTINGS\n (meeting Macreedy's \n eyes)\n I never seen Komako in my life. \n Honest.", "For a moment heavy silence. Finally...\n\n MACREEDY\n What about Komako?", "MACREEDY\n Komako, like I told you. Like you \n told me, he wasn't there.\n\n Smith laughs quietly.", "SMITH\n (no hesitation)\n Komako -- Sure, I remember him -- \n Japanese farmer. Never had a chance.\n\n MACREEDY\n No?", "TIM\n (shrugs)\n You name it.\n (studies Macreedy)\n What do you want?", "Macreedy hands her a bill. She fumbles with it, not knowing \n what else to do. Her eyes drift to Macreedy's stiff arm...", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "MACREEDY\n I wrote these letters to Komako. \n They weren't forwarded. They were", "SMITH\n (quietly)\n You're looking for what, Mr. Macreedy?", "as Macreedy marches Smith up the steps. The jail door opens. \n A man emerges, wearing a Mackinaw over his vest and carrying", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "MACREEDY\n (with grim amusement)\n Sure. And Smith is the kid who changes \n 'em.\n\n She doesn't answer. Macreedy goes to her.", "SMITH\n (o.s.)\n Mr. Macreedy.\n\n Macreedy stops, looks toward Smith as he walks out to meet \n him." ], [ "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "Still gripping the wires, he walks off. Doc simmers down. He \n turns to face Macreedy, who hasn't moved. Now Macreedy slowly \n lowers the hood of the car.", "as Macreedy pulls up to the curb in front of the jail and \n cuts the ignition. He grabs the rifle, and steps around to \n Smith.", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "He takes a belt that would incapacitate half the county. He \n finishes, smacks his lips, lays the bottle down, and falls \n into a chair. He looks up at Macreedy.", "as Macreedy marches Smith up the steps. The jail door opens. \n A man emerges, wearing a Mackinaw over his vest and carrying", "Macreedy comes out of the door, carrying his suitcase. For a \n moment he pauses, looking at the uplifted faces of the people", "Macreedy and a conductor stand at the doorway. The town is \n seen behind them and the people standing there. In the \n distance, Tim's car recedes.", "Doc nods. Macreedy smiles and walks toward the door; Pete, \n Doc et al watching him. He goes out.\n\n EXT. STREET", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "DOC\n Thanks, Macreedy. Thanks for \n everything.\n\n Macreedy turns and exits from SHOT. The people look after \n him.", "Liz throws away the ignition key. Macreedy bails out of the \n jeep, still holding the girl.\n\n CLOSE TWO SHOT - LIZ AND MACREEDY", "He walks out, the new Sheriff strutting beside him, with \n Hastings in their wake. For a moment Macreedy, Doc and Tim", "SMITH\n (o.s.)\n Mr. Macreedy.\n\n Macreedy stops, looks toward Smith as he walks out to meet \n him.", "CONDUCTOR\n In a place like this, it could be a \n lifetime.\n (turning to face \n Macreedy)\n Good luck, Mr. Macreedy.", "MACREEDY\n It's a little late for that...\n\n DOC\n You can still get out of town. And \n you'd better get out like a whisper.", "Macreedy slowly puts down the phone. Doc sips his milk, all \n the while staring queasily over the glass at Macreedy. He \n puts it down, his gaze still fixed on the stranger...", "Macreedy turns slightly and looks up the mountain-side with \n the road at its summit...\n\n WHAT HE SEES: EXTREME LONG SHOT - COLEY", "The Sheriff reaches for his bottle. In his haste he drops \n it. Macreedy's hand moves quickly, catching the bottle before \n it hits the floor." ], [ "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "as Macreedy pulls up to the curb in front of the jail and \n cuts the ignition. He grabs the rifle, and steps around to \n Smith.", "Still gripping the wires, he walks off. Doc simmers down. He \n turns to face Macreedy, who hasn't moved. Now Macreedy slowly \n lowers the hood of the car.", "Macreedy comes out of the door, carrying his suitcase. For a \n moment he pauses, looking at the uplifted faces of the people", "Macreedy and a conductor stand at the doorway. The town is \n seen behind them and the people standing there. In the \n distance, Tim's car recedes.", "He takes a belt that would incapacitate half the county. He \n finishes, smacks his lips, lays the bottle down, and falls \n into a chair. He looks up at Macreedy.", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "Liz throws away the ignition key. Macreedy bails out of the \n jeep, still holding the girl.\n\n CLOSE TWO SHOT - LIZ AND MACREEDY", "as Macreedy marches Smith up the steps. The jail door opens. \n A man emerges, wearing a Mackinaw over his vest and carrying", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "MACREEDY\n It's a little late for that...\n\n DOC\n You can still get out of town. And \n you'd better get out like a whisper.", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "DOC\n Thanks, Macreedy. Thanks for \n everything.\n\n Macreedy turns and exits from SHOT. The people look after \n him.", "Doc nods. Macreedy smiles and walks toward the door; Pete, \n Doc et al watching him. He goes out.\n\n EXT. STREET", "The Sheriff reaches for his bottle. In his haste he drops \n it. Macreedy's hand moves quickly, catching the bottle before \n it hits the floor.", "suddenly, the Streamliner is gone. For a moment Macreedy \n watches it. Then, quite unconsciously, he takes a package of", "Macreedy wipes the last of the fragments from his eyes. His \n face is still streaked with dirt and shale. He turns,", "Macreedy swings his rifle from Tim to Smith. Tim lowers his, \n stepping to one side, allowing Smith, covered by Macreedy,", "He walks down the steps to the street, joining Macreedy. \n Smith remains on the porch.\n\n MACREEDY\n Yeah. It's a small world.", "as Macreedy rushes out. He pauses, looking quickly right, \n then left. He sees a jeep parked at the curb far down the" ], [ "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "Macreedy shakes free of Coley's grasp. Coley lunges. His big \n right fist streaks toward Macreedy's face. Macreedy ducks,", "As Macreedy pulls wide on a razor turn, Coley tries to come \n inside him. Macreedy, fighting for control of the veering \n jeep, succeeds in cutting him off.", "COLEY\n (takes a breath, then)\n I think Macreedy's a nothing. A \n nobody.\n\n SMITH\n Is he?", "Macreedy rises to go out. As he passes Coley, Coley takes \n his limp left arm and spins him slowly but firmly around. \n The two men face each other.", "TIM\n (shrugs)\n You name it.\n (studies Macreedy)\n What do you want?", "Macreedy slowly puts down the phone. Doc sips his milk, all \n the while staring queasily over the glass at Macreedy. He \n puts it down, his gaze still fixed on the stranger...", "SMITH\n (with admirable candor)\n You mean, because of your arm?\n (slaps Macreedy's", "Macreedy turns slightly and looks up the mountain-side with \n the road at its summit...\n\n WHAT HE SEES: EXTREME LONG SHOT - COLEY", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "Macreedy ignores the exchange of words. He walks across the \n frayed carpet to the nearest chair and drops into it. Doc, \n who has followed him, stands looking down at Macreedy for a \n long moment. Then...", "He takes a belt that would incapacitate half the county. He \n finishes, smacks his lips, lays the bottle down, and falls \n into a chair. He looks up at Macreedy.", "favoring Macreedy as he tears out of the hole. He hurls \n himself at Smith. Wooden-faced, almost dreamy-eyed, he shovels", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "as they fall to the earth. Macreedy pins her down. Then in \n quick succession, four emphatically loud SHOTS from a rifle \n squirt into the shale around them.", "as Macreedy marches Smith up the steps. The jail door opens. \n A man emerges, wearing a Mackinaw over his vest and carrying", "Macreedy swings his rifle from Tim to Smith. Tim lowers his, \n stepping to one side, allowing Smith, covered by Macreedy," ], [ "LIZ\n Weak. I know. That's why I couldn't \n leave him.\n\n MACREEDY\n (softly)\n What did your brother do?", "LIZ\n (after a beat)\n Because of my brother. Pete. He'd \n never leave.", "He brings the rifle down, aiming almost casually at Liz. Her \n eyes go wide. She steps back, spins around, running crazily \n down the steep incline.", "four years, gets snotty with me. \n Liz...\n (to Pete)\n ...your own sister -- acts like a", "OUT\n\n Sequence omitted from original script.\n\n EXT. GARAGE - LIZ BROOKS", "The jeep is between them and the headlights -- between them \n and the source of the gunfire. Liz struggles to break away. \n Suddenly bullets kick up a storm around him. A bullet smashes", "OUT\n\n Sequence omitted from original script.\n\n INT. LIZ'S GARAGE - FULL SHOT", "heavily into the seat beside Liz Brooks. He slumps there, \n breathing heavily as the jeep, with a grinding of gears, \n cuts through the night, picking up speed.", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "entering the scene, stopping to look at Liz's jeep parked in \n front of the wide doors. He turns his eyes vaguely in the", "LIZ\n (breathlessly)\n Get him! Get him now!\n\n SMITH\n (easily)\n First things first, honey.", "LIZ\n (yelling wildly)\n Macreedy! Macreedy!", "LIZ\n (calling toward the \n headlights)\n Smitty! Smitty!", "LIZ\n (uneasily)\n I thought you might... need a little \n help.\n\n MACREEDY\n I can manage.", "The girl is frightened by the menace in Smith's voice.\n\n LIZ\n (unsure, reaching out \n her hand)\n Help me up, Smitty.", "At this point they are in front of...\n\n EXT. LIZ'S GARAGE", "LIZ\n (dry whisper)\n But why me? Why start with me?\n\n SMITH\n I got to start with somebody.", "LIZ\n I thought it would be better if he \n went out there and got done with it.\n (Smith looks at her \n sharply)\n I mean, what could he find out?", "direction of Liz, but he doesn't see her in the shadows behind \n the car on the rack, He advances a step, pausing...", "LIZ\n (o.s.)\n If you're looking for the jeep key...\n\n Macreedy turns as Liz comes toward him. She gestures toward \n the open drawers." ], [ "He brings the rifle down, aiming almost casually at Liz. Her \n eyes go wide. She steps back, spins around, running crazily \n down the steep incline.", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "The jeep is between them and the headlights -- between them \n and the source of the gunfire. Liz struggles to break away. \n Suddenly bullets kick up a storm around him. A bullet smashes", "LIZ\n (yelling wildly)\n Macreedy! Macreedy!", "LIZ\n (breathlessly)\n Get him! Get him now!\n\n SMITH\n (easily)\n First things first, honey.", "A SHOT rings out. She falls forward, rolling slowly down the \n embankment. She lies there. Blood trickles from the corner", "OUT\n\n Sequence omitted from original script.\n\n INT. LIZ'S GARAGE - FULL SHOT", "Liz half turns, facing Macreedy with a vicious smile...\n\n LIZ\n (an almost bantering \n voice)\n So long, Macreedy.", "The hollow rasp of Macreedy's tread on the wooden platform \n of the \"pavement\" seems shatteringly loud in the enveloping \n silence...\n\n CLOSE SHOT - LIZ", "rubs his eyes as if to convince himself that he is not blind. \n Liz breaks from the grave. Now, five yards from Macreedy...", "LIZ\n (dry whisper)\n But why me? Why start with me?\n\n SMITH\n I got to start with somebody.", "He steps into jeep and, with one hand expertly manipulating \n the controls, drives off.\n\n MED. SHOT - SMITH AND LIZ\n\n Smith turns his attention to the girl...", "Liz throws away the ignition key. Macreedy bails out of the \n jeep, still holding the girl.\n\n CLOSE TWO SHOT - LIZ AND MACREEDY", "as they fall to the earth. Macreedy pins her down. Then in \n quick succession, four emphatically loud SHOTS from a rifle \n squirt into the shale around them.", "with Liz and Macreedy as she cuts sharply into a crossroad. \n She drives skillfully over the knotty road which is little", "LIZ\n (uneasily)\n I thought you might... need a little \n help.\n\n MACREEDY\n I can manage.", "OUT\n\n Sequence omitted from original script.\n\n EXT. GARAGE - LIZ BROOKS", "He frowns. Suddenly Liz brakes the jeep -- so sharply Macreedy \n lurches forward in the seat.", "as they speed down the long empty ribbon of road. Liz drives \n hard. Macreedy turns in the bucket seat, looking back toward \n Black Rock.", "direction of Liz, but he doesn't see her in the shadows behind \n the car on the rack, He advances a step, pausing..." ], [ "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "SMITH\n (o.s.)\n Mr. Macreedy.\n\n Macreedy stops, looks toward Smith as he walks out to meet \n him.", "as Macreedy marches Smith up the steps. The jail door opens. \n A man emerges, wearing a Mackinaw over his vest and carrying", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "favoring Macreedy as he tears out of the hole. He hurls \n himself at Smith. Wooden-faced, almost dreamy-eyed, he shovels", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "the dust of the road. Smith and Coley come out of the hotel. \n They stand on the porch, watching Macreedy as he in turn", "Macreedy and a conductor stand at the doorway. The town is \n seen behind them and the people standing there. In the \n distance, Tim's car recedes.", "He walks out, the new Sheriff strutting beside him, with \n Hastings in their wake. For a moment Macreedy, Doc and Tim", "as Macreedy pulls up to the curb in front of the jail and \n cuts the ignition. He grabs the rifle, and steps around to \n Smith.", "Smith stops. Macreedy's face is wooden, with a trace of \n sullenness around the hard lines of his mouth. Working", "COLEY\n (takes a breath, then)\n I think Macreedy's a nothing. A \n nobody.\n\n SMITH\n Is he?", "Macreedy swings his rifle from Tim to Smith. Tim lowers his, \n stepping to one side, allowing Smith, covered by Macreedy,", "Doc nods. Macreedy smiles and walks toward the door; Pete, \n Doc et al watching him. He goes out.\n\n EXT. STREET", "SMITH\n (with admirable candor)\n You mean, because of your arm?\n (slaps Macreedy's", "MACREEDY\n I'm inclined to agree with you.\n\n He turns, walks toward porch. Pete looks at Smith. Smith's \n eyes follow Macreedy.", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "MACREEDY\n It's a little late for that...\n\n DOC\n You can still get out of town. And \n you'd better get out like a whisper.", "Macreedy slowly driving the jeep toward Liz's garage. He \n looks neither to the right nor left.\n\n GROUP SHOT - FAVORING SMITH AND COLEY", "As Macreedy pulls wide on a razor turn, Coley tries to come \n inside him. Macreedy, fighting for control of the veering \n jeep, succeeds in cutting him off." ], [ "EXT. PLATFORM\n\n as Macreedy boards the train.\n\n EXT. STREET", "Macreedy is at the passageway. Slowly the train moves out.\n\n INT. PASSAGEWAY OF TRAIN", "BACK TO SCENE\n\n Macreedy resumes walking toward the abandoned station, with \n Doc at his side and the people behind him. The train pulls \n in.", "SMITH\n (quietly)\n You're looking for what, Mr. Macreedy?", "Macreedy comes out of the door, carrying his suitcase. For a \n moment he pauses, looking at the uplifted faces of the people", "in the street. In the distance we HEAR the horn of a stream-\n liner. Macreedy goes down the steps, skirts the watching \n crowd and heads for the railroad station. Almost immediately", "Macreedy turns slightly and looks up the mountain-side with \n the road at its summit...\n\n WHAT HE SEES: EXTREME LONG SHOT - COLEY", "SMITH\n (o.s.)\n Mr. Macreedy.\n\n Macreedy stops, looks toward Smith as he walks out to meet \n him.", "MACREEDY\n My name's Macreedy. I came in on the \n Streamliner.\n\n Tim studies him, trying to focus.", "as they speed down the long empty ribbon of road. Liz drives \n hard. Macreedy turns in the bucket seat, looking back toward \n Black Rock.", "EXT. STREET\n\n Frowning, deep in thought, Macreedy walks down the dusty \n street. As he reaches the hotel...", "suddenly, the Streamliner is gone. For a moment Macreedy \n watches it. Then, quite unconsciously, he takes a package of", "as Macreedy pulls up to the curb in front of the jail and \n cuts the ignition. He grabs the rifle, and steps around to \n Smith.", "MACREEDY\n (nodding)\n Is there a train through here tonight?\n\n PETE\n Nothing till tomorrow morning. The \n streamliner.", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "Macreedy is silent. He walks on, to the platform. He pauses, \n looking at the people silently in his wake and then at Doc.", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "Macreedy has just passed) and the hotel just ahead. In the \n yard are a few tractors, and among them huddles a tiny office.", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "Smith stops. Macreedy's face is wooden, with a trace of \n sullenness around the hard lines of his mouth. Working" ], [ "MACREEDY\n (eyeing him)\n A man named Komako.", "MACREEDY\n Komako, like I told you. Like you \n told me, he wasn't there.\n\n Smith laughs quietly.", "SMITH\n (no hesitation)\n Komako -- Sure, I remember him -- \n Japanese farmer. Never had a chance.\n\n MACREEDY\n No?", "HASTINGS\n (meeting Macreedy's \n eyes)\n I never seen Komako in my life. \n Honest.", "SMITH\n Wasn't he a Jap? Look, Macreedy, \n there's a law in this county against", "SMITH\n (o.s.)\n Mr. Macreedy.\n\n Macreedy stops, looks toward Smith as he walks out to meet \n him.", "MACREEDY\n (with grim amusement)\n Sure. And Smith is the kid who changes \n 'em.\n\n She doesn't answer. Macreedy goes to her.", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "SMITH\n (quietly)\n You're looking for what, Mr. Macreedy?", "MACREEDY\n You killed Komako. Sooner or later \n you'll go up for it. Not because you", "COLEY\n (takes a breath, then)\n I think Macreedy's a nothing. A \n nobody.\n\n SMITH\n Is he?", "SMITH\n Yes, you are.\n (a beat; looking hard \n at Macreedy)", "For a moment heavy silence. Finally...\n\n MACREEDY\n What about Komako?", "Macreedy laughs quietly.\n\n SMITH\n What's funny?", "where Smith is still sitting. For a moment he watches Macreedy \n speculatively, then...", "SMITH\n (with admirable candor)\n You mean, because of your arm?\n (slaps Macreedy's", "MACREEDY\n To Smith you are. How about to Komako?", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "Smith stops. Macreedy's face is wooden, with a trace of \n sullenness around the hard lines of his mouth. Working" ], [ "Macreedy ignores the exchange of words. He walks across the \n frayed carpet to the nearest chair and drops into it. Doc, \n who has followed him, stands looking down at Macreedy for a \n long moment. Then...", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "DOC\n (jabbing at Macreedy \n with a thumb)\n He's going to need you before the \n night is over.", "Macreedy slowly puts down the phone. Doc sips his milk, all \n the while staring queasily over the glass at Macreedy. He \n puts it down, his gaze still fixed on the stranger...", "Macreedy pauses, looking at Doc, who blandly returns his \n stare.\n\n MACREEDY\n Thanks.", "DOC\n Now what do you know?\n (beaming)\n Mr. Macreedy seems to be heading for", "Doc nods. Macreedy smiles and walks toward the door; Pete, \n Doc et al watching him. He goes out.\n\n EXT. STREET", "MACREEDY\n It's a little late for that...\n\n DOC\n You can still get out of town. And \n you'd better get out like a whisper.", "Macreedy gets out of the car. Hector has already opened the \n hood. Doc peers nervously over his shoulder. As they study", "He hesitates as Doc Velie sidles amiably into earshot.\n\n SMITH\n What do you want, Doc?", "Still gripping the wires, he walks off. Doc simmers down. He \n turns to face Macreedy, who hasn't moved. Now Macreedy slowly \n lowers the hood of the car.", "HECTOR\n (to Doc, jerking a \n fat hand toward \n Macreedy)\n Your friend's pretty tough.", "Doc sits at a cluttered desk feeding a large bowl of goldfish \n and sipping a glass of milk. He looks up as Macreedy enters.\n\n DOC\n Hi. Pull up a chair.", "Macreedy is silent. He walks on, to the platform. He pauses, \n looking at the people silently in his wake and then at Doc.", "Macreedy takes the cigarette, lighting a match with one hand. \n He puts the fire to Doc's smoke and then lights his own. He \n inhales, exhales, thinking. Finally...", "as Macreedy barrels down. He pauses briefly in the hall as \n he sees Doc still standing with the hose and the nozzle", "MACREEDY\n Stale.\n\n Now Doc is at the desk not far from Macreedy. Macreedy starts \n out, then turns to Pete.", "SMITH\n (o.s.)\n Mr. Macreedy.\n\n Macreedy stops, looks toward Smith as he walks out to meet \n him.", "DOC\n (to Macreedy)\n It's all right, Macreedy...", "TIM\n (shrugs)\n You name it.\n (studies Macreedy)\n What do you want?" ], [ "Macreedy rises to go out. As he passes Coley, Coley takes \n his limp left arm and spins him slowly but firmly around. \n The two men face each other.", "SMITH\n (with admirable candor)\n You mean, because of your arm?\n (slaps Macreedy's", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "Macreedy shakes free of Coley's grasp. Coley lunges. His big \n right fist streaks toward Macreedy's face. Macreedy ducks,", "Macreedy wipes the last of the fragments from his eyes. His \n face is still streaked with dirt and shale. He turns,", "SMITH\n I think I understand. You're an Army \n man.\n (looking at Macreedy's \n stiff arm)\n Where'd you get it?", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "Macreedy turns slightly and looks up the mountain-side with \n the road at its summit...\n\n WHAT HE SEES: EXTREME LONG SHOT - COLEY", "He takes a belt that would incapacitate half the county. He \n finishes, smacks his lips, lays the bottle down, and falls \n into a chair. He looks up at Macreedy.", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "Macreedy has just passed) and the hotel just ahead. In the \n yard are a few tractors, and among them huddles a tiny office.", "as Macreedy pulls up to the curb in front of the jail and \n cuts the ignition. He grabs the rifle, and steps around to \n Smith.", "Smith stops. Macreedy's face is wooden, with a trace of \n sullenness around the hard lines of his mouth. Working", "MACREEDY\n (flatly)\n Tough.\n\n SMITH\n What do you do in Los Angeles, Mr. \n Macreedy?", "favoring Macreedy as he tears out of the hole. He hurls \n himself at Smith. Wooden-faced, almost dreamy-eyed, he shovels", "HECTOR\n (slowly, his eyes \n glued to Macreedy's \n stiff arm)\n You look like you need a hand.", "Macreedy says nothing. The wales along his face harden. He \n picks up his bag and climbs the stairs. As he disappears, \n Hector lumbers to the desk and grabs the ledger.", "She moves away from Macreedy to get out of the jeep. He \n reaches across quickly, gripping her arm. She turns to face \n him, disturbed by his hardness of jaw and eye..." ], [ "MACREEDY\n (eyeing him)\n A man named Komako.", "MACREEDY\n You killed Komako. Sooner or later \n you'll go up for it. Not because you", "MACREEDY\n Komako, like I told you. Like you \n told me, he wasn't there.\n\n Smith laughs quietly.", "HASTINGS\n (meeting Macreedy's \n eyes)\n I never seen Komako in my life. \n Honest.", "Pete rises. Macreedy halts him momentarily, gripping his \n arm...\n\n MACREEDY\n (flatly)\n She's dead.", "For a moment heavy silence. Finally...\n\n MACREEDY\n What about Komako?", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "SMITH\n (no hesitation)\n Komako -- Sure, I remember him -- \n Japanese farmer. Never had a chance.\n\n MACREEDY\n No?", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "MACREEDY\n Joe Komako died in Italy, saving my \n life. They gave him a medal. I came \n here to give it to his father.", "Macreedy wipes the last of the fragments from his eyes. His \n face is still streaked with dirt and shale. He turns,", "What else is left for you?!\n (mounting anger)\n You're as dead as Komako, only you \n don't know it!", "Macreedy turns slightly and looks up the mountain-side with \n the road at its summit...\n\n WHAT HE SEES: EXTREME LONG SHOT - COLEY", "Macreedy says nothing. The wales along his face harden. He \n picks up his bag and climbs the stairs. As he disappears, \n Hector lumbers to the desk and grabs the ledger.", "MACREEDY\n I wrote these letters to Komako. \n They weren't forwarded. They were", "Macreedy is silent. He walks on, to the platform. He pauses, \n looking at the people silently in his wake and then at Doc.", "MACREEDY\n (with grim amusement)\n Sure. And Smith is the kid who changes \n 'em.\n\n She doesn't answer. Macreedy goes to her.", "MACREEDY\n ...and Komako made you mad.", "Smith stops. Macreedy's face is wooden, with a trace of \n sullenness around the hard lines of his mouth. Working" ], [ "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "Macreedy slowly puts down the phone. Doc sips his milk, all \n the while staring queasily over the glass at Macreedy. He \n puts it down, his gaze still fixed on the stranger...", "Macreedy thinks it over and comes to a swift decision. He \n checks the phone book. Then, picking up phone...", "Sam is still working on his finger nails. He evidences little \n interest in the stranger, but at the bar in b.g. the loafers \n stiffen. Macreedy takes a stool in front of Sam.", "Slowly he replaces the phone on the switch-board. He comes \n around from behind the desk, joining Macreedy and Doc.", "Macreedy ignores the exchange of words. He walks across the \n frayed carpet to the nearest chair and drops into it. Doc, \n who has followed him, stands looking down at Macreedy for a \n long moment. Then...", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "Smith stops. Macreedy's face is wooden, with a trace of \n sullenness around the hard lines of his mouth. Working", "MACREEDY\n (with grim amusement)\n Sure. And Smith is the kid who changes \n 'em.\n\n She doesn't answer. Macreedy goes to her.", "She does not answer. Instead, she silently twists the \n crankcase petcock, stopping the flow of oil. She watches \n Macreedy closely.\n\n INT. GARAGE", "HASTINGS\n (plaintively)\n Lemonade?\n\n Macreedy shakes his head. No.", "MACREEDY\n (to Doc)\n Thanks.\n (into receiver)\n 4-2-4.\n\n INT. TELEPHONE OPERATOR'S OFFICE", "It is a typical small town hotel, but crummier, with a tiny \n lobby. Macreedy is waiting at the empty desk as Hector strolls", "The lobby empty except for Pete behind the desk. Macreedy \n goes to him. Pete seems elaborately occupied arranging and", "HECTOR\n To register a complaint, boy, you've \n got to have evidence. You got \n evidence?\n\n Macreedy doesn't answer.", "TIM\n (reacts; then, tight-\n lipped)\n This ain't no information bureau.\n\n Macreedy starts to say something, then stops. Reconsidering...", "Macreedy reaches for the phone book.\n\n DOC\n It's 4-2-4.", "Macreedy says nothing. The wales along his face harden. He \n picks up his bag and climbs the stairs. As he disappears, \n Hector lumbers to the desk and grabs the ledger.", "HECTOR\n Now. You want to register a complaint?\n\n Macreedy doesn't answer. Hector takes the message from Tim's \n limp hand and tears it into little pieces.", "Hastings again refills his glass, slopping the liquid over \n on the counter. He picks up the glass, hesitates, offers it \n awkwardly to Macreedy." ], [ "Macreedy shakes free of Coley's grasp. Coley lunges. His big \n right fist streaks toward Macreedy's face. Macreedy ducks,", "favoring Macreedy as he tears out of the hole. He hurls \n himself at Smith. Wooden-faced, almost dreamy-eyed, he shovels", "Macreedy rises to go out. As he passes Coley, Coley takes \n his limp left arm and spins him slowly but firmly around. \n The two men face each other.", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "He takes a belt that would incapacitate half the county. He \n finishes, smacks his lips, lays the bottle down, and falls \n into a chair. He looks up at Macreedy.", "Macreedy says nothing. The wales along his face harden. He \n picks up his bag and climbs the stairs. As he disappears, \n Hector lumbers to the desk and grabs the ledger.", "through, Macreedy's elbow smashes beneath Coley's cheekbone. \n Macreedy's arm goes past the astonished, wind-burned face,", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "As Macreedy pulls wide on a razor turn, Coley tries to come \n inside him. Macreedy, fighting for control of the veering \n jeep, succeeds in cutting him off.", "bullet hole in his shoulder. Two men get out of the car; one \n of them is Coley Trimble. He sees Macreedy coming toward", "as they fall to the earth. Macreedy pins her down. Then in \n quick succession, four emphatically loud SHOTS from a rifle \n squirt into the shale around them.", "Macreedy's hand shoots out, in a short, inexorable arc, \n smashing his palm across the shot glass. The whiskey bursts", "as Macreedy marches Smith up the steps. The jail door opens. \n A man emerges, wearing a Mackinaw over his vest and carrying", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "a rifle. It is Tim. For a moment Macreedy eyes him in silence. \n His gun finger tightens on the rifle in his hand. Tim's rifle, \n too, is at the ready...", "Macreedy grins harshly and exits. Tim watches him go, then \n slowly reaches for the bottle. He pauses, looks at his shaking", "as Macreedy pulls up to the curb in front of the jail and \n cuts the ignition. He grabs the rifle, and steps around to \n Smith.", "MACREEDY\n (tonelessly, prodding \n Smith off the fender \n with his rifle)\n Hands behind your head.\n\n Smith complies.", "methodically, Macreedy frisks Coley. He takes from a pocket \n a long, ugly knife. He snaps the spring and the four-inch", "Macreedy swings his rifle from Tim to Smith. Tim lowers his, \n stepping to one side, allowing Smith, covered by Macreedy," ], [ "MACREEDY\n Joe Komako died in Italy, saving my \n life. They gave him a medal. I came \n here to give it to his father.", "The Sheriff reaches for his bottle. In his haste he drops \n it. Macreedy's hand moves quickly, catching the bottle before \n it hits the floor.", "Macreedy wipes the last of the fragments from his eyes. His \n face is still streaked with dirt and shale. He turns,", "Silence. Doc, realizing the enormity of Macreedy's admission, \n frowns, rubs a hand across his tired eyes. Pete looks at \n Macreedy for a long, shocked moment. He shivers.", "Macreedy comes out of the door, carrying his suitcase. For a \n moment he pauses, looking at the uplifted faces of the people", "Macreedy shakes free of Coley's grasp. Coley lunges. His big \n right fist streaks toward Macreedy's face. Macreedy ducks,", "favoring Macreedy as he tears out of the hole. He hurls \n himself at Smith. Wooden-faced, almost dreamy-eyed, he shovels", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "Macreedy rises to go out. As he passes Coley, Coley takes \n his limp left arm and spins him slowly but firmly around. \n The two men face each other.", "shoulder, helping him up. Smith looks at Macreedy through \n eyes bleary with fear and pain and shock.", "Macreedy pauses, looking at Doc, who blandly returns his \n stare.\n\n MACREEDY\n Thanks.", "SMITH\n (calling)\n Mr. Macreedy.\n (reasonably, as", "MACREEDY\n I don't know just why you're \n interested -- but the name's Macreedy.", "SMITH\n (with admirable candor)\n You mean, because of your arm?\n (slaps Macreedy's", "Macreedy has just passed) and the hotel just ahead. In the \n yard are a few tractors, and among them huddles a tiny office.", "Macreedy ignores the exchange of words. He walks across the \n frayed carpet to the nearest chair and drops into it. Doc, \n who has followed him, stands looking down at Macreedy for a \n long moment. Then...", "HECTOR\n (slowly, his eyes \n glued to Macreedy's \n stiff arm)\n You look like you need a hand.", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "his breathing. Pete and Doc regard him with growing \n uneasiness. Rage comes into Macreedy's face, turning it a \n painful red.", "HECTOR\n (to Doc, jerking a \n fat hand toward \n Macreedy)\n Your friend's pretty tough." ], [ "Smith owns Adobe Flat. He leased it \n to Komako -- thought he had cheated \n him, thought Komako could never even", "SMITH\n (no hesitation)\n Komako -- Sure, I remember him -- \n Japanese farmer. Never had a chance.\n\n MACREEDY\n No?", "COLEY\n (squirming)\n But what can he find out? That Komako \n was...?\n (Smith glares at him)\n Suppose he finds out?", "TIM\n (abstractedly)\n He asked about Komako.\n (looking up at Smith)\n You think he'll kick up a storm?", "MACREEDY\n Komako, like I told you. Like you \n told me, he wasn't there.\n\n Smith laughs quietly.", "MACREEDY\n (eyeing him)\n A man named Komako.", "run stock without water. There was \n never any water on Adobe Flat. Komako \n dug a well, by hand. He must have", "SMITH\n Trouble? You don't know anything \n about Komako, now do you, Tim?\n\n TIM\n I do not. That's the point.", "as he drives to the far end of the boulders, reaching a flat \n piece of land completely surrounded by rocks. Beyond the \n rocks is what remains of a burned-out ranch house, and an \n abandoned well.", "He goes to Coley, bending down over him. Smith has remained \n motionless as a monument. Now he doubles shut the knife in", "We were all drunk -- patriotic drunk. \n We went out to Komako's for a little \n fun, I guess -- scare him a little.", "coming, he locked the door. Smith \n started a fire. The Jap came running \n out. His clothes were burning. Smith", "Gently he walks around Coley and Reno Smith and continues \n down the street. Coley's eyes follow him. Smith goes up the", "girl's shoulder is like a steel trap. He pushes her down \n beside Komako's grave, hugging the side of the jeep as a", "MACREEDY\n To Smith you are. How about to Komako?", "DOC\n (gesturing toward it)\n First I sell 'em a piece of land. \n Think they farm it? Nope. They dig \n for gold.", "blade leaps into place. He looks at the knife in his hand \n and then at Smith. He smiles gently, even dreamily.", "Smith, a puzzled expression on his face, watches Coley fall. \n He takes half a step toward him. Macreedy looks at Smith.", "the ashy dirt over Smith's prone chest, putting out the fire. \n Smith struggles halfway to his feet. Macreedy grabs his", "What else is left for you?!\n (mounting anger)\n You're as dead as Komako, only you \n don't know it!" ], [ "MACREEDY\n Joe Komako died in Italy, saving my \n life. They gave him a medal. I came \n here to give it to his father.", "MACREEDY\n (eyeing him)\n A man named Komako.", "MACREEDY\n You killed Komako. Sooner or later \n you'll go up for it. Not because you", "HASTINGS\n (meeting Macreedy's \n eyes)\n I never seen Komako in my life. \n Honest.", "For a moment their eyes lock. Then Macreedy goes to his \n suitcase and throws his clothes in it. As he goes out the \n door...\n\n DISSOLVE TO:", "his chest. He collapses. Macreedy blows out his breath hard. \n He staggers to Liz. As he bends over her...", "DOC\n Nothing. Only... about that medal. \n Can we have it?\n\n MACREEDY\n \"We...?\" Can who have it?", "For a moment heavy silence. Finally...\n\n MACREEDY\n What about Komako?", "MACREEDY\n Komako, like I told you. Like you \n told me, he wasn't there.\n\n Smith laughs quietly.", "as Macreedy marches Smith up the steps. The jail door opens. \n A man emerges, wearing a Mackinaw over his vest and carrying", "SMITH\n (no hesitation)\n Komako -- Sure, I remember him -- \n Japanese farmer. Never had a chance.\n\n MACREEDY\n No?", "Macreedy walks slowly toward him, holding the knife. The are \n only three feet apart. Smith's hand goes to a pocket, closes", "MACREEDY\n (with grim amusement)\n Sure. And Smith is the kid who changes \n 'em.\n\n She doesn't answer. Macreedy goes to her.", "Macreedy hands her a bill. She fumbles with it, not knowing \n what else to do. Her eyes drift to Macreedy's stiff arm...", "Macreedy comes out of the door, carrying his suitcase. For a \n moment he pauses, looking at the uplifted faces of the people", "Smith pays no attention to her. He advances inexorably with \n rifle held at his hip. He fires at Macreedy.\n\n EXT. GRAVE", "He takes a black velvet-covered box from his pocket -- the \n box containing the medal -- looks at it, and slowly hands it \n to Doc.", "The Sheriff reaches for his bottle. In his haste he drops \n it. Macreedy's hand moves quickly, catching the bottle before \n it hits the floor.", "Macreedy takes the cigarette, lighting a match with one hand. \n He puts the fire to Doc's smoke and then lights his own. He \n inhales, exhales, thinking. Finally...", "as Macreedy pulls up to the curb in front of the jail and \n cuts the ignition. He grabs the rifle, and steps around to \n Smith." ] ]

[ "Who told Macreedy that there were no vacant rooms available at the hotel?", "Who was Macreedy searching for in Black Rock?", "Who told Macreedy that Komoko is dead?", "How did Macreedy loose his left arm?", "Who's son saved Macreedy's life?", "Who shot Komoko?", "What did Macreedy use to injur Smith?", "Who set up and betrayed Macreedy?", "What is the name of the man Macreedy is looking for?", "Where was Mcreedy fighting when he lost his arm?", "Why couldn't Smith enlist in the Marines?", "What did Macreedy plan to give to Komoko?", "Who does Macreedy give the metal to before leaving town?", "Why does Macreedy give the metal away before leaving town?", "Who betrays Macreedy in the canyon?", "Who is Liz's brother?", "Who shoots Liz?", "Who drives Macreedy out of town before the shoot out with Smith?", "Who is Macreedy looking for when he gets off the train in Black Rock?", "What does Reno Smith inform Macreedy about Komoko?", "What does Doc Velie advise Macreedy to do when they meet?", "Where did Macreedy lose his left arm?", "What leads Macreedy to believe that Komoko is dead?", "Who refuses to put through Macreedy's call to the State Police?", "How does Macreedy beat up Trimble?", "Who saved Macreedy's life in the war?", "What did Komoko find on the land that he leased from Smith?", "To whom does Macreedy give Komoko's medal?" ]

[ [ "Pete Wirth", "Pete Wirth." ], [ "Komoko", "komoko" ], [ "Doc Velie", "Doc Velie." ], [ "While fighting in Italy", "fighting in Italy" ], [ "Komoko's", "Komoko." ], [ "Smith", "smith" ], [ "A Molotov cocktail", "fire" ], [ "Liz", "Liz." ], [ "Komoko", "Komoko" ], [ "Italy", "Italy." ], [ "He failed his physical.", "He didn't pass the physical." ], [ "his son's war metal", "Hi posthumous medal." ], [ "Doc Velie", "Doc Velie." ], [ "To help Black Rock heal", "Doc Velie." ], [ "Liz", "Liz and Smith." ], [ "Smith", "Pete" ], [ "Macreedy", "smith" ], [ "Liz", "LIz." ], [ "Komoko.", "looking for Komoko" ], [ "That he was interned during World War II.", "That Komoko was in an internment camp during WWII." ], [ "To leave town right away.", "Leave town." ], [ "In Italy.", "Italy." ], [ "The wildflowers.", "Doc Velie tells him so." ], [ "Pete the hotel desk clerk.", "Pete." ], [ "Martial arts.", "He uses martialarts." ], [ "Komoko's son.", "Komoko's son." ], [ "Water.", "water" ], [ "Doc Velie.", "elder Komoko" ] ]

[ [ "RAND\n\t\t\t(pouring another drink)\n\t\tAh, yes, our Paul, strong and", "A few feet from Holland, leaning against the wall, is Rand. \n\tHe has evidently been there some time. He is not drunk, but\n\tit is obvious he has been drinking. Holland walks down the", "MRS. RAND\n\t\tUse your influence with Paul. Ask\n\t\thim to take that whiskey decanter\n\t\toff the dinner table.", "The work drum sounds for the third time. Rand who has\n\tfinished his drink, reaches for the bottle again. At this", "something he has said. He is finishing his drink. Rand sets\n\tdown his glass and gestures to the proprietor.", "any of use.\n\t\t\t(violently)\n\t\tSay something, Paul! You've always\n\t\tbeen good with words. Put some", "What he could do to that word\n\t\t\"beautiful.\" That's Paul's great\n\t\tweapon -- words. He uses them the", "MRS. RAND\n\t\tNonsense, child! I know Wesley's\n\t\tbeen drinking too much lately. I", "verses. Ti-Joseph comes up to the table with Rand's drink. \n\tRand makes a motion to him indicating the corner around which", "Betsy is spared the embarrassment of replying when Ti-Joseph\n\tbrings the drink that Rand ordered. Rand gulps thirstily at", "RAND\n\t\t\t(ignoring her, speaking a\n\t\t\tlittle drunkenly)\n\t\tOne of these days he'll start on", "nice boy. But I'm worried about\n\t\this drinking.", "liquor in his glass, walks forward to where Jessica stands at\n\tthe gate. He looks at her for a long moment and then, as if", "RAND\n\t\tYes, the redoubtable Paul. He has\n\t\tthe plantation, and I, as you must\n\t\thave noticed, have all the charm.", "RAND\n\t\tWhy? Everybody else knows it. \n\t\tPaul saw to that. Sometimes I\n\t\tthink he planned the whole thing\n\t\tfrom the beginning -- just to watch\n\t\tme squirm.", "BETSY\n\t\tYou can't believe that. You don't\n\t\tknow what viciousness it would take\n\t\tto drive a person mad. You're not\n\t\tvicious or cruel, Paul.", "brandy, cups and glasses. Behind them is the lighted window\n\twhere we have seen the shadow of Paul Holland. From this\n\tangle the shadow can no longer be seen. As if part of a", "RAND\n\t\t\t(making mockery of his own\n\t\t\texplanation)\n\t\tWe're half-brothers. Paul is", "DR. MAXWELL\n\t\tI did everything I could to\n\t\tforestall this, Paul. I don't", "<u>EXT. GARDEN -- NIGHT\n</u>\n\tAs seen from Rand's ANGLE. He rises slowly, drains the" ], [ "Priest walking with him. As they walk, Holland speaks:", "He is dressed in a light business suit. At the window, at\n\tthe rear of the room, stands Holland, talking with a Priest.", "priest of the voodoo ceremonies, a small, stoop-shouldered\n\tman in a worn, white coat and trousers with ragged cuffs.", "speaks. The first suppliant is a weary-looking field hand\n\twho shuffles to the door and speaks in such a low tone that", "very decorous and decidedly religious in tone. No sooner has\n\tBetsy taken her place with the others than the Shango ritual\n\tapproaches its climax. The Sabreur, a colored man dressed in", "force. We can see the sweat soaking his white shirt. The\n\tothers are chanting, louder now, swaying in rhythm with his\n\tpulling movements. The conch is being blown with a more", "immediately. He looks frightened and guilty. Ti-Joseph\n\tturns and goes around the corner to his cafe. The Calypso", "A hand reaches out from the darkness and takes Betsy's hand\n\tand draws her in. The Houngan follows Betsy into the temple.\n\tThe door shuts behind him. Jessica remains outside, standing", "starts running with her. There is a movement in the crowd as\n\tif they were about to follow her. From the doorway of the\n\tinner Houmfort, the Houngan calls out:", "Sabreur and the two Mam-Lois hide the actual blood sacrifice\n\tfrom us. Only the fact that the drumming and the singing\n\treach a climactic pitch reveal that some Important portion of", "the rest. She is third in the line of suppliants. She can\n\tsee the whole procedure. The suppliant places his forehead\n\tagainst the forehead of the god painted on the door, and", "before the altar, each kneeling on one knee, their arms held\n\tto their breasts, their foreheads butted together. Although\n\tnot a muscle moves, one can almost feel the tension of these", "Clement, the lantern still in his hand, passes close behind\n\tthem. For a moment they turn and look at his black, still", "crouched near the altar. Halfway between this man and the\n\tdoll, the Sabreur, his sword stuck in the mound before him,", "It is the Houngan who has lit the lamp and, on the other side\n\tof the table is Mrs. Rand. Her face is serious and unsmiling.", "Ti-Joseph gets Rand to his feet and helps him stagger around\n\tthe corner. From around the corner we can hear Ti-Joseph\n\tbellowing.", "liquid at the bottom of it. He dips four fingers into this\n\tliquid while the girl quivers and writhes before him in\n\treligious ecstasy. He marks her forehead with four strange", "between their knees. Grouped around this altar in a loose\n\tsemicircle are the worshippers, a group of mild-mannered,", "scene. He is bare to the waist, wearing only a pair of dark,\n\tragged trousers. He starts up the steps.", "The Sabreur makes motions as if he were pulling on the thread\n\tbut still does no touch it. He makes these motions over and\n\tover again. The doll moves slowly. Then suddenly stops." ], [ "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "BETSY (cont'd)\n\t\t\t(a frightened questioning\n\t\t\twhisper over the closeup)\n\t\tMrs. Holland -- ?\n\n\tWithout expression, Jessica moves toward her.", "Betsy looks to Jessica.", "Mother -- seeing Jessica day after\n\t\tday -- never able to escape, never\n\t\table to forget. Please, Betsy --\n\t\tit's only merciful.", "He turns and goes into the living room. Betsy also starts to\n\trise. Rand still stares at Jessica.\n\n\t\t\t\t\t\t\tDISSOLVE", "MRS. RAND\n\t\tWait. Don't draw any conclusions.\n\t\tLet me explain.\n\n\t\t\t\tBETSY\n\t\tBut, Mrs. Rand --", "MRS. RAND\n\t\t\t(looking hard at Betsy for\n\t\t\ta moment)", "BETSY\n\t\tThat's sweet of you, Mrs. Rand.\n\n\t\t\t\tHOLLAND\n\t\tBetsy feels there is nothing she\n\t\tcan do for Jessica...", "MRS. RAND (cont'd)\n\t\tBut what I did to Jessica was worse\n\t\tthan that. It was when she going\n\t\taway with Wesley. There was that\n\t\thorrible scene.", "passes Betsy on her way to the door, she makes a little\n\tcurtsey. Mrs. Holland is lying back against the pillows on\n\ther bed in a semi-reclining position.", "Betsy and Holland look at each other. Then Betsy takes\n\tJessica's arm.\n\n\t\t\t\tBETSY\n\t\tCome with me, Jessica.", "MRS. RAND (CONT'D)\n\t\t\t(to Betsy, cheerfully)\n\t\tSome of this native nonsense. The", "RAND\n\t\t\t(dully)\n\t\tShe should have rest.\n\t\t\t(looking up at Betsy)", "MRS. RAND (cont'd)\n\t\tYou could do me a great favor.\n\n\t\t\t\tBETSY\n\t\t\t(eagerly)\n\t\tI'd love to.", "BETSY\n\t\tJessica! Jessica!", "BETSY\n\t\t\t(dismayed)\n\t\tOh, Mrs. Rand --", "BETSY\n\t\tBut I'm Miss Jessica's nurse, Alma. \n\t\tYou don't have to do that for me.", "and Betsy, directly behind her, hears her words.", "MRS. RAND\n\t\tI think you need some help.\n\n\t\t\t\tBETSY\n\t\tI'm afraid so.", "facing Mrs. Rand and Betsy, is Dr. Maxwell and Commissioner\n\tJeffries. The latter is a dignified man of early middle-age." ], [ "Ti-Joseph gets Rand to his feet and helps him stagger around\n\tthe corner. From around the corner we can hear Ti-Joseph\n\tbellowing.", "The Sabreur dances toward the doll, making a menacing move\n\twith his saber. When he reaches the little image, he puts", "the point of his saber in the ground and draws from his\n\tbodkin, a long needle. With one swift movement, he stabs\n\tthis through the doll's back.", "force. We can see the sweat soaking his white shirt. The\n\tothers are chanting, louder now, swaying in rhythm with his\n\tpulling movements. The conch is being blown with a more", "Sabreur and two Mam-Lois stand near her looking at her and\n\ttalking. We cannot hear what they say. The drumming and the", "arms of the still-living Zombie. The upheld torches and\n\tspears of the fishermen give a weird, processional feeling to\n\tthe group.", "with mincing steps to a distance of a few yards. Carre-Four\n\tlumbers after him, his hand extended. Again, the Sabreur\n\tlets him take the doll.", "Then she resumes her groping progress. A rat squeals and\n\tslithers across the floor. Again she stops. Then, more as a", "Sabreur and the two Mam-Lois hide the actual blood sacrifice\n\tfrom us. Only the fact that the drumming and the singing\n\treach a climactic pitch reveal that some Important portion of", "immediately. He looks frightened and guilty. Ti-Joseph\n\tturns and goes around the corner to his cafe. The Calypso", "Far off somewhere a drum begins to beat, slowly and sullenly. \n\tBetsy turns in the direction of the sound. Rand watches her,\n\tgrinning.", "foot or so away from him. The great black hand reaches for\n\tit. Again the Sabreur takes the doll away and dances off", "The Sabreur makes motions as if he were pulling on the thread\n\tbut still does no touch it. He makes these motions over and\n\tover again. The doll moves slowly. Then suddenly stops.", "It is her hands which have dressed the doll. There are about\n\tfive people in the room, including the three drummers. The\n\tSabreur makes magical passes over the doll.", "Clement, the lantern still in his hand, passes close behind\n\tthem. For a moment they turn and look at his black, still", "The other negro just dumbly shakes his head again. The\n\tCalypso singer puts his idea instantly into action, starting\n\toff around the corner.", "The conch is blowing its strange, magnetic call and the\n\tnegroes are chanting as they watch the Sabreur and the doll.", "eating, tearing at the meat with cruel, greedy, animal\n\tgestures. Holland walks past them on his way aft.", "starts running with her. There is a movement in the crowd as\n\tif they were about to follow her. From the doorway of the\n\tinner Houmfort, the Houngan calls out:", "very decorous and decidedly religious in tone. No sooner has\n\tBetsy taken her place with the others than the Shango ritual\n\tapproaches its climax. The Sabreur, a colored man dressed in" ], [ "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "Jessica's hand in hers, Betsy takes her place at the door. \n\tShe puts her forehead against the crudely painted forehead of\n\tthe god. She talks to the door.", "quickly to the bed, where the outline of Jessica's figure\n\treassures her. There is another muffled, dragging sound from", "CLOSEUP of Jessica. This is the face of the dead; bloodless,\n\tcold-lidded, eyes open and unseeing, washed white with the", "Clement is about to follow them when the door to Jessica's\n\tbedroom opens a few inches. Alma puts her head out\n\tcautiously.", "HOLLAND (cont'd)\n\t\tBefore Jessica was taken ill, there\n\t\twas a scene. An ugly scene. I", "of blame. It's a question of what\n\t\twe are to do with Jessica. The\n\t\tcommissioner is very concerned.", "HOLLAND\n\t\tJessica!\n\n\tThe woman stops and turns slowly toward him. He speaks\n\thurriedly to Alma.", "Betsy turns and looks across the room to where Jessica sits\n\tmotionless before the mirror.\n\n\t\t\t\tBETSY\n\t\tYou are wrong, Mr. Holland.", "doll about three inches high. It is dressed in a crude\n\timitation of Jessica's loose, belted, white gown. A thread\n\tis tied around it and this thread leads off, taut.", "toward Jessica with little mincing steps.", "run up to Jessica. Holland takes her arm, but she continues\n\tto walk forward. He tries to hold her. It is apparent he\n\tcannot do so without the use of considerable force.", "you, Jessica? You think you're\n\t\tbeautiful, don't you, Jessica?\" \n\t\t\t(bitterly)", "(turns back to face them)\n\t\t Jessica lives -- or she dies. \n\t\tThat's what we're talking about!", "MOVES UP ON a small shelf before which a candle is burning. \n\tOn this shelf, a few inches above the candle flame, stands\n\tthe cheap little doll dressed like Jessica, with the needle", "He subsides in his chair, shaken, entirely out of control. \n\tHe doesn't look at Holland, nor at Betsy but at Jessica.", "Mother -- seeing Jessica day after\n\t\tday -- never able to escape, never\n\t\table to forget. Please, Betsy --\n\t\tit's only merciful.", "Betsy looks to Jessica.", "Jessica's bed, she stops to grab up Jessica's white negligee,\n\tthrowing it around her she continues to the door and opens it\n\tslowly and cautiously.", "here's the seat of the trouble. \n\t\tMrs. Holland has become an object\n\t\tof speculation and religious\n\t\tinterest to these people. It's" ], [ "together. And then I heard a\n\t\tvoice, speaking in a sudden\n\t\tsilence. My voice. I was\n\t\tpossessed. I said that the woman", "somewhere other than her own throat. She is possessed by the\n\tgod, Shango.", "paid at St. Sebastian. The woman and her son retire happily,\n\tpleased and grinning. Finally, exhausted, the girl possessed\n\tof the god, Shango, sinks to her knees and then falls", "fainting to the floor. Two colored men come in, carry her\n\taway. A great cry rises from the voodoo worshippers.", "A hand reaches out from the darkness and takes Betsy's hand\n\tand draws her in. The Houngan follows Betsy into the temple.\n\tThe door shuts behind him. Jessica remains outside, standing", "at Fort Holland was evil and that\n\t\tthe Houngan must maker her a\n\t\tZombie.", "There is a great ecstatic shout from the voodoo worshippers.\n\n\t\t\t\tVOODOO WORSHIPPERS\n\t\t\t(shouting)\n\t\tDamballa! Damballa!", "MRS. RAND\n\t\tIt's more than that, Doctor. I've\n\t\tentered into their ceremonies -\n\t\tpretended to be possessed by their\n\t\tgods...", "the ceremony has taken place. Instantly the drumming and the\n\tsinging stops. A young colored girl jumps up from her seat\n\tamong the worshippers and begins shivering and quaking,", "water. She never would. Then I told\n\t\ther the god, Shango, would be\n\t\tpleased and kill the evil spirits", "starts running with her. There is a movement in the crowd as\n\tif they were about to follow her. From the doorway of the\n\tinner Houmfort, the Houngan calls out:", "BETSY\n\t\tYou don't seem very disturbed by\n\t\tit. I've always thought Voodoo was", "ALMA\n\t\tYes, Miss Betsy. I mean that. The\n\t\tHoungan will speak to the rada\n\t\tdrums and the drums will speak to\n\t\tShango and Damballa.", "leads a little boy up to her. We hear her words as she calls\n\tout to the possessed girl:", "THE CAMERA DRAWS BACK to reveal that one of the girls who\n\tdanced in the voodoo ceremony is kneeling before the table.", "very decorous and decidedly religious in tone. No sooner has\n\tBetsy taken her place with the others than the Shango ritual\n\tapproaches its climax. The Sabreur, a colored man dressed in", "DR. MAXWELL\n\t\tYou were possessed. That is true --\n\t\tpossessed by your subconscious", "ALMA\n\t\tNo. She was mindless but not like\n\t\tMiss Jessica. But the Houngan\n\t\tcured her.", "DR. MAXWELL\n\t\tI think I do. \n\t\t\t(smiling)\n\t\tI've often talked a little voodoo\n\t\tto get medicine down a patient's\n\t\tthroat.", "Jessica's hand in hers, Betsy takes her place at the door. \n\tShe puts her forehead against the crudely painted forehead of\n\tthe god. She talks to the door." ], [ "MRS. RAND (cont'd)\n\t\tBut what I did to Jessica was worse\n\t\tthan that. It was when she going\n\t\taway with Wesley. There was that\n\t\thorrible scene.", "MRS. RAND\n\t\tYes, I said it, and I made myself\n\t\tbelieve it. But when I got here,\n\t\tJessica was already raging with\n\t\tfever.", "MRS. RAND (cont'd)\n\t\tYou thought she loved you, didn't\n\t\tyou? She didn't. She didn't love", "The CAMERA PANS from the group around Mrs. Rand to the tower\n\tdoor. Jessica walks out of it and comes slowly past the\n\tfountain.", "She waits, inquiringly. Rand takes a few steps into the room\n\tand turns to stare through the door, across the garden to\n\tJessica's room.", "MRS. RAND\n\t\tI really intended going out to the\n\t\tFort and meeting you long before\n\t\tthis, Miss Connell. I'm Mrs. \n\t\tRand -- Wesley's mother.", "RAND\n\t\tJessica was never any good for\n\t\tPaul. You will be, you are. And", "MRS. RAND\n\t\tWait. Don't draw any conclusions.\n\t\tLet me explain.\n\n\t\t\t\tBETSY\n\t\tBut, Mrs. Rand --", "He turns and goes into the living room. Betsy also starts to\n\trise. Rand still stares at Jessica.\n\n\t\t\t\t\t\t\tDISSOLVE", "Dr. Maxwell has been studying Mrs. Rand with a curious,\n\tintent expression.\n\n\t\t\t\tDR. MAXWELL\n\t\tAnd what happened then, Mrs. Rand?", "MRS. RAND (cont'd)\n\t\tPaul!\n\n\tHolland pauses at the head of the stairs and turns to her.", "MRS. RAND (CONT'D)\n\t\tBetsy! Get her away -- back to the\n\t\tFort! Do as I say -- they won't\n\t\thurt you.", "As the scene opens, Mrs. Rand fills a teacup and holds it up\n\ttoward Holland. He comes toward her to pick up the cup, the", "MRS. RAND (CONT'D)\n\t\t\t(to Betsy, cheerfully)\n\t\tSome of this native nonsense. The", "<u>INT. LIVING ROOM -- FORT HOLLAND -- DAY\n</u>\n\tMrs. Rand, in a simple afternoon dress, is seated on the", "DR. MAXWELL\n\t\tTwo things had happened, Mrs. Rand. \n\t\tOne was that your daughter-in-law", "run up to Jessica. Holland takes her arm, but she continues\n\tto walk forward. He tries to hold her. It is apparent he\n\tcannot do so without the use of considerable force.", "RAND\n\t\tBut it is, Paul! Because that's\n\t\twhy you won't dare send Jessica\n\t\taway!", "MRS. RAND\n\t\tI think you need some help.\n\n\t\t\t\tBETSY\n\t\tI'm afraid so.", "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the" ], [ "Betsy.", "and Betsy, directly behind her, hears her words.", "Betsy, and sets it down. Betsy looks at him. It is on her\n\tlook, questioning and puzzled, that we", "There is a little pause. Then Betsy looks at Holland, her\n\teyes glistening with tears. Betsy turns away slightly,", "Betsy is puzzled and a little alarmed by Holland's strange\n\tutterances and his queer behavior. Over this shot of Betsy\n\tlooking off at him, we hear her as narrator.", "passes Betsy on her way to the door, she makes a little\n\tcurtsey. Mrs. Holland is lying back against the pillows on\n\ther bed in a semi-reclining position.", "The old woman turns away, comforted -- hopeful. Betsy looks\n\tat her. She can see tears in the old woman's eyes. With", "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "<u>INT. BETSY'S ROOM -- NIGHT\n</u>\n\tThis is a small but lovely room with white plastered walls.", "Betsy is puzzled and interested. She stands a moment and\n\tthen starts off.\n\n\t\t\t\t\t\t\tFADE OUT\n\n\tFADE IN", "<u>INT. BETSY'S ROOM -- NIGHT\n</u>\n\tBetsy, dressed in a trim negligee and slippers, is getting", "He picks up his bag and walks toward the door. Betsy walks\n\twith him. At the door, he half turns and says:", "Betsy puts her hand on his arm, in an instinctive gesture of\n\tsympathy and comfort. Holland looks down at her hand and\n\tthen, searchingly, into her face.", "Betsy turns, as she hears her name, and sees Rand, mounted on\n\ta white saddle mule. (The mule is one of those delicate,", "BETSY\n\t\t\t(gently)\n\t\tBut she's not dead, Wes.", "Far off somewhere a drum begins to beat, slowly and sullenly. \n\tBetsy turns in the direction of the sound. Rand watches her,\n\tgrinning.", "BETSY\n\t\tThat's sweet of you, Mrs. Rand.\n\n\t\t\t\tHOLLAND\n\t\tBetsy feels there is nothing she\n\t\tcan do for Jessica...", "indeed. As Betsy approaches, she can see familiar faces. \n\tAs she comes up they turn and look at her. They are not", "in a carved Spanish frame. There are no pictures or other\n\tornaments. A woven grass rug lies on the floor. Betsy is\n\tseated before the dressing table, putting the last touches to", "makes the circuit of the garden, pacing slowly along the\n\tpaths. Betsy watches her. Then, from the living room, a\n\tman's voice calls out to her." ], [ "Paul Holland. But you've already\n\t\tmet him.", "What he could do to that word\n\t\t\"beautiful.\" That's Paul's great\n\t\tweapon -- words. He uses them the", "RAND\n\t\t\t(pouring another drink)\n\t\tAh, yes, our Paul, strong and", "Paul rises and walks around the desk. Betsy also stands.", "any of use.\n\t\t\t(violently)\n\t\tSay something, Paul! You've always\n\t\tbeen good with words. Put some", "head. She looks very attractive and very happy. The door of\n\tthe office opens and Paul Holland comes out, muffling up his", "RAND\n\t\tYes, the redoubtable Paul. He has\n\t\tthe plantation, and I, as you must\n\t\thave noticed, have all the charm.", "RAND\n\t\tWhy? Everybody else knows it. \n\t\tPaul saw to that. Sometimes I\n\t\tthink he planned the whole thing\n\t\tfrom the beginning -- just to watch\n\t\tme squirm.", "RAND\n\t\tMiss Connell -- I'm Wesley Rand. \n\t\tPaul asked me to introduce myself.\n\n\tThey shake hands and he takes her elbow to guide her to the\n\ttable.", "As seen from Betsy's NEW ANGLE. Paul Holland is seated in a\n\tlow armchair. His eyes are fixed on the woman at the piano. \n\tShe continues to strike odd notes on the piano.", "RAND\n\t\t\t(making mockery of his own\n\t\t\texplanation)\n\t\tWe're half-brothers. Paul is", "THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND\n\tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE", "blankly. At the other end of the room stand Betsy and Dr.\n\tMaxwell. Paul, his back to the window, faces them.", "BETSY\n\t\tYou can't believe that. You don't\n\t\tknow what viciousness it would take\n\t\tto drive a person mad. You're not\n\t\tvicious or cruel, Paul.", "MRS. RAND (cont'd)\n\t\tPaul!\n\n\tHolland pauses at the head of the stairs and turns to her.", "life again at St. Sebastian -- It's a\n\t\tgood life and a full one. As for\n\t\tPaul and me -- it wasn't a simple", "The CAMERA DRAWS BACK to SHOW a tall, masculine figure\n\tleaning against the foremast, behind Betsy. This is Paul\n\tHolland. As we see him, we hear his voice.", "Betsy, startled, steps back, letting the flower drop. Paul\n\tHolland, passing her, looks at this little tableau of horror\n\tand disgust.", "after Paul Holland almost thrust me\n\t\tfrom the room, and certainly thrust\n\t\tme from his life. I said to myself,\n\t\t\"I love him.\" And even as I said", "RAND\n\t\tYou mean to say Paul can send her\n\t\taway -- that he can hand her over" ], [ "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "Betsy looks to Jessica.", "BETSY\n\t\tJessica! Jessica!", "Betsy and Holland look at each other. Then Betsy takes\n\tJessica's arm.\n\n\t\t\t\tBETSY\n\t\tCome with me, Jessica.", "Betsy turns and looks across the room to where Jessica sits\n\tmotionless before the mirror.\n\n\t\t\t\tBETSY\n\t\tYou are wrong, Mr. Holland.", "BETSY (cont'd)\n\t\t\t(a frightened questioning\n\t\t\twhisper over the closeup)\n\t\tMrs. Holland -- ?\n\n\tWithout expression, Jessica moves toward her.", "Mother -- seeing Jessica day after\n\t\tday -- never able to escape, never\n\t\table to forget. Please, Betsy --\n\t\tit's only merciful.", "MED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward\n\tBetsy, who takes a step back. They are out of the moonlight", "He subsides in his chair, shaken, entirely out of control. \n\tHe doesn't look at Holland, nor at Betsy but at Jessica.", "Obedient again, Jessica allows Betsy to turn her around and\n\tlead her back to the open tower door. As Betsy and Jessica\n\tgo into the bedroom, the door closes behind them.", "Jessica's hand in hers, Betsy takes her place at the door. \n\tShe puts her forehead against the crudely painted forehead of\n\tthe god. She talks to the door.", "He turns and goes into the living room. Betsy also starts to\n\trise. Rand still stares at Jessica.\n\n\t\t\t\t\t\t\tDISSOLVE", "BETSY\n\t\tBut I'm Miss Jessica's nurse, Alma. \n\t\tYou don't have to do that for me.", "and Betsy, directly behind her, hears her words.", "<u>INT. TOWER -- SECOND FLOOR -- NIGHT\n</u>\n\tJessica still continues to walk toward Betsy. Betsy retreats", "<u>EXT. THE HOUMFORT - NIGHT\n</u>\n\tLONG SHOT. The camera is behind Betsy and Jessica as they go", "<u>EXT. THE HOUMFORT - NIGHT\n</u>\n\tJessica stands patiently where Betsy had left her. The", "and places the plate near the door jamb. A line forms at the\n\tdoor. Betsy leading Jessica by the hand takes her place with", "BETSY\n\t\tWhat's this?\n\n\t\t\t\tALMA\n\t\tA puff-up, I call it. But Miss\n\t\tJessica always says \"brioche.\"", "Betsy is puzzled and a little alarmed by Holland's strange\n\tutterances and his queer behavior. Over this shot of Betsy\n\tlooking off at him, we hear her as narrator." ], [ "Betsy leans over and touches Rand's arm.\n\n\t\t\t\tBETSY\n\t\tWes. Wesley -- it's time we were\n\t\tstarting home.", "her. This is Wesley Rand. The table by which he stands is\n\tset for two and lit by candelabra in great glass hurricane", "RAND\n\t\tMiss Connell -- I'm Wesley Rand. \n\t\tPaul asked me to introduce myself.\n\n\tThey shake hands and he takes her elbow to guide her to the\n\ttable.", "MRS. RAND\n\t\t\t(trying to calm him)\n\t\tWesley!", "THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND\n\tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE", "Betsy shakes her head.\n\n\t\t\t\tBETSY\n\t\tNo, Wes.", "MRS. RAND\n\t\tNonsense, child! I know Wesley's\n\t\tbeen drinking too much lately. I", "BETSY\n\t\t\t(gently)\n\t\tBut she's not dead, Wes.", "Wesley's difficulty brought us\n\t\ttogether.", "BETSY\n\t\tPlease, Wes, do as I ask. You must\n\t\trest, you must sleep.\n\n\tRand turns his hand and lets the tablets fall to the floor.", "Betsy, alarmed and troubled, puts her hand on his arm.\n\n\t\t\t\tBETSY\n\t\tDon't think of it, Wes. I couldn't\n\t\tdo that.", "BETSY\n\t\t\t(with great pity)\n\t\tHer heart beats, Wes. She\n\t\tbreathes. That's life -- I once\n\t\ttook an oath to guard life.", "BETSY\n\t\tBut for Wes -- it must be a\n\t\ttemptation to him.", "BETSY\n\t\tDon't let it bother you so, Wes.\n\n\t\t\t\tRAND\n\t\tDid you hear what he sang?", "Betsy shakes Rand urgently.\n\n\t\t\t\tBETSY\n\t\tPlease, Wes -- we've got to get\n\t\tback to Fort Holland.", "MRS. RAND\n\t\tI really intended going out to the\n\t\tFort and meeting you long before\n\t\tthis, Miss Connell. I'm Mrs. \n\t\tRand -- Wesley's mother.", "JEFFRIES\n\t\tI believe there's a kinder name for\n\t\tit, Wesley. At St. Thomas, it's called the\n\t\tInstitute for Mental Therapy.", "HOLLAND\n\t\t\t(sincerely)\n\t\tWesley can be very entertaining.", "MRS. RAND (cont'd)\n\t\tBut what I did to Jessica was worse\n\t\tthan that. It was when she going\n\t\taway with Wesley. There was that\n\t\thorrible scene.", "BETSY\n\t\tStill, I feel you should remove the\n\t\tdecanter. Wes is not an alcoholic" ], [ "A hand reaches out from the darkness and takes Betsy's hand\n\tand draws her in. The Houngan follows Betsy into the temple.\n\tThe door shuts behind him. Jessica remains outside, standing", "Jessica's hand in hers, Betsy takes her place at the door. \n\tShe puts her forehead against the crudely painted forehead of\n\tthe god. She talks to the door.", "BETSY\n\t\tAre you trying to tell me that the\n\t\tHoungan -- the voodoo priest --\n\t\tcould cure Mrs. Holland?", "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "Betsy and Holland look at each other. Then Betsy takes\n\tJessica's arm.\n\n\t\t\t\tBETSY\n\t\tCome with me, Jessica.", "BETSY\n\t\tYou don't seem very disturbed by\n\t\tit. I've always thought Voodoo was", "very decorous and decidedly religious in tone. No sooner has\n\tBetsy taken her place with the others than the Shango ritual\n\tapproaches its climax. The Sabreur, a colored man dressed in", "ALMA\n\t\tNo. She was mindless but not like\n\t\tMiss Jessica. But the Houngan\n\t\tcured her.", "BETSY\n\t\tJessica! Jessica!", "fainting to the floor. Two colored men come in, carry her\n\taway. A great cry rises from the voodoo worshippers.", "<u>EXT. THE BANYAN TREE -- NIGHT\n</u>\n\tBetsy and Jessica pass quickly under the dead goat, on their\n\tway home.", "Betsy looks to Jessica.", "ALMA\n\t\tYes, Miss Betsy. I mean that. The\n\t\tHoungan will speak to the rada\n\t\tdrums and the drums will speak to\n\t\tShango and Damballa.", "THE CAMERA DRAWS BACK to reveal that one of the girls who\n\tdanced in the voodoo ceremony is kneeling before the table.", "and places the plate near the door jamb. A line forms at the\n\tdoor. Betsy leading Jessica by the hand takes her place with", "Mother -- seeing Jessica day after\n\t\tday -- never able to escape, never\n\t\table to forget. Please, Betsy --\n\t\tit's only merciful.", "starts running with her. There is a movement in the crowd as\n\tif they were about to follow her. From the doorway of the\n\tinner Houmfort, the Houngan calls out:", "toward the Houmfort through the sugar cane. We see this\n\tvoodoo temple as they go toward it. It is a rickety", "Obedient again, Jessica allows Betsy to turn her around and\n\tlead her back to the open tower door. As Betsy and Jessica\n\tgo into the bedroom, the door closes behind them.", "Betsy is puzzled and a little alarmed by Holland's strange\n\tutterances and his queer behavior. Over this shot of Betsy\n\tlooking off at him, we hear her as narrator." ], [ "priest of the voodoo ceremonies, a small, stoop-shouldered\n\tman in a worn, white coat and trousers with ragged cuffs.", "There is a great ecstatic shout from the voodoo worshippers.\n\n\t\t\t\tVOODOO WORSHIPPERS\n\t\t\t(shouting)\n\t\tDamballa! Damballa!", "A hand reaches out from the darkness and takes Betsy's hand\n\tand draws her in. The Houngan follows Betsy into the temple.\n\tThe door shuts behind him. Jessica remains outside, standing", "fainting to the floor. Two colored men come in, carry her\n\taway. A great cry rises from the voodoo worshippers.", "THE CAMERA DRAWS BACK to reveal that one of the girls who\n\tdanced in the voodoo ceremony is kneeling before the table.", "toward the Houmfort through the sugar cane. We see this\n\tvoodoo temple as they go toward it. It is a rickety", "starts running with her. There is a movement in the crowd as\n\tif they were about to follow her. From the doorway of the\n\tinner Houmfort, the Houngan calls out:", "The Houngan prances forward, followed by the Sabreur. The\n\tHoungan holds a little saucer in his hand with some dark", "very decorous and decidedly religious in tone. No sooner has\n\tBetsy taken her place with the others than the Shango ritual\n\tapproaches its climax. The Sabreur, a colored man dressed in", "The drums find a new rhythm. The Houngan retires to one\n\tcorner of the altar; the Sabreur to the other. Two young", "The conch is blowing its strange, magnetic call and the\n\tnegroes are chanting as they watch the Sabreur and the doll.", "BETSY\n\t\tAre you trying to tell me that the\n\t\tHoungan -- the voodoo priest --\n\t\tcould cure Mrs. Holland?", "childish jumble of plates, candles, little colored stones and\n\tbottles. Before this altar stands the Houngan, the high", "figures of several voodoo worshippers are outlined in\n\tsilhouette against the darkening sky. A single rada drum is\n\tbeing beaten in light, quick rhythm. Someone sets fire to a", "Sabreur and the wild chanting of the voodoo adepts. Nothing\n\tcan make it move again. There is a whispered consultation", "group of voodoo adepts squatting on their heels in a ring\n\taround the bonfire. Near the bonfire stand Carre-Four and", "<u>EXT. HOUMFORT -- NIGHT\n</u>\n\tThe Houngan and the Sabreur are working over the doll again. \n\tIt begins to move.", "It is the Houngan who has lit the lamp and, on the other side\n\tof the table is Mrs. Rand. Her face is serious and unsmiling.", "BETSY\n\t\tYou don't seem very disturbed by\n\t\tit. I've always thought Voodoo was", "at Fort Holland was evil and that\n\t\tthe Houngan must maker her a\n\t\tZombie." ], [ "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE\n\tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \"ZOMBIE\".", "run up to Jessica. Holland takes her arm, but she continues\n\tto walk forward. He tries to hold her. It is apparent he\n\tcannot do so without the use of considerable force.", "quickly to the bed, where the outline of Jessica's figure\n\treassures her. There is another muffled, dragging sound from", "MOVES UP ON a small shelf before which a candle is burning. \n\tOn this shelf, a few inches above the candle flame, stands\n\tthe cheap little doll dressed like Jessica, with the needle", "Betsy and Holland look at each other. Then Betsy takes\n\tJessica's arm.\n\n\t\t\t\tBETSY\n\t\tCome with me, Jessica.", "iron arrow comes out in his hand. With this in his hand, he\n\twalks to where Jessica stands. He pulls back the latch bar\n\tand throws the gates wide open. Jessica moves out into the", "CLOSEUP of Jessica. This is the face of the dead; bloodless,\n\tcold-lidded, eyes open and unseeing, washed white with the", "Clement is about to follow them when the door to Jessica's\n\tbedroom opens a few inches. Alma puts her head out\n\tcautiously.", "He subsides in his chair, shaken, entirely out of control. \n\tHe doesn't look at Holland, nor at Betsy but at Jessica.", "ALMA\n\t\t\t(taking Jessica's arm)\n\t\tCome, Miss Jessica, come with Alma.", "(turns back to face them)\n\t\t Jessica lives -- or she dies. \n\t\tThat's what we're talking about!", "Jessica's bed, she stops to grab up Jessica's white negligee,\n\tthrowing it around her she continues to the door and opens it\n\tslowly and cautiously.", "A hand reaches out from the darkness and takes Betsy's hand\n\tand draws her in. The Houngan follows Betsy into the temple.\n\tThe door shuts behind him. Jessica remains outside, standing", "Obedient again, Jessica allows Betsy to turn her around and\n\tlead her back to the open tower door. As Betsy and Jessica\n\tgo into the bedroom, the door closes behind them.", "<u>INT. TOWER -- SECOND FLOOR -- NIGHT\n</u>\n\tJessica still continues to walk toward Betsy. Betsy retreats", "<u>EXT. GARDEN GATE -- NIGHT\n</u>\n\tIn this sudden silence, Holland and Jessica look at each\n\tother across the motionless figure of Jessica.", "HOLLAND (cont'd)\n\t\tBefore Jessica was taken ill, there\n\t\twas a scene. An ugly scene. I", "of the place is faintly lit by the open door into Jessica's\n\twindowed bedroom. She stands at the foot of the circling\n\tstone stairs, straining to see into the darkness above.", "toward Jessica with little mincing steps." ], [ "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "Clement is about to follow them when the door to Jessica's\n\tbedroom opens a few inches. Alma puts her head out\n\tcautiously.", "HOLLAND\n\t\tJessica!\n\n\tThe woman stops and turns slowly toward him. He speaks\n\thurriedly to Alma.", "quickly to the bed, where the outline of Jessica's figure\n\treassures her. There is another muffled, dragging sound from", "of blame. It's a question of what\n\t\twe are to do with Jessica. The\n\t\tcommissioner is very concerned.", "BETSY (cont'd)\n\t\t\t(a frightened questioning\n\t\t\twhisper over the closeup)\n\t\tMrs. Holland -- ?\n\n\tWithout expression, Jessica moves toward her.", "CLOSEUP of Jessica. This is the face of the dead; bloodless,\n\tcold-lidded, eyes open and unseeing, washed white with the", "Jessica's hand in hers, Betsy takes her place at the door. \n\tShe puts her forehead against the crudely painted forehead of\n\tthe god. She talks to the door.", "Jessica's bed, she stops to grab up Jessica's white negligee,\n\tthrowing it around her she continues to the door and opens it\n\tslowly and cautiously.", "HOLLAND (cont'd)\n\t\tBefore Jessica was taken ill, there\n\t\twas a scene. An ugly scene. I", "Betsy looks to Jessica.", "toward Jessica with little mincing steps.", "you, Jessica? You think you're\n\t\tbeautiful, don't you, Jessica?\" \n\t\t\t(bitterly)", "<u>EXT. GARDEN GATE -- NIGHT\n</u>\n\tIn this sudden silence, Holland and Jessica look at each\n\tother across the motionless figure of Jessica.", "MOVES UP ON a small shelf before which a candle is burning. \n\tOn this shelf, a few inches above the candle flame, stands\n\tthe cheap little doll dressed like Jessica, with the needle", "She waits, inquiringly. Rand takes a few steps into the room\n\tand turns to stare through the door, across the garden to\n\tJessica's room.", "here's the seat of the trouble. \n\t\tMrs. Holland has become an object\n\t\tof speculation and religious\n\t\tinterest to these people. It's", "Betsy turns and looks across the room to where Jessica sits\n\tmotionless before the mirror.\n\n\t\t\t\tBETSY\n\t\tYou are wrong, Mr. Holland.", "<u>EXT. THE HOUMFORT - NIGHT\n</u>\n\tJessica stands patiently where Betsy had left her. The", "(turns back to face them)\n\t\t Jessica lives -- or she dies. \n\t\tThat's what we're talking about!" ], [ "MRS. RAND\n\t\t\t(trying to calm him)\n\t\tWesley!", "BETSY\n\t\tBut for Wes -- it must be a\n\t\ttemptation to him.", "MRS. RAND\n\t\tNonsense, child! I know Wesley's\n\t\tbeen drinking too much lately. I", "BETSY\n\t\t\t(with great pity)\n\t\tHer heart beats, Wes. She\n\t\tbreathes. That's life -- I once\n\t\ttook an oath to guard life.", "BETSY\n\t\tPlease, Wes, do as I ask. You must\n\t\trest, you must sleep.\n\n\tRand turns his hand and lets the tablets fall to the floor.", "THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND\n\tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE", "Betsy leans over and touches Rand's arm.\n\n\t\t\t\tBETSY\n\t\tWes. Wesley -- it's time we were\n\t\tstarting home.", "her. This is Wesley Rand. The table by which he stands is\n\tset for two and lit by candelabra in great glass hurricane", "BETSY\n\t\t\t(gently)\n\t\tBut she's not dead, Wes.", "Betsy shakes her head.\n\n\t\t\t\tBETSY\n\t\tNo, Wes.", "Betsy, alarmed and troubled, puts her hand on his arm.\n\n\t\t\t\tBETSY\n\t\tDon't think of it, Wes. I couldn't\n\t\tdo that.", "Betsy shakes Rand urgently.\n\n\t\t\t\tBETSY\n\t\tPlease, Wes -- we've got to get\n\t\tback to Fort Holland.", "Wesley's difficulty brought us\n\t\ttogether.", "BETSY\n\t\tDon't let it bother you so, Wes.\n\n\t\t\t\tRAND\n\t\tDid you hear what he sang?", "MRS. RAND (cont'd)\n\t\tBut what I did to Jessica was worse\n\t\tthan that. It was when she going\n\t\taway with Wesley. There was that\n\t\thorrible scene.", "HOLLAND\n\t\t\t(very calmly but with a\n\t\t\tlittle uncertainty)\n\t\tMy guilt in this matter, if any,\n\t\tWesley, is not the subject of this\n\t\tdiscussion.", "DR. MAXWELL\n\t\tI am afraid, Wesley, he has that\n\t\tright. And I will have to urge him\n\t\tto use it.", "RAND\n\t\tMiss Connell -- I'm Wesley Rand. \n\t\tPaul asked me to introduce myself.\n\n\tThey shake hands and he takes her elbow to guide her to the\n\ttable.", "HOLLAND\n\t\t\t(sincerely)\n\t\tWesley can be very entertaining.", "JEFFRIES\n\t\tI believe there's a kinder name for\n\t\tit, Wesley. At St. Thomas, it's called the\n\t\tInstitute for Mental Therapy." ], [ "reveals the dead body of Jessica afloat on the surface of the\n\twater, pallid and dreamlike, her wet, white garments clinging", "A returning wave brings Jessica's body back again. (There is\n\ta famous painting by Boecklin, called \"And the Sea Gave Up\n\tits Dead\" which should somewhat influence the composition of\n\tthis scene.)", "The surf. Rand reverently places the body in the lapping\n\twater of the surf. The backward drag of an outgoing wave\n\tdraws it silently away from him. He watches it go.", "body is carried on the shoulders of four fishermen. Behind\n\twalks Carre-Four and in his gigantic arms is the body of\n\tJessica; her wet hair and garments dripping from the great", "the land. They are carrying the bodies of Jessica and Rand. \n\tThey start in the direction of Fort Holland.", "Rand carries the body a little further into the surf so that\n\tthe waves when they come in flow past his knees. Again, the\n\toutsurge takes the body away.", "Rand is walking forward with the body in his arms. The sea\n\tis up to his hips. The outgoing surge tugs at him. He", "bringing in the bodies of the dead. Across the garden from\n\tthe fountain stands the little group of house servants also\n\twatching. The procession passes the fountain of St.", "<u>EXT. SEASHORE -- DAY FOR NIGHT\n</u>\n\tRand carrying Jessica's dead body in his arm, comes down to\n\tthe sand.", "like cerements. The fisherman looks for a moment at the body\n\tand then calls off to one of the other fishermen.", "<u>EXT. GATES AT FORT HOLLAND -- NIGHT\n</u>\n\tThe fishermen come in bearing their tragic burdens. Rand's", "bodies. It's the glitter of\n\t\tputrescence. There's no beauty\n\t\there -- it's death and decay.", "HOLLAND\n\t\t\t(pointing to it)\n\t\tEverything good dies here -- even\n\t\tthe stars.\n\n\tHe leaves his position by the mast and walks aft.", "They stand looking at each other. The garden is still with\n\tthe dead, heavy stillness of their hopelessness. Then, from", "by the light from the binnacle. Behind them the wake of the\n\tboat creams out, white and phosphorescent. One of the men is", "seemed to die with him.\n\t\t\t(pauses)\n\t\tThen, almost accidentally, I\n\t\tdiscovered the secret of how to", "arms of the still-living Zombie. The upheld torches and\n\tspears of the fishermen give a weird, processional feeling to\n\tthe group.", "CLOSEUP of Jessica. This is the face of the dead; bloodless,\n\tcold-lidded, eyes open and unseeing, washed white with the", "A returning wave, tall and forward curving, upthrusts the\n\tbody of Jessica so that we see it in the semi-transparency of\n\tthe wave.", "<u>EXT. BEACH -- NIGHT\n</u>\n\tMED. CLOSE SHOT. A group of flounder fishermen come out onto" ], [ "HOLLAND\n\t\tGood morning, Miss Connell.\n\n\t\t\t\tBETSY\n\t\tGood morning.", "(draws back a chair for\n\t\t\tBetsy)\n\t\tis Miss Connell -- who is\n\t\tbeautiful.", "Betsy is about to pass on when he asks abruptly:\n\n\t\t\t\tHOLLAND (CONT'D)\n\t\tTell me, Miss Connell. Do you\n\t\tconsider yourself pretty?", "DR. MAXWELL\n\t\tI prepared these for you last\n\t\tnight, Miss Connell.\n\n\t\t\t\tBETSY\n\t\t\t(taking the papers)\n\t\tThank you.", "CLEMENT\n\t\tMiss Connell -- it's dinner.\n\n\t\t\t\tBETSY\n\t\tThank you, Clement.", "Miss Connell. We have our own\n\t\tdiseases here. But, if you'll sit\n\t\tdown --\n\t\t\t(indicates a chair)", "HOLLAND\n\t\tWhere have you been, Miss Connell?\n\n\tThere is a pause. Holland stands looking at her, taking in\n\ther bedraggled appearance.", "ourselves, Miss Connell. But I may\n\t\tas well introduce everyone to you,\n\t\tanyway.\n\t\t\t(points to the chair at", "HOLLAND\n\t\tBut I assure you, Father Walters,\n\t\tMiss Connell had no idea of the\n\t\tconsequences when she went there.", "There is a little pause. Then Betsy looks at Holland, her\n\teyes glistening with tears. Betsy turns away slightly,", "Betsy.", "passes Betsy on her way to the door, she makes a little\n\tcurtsey. Mrs. Holland is lying back against the pillows on\n\ther bed in a semi-reclining position.", "MRS. RAND\n\t\tI really intended going out to the\n\t\tFort and meeting you long before\n\t\tthis, Miss Connell. I'm Mrs. \n\t\tRand -- Wesley's mother.", "Far off somewhere a drum begins to beat, slowly and sullenly. \n\tBetsy turns in the direction of the sound. Rand watches her,\n\tgrinning.", "Betsy turns, as she hears her name, and sees Rand, mounted on\n\ta white saddle mule. (The mule is one of those delicate,", "Betsy is puzzled and a little alarmed by Holland's strange\n\tutterances and his queer behavior. Over this shot of Betsy\n\tlooking off at him, we hear her as narrator.", "MRS. RAND (CONT'D)\n\t\t\t(to Betsy, cheerfully)\n\t\tSome of this native nonsense. The", "and Betsy, directly behind her, hears her words.", "you'd only seen her, Miss Connell.\n\t\tShe looked so pretty.", "BETSY\n\t\tYes.\n\n\tHolland pulls her close to him, looks down into her eyes." ], [ "WILKENS\n\t\tNo, this is quite final. You see,\n\t\tMr. Holland is a sugar planter. He\n\t\tlives in St. Sebastian Island in\n\t\tthe West Indies.", "RAND\n\t\tYes, the redoubtable Paul. He has\n\t\tthe plantation, and I, as you must\n\t\thave noticed, have all the charm.", "PAGES ARE MISSING AT THIS POINT AS BETSY AND\n\tJESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE\n\tFIELDS TO THE HOUMFORT", "Holland's are a most old family,\n\t\tmiss. They brought the colored\n\t\tpeople to the island-- the colored\n\t\tfolks and Ti-Misery.", "island.) Holland is seated at the table with a ledger open\n\tbefore him. He has obviously been working. Betsy sits in a", "HOLLAND\n\t\t\t(pointing to it)\n\t\tEverything good dies here -- even\n\t\tthe stars.\n\n\tHe leaves his position by the mast and walks aft.", "Mr. Holland -- boarded the schooner\n\t\tat Gonave. He was pointed out to\n\t\tme, and he must have known who I", "shows up nicely against the white-washed plaster walls. At\n\tone end is a raised portion with a low railing surrounding\n\tit. Here Holland has his office.", "Holland empties his teacup. Carrying the teacup and saucer\n\tvery carefully, he walks across to the table in front of", "BAYARD\n\t\tI've seen the drought before, Mr.\n\t\tHolland. The cane's too dry -- it's\n\t\tdangerous that way -- it's the\n\t\tdrought.", "gate. He is carrying a piece of sugar cane in his hand and\n\tis followed by a negro laborer in working clothes, who has", "The CAMERA DRAWS BACK to SHOW a tall, masculine figure\n\tleaning against the foremast, behind Betsy. This is Paul\n\tHolland. As we see him, we hear his voice.", "A few feet from Holland, leaning against the wall, is Rand. \n\tHe has evidently been there some time. He is not drunk, but\n\tit is obvious he has been drinking. Holland walks down the", "Paul Holland. But you've already\n\t\tmet him.", "toward the Houmfort through the sugar cane. We see this\n\tvoodoo temple as they go toward it. It is a rickety", "Betsy, startled, steps back, letting the flower drop. Paul\n\tHolland, passing her, looks at this little tableau of horror\n\tand disgust.", "head. She looks very attractive and very happy. The door of\n\tthe office opens and Paul Holland comes out, muffling up his", "cockade on his graying hair, is making its way along a dusty\n\troad between fields of sugar cane. In the distance, the sea\n\tis visible and above it the great billowing white clouds of", "BETSY\n\t\tNo.\n\n\tHolland gets up and crosses to the jalousied door. He holds\n\tit open for Betsy to precede him into the garden.", "HOLLAND (cont'd)\n\t\tBefore Jessica was taken ill, there\n\t\twas a scene. An ugly scene. I" ], [ "HOLLAND (cont'd)\n\t\tBefore Jessica was taken ill, there\n\t\twas a scene. An ugly scene. I", "run up to Jessica. Holland takes her arm, but she continues\n\tto walk forward. He tries to hold her. It is apparent he\n\tcannot do so without the use of considerable force.", "HOLLAND (cont'd)\n\t\tYou wouldn't understand that kind\n\t\tof love. You never knew Jessica as", "HOLLAND\n\t\tJessica!\n\n\tThe woman stops and turns slowly toward him. He speaks\n\thurriedly to Alma.", "He subsides in his chair, shaken, entirely out of control. \n\tHe doesn't look at Holland, nor at Betsy but at Jessica.", "HOLLAND\n\t\tI remember words I said to Jessica \n\t\t- words mixed like to poison -- to\n\t\thurt her, to madden her.", "<u>EXT. GARDEN GATE -- NIGHT\n</u>\n\tIn this sudden silence, Holland and Jessica look at each\n\tother across the motionless figure of Jessica.", "BETSY (cont'd)\n\t\t\t(a frightened questioning\n\t\t\twhisper over the closeup)\n\t\tMrs. Holland -- ?\n\n\tWithout expression, Jessica moves toward her.", "HOLLAND'S VOICE\n\t\tJessica.\n\n\tThe woman at once turns toward the living room, mounts the\n\tporch and enters through a door held open for her.", "<u>INT. MRS. HOLLAND'S BEDROOM -- DAY\n</u>\n\tJessica is seated before the triptych mirror, facing it", "HOLLAND\n\t\tHow do you know I'm not? I was\n\t\tcruel to Jessica. When I got to", "HOLLAND\n\t\tNo. It's not just how I felt\n\t\ttoward Jessica. I've been cruel to\n\t\teven you.", "HOLLAND\n\t\tI've been waiting here for hours,\n\t\ttrying to imagine Jessica well", "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "HOLLAND\n\t\tWhere have you been, Miss Connell?\n\n\tThere is a pause. Holland stands looking at her, taking in\n\ther bedraggled appearance.", "Betsy and Holland look at each other. Then Betsy takes\n\tJessica's arm.\n\n\t\t\t\tBETSY\n\t\tCome with me, Jessica.", "Holland carry the tray of food to her patient. She pulls on\n\ther slippers and negligee and leaves the room.", "Betsy turns and looks across the room to where Jessica sits\n\tmotionless before the mirror.\n\n\t\t\t\tBETSY\n\t\tYou are wrong, Mr. Holland.", "CLOSEUP of Jessica. This is the face of the dead; bloodless,\n\tcold-lidded, eyes open and unseeing, washed white with the", "DR. MAXWELL\n\t\tOf the nature of Mrs. Holland's\n\t\tillness. And, of course, the\n\t\tevents which led up to it." ], [ "Betsy puts her hand on his arm, in an instinctive gesture of\n\tsympathy and comfort. Holland looks down at her hand and\n\tthen, searchingly, into her face.", "There is a little pause. Then Betsy looks at Holland, her\n\teyes glistening with tears. Betsy turns away slightly,", "Betsy is puzzled and a little alarmed by Holland's strange\n\tutterances and his queer behavior. Over this shot of Betsy\n\tlooking off at him, we hear her as narrator.", "BETSY\n\t\tYes.\n\n\tHolland pulls her close to him, looks down into her eyes.", "As seen from Betsy's NEW ANGLE. Paul Holland is seated in a\n\tlow armchair. His eyes are fixed on the woman at the piano. \n\tShe continues to strike odd notes on the piano.", "passes Betsy on her way to the door, she makes a little\n\tcurtsey. Mrs. Holland is lying back against the pillows on\n\ther bed in a semi-reclining position.", "head. She looks very attractive and very happy. The door of\n\tthe office opens and Paul Holland comes out, muffling up his", "BETSY (cont'd)\n\t\t\t(embarrassed; trying to\n\t\t\texplain)\n\t\tMrs. Holland -- I didn't mean to\n\t\tget you up --", "They stand there, close together, looking at each other. \n\tSuddenly Holland puts her arms around her.\n\n\t\t\t\tHOLLAND (cont'd)\n\t\tBetsy --", "BETSY\n\t\tThat's sweet of you, Mrs. Rand.\n\n\t\t\t\tHOLLAND\n\t\tBetsy feels there is nothing she\n\t\tcan do for Jessica...", "HOLLAND\n\t\t\t(with a slight smile)\n\t\tThank you, Clement.\n\n\tHe takes Betsy's elbow and starts toward the stairs.", "comes into Holland's face. With a quick gesture, he presses\n\tBetsy back and steps in front of her.", "Betsy is about to pass on when he asks abruptly:\n\n\t\t\t\tHOLLAND (CONT'D)\n\t\tTell me, Miss Connell. Do you\n\t\tconsider yourself pretty?", "BETSY\n\t\tYou want that?\n\n\t\t\t\tHOLLAND\n\t\tYes.\n\n\tThey stand looking at each other in silence.", "HOLLAND\n\t\t\t(in passing)\n\t\tYou're beginning to learn.\n\n\tBetsy looks after him as he walks away into the village.", "BETSY\n\t\t\t(indignantly)\n\t\tOf course not! \n\n\tHolland waits --- looking at her a little quizzically.", "island.) Holland is seated at the table with a ledger open\n\tbefore him. He has obviously been working. Betsy sits in a", "Betsy and Holland look at each other. Then Betsy takes\n\tJessica's arm.\n\n\t\t\t\tBETSY\n\t\tCome with me, Jessica.", "As Betsy comes under the arch, Holland moves to meet her. \n\tShe turns to him.\n\n\t\t\t\tHOLLAND\n\t\t\t(tensely)\n\t\tWell?", "the stalks. Her panic released, Betsy runs up the steps,\n\tdown the shadowy porch to the door of Holland's bedroom." ], [ "BETSY\n\t\t\t(narrating)\n\t\tI walked with a zombie.", "Betsy is puzzled and a little alarmed by Holland's strange\n\tutterances and his queer behavior. Over this shot of Betsy\n\tlooking off at him, we hear her as narrator.", "in the black patch of the open tower door. She walks slowly\n\tinto the garden. There is a faint sound behind her. \n\tFearfully, Betsy looks back across her shoulder. She sees a", "revived all their old superstitions\n\t\t-- Zombies -- and that sort of\n\t\tnonsense.", "at Fort Holland was evil and that\n\t\tthe Houngan must maker her a\n\t\tZombie.", "now, but the pale face of the woman seems to glow in the\n\tdarkness. She keeps advancing toward Betsy. Betsy screams --\n\tshrill and piercing.", "very decorous and decidedly religious in tone. No sooner has\n\tBetsy taken her place with the others than the Shango ritual\n\tapproaches its climax. The Sabreur, a colored man dressed in", "A hand reaches out from the darkness and takes Betsy's hand\n\tand draws her in. The Houngan follows Betsy into the temple.\n\tThe door shuts behind him. Jessica remains outside, standing", "BETSY (cont'd)\n\t\tIt is not a question of life or\n\t\tdeath. Your wife is not living.", "heard. It startles him and he turns toward the sound. He\n\tsees Betsy and rises to face her as she steps into the room.", "Far off somewhere a drum begins to beat, slowly and sullenly. \n\tBetsy turns in the direction of the sound. Rand watches her,\n\tgrinning.", "CLOSEUP of Betsy. Desperately frightened, her face agonized,\n\tshe screams again, pressing her loosely clenched fists\n\tagainst the sides of her mouth.", "Betsy, and sets it down. Betsy looks at him. It is on her\n\tlook, questioning and puzzled, that we", "indeed. As Betsy approaches, she can see familiar faces. \n\tAs she comes up they turn and look at her. They are not", "they were strange and frightening,\n\t\tand perhaps a little funny. But I\n\t\thave walked with a Zombie", "Betsy. She can see nothing, but she hears the dry,\n\twhispering sound of the hand moving along the wall. She\n\tbacks down the few steps and across to the tower door leading", "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "There is no movement, no sound from Rand. Betsy looks at\n\thim, then looks over at Ti-Joseph. There does not seem to be", "Overhead, there is a sudden commotion of wings and shrilling \n\t- something has disturbed the bats. Very slowly and\n\thesitantly, Betsy moves up a few steps.", "the room. Again, he vanishes in the darkness. We hear a\n\tfaint sound from the tower. Betsy wakens. Her eyes go" ], [ "A hand reaches out from the darkness and takes Betsy's hand\n\tand draws her in. The Houngan follows Betsy into the temple.\n\tThe door shuts behind him. Jessica remains outside, standing", "BETSY\n\t\tAre you trying to tell me that the\n\t\tHoungan -- the voodoo priest --\n\t\tcould cure Mrs. Holland?", "ALMA\n\t\tNo. She was mindless but not like\n\t\tMiss Jessica. But the Houngan\n\t\tcured her.", "Jessica's hand in hers, Betsy takes her place at the door. \n\tShe puts her forehead against the crudely painted forehead of\n\tthe god. She talks to the door.", "BETSY\n\t\tYou don't seem very disturbed by\n\t\tit. I've always thought Voodoo was", "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "priest of the voodoo ceremonies, a small, stoop-shouldered\n\tman in a worn, white coat and trousers with ragged cuffs.", "ALMA\n\t\tThey even cure nonsense, Miss\n\t\tBetsy. Mama Rose was mindless. I\n\t\twas at the Houmfort when the\n\t\tHoungan brought her mind back.", "fainting to the floor. Two colored men come in, carry her\n\taway. A great cry rises from the voodoo worshippers.", "ALMA\n\t\tYes, Miss Betsy. I mean that. The\n\t\tHoungan will speak to the rada\n\t\tdrums and the drums will speak to\n\t\tShango and Damballa.", "very decorous and decidedly religious in tone. No sooner has\n\tBetsy taken her place with the others than the Shango ritual\n\tapproaches its climax. The Sabreur, a colored man dressed in", "THE CAMERA DRAWS BACK to reveal that one of the girls who\n\tdanced in the voodoo ceremony is kneeling before the table.", "BETSY\n\t\tJessica! Jessica!", "starts running with her. There is a movement in the crowd as\n\tif they were about to follow her. From the doorway of the\n\tinner Houmfort, the Houngan calls out:", "There is a great ecstatic shout from the voodoo worshippers.\n\n\t\t\t\tVOODOO WORSHIPPERS\n\t\t\t(shouting)\n\t\tDamballa! Damballa!", "toward the Houmfort through the sugar cane. We see this\n\tvoodoo temple as they go toward it. It is a rickety", "at Fort Holland was evil and that\n\t\tthe Houngan must maker her a\n\t\tZombie.", "Betsy and Holland look at each other. Then Betsy takes\n\tJessica's arm.\n\n\t\t\t\tBETSY\n\t\tCome with me, Jessica.", "group of voodoo adepts squatting on their heels in a ring\n\taround the bonfire. Near the bonfire stand Carre-Four and", "semicircle around the altar. Her arrival has in no way\n\tinterrupted the ceremonies. The Houngan continues to chant" ], [ "The Sabreur dances toward the doll, making a menacing move\n\twith his saber. When he reaches the little image, he puts", "the Sabreur, with the drummer crouched behind them. The\n\tSabreur takes the doll from Carre-Four's hand and holds it a", "The Sabreur makes motions as if he were pulling on the thread\n\tbut still does no touch it. He makes these motions over and\n\tover again. The doll moves slowly. Then suddenly stops.", "MOVES UP ON a small shelf before which a candle is burning. \n\tOn this shelf, a few inches above the candle flame, stands\n\tthe cheap little doll dressed like Jessica, with the needle", "It is her hands which have dressed the doll. There are about\n\tfive people in the room, including the three drummers. The\n\tSabreur makes magical passes over the doll.", "foot or so away from him. The great black hand reaches for\n\tit. Again the Sabreur takes the doll away and dances off", "with mincing steps to a distance of a few yards. Carre-Four\n\tlumbers after him, his hand extended. Again, the Sabreur\n\tlets him take the doll.", "PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE\n\tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \"ZOMBIE\".", "the point of his saber in the ground and draws from his\n\tbodkin, a long needle. With one swift movement, he stabs\n\tthis through the doll's back.", "CLOSE SHOT of Carre-Four's hand with the doll upon it. From\n\tunderneath, the smaller hand of the Sabreur comes in and\n\tcloses the great black fingers over the little white doll.", "Sabreur. With one hand he holds upright a small, cheaply-made\n\tbisque doll, with flaxen hair. It is dressed in a little", "quickly to the bed, where the outline of Jessica's figure\n\treassures her. There is another muffled, dragging sound from", "doll about three inches high. It is dressed in a crude\n\timitation of Jessica's loose, belted, white gown. A thread\n\tis tied around it and this thread leads off, taut.", "Sabreur and the two Mam-Lois hide the actual blood sacrifice\n\tfrom us. Only the fact that the drumming and the singing\n\treach a climactic pitch reveal that some Important portion of", "toward Jessica with little mincing steps.", "Sabreur and the wild chanting of the voodoo adepts. Nothing\n\tcan make it move again. There is a whispered consultation", "The Houngan prances forward, followed by the Sabreur. The\n\tHoungan holds a little saucer in his hand with some dark", "<u>EXT. HOUMFORT -- NIGHT\n</u>\n\tThe doll has stopped moving. The Sabreur is exerting all his", "crouched near the altar. Halfway between this man and the\n\tdoll, the Sabreur, his sword stuck in the mound before him,", "<u>EXT. HOUMFORT -- NIGHT\n</u>\n\tThe Houngan and the Sabreur are working over the doll again. \n\tIt begins to move." ], [ "the point of his saber in the ground and draws from his\n\tbodkin, a long needle. With one swift movement, he stabs\n\tthis through the doll's back.", "MOVES UP ON a small shelf before which a candle is burning. \n\tOn this shelf, a few inches above the candle flame, stands\n\tthe cheap little doll dressed like Jessica, with the needle", "PAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE\n\tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \"ZOMBIE\".", "The Sabreur dances toward the doll, making a menacing move\n\twith his saber. When he reaches the little image, he puts", "the Sabreur, with the drummer crouched behind them. The\n\tSabreur takes the doll from Carre-Four's hand and holds it a", "The Sabreur makes motions as if he were pulling on the thread\n\tbut still does no touch it. He makes these motions over and\n\tover again. The doll moves slowly. Then suddenly stops.", "quickly to the bed, where the outline of Jessica's figure\n\treassures her. There is another muffled, dragging sound from", "CLOSE SHOT of Carre-Four's hand with the doll upon it. From\n\tunderneath, the smaller hand of the Sabreur comes in and\n\tcloses the great black fingers over the little white doll.", "It is her hands which have dressed the doll. There are about\n\tfive people in the room, including the three drummers. The\n\tSabreur makes magical passes over the doll.", "MRS. RAND (cont'd)\n\t\tBut what I did to Jessica was worse\n\t\tthan that. It was when she going\n\t\taway with Wesley. There was that\n\t\thorrible scene.", "iron arrow comes out in his hand. With this in his hand, he\n\twalks to where Jessica stands. He pulls back the latch bar\n\tand throws the gates wide open. Jessica moves out into the", "foot or so away from him. The great black hand reaches for\n\tit. Again the Sabreur takes the doll away and dances off", "crouched near the altar. Halfway between this man and the\n\tdoll, the Sabreur, his sword stuck in the mound before him,", "with mincing steps to a distance of a few yards. Carre-Four\n\tlumbers after him, his hand extended. Again, the Sabreur\n\tlets him take the doll.", "doll about three inches high. It is dressed in a crude\n\timitation of Jessica's loose, belted, white gown. A thread\n\tis tied around it and this thread leads off, taut.", "A hand reaches out from the darkness and takes Betsy's hand\n\tand draws her in. The Houngan follows Betsy into the temple.\n\tThe door shuts behind him. Jessica remains outside, standing", "<u>EXT. HOUMFORT -- NIGHT\n</u>\n\tThe Houngan and the Sabreur are working over the doll again. \n\tIt begins to move.", "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "<u>EXT. HOUMFORT -- NIGHT\n</u>\n\tThe doll has stopped moving. The Sabreur is exerting all his", "Sabreur and the two Mam-Lois hide the actual blood sacrifice\n\tfrom us. Only the fact that the drumming and the singing\n\treach a climactic pitch reveal that some Important portion of" ], [ "<u>EXT. SEASHORE -- DAY FOR NIGHT\n</u>\n\tRand carrying Jessica's dead body in his arm, comes down to\n\tthe sand.", "A returning wave brings Jessica's body back again. (There is\n\ta famous painting by Boecklin, called \"And the Sea Gave Up\n\tits Dead\" which should somewhat influence the composition of\n\tthis scene.)", "body is carried on the shoulders of four fishermen. Behind\n\twalks Carre-Four and in his gigantic arms is the body of\n\tJessica; her wet hair and garments dripping from the great", "the land. They are carrying the bodies of Jessica and Rand. \n\tThey start in the direction of Fort Holland.", "The surf. Rand reverently places the body in the lapping\n\twater of the surf. The backward drag of an outgoing wave\n\tdraws it silently away from him. He watches it go.", "Rand carries the body a little further into the surf so that\n\tthe waves when they come in flow past his knees. Again, the\n\toutsurge takes the body away.", "reveals the dead body of Jessica afloat on the surface of the\n\twater, pallid and dreamlike, her wet, white garments clinging", "MRS. RAND (cont'd)\n\t\tBut what I did to Jessica was worse\n\t\tthan that. It was when she going\n\t\taway with Wesley. There was that\n\t\thorrible scene.", "quickly to the bed, where the outline of Jessica's figure\n\treassures her. There is another muffled, dragging sound from", "A returning wave, tall and forward curving, upthrusts the\n\tbody of Jessica so that we see it in the semi-transparency of\n\tthe wave.", "CLOSEUP of Jessica. This is the face of the dead; bloodless,\n\tcold-lidded, eyes open and unseeing, washed white with the", "Rand is walking forward with the body in his arms. The sea\n\tis up to his hips. The outgoing surge tugs at him. He", "run up to Jessica. Holland takes her arm, but she continues\n\tto walk forward. He tries to hold her. It is apparent he\n\tcannot do so without the use of considerable force.", "Betsy nods and then turns back into the room. She walks up\n\tto the bed and stands looking at Jessica, then down at the", "HOLLAND (cont'd)\n\t\tBefore Jessica was taken ill, there\n\t\twas a scene. An ugly scene. I", "<u>EXT. GARDEN GATE -- NIGHT\n</u>\n\tIn this sudden silence, Holland and Jessica look at each\n\tother across the motionless figure of Jessica.", "Mother -- seeing Jessica day after\n\t\tday -- never able to escape, never\n\t\table to forget. Please, Betsy --\n\t\tit's only merciful.", "<u>EXT. THE BANYAN TREE -- NIGHT\n</u>\n\tBetsy and Jessica pass quickly under the dead goat, on their\n\tway home.", "He subsides in his chair, shaken, entirely out of control. \n\tHe doesn't look at Holland, nor at Betsy but at Jessica.", "BETSY\n\t\t\t(gently)\n\t\tBut she's not dead, Wes." ] ]

[ "Who does Paul try to encourage to limit his drinking?", "Who is the priest?", "What does Mrs. Rand tell Betsy about Jessica's condition?", "Who do the local's stab in the arm?", "What do the locals believe about Jessica?", "Who stated that she felt possessed by a voodoo God?", "Who did Mrs. Rand believe Jessica was going to run away with?", "What does Betsy do for a living?", "Who is Paul?", "What does Betsy learn about Jessica?", "Who is Wesley?", "Why does Betsy take Jessica to a voodoo priest?", "Who is discovered to be the voodoo priest?", "What happens when Jessica is stabbed in the arm?", "What do locals suspect Jessica is?", "What drives Wesley more than anything?", "Whose bodies are discovered in the sea?", "What coun try did Betsy Connell come from?", "Where was the sugar plantation owned by Paul Holland?", "What type of illness left Jessica Holland impaired?", "After developing an attraction to Paul Holland, what diud Betsy do in order to impress him?", "What made the supersticious locals think that Betsy was really a zombie?", "Who was the voodoo priest that Besty took Jessica to for healing?", "What did the Sabreur do using an effigy of Jessica?", "What did Wesley use to stab Jessica with after the Sabreur stuck a pin into Jessica's effigy?", "What happened after Wesley carried Jessica's body into the sea?" ]

[ [ "Wesley", "Wesley" ], [ "Mrs. Rand", "Mrs. Rand" ], [ "She can never be cured", "That she can never be cured. " ], [ "Jessica", "Jessica" ], [ "That she is a zombie", "That she is a zombie." ], [ "Mrs. Rand", "Mrs. Rand" ], [ "Wesley", "Wesley." ], [ "She is a nurse.", "Nursing" ], [ "A sugar plantation owner who hires Betsy to care for Jessica, his wife.", "Sugar plantation owner. " ], [ "Her spine was irreversibly damaged by an illness. ", "That she is paralyzed and uncurable." ], [ "Paul's half brother who loves Jessica.", "Jessica's former fiance" ], [ "She loves Paul and wants to please him.", "For a cure." ], [ "Wesley and Paul's doctor mother.", "Ms. Rand" ], [ "She doesn't bleed.", "she does not bleed" ], [ "A zombie.", "a zombie" ], [ "Freeing Jessica from being a zombie", "Jessica." ], [ "Wesley and Jessica's.", "Jessica and Wesley" ], [ "Betsy came from Canada.", "Canada." ], [ "It was located on the Caribbean island of Saint Sebastian.", "Saint Sebastian." ], [ "An illness which damaged her spinal cord.", "Spinal cord injury." ], [ "She tried to cure Jessica Holland's illness.", "she vows to cure Jessica" ], [ "She was stabbed in the arm with a sword and didn't bleed from the wound.", "She didn't bleed." ], [ "The voodoo priest was actually Mrs. Rand, the mother of Paul Holland and his half-brother, Wesley.", "Carre-Four" ], [ "He took control of her in order to draw her too him.", "take control of Jessica" ], [ "He took an arrow from the statue of Tri-Misery and stabbed Jessica with it.", "An arrow from the statue of St. Sebastian." ], [ "The natives later discovered the bodies of both Jerssica and Wesley floatin in the surf.", "Natives found their bodies floating in the sea." ] ]

[ [ "by his presence the effect of company. All the other men of Nick's\nacquaintance, all his political friends, represented, often very\ncommunicatively, their own affairs, their own affairs alone; which when", "else was the absence of it. If these precious people had been primarily\nmoney for Nick it after all flattered the distributive impulse in him to\nhave taken for granted that for the rest of the family too the", "it.\" There was ever a hint of fine judgement and far calculation in his\ntone. It appeared before he went that this time even he himself had done\nit--he had taken up something that would really answer. He told Nick", "responsible for a lot of good writing. As he took his place on the bench\nNick said to him, indicating her, \"My sister Bridget,\" and then\nmentioned his name, \"Mr. Gabriel Nash.\"", "of it. She was encouraged by his slight embarrassment, for ordinarily\nNick was not embarrassed. \"You used to have so _much_ sense of", "country, and had gone out so as not to have to see them. She had not\ngone far--Nick could easily find her. Nick intimated that he himself was", "brother's early years, his beginnings of life. She was so much younger\nthat they appeared to have been rather a tradition of her own youth; but\nher talk made Nick feel how tremendously different Mr. Carteret had been", "\"Oh ours is the true profession--Biddy's and mine,\" Nick broke out,\nsetting up his canvas; \"the career of liberty and peace, of charming", "up with their affairs. Since their last meeting Nick had, as we know, to\nhis kinsman's perception, really put on a new character: he had done the", "Mr. Carteret, who might have been watching an odd physical rush, spoke\nwith a certain dryness. \"Your dear father did.\"\n\n\"I think of that--I think of that,\" Nick replied.", "Nick sat down by him and expressed the hope of not having upset him in\nthe morning; but the old man, with fixed, enlarged eyes, took up their", "\"And what is your business?\"\n\n\"The spectacle of the world.\"\n\nNick laughed out. \"And what do you do with that?\"", "\"Oh, that's twaddle,\" said Nick, turning away. \"Besides, has she told\nyou?\"\n\n\"No, but her mother has.\"\n\n\"Has she told her mother?\"", "Nick tried not to look conscious, for he felt a significance in the old\nman's face. He turned his own everywhere but toward it, thinking again\nof his mother. \"That must be very pleasant, if one has any.\"", "\"She's a very good woman,\" said Nick.\n\n\"And I hope she's not poor.\" Mr. Carteret spoke exactly with the same\nblandness.", "\"They must be in tremendous demand. But who knows after all?\" Nick\nadded, at the same moment looking round. \"Here's a chance--here's quite\nan extraordinary chance!\"", "what Nick was doing. Not succeeding very well she was about to appeal to\nher brother, but Miriam stopped her with the remark that it didn't\nsignify; besides, Dashwood was telling Nick something--something they", "as a limited and even trivial inquiry, with little of the heroic or the\nromantic in it; but it was none the less carried to the finest point by\nour impassioned young men. Nick suspected Nash of exaggerating his", "\"You're lucky to have them,\" said Nick a little vaguely, troubled about\nhis sitter's nose, which was somehow Jewish without the convex arch.", "\"To make sure of me, you mean,\" said Nick. \"And now after all you see\nyou haven't.\"\n\n\"Well, perhaps it was that,\" sighed the old man confusedly." ], [ "Mrs. Rooth looked as if she were trying to follow. \"Miriam isn't on the\nstage yet.\"\n\n\"Go to London and she soon will be.\"", "\"Oh Miriam Rooth? I should have liked to come over, but I've been tied\nfast. Have you seen her there?\"\n\n\"Yes, I've seen her.\"\n\n\"Do you like her?\"", "with a young woman whose character remained to be estimated. Miriam\nRooth was neither fish nor flesh: one had with her neither the\nguarantees of one's own class nor the immunities of hers. What _was_", "\"No, no, with Miriam Rooth.\"", "\"Miriam--Miriam Rooth. It would do very well and would give her the\nbenefit of the prepossessing fact that--to the best of my belief at\nleast--she's more than half a Jewess.\"", "\"Oh my own Miriam!\" Mrs. Rooth wailed.\n\n\"Fancy, on the other hand, the complication when such a man marries a\nwoman who's on the stage.\"", "Miriam Rooth was sublime; yet it may be confided to the reader that\nduring these supreme scenes Bridget Dormer directed her eyes less to the", "She said nothing for a moment; she looked vaguely round the room, but\nnot at Miriam Rooth. Nevertheless she presently dropped as in forced\nreference to her an impatient shake. \"She's dreadfully vulgar.\"", "Sherringham heard a parley of voices in the little antechamber, and the\nnext moment the door was pushed open and Miriam Rooth bounded into the\nroom. She was flushed and breathless, without a smile, very direct.", "\"Oh but they don't know!\" said Miriam Rooth. \"You've not said a word to\nme. I don't mind your not having praised me; that would be too banal.", "assurance that Miriam Rooth was now splendid. She had made an impression\non him ten months before, but it had haunted him only a day, soon", "\"He's a perfect gentleman,\" said Mrs. Rooth. \"He's immensely struck with\nMiriam.\"\n\n\"Better and better. Keep hold of him.\"", "\"Wait till the end, to see how she comes out. We must all be merciful!\"\nsighed Mrs. Rooth.\n\n\"We've seen it before; you know what happens,\" Miriam observed to her\nmother.", "\"Oh you dear!\" Miriam delightedly exclaimed. Mr. and Mrs. Lovick,\naccompanied by Mrs. Rooth, now crossed the room to them, and the girl", "memory were a blank on the subject of Miss Miriam Rooth and she wanted\nto hear nothing whatever about her: it was enough that she was the cause", "him by its novelty and even lent, on the spot, a formidable, a really\nappalling character to Miriam Rooth. It struck him abruptly that a woman", "\"I'm sure she has talent and a very refined inspiration. I see something\nin that corner, covered with a mysterious veil,\" Mrs. Rooth insinuated;\nwhich led Miriam to go on immediately:", "It was to keep Miriam Rooth in his eye for his current work that Nick\nhad come to the play; and she dwelt there all the evening, being", "\"We must always be that, mustn't we?\" moralised Mrs. Rooth.\n\n\"How could it affect your interest?\" Miriam asked less abstractedly.", "He talked of his host's future, talked of Miriam Rooth and of Peter\nSherringham, whom he had seen at that young woman's and whom he" ], [ "\"He's a perfect gentleman,\" said Mrs. Rooth. \"He's immensely struck with\nMiriam.\"\n\n\"Better and better. Keep hold of him.\"", "particular speculation. He was surprised that he shouldn't be in love\nwith Miriam Rooth and considered at moments of leisure the causes of his", "\"Oh Miriam Rooth? I should have liked to come over, but I've been tied\nfast. Have you seen her there?\"\n\n\"Yes, I've seen her.\"\n\n\"Do you like her?\"", "\"Oh my own Miriam!\" Mrs. Rooth wailed.\n\n\"Fancy, on the other hand, the complication when such a man marries a\nwoman who's on the stage.\"", "\"Oh you dear!\" Miriam delightedly exclaimed. Mr. and Mrs. Lovick,\naccompanied by Mrs. Rooth, now crossed the room to them, and the girl", "with a young woman whose character remained to be estimated. Miriam\nRooth was neither fish nor flesh: one had with her neither the\nguarantees of one's own class nor the immunities of hers. What _was_", "Sherringham heard a parley of voices in the little antechamber, and the\nnext moment the door was pushed open and Miriam Rooth bounded into the\nroom. She was flushed and breathless, without a smile, very direct.", "Mrs. Rooth looked as if she were trying to follow. \"Miriam isn't on the\nstage yet.\"\n\n\"Go to London and she soon will be.\"", "assurance that Miriam Rooth was now splendid. She had made an impression\non him ten months before, but it had haunted him only a day, soon", "Miriam Rooth was sublime; yet it may be confided to the reader that\nduring these supreme scenes Bridget Dormer directed her eyes less to the", "him by its novelty and even lent, on the spot, a formidable, a really\nappalling character to Miriam Rooth. It struck him abruptly that a woman", "\"Oh but they don't know!\" said Miriam Rooth. \"You've not said a word to\nme. I don't mind your not having praised me; that would be too banal.", "\"No, no, with Miriam Rooth.\"", "Dashwood appeared to have become Miriam's brother-in-arms and a second\nchild--a fonder one--to Mrs. Rooth; it had reached Peter on some late", "\"Miriam--Miriam Rooth. It would do very well and would give her the\nbenefit of the prepossessing fact that--to the best of my belief at\nleast--she's more than half a Jewess.\"", "It was not till after the noon of the next day that he was to see Miriam\nRooth. He wrote her a note that evening, to be delivered to her at the", "She said nothing for a moment; she looked vaguely round the room, but\nnot at Miriam Rooth. Nevertheless she presently dropped as in forced\nreference to her an impatient shake. \"She's dreadfully vulgar.\"", "\"Well, anything I can help to bring about,\" said Peter Sherringham, more\nand more struck with the girl's rich type. Miriam Rooth sat in silence", "Nick Dormer declared that he liked cafés, and Miriam, looking at his\ncousin, dropped with a flash of passion the demand: \"Do you wonder I\nshould want to do something--so that we can stop living like pigs?\"", "Miriam--that was natural enough; and he had admitted to Mrs. Rooth that\nhe was keen on the subject of Mrs. Lovick's theatrical brother, in whom" ], [ "He had been convinced for some time that one of the next things he\nshould hear would be that Julia Dallow had arranged to marry either Mr.", "however, as he presently became conscious that the door of the large\nroom opposite him had opened without making a sound and that some one\nstood upon the threshold. The person on the threshold was Julia Dallow.", "communications and contracts for it, Julia Dallow's was quite of the\nencircling, not to say the narrowing sort. She was not so much jealous\nas essentially exclusive. She desired no experience for the familiar and", "after the New Year and another at the beginning of March, and had then\nnoted in him the menace of the final weakness. A week after Julia\nDallow's departure for the Continent he had again devoted several hours", "Julia Dallow was conscious for a moment of looking uncomfortable; but it\nrelieved her to be able to demand of her neighbour with a certain\nmanner: \"Are you an artist?\"", "Lady Agnes or Julia Dallow or Peter Sherringham that he was not most at\nhome in some dusky, untidy, dimly-imagined suburb of \"culture,\" a region", "lasted till Julia Dallow came back; when the circumstance of the girl's\nbeing summoned immediately down to Harsh created a diversion that was", "below it; narrated briefly the incident in his studio which had led to\nJulia Dallow's deciding she couldn't after all put up with him. This was", "gratify his mother and carry out the mission of his father, to marry\nJulia Dallow in fine, a beautiful imperative woman with a great many", "\"Never, if she loves him. However, Julia will bring it about--Julia\nwill help her,\" his mother pursued more cheerfully. \"That's what you'll\ndo for us--that _she'll_ do everything!\"", "\"I'll lend her a house,\" said Mrs. Dallow.\n\n\"Oh Julia, Julia!\" Nick half groaned.", "to the cheesemonger, and Nick felt she had stayed at home to pray for\nhim. I must add that Julia Dallow was too happy now, flicking her whip", "\"He might have come after I came in,\" said Mrs. Dallow.\n\n\"Dear Julia, I'm going to see you to-night. I've been waiting for that,\"\nNick returned.", "\"Well, I daresay you may look to Julia. I think that's her idea.\"", "come and sit to Nick Dormer, and he helped himself further by going to\nher theatre whenever he could. He was conscious Julia Dallow would\nprobably hear of this and triumph with a fresh sense of how right she", "This made Mrs. Dallow look at him while Miriam considered them both.\nJulia's eyes had a strange light he had never seen before--a flash of", "\"Julia's the oddest woman. I mean I thought she loved him,\" Peter\nexplained. \"And when you love a person--!\" He continued to make it out,", "\"Julia's a real English lady and at the same time a very political\nwoman,\" Nick remarked.", "\"For Julia? Is Julia so great as that? She told me she had the greatest\nregard for you. You're good enough for the best, my dear boy,\" Mr.\nCarteret pursued.", "looking down at him. His eyes kept away from her; they seemed fixed on\nsomething she couldn't see. \"I hope you've thanked Julia handsomely,\"\nshe presently remarked." ], [ "\"Julia's a real English lady and at the same time a very political\nwoman,\" Nick remarked.", "\"My mother, my poor mother.\" Julia breathed some vague sound and he went\non: \"And of course always my father, dear good man. My mother's even\nmore political than you.\"", "escorted to it and conveyed to her apartments, and all the while it had\nbeen Julia who governed the succession of events. \"Do be nice to her,\"", "him or have got into him. Moreover,\" our young man continued, \"if Julia\nhas talked to you so much about the matter there's no harm in my talking", "\"Never, if she loves him. However, Julia will bring it about--Julia\nwill help her,\" his mother pursued more cheerfully. \"That's what you'll\ndo for us--that _she'll_ do everything!\"", "\"Because I want to understand, I want to know what I'm doing. You're an\nartist: you are, you are!\" Julia cried, accusing him passionately.", "\"Julia's the oddest woman. I mean I thought she loved him,\" Peter\nexplained. \"And when you love a person--!\" He continued to make it out,", "looking down at him. His eyes kept away from her; they seemed fixed on\nsomething she couldn't see. \"I hope you've thanked Julia handsomely,\"\nshe presently remarked.", "Julia's own few words were all she wanted. \"It's so interesting about\nHarsh,\" she added. \"We're immensely excited.\"", "might give Julia the sense of being more effectually routed to know that\nthe woman who had thrown the bomb was one who also tried to keep Nick in\nthe straight path. This indeed would involve an assumption that Julia", "the way he talks about Julia.\"", "him. But were these the things Julia did and was that the way she did\nthem--his fine, proud, delicate, generous Julia?", "completely done up. Julia, however, had transported her exhaustion to\nthe grounds--she was wandering about somewhere. She thought more people\nwould be coming to the house, people from the town, people from the", "separate from himself; but none the less, when he now drew breath and\nlooked back, what had happened met his eyes as a composed picture--a\npicture of which the subject was inveterately Julia and her ponies:", "remained indeed freshly surprised at the ardour with which she had\nrested her hopes on Julia. Julia was certainly a combination--she was\naccomplished, she was a sort of leading woman and she was rich; but", "the window, the French garden with its symmetry, its screens and its\nstatues, and a great many more things of which these were the\nsuperficial token, were Julia's very own to do with exactly as she", "\"You _are_ vague,\" said Julia with a little flush.\n\n\"Not about the great thing.\"\n\n\"The great thing?\"", "\"What's the inconvenience then, since in my studio they're only for me?\"\n\n\"You love it, you revel in it; that's what you want--the only thing you\nwant!\" Julia broke out.", "it was odd he should be mixed up with it in fact when, as Julia's own\naffair, he had but wished to keep out of it. It might after all be his", "communications and contracts for it, Julia Dallow's was quite of the\nencircling, not to say the narrowing sort. She was not so much jealous\nas essentially exclusive. She desired no experience for the familiar and" ], [ "\"Mother dear, she doesn't care a rap about art. It's a fearful bore\nlooking at fine things with Julia,\" Nick returned.", "\"What's the matter? It was so good--so good.\"\n\n\"It wasn't good enough for Julia,\" Nick declared.", "wasn't the right sort of thing, though doubtless Julia, for instance,\nwould dislike it almost as much as if it were. The two portraits of", "\"You're as perverse, in your way, as Julia,\" he returned to this. \"But I\nconfess I don't understand Nick's attitude any better. He seems to me,\nif I may say so, neither fish nor flesh.\"", "That was of course in order, after Nick's mysterious quarrel with Julia,\nwhich had made his mother so ill and was at present followed up with new", "\"Because I want to understand, I want to know what I'm doing. You're an\nartist: you are, you are!\" Julia cried, accusing him passionately.", "\"Much you know me!\" Julia protested; but he could see, through the\ndimness, that her face spoke differently.\n\n\"You'll have it in time, but I won't come to it,\" Nick went on.", "\"To paint every one--that's what he wants. By keeping his seat he hasn't\nkept Julia, and she was the thing he cared for most in public life. When", "the place into familiar use again and was now correcting their former\nsurprise at her crude indifference--this was infinitely characteristic\nof Julia--by inviting them to share it with her. Nick wondered vaguely", "\"I mean about his going away. She'll be glad of that.\"\n\n\"My poor incorrigible child,\" Nick cried, \"what has Julia to do with\nit?\"", "The others had not yet come back, and Lady Agnes was alone in the\nlarge, bright drawing-room. When Nick went in with Julia he saw her at", "Nick slowly got up, hesitating. \"My dear Julia, apart from the surprise\nthis morning, do you object to the living model?\"\n\n\"Not a bit, for you.\"", "that his mother should formally advise her, by letter, of their\nintending to depart at once. Julia could then protest to her heart's\ncontent. Nick was aware that for the most part he didn't pass for", "open and through which he saw Julia's carriage drawn up. This made her\nadvance a little further, but still she said nothing; she dropped no\nanswer even when Nick went on with a sense of awkwardness: \"When did you", "hanging. Julia's eyes rested on this embodied unexpectedness, and as\nthey did so she grew pale--so pale that Nick, observing it,", "\"What's the inconvenience then, since in my studio they're only for me?\"\n\n\"You love it, you revel in it; that's what you want--the only thing you\nwant!\" Julia broke out.", "\"You do it with so little!\" And with this, unexpectedly to Nick, Julia\nburst straight into tears. Before he could stop her she was at the door", "with her--I should like to see her.\" Nick showed on this easy amusement,\nreminding her she had talked to him while she sat for her portrait in", "might give Julia the sense of being more effectually routed to know that\nthe woman who had thrown the bomb was one who also tried to keep Nick in\nthe straight path. This indeed would involve an assumption that Julia", "\"Julia's the oddest woman. I mean I thought she loved him,\" Peter\nexplained. \"And when you love a person--!\" He continued to make it out," ], [ "\"Yes, I shall be there--certainly,\" Peter said, at the door, to Mrs.\nRooth.\n\n\"Oh you dreadful goose!\" Miriam called after him. But he went out\nwithout looking round at her.", "\"Oh my own Miriam!\" Mrs. Rooth wailed.\n\n\"Fancy, on the other hand, the complication when such a man marries a\nwoman who's on the stage.\"", "Mrs. Rooth looked as if she were trying to follow. \"Miriam isn't on the\nstage yet.\"\n\n\"Go to London and she soon will be.\"", "\"So they did, but my hand had been forced and she didn't like it,\" Peter\nanswered, suspecting that for a diplomatist he looked foolish.\n\n\"Miss Rooth didn't like it?\" Nick persisted.", "\"Oh Miriam Rooth? I should have liked to come over, but I've been tied\nfast. Have you seen her there?\"\n\n\"Yes, I've seen her.\"\n\n\"Do you like her?\"", "\"He's a perfect gentleman,\" said Mrs. Rooth. \"He's immensely struck with\nMiriam.\"\n\n\"Better and better. Keep hold of him.\"", "He talked of his host's future, talked of Miriam Rooth and of Peter\nSherringham, whom he had seen at that young woman's and whom he", "\"I know why you didn't write!\" Mrs. Rooth declared archly.\n\n\"You must go to London,\" Peter said without heeding this remark.", "Miriam, admirably indifferent to this charge, appealed to Peter. \"What\narrangements have you made? What do the people want?\"\n\n\"The people at the theatre?\"", "\"Well, anything I can help to bring about,\" said Peter Sherringham, more\nand more struck with the girl's rich type. Miriam Rooth sat in silence", "\"No, no, with Miriam Rooth.\"", "what she meant by her daughter's conduct to old Peter. Before Mrs. Rooth\ncould answer this question, however, Miriam broke across with one of her", "of odd person dropped in. Miriam held a reception in the little garden\nand insisted on all the company's staying to supper. Her mother shed\ntears to Peter, in the desecrated house, because they had accepted,", "When they had descended to the street Miriam mentioned to Peter that she\nwas thirsty, dying to drink something: upon which he asked her if she\nshould have an objection to going with him to a café.", "\"I won't give up your daughter,\" said Peter, reflecting that if this was\ncheap it was at any rate good enough for Mrs. Rooth. He mended it a", "She said nothing for a moment; she looked vaguely round the room, but\nnot at Miriam Rooth. Nevertheless she presently dropped as in forced\nreference to her an impatient shake. \"She's dreadfully vulgar.\"", "firmly believed he was staying for Miriam, which he really was not; and\nprobably she had written this false impression off to Peter, who, still\nmore probably, would prefer to regard it as just. Nick was staying for", "\"Wait till the end, to see how she comes out. We must all be merciful!\"\nsighed Mrs. Rooth.\n\n\"We've seen it before; you know what happens,\" Miriam observed to her\nmother.", "\"Nothing puts it into you, my dear!\" Miriam returned. Then she pursued\nto Peter: \"You're the faithful one--you're the one I count on.\" He was", "Peter had a pause. \"No, rather differently. A poor man doesn't believe\nin anything the same way that a rich man does.\"\n\n\"Ah don't call yourself poor!\" groaned Mrs. Rooth." ], [ "cousin Peter had done, but with more validity, that he was engaged with\nMiss Rooth in an undertaking which didn't in the least refer to\nthemselves, that they were working together seriously and that decent", "\"I daresay not,\" said Peter; and this was the only reference to Mrs.\nDallow that passed between her brother and her late intended. It left a", "to English country-houses in prospect for Mrs. Rooth. Peter parted with\nthem on the understanding that in London he would look as thoroughly as\npossible into the question of an engagement. The day before he began his", "Nick showed his interest. \"For you? What then have you proposed?\"\n\n\"I've proposed marriage,\" said Peter in a strange voice.", "\"It's for his happiness, Peter--that's the way she reasons,\" Biddy set\nforth. \"She does it for an idea; she has told me a great deal about it,\nand I see the way she feels.\"", "She looked very red and very pretty as she said this, and Peter\nSherringham liked her enough to notice her more and like her better when", "\"I don't know,\" Peter was glad to be able honestly to answer. \"I haven't\nseen her.\"\n\n\"You haven't seen her?\"", "\"She's shrewder than I thought,\" Peter returned. \"It's the last of\nvanities to talk about, but I may state in passing that if you'd marry\nme you should be the greatest of all possible ladies.\"", "flight from England together, and they made up to his perception one of\nthe little magnified embroilments which do duty for the real in\nsuperficial lives. It was worse to provoke Julia than not, and Peter", "\"I daresay that if Peter comes Julia'll be with him,\" the elder girl\nremarked irrelevantly.\n\n\"Well then he can take Julia about. That will be more proper,\" said Lady\nAgnes.", "Peter turned from the mother to the daughter, the former of whom broke\nout to the latter: \"Oh you dear rogue, to say one has _seen_ you yet!\nYou know how you'll come up to it--you'll be beyond everything.\"", "\"Yes, I shall be there--certainly,\" Peter said, at the door, to Mrs.\nRooth.\n\n\"Oh you dreadful goose!\" Miriam called after him. But he went out\nwithout looking round at her.", "\"Julia's the oddest woman. I mean I thought she loved him,\" Peter\nexplained. \"And when you love a person--!\" He continued to make it out,", "\"I mean her head's full of him. But she'll hardly get the chance.\"\n\nPeter watched himself. \"Does she like him as much as that?\"", "\"So they did, but my hand had been forced and she didn't like it,\" Peter\nanswered, suspecting that for a diplomatist he looked foolish.\n\n\"Miss Rooth didn't like it?\" Nick persisted.", "\"Well, it is, Peter,\" Biddy mournfully admitted. \"She won't risk not\ncoming out at the top.\"\n\n\"At the top of what?\"", "know he invited you.\" Peter declined with a quick gesture and as he\nturned away he heard her call after him, to cheer him on his lonely\nwalk: \"I shall keep this up; I shall never lose sight of her!\"", "\"Aye, and she accepts. Good-night!\"--on which, turning away, Peter\nbounded into a hansom. He said something to the driver through the roof,", "\"No, it will be simply more selfish--I like her company.\" Peter had\nturned as if to go to the door and meet the girl; but he quickly checked", "\"Never, never, Peter! It's not a question of his giving up,\" Biddy\npursued, \"for Julia has herself shaken free. I think she never really" ], [ "Miriam rested kind eyes on him. \"Dear me, how you must hate me!\" And\nbefore he had time to reply she went on to her mother: \"People marry\nthem to make them leave the stage; which proves exactly what I say.\"", "I was sure, I was sure!\" And Miriam paused, resting eyes at once lighted\nand troubled on him as in the effort to think of some arrangement that", "\"To make _you_ choose, you mean. I'm much obliged, but that's not my\nchoice,\" laughed Miriam.\n\n\"You shall be anything you like except this.\"", "The girl at first said nothing; then she asked: \"Is that why she lets\nyou call her 'Miriam'?\"\n\n\"Oh I don't, to her face.\"", "myself. Sherringham, for instance, offers Miriam marriage, ever so\n\"handsomely\"; but if nothing might lead me on further than the question", "for you.\" Miriam looked at him in silence, the cold light still in her\nface, and he repeated: \"Give it up--give it up.\"", "to,\" since, as he had assured him, there was no question of his going\nround to Miriam. He waited to see this young lady reappear three times,", "Miriam brushed off her tears, quickly but unconfusedly. \"He's going\naway, the wretch; he's bidding us farewell.\"", "\"Oh I knew--I knew! That's why I entreated you not to come!\" Miriam\ngroaned. She turned away lamenting, and for a moment he thought she", "himself, with Miriam but a pretext and subject, a vile illustration. She\nundressed this young lady, as it were, from head to foot, turned her", "Miriam, admirably indifferent to this charge, appealed to Peter. \"What\narrangements have you made? What do the people want?\"\n\n\"The people at the theatre?\"", "\"Proposed what to me?\" Miriam rang out. \"I've told you _that_ neither a\ndozen times nor once, because I've never understood. He has made\nwonderful speeches, but has never been serious.\"", "\"If you'll do that I'll be your wife the day after your first\nappearance. That would be really respectable,\" Miriam said.\n\n\"Unfortunately I've no talent.\"", "been rudely startled to find between them. He pronounced Miriam's name\nto her and her own to Miriam, but Julia's recognition of the ceremony", "\"Thank you,\" said Miriam with a laugh as of high comedy. \"I think I had\nrather not _passer par toute la famille_!\" Then she added: \"If your", "\"Oh my own Miriam!\" Mrs. Rooth wailed.\n\n\"Fancy, on the other hand, the complication when such a man marries a\nwoman who's on the stage.\"", "about her prospects and if she were working. Miriam said she had no\nprospects.\"", "\"Well, since you press me, I know more,\" Gabriel said. \"Miriam knows\nyou're engaged to a wonderful, rich lady; she told me as much, told me", "Miriam had listened attentively, but her face that could so show things\nshowed her despair at his perverted ingenuity. \"Pardon my saying it", "Miriam and she, an invitation--and in Cromwell Road too--for the\nevening. Miriam had now decreed they shouldn't go--they would have so" ], [ "Nick Dormer waited a little, as if his idea amused him, but he presently\nsaid, \"I'll tell you another time. It's very well to talk so glibly of", "to show. This is equally true of Nick Dormer, in regard to whom I may\nfinally say that his friend Nash's predictions about his reunion with", "Nick Dormer walked away with Biddy, but he had not gone far before he\nstopped in front of a clever bust, where his mother, in the distance,", "\"He lives at Samarcand,\" Nick Dormer explained to his mother, who\nflushed perceptibly. \"What do you advise me? I'll do whatever you say,\"\nhe went on to his old acquaintance.", "\"Nicholas Dormer,\" this personage remarked at last, \"for grossness of\nimmorality I think I've never seen your equal.\"", "\"It all makes an interesting comment on Mr. Dormer's own quietness, on\nhis independence and sweet solitude,\" Nick observed. \"Miss Rooth has to", "\"How do you know what I adore?\" Nicholas Dormer asked.\n\n\"I know well enough what you used to.\"\n\n\"That's more than I do myself. There were so many things.\"", "\"Thanks awfully; you're tremendously kind. I shouldn't think of that.\"\nNick Dormer got up as he spoke, and walked to the window again, his", "Nick Dormer stopped her with another kiss; he murmured \"Mother, mother,\nmother!\" as he bent over her. He wished her not to go on, to let him\noff; but the deep deprecation in his voice didn't prevent her saying:", "at the hotel. On one of these he took the liberty of asking her whether\nor no, decidedly, she meant to marry Nick Dormer. Julia expressed to him\nthat she appreciated his curiosity, but that Nick and she were nothing", "Nick Dormer found his friend Nash that evening at the place of their\ntryst--smoking a cigar, in the warm bright night, on the terrace of the", "motion. The carriage went a few yards, but while Gabriel, with an\nundiscouraged bow, turned away, Nick Dormer, his hand on the edge of\nthe hood, moved with it.", "\"Think how it sounds--a paragraph in the London papers: 'Mr. Nicholas\nDormer, M. P. for Harsh and son of the late Right Honourable and so", "to Nick Dormer by his sister Bridget. He had learnt it in no other\nway--he had had no correspondence with Julia during her absence. He\ngathered that his mother and sisters were not ignorant of her", "to remain in Paris as a subordinate than to go to Honduras as a\nprincipal, and Nick Dormer had not put a false colour on the matter in", "quality and temper of that effort. It offered a double vision, the\nstrongest dose of life that art could give, the strongest dose of art\nthat life could give. Nick Dormer had already become aware of having two", "\"Oh Nick!\" Biddy protested.\n\n\"Miss Dormer's herself an English picture,\" their visitor pronounced in\nthe tone of a man whose urbanity was a general solvent.", "reading.\" These were the words with which Nick was dismissed, and at\nnoon the doctor said the invalid was doing very well, but that Nick had\nbetter leave him quiet for that day. Our young man accordingly", "\"Then your passion still burns?\" Nick Dormer asked.\n\n\"My passion--?\"", "friendly intercourse that they should scuffle a little, and it scarcely\nmattered what they scuffled about. Nick Dormer's express enjoyment of" ], [ "This idea was oppressive to Nick--that of the rejoicing almost as much\nas of the watching. He had made his concession, but, with a certain", "\"Mother dear, she doesn't care a rap about art. It's a fearful bore\nlooking at fine things with Julia,\" Nick returned.", "\"Really? Perhaps then she won't like you to paint me.\"\n\n\"That's why I want to be quick!\" laughed Nick.\n\n\"Before she knows it?\"", "Nick sat down by him and expressed the hope of not having upset him in\nthe morning; but the old man, with fixed, enlarged eyes, took up their", "and laying his hands on the same canvas. \"Your curiosity's the highest\npossible tribute to my little attempt and your sympathy sets me right\nwith myself. There she is again,\" Nick went on, thrusting the picture", "had some talks with her--that she was capable almost of a violent play\nof mind; so much so that he was sorry for the embarrassment it would be\nto her. Nick could imagine the discomfort of having anything in the", "But Biddy kept it up. \"If she's an artist herself why doesn't she like\npeople to go in for art, especially when Nick has given his time to", "\"Ah my darling, what you observe--!\" Nick cried with a certain\nbitterness of amusement. But he added the next moment more seriously, as\nif his tone had been disrespectful: \"You probe me to the bottom, no\ndoubt.\"", "delight him than to see her hated image on his wall. He would back out\nof the bargain and Nick be left with the picture on his hands. Nick\njeered at this shallow theory and when she came to sit the question", "\"But how in the world\"--and Peter's interest grew franker--\"does Nick\nfind time to paint?\"\n\n\"I don't know. That horrid man brought her.\"", "him that Nick cared for her or that Nick didn't? Wherein did it signify\nto him that Gabriel Nash should have taken upon himself to disapprove of\na union between the young actress and the young painter and to frustrate", "\"You're so remarkable that, more than ever, I must paint you,\" Nick\nreturned, \"though I'm so agitated by your prophetic words that my hand", "in some portions merely suggested, it was strong, vivid and assured, it\nhad already the look of life and the promise of power. Peter felt all\nthis and was startled, was strangely affected--he had no idea Nick moved", "\"Oh, that's twaddle,\" said Nick, turning away. \"Besides, has she told\nyou?\"\n\n\"No, but her mother has.\"\n\n\"Has she told her mother?\"", "\"_Ah bien, c'est tapé_!\" she cried as she stood before the easel. Nick\nwas pleased with her ejaculation, he was even pleased with what he had", "That Nick was painting a beautiful actress was no doubt in part at least\nthe reason why he was provoking and why his most intimate female friend", "Biddy took this in; then she suggested; \"Peter wouldn't have liked\nthat.\"\n\n\"Oh Peter's likes--!\" Nick at his easel, beginning to work, conveniently\nsighed.", "represented an ugly old man with a bald head; at which her ladyship\nindefinitely sighed, though it was not apparent in what way such an\nobject could be detrimental to her daughter. Nick passed on and quickly", "\"On the contrary--he believes I shall carry him away and he's in a\nterror of my doing it.\"\n\n\"He ought to like that,\" said Nick with conscious folly.", "\"'We,' do you say, my dear? Are you really setting up for an artist?\"\nLady Agnes asked.\n\nNick just hesitated. \"I was speaking for Biddy.\"" ], [ "\"I'd rather show it to you,\" Nick confessed.\n\n\"My dear fellow, I see it from here--if you do your duty. Do you\nremember the Tragic Muse?\" Nash added for explanation.", "comedian. The Tragic Muse is the great modern personage. Haven't you\nheard people speak of her, haven't you been taken to see her?\"", "THE TRAGIC MUSE\n\nby\n\nHENRY JAMES", "\"Like that?\"\n\n\"As the Tragic Muse.\"", "\"The Tragic Muse?\"\n\n\"That girl in Paris, whom we heard at the old actress's and afterwards\nmet at the charming entertainment given by your cousin--isn't he?--the\nsecretary of embassy.\"", "The late R. L. Stevenson was to write to me, I recall--and precisely on\nthe occasion of _The Tragic Muse_--that he was at a loss to conceive how", "I recall with this confirmed infatuation of retrospect that through the\nmild perceptions I here glance at there struck for _The Tragic Muse_ the", "saddled himself with the Tragic Muse--a tragic muse who was strident and\npert--and yet wished his visitors would go away and leave him alone with\nher.", "GUTENBERG EBOOK THE TRAGIC MUSE***", "him--she is going to be sublime,\" Nick added. The curtain was rising on\nthe tragic climax of the play.", "\"You talk like my broken-hearted mother,\" said Nick.\n\n\"Does she hate it so intensely?\"", "\"Yet after all who's more esthetic than you and who goes in more for the\nbeautiful?\" Nick asked. \"You're never so beautiful as when you pitch\ninto it.\"", "\"Then I've a model for you.\"\n\n\"Then _you_ have--?\" Nick stared. \"What has that to do with Mrs.\nDallow's being away?\"", "as a limited and even trivial inquiry, with little of the heroic or the\nromantic in it; but it was none the less carried to the finest point by\nour impassioned young men. Nick suspected Nash of exaggerating his", "strange and prompt revelations. Nick felt clumsy beside a person who\nmanifestly, now, had such an extraordinary familiarity with the esthetic\npoint of view. He remembered too the clumsiness that had been in his", "That Nick was painting a beautiful actress was no doubt in part at least\nthe reason why he was provoking and why his most intimate female friend", "\"I ought to get plenty of ideas for my modelling, oughtn't I, Nick?\" his\nsister put to him after a moment.\n\n\"Ah my poor child, what shall I say?\"", "the work. Nick was in and was now beside her, tired, silent, vague,\nbeflowered and beribboned, and he had been splendid from beginning to", "\"Well, at seven o'clock then.\" And Sherringham departed, leaving the\ngirl alone with the Tragic Muse and feeling with a quickened rush the", "Nash. However, Nick carried the imitation as far as possible, and the\nflood of sound floated him. What more could a working faith have done?" ], [ "Miriam, admirably indifferent to this charge, appealed to Peter. \"What\narrangements have you made? What do the people want?\"\n\n\"The people at the theatre?\"", "\"Why you said a while ago that if Peter was there you wouldn't act.\"\n\n\"I'll act for _him_,\" smiled Miriam, inconsequently caressing her\nmother.", "actress whom Miriam had seen several times before and for whose method\nshe professed a high though somewhat critical esteem. It was only for\nthe return of this charming performer that Peter had been waiting to", "\"She's so bad sometimes, you know!\" Peter jested to Miriam; leading the\nactress thus to glance at him, kindly and vaguely, in a short silence", "Miriam, in the full swing of her part, paused but for an instant and let\nherself ring out again, while Peter sank into the nearest chair and she", "Peter Sherringham said so little during the performance that his\ncompanion was struck by his dumbness, especially as Miriam's acting", "about--showing Miriam how the children of Molière took their ease--and\nit quickly placed her in the friendliest communication with Peter\nSherringham, who already enjoyed her acquaintance and who now extended", "When they had descended to the street Miriam mentioned to Peter that she\nwas thirsty, dying to drink something: upon which he asked her if she\nshould have an objection to going with him to a café.", "scene. Peter pressed his lips to Madame Carré's finger-tips; the old\nactress got up and held out her arms to Miriam. The girl never took her", "the situation. If Peter had continued to look for Miriam's mistakes he\nhadn't yet found them: the fourth act, bristling with dangers, putting a", "\"Well, anything I can help to bring about,\" said Peter Sherringham, more\nand more struck with the girl's rich type. Miriam Rooth sat in silence", "artists, but asked himself at the same time what he, Peter Sherringham,\nhad to say about it. He didn't pretend to control Miriam's intimacies,", "behaviour perceptible in Peter, at the theatre, on the eve of his\ndeparture--a sequel lighted by a word of Miriam's in the course of her", "artless, stupid, delightful public. Peter's interest had been great in\nadvance, and as Miriam since his arrival had taken him much into her\nconfidence he knew what she intended to do and had discussed a hundred", "\"For pity's sake don't say that!\" he cried. \"And as regards _your_ art I\nthought Peter knew more than any one.\"\n\n\"Ah you're severe,\" said Miriam.", "of odd person dropped in. Miriam held a reception in the little garden\nand insisted on all the company's staying to supper. Her mother shed\ntears to Peter, in the desecrated house, because they had accepted,", "Miriam rested kind eyes on him. \"Dear me, how you must hate me!\" And\nbefore he had time to reply she went on to her mother: \"People marry\nthem to make them leave the stage; which proves exactly what I say.\"", "\"Yes, I shall be there--certainly,\" Peter said, at the door, to Mrs.\nRooth.\n\n\"Oh you dreadful goose!\" Miriam called after him. But he went out\nwithout looking round at her.", "night, Peter found the liveliest thing in his impression the certitude\nthat if he had never seen Miriam before and she had had for him none of\nthe advantages of association, he would still have recognised in her", "theatrical nature. His heroism did him service, however, for the hour;\nit helped him by the end of the week to feel quite broken in to Miriam's" ], [ "understand him. He understood furthermore that Miriam, in Nick's studio,\nmight very well have appeared to Julia a formidable force. She was", "\"What's the inconvenience then, since in my studio they're only for me?\"\n\n\"You love it, you revel in it; that's what you want--the only thing you\nwant!\" Julia broke out.", "\"You do it with so little!\" And with this, unexpectedly to Nick, Julia\nburst straight into tears. Before he could stop her she was at the door", "that some one else had at least a right not to like some of his friends.\nThe studio struck her as mean and horrid; and so far from suggesting to\nher that it could have played a part in making Nick and Julia fall out", "Gabriel had gone into the studio and Nick found him standing in\nadmiration before Miriam, who had resumed the position in which she was", "been rudely startled to find between them. He pronounced Miriam's name\nto her and her own to Miriam, but Julia's recognition of the ceremony", "the place into familiar use again and was now correcting their former\nsurprise at her crude indifference--this was infinitely characteristic\nof Julia--by inviting them to share it with her. Nick wondered vaguely", "The others had not yet come back, and Lady Agnes was alone in the\nlarge, bright drawing-room. When Nick went in with Julia he saw her at", "\"Much you know me!\" Julia protested; but he could see, through the\ndimness, that her face spoke differently.\n\n\"You'll have it in time, but I won't come to it,\" Nick went on.", "At the entrance of Miriam and her mother Nick, in the studio, had\nstopped whistling, but he was still gay enough to receive them with", "This made Mrs. Dallow look at him while Miriam considered them both.\nJulia's eyes had a strange light he had never seen before--a flash of", "\"If you're not clever, my dear Julia--?\" Nick, close to her, placed his\nhands on her shoulders and shook her with a mixture of tenderness and\npassion. \"You're clever enough to make me furious, sometimes!\"", "looked round, Peter and Nick got up, there was a shuffling of\nchairs--Julia had come. Peter was relating how he had stopped at her", "\"You're as perverse, in your way, as Julia,\" he returned to this. \"But I\nconfess I don't understand Nick's attitude any better. He seems to me,\nif I may say so, neither fish nor flesh.\"", "\"The truth, dear Julia? I only want to know it,\" Nick insisted. \"It\nseems to me in fact just what I've got hold of. When two persons are", "frequent visits to the studio and made Miss Dormer ask herself if the\ncrisis in Nick's and Julia's business had not somehow been linked to\nthat unnatural spot.", "Miriam smiled at Nick, deprecating his horror of such talk. \"Isn't it\ndroll, the way she can't get it out of her head?\" Then turning almost", "hanging. Julia's eyes rested on this embodied unexpectedness, and as\nthey did so she grew pale--so pale that Nick, observing it,", "\"Wonderful Julia!\" Lady Agnes panted. \"Of course Nick must go straight\nthere too.\"\n\n\"Well, I suppose he must see first if they'll have him.\"", "intercourse; and she had her secret scorn for the stupidity of people\nwhose conception of Nick's relation to Julia rested on the fact that he\nwas always included in her parties. \"If he never was there they might" ], [ "and laying his hands on the same canvas. \"Your curiosity's the highest\npossible tribute to my little attempt and your sympathy sets me right\nwith myself. There she is again,\" Nick went on, thrusting the picture", "like to look at him. There was life in his kind old eyes, a stir of\nsomething that would express itself yet in some further wise provision.\nHe laid his liberal hand on Nick's with a confidence that showed how", "\"That's just what Nick says.\"\n\n\"You talk of it together a great deal?\"\n\n\"Yes, Nick's very good to me.\"", "of the mysteries and miracles of reproduction and representation; of the\nstrong, sane joys of the artistic life. Nick made afresh, with more\nfulness, his great confession, that his private ideal of happiness was", "\"I shall doubtless,\" Nick allowed, \"do that enough to make up for the\nrest.\"\n\n\"Never, never, when you paint so well as this.\"", "rapidly said to himself that if Nick could afford to allow so much for\n\"art\" he might surely exhibit some of the same confidence. There had\nnever been the least avowed competition between the cousins--their lines", "proposed to himself suggesting to Nick after a little that they should\nadjourn together--they had such interesting things to talk about.\nMeanwhile Nick greeted him with a friendly freedom in which he could", "quality and temper of that effort. It offered a double vision, the\nstrongest dose of life that art could give, the strongest dose of art\nthat life could give. Nick Dormer had already become aware of having two", "of Nick that he should find himself regarding mere vague, verbal\ncomfort, words in the air, as an inadequate guarantee. So after he had\nattached his dim vision to his young friend's face a moment he brought", "\"_Ah bien, c'est tapé_!\" she cried as she stood before the easel. Nick\nwas pleased with her ejaculation, he was even pleased with what he had", "with her--I should like to see her.\" Nick showed on this easy amusement,\nreminding her she had talked to him while she sat for her portrait in", "of it. She was encouraged by his slight embarrassment, for ordinarily\nNick was not embarrassed. \"You used to have so _much_ sense of", "\"I like to hear you talk--it makes you live, brings you out,\" Nick\ncontentedly dropped. \"And you sit beautifully still. All I want to say", "\"Oh ours is the true profession--Biddy's and mine,\" Nick broke out,\nsetting up his canvas; \"the career of liberty and peace, of charming", "\"Really? Perhaps then she won't like you to paint me.\"\n\n\"That's why I want to be quick!\" laughed Nick.\n\n\"Before she knows it?\"", "strange and prompt revelations. Nick felt clumsy beside a person who\nmanifestly, now, had such an extraordinary familiarity with the esthetic\npoint of view. He remembered too the clumsiness that had been in his", "it.\" There was ever a hint of fine judgement and far calculation in his\ntone. It appeared before he went that this time even he himself had done\nit--he had taken up something that would really answer. He told Nick", "in some portions merely suggested, it was strong, vivid and assured, it\nhad already the look of life and the promise of power. Peter felt all\nthis and was startled, was strangely affected--he had no idea Nick moved", "But Biddy kept it up. \"If she's an artist herself why doesn't she like\npeople to go in for art, especially when Nick has given his time to", "\"She's a very good woman,\" said Nick.\n\n\"And I hope she's not poor.\" Mr. Carteret spoke exactly with the same\nblandness." ], [ "\"Not even Peter Sherringham?\" her host jested while he stepped back to\njudge of the effect of a line.\n\n\"Oh Mr. Sherringham's different. You're an artist.\"", "At first Peter Sherringham thought of asking to be transferred to\nanother post and went so far, in London, as to take what he believed", "Peter Sherringham stared. \"Oh I daresay. But that's not what she has in\nher head this morning. She has some news from London--she's immensely\nexcited.\"", "\"Why I've promised it to Peter Sherringham--he has offered me money for\nit,\" Nick replied. \"However, he's welcome to it for nothing, poor chap,\nand I shall be delighted to do the best I can for him.\"", "state of affairs in Calcutta Gardens and where many letters and\ntelegrams were now addressed him. Among such missives, on the morning of\nthe Saturday on which Peter Sherringham had promised to dine at the", "Peter Sherringham also addressed him with an \"Oh it's all right; they\ncome down on you like a shot!\" and the young man continued ingenuously:", "\"How d'ye do, Cousin Agnes? How d'ye do, little Grace?\" Peter\nSherringham laughed and shook hands with them, and three minutes later", "\"It seems to me he does very well now,\" said Peter Sherringham.", "Dormer's story his and yet making it also and all effectively in a large\npart Peter Sherringham's, of keeping Sherringham's his and yet making it", "Biddy had been up to this moment mainly occupied in looking, covertly\nand in snatches, at Peter Sherringham; as was perfectly lawful in a", "For several days Peter Sherringham had business in hand which left him\nneither time nor freedom of mind to occupy himself actively with the", "century. In fact, none the less, it would have been impossible to be\nmore modern than Peter Sherringham--more of one's class and one's", "had walked away with Peter Sherringham because they were cousins and old\nfriends: he was to leave England immediately, for a long time, and he\nhad offered her his company going home. Mrs. Rooth shook her head very", "\"I've no doubt he can do anything,\" Peter Sherringham returned\ngood-naturedly. Then, \"Do you mean in expenses?\" he inquired.", "girls, you know; everything's amusing here.\" That was easily said while\nhe sauntered and gossiped with Peter Sherringham and perhaps went to", "\"Very, very intelligent.\" His conversation with Miss Dormer went little\nbeyond this, and he presently took leave of Peter Sherringham, remarking\nto him as they shook hands that he was very sorry for him. But he had\ncourted his fate.", "Peter Sherringham, who has asked everything of _her_; and it is in so\ndoing that she has really most testified for art and invited him to", "into the studio Peter Sherringham, whom the man had apparently found at\nthe door.", "\"That's the worst way,\" said Peter Sherringham. \"Good things?\"\n\nNeither of the ladies made a direct response to this, but Lady Agnes\nsaid: \"He has spoken repeatedly. They're always calling on him.\"", "\"I know the complaint. It's all the fashion now. The _raffinés_ despise\nthe theatre,\" said Peter Sherringham in the manner of a man abreast with" ], [ "\"But how in the world\"--and Peter's interest grew franker--\"does Nick\nfind time to paint?\"\n\n\"I don't know. That horrid man brought her.\"", "\"I shall doubtless,\" Nick allowed, \"do that enough to make up for the\nrest.\"\n\n\"Never, never, when you paint so well as this.\"", "tacitly attributed to him by Nick, who took it rather from the pictorial\npoint of view--remembering on each occasion only afterwards that though", "something richly rare in such a relation between the subject and the\nartist, and Nick was disposed to go on till he should have to stop for\npity or for shame. He caught eventually a glimmer of the truth", "and laying his hands on the same canvas. \"Your curiosity's the highest\npossible tribute to my little attempt and your sympathy sets me right\nwith myself. There she is again,\" Nick went on, thrusting the picture", "in some portions merely suggested, it was strong, vivid and assured, it\nhad already the look of life and the promise of power. Peter felt all\nthis and was startled, was strangely affected--he had no idea Nick moved", "of the mysteries and miracles of reproduction and representation; of the\nstrong, sane joys of the artistic life. Nick made afresh, with more\nfulness, his great confession, that his private ideal of happiness was", "it.\" There was ever a hint of fine judgement and far calculation in his\ntone. It appeared before he went that this time even he himself had done\nit--he had taken up something that would really answer. He told Nick", "into explanations which needed in turn to be explained. The balmy night,\nthe time for talk, the amusement of Paris, the memory of younger\npassages, gave a lift to the occasion. Nick had already forgotten his", "It was on coming back to his place after the fourth act that Nick put\nin, for his companion's benefit, most of these touches in his sketch of", "\"Really? Perhaps then she won't like you to paint me.\"\n\n\"That's why I want to be quick!\" laughed Nick.\n\n\"Before she knows it?\"", "\"Well,\" said Nick with a candid, reflective sigh, \"you can rear a great\nstructure of many things--not only of stones and timbers and painted", "by the fine exhilaration of having seen an evening paper. Trying it\nlate, on the chance, he had been told by Nick's servant that Nick would", "strange and prompt revelations. Nick felt clumsy beside a person who\nmanifestly, now, had such an extraordinary familiarity with the esthetic\npoint of view. He remembered too the clumsiness that had been in his", "\"It's a great privilege to me to paint you: what title in the world have\nI to pretend to such a model?\" Nick replied to Miriam. \"The sacrifice is", "That Nick was painting a beautiful actress was no doubt in part at least\nthe reason why he was provoking and why his most intimate female friend", "quality and temper of that effort. It offered a double vision, the\nstrongest dose of life that art could give, the strongest dose of art\nthat life could give. Nick Dormer had already become aware of having two", "sat and glowed at each other as if everything had been settled. There\nwere reasons enough why Nick should be happy; but it is a singular fact\nthat the leading one was the sense of his having escaped a great and", "on the general ground of the comparative dignity of the two arts of\npainting portraits and governing nations. Our friend declined the\nchallenge: the most he did was to intimate that he perhaps saw Nick more", "\"Oh ours is the true profession--Biddy's and mine,\" Nick broke out,\nsetting up his canvas; \"the career of liberty and peace, of charming" ], [ "\"I daresay not,\" said Peter; and this was the only reference to Mrs.\nDallow that passed between her brother and her late intended. It left a", "cousin Peter had done, but with more validity, that he was engaged with\nMiss Rooth in an undertaking which didn't in the least refer to\nthemselves, that they were working together seriously and that decent", "She looked very red and very pretty as she said this, and Peter\nSherringham liked her enough to notice her more and like her better when", "to English country-houses in prospect for Mrs. Rooth. Peter parted with\nthem on the understanding that in London he would look as thoroughly as\npossible into the question of an engagement. The day before he began his", "\"She's shrewder than I thought,\" Peter returned. \"It's the last of\nvanities to talk about, but I may state in passing that if you'd marry\nme you should be the greatest of all possible ladies.\"", "\"It's for his happiness, Peter--that's the way she reasons,\" Biddy set\nforth. \"She does it for an idea; she has told me a great deal about it,\nand I see the way she feels.\"", "\"Julia's the oddest woman. I mean I thought she loved him,\" Peter\nexplained. \"And when you love a person--!\" He continued to make it out,", "\"Well, it is, Peter,\" Biddy mournfully admitted. \"She won't risk not\ncoming out at the top.\"\n\n\"At the top of what?\"", "\"I daresay that if Peter comes Julia'll be with him,\" the elder girl\nremarked irrelevantly.\n\n\"Well then he can take Julia about. That will be more proper,\" said Lady\nAgnes.", "Nick showed his interest. \"For you? What then have you proposed?\"\n\n\"I've proposed marriage,\" said Peter in a strange voice.", "\"I don't know,\" Peter was glad to be able honestly to answer. \"I haven't\nseen her.\"\n\n\"You haven't seen her?\"", "\"I mean her head's full of him. But she'll hardly get the chance.\"\n\nPeter watched himself. \"Does she like him as much as that?\"", "\"So they did, but my hand had been forced and she didn't like it,\" Peter\nanswered, suspecting that for a diplomatist he looked foolish.\n\n\"Miss Rooth didn't like it?\" Nick persisted.", "\"Never, never, Peter! It's not a question of his giving up,\" Biddy\npursued, \"for Julia has herself shaken free. I think she never really", "flight from England together, and they made up to his perception one of\nthe little magnified embroilments which do duty for the real in\nsuperficial lives. It was worse to provoke Julia than not, and Peter", "\"Yes, I shall be there--certainly,\" Peter said, at the door, to Mrs.\nRooth.\n\n\"Oh you dreadful goose!\" Miriam called after him. But he went out\nwithout looking round at her.", "Peter turned from the mother to the daughter, the former of whom broke\nout to the latter: \"Oh you dear rogue, to say one has _seen_ you yet!\nYou know how you'll come up to it--you'll be beyond everything.\"", "\"Aye, and she accepts. Good-night!\"--on which, turning away, Peter\nbounded into a hansom. He said something to the driver through the roof,", "know he invited you.\" Peter declined with a quick gesture and as he\nturned away he heard her call after him, to cheer him on his lonely\nwalk: \"I shall keep this up; I shall never lose sight of her!\"", "\"Not at all.\"\n\n\"She has a lovely voice,\" Peter hazarded after a moment.\n\n\"I don't know anything about her voice--I haven't heard it.\"" ], [ "Nick Dormer waited a little, as if his idea amused him, but he presently\nsaid, \"I'll tell you another time. It's very well to talk so glibly of", "quality and temper of that effort. It offered a double vision, the\nstrongest dose of life that art could give, the strongest dose of art\nthat life could give. Nick Dormer had already become aware of having two", "to show. This is equally true of Nick Dormer, in regard to whom I may\nfinally say that his friend Nash's predictions about his reunion with", "delighted if I could think of him as a little in love with Miss Dormer,\"\nthe girl pursued, addressing Nick.", "Her relation to Nick Dormer, for instance, was intended as a superior\ninterest--that of being (while perfectly sincere, sincere for _her_, and", "movement. If she liked Nick Dormer extremely--and it may without more\ndelay be communicated to the reader that she did--her liking was of a", "at the hotel. On one of these he took the liberty of asking her whether\nor no, decidedly, she meant to marry Nick Dormer. Julia expressed to him\nthat she appreciated his curiosity, but that Nick and she were nothing", "Nick Dormer stopped her with another kiss; he murmured \"Mother, mother,\nmother!\" as he bent over her. He wished her not to go on, to let him\noff; but the deep deprecation in his voice didn't prevent her saying:", "Nick Dormer said to Mrs. Dallow that he wanted her to know an old friend\nof his, one of the cleverest men he knew; and he added the hope that she", "\"It all makes an interesting comment on Mr. Dormer's own quietness, on\nhis independence and sweet solitude,\" Nick observed. \"Miss Rooth has to", "\"How do you know what I adore?\" Nicholas Dormer asked.\n\n\"I know well enough what you used to.\"\n\n\"That's more than I do myself. There were so many things.\"", "\"Then your passion still burns?\" Nick Dormer asked.\n\n\"My passion--?\"", "Nick Dormer declared that he liked cafés, and Miriam, looking at his\ncousin, dropped with a flash of passion the demand: \"Do you wonder I\nshould want to do something--so that we can stop living like pigs?\"", "possibly a great one; but I'm not an actor.\" Nick Dormer declared he\nwould certainly become one--he was so well on the way to it; and", "fellow-struggler. If Nick Dormer attracts and all-indifferently holds\nher it is because, like herself and unlike Peter, he puts \"art\" first;", "\"He lives at Samarcand,\" Nick Dormer explained to his mother, who\nflushed perceptibly. \"What do you advise me? I'll do whatever you say,\"\nhe went on to his old acquaintance.", "\"And don't forget, when you come to London, my hope that you'll come and\nsee _me_,\" Nick Dormer said to the girl. \"To try and paint you--that\nwould do me good!\"", "\"Nicholas Dormer,\" this personage remarked at last, \"for grossness of\nimmorality I think I've never seen your equal.\"", "friendly intercourse that they should scuffle a little, and it scarcely\nmattered what they scuffled about. Nick Dormer's express enjoyment of", "\"To marry Nick Dormer?\"\n\n\"You said a good decent man, and he's one of the very decentest.\"" ], [ "Her relation to Nick Dormer, for instance, was intended as a superior\ninterest--that of being (while perfectly sincere, sincere for _her_, and", "\"It all makes an interesting comment on Mr. Dormer's own quietness, on\nhis independence and sweet solitude,\" Nick observed. \"Miss Rooth has to", "\"How do you know what I adore?\" Nicholas Dormer asked.\n\n\"I know well enough what you used to.\"\n\n\"That's more than I do myself. There were so many things.\"", "\"Nicholas Dormer,\" this personage remarked at last, \"for grossness of\nimmorality I think I've never seen your equal.\"", "\"Oh Nick!\" Biddy protested.\n\n\"Miss Dormer's herself an English picture,\" their visitor pronounced in\nthe tone of a man whose urbanity was a general solvent.", "to show. This is equally true of Nick Dormer, in regard to whom I may\nfinally say that his friend Nash's predictions about his reunion with", "quality and temper of that effort. It offered a double vision, the\nstrongest dose of life that art could give, the strongest dose of art\nthat life could give. Nick Dormer had already become aware of having two", "\"Don't say that,\" said Nick Dormer with sudden sternness.\n\n\"Ah you are, you are!\" his companion pronounced, judging apparently from\nthis accent.", "Above all Nash held his attention by a constant element of easy\nreference to Nick Dormer, who, as we know, had suddenly become much more", "friendly intercourse that they should scuffle a little, and it scarcely\nmattered what they scuffled about. Nick Dormer's express enjoyment of", "Nick Dormer waited a little, as if his idea amused him, but he presently\nsaid, \"I'll tell you another time. It's very well to talk so glibly of", "Nick Dormer stopped her with another kiss; he murmured \"Mother, mother,\nmother!\" as he bent over her. He wished her not to go on, to let him\noff; but the deep deprecation in his voice didn't prevent her saying:", "\"To marry Nick Dormer?\"\n\n\"You said a good decent man, and he's one of the very decentest.\"", "\"He lives at Samarcand,\" Nick Dormer explained to his mother, who\nflushed perceptibly. \"What do you advise me? I'll do whatever you say,\"\nhe went on to his old acquaintance.", "\"We shall see, we shall see,\" said Nick Dormer. \"Let us go look at that\nbig group.\"\n\n\"We shall see if your talent's real?\" Biddy went on as she accompanied\nhim.", "Nicholas Dormer. There was food for suspicion perhaps in the wandering\nblankness that sat at moments in his eyes, as if he had no attention at", "\"It's pockets we rather lack, so many of us. There are plenty of\nHarshes,\" Nick Dormer observed.\n\n\"I don't know what you mean,\" Lady Agnes said to Nash with considerable\nmajesty.", "\"She comes of a beautiful Norman race--the finest, purest strain,\" the\nold woman simpered. \"Mr. Dormer's sometimes so good as to come and see", "hands. He saw Mrs. Dallow approach Nick Dormer, who was talking with one\nof the ladies of the embassy, and apparently signify that she wished to", "fellow-struggler. If Nick Dormer attracts and all-indifferently holds\nher it is because, like herself and unlike Peter, he puts \"art\" first;" ], [ "hands. He saw Mrs. Dallow approach Nick Dormer, who was talking with one\nof the ladies of the embassy, and apparently signify that she wished to", "Her relation to Nick Dormer, for instance, was intended as a superior\ninterest--that of being (while perfectly sincere, sincere for _her_, and", "Nick Dormer stopped her with another kiss; he murmured \"Mother, mother,\nmother!\" as he bent over her. He wished her not to go on, to let him\noff; but the deep deprecation in his voice didn't prevent her saying:", "\"Oh Nick!\" Biddy protested.\n\n\"Miss Dormer's herself an English picture,\" their visitor pronounced in\nthe tone of a man whose urbanity was a general solvent.", "Peter wondered. \"Do you mean her friend Dashwood?\"\n\n\"No, no, I mean Nick Dormer.\"\n\n\"She'd marry _him_?\" Peter gasped.", "\"Oh Nick, Nick!\" Lady Agnes cried with a strange depth of feeling.\n\n\"I like them better in London--they're much less unpleasant,\" said Grace\nDormer.", "to show. This is equally true of Nick Dormer, in regard to whom I may\nfinally say that his friend Nash's predictions about his reunion with", "delighted if I could think of him as a little in love with Miss Dormer,\"\nthe girl pursued, addressing Nick.", "consequences of his apostasy appeared most to come home to Lady Agnes\nwas the loss for the Dormer family of the advantages attached to the\npossession of Mrs. Dallow. The larger mortification would round itself", "(Nick Dormer was on her other side) in refined deprecation. Her sloping\nback was before them, exempt from retentive stillness in spite of her", "movement. If she liked Nick Dormer extremely--and it may without more\ndelay be communicated to the reader that she did--her liking was of a", "\"He lives at Samarcand,\" Nick Dormer explained to his mother, who\nflushed perceptibly. \"What do you advise me? I'll do whatever you say,\"\nhe went on to his old acquaintance.", "\"It all makes an interesting comment on Mr. Dormer's own quietness, on\nhis independence and sweet solitude,\" Nick observed. \"Miss Rooth has to", "\"Oh she has given up Percy. I don't suppose she thinks it would do. Dear\nNick of course--that's just what she does want.\"\n\nHe had a pause. \"And you, Biddy?\"", "she had definitely begun to weep. Nick Dormer sprung up; he felt\nembarrassed and intrusive--there was such an indelicacy in sitting there", "at the hotel. On one of these he took the liberty of asking her whether\nor no, decidedly, she meant to marry Nick Dormer. Julia expressed to him\nthat she appreciated his curiosity, but that Nick and she were nothing", "She told Nick that Lady Agnes had not been willing to disturb him at his\nwork to say good-bye, knowing she should see him in a day or two in", "\"Oh here!\" And the good lady shook her head with a world of sad\nsignificance.\n\n\"Come and live in London and then I shall be able to paint your\ndaughter,\" Nick Dormer interposed.", "Nick Dormer said to Mrs. Dallow that he wanted her to know an old friend\nof his, one of the cleverest men he knew; and he added the hope that she", "fellow-struggler. If Nick Dormer attracts and all-indifferently holds\nher it is because, like herself and unlike Peter, he puts \"art\" first;" ], [ "and laying his hands on the same canvas. \"Your curiosity's the highest\npossible tribute to my little attempt and your sympathy sets me right\nwith myself. There she is again,\" Nick went on, thrusting the picture", "\"That's just what Nick says.\"\n\n\"You talk of it together a great deal?\"\n\n\"Yes, Nick's very good to me.\"", "like to look at him. There was life in his kind old eyes, a stir of\nsomething that would express itself yet in some further wise provision.\nHe laid his liberal hand on Nick's with a confidence that showed how", "with her--I should like to see her.\" Nick showed on this easy amusement,\nreminding her she had talked to him while she sat for her portrait in", "of the mysteries and miracles of reproduction and representation; of the\nstrong, sane joys of the artistic life. Nick made afresh, with more\nfulness, his great confession, that his private ideal of happiness was", "rapidly said to himself that if Nick could afford to allow so much for\n\"art\" he might surely exhibit some of the same confidence. There had\nnever been the least avowed competition between the cousins--their lines", "\"I shall doubtless,\" Nick allowed, \"do that enough to make up for the\nrest.\"\n\n\"Never, never, when you paint so well as this.\"", "But Biddy kept it up. \"If she's an artist herself why doesn't she like\npeople to go in for art, especially when Nick has given his time to", "proposed to himself suggesting to Nick after a little that they should\nadjourn together--they had such interesting things to talk about.\nMeanwhile Nick greeted him with a friendly freedom in which he could", "\"_Ah bien, c'est tapé_!\" she cried as she stood before the easel. Nick\nwas pleased with her ejaculation, he was even pleased with what he had", "\"I like to hear you talk--it makes you live, brings you out,\" Nick\ncontentedly dropped. \"And you sit beautifully still. All I want to say", "of it. She was encouraged by his slight embarrassment, for ordinarily\nNick was not embarrassed. \"You used to have so _much_ sense of", "\"Really? Perhaps then she won't like you to paint me.\"\n\n\"That's why I want to be quick!\" laughed Nick.\n\n\"Before she knows it?\"", "know--you can easily go back.\" This was the only thing not quite\nstraight that Nick found in him--his making light of his young friend's", "strange and prompt revelations. Nick felt clumsy beside a person who\nmanifestly, now, had such an extraordinary familiarity with the esthetic\npoint of view. He remembered too the clumsiness that had been in his", "encouraging her to remain in the drawing-room, along with Nick, after\nthe others had gone. I may add that Mrs. Gresham's extreme curiosity", "it.\" There was ever a hint of fine judgement and far calculation in his\ntone. It appeared before he went that this time even he himself had done\nit--he had taken up something that would really answer. He told Nick", "in some portions merely suggested, it was strong, vivid and assured, it\nhad already the look of life and the promise of power. Peter felt all\nthis and was startled, was strangely affected--he had no idea Nick moved", "\"Oh ours is the true profession--Biddy's and mine,\" Nick broke out,\nsetting up his canvas; \"the career of liberty and peace, of charming", "\"She's a very good woman,\" said Nick.\n\n\"And I hope she's not poor.\" Mr. Carteret spoke exactly with the same\nblandness." ], [ "been in this place then!\" but he defended himself later and more\neffectually by saying that it was not of Nick's having got elected he", "somehow made Nick wince a little. Meeting his mother was like being\nelected over again.", "with himself. He put out his hand and said, \"I daresay you know why I\nsent for you\"; on which Nick sank into the seat he had occupied the day", "\"After all I was a good candidate,\" Nick went on.\n\n\"What do I care for candidates?\"", "it.\" There was ever a hint of fine judgement and far calculation in his\ntone. It appeared before he went that this time even he himself had done\nit--he had taken up something that would really answer. He told Nick", "he sprang up and took another turn about the room. His companion's\nartless but vivid recital had set his blood in motion. He had taken\nNick's political prospects very much for granted, thought of them as", "by his presence the effect of company. All the other men of Nick's\nacquaintance, all his political friends, represented, often very\ncommunicatively, their own affairs, their own affairs alone; which when", "by the fine exhilaration of having seen an evening paper. Trying it\nlate, on the chance, he had been told by Nick's servant that Nick would", "were, that he should present that gentleman to his sister. He was not\nsorry to be relieved of the office by Nick, and he even tacitly and", "This idea was oppressive to Nick--that of the rejoicing almost as much\nas of the watching. He had made his concession, but, with a certain", "\"You're always thinking too much of 'people.'\"\n\n\"They say I think too little,\" Gabriel smiled.\n\n\"Well, I've agreed to stand for Harsh,\" said Nick with a roundabout\ntransition.", "card. He himself had been far from getting away at once, having to\nrespond to the hubbub of acclamation, to speak yet again, to thank his\nelectors individually and collectively, to chaff the Tories without", "Nick sat down by him and expressed the hope of not having upset him in\nthe morning; but the old man, with fixed, enlarged eyes, took up their", "been grossness to speak of him as a bore. The difficulty was that he\ntook for granted all kinds of positive assent, and Nick, in such", "so wantonly to perdition. Nick had for the hour seriously wished to keep\nhold of him: he valued him as a salutary influence. Yet on coming to his\nsenses after his election our young man had recognised that Nash might", "\"You're a prime minister yourself,\" Nick made answer. \"To hold fast to\nyou as I hold, to be determined to be of your party--isn't that\npolitical enough, since you're the incarnation of politics?\"", "in the opposite sense from Julia, but there had been no pulling; he was\nto have saved him, as he called it, and yet Nick was lost. This\ncircumstance indeed formed his excuse: the member for Harsh had rushed", "The old man contended a moment with this and then broke out: \"God\nforgive you, are you a Tory, are you a Tory?\"\n\n\"How little you understand me!\" laughed Nick with a ring of bitterness.", "\"It was her they elected,\" said Nick.", "Lady Agnes already knew, for as soon as the result was declared Nick had\ndespatched a mounted man to her, carrying the figures on a scrawled" ], [ "Sherringham heard a parley of voices in the little antechamber, and the\nnext moment the door was pushed open and Miriam Rooth bounded into the\nroom. She was flushed and breathless, without a smile, very direct.", "\"Yes, I shall be there--certainly,\" Peter said, at the door, to Mrs.\nRooth.\n\n\"Oh you dreadful goose!\" Miriam called after him. But he went out\nwithout looking round at her.", "character. Sherringham was aware he was very \"rising\"; but Miriam Rooth\nwas not yet a celebrated actress. She was only a young artist in\nconscientious process of formation and encumbered with a mother still", "\"Well, anything I can help to bring about,\" said Peter Sherringham, more\nand more struck with the girl's rich type. Miriam Rooth sat in silence", "He talked of his host's future, talked of Miriam Rooth and of Peter\nSherringham, whom he had seen at that young woman's and whom he", "When they had descended to the street Miriam mentioned to Peter that she\nwas thirsty, dying to drink something: upon which he asked her if she\nshould have an objection to going with him to a café.", "about--showing Miriam how the children of Molière took their ease--and\nit quickly placed her in the friendliest communication with Peter\nSherringham, who already enjoyed her acquaintance and who now extended", "\"Oh don't tell us that: it's to escape from that!\" pleaded Mrs. Rooth.\n\n\"I'm very sure your daughter will escape from that,\" Peter Sherringham\nwas moved to interpose.", "\"Oh dying!--he's dying very hard!\" cried Miriam. \"Mr. Sherringham's a\nman of whom I can't speak with too much esteem and affection and who may", "of odd person dropped in. Miriam held a reception in the little garden\nand insisted on all the company's staying to supper. Her mother shed\ntears to Peter, in the desecrated house, because they had accepted,", "Mrs. Rooth looked as if she were trying to follow. \"Miriam isn't on the\nstage yet.\"\n\n\"Go to London and she soon will be.\"", "\"You must first have the art to hide,\" said Sherringham, wondering a\nlittle why Miriam didn't introduce her young friend to him. She was,", "something, was illustrated by the fact that while poor Biddy was\nthinking of Peter it was ten to one poor Peter was thinking of Miriam\nRooth. All of which danced before Nick's intellectual vision for a space", "Peter Sherringham stared. \"Oh I daresay. But that's not what she has in\nher head this morning. She has some news from London--she's immensely\nexcited.\"", "\"Not even Peter Sherringham?\" her host jested while he stepped back to\njudge of the effect of a line.\n\n\"Oh Mr. Sherringham's different. You're an artist.\"", "Sherringham, whose imagination had seemingly been kindled by the sketch\nof Miriam Rooth, took up the argument and reminded him that he had a\nshort time before assigned a low place to the dramatic art and had not", "had walked away with Peter Sherringham because they were cousins and old\nfriends: he was to leave England immediately, for a long time, and he\nhad offered her his company going home. Mrs. Rooth shook her head very", "Miriam, admirably indifferent to this charge, appealed to Peter. \"What\narrangements have you made? What do the people want?\"\n\n\"The people at the theatre?\"", "\"Oh you dear!\" Miriam delightedly exclaimed. Mr. and Mrs. Lovick,\naccompanied by Mrs. Rooth, now crossed the room to them, and the girl", "artists, but asked himself at the same time what he, Peter Sherringham,\nhad to say about it. He didn't pretend to control Miriam's intimacies," ], [ "Rome, who instructed Miriam in the proper manner of pronouncing his\nlanguage and also in the art of declaiming and gesticulating.", "for the performance. Miriam left her seat and looked vaguely about her;\nthen having taken off her hat and given it to her mother she stood on\nthe designated spot with her eyes to the ground. Abruptly, however,", "The ample and powerful manner in which Miriam handled her scene produced\nits full impression, the art with which she surmounted its difficulties,", "Mrs. Rooth looked as if she were trying to follow. \"Miriam isn't on the\nstage yet.\"\n\n\"Go to London and she soon will be.\"", "\"What mamma wishes me to understand and to practise is the particular\nway to be artful with Mr. Sherringham,\" said Miriam. \"There are", "were still more agreeable than the distant spectator would have\nsupposed; and there was in her appearance an extreme finish which\ninstantly suggested to Miriam that she herself, in comparison, was big", "Miriam, in the full swing of her part, paused but for an instant and let\nherself ring out again, while Peter sank into the nearest chair and she", "listened to him better than the others, and there was one in particular\nwhom he had a hope he really might have interested. From him he had\nextracted benevolent assurances: this person would see Miriam, would", "companions till it was over. Then, after a further delay produced by\nrenewed vociferous proofs of the personal victory won, he depicted his\nvisit to the stage and the wonderful sight of Miriam on the field of", "himself, with Miriam but a pretext and subject, a vile illustration. She\nundressed this young lady, as it were, from head to foot, turned her", "more about Miriam, more certainly about her outlook at that moment, than\nshe herself had communicated, contributing strongly to our young man's\nimpression that one by one every gage of a great career was being", "The old woman said something, half in jest, half in real resentment,\nabout the brutality of youth while Miriam went to a mirror and quickly", "\"I'm sure she has talent and a very refined inspiration. I see something\nin that corner, covered with a mysterious veil,\" Mrs. Rooth insinuated;\nwhich led Miriam to go on immediately:", "to the other. It was the actress's manner that struck Miriam most; it\ndenoted such a training, so much taste, expressed such a ripe conception\nof urbanity.", "Miriam, at her best moments, became pale and fatal. It was she who spoke\nto her first, after it was agreed that they had better not fatigue her", "Miriam Rooth was sublime; yet it may be confided to the reader that\nduring these supreme scenes Bridget Dormer directed her eyes less to the", "though the best part of the business was to take in her young\ncandidate's beauty. Sherringham had supposed Miriam rather abashed by\nthe flatness of her first performance, but he now saw how little she", "Miriam vaguely smiled. \"I know you both so little.\" But she presented\nthem with a great stately air to each other, and the two men shook hands\nwhile Madame Carré observed them.", "\"Well, to-night I'm her class,\" said Miriam.\n\n\"Oh I don't mean of actresses, but of _femmes du monde_. She shows them\nhow to act in society.\"", "\"Ah no, but he longed to be introduced to her; he persuaded Miriam to\ntake him. Naturally she wishes to oblige him. She's very nice to him--if\nhe can do anything.\"" ], [ "Nick looked up at him a moment. \"You've hit it if you mean by that that\nI haven't resigned my seat and that I don't intend to.\"", "in the opposite sense from Julia, but there had been no pulling; he was\nto have saved him, as he called it, and yet Nick was lost. This\ncircumstance indeed formed his excuse: the member for Harsh had rushed", "\"You've written a letter?\"\n\n\"To my constituents, informing them of my determination to resign my\nseat.\"\n\n\"To resign your seat?\"", "This idea was oppressive to Nick--that of the rejoicing almost as much\nas of the watching. He had made his concession, but, with a certain", "\"You're a prime minister yourself,\" Nick made answer. \"To hold fast to\nyou as I hold, to be determined to be of your party--isn't that\npolitical enough, since you're the incarnation of politics?\"", "with himself. He put out his hand and said, \"I daresay you know why I\nsent for you\"; on which Nick sank into the seat he had occupied the day", "reading.\" These were the words with which Nick was dismissed, and at\nnoon the doctor said the invalid was doing very well, but that Nick had\nbetter leave him quiet for that day. Our young man accordingly", "Gallery than in all the statutes of Parliament. Nick had replied to this\nmore than once that the determination of what man did live by was\nrequired; to which Nash had retorted (and it was very rarely that he", "\"Oh she has given up Percy. I don't suppose she thinks it would do. Dear\nNick of course--that's just what she does want.\"\n\nHe had a pause. \"And you, Biddy?\"", "\"Why did she say that Nick oughtn't to have resigned his seat?\"\n\n\"Oh I don't know. It struck her so. It doesn't matter much.\"", "\"We shall do nothing--there's nothing to be done. We're not to be\nmarried--it's all off,\" said poor Nick. Then he added: \"Mrs. Dallow has\ngone abroad.\"", "Nick, after the footman had left him, made what he could of Julia's\nsudden passion for the banks of the Serpentine, forsaken and foggy now,", "public. But it's all for you.\" And after a moment she added: \"It's a\nwonderful constitution.\" Nick at first failed to seize her allusion--he", "\"I leave it to your sense of responsibility.\" This statement was\nsomewhat majestic, and for a moment evidently it tempted Nick, almost", "\"You mean he has dropped Nick out of his will?\"\n\n\"Cut him off utterly. He has given him notice.\"", "that night, as happened, but even Mr. Carteret's aberrations were\nparliamentary. Before Nick withdrew he had been able to assure him he", "The old man contended a moment with this and then broke out: \"God\nforgive you, are you a Tory, are you a Tory?\"\n\n\"How little you understand me!\" laughed Nick with a ring of bitterness.", "\"I mean about his going away. She'll be glad of that.\"\n\n\"My poor incorrigible child,\" Nick cried, \"what has Julia to do with\nit?\"", "of conscious weakness. Nick got up at this and stood a moment looking\ndown at him while he went on: \"Do you give up your name, do you give up\nyour country?\"", "by the fine exhilaration of having seen an evening paper. Trying it\nlate, on the chance, he had been told by Nick's servant that Nick would" ], [ "Miriam rested kind eyes on him. \"Dear me, how you must hate me!\" And\nbefore he had time to reply she went on to her mother: \"People marry\nthem to make them leave the stage; which proves exactly what I say.\"", "The girl at first said nothing; then she asked: \"Is that why she lets\nyou call her 'Miriam'?\"\n\n\"Oh I don't, to her face.\"", "\"Oh my own Miriam!\" Mrs. Rooth wailed.\n\n\"Fancy, on the other hand, the complication when such a man marries a\nwoman who's on the stage.\"", "Miriam brushed off her tears, quickly but unconfusedly. \"He's going\naway, the wretch; he's bidding us farewell.\"", "\"Well, since you press me, I know more,\" Gabriel said. \"Miriam knows\nyou're engaged to a wonderful, rich lady; she told me as much, told me", "I was sure, I was sure!\" And Miriam paused, resting eyes at once lighted\nand troubled on him as in the effort to think of some arrangement that", "himself, with Miriam but a pretext and subject, a vile illustration. She\nundressed this young lady, as it were, from head to foot, turned her", "Miriam vaguely smiled. \"I know you both so little.\" But she presented\nthem with a great stately air to each other, and the two men shook hands\nwhile Madame Carré observed them.", "Miriam, admirably indifferent to this charge, appealed to Peter. \"What\narrangements have you made? What do the people want?\"\n\n\"The people at the theatre?\"", "\"If you'll do that I'll be your wife the day after your first\nappearance. That would be really respectable,\" Miriam said.\n\n\"Unfortunately I've no talent.\"", "Miriam, in the full swing of her part, paused but for an instant and let\nherself ring out again, while Peter sank into the nearest chair and she", "been rudely startled to find between them. He pronounced Miriam's name\nto her and her own to Miriam, but Julia's recognition of the ceremony", "for you.\" Miriam looked at him in silence, the cold light still in her\nface, and he repeated: \"Give it up--give it up.\"", "myself. Sherringham, for instance, offers Miriam marriage, ever so\n\"handsomely\"; but if nothing might lead me on further than the question", "\"Why she's married--these three days. They did it very quietly; Miriam\nsays because her mother hated it and hopes it won't be much known! All", "Miriam was remarkably like Philina. The movable feast awaiting\nthem--luncheon, tea, dinner?--was delayed two or three hours; but the", "\"Oh you dear!\" Miriam delightedly exclaimed. Mr. and Mrs. Lovick,\naccompanied by Mrs. Rooth, now crossed the room to them, and the girl", "companions till it was over. Then, after a further delay produced by\nrenewed vociferous proofs of the personal victory won, he depicted his\nvisit to the stage and the wonderful sight of Miriam on the field of", "listened to him better than the others, and there was one in particular\nwhom he had a hope he really might have interested. From him he had\nextracted benevolent assurances: this person would see Miriam, would", "distinction that there were deep differences in the famous artistic\nlife. Miriam was already in a glow of glory--which, moreover, was\nprobably but a faint spark in relation to the blaze to come; and as he" ], [ "life. Peter passed, however, passed high, and had his reward in prompt\nassignment to small, subordinate, diplomatic duties in Germany. Since\nthen he had had his professional adventures, which need not arrest us,", "\"Study here and then go to London to appear,\" said Peter, feeling\nfrivolous even as he spoke.\n\n\"To appear in French?\"\n\n\"No, in the language of Shakespeare.\"", "\"So they did, but my hand had been forced and she didn't like it,\" Peter\nanswered, suspecting that for a diplomatist he looked foolish.\n\n\"Miss Rooth didn't like it?\" Nick persisted.", "At first Peter Sherringham thought of asking to be transferred to\nanother post and went so far, in London, as to take what he believed", "\"Aye, and she accepts. Good-night!\"--on which, turning away, Peter\nbounded into a hansom. He said something to the driver through the roof,", "\"Ah what a help you'd be to me in diplomacy!\" Peter yearningly cried.\n\"Will you give me a year to consider?\"\n\n\"Would you trust _me_ for a year?\"", "things. The ambassador went away and Peter had to wait for his own\nholiday, which he did during the hot days contentedly enough--waited in", "Peter gave a groan at this, which was at the same time partly a laugh,\nand, turning away to drop on a bench, ejaculated: \"You'll do--you'll\ndo!\"", "\"Peter has such a tremendous lot to do--it's a very busy time at the\nembassy; there are sure to be reasons,\" Biddy explained with her pretty\neyes.", "\"Yes, I shall be there--certainly,\" Peter said, at the door, to Mrs.\nRooth.\n\n\"Oh you dreadful goose!\" Miriam called after him. But he went out\nwithout looking round at her.", "\"The gallant gentleman has been promoted to a great post--the proper\nreward of his gallantry,\" Miriam said. \"He's going out as minister to\nsome impossible place--where is it?\"", "\"I know why you didn't write!\" Mrs. Rooth declared archly.\n\n\"You must go to London,\" Peter said without heeding this remark.", "\"I've had promotion and you must congratulate me. They're sending me out\nas minister to a little hot hole in Central America--six thousand miles\naway. I shall have to go rather soon.\"", "Peter listened too, making out no cab. \"Believe me, it isn't wise to\nturn your back on such an affection as mine and on such a confidence,\"", "Miriam, admirably indifferent to this charge, appealed to Peter. \"What\narrangements have you made? What do the people want?\"\n\n\"The people at the theatre?\"", "\"Your situation, simply.\"\n\nPeter looked at him a moment. \"Dine with me to-night by ourselves and at\na club. We'll go to the theatre together and then you'll understand it.\"", "\"With pleasure. But I shall not be able to go in,\" Peter added.\n\n\"Oh that's no matter,\" said the girl. \"Good-bye, Nick.\"", "state of affairs in Calcutta Gardens and where many letters and\ntelegrams were now addressed him. Among such missives, on the morning of\nthe Saturday on which Peter Sherringham had promised to dine at the", "know he invited you.\" Peter declined with a quick gesture and as he\nturned away he heard her call after him, to cheer him on his lonely\nwalk: \"I shall keep this up; I shall never lose sight of her!\"", "\"Look at all the papers!\" said Grace. \"Did you ever hear him speak?\" she\nasked. And when Peter reminded her how he had spent his life in foreign\nlands, shut out from such pleasures, she went on: \"Well, you lost\nsomething.\"" ] ]

[ "What career is the rest of Nick''s family involved in?", "Who is Miriam Rooth?", "Who falls in love with Miriam Rooth?", "Who is Julia Dallow?", "What is Julia deeply involved with?", "Why is Julia upset when she finds Julia setting for a portrait for Nick?", "Who does Miriam Rooth marry instead of Peter?", "Who does Peter become engaged to?", "To whom did Miriam refuse marriage? ", "What career does Nick Dormer pursue after leaving Parliament?", "Who is particularly upset by Nick's dream of becoming a painter? ", "Who is Nick's tragic muse model?", "How does Peter help Miriam grow in her acting career?", "What does Julia discover when she finds Nick and Miriam together at the studio? ", "Who encourages Nick to pursue his dream to become an artist?", "Where does Peter Sherringham work? ", "Why does Nick eventually become a painter?", "Who does Peter eventually become engaged to?", "What career does Nick Dormer want to persue?", "What is the traditional role of Nick Dormer's family?", "Which lady friend is upset by Nick Dormer's career decision?", "Who encourges Nick to follow through with his artist aspirations?", "What position does Nick reluctantly win through an election campaign?", "Where does Peter Sherringham meet and fall in love with Miriam Rooth?", "Who coaches Miriam to become a better performer?", "Why does Nick resign from Parliament?", "Who does Miriam marry?", "To where does Peter accept diplomatic assignment?" ]

[ [ "They are involved in British politics.", "British politics. " ], [ "A young British actress.", "a young actress" ], [ "Nick's cousin Peter Sherringan.", "Peter Sherringham" ], [ "A lady friend of Nick's.", "Nick Dormer's lady friend." ], [ "She is deeply involved with politics and political campaigns.", "Political campaigns. " ], [ "Julia realizes that Nick really wants to be an artist and will never return to politics.", "because nick will never go back into politics" ], [ "She marries her business manager Basil Dashwood.", "Basil Dashwood" ], [ "He proposes to Biddy dormer Nick's sister.", "Biddy Dormer" ], [ "Peter Sherringham", "Peter" ], [ "Nick pursues painting. ", "He becomes a painter" ], [ "Julia Dallow", "Julia Dallow" ], [ "Miriam Rooth", "Miriam" ], [ "He introduces Miriam to French acting coach Madame Carre.", "Introduced her to French acting coach Madame Carre. " ], [ "Nick is dedicated to his art and will never return to politics. ", "That Nick will never come back to politics." ], [ "Gabriel Nash", "Gabriel Nash" ], [ "the British diplomatic service. ", "British Diplomatic service" ], [ "He tires of politics. ", "because he tired completely of politics " ], [ "Biddy Dormer ", "Biddy Dormer" ], [ "Painting.", "painter" ], [ "British politics.", "Politics in Britain" ], [ "Julia Dallow.", "Julia Dallow" ], [ "Gabriel Nash.", "Gabriel Nash." ], [ "A seat in Parliament.", "A seat in parliament. " ], [ "Paris.", "Paris" ], [ "Madame Carre.", "Madame Carre. " ], [ "He tires completely of politics.", "To become a painter" ], [ "Basil Dashwood, her business manager.", "Basil Dashwood" ], [ "Central America.", "Central America." ] ]

[ [ "JULIAN\n Billy was a fuck up... He deserved\n everything he got. You know it and I\n know it.", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "GORDON\n I'm with you mate. Billy's fucked--", "JENNA\n Cause he as good as killed Billy. What\n I want to know is, what are you going\n to do about it?", "A Mortuary Attendant pulls a sheet back to reveal -\n Billy. His body completely mutilated.\n Julian stares at his brother's corpse intensely, not betraying", "MAI\n What happened?\n Julian looks at her.\n\n JULIAN\n Someone killed Billy...\n The camera ZOOMS IN on Mai.\n\n CUT TO:", "JENNA\n How?\n Silence. Julian doesn't know how to answer. Jenna watches him\n carefully...\n\n JULIAN\n Maybe... Maybe Billy had it coming...", "JENNA\n Could it be have been one of the gangs?\n\n JULIAN\n Maybe. Take your pick. Billy wasn't\n popular.", "JULIAN (CONT'D)\n Is that what happened with Billy? Did\n Billy become a problem like I did?", "As the beating reaches its climax, with Choi Yan Lee screaming\n out Thai obscenities, we hear the sickening sound of Billy's neck", "Julian sits down next to Billy who's delighted to see him, throwing\n his arm around him, pulling him in close.\n\n BILLY\n ... I love violence!", "GORDON\n But things are going to shit. Since\n Billy died, Julian's all over the\n place...", "The music's too loud to hear what they're arguing about but it\n suddenly gets out of control... Billy starts viciously hitting", "JULIAN (CONT'D)\n They're investigating a murder. The\n guy that killed Billy turned up dead\n this morning.\n Jenna looks bored. Lights a cigarette.", "GORDON\n I don't know. Earlier today - we had\n the guy... The guy that killed Billy.\n Had a gun against his face. But then\n - nothing...", "we hear the cries of Billy being beaten to death.\n ANGLE ON: Daeng who's starting to look scared. Phaiban puts a\n reassuring hand on his shoulder.", "JULIAN\n You know Billy... He was eccentric.\n Jenna smiles to herself as if this brings back memories and Julian\n even smiles. Both sit in silence for a moment.", "JULIAN\n Where's is she?\n\n GORDON\n She's gone... Picked up Billy's\n body... She's gone home.\n Finally Julian lowers the shotgun.", "Billy comes down a back ally and knocks on a door. After a moment\n the door opens.\n\n The Doorman recognises him and lets him enter.\n\n CUT TO:", "JULIAN\n No.\n\n THE LIZARD\n Good - 'cause Billy ripped me off and\n then he broke my face...\n Julian turns to Gordon." ], [ "JULIAN (CONT'D)\n My mother?\n Charlie Ling nods.\n\n JULIAN (CONT'D)\n What kind of a mother says that?", "JULIAN\n I want you to meet my Mum.\n A pause, Mai slightly taken about.\n\n MAI\n Is she here?\n Julian nods.", "JULIAN (CONT'D)\n\n (ON THE PHONE)\n I'm coming over.\n\n CUT TO:", "JENNA\n He's going to come after me. And after\n he's come after me, he's going to come\n after you.\n Julian stares at his mother; fragile, terrified, alone.", "JULIAN\n My mother... She made me what I am. And\n now I've got nothing. And they're after\n me.\n Mai stares at him.", "JULIAN\n You never did, Mum.\n A pause. Julian's touched a nerve. Jenna recovers.", "JENNA (CONT'D)\n I'm scared, Julian.\n Julian stares at his mother.", "JULIAN (CONT'D)\n What did you do, Mum? What did you do?\n Jenna makes her hand into a pistol. Pretends to fire it into her", "JULIAN (CONT'D)\n ...that's right Mum. Think about it.\n With me gone you were safe. And it turned", "He reaches the door to his mother's room and pauses.\n Julian stares at the door as if it was heaven's gate... He loads\n the shotgun with two fresh cartridges.", "JULIAN\n What's wrong Mum?\n She shakes her head. Can't say it.\n\n JULIAN (CONT'D)\n What's wrong?", "JULIAN\n Hello Mum.\n Beat.\n\n JULIAN (CONT'D)\n It's me... Julian... Something's\n happened.", "JULIAN (CONT'D)\n I'm not going to kill him for you, Mum.\n Doesn't matter what you say. And do you\n want to know why?", "MAI\n What? 'Don't talk about my mother'?\n Come on Julian.\n Julian stands up, angry.", "JULIAN\n What do you want, Mum?\n Beat.", "JULIAN (CONT'D)\n Come on.\n\n MAI\n This is insane.", "JULIAN\n That's right Mum. That's what's more\n important to you. But what about me?", "JULIAN\n Leave her alone Mum. You've got her\n wrong. She's a good girl.", "JULIAN\n Mum, stop it, for fuck's sake.", "JULIAN\n Where's is she?\n\n GORDON\n She's gone... Picked up Billy's\n body... She's gone home.\n Finally Julian lowers the shotgun." ], [ "Jenna starts to cry. For a long time. Finally...", "PICK OUT one particularly young-looking girl. Just fifteen.\n She makes eye contact with Billy... He smiles... Pulls out a roll\n of notes...", "the crowd. Makes eye contact with his wife. It's okay.\n She shakes her head. She can't bear it. Tears running down her\n face.", "As Chang waits for the instrumental section to end, he starts\n to cry, letting the tears flow without embarrassment. Nadee puts\n her arm around him to comfort him.", "So, goodbye. Please don't cry,\n Jenna walks in from the bedroom wearing her dressing gown and\n walks over to him - a commanding presence. He makes to get up", "Jenna starts crying. Could be real, could be an act - hard to\n tell she's so good...", "But he's not around anymore, and do you\n know why? Cause she loved me too much.\n He lets go of her neck. Mai rubs her neck.", "MAI\n Are you alright?\n He's not. He's crying. But he doesn't want anyone to see.\n\n JULIAN\n I'm fine.\n Beat.", "She holds on to him. A little too long.\n Finally she pulls away. She looks at him for a long time.", "Jenna shakes her hand. Mai's too shocked to resist. And then,\n as if nothing had happened, Jenna leaves.\n Julian covers his face with his napkin.", "JULIAN\n What's it say?\n Charlie starts reading the article out:", "On Chang. Deep in thought. He gets up early. Walks around the\n ring. Looking into the crowd.\n Jenna sees him. Stares at him. Suddenly nervous.", "she knows she's been seen. And he knows. And she knows that he\n knows...\n The bell goes off. Back to reality. Chang turns round. Too late.", "The Porter is terrified, stunned. Rooted to the spot.\n Jenna sits on the bed and stares out of the window. Just as the", "She spots Julian and Gordon through the large windows of the office.\n They see her and stand up.\n We LINGER OUTSIDE in the training area as Jenna goes through THE", "JULIAN\n Me.\n Jenna calms down. She looks at their reflections in the mirror\n behind the bar. We ZOOM in on the mirror, their faces refracted\n by the glass.", "bit too aggressive. And the people inside don't look like they're\n having a good time. It seems evil. Sleazy.\n Jenna introduces herself to Yuri Karkov, a well dressed and", "JULIAN\n You know Billy... He was eccentric.\n Jenna smiles to herself as if this brings back memories and Julian\n even smiles. Both sit in silence for a moment.", "End of round: Julian feeling more confident. Again his eyes scan\n the crowd. This time he sees what he's looking for: Jenna.\n Chang eyeballs Julian from the other corner. Sees him staring", "out to be good for business as well.\n All very convenient.\n Silence between them. Jenna lights another cigarette - her hands\n now shaking." ], [ "JULIAN (CONT'D)\n Come on.\n\n MAI\n This is insane.", "it instantly has an effect on Julian. He visibly relaxes.\n He doesn't make a sound as he's held down. A plastic strap is", "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "Julian lies sleeping, entwined in the limbs of the girl...\n There is a knock on the door. Julian and the girl ignore it.", "JULIAN\n You know Billy... He was eccentric.\n Jenna smiles to herself as if this brings back memories and Julian\n even smiles. Both sit in silence for a moment.", "JULIAN\n What's it say?\n Charlie starts reading the article out:", "Julian out in the middle of the road. Girls on the pavement, girls\n in the windows. A steady line of punters cruising past.", "JULIAN\n I'm so fucked...\n\n CUT TO:\n\n INT. POLICE STATION / INTERVIEW ROOM - DAY", "with a right foot to the back of Julian's left knee. Julian swivels,\n punches air, and gets a trio of punches in his gut. His guard's", "JULIAN (CONT'D)\n My mother?\n Charlie Ling nods.\n\n JULIAN (CONT'D)\n What kind of a mother says that?", "JULIAN (CONT'D)\n Don't spend it all in once place.\n\n CUT TO:\n\n EXT. BACK ALLEY - NIGHT", "JULIAN (CONT'D)\n When was the last time you slept?\n The Lizard smiles but stares at Julian with hatred in his eyes.", "JULIAN (CONT'D)\n It's true... The whole thing's a front.\n Every day I see kids coming in with great", "Julian continues to stare at his hands and closes them into a\n tight fist.\n\n CUT TO:\n\n INT. CORRIDORS - NIGHT", "Julian is lying in hospital. Bandages covering the terrible wounds\n where his hands once were.\n Mai is sitting beside him. Spoon feeding him food.", "He reaches the door to his mother's room and pauses.\n Julian stares at the door as if it was heaven's gate... He loads\n the shotgun with two fresh cartridges.", "brandishing his wounded arm at Julian. He pulls the bandages off,\n exposing the bloody stump.", "Julian watches, transfixed...", "JULIAN (CONT'D)\n\n (ON THE PHONE)\n I'm coming over.\n\n CUT TO:", "MAI (CONT'D)\n D'you want me to?\n Julian nods. Mai studies him.\n\n MAI (CONT'D)\n Why d'you want me to meet her?" ], [ "CHANG (CONT'D)\n\n (IN THAI)\n Do what thou will.\n Choi Yan Lee nods. Chang leaves the room, closing the door behind\n him.", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "Yuri pulls a gun. Kim shoots him dead. Chang moves his gun across\n to Dimitri. Holds his mobile phone up to his ear.\n Dimitri answers. Chang speaks through the phone.", "Chang stops in his tracks. It's as if he can feel the shotgun\n blast in his heart. He knows what's just happened... He stands", "Chang has just finished a meal with the Cops including Kim, Daeng\n and Phaiban. Chang is just settling the bill when the Three Gunmen", "Chang leads Juilan across the field. The Cops follow a few steps\n behind with Mai.\n Suddenly, and completely unexpectedly, Chang punches Julian in", "A moment of uncertainty in Choi Yan Lee's face. Fear. He doesn't\n know why he's been brought here. He looks for some comfort from\n Chang. Chang gives him nothing.", "CHANG\n\n (IN THAI)\n Good... see you very soon.\n ...and Chang hangs up... The Angel of Vengeance getting ready\n to strike again.", "CHANG\n\n (IN THAI)\n You know why we're here.\n\n LI PO\n\n (IN THAI)\n Yes...", "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "A people carrier pulls up outside the hotel. The doormen open\n the side door and step back when they see the heavily armed and\n bloodstained policemen get out, led by Chang.\n\n CUT TO:", "Chang and the Cops walk into the hotel. Chang heads for the elevators\n while Kim approaches reception.\n Chang calls the lift and waits. Kim comes back.", "stares back at him, realizing that this must be the Angel of\n Vengeance... Chang walks over to them. Studies Julian for a long\n moment and then turns to Kim.", "Dimitri, currently flanking Yuri, turns white.\n Chang calls a number. A beat. Then a phone starts ringing in", "CHANG (CONT'D)\n And you're going to help me.\n Suddenly the atmosphere in the emptied club shifts. It's as if\n Dimitri and Chang are locked into some kind of surreal\n performance...", "Chang leads Choi Yan Lee to the doorway. Slowly Choi Yan Lee realises\n what he's looking at. His daughter. Dead. Mutilated.\n Every father's worst nightmare.\n\n CHANG", "skull. She tried to have Chang killed. Julian's speechless.", "CHANG (CONT'D)\n I restore karma. Is that why you came?\n\n JULIAN\n I came here to kill you.", "Chang stands silhouetted in the doorway. Stepping into the room\n he moves into the light in CLOSE UP. His face is a mask.", "INT. FOUR SEASON'S HOTEL / JENNA'S ROOM - DAY\n\n Chang begins to panic. His eyes fall upon Jenna.\n\n CHANG" ], [ "CHANG (CONT'D)\n\n (IN THAI)\n This him?\n Li Po nods - scared.\n\n CHANG (CONT'D)", "(IN THAI)\n Yes. Completely understood.\n Chang turns to Li Po.\n\n CHANG", "(IN THAI)\n What about me?\n Beat. Chang considers. Looks at Pan who's staring at Chang in\n fear. Looks back at Li Po.\n\n CHANG", "CHANG\n\n (IN THAI)\n You know why we're here.\n\n LI PO\n\n (IN THAI)\n Yes...", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "(IN THAI)\n That's better. Thank you very much...\n Chang pulls out Li Po's distinctive mobile phone.", "below.\n Life slips away from Choi Yan Lee in a matter of seconds. Liang\n holds onto him until he's dead and then lets go of his head and", "(IN THAI)\n Wait. You said if I took you to him you'd\n let me live.\n Chang shakes his head.\n\n CHANG", "Chang enters, followed by the others. Gunman Three is incredibly\n relieved to have found it. Li Po stands behind the counter - beside", "CHANG (CONT'D)\n\n (IN THAI)\n Do what thou will.\n Choi Yan Lee nods. Chang leaves the room, closing the door behind\n him.", "hurt my son.\n Chang looks down at Pan - who is just staring at them, not\n understanding the situation.\n Chang takes the phone from Li Po.", "Chang stops in his tracks. It's as if he can feel the shotgun\n blast in his heart. He knows what's just happened... He stands", "A moment of uncertainty in Choi Yan Lee's face. Fear. He doesn't\n know why he's been brought here. He looks for some comfort from\n Chang. Chang gives him nothing.", "CHANG\n\n (IN THAI)\n Good...\n Li Po summons the contact details on his distinctive looking mobile\n phone. Proffers it to Chang.\n\n LI PO", "him sits Pan, a twelve year old boy who is severely handicapped.\n As soon as Li Po sees Chang and his crew arrive with Gunman Three", "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "JULIAN\n The one who killed my brother.\n Chang says nothing for a long time.\n\n CHANG\n I love all living things.\n Beat.", "CHANG (CONT'D)\n I restore karma. Is that why you came?\n\n JULIAN\n I came here to kill you.", "Chang leads Choi Yan Lee to the doorway. Slowly Choi Yan Lee realises\n what he's looking at. His daughter. Dead. Mutilated.\n Every father's worst nightmare.\n\n CHANG", "on the far side of the wall.\n Pan begins to cry and Li Po hugs him and tells him how much he\n loves him... thinking they're next..." ], [ "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "JULIAN\n Come on.\n Chang retreats. Shrugs at Julian. You come on.", "Chang pauses in the onslaught. Julian stays motionless in the\n middle of the ring.\n Chang runs at him, flings his right foot, swivels, pulling out", "CHANG\n And what do you want?\n\n JULIAN\n ... I love violence.\n\n CHANG\n You want to fight me?\n Julian nods.", "CHANG\n It's not your fault.\n Chang raises his arms again. Ready to fight. Julian gets ready", "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "A waiting game... Who will strike first... Chang wins. Julian\n moves to kick Chang in the ribs, keeping both his hands down as", "Julian moves in to attack again, raising both elbows to make an\n attack on Chang's head. Chang steps forward and pulls an uppercut,", "Julian uses his forward motion to propel him onwards. He bounds\n over to the disoriented Chang and hits him with a series of jabs\n and punches to his upper body and face.", "JULIAN (CONT'D)\n Chang?\n Jenna nods.", "Back on his feet, Chang suddenly drops his guard. Julian hesitates,\n confused. Chang leans in close to him. Winks.", "Julian moves towards the middle where Chang is already waiting.\n Julian waits for Chang this time. Chang is reluctant to attack.", "Julian moves towards him, but before he gets a chance to take\n out his frustrations, the bell goes. End of round one.\n Julian stalks back to his corner. He turns to look at Chang, a", "(IN THAI)\n Fight.\n Julian and Chang circle each other. Julian moves in to attack", "CHANG\n It wasn't you, was it?\n Julian shrugs, puts his guard up.\n\n CHANG (CONT'D)\n You're innocent.", "Chang's almost on the ropes. Julian comes in hard with kicks to\n the shins with his right foot. Chang bends his body to pass under", "connecting hard with Julian's chin. Julian moves back, dazed.\n Takes a moment to get his bearings back. That hurt.\n Chang doesn't take the opportunity to attack. He hangs back.", "JULIAN\n Am I suspect?\n Chang turns round to face Julian. His presence is magnetic. Julian", "Juilan's about to get stuck into him again when the bell sounds.\n End of the second round.\n Round three: Julian slamming punches into Chang. Nadee comforting", "he moves in. Chang predicts this and prepares to throw his own\n kick as it comes in. Chang steps back, but again Julian swivels," ], [ "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "Chang stops in his tracks. It's as if he can feel the shotgun\n blast in his heart. He knows what's just happened... He stands", "Chang leads Choi Yan Lee to the doorway. Slowly Choi Yan Lee realises\n what he's looking at. His daughter. Dead. Mutilated.\n Every father's worst nightmare.\n\n CHANG", "it and returns fire, letting off four rounds.\n He takes Gunman One. Head shot, right between the eyes. Gunman\n Two sees this and sprays at Chang -", "Yuri pulls a gun. Kim shoots him dead. Chang moves his gun across\n to Dimitri. Holds his mobile phone up to his ear.\n Dimitri answers. Chang speaks through the phone.", "As the beating reaches its climax, with Choi Yan Lee screaming\n out Thai obscenities, we hear the sickening sound of Billy's neck", "tied around his arm as a tourniquet. His arm is pulled out.\n Chang swings the axe and chops off first his left hand and then\n his right.", "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "CUT TO:\n\n INT. CHANG'S HOUSE - DAY\n\n Chang stares at the body of his dead wife. Perfectly still. His\n crew in the background...", "him do it.\n And as Charlie Ling sees Kanita... Julian shoots him in the back.\n Charlie Ling slumps to the floor.", "Before he's finished reloading his pistol, Chang's after him.\n He sees Phaiban. Dead. Daeng trying to stem the flow of blood\n from his chest.", "silence...\n Chang grabs Dimitri and pushes the knife into his ear. First one\n side, then the other.", "CHANG (CONT'D)\n\n (IN THAI)\n Do what thou will.\n Choi Yan Lee nods. Chang leaves the room, closing the door behind\n him.", "Julian grits his teeth throughout. Doesn't scream.\n Chang picks up the severed hands and throws them to the wild dogs.\n The dogs tear into the meat, fighting over their prize.", "Chang leads Juilan across the field. The Cops follow a few steps\n behind with Mai.\n Suddenly, and completely unexpectedly, Chang punches Julian in", "CHANG (CONT'D)\n I restore karma. Is that why you came?\n\n JULIAN\n I came here to kill you.", "CHANG\n\n (IN THAI)\n Come on.\n Julian stumbles to his feet. The party continue. We see that one\n of the crew is carrying an axe.", "CHARLIE LING\n He says he killed his daughter.\n Julian considers him for a moment. Slowly he pulls out a gun...\n Aims it at Choi Yan Lee's face...", "CHANG\n\n (IN THAI)\n Good... see you very soon.\n ...and Chang hangs up... The Angel of Vengeance getting ready\n to strike again.", "by Phaiban.\n Chang smashes a beer bottle and walks up behind Dimitri..." ], [ "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "Julian grits his teeth throughout. Doesn't scream.\n Chang picks up the severed hands and throws them to the wild dogs.\n The dogs tear into the meat, fighting over their prize.", "JULIAN\n Ask him who cut his hand off.\n Charlie Ling's reluctant to question him further. Julian insists.\n\n JULIAN (CONT'D)\n Do it.", "his knees. They continue, Chang forcing Julian to crawl as they\n make their way further into the field.\n Then Chang stops...", "Julian uses his forward motion to propel him onwards. He bounds\n over to the disoriented Chang and hits him with a series of jabs\n and punches to his upper body and face.", "It's Chang. But there is blood smeared all over his face...\n Julian stares at him in horror. Slowly he looks down at his hands", "KIM\n His arm was cut off. Here.\n Julian manages to cover his reaction.", "CHANG\n\n (IN THAI)\n Come on.\n Julian stumbles to his feet. The party continue. We see that one\n of the crew is carrying an axe.", "Chang leads Juilan across the field. The Cops follow a few steps\n behind with Mai.\n Suddenly, and completely unexpectedly, Chang punches Julian in", "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "tied around his arm as a tourniquet. His arm is pulled out.\n Chang swings the axe and chops off first his left hand and then\n his right.", "Chang pauses in the onslaught. Julian stays motionless in the\n middle of the ring.\n Chang runs at him, flings his right foot, swivels, pulling out", "Julian moves in to attack again, raising both elbows to make an\n attack on Chang's head. Chang steps forward and pulls an uppercut,", "Julian's right foot. Julian misses the target. Chang manages to\n place his right foot on Julian's left knee-joint which makes him\n fall down.", "the gut... Julian falls to the floor and Chang starts to viciously\n attack him, punching and kicking him.\n Finally Julian, unable to defend himself, is lying on the ground,", "JULIAN\n I'm sorry...\n Chang kicks him again - like you would kick a dog... Juilan groans.\n Chang squats down next to him.\n\n CHANG", "JULIAN\n Good morning officers. How can I help\n you?\n Slowly Chang turns to face him. Julian stares at him as if he's\n in a trance...", "CHANG\n And what do you want?\n\n JULIAN\n ... I love violence.\n\n CHANG\n You want to fight me?\n Julian nods.", "(IN THAI)\n Get up. Now.\n Julian struggles to get up to his feet, but before he does, Chang\n kicks him hard in the chest, sending him back down to the floor.", "Back on his feet, Chang suddenly drops his guard. Julian hesitates,\n confused. Chang leans in close to him. Winks." ], [ "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "JULIAN\n The Angel of Vengeance.\n\n JENNA\n D'you kill him?\n\n JULIAN\n No.", "JULIAN (CONT'D)\n I'm not going to kill him for you, Mum.\n Doesn't matter what you say. And do you\n want to know why?", "JULIAN\n The one who killed my brother.\n Chang says nothing for a long time.\n\n CHANG\n I love all living things.\n Beat.", "JULIAN\n Ask him why he killed my brother.\n\n CHARLIE LING", "JULIAN\n Okay.\n Julian kills his phone. He's still for a moment, then:\n\n JULIAN (CONT'D)\n Let's make a move.", "JULIAN\n I'm not going to kill him...", "JULIAN (CONT'D)\n What happened?\n\n GORDON\n They found his body in a hotel room...\n Julian doesn't know what to say... Neither does Gordon.", "JULIAN (CONT'D)\n ... without saying goodbye.\n\n MAI\n Who did this to you?\n A pause.", "JULIAN\n Nothing. I don't feel anything at all.\n\n JENNA\n Don't you see, that's how I felt when\n Billy died...\n Julian studies his mother.", "JULIAN\n I'm not, I'm just...\n Julian can't get the words out. He gets up.", "JULIAN\n Yeah we were brothers, but we were never\n close... And he was only in Bangkok\n cause you couldn't control him. So you\n sent him to me--", "JULIAN\n Nothing... We're not going to do\n anything... Just leave him. Leave them\n all.\n\n CUT TO:", "JULIAN\n Yes.\n\n CHANG\n Why?\n\n JULIAN\n Cause, all my life... I don't know.", "JULIAN (CONT'D)\n What's this got to do with me?\n\n KIM\n He was the father of the girl that was\n found dead with your brother.", "Julian considers this for a long time. He realises he's not pointing\n his gun anymore. Puts it away.", "Julian looks at the wound. It's deep but he's not totally\n incapacitated. He pulls the shotgun out from under his shirt.\n It clatters to the floor.", "JULIAN\n My mother... She made me what I am. And\n now I've got nothing. And they're after\n me.\n Mai stares at him.", "JULIAN\n You never did, Mum.\n A pause. Julian's touched a nerve. Jenna recovers.", "JULIAN\n Well maybe you didn't try hard enough.\n The Lizard takes the handkerchief away from his nose. Shows the\n bloodstain to Julian." ], [ "MAI\n What? 'Don't talk about my mother'?\n Come on Julian.\n Julian stands up, angry.", "JULIAN\n I want you to meet my Mum.\n A pause, Mai slightly taken about.\n\n MAI\n Is she here?\n Julian nods.", "JULIAN (CONT'D)\n ... without saying goodbye.\n\n MAI\n Who did this to you?\n A pause.", "JULIAN (CONT'D)\n Come on.\n\n MAI\n This is insane.", "MAI (CONT'D)\n D'you want me to?\n Julian nods. Mai studies him.\n\n MAI (CONT'D)\n Why d'you want me to meet her?", "JULIAN\n My mother... She made me what I am. And\n now I've got nothing. And they're after\n me.\n Mai stares at him.", "MAI (CONT'D)\n Why don't you fuck her instead of me?\n Julian grabs hold her neck. Throws her hard against the wall.", "JULIAN\n Don't to be so hard on her. Her life\n hasn't been easy.\n\n MAI\n Come on Julian. She's a fucking bitch.", "MAI\n Are you alright?\n He's not. He's crying. But he doesn't want anyone to see.\n\n JULIAN\n I'm fine.\n Beat.", "MAI\n Fuck you.\n She opens the door, sets fire to the money, and walks out of the\n room.\n As she walks down the hotel corridor, Julian slams his fists into\n the wall.", "JULIAN\n It's Mai, Mum.\n\n JENNA\n How long have you two known each other\n then?\n Mai's about to answer but Juilan gets there first.", "JENNA\n Sit down you cunt.\n\n JULIAN\n Mum, don't talk to her like that.\n Mai sits down.", "MAI\n The way she talks to you --\n\n JULIAN\n Don't go there.", "INT. HALLWAY - NIGHT\n\n Mai comes from round a corner and sees Julian leaning against\n the wall. She checks that they're alone, knowing instinctively\n that he's in trouble.", "Jenna shakes her hand. Mai's too shocked to resist. And then,\n as if nothing had happened, Jenna leaves.\n Julian covers his face with his napkin.", "JULIAN (CONT'D)\n My mother?\n Charlie Ling nods.\n\n JULIAN (CONT'D)\n What kind of a mother says that?", "Julian is anxiously waiting outside. He looks up as Mai comes\n out of her appartment in a red dress.\n Julian's face drops.\n\n MAI\n What is it?", "JULIAN\n Right now.\n Mai looks around - they're alone.\n\n MAI\n Wait outside...\n\n CUT TO:", "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "Julian is lying in hospital. Bandages covering the terrible wounds\n where his hands once were.\n Mai is sitting beside him. Spoon feeding him food." ], [ "Chang's out of ammo and needs to reload. Gunman Three's weapon\n jams. He drops his weapon and runs.", "it and returns fire, letting off four rounds.\n He takes Gunman One. Head shot, right between the eyes. Gunman\n Two sees this and sprays at Chang -", "- but Chang manages to dive to cover. He rolls and fires again,\n shooting Gunman Two in the chest three times.", "The door opens. Sandaled feet step out of the van. Gunman Three\n comes out with his hands up, falling to his knees. Chang continues\n to point his weapon at the unarmed man.", "The Driver slows. Gunman Three struggles to jump into the open\n doors.\n Chang bursts out of the restaurant. Stops dead. Aims and fires\n off two rounds.", "Chang stops in his tracks. It's as if he can feel the shotgun\n blast in his heart. He knows what's just happened... He stands", "A stray bullet hits the waiter who knocks over the chair Chang's\n jacket's on. It falls to the ground. With it, his pistol. He grabs", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "his white shirt has turned dark red with blood.\n Chang keeps edging towards where his jacket's hanging on a chair.\n In it, his pistol.", "Chang enters, followed by the others. Gunman Three is incredibly\n relieved to have found it. Li Po stands behind the counter - beside", "Chang has just finished a meal with the Cops including Kim, Daeng\n and Phaiban. Chang is just settling the bill when the Three Gunmen", "Yuri pulls a gun. Kim shoots him dead. Chang moves his gun across\n to Dimitri. Holds his mobile phone up to his ear.\n Dimitri answers. Chang speaks through the phone.", "Before he's finished reloading his pistol, Chang's after him.\n He sees Phaiban. Dead. Daeng trying to stem the flow of blood\n from his chest.", "GUNMAN THREE\n\n (IN THAI)\n I'm begging you. Please--\n\n CHANG", "(IN THAI)\n And I told you not to talk unless I asked\n you.\n Chang aims his gun at Gunman Three.\n\n GUNMAN THREE", "was a feint. Julian slams his right foot down on the floor and\n uses it to swivel, unleashing a kick with his left which connects\n with Chang's jaw and sends him flying back.", "Julian uses his forward motion to propel him onwards. He bounds\n over to the disoriented Chang and hits him with a series of jabs\n and punches to his upper body and face.", "GUNMAN THREE (O.S.)\n\n (IN THAI)\n No. Please. Don't kill me.\n\n CHANG", "Daeng watches as Kim opens the boot and pulls something out. He\n walks towards Chang and hands it to him. Daeng sees that it's\n an axe.", "GUNMAN THREE\n\n (IN THAI)\n I don't know his name.\n\n CHANG" ], [ "(IN THAI)\n Yes. Completely understood.\n Chang turns to Li Po.\n\n CHANG", "CHANG (CONT'D)\n\n (IN THAI)\n This him?\n Li Po nods - scared.\n\n CHANG (CONT'D)", "CHANG\n\n (IN THAI)\n You know why we're here.\n\n LI PO\n\n (IN THAI)\n Yes...", "him sits Pan, a twelve year old boy who is severely handicapped.\n As soon as Li Po sees Chang and his crew arrive with Gunman Three", "Chang enters, followed by the others. Gunman Three is incredibly\n relieved to have found it. Li Po stands behind the counter - beside", "(IN THAI)\n That's better. Thank you very much...\n Chang pulls out Li Po's distinctive mobile phone.", "(IN THAI)\n What about me?\n Beat. Chang considers. Looks at Pan who's staring at Chang in\n fear. Looks back at Li Po.\n\n CHANG", "Gordon is waiting on a street corner smoking cigarettes. Liang\n comes up to him, breathless.\n Gordon pulls out several hundred dollars.", "CHANG\n\n (IN THAI)\n Good...\n Li Po summons the contact details on his distinctive looking mobile\n phone. Proffers it to Chang.\n\n LI PO", "below.\n Life slips away from Choi Yan Lee in a matter of seconds. Liang\n holds onto him until he's dead and then lets go of his head and", "(IN THAI)\n You killed his brother. Big mistake fat\n man. Why'd you do it?\n Beat. Choi Yan Lee knows he's been caught...\n\n CHOI YAN LEE", "on the far side of the wall.\n Pan begins to cry and Li Po hugs him and tells him how much he\n loves him... thinking they're next...", "CHARLIE LING\n He says he killed his daughter.\n Julian considers him for a moment. Slowly he pulls out a gun...\n Aims it at Choi Yan Lee's face...", "GORDON\n Never come back - you understand me?\n Liang nods.\n\n GORDON (CONT'D)\n Good...\n Liang takes the money. A proper pay out.", "(IN THAI)\n Listen Li Hom. You see anyone you don't\n like... You call me, okay?\n Li Hom nods. Chang leaves.\n\n LI HOM", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "JULIAN\n Did he have any enemies?\n\n LIANG'S SISTER\n None.\n\n LIANG'S MOTHER", "CHARLIE LING\n He says... He says he's paid for what\n he's done. That he's been punished\n already.\n Choi Yan Lee nods his head enthusiastically.", "him do it.\n And as Charlie Ling sees Kanita... Julian shoots him in the back.\n Charlie Ling slumps to the floor.", "... Which is almost like a religious ceremony... The audience\n bow down before Liang as he stares out into the light... A look\n of calm washing over his face... A sense of stillness and peace...\n Enlightenment through victory and violence..." ], [ "Juilan's about to get stuck into him again when the bell sounds.\n End of the second round.\n Round three: Julian slamming punches into Chang. Nadee comforting", "Julian uses his forward motion to propel him onwards. He bounds\n over to the disoriented Chang and hits him with a series of jabs\n and punches to his upper body and face.", "Chang pauses in the onslaught. Julian stays motionless in the\n middle of the ring.\n Chang runs at him, flings his right foot, swivels, pulling out", "Julian moves towards him, but before he gets a chance to take\n out his frustrations, the bell goes. End of round one.\n Julian stalks back to his corner. He turns to look at Chang, a", "Julian looks over. Sees Mai take a seat. She holds his gaze.\n The second bell sounds. The first of five rounds. Julian and Chang\n walk up to the centre of the ring. The Referee stands between", "A waiting game... Who will strike first... Chang wins. Julian\n moves to kick Chang in the ribs, keeping both his hands down as", "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "Chang's almost on the ropes. Julian comes in hard with kicks to\n the shins with his right foot. Chang bends his body to pass under", "was a feint. Julian slams his right foot down on the floor and\n uses it to swivel, unleashing a kick with his left which connects\n with Chang's jaw and sends him flying back.", "It's not his fault.\n Then Chang comes in with a flurry of punches. Left, right, left,\n right. Julian just takes them...", "Julian moves in to attack again, raising both elbows to make an\n attack on Chang's head. Chang steps forward and pulls an uppercut,", "connecting hard with Julian's chin. Julian moves back, dazed.\n Takes a moment to get his bearings back. That hurt.\n Chang doesn't take the opportunity to attack. He hangs back.", "JULIAN\n Sure, sorry. What do you want to know?\n Julian looks over to Chang who continues staring at the boxers.\n The way the ring is lit he's almost silhouetted.", "Kanita.\n Chang recovers but Julian moves in fast with a series of punches\n and elbows. Chang's on the ropes now and getting badly beaten.", "(IN THAI)\n Fight.\n Julian and Chang circle each other. Julian moves in to attack", "CHANG\n It's not your fault.\n Chang raises his arms again. Ready to fight. Julian gets ready", "JULIAN\n With my mum...\n Some of the boxers come over to Chang. They know him. They're", "CHANG\n And what do you want?\n\n JULIAN\n ... I love violence.\n\n CHANG\n You want to fight me?\n Julian nods.", "EXT. THAI BOXING CLUB - NIGHT\n\n Chang brings Julian out of the club. A police car is waiting outside.\n Mai sits in the back seat.", "with a right foot to the back of Julian's left knee. Julian swivels,\n punches air, and gets a trio of punches in his gut. His guard's" ], [ "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "CHANG (CONT'D)\n I restore karma. Is that why you came?\n\n JULIAN\n I came here to kill you.", "CHANG\n And what do you want?\n\n JULIAN\n ... I love violence.\n\n CHANG\n You want to fight me?\n Julian nods.", "CHANG\n It's not your fault.\n Chang raises his arms again. Ready to fight. Julian gets ready", "skull. She tried to have Chang killed. Julian's speechless.", "Chang leads Juilan across the field. The Cops follow a few steps\n behind with Mai.\n Suddenly, and completely unexpectedly, Chang punches Julian in", "JULIAN\n The one who killed my brother.\n Chang says nothing for a long time.\n\n CHANG\n I love all living things.\n Beat.", "JULIAN\n Yes.\n\n CHANG\n Why?\n\n JULIAN\n Cause, all my life... I don't know.", "JULIAN\n I'm sorry...\n Chang kicks him again - like you would kick a dog... Juilan groans.\n Chang squats down next to him.\n\n CHANG", "JULIAN (CONT'D)\n Chang?\n Jenna nods.", "Chang pauses in the onslaught. Julian stays motionless in the\n middle of the ring.\n Chang runs at him, flings his right foot, swivels, pulling out", "him do it.\n And as Charlie Ling sees Kanita... Julian shoots him in the back.\n Charlie Ling slumps to the floor.", "CHARLIE LING\n He says he killed his daughter.\n Julian considers him for a moment. Slowly he pulls out a gun...\n Aims it at Choi Yan Lee's face...", "his knees. They continue, Chang forcing Julian to crawl as they\n make their way further into the field.\n Then Chang stops...", "JULIAN\n Don't hurt her.\n He kicks him in the stomach.\n\n CHANG\n\n (IN THAI)\n Do you have anything to say?", "JULIAN\n Ask him if he's Choi Yan Lee.\n At the mention of his name the colour drains from Choi Yan Lee's\n face. His eyes lock with Julian's.", "(IN THAI)\n Get up. Now.\n Julian struggles to get up to his feet, but before he does, Chang\n kicks him hard in the chest, sending him back down to the floor.", "Juilan's about to get stuck into him again when the bell sounds.\n End of the second round.\n Round three: Julian slamming punches into Chang. Nadee comforting", "(IN THAI)\n Get up.\n Julian rolls over. Eyes Chang. Slowly he starts to get up onto" ], [ "JULIAN\n Ask him why he killed my brother.\n\n CHARLIE LING", "him do it.\n And as Charlie Ling sees Kanita... Julian shoots him in the back.\n Charlie Ling slumps to the floor.", "JULIAN\n What's it say?\n Charlie starts reading the article out:", "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "CHARLIE LING\n He says he killed his daughter.\n Julian considers him for a moment. Slowly he pulls out a gun...\n Aims it at Choi Yan Lee's face...", "CHARLIE LING (CONT'D)\n The kid.\n Julian shakes his head.\n\n JULIAN\n No way.\n\n CHARLIE LING", "JULIAN (CONT'D)\n My mother?\n Charlie Ling nods.\n\n JULIAN (CONT'D)\n What kind of a mother says that?", "JULIAN\n Ask him who cut his hand off.\n Charlie Ling's reluctant to question him further. Julian insists.\n\n JULIAN (CONT'D)\n Do it.", "Julian approaches the doorway. He looks in. Sees Kanita sitting\n on her bed. She stares at Julian, Charlie Ling's dead body at", "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "CHANG (CONT'D)\n I restore karma. Is that why you came?\n\n JULIAN\n I came here to kill you.", "JULIAN\n The Angel of Vengeance.\n\n JENNA\n D'you kill him?\n\n JULIAN\n No.", "CHARLIE LING\n Wait...\n Julian turns back. Charlie Ling nods towards Kanita's room.", "JULIAN\n The one who killed my brother.\n Chang says nothing for a long time.\n\n CHANG\n I love all living things.\n Beat.", "JULIAN\n Billy was a fuck up... He deserved\n everything he got. You know it and I\n know it.", "CHARLIE LING\n You don't have to. I will.\n Charlie Ling kicks open the door. Julian realises he can't let", "JULIAN\n Yes.\n\n CHANG\n Why?\n\n JULIAN\n Cause, all my life... I don't know.", "JULIAN (CONT'D)\n I'm not going to kill him for you, Mum.\n Doesn't matter what you say. And do you\n want to know why?", "JULIAN (CONT'D)\n What happened?\n\n GORDON\n They found his body in a hotel room...\n Julian doesn't know what to say... Neither does Gordon.", "It's Chang. But there is blood smeared all over his face...\n Julian stares at him in horror. Slowly he looks down at his hands" ], [ "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "Chang leads Choi Yan Lee to the doorway. Slowly Choi Yan Lee realises\n what he's looking at. His daughter. Dead. Mutilated.\n Every father's worst nightmare.\n\n CHANG", "As the beating reaches its climax, with Choi Yan Lee screaming\n out Thai obscenities, we hear the sickening sound of Billy's neck", "Chang stops in his tracks. It's as if he can feel the shotgun\n blast in his heart. He knows what's just happened... He stands", "tied around his arm as a tourniquet. His arm is pulled out.\n Chang swings the axe and chops off first his left hand and then\n his right.", "CHANG (CONT'D)\n\n (IN THAI)\n Do what thou will.\n Choi Yan Lee nods. Chang leaves the room, closing the door behind\n him.", "the counter, SLITTING his throat with the knife.\n Choi Yan Lee's wife and daughters look on as blood floods from\n his neck, over the sweets and snacks on sale and down to the ground", "CHANG (CONT'D)\n I restore karma. Is that why you came?\n\n JULIAN\n I came here to kill you.", "(IN THAI)\n I know.\n Chang slams down the axe, severing Choi Yan Lee's arm at the elbow.\n Choi Yan Lee SCREAMS in agony.", "CHANG\n\n (IN THAI)\n How could you?\n ... but Choi Yan Lee just stares at his daughter. Finally:\n\n CHOI YAN LEE", "(IN THAI)\n And why did he do that?\n Choi Yan Lee can't answer.\n\n CHANG (CONT'D)", "(IN THAI)\n I thought... You were there. He killed\n my daughter. I thought you were letting\n me...\n\n CHANG", "CHANG\n\n (IN THAI)\n Good... see you very soon.\n ...and Chang hangs up... The Angel of Vengeance getting ready\n to strike again.", "(IN THAI)\n I killed the Westerner?\n\n CHANG\n\n (IN THAI)\n And why did you do that?", "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "CUT TO:\n\n INT. CHANG'S HOUSE - DAY\n\n Chang stares at the body of his dead wife. Perfectly still. His\n crew in the background...", "A moment of uncertainty in Choi Yan Lee's face. Fear. He doesn't\n know why he's been brought here. He looks for some comfort from\n Chang. Chang gives him nothing.", "CHANG\n\n (IN THAI)\n You know why we're here.\n\n LI PO\n\n (IN THAI)\n Yes...", "CHOI YAN LEE\n\n (IN THAI)\n He killed my daughter.\n\n CHANG", "(IN THAI)\n You killed his brother. Big mistake fat\n man. Why'd you do it?\n Beat. Choi Yan Lee knows he's been caught...\n\n CHOI YAN LEE" ], [ "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "Chang leads Juilan across the field. The Cops follow a few steps\n behind with Mai.\n Suddenly, and completely unexpectedly, Chang punches Julian in", "CHANG (CONT'D)\n I restore karma. Is that why you came?\n\n JULIAN\n I came here to kill you.", "skull. She tried to have Chang killed. Julian's speechless.", "CHANG\n It wasn't you, was it?\n Julian shrugs, puts his guard up.\n\n CHANG (CONT'D)\n You're innocent.", "CHANG\n It's not your fault.\n Chang raises his arms again. Ready to fight. Julian gets ready", "CHANG\n Would you like me to tell you?\n Julian nods.\n\n CHANG (CONT'D)\n You want the Angel of Vengeance.", "CHARLIE LING\n He says he killed his daughter.\n Julian considers him for a moment. Slowly he pulls out a gun...\n Aims it at Choi Yan Lee's face...", "JULIAN (CONT'D)\n Chang?\n Jenna nods.", "JULIAN\n Ask him if he's Choi Yan Lee.\n At the mention of his name the colour drains from Choi Yan Lee's\n face. His eyes lock with Julian's.", "JULIAN\n The one who killed my brother.\n Chang says nothing for a long time.\n\n CHANG\n I love all living things.\n Beat.", "JULIAN\n Am I suspect?\n Chang turns round to face Julian. His presence is magnetic. Julian", "JULIAN\n Yes.\n\n CHANG\n Why?\n\n JULIAN\n Cause, all my life... I don't know.", "CHANG\n And what do you want?\n\n JULIAN\n ... I love violence.\n\n CHANG\n You want to fight me?\n Julian nods.", "JULIAN (CONT'D)\n My mother?\n Charlie Ling nods.\n\n JULIAN (CONT'D)\n What kind of a mother says that?", "him do it.\n And as Charlie Ling sees Kanita... Julian shoots him in the back.\n Charlie Ling slumps to the floor.", "JULIAN\n Good morning officers. How can I help\n you?\n Slowly Chang turns to face him. Julian stares at him as if he's\n in a trance...", "Back on his feet, Chang suddenly drops his guard. Julian hesitates,\n confused. Chang leans in close to him. Winks.", "Chang pauses in the onslaught. Julian stays motionless in the\n middle of the ring.\n Chang runs at him, flings his right foot, swivels, pulling out" ], [ "JULIAN\n Nothing. I don't feel anything at all.\n\n JENNA\n Don't you see, that's how I felt when\n Billy died...\n Julian studies his mother.", "He reaches the door to his mother's room and pauses.\n Julian stares at the door as if it was heaven's gate... He loads\n the shotgun with two fresh cartridges.", "JULIAN (CONT'D)\n My mother?\n Charlie Ling nods.\n\n JULIAN (CONT'D)\n What kind of a mother says that?", "JULIAN (CONT'D)\n What happened?\n\n GORDON\n They found his body in a hotel room...\n Julian doesn't know what to say... Neither does Gordon.", "JULIAN\n Where's is she?\n\n GORDON\n She's gone... Picked up Billy's\n body... She's gone home.\n Finally Julian lowers the shotgun.", "JULIAN\n My mother... She made me what I am. And\n now I've got nothing. And they're after\n me.\n Mai stares at him.", "JULIAN (CONT'D)\n ... without saying goodbye.\n\n MAI\n Who did this to you?\n A pause.", "JULIAN (CONT'D)\n I'm not going to kill him for you, Mum.\n Doesn't matter what you say. And do you\n want to know why?", "JULIAN (CONT'D)\n What's this got to do with me?\n\n KIM\n He was the father of the girl that was\n found dead with your brother.", "JULIAN (CONT'D)\n What did you do, Mum? What did you do?\n Jenna makes her hand into a pistol. Pretends to fire it into her", "JULIAN\n You never did, Mum.\n A pause. Julian's touched a nerve. Jenna recovers.", "JENNA (CONT'D)\n I'm scared, Julian.\n Julian stares at his mother.", "Julian approaches the doorway. He looks in. Sees Kanita sitting\n on her bed. She stares at Julian, Charlie Ling's dead body at", "A Mortuary Attendant pulls a sheet back to reveal -\n Billy. His body completely mutilated.\n Julian stares at his brother's corpse intensely, not betraying", "Julian continues to stare at his hands and closes them into a\n tight fist.\n\n CUT TO:\n\n INT. CORRIDORS - NIGHT", "JULIAN\n Hello Mum.\n Beat.\n\n JULIAN (CONT'D)\n It's me... Julian... Something's\n happened.", "JULIAN\n Okay.\n Julian kills his phone. He's still for a moment, then:\n\n JULIAN (CONT'D)\n Let's make a move.", "JULIAN (CONT'D)\n ...that's right Mum. Think about it.\n With me gone you were safe. And it turned", "brandishing his wounded arm at Julian. He pulls the bandages off,\n exposing the bloody stump.", "JULIAN\n What's wrong Mum?\n She shakes her head. Can't say it.\n\n JULIAN (CONT'D)\n What's wrong?" ], [ "Julian watches as Mai comes into the Restaurant from the kitchen\n and walks over to the bar area...\n Making sure no one's watching, Mai starts to pull money out of", "MA LONG\n Not this evening.\n A particularly pretty prostitute catches Juilan's eye. He stares\n at her, stone faced.", "He goes into the bathroom where Mai is dressed and putting on\n make up.", "MAI (CONT'D)\n D'you want me to?\n Julian nods. Mai studies him.\n\n MAI (CONT'D)\n Why d'you want me to meet her?", "Ma Long nods as she takes the money.\n Julian is about to leave. He looks at the pretty prostitute again.\n Stares at her for a moment. Then walks out.", "MAI (CONT'D)\n Why don't you fuck her instead of me?\n Julian grabs hold her neck. Throws her hard against the wall.", "MAI\n Five minutes.\n Julian nods and slams the door shut. Mai watches Juilan disappear\n into the building.\n\n CUT TO:", "But he's not around anymore, and do you\n know why? Cause she loved me too much.\n He lets go of her neck. Mai rubs her neck.", "Mai enters, looking much more sophisticated than when we saw her\n in the hotel. She sits next to Julian and gives him a kiss on\n the cheek.", "Julian looks over. Sees Mai take a seat. She holds his gaze.\n The second bell sounds. The first of five rounds. Julian and Chang\n walk up to the centre of the ring. The Referee stands between", "As the beating reaches its climax, with Choi Yan Lee screaming\n out Thai obscenities, we hear the sickening sound of Billy's neck", "MAI\n What happened?\n Julian looks at her.\n\n JULIAN\n Someone killed Billy...\n The camera ZOOMS IN on Mai.\n\n CUT TO:", "lets them enter.\n Mai embraces Julian, kissing him on the mouth as Julian closes\n the door.\n They turn to consider the other girl who is starting to undress.", "We see a hotel room door and hear a knock - Julian ENTERS FRAME\n and opens to reveal...\n ...Two Thai girls - one being Mai - standing in the hallway. Julian", "MAI\n See anyone you want us to take home\n tonight?\n Julian glances round but shakes his head. Looks at Mai.\n\n MAI (CONT'D)\n What?", "MAI\n Fuck you.\n She opens the door, sets fire to the money, and walks out of the\n room.\n As she walks down the hotel corridor, Julian slams his fists into\n the wall.", "She smiles compliantly, eager to please.\n Julian turns back to Mai and kisses her again. As the kiss becomes\n more passionate, the other girl joins them and the three of them", "JULIAN\n Right now.\n Mai looks around - they're alone.\n\n MAI\n Wait outside...\n\n CUT TO:", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "MAI\n What, like we're a couple?\n Julian stares at her for a long time. Can't quite say it out loud,\n but the answer's yes.\n\n CUT TO:" ], [ "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "JULIAN\n Billy was a fuck up... He deserved\n everything he got. You know it and I\n know it.", "GORDON\n I'm with you mate. Billy's fucked--", "A Mortuary Attendant pulls a sheet back to reveal -\n Billy. His body completely mutilated.\n Julian stares at his brother's corpse intensely, not betraying", "JENNA\n Cause he as good as killed Billy. What\n I want to know is, what are you going\n to do about it?", "MAI\n What happened?\n Julian looks at her.\n\n JULIAN\n Someone killed Billy...\n The camera ZOOMS IN on Mai.\n\n CUT TO:", "JENNA\n How?\n Silence. Julian doesn't know how to answer. Jenna watches him\n carefully...\n\n JULIAN\n Maybe... Maybe Billy had it coming...", "As the beating reaches its climax, with Choi Yan Lee screaming\n out Thai obscenities, we hear the sickening sound of Billy's neck", "Julian sits down next to Billy who's delighted to see him, throwing\n his arm around him, pulling him in close.\n\n BILLY\n ... I love violence!", "The music's too loud to hear what they're arguing about but it\n suddenly gets out of control... Billy starts viciously hitting", "JENNA\n Could it be have been one of the gangs?\n\n JULIAN\n Maybe. Take your pick. Billy wasn't\n popular.", "JULIAN (CONT'D)\n Is that what happened with Billy? Did\n Billy become a problem like I did?", "we hear the cries of Billy being beaten to death.\n ANGLE ON: Daeng who's starting to look scared. Phaiban puts a\n reassuring hand on his shoulder.", "GORDON\n But things are going to shit. Since\n Billy died, Julian's all over the\n place...", "JULIAN\n Where's is she?\n\n GORDON\n She's gone... Picked up Billy's\n body... She's gone home.\n Finally Julian lowers the shotgun.", "JULIAN (CONT'D)\n They're investigating a murder. The\n guy that killed Billy turned up dead\n this morning.\n Jenna looks bored. Lights a cigarette.", "Billy comes down a back ally and knocks on a door. After a moment\n the door opens.\n\n The Doorman recognises him and lets him enter.\n\n CUT TO:", "GORDON\n I don't know. Earlier today - we had\n the guy... The guy that killed Billy.\n Had a gun against his face. But then\n - nothing...", "JULIAN\n You know Billy... He was eccentric.\n Jenna smiles to herself as if this brings back memories and Julian\n even smiles. Both sit in silence for a moment.", "Blood spatters across the inside of the windscreen. The Driver\n falls forward, dead.\n The back door of the van slams shut. Gunman Three thinks he's" ], [ "(IN THAI)\n I know.\n Chang slams down the axe, severing Choi Yan Lee's arm at the elbow.\n Choi Yan Lee SCREAMS in agony.", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "Chang leads Choi Yan Lee to the doorway. Slowly Choi Yan Lee realises\n what he's looking at. His daughter. Dead. Mutilated.\n Every father's worst nightmare.\n\n CHANG", "CHOI YAN LEE\n\n (IN THAI)\n He told me to do it. Then he took my\n hand. Look.\n Again he thrusts his stump at Julian who glances at him.", "In the back sits Choi Yan Lee, his stump of an arm in a sling,\n a daughter either side of him.\n His arm's only just been bandaged up and he's clearly still in", "Chang nods to Kim and Phaiban who grab hold of Choi Yan Lee. Kim\n slips a plastic strap around Choi Yan Lee's arm, using it as a", "tied around his arm as a tourniquet. His arm is pulled out.\n Chang swings the axe and chops off first his left hand and then\n his right.", "The bloodied Choi Yan Lee sits in the back, Chang on one side,\n Kim on the other. As the police car turns onto a more major road,\n Choi Yan Lee starts to get nervous.", "As the beating reaches its climax, with Choi Yan Lee screaming\n out Thai obscenities, we hear the sickening sound of Billy's neck", "CUT TO:\n\n INT. CHOI YAN LEE'S SHACK", "A moment of uncertainty in Choi Yan Lee's face. Fear. He doesn't\n know why he's been brought here. He looks for some comfort from\n Chang. Chang gives him nothing.", "below.\n Life slips away from Choi Yan Lee in a matter of seconds. Liang\n holds onto him until he's dead and then lets go of his head and", "(IN THAI)\n And why did he do that?\n Choi Yan Lee can't answer.\n\n CHANG (CONT'D)", "CHOI YAN LEE\n\n (IN THAI)\n He killed my daughter.\n\n CHANG", "CHANG\n\n (IN THAI)\n How could you?\n ... but Choi Yan Lee just stares at his daughter. Finally:\n\n CHOI YAN LEE", "CHARLIE LING\n\n (IN THAI)\n Who turned you into a cripple - and no\n bullshit this time.\n Choi Yan Lee continues babbling hysterically...", "CHARLIE LING\n He says it was The Angel of Vengeance...\n Choi Yan Lee starts to giggle uncontrollably.\n\n CHOI YAN LEE", "the counter, SLITTING his throat with the knife.\n Choi Yan Lee's wife and daughters look on as blood floods from\n his neck, over the sweets and snacks on sale and down to the ground", "CHARLIE LING\n He says he killed his daughter.\n Julian considers him for a moment. Slowly he pulls out a gun...\n Aims it at Choi Yan Lee's face...", "JULIAN\n Who did that to him?\n Choi Yan Lee looks at the various faces that surround him - then\n stares directly at Julian.\n\n CHOI YAN LEE" ], [ "CUT TO:\n\n EXT. BANGKOK STREETS - NIGHT\n\n Billy stalks the streets of the city of vice. A man on a mission.", "As the beating reaches its climax, with Choi Yan Lee screaming\n out Thai obscenities, we hear the sickening sound of Billy's neck", "of both Julian and Billy. Newly appointed Lady Macbeth of Bangkok.\n She hands her passport over to the Concierge.", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "We hear the traffic of Bangkok. Julian gets up and walks to the\n table... Light up and begins to smoke morphine... He walks to\n the window and looks out over Bangkok...", "WE TRACK with Billy as he makes his way through the small\n subterranean nightclub.\n A Thai man - known as The Lizard - sits by a table with a few", "JENNA\n I came here to collect my son's body.\n Now it's released, my business in\n Bangkok is completed.\n\n KIM\n When are you leaving?", "A Mortuary Attendant pulls a sheet back to reveal -\n Billy. His body completely mutilated.\n Julian stares at his brother's corpse intensely, not betraying", "The anonymity of a hotel room. Julian opens the curtains and we\n see the sky line of Bangkok - he looks out.", "we hear the cries of Billy being beaten to death.\n ANGLE ON: Daeng who's starting to look scared. Phaiban puts a\n reassuring hand on his shoulder.", "KIM\n\n (IN THAI)\n We'll get you there.\n\n CUT TO:\n\n EXT. BANGKOK - NIGHT", "CUT TO:\n\n EXT. BANGKOK STREETS - DAY", "CUT TO:\n\n EXT. BANGKOK STREETS - DAY", "... where he meets various men and women, all smoking\n Methamphetamine. Billy joins in but an argument quickly starts\n up between him and another Thai Man.", "THE LIZARD\n Bangkok has millions of people my\n friend. You and your brother, you're\n lost to my world...\n The Lizard gets up - puts out his cigarette and looks at Julian...", "CHANG\n\n (IN THAI)\n You sure it's her?\n\n VOICE\n\n (IN THAI)\n Yes...", "CUT TO:\n\n EXT. BANGKOK STREET - NIGHT", "CUT TO:\n\n EXT. BANGKOK STREETS - NIGHT", "CUT TO:\n\n EXT. BANGKOK STREETS - NIGHT", "CUT TO:\n\n EXT. BANGKOK STREETS - NIGHT" ], [ "CUT TO:\n\n INT. THAI BOXING CLUB - NIGHT", "CUT TO:\n\n INT. THAI BOXING CLUB - NIGHT", "EXT. THAI BOXING CLUB - NIGHT\n\n The taxi pulls up outside Juilan's club.\n\n CUT TO:", "EXT. THAI BOXING CLUB - NIGHT\n\n Chang brings Julian out of the club. A police car is waiting outside.\n Mai sits in the back seat.", "Behind him sits a young kid dressed in Thai boxing clothes - this\n is Liang, barely sixteen. He looks nervous, occasionally glancing\n at Julian's reflection through the huge mirror that hangs on the\n far wall.", "INT. THAI BOXING CLUB - NIGHT", "CUT TO:\n\n BLACK\n\n FADE IN:\n\n INT. THAI BOXING RING - NIGHT", "CUT TO:\n\n INT. THAI BOXING RING - NIGHT", "FADE IN:\n\n INT. THAI BOXING RING - NIGHT", "INT. THAI BOXING RING - NIGHT\n\n Two Young Thai Boxers beat the crap out of each other.\n The crowd is wild with excitement, people placing bets on which\n way the fight will turn.", "INT. THAI BOXING CLUB - NIGHT\n\n ...Julian stares at his reflection.", "Slowly Julian and Chang start to perform Ram Muay, the ancient,\n traditional dance which the rules of the game say must be carried\n out before a fight takes place.", "(IN THAI)\n Break.\n The two fighters step back from each other. Chang's face is damaged.", "(IN THAI)\n Fight.\n Julian and Chang circle each other. Julian moves in to attack", "Julian looks over. Sees Mai take a seat. She holds his gaze.\n The second bell sounds. The first of five rounds. Julian and Chang\n walk up to the centre of the ring. The Referee stands between", "As the beating reaches its climax, with Choi Yan Lee screaming\n out Thai obscenities, we hear the sickening sound of Billy's neck", "Juilan's about to get stuck into him again when the bell sounds.\n End of the second round.\n Round three: Julian slamming punches into Chang. Nadee comforting", "(IN THAI)\n You killed his brother. Big mistake fat\n man. Why'd you do it?\n Beat. Choi Yan Lee knows he's been caught...\n\n CHOI YAN LEE", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "WE TRACK with Billy as he makes his way through the small\n subterranean nightclub.\n A Thai man - known as The Lizard - sits by a table with a few" ], [ "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "Julian lifts his fists up. The same fighting pose we saw him in\n at the very beginning. He's ready. Ready as he'll ever be.", "JULIAN\n What's it say?\n Charlie starts reading the article out:", "JULIAN (CONT'D)\n Don't spend it all in once place.\n\n CUT TO:\n\n EXT. BACK ALLEY - NIGHT", "Julian continues to stare at his hands and closes them into a\n tight fist.\n\n CUT TO:\n\n INT. CORRIDORS - NIGHT", "JULIAN\n My mother... She made me what I am. And\n now I've got nothing. And they're after\n me.\n Mai stares at him.", "JULIAN (CONT'D)\n Come on.\n\n MAI\n This is insane.", "Julian nods and closes the door. He stands still - glances out\n the window - seeing the sun setting and the night coming in. He\n glances at the pretty girl still sleeping on the bed.", "Julian looks at the wound. It's deep but he's not totally\n incapacitated. He pulls the shotgun out from under his shirt.\n It clatters to the floor.", "JULIAN (CONT'D)\n What did you do, Mum? What did you do?\n Jenna makes her hand into a pistol. Pretends to fire it into her", "JENNA (CONT'D)\n What are we going to do?\n Julian begins to realize what he has to do... and he looks at\n his hands. Finally...", "JULIAN\n What's wrong Mum?\n She shakes her head. Can't say it.\n\n JULIAN (CONT'D)\n What's wrong?", "JENNA\n He's going to come after me. And after\n he's come after me, he's going to come\n after you.\n Julian stares at his mother; fragile, terrified, alone.", "Julian is lying in hospital. Bandages covering the terrible wounds\n where his hands once were.\n Mai is sitting beside him. Spoon feeding him food.", "JULIAN\n Dark... Darkness.\n Chang looks at him in a strange way - like this answer has some\n meaning for him.\n\n CHANG", "JULIAN (CONT'D)\n Which way'd he go?\n The Lizard nods his head towards the busy street. Julian turns", "JULIAN\n You know where he is now?\n The Lizard stares at Julian.", "JULIAN (CONT'D)\n\n (ON THE PHONE)\n I'm coming over.\n\n CUT TO:", "JULIAN\n We're outside.\n\n GORDON (V.O.)\n Sorry mate, something's come up.\n Julian pauses. Can't believe it.", "brandishing his wounded arm at Julian. He pulls the bandages off,\n exposing the bloody stump." ], [ "JENNA\n You really want to know?\n\n YURI KARKOV\n Yes. It may effect the price.\n\n JENNA\n He killed my son.", "For this, I take your sight.\n He pushes the broken bottle into Dimitri's eyes. Gauges them out.\n Dimitri screams hysterically - calling out for his mother in", "in England ten years ago. He's been on\n the run ever since. I say son... But\n he hasn't been a son to me.", "(IN THAI)\n I'm a salesman. Some of the things I\n sell aren't exactly legal... But I'll\n give you the man that hired the hit...\n Chang stares at him...", "(IN THAI)\n You killed his brother. Big mistake fat\n man. Why'd you do it?\n Beat. Choi Yan Lee knows he's been caught...\n\n CHOI YAN LEE", "CHARLIE LING\n He says he killed his daughter.\n Julian considers him for a moment. Slowly he pulls out a gun...\n Aims it at Choi Yan Lee's face...", "Yuri pulls a gun. Kim shoots him dead. Chang moves his gun across\n to Dimitri. Holds his mobile phone up to his ear.\n Dimitri answers. Chang speaks through the phone.", "The Lizard sits outside the nightclub, somehow managing to smoke\n a cigarette at the same time as he stems the flow of blood from\n his nose with a handkerchief.\n Julian and Gordon arrive.", "JENNA (CONT'D)\n ... It pains me to say it, but my own\n son is a killer. He killed a cop back", "A Mortuary Attendant pulls a sheet back to reveal -\n Billy. His body completely mutilated.\n Julian stares at his brother's corpse intensely, not betraying", "his tongue and with a blade slowly cuts it off.\n ...Dimitri's screams become more like the howls of a dying\n animal...", "The driver of the crappy van smokes nervously in the driving seat\n as he waits. As soon as he sees Gunman Three, panic-stricken,", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "him do it.\n And as Charlie Ling sees Kanita... Julian shoots him in the back.\n Charlie Ling slumps to the floor.", "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "He reaches the door to his mother's room and pauses.\n Julian stares at the door as if it was heaven's gate... He loads\n the shotgun with two fresh cartridges.", "Blood spatters across the inside of the windscreen. The Driver\n falls forward, dead.\n The back door of the van slams shut. Gunman Three thinks he's", "him sits Pan, a twelve year old boy who is severely handicapped.\n As soon as Li Po sees Chang and his crew arrive with Gunman Three", "CHANG (CONT'D)\n I restore karma. Is that why you came?\n\n JULIAN\n I came here to kill you.", "JULIAN\n The Angel of Vengeance.\n\n JENNA\n D'you kill him?\n\n JULIAN\n No." ], [ "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "Yuri pulls a gun. Kim shoots him dead. Chang moves his gun across\n to Dimitri. Holds his mobile phone up to his ear.\n Dimitri answers. Chang speaks through the phone.", "him do it.\n And as Charlie Ling sees Kanita... Julian shoots him in the back.\n Charlie Ling slumps to the floor.", "Chang stops in his tracks. It's as if he can feel the shotgun\n blast in his heart. He knows what's just happened... He stands", "Chang leads Juilan across the field. The Cops follow a few steps\n behind with Mai.\n Suddenly, and completely unexpectedly, Chang punches Julian in", "A moment of uncertainty in Choi Yan Lee's face. Fear. He doesn't\n know why he's been brought here. He looks for some comfort from\n Chang. Chang gives him nothing.", "CHANG (CONT'D)\n\n (IN THAI)\n Do what thou will.\n Choi Yan Lee nods. Chang leaves the room, closing the door behind\n him.", "CHANG\n\n (IN THAI)\n Good... see you very soon.\n ...and Chang hangs up... The Angel of Vengeance getting ready\n to strike again.", "CHARLIE LING\n He says he killed his daughter.\n Julian considers him for a moment. Slowly he pulls out a gun...\n Aims it at Choi Yan Lee's face...", "it and returns fire, letting off four rounds.\n He takes Gunman One. Head shot, right between the eyes. Gunman\n Two sees this and sprays at Chang -", "CHANG (CONT'D)\n I restore karma. Is that why you came?\n\n JULIAN\n I came here to kill you.", "(IN THAI)\n I'm a salesman. Some of the things I\n sell aren't exactly legal... But I'll\n give you the man that hired the hit...\n Chang stares at him...", "CHANG\n\n (IN THAI)\n You know why we're here.\n\n LI PO\n\n (IN THAI)\n Yes...", "DIMITRI\n It was an English woman - she wanted\n you dead...\n A beat. Not what Chang expected...\n\n CHANG\n Why?", "Chang leads Choi Yan Lee to the doorway. Slowly Choi Yan Lee realises\n what he's looking at. His daughter. Dead. Mutilated.\n Every father's worst nightmare.\n\n CHANG", "CHANG (CONT'D)\n\n (IN THAI)\n This him?\n Li Po nods - scared.\n\n CHANG (CONT'D)", "(IN THAI)\n You killed his brother. Big mistake fat\n man. Why'd you do it?\n Beat. Choi Yan Lee knows he's been caught...\n\n CHOI YAN LEE", "CHANG (CONT'D)\n\n (IN ENGLISH)\n You're under arrest...\n\n CUT TO:", "The Driver slows. Gunman Three struggles to jump into the open\n doors.\n Chang bursts out of the restaurant. Stops dead. Aims and fires\n off two rounds." ], [ "Julian is walking around Chang's apartment... looking at all\n family pictures... getting a sense of how they live.\n He opens drawers and closets and studies all the photos of Chang", "Julian clocks the cops who are waiting for him. He walks over,\n strangely on edge. As he gets closer he sees Chang - standing", "JULIAN (CONT'D)\n Chang?\n Jenna nods.", "Julian's in a vulnerable position, but Chang doesn't move to make\n the killer blow. He steps back to let him recover. Again this\n enrages Julian.", "Chang leads Juilan across the field. The Cops follow a few steps\n behind with Mai.\n Suddenly, and completely unexpectedly, Chang punches Julian in", "JULIAN\n Come on.\n Chang retreats. Shrugs at Julian. You come on.", "Julian uses his forward motion to propel him onwards. He bounds\n over to the disoriented Chang and hits him with a series of jabs\n and punches to his upper body and face.", "Back on his feet, Chang suddenly drops his guard. Julian hesitates,\n confused. Chang leans in close to him. Winks.", "JULIAN\n The Angel Of Vengeance.\n\n CUT TO:\n\n INT. CHANG'S APARTMENT BUILDING - DAY", "EXT. THAI BOXING CLUB - NIGHT\n\n Chang brings Julian out of the club. A police car is waiting outside.\n Mai sits in the back seat.", "Julian approaches the doorway. He looks in. Sees Kanita sitting\n on her bed. She stares at Julian, Charlie Ling's dead body at", "Julian moves in to attack again, raising both elbows to make an\n attack on Chang's head. Chang steps forward and pulls an uppercut,", "JULIAN\n Good morning officers. How can I help\n you?\n Slowly Chang turns to face him. Julian stares at him as if he's\n in a trance...", "into the crowd. Looks over. Tries to see what he's looking at\n but can't make it out.\n POV from Chang as he sees Jenna make her way toward Julian. When", "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "Chang pauses in the onslaught. Julian stays motionless in the\n middle of the ring.\n Chang runs at him, flings his right foot, swivels, pulling out", "JULIAN\n Am I suspect?\n Chang turns round to face Julian. His presence is magnetic. Julian", "JULIAN\n - his name is Chang-\n\n JENNA\n Chang?!\n Mai stands up.\n\n MAI\n I should be going now.", "CHANG\n\n (IN THAI)\n Come on.\n Julian stumbles to his feet. The party continue. We see that one\n of the crew is carrying an axe.", "The Tuck-tuck pulls up and Choi Yan Lee's Daughters help him into\n the kiosk that doubles as their home.\n Julian and his men close in." ], [ "Chang opens the door and looks through.\n Choi Yan Lee is sitting breathlessly on the floor covered in blood.\n In his hand he holds a piece of wood he has ripped from a chair.\n Billy lies dead, his head completely smashed in.", "Chang leads Juilan across the field. The Cops follow a few steps\n behind with Mai.\n Suddenly, and completely unexpectedly, Chang punches Julian in", "A moment of uncertainty in Choi Yan Lee's face. Fear. He doesn't\n know why he's been brought here. He looks for some comfort from\n Chang. Chang gives him nothing.", "Chang stops in his tracks. It's as if he can feel the shotgun\n blast in his heart. He knows what's just happened... He stands", "CHANG (CONT'D)\n\n (IN THAI)\n Do what thou will.\n Choi Yan Lee nods. Chang leaves the room, closing the door behind\n him.", "Chang leads Choi Yan Lee to the doorway. Slowly Choi Yan Lee realises\n what he's looking at. His daughter. Dead. Mutilated.\n Every father's worst nightmare.\n\n CHANG", "As the beating reaches its climax, with Choi Yan Lee screaming\n out Thai obscenities, we hear the sickening sound of Billy's neck", "his knees. They continue, Chang forcing Julian to crawl as they\n make their way further into the field.\n Then Chang stops...", "tied around his arm as a tourniquet. His arm is pulled out.\n Chang swings the axe and chops off first his left hand and then\n his right.", "CHANG\n\n (IN THAI)\n How could you?\n ... but Choi Yan Lee just stares at his daughter. Finally:\n\n CHOI YAN LEE", "Julian grits his teeth throughout. Doesn't scream.\n Chang picks up the severed hands and throws them to the wild dogs.\n The dogs tear into the meat, fighting over their prize.", "Chang nods to Kim and Phaiban who grab hold of Choi Yan Lee. Kim\n slips a plastic strap around Choi Yan Lee's arm, using it as a", "(IN THAI)\n Get up. Now.\n Julian struggles to get up to his feet, but before he does, Chang\n kicks him hard in the chest, sending him back down to the floor.", "JULIAN\n I'm sorry...\n Chang kicks him again - like you would kick a dog... Juilan groans.\n Chang squats down next to him.\n\n CHANG", "CHANG (CONT'D)\n Whether you like it or not.\n Dimitri's body starts to shake in fear.", "Juilan's about to get stuck into him again when the bell sounds.\n End of the second round.\n Round three: Julian slamming punches into Chang. Nadee comforting", "CHANG--\n Chang starts to circle him. Dimitri's terrified. Doesn't know\n what the fuck he's on about. Suddenly he's grabbed from behind", "CHANG (CONT'D)\n\n (IN ENGLISH)\n You're under arrest...\n\n CUT TO:", "CHANG\n Yes you do.\n\n JULIAN\n My mother wants me to kill you.\n Chang stares back at him.", "It's not his fault.\n Then Chang comes in with a flurry of punches. Left, right, left,\n right. Julian just takes them..." ] ]

[ "Why was Billy killed?", "Why did Julian's mother come to where Julian was?", "Who is Crystal?", "What are Julian's aberrant sexual practices?", "Who does Crystal meet with to arrange for Chang's assassination?", "Why did Chang let Li Po live?", "What does Julian challenge Chang to?", "How does Chang kill Crystal?", "What body parts does Chang cut off of Julian?", "Why doesn't Julian avenge his brother's death?", "Why does Julian verbally abuse Mai after meeting with his mother?", "What weapon does Chang use on the third gunman?", "Why does Li Po arrange assassination contracts?", "How many blows does Julian get in during his boxing match with Chang?", "Why does Crystal beg Julian to kill Chang?", "Why did Julian kill Charlie?", "Why did Chang cut Crystal's throat?", "What did Crystal lead Julian to believe would change if he killed Chang and his family?", "What did Juilian do when he found his mother's corpse?", "Which character likes to watch Mai the prostitute masturbate?", "Why is Billy killed?", "Who cut off Choi Yan Lee's forearm?", "Who comes to Bangkok to identify Billy's body?", "Which character runs a Muay Thai club?", "What event does Julian's vision foreshadow?", "Who arranges assassination contracts in order to provide for his crippled son?", "Who orders a hit against Lieutenant Chang?", "Who infiltrates Chang's home with Julian?", "How does Chang punish Crystal?" ]

[ [ "Because he raped and killed a sex worker.", "raped and killed an underage sex worker" ], [ "To identify Billy's corpse.", "To identify Julian's older brother's corpse" ], [ "Julian's mother.", "Julian and Billy's mother" ], [ "Julian likes to be bonded while watching Mai masturbate.", "to be bonded and watch women masturbate" ], [ "Byron.", "Byron." ], [ "Chang saw the affection he had for his son.", "he saw his Chang's love for his son" ], [ "A boxing match.", "A boxing match" ], [ "Cutting her throat.", "Slits her throat." ], [ "Both of his hands.", "Both hands. " ], [ "He believes his brother deserved what he got.", "because he thinks it was justified " ], [ "He is agravated", "Crystal requested him to." ], [ "a frying pan", "a frying pan" ], [ "to provide for his crippled son", "to provide for his crippled son" ], [ "None", "none" ], [ "She believes he knows she's behind the assassination attempt.", "Because she is afraid for her life" ], [ "To save Chang's young daughter.", "So that Charlie wouldn't kill Chang's daughter" ], [ "He knew she was behind the crimes committed in the family name. ", "To punish her" ], [ "Their mother and son relationship", "She would be a good mother for him if he killed Chang." ], [ "sliced open her belly and put his hands in her womb", "he cuts her open and puts his hands inside the wound" ], [ "Julian", "Julian" ], [ "For raping and murdering an underage sex worker", "For killing Choi's daughter" ], [ "Lieutenant Chang", "Chang. " ], [ "Crystal, his mother", "his mother Crystal" ], [ "Julian", "Julian" ], [ "Chang cutting off Julian's hands.", "Cheng cutting off his hands" ], [ "Li Po", "Li Po" ], [ "Crystal", "Crystal" ], [ "Charlie Ling", "Charlie Ling." ], [ "Cuts her throat", "He slits her throat. " ] ]

[ [ "At the close, waiting yet another minute, he said in a clear loud voice,\nas he had said in the village at that hour and season for the previous\nforty years--\"A merry Christmas to ye!\"", "The last day of the story is dated just subsequent to that point in the\ndevelopment of the seasons when country people go to bed among nearly", "\"Dick! Now I cannot--really, I cannot have any dancing at all till\nChristmas-day is out,\" said old William emphatically. \"When the clock\nha' done striking twelve, dance as much as ye like.\"", "Christmases . . . Ah-h dear!\" she yawned, till the clock in the corner\nhad ticked several beats. She cast her eyes round upon the displaced,", "CHAPTER VI: CHRISTMAS MORNING", "On a cold and starry Christmas-eve within living memory a man was passing\nup a lane towards Mellstock Cross in the darkness of a plantation that", "It being Christmas-day, the tranter prepared himself with Sunday\nparticularity. Loud sousing and snorting noises were heard to proceed", "The early days of the year drew on, and Fancy, having spent the holiday\nweeks at home, returned again to Mellstock.", "sent them home. And thus they drew near the day of the Harvest\nThanksgiving, which was also the time chosen for opening the organ in\nMellstock Church.", "Just before the clock struck twelve they lighted the lanterns and\nstarted. The moon, in her third quarter, had risen since the snowstorm;", "\"Strange, isn't it, for her to be here Christmas night, Master Penny?\"\n\n\"Yes; but here she is, 'a b'lieve.\"", "The main room, on the left, was decked with bunches of holly and other\nevergreens, and from the middle of the beam bisecting the ceiling hung", "\"I will, I will. Till Christmas,\" the vicar murmured, stretching the two\nwords to a great length, as if the distance to Christmas might be", "The clock struck four. Dick fidgeted about, yawned privately; counted\nthe knots in the table, yawned publicly; counted the flies on the", "T. H.\nApril 1912.\n\n\n\n\nPART THE FIRST--WINTER\n\n\nCHAPTER I: MELLSTOCK-LANE", "By chance or by fate, another young man who attended Mellstock Church on\nthat Christmas morning had towards the end of the service the same\ninstinctive perception of an interesting presence, in the shape of the", "But the hour came when the patience of love at twenty-one could endure no\nlonger. One Saturday he approached the school with a mild air of", "\"In he walks, and down he sits, and O my goodness me, didn't I flee\nupstairs, body and soul hardly hanging together! Well, to cut a long", "wall opposite him to the ceiling overhead. Then clearing the other\ncorner of his throat: \"Once I was a-setting in the little kitchen of the", "A mood of blitheness rarely experienced even by young men was Dick's on\nthe following Monday morning. It was the week after the Easter holidays," ], [ "Now for some reason or other, the vicar at this point seemed to have an\nidea that he had prevaricated; and as an honest vicar, it was a thing he", "\"Mr. Shiner, being churchwarden, has persuaded the vicar; who, however,\nwas willing enough before. Shiner, I know, is crazy to see you playing", "vicar when he was in the pulpit, and also in full view of the\ncongregation. Here she sat down, for the first time in such a", "other in his hand. The vicar sat with his hand to his brow, watching the\nlad as he descended Church Lane and entered the waterside path which\nintervened between that spot and the school.", "The vicarage front was their next field of operation, and Mr. Maybold,\nthe lately-arrived incumbent, duly received his share of the night's", "\"Town and country!--Heavens, I had no idea that I was public property in\nthis way!\" said the vicar, his face acquiring a hue somewhere between", "The next morning the vicar rose early. The first thing he did was to\nwrite a long and careful letter to his friend in Yorkshire. Then, eating", "\"If you want to see him, I'll call at the vicarage directly we have had\nsome tea.\"", "Mayble, every tradesman d'like to have his own way in his workshop, and\nMellstock Church is yours. Instead of turning us out neck and crop, let", "himself to say something of any kind. Nothing suggested itself till he\nhad looked for about half a minute at the vicar.", "\"Quite, quite; and I shouldn't think of refusing to listen to such a\nreasonable request,\" the vicar replied. Seeing that Reuben had secured", "CHAPTER IV: THE INTERVIEW WITH THE VICAR", "\"The next thing he do do is to think about altering the church, until he\nfound 'twould be a matter o' cost and what not, and then not to think no\nmore about it.\"", "\"All the choir?\" said the astonished vicar (who may be shortly described\nas a good-looking young man with courageous eyes, timid mouth, and", "The vicar drew back a little further, the tranter suddenly also standing\nback a foot or two, to throw open the view of his father, and pointing to\nhim at the same time.", "\"Certainly,\" said the vicar, mechanically taking the card that Dick\noffered him.\n\n\"I turn in here by Grey's Bridge,\" said Dick. \"I suppose you go straight\non and up town?\"", "\"I will, I will. Till Christmas,\" the vicar murmured, stretching the two\nwords to a great length, as if the distance to Christmas might be", "\"O, all the choir,\" repeated the vicar to himself, trying by that simple\ndevice to trot out his thoughts on what the choir could come for.", "\"What did he say?\" asked Bowman, who was rather dull of hearing. Bowman's\nvoice, being therefore loud, had been heard by the vicar within.", "The vicar suddenly recalled to his recollection that he had long ago\nsettled it to be decidedly a mistake to encourage his servant Jane in" ], [ "\"What?\" said Miss Day, looking into the box at the dress alluded to. \"O,\nI know what you mean--that the vicar will never let me wear muslin?\"\n\n\"Yes.\"", "\"Well,\" he said, blushing at the allusion to Miss Day, \"I know by some\nwords of hers that she has a particular wish not to play, because she is", "\"Understand me rightly,\" he said: \"the church-warden proposed it to me,\nbut I had thought myself of getting--Miss Day to play.\"", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "point directly into the village of Geoffrey Day's parish; and in the\nspace of a quarter of an hour Fancy found herself to be Mrs. Richard", "till the thing was done--drown him if he would. The proposal was\nassented to by Miss Day, in Dick's foreboding judgment, with one", "\"Quite, quite; and I shouldn't think of refusing to listen to such a\nreasonable request,\" the vicar replied. Seeing that Reuben had secured", "To Miss Day, crediting him with the same consciousness of mastery--a\nconsciousness of which he was perfectly innocent--this remark sounded\nlike a magnanimous intention to soothe her, the captive.", "\"I will, I will. Till Christmas,\" the vicar murmured, stretching the two\nwords to a great length, as if the distance to Christmas might be", "pleasant way of passing his time, without any reference to persons in\ngardens. The name died away, and the unconscious Miss Day continued\ndigging and pulling as before.", "It is scarcely necessary to add that Dick renounced his freedom there and\nthen, and kissed her ten times over, and promised that no pretty woman of", "She did not see him; and he could only think of one thing to be done,\nwhich was to shout her name.\n\n\"Miss Day!\"", "vicar when he was in the pulpit, and also in full view of the\ncongregation. Here she sat down, for the first time in such a", "At this the vicar reddened a little, and said, \"Yes, yes,\" though not at\nall comprehending Dick's true meaning, who, as he received no further", "\"I want to speak to you,\" he then said; \"seriously--on a perhaps\nunexpected subject, but one which is all the world to me--I don't know\nwhat it may be to you, Miss Day.\"", "\"Town and country!--Heavens, I had no idea that I was public property in\nthis way!\" said the vicar, his face acquiring a hue somewhere between", "\"Well, how are you getting on, Miss Day, at the present time? Gaily, I\ndon't doubt for a moment.\"\n\n\"I am not gay, Dick; you know that.\"", "\"I fancy I've seen him look across at Miss Day in a warmer way than\nChristianity asked for,\" said Mrs. Penny musingly; \"but I don't quite\nlike to say it.\"", "\"A' excellent sign,\" said Mrs. Penny, from the depths of experience. \"A'\nexcellent sign.\"\n\n\"I am glad everything seems so right,\" said Fancy with a breath of\nrelief.", "\"Certainly,\" said the vicar, mechanically taking the card that Dick\noffered him.\n\n\"I turn in here by Grey's Bridge,\" said Dick. \"I suppose you go straight\non and up town?\"" ], [ "\"I suppose you know what I mean, sir? You've heard about me and--Miss\nDay?\"\n\nThe red in Maybold's countenance went away: he turned and looked Dick in\nthe face.", "He looked into Fancy's eyes. Misery of miseries!--guilt was written\nthere still.\n\n\"Now, Fancy, you've not told me all!\" said Dick, rather sternly for a\nquiet young man.", "\"The conversation is taking a very strange turn: nothing that I have ever\ndone warrants such things being said!\" murmured Fancy with emphasis, just\nloud enough to reach Dick's ears.", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "Maybold stood still upon the bridge, holding the card as it had been put\ninto his hand, and Dick's footsteps died away towards Durnover Mill. The\nvicar's first voluntary action was to read the card:--", "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"Those things don't happen very often, I know,\" said Fancy, with\nsmouldering uneasiness.\n\n\"Well, really 'tis time Dick was here,\" said the tranter.", "\"O Dick!\" said Fancy reproachfully.\n\n\"Why, dear, that's nothing,--only just a bit of a flourish. You be as\nnervous as a cat to-day.\"", "\"Say you love me, Fancy.\"\n\n\"No, Dick, certainly not; 'tisn't time to do that yet.\"\n\n\"Why, Fancy?\"", "Fancy was desperate about Dick, and here was a chance--O, such a wicked\nchance--of getting help; and what was goodness beside love!", "for her, and seemed anxious that Mr. Maybold should do the same.", "\"I've come to ask for Fancy,\" said Dick.\n\n\"I'd as lief you hadn't.\"\n\n\"Why should that be, Mr. Day?\"", "\"But I am not any body!\" exclaimed Dick.\n\n\"No, no, I mean with a young man;\" and she added softly, \"unless I were\nreally engaged to be married to him.\"", "Fancy seemed uneasy under the infliction of this household moralizing,\nwhich might tend to damage the airy-fairy nature that Dick, as maiden", "settled her eyes on her father's, to guard against his discovery of this\nperilous game of Dick's. Dick finished his mouthful; Fancy finished her", "\"You think I've been cruel to thee in saying that that penniless Dick o'\nthine sha'n't marry thee, I suppose?\"\n\nNo answer.", "Dick looked into the distance at a vast expanse of mortgaged estate. \"I\nwish I was as rich as a squire when he's as poor as a crow,\" he murmured;\n\"I'd soon ask Fancy something.\"", "\"Whichever way you and the company like, my dear!\" said Dick, who, being\non the point of securing his right to Fancy, seemed willing to renounce" ], [ "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"", "\"I suppose you know what I mean, sir? You've heard about me and--Miss\nDay?\"\n\nThe red in Maybold's countenance went away: he turned and looked Dick in\nthe face.", "\"By the way, Fancy, do you know why our quire is to be dismissed?\"\n\n\"No: except that it is Mr. Maybold's wish for me to play the organ.\"", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "\"Well, you know, Fancy, I do it for the best, and he isn't good enough\nfor thee. You know that well enough.\" Here he again looked at her as", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "Maybold stood still upon the bridge, holding the card as it had been put\ninto his hand, and Dick's footsteps died away towards Durnover Mill. The\nvicar's first voluntary action was to read the card:--", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "nothing hurried, secret, or untoward in my desire to do this. Fancy,\nwill you marry me?\"", "He looked into Fancy's eyes. Misery of miseries!--guilt was written\nthere still.\n\n\"Now, Fancy, you've not told me all!\" said Dick, rather sternly for a\nquiet young man.", "\"None at all,\" said Mr. Maybold.\n\n\"This old aged man standing by my side is father; William Dewy by name,\nsir.\"", "Maybold said these words, but he had no idea of what they were. He was\nconscious of a cold and sickly thrill throughout him; and all he reasoned", "\"Say you love me, Fancy.\"\n\n\"No, Dick, certainly not; 'tisn't time to do that yet.\"\n\n\"Why, Fancy?\"", "\"A' excellent sign,\" said Mrs. Penny, from the depths of experience. \"A'\nexcellent sign.\"\n\n\"I am glad everything seems so right,\" said Fancy with a breath of\nrelief.", "hurten thee to live without en, that he shall marry thee as soon as we've\nconsidered a little. That's my wish flat and plain, Fancy. There, never", "\"Well, to say the truth, we hadn't told father of the engagement at that\ntime; in fact, 'twasn't settled.\"", "\"You couldn't help looking so, whether you tried or no. And, Fancy, you\ndo care for me?\"\n\n\"Yes.\"\n\n\"Very much?\"\n\n\"Yes.\"", "\"Good-evening, Mr. Maybold,\" she said, in a strange state of mind. She\nhad noticed, beyond the ardent hue of his face, that his voice had a", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "The boy came to the door, and a note for Mr. Maybold was brought in.\n\nHe knew the writing. Opening the envelope with an unsteady hand, he read\nthe subjoined words:" ], [ "near the school after her return. But he delayed taking the extreme\nmeasure of calling with it lest, had she really no sentiment of interest\nin him, it might be regarded as a slightly absurd errand, the reason", "William Dewy--otherwise grandfather William--was now about seventy; yet\nan ardent vitality still preserved a warm and roughened bloom upon his", "But the hour came when the patience of love at twenty-one could endure no\nlonger. One Saturday he approached the school with a mild air of", "On leaving the school Geoffrey went to the tranter's. Old William opened\nthe door.\n\n\"Is your grandson Dick in 'ithin, William?\"", "The day was done, and Fancy was again in the school-house. About five\no'clock it began to rain, and in rather a dull frame of mind she wandered", "into the schoolroom, for want of something better to do. She was\nthinking--of her lover Dick Dewy? Not precisely. Of how weary she was", "\"Well, 'twas rather youthful,\" said Michael.\n\n\"Now to my mind that woman is very romantical on the matter o' children?\"\nsaid the tranter, his eye sweeping his audience.", "\"Yes, sure,\" resumed Mr. Penny, regarding the boot as if that alone were\nhis auditor; \"'tis she that's come here schoolmistress. You knowed his\ndaughter was in training?\"", "Old William raised his eyes and watched the vicar's bleeding chin\nlikewise; and Leaf advanced two or three paces from the bookcase,\nabsorbed in the contemplation of the same phenomenon, with parted lips\nand delighted eyes.", "\"Well, when I went a-wandering after her mother's death, she lived with\nher aunt, who kept a boarding-school, till her aunt married Lawyer", "Striking, therefore, into the lane towards the school, instead of across\nthe ewelease direct to Charmley, he arrived opposite her door as his\ngoddess emerged.", "By chance or by fate, another young man who attended Mellstock Church on\nthat Christmas morning had towards the end of the service the same\ninstinctive perception of an interesting presence, in the shape of the", "\"Father and grandfather William have expected ye a little sooner. I have\njust been for a run round by Ewelease Stile and Hollow Hill to warm my\nfeet.\"", "This time she heard him, came down the garden, and entered the school at\nthe back. Footsteps echoed across the interior, the door opened, and", "nothing would content his ardent mind but that he must go a mile out of\nhis way in the direction of the school, in the hope of getting a glimpse\nof his Love as she started for church.", "\"She's trying to get him away! yes, yes, she is! And through keeping\nthis miserable school I mustn't wear my hair in curls! But I will; I", "\"O no; there's nothing in that,\" said grandfather William.\n\n\"If there's nothing, we shall see nothing,\" Mrs. Penny replied, in the\ntone of a woman who might possibly have private opinions still.", "\"Well,\" he said, blushing at the allusion to Miss Day, \"I know by some\nwords of hers that she has a particular wish not to play, because she is", "She ran up to him, flung her parasol on the grass, put her little head\nagainst his breast, and then there began a narrative, disjointed by such", "He now drew forth and placed upon the table a boot--small, light, and\nprettily shaped--upon the heel of which he had been operating.\n\n\"The new schoolmistress's!\"" ], [ "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"Make 'em come up to me, make 'em come up!\" cried Fancy ecstatically; and\nthe four damsels appointed, namely, Miss Susan Dewy, Miss Bessie Dewy,", "\"Well, you know, Fancy, I do it for the best, and he isn't good enough\nfor thee. You know that well enough.\" Here he again looked at her as", "was really a handsome man; his companion was Shiner. Both turned round\nas they passed Dick and Fancy, and stared with bold admiration in her\nface till they were obliged to attend to the operation of passing the", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "\"'Tis, I assure ye. Didn't you ever hear I was a witch?\"\n\n\"Well,\" hesitated Fancy, \"I have heard you called so.\"\n\n\"And you believed it?\"", "CHAPTER VIII: THEY DANCE MORE WILDLY\n\n\nDick had at length secured Fancy for that most delightful of\ncountry-dances, opening with six-hands-round.", "\"That Shiner's too fond of her,\" the young man said to himself as he\nwatched them. They came to the top again, Fancy smiling warmly towards\nher partner, and went to their places.", "Before this moment the church had seemed comparatively empty--now it was\nthronged; and as Miss Fancy rose from her knees and looked around her for", "Now, as Fancy listlessly noted these proceedings of the dame, she began\nto reconsider an old subject that lay uppermost in her heart. Since the", "\"Heh-heh-heh!\" laughed the four bridesmaids, and Fancy privately touched\nDick and smoothed him down behind his shoulder, as if to assure herself\nthat he was there in flesh and blood as her own property.", "The day was done, and Fancy was again in the school-house. About five\no'clock it began to rain, and in rather a dull frame of mind she wandered", "\"You couldn't help looking so, whether you tried or no. And, Fancy, you\ndo care for me?\"\n\n\"Yes.\"\n\n\"Very much?\"\n\n\"Yes.\"", "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"", "own left hand, overlapping a third of Fancy's with it, and keeping it\nthere. So the innocent Fancy, instead of pulling her hand from the trap,", "\"A' excellent sign,\" said Mrs. Penny, from the depths of experience. \"A'\nexcellent sign.\"\n\n\"I am glad everything seems so right,\" said Fancy with a breath of\nrelief.", "point directly into the village of Geoffrey Day's parish; and in the\nspace of a quarter of an hour Fancy found herself to be Mrs. Richard", "\"'King Arthur he had three sons.'\"\n\n\"Father here?\" said Dick.\n\n\"Indoors, I think,\" said Fancy, looking pleasantly at him.", "\"Fancy, I didn't expect to see thee here, chiel,\" he said. \"What's the\nmatter?\"\n\n\"I'm not well, father.\"" ], [ "The choir at last reached their beds, and slept like the rest of the\nparish. Dick's slumbers, through the three or four hours remaining for", "But before they had taken their places, and whilst they were standing in\na circle at the back of the gallery practising a psalm or two, Dick cast", "Dick Dewy faced about and continued his tune in an under-whistle,\nimplying that the business of his mouth could not be checked at a\nmoment's notice by the placid emotion of friendship.", "\"All the choir?\" said the astonished vicar (who may be shortly described\nas a good-looking young man with courageous eyes, timid mouth, and", "The chief members of Mellstock parish choir were standing in a group in\nfront of Mr. Penny's workshop in the lower village. They were all", "Some circumstance had apparently caused much grief to Charley just\nprevious to the entry of the choir, and he had absently taken down a", "And at the moment of the announcement of the choir, Mr. Maybold had just\nre-dipped the pen he was using; at their entry, instead of wiping it, he", "the treble singers and Dick; and on the right the tranter and the tenors.\nFarther back was old Mail with the altos and supernumeraries.", "\"O, all the choir,\" repeated the vicar to himself, trying by that simple\ndevice to trot out his thoughts on what the choir could come for.", "Mrs. Dewy came up, talking to one person and looking at another. \"Happy,\nyes,\" she said. \"'Tis always so when a couple is so exactly in tune with\none another as Dick and she.\"", "Richard Dewy, O, and all the quire too, sir, except the boys, a-come to\nsee you!\" said Mr. Maybold's maid-servant to Mr. Maybold, the pupils of", "daylight, and advanced against the sky in flat outlines, which suggested\nsome processional design on Greek or Etruscan pottery. They represented\nthe chief portion of Mellstock parish choir.", "\"Where be the boys?\" said Dick to this somewhat indifferently-matched\nassembly.\n\nThe eldest of the group, Michael Mail, cleared his throat from a great\ndepth.", "On reaching the junction of his path with the road, the vicar beheld Dick\nDewy's open and cheerful face. Dick lifted his hat, and the vicar came", "Having done eating and drinking, they again tuned the instruments, and\nonce more the party emerged into the night air.\n\n\"Where's Dick?\" said old Dewy.", "They made preparations for going to church as usual; Dick with extreme\nalacrity, though he would not definitely consider why he was so", "\"Better try over number seventy-eight before we start, I suppose?\" said\nWilliam, pointing to a heap of old Christmas-carol books on a side table.\n\n\"Wi' all my heart,\" said the choir generally.", "\"Is that thee, young Dick Dewy?\" came from the darkness.\n\n\"Ay, sure, Michael Mail.\"", "This story of the Mellstock Quire and its old established west-gallery\nmusicians, with some supplementary descriptions of similar officials in", "By chance or by fate, another young man who attended Mellstock Church on\nthat Christmas morning had towards the end of the service the same\ninstinctive perception of an interesting presence, in the shape of the" ], [ "The choir at last reached their beds, and slept like the rest of the\nparish. Dick's slumbers, through the three or four hours remaining for", "But before they had taken their places, and whilst they were standing in\na circle at the back of the gallery practising a psalm or two, Dick cast", "the treble singers and Dick; and on the right the tranter and the tenors.\nFarther back was old Mail with the altos and supernumeraries.", "The chief members of Mellstock parish choir were standing in a group in\nfront of Mr. Penny's workshop in the lower village. They were all", "They were now all ready for leaving the house, and began to form a\nprocession in the following order: Fancy and her father, Dick and Susan", "Dick was sitting next to her on the right side, and on the side of the\ntable opposite to her father. Fancy had laid her right hand lightly down", "\"And--Dick too?\"\n\n\"Ay, Dick too, 'far's I know.\"", "\"All the choir?\" said the astonished vicar (who may be shortly described\nas a good-looking young man with courageous eyes, timid mouth, and", "Some circumstance had apparently caused much grief to Charley just\nprevious to the entry of the choir, and he had absently taken down a", "And at the moment of the announcement of the choir, Mr. Maybold had just\nre-dipped the pen he was using; at their entry, instead of wiping it, he", "They made preparations for going to church as usual; Dick with extreme\nalacrity, though he would not definitely consider why he was so", "\"Where be the boys?\" said Dick to this somewhat indifferently-matched\nassembly.\n\nThe eldest of the group, Michael Mail, cleared his throat from a great\ndepth.", "\"Well, whoever would have thought such a thing?\" said Dick, taking off\nhis hat, sinking into a chair, and turning to the elder members of the\ncompany.", "\"Didn't Dick and Fancy sound well when they were called home in church\nlast Sunday?\" came downwards again in Mrs. Penny's voice.", "\"Don't work for the family no-o-o-o-ow!\"\n\n\"Not nice of Master Enoch,\" said Dick, as they resumed their walk.", "\"O, all the choir,\" repeated the vicar to himself, trying by that simple\ndevice to trot out his thoughts on what the choir could come for.", "Mrs. Dewy came up, talking to one person and looking at another. \"Happy,\nyes,\" she said. \"'Tis always so when a couple is so exactly in tune with\none another as Dick and she.\"", "\"'Twas natural enough that I should want to be there, I suppose,\" said\nDick, smiling a private smile; \"considering who the organ-player was.\"", "as himself; and they all sat down. Dick could have wished her manner had\nnot been so entirely free from all apparent consciousness of those\naccidental meetings of theirs: but he let the thought pass. Enoch sat", "\"Everything,\" said Dick, putting his hand towards hers, and casting\nemphatic eyes upon the upper curve of her cheek." ], [ "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"Well, you know, Fancy, I do it for the best, and he isn't good enough\nfor thee. You know that well enough.\" Here he again looked at her as", "farmer. Dick glanced for an instant at Fancy while she was undergoing\ntheir scrutiny; then returned to his driving with rather a sad\ncountenance.", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "\"'Tis, I assure ye. Didn't you ever hear I was a witch?\"\n\n\"Well,\" hesitated Fancy, \"I have heard you called so.\"\n\n\"And you believed it?\"", "\"That Shiner's too fond of her,\" the young man said to himself as he\nwatched them. They came to the top again, Fancy smiling warmly towards\nher partner, and went to their places.", "Fancy, for Fancy told me a story, and was a flirt, and cared for herself\nmore than me, so now I'll have this one for my sweetheart.' O, you", "\"You couldn't help looking so, whether you tried or no. And, Fancy, you\ndo care for me?\"\n\n\"Yes.\"\n\n\"Very much?\"\n\n\"Yes.\"", "Fancy, and finding still that she had not done, he went into her garden\nand looked at her cabbages and potatoes, and reminded himself that they", "Dick looked into the distance at a vast expanse of mortgaged estate. \"I\nwish I was as rich as a squire when he's as poor as a crow,\" he murmured;\n\"I'd soon ask Fancy something.\"", "was really a handsome man; his companion was Shiner. Both turned round\nas they passed Dick and Fancy, and stared with bold admiration in her\nface till they were obliged to attend to the operation of passing the", "\"Say you love me, Fancy.\"\n\n\"No, Dick, certainly not; 'tisn't time to do that yet.\"\n\n\"Why, Fancy?\"", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "The day was done, and Fancy was again in the school-house. About five\no'clock it began to rain, and in rather a dull frame of mind she wandered", "\"How then?\" said Fancy.\n\n\"Coolly and practically,\" he said. \"How would that kind of love be\ntaken?\"", "months had elapsed since Dick and Fancy had journeyed together from\nBudmouth, and the course of their love had run on vigorously during the\nwhole time. There had been just enough difficulty attending its", "As Fancy was about to reply, the rattle of wheels was heard, and \"Weh-\nhey, Smart!\" in Mr. Richard Dewy's voice rolled into the cottage from\nround the corner of the house.", "of the horse. The farmer's wife, feeling their eyes sticking into her\nback, looked over her shoulder. Dick dropped ten yards further behind.", "point directly into the village of Geoffrey Day's parish; and in the\nspace of a quarter of an hour Fancy found herself to be Mrs. Richard", "\"A' excellent sign,\" said Mrs. Penny, from the depths of experience. \"A'\nexcellent sign.\"\n\n\"I am glad everything seems so right,\" said Fancy with a breath of\nrelief." ], [ "\"Well, you know, Fancy, I do it for the best, and he isn't good enough\nfor thee. You know that well enough.\" Here he again looked at her as", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"'Tis, I assure ye. Didn't you ever hear I was a witch?\"\n\n\"Well,\" hesitated Fancy, \"I have heard you called so.\"\n\n\"And you believed it?\"", "Fancy, for Fancy told me a story, and was a flirt, and cared for herself\nmore than me, so now I'll have this one for my sweetheart.' O, you", "\"Well, but how?\"\n\n\"By witchery, of course!\" said Elizabeth.\n\n\"No!\" said Fancy.", "\"Very well, then,\" said Fancy, blushing. \"'Tis to be, and here goes!\"\n\n\"That's a girl for a husband!\" said Mrs. Dewy.", "Fancy, and finding still that she had not done, he went into her garden\nand looked at her cabbages and potatoes, and reminded himself that they", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "and sand sales and one thing and 'tother. However, d'ye think Fancy\npicked up her good manners, the smooth turn of her tongue, her musical", "Now, as Fancy listlessly noted these proceedings of the dame, she began\nto reconsider an old subject that lay uppermost in her heart. Since the", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "As Fancy was about to reply, the rattle of wheels was heard, and \"Weh-\nhey, Smart!\" in Mr. Richard Dewy's voice rolled into the cottage from\nround the corner of the house.", "\"A' excellent sign,\" said Mrs. Penny, from the depths of experience. \"A'\nexcellent sign.\"\n\n\"I am glad everything seems so right,\" said Fancy with a breath of\nrelief.", "\"That Shiner's too fond of her,\" the young man said to himself as he\nwatched them. They came to the top again, Fancy smiling warmly towards\nher partner, and went to their places.", "\"Ay, no less, Miss Fancy Day; as neat a little figure of fun as ever I\nsee, and just husband-high.\"", "\"I may at any rate call you Fancy? There's no harm in that.\"\n\n\"Yes, you may.\"\n\n\"And you'll not call me Mr. Dewy any more?\"", "\"Fancy, I didn't expect to see thee here, chiel,\" he said. \"What's the\nmatter?\"\n\n\"I'm not well, father.\"", "Fancy's mother, exercised from the date of Fancy's birthday onwards. The\narrangement spoke for itself: nobody who knew the tone of the household", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "figure recognized him. Up it sprang, and he was face to face with Fancy." ], [ "\"I suppose you know what I mean, sir? You've heard about me and--Miss\nDay?\"\n\nThe red in Maybold's countenance went away: he turned and looked Dick in\nthe face.", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "He looked into Fancy's eyes. Misery of miseries!--guilt was written\nthere still.\n\n\"Now, Fancy, you've not told me all!\" said Dick, rather sternly for a\nquiet young man.", "\"The conversation is taking a very strange turn: nothing that I have ever\ndone warrants such things being said!\" murmured Fancy with emphasis, just\nloud enough to reach Dick's ears.", "Maybold stood still upon the bridge, holding the card as it had been put\ninto his hand, and Dick's footsteps died away towards Durnover Mill. The\nvicar's first voluntary action was to read the card:--", "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"I've come to ask for Fancy,\" said Dick.\n\n\"I'd as lief you hadn't.\"\n\n\"Why should that be, Mr. Day?\"", "\"O Dick!\" said Fancy reproachfully.\n\n\"Why, dear, that's nothing,--only just a bit of a flourish. You be as\nnervous as a cat to-day.\"", "It is scarcely necessary to add that Dick renounced his freedom there and\nthen, and kissed her ten times over, and promised that no pretty woman of", "explanation of the bird-catching adventure to Dick, and had decided that\nit would be dishonest in her, as an engaged young woman, to trifle with", "\"Whichever way you and the company like, my dear!\" said Dick, who, being\non the point of securing his right to Fancy, seemed willing to renounce", "Fancy was desperate about Dick, and here was a chance--O, such a wicked\nchance--of getting help; and what was goodness beside love!", "settled her eyes on her father's, to guard against his discovery of this\nperilous game of Dick's. Dick finished his mouthful; Fancy finished her", "As Fancy's power to will anything seemed to have departed in some\nmysterious manner at that moment, Dick settled the matter by getting out\nand assisting her into the vehicle without another word.", "\"Heh-heh-heh!\" laughed the four bridesmaids, and Fancy privately touched\nDick and smoothed him down behind his shoulder, as if to assure herself\nthat he was there in flesh and blood as her own property.", "\"Say you love me, Fancy.\"\n\n\"No, Dick, certainly not; 'tisn't time to do that yet.\"\n\n\"Why, Fancy?\"", "\"O yes,\" said Dick, with frigid rhetoric of pitying astonishment, \"we're\nengaged to be married, you see, and I naturally look after her.\"", "Fancy seemed uneasy under the infliction of this household moralizing,\nwhich might tend to damage the airy-fairy nature that Dick, as maiden" ], [ "\"'Tis, I assure ye. Didn't you ever hear I was a witch?\"\n\n\"Well,\" hesitated Fancy, \"I have heard you called so.\"\n\n\"And you believed it?\"", "\"Well, you know, Fancy, I do it for the best, and he isn't good enough\nfor thee. You know that well enough.\" Here he again looked at her as", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "Now, as Fancy listlessly noted these proceedings of the dame, she began\nto reconsider an old subject that lay uppermost in her heart. Since the", "Fancy, for Fancy told me a story, and was a flirt, and cared for herself\nmore than me, so now I'll have this one for my sweetheart.' O, you", "He looked into Fancy's eyes. Misery of miseries!--guilt was written\nthere still.\n\n\"Now, Fancy, you've not told me all!\" said Dick, rather sternly for a\nquiet young man.", "\"The conversation is taking a very strange turn: nothing that I have ever\ndone warrants such things being said!\" murmured Fancy with emphasis, just\nloud enough to reach Dick's ears.", "\"Very well, then,\" said Fancy, blushing. \"'Tis to be, and here goes!\"\n\n\"That's a girl for a husband!\" said Mrs. Dewy.", "lies, and pretend it doesn't exist, and things like that, it is not best;\nI do know it, Fancy. And an honest woman in that, as well as in all her", "\"I can carry it,\" said Fancy, religiously repressing all inclination to\ntrifle. She had thoroughly considered that subject after the tearful", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "\"Fancy,\" he said, \"why we are so happy is because there is such full\nconfidence between us. Ever since that time you confessed to that little", "\"Fancy, why can't you answer?\" he repeated.\n\n\"Because how much you are to me depends upon how much I am to you,\" said\nshe in low tones.", "\"Well, she was rather pretty, I must own.\"\n\n\"Tell straight on about her, can't you! Come, do, Susan. How many times\ndid you say he danced with her?\"", "\"You couldn't help looking so, whether you tried or no. And, Fancy, you\ndo care for me?\"\n\n\"Yes.\"\n\n\"Very much?\"\n\n\"Yes.\"", "\"Never once!\" said Fancy emphatically, and with eyes full of earnest\ntruth. \"I don't like him indeed, and I never heard of his doing this", "While Fancy was revolving all this in her mind, and putting it to herself\nwhether it was worth while to tell her troubles to Elizabeth, and ask her\nadvice in getting out of them, the witch spoke.", "\"Now, Mr. Dewy,\" said Fancy severely, \"certainly he isn't any more to me\nthan you are!\"\n\n\"Not so much?\"", "\"I'll help to put the things right,\" said Fancy soothingly, and rising\nfrom her seat. \"I ought to have laid out better things, I suppose. But\"" ], [ "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "\"'Tis, I assure ye. Didn't you ever hear I was a witch?\"\n\n\"Well,\" hesitated Fancy, \"I have heard you called so.\"\n\n\"And you believed it?\"", "\"Well, you know, Fancy, I do it for the best, and he isn't good enough\nfor thee. You know that well enough.\" Here he again looked at her as", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "\"Heh-heh-heh!\" laughed the four bridesmaids, and Fancy privately touched\nDick and smoothed him down behind his shoulder, as if to assure herself\nthat he was there in flesh and blood as her own property.", "Fancy was duly brought out and assisted into the vehicle, and the newly\naffianced youth and maiden passed up the steep hill to the Ridgeway, and\nvanished in the direction of Mellstock.", "point directly into the village of Geoffrey Day's parish; and in the\nspace of a quarter of an hour Fancy found herself to be Mrs. Richard", "\"A' excellent sign,\" said Mrs. Penny, from the depths of experience. \"A'\nexcellent sign.\"\n\n\"I am glad everything seems so right,\" said Fancy with a breath of\nrelief.", "\"That Shiner's too fond of her,\" the young man said to himself as he\nwatched them. They came to the top again, Fancy smiling warmly towards\nher partner, and went to their places.", "As Fancy was about to reply, the rattle of wheels was heard, and \"Weh-\nhey, Smart!\" in Mr. Richard Dewy's voice rolled into the cottage from\nround the corner of the house.", "\"Very well, then,\" said Fancy, blushing. \"'Tis to be, and here goes!\"\n\n\"That's a girl for a husband!\" said Mrs. Dewy.", "\"How long will you be putting on your bonnet, Fancy?\" Dick inquired at\nthe foot of the staircase. Being now a man of business and married, he", "hurten thee to live without en, that he shall marry thee as soon as we've\nconsidered a little. That's my wish flat and plain, Fancy. There, never", "Fancy, for Fancy told me a story, and was a flirt, and cared for herself\nmore than me, so now I'll have this one for my sweetheart.' O, you", "\"Make 'em come up to me, make 'em come up!\" cried Fancy ecstatically; and\nthe four damsels appointed, namely, Miss Susan Dewy, Miss Bessie Dewy,", "\"Say you love me, Fancy.\"\n\n\"No, Dick, certainly not; 'tisn't time to do that yet.\"\n\n\"Why, Fancy?\"", "Now, as Fancy listlessly noted these proceedings of the dame, she began\nto reconsider an old subject that lay uppermost in her heart. Since the", "He looked into Fancy's eyes. Misery of miseries!--guilt was written\nthere still.\n\n\"Now, Fancy, you've not told me all!\" said Dick, rather sternly for a\nquiet young man." ], [ "hurten thee to live without en, that he shall marry thee as soon as we've\nconsidered a little. That's my wish flat and plain, Fancy. There, never", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"Well, you know, Fancy, I do it for the best, and he isn't good enough\nfor thee. You know that well enough.\" Here he again looked at her as", "\"She is so well off--better than any of us,\" Susan Dewy was saying. \"Her\nfather farms five hundred acres, and she might marry a doctor or curate\nor anything of that kind if she contrived a little.\"", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "\"A' excellent sign,\" said Mrs. Penny, from the depths of experience. \"A'\nexcellent sign.\"\n\n\"I am glad everything seems so right,\" said Fancy with a breath of\nrelief.", "\"How then?\" said Fancy.\n\n\"Coolly and practically,\" he said. \"How would that kind of love be\ntaken?\"", "\"By the way, Fancy, do you know why our quire is to be dismissed?\"\n\n\"No: except that it is Mr. Maybold's wish for me to play the organ.\"", "Dick looked into the distance at a vast expanse of mortgaged estate. \"I\nwish I was as rich as a squire when he's as poor as a crow,\" he murmured;\n\"I'd soon ask Fancy something.\"", "\"You couldn't help looking so, whether you tried or no. And, Fancy, you\ndo care for me?\"\n\n\"Yes.\"\n\n\"Very much?\"\n\n\"Yes.\"", "\"'Tis, I assure ye. Didn't you ever hear I was a witch?\"\n\n\"Well,\" hesitated Fancy, \"I have heard you called so.\"\n\n\"And you believed it?\"", "\"Don't refuse; don't,\" he implored. \"It would be foolish of you--I mean\ncruel! Of course we would not live here, Fancy. I have had for a long", "Now, as Fancy listlessly noted these proceedings of the dame, she began\nto reconsider an old subject that lay uppermost in her heart. Since the", "The day was done, and Fancy was again in the school-house. About five\no'clock it began to rain, and in rather a dull frame of mind she wandered", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "for her, and seemed anxious that Mr. Maybold should do the same.", "\"Fancy, why can't you answer?\" he repeated.\n\n\"Because how much you are to me depends upon how much I am to you,\" said\nshe in low tones.", "Probably, Miss Fancy Day never before or after stood so low in Mr. Dewy's\nopinion as on that afternoon. In fact, it is just possible that a few", "point directly into the village of Geoffrey Day's parish; and in the\nspace of a quarter of an hour Fancy found herself to be Mrs. Richard", "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"" ], [ "The last day of the story is dated just subsequent to that point in the\ndevelopment of the seasons when country people go to bed among nearly", "At the close, waiting yet another minute, he said in a clear loud voice,\nas he had said in the village at that hour and season for the previous\nforty years--\"A merry Christmas to ye!\"", "But the hour came when the patience of love at twenty-one could endure no\nlonger. One Saturday he approached the school with a mild air of", "A series of dull thuds, that had been heard without for some time past,\nnow ceased; and after the light of a lantern had passed the window and", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "At five minutes to twelve the soft tuning was again heard in the back\nquarters; and when at length the clock had whizzed forth the last stroke,", "The dance ended. \"Piph-h-h-h!\" said tranter Dewy, blowing out his breath\nin the very finest stream of vapour that a man's lips could form. \"A", "that his pet should on this great occasion be deprived of the pleasure of\nhis presence. However, the intelligence was communicated. She bore it\nas she best could, not without many expressions of regret, and", "sent them home. And thus they drew near the day of the Harvest\nThanksgiving, which was also the time chosen for opening the organ in\nMellstock Church.", "When the expectant stillness consequent upon the exclamation had nearly\ndied out of them all, an increasing light made itself visible in one of", "She ran up to him, flung her parasol on the grass, put her little head\nagainst his breast, and then there began a narrative, disjointed by such", "The scene was the corner of Mary Street in Budmouth-Regis, near the\nKing's statue, at which point the white angle of the last house in the", "Fancy's mother, exercised from the date of Fancy's birthday onwards. The\narrangement spoke for itself: nobody who knew the tone of the household", "By chance or by fate, another young man who attended Mellstock Church on\nthat Christmas morning had towards the end of the service the same\ninstinctive perception of an interesting presence, in the shape of the", "just there had gone in flop over his head. Men looked at en; women\nlooked at en; children looked at en; nobody knowed en. He was covered", "last. Mother called en Jim on the day that would ha' been his\nchristening day if he had lived; and she's always thinking about en. You\nsee he died so very young.\"", "Bloom's End, and lo and behold, there was a man just brought out o' the\nPool, dead; he had un'rayed for a dip, but not being able to pitch it", "The clock struck three. Dick arose from his seat, walked round the room\nwith his hands behind him, examined all the furniture, then sounded a few", "ones, were only able to discover, on account of the music and bustle,\nthat a very striking circumstance was in course of narration--denoted by", "The day was done, and Fancy was again in the school-house. About five\no'clock it began to rain, and in rather a dull frame of mind she wandered" ], [ "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "months had elapsed since Dick and Fancy had journeyed together from\nBudmouth, and the course of their love had run on vigorously during the\nwhole time. There had been just enough difficulty attending its", "\"Say you love me, Fancy.\"\n\n\"No, Dick, certainly not; 'tisn't time to do that yet.\"\n\n\"Why, Fancy?\"", "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "It is scarcely necessary to add that Dick renounced his freedom there and\nthen, and kissed her ten times over, and promised that no pretty woman of", "He looked into Fancy's eyes. Misery of miseries!--guilt was written\nthere still.\n\n\"Now, Fancy, you've not told me all!\" said Dick, rather sternly for a\nquiet young man.", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "Fancy was desperate about Dick, and here was a chance--O, such a wicked\nchance--of getting help; and what was goodness beside love!", "of the dress; clear deep eyes; in short, a bunch of sweets: it was Fancy!\nDick's heart went round to her with a rush.", "\"O Dick!\" said Fancy reproachfully.\n\n\"Why, dear, that's nothing,--only just a bit of a flourish. You be as\nnervous as a cat to-day.\"", "in a hitherto obstructed love-course. And then came a series of several\nhappy days, of the same undisturbed serenity. Dick could court her when", "\"Well,\" said Dick, who seemed longing to tell, even at the risk of\noffending her, \"I was thinking how different you in love are from me in", "Dick looked into the distance at a vast expanse of mortgaged estate. \"I\nwish I was as rich as a squire when he's as poor as a crow,\" he murmured;\n\"I'd soon ask Fancy something.\"", "\"Those things don't happen very often, I know,\" said Fancy, with\nsmouldering uneasiness.\n\n\"Well, really 'tis time Dick was here,\" said the tranter.", "Enter the single-minded Dick, whose only fault at the gipsying, or\npicnic, had been that of loving Fancy too exclusively, and depriving", "CHAPTER VIII: THEY DANCE MORE WILDLY\n\n\nDick had at length secured Fancy for that most delightful of\ncountry-dances, opening with six-hands-round.", "Half an hour afterwards Dick emerged from the inn, and if Fancy's lips\nhad been real cherries probably Dick's would have appeared deeply\nstained. The landlord was standing in the yard.", "he came, and she perceived that he was in deep mourning, and then that it\nwas Dick. Yes, in the fondness and foolishness of his young heart, after", "For several minutes Dick drove along homeward, with the inner eye of\nreflection so anxiously set on his passages at arms with Fancy, that the" ], [ "And at the moment of the announcement of the choir, Mr. Maybold had just\nre-dipped the pen he was using; at their entry, instead of wiping it, he", "\"By the way, Fancy, do you know why our quire is to be dismissed?\"\n\n\"No: except that it is Mr. Maybold's wish for me to play the organ.\"", "The boy came to the door, and a note for Mr. Maybold was brought in.\n\nHe knew the writing. Opening the envelope with an unsteady hand, he read\nthe subjoined words:", "\"Exactly, sir. In fact now, Mr. Mayble,\" Reuben continued, more\nimpressively, and advancing a little closer still to the vicar, \"father", "The vicarage front was their next field of operation, and Mr. Maybold,\nthe lately-arrived incumbent, duly received his share of the night's", "Richard Dewy, O, and all the quire too, sir, except the boys, a-come to\nsee you!\" said Mr. Maybold's maid-servant to Mr. Maybold, the pupils of", "Mr. Maybold was at this instant seen coming up the path.", "\"All the choir?\" said the astonished vicar (who may be shortly described\nas a good-looking young man with courageous eyes, timid mouth, and", "\"Certainly, certainly!\" said Mr. Maybold, retreating a little for\nconvenience of seeing. \"You are all enthusiastic on the subject, and I", "Maybold said these words, but he had no idea of what they were. He was\nconscious of a cold and sickly thrill throughout him; and all he reasoned", "\"ARTHUR MAYBOLD.\"\n\nHe rang the bell. \"Tell Charles to take these copybooks and this note to\nthe school at once.\"", "Maybold stood still upon the bridge, holding the card as it had been put\ninto his hand, and Dick's footsteps died away towards Durnover Mill. The\nvicar's first voluntary action was to read the card:--", "beating with his hand in a way which signified that the manner rather\nthan the matter of his speech was to be observed, \"how did Mr. Maybold", "\"Dear me, dear me!\" said Mr. Maybold hastily, looking very red, and\nbrushing his chin with his hand, then taking out his handkerchief and\nwiping the place.", "\"None at all,\" said Mr. Maybold.\n\n\"This old aged man standing by my side is father; William Dewy by name,\nsir.\"", "himself to his normal state of mind. He was the young vicar, Mr.\nMaybold.", "to draw him forth. But Mr. Maybold made no stir.", "\"I suppose you know what I mean, sir? You've heard about me and--Miss\nDay?\"\n\nThe red in Maybold's countenance went away: he turned and looked Dick in\nthe face.", "\"Never. But as for this new Mr. Maybold, though he mid be a very well-\nintending party in that respect, he's unbearable; for as to sifting your", "for her, and seemed anxious that Mr. Maybold should do the same." ], [ "And at the moment of the announcement of the choir, Mr. Maybold had just\nre-dipped the pen he was using; at their entry, instead of wiping it, he", "The boy came to the door, and a note for Mr. Maybold was brought in.\n\nHe knew the writing. Opening the envelope with an unsteady hand, he read\nthe subjoined words:", "Richard Dewy, O, and all the quire too, sir, except the boys, a-come to\nsee you!\" said Mr. Maybold's maid-servant to Mr. Maybold, the pupils of", "\"By the way, Fancy, do you know why our quire is to be dismissed?\"\n\n\"No: except that it is Mr. Maybold's wish for me to play the organ.\"", "\"Certainly, certainly!\" said Mr. Maybold, retreating a little for\nconvenience of seeing. \"You are all enthusiastic on the subject, and I", "\"Exactly, sir. In fact now, Mr. Mayble,\" Reuben continued, more\nimpressively, and advancing a little closer still to the vicar, \"father", "Mr. Maybold was at this instant seen coming up the path.", "\"All the choir?\" said the astonished vicar (who may be shortly described\nas a good-looking young man with courageous eyes, timid mouth, and", "The vicarage front was their next field of operation, and Mr. Maybold,\nthe lately-arrived incumbent, duly received his share of the night's", "\"Dear me, dear me!\" said Mr. Maybold hastily, looking very red, and\nbrushing his chin with his hand, then taking out his handkerchief and\nwiping the place.", "have been caused by the catastrophe of a bloody fight beginning,\noverpowered all other considerations; and they advanced to the door,\nwhich had only just fallen to. Thus, when Mr. Maybold raised his eyes", "\"ARTHUR MAYBOLD.\"\n\nHe rang the bell. \"Tell Charles to take these copybooks and this note to\nthe school at once.\"", "The chief members of Mellstock parish choir were standing in a group in\nfront of Mr. Penny's workshop in the lower village. They were all", "The old choir, with humbled hearts, no longer took their seats in the\ngallery as heretofore (which was now given up to the school-children who", "The choir at last reached their beds, and slept like the rest of the\nparish. Dick's slumbers, through the three or four hours remaining for", "\"Thank you, sir!\" said Leaf.\n\n\"That's it, then; sit down, Leaf,\" said Mr. Maybold.\n\n\"Y-yes, sir!\"", "\"No, no; thank you, thank you,\" Mr. Maybold again nervously replied.\n\n\"'Twas rather a deep cut seemingly?\" said Reuben, feeling these to be the\nkindest and best remarks he could make.", "rose in unvarying and dark flatness against the sky. The instruments\nwere retuned, and all the band entered the school enclosure, enjoined by\nold William to keep upon the grass.", "\"Better try over number seventy-eight before we start, I suppose?\" said\nWilliam, pointing to a heap of old Christmas-carol books on a side table.\n\n\"Wi' all my heart,\" said the choir generally.", "\"I suppose you know what I mean, sir? You've heard about me and--Miss\nDay?\"\n\nThe red in Maybold's countenance went away: he turned and looked Dick in\nthe face." ], [ "\"I suppose you know what I mean, sir? You've heard about me and--Miss\nDay?\"\n\nThe red in Maybold's countenance went away: he turned and looked Dick in\nthe face.", "Maybold stood still upon the bridge, holding the card as it had been put\ninto his hand, and Dick's footsteps died away towards Durnover Mill. The\nvicar's first voluntary action was to read the card:--", "Dick fanned himself with his hat. \"I can't think,\" he said thoughtfully,\n\"whatever 'twas I did to offend Mr. Maybold, a man I like so much too. He", "Mr. Maybold was at this instant seen coming up the path.", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "On reaching the junction of his path with the road, the vicar beheld Dick\nDewy's open and cheerful face. Dick lifted his hat, and the vicar came", "The boy came to the door, and a note for Mr. Maybold was brought in.\n\nHe knew the writing. Opening the envelope with an unsteady hand, he read\nthe subjoined words:", "\"I am going to Casterbridge, so we'll walk together,\" the vicar said.\nDick gave a hop with one foot to put himself in step with Mr. Maybold,", "\"Dear me, dear me!\" said Mr. Maybold hastily, looking very red, and\nbrushing his chin with his hand, then taking out his handkerchief and\nwiping the place.", "\"The conversation is taking a very strange turn: nothing that I have ever\ndone warrants such things being said!\" murmured Fancy with emphasis, just\nloud enough to reach Dick's ears.", "\"None at all,\" said Mr. Maybold.\n\n\"This old aged man standing by my side is father; William Dewy by name,\nsir.\"", "CHAPTER VIII: DICK MEETS HIS FATHER", "the matter at all. So Mr. Shiner resumed his old position in Geoffrey's\nbrain by mere flux of time. Even Shiner began to believe that Dick", "CHAPTER IX: DICK CALLS AT THE SCHOOL", "The truth was that Geoffrey knew nothing about his daughter's continued\nwalks and meetings with Dick. When a hint that there were symptoms of an", "CHAPTER VII: DICK MAKES HIMSELF USEFUL", "\"Certainly,\" said the vicar, mechanically taking the card that Dick\noffered him.\n\n\"I turn in here by Grey's Bridge,\" said Dick. \"I suppose you go straight\non and up town?\"", "Richard Dewy, O, and all the quire too, sir, except the boys, a-come to\nsee you!\" said Mr. Maybold's maid-servant to Mr. Maybold, the pupils of", "Dick was sitting next to her on the right side, and on the side of the\ntable opposite to her father. Fancy had laid her right hand lightly down", "\"Good-evening, Mr. Maybold,\" she said, in a strange state of mind. She\nhad noticed, beyond the ardent hue of his face, that his voice had a" ], [ "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "months had elapsed since Dick and Fancy had journeyed together from\nBudmouth, and the course of their love had run on vigorously during the\nwhole time. There had been just enough difficulty attending its", "He looked into Fancy's eyes. Misery of miseries!--guilt was written\nthere still.\n\n\"Now, Fancy, you've not told me all!\" said Dick, rather sternly for a\nquiet young man.", "\"The conversation is taking a very strange turn: nothing that I have ever\ndone warrants such things being said!\" murmured Fancy with emphasis, just\nloud enough to reach Dick's ears.", "\"O yes,\" said Dick, with frigid rhetoric of pitying astonishment, \"we're\nengaged to be married, you see, and I naturally look after her.\"", "settled her eyes on her father's, to guard against his discovery of this\nperilous game of Dick's. Dick finished his mouthful; Fancy finished her", "They were now all ready for leaving the house, and began to form a\nprocession in the following order: Fancy and her father, Dick and Susan", "\"Heh-heh-heh!\" laughed the four bridesmaids, and Fancy privately touched\nDick and smoothed him down behind his shoulder, as if to assure herself\nthat he was there in flesh and blood as her own property.", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "\"Those things don't happen very often, I know,\" said Fancy, with\nsmouldering uneasiness.\n\n\"Well, really 'tis time Dick was here,\" said the tranter.", "As Fancy's power to will anything seemed to have departed in some\nmysterious manner at that moment, Dick settled the matter by getting out\nand assisting her into the vehicle without another word.", "\"Say you love me, Fancy.\"\n\n\"No, Dick, certainly not; 'tisn't time to do that yet.\"\n\n\"Why, Fancy?\"", "CHAPTER VIII: THEY DANCE MORE WILDLY\n\n\nDick had at length secured Fancy for that most delightful of\ncountry-dances, opening with six-hands-round.", "\"O Dick!\" said Fancy reproachfully.\n\n\"Why, dear, that's nothing,--only just a bit of a flourish. You be as\nnervous as a cat to-day.\"", "It is scarcely necessary to add that Dick renounced his freedom there and\nthen, and kissed her ten times over, and promised that no pretty woman of", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "Half an hour afterwards Dick emerged from the inn, and if Fancy's lips\nhad been real cherries probably Dick's would have appeared deeply\nstained. The landlord was standing in the yard.", "Dick looked into the distance at a vast expanse of mortgaged estate. \"I\nwish I was as rich as a squire when he's as poor as a crow,\" he murmured;\n\"I'd soon ask Fancy something.\"" ], [ "The boy came to the door, and a note for Mr. Maybold was brought in.\n\nHe knew the writing. Opening the envelope with an unsteady hand, he read\nthe subjoined words:", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"And father has not only told Mr. Shiner that,\" continued Fancy, \"but he\nhas written me a letter, to say he should wish me to encourage Mr.\nShiner, if 'twas convenient!\"", "\"DEAR MR. MAYBOLD,--I have been thinking seriously and sadly through\n the whole of the night of the question you put to me last evening and", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "\"By the way, Fancy, do you know why our quire is to be dismissed?\"\n\n\"No: except that it is Mr. Maybold's wish for me to play the organ.\"", "Maybold stood still upon the bridge, holding the card as it had been put\ninto his hand, and Dick's footsteps died away towards Durnover Mill. The\nvicar's first voluntary action was to read the card:--", "As Fancy was about to reply, the rattle of wheels was heard, and \"Weh-\nhey, Smart!\" in Mr. Richard Dewy's voice rolled into the cottage from\nround the corner of the house.", "\"I may at any rate call you Fancy? There's no harm in that.\"\n\n\"Yes, you may.\"\n\n\"And you'll not call me Mr. Dewy any more?\"", "\"A' excellent sign,\" said Mrs. Penny, from the depths of experience. \"A'\nexcellent sign.\"\n\n\"I am glad everything seems so right,\" said Fancy with a breath of\nrelief.", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "\"None at all,\" said Mr. Maybold.\n\n\"This old aged man standing by my side is father; William Dewy by name,\nsir.\"", "to draw him forth. But Mr. Maybold made no stir.", "\"No, no; thank you, thank you,\" Mr. Maybold again nervously replied.\n\n\"'Twas rather a deep cut seemingly?\" said Reuben, feeling these to be the\nkindest and best remarks he could make.", "\"Dear me, dear me!\" said Mr. Maybold hastily, looking very red, and\nbrushing his chin with his hand, then taking out his handkerchief and\nwiping the place.", "\"Well, you know, Fancy, I do it for the best, and he isn't good enough\nfor thee. You know that well enough.\" Here he again looked at her as", "for her, and seemed anxious that Mr. Maybold should do the same.", "He looked into Fancy's eyes. Misery of miseries!--guilt was written\nthere still.\n\n\"Now, Fancy, you've not told me all!\" said Dick, rather sternly for a\nquiet young man.", "\"Now, Mr. Dewy,\" said Fancy severely, \"certainly he isn't any more to me\nthan you are!\"\n\n\"Not so much?\"" ], [ "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "He looked into Fancy's eyes. Misery of miseries!--guilt was written\nthere still.\n\n\"Now, Fancy, you've not told me all!\" said Dick, rather sternly for a\nquiet young man.", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "\"The conversation is taking a very strange turn: nothing that I have ever\ndone warrants such things being said!\" murmured Fancy with emphasis, just\nloud enough to reach Dick's ears.", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"I've come to ask for Fancy,\" said Dick.\n\n\"I'd as lief you hadn't.\"\n\n\"Why should that be, Mr. Day?\"", "settled her eyes on her father's, to guard against his discovery of this\nperilous game of Dick's. Dick finished his mouthful; Fancy finished her", "\"O Dick!\" said Fancy reproachfully.\n\n\"Why, dear, that's nothing,--only just a bit of a flourish. You be as\nnervous as a cat to-day.\"", "\"Say you love me, Fancy.\"\n\n\"No, Dick, certainly not; 'tisn't time to do that yet.\"\n\n\"Why, Fancy?\"", "\"Those things don't happen very often, I know,\" said Fancy, with\nsmouldering uneasiness.\n\n\"Well, really 'tis time Dick was here,\" said the tranter.", "\"I never can make a show of myself in that way!\" said Fancy, looking at\nDick to ascertain if he could.", "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"", "Dick was sitting next to her on the right side, and on the side of the\ntable opposite to her father. Fancy had laid her right hand lightly down", "Dick controlled his emotion at these mysterious allusions to Mr.\nShiner,--the better enabled to do so by perceiving that Fancy's heart", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "months had elapsed since Dick and Fancy had journeyed together from\nBudmouth, and the course of their love had run on vigorously during the\nwhole time. There had been just enough difficulty attending its", "Dick looked into the distance at a vast expanse of mortgaged estate. \"I\nwish I was as rich as a squire when he's as poor as a crow,\" he murmured;\n\"I'd soon ask Fancy something.\"", "Fancy was desperate about Dick, and here was a chance--O, such a wicked\nchance--of getting help; and what was goodness beside love!", "\"O no!\" said Fancy solemnly.\n\nThe modest Dick drew back a little.", "whether from these accessories or not, Dick's heart had been at all times\nas fond as could be desired. But there was a cloud on Fancy's horizon\nnow." ], [ "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"Say you love me, Fancy.\"\n\n\"No, Dick, certainly not; 'tisn't time to do that yet.\"\n\n\"Why, Fancy?\"", "He looked into Fancy's eyes. Misery of miseries!--guilt was written\nthere still.\n\n\"Now, Fancy, you've not told me all!\" said Dick, rather sternly for a\nquiet young man.", "months had elapsed since Dick and Fancy had journeyed together from\nBudmouth, and the course of their love had run on vigorously during the\nwhole time. There had been just enough difficulty attending its", "It is scarcely necessary to add that Dick renounced his freedom there and\nthen, and kissed her ten times over, and promised that no pretty woman of", "Fancy had settled her plan of emotion. To reproach Dick? O no, no. \"I\nam in great trouble,\" said she, taking what was intended to be a", "of the dress; clear deep eyes; in short, a bunch of sweets: it was Fancy!\nDick's heart went round to her with a rush.", "\"O Dick!\" said Fancy reproachfully.\n\n\"Why, dear, that's nothing,--only just a bit of a flourish. You be as\nnervous as a cat to-day.\"", "\"I've come to ask for Fancy,\" said Dick.\n\n\"I'd as lief you hadn't.\"\n\n\"Why should that be, Mr. Day?\"", "Fancy was desperate about Dick, and here was a chance--O, such a wicked\nchance--of getting help; and what was goodness beside love!", "he came, and she perceived that he was in deep mourning, and then that it\nwas Dick. Yes, in the fondness and foolishness of his young heart, after", "CHAPTER VIII: THEY DANCE MORE WILDLY\n\n\nDick had at length secured Fancy for that most delightful of\ncountry-dances, opening with six-hands-round.", "\"The conversation is taking a very strange turn: nothing that I have ever\ndone warrants such things being said!\" murmured Fancy with emphasis, just\nloud enough to reach Dick's ears.", "Dick looked into the distance at a vast expanse of mortgaged estate. \"I\nwish I was as rich as a squire when he's as poor as a crow,\" he murmured;\n\"I'd soon ask Fancy something.\"", "Dick was sitting next to her on the right side, and on the side of the\ntable opposite to her father. Fancy had laid her right hand lightly down", "\"I wish Dick would come!\" was again the burden of Fancy.", "Enter the single-minded Dick, whose only fault at the gipsying, or\npicnic, had been that of loving Fancy too exclusively, and depriving", "\"Those things don't happen very often, I know,\" said Fancy, with\nsmouldering uneasiness.\n\n\"Well, really 'tis time Dick was here,\" said the tranter." ], [ "\"Make 'em come up to me, make 'em come up!\" cried Fancy ecstatically; and\nthe four damsels appointed, namely, Miss Susan Dewy, Miss Bessie Dewy,", "\"Well, you know, Fancy, I do it for the best, and he isn't good enough\nfor thee. You know that well enough.\" Here he again looked at her as", "Fancy was dancing with Mr. Shiner. Dick knew that Fancy, by the law of\ngood manners, was bound to dance as pleasantly with one partner as with", "\"'Tis, I assure ye. Didn't you ever hear I was a witch?\"\n\n\"Well,\" hesitated Fancy, \"I have heard you called so.\"\n\n\"And you believed it?\"", "Now, as Fancy listlessly noted these proceedings of the dame, she began\nto reconsider an old subject that lay uppermost in her heart. Since the", "\"Dick, Dick! O, is it you, Dick!\"\n\n\"Yes, Fancy,\" said Dick, in a rather repentant tone, and lowering his\nnuts.", "was really a handsome man; his companion was Shiner. Both turned round\nas they passed Dick and Fancy, and stared with bold admiration in her\nface till they were obliged to attend to the operation of passing the", "\"Heh-heh-heh!\" laughed the four bridesmaids, and Fancy privately touched\nDick and smoothed him down behind his shoulder, as if to assure herself\nthat he was there in flesh and blood as her own property.", "\"Let's do it! I mean get engaged,\" said Dick. \"Now, Fancy, will you be\nmy wife?\"", "Fancy, for Fancy told me a story, and was a flirt, and cared for herself\nmore than me, so now I'll have this one for my sweetheart.' O, you", "Before this moment the church had seemed comparatively empty--now it was\nthronged; and as Miss Fancy rose from her knees and looked around her for", "\"And father has not only told Mr. Shiner that,\" continued Fancy, \"but he\nhas written me a letter, to say he should wish me to encourage Mr.\nShiner, if 'twas convenient!\"", "\"Now, Mr. Dewy,\" said Fancy severely, \"certainly he isn't any more to me\nthan you are!\"\n\n\"Not so much?\"", "CHAPTER VIII: THEY DANCE MORE WILDLY\n\n\nDick had at length secured Fancy for that most delightful of\ncountry-dances, opening with six-hands-round.", "They were now all ready for leaving the house, and began to form a\nprocession in the following order: Fancy and her father, Dick and Susan", "\"That Shiner's too fond of her,\" the young man said to himself as he\nwatched them. They came to the top again, Fancy smiling warmly towards\nher partner, and went to their places.", "\"Say you love me, Fancy.\"\n\n\"No, Dick, certainly not; 'tisn't time to do that yet.\"\n\n\"Why, Fancy?\"", "\"FANCY DAY.\n\nThe last written communication that ever passed from the vicar to Fancy,\nwas a note containing these words only:", "\"Don't keep on at me so, grandfather James and Mr. Dewy, and all you down\nthere!\" Fancy broke out, unable to endure any longer. \"I am sure I shall\ndie, or do something, if you do!\"", "As Fancy was about to reply, the rattle of wheels was heard, and \"Weh-\nhey, Smart!\" in Mr. Richard Dewy's voice rolled into the cottage from\nround the corner of the house." ], [ "They had reached the end of the second verse, and the fiddlers were doing\nthe up bow-stroke previously to pouring forth the opening chord of the\nthird verse, when, without a light appearing or any signal being given, a\nroaring voice exclaimed--", "On a cold and starry Christmas-eve within living memory a man was passing\nup a lane towards Mellstock Cross in the darkness of a plantation that", "At the close, waiting yet another minute, he said in a clear loud voice,\nas he had said in the village at that hour and season for the previous\nforty years--\"A merry Christmas to ye!\"", "\"Dick! Now I cannot--really, I cannot have any dancing at all till\nChristmas-day is out,\" said old William emphatically. \"When the clock\nha' done striking twelve, dance as much as ye like.\"", "Then passed forth into the quiet night an ancient and time-worn hymn,\nembodying a quaint Christianity in words orally transmitted from father\nto son through several generations down to the present characters, who\nsang them out right earnestly:", "and when the fiddlers' chairs have been wriggled, by the frantic bowing\nof their occupiers, to a distance of about two feet from where they\noriginally stood.", "The music on Christmas mornings was frequently below the standard of\nchurch-performances at other times. The boys were sleepy from the heavy", "\"Better try over number seventy-eight before we start, I suppose?\" said\nWilliam, pointing to a heap of old Christmas-carol books on a side table.\n\n\"Wi' all my heart,\" said the choir generally.", "violins respectively. The singers consisted of four men and seven boys,\nupon whom devolved the task of carrying and attending to the lanterns,", "All these encumbrances were now removed, and as the afternoon advanced,\nthe guests gathered on the spot, where music, dancing, and the singing of", "assemblies. At that hour the sound of a fiddle in process of tuning was\nheard from the inner pantry.", "songs went forward with great spirit throughout the evening. The\npropriety of every one was intense by reason of the influence of Fancy,\nwho, as an additional precaution in this direction, had strictly charged", "general, seem to be getting gradually plastered up; when the very\nfiddlers as well as the dancers get red in the face, the dancers having", "fiddling might even stop at this supreme moment; which prompted him to\nconvey a stealthy whisper to the far-gone musicians, to the effect that", "\"True; why, they were every note as loud as we, fiddles and all, if not\nlouder!\"\n\n\"Fiddles and all!\" echoed Bowman bitterly.", "light was still burning in the bedroom, and though the blind was down,\nthe window had been slightly opened, as if to admit the distant notes of\nthe carollers to the ears of the occupant of the room.", "invite the youthful leader of the culprits to the small party it was\ncustomary with them to have on Christmas night--a piece of knowledge\nwhich had given a particular brightness to Dick's reflections since he", "against it. The musicians being now in sight, the youthful party\nscampered off and rattled up the old wooden stairs of the gallery like a", "were not singers, and a pupil-teacher), but were scattered about with\ntheir wives in different parts of the church. Having nothing to do with", "But before they had taken their places, and whilst they were standing in\na circle at the back of the gallery practising a psalm or two, Dick cast" ] ]

[ "Which holiday season is being celebrated at the start of the story?", "What change does the new vicar want to make at church?", "Why did Ms. Day accept the vicar's proposal?", "What does Maybold think will happen if Fancy tells Dick that she agreed to marry another man?", "Why didn't Maybold know Fancy was already engaged before he proposed to her?", "When did William's grandson become romantically interested in the school mistress?", "How many men were interested in Fancy?", "What choir is Dick Dewy part of?", "Which members of Dick's family are also on the choir?", "What kind of farmer fell in love with Fancy?", "What is Fancy good at? ", "How did Maybold convince Fancy to withdraw her engagement to Dick?", "What was Fancy being pretty honest about?", "Who did Fancy get married to?", "What kind of life would have Fancy gotten by marrying Maybold?", "What occasion was portrayed by the end of the story?", "How long did it take for Dick to fall in love with Fancy?", "What does Mr. Maybold inform the choir?", "What happens when the band and choir visit Mr. Maybold to negotiate?", "What happens during the off chance meeting between Dick and Mr. Maybold?", "What happens shortly after Fancy and Dick are secretly enganged?", "How does Fancy respond to the letter from Mr. Maybold?", "What secret does Fancy keep from Dick?", "When does Dick initially fall for Fancy?", "Who are the other suitors that have become interested in Fancy?", "What are the fiddlers and singers doing on Christmas Eve?" ]

[ [ "Christmas", "Christmas Eve" ], [ "replace the choir's traditional musical accompaniment with a more modern organ", "He wants Fancy as organist to replace the traditional music provided by the choir." ], [ "she was tempted by the prospect of living an affluent life", "Greed" ], [ "Fancy would be forgiven", "That she will be forgiven" ], [ "Dick and Fancy were engaged in secret", "They were secretly engaged" ], [ "as soon as he saw her", "Caroling on Christmas Eve" ], [ "3", "3" ], [ "The Mellstock parish choir.", "Mellstock parish" ], [ "His dad and grandfather", "His father and grandfather" ], [ "A rich one.", "a rich one" ], [ "Playing the organ.", "Playing the organ" ], [ "By writing a letter to her.", "He wrote her a letter and tried to get her to break her engagement to Dick, but instead she broke her engagement to Maybold." ], [ "Her infidelities.", "accepting the vicar" ], [ "Dick Dewy", "Dewy" ], [ "One of relative affluence.", "a comfortable, affluent one" ], [ "Fancy and Dick's wedding.", "DIck and Fancys wedding" ], [ "It was love at first sight.", "at first sight" ], [ "That Fancy will be replacing the traditional music during Sunday service.", "He wants Fancy to play the organ for services" ], [ "They reluctantly accept the change of Fancy's newer style organ music.", "They concede to the playing of the organ" ], [ "Mr. Maybold finds out of the secret engagement between Dick and Fancy.", "Dick tells Mr. Maybold of his engagement to Fancy" ], [ "Mr. Maybold ends up proposing to Fancy, who accepts.", "She agrees to marry Vicar Maybold" ], [ "She responds by withdrawing her engagement from Mr. Maybold and asks that her initial acceptance be kept a secret.", "rufuses to marry Maybold" ], [ "She keeps the secret of accepting Mr. Maybold's offer to marry.", "That she agreed to marry Vicar Maybold" ], [ "When the band that Fancy is part of is playing at the schoolhouse.", "While caroling on Christmas Eve" ], [ "A vicar at the parish church and a rich farmer.", "Mr. Maybold and a rich farmer" ], [ "The band is in Melstock village making the rounds.", "making rounds" ] ]

[ [ "American genius of science. These men and a few others had examined with\nthe utmost care the engines of war, the flying machines, the generators\nof mysterious destructive forces that the Martians had produced, with", "in Washington that the problem of how to conquer the Martians had\nbeen solved. The means were plainly at hand. It only remained to apply\nthem. For this purpose, as the President had pointed out, it would be", "Now, rumor declared that Mr. Edison had invented and perfected a flying\nmachine much more complete and manageable than those of the Martians", "They possessed a mysterious explosive, of unimaginable puissance, with\nwhose aid they set their car in motion for Mars from a point in Bergen\nCounty, N. J., just back of the Palisades.", "\"Hurrah!\" cried one of the onlookers. \"We have met the Martians and\nthey are ours.\"\n\nSuch in brief was the first of the contrivances which Mr. Edison invented\nfor the approaching war with Mars.", "\"But all these speculations,\" broke in Mr. Edison, \"do not help you\nmuch. Why not begin in a practical manner by finding out what the Martian\ncalls himself, for instance.\"", "\"No need of staking claims here,\" remarked another. \"There is enough\nfor everybody.\"\n\nMr. Edison suddenly turned the current of talk.\n\n\"What do you suppose those Martians were doing here?\"", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "And Mr. Edison was right. With gradually accelerated velocity, and yet\nvery, very slowly in comparison with the speed they would have exhibited\nin falling upon such a planet as the earth, the Martians and their car\ncame down to the ground.", "experts in mathematical astronomy. But it was not Mr. Edison's intention\nto go direct to Mars. With the exception of the first electrical ship,", "On the model of the celebrated corps of literary and scientific men\nwhich Napoleon carried with him in his invasion of Egypt, Mr. Edison\nselected a company of the foremost astronomers, archaeologists,", "Lord Kelvin was particularly interested, and while Mr. Edison was\nhastening preparations to quit the asteroid and resume our voyage to Mars,\nLord Kelvin and a number of other scientific men instituted a series of\nremarkable experiments.", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "But several of us, with Mr. Edison, stood fast, watching\nfor an opportunity to get the Martians within range of the", "like those of Mr. Edison and engines of destruction comparable with our\ndisintegrators. This failure was simply due to the fact that on Mars\nthere did not exist the peculiar metals by the combination of which", "He confirmed our opinion that certain of the works which we saw beneath\nus were fortifications, intended for the protection of the planet against\ninvaders from outer space. A cunning and almost diabolical look came\ninto his eyes as he pointed to one of these strongholds.", "\"I cannot understand why the Martians did not invent these things. They\nhave given ample proof that they understand electricity better than\nwe do. Why should they have resorted to the comparatively awkward and", "Satisfied that the Martian was safely bound, we left him where he\nlay, and, while awaiting news from the ships which had been sent to\nreconnoitre, continued the exploration of the little planet.", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "After our first encounter with the Martians on the asteroid, where, as\nI have related, some metal which was included in their dress resisted" ], [ "\"Hurrah!\" cried one of the onlookers. \"We have met the Martians and\nthey are ours.\"\n\nSuch in brief was the first of the contrivances which Mr. Edison invented\nfor the approaching war with Mars.", "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "Now, rumor declared that Mr. Edison had invented and perfected a flying\nmachine much more complete and manageable than those of the Martians", "But several of us, with Mr. Edison, stood fast, watching\nfor an opportunity to get the Martians within range of the", "made ready for battle there. A number of disintegrators were trained\nupon the approaching Martians, but Mr. Edison gave strict orders that\nno attempt should be made to discharge the vibratory force at random.", "like those of Mr. Edison and engines of destruction comparable with our\ndisintegrators. This failure was simply due to the fact that on Mars\nthere did not exist the peculiar metals by the combination of which", "and thus we swept the Martians into eternity, while Mr. Edison coolly\ncontinued his manipulations of the wheel.", "During the brief war with the Martians upon the earth it had been\ngunpowder against a mysterious force as much stronger than gunpowder as\nthe latter was superior to the bows and arrows that preceded it.", "\"No need of staking claims here,\" remarked another. \"There is enough\nfor everybody.\"\n\nMr. Edison suddenly turned the current of talk.\n\n\"What do you suppose those Martians were doing here?\"", "And Mr. Edison was right. With gradually accelerated velocity, and yet\nvery, very slowly in comparison with the speed they would have exhibited\nin falling upon such a planet as the earth, the Martians and their car\ncame down to the ground.", "American genius of science. These men and a few others had examined with\nthe utmost care the engines of war, the flying machines, the generators\nof mysterious destructive forces that the Martians had produced, with", "and darted with astonishing velocity straight into the upturned face of\nthe Martian. It burst as it touched and the monster fell back senseless\nupon the ground.", "had so often busied itself. When Mr. Edison and I had paid our previous\nvisit to the moon on the first experimental trip of the electrical ship,", "\"I cannot understand why the Martians did not invent these things. They\nhave given ample proof that they understand electricity better than\nwe do. Why should they have resorted to the comparatively awkward and", "This manoeuvre was executed so quickly that the Martians were unable\nto deal us a blow before we were poised above them in such a position\nthat they could not easily reach us. Still they did not mean to give up\nthe conflict.", "through space and safely land upon the surface of another planet, Mr.\nEdison's immediate purpose was fulfilled, and we hastened back to the\nearth, employing in leaving the moon and landing again upon our own planet", "occasionally revealing a glimpse of the electric lights on the planet,\nalthough it was evident that the vibratory currents did not reach the\nground. The Martians immediately replied to this renewed attack, and", "Then, too, our electrical ships were far more effective for their purpose\nthan the projectile cars used by the Martians. In fact, the principle", "\"But all these speculations,\" broke in Mr. Edison, \"do not help you\nmuch. Why not begin in a practical manner by finding out what the Martian\ncalls himself, for instance.\"" ], [ "Aina Tells Her Story.\n\nThe girl resumed her narrative:", "One of the first bits of information which the Professor had given out\nwas the name of the girl.\n\n\nWe Learn Her Name.\n\nIt was Aina (pronounced Ah-ee-na).", "Both by her own request and because we could not help feeling that her\nknowledge of the locality would be indispensable to us, Aina was also\nincluded in our party, but not, of course, as a fighting member of it.", "Suddenly one of the gigantic guards, as if actuated by a fit of\nungovernable hatred, lifted his foot and kicked Aina. With a loud shriek,\nshe fell to the floor.", "Now that the struggle was over we turned our attention to\nAina. Fortunately the girl had not been seriously injured and she was\nquickly restored to consciousness. Had she been killed, we would have", "what he had said, for Aina's eyes were fixed upon him. Perhaps, however,\nshe did not understand his remark, and perhaps if she did it gave her\nno offence.", "There he remained in a hopelessness which almost compelled our sympathy,\nuntil Aina had so far recovered that she was once more able to act\nas our interpreter. Then we made short work of the negotiations.\nSpeaking through Aina, the commander said:", "\"How, then, did you escape?\" asked the Heidelberg Professor.\n\nAina seemed unable to speak for a while. Finally mastering her emotion,\nshe replied:\n\n\nHer Fortunate Escape.", "But for her swaying and the wild motions of her arms, we should have\nmistaken her for a marble statue.\n\nAina, who happened to be looking, instantly exclaimed:", "\"Where,\" he said, turning to Aina, \"is the handle by turning which you\nsaw the Martian close the gates?\"", "\"Come softly this way, and look out for the sentinel,\" replied Aina.\n\nGripping our disintegrators firmly, and screwing up our courage, with\nnoiseless steps we followed the girl among the shadows of the trees.", "\"By ----!\" muttered Colonel Smith, \"that was the fellow we blew into\nnothing! Blast him, he got off too easy!\"\n\nThe remainder of Aina's story may be briefly told.", "A Parley with the Enemy.\n\n\"Let us take Aina with us,\" I suggested, \"and since she can speak the\nlanguage of the Martians we shall probably have no difficulty in arriving\nat an understanding.\"", "Does Aina Hold the Secret?", "toward the brute who had kicked Aina, as if he intended to throttle him,\ncolossus as he was.", "Aina assured us that on the occasion of her former visit to the power\nhouse there had been but two sentinels on guard at the entrance. At the", "Aina's Wonderful Story.\n\nThe Martians' Beautiful Prisoner Recounts Her Marvellous\nAdventures.\n\nAina resumed her story.", "apartment. Directly facing her were the interpreters, and the rest of\nus, all with ears intent and eyes focused upon Aina, stood in a double\nrow behind them.", "\"With the melting of these snows,\" continued Aina, \"a rapid rise in the\nlevel of the water in the southern oceans occurs. On the side facing", "upon the land. In the centre of this elevation rose a palatial structure\nof red metal which Aina informed us was one of the residences of the" ], [ "be? Gentlemen, it is Egypt! These mountains of rock that the Martians\nhave erected, what are they? Gentlemen, they are the great mystery of the", "The Martians Were the Builders of the Great Sphinx and the\nPyramids.", "He confirmed our opinion that certain of the works which we saw beneath\nus were fortifications, intended for the protection of the planet against\ninvaders from outer space. A cunning and almost diabolical look came\ninto his eyes as he pointed to one of these strongholds.", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "Yet all had not been destroyed, because all had not been reached by\nthe withering hand of the destroyer. The Martians had not had time to", "the Martians have fortified it strongly on all sides, and have even\nsurrounded it and covered it overhead with a great electrical network,\nto touch which would be instant death.\"", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "\"I cannot understand why the Martians did not invent these things. They\nhave given ample proof that they understand electricity better than\nwe do. Why should they have resorted to the comparatively awkward and", "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles", "distance from the surface of Mars did not exceed 12,500 miles, and we had\nreason to believe that Martians possessed telescopes powerful enough to\nenable them not merely to see the electrical ships at such a distance,", "At a point nearly opposite to that where we had landed we came upon\nthe mine which the Martians had been working. They had removed the thin", "The fleet was, accordingly, concentrated, and we rapidly approached the\ngreat Martian palace. As we came down within a hundred feet of them and", "When we had arrived within a distance of three miles from the surface of\nMars we suddenly perceived approaching from the eastward a large airship\nwhich was navigating the Martian atmosphere at a height of perhaps half\na mile above the ground.", "our motions. As he pointed out, the war machines which the Martians had\nemployed in their invasion of the earth, were really very awkward and", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "American genius of science. These men and a few others had examined with\nthe utmost care the engines of war, the flying machines, the generators\nof mysterious destructive forces that the Martians had produced, with", "The Great Smoke Cloud.\n\nOur Warriors Find the Martians to Be Foes Worth Fearing.\n\nThe eyes of man had never beheld such a spectacle!", "The airships of the Martians were destroyed by the score, but yet they\nflocked upon us thicker and faster.", "After our first encounter with the Martians on the asteroid, where, as\nI have related, some metal which was included in their dress resisted", "Indeed, looking out behind the electrical ship which had brought us the\nwarning, we immediately saw the projectile of the Martians approaching. It\nsparkled like a star in the black sky as the sunlight fell upon it." ], [ "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "\"Hurrah!\" cried one of the onlookers. \"We have met the Martians and\nthey are ours.\"\n\nSuch in brief was the first of the contrivances which Mr. Edison invented\nfor the approaching war with Mars.", "A Parley with the Enemy.\n\n\"Let us take Aina with us,\" I suggested, \"and since she can speak the\nlanguage of the Martians we shall probably have no difficulty in arriving\nat an understanding.\"", "Destroying The Martians.\n\nWith Aina's Aid Our Warriors Prepare an Awful Revenge on the Enemy.", "could do. Much, however, could be learned with the aid of Aina from the\nMartians, now crowded on the land about the palace.", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "Now, rumor declared that Mr. Edison had invented and perfected a flying\nmachine much more complete and manageable than those of the Martians", "And Mr. Edison was right. With gradually accelerated velocity, and yet\nvery, very slowly in comparison with the speed they would have exhibited\nin falling upon such a planet as the earth, the Martians and their car\ncame down to the ground.", "in Washington that the problem of how to conquer the Martians had\nbeen solved. The means were plainly at hand. It only remained to apply\nthem. For this purpose, as the President had pointed out, it would be", "\"Sweep the discharge across the three,\" I exclaimed. \"Otherwise there\nwill be one left and before we can fire again he will crush us.\"\n\n\nThe Martians Are Killed.", "and thus we swept the Martians into eternity, while Mr. Edison coolly\ncontinued his manipulations of the wheel.", "\"No need of staking claims here,\" remarked another. \"There is enough\nfor everybody.\"\n\nMr. Edison suddenly turned the current of talk.\n\n\"What do you suppose those Martians were doing here?\"", "and darted with astonishing velocity straight into the upturned face of\nthe Martian. It burst as it touched and the monster fell back senseless\nupon the ground.", "Aina's Wonderful Story.\n\nThe Martians' Beautiful Prisoner Recounts Her Marvellous\nAdventures.\n\nAina resumed her story.", "\"But all these speculations,\" broke in Mr. Edison, \"do not help you\nmuch. Why not begin in a practical manner by finding out what the Martian\ncalls himself, for instance.\"", "But several of us, with Mr. Edison, stood fast, watching\nfor an opportunity to get the Martians within range of the", "Then, too, our electrical ships were far more effective for their purpose\nthan the projectile cars used by the Martians. In fact, the principle", "It was a curious scene when the momentous interview which was to\ndetermine our fate and that of Mars began. Aina had been warned of what", "us. It had been evident from the moment that we entered the palace that\nAina was regarded with aversion by all of the Martians. Even the women", "like those of Mr. Edison and engines of destruction comparable with our\ndisintegrators. This failure was simply due to the fact that on Mars\nthere did not exist the peculiar metals by the combination of which" ], [ "in Washington that the problem of how to conquer the Martians had\nbeen solved. The means were plainly at hand. It only remained to apply\nthem. For this purpose, as the President had pointed out, it would be", "American genius of science. These men and a few others had examined with\nthe utmost care the engines of war, the flying machines, the generators\nof mysterious destructive forces that the Martians had produced, with", "\"Hurrah!\" cried one of the onlookers. \"We have met the Martians and\nthey are ours.\"\n\nSuch in brief was the first of the contrivances which Mr. Edison invented\nfor the approaching war with Mars.", "The glad news was quickly circulated throughout the civilized\nworld. Luckily the Atlantic cables had not been destroyed by the Martians,\nso that communication between the Eastern and Western continents was", "uninterrupted. It was a proud day for America. Even while the Martians\nhad been upon the earth, carrying everything before them, demonstrating\nto the confusion of the most optimistic that there was no possibility", "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "The Great Smoke Cloud.\n\nOur Warriors Find the Martians to Be Foes Worth Fearing.\n\nThe eyes of man had never beheld such a spectacle!", "The President then proceeded to call the other nations, beginning with\nAustria-Hungary and ending with Zanzibar, whose Sultan, Hamoud bin", "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "He confirmed our opinion that certain of the works which we saw beneath\nus were fortifications, intended for the protection of the planet against\ninvaders from outer space. A cunning and almost diabolical look came\ninto his eyes as he pointed to one of these strongholds.", "Surprised by the Enemy.\n\nAt this instant, a startling shout fell upon our ears. There was\na thunderous clatter behind us, and, turning, we saw three gigantic\nMartians rushing forward.", "\"Sweep the discharge across the three,\" I exclaimed. \"Otherwise there\nwill be one left and before we can fire again he will crush us.\"\n\n\nThe Martians Are Killed.", "the earth had assembled, which produced an ineradicable impression. The\nPresident of the United States, of course, presided. Representatives\nof the greater powers occupied the front seats, and some of them were", "our motions. As he pointed out, the war machines which the Martians had\nemployed in their invasion of the earth, were really very awkward and", "Now, rumor declared that Mr. Edison had invented and perfected a flying\nmachine much more complete and manageable than those of the Martians", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "We stood on our guard, several carrying disintegrators in our hands,\nwhile a score more of these terrible engines were turned upon the Martians\nfrom the electrical ships which hovered near.\n\n\nA Speech from Their Leader.", "\"No need of staking claims here,\" remarked another. \"There is enough\nfor everybody.\"\n\nMr. Edison suddenly turned the current of talk.\n\n\"What do you suppose those Martians were doing here?\"", "The Enemy Vanquished.\n\nThe Martians Succumb at Last, and Are at Our Mercy." ], [ "\"Signal them to move on,\" said Mr. Edison.\n\n\nThe Battle Commences.\n\nThe signal was given, and the circle of electrical ships closed in upon\nthe asteroid.", "\"Hurrah!\" cried one of the onlookers. \"We have met the Martians and\nthey are ours.\"\n\nSuch in brief was the first of the contrivances which Mr. Edison invented\nfor the approaching war with Mars.", "\"Give me carte blanche,\" replied Mr. Edison, \"and I believe I can have\na hundred electric ships and three thousand disintegrators ready within\nsix months.\"\n\nA tremendous cheer greeted this announcement.", "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "\"Let them come,\" was the almost joyous cry. \"We shall be ready for\nthem now. The Americans have solved the problem. Edison has placed\nthe means of victory within our power.\"", "Now, rumor declared that Mr. Edison had invented and perfected a flying\nmachine much more complete and manageable than those of the Martians", "Then, too, our electrical ships were far more effective for their purpose\nthan the projectile cars used by the Martians. In fact, the principle", "Xerxes, and like them, take refuge upon our ships--these new ships of\nspace, with which American inventiveness has furnished us.\"", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "This enthusiasm would have had but little justification had Mr. Edison\ndone nothing more than invent a machine which could navigate the\natmosphere and the regions of interplanetary space.", "\"Ah, that's their trick, is it?\" said Mr. Edison. \"We must look out for\nthat. Whenever you see one of the airships beginning to stick its nose\nup after that fashion blaze away at it.\"", "Mr. Edison himself poised one of the new disintegrators, which was too\nlarge to be carried in the hand, and, following the direction indicated\nby the calculations of the astronomers, launched the vibratory discharge", "like those of Mr. Edison and engines of destruction comparable with our\ndisintegrators. This failure was simply due to the fact that on Mars\nthere did not exist the peculiar metals by the combination of which", "be insignificant. The electrical ships and the vibration engines must be\nconstructed by scores and thousands. Only Mr. Edison's immense resources\nand unrivaled equipment had enabled him to make the models whose powers", "had so often busied itself. When Mr. Edison and I had paid our previous\nvisit to the moon on the first experimental trip of the electrical ship,", "and nitrogen might be obtained for our consumption during the flight\nthrough space, Mr. Edison touched a polished button, thus causing the\ngeneration of the required electrical charge on the exterior of the car,", "unmanageable affairs. Mr. Edison's electrical ships, on the other hand,\nwere marvels of speed and of manageability. They could dart about, turn,", "It was an inauspicious beginning for us. Two of our electrical ships,\nwith their entire crews, had been wiped out of existence, and this\nappalling blow had been dealt by a few stranded and disabled enemies\nfloating on an asteroid.", "the ships. Mr. Edison was compelled, from lack of room, to refuse\ntransportation to more than one in a thousand of those who now, on the", "With his expert assistants Mr. Edison set to work at once to transform\na number of the disintegrators into still more formidable engines of" ], [ "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles", "The Martians had nearly all perished, not through our puny efforts, but\nin consequence of disease, and the few survivors fled in one of their\nprojectile cars, inflicting their cruelest blow in the act of departure.", "The Martians Submit.", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "This manoeuvre was executed so quickly that the Martians were unable\nto deal us a blow before we were poised above them in such a position\nthat they could not easily reach us. Still they did not mean to give up\nthe conflict.", "occasionally revealing a glimpse of the electric lights on the planet,\nalthough it was evident that the vibratory currents did not reach the\nground. The Martians immediately replied to this renewed attack, and", "The Great Smoke Cloud.\n\nOur Warriors Find the Martians to Be Foes Worth Fearing.\n\nThe eyes of man had never beheld such a spectacle!", "It was the reply of the Martians to our attack.\n\n\nDevastating Our Army.", "To overcome the destructive forces employed by the Martians no\nsatisfactory plan had yet been devised, because there was no means to\nexperiment with them. The production of those forces was still the secret", "our motions. As he pointed out, the war machines which the Martians had\nemployed in their invasion of the earth, were really very awkward and", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "flashing upon the red surface of the Planet of War. These mysterious\nappearances could only be interpreted in the light of past experience to\nmean that the Martians were preparing for another invasion of the earth,", "had acquired an experience which made it a most dangerous foe. On both\nsides there was desperation. The earth was desperate because it foresaw\ndestruction unless it could first destroy its enemy. Mars was desperate", "The Martians Are Desperate.", "Yet all had not been destroyed, because all had not been reached by\nthe withering hand of the destroyer. The Martians had not had time to", "After our first encounter with the Martians on the asteroid, where, as\nI have related, some metal which was included in their dress resisted", "of Mars have perished in the deluge. Even if all the others survived\nages would elapse before they could regain the power to injure us.\"", "for the invasion of the earth. If the Martians had set out to attack\nus they had evidently gone astray; or, perhaps, it was some other world\nthat they were aiming at this time.", "The Martians Recognize Us.", "A Terrible Encounter.\n\nThe Martians and Our Warriors Fight a Battle to the Death." ], [ "After our first encounter with the Martians on the asteroid, where, as\nI have related, some metal which was included in their dress resisted", "The latter were not moving with great velocity, having evidently projected\nthemselves from Mars with only just sufficient force to throw them within\nthe feeble sphere of gravitation of the asteroid, so that they should\nvery gently land upon its surface.", "\"And this,\" I said, \"must be their harvest time. You notice that this\nasteroid, being several million miles nearer to the sun than Mars is,", "The Asteroid.\n\n\"It is an asteroid,\" said somebody.\n\n\"Yes, evidently; but how does it come inside the orbit of Mars?\"", "\"With their projectile cars sent forth with the aid of the mysterious\nexplosives which they possess, it is easy for them under such\ncircumstances, to make visits to the asteroid.\"", "This hint was instantly acted upon. Something that would serve for a\nspade was seized by one of the men, and in a few minutes a hole had been\ndug in the comparatively light soil of the asteroid.", "ships. They depend simply upon the force of gravitation. Having passed\nthe limit of the attraction of Mars, they have now fallen within the\nattraction of the asteroid, and they must slowly sink to its surface.\"", "The Martian's Treasure Box.\n\nWith some difficulty we succeeded in opening the box and in it there\nappeared a number of bright red pellets, as large as an ordinary egg.", "Before quitting the asteroid we had found that it was necessary for\nhim to swallow one of his \"air pills,\" as Prof. Moissan called them, at", "For these experiments there was nothing more convenient or abundant\nthan chunks of gold from the Martians' mine. These, accordingly, were", "the asteroids. In his opinion, this planet might have contained a\nlarge quantity of gold, and in the course of ages the gold, having,\nin consequence of its superior atomic weight, not being so widely", "Discovery That the Asteroid is a Solid Mass of Gold.", "In the meantime the other electrical ships approached, and several of\nthem made a landing upon the asteroid. Everybody was eager to see this\nwonderful little world, which, as I have already remarked, was only five\nmiles in diameter.", "I have related how even before we had reached the asteroid, Mars began to\npresent a most imposing appearance as we saw it with our telescopes. Now,", "of that expedition since. We know that it did not reach the earth. It\nmust have fallen foul of this asteroid, run upon this rock in the ocean\nof space and been wrecked here.\"", "this store of wealth floating in the firmament. That would account for\nthe battle with the supposed pirates, who, no doubt, had organized a\nsecret expedition to the asteroid and been caught red-handed at the mine.", "Judging by the test of weight which we had already tried, and which had\nled to the discovery of the gold, the composition of the asteroid must\nbe the same to its very centre.\n\n\nAn Incredible Phenomenon.", "But it had appeared a sufficient reply to this suggestion that the moons\nof Mars are both insignificant bodies, not much larger than the asteroid", "It had been expected, the reader will remember, that the Martian whom we\nhad made prisoner on the asteroid, might be of use to us in a similar way,", "\"Phew! Won't we be rich?\" exclaimed a voice.\n\n\"How are we going to dig it and get it back to earth?\" asked another.\n\n\"Carry it in your pockets,\" said one." ], [ "But, at any rate, the acquisition was so considerable as to allow of\nthe interchange of ordinary ideas with our prisoner, and there was no\nlonger any doubt that he would be able to give us much information when\nwe landed on his native planet.", "Meanwhile we had a plenty of occupation to make the time pass quickly. Our\nprisoner was transported along with us, and we now began our attempts to\nascertain what his language was, and, if possible, to master it ourselves.", "As had been expected, our prisoner now proved to be of very great\nassistance to us. Apparently he took a certain pride in exhibiting to\nstrangers from a distant world the beauties and wonders of his own planet.", "The Prisoner Teaches.\n\nIn fact, in a very short time he had turned teacher and all these learned\nmen, pressing around him with eager attention, had become his pupils.", "he will respect us. This change in his mental attitude may tend to make\nhim communicative. I do not see why we should despair of learning his\nlanguage from him, and having done that, he will serve as our guide and", "expedition were again called into use for the purpose of acquiring a\nnew language. The experiment was conducted in the flagship. The fact\nthat this time it was not a monster belonging to an utterly alien race", "It had been expected, the reader will remember, that the Martian whom we\nhad made prisoner on the asteroid, might be of use to us in a similar way,", "The startling truth burst upon the minds of all. Here upon this little\nplanetoid were several of the gigantic inhabitants of the world that we", "When we first saw them their appearance was most forlorn, and their\nattitudes indicated only despair and desperation, but as they caught sight\nof us their malign power of intellect instantly penetrated the mystery,\nand they recognized us for what we were.", "If our prisoner had been a stupid savage, of course any such attempt\nas this to make him understand would have been idle. But it must be", "Finally, one day the prisoner, who seemed to be in an unusually cheerful\nframe of mind, indicated that he carried in his breast some object which\nhe wished us to see.\n\n\nThe Martian's Book.", "the language of our prisoner, and the progress that they made in the\ncourse of the next few days was truly astonishing. If the prisoner had\nbeen unwilling to aid them, of course, it would have been impossible", "of a few days we had actually succeeded in learning a dozen or more\nof the Martian's words and were able to make him understand us when we\npronounced them, as well as to understand him when our ears had become", "could do. Much, however, could be learned with the aid of Aina from the\nMartians, now crowded on the land about the palace.", "A shout arose from the Martians, but they were too much astounded at\nwhat had occurred to make any hostile demonstrations, and, anyhow,\nthey knew well that they were completely at our mercy.", "Something Learned About Them.", "\"Therefore, to a certain extent they will be at our mercy. Let us allow\nthem quietly to land upon the planet, and then I think, if it becomes\nnecessary, we can master them.\"", "When the Martian saw these in our hands he gave us to understand by\nthe motion of his lips that he wished to swallow one of them. A pellet\nwas accordingly placed in his mouth, and he instantly and with great\neagerness swallowed it.", "It is impossible for me to describe the appearance of this creature\nin terms that would be readily understood. Was he like a man? Yes and\nno. He possessed many human characteristics, but they were exaggerated and", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet." ], [ "The Deluge On Mars.\n\nHow the Martians Met Their Doom Through Aina's Plans.", "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "The stroke that we had dealt was taken by several of the electrical\nships as a signal for a common assault, and we saw two of the Martians\nfall beside the ruin of their engine, their heads having been blown from\ntheir bodies.", "\"Hurrah!\" cried one of the onlookers. \"We have met the Martians and\nthey are ours.\"\n\nSuch in brief was the first of the contrivances which Mr. Edison invented\nfor the approaching war with Mars.", "Destroying The Martians.\n\nWith Aina's Aid Our Warriors Prepare an Awful Revenge on the Enemy.", "And now the Martians saw that the contest was hopeless for them, and\ntheir mad struggle to get out of the range of the disintegrators and\nto escape from the death chamber was more appalling to look upon than\nanything that had yet occurred.", "Now, rumor declared that Mr. Edison had invented and perfected a flying\nmachine much more complete and manageable than those of the Martians", "Aina Attacked by a Martian.", "The airships of the Martians were destroyed by the score, but yet they\nflocked upon us thicker and faster.", "of the flagship. Before anybody could interfere he had sighted and\ndischarged it. The entire force of the terrible engine, almost capable\nof destroying a fort, fell upon the Martian Emperor, and not merely blew", "and darted with astonishing velocity straight into the upturned face of\nthe Martian. It burst as it touched and the monster fell back senseless\nupon the ground.", "Several of our men cried out to Mr. Edison in an extremity of terror:\n\n\"Why do you not destroy them? Be quick, or we shall all perish.\"", "Through the breach we saw the Martians inside making desperate efforts\nto train their engine upon us, for after their first disastrous stroke", "Yet all had not been destroyed, because all had not been reached by\nthe withering hand of the destroyer. The Martians had not had time to", "\"Sweep the discharge across the three,\" I exclaimed. \"Otherwise there\nwill be one left and before we can fire again he will crush us.\"\n\n\nThe Martians Are Killed.", "And Mr. Edison was right. With gradually accelerated velocity, and yet\nvery, very slowly in comparison with the speed they would have exhibited\nin falling upon such a planet as the earth, the Martians and their car\ncame down to the ground.", "made ready for battle there. A number of disintegrators were trained\nupon the approaching Martians, but Mr. Edison gave strict orders that\nno attempt should be made to discharge the vibratory force at random.", "us. It had been evident from the moment that we entered the palace that\nAina was regarded with aversion by all of the Martians. Even the women", "occasionally revealing a glimpse of the electric lights on the planet,\nalthough it was evident that the vibratory currents did not reach the\nground. The Martians immediately replied to this renewed attack, and" ], [ "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles", "in Washington that the problem of how to conquer the Martians had\nbeen solved. The means were plainly at hand. It only remained to apply\nthem. For this purpose, as the President had pointed out, it would be", "flashing upon the red surface of the Planet of War. These mysterious\nappearances could only be interpreted in the light of past experience to\nmean that the Martians were preparing for another invasion of the earth,", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "had acquired an experience which made it a most dangerous foe. On both\nsides there was desperation. The earth was desperate because it foresaw\ndestruction unless it could first destroy its enemy. Mars was desperate", "So we boldly quitted the little satellite with our entire squadron and\nonce more rapidly approached the red planet of war. This time it was\nto be a death grapple and our chances of victory still seemed good.", "Although time pressed, for we knew that the safety of the earth depended\nupon our promptness in attacking Mars, yet it was determined to remain", "for the invasion of the earth. If the Martians had set out to attack\nus they had evidently gone astray; or, perhaps, it was some other world\nthat they were aiming at this time.", "He confirmed our opinion that certain of the works which we saw beneath\nus were fortifications, intended for the protection of the planet against\ninvaders from outer space. A cunning and almost diabolical look came\ninto his eyes as he pointed to one of these strongholds.", "After our first encounter with the Martians on the asteroid, where, as\nI have related, some metal which was included in their dress resisted", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "without provocation on our part the people--the monsters, I should\nrather say--of Mars, recently came down upon the earth, attacked us\nin our homes and spread desolation around them. Having the advantage", "The Great Smoke Cloud.\n\nOur Warriors Find the Martians to Be Foes Worth Fearing.\n\nThe eyes of man had never beheld such a spectacle!", "Finally, after about a week had passed, the Martians evidently made up\ntheir minds that they had annihilated us, and that there was no longer", "occasionally revealing a glimpse of the electric lights on the planet,\nalthough it was evident that the vibratory currents did not reach the\nground. The Martians immediately replied to this renewed attack, and", "The Martians Returning.", "us from the observatories, that the Martians were undoubtedly preparing\nfor a second invasion of our planet. Against this we should have had no", "language and have heard her story. Let us next ascertain whether\nshe cannot place in our hands some key which will place Mars at our\nmercy. Remember what we came here for, and remember that the earth", "\"This will induce the Martians to believe that we are determined to\npress our attack at this point.\"", "Surprised by the Enemy.\n\nAt this instant, a startling shout fell upon our ears. There was\na thunderous clatter behind us, and, turning, we saw three gigantic\nMartians rushing forward." ], [ "When Tom had placed the instrument in his hands Mr. Edison ordered the\nelectrical ship to forge slightly ahead and drop a little lower toward", "unmanageable affairs. Mr. Edison's electrical ships, on the other hand,\nwere marvels of speed and of manageability. They could dart about, turn,", "\"Move on,\" said Mr. Edison sternly, his features set with determination\nand his eyes afire. \"We are still beyond their effective range. Let us\nget closer in order to make sure work when we strike.\"", "Mr. Edison, happening to come upon the deck of the ship at this time,\nand seeing what we were about, at once said:", "\"Give me carte blanche,\" replied Mr. Edison, \"and I believe I can have\na hundred electric ships and three thousand disintegrators ready within\nsix months.\"\n\nA tremendous cheer greeted this announcement.", "\"We've got 'em, then,\" shouted our electric steersman, who had been\na workman in Mr. Edison's laboratory and had unlimited confidence in\nhis chief.\n\n\nPreparing to Land.", "the ships. Mr. Edison was compelled, from lack of room, to refuse\ntransportation to more than one in a thousand of those who now, on the", "the Prince of Wales, ventured to take a ride in it, and they enjoyed it\nso much that Mr. Edison prolonged the journey as far as Boston and the\nBunker Hill monument.", "Mr. Edison determined to stop only long enough to test the electrical\nmachinery of the cars, which had been more or less seriously deranged", "In a short time the two fleets had joined, and Colonel Smith and I\nimmediately transferred ourselves to the flagship.\n\n\"Well, what have you done?\" asked Mr. Edison, while others crowded around\nwith eager attention.", "\"Ah, that's their trick, is it?\" said Mr. Edison. \"We must look out for\nthat. Whenever you see one of the airships beginning to stick its nose\nup after that fashion blaze away at it.\"", "These little machines being rapidly manufactured, for Mr. Edison had a\nminiature laboratory aboard, were distributed about the squadron, and\nhenceforth we had the pleasure of paying and receiving visits among the\nvarious members of the fleet.", "At first Mr. Edison contemplated sending the various ships in different\ndirections around the planet in order that the work of exploration might\nbe quickly accomplished. But upon second thought it seemed wiser to keep\nthe squadron together, thus diminishing the chance of disaster.", "Several of our men cried out to Mr. Edison in an extremity of terror:\n\n\"Why do you not destroy them? Be quick, or we shall all perish.\"", "The ship was cautiously lowered through the opening and brought to rest\namong the upper branches of one of the tallest trees. Colonel Smith,\nMr. Phillips, Mr. Edison and myself at once clambered out upon a strong\nlimb.", "With his expert assistants Mr. Edison set to work at once to transform\na number of the disintegrators into still more formidable engines of", "When actual experiment had thus demonstrated the practicability of\nthe invention, Mr. Edison no longer withheld the news of what he had", "After two or three days all the preparations having been completed,\nthe signal was given for our departure. The men of science were still\nunwilling to leave this strange world, but Mr. Edison decided that we\ncould linger no longer.", "quitting the interior of the electrical ships, Mr. Edison had provided for\nthis emergency by inventing an air-tight dress constructed somewhat after", "Mr. Edison himself poised one of the new disintegrators, which was too\nlarge to be carried in the hand, and, following the direction indicated\nby the calculations of the astronomers, launched the vibratory discharge" ], [ "land of the Nile, the Pyramids. The gigantic statue of their leader that\nthey at the foot of their artificial mountains have set up--gentlemen,\nwhat is that? It is the Sphinx!\"", "Another great mystery--that of the origin of those gigantic and\ninexplicable monuments, the great pyramids and the Sphinx, on the banks of", "The Martians Were the Builders of the Great Sphinx and the\nPyramids.", "inquisitive nose stood forth in the midst of their ceaseless play like\na perpetual interrogation point that would have electrified the Sphinx\ninto life, and set its stone lips gabbling answers and explanations.", "image which they had set up in stone in the midst of the Land of Sand. He\nprolonged his existence, according to this legend, by drinking the waters\nof a wonderful fountain, the secret of whose precise location was known", "the explanation of how those gigantic blocks that constitute the great\nPyramid of Cheops had been swung to their lofty elevation. It was not the", "be? Gentlemen, it is Egypt! These mountains of rock that the Martians\nhave erected, what are they? Gentlemen, they are the great mystery of the", "When the Martian monarch saw that we had ceased the work of death, he\nsank upon his throne. There he remained, leaning his chin upon his two", "\"Then, too, it is said they left there at the foot of these mountains\nthat they had made a gigantic image of the great chief who led them in\ntheir conquest of our world.\"", "unmingled with amusement. Finally he beckoned the holder of the book to\nhis side, and placing his broad finger upon one of the huge letters--if\nletters they were, for they more nearly resembled the characters employed", "its history. It is the Great Mogul, and it lies before you. How it came\ninto my possession I shall not explain. At any rate, it is honestly mine,", "It is impossible for me to describe the appearance of this creature\nin terms that would be readily understood. Was he like a man? Yes and\nno. He possessed many human characteristics, but they were exaggerated and", "man. There was something in this face that sent a shiver through the\nsoul of the beholder. One could feel in looking upon it that here was\nintellect, intelligence developed to the highest degree, but in the", "I have already referred to the enormous size of his head, and to the\nfact that his countenance bore considerable resemblance to that of a", "On the model of the celebrated corps of literary and scientific men\nwhich Napoleon carried with him in his invasion of Egypt, Mr. Edison\nselected a company of the foremost astronomers, archaeologists,", "strange and unknown to us. Yet these characters evidently gave expression\nto a highly intellectual language. All those who were standing by at\nthe moment uttered a shout of wonder and of delight, and the cry of", "\"At length, our traditions say, a great pestilence broke out in the Land\nof Sand, and a partial vengeance was granted to us in the destruction", "The greatest surprise of all, however, came when the King of Siam was\ncalled upon for his contribution. He had not been given a foremost place", "\"Yes,\" said the girl. \"There is a great building (power house) full of\ntremendous machinery which I once entered when my father was taken there", "following all their motions with his eyes, that they wished to know by\nwhat name he called himself. Pointing their fingers to their own breasts\nthey repeated, one after the other, the word \"man.\"" ], [ "After our first encounter with the Martians on the asteroid, where, as\nI have related, some metal which was included in their dress resisted", "\"And this,\" I said, \"must be their harvest time. You notice that this\nasteroid, being several million miles nearer to the sun than Mars is,", "The latter were not moving with great velocity, having evidently projected\nthemselves from Mars with only just sufficient force to throw them within\nthe feeble sphere of gravitation of the asteroid, so that they should\nvery gently land upon its surface.", "the asteroids. In his opinion, this planet might have contained a\nlarge quantity of gold, and in the course of ages the gold, having,\nin consequence of its superior atomic weight, not being so widely", "up an inexhaustible mine of wealth which might eventually go far toward\nreimbursing the earth for the damage which it had suffered from the\ninvasion of the Martians.", "For these experiments there was nothing more convenient or abundant\nthan chunks of gold from the Martians' mine. These, accordingly, were", "In the meantime the other electrical ships approached, and several of\nthem made a landing upon the asteroid. Everybody was eager to see this\nwonderful little world, which, as I have already remarked, was only five\nmiles in diameter.", "This hint was instantly acted upon. Something that would serve for a\nspade was seized by one of the men, and in a few minutes a hole had been\ndug in the comparatively light soil of the asteroid.", "Judging by the test of weight which we had already tried, and which had\nled to the discovery of the gold, the composition of the asteroid must\nbe the same to its very centre.\n\n\nAn Incredible Phenomenon.", "The Asteroid.\n\n\"It is an asteroid,\" said somebody.\n\n\"Yes, evidently; but how does it come inside the orbit of Mars?\"", "The Martian's Treasure Box.\n\nWith some difficulty we succeeded in opening the box and in it there\nappeared a number of bright red pellets, as large as an ordinary egg.", "The more we saw of this golden planet the greater became our\nastonishment. What the Martians had removed was a mere nothing in", "At a point nearly opposite to that where we had landed we came upon\nthe mine which the Martians had been working. They had removed the thin", "This must be a golden planet--this little asteroid. If it were not\ncomposed internally of gold it could never have made me weigh three\ntimes more than I ought to weigh.\n\n\"But where is the gold?\" cried one.", "I have related how even before we had reached the asteroid, Mars began to\npresent a most imposing appearance as we saw it with our telescopes. Now,", "ships. They depend simply upon the force of gravitation. Having passed\nthe limit of the attraction of Mars, they have now fallen within the\nattraction of the asteroid, and they must slowly sink to its surface.\"", "Discovery That the Asteroid is a Solid Mass of Gold.", "\"Having obtained all the gold they need, or all that they can carry,\na comparatively slight impulse given to their car, the direction of\nwhich is carefully calculated, will carry them back again to Mars.\"", "Before quitting the asteroid we had found that it was necessary for\nhim to swallow one of his \"air pills,\" as Prof. Moissan called them, at", "\"Gold,\" exclaimed one of the party.\n\n\nThe Golden Asteroid!\n\nFor a moment we were startled beyond expression. The truth had flashed\nupon us." ], [ "\"It is the woman from Ceres. She was taken prisoner by the Martians\nduring their last invasion of that world, and since then has been a\nslave in the palace of the Emperor.\"\n\n\nOvertaken by the Flood.", "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles", "race. There were several thousand of us, altogether, and we were kept by\nthe Martians to serve them as slaves, and particularly to delight their\nears with music, for our people have always been especially skilful in", "All this time the shackled Martian had lain on his back where we had\nleft him bound. What his feeling must have been may be imagined. At", "The startling truth burst upon the minds of all. Here upon this little\nplanetoid were several of the gigantic inhabitants of the world that we", "As had been expected, our prisoner now proved to be of very great\nassistance to us. Apparently he took a certain pride in exhibiting to\nstrangers from a distant world the beauties and wonders of his own planet.", "He confirmed our opinion that certain of the works which we saw beneath\nus were fortifications, intended for the protection of the planet against\ninvaders from outer space. A cunning and almost diabolical look came\ninto his eyes as he pointed to one of these strongholds.", "are kept. The fellows we killed must have been the watchmen in charge\nof the storehouse, and they were treating themselves to a little music\nfrom the slave girl when we happened to come upon them.\"", "its deck onto the flagship. Colonel Smith disappeared for a minute in\nthe interior of his ship, then re-emerged, leading the girl whom we had\nfound upon the planet.", "The slight attraction of the planet and their consequent almost entire\nlack of weight enabled the men to run with immense speed. The result,\nas I subsequently learned, was that after they had disappeared from our", "The signal was given as he had ordered. The flagship then alone dropped\nslowly toward the place on the asteroid where the prostrate Martians were.\n\n\nA Terrible Scene.", "While we were examining the mine, one of the men left to guard the\nMartian came running to inform us that the latter evidently wished to", "The alarm was spread instantly among those upon the planet and through\nthe remainder of the fleet.\n\nOne of the men from the returning electrical ship dropped down upon the\nasteroid and gave a more detailed account of what they had seen.", "But, at any rate, the acquisition was so considerable as to allow of\nthe interchange of ordinary ideas with our prisoner, and there was no\nlonger any doubt that he would be able to give us much information when\nwe landed on his native planet.", "In the meantime the other electrical ships approached, and several of\nthem made a landing upon the asteroid. Everybody was eager to see this\nwonderful little world, which, as I have already remarked, was only five\nmiles in diameter.", "\"This must be one of them.\"\n\n\"Manifestly so.\"\n\nAs we drew nearer the mysterious little planet revealed itself to us as\na perfectly formed globe not more than five miles in diameter.", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "lands upon the earth. This was a whole new world that we had discovered,\nand it was filled, as we could see, with inhabitants.", "language and have heard her story. Let us next ascertain whether\nshe cannot place in our hands some key which will place Mars at our\nmercy. Remember what we came here for, and remember that the earth", "Satisfied that the Martian was safely bound, we left him where he\nlay, and, while awaiting news from the ships which had been sent to\nreconnoitre, continued the exploration of the little planet." ], [ "It was a disgraceful exhibition. Mr. Edison, however, had not lost\nhis head. Again and again he sighted at the dreadful knob with his\ndisintegrator, but the vibratory force refused to respond.", "\"That fixes them,\" said Mr. Edison, turning to me with a smile.\n\nAnd indeed it did fix them. We had most effectually spiked their gun. It\nwould deal no more death blows.", "Mr. Edison retained his disintegrator in his hand.\n\n\"Kill him,\" said someone. \"He is too horrible to live.\"", "\"Quick! Quick!\" shouted Mr. Edison to one of his electrical experts\nstanding near. \"There is something the matter with this disintegrator,\nand I cannot make it work. Aim at the knob, and don't miss it.\"", "Mr. Edison himself poised one of the new disintegrators, which was too\nlarge to be carried in the hand, and, following the direction indicated\nby the calculations of the astronomers, launched the vibratory discharge", "Mr. Edison discharged from the instrument in his hand a little gaseous\nglobe, which glittered like a ball of tangled rainbows in the sunshine,", "Suddenly from Mr. Edison's laboratory at Orange flashed the startling\nintelligence that he had not only discovered the manner in which the", "\"Move on,\" said Mr. Edison sternly, his features set with determination\nand his eyes afire. \"We are still beyond their effective range. Let us\nget closer in order to make sure work when we strike.\"", "of Mr. Edison's laboratory and the inventor held the little instrument,\nwith its attached mirror, in his hand. We looked about for some object", "Now, what Mr. Edison had done was, in effect, to create an electrified\nparticle which might be compared to one of the atoms composing the tail of", "\"Let them come,\" was the almost joyous cry. \"We shall be ready for\nthem now. The Americans have solved the problem. Edison has placed\nthe means of victory within our power.\"", "made ready for battle there. A number of disintegrators were trained\nupon the approaching Martians, but Mr. Edison gave strict orders that\nno attempt should be made to discharge the vibratory force at random.", "When Tom had placed the instrument in his hands Mr. Edison ordered the\nelectrical ship to forge slightly ahead and drop a little lower toward", "With his expert assistants Mr. Edison set to work at once to transform\na number of the disintegrators into still more formidable engines of", "\"Ah,\" said Mr. Edison, \"they have got an electric shield, have they? Well,\nI think we shall be able to manage that.\"", "The soft whirr of the disintegrator in the hands of Mr. Edison standing\nnear me came to my ears through the telephonic wire. He quickly swept", "Having obtained an instrument of such power, it only remained to\nconcentrate its energy upon a given object in order that the atoms\ncomposing that object should be set into violent undulation, sufficient", "\"Hurrah!\" cried one of the onlookers. \"We have met the Martians and\nthey are ours.\"\n\nSuch in brief was the first of the contrivances which Mr. Edison invented\nfor the approaching war with Mars.", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "This suggestion was immediately approved. In response to it, Mr. Edison,\nby a few simple experiments, showed how he could quickly and certainly" ], [ "One of them was fortunate enough to discover an even more precious\nrelic of the ancient lunarians. It was a piece of petrified skullbone,", "There could be no longer any question that it was a world which, if\nnot absolutely teeming with inhabitants, like a gigantic ant-hill, at\nany rate bore on every side the marks of their presence and of their\nincredible undertakings and achievements.", "of the watch tower on the peak, composed of blocks of enormous size,\nhad evidently been the work of creatures endowed with human intelligence,\nno remains were found indicating the former presence of inhabitants upon", "Here, then, was visible proof that the moon had been inhabited, although\nprobably it was not inhabited now. I cannot describe the exultant feeling", "The startling truth burst upon the minds of all. Here upon this little\nplanetoid were several of the gigantic inhabitants of the world that we", "lands upon the earth. This was a whole new world that we had discovered,\nand it was filled, as we could see, with inhabitants.", "of that expedition since. We know that it did not reach the earth. It\nmust have fallen foul of this asteroid, run upon this rock in the ocean\nof space and been wrecked here.\"", "were found some stratified rocks in which the fascinated eyes of the\nexplorer beheld the clear imprint of a gigantic human foot, measuring\nfive feet in length from toe to heel.", "awkwardly accoutred arms, they looked like an assemblage of antediluvian\nmonsters collected around their prey. Their disappointment over the\nfact that no other marks of anything resembling human habitation could", "In the meantime the other electrical ships approached, and several of\nthem made a landing upon the asteroid. Everybody was eager to see this\nwonderful little world, which, as I have already remarked, was only five\nmiles in diameter.", "foundation marks of some of its immense buildings were plainly made out,\nand elaborate plans of this vanished capital of the moon were prepared\nby several members of the party.", "He confirmed our opinion that certain of the works which we saw beneath\nus were fortifications, intended for the protection of the planet against\ninvaders from outer space. A cunning and almost diabolical look came\ninto his eyes as he pointed to one of these strongholds.", "As we got near them a terrible scene unfolded itself to our eyes. There\nhad evidently been not more than half a dozen of the monsters in the", "We passed over the curious, half-drowned continent known to terrestrial\nastronomers as the Region of Deucalion, then across another sea, or gulf,", "smooth over most of its surface, unmistakable evidences of former\ninhabitation. A gigantic city had evidently at one time existed near\nthe centre of this great plain. The outlines of its walls and the", "as easily as they had that of their native planet--than with their more\ndestructive inventions. These flying machines in themselves had given\nthem an enormous advantage in the contest. High above the desolation", "The nearer we got the more terrifying was the appearance of the gigantic\ncreatures who were riding upon the little world before us like castaway", "entirely vanished; only certain metal articles which they had worn\nremaining, as in the case of the first Martian killed, to indicate that\nsuch beings had ever existed. The nature of the metal composing these", "expedition were again called into use for the purpose of acquiring a\nnew language. The experiment was conducted in the flagship. The fact\nthat this time it was not a monster belonging to an utterly alien race", "valley that was surrounded by enormous mountains towering into the clouds\nand white about their tops with snow that never melted. In the valley\nwere lakes, around which clustered the dwellings of our race.\"" ], [ "Completely surrounding the lake was a great ring of cities constituting\nthe capital of Mars. Here the genius of the Martians had displayed", "When we originally reached Mars, as I have related, it was at a point in\nits southern hemisphere, in latitude 45 degrees south, and longitude 75", "seen. From my knowledge of the geography of Mars I knew that this was a\npart of the Land of Ausonia, situated a few hundred miles northeast of\nHellas, where we had first seen the planet.", "by innumerable canals. Chryse was not less than 1,600 miles across,\nand it, too, evidently swarmed with giant inhabitants.", "\"They had been astonished at the sight of the great mountains which\nsurrounded our valley, for on Mars there are no mountains, and after", "When we had arrived within a distance of three miles from the surface of\nMars we suddenly perceived approaching from the eastward a large airship\nwhich was navigating the Martian atmosphere at a height of perhaps half\na mile above the ground.", "The precise location of the great power house on the shores of the Syrtis\nMajor having been carefully ascertained, the squadron dropped down one\nnight into the upper limits of the Martian atmosphere, directly over\nthe gulf.", "At a point nearly opposite to that where we had landed we came upon\nthe mine which the Martians had been working. They had removed the thin", "The fleet was, accordingly, concentrated, and we rapidly approached the\ngreat Martian palace. As we came down within a hundred feet of them and", "in upon them, the Martians have constructed the immense and innumerable\ncanals which you see running in all directions over the continents.\"", "degrees east, that we first closely approached its surface. Underneath\nus was the land called \"Hellas,\" and it was over this land of Hellas\nthat the Martian air fleet had suddenly made its appearance.", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "A Thousand Martian Ships.", "The point where we had dealt our blow was far removed from the great\ncapital of Mars, around the Lake of the Sun, and we knew that we should", "had not been touched by the Martians. But if Washington had been a\ncity composed of hotels alone, and every hotel so great as to be a\nlittle city in itself, it would have been utterly insufficient for the", "on Mars. A very learned man of my race used to say that the reason was\nbecause Mars is so very old a world that the mountains it once had have\nbeen almost completely levelled, and the entire surface of the planet had", "Yet all had not been destroyed, because all had not been reached by\nthe withering hand of the destroyer. The Martians had not had time to", "\"There is a lot of dead Martians over there,\" he said. \"They've been\ncleaning one another out.\"", "He confirmed our opinion that certain of the works which we saw beneath\nus were fortifications, intended for the protection of the planet against\ninvaders from outer space. A cunning and almost diabolical look came\ninto his eyes as he pointed to one of these strongholds.", "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles" ], [ "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "\"Sweep the discharge across the three,\" I exclaimed. \"Otherwise there\nwill be one left and before we can fire again he will crush us.\"\n\n\nThe Martians Are Killed.", "widespread. The death-dealing engines which the Martians had brought with\nthem had proved irresistible and the inhabitants of the earth possessed\nnothing capable of contending against them. There had been no protection", "Yet all had not been destroyed, because all had not been reached by\nthe withering hand of the destroyer. The Martians had not had time to", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "This manoeuvre was executed so quickly that the Martians were unable\nto deal us a blow before we were poised above them in such a position\nthat they could not easily reach us. Still they did not mean to give up\nthe conflict.", "and darted with astonishing velocity straight into the upturned face of\nthe Martian. It burst as it touched and the monster fell back senseless\nupon the ground.", "The airships of the Martians were destroyed by the score, but yet they\nflocked upon us thicker and faster.", "Finally, after about a week had passed, the Martians evidently made up\ntheir minds that they had annihilated us, and that there was no longer", "The Martians had nearly all perished, not through our puny efforts, but\nin consequence of disease, and the few survivors fled in one of their\nprojectile cars, inflicting their cruelest blow in the act of departure.", "The Enemy Vanquished.\n\nThe Martians Succumb at Last, and Are at Our Mercy.", "A shout arose from the Martians, but they were too much astounded at\nwhat had occurred to make any hostile demonstrations, and, anyhow,\nthey knew well that they were completely at our mercy.", "And now the Martians saw that the contest was hopeless for them, and\ntheir mad struggle to get out of the range of the disintegrators and\nto escape from the death chamber was more appalling to look upon than\nanything that had yet occurred.", "And Mr. Edison was right. With gradually accelerated velocity, and yet\nvery, very slowly in comparison with the speed they would have exhibited\nin falling upon such a planet as the earth, the Martians and their car\ncame down to the ground.", "our motions. As he pointed out, the war machines which the Martians had\nemployed in their invasion of the earth, were really very awkward and", "A Terrible Encounter.\n\nThe Martians and Our Warriors Fight a Battle to the Death.", "During the brief war with the Martians upon the earth it had been\ngunpowder against a mysterious force as much stronger than gunpowder as\nthe latter was superior to the bows and arrows that preceded it.", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "Fortunately, we had little time for these thoughts, because no sooner\nhad the day begun to dawn around us than the airships of the Martians", "As he spoke, I saw the death-dealing knob of the war engine contained\nin the car of the Martians moving around toward us. In another instant\nit would have launched its destroying bolt." ], [ "American genius of science. These men and a few others had examined with\nthe utmost care the engines of war, the flying machines, the generators\nof mysterious destructive forces that the Martians had produced, with", "We stood on our guard, several carrying disintegrators in our hands,\nwhile a score more of these terrible engines were turned upon the Martians\nfrom the electrical ships which hovered near.\n\n\nA Speech from Their Leader.", "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "During the brief war with the Martians upon the earth it had been\ngunpowder against a mysterious force as much stronger than gunpowder as\nthe latter was superior to the bows and arrows that preceded it.", "But several of us, with Mr. Edison, stood fast, watching\nfor an opportunity to get the Martians within range of the", "in Washington that the problem of how to conquer the Martians had\nbeen solved. The means were plainly at hand. It only remained to apply\nthem. For this purpose, as the President had pointed out, it would be", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "Surprised by the Enemy.\n\nAt this instant, a startling shout fell upon our ears. There was\na thunderous clatter behind us, and, turning, we saw three gigantic\nMartians rushing forward.", "A little hesitation, however, occurred, and a half a minute had elapsed\nbefore the disintegrators from the other members of the squadron were\ngot into play.\n\n\nThe Martians' Artificial Day.", "\"Hurrah!\" cried one of the onlookers. \"We have met the Martians and\nthey are ours.\"\n\nSuch in brief was the first of the contrivances which Mr. Edison invented\nfor the approaching war with Mars.", "This manoeuvre was executed so quickly that the Martians were unable\nto deal us a blow before we were poised above them in such a position\nthat they could not easily reach us. Still they did not mean to give up\nthe conflict.", "of the flagship. Before anybody could interfere he had sighted and\ndischarged it. The entire force of the terrible engine, almost capable\nof destroying a fort, fell upon the Martian Emperor, and not merely blew", "\"Sweep the discharge across the three,\" I exclaimed. \"Otherwise there\nwill be one left and before we can fire again he will crush us.\"\n\n\nThe Martians Are Killed.", "The Great Smoke Cloud.\n\nOur Warriors Find the Martians to Be Foes Worth Fearing.\n\nThe eyes of man had never beheld such a spectacle!", "our motions. As he pointed out, the war machines which the Martians had\nemployed in their invasion of the earth, were really very awkward and", "He confirmed our opinion that certain of the works which we saw beneath\nus were fortifications, intended for the protection of the planet against\ninvaders from outer space. A cunning and almost diabolical look came\ninto his eyes as he pointed to one of these strongholds.", "To overcome the destructive forces employed by the Martians no\nsatisfactory plan had yet been devised, because there was no means to\nexperiment with them. The production of those forces was still the secret", "\"One of the chief officers of the Martians wished me to remain alive. He,\nwith his aides, carried me to one of the military depot of supplies,", "widespread. The death-dealing engines which the Martians had brought with\nthem had proved irresistible and the inhabitants of the earth possessed\nnothing capable of contending against them. There had been no protection", "As he spoke, I saw the death-dealing knob of the war engine contained\nin the car of the Martians moving around toward us. In another instant\nit would have launched its destroying bolt." ], [ "\"Hurrah!\" cried one of the onlookers. \"We have met the Martians and\nthey are ours.\"\n\nSuch in brief was the first of the contrivances which Mr. Edison invented\nfor the approaching war with Mars.", "made ready for battle there. A number of disintegrators were trained\nupon the approaching Martians, but Mr. Edison gave strict orders that\nno attempt should be made to discharge the vibratory force at random.", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "But several of us, with Mr. Edison, stood fast, watching\nfor an opportunity to get the Martians within range of the", "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "Now, rumor declared that Mr. Edison had invented and perfected a flying\nmachine much more complete and manageable than those of the Martians", "American genius of science. These men and a few others had examined with\nthe utmost care the engines of war, the flying machines, the generators\nof mysterious destructive forces that the Martians had produced, with", "\"That fixes them,\" said Mr. Edison, turning to me with a smile.\n\nAnd indeed it did fix them. We had most effectually spiked their gun. It\nwould deal no more death blows.", "\"Let them come,\" was the almost joyous cry. \"We shall be ready for\nthem now. The Americans have solved the problem. Edison has placed\nthe means of victory within our power.\"", "like those of Mr. Edison and engines of destruction comparable with our\ndisintegrators. This failure was simply due to the fact that on Mars\nthere did not exist the peculiar metals by the combination of which", "\"Move on,\" said Mr. Edison sternly, his features set with determination\nand his eyes afire. \"We are still beyond their effective range. Let us\nget closer in order to make sure work when we strike.\"", "Several of our men cried out to Mr. Edison in an extremity of terror:\n\n\"Why do you not destroy them? Be quick, or we shall all perish.\"", "With his expert assistants Mr. Edison set to work at once to transform\na number of the disintegrators into still more formidable engines of", "\"No need of staking claims here,\" remarked another. \"There is enough\nfor everybody.\"\n\nMr. Edison suddenly turned the current of talk.\n\n\"What do you suppose those Martians were doing here?\"", "It was a disgraceful exhibition. Mr. Edison, however, had not lost\nhis head. Again and again he sighted at the dreadful knob with his\ndisintegrator, but the vibratory force refused to respond.", "\"Signal them to stop firing,\" commanded Mr. Edison. \"We have got them\ndown, and we are not going to murder them without necessity.\"\n\n\"Besides,\" he added, \"I want to capture some of them alive.\"", "and thus we swept the Martians into eternity, while Mr. Edison coolly\ncontinued his manipulations of the wheel.", "Then, too, our electrical ships were far more effective for their purpose\nthan the projectile cars used by the Martians. In fact, the principle", "\"I cannot understand why the Martians did not invent these things. They\nhave given ample proof that they understand electricity better than\nwe do. Why should they have resorted to the comparatively awkward and", "\"No,\" said Mr. Edison, \"there is no danger. You can see that they are\nnot prepared. They will not attempt to attack us until they have made\ntheir landing.\"\n\n\nThe Martians Land." ], [ "At a point nearly opposite to that where we had landed we came upon\nthe mine which the Martians had been working. They had removed the thin", "up an inexhaustible mine of wealth which might eventually go far toward\nreimbursing the earth for the damage which it had suffered from the\ninvasion of the Martians.", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "After our first encounter with the Martians on the asteroid, where, as\nI have related, some metal which was included in their dress resisted", "where the Martians come to dig gold, and if this is the height of\ntheir season, as you say, they are not likely to leave us here long\nundisturbed.\"", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "While we were examining the mine, one of the men left to guard the\nMartian came running to inform us that the latter evidently wished to", "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles", "For these experiments there was nothing more convenient or abundant\nthan chunks of gold from the Martians' mine. These, accordingly, were", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "\"I cannot understand why the Martians did not invent these things. They\nhave given ample proof that they understand electricity better than\nwe do. Why should they have resorted to the comparatively awkward and", "He confirmed our opinion that certain of the works which we saw beneath\nus were fortifications, intended for the protection of the planet against\ninvaders from outer space. A cunning and almost diabolical look came\ninto his eyes as he pointed to one of these strongholds.", "The Martians Recognize Us.", "The Martian's Treasure Box.\n\nWith some difficulty we succeeded in opening the box and in it there\nappeared a number of bright red pellets, as large as an ordinary egg.", "\"Having obtained all the gold they need, or all that they can carry,\na comparatively slight impulse given to their car, the direction of\nwhich is carefully calculated, will carry them back again to Mars.\"", "\"No need of staking claims here,\" remarked another. \"There is enough\nfor everybody.\"\n\nMr. Edison suddenly turned the current of talk.\n\n\"What do you suppose those Martians were doing here?\"", "When we had arrived within a distance of three miles from the surface of\nMars we suddenly perceived approaching from the eastward a large airship\nwhich was navigating the Martian atmosphere at a height of perhaps half\na mile above the ground.", "And Mr. Edison was right. With gradually accelerated velocity, and yet\nvery, very slowly in comparison with the speed they would have exhibited\nin falling upon such a planet as the earth, the Martians and their car\ncame down to the ground.", "The Martians Submit.", "Yet all had not been destroyed, because all had not been reached by\nthe withering hand of the destroyer. The Martians had not had time to" ], [ "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles", "\"It is the woman from Ceres. She was taken prisoner by the Martians\nduring their last invasion of that world, and since then has been a\nslave in the palace of the Emperor.\"\n\n\nOvertaken by the Flood.", "Mars, but that she must have friends and relatives there. That being so,\nthey unquestionably had a language of their own, which they spoke when\nthey were among themselves. Here finding herself among beings belonging", "\"But all these speculations,\" broke in Mr. Edison, \"do not help you\nmuch. Why not begin in a practical manner by finding out what the Martian\ncalls himself, for instance.\"", "All this time the shackled Martian had lain on his back where we had\nleft him bound. What his feeling must have been may be imagined. At", "The circumstances under which we had found her were quickly explained. Her\nbeauty, her strange fate and the impenetrable mystery which surrounded\nher excited universal admiration and wonder.\n\n\nHow Came She on Mars?", "language and have heard her story. Let us next ascertain whether\nshe cannot place in our hands some key which will place Mars at our\nmercy. Remember what we came here for, and remember that the earth", "While we were examining the mine, one of the men left to guard the\nMartian came running to inform us that the latter evidently wished to", "But from the moment of our arrival at Mars itself, and especially after\nthe battles began, the prisoner had resumed his savage and uncommunicative", "There were both hatred and defiance in his glance. He attempted to free\nhimself, and the ropes strained with the tremendous pressure that he\nput upon them, but he could not break loose.\n\n\nThe Martian Safely Bound.", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "The Martian Speaks.", "It had been expected, the reader will remember, that the Martian whom we\nhad made prisoner on the asteroid, might be of use to us in a similar way,", "It was a curious scene when the momentous interview which was to\ndetermine our fate and that of Mars began. Aina had been warned of what", "Satisfied that the Martian was safely bound, we left him where he\nlay, and, while awaiting news from the ships which had been sent to\nreconnoitre, continued the exploration of the little planet.", "Finally, one day the prisoner, who seemed to be in an unusually cheerful\nframe of mind, indicated that he carried in his breast some object which\nhe wished us to see.\n\n\nThe Martian's Book.", "Aina had said that Mars had completed 5,000 circuits about the sun since\nher people were brought to it as captives. One circuit of Mars occupies", "\"Although Mars had completed not less than five thousand circuits about\nthe sun since our ancestors were brought as prisoners to its surface, yet", "race. There were several thousand of us, altogether, and we were kept by\nthe Martians to serve them as slaves, and particularly to delight their\nears with music, for our people have always been especially skilful in", "\"They had been astonished at the sight of the great mountains which\nsurrounded our valley, for on Mars there are no mountains, and after" ], [ "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "Yet all had not been destroyed, because all had not been reached by\nthe withering hand of the destroyer. The Martians had not had time to", "After our first encounter with the Martians on the asteroid, where, as\nI have related, some metal which was included in their dress resisted", "Finally, after about a week had passed, the Martians evidently made up\ntheir minds that they had annihilated us, and that there was no longer", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "A Nearer Sight of the Martians.", "A Terrible Encounter.\n\nThe Martians and Our Warriors Fight a Battle to the Death.", "flashing upon the red surface of the Planet of War. These mysterious\nappearances could only be interpreted in the light of past experience to\nmean that the Martians were preparing for another invasion of the earth,", "It is impossible that the stupendous events which followed the disastrous\ninvasion of the earth by the Martians should go without record, and", "widespread. The death-dealing engines which the Martians had brought with\nthem had proved irresistible and the inhabitants of the earth possessed\nnothing capable of contending against them. There had been no protection", "The Martians had nearly all perished, not through our puny efforts, but\nin consequence of disease, and the few survivors fled in one of their\nprojectile cars, inflicting their cruelest blow in the act of departure.", "Mars. Nothing further had been heard of the mysterious phenomenon\nreported from the observatories six months before, and which at the time\nwas believed to indicate the departure of another expedition from Mars", "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "Surprised by the Enemy.\n\nAt this instant, a startling shout fell upon our ears. There was\na thunderous clatter behind us, and, turning, we saw three gigantic\nMartians rushing forward.", "All the books of the Martians, we ascertained, were books of history and\nof poetry. For scientific treatises they had no need, because, as I have", "During the brief war with the Martians upon the earth it had been\ngunpowder against a mysterious force as much stronger than gunpowder as\nthe latter was superior to the bows and arrows that preceded it.", "The Enemy Vanquished.\n\nThe Martians Succumb at Last, and Are at Our Mercy.", "The Great Smoke Cloud.\n\nOur Warriors Find the Martians to Be Foes Worth Fearing.\n\nThe eyes of man had never beheld such a spectacle!", "our motions. As he pointed out, the war machines which the Martians had\nemployed in their invasion of the earth, were really very awkward and" ], [ "He confirmed our opinion that certain of the works which we saw beneath\nus were fortifications, intended for the protection of the planet against\ninvaders from outer space. A cunning and almost diabolical look came\ninto his eyes as he pointed to one of these strongholds.", "Yet all had not been destroyed, because all had not been reached by\nthe withering hand of the destroyer. The Martians had not had time to", "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "After our first encounter with the Martians on the asteroid, where, as\nI have related, some metal which was included in their dress resisted", "The Martians had nearly all perished, not through our puny efforts, but\nin consequence of disease, and the few survivors fled in one of their\nprojectile cars, inflicting their cruelest blow in the act of departure.", "\"The expedition against the earth was inspired solely by him. There is\na tradition among the Martians--which my people, however, could never", "our motions. As he pointed out, the war machines which the Martians had\nemployed in their invasion of the earth, were really very awkward and", "At a point nearly opposite to that where we had landed we came upon\nthe mine which the Martians had been working. They had removed the thin", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "\"I cannot understand why the Martians did not invent these things. They\nhave given ample proof that they understand electricity better than\nwe do. Why should they have resorted to the comparatively awkward and", "And all this, as we were assured, was completely under the control of the\nMartians themselves. They had learned, or invented, methods by which the", "All the books of the Martians, we ascertained, were books of history and\nof poetry. For scientific treatises they had no need, because, as I have", "widespread. The death-dealing engines which the Martians had brought with\nthem had proved irresistible and the inhabitants of the earth possessed\nnothing capable of contending against them. There had been no protection", "This manoeuvre was executed so quickly that the Martians were unable\nto deal us a blow before we were poised above them in such a position\nthat they could not easily reach us. Still they did not mean to give up\nthe conflict.", "Indeed, looking out behind the electrical ship which had brought us the\nwarning, we immediately saw the projectile of the Martians approaching. It\nsparkled like a star in the black sky as the sunlight fell upon it.", "The fleet was, accordingly, concentrated, and we rapidly approached the\ngreat Martian palace. As we came down within a hundred feet of them and", "Now, rumor declared that Mr. Edison had invented and perfected a flying\nmachine much more complete and manageable than those of the Martians", "from which the Martians were able to watch them. From our sight they\ndisappeared much sooner." ], [ "Here, then, was visible proof that the moon had been inhabited, although\nprobably it was not inhabited now. I cannot describe the exultant feeling", "accompanied by a few scientific friends, had made an experimental trip\nto the moon. At a time when the spirit of mankind was less profoundly", "The Moon Was Inhabited.", "and rising out of the great shadow of the globe, sped on to the moon. We\nhad landed upon the scarred and desolate face of the earth's satellite,", "We did not remain to examine the wonders of the moon, although we could\nnot fail to observe many curious things therein. Having demonstrated\nthe fact that we could not only leave the earth, but could journey", "Still this footprint in itself was quite sufficient, as they all declared,\nto settle the question of the former inhabitation of the moon, and it", "Expeditions Over the Moon.", "While the repairs were being made several scientific expeditions were\nsent out in various directions across the moon. One went westward to", "On the moon, where the force of gravitation is one-sixth as great as upon\nthe earth, we had found ourselves astonishingly light. Five-sixths of our", "of men. When on the moon we had unexpectedly to ourselves settled the\nquestion that had been debated from the beginning of astronomical history\nof the former habitability of that globe.", "Departing from the Moon.", "telescope, and I had thought that if there was any part of the moon where\none might, with fair expectation of success, look for inhabitants, or if", "Here and there curious lights glowed upon the mysterious surface of the\nmoon. Where the edge of the moon cut the sky behind it, it was broken and", "would serve for the production of many a learned volume after their\nreturn to the earth, even if no further discoveries should be made in\nother parts of the lunar world.", "had so often busied itself. When Mr. Edison and I had paid our previous\nvisit to the moon on the first experimental trip of the electrical ship,", "several inches in diameter. We carefully selected as many as it was\nconvenient to carry and placed them in the car for future examination. We\nhad solved another long standing lunar problem and had, perhaps, opened", "In the mean time, the repairs to the electrical ships had been completed,\nand, although these discoveries upon the moon had created a most profound", "foundation marks of some of its immense buildings were plainly made out,\nand elaborate plans of this vanished capital of the moon were prepared\nby several members of the party.", "gradually brought to rest on this lone mountain top of the moon. In\naccordance with my request, Mr. Edison had the flagship moored in the", "\"Hurrah!\" exclaimed one. \"Let's send some of this back to the earth.\"\n\n\"Where is the earth?\" asked another." ], [ "over Mars, was the conquest of a distant world. After a time a few\nsurvivors of that expedition returned. The story they told caused great\nexcitement among our masters. They had been successful in their battles", "Martians and Terrestrians Fight a Terrible Battle.", "A Terrible Encounter.\n\nThe Martians and Our Warriors Fight a Battle to the Death.", "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "\"Sweep the discharge across the three,\" I exclaimed. \"Otherwise there\nwill be one left and before we can fire again he will crush us.\"\n\n\nThe Martians Are Killed.", "More Stirring Adventures of Our Warriors Against Mars.", "A Thousand Martian Ships.", "After our first encounter with the Martians on the asteroid, where, as\nI have related, some metal which was included in their dress resisted", "Surprised by the Enemy.\n\nAt this instant, a startling shout fell upon our ears. There was\na thunderous clatter behind us, and, turning, we saw three gigantic\nMartians rushing forward.", "When we had arrived within a distance of three miles from the surface of\nMars we suddenly perceived approaching from the eastward a large airship\nwhich was navigating the Martian atmosphere at a height of perhaps half\na mile above the ground.", "The airships of the Martians were destroyed by the score, but yet they\nflocked upon us thicker and faster.", "The Great Smoke Cloud.\n\nOur Warriors Find the Martians to Be Foes Worth Fearing.\n\nThe eyes of man had never beheld such a spectacle!", "\"Not long after that, you, with your mysterious ships, appeared in the\nsky of Mars. Our masters studied you with their telescopes, and those\nwho had returned from the unfortunate expedition declared that you", "This manoeuvre was executed so quickly that the Martians were unable\nto deal us a blow before we were poised above them in such a position\nthat they could not easily reach us. Still they did not mean to give up\nthe conflict.", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "During the brief war with the Martians upon the earth it had been\ngunpowder against a mysterious force as much stronger than gunpowder as\nthe latter was superior to the bows and arrows that preceded it.", "We were still about 6,000,000 miles from Mars, so that, travelling three\nmiles in a second, we should require at least twenty-three days to reach\nthe immediate neighborhood of the planet.", "in a battle. The Martians must have been fighting among themselves.\"", "The Martians Submit.", "So we boldly quitted the little satellite with our entire squadron and\nonce more rapidly approached the red planet of war. This time it was\nto be a death grapple and our chances of victory still seemed good." ], [ "So overwhelming was the force and the advantage of the ships that in a\nlittle while it was all over. Mr. Edison signalled them to stop firing\nbecause it was plain that all resistance had ceased and probably not\none of the Martians remained alive.", "\"Sweep the discharge across the three,\" I exclaimed. \"Otherwise there\nwill be one left and before we can fire again he will crush us.\"\n\n\nThe Martians Are Killed.", "This manoeuvre was executed so quickly that the Martians were unable\nto deal us a blow before we were poised above them in such a position\nthat they could not easily reach us. Still they did not mean to give up\nthe conflict.", "Meanwhile the Martians had started to their feet. They looked down upon\nus in astonishment. We were like pigmies to them; like little gnomes\nwhich had sprung out of the ground at their feet.", "The Enemy Vanquished.\n\nThe Martians Succumb at Last, and Are at Our Mercy.", "And now the Martians saw that the contest was hopeless for them, and\ntheir mad struggle to get out of the range of the disintegrators and\nto escape from the death chamber was more appalling to look upon than\nanything that had yet occurred.", "Finally, after about a week had passed, the Martians evidently made up\ntheir minds that they had annihilated us, and that there was no longer", "A Terrible Encounter.\n\nThe Martians and Our Warriors Fight a Battle to the Death.", "A shout arose from the Martians, but they were too much astounded at\nwhat had occurred to make any hostile demonstrations, and, anyhow,\nthey knew well that they were completely at our mercy.", "Surprised by the Enemy.\n\nAt this instant, a startling shout fell upon our ears. There was\na thunderous clatter behind us, and, turning, we saw three gigantic\nMartians rushing forward.", "American genius of science. These men and a few others had examined with\nthe utmost care the engines of war, the flying machines, the generators\nof mysterious destructive forces that the Martians had produced, with", "Yet all had not been destroyed, because all had not been reached by\nthe withering hand of the destroyer. The Martians had not had time to", "widespread. The death-dealing engines which the Martians had brought with\nthem had proved irresistible and the inhabitants of the earth possessed\nnothing capable of contending against them. There had been no protection", "The Martians had nearly all perished, not through our puny efforts, but\nin consequence of disease, and the few survivors fled in one of their\nprojectile cars, inflicting their cruelest blow in the act of departure.", "\"Yes,\" said Mr. Edison; \"those machines bear the marks of the lightning of\nthe Martians. They have been disabled, but they are made of some metal or", "As he spoke, I saw the death-dealing knob of the war engine contained\nin the car of the Martians moving around toward us. In another instant\nit would have launched its destroying bolt.", "and darted with astonishing velocity straight into the upturned face of\nthe Martian. It burst as it touched and the monster fell back senseless\nupon the ground.", "To overcome the destructive forces employed by the Martians no\nsatisfactory plan had yet been devised, because there was no means to\nexperiment with them. The production of those forces was still the secret", "And Mr. Edison was right. With gradually accelerated velocity, and yet\nvery, very slowly in comparison with the speed they would have exhibited\nin falling upon such a planet as the earth, the Martians and their car\ncame down to the ground.", "During the brief war with the Martians upon the earth it had been\ngunpowder against a mysterious force as much stronger than gunpowder as\nthe latter was superior to the bows and arrows that preceded it." ] ]

[ "What American inventor led a group of scientists who studied the Martian equipment?", "When the humans battle some Martians on the moon, what weapon the Edison created help the humans defeat the Martians?", "Who is Aina?", "What did the Martians build in Egypt when they were on Earth thousands of years ago?", "With Aina's advice, How did Edison defeat the Martian civilization?", "What U.S. President helped to unite the world leaders to battle the Martians?", "What new technology created by Edison did the allies use to construct the space ships?", "When the humans originally try to invade Mars, what to the Martians do to their planet?", "What was the asteroid that the Martian were mining on the moon made from?", "What do the humans learn from their captive?", "Aina and Edison attack the dams, causing which kind of disaster that in turn kills most of the Martians?", "After determining that Martians will return, the Earth's leaders plan an attack on which planet?", "Where does Edison take his ships for a test run?", "The Great Sphynx of Egypt is a depiction of whom?", "The asteroid, being mined by the Martians, was found to be made of what?", "Who is the human slave found by the earth men?", "What type of ray was used in Edison's ray gun?", "The explorers found an extinct civilization of what type of creature?", "Most of Martians cities can be found where on Mars?", "How were the Martians stopped on earth?", "Who leads the group of scientists who develop weapons to defeats the Martians?", "What weapons do Thomas Edison's team make to fight the Martians?", "What are the Martians mining?", "What is the name of the human slave found on Mars?", "When did the Martians last raid the Earth?", "What did the Martians build when they raided the Earth before?", "What do the scientists find evidence of on the Moon?", "How many space battles do the humans fight against the Martians?", "How do the humans stop the Martians?" ]

[ [ "Thomas Edison", "Edison" ], [ "A disintegration ray gun", "A ray gun." ], [ "A human slave that the earth men found on Mars.", "A slave." ], [ "The Great Pyramids and the Great Sphinx.", "the pyramids and the sphynx " ], [ "He broke the dams and flooded their cities, killing most of the Martians.", "flooding them with water from polar ice caps" ], [ "President William McKinley", "William McKinley" ], [ "The anti-gravity devices powered by elctric repulsion.", "An anti-gravity device and a disintregation ray" ], [ "They enveloped it in a smoke screen causing the humans to retreat.", "put a smoke screen around it" ], [ "solid gold", "Gold." ], [ "The Martian language", "To attack the dams to flood the Martian cities" ], [ "A flood", "Flood." ], [ "Mars", "Mars" ], [ "The moon", "To the moon." ], [ "The Martian leader", "the Martians' leader" ], [ "Solid gold", "Gold" ], [ "Aina", "Aina." ], [ "A disintegration ray", "Disintegration." ], [ "Giants", "Giants" ], [ "Under sea level", "Under sea level" ], [ "By bacterial illness.", "by bacterial illness" ], [ "Thomas Edison", "Edison" ], [ "A disintegration ray and an anti-gravity device", "ray guns" ], [ "A solid gold asteroid", "A solid gold asteroid." ], [ "Aina", "Aina" ], [ "9,000 years ago", "9,000 years ago" ], [ "The Great Pyramids and the Great Sphinx.", "the pyramids and the sphynx" ], [ "An extinct race of giants. ", "evidence of a race of giants" ], [ "Two", "four" ], [ "By destroying dams that flood Mars. ", "by flooding them with melted polar ice" ] ]

[ [ "“Dicky!” said Emmeline.\n\n“Well?”", "He knew Dick from Emmeline; and when Emmeline had satisfied his\nmaterial wants, he would hold out his arms to go to Dick if he were by.", "Emmeline, up to this, had mostly done the cooking, such as it was; Dick\nhelped her now, always. He talked to her no longer in short sentences", "Emmeline, seeing what was in progress, crept up, Dick promising not to\nput the hat on her, and they all sat round the pile.", "Emmeline crawled up, and sat near him, and Dick flung himself down on\nthe sand near Emmeline.", "“Dick,” said Emmeline, “do you remember the noise yesterday?”\n\n“Yes,” said Dick.", "“Don’t think of him, Dick,” said Emmeline, holding the child more\ntightly to her heart. “Row on.”", "“When Dr Sims made Dicky sick,” said Emmeline, “he said the wonder\nt’im was how Dicky held it all.”", "lady who will care for them. Dicky will be well off, as far as worldly\ngoods are concerned, and so will Emmeline. Just tell them I’ve gone on", "Emmeline, with the child in her arms, stepped into the little boat and\ntook her seat in the stern, whilst Dick pushed off. Scarcely had he put", "Dick had stepped into the boat, and was on the point of unmooring her,\nand pushing her off, when Emmeline stopped him.\n\n“Dick!”", "Though Emmeline had asked Koko for Dick’s whereabouts, it was only a\nremark made by way of making conversation, for she could hear him in\nthe little cane-brake which lay close by amidst the trees.", "Emmeline, seated on the coral rock, had almost forgotten Dick for a\nmoment. The sun was setting, and the warm amber light of the sunset", "Lestrange, sitting in the stern-sheets clasping Emmeline and Dick,\nsaw nothing for a moment after hearing these words. The children,", "Scarcely had Emmeline arisen when Dick woke also, and they went out on\nto the sward, and then down to the water’s edge. Dick went in for a", "“I can read them,” said Dick.\n\n“So c’n I,” murmured Emmeline.", "Dick took the child on his knee, and from that moment his love for it\nwas more than his love for Emmeline or anything else on earth.\n\n\n\n\nCHAPTER XV", "Emmeline, wandering about in the woods with Dick on the day after the\nstorm, looking at the ruin of great tree and little bird, and", "Dick and Emmeline on each side of him, breathless for fear of a mistake.", "Emmeline got carefully in, and went aft. Then Dick got in, pushed off,\nand took to the sculls. Next moment they were out on the sparkling\nwater." ], [ "They were beginning now to experience a phenomenon, as wonderful as the\nbirth of the child’s body—the birth of his intelligence: the peeping\nout of a little personality with predilections of its own, likes and\ndislikes.", "“It’s a baby!” said Dick.\n\n“I know,” replied Emmeline.", "The girl, holding the baby to her breast, sat up gasping. The baby had\ncome to no harm; it had cried at first when the thunder broke, but now", "Hannah, despite his unfortunate name, was certainly a most virile and\nengaging baby. The black hair which had appeared and vanished like some", "Emmeline, alone in the jungle, loses consciousness and awakes to find a\nbaby boy on the ground near her. Naming the boy Hannah (an example of", "Emmeline sat amidst the ferns on the floor cowed and dumb, holding the\nbaby to her breast. It was fast asleep. Dick stood at the doorway. He\nwas disturbed in mind, but he did not show it.", "giving him birth. My God, Captain, death has laid a heavy hand on my\nfamily; can you wonder that I have hid his very name from those two\ncreatures that I love!”", "One afternoon, when the house was beginning to take some sort of form,\nthey ceased work and went off into the woods; Emmeline carrying the\nbaby, and Dick taking turns with him. They were going to the valley of\nthe idol.", "The recollection of another baby once heard about was in her mind; and\nit was as good a name as any other, perhaps, in that lonely place,\nnotwithstanding the fact that Hannah was a boy.", "“Oh, listen!” said Emmeline, clinging to him, and holding the baby to\nhis breast as if the touch of him would give it protection. She had\ndivined that there was something approaching worse than a storm.", "The girl, clasping the baby to her breast, leaned against her\ncompanion’s shoulder; neither of them spoke. All the wonders in their", "In a week the extreme ugliness of the newborn child had vanished. Its\nface, which had seemed carved in the imitation of a monkey’s face from", "“The doctor,” explained Dick, “took it back and planted it again; and\nMrs James cried when I asked her, and daddy said it was put back to\ngrow and turn into an angel.”", "Mrs James’s baby, seen in the long ago, had risen up before their\nmind’s eyes, a messenger from the past to explain what the new thing", "As the two men sat without speaking, thinking their own thoughts, a\nlittle white figure emerged from the saloon hatch. It was Emmeline. She\nwas a professed sleepwalker—a past mistress of the art.", "There is nothing more wonderful than the birth of a man, and all that\ngoes to bring it about. Here, on this island, in the very heart of the", "“She’s off,” murmured Mr Button to himself, as the form in his arms\nrelaxed. Then he laid her gently down beside Dick. He shifted forward,", "In the general hospital of San Francisco, as the clouds cleared from\nhis mind, they unveiled the picture of the children and the little\nboat. The picture had been there daily, seen but not truly", "Emmeline, with the child in her arms, stepped into the little boat and\ntook her seat in the stern, whilst Dick pushed off. Scarcely had he put", "It was so complete. It had hair on its head, tiny finger-nails, and\nhands that would grasp you. It had a whole host of little ways of its\nown, and every day added to them." ], [ "tries to eat “the never-wake-up berries” and receives a stern rebuke\nand a lecture about poison from Paddy Button. “The Poetry of Learning”", "“Lave thim berries down!” cried Mr Button, when she had attracted his", "Strangely enough it was Paddy Button who usually found it. He who was\nalways doing the wrong thing in the eyes of men, generally did the", "Paddy himself, and light a fire. Indeed, during the last few months Mr\nButton, engaged in resting his bones, and contemplating rum as an\nabstract idea, had left the cooking and fishing and general gathering", "trees with cries of “Knuckle down, Paddy, knuckle down!” He entered\ninto all their amusements just as one of themselves. On high and rare", "the ground. Paddy picked it up. “It’s a green cucanut,” said he,\nputting it in his pocket (it was not very much bigger than a Jaffa", "Emmeline had two gods of a sort: Paddy Button and Dick. Paddy was\nalmost an esoteric god wrapped in the fumes of tobacco and mystery. The", "Mr Button took off his coat and made a pillow of it against a cocoa-nut\ntree stem. He had found the El Dorado of the weary. With his knowledge", "“Paddy!” cried Dick, pausing in the act of splitting open a breadfruit.\nEchoes came from amidst the cocoa-nut trees, but nothing more.", "“Paddy!” again cried the boy, when he had eaten as much as he wanted.\n“Hullo! where are you?”", "“Paddy,” said Dick, who was strong on drawing that afternoon, “look\nhere.” He drew the following on the sand:\n\n[Illustration: A bad drawing of an elephant]", "“Mr Button,” said she, when the latter had descended, “there’s a little\nbarrel”; she pointed to something green and lichen-covered that lay", "“I wonder where Paddy is?” cried Dick next morning. He was coming out\nof the chapparel pulling a dead branch after him. “He’s left his coat", "Emmeline had not followed them up to the rock. She had gone botanising\nwhere some bushes displayed great bunches of the crimson arita berries", "He gave the shell into the old sailor’s hands. There was about half a\ngill of yellow liquid in the shell. Paddy smelt it, tasted, and gave a\nshout.", "“Baccy, begorra!” shouted Pat, seizing upon his treasure. It was\npigtail. You may see coils of it in the tobacconists’ windows of", "“Paddy, I turned over the old barrel and it had a cork thing in it, and\nI pulled it out, and the barrel is full of awfully funny-smelling", "The tent, a makeshift affair, consisting of two sculls and a tree\nbranch, which Mr Button had sawed off from a dwarf aoa, and the", "The basis of the Irish character as exemplified by Paddy Button is a\nprofound laziness mixed with a profound melancholy. Yet Paddy, in his", "Paddy had a jack-knife, however, and in a marvellously short time a box\nof sardines was opened, and placed on the stern-sheets beside some\nbiscuits." ], [ "children, they are cared for by Paddy Button, a portly sailor who\ndrinks himself to death after only two and a half years in paradise.", "Strangely enough it was Paddy Button who usually found it. He who was\nalways doing the wrong thing in the eyes of men, generally did the", "I doubt if Paddy Button could have told you the name of the first ship\nhe ever sailed in. If you had asked him, he would probably have", "Paddy himself, and light a fire. Indeed, during the last few months Mr\nButton, engaged in resting his bones, and contemplating rum as an\nabstract idea, had left the cooking and fishing and general gathering", "Paddy had been trained all his life to rhythmical drunkenness. Four\nmonths or so had generally elapsed between his bouts—sometimes six; it", "The basis of the Irish character as exemplified by Paddy Button is a\nprofound laziness mixed with a profound melancholy. Yet Paddy, in his", "but Paddy Button would as soon have gone on board a ship manned by\ndevils, and captained by Lucifer, as on board a South Sea whaleman. He\nhad been there before, and he knew.", "Now, though Emmeline honoured Mr Button as a minor deity, Dick had no\nillusions at all upon the matter. He admired Paddy because he could", "Emmeline had two gods of a sort: Paddy Button and Dick. Paddy was\nalmost an esoteric god wrapped in the fumes of tobacco and mystery. The", "Days slipped into weeks, and weeks into months, without the appearance\nof a ship—a fact which gave Mr Button very little trouble; and even\nless to his charges, who were far too busy and amused to bother about\nships.", "still playing with the water, but Emmeline’s eyes were entirely\noccupied with Paddy Button. New things were always of vast interest to\nher contemplative mind, and these evolutions of her old friend were", "As Mr Button stood with his hand on the spar looking round him before\ngoing aft with the sheet, an object struck his eye some three miles", "tries to eat “the never-wake-up berries” and receives a stern rebuke\nand a lecture about poison from Paddy Button. “The Poetry of Learning”", "He gave the shell into the old sailor’s hands. There was about half a\ngill of yellow liquid in the shell. Paddy smelt it, tasted, and gave a\nshout.", "The wrath of Captain Le Farge with Paddy Button for the way he had\nstampeded the crew was profound, but he had not time to give vent to it.", "Mr Button did so, and made a hub-bubbling noise in the water; then he\nlifted a wet and streaming face, and flung the contents of the bailing\ntin overboard.", "Mr Button did not answer the question. He was troubled in his mind.\nWhat if the island were inhabited? He had spent several years in the", "“She’s off,” murmured Mr Button to himself, as the form in his arms\nrelaxed. Then he laid her gently down beside Dick. He shifted forward,", "Suddenly Mr Button came back from the mountains of Connemara to find\nhimself on the deck of the _Shenandoah_; and he instantly became", "Mr Button had put in a year as a longshoreman at Deal, and he had got a\ngreat lot to tell of his cousin and her husband, and more especially of" ], [ "The man at the table, Arthur Lestrange, was seated with his large,\ndeep-sunken eyes fixed on a book. He was most evidently in", "CHAPTER I\n\nMAD LESTRANGE", "They knew him upon the Pacific slope as “Mad Lestrange.” He was not\nmad, but he was a man with a fixed idea. He was pursued by a vision:", "In Le Farge’s brain lay for a certainty the position, and Lestrange\nwent to see the captain in the “Maison de Sante,” where he was being", "alert, quick of eye, and pleasant of face. Fountain introduced him to\nLestrange, who had taken a fancy to him at first sight.", "Lestrange had brought them up in his own way. He had told them there\nwas a good God who looked after the world; determined as far as he", "Mr Lestrange, white as a ghost, but recovered somewhat from his first\nhorror, gave the Spent One time to recover himself and turned to look", "“This is the gentleman, Silas,” said the woman, speaking over\nLestrange’s shoulder. Then she withdrew and closed the door.", "“Dicky,” said Mr Lestrange, closing his book, and raising the\ntable-cloth a few inches, “bedtime.”", "canvas without losing a stick. He was also, fortunately for Lestrange,\na man of refinement and education, and what was better still,\nunderstanding.", "“Captain!” said Lestrange.\n\n“Ay, ay.”\n\n“Come here, please.”", "When Emmeline Lestrange smiled it was absolutely as if the light of\nParadise had suddenly flashed upon her face: the happiest form of\nchildish beauty suddenly appeared before your eyes, dazzled them—and\nwas gone.", "Had a physician seen Lestrange on board the _Northumberland_ as she lay\nin that long, long calm before the fire, he would have declared that\nnothing but a miracle could prolong his life. The miracle came about.", "in her, when Le Farge broke on to the deck, followed by the stewardess\ncarrying Emmeline, and Mr Lestrange leading Dick. The dinghy was rather", "“I am greatly disturbed,” said Lestrange.", "“I will go there,” said Lestrange.\n\n“Do you know Rathray Street?”\n\n“No.”", "Ever since the tragedy of six years ago there had been forming in the\nmind of Emmeline Lestrange a something—shall I call it a deep", "“Sharks,” said Lestrange, whose face was covered with perspiration.", "“Listen!” said Lestrange.\n\nFrom a distance, thin, and dreary as the crying of sea-gulls on a\ndesolate beach, came the clanking of the pumps.", "It was the fourth day of the long calm. An awning had been rigged up on\nthe poop for the passengers, and under it sat Lestrange, trying to" ], [ "The strange thing was, that in his heart he felt a certainty that they\nwere alive. His intellect suggested their death in twenty different", "If some one were to bring you the dead body of the child, you might\nweep, but you would bless him, for it is the uncertainty that kills.", "giving him birth. My God, Captain, death has laid a heavy hand on my\nfamily; can you wonder that I have hid his very name from those two\ncreatures that I love!”", "“No,” said Stannistreet; “they are asleep.”\n\nTHE END\n\n\n\n\n----- Transcriber's Note #1 -----", "The man at the table, Arthur Lestrange, was seated with his large,\ndeep-sunken eyes fixed on a book. He was most evidently in", "He certainly was a sight worth watching. His soul was filled with\ntragedy and terror. His Celtic imagination heard the ship blowing up,", "Added to Lestrange’s feverish excitement there was an anxiety, a deep\nand soul-fretting anxiety, as if some half-heard voice were telling him\nthat the children he sought were threatened by some danger.", "Now that the first terror was over they felt neither sorrow nor fear.\nThey were together. Come what might, nothing could divide them; even\nshould they sleep and never wake up, they would sleep together. Had one\nbeen left and the other taken!", "He held her to him as he stared at the terrible figure lying upon its\nback, hands outspread. Then, wild with terror, he dragged her towards", "“I’m thinking about the children,” said Lestrange, seeming not to hear\nthe captain’s words. “Should anything happen to me before we reach", "He had last seen it in her hands, and he took it up and held it for a\nmoment, pressing it tightly to his breast. Then he threw himself down\nbefore the doorway, and lay upon his face, with head resting upon his", "mind to ask you this for some days. Captain, those children know\nnothing of death.”", "The unfortunate man’s head sank on his breast. He had little time to\nbrood over his troubles, however, for a tragedy was beginning to unfold", "Lestrange was a wealthy man, and one hope remained to him, that the\nchildren might have been rescued by some passing ship. It was not the", "Emmeline Lestrange, his little niece—eight years of age, a mysterious\nmite, small for her age, with thoughts of her own, wide-pupilled eyes", "It was a fatal story for him to remember and recount; for, after his\ncompanions were asleep, the vision of the Merrow and Jack hobnobbing,", "and chattered in his sleep like a dog hunting imaginary game, and\nEmmeline lay beside him wakeful and thinking. A new terror had come\ninto her life. She had seen death for the second time, but this time", "He did not know what had happened, nor did he pause to think: he was\nfleeing from horror—nameless horror; whilst the child at his feet,", "Amidst these occupations, wonders, and pleasures, the children lost all\ncount of the flight of time. They rarely asked about Mr Lestrange;\nafter a while they did not ask about him at all. Children soon forget.", "The men in the long-boat, gloomy and morose, weighed down with a sense\nof crime, tortured by thirst, and tormented by the voices imploring for\nwater, lay on their oars when the other boat tried to approach." ], [ "It had been divided from the body as if with a huge pair of shears. The\ngrey shadow slipped by the boat, and Dick, mad with rage, shouted and", "Dick stood in despair, helpless, his hands clasping his head. The shore\nwas drawing away before him, the surf loudening behind him, yet he\ncould do nothing. The island was being taken away from them by the\ngreat hand of the sea.", "Dick, working the remaining oar at the stern of the boat, rowed out and\nseized the floating scull, bringing it on board. Foot by foot he hauled", "It did not take long to beach the boat. Mr Button tumbled over the side\nup to his knees in water, whilst Dick crawled over the bow.", "“Daddy!” suddenly cried Dick, who had clambered up, and was looking\nover the after-rail.\n\n“What?”", "“Get in,” said Dick, pulling on the painter so that the bow of the\ndinghy came close to the beach.", "at the ship. She seemed a great distance off, and the boats, well away\nfrom her, were making at a furious pace towards the dinghy. Dick was", "Then he took his place in the bottom of the boat, in the stern, stuck\nDick’s straw hat over his face to preserve it from the sun, kicked\nabout a bit to get a comfortable position, and fell asleep.", "Dick dropped the belaying pin and ran forward. He took the disengaged\nhand, and the three went aft to the door of the deck-house. The door\nwas open, and they peeped in.", "She had seen him swilling the decks, she had seen him dancing a jig,\nshe had seen him going round the main deck on all fours with Dick on\nhis back, but she had never seen him going on like this before.", "“He’s asleep,” said Dick.\n\nHe had not thought to look towards the reef from the beach, or he might\nhave seen the figure before.", "Another whip-lash shot out of the water in a shower of spray, and\nseized Dick by the left thigh. At the same instant he drove the point", "Suddenly the dinghy shored over, and might have capsized, only for the\nfact that Dick was sitting on the opposite side to the side from which", "Towing the scull and swimming with one arm, he rapidly approached the\nboat. He was quite close, only ten feet away, when Emmeline saw behind", "Dick came ashore, and then ran about to dry himself in the wind. Then\nhe went to the dinghy and examined her; for he had determined to leave", "was certain death, yet they were being swept out to sea. He might have\nmade the attempt, only that on the starboard quarter the form of the\nshark, gently swimming at the same pace as they were drifting, could be", "arm, he clambered over the channel and passed her over the rail on to\nthe deck. Then it was Dick’s turn, and the children stood waiting", "“All right, Dicky, me son!” cried the old sailor, who had been standing\nup casting his eyes round in a vain endeavour to sight the boats. “Your", "Dick was able to bail it out at the next low tide, when it floated as\nbravely as ever, not having started a single seam.", "“Wait,” said Dick.\n\nHe ran through the grove towards the aoa where the dinghy was moored;\nthen he returned." ], [ "However that may have been, Dick, looking around him, had the shivering\nsense of having just escaped from danger. Whoever had been, had", "“Throw them away!” cried Dick, who remembered.\n\n“I will in a minute,” she replied.", "surface, and displayed itself more fully. Lestrange saw its eyes, he\nsaw the dark fin, and the whole hideous length of the creature; a\nshudder ran through him as he clasped Dicky.", "It had been divided from the body as if with a huge pair of shears. The\ngrey shadow slipped by the boat, and Dick, mad with rage, shouted and", "The great shark, with a movement of the tail that caused the water to\nswirl and the dinghy to rock, turned upon his back and engulfed the", "Another whip-lash shot out of the water in a shower of spray, and\nseized Dick by the left thigh. At the same instant he drove the point", "Suddenly Dick, standing beside Emmeline on the rock, pointed with his\nfinger to the reef near the opening.\n\n“There he is!” cried he.", "“He’s asleep,” said Dick.\n\nHe had not thought to look towards the reef from the beach, or he might\nhave seen the figure before.", "was certain death, yet they were being swept out to sea. He might have\nmade the attempt, only that on the starboard quarter the form of the\nshark, gently swimming at the same pace as they were drifting, could be", "He took Dick’s arm and wandered over to the shade of the trees. Here\nhe threw himself down, and told the children to leave him to sleep.", "Not all their time would be spent in this fashion. Dick was just as\nkeen after the fish. He dug up with a spade—improvised from one of the", "Dick dropped the belaying pin and ran forward. He took the disengaged\nhand, and the three went aft to the door of the deck-house. The door\nwas open, and they peeped in.", "Some instinct made Dick cover himself up on shore, and strip naked on\nthe reef. In a minute he was down by the edge of the surf, javelin in\none hand, fish-spear in the other.", "at the ship. She seemed a great distance off, and the boats, well away\nfrom her, were making at a furious pace towards the dinghy. Dick was", "Suddenly the dinghy shored over, and might have capsized, only for the\nfact that Dick was sitting on the opposite side to the side from which", "Dick pulled the nose of the boat up a bit on the strand, then he looked\naround him. He picked up a broken spear that had been cast away or", "Dick stood in despair, helpless, his hands clasping his head. The shore\nwas drawing away before him, the surf loudening behind him, yet he\ncould do nothing. The island was being taken away from them by the\ngreat hand of the sea.", "At first they thought they were ruined; then Dick, searching, found the\nold saw under a tree, and the butcher’s knife near it, as though the\nknife and saw had been trying to escape in company and had failed.", "Emmeline got carefully in, and went aft. Then Dick got in, pushed off,\nand took to the sculls. Next moment they were out on the sparkling\nwater.", "Dick had speared several fish, and had left them lying on the reef to\nbe picked up later on. Tired of killing, he was now wandering along,\nexamining the various living things he came across." ], [ "The quarter-boat had suddenly vanished.\n\nMr Lestrange climbed into the long-boat. Paddy pushed the dinghy a few\nyards away with the tip of a scull, and then lay on his oars waiting.", "One day they were out on the lagoon. Dick had been rowing; he had\nceased, and was letting the boat drift for a bit. Emmeline was dancing", "The men in the long-boat, gloomy and morose, weighed down with a sense\nof crime, tortured by thirst, and tormented by the voices imploring for\nwater, lay on their oars when the other boat tried to approach.", "She was holding them up before the child, who was laughing and trying\nto grasp them. Then she forgot them, and dropped them in the bottom of\nthe boat, for something had struck the keel with a thud, and the water\nwas boiling all round.", "As the oarsman pulled the tiny craft towards the beach, neither he nor\nthe children saw away behind the boat, on the water near the bending", "When the boats were within hailing distance, a man in the bow of the\nlong-boat rose up.\n\n“Quarter-boat ahoy!”\n\n“Ahoy!”", "place in the bow of the whale-boat and Lestrange in the stern. The boat\nwas lowered, the falls cast off, and the oars bent to the water.", "A faint reply came, but from where, it was difficult to say. The old\nman rowed a few strokes and then paused on his oars. So still was the", "Dick put the hook away and took to the sculls. He had a three-mile row\nbefore him, and the tide was coming in, which did not make it any the", "The fellow in the bow of the long-boat, as if some one had suddenly\nstruck him, broke into a tornado of blasphemy.", "The long-boat ceased rowing to wait for the quarter-boat that was\nslowly creeping up. She was a heavy boat to pull at all times, and now\nshe was overloaded.", "As they approached nearer, it was evident that the drifting boat, which\nlooked like a ship’s dinghy, contained something, but what, could not\nbe made out.", "For a moment he thought of awakening the children to keep him company,\nbut he was ashamed. Then he took to the sculls again, and rowed “by the", "“Are they dead?” asked Lestrange, who divined that there were people in\nthe boat, and who was standing up in the stern of the whale-boat trying\nto see.", "Then he took his place in the bottom of the boat, in the stern, stuck\nDick’s straw hat over his face to preserve it from the sun, kicked\nabout a bit to get a comfortable position, and fell asleep.", "and seized the oars, than his knowledge awoke in his mind, living and\nlurid. He gave a whoop that brought the two sailors leaning over the\nside.", "Next moment Mr Button was in the boat. Emmeline was handed to him, pale\nof face and wide-eyed, and clasping something wrapped in a little\nshawl; then Dick, and then Mr Lestrange was helped over.", "A few strokes brought them under the stern. The name of the ship was\nthere in faded letters, also the port to which she belonged.\n“_Shenandoah_. Martha’s Vineyard.”", "and stowed them away in the dinghy. He would have destroyed the house,\nif he could, but he hadn’t time. Then he rowed the dinghy a hundred", "at the ship. She seemed a great distance off, and the boats, well away\nfrom her, were making at a furious pace towards the dinghy. Dick was" ], [ "“Paddy,” cried Dick, “wake up! wake up!”", "“Paddy,” came Dick’s small voice, apparently from nowhere, “where are\nwe now?”", "“Paddy,” he cried to the old man, who was fixing a hook on a\nfishing-line, “there’s a ship!”", "“You’re not going to the island, Paddy,” cried Dick, as the old man put\nthe boat on the port tack.", "“What is it, Paddy?” asked Dick, half astonished, half frightened at\nthe old man’s manner.", "Paddy had been trained all his life to rhythmical drunkenness. Four\nmonths or so had generally elapsed between his bouts—sometimes six; it", "“Paddy!” again cried the boy, when he had eaten as much as he wanted.\n“Hullo! where are you?”", "“Paddy, what’s a ‘divil’?”", "“I wonder where Paddy is?” cried Dick next morning. He was coming out\nof the chapparel pulling a dead branch after him. “He’s left his coat", "Paddy had a jack-knife, however, and in a marvellously short time a box\nof sardines was opened, and placed on the stern-sheets beside some\nbiscuits.", "“Paddy,” said Dick, who was strong on drawing that afternoon, “look\nhere.” He drew the following on the sand:\n\n[Illustration: A bad drawing of an elephant]", "“What are you looking for, Paddy?” asked Dick.", "Paddy himself, and light a fire. Indeed, during the last few months Mr\nButton, engaged in resting his bones, and contemplating rum as an\nabstract idea, had left the cooking and fishing and general gathering", "Paddy was lying on his right side steeped in profound oblivion. His\nface was buried in the crook of his right arm, and his brown tattooed", "“Then come along, Paddy, and stick ’em up.”", "Strangely enough it was Paddy Button who usually found it. He who was\nalways doing the wrong thing in the eyes of men, generally did the", "“What is it, Paddy?” asked Dick.", "children, they are cared for by Paddy Button, a portly sailor who\ndrinks himself to death after only two and a half years in paradise.", "For all she knew all this was the ordinary accompaniment of a sea\nvoyage. Paddy’s manner throughout had been set to the one idea, not to", "tries to eat “the never-wake-up berries” and receives a stern rebuke\nand a lecture about poison from Paddy Button. “The Poetry of Learning”" ], [ "He knew Dick from Emmeline; and when Emmeline had satisfied his\nmaterial wants, he would hold out his arms to go to Dick if he were by.", "“Dicky!” said Emmeline.\n\n“Well?”", "Emmeline, up to this, had mostly done the cooking, such as it was; Dick\nhelped her now, always. He talked to her no longer in short sentences", "Emmeline rose up and seized him, sobbing and clinging to him, and\nkissing him. He clasped her with his left arm round her body, as if to", "Dick took the child on his knee, and from that moment his love for it\nwas more than his love for Emmeline or anything else on earth.\n\n\n\n\nCHAPTER XV", "“I can read them,” said Dick.\n\n“So c’n I,” murmured Emmeline.", "Scarcely had Emmeline arisen when Dick woke also, and they went out on\nto the sward, and then down to the water’s edge. Dick went in for a", "Emmeline crawled up, and sat near him, and Dick flung himself down on\nthe sand near Emmeline.", "lady who will care for them. Dicky will be well off, as far as worldly\ngoods are concerned, and so will Emmeline. Just tell them I’ve gone on", "Emmeline, wandering about in the woods with Dick on the day after the\nstorm, looking at the ruin of great tree and little bird, and", "Towards dawn Emmeline fell asleep. Dick stole out of the hut when he\nhad assured himself from her regular breathing that she was asleep,", "One day they were out on the lagoon. Dick had been rowing; he had\nceased, and was letting the boat drift for a bit. Emmeline was dancing", "Emmeline, seeing what was in progress, crept up, Dick promising not to\nput the hat on her, and they all sat round the pile.", "Though Emmeline had asked Koko for Dick’s whereabouts, it was only a\nremark made by way of making conversation, for she could hear him in\nthe little cane-brake which lay close by amidst the trees.", "Dick flung himself down beside Emmeline, who was seated in the bottom\nof the boat holding the child to her breast. The bird, seeing the land", "Emmeline, with the child in her arms, stepped into the little boat and\ntook her seat in the stern, whilst Dick pushed off. Scarcely had he put", "Dick and Emmeline stole up to him till they got right beside him. Then\nEmmeline, flashing out a laugh, flung the little wreath of flowers on", "Emmeline got carefully in, and went aft. Then Dick got in, pushed off,\nand took to the sculls. Next moment they were out on the sparkling\nwater.", "“Come ’long, Em!” cried Dick; and the children started off amongst the\ntrees, Dick pulling at the hanging vine tendrils, and Emmeline plucking\nwhat blossoms she could find within her small reach.", "Dick put his finger over the side, so that it made a ripple in the\nwater (the most delightful experience of childhood). Emmeline, with one" ], [ "“Hannah,” said Emmeline promptly.", "Emmeline, alone in the jungle, loses consciousness and awakes to find a\nbaby boy on the ground near her. Naming the boy Hannah (an example of", "“Wait!” he cried; and, running up to the house, he fetched out Hannah.", "Hannah, despite his unfortunate name, was certainly a most virile and\nengaging baby. The black hair which had appeared and vanished like some", "CHAPTER XIV\n\nHANNAH", "The recollection of another baby once heard about was in her mind; and\nit was as good a name as any other, perhaps, in that lonely place,\nnotwithstanding the fact that Hannah was a boy.", "Since the coming of Hannah, and even before, the stone figure standing\nin its awful and mysterious solitude had ceased to be an object of", "one, Hannah; Hannah was his cousin’s baby—a most marvellous child, who\nwas born with its “buck” teeth fully developed, and whose first", "“twice as plump.” Like the baby in the “Pig and Pepper,” Hannah sneezes\nat the first sight of Dicky. The novel is artfully littered with", "storm was set about with the object of snatching Hannah from her, and\nblowing him out to sea, was a belief which she held, perhaps, in the\ninnermost recesses of her mind.", "on a tree-twig near by, as if in derision; and Hannah, when it was\npresented to him as a plaything, flung it away from him as if in", "Hannah would press Koko to his little brown stomach, as if in artless\nadmission of where his heart lay.", "Emmeline had felt Hannah nearly snatched from her arms twice by these\nlittle ferocious gimlet winds; and that the whole business of the great", "It was a great business cutting the canes and dragging them out in the\nopen. Emmeline helped; whilst Hannah, seated on the grass, played with\nthe bird that had vanished during the storm, but reappeared the evening\nafter.", "Koko took a vast interest in the new arrival. He would hop round it and\npeer at it with his head on one side; and Hannah would crawl after the", "As the two men sat without speaking, thinking their own thoughts, a\nlittle white figure emerged from the saloon hatch. It was Emmeline. She\nwas a professed sleepwalker—a past mistress of the art.", "its owner and her uncle; she was a woman, or, at all events, the\nbeginning of a woman, yet she kept this secret to herself—a fact which\nyou will please note.", "As he sat reading, the cabin door opened, and appeared an angular\nfemale form. This was Mrs Stannard, the stewardess, and Mrs Stannard\nmeant bedtime.", "Hannah asleep was even a pleasanter picture than when awake. He looked\nlike a little brown Cupid without wings, bow or arrow. He had all the", "victim (female). She falls in love with Gerald Wilder, a man disguised\nas a woman, who is both a reincarnated murder victim (female) and the" ], [ "The man at the table, Arthur Lestrange, was seated with his large,\ndeep-sunken eyes fixed on a book. He was most evidently in", "They carried the bananas up to the house, and hung them from a branch\nof the artu. Then Dick, on his knees, lit the fire to prepare the", "As the two men sat without speaking, thinking their own thoughts, a\nlittle white figure emerged from the saloon hatch. It was Emmeline. She\nwas a professed sleepwalker—a past mistress of the art.", "“No,” said Stannistreet; “they are asleep.”\n\nTHE END\n\n\n\n\n----- Transcriber's Note #1 -----", "Artus, once so pretty a picture with their diamond-chequered trunks,\nlay broken and ruined; and right through the belt of mammee apple,", "Then he told them things. He had spent a year at Deal long ago, where a\ncousin of his was married to a boatman.", "“Dicky,” she said, “draw Henry the Eight.”\n\nDick’s face brightened. He cleared the sand and drew the following\nfigure:", "then all at once her arms would go round him. All this used to go on in\nthe broad light of day, under the shadow of the artu leaves, with no", "He knew Dick from Emmeline; and when Emmeline had satisfied his\nmaterial wants, he would hold out his arms to go to Dick if he were by.", "“I don’t know,” said Dick, who had not thought of this; “there he is,", "He stared at this sight for twenty or thirty seconds without speaking,\nhis head projected like the head of a tortoise. Then he gave a wild\n“Hurroo!”", "The next day Dick was sitting under the shade of the artu. He had the\nbox of fishhooks beside him, and he was bending a line on to one of", "He certainly was a sight worth watching. His soul was filled with\ntragedy and terror. His Celtic imagination heard the ship blowing up,", "She could not throw a stone straight, yet the scull went like an arrow\nto the mark, balking the pursuer and saving the pursued. In a moment\nmore his leg was over the gunwale, and he was saved.", "“She’s off,” murmured Mr Button to himself, as the form in his arms\nrelaxed. Then he laid her gently down beside Dick. He shifted forward,", "Then all at once the wind dropped, the rain ceased, and a pale spectral\nlight, like the light of dawn, fell before the doorway.\n\n“It’s over!” cried Dick, making to get up.", "“Pawthrick,” drawled a voice from the hammock above, from which", "“This is the gentleman, Silas,” said the woman, speaking over\nLestrange’s shoulder. Then she withdrew and closed the door.", "He gave Dick a sip. The boy spat it out, and made a face, then, pushing\nthe barrel before them, they began to roll it downhill to the beach,\nEmmeline running before them crowned with flowers.", "Mice, 1863-1942 (1942), the boys abused him mentally and physically,\nmaking him feel like “a little Arthur in a cage of baboons.” One night," ], [ "“Dicky!” said Emmeline.\n\n“Well?”", "The strange thing was, that in his heart he felt a certainty that they\nwere alive. His intellect suggested their death in twenty different", "He knew Dick from Emmeline; and when Emmeline had satisfied his\nmaterial wants, he would hold out his arms to go to Dick if he were by.", "Lestrange, sitting in the stern-sheets clasping Emmeline and Dick,\nsaw nothing for a moment after hearing these words. The children,", "Though Emmeline had asked Koko for Dick’s whereabouts, it was only a\nremark made by way of making conversation, for she could hear him in\nthe little cane-brake which lay close by amidst the trees.", "Towards dawn Emmeline fell asleep. Dick stole out of the hut when he\nhad assured himself from her regular breathing that she was asleep,", "lady who will care for them. Dicky will be well off, as far as worldly\ngoods are concerned, and so will Emmeline. Just tell them I’ve gone on", "“When Dr Sims made Dicky sick,” said Emmeline, “he said the wonder\nt’im was how Dicky held it all.”", "Emmeline, wandering about in the woods with Dick on the day after the\nstorm, looking at the ruin of great tree and little bird, and", "“Don’t think of him, Dick,” said Emmeline, holding the child more\ntightly to her heart. “Row on.”", "Scarcely had Emmeline arisen when Dick woke also, and they went out on\nto the sward, and then down to the water’s edge. Dick went in for a", "Dick wiped the elephant slowly and regretfully out, whilst Emmeline\nfelt disheartened. Then her face suddenly cleared; the seraphic smile\ncame into it for a moment—a bright idea had struck her.", "“I found it in the woods,” replied Emmeline.\n\nDumb with amazement, he helped her along to the house, and she sat\ndown, resting her head against the bamboos of the wall.", "To Dick, who had not been broken into the idea of death, who had not\nlearned to associate it with graves and funerals, sorrow, eternity, and\nhell, the thing spoke as it never could have spoken to you or me.", "Dick and Emmeline on each side of him, breathless for fear of a mistake.", "and chattered in his sleep like a dog hunting imaginary game, and\nEmmeline lay beside him wakeful and thinking. A new terror had come\ninto her life. She had seen death for the second time, but this time", "Suddenly Dick, standing beside Emmeline on the rock, pointed with his\nfinger to the reef near the opening.\n\n“There he is!” cried he.", "“Dick,” said Emmeline, “do you remember the noise yesterday?”\n\n“Yes,” said Dick.", "Emmeline, seeing what was in progress, crept up, Dick promising not to\nput the hat on her, and they all sat round the pile.", "One morning, about a week after the day on which the old sailor, to use\nhis own expression, had bent a skirt on Emmeline, Dick came through the\nwoods and across the sands running. He had been on the hill-top." ], [ "Emmeline, with the child in her arms, stepped into the little boat and\ntook her seat in the stern, whilst Dick pushed off. Scarcely had he put", "Emmeline had felt Hannah nearly snatched from her arms twice by these\nlittle ferocious gimlet winds; and that the whole business of the great", "He lifted Emmeline, who was clasping her luggage, over the rail on to\nthe channel, and deposited her in the stern-sheets; then Dick.", "Emmeline got carefully in, and went aft. Then Dick got in, pushed off,\nand took to the sculls. Next moment they were out on the sparkling\nwater.", "Next moment Mr Button was in the boat. Emmeline was handed to him, pale\nof face and wide-eyed, and clasping something wrapped in a little\nshawl; then Dick, and then Mr Lestrange was helped over.", "Dick had stepped into the boat, and was on the point of unmooring her,\nand pushing her off, when Emmeline stopped him.\n\n“Dick!”", "“I don’t know which is which,” confessed the unfortunate Emmeline, who\nwas an absolute failure at everything practical: who could neither row", "The water was now so high that a strong push would float her. He turned\nback to the hut for Emmeline. She was still asleep: so soundly asleep,", "As for Emmeline, she seemed dazed. The rag-doll lay a yard away from\nher on the poop deck unnursed; even the wretched box and its", "Emmeline, it will be remembered, had brought a small parcel with her\ndone up in a little shawl; it was under the boat seat, and every now\nand then she would stoop down to see if it were safe.", "One day they were out on the lagoon. Dick had been rowing; he had\nceased, and was letting the boat drift for a bit. Emmeline was dancing", "Emmeline scrambled away as far as she could, till she reached the\nstarboard bulwarks, where she sat in the scupper, breathless and", "Emmeline, alone in the jungle, loses consciousness and awakes to find a\nbaby boy on the ground near her. Naming the boy Hannah (an example of", "He came running down with him to the water’s edge, gave Emmeline the\nchild, unmoored the boat, and started out from shore.", "He flung his load aside, and ran down the beach; in a moment he was in\nthe water. Emmeline, standing up in the boat, watched him.", "Dick tied up the boat to a projection of coral, and helped Emmeline to\nland. The sun was creeping down into the west, the tide was nearly half", "“Hannah,” said Emmeline promptly.", "Dick flung himself down beside Emmeline, who was seated in the bottom\nof the boat holding the child to her breast. The bird, seeing the land", "“Uncle,” said Emmeline, putting her hand in his, as she gazed towards\nthe ship and beyond it, “I’m ’fraid.”", "Emmeline screamed, and pointed to the thing behind the swimmer. He\nturned, saw it, dropped the oar and made for the boat. She had seized" ], [ "Emmeline screamed, and pointed to the thing behind the swimmer. He\nturned, saw it, dropped the oar and made for the boat. She had seized", "He came down off the rock, hand over fist, flung the poisonous things\naway, and looked into Emmeline’s small mouth, which at his command she", "He flung his load aside, and ran down the beach; in a moment he was in\nthe water. Emmeline, standing up in the boat, watched him.", "As for Emmeline, she seemed dazed. The rag-doll lay a yard away from\nher on the poop deck unnursed; even the wretched box and its", "He lifted Emmeline, who was clasping her luggage, over the rail on to\nthe channel, and deposited her in the stern-sheets; then Dick.", "“I found it in the woods,” replied Emmeline.\n\nDumb with amazement, he helped her along to the house, and she sat\ndown, resting her head against the bamboos of the wall.", "Emmeline screamed, and screamed, and would have fallen, but the boy\ncaught her in his arms—one side of the face had been destroyed by the\nlarvæ of the rocks.", "In a second the spear was in his free hand, and Emmeline had cast\nherself down on her knees, and was staring with terrified eyes into the", "Emmeline scrambled away as far as she could, till she reached the\nstarboard bulwarks, where she sat in the scupper, breathless and", "He flung the unopened oysters down, and took the thing to Emmeline.\nNext day, returning by chance to the same spot, he found the oysters he", "Towing the scull and swimming with one arm, he rapidly approached the\nboat. He was quite close, only ten feet away, when Emmeline saw behind", "It was late afternoon, and the heat had gone out of the day. Emmeline,\nseated on the grass opposite to him, was holding the end of the line,\nwhilst he got the kinks out of it, when suddenly she raised her head.", "As the two men sat without speaking, thinking their own thoughts, a\nlittle white figure emerged from the saloon hatch. It was Emmeline. She\nwas a professed sleepwalker—a past mistress of the art.", "“Mrs James,” said Emmeline, “made me promise not to open it till I got\non shore, for the things in it might get lost.”", "Emmeline, with a profound and natural wisdom, let him crawl about stark\nnaked, dressed in ozone and sunlight. Taking him out on the reef, she", "As for Emmeline, she having glanced up and recognised the inevitable,\nrose to her feet, and, holding the hideous rag-doll she had been", "The water was now so high that a strong push would float her. He turned\nback to the hut for Emmeline. She was still asleep: so soundly asleep,", "Emmeline, it will be remembered, had brought a small parcel with her\ndone up in a little shawl; it was under the boat seat, and every now\nand then she would stoop down to see if it were safe.", "Emmeline contemplated Paddy for a while as he smoked and rested his\nbones, then a great thought occurred to her. She took the little shawl\nfrom around the parcel she was holding and exposed the mysterious box.", "Emmeline got carefully in, and went aft. Then Dick got in, pushed off,\nand took to the sculls. Next moment they were out on the sparkling\nwater." ], [ "Dick had stepped into the boat, and was on the point of unmooring her,\nand pushing her off, when Emmeline stopped him.\n\n“Dick!”", "Emmeline got carefully in, and went aft. Then Dick got in, pushed off,\nand took to the sculls. Next moment they were out on the sparkling\nwater.", "Emmeline, with the child in her arms, stepped into the little boat and\ntook her seat in the stern, whilst Dick pushed off. Scarcely had he put", "One day they were out on the lagoon. Dick had been rowing; he had\nceased, and was letting the boat drift for a bit. Emmeline was dancing", "Dick beached the boat on the shelving sand, and left Emmeline seated in\nthe stern of it, whilst he went in search of the bananas; she would\nhave accompanied him, but the child had fallen asleep.", "Scarcely had Emmeline arisen when Dick woke also, and they went out on\nto the sward, and then down to the water’s edge. Dick went in for a", "Lestrange, sitting in the stern-sheets clasping Emmeline and Dick,\nsaw nothing for a moment after hearing these words. The children,", "Dick flung himself down beside Emmeline, who was seated in the bottom\nof the boat holding the child to her breast. The bird, seeing the land", "Dick tied up the boat to a projection of coral, and helped Emmeline to\nland. The sun was creeping down into the west, the tide was nearly half", "Though Emmeline had asked Koko for Dick’s whereabouts, it was only a\nremark made by way of making conversation, for she could hear him in\nthe little cane-brake which lay close by amidst the trees.", "He lifted Emmeline, who was clasping her luggage, over the rail on to\nthe channel, and deposited her in the stern-sheets; then Dick.", "He flung the unopened oysters down, and took the thing to Emmeline.\nNext day, returning by chance to the same spot, he found the oysters he", "Dick, working the remaining oar at the stern of the boat, rowed out and\nseized the floating scull, bringing it on board. Foot by foot he hauled", "Occasionally Dick would make an excursion in the dinghy to the old\nplace, but Emmeline refused to accompany him. He went chiefly to obtain", "Emmeline screamed, and pointed to the thing behind the swimmer. He\nturned, saw it, dropped the oar and made for the boat. She had seized", "Towards dawn Emmeline fell asleep. Dick stole out of the hut when he\nhad assured himself from her regular breathing that she was asleep,", "“I don’t know which is which,” confessed the unfortunate Emmeline, who\nwas an absolute failure at everything practical: who could neither row", "“Dicky!” said Emmeline.\n\n“Well?”", "terrified Emmeline, who implored Dick to row on.", "As for Emmeline, she seemed dazed. The rag-doll lay a yard away from\nher on the poop deck unnursed; even the wretched box and its" ], [ "Towards dawn Emmeline fell asleep. Dick stole out of the hut when he\nhad assured himself from her regular breathing that she was asleep,", "Dick had darted into the house, and was now sitting beside Emmeline,\nwho was shivering and holding the child, which had awakened at the\nsound of the thunder.", "Lestrange, sitting in the stern-sheets clasping Emmeline and Dick,\nsaw nothing for a moment after hearing these words. The children,", "“She’s off,” murmured Mr Button to himself, as the form in his arms\nrelaxed. Then he laid her gently down beside Dick. He shifted forward,", "Emmeline sat amidst the ferns on the floor cowed and dumb, holding the\nbaby to her breast. It was fast asleep. Dick stood at the doorway. He\nwas disturbed in mind, but he did not show it.", "As for Emmeline, she seemed dazed. The rag-doll lay a yard away from\nher on the poop deck unnursed; even the wretched box and its", "As the two men sat without speaking, thinking their own thoughts, a\nlittle white figure emerged from the saloon hatch. It was Emmeline. She\nwas a professed sleepwalker—a past mistress of the art.", "“I found it in the woods,” replied Emmeline.\n\nDumb with amazement, he helped her along to the house, and she sat\ndown, resting her head against the bamboos of the wall.", "Emmeline had fallen forward; she had lost consciousness.\n\n\n\n\nCHAPTER XXII\n\nALONE", "Emmeline, seeing what was in progress, crept up, Dick promising not to\nput the hat on her, and they all sat round the pile.", "Emmeline, alone in the jungle, loses consciousness and awakes to find a\nbaby boy on the ground near her. Naming the boy Hannah (an example of", "“No,” said Stannistreet; “they are asleep.”\n\nTHE END\n\n\n\n\n----- Transcriber's Note #1 -----", "in her, when Le Farge broke on to the deck, followed by the stewardess\ncarrying Emmeline, and Mr Lestrange leading Dick. The dinghy was rather", "“When Dr Sims made Dicky sick,” said Emmeline, “he said the wonder\nt’im was how Dicky held it all.”", "Scarcely had Emmeline arisen when Dick woke also, and they went out on\nto the sward, and then down to the water’s edge. Dick went in for a", "Dick flung himself down beside Emmeline, who was seated in the bottom\nof the boat holding the child to her breast. The bird, seeing the land", "and chattered in his sleep like a dog hunting imaginary game, and\nEmmeline lay beside him wakeful and thinking. A new terror had come\ninto her life. She had seen death for the second time, but this time", "“Dicky!” said Emmeline.\n\n“Well?”", "The water was now so high that a strong push would float her. He turned\nback to the hut for Emmeline. She was still asleep: so soundly asleep,", "Emmeline, with the child in her arms, stepped into the little boat and\ntook her seat in the stern, whilst Dick pushed off. Scarcely had he put" ], [ "“Dicky!” said Emmeline.\n\n“Well?”", "lady who will care for them. Dicky will be well off, as far as worldly\ngoods are concerned, and so will Emmeline. Just tell them I’ve gone on", "“I found it in the woods,” replied Emmeline.\n\nDumb with amazement, he helped her along to the house, and she sat\ndown, resting her head against the bamboos of the wall.", "Emmeline, seeing what was in progress, crept up, Dick promising not to\nput the hat on her, and they all sat round the pile.", "“When Dr Sims made Dicky sick,” said Emmeline, “he said the wonder\nt’im was how Dicky held it all.”", "“Hannah,” said Emmeline promptly.", "Towards dawn Emmeline fell asleep. Dick stole out of the hut when he\nhad assured himself from her regular breathing that she was asleep,", "Lestrange, sitting in the stern-sheets clasping Emmeline and Dick,\nsaw nothing for a moment after hearing these words. The children,", "“Don’t think of him, Dick,” said Emmeline, holding the child more\ntightly to her heart. “Row on.”", "“She’s off,” murmured Mr Button to himself, as the form in his arms\nrelaxed. Then he laid her gently down beside Dick. He shifted forward,", "Though Emmeline had asked Koko for Dick’s whereabouts, it was only a\nremark made by way of making conversation, for she could hear him in\nthe little cane-brake which lay close by amidst the trees.", "One morning, about a week after the day on which the old sailor, to use\nhis own expression, had bent a skirt on Emmeline, Dick came through the\nwoods and across the sands running. He had been on the hill-top.", "He knew Dick from Emmeline; and when Emmeline had satisfied his\nmaterial wants, he would hold out his arms to go to Dick if he were by.", "“Dick,” said Emmeline, “do you remember the noise yesterday?”\n\n“Yes,” said Dick.", "Emmeline, up to this, had mostly done the cooking, such as it was; Dick\nhelped her now, always. He talked to her no longer in short sentences", "and chattered in his sleep like a dog hunting imaginary game, and\nEmmeline lay beside him wakeful and thinking. A new terror had come\ninto her life. She had seen death for the second time, but this time", "As the two men sat without speaking, thinking their own thoughts, a\nlittle white figure emerged from the saloon hatch. It was Emmeline. She\nwas a professed sleepwalker—a past mistress of the art.", "Emmeline, wandering about in the woods with Dick on the day after the\nstorm, looking at the ruin of great tree and little bird, and", "“No,” said Stannistreet; “they are asleep.”\n\nTHE END\n\n\n\n\n----- Transcriber's Note #1 -----", "Emmeline, with the child in her arms, stepped into the little boat and\ntook her seat in the stern, whilst Dick pushed off. Scarcely had he put" ], [ "tries to eat “the never-wake-up berries” and receives a stern rebuke\nand a lecture about poison from Paddy Button. “The Poetry of Learning”", "Emmeline had not followed them up to the rock. She had gone botanising\nwhere some bushes displayed great bunches of the crimson arita berries", "Paddy himself, and light a fire. Indeed, during the last few months Mr\nButton, engaged in resting his bones, and contemplating rum as an\nabstract idea, had left the cooking and fishing and general gathering", "“Paddy!” again cried the boy, when he had eaten as much as he wanted.\n“Hullo! where are you?”", "the ground. Paddy picked it up. “It’s a green cucanut,” said he,\nputting it in his pocket (it was not very much bigger than a Jaffa", "“I’ve found something, Paddy!” he cried, as he disappeared among the\ntrees.", "of the wild cocoa-nut she had plucked, it was a branch of the\nnever-wake-up berries. The berries that will cause a man to sleep,", "“Paddy!” cried Dick, pausing in the act of splitting open a breadfruit.\nEchoes came from amidst the cocoa-nut trees, but nothing more.", "“Paddy,” said Dick, who was strong on drawing that afternoon, “look\nhere.” He drew the following on the sand:\n\n[Illustration: A bad drawing of an elephant]", "“Paddy,” he cried to the old man, who was fixing a hook on a\nfishing-line, “there’s a ship!”", "“Baccy, begorra!” shouted Pat, seizing upon his treasure. It was\npigtail. You may see coils of it in the tobacconists’ windows of", "“Paddy,” cried Dick, “wake up! wake up!”", "“Lave thim berries down!” cried Mr Button, when she had attracted his", "“I wonder where Paddy is?” cried Dick next morning. He was coming out\nof the chapparel pulling a dead branch after him. “He’s left his coat", "“Paddy, I turned over the old barrel and it had a cork thing in it, and\nI pulled it out, and the barrel is full of awfully funny-smelling", "They had been questioning him about the “never-wake-up” berries.\n\n“Who said they didn’t?” asked Mr Button.", "trees with cries of “Knuckle down, Paddy, knuckle down!” He entered\ninto all their amusements just as one of themselves. On high and rare", "They carried the bananas up to the house, and hung them from a branch\nof the artu. Then Dick, on his knees, lit the fire to prepare the", "Paddy had a jack-knife, however, and in a marvellously short time a box\nof sardines was opened, and placed on the stern-sheets beside some\nbiscuits.", "Emmeline left her box on the heap of things that Paddy had placed in\nthe shadow of the cocoa-nut trees, took his hand, and the three entered\nthe grove on the right." ], [ "“Paddy,” cried Dick, “wake up! wake up!”", "“Paddy,” came Dick’s small voice, apparently from nowhere, “where are\nwe now?”", "“Paddy,” he cried to the old man, who was fixing a hook on a\nfishing-line, “there’s a ship!”", "“You’re not going to the island, Paddy,” cried Dick, as the old man put\nthe boat on the port tack.", "“What is it, Paddy?” asked Dick, half astonished, half frightened at\nthe old man’s manner.", "Paddy had been trained all his life to rhythmical drunkenness. Four\nmonths or so had generally elapsed between his bouts—sometimes six; it", "“Paddy!” again cried the boy, when he had eaten as much as he wanted.\n“Hullo! where are you?”", "“Paddy, what’s a ‘divil’?”", "“I wonder where Paddy is?” cried Dick next morning. He was coming out\nof the chapparel pulling a dead branch after him. “He’s left his coat", "Paddy had a jack-knife, however, and in a marvellously short time a box\nof sardines was opened, and placed on the stern-sheets beside some\nbiscuits.", "“Paddy,” said Dick, who was strong on drawing that afternoon, “look\nhere.” He drew the following on the sand:\n\n[Illustration: A bad drawing of an elephant]", "“What are you looking for, Paddy?” asked Dick.", "Paddy himself, and light a fire. Indeed, during the last few months Mr\nButton, engaged in resting his bones, and contemplating rum as an\nabstract idea, had left the cooking and fishing and general gathering", "Paddy was lying on his right side steeped in profound oblivion. His\nface was buried in the crook of his right arm, and his brown tattooed", "“Then come along, Paddy, and stick ’em up.”", "Strangely enough it was Paddy Button who usually found it. He who was\nalways doing the wrong thing in the eyes of men, generally did the", "“What is it, Paddy?” asked Dick.", "children, they are cared for by Paddy Button, a portly sailor who\ndrinks himself to death after only two and a half years in paradise.", "For all she knew all this was the ordinary accompaniment of a sea\nvoyage. Paddy’s manner throughout had been set to the one idea, not to", "tries to eat “the never-wake-up berries” and receives a stern rebuke\nand a lecture about poison from Paddy Button. “The Poetry of Learning”" ], [ "“You’re not going to the island, Paddy,” cried Dick, as the old man put\nthe boat on the port tack.", "Dick flung himself down beside Emmeline, who was seated in the bottom\nof the boat holding the child to her breast. The bird, seeing the land", "“Paddy,” came Dick’s small voice, apparently from nowhere, “where are\nwe now?”", "“Hurrah!” cried Dick. He was not quite sure what an island might be\nlike in the concrete, but it was something fresh, and Paddy’s voice was\njubilant.", "“Dicky!” said Emmeline.\n\n“Well?”", "“The sea’s all round it,” said Emmeline, who was seated on Paddy’s\nshoulder, holding on tight to him, and gazing upon the island, the", "“Listen!” said Emmeline.\n\nDick paused for a moment in his work. All the sounds of the island were\nfamiliar: this was something quite strange.", "“Paddy,” cried Dick, “wake up! wake up!”", "Suddenly Dick, standing beside Emmeline on the rock, pointed with his\nfinger to the reef near the opening.\n\n“There he is!” cried he.", "Emmeline, with the child in her arms, stepped into the little boat and\ntook her seat in the stern, whilst Dick pushed off. Scarcely had he put", "“Paddy,” said Dick, who was strong on drawing that afternoon, “look\nhere.” He drew the following on the sand:\n\n[Illustration: A bad drawing of an elephant]", "Emmeline crawled up, and sat near him, and Dick flung himself down on\nthe sand near Emmeline.", "Emmeline got carefully in, and went aft. Then Dick got in, pushed off,\nand took to the sculls. Next moment they were out on the sparkling\nwater.", "One morning, about a week after the day on which the old sailor, to use\nhis own expression, had bent a skirt on Emmeline, Dick came through the\nwoods and across the sands running. He had been on the hill-top.", "Emmeline left her box on the heap of things that Paddy had placed in\nthe shadow of the cocoa-nut trees, took his hand, and the three entered\nthe grove on the right.", "Dick had stepped into the boat, and was on the point of unmooring her,\nand pushing her off, when Emmeline stopped him.\n\n“Dick!”", "lady who will care for them. Dicky will be well off, as far as worldly\ngoods are concerned, and so will Emmeline. Just tell them I’ve gone on", "One day they were out on the lagoon. Dick had been rowing; he had\nceased, and was letting the boat drift for a bit. Emmeline was dancing", "“Are we going there, Paddy?” asked Dick, holding on to a stay, and\nstraining his eyes towards the land.", "He gave Dick a sip. The boy spat it out, and made a face, then, pushing\nthe barrel before them, they began to roll it downhill to the beach,\nEmmeline running before them crowned with flowers." ], [ "Emmeline rose up and seized him, sobbing and clinging to him, and\nkissing him. He clasped her with his left arm round her body, as if to", "and chattered in his sleep like a dog hunting imaginary game, and\nEmmeline lay beside him wakeful and thinking. A new terror had come\ninto her life. She had seen death for the second time, but this time", "As the two men sat without speaking, thinking their own thoughts, a\nlittle white figure emerged from the saloon hatch. It was Emmeline. She\nwas a professed sleepwalker—a past mistress of the art.", "Emmeline, up to this, had mostly done the cooking, such as it was; Dick\nhelped her now, always. He talked to her no longer in short sentences", "“I found it in the woods,” replied Emmeline.\n\nDumb with amazement, he helped her along to the house, and she sat\ndown, resting her head against the bamboos of the wall.", "Emmeline, with a profound and natural wisdom, let him crawl about stark\nnaked, dressed in ozone and sunlight. Taking him out on the reef, she", "Towards dawn Emmeline fell asleep. Dick stole out of the hut when he\nhad assured himself from her regular breathing that she was asleep,", "Emmeline was sitting as nude as the day star, drying in the morning sun\nafter her dip, and watching Dick’s evolutions on the sand.", "Scarcely had Emmeline arisen when Dick woke also, and they went out on\nto the sward, and then down to the water’s edge. Dick went in for a", "They got down from the rock, and came back down through the wood. As\nthey came Emmeline picked flowers and began making them up into one of", "Emmeline knelt down and dabbled her hands, and made herself a pair of\nphosphoric gloves, and cried out with pleasure, and laughed. It was all", "Emmeline this morning had just finished restringing them on a double\nthread. She looked pale and not at all well and had been restless all\nnight.", "One morning, about a week after the day on which the old sailor, to use\nhis own expression, had bent a skirt on Emmeline, Dick came through the\nwoods and across the sands running. He had been on the hill-top.", "house. They were, in short, as busy as they could be in such a climate,\nbut love-making would come on them in fits, and then everything would", "He knew Dick from Emmeline; and when Emmeline had satisfied his\nmaterial wants, he would hold out his arms to go to Dick if he were by.", "As for Emmeline, she seemed dazed. The rag-doll lay a yard away from\nher on the poop deck unnursed; even the wretched box and its", "“Mr Button,” said Emmeline that night, as they sat on the sand near\nthe tent he had improvised, “Mr Button—cats go to sleep.”", "place of the Emmeline he had known from earliest childhood. This one\nlooked different. He did not know that she had grown beautiful, he just\nknew that she looked different; also she had developed new ways that", "Emmeline in the night had implored him to take her away. Take her away\nsomewhere from there, and he had promised, without knowing in the least", "He lifted Emmeline, who was clasping her luggage, over the rail on to\nthe channel, and deposited her in the stern-sheets; then Dick." ], [ "“I found it in the woods,” replied Emmeline.\n\nDumb with amazement, he helped her along to the house, and she sat\ndown, resting her head against the bamboos of the wall.", "They got down from the rock, and came back down through the wood. As\nthey came Emmeline picked flowers and began making them up into one of", "Emmeline, wandering about in the woods with Dick on the day after the\nstorm, looking at the ruin of great tree and little bird, and", "that he had promised Emmeline to return before sunset; it was nearly\nsunset now. Suddenly, just behind him, from among the trees, he heard\nher voice, crying:", "One morning, about a week after the day on which the old sailor, to use\nhis own expression, had bent a skirt on Emmeline, Dick came through the\nwoods and across the sands running. He had been on the hill-top.", "Emmeline, alone in the jungle, loses consciousness and awakes to find a\nbaby boy on the ground near her. Naming the boy Hannah (an example of", "One afternoon, when the house was beginning to take some sort of form,\nthey ceased work and went off into the woods; Emmeline carrying the\nbaby, and Dick taking turns with him. They were going to the valley of\nthe idol.", "It was a great business cutting the canes and dragging them out in the\nopen. Emmeline helped; whilst Hannah, seated on the grass, played with\nthe bird that had vanished during the storm, but reappeared the evening\nafter.", "“What have you found?” piped Emmeline, who was always interested in new\nthings.\n\n“Something funny!” came back from amidst the trees.", "Emmeline left her box on the heap of things that Paddy had placed in\nthe shadow of the cocoa-nut trees, took his hand, and the three entered\nthe grove on the right.", "when, raising his head, he saw Emmeline’s figure coming out from amidst\nthe distant trees on the other side of the sward.", "Emmeline, with a profound and natural wisdom, let him crawl about stark\nnaked, dressed in ozone and sunlight. Taking him out on the reef, she", "Next morning the light of day filtering through the trees awakened\nEmmeline in the tent which they had improvised whilst the house was", "It was late afternoon, and the heat had gone out of the day. Emmeline,\nseated on the grass opposite to him, was holding the end of the line,\nwhilst he got the kinks out of it, when suddenly she raised her head.", "“Come ’long, Em!” cried Dick; and the children started off amongst the\ntrees, Dick pulling at the hanging vine tendrils, and Emmeline plucking\nwhat blossoms she could find within her small reach.", "Then Emmeline would wash the things in imaginary water, replace them in\nthe box, and every one would lose their company manners and become\nquite natural again.", "When he had finished his pipe he hallooed, and small voices answered\nhim from the wood. Then the children came running back, Emmeline", "ways of men, but here the birds were so fearless and so full of\nconfidence that often they would follow Emmeline in the wood, flying\nfrom branch to branch, peering at her through the leaves, lighting", "wood when he was going away like this, but this morning she just sat at\nthe doorway of the little house, the necklace in her lap, following him\nwith her eyes until he was lost amidst the trees.", "Towards dawn Emmeline fell asleep. Dick stole out of the hut when he\nhad assured himself from her regular breathing that she was asleep," ], [ "There was the trying-out gear; there were the boats, the crow’s nest,\nand all complete, and labelling her a whaler. She was a ship, no doubt,", "“Blisther it!” said he; “the say here seems to breed whale-ships, and", "Next morning the whaleman was off and away, leaving as a token of her\nvisit the white sand all trampled, an empty bottle, half an old\nnewspaper, and the wigwam torn to pieces.", "When at last the _Arago_, a French whale ship, sighted them, the crew of\nthe long-boat were still alive, but three of them were raving madmen.\nOf the crew of the quarter-boat was saved—not one.", "The little dinghy made a mournful picture as she floated, looking\nscarcely bigger than a walnut shell. In thirty strokes the whale-boat’s", "sweat from his brow and staring at the thing. “Some ship must have been\nwathering here an’ forgot it. It’ll do for a sate whilst we have", "He gave orders for the whale-boat to be slung out and manned.", "and seized the oars, than his knowledge awoke in his mind, living and\nlurid. He gave a whoop that brought the two sailors leaning over the\nside.", "events, it was gone. Probably one of the crew of the whalemen had found\nit and carried it off with him; no one could say. It was gone, and", "The most disastrous result of the whaleman’s visit was not the\ndestruction of the “house,” but the disappearance of Emmeline’s box.", "At first they thought they were ruined; then Dick, searching, found the\nold saw under a tree, and the butcher’s knife near it, as though the\nknife and saw had been trying to escape in company and had failed.", "He glanced at the book upon his knees, and contrasted the beautiful\nthings in it which he remembered with the terrible things he had just\nseen, the things that were waiting for their food under the keel of the\nship.", "He certainly was a sight worth watching. His soul was filled with\ntragedy and terror. His Celtic imagination heard the ship blowing up,", "whales doesn’t brighten a man’s memory. Right round we went, and paid\noff at Nantucket. Then, after a fortni’t on shore and a month", "He was a fisherman. That is to say, a creature with the enduring\npatience of a cat, tireless and heedless of time as an oyster. He came", "spot away on the reef. And it was just as well, for during those six\nmonths another whale-ship arrived, watered and was avoided.", "curiosity that makes a child look on at the slaughter of an animal even\nthough his soul revolts at it. He gazed for a while, then he went on\npulling, and the dinghy approached the beach.", "The man at the table, Arthur Lestrange, was seated with his large,\ndeep-sunken eyes fixed on a book. He was most evidently in", "He climbed to the hill-top and swept the sea with his eyes. There, away\nto the south-west, far away on the sea, he could distinguish the brown", "the hill, on the look-out for whalemen. Whalemen haunted his dreams,\nthough I doubt if he would willingly have gone on board even a Royal" ], [ "One day they were out on the lagoon. Dick had been rowing; he had\nceased, and was letting the boat drift for a bit. Emmeline was dancing", "Emmeline, with the child in her arms, stepped into the little boat and\ntook her seat in the stern, whilst Dick pushed off. Scarcely had he put", "Dick flung himself down beside Emmeline, who was seated in the bottom\nof the boat holding the child to her breast. The bird, seeing the land", "“Throw them away!” cried Dick, who remembered.\n\n“I will in a minute,” she replied.", "Emmeline got carefully in, and went aft. Then Dick got in, pushed off,\nand took to the sculls. Next moment they were out on the sparkling\nwater.", "Lestrange, sitting in the stern-sheets clasping Emmeline and Dick,\nsaw nothing for a moment after hearing these words. The children,", "Next moment Mr Button was in the boat. Emmeline was handed to him, pale\nof face and wide-eyed, and clasping something wrapped in a little\nshawl; then Dick, and then Mr Lestrange was helped over.", "One afternoon, when the house was beginning to take some sort of form,\nthey ceased work and went off into the woods; Emmeline carrying the\nbaby, and Dick taking turns with him. They were going to the valley of\nthe idol.", "He gave Dick a sip. The boy spat it out, and made a face, then, pushing\nthe barrel before them, they began to roll it downhill to the beach,\nEmmeline running before them crowned with flowers.", "He flung his load aside, and ran down the beach; in a moment he was in\nthe water. Emmeline, standing up in the boat, watched him.", "She was holding them up before the child, who was laughing and trying\nto grasp them. Then she forgot them, and dropped them in the bottom of\nthe boat, for something had struck the keel with a thud, and the water\nwas boiling all round.", "Emmeline, seated on the coral rock, had almost forgotten Dick for a\nmoment. The sun was setting, and the warm amber light of the sunset", "He came down off the rock, hand over fist, flung the poisonous things\naway, and looked into Emmeline’s small mouth, which at his command she", "Dick tied up the boat to a projection of coral, and helped Emmeline to\nland. The sun was creeping down into the west, the tide was nearly half", "He lifted Emmeline, who was clasping her luggage, over the rail on to\nthe channel, and deposited her in the stern-sheets; then Dick.", "Dick had stepped into the boat, and was on the point of unmooring her,\nand pushing her off, when Emmeline stopped him.\n\n“Dick!”", "It was a great business cutting the canes and dragging them out in the\nopen. Emmeline helped; whilst Hannah, seated on the grass, played with\nthe bird that had vanished during the storm, but reappeared the evening\nafter.", "Emmeline, seeing what was in progress, crept up, Dick promising not to\nput the hat on her, and they all sat round the pile.", "As for Emmeline, she seemed dazed. The rag-doll lay a yard away from\nher on the poop deck unnursed; even the wretched box and its", "One morning, about a week after the day on which the old sailor, to use\nhis own expression, had bent a skirt on Emmeline, Dick came through the\nwoods and across the sands running. He had been on the hill-top." ], [ "surface, and displayed itself more fully. Lestrange saw its eyes, he\nsaw the dark fin, and the whole hideous length of the creature; a\nshudder ran through him as he clasped Dicky.", "Another whip-lash shot out of the water in a shower of spray, and\nseized Dick by the left thigh. At the same instant he drove the point", "Suddenly Dick, standing beside Emmeline on the rock, pointed with his\nfinger to the reef near the opening.\n\n“There he is!” cried he.", "As she approached Dick, spear in hand, she saw, gasping with terror,\nthat the ropes were alive, and that they were flickering and rippling", "The great shark, with a movement of the tail that caused the water to\nswirl and the dinghy to rock, turned upon his back and engulfed the", "It had been divided from the body as if with a huge pair of shears. The\ngrey shadow slipped by the boat, and Dick, mad with rage, shouted and", "Emmeline screamed, and pointed to the thing behind the swimmer. He\nturned, saw it, dropped the oar and made for the boat. She had seized", "She had not long for meditation, however, for Dick was running towards\nher with a live crab which he had picked up, calling out that he was\ngoing to make it bite her.", "at the ship. She seemed a great distance off, and the boats, well away\nfrom her, were making at a furious pace towards the dinghy. Dick was", "was certain death, yet they were being swept out to sea. He might have\nmade the attempt, only that on the starboard quarter the form of the\nshark, gently swimming at the same pace as they were drifting, could be", "“Hurroo! Hurroo!” cried Dick, chasing the afflicted one, who was\nrunning in a wide circle, his broad red face slewed over his left", "However that may have been, Dick, looking around him, had the shivering\nsense of having just escaped from danger. Whoever had been, had", "Dick had laid his spear down, and was exploring a deep bath-like pool.\nHe had waded up to his knees, and was in the act of wading further when", "“Daddy!” suddenly cried Dick, who had clambered up, and was looking\nover the after-rail.\n\n“What?”", "bearing it along far swifter than the sculls could have driven it.\nSea-gulls screamed about them, the boat rocked and swayed. Dick shouted", "“Wait,” said Dick.\n\nHe ran through the grove towards the aoa where the dinghy was moored;\nthen he returned.", "“He’s asleep,” said Dick.\n\nHe had not thought to look towards the reef from the beach, or he might\nhave seen the figure before.", "The struggle had taken place up to this close to the shore, but now the\nscull swam out into the broad sheet of sunlit water, and slowly began", "dark fin rippled the water; and as Dick, pulling on his line, hauled\nhis catch closer, a monstrous grey shadow stained the depths, and the", "Dick was darting about naked on the sand, Mr Button after him with a\npair of small trousers in his hand. A crab might just as well have\nattempted to chase an antelope." ], [ "Dick had stepped into the boat, and was on the point of unmooring her,\nand pushing her off, when Emmeline stopped him.\n\n“Dick!”", "Emmeline, with the child in her arms, stepped into the little boat and\ntook her seat in the stern, whilst Dick pushed off. Scarcely had he put", "Dick flung himself down beside Emmeline, who was seated in the bottom\nof the boat holding the child to her breast. The bird, seeing the land", "Emmeline got carefully in, and went aft. Then Dick got in, pushed off,\nand took to the sculls. Next moment they were out on the sparkling\nwater.", "Next moment Mr Button was in the boat. Emmeline was handed to him, pale\nof face and wide-eyed, and clasping something wrapped in a little\nshawl; then Dick, and then Mr Lestrange was helped over.", "Dick tied up the boat to a projection of coral, and helped Emmeline to\nland. The sun was creeping down into the west, the tide was nearly half", "Suddenly Dick, standing beside Emmeline on the rock, pointed with his\nfinger to the reef near the opening.\n\n“There he is!” cried he.", "One day they were out on the lagoon. Dick had been rowing; he had\nceased, and was letting the boat drift for a bit. Emmeline was dancing", "Lestrange, sitting in the stern-sheets clasping Emmeline and Dick,\nsaw nothing for a moment after hearing these words. The children,", "at the ship. She seemed a great distance off, and the boats, well away\nfrom her, were making at a furious pace towards the dinghy. Dick was", "Dick beached the boat on the shelving sand, and left Emmeline seated in\nthe stern of it, whilst he went in search of the bananas; she would\nhave accompanied him, but the child had fallen asleep.", "in her, when Le Farge broke on to the deck, followed by the stewardess\ncarrying Emmeline, and Mr Lestrange leading Dick. The dinghy was rather", "He lifted Emmeline, who was clasping her luggage, over the rail on to\nthe channel, and deposited her in the stern-sheets; then Dick.", "Scarcely had Emmeline arisen when Dick woke also, and they went out on\nto the sward, and then down to the water’s edge. Dick went in for a", "“Dicky!” said Emmeline.\n\n“Well?”", "Dick had carried his companion to the hut when he left the boat, and\nhidden with her there; the evening had come on, and the night, and now", "Dick, working the remaining oar at the stern of the boat, rowed out and\nseized the floating scull, bringing it on board. Foot by foot he hauled", "Emmeline crawled up, and sat near him, and Dick flung himself down on\nthe sand near Emmeline.", "He came running down with him to the water’s edge, gave Emmeline the\nchild, unmoored the boat, and started out from shore.", "dinghy lay, close up to the bank, and moored to a post driven into the\nsoft soil. Emmeline got in, and, taking the sculls, he pushed off. The\ntide was going out." ], [ "As they drew nearer, the sea became more active, savage, and alive; the\nthunder of the surf became louder, the breakers more fierce and\nthreatening, the opening broader.", "was certain death, yet they were being swept out to sea. He might have\nmade the attempt, only that on the starboard quarter the form of the\nshark, gently swimming at the same pace as they were drifting, could be", "It was only just now, with land in sight, that he recognised in some\nfashion the horror of the position from which they were about to escape.", "Suddenly Dick, standing beside Emmeline on the rock, pointed with his\nfinger to the reef near the opening.\n\n“There he is!” cried he.", "look up, cast the bananas away, and come running down the sand to the\nwater’s edge. She watched him swimming, she saw him seize the scull,\nand her heart gave a great leap of joy.", "The years passed without anything definite coming in answer to all\nthese advertisements. Once news came of two children saved from the sea", "A few strokes brought them under the stern. The name of the ship was\nthere in faded letters, also the port to which she belonged.\n“_Shenandoah_. Martha’s Vineyard.”", "As they drew nearer, the outlines of the ship became more apparent. She\nwas a small brig, with stump topmasts, from the spars a few rags of", "When the boats were within hailing distance, a man in the bow of the\nlong-boat rose up.\n\n“Quarter-boat ahoy!”\n\n“Ahoy!”", "Now, as they drew nearer a sound came on the breeze, a sound faint and\nsonorous and dreamy. It was the sound of the breakers on the reef. The", "“Fish!”\n\nLestrange rose to his feet, came aft and looked over the rail.", "The men in the long-boat, gloomy and morose, weighed down with a sense\nof crime, tortured by thirst, and tormented by the voices imploring for\nwater, lay on their oars when the other boat tried to approach.", "the head neared the reef, a dark triangle that came shearing through\nthe water past the palm tree at the pier. It was the night patrol of the\nlagoon, who had heard in some mysterious manner that a drunken", "Dick dropped the belaying pin and ran forward. He took the disengaged\nhand, and the three went aft to the door of the deck-house. The door\nwas open, and they peeped in.", "* * * * * *\n\nIt was sundown on the following day. The long-boat lay adrift. The last\ndrop of water had been served out eight hours before.", "The struggle had taken place up to this close to the shore, but now the\nscull swam out into the broad sheet of sunlit water, and slowly began", "As Mr Button stood with his hand on the spar looking round him before\ngoing aft with the sheet, an object struck his eye some three miles", "As the oarsman pulled the tiny craft towards the beach, neither he nor\nthe children saw away behind the boat, on the water near the bending", "“Are they dead?” asked Lestrange, who divined that there were people in\nthe boat, and who was standing up in the stern of the whale-boat trying\nto see.", "He climbed to the hill-top and swept the sea with his eyes. There, away\nto the south-west, far away on the sea, he could distinguish the brown" ] ]

[ "How are Emmeline and Dicky related?", "What is the name of the baby born in this story?", "What is the nickname given the berries from the arita tree by Paddy Button?", "How many years after the ship wreck does Paddy Button die?", "Who is Arthur Lestrange?", "What does Arthur believe the fate of his son and niece to be?", "What happens to Dicky as he swims to the lifeboat?", "How do they get the shark away from Dicky?", "Who finds the three of them in their rowboat?", "How does Paddy die?", "How do Dickey and Emmeline show one another they love them?", "What gender is Hannah?", "Who is Arthur?", "Why does Arthur believe that Dickey and Emmeline are still alive?", "How do Emmeline and Hannah get stranded in the boat?", "How does Emmeline get rid of the shark?", "Why can't Emmeline and Dickey get the oars back?", "Why are Dickey, Emmeline and Hannah unconscious when Arthur finds them?", "Who tells Arthur that Dickey, Emmeline and Hannah are not dead?", "What does Paddy call the \"arita\" berries?", "How does Paddy die?", "How do Dicky, Emmeline, and Paddy end up on the island?", "After the duo make love often, what happens to Emmeline?", "One day Emmeline disappears in the woods and returns with what?", "What does a whaler find that Arthur recognizes?", "One day, Emmeline, Dicky, and Hannah row to the place they once lived, and while the parents are working what does Hannah toss in the sea?", "As Dicky swims to rescue them, what is in hot pursuit of him?", "What happens to the boat after Dicky reaches the boat where Emmeline and Hannah are located?", "Who eventually finds the trio in the sea?" ]

[ [ "They are cousins", "They are cousins and lovers, the parents of Hannah." ], [ "Hannah", "Hannah" ], [ "The never-wake-up berries.", "\"Never-wake-up berries\"" ], [ "two and one half years.", "Two and a half." ], [ "He is the father of Dicky and uncle of Emmeline.", "Father of Dicky, Uncle of Emmeline" ], [ "He believes they are still alive.", "Still alive. " ], [ "He is chased by a shark.", "A shark chases him." ], [ "Emmeline hits the shark with an oar.", "Emmeline hits it with an oar." ], [ "Arthur Lestrange's ship.", "Arthur Lestrange." ], [ "He drank too much.", "binge drinking" ], [ "They make love.", "Listening to stories, bringing gifts, and making love." ], [ "Hannah is a boy.", "Male." ], [ "He is Dickey's father and Emmeline's uncle.", "Dicky's father and Emmeline's uncle." ], [ "Arthur recognizes a tea set that belonged to Emmeline that a Whaler found.", "A tea pot of Emmeline's is found" ], [ "Hannah loses one of the oars and they are swept out into the cove.", "Hannah throws an oar overboard into the water." ], [ "She hits it with the other oar.", "Hits it over the head with the remaining oar. " ], [ "The oars are in the water and the shark is still there.", "Sharks in the water" ], [ "Because they ate the arita berries.", "They had eaten poisonous berries." ], [ "The Captain", "the captain" ], [ "\"the never-wake-up berries\"", "The never wake up berries" ], [ "From a drinking binge", "A drinking binge." ], [ "A shipwreck", "Shipwreck" ], [ "She becomes pregnant", "She becomes pregnant" ], [ "A child", "A newborn baby boy" ], [ "A child's tea set belonging to Emmeline", "A child's toy tea set" ], [ "An oar", "An oar." ], [ "A shark", "A Shark" ], [ "It drifts out to sea", "Drifts out to sea." ], [ "Arthur", "Arthur Lestrange" ] ]

[ [ "Oscar's face as he stood by Lucilla's chair. It did me good; it strung up\nmy resolution to the right pitch; it made me feel myself a match, and", "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "Lucilla for Oscar's absence. He refused (as a man) to recognize the\nslightest necessity for giving me (as a woman) any advice on a question", "\"I said it, Lucilla. I meant it, Lucilla.\"\n\n\"Oscar! Oscar!! Oscar!!!\"", "looked from Lucilla to the twin brothers. There was Oscar the Weak,\noverwhelmed by the humiliating position in which he had placed himself\ntowards the woman whom he was to marry, towards the brother whom he", "Oscar persisted.\n\n\"Do me the greatest of all favors! Pray find out what is keeping Lucilla\nwith that man!\"", "Such was the quotation from Lucilla's letter to her father. At the end of\nit, Oscar resumed, as follows:--", "\"Try again, Lucilla,\" said Oscar kindly.\n\n\"Never!\" she answered, angrily stepping back from both of them. \"One\nmystification is enough.\"", "she will be, when she can see!\" He took Lucilla's hand, and put it\nsentimentally inside the collar of his waistcoat, over the region of the", "speak to him again. The wisdom of this proceeding was not long in\nasserting itself. Lucilla asked for Oscar the moment after he had left", "Lucilla, hearing Oscar pronounce the name, instantly understood what had\nhappened. She shuddered with horror. Oscar gently placed her in my arms,", "\"Your affectionate,\n\n\"LUCILLA.\"\n\nTo this, a postscript was added, in Oscar's handwriting, as follows:--", "Oscar's reception of me, when I found him on the platform, and told him\nnext of Lucilla's critical state, was more than discouraging. It is no", "Oscar's answer was judiciously modeled to imitate the brevity of\nLucilla's note. \"You have made me a happy man again. When may I follow\nthe vase?\" There, in two sentences, was the whole letter.", "present herself to advantage, even in the most trifling matters, before\nthe man on whom her heart is fixed. Lucilla's one ambition with Oscar,\nwas this and no more.", "preventing Lucilla's marriage to a man who had squandered away every\nfarthing of his money, was the chance of Oscar's arrival in England\nbefore the ceremony could take place. The measure of Oscar's importance", "For ourselves, we all agreed--led by Lucilla--to indulge in no useless\nlamentations, and to be grateful that Oscar had escaped without serious\ninjury. The mischief was done; and there was an end of it.", "Lucilla. She again inquired for Oscar. I said I supposed we should find\nhim in the garden--and so took her out. Nugent followed us. I heard Herr", "effeminate way. At the same moment, Lucilla heard his footstep. Her color\ninstantly rose; and once again I felt her hand tighten involuntarily", "Lucilla's hand--kissed it--and whispered something in her ear. The kiss\nand the whisper acted like a charm. She held out her hand to Nugent, she" ], [ "I had it from his own lips on our way here. He considers it very\nimportant that Lucilla should not be frightened at the moment when she", "\"Lucilla!\" I said. \"Has anything happened?\"\n\n\"What do you mean?\" she asked coldly.\n\n\"I fancy I see some change----\" I began.", "Lucilla for his absence; and he gets over the difficulty of appearing to\nhave confided his errand to a woman whom he distrusts, by declaring that", "Standing just inside the room, she looked nervously at Lucilla, and said,\n\"Can I speak to you, Miss?\"", "here, dreadfully agitated. He cautioned me (just as I have cautioned you)\nnot to speak loud. For the same reason too. Lucilla was in the house----\"", "seemed, by a vague fear for Lucilla, which was slowly developing into a\nvague fear for himself.", "on her. Let me call her \"Lucilla\" here.", "Lucilla, hearing Oscar pronounce the name, instantly understood what had\nhappened. She shuddered with horror. Oscar gently placed her in my arms,", "\"You can say anything you like, before this lady and gentleman,\" Lucilla\nanswered. \"What is it?\"\n\n\"I'm afraid we have been followed, Miss.\"\n\n\"Followed? By whom?\"", "BEFORE another word had been exchanged between us, Lucilla entered the\nroom. We looked at each other. If we could have spoken at that moment, I\nbelieve we should both have said, \"Thank God, she is blind!\"", "CHAPTER THE TWENTY-FOURTH\n\nHe sees Lucilla", "which Lucilla was now living. No! Still the same ominous silence, the\nsame unnatural self-repression possessed him.", "Lucilla's horror of dark people and dark shades of color, of all kinds,\nwas, it is needless to say, recalled to my memory by the turn the", "\"Did Lucilla refuse to listen to you?\" I asked.\n\n\"No.\"\n\n\"Has she said anything or done anything----?\"", "Lucilla's health. There is literally no obstacle in Nugent's way--and no\nsort of protection for Lucilla, except in the faithful instinct which", "Lucilla's hand closed fast on mine. \"Cruel! cruel!\" she whispered to\nherself angrily. I gave her a little squeeze, recommending patience--and", "Lucilla's delicacy had at once taken the alarm. \"He speaks very tenderly\nof his dead father,\" she said to me. \"It may hurt him if he finds out the", "me that she would take refuge in flat denial--and would then inform her\nmistress of what had happened. I knew enough of Lucilla to know (after", "Lucilla's hand--kissed it--and whispered something in her ear. The kiss\nand the whisper acted like a charm. She held out her hand to Nugent, she", "\"I don't want to see the letter,\" he said. \"I only want to know all that\nit says about Lucilla.\"\n\n\"All that it says may be summed up in this. Lucilla is perfectly safe.\"" ], [ "referred him, so far as Oscar was concerned, to his brother as the\nfountain-head of information. He did not decline to consult his brother.", "\"Now for Oscar!\" he shouted cheerfully. He waved his hat, and disappeared\nin the darkness. I stood at the gate till the last rapid pit-pat of his\nfeet died away in the silence of the night.", "now followed, Oscar got his first opportunity of speaking. He had, thus\nfar, been quite content to admire his clever brother. He now advanced to\nme, and asked what had become of Lucilla.", "\"I wish to see my brother in private,\" Oscar replied, with his eyes on\nthe ground.", "advantageously with his vacillating brother. Oscar turned round at the\nwindow, apparently with the idea of following Nugent out. At the first\nstep he checked himself. There was a last effort still left to make.", "You will perhaps expect me to give some account of how Oscar bore the\ndiscovery of his brother's conduct.\n\nI find it by no means easy to do this. Oscar baffled me.", "Oscar was incapable of answering her. He had cast one glance of entreaty\nat his brother as Lucilla came nearer to us. The mute reproach which had", "Oscar turned, trembling, to his brother.\n\n\"For God's sake forgive me, Nugent!\" he said. \"She thinks it's YOU.\"", "On his brother's appearance, Oscar had risen, and had raised Lucilla with\nhim. He now advanced a step towards Nugent, still holding to him his\nbetrothed wife.", "Having contrived in this dexterous way to separate Oscar and Lucilla, and\nto gain time for composing and fortifying his brother before they met", "his infamous brother. I purposely led the rector to suppose that Oscar\nhad left Lucilla free to receive the addresses of a man who had", "Oscar took the letter, and looked at the address. \"My brother's writing!\"\nhe exclaimed. \"A letter from Nugent!\"", "places. It was Nugent now who appeared to disadvantage by comparison with\nOscar. He surprised and grieved his brother by leaving Browndown. \"All I", "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "\"Have you seen anything of your brother?\" I asked, putting the question\nin as careless a tone as my devouring anxiety would allow me to assume.\n\n\"Nugent has gone to meet Herr Grosse.\"", "\"Oscar's brother. Nugent Dubourg.\"\n\n(Have I mentioned before, that I am sometimes a great fool? If I have\nnot, I beg to mention it now. I burst out laughing.)", "\"Where is Oscar?\" asked Nugent, as I passed him on my way to Lucilla's\nroom.", "\"It happened through one of the boys in the village. Oscar and Lucilla\nfound the little imp howling outside the house. They asked what was the", "addressed himself to Oscar, who now reappeared on the lawn; having\nevidently only waited to show himself, until the chaise drove away. The", "\"I have no fear of my brother,\" Oscar answered. \"Nugent will feel for me,\nand understand me, when he comes to Browndown. In the meantime, this\nshall not happen again.\"" ], [ "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "Lucilla for Oscar's absence. He refused (as a man) to recognize the\nslightest necessity for giving me (as a woman) any advice on a question", "matter. The answer informed me that the secret of Oscar's complexion had\nforced its way out for the second time, in Lucilla's hearing.\"", "Oscar's reception of me, when I found him on the platform, and told him\nnext of Lucilla's critical state, was more than discouraging. It is no", "\"Try again, Lucilla,\" said Oscar kindly.\n\n\"Never!\" she answered, angrily stepping back from both of them. \"One\nmystification is enough.\"", "Such was the quotation from Lucilla's letter to her father. At the end of\nit, Oscar resumed, as follows:--", "\"Because I felt your anxious position too keenly,\" Oscar answered. \"Don't\nthink me inconsiderate towards you, Lucilla. If I had not kept away, I\nmight not have been able to control myself.\"", "Oscar persisted.\n\n\"Do me the greatest of all favors! Pray find out what is keeping Lucilla\nwith that man!\"", "Oscar put in a word there--by no means in his most gracious manner.\n\n\"What was Miss Lucilla saying to the doctor?\"\n\n\"I don't know, sir.\"", "looked from Lucilla to the twin brothers. There was Oscar the Weak,\noverwhelmed by the humiliating position in which he had placed himself\ntowards the woman whom he was to marry, towards the brother whom he", "Oscar was incapable of answering her. He had cast one glance of entreaty\nat his brother as Lucilla came nearer to us. The mute reproach which had", "Lucilla turned deadly pale: she had heard the door open, she knew by\ninstinct that the surgeon had come. Oscar got up, stole behind my chair,", "voice, Lucilla was effectually silenced--the subject was inevitably\nchanged. Oscar drew me aside out of hearing, while her attention was\ndiverted from him.", "Man'?\" Jicks answered boldly, \"Oscar.\" Lucilla caught the child up in her\narms. \"Why do you call Oscar 'The Blue Man'?\" she asked. Jicks pointed to", "Oscar's face as he stood by Lucilla's chair. It did me good; it strung up\nmy resolution to the right pitch; it made me feel myself a match, and", "Lucilla, hearing Oscar pronounce the name, instantly understood what had\nhappened. She shuddered with horror. Oscar gently placed her in my arms,", "must find him.\" He went on with his questions to Lucilla. \"And the colors\nyou hate most--which is _he?_\"", "\"I said it, Lucilla. I meant it, Lucilla.\"\n\n\"Oscar! Oscar!! Oscar!!!\"", "For ourselves, we all agreed--led by Lucilla--to indulge in no useless\nlamentations, and to be grateful that Oscar had escaped without serious\ninjury. The mischief was done; and there was an end of it.", "she will be, when she can see!\" He took Lucilla's hand, and put it\nsentimentally inside the collar of his waistcoat, over the region of the" ], [ "\"Nugent!\" he said, very quietly.\n\nNugent's head drooped--he made no answer.", "CHAPTER THE TWENTY-FIFTH\n\nNugent puzzles Madame Pratolungo", "of his life. Are exposure and defeat not punishment enough for such a man\nas Nugent?\" I stopped, and waited for his answer.", "answered him, in Nugent's eyes, had broken down his last reserves of\nendurance. He was crying silently on Nugent's breast.", "dropped into a chair, and hid his face in his hands. \"Oh, Nugent! Nugent!\nNugent!\" he moaned to himself, with a cry that was dreadful to hear.", "\"Nugent!\" he said. \"Are you the same dear good brother who saved me from\ndying on the scaffold, and who cheered my hard life afterwards? Are you", "\"Nugent has gone,\" I said, returning to Oscar.\n\n\"Add to your kindness to me,\" he answered. \"Let _me_ go too.\"", "I stood rooted to the spot. In one breathless instant, the truth broke on\nme like a revelation. At last I had penetrated the terrible secret.\nNugent loved her.", "buried with her, at her own request, when she dies. Ah, poor Nugent! Are\nwe not all sinners? Remember the best of him, and forget the worst, as I\ndo.", "\"Nugent took me by surprise,\" she answered; \"Nugent startled me out of my\nsenses. I have had time to think since; I am not carried away by the", "She shook her head, and tightened her hold on Nugent's arm.\n\n\"_You_ take me,\" she whispered. \"As far as the door.\"", "future. Everything now depended on Nugent. And Nugent's own lips had told\nme that he could not depend on himself!", "knew which of the twins was Nugent, and which was Oscar. A delicious\ninward glow of triumph diffused itself all through me. I resisted the", "After this, the accounts vary. Nugent's statement asserts that he\naccompanied Grosse on his way back to Miss Batchford's lodging, arguing", "\"Be just, Nugent,\" I said. \"Be honorable. Be all that I once thought you.\nI want no more.\"", "\"Well, gentlemen,\" said Nugent, \"what is the result? Are you both\nagreed?\"\n\n\"No,\" said Mr. Sebright, putting aside his book.", "\"Nugent has behaved nobly. He absolves me from the engagements towards\nhim into which I so rashly entered, at our last interview before I left", "Trial, and when he had told me that Nugent was the good angel of his\nlife.", "\"You know Nugent,\" he said. \"You remember when we first met, my telling\nyou that Nugent was an angel? You saw for yourself, when he came to", "Nugent and I gazed at one another, in complete bewilderment. Lucilla had\nheard it all; Lucilla's curiosity was satisfied. He had that incredibly" ], [ "\"Did you hear Madame Pratolungo?\" Oscar asked. \"Is Lucilla found?\"\n\n\"Dear Oscar, we hope to find her, now you have come.\"", "Oscar shook his head. \"Quite impossible! I know Madame Pratolungo\nreceived the letter.\"\n\n\"How?\"", "He held open the door for me; and I went in. Oscar announced me to\nLucilla. \"It was Madame Pratolungo you heard,\" he said. She took no", "\"He found Lucilla dangerously agitated by her separation from Oscar: he\nasserted, what he calls, his professional freedom of action.\"\n\n\"Madame Pratolungo----!\"", "himself. \"Permit me to inquire, Madame Pratolungo,\" he said with his\nloftiest emphasis, \"in what capacity are You here?\"", "[Note.--See the sixteenth chapter, and Madame Pratolungo's remark,\nwarning you that you would hear of this circumstance again.--P.]\n\nOscar went on.", "Oscar was the first of the party who broke the silence. After looking all\nround the room, he suddenly addressed himself to me.\n\n\"Madame Pratolungo!\" he exclaimed. \"What has become of Jicks?\"", "a sudden frown. Her quick ears had detected my return into the room.\n\"Oscar!\" she exclaimed, \"what does this mean? Madame Pratolungo and I", "EPILOGUE Madame Pratolungo's Last Words", "Madame Pratolungo, I presume? Permit me to shake hands. It is needless to\nsay, I have heard of your illustrious husband. Aha! here's a baby. Yours,", "EPILOGUE\n\nMadame Pratolungo's Last Words", "Pratolungo,\" he said, \"I want to speak to you about Miss Finch. There is\nan opportunity, before she comes in. Oscar's letter only told me that she", "\"Madame Pratolungo!\"\n\n\"Miss Finch?\"\n\n\"This is the man who is not half so agreeable as his brother. Look!\"", "CHAPTER THE FORTIETH\n\nTraces of Nugent\n\n\"MADAME PRATOLUNGO!\"\n\n\"Herr Grosse?\"", "\"Ah, my goot Madame Pratolungo!\" said Herr Grosse, stopping on his way to\nLucilla to shake hands with me. \"Have you made anodder lofely Mayonnaise?", "\"Madame Pratolungo, no doubt?\" he went on, turning to me. \"Delighted to\nmake the acquaintance of my daughter's judicious companion and friend.", "\"Oh! Madame Pratolungo? Yes. I hope somebody has told Miss Finch you are\nhere. She has her own establishment, and manages everything herself. Have", "\"Madame Pratolungo!\"\n\nI made no answer.\n\n\"This is the man whom I should never have loved if I had happened to meet\nhis brother first. Look!\"", "Madame Pratolungo!\" (he appealed to me, in my corner); \"Mrs. Finch!\" (he\nappealed to his wife, in _her_ corner)--\"I am crushed. There is no other", "\"With his brother,\" she said. \"His _twin_ brother, Madame Pratolungo.\"" ], [ "Lucilla for his absence; and he gets over the difficulty of appearing to\nhave confided his errand to a woman whom he distrusts, by declaring that", "on her. Let me call her \"Lucilla\" here.", "\"Did Lucilla refuse to listen to you?\" I asked.\n\n\"No.\"\n\n\"Has she said anything or done anything----?\"", "Lucilla, even in the trifling matter of the letter, to put me to the\ntest, behind my back. She was using Zillah's eyes to make sure that I had", "\"Lucilla!\" I said. \"Has anything happened?\"\n\n\"What do you mean?\" she asked coldly.\n\n\"I fancy I see some change----\" I began.", "CHAPTER THE FORTY-SECOND\n\nThe Story of Lucilla: told by Herself", "\"Lucilla has told you that there is some hope for me at last. What I\nwrite in this place is written without her knowledge--for your private", "me that she would take refuge in flat denial--and would then inform her\nmistress of what had happened. I knew enough of Lucilla to know (after", "Lucilla's hand--kissed it--and whispered something in her ear. The kiss\nand the whisper acted like a charm. She held out her hand to Nugent, she", "Lucilla's health. There is literally no obstacle in Nugent's way--and no\nsort of protection for Lucilla, except in the faithful instinct which", "\"It had been opened. She had received it; she had read it; and she had\nnot thrown quite far enough to throw it into the fire. Now, Lucilla! Is", "Lucilla, hearing Oscar pronounce the name, instantly understood what had\nhappened. She shuddered with horror. Oscar gently placed her in my arms,", "The days of Lucilla's imprisonment, were also the days when my favorite\ndisappointed me, for the first time. He and his brother seemed to change", "BEFORE another word had been exchanged between us, Lucilla entered the\nroom. We looked at each other. If we could have spoken at that moment, I\nbelieve we should both have said, \"Thank God, she is blind!\"", "\"You can say anything you like, before this lady and gentleman,\" Lucilla\nanswered. \"What is it?\"\n\n\"I'm afraid we have been followed, Miss.\"\n\n\"Followed? By whom?\"", "Lucilla's hand closed fast on mine. \"Cruel! cruel!\" she whispered to\nherself angrily. I gave her a little squeeze, recommending patience--and", "mind. But how could I say to Lucilla, You are deceiving me? It would have\nbeen the end of our sisterhood--the end of our friendship. When\nconfidence is withdrawn between two people who love each", "I may be right or I may be wrong about this. But I can at least certify\nthat Lucilla was in such mad high spirits when she told me the news out", "CHAPTER THE TWENTY-FOURTH\n\nHe sees Lucilla", "Lucilla turned deadly pale: she had heard the door open, she knew by\ninstinct that the surgeon had come. Oscar got up, stole behind my chair," ], [ "\"It must be a secret from Lucilla,\" he said, speaking very earnestly. \"If\nshe attempts to find it out, she must be kept--for the present, at", "which Lucilla was now living. No! Still the same ominous silence, the\nsame unnatural self-repression possessed him.", "I had it from his own lips on our way here. He considers it very\nimportant that Lucilla should not be frightened at the moment when she", "refused to go on with, will be nevertheless a deception continued, if you\nare present when Lucilla sees. Your own resolution pledges you not to\nenter the rectory doors until Lucilla has discovered the truth.\" In those", "\"Did Lucilla refuse to listen to you?\" I asked.\n\n\"No.\"\n\n\"Has she said anything or done anything----?\"", "Lucilla's delicacy had at once taken the alarm. \"He speaks very tenderly\nof his dead father,\" she said to me. \"It may hurt him if he finds out the", "\"You have great influence over Lucilla,\" he said. \"If she expresses any\ncuriosity, in future conversations with you, about the effect of the\nmedicine, check her at once. Keep her as ignorant of it as she is now!\"", "here, dreadfully agitated. He cautioned me (just as I have cautioned you)\nnot to speak loud. For the same reason too. Lucilla was in the house----\"", "\"There is one thing more, Lucilla,\" he said, \"which you ought to know\nbefore you decide. I have seen your father. He desires me to tell you\nthat he is strongly opposed to the experiment which you are determined to\ntry.\"", "\"I don't want to see the letter,\" he said. \"I only want to know all that\nit says about Lucilla.\"\n\n\"All that it says may be summed up in this. Lucilla is perfectly safe.\"", "\"Hush!\" he said. \"Don't let Lucilla hear you. Come down to me as soon as\nyou can. I am waiting to speak to you.\"", "Lucilla, hearing Oscar pronounce the name, instantly understood what had\nhappened. She shuddered with horror. Oscar gently placed her in my arms,", "playing me false, and that in one way or another he had contrived, not\nonly to communicate with Lucilla, but to persuade her to keep me in\nignorance of what he had done.", "BEFORE another word had been exchanged between us, Lucilla entered the\nroom. We looked at each other. If we could have spoken at that moment, I\nbelieve we should both have said, \"Thank God, she is blind!\"", "\"Lucilla has told you that there is some hope for me at last. What I\nwrite in this place is written without her knowledge--for your private", "We all surrounded her, with one and the same question to ask. What had\nHerr Grosse decided to do? The answer informed us that he had decided on\nforbidding Lucilla to try her eyes that day.", "voice, Lucilla was effectually silenced--the subject was inevitably\nchanged. Oscar drew me aside out of hearing, while her attention was\ndiverted from him.", "He lifted his head from his brother's shoulder, and stopped me before I\ncould finish the sentence.\n\n\"You need feel no anxiety about Lucilla. Lucilla's curiosity is\nsatisfied.\"", "\"One more question,\" he said. \"Assuming that Lucilla receives you at the\nhouse, do you intend to see----?\" He stopped; his eyes shrank from", "Lucilla's hand closed fast on mine. \"Cruel! cruel!\" she whispered to\nherself angrily. I gave her a little squeeze, recommending patience--and" ], [ "have carefully gathered the information necessary to the execution of\nthis purpose from competent authorities of all sorts. Whenever \"Lucilla\"\nacts or speaks in these pages, with reference to her blindness, she is", "blind people in general, I felt no doubt that his advice was good, and\nthat his conclusions were arrived at correctly. But Lucilla's was no\nordinary character. My experience of her was better experience than Mr.", "was obliged to remind him that Lucilla was blind, and that love which, in\nother cases, first finds its way to the heart through the eyes, could", "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "\"Am I blind for life?\" said Lucilla. \"Pray, pray tell me, sir! Am I blind\nfor life?\"\n\n\"Will you kees me if I tell you?\"", "I looked at Lucilla. She was standing, with her blind face raised to the\nsky, lost in herself, like a person wrapped in ecstasy.\n\n\"Who is that man?\" I asked.", "poor Lucilla's blindness. And here was her promised husband--of all the\npeople in the world--proposing to me to keep her in the dark.", "Lucilla dropped back again into her chair, and silently laid her head on\nmy shoulder.\n\n\"Are you agreed about the cause of her blindness?\" asked Nugent.", "\"Are you sure, Lucilla, that you are blind for life?\"\n\nA dead silence followed the utterance of those words.\n\nI brushed away the tears from my eyes, and looked up.", "her blindness, Lucilla staggered into the room. Merciful God! the bandage\nwas off. The life, the new life of sight, was in her eyes. It", "\"I can't see that I have any right to interfere,\" I said. \"In Lucilla's\nplace--after one and twenty years of blindness--I too should sacrifice\nevery other consideration to the consideration of recovering my sight.\"", "about Lucilla. The varying and violent emotions which had shaken her\n(acting through her nervous system) might produce results which would\nimperil the recovery of her sight. Absolute repose was not simply", "you. All he could do was to place his services at my disposal, when he\ncame to England. I for one, Lucilla, decline to consider you blind for", "\"Write him a note,\" I said--and then suddenly remembered that she was\nblind. \"You shall dictate,\" I added; \"and I will hold the pen. Be content\nwith that for to-day. For my sake, Lucilla!\"", "has pleased Providence, Mr. Dubourg, to afflict my daughter with\nblindness. Inscrutable Providence!) Lucilla, this is your side of the", "a cruel advantage of Lucilla's blindness. You were right. It was cruel\nnot to have told her the truth. I won't be a party to concealing the", "sparkling beauty of adornment in Lucilla's habitation should have been\nprovided for the express gratification of a young lady who could not see.\nExperience was yet to show me that the blind can live in their", "\"Oh, Lucilla! not to operate on your eyes?\"\n\n\"Yes--to operate on my eyes!\"\n\n\n\nCHAPTER THE THIRTY-THIRD", "IN my description of what Lucilla said and did, on the occasion when the\nsurgeon was teaching her to use her sight, it will be remembered that she\nis represented as having been particularly anxious to be allowed to try\nhow she could write.", "The second incident of the day may be described as a confidential\nconversation between Lucilla and myself, on the subject which now equally\nabsorbed us both--the momentous subject of her restoration to the\nblessing of sight." ], [ "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "have carefully gathered the information necessary to the execution of\nthis purpose from competent authorities of all sorts. Whenever \"Lucilla\"\nacts or speaks in these pages, with reference to her blindness, she is", "on her. Let me call her \"Lucilla\" here.", "about Lucilla. The varying and violent emotions which had shaken her\n(acting through her nervous system) might produce results which would\nimperil the recovery of her sight. Absolute repose was not simply", "\"Am I blind for life?\" said Lucilla. \"Pray, pray tell me, sir! Am I blind\nfor life?\"\n\n\"Will you kees me if I tell you?\"", "was obliged to remind him that Lucilla was blind, and that love which, in\nother cases, first finds its way to the heart through the eyes, could", "Lucilla as being hardly able to distinguish objects in the view from the\nwindow of her room. Later on the same day, she had secretly left", "I eagerly approached Lucilla. There was still a little dimness left in\nher eyes. I noticed also that they moved to and fro restlessly, and (at", "\"Lucilla!\" I said. \"Has anything happened?\"\n\n\"What do you mean?\" she asked coldly.\n\n\"I fancy I see some change----\" I began.", "\"Oh, Lucilla! not to operate on your eyes?\"\n\n\"Yes--to operate on my eyes!\"\n\n\n\nCHAPTER THE THIRTY-THIRD", "Lucilla's hand--kissed it--and whispered something in her ear. The kiss\nand the whisper acted like a charm. She held out her hand to Nugent, she", "CHAPTER THE TWENTY-FOURTH\n\nHe sees Lucilla", "blind people in general, I felt no doubt that his advice was good, and\nthat his conclusions were arrived at correctly. But Lucilla's was no\nordinary character. My experience of her was better experience than Mr.", "to him. He bent forward, with his face close to Lucilla's, and parted her\neyelids alternately with his finger and thumb; peering attentively, first\ninto one eye, then into the other.", "BEFORE another word had been exchanged between us, Lucilla entered the\nroom. We looked at each other. If we could have spoken at that moment, I\nbelieve we should both have said, \"Thank God, she is blind!\"", "her blindness, Lucilla staggered into the room. Merciful God! the bandage\nwas off. The life, the new life of sight, was in her eyes. It", "Lucilla dropped back again into her chair, and silently laid her head on\nmy shoulder.\n\n\"Are you agreed about the cause of her blindness?\" asked Nugent.", "Lucilla's hand closed fast on mine. \"Cruel! cruel!\" she whispered to\nherself angrily. I gave her a little squeeze, recommending patience--and", "I looked at Lucilla. She was standing, with her blind face raised to the\nsky, lost in herself, like a person wrapped in ecstasy.\n\n\"Who is that man?\" I asked.", "\"I can hardly say, sir. She isn't like herself. I never knew Miss Lucilla\nso quiet when she was crossed in her wishes, before. When the doctor" ], [ "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "\"Try again, Lucilla,\" said Oscar kindly.\n\n\"Never!\" she answered, angrily stepping back from both of them. \"One\nmystification is enough.\"", "\"Your affectionate,\n\n\"LUCILLA.\"\n\nTo this, a postscript was added, in Oscar's handwriting, as follows:--", "looked from Lucilla to the twin brothers. There was Oscar the Weak,\noverwhelmed by the humiliating position in which he had placed himself\ntowards the woman whom he was to marry, towards the brother whom he", "Such was the quotation from Lucilla's letter to her father. At the end of\nit, Oscar resumed, as follows:--", "Lucilla for Oscar's absence. He refused (as a man) to recognize the\nslightest necessity for giving me (as a woman) any advice on a question", "Lucilla, hearing Oscar pronounce the name, instantly understood what had\nhappened. She shuddered with horror. Oscar gently placed her in my arms,", "Oscar's face as he stood by Lucilla's chair. It did me good; it strung up\nmy resolution to the right pitch; it made me feel myself a match, and", "Oscar persisted.\n\n\"Do me the greatest of all favors! Pray find out what is keeping Lucilla\nwith that man!\"", "Lucilla. She again inquired for Oscar. I said I supposed we should find\nhim in the garden--and so took her out. Nugent followed us. I heard Herr", "\"I said it, Lucilla. I meant it, Lucilla.\"\n\n\"Oscar! Oscar!! Oscar!!!\"", "Oscar put in a word there--by no means in his most gracious manner.\n\n\"What was Miss Lucilla saying to the doctor?\"\n\n\"I don't know, sir.\"", "preventing Lucilla's marriage to a man who had squandered away every\nfarthing of his money, was the chance of Oscar's arrival in England\nbefore the ceremony could take place. The measure of Oscar's importance", "of Oscar and Lucilla. It is my unhappy destiny that I cannot possibly\ntake you through the present narrative, without sooner or later\ndisclosing the one weakness (amiable weakness) of the gayest and", "speak to him again. The wisdom of this proceeding was not long in\nasserting itself. Lucilla asked for Oscar the moment after he had left", "she will be, when she can see!\" He took Lucilla's hand, and put it\nsentimentally inside the collar of his waistcoat, over the region of the", "As we drew nearer and nearer to the rectory, as Lucilla began to flush\nand fidget in eager anticipation of her re-union with Oscar, that", "\"Go to Lucilla!\" whispered Oscar, taking me entreatingly by both hands.\n\"_You_ needn't stand on ceremony with her. Do, do see what is going on in\nthe next room!\"", "of compromise. Lucilla, quite overlooked among the rector's\nrapidly-increasing second family, was allowed to visit her maternal uncle\nand aunt at stated periods in every year. Born, to all appearance with", "Oscar's answer was judiciously modeled to imitate the brevity of\nLucilla's note. \"You have made me a happy man again. When may I follow\nthe vase?\" There, in two sentences, was the whole letter." ], [ "He left again, perfectly satisfied with the results of his treatment. The\ndreadful epileptic malady would torture the patient and shock the friends\nabout him no more: the marriage might safely be celebrated at the time\nagreed on. Oscar was cured.", "Far from becoming himself again, with time to help him--as the doctor had\nforetold--Oscar steadily grew worse. All the nervous symptoms (to use the", "IN four or five days more, Lucilla's melancholy doubts about Oscar were\nconfirmed. He was attacked by a second fit.", "He has a way of his own of treating Oscar's case; and he answers for\ncuring him of the horrible fits. There is news for you! Come back, and", "seizures had attacked Oscar with increasing frequency and increasing\nseverity. The moment I could see my way to getting back to England, I\nwrote to Lucilla to cheer her with the intimation of my return. Two days", "No change for the better appeared in our prospects. The doctors did their\nbest for Oscar--without avail. The horrible fits came back, again and", "As the words passed his lips, a frightful contortion fastened itself on\nOscar's face.\n\nHis eyes turned up hideously.", "Oscar came a little before dinner-time; haggard and pale, and so absent\nin mind that he hardly seemed to know what he was talking about. No", "Oscar was too painfully agitated to speak. He softly crossed to my chair;\nand, kneeling by me, put my hand entreatingly to his lips.", "\"It happened through one of the boys in the village. Oscar and Lucilla\nfound the little imp howling outside the house. They asked what was the", "Oscar ran out, bareheaded, from the house. There were signs of\ndisturbance in him, as he approached us, which warned me that something\nhad gone wrong, before he opened his lips.\n\nNugent spoke first.", "How long the fit lasted, I don't know. I only remember that I was\ndisturbed by a knock at my door.\n\nI flung open the door in a fury--and confronted Oscar on the threshold.", "His first words were an indescribable relief to us. The skull of our poor\nOscar was not injured. There was concussion of the brain, and there was a", "There he lay--poor harmless, unlucky Oscar--senseless, in a pool of his\nown blood. A blow on the left side of his head had, to all appearance,", "Oscar was close to us. The tears were falling fast over his cheeks--the\none faint sobbing breath which had escaped him had caught my ear as well", "with this poor, weak, well-meaning, ill-judging boy. Was it not monstrous\nto have attached serious meaning to what Oscar had said when he was in a", "I contrived to compose the anxiety thus aroused in her mind, by informing\nher, on Oscar's own authority, that he personally disliked and distrusted", "You will perhaps expect me to give some account of how Oscar bore the\ndiscovery of his brother's conduct.\n\nI find it by no means easy to do this. Oscar baffled me.", "\"Oscar has been speaking to me this morning,\" I replied.\n\n\"About me?\"\n\n\"About you. You have distressed and disappointed him----\"", "\"Was this for me?\" he asked, with a faint smile. \"My poor boy! you could\nnever have done it, could you?\" He kissed Oscar's dark cheek, and put the" ], [ "\"What is the name of it?\"\n\n\"Nitrate of Silver.\"\n\nI started to my feet, looked at him, and dropped back into my chair.", "Nitrates of Silvers. His complexions is spoilt. Poor boys! poor boys!\" He\nshook his shaggy head--turned--and spat compassionately into a corner of", "With his quick sensibilities, there was no need for me to express myself\nin words. My face revealed to him what was passing in my mind.\n\n\"You have seen a person who has taken Nitrate of Silver!\" he exclaimed.", "His composure staggered me. \"How long have you been taking this horrible\ndrug?\" I inquired.\n\n\"A little more than a week.\"\n\n\"I see no change in you yet.\"", "disfigurement in the course of my relations with him; and I should no\ndoubt have forgotten my blue man in attending to more absorbing matters\nof interest, if the effects of Nitrate of Silver as a medicine had not", "Ah, how vividly I remember--at the moment when she embraced him--the\nfirst shock of seeing the two faces together! The drug had done its work.", "produced in his former patient by the Nitrate of Silver from Lucilla's\nknowledge, was simply absurd. The truth would reach her, he said, before", "other examples of my case. The blue tinge in my complexion is produced by\nthe effect on the blood of Nitrate of Silver--taken internally. It is the", "We were safe--so far! The hateful medicine, in altering the color, had\nnot affected the texture, of his skin. As her touch had left it on her\ndeparture, so her touch found it again, on her return.", "had not made a mistake. The alloy, in the gold and silver both, is all\nwrong this time. I must return the plates to be melted again before I can", "The fit on this occasion was a short one. Perhaps the drug was already\nbeginning to have some influence over him? In twenty minutes, he was able\nto resume his chair, and to go on talking to me.", "She held up a smart ivory walking-cane, with a bright silk tassel\nattached. With her cane in one hand, and her chemical bottle in the", "noticing my agitation, and trying to compose me. \"In a month or two, the\ndoctor says the medicine will get hold of him.\" I could say nothing on my", "of Silver than words can say. If you ask for the secret of this\nextraordinary exhibition of philosophy on my part, I can give it in one", "me of the effect of the medicine, he had (you will remember) concealed\nfrom me the malady for which he had taken it. It had been left to Oscar,", "it was possible to stop him, his dexterous fingers had opened the pocket,\nand had taken from it a little toy-pistol with a chased silver handle of\nOscar's own workmanship.", "is to be deceived when you are blind.\" She stooped as she said those\nwords, and passed her handkerchief lightly over his forehead. \"Doctor,\"\nshe asked, \"will this happen again?\"", "Nobody was allowed to pour out Oscar's medicine but herself. She knew\nwhen the spoon into which it was to be measured was full, by the sound", "consumed him. So long as Lucilla falsely believed him to be disfigured by\nthe drug, so long the commonest consideration for her tranquillity would,", "\"In the same way, sir. There came a time, poor little thing, when her\neyes looked glazed-like, and try her as we might, morning or evening, it\nwas all the same--she noticed nothing.\"" ], [ "We had reckoned without allowing for the eccentric character of our\nGerman surgeon. Excepting the business of his profession, Herr Grosse did", "turned out, Herr Grosse was beforehand with him. Once more we heard his\nbroken English shouting, \"Hi-hi-hoi! hoi-hi! hoi-hi!\" Once more, we", "I answered the first question. Who could answer the second?\n\n\"Herr Grosse comes to us by the morning train,\" I said. \"It will soon be\nover.\"\n\n\"Where is Oscar?\"", "\"It is me, my dears,\" said Herr Grosse. \"Ach, Gott! what a pretty girls!", "its embarrassments and its terrors at the outset. Herr Grosse had made\nher laugh--Herr Grosse had set her completely at her ease.", "scandalized at the frankness of this confession, coming from a\nprofessional man). \"I am so passion-fond of musics,\" Herr Grosse went", "So, in his broken English, Herr Grosse explained what had happened, and\nissued his directions for our future conduct.", "professional visits to Lucilla, and had taken an amazing fancy to each\nother. Herr Grosse never afterwards appeared at the rectory without some", "examination--so cruelly grotesque in itself, so terribly serious in the\nissues which it involved--resumed its course: Herr Grosse glaring at his", "\"Now,\" cried Herr Grosse cheerfully, \"the talkings is all done. Gott be\nthanked, the eatings may begin!\"", "looked in silent expectation (just as Nugent was looking too) at Herr\nGrosse. The German rose deliberately to his feet, and waddled to the\nplace in which Lucilla and I were sitting together.", "A heavy footstep sounded suddenly behind us as he spoke. We both turned\nround. Time had slipped by more rapidly than we had thought. There stood\nHerr Grosse, just arrived on foot from the railway station.", "\"I don't believe in Herr Grosse,\" he said faintly, \"as you believe in\nhim.\"\n\nLucilla rose, bitterly disappointed, and opened the door that led into\nher own room.", "Herr Grosse burst out with an exclamation in his own language, at the\nsight of Oscar's face. \"Ach, Gott!\" he exclaimed, \"he has been taking", "\"Yes,\" said Herr Grosse.\n\nLucilla sprang to her feet, with a cry of joy.\n\n\"No,\" said Mr. Sebright.", "Herr Grosse", "satisfied that her sight was safe. The success of Herr Grosse's\nprofessional career had been due, in no small degree, to his rigid\nenforcement of these rules: founded on his own experience of the", "The German gave a little start when my name was mentioned. The Englishman\nremained perfectly unaffected by it. Herr Grosse had heard of my glorious", "\"Have you seen anything of your brother?\" I asked, putting the question\nin as careless a tone as my devouring anxiety would allow me to assume.\n\n\"Nugent has gone to meet Herr Grosse.\"", "Herr Grosse nodded vehemently--so vehemently that his prodigious\nspectacles hopped up and down on his nose." ], [ "When Lucilla left him, Nugent rose from his chair. He abruptly--almost\nroughly--took his brother's hand. He spoke to his brother in a strangely\nexcited, feverish, headlong way.", "Mr. Nugent is beginning already to walk upon delicate ground. I say no\nmore: Lucilla's turn now.--P.]", "\"Spare your sneers, you heartless Frenchwoman!\" he broke out angrily. \"I\ndon't care how I stand in _your_ estimation. Lucilla loves me. Nugent\nfeels for me.\"", "\"I entirely disagree with you,\" he broke out angrily. \"You are wronging\nLucilla and wronging Nugent. Lucilla is incapable of saying anything", "Nugent and I gazed at one another, in complete bewilderment. Lucilla had\nheard it all; Lucilla's curiosity was satisfied. He had that incredibly", "Oscar was enchanted. \"Wait till you see him, and you will be as fond of\nhim as I am,\" he said. \"Nugent is not like me. He fascinates people the", "I WAS far from sharing Lucilla's opinion of Nugent Dubourg. His enormous\nself-confidence was, to my mind, too amusing to be in the least", "what Lucilla had said to me of herself earlier in the day. It was\nimpossible to deny that Nugent's theory, wild as it sounded, found its", "\"Nugent doesn't think as you do,\" he said, handing me the letter. \"Read\nthat bit there--now Lucilla is out of hearing.\"", "\"Not to-day!\" he said sternly. With that, he made a sign to Nugent, and\nplaced himself on Lucilla's other side. In silence, the two men led her", "me. \"What did I tell you?\" his look asked. \"Did I not say Nugent\nfascinated everybody at first sight?\" Most true. An irresistible man. So", "Lucilla's hand--kissed it--and whispered something in her ear. The kiss\nand the whisper acted like a charm. She held out her hand to Nugent, she", "He crossed the room to Lucilla, and called to Nugent to follow him.\n\n\"Open the shutters,\" he said. \"Light-light-light, and plenty of him, for\nmy lofely Feench!\"", "of Mrs. Finch's letter. Nugent had got the better of me and my\nprecautions! Nugent had robbed his brother of Lucilla, in the vilest", "me!\" Nugent, in his turn, left his chair. He had confidently calculated,\nin his brother's interests, on Lucilla's marriage preceding the recovery", "\"Mind what you are doing!\" he said. \"Look at her, Nugent--look at her.\"\n\nNugent approached his brother, circuitously, so as to place Oscar between\nLucilla and himself.", "and whispered, \"You are so fond of Nugent--I begin to be almost afraid\nthere will be no love left for me.\"", "\"Nugent took me by surprise,\" she answered; \"Nugent startled me out of my\nsenses. I have had time to think since; I am not carried away by the", "dropped into a chair, and hid his face in his hands. \"Oh, Nugent! Nugent!\nNugent!\" he moaned to himself, with a cry that was dreadful to hear.", "There was one little obstacle in those early days, which set itself up\nbetween my sympathies and Nugent.\n\nI was thoroughly at a loss to understand the impression which Lucilla had\nproduced on him." ], [ "Oscar persisted.\n\n\"Do me the greatest of all favors! Pray find out what is keeping Lucilla\nwith that man!\"", "Such was the quotation from Lucilla's letter to her father. At the end of\nit, Oscar resumed, as follows:--", "Lucilla for Oscar's absence. He refused (as a man) to recognize the\nslightest necessity for giving me (as a woman) any advice on a question", "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "\"Try again, Lucilla,\" said Oscar kindly.\n\n\"Never!\" she answered, angrily stepping back from both of them. \"One\nmystification is enough.\"", "speak to him again. The wisdom of this proceeding was not long in\nasserting itself. Lucilla asked for Oscar the moment after he had left", "For ourselves, we all agreed--led by Lucilla--to indulge in no useless\nlamentations, and to be grateful that Oscar had escaped without serious\ninjury. The mischief was done; and there was an end of it.", "Oscar's reception of me, when I found him on the platform, and told him\nnext of Lucilla's critical state, was more than discouraging. It is no", "Oscar's answer was judiciously modeled to imitate the brevity of\nLucilla's note. \"You have made me a happy man again. When may I follow\nthe vase?\" There, in two sentences, was the whole letter.", "Oscar's face as he stood by Lucilla's chair. It did me good; it strung up\nmy resolution to the right pitch; it made me feel myself a match, and", "his medical capacity) the decision at which he had arrived--while I, on\nmy side, went back to Lucilla to make the best excuses that I could\ninvent for Oscar, and to prepare her for our speedy removal from", "his infamous brother. I purposely led the rector to suppose that Oscar\nhad left Lucilla free to receive the addresses of a man who had", "voice, Lucilla was effectually silenced--the subject was inevitably\nchanged. Oscar drew me aside out of hearing, while her attention was\ndiverted from him.", "\"Go to Lucilla!\" whispered Oscar, taking me entreatingly by both hands.\n\"_You_ needn't stand on ceremony with her. Do, do see what is going on in\nthe next room!\"", "looked from Lucilla to the twin brothers. There was Oscar the Weak,\noverwhelmed by the humiliating position in which he had placed himself\ntowards the woman whom he was to marry, towards the brother whom he", "preventing Lucilla's marriage to a man who had squandered away every\nfarthing of his money, was the chance of Oscar's arrival in England\nbefore the ceremony could take place. The measure of Oscar's importance", "keep silence. He was right. I had only to look back at Lucilla's face to\nsee that the delicate and perilous work of undeceiving her, was not work", "Oscar put in a word there--by no means in his most gracious manner.\n\n\"What was Miss Lucilla saying to the doctor?\"\n\n\"I don't know, sir.\"", "Lucilla long since. I have unbounded influence over him. It shall back\nyour influence. Oscar shall make a clean breast of it, before the week is\nout.\"", "his remonstrance, as a man could be. \"Permit me to remind you, dear\nOscar, that my claim to interfere, as Lucilla's father, is at least equal" ], [ "\"Did you hear Madame Pratolungo?\" Oscar asked. \"Is Lucilla found?\"\n\n\"Dear Oscar, we hope to find her, now you have come.\"", "Oscar shook his head. \"Quite impossible! I know Madame Pratolungo\nreceived the letter.\"\n\n\"How?\"", "He held open the door for me; and I went in. Oscar announced me to\nLucilla. \"It was Madame Pratolungo you heard,\" he said. She took no", "\"He found Lucilla dangerously agitated by her separation from Oscar: he\nasserted, what he calls, his professional freedom of action.\"\n\n\"Madame Pratolungo----!\"", "himself. \"Permit me to inquire, Madame Pratolungo,\" he said with his\nloftiest emphasis, \"in what capacity are You here?\"", "[Note.--See the sixteenth chapter, and Madame Pratolungo's remark,\nwarning you that you would hear of this circumstance again.--P.]\n\nOscar went on.", "Pratolungo,\" he said, \"I want to speak to you about Miss Finch. There is\nan opportunity, before she comes in. Oscar's letter only told me that she", "a sudden frown. Her quick ears had detected my return into the room.\n\"Oscar!\" she exclaimed, \"what does this mean? Madame Pratolungo and I", "Madame Pratolungo, I presume? Permit me to shake hands. It is needless to\nsay, I have heard of your illustrious husband. Aha! here's a baby. Yours,", "Oscar was the first of the party who broke the silence. After looking all\nround the room, he suddenly addressed himself to me.\n\n\"Madame Pratolungo!\" he exclaimed. \"What has become of Jicks?\"", "\"Oh! Madame Pratolungo? Yes. I hope somebody has told Miss Finch you are\nhere. She has her own establishment, and manages everything herself. Have", "\"Madame Pratolungo, no doubt?\" he went on, turning to me. \"Delighted to\nmake the acquaintance of my daughter's judicious companion and friend.", "EPILOGUE Madame Pratolungo's Last Words", "\"Madame Pratolungo!\"\n\n\"Miss Finch?\"\n\n\"This is the man who is not half so agreeable as his brother. Look!\"", "\"Ah, my goot Madame Pratolungo!\" said Herr Grosse, stopping on his way to\nLucilla to shake hands with me. \"Have you made anodder lofely Mayonnaise?", "EPILOGUE\n\nMadame Pratolungo's Last Words", "CHAPTER THE FORTIETH\n\nTraces of Nugent\n\n\"MADAME PRATOLUNGO!\"\n\n\"Herr Grosse?\"", "\"Madame Pratolungo!\"\n\nI made no answer.\n\n\"This is the man whom I should never have loved if I had happened to meet\nhis brother first. Look!\"", "Madame Pratolungo!\" (he appealed to me, in my corner); \"Mrs. Finch!\" (he\nappealed to his wife, in _her_ corner)--\"I am crushed. There is no other", "\"I beg your pardon, Madame Pratolungo, I was deep in thought. Please\nstate your business briefly.\" Saying those words, he waved his hand" ], [ "Nugent's letter was not a long one. It was dated at Liverpool, and it\nannounced his embarkation for America in two hours' time. He had heard of", "\"Nugent!\" he said, very quietly.\n\nNugent's head drooped--he made no answer.", "CHAPTER THE TWENTY-FIFTH\n\nNugent puzzles Madame Pratolungo", "\"Nugent!\" he said. \"Are you the same dear good brother who saved me from\ndying on the scaffold, and who cheered my hard life afterwards? Are you", "buried with her, at her own request, when she dies. Ah, poor Nugent! Are\nwe not all sinners? Remember the best of him, and forget the worst, as I\ndo.", "answered him, in Nugent's eyes, had broken down his last reserves of\nendurance. He was crying silently on Nugent's breast.", "of his life. Are exposure and defeat not punishment enough for such a man\nas Nugent?\" I stopped, and waited for his answer.", "\"Where is Mr. Nugent?\"\n\n\"At Browndown.\"\n\n\"Do you mean to say that he is going to stay at Browndown?\"", "[Note.--That innocent letter did its fatal mischief. It ended the\nstruggle against himself which had kept Nugent Dubourg in Paris. On the", "and heard nothing, of Nugent. Nevertheless his confidence in his brother\nremained unshaken. \"Nugent is the soul of honor,\" he repeated again and", "we have misunderstood and misinterpreted him, in some monstrous way.\" He\nturned again to Nugent. \"I daren't tell you,\" he went on, \"what I have", "dropped into a chair, and hid his face in his hands. \"Oh, Nugent! Nugent!\nNugent!\" he moaned to himself, with a cry that was dreadful to hear.", "future. Everything now depended on Nugent. And Nugent's own lips had told\nme that he could not depend on himself!", "AT that astounding confession, abruptly revealed in those plain words,\neven resolute Nugent lost all power of self-control. He burst out with a", "\"Nugent has gone,\" I said, returning to Oscar.\n\n\"Add to your kindness to me,\" he answered. \"Let _me_ go too.\"", "\"Nugent took me by surprise,\" she answered; \"Nugent startled me out of my\nsenses. I have had time to think since; I am not carried away by the", "said it was a man. Mrs. Finch said it was a calf. Nugent ran off, and\nexamined this amazing object at close quarters. And what did it turn out", "I stood rooted to the spot. In one breathless instant, the truth broke on\nme like a revelation. At last I had penetrated the terrible secret.\nNugent loved her.", "The utterance of that final threat was followed so rapidly by its\nexecution that, before Nugent (standing between her and the door) could", "After this, the accounts vary. Nugent's statement asserts that he\naccompanied Grosse on his way back to Miss Batchford's lodging, arguing" ], [ "\"Am I blind for life?\" said Lucilla. \"Pray, pray tell me, sir! Am I blind\nfor life?\"\n\n\"Will you kees me if I tell you?\"", "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "poor Lucilla's blindness. And here was her promised husband--of all the\npeople in the world--proposing to me to keep her in the dark.", "a cruel advantage of Lucilla's blindness. You were right. It was cruel\nnot to have told her the truth. I won't be a party to concealing the", "My absence at this time was something more than an annoyance--it was a\ndownright grief to my blind Lucilla. On the morning of my departure, she\nclung to me as if she was determined not to let me go.", "you. All he could do was to place his services at my disposal, when he\ncame to England. I for one, Lucilla, decline to consider you blind for", "\"Oh, Lucilla! not to operate on your eyes?\"\n\n\"Yes--to operate on my eyes!\"\n\n\n\nCHAPTER THE THIRTY-THIRD", "\"Did Lucilla refuse to listen to you?\" I asked.\n\n\"No.\"\n\n\"Has she said anything or done anything----?\"", "sparkling beauty of adornment in Lucilla's habitation should have been\nprovided for the express gratification of a young lady who could not see.\nExperience was yet to show me that the blind can live in their", "was obliged to remind him that Lucilla was blind, and that love which, in\nother cases, first finds its way to the heart through the eyes, could", "her blindness, Lucilla staggered into the room. Merciful God! the bandage\nwas off. The life, the new life of sight, was in her eyes. It", "have carefully gathered the information necessary to the execution of\nthis purpose from competent authorities of all sorts. Whenever \"Lucilla\"\nacts or speaks in these pages, with reference to her blindness, she is", "\"Your way out of the difficulty is an unworthy way, and a false way,\" I\nanswered. \"I protest against taking that cruel advantage of Lucilla's\nblindness. I refuse to have anything to do with it.\"", "about Lucilla. The varying and violent emotions which had shaken her\n(acting through her nervous system) might produce results which would\nimperil the recovery of her sight. Absolute repose was not simply", "\"I don't want to see the letter,\" he said. \"I only want to know all that\nit says about Lucilla.\"\n\n\"All that it says may be summed up in this. Lucilla is perfectly safe.\"", "defiance--dreadful as the choice is, my choice is made. I tell you to\nyour face, I would rather see Lucilla blind again than see her your\nwife.\"", "she will be, when she can see!\" He took Lucilla's hand, and put it\nsentimentally inside the collar of his waistcoat, over the region of the", "\"Are you sure, Lucilla, that you are blind for life?\"\n\nA dead silence followed the utterance of those words.\n\nI brushed away the tears from my eyes, and looked up.", "\"It had been opened. She had received it; she had read it; and she had\nnot thrown quite far enough to throw it into the fire. Now, Lucilla! Is", "\"Write him a note,\" I said--and then suddenly remembered that she was\nblind. \"You shall dictate,\" I added; \"and I will hold the pen. Be content\nwith that for to-day. For my sake, Lucilla!\"" ], [ "Such was the quotation from Lucilla's letter to her father. At the end of\nit, Oscar resumed, as follows:--", "\"There is one thing more, Lucilla,\" he said, \"which you ought to know\nbefore you decide. I have seen your father. He desires me to tell you\nthat he is strongly opposed to the experiment which you are determined to\ntry.\"", "\"Lucilla!\" I said. \"Has anything happened?\"\n\n\"What do you mean?\" she asked coldly.\n\n\"I fancy I see some change----\" I began.", "Lucilla's delicacy had at once taken the alarm. \"He speaks very tenderly\nof his dead father,\" she said to me. \"It may hurt him if he finds out the", "CHAPTER THE TWENTY-FOURTH\n\nHe sees Lucilla", "on her. Let me call her \"Lucilla\" here.", "father, Lucilla. I always did, and always shall, detest him, as you know.\nHis views on politics and religion are (in a clergyman) simply", "BEFORE another word had been exchanged between us, Lucilla entered the\nroom. We looked at each other. If we could have spoken at that moment, I\nbelieve we should both have said, \"Thank God, she is blind!\"", "With that, he walked out, with his daughter on his arm. He had heard\nenough, please to observe, to satisfy him that Lucilla (while she lived", "Lucilla sighed wearily. \"It is not the first time that I find my father\nfailing to sympathize with me,\" she said. \"I am distressed--but not", "Lucilla left her chair for the second time.\n\n\"Herr Grosse,\" she said, \"where are you?\"\n\n\"Here, my dears!\"", "\"Did Lucilla refuse to listen to you?\" I asked.\n\n\"No.\"\n\n\"Has she said anything or done anything----?\"", "Lucilla grew up from childhood to womanhood. She was twenty years old,\nbefore her father's expectations were realized, and the money came of it\nat last.", "niece Lucilla,\" they said, \"has justified our fondest hopes--she is a\nBatchford, not a Finch!\" Lucilla's father (promoted, by this time, to the", "Lucilla's hand--kissed it--and whispered something in her ear. The kiss\nand the whisper acted like a charm. She held out her hand to Nugent, she", "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "Lucilla for his absence; and he gets over the difficulty of appearing to\nhave confided his errand to a woman whom he distrusts, by declaring that", "\"Lucilla has told you that there is some hope for me at last. What I\nwrite in this place is written without her knowledge--for your private", "Mr. Nugent is beginning already to walk upon delicate ground. I say no\nmore: Lucilla's turn now.--P.]", "\"I don't want to see the letter,\" he said. \"I only want to know all that\nit says about Lucilla.\"\n\n\"All that it says may be summed up in this. Lucilla is perfectly safe.\"" ], [ "Lucilla for his absence; and he gets over the difficulty of appearing to\nhave confided his errand to a woman whom he distrusts, by declaring that", "Lucilla sitting by his bedside.", "CHAPTER THE TWENTY-FOURTH\n\nHe sees Lucilla", "on her. Let me call her \"Lucilla\" here.", "Lucilla was still sleeping. I took Zillah's place, and sent her into the\nkitchen. The landlady of the inn was there to help us with the dinner.", "I had it from his own lips on our way here. He considers it very\nimportant that Lucilla should not be frightened at the moment when she", "Lucilla did not expect her visitor before the afternoon. For some time\nafter breakfast, I kept her at the piano. When she wearied of music, and", "\"You forget,\" I said, \"that Lucilla may come here while you are out. Your\npresence in the room, or in the room next to this, may be of the greatest", "Lucilla's hand--kissed it--and whispered something in her ear. The kiss\nand the whisper acted like a charm. She held out her hand to Nugent, she", "\"You can say anything you like, before this lady and gentleman,\" Lucilla\nanswered. \"What is it?\"\n\n\"I'm afraid we have been followed, Miss.\"\n\n\"Followed? By whom?\"", "\"Lucilla has told you that there is some hope for me at last. What I\nwrite in this place is written without her knowledge--for your private", "\"This is my old nurse,\" said Lucilla, presenting her attendant to me.\n\"Zillah can do a little of everything--cooking included. She has had", "But one interpretation could be placed on such language as this. Lucilla\nwas not a free agent. Both Oscar and the rector were now obliged to", "\"I am placed in a very difficult position,\" I began. \"Oscar is going with\nme to Lucilla. I shall of course take care, in the first place, that he", "poor Lucilla's blindness. And here was her promised husband--of all the\npeople in the world--proposing to me to keep her in the dark.", "\"You have great influence over Lucilla,\" he said. \"If she expresses any\ncuriosity, in future conversations with you, about the effect of the\nmedicine, check her at once. Keep her as ignorant of it as she is now!\"", "\"It must be a secret from Lucilla,\" he said, speaking very earnestly. \"If\nshe attempts to find it out, she must be kept--for the present, at", "Lucilla was lying on the sofa. She asked who it was in a drowsy\nvoice--she was happily just sinking into slumber. Zillah occupied a chair", "Lucilla was still sitting in the place which she had occupied when I\nwithdrew. On hearing the door open, and a man's footsteps entering, she", "BEFORE another word had been exchanged between us, Lucilla entered the\nroom. We looked at each other. If we could have spoken at that moment, I\nbelieve we should both have said, \"Thank God, she is blind!\"" ], [ "He left again, perfectly satisfied with the results of his treatment. The\ndreadful epileptic malady would torture the patient and shock the friends\nabout him no more: the marriage might safely be celebrated at the time\nagreed on. Oscar was cured.", "seizures had attacked Oscar with increasing frequency and increasing\nseverity. The moment I could see my way to getting back to England, I\nwrote to Lucilla to cheer her with the intimation of my return. Two days", "IN four or five days more, Lucilla's melancholy doubts about Oscar were\nconfirmed. He was attacked by a second fit.", "Far from becoming himself again, with time to help him--as the doctor had\nforetold--Oscar steadily grew worse. All the nervous symptoms (to use the", "No change for the better appeared in our prospects. The doctors did their\nbest for Oscar--without avail. The horrible fits came back, again and", "Oscar came a little before dinner-time; haggard and pale, and so absent\nin mind that he hardly seemed to know what he was talking about. No", "He has a way of his own of treating Oscar's case; and he answers for\ncuring him of the horrible fits. There is news for you! Come back, and", "Oscar ran out, bareheaded, from the house. There were signs of\ndisturbance in him, as he approached us, which warned me that something\nhad gone wrong, before he opened his lips.\n\nNugent spoke first.", "How long the fit lasted, I don't know. I only remember that I was\ndisturbed by a knock at my door.\n\nI flung open the door in a fury--and confronted Oscar on the threshold.", "Oscar was close to us. The tears were falling fast over his cheeks--the\none faint sobbing breath which had escaped him had caught my ear as well", "His first words were an indescribable relief to us. The skull of our poor\nOscar was not injured. There was concussion of the brain, and there was a", "Oscar was too painfully agitated to speak. He softly crossed to my chair;\nand, kneeling by me, put my hand entreatingly to his lips.", "Her letters to me--very sad and very short--reported a melancholy state\nof things at Dimchurch. While I had been away, the dreadful epileptic", "During the first fortnight just mentioned, the London doctor came to see\nOscar.", "medical treatment of Oscar, and was, as such, an incident with a bearing\nof its own on the future, which claims a place for it in the present\nnarrative.", "\"Oscar has been speaking to me this morning,\" I replied.\n\n\"About me?\"\n\n\"About you. You have distressed and disappointed him----\"", "by Oscar on the floor, and laid his head on her lap. The moment she\ntouched him, the same effect was produced on her which would be produced", "\"Was this for me?\" he asked, with a faint smile. \"My poor boy! you could\nnever have done it, could you?\" He kissed Oscar's dark cheek, and put the", "and anxiety which I had never seen in them before. Then he turned his\nhead and looked at Oscar with a sudden change--a change, unpleasantly", "at which Oscar had determined to purchase his cure, until Oscar thought\nfit to enlighten her himself." ], [ "matter. The answer informed me that the secret of Oscar's complexion had\nforced its way out for the second time, in Lucilla's hearing.\"", "speak to him again. The wisdom of this proceeding was not long in\nasserting itself. Lucilla asked for Oscar the moment after he had left", "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "Lucilla long since. I have unbounded influence over him. It shall back\nyour influence. Oscar shall make a clean breast of it, before the week is\nout.\"", "Oscar persisted.\n\n\"Do me the greatest of all favors! Pray find out what is keeping Lucilla\nwith that man!\"", "Lucilla told him of the reasons which the German oculist had stated as\nunanswerable reasons for delay. Oscar listened attentively, and looked at\nhis brother again, before he replied.", "Such was the quotation from Lucilla's letter to her father. At the end of\nit, Oscar resumed, as follows:--", "Oscar's reception of me, when I found him on the platform, and told him\nnext of Lucilla's critical state, was more than discouraging. It is no", "\"Go to Lucilla!\" whispered Oscar, taking me entreatingly by both hands.\n\"_You_ needn't stand on ceremony with her. Do, do see what is going on in\nthe next room!\"", "Lucilla, hearing Oscar pronounce the name, instantly understood what had\nhappened. She shuddered with horror. Oscar gently placed her in my arms,", "In a week from his convalescence, Lucilla completed the cure of the\npatient. In other words, she received from Oscar an offer of marriage. I", "Oscar's face as he stood by Lucilla's chair. It did me good; it strung up\nmy resolution to the right pitch; it made me feel myself a match, and", "\"Try again, Lucilla,\" said Oscar kindly.\n\n\"Never!\" she answered, angrily stepping back from both of them. \"One\nmystification is enough.\"", "A long silence between us followed those words. When Lucilla next\nreferred to Oscar in connection with the coming operation, the depressed\nstate of her spirits seemed to have quite altered her view of her own", "Oscar put in a word there--by no means in his most gracious manner.\n\n\"What was Miss Lucilla saying to the doctor?\"\n\n\"I don't know, sir.\"", "now followed, Oscar got his first opportunity of speaking. He had, thus\nfar, been quite content to admire his clever brother. He now advanced to\nme, and asked what had become of Lucilla.", "Lucilla for Oscar's absence. He refused (as a man) to recognize the\nslightest necessity for giving me (as a woman) any advice on a question", "Oscar's answer was judiciously modeled to imitate the brevity of\nLucilla's note. \"You have made me a happy man again. When may I follow\nthe vase?\" There, in two sentences, was the whole letter.", "I looked up again. Oscar had stolen nearer; I could see his face plainly.\nThe good influence of Lucilla was beginning to do its good work! I saw", "\"I have brought Oscar back with me,\" he said to Lucilla; \"and I have told\nhim how widely the two oculists differ in opinion on your case. He knows" ], [ "\"Your brother mentions that he has made his fortune in America,\" said the\nReverend gentleman. \"I hope he is not connected with the money-market. He", "He paused, and removed his brother's hat. With careful, caressing hand,\nhe parted his brother's ruffled hair over the forehead. Nugent's head", "utterly different in his manner from Oscar--except when he was in\nrepose--and yet so like Oscar in other respects, I can only describe him\nas his brother completed. He had the pleasant lively flow of spirits, the", "\"Nugent has run through his fortune,\" proceeded Oscar, quite composedly.\n\"I lent him the money to go to America. My brother is a genius, Mr.", "One thing, at any rate, was plainly discernible in this otherwise\ninscrutable young man. He adored his twin-brother.", "America. His extraordinary success has made his fortune. The ambition of\nhis life is to see England: and he can afford to gratify it. He may be\nhere by the next steamer that reaches Liverpool.\"", "in New York, given to him by Nugent) to tell his brother of the\napproaching change in his life, and of the circumstances which had\nbrought it about.", "Painting, Lucilla's appearance was enough to check him, if she happened\nto come into the room. On the first day when he showed me his American", "\"Madame Pratolungo,\" he replied, \"I have got something in my mind which\nwas put into it by a friend of mine whom I met in America.\"\n\n\"The friend you mentioned in your letter to your brother?\"", "Nugent's letter was not a long one. It was dated at Liverpool, and it\nannounced his embarkation for America in two hours' time. He had heard of", "He went up to the place at which his brother was standing. In the simple,\nboyish way, so familiar to me in the bygone time, he laid his hand on his\nbrother's arm.", "\"And you remember that my prejudice against him was confirmed, on the\nfirst day when I passed my hand over his face to compare it with his\nbrother's.\"\n\n\"I remember.\"", "We may, or may not, differ so far. Before we go farther, let us--if we\ncan--agree on one unanswerable fact. Which of us two brothers was her\nfavorite, from the first?\"", "The two brothers approached us, arm in arm. Lucilla, very reluctantly,\nallowed herself to be persuaded into trying the experiment. Two chairs,", "and advanced again alone towards his brother. His face expressed the\nstruggle in him of some subtly-mingling influences of love and anguish,", "He took one of his visiting cards out of the case, wrote a few lines on\nit in pencil, and handed it to his brother. Oscar (always ready to go on", "Nugent put his arm affectionately round his brother's neck, and gave him\na hug. \"Dear old boy! I am just as anxious as you are.\"", "At the same moment, Nugent's eyes brightened as if a new idea had struck\nhim. He gave me one significant look--and answered her in his brother's", "\"That is what my brother has done,\" he repeated. \"After all that I\nsacrificed to him--after all that I trusted to his honor--when I left", "\"A trick!\" she cried. \"A mean, vile, cowardly trick played upon my\nblindness! Oscar! your brother has been imitating you; your brother has" ], [ "\"Oh, Lucilla! not to operate on your eyes?\"\n\n\"Yes--to operate on my eyes!\"\n\n\n\nCHAPTER THE THIRTY-THIRD", "\"I have brought Oscar back with me,\" he said to Lucilla; \"and I have told\nhim how widely the two oculists differ in opinion on your case. He knows", "to him. He bent forward, with his face close to Lucilla's, and parted her\neyelids alternately with his finger and thumb; peering attentively, first\ninto one eye, then into the other.", "been more than temporary. His colleague, after examining Lucilla's eyes,\nat a later period, entirely agreed with him. Which was in the", "Lucilla, and removed his spectacles. As a short-sighted man, he had\nnecessarily excellent eyes for all objects which were sufficiently near", "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "Lucilla told him of the reasons which the German oculist had stated as\nunanswerable reasons for delay. Oscar listened attentively, and looked at\nhis brother again, before he replied.", "cut into before, a cataracts that I have cured before. Now look!\" He\nsuddenly wheeled round to Lucilla, tucked up his cuffs, laid a forefinger", "Lucilla turned deadly pale: she had heard the door open, she knew by\ninstinct that the surgeon had come. Oscar got up, stole behind my chair,", "IN my description of what Lucilla said and did, on the occasion when the\nsurgeon was teaching her to use her sight, it will be remembered that she\nis represented as having been particularly anxious to be allowed to try\nhow she could write.", "\"When the two surgeons had left us. In Lucilla's sitting-room. In the\nheat of the discussion whether she should submit to the operation at", "except when the surgeon looked at her eyes; Lucilla bore the\nimprisonment--and worse than the imprisonment, the uncertainty--of her\nperiod of probation, with the courage that can endure anything, the", "have carefully gathered the information necessary to the execution of\nthis purpose from competent authorities of all sorts. Whenever \"Lucilla\"\nacts or speaks in these pages, with reference to her blindness, she is", "about Lucilla. The varying and violent emotions which had shaken her\n(acting through her nervous system) might produce results which would\nimperil the recovery of her sight. Absolute repose was not simply", "Lucilla clasped her hands entreatingly.\n\n\"You promised!\" she said. \"Oh, Herr Grosse, you promised to let me use my\neyes to-day!\"", "Oscar advanced, and placed a chair for his brother by Lucilla's side.\n\n\"She has eyes in the tips of her fingers,\" he said. \"Sit down, Nugent,\nand let her pass her hand over your face.\"", "room, and on placing yourself entirely at the surgeon's disposal for six\nweeks more, after that. Have you considered, Lucilla, that this means\nputting off our marriage again, for at least three months?\"", "\"Am I blind for life?\" said Lucilla. \"Pray, pray tell me, sir! Am I blind\nfor life?\"\n\n\"Will you kees me if I tell you?\"", "I hesitated for a moment about introducing this remarkable ambassador\ninto Lucilla's bedroom. One look at him decided me. After all, he was a\ndoctor,--and such an ugly one! I took his arm.", "The second incident of the day may be described as a confidential\nconversation between Lucilla and myself, on the subject which now equally\nabsorbed us both--the momentous subject of her restoration to the\nblessing of sight." ], [ "Pratolungo. Mr. Sebright was barbarously ignorant of his existence. I\nshall describe Herr Grosse first, and shall take the greatest pains with\nhim.", "Pratolungo to write to you?\" (This time it was he who referred to her!) I\ntold him that there was not much chance, after what had passed on her", "\"Doctor Pratolungo--\" I began.", "Pratolungo as I now think of her. I place it here, before I write another\nline in my Journal.", "[Note.--See the sixteenth chapter, and Madame Pratolungo's remark,\nwarning you that you would hear of this circumstance again.--P.]\n\nOscar went on.", "Pratolungo? What did you tell me about her, my little-lofe, when I last\nsaw you? You said she had gone aways to see her Papa. Send a", "little paragraph in the English newspapers--if the end had not come in\nanother way. My poor Pratolungo was in truth worn out. He sank under his", "himself. \"Permit me to inquire, Madame Pratolungo,\" he said with his\nloftiest emphasis, \"in what capacity are You here?\"", "Pratolungo was at an end. She stood revealed to me now as a woman whom I\nought never to have known--a woman with whom I could never again exchange", "Pratolungo,\" he said, \"I want to speak to you about Miss Finch. There is\nan opportunity, before she comes in. Oscar's letter only told me that she", "\"Madame Pratolungo, no doubt?\" he went on, turning to me. \"Delighted to\nmake the acquaintance of my daughter's judicious companion and friend.", "suggest that the rectory is the fitter place for the discussion of family\nmatters. Have you any objection to return to the house? And do you mind\ngoing on first with Madame Pratolungo?\"", "Pratolungo suspect that you have discovered her. It is she, I firmly\nbelieve, who is to blame. I am going to my brother--as you will now", "to go. Then, you retired, and left Madame Pratolungo and me alone in the\nroom. Do you remember?\"", "Pratolungo. She doesn't believe in it--she doesn't understand it. She\nknows herself to be capable of breaking any engagement, if the", "\"I beg your pardon, Madame Pratolungo, I was deep in thought. Please\nstate your business briefly.\" Saying those words, he waved his hand", "Pratolungo and me in Central America. With him to advise us, we should\nhave saved the sacred cause of Freedom without spending a single farthing\non it!)", "EPILOGUE Madame Pratolungo's Last Words", "\"He found Lucilla dangerously agitated by her separation from Oscar: he\nasserted, what he calls, his professional freedom of action.\"\n\n\"Madame Pratolungo----!\"", "telegrams--and say I want Pratolungo here.\"" ], [ "BEFORE another word had been exchanged between us, Lucilla entered the\nroom. We looked at each other. If we could have spoken at that moment, I\nbelieve we should both have said, \"Thank God, she is blind!\"", "the house. I went to her directly. The nurse had a message for me from\nher young mistress. My poor Lucilla was lonely and anxious: she was\nsurprised at my leaving her, she insisted on seeing me immediately.", "serious enough to make even Nugent Dubourg feel uneasy. And Lucilla talks\nof her aunt's \"grand manner!\" Poor innocent! I leave her to go on.--P.]", "\"Our dear child must not be disturbed by visitors to-day,\" I said to\nZillah. \"If Mr. Nugent Dubourg comes here and asks for her--don't tell\nLucilla; tell _me._\"", "Lucilla left her chair for the second time.\n\n\"Herr Grosse,\" she said, \"where are you?\"\n\n\"Here, my dears!\"", "As he asked the question, Lucilla appeared at the door of the house. She\nmoved her blind face inquiringly first one way, then the other. \"Oscar!\"\nshe called out, \"why have you left me alone? where are you?\"", "\"It had been opened. She had received it; she had read it; and she had\nnot thrown quite far enough to throw it into the fire. Now, Lucilla! Is", "Early in the month of April, Lucilla and I took leave of the Metropolis,\nand went back to Dimchurch.", "Lucilla's hand--kissed it--and whispered something in her ear. The kiss\nand the whisper acted like a charm. She held out her hand to Nugent, she", "\"Spare your sneers, you heartless Frenchwoman!\" he broke out angrily. \"I\ndon't care how I stand in _your_ estimation. Lucilla loves me. Nugent\nfeels for me.\"", "I peeped quietly into Lucilla's room. She was asleep. After a word to\nZillah, recommending her young mistress to her care, I slipped out. As I", "contact with you. What a horrid wretch you must be! The end of it was\nthat I left the house--pledged to keep Lucilla in ignorance of the cost", "\"You can say anything you like, before this lady and gentleman,\" Lucilla\nanswered. \"What is it?\"\n\n\"I'm afraid we have been followed, Miss.\"\n\n\"Followed? By whom?\"", "\"You persisted in closing your doors to Nugent Dubourg. _He_ persisted,\non his side--and took Lucilla to Browndown.\"", "Lucilla's hand closed fast on mine. \"Cruel! cruel!\" she whispered to\nherself angrily. I gave her a little squeeze, recommending patience--and", "Lucilla was still sleeping. I took Zillah's place, and sent her into the\nkitchen. The landlady of the inn was there to help us with the dinner.", "she will be, when she can see!\" He took Lucilla's hand, and put it\nsentimentally inside the collar of his waistcoat, over the region of the", "again--and that was all. Lucilla was silent--suspiciously silent as I\nthought, after what Zillah had told me. She had, as I fancied, the look", "\"Lucilla went out a little while since,\" I said, \"to take a turn in the\ngarden.\"\n\n\"I'll go and find her,\" said Oscar. \"Wait here, Nugent. I'll bring her\nin.\"", "necessary duty!) Dubourg was sitting with his back to the window. Lucilla\nfaced me opposite to him. Her cheeks were flushed with pleasure. She held\nin her lap a pretty little golden vase. Her clever fingers were passing" ], [ "Lucilla left her chair for the second time.\n\n\"Herr Grosse,\" she said, \"where are you?\"\n\n\"Here, my dears!\"", "\"I don't believe in Herr Grosse,\" he said faintly, \"as you believe in\nhim.\"\n\nLucilla rose, bitterly disappointed, and opened the door that led into\nher own room.", "\"Yes,\" said Herr Grosse.\n\nLucilla sprang to her feet, with a cry of joy.\n\n\"No,\" said Mr. Sebright.", "Lucilla go to Grosse, our good German might have noticed that her\nposition was preying on her mind, and might have seen his reasons for", "\"Now!\" said Grosse, laying one hand on Lucilla's arm, while he pointed to\nme with the other. \"There she stands. Can you go to her?\"\n\n\"Of course I can!\"", "Lucilla instantly recognized his footstep.\n\n\"Any signs, Oscar, of Herr Grosse?\" she asked.\n\n\"Yes. His chaise has been seen on the road. He will be here directly.\"", "A few lines comprised the whole letter. Grosse informed me that he had so\nfretted himself about Lucilla, that he had been attacked by \"a visitation", "Herr Grosse put back his magnifying glass with a grunt which sounded like\na grunt of relief, and snatched the handkerchief away from Lucilla.", "Herr Grosse shrugged his shoulders, and pointed backwards with his thumb\nat the place in which Lucilla was sitting.", "professional visits to Lucilla, and had taken an amazing fancy to each\nother. Herr Grosse never afterwards appeared at the rectory without some", "\"I will call again later,\" he said; \"and hear what Grosse's report of you\nis, before he goes back to London. Rest, Lucilla--rest and compose\nyourself.\"", "Having thus provided against any whisper of what had happened reaching\nLucilla's ears that evening, I returned to Herr Grosse to make my", "by Herr Grosse, we made a magnificent entry into the room. Our German\ndoctor had done Lucilla good already. The examination was relieved of all", "Lucilla clasped her hands entreatingly.\n\n\"You promised!\" she said. \"Oh, Herr Grosse, you promised to let me use my\neyes to-day!\"", "that place. She took the chair. Mr. Sebright thereupon drew back, and\nbowed to Herr Grosse, with a courteous wave of his hand towards Lucilla\nwhich signified, \"You first!\"", "and lie down again. Lucilla persuaded me to do it. \"Herr Grosse won't be\nhere till the afternoon,\" she said. \"Rest till he comes.\"", "This was the memorable day chosen by Herr Grosse for risking the\nexperiment of removing the bandage, and permitting Lucilla to try her", "We all surrounded her, with one and the same question to ask. What had\nHerr Grosse decided to do? The answer informed us that he had decided on\nforbidding Lucilla to try her eyes that day.", "\"Good morning, Mr. Grosse,\" she said. \"I hope you find Lucilla looking\nher best. Only yesterday, I expressed my opinion that she was quite well\nagain.\"", "My aunt was the first person who spoke, under these discouraging\ncircumstances.\n\n\"Mr. Grosse!\" she said sharply. \"Have you nothing to tell me about your\npatient to-day? Do you find Lucilla----\"" ], [ "\"Did you hear Madame Pratolungo?\" Oscar asked. \"Is Lucilla found?\"\n\n\"Dear Oscar, we hope to find her, now you have come.\"", "Oscar shook his head. \"Quite impossible! I know Madame Pratolungo\nreceived the letter.\"\n\n\"How?\"", "He held open the door for me; and I went in. Oscar announced me to\nLucilla. \"It was Madame Pratolungo you heard,\" he said. She took no", "\"He found Lucilla dangerously agitated by her separation from Oscar: he\nasserted, what he calls, his professional freedom of action.\"\n\n\"Madame Pratolungo----!\"", "a sudden frown. Her quick ears had detected my return into the room.\n\"Oscar!\" she exclaimed, \"what does this mean? Madame Pratolungo and I", "[Note.--See the sixteenth chapter, and Madame Pratolungo's remark,\nwarning you that you would hear of this circumstance again.--P.]\n\nOscar went on.", "himself. \"Permit me to inquire, Madame Pratolungo,\" he said with his\nloftiest emphasis, \"in what capacity are You here?\"", "Oscar was the first of the party who broke the silence. After looking all\nround the room, he suddenly addressed himself to me.\n\n\"Madame Pratolungo!\" he exclaimed. \"What has become of Jicks?\"", "Madame Pratolungo, I presume? Permit me to shake hands. It is needless to\nsay, I have heard of your illustrious husband. Aha! here's a baby. Yours,", "Pratolungo,\" he said, \"I want to speak to you about Miss Finch. There is\nan opportunity, before she comes in. Oscar's letter only told me that she", "\"Madame Pratolungo, no doubt?\" he went on, turning to me. \"Delighted to\nmake the acquaintance of my daughter's judicious companion and friend.", "\"Ah, my goot Madame Pratolungo!\" said Herr Grosse, stopping on his way to\nLucilla to shake hands with me. \"Have you made anodder lofely Mayonnaise?", "\"Madame Pratolungo!\"\n\nI made no answer.\n\n\"This is the man whom I should never have loved if I had happened to meet\nhis brother first. Look!\"", "EPILOGUE Madame Pratolungo's Last Words", "\"Madame Pratolungo!\"\n\n\"Miss Finch?\"\n\n\"This is the man who is not half so agreeable as his brother. Look!\"", "EPILOGUE\n\nMadame Pratolungo's Last Words", "\"Oh! Madame Pratolungo? Yes. I hope somebody has told Miss Finch you are\nhere. She has her own establishment, and manages everything herself. Have", "CHAPTER THE FORTIETH\n\nTraces of Nugent\n\n\"MADAME PRATOLUNGO!\"\n\n\"Herr Grosse?\"", "Madame Pratolungo!\" (he appealed to me, in my corner); \"Mrs. Finch!\" (he\nappealed to his wife, in _her_ corner)--\"I am crushed. There is no other", "darling as unreservedly as she did. \"I have noticed one thing, Madame\nPratolungo,\" she said to me, with a flushed face and a heightened tone." ] ]

[ "How did Ocsar come to fall in love with Lucilla?", "What is Lucilla afraid of?", "Where did Ocsar's brother go looking for him?", "Why couldn't Oscar tell Lucilla about his discolored appearance?", "What happend to Nugent im the end?", "Who helped Madame Pratolungo locate Oscar?", "How did Lucilla get betrayed by those around her?", "Who stopped the family from telling Lucilla the truth?", "Why do you think Lucilla was content with her blindness?", "What is Lucilla's impairment?", "When Lucilla fell in love with Oscar, how were they related?", "How did Oscar become epileptic?", "What was the silver compound's side effect?", "What was Herr Grosse's profession?", "What did Nugent do because of his infatuation for Lucilla?", "What did Oscar do after being prohibited to undeceive Lucilla?", "How did Madame Pratolungo locate Oscar?", "In which undertaking did Nugent die?", "What did Lucilla refuse due to her contentment with her blindness?", "Who is Lucilla's father?", "Who is paid to keep Lucilla company?", "When did Oscar develop epilepsy?", "When was Oscar encouraged to tell Lucilla about his skin condition?", "Which brother was a painted in America?", "Which oculist did Lucilla choose for her surgery?", "Where did Pratolungo's father live?", "How did Lucilla get away from the house of Dubourg's cousin?", "Where did Herr Grosse send Lucilla to recover?", "How did Madame Pratolungo find Oscar?" ]

[ [ "He was attacked by robbers and Lucilla nursed him back to health and he came to love her.", "After he was nursed by Lucilla." ], [ "She is afraid of dark colors.", "Dark colors." ], [ "He traveled to America to try and find him.", "England." ], [ "Lucilla had a fear of dark colors and his skin turned dark.", "She has a fear of dark colors." ], [ "He died on a polar expedition.", "He dies on a polar expeditiom." ], [ "A french detective.", "A French detective." ], [ "They did not tell her the truth about Oscar's appearance.", "By her doctor Herr Grosse's orders and the cowardice of her fiance Oscar" ], [ "Herr Grosse ordered them to not tell her the truth.", "Nugent." ], [ "She was comfortable being blind because she was blind her whole life.", "Because her time with sight was so unpleasant. " ], [ "Blindness", "She is blind." ], [ "They are neighbors.", "Neighbors." ], [ "He was hit on the head by robbers.", "When he was hit in the head." ], [ "It turns Oscar's skin to a dark blue-grey.", "It turned his skin a dark blue-grey." ], [ "An oculist.", "An Oculist." ], [ "He pretended to be Oscar.", "He manipulates her into thinking that he is Oscar. " ], [ "He went abroad and left Lucilla to his brother.", "He tells Lucilla that Nugent was disfigured." ], [ "Through the help of a French detective.", "By using a French detective" ], [ "A polar expedition", "Polar expedition." ], [ "Another operation.", "She refused to have another operation to correct the blindness. " ], [ "Dimchurch's rector", "The rector of Dimchurch,Sussex" ], [ "Madame Pratolungo", "Madame Pratolungo." ], [ "after being attacked by robbers", "After a blow to his head by robbers" ], [ "before her surgery bandages were removed", "After she gains her sight. " ], [ "Nugent", "Nugent." ], [ "Herr Grosse", "Herr Grosse." ], [ "Marseilles", "Marseilles" ], [ "a servant helped her", "Through the help of a kind servant." ], [ "to her aunt's house at the seaside", "With her aunt at the seaside." ], [ "a detective from France helped her", "With the help of a French detective. " ] ]

[ [ "</p><p><p ID=\"act\">The film flickers over the \"Marino must die!!!\" graffiti. It's the final play of the Super Bowl.", "</p><p><p ID=\"act\">The Super Bowl Halftime Show is in progress. Marino is in uniform warming up. Emilio is", "</p><p><p ID=\"slug\">EXT. MIAMI STREET - DAY\n</p><p><p ID=\"act\">The road is jammed in one direction. Going towards the Super Bowl. Einhorn drives in the", "Super Bowl and that son of a bitch\ngagged.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">What a diiick!", "<P ID=\"dia\">I just love Super Bowl Sunday,\ndon't you, Dan? A magical\nafternoon where dreams are made…\nor crushed!", "Lose Super Bowl'.\n</p><p><P ID=\"speaker\">MELISSA\n <P ID=\"dia\">The kick heard round the world.", "of Snowflake's tank. It's from a\nDolphin '82 AFC Championship ring.\nIt would have been a Super Bowl\nring, but Ray Finkle missed the", "<P ID=\"dia\">Any unusual bets being made?\n</p><p><P ID=\"speaker\">EMILIO\n <P ID=\"dia\">Ace, it's the Super Bowl, of", "years because he thinks flies are\nlucky! I want that god damn fish\non the field Super Bowl Sunday!\nFIND THE FISH, OR FIND NEW JOBS!", "End of story. As for Snowflake…\nthey gave him Finkle's number, and\ntaught him how to kick a field\ngoal. Finkle took it personally.", "the pressure of the Super Bowl,\nwithout your star quarterback\ngettin' himself kidnapped. This\nis the whole ball of wax, folks!", "closing seconds of Super Bowl\nSeventeen.\n<P ID=\"spkdir\">(in one breath)\n <P ID=\"dia\">What you wouldn't read about is", "</p><p><p ID=\"act\">Behind one of the goal posts, the team's mascot, a rare dolphin (SNOWFLAKE), wearing #4, is", "</p><p><p ID=\"act\">Just as he closes in for the grab, the Philadelphia Eagles mascot eagle walks up to get a drink and \nshoos the pigeon away. Ace is furious.", "</p><p><P ID=\"speaker\">ANNOUNCER\n <P ID=\"dia\">The National Football League would\nnow like to offer a special thank", "</p><p><P ID=\"speaker\">RIDDLE (CONT.)\n <P ID=\"dia\">All I care about is winning this\nSuper Bowl! I want the players'", "quarterback's been putting his\nsocks on backwards since high\nschool. And I got a lineman who\nhasn't washed his jock in two", "<P ID=\"dia\">What's going to happen to the\nSuper Bowl? Will it be postponed?\n</p><p><P ID=\"speaker\">EINHORN", "</p><p><p ID=\"act\">The commercial is winding up. The linemen ready themselves.\n</p><p><P ID=\"speaker\">MARINO", "That was Finkle. The Dolphins lost\nby one point.\n</p><p><p ID=\"act\">Another headline hits the screen: FINKLE CONTRACT NOT RENEWED." ], [ "</p><p><p ID=\"act\">On the field the mascot shoves Ace. Ace shoves back.\n</p><p><P ID=\"speaker\">ANNOUNCER (CONT'D)", "</p><p><p ID=\"act\">Just as he closes in for the grab, the Philadelphia Eagles mascot eagle walks up to get a drink and \nshoos the pigeon away. Ace is furious.", "</p><p><p ID=\"act\">PULL BACK to find Eagle's mascot and Ace arguing. We can't hear what's said, but there's a lot \nof finger pointing.", "</p><p><p ID=\"act\">As the UPS Man/Ace rounds the corner, his shirt opens up at his pot belly and the Shiatsu's head \nsticks out. Ace is gloating.", "Marino who is back behind Einhorn, motions for Ace to come over.\n</p><p><P ID=\"speaker\">MARINO", "</p><p><p ID=\"act\">Ace looks through the first couple of boxes and finds only clothes. In the third box, he hits the", "</p><p><p ID=\"act\">The thugs exchange a look, then dive after Ace, and a \"mosh\" chase ensues.", "</p><p><p ID=\"act\">He pokes his head out again. They shoot again.\n</p><p><p ID=\"act\">Ace swerves off the road into", "</p><p><p ID=\"act\">Ace sits waiting with one shoe off. The store manager, an ex-player for the '82 team, sets down \nseveral shoe boxes. Ace checks out the ring.", "</p><p><p ID=\"act\">We see Ace at the top of a giant machine. He is aiming a 200 pound steel hook, that hangs on a \nchain from the ceiling.", "</p><p><p ID=\"act\">Ace sits back. SMASH!!!\n</p><p><p ID=\"act\">From Ace's POV we see a Baseball bat shatter the front windshield.", "</p><p><P ID=\"speaker\">MARINO\n<P ID=\"spkdir\">(indicating Ace)\n <P ID=\"dia\">No… kill him!", "<P ID=\"dia\">Roger Podacter, meet Ace Ventura.\nAce is our pet detective.\n</p><p><p ID=\"act\">Podacter shakes his hand.", "</p><p><p ID=\"act\">CLOSE ON\n</p><p><p ID=\"act\">The poster of the '82 team. There is only one face that has not been crossed out. Ace circles it.", "in Camp's ring.\n</p><p><p ID=\"act\">Ace finds a book on the Dolphin team and flips through it.\n</p><p><P ID=\"speaker\">MELISSA", "</p><p><p ID=\"act\">Before the thugs grab him, Ace runs up and throws himself from the stage. The insane crowd \nbegins to pass him around over their heads.", "stuffed dog. Around it's neck is a business card that reads, \"You have been had by Ace Ventura - \nPet Detective.\" He breathes fire.", "</p><p><p ID=\"act\">Ace walks to the desk of EMILIO ECHAVEZ, a young energetic member of the homicide \ndivision. Ace has a silly impish look on his face.", "</p><p><p ID=\"act\">BAM!!! Ace crashes to the ground. As he lies face down, in a heap of trash, his beeper goes off.", "</p><p><p ID=\"act\">While Ace studies the tape, he chews sunflower seeds in a bird-like fashion, placing the shells in a \nneat little pile on her desk." ], [ "it's not a pebble. It is a rare,\ntriangular cut, orange amber.", "<P ID=\"dia\">Ace, that stone could have come\nfrom anywhere. An earring, a\nnecklace…\n</p><p><P ID=\"speaker\">ACE", "twigs and gunk. He roots through it, notices a very tiny amber stone. He smiles to himself.\n</p><p><P ID=\"speaker\">ACE", "see that it's the ring with the missing stone. Ace replaces it with the stone in his pocket. It's a \nperfect fit.\n</p><p><P ID=\"speaker\">ACE", "I might have been killed!\n</p><p><p ID=\"act\">Ace shakes Camp's hand and notices his ring. He holds on to get a better look. It's a very distinct,", "around the track at a very fast pace. When he finally catches up, he awkwardly tries to catch a \nglimpse of the man's ring and trips. The man just keeps going.", "</p><p><p ID=\"act\">Ace hands Melissa the stone and quickly goes to one of her bookcases.\n</p><p><P ID=\"speaker\">MELISSA", "of Snowflake's tank. It's from a\nDolphin '82 AFC Championship ring.\nIt would have been a Super Bowl\nring, but Ray Finkle missed the", "</p><p><p ID=\"act\">Ace deliberately cuts off the player's car and flips him off. The angry player flips Ace off. We see \nhis ring is intact. Ace waves and drives off.", "<P ID=\"dia\">Alright, Ventura. Make it quick.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">I found a rare stone at the bottom", "definitely him! Just get me in\nthere! Let me work my magic!\n</p><p><p ID=\"act\">Ace takes the stone out of his pocket and studies it intensely.", "<P ID=\"dia\">N. Camp's clean. His ring\nwasn't missing a stone. But\nwhoever was in that tank had a\nring just like his.", "</p><p><p ID=\"act\">Melissa holds the stone up to the picture. It's a perfect match.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">Woman hands squeezing perfume bulb.\n</p><p><p ID=\"act\">Woman's hand putting on AFC championship ring. One stone is missing.", "</p><p><P ID=\"speaker\">MELISSA\n <P ID=\"dia\">Wait a second. What ring?", "</p><p><p ID=\"act\">Quick cut of a hand with the blur of a ring slamming against the tank. But the needle has done its \njob. Snowflake quickly goes limp.", "commemorative ring.\n</p><p><p ID=\"act\">Camp wants his hand back but Ace won't let go. Melissa finally drags Ace away.", "</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">But he got a ring?\n</p><p><P ID=\"speaker\">MELISSA", "<P ID=\"dia\">What are you talking about?\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">Tonight I saw the exact same stone", "<P ID=\"spkdir\">(with murder in his eyes)\n <P ID=\"dia\">It came from an '82 AFC\nChampionship ring." ], [ "<P ID=\"dia\">He's the guy that missed the final\nfield goal in the Super Bowl that\nyear. Cost the Dolphins the game.", "time bonehead plays', you might\nread about a Miami Dolphin kicker\nnamed Ray Finkle, who missed a\ntwenty-six yard field goal in the", "<P ID=\"dia\">He was a kicker for the Dolphins.\nRay Finkle.", "That was Finkle. The Dolphins lost\nby one point.\n</p><p><p ID=\"act\">Another headline hits the screen: FINKLE CONTRACT NOT RENEWED.", "of Snowflake's tank. It's from a\nDolphin '82 AFC Championship ring.\nIt would have been a Super Bowl\nring, but Ray Finkle missed the", "</p><p><p ID=\"slug\">EXT. PLAYING FIELD - A SHORT TIME LATER\n</p><p><p ID=\"act\">The Dolphin players practice. A crowd of reporters interview Marino.", "</p><p><p ID=\"act\">The Trainer now sets the ball on the dolphin's tail and snowflake \"kicks\" a perfect field goal. The \nTrainer blows a whistle and raises both arms.", "had held the ball laces out, like\nyou're supposed to, Ray would\nnever have missed that kick. Dan\nMarino should die of Gonorrhea and", "</p><p><p ID=\"act\">ON TV: Miami's kicker boots a perfect field goal from fifty yards.\n</p><p><P ID=\"speaker\">JOHN MADDEN", "</p><p><p ID=\"act\">The stands are empty, but there's plenty happening on the field. The Miami Dolphins are \npracticing. Dan Marino is in top form, hitting pass after pass.", "End of story. As for Snowflake…\nthey gave him Finkle's number, and\ntaught him how to kick a field\ngoal. Finkle took it personally.", "</p><p><p ID=\"act\">The film flickers over the \"Marino must die!!!\" graffiti. It's the final play of the Super Bowl.", "Lose Super Bowl'.\n</p><p><P ID=\"speaker\">MELISSA\n <P ID=\"dia\">The kick heard round the world.", "</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">yeah, ever hear of a former\nDolphin kicker named Ray Finkle?", "Did a Claude Raines. He's been\nplanning his revenge for years.\nWaiting for the perfect time to\nget back at the Dolphins. The time", "</p><p><p ID=\"act\">Behind one of the goal posts, the team's mascot, a rare dolphin (SNOWFLAKE), wearing #4, is", "Hey, Marino, check it out. I'm\nthrowin' passes to a Dolphin!", "Marino takes the snap, Finkle kicks and the ball sails wide. The film repeats itself ad infinitum.\n</p><p><p ID=\"slug\">EXT. BILBO'S GAS STATION - DAY", "</p><p><p ID=\"slug\">EXT. DOLPHIN STADIUM PLAYING FIELD - DAY", "</p><p><p ID=\"act\">The Super Bowl Halftime Show is in progress. Marino is in uniform warming up. Emilio is" ], [ "</p><p><p ID=\"act\">Ace holds his head and dances around, completely freaking out what he had done.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">Ace sets the white pigeon free and starts to run, but it's too late. The birds are on him. Pecking, \nand gouging, and ripping his flesh.", "</p><p><p ID=\"act\">Suddenly the music starts. The burnout's head wails again. His manic gyrations interfere with the \nthugs long enough for Ace to bolt.", "</p><p><p ID=\"act\">BAM!!! Ace crashes to the ground. As he lies face down, in a heap of trash, his beeper goes off.", "</p><p><p ID=\"act\">Before the thugs grab him, Ace runs up and throws himself from the stage. The insane crowd \nbegins to pass him around over their heads.", "</p><p><p ID=\"act\">He pokes his head out again. They shoot again.\n</p><p><p ID=\"act\">Ace swerves off the road into", "end of an old shotgun in his mouth. He is struggling to reach the trigger.\n</p><p><p ID=\"act\">Through the glass behind him, we see Ace's car pull up to the only gasoline pump.", "</p><p><p ID=\"act\">…Ace is in the shower. He slowly curls up into a ball under the steaming water with an expression \nof horror on his face.", "with his pants in shreds. Everyone stops. They all stare at Ace in amazement.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">We see Ace at the top of a giant machine. He is aiming a 200 pound steel hook, that hangs on a \nchain from the ceiling.", "FROM ACE'S FACE!!! NEEDLESS TO SAY, ACE IS A TAD SURPRISED.\n</p><p><p ID=\"act\">He reels back, falling off the catwalk, into the water.", "</p><p><p ID=\"act\">Ace motions for Melissa to feel the back of his neck, but when she does, he snaps at her hand, \nbarking like a vicious dog.", "</p><p><p ID=\"slug\">INT. ACE'S BATHROOM - MORNING - QUICK CUTS\n</p><p><p ID=\"act\">…Ace furiously brushes his teeth.", "</p><p><p ID=\"act\">Daybreak. Ace sits staring at a picture of Finkle on the coffee table. He's totally spent and on the \nverge of tears.", "</p><p><p ID=\"act\">DISSOLVE TO:\n</p><p><p ID=\"act\">Later still. Ace pacing, jumping up and down. Trying to get his intuitive juices flowing. The", "</p><p><p ID=\"slug\">INT. TEA ROOM - NIGHT\n</p><p><p ID=\"act\">Ace emerges from the basement. The band is between songs. Ace strolls by the burnout whose", "</p><p><p ID=\"act\">Ace dramatically pulls at Einhorn's hair, thinking it's a wig. Einhorn's head flies back. The hair is \nreal. Ace keeps tugging it.", "</p><p><p ID=\"act\">Ace looks through the first couple of boxes and finds only clothes. In the third box, he hits the", "</p><p><p ID=\"act\">Ace strikes a dramatic pose and freezes, with a crazed look on his face.\n</p><p><P ID=\"speaker\">ACE (CON'T)", "</p><p><p ID=\"act\">Ace wastes no time. He locks the door, turns on the water faucet, steps onto the toilet seat, opens \nand climbs out a window." ], [ "and then Roger Podacter was thrown\nover that balcony. Roger Podacter\ndidn't commit suicide. He was\nmurdered.", "<P ID=\"dia\">Are the crimes related? And what\nabout Roger Podacter's murder?\n</p><p><P ID=\"speaker\">EINHORN", "</p><p><p ID=\"act\">Ace and Melissa see Roger Podacter's body taken away in an ambulance.\n</p><p><P ID=\"speaker\">ACE", "apartment, before Podacter was\nthrown over the railing! And the\nmuderer closed the door before he\nleft!", "said, \"Eee, eee, eee, eee.\" Und\nyou can quote him.\n</p><p><p ID=\"act\">Ace spits at the reporters' feet. Podacter jumps in.", "<P ID=\"dia\">He kidnapped Snowflake. He killed\nRoger Podacter, and he was about\nto kill Dan Marino and me!", "</p><p><p ID=\"act\">Melissa and Podacter don't know what to say. Then, a strange voice is heard.\n</p><p><P ID=\"speaker\">ACE/HEINZ (O.S.)", "</p><p><p ID=\"act\">Ace, continuing his investigation notices…\n</p><p><p ID=\"act\">PODACTER'S DESK", "</p><p><p ID=\"act\">Podacter and Melissa, watching from the rim, look at each other like, \"What have we gotten \nourselves into?\" Podacter spots something.", "</p><p><P ID=\"speaker\">PODACTER\n <P ID=\"dia\">What?\n</p><p><P ID=\"speaker\">ACE", "the rear.\n</p><p><p ID=\"act\">Ace sniffs the turf. Podacter enters nervously.\n</p><p><P ID=\"speaker\">MELISSA", "<P ID=\"dia\">Emilio, get me the autopsy on\nPodacter! Aguado, send out a\nmemo. No one talks to the\npress", "inside this apartment while Mr.\nPodacter was still alive!\n<P ID=\"spkdir\">(singing)", "proofed glass. There's no way\nthis neighbor could have heard\nPodacter scream on the way down\nwith this door shut. The scream\nhe heard came from inside this", "<P ID=\"dia\">Roger Podacter, meet Ace Ventura.\nAce is our pet detective.\n</p><p><p ID=\"act\">Podacter shakes his hand.", "</p><p><p ID=\"slug\">EXT. PODACTER'S BALCONY - CONT\n</p><p><p ID=\"act\">Ace examines the area. Einhorn is in hot pursuit.", "<P ID=\"dia\">So much for your murder, Ventura.\n</p><p><P ID=\"speaker\">AGUADO\n <P ID=\"dia\">Uh oh, I think I heard a toilet", "<P ID=\"dia\">Brian Piccalo is dead.\n</p><p><p ID=\"act\">Ace breaks down. Melissa hangs up the phone and leads him away.", "</p><p><P ID=\"speaker\">PODACTER\n <P ID=\"dia\">Why did it have to happen now? I\ngot three stinking years left till\nretirement.", "</p><p><p ID=\"act\">Ace picks up a lottery ticket on Podacter's desk and becomes a condescending kid show host.\n</p><p><P ID=\"speaker\">ACE" ], [ "<P ID=\"dia\">See this pigeon? It's a true\nalbino. Some rich guy lost it.\nHe's offering a ten thousand\ndollar reward.", "</p><p><p ID=\"act\">Ace reaches into his coat pocket and pulls out a flyer with a picture of a white pigeon.\n</p><p><P ID=\"speaker\">ACE", "caught the white pigeon, I caught\nthe white…\n</p><p><p ID=\"act\">Ace slows down and begins to look around warily. There are now an unusual number of birds", "</p><p><p ID=\"act\">Ace sets the white pigeon free and starts to run, but it's too late. The birds are on him. Pecking, \nand gouging, and ripping his flesh.", "</p><p><p ID=\"act\">Ace's prized WHITE PIGEON lands on the car door right beside him. Ace cracks his eyes and", "<P ID=\"dia\">I did it! I did it! I caught the\nwhite pigeon! I caught the white\npigeon!", "roof of a two story building. He is four feet away from \"The\" pigeon. Ater a beat, he makes a \nmad, spastic, yet scientific, lunge for the bird.", "</p><p><p ID=\"act\">Ace jumps out of his car and starts skipping around the park with the pigeon held high over his \nhead. He looks insane.", "<P ID=\"dia\">Mr. Shickadance… I told you,\nyou're my first priority! As soon\nas I find the white pigeon,\nyou're paid!!", "</p><p><p ID=\"act\">As Melissa and Ace kiss, the prized 'White Pigeon' lands on a Gatorade dispenser in the \nforeground. Ace spots it and starts to make a move.", "</p><p><p ID=\"act\">Just as he closes in for the grab, the Philadelphia Eagles mascot eagle walks up to get a drink and \nshoos the pigeon away. Ace is furious.", "</p><p><P ID=\"speaker\">ADELLE\n <P ID=\"dia\">Wow, albino pigeons are very\nrare. How are you going to find", "</p><p><p ID=\"act\">The car drives by a sign on a telephone pole: \"Reward\" -- with a picture of the Shiatsu in Ace's \nseat.", "sees the bird. Then, with a sudden quick lunge he successfully traps it in his hands, and forgets all \nabout Marino.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">Vinnie grabs a feeder fish and entices Snowflake to the surface. Roc raises a football.\n</p><p><p ID=\"act\">ROC", "</p><p><p ID=\"act\">Snowflake surfaces to check out the action. One of the men holds out a fish. Snowflake eagerly", "<P ID=\"dia\">I wouldn't want you to miss that.\n</p><p><p ID=\"act\">Einhorn walks to the edge of the tank. She aims the gun at Snowflake and FIRES!", "against the ground, with his legs spread apart and the pail over his head. The trail of smelts leads \nto his crotch. There is one halfway into his zipper, with its tail flipping.", "</p><p><p ID=\"act\">CUT TO:\n</p><p><p ID=\"act\">50 animals at the bottom of the bed, with eyes as big as silver dollars, watching them silently. We", "and holds some evidence aloft thinking. A bird eats seeds out of his naval.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">What the hell does Lois Einhorn" ], [ "the pressure of the Super Bowl,\nwithout your star quarterback\ngettin' himself kidnapped. This\nis the whole ball of wax, folks!", "</p><p><p ID=\"act\">Various headlines hit the news stands: \"MARINO KIDNAPPED\" \"STAR QB MISSING\" \"DAN \nWHERE ARE YOU?\"", "</p><p><p ID=\"act\">The film flickers over the \"Marino must die!!!\" graffiti. It's the final play of the Super Bowl.", "<P ID=\"dia\">He kidnapped Snowflake. He killed\nRoger Podacter, and he was about\nto kill Dan Marino and me!", "show. Marino is tied to a football tackling sled. The two thugs take turns running into Dan with \ntheir shoulders, driving him back five feet each time.", "End of story. As for Snowflake…\nthey gave him Finkle's number, and\ntaught him how to kick a field\ngoal. Finkle took it personally.", "being kidnapped and all has got to\nbe a strain on this Miami team. I\nreally feel sorry for those guys! I\nmean, it's hard enough enduring", "</p><p><p ID=\"act\">Ace takes a \"snap\" from a three-foot hedge and dives over it into the end zone. Melissa and the \ndoctor stop to watch him.", "</p><p><p ID=\"act\">Before the thugs grab him, Ace runs up and throws himself from the stage. The insane crowd \nbegins to pass him around over their heads.", "practicing his routine. The Trainer is dressed like a quarterback.\n</p><p><p ID=\"act\">TRAINER\nBlue! 42! Blue! 42! Hut! Hut!", "That was Finkle. The Dolphins lost\nby one point.\n</p><p><p ID=\"act\">Another headline hits the screen: FINKLE CONTRACT NOT RENEWED.", "quarterback's been putting his\nsocks on backwards since high\nschool. And I got a lineman who\nhasn't washed his jock in two", "</p><p><p ID=\"act\">…Right out the studio door. Then the cops arrive and race after them. Two linemen stumble out \nof the dressing room holding their heads.", "</p><p><p ID=\"act\">One huge lineman uses a urinal. Ace, using the urinal next to him, nonchalantly tries to catch a", "</p><p><p ID=\"slug\">EXT. PLAYING FIELD - A SHORT TIME LATER\n</p><p><p ID=\"act\">The Dolphin players practice. A crowd of reporters interview Marino.", "</p><p><p ID=\"act\">Einhorn takes a shot at the screen, creating a hole in Madden's forehead. Ace uses the moment to \nsmack the gun out of her hand.", "</p><p><p ID=\"act\">Ace reaches down into frame, removing the '82 AFC Championship ring from Finkle's finger. We", "</p><p><p ID=\"act\">Just as he closes in for the grab, the Philadelphia Eagles mascot eagle walks up to get a drink and \nshoos the pigeon away. Ace is furious.", "</p><p><p ID=\"act\">Snowflake swims over, snatches the small football out of the trainer's hand, swims the length of", "</p><p><p ID=\"act\">The stadium is now completely empty. Snowflake peacefully swims around his tank." ], [ "</p><p><p ID=\"act\">The film flickers over the \"Marino must die!!!\" graffiti. It's the final play of the Super Bowl.", "Super Bowl and that son of a bitch\ngagged.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">What a diiick!", "Lose Super Bowl'.\n</p><p><P ID=\"speaker\">MELISSA\n <P ID=\"dia\">The kick heard round the world.", "</p><p><p ID=\"act\">The Super Bowl Halftime Show is in progress. Marino is in uniform warming up. Emilio is", "<P ID=\"dia\">I just love Super Bowl Sunday,\ndon't you, Dan? A magical\nafternoon where dreams are made…\nor crushed!", "</p><p><p ID=\"slug\">EXT. MIAMI STREET - DAY\n</p><p><p ID=\"act\">The road is jammed in one direction. Going towards the Super Bowl. Einhorn drives in the", "closing seconds of Super Bowl\nSeventeen.\n<P ID=\"spkdir\">(in one breath)\n <P ID=\"dia\">What you wouldn't read about is", "of Snowflake's tank. It's from a\nDolphin '82 AFC Championship ring.\nIt would have been a Super Bowl\nring, but Ray Finkle missed the", "<P ID=\"dia\">Any unusual bets being made?\n</p><p><P ID=\"speaker\">EMILIO\n <P ID=\"dia\">Ace, it's the Super Bowl, of", "</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">Did he come back after the Super\nBowl?", "the pressure of the Super Bowl,\nwithout your star quarterback\ngettin' himself kidnapped. This\nis the whole ball of wax, folks!", "years because he thinks flies are\nlucky! I want that god damn fish\non the field Super Bowl Sunday!\nFIND THE FISH, OR FIND NEW JOBS!", "<P ID=\"dia\">What's going to happen to the\nSuper Bowl? Will it be postponed?\n</p><p><P ID=\"speaker\">EINHORN", "<P ID=\"dia\">He's the guy that missed the final\nfield goal in the Super Bowl that\nyear. Cost the Dolphins the game.", "</p><p><P ID=\"speaker\">ANNOUNCER\n <P ID=\"dia\">The National Football League would\nnow like to offer a special thank", "when it would hurt them the most.\nSuper Bowl time! Man, I'm tired\nof being right!", "</p><p><P ID=\"speaker\">RIDDLE (CONT.)\n <P ID=\"dia\">All I care about is winning this\nSuper Bowl! I want the players'", "That was Finkle. The Dolphins lost\nby one point.\n</p><p><p ID=\"act\">Another headline hits the screen: FINKLE CONTRACT NOT RENEWED.", "</p><p><p ID=\"act\">Just as he closes in for the grab, the Philadelphia Eagles mascot eagle walks up to get a drink and \nshoos the pigeon away. Ace is furious.", "End of story. As for Snowflake…\nthey gave him Finkle's number, and\ntaught him how to kick a field\ngoal. Finkle took it personally." ], [ "</p><p><P ID=\"speaker\">MR. FINKLE\n<P ID=\"spkdir\">(aside to Ace)\n <P ID=\"dia\">She got the arm. The boy got the", "<P ID=\"dia\">So where is Finkle, now?\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">He broke out of a metal hospital.", "</p><p><p ID=\"act\">Daybreak. Ace sits staring at a picture of Finkle on the coffee table. He's totally spent and on the \nverge of tears.", "</p><p><p ID=\"act\">Suddenly, Finkle picks up a shard of broken glass and lunges at Ace.\n</p><p><P ID=\"speaker\">FINKLE", "</p><p><p ID=\"act\">Ace spins Einhorn around now, exposing to the world, the healthy set of male genetalia that Finkle", "</p><p><p ID=\"act\">Mrs. Finkle shuts the lights off. Ace turns on the projector.", "</p><p><p ID=\"act\">They leave Ace.\n</p><p><p ID=\"act\">After a beat, Ace gets up and does a quick spin pattern into the storage room door.", "</p><p><p ID=\"act\">Mrs. Finkle and Ace are walking down the hallway to Ray's room.\n</p><p><P ID=\"speaker\">MRS. FINKLE", "</p><p><p ID=\"act\">He pokes his head out again. They shoot again.\n</p><p><p ID=\"act\">Ace swerves off the road into", "</p><p><p ID=\"act\">Einhorn drives south out of town. The area's getting remote. Ace follows.\n</p><p><p ID=\"act\">Einhorn turns down a deserted road and comes to", "</p><p><p ID=\"act\">Einhorn comes out her front door and gets into her car. Ace shudders once more and then follows \nher.", "just baked them.\n</p><p><p ID=\"act\">Mrs. Finkle hurries off to the kitchen. Ace smiles at Mr. Finkle. The guy's a corpse.", "</p><p><p ID=\"slug\">EXT. PODACTER'S BALCONY - CONT\n</p><p><p ID=\"act\">Ace examines the area. Einhorn is in hot pursuit.", "</p><p><p ID=\"act\">Woodstock is at his computer. Ace looks over his shoulder. Finkle's Social Security information \nappears on the screen.", "Finkle.\n</p><p><p ID=\"act\">He turns to see the monkey crashed out in a heap on a sofa pillow.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">Ace then gets down and finds scratches in the door. TWO FEET interrupt.\n</p><p><p ID=\"act\">Ace stands. He is face to face with Einhorn.", "</p><p><p ID=\"act\">Wiggles' dark haired floppy ears are lying around Finkle's picture like a wig. Ace combs the hair", "</p><p><p ID=\"act\">Ace slips away, we follow him as he eavesdrops on conversations.\n</p><p><p ID=\"act\">NEIGHBOR", "</p><p><p ID=\"act\">As the UPS Man/Ace rounds the corner, his shirt opens up at his pot belly and the Shiatsu's head \nsticks out. Ace is gloating.", "</p><p><p ID=\"act\">Ace and Melissa look through Finkle's file on a microfiche screen. Newspaper articles, headshots \nflash before them" ], [ "</p><p><p ID=\"act\">Ace reaches down into frame, removing the '82 AFC Championship ring from Finkle's finger. We", "</p><p><p ID=\"act\">Ace spins Einhorn around now, exposing to the world, the healthy set of male genetalia that Finkle", "</p><p><p ID=\"act\">Ace deliberately cuts off the player's car and flips him off. The angry player flips Ace off. We see \nhis ring is intact. Ace waves and drives off.", "I might have been killed!\n</p><p><p ID=\"act\">Ace shakes Camp's hand and notices his ring. He holds on to get a better look. It's a very distinct,", "commemorative ring.\n</p><p><p ID=\"act\">Camp wants his hand back but Ace won't let go. Melissa finally drags Ace away.", "</p><p><p ID=\"act\">Suddenly, Finkle picks up a shard of broken glass and lunges at Ace.\n</p><p><P ID=\"speaker\">FINKLE", "</p><p><P ID=\"speaker\">MR. FINKLE\n<P ID=\"spkdir\">(aside to Ace)\n <P ID=\"dia\">She got the arm. The boy got the", "preparing his grip, as he checks out the ring. Ace finally gets set and gives the \"go ahead\" nod. He \nis instantly thrown across the room.", "just baked them.\n</p><p><p ID=\"act\">Mrs. Finkle hurries off to the kitchen. Ace smiles at Mr. Finkle. The guy's a corpse.", "</p><p><p ID=\"act\">Daybreak. Ace sits staring at a picture of Finkle on the coffee table. He's totally spent and on the \nverge of tears.", "<P ID=\"dia\">So where is Finkle, now?\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">He broke out of a metal hospital.", "</p><p><p ID=\"act\">A HUGE, NO-HOLDS-BARRED FIGHT ensues. Ace and Einhorn punch each other about the \nface and stomach.", "<P ID=\"dia\">Einhorn is Finkle! Finkle is\nEinhorn!… Einhorn is a man!!!\n</p><p><p ID=\"act\">Ace's expression quickly turns sour.", "</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">But he got a ring?\n</p><p><P ID=\"speaker\">MELISSA", "</p><p><p ID=\"act\">Before the thugs grab him, Ace runs up and throws himself from the stage. The insane crowd \nbegins to pass him around over their heads.", "</p><p><p ID=\"act\">Mrs. Finkle shuts the lights off. Ace turns on the projector.", "see that it's the ring with the missing stone. Ace replaces it with the stone in his pocket. It's a \nperfect fit.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">Ace dramatically pulls at Einhorn's hair, thinking it's a wig. Einhorn's head flies back. The hair is \nreal. Ace keeps tugging it.", "</p><p><p ID=\"act\">Einhorn throws a punch at Ace. Ace goes down.\n</p><p><p ID=\"act\">Einhorn goes for the loose gun. Ace leaps and tackles her.", "Finkle.\n</p><p><p ID=\"act\">He turns to see the monkey crashed out in a heap on a sofa pillow.\n</p><p><P ID=\"speaker\">ACE" ], [ "the pressure of the Super Bowl,\nwithout your star quarterback\ngettin' himself kidnapped. This\nis the whole ball of wax, folks!", "years because he thinks flies are\nlucky! I want that god damn fish\non the field Super Bowl Sunday!\nFIND THE FISH, OR FIND NEW JOBS!", "of Snowflake's tank. It's from a\nDolphin '82 AFC Championship ring.\nIt would have been a Super Bowl\nring, but Ray Finkle missed the", "</p><p><p ID=\"slug\">EXT. MIAMI STREET - DAY\n</p><p><p ID=\"act\">The road is jammed in one direction. Going towards the Super Bowl. Einhorn drives in the", "That was Finkle. The Dolphins lost\nby one point.\n</p><p><p ID=\"act\">Another headline hits the screen: FINKLE CONTRACT NOT RENEWED.", "</p><p><p ID=\"act\">The film flickers over the \"Marino must die!!!\" graffiti. It's the final play of the Super Bowl.", "</p><p><p ID=\"act\">The Super Bowl Halftime Show is in progress. Marino is in uniform warming up. Emilio is", "Super Bowl and that son of a bitch\ngagged.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">What a diiick!", "time bonehead plays', you might\nread about a Miami Dolphin kicker\nnamed Ray Finkle, who missed a\ntwenty-six yard field goal in the", "</p><p><p ID=\"act\">Just as he closes in for the grab, the Philadelphia Eagles mascot eagle walks up to get a drink and \nshoos the pigeon away. Ace is furious.", "</p><p><p ID=\"act\">Ace reaches down into frame, removing the '82 AFC Championship ring from Finkle's finger. We", "Lose Super Bowl'.\n</p><p><P ID=\"speaker\">MELISSA\n <P ID=\"dia\">The kick heard round the world.", "closing seconds of Super Bowl\nSeventeen.\n<P ID=\"spkdir\">(in one breath)\n <P ID=\"dia\">What you wouldn't read about is", "<P ID=\"dia\">Any unusual bets being made?\n</p><p><P ID=\"speaker\">EMILIO\n <P ID=\"dia\">Ace, it's the Super Bowl, of", "quarterback's been putting his\nsocks on backwards since high\nschool. And I got a lineman who\nhasn't washed his jock in two", "</p><p><p ID=\"act\">…Right out the studio door. Then the cops arrive and race after them. Two linemen stumble out \nof the dressing room holding their heads.", "</p><p><p ID=\"act\">Melissa, BOBBY RIDDLE, and GUESTS all amidst the usual pre-game hobnobbing. Most of the \ntalk centers on the loss of Marino.", "</p><p><P ID=\"speaker\">JOHN MADDEN (ON TV)\n <P ID=\"dia\">…But the real story of this game\nis the absence of Dan Marino. Him", "</p><p><p ID=\"act\">Woman hands squeezing perfume bulb.\n</p><p><p ID=\"act\">Woman's hand putting on AFC championship ring. One stone is missing.", "<P ID=\"dia\">I just love Super Bowl Sunday,\ndon't you, Dan? A magical\nafternoon where dreams are made…\nor crushed!" ], [ "and then Roger Podacter was thrown\nover that balcony. Roger Podacter\ndidn't commit suicide. He was\nmurdered.", "</p><p><p ID=\"act\">Ace and Melissa see Roger Podacter's body taken away in an ambulance.\n</p><p><P ID=\"speaker\">ACE", "<P ID=\"dia\">Are the crimes related? And what\nabout Roger Podacter's murder?\n</p><p><P ID=\"speaker\">EINHORN", "<P ID=\"dia\">He kidnapped Snowflake. He killed\nRoger Podacter, and he was about\nto kill Dan Marino and me!", "apartment, before Podacter was\nthrown over the railing! And the\nmuderer closed the door before he\nleft!", "<P ID=\"dia\">Roger Podacter, meet Ace Ventura.\nAce is our pet detective.\n</p><p><p ID=\"act\">Podacter shakes his hand.", "Lieutenant.\n<P ID=\"spkdir\">(re: the neighbor)\n <P ID=\"dia\">This man is Roger Podacter's\nneighbor. He lives across the", "</p><p><p ID=\"act\">He pokes his head out again. They shoot again.\n</p><p><p ID=\"act\">Ace swerves off the road into", "</p><p><p ID=\"act\">Podacter and Melissa, watching from the rim, look at each other like, \"What have we gotten \nourselves into?\" Podacter spots something.", "</p><p><p ID=\"act\">Melissa and Podacter don't know what to say. Then, a strange voice is heard.\n</p><p><P ID=\"speaker\">ACE/HEINZ (O.S.)", "inside this apartment while Mr.\nPodacter was still alive!\n<P ID=\"spkdir\">(singing)", "</p><p><p ID=\"act\">Ace gently releases the hook. Just as Vinnie and Roc turn to look, the iron hook shears both of \ntheir heads clean off.", "<P ID=\"dia\">Brian Piccalo is dead.\n</p><p><p ID=\"act\">Ace breaks down. Melissa hangs up the phone and leads him away.", "</p><p><p ID=\"slug\">EXT. PODACTER'S BALCONY - CONT\n</p><p><p ID=\"act\">Ace examines the area. Einhorn is in hot pursuit.", "</p><p><p ID=\"act\">Stuffed in the back of the drawer he finds a personal note: We can make out the signature. \nRoger. He pockets it and walks out.", "the rear.\n</p><p><p ID=\"act\">Ace sniffs the turf. Podacter enters nervously.\n</p><p><P ID=\"speaker\">MELISSA", "end of an old shotgun in his mouth. He is struggling to reach the trigger.\n</p><p><p ID=\"act\">Through the glass behind him, we see Ace's car pull up to the only gasoline pump.", "</p><p><p ID=\"act\">Ace, continuing his investigation notices…\n</p><p><p ID=\"act\">PODACTER'S DESK", "said, \"Eee, eee, eee, eee.\" Und\nyou can quote him.\n</p><p><p ID=\"act\">Ace spits at the reporters' feet. Podacter jumps in.", "proofed glass. There's no way\nthis neighbor could have heard\nPodacter scream on the way down\nwith this door shut. The scream\nhe heard came from inside this" ], [ "That was Finkle. The Dolphins lost\nby one point.\n</p><p><p ID=\"act\">Another headline hits the screen: FINKLE CONTRACT NOT RENEWED.", "End of story. As for Snowflake…\nthey gave him Finkle's number, and\ntaught him how to kick a field\ngoal. Finkle took it personally.", "show. Marino is tied to a football tackling sled. The two thugs take turns running into Dan with \ntheir shoulders, driving him back five feet each time.", "</p><p><P ID=\"speaker\">MOB\n <P ID=\"dia\">FINKLE SUCKS! FINKLE SUCKS!\nFINKLE SUCKS!", "</p><p><P ID=\"speaker\">MOB\n <P ID=\"dia\">FINKLE SUCKS! FINKLE SUCKS!", "<P ID=\"dia\">I'm in Psychoville and Finkle's\nthe Mayor. Where's Dan Marino?\n</p><p><P ID=\"speaker\">MELISSA", "<P ID=\"dia\">Einhorn is Finkle! Finkle is\nEinhorn!… Einhorn is a man!!!\n</p><p><p ID=\"act\">Ace's expression quickly turns sour.", "Finkle and a jackass? A jackass\ncan kick.\n</p><p><p ID=\"act\">More laughter.\n</p><p><P ID=\"speaker\">HICK #2", "Finkle's home town. He was\nstanding right over there when he\ngot the call from the Dolphins.", "</p><p><p ID=\"act\">Ace spins Einhorn around now, exposing to the world, the healthy set of male genetalia that Finkle", "had held the ball laces out, like\nyou're supposed to, Ray would\nnever have missed that kick. Dan\nMarino should die of Gonorrhea and", "</p><p><p ID=\"act\">The stands are empty, but there's plenty happening on the field. The Miami Dolphins are \npracticing. Dan Marino is in top form, hitting pass after pass.", "</p><p><p ID=\"act\">Mrs. Finkle picks up the rock and hurls it out the broken window. It hits one of the vandals, \nknocking him out cold, as the truck peels away.", "seducing her way to the top, in a\ndiabolical plan to get even with\nDan Marino whom he blamed for the\nentire thing!!!", "Finkle.\n</p><p><p ID=\"act\">He turns to see the monkey crashed out in a heap on a sofa pillow.\n</p><p><P ID=\"speaker\">ACE", "Marino takes the snap, Finkle kicks and the ball sails wide. The film repeats itself ad infinitum.\n</p><p><p ID=\"slug\">EXT. BILBO'S GAS STATION - DAY", "</p><p><P ID=\"speaker\">JOHN MADDEN (ON TV)\n <P ID=\"dia\">…But the real story of this game\nis the absence of Dan Marino. Him", "</p><p><p ID=\"act\">Suddenly, Finkle picks up a shard of broken glass and lunges at Ace.\n</p><p><P ID=\"speaker\">FINKLE", "</p><p><p ID=\"act\">Various headlines hit the news stands: \"MARINO KIDNAPPED\" \"STAR QB MISSING\" \"DAN \nWHERE ARE YOU?\"", "</p><p><p ID=\"act\">It's a death shrine to Dan Marino. Complete with lifesize cutouts of Dan Marino, some with" ], [ "<P ID=\"dia\">Roger Podacter, meet Ace Ventura.\nAce is our pet detective.\n</p><p><p ID=\"act\">Podacter shakes his hand.", "<P ID=\"spkdir\">(V.O.)\n <P ID=\"dia\">…Suspect's name: Ace Ventura,\nmale Caucasian, he is armed and", "<P ID=\"dia\">A great humanitarian, and lover of\nall animals… Mr. Ace Ventura!", "<P ID=\"dia\">Excuse me, guy?! My name is Ace\nVentura, I'm a pet detective. I'd\nlike to ask you a few questions if", "</p><p><p ID=\"act\">The guard scans him. He goes.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">Ace Ventura. Pet detective.", "stuffed dog. Around it's neck is a business card that reads, \"You have been had by Ace Ventura - \nPet Detective.\" He breathes fire.", "</p><p><p ID=\"act\">ACE VENTURA\nPET DETECTIVE\n</p><p><p ID=\"act\">Written by", "</p><p><p ID=\"act\">Ace walks to the desk of EMILIO ECHAVEZ, a young energetic member of the homicide \ndivision. Ace has a silly impish look on his face.", "</p><p><p ID=\"act\">As the UPS Man/Ace rounds the corner, his shirt opens up at his pot belly and the Shiatsu's head \nsticks out. Ace is gloating.", "</p><p><p ID=\"act\">On the field the mascot shoves Ace. Ace shoves back.\n</p><p><P ID=\"speaker\">ANNOUNCER (CONT'D)", "</p><p><p ID=\"act\">Ace dramatically pulls at Einhorn's hair, thinking it's a wig. Einhorn's head flies back. The hair is \nreal. Ace keeps tugging it.", "</p><p><P ID=\"speaker\">MARINO\n<P ID=\"spkdir\">(indicating Ace)\n <P ID=\"dia\">No… kill him!", "</p><p><p ID=\"act\">Ace immediately becomes the narrator of a nature show.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">The door slams and Ace is alone with the dog. After a moment he reaches down to pet it and we \nall see that it is one of the happiest dogs in the world.", "</p><p><p ID=\"act\">CHAOS ENSUES! Animals jump out from every direction. Lizards crawl out of drawers, birds fly \nthrough the air, all of them gravitating to Ace.", "</p><p><p ID=\"act\">While Ace studies the tape, he chews sunflower seeds in a bird-like fashion, placing the shells in a \nneat little pile on her desk.", "tight. Mr. Ventura, I'll get\nright to the point…\n</p><p><p ID=\"act\">She slips a tape in the VCR and gestures for Ace to sit.", "</p><p><p ID=\"act\">A few beats later, Ace kills the engine and exits singing the score to \"Mission Impossible\".", "</p><p><p ID=\"act\">Before the thugs grab him, Ace runs up and throws himself from the stage. The insane crowd \nbegins to pass him around over their heads.", "</p><p><p ID=\"act\">He pokes his head out again. They shoot again.\n</p><p><p ID=\"act\">Ace swerves off the road into" ], [ "</p><p><p ID=\"act\">The guard scans him. He goes.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">Ace Ventura. Pet detective.", "<P ID=\"dia\">Roger Podacter, meet Ace Ventura.\nAce is our pet detective.\n</p><p><p ID=\"act\">Podacter shakes his hand.", "<P ID=\"dia\">Excuse me, guy?! My name is Ace\nVentura, I'm a pet detective. I'd\nlike to ask you a few questions if", "<P ID=\"spkdir\">(V.O.)\n <P ID=\"dia\">…Suspect's name: Ace Ventura,\nmale Caucasian, he is armed and", "</p><p><p ID=\"act\">Ace walks to the desk of EMILIO ECHAVEZ, a young energetic member of the homicide \ndivision. Ace has a silly impish look on his face.", "</p><p><p ID=\"act\">A flurry of activity in the detective division. As Ace enters, several cops taunt him on sight, led by \nthe obnoxious, SERGEANT AGUADO.", "stuffed dog. Around it's neck is a business card that reads, \"You have been had by Ace Ventura - \nPet Detective.\" He breathes fire.", "</p><p><p ID=\"act\">ACE VENTURA\nPET DETECTIVE\n</p><p><p ID=\"act\">Written by", "</p><p><p ID=\"act\">Police are everywhere. Emilio, Ace and Melissa enter and are immediately approached by one of \nthe officers.", "<P ID=\"dia\">A great humanitarian, and lover of\nall animals… Mr. Ace Ventura!", "Detective?\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">Well, I wouldn't say that. Lord\nknows, there is plenty of evidence", "</p><p><p ID=\"act\">The long line of flashing lights and cop cars drives at top speed up Route One. Ace's Bel-Aire \nright in the middle.", "</p><p><p ID=\"act\">Various traveling shots of Ace en route to a 'Deliverance' type town deep in the Everglades. A", "Avis. And… eww… he was a bad\nboy. They found it abandoned two\nmonths later in South Miami.\n</p><p><P ID=\"speaker\">ACE", "detective.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">Well, now that you do, you'll know\nwho to call if your Schnauser ever", "</p><p><p ID=\"act\">The other cops all react with a big \"ooooooo\". Aguado has no comeback. Ace comes face to face \nwith him.", "</p><p><p ID=\"act\">While Ace studies the tape, he chews sunflower seeds in a bird-like fashion, placing the shells in a \nneat little pile on her desk.", "ironworks factory on Victoria\nRoad. I've got the kidnapper\ntrapped in the warehouse. It's\nAce Ventura. He's killed Marino", "</p><p><p ID=\"act\">As the UPS Man/Ace rounds the corner, his shirt opens up at his pot belly and the Shiatsu's head \nsticks out. Ace is gloating.", "<P ID=\"dia\">A pet detective.\n</p><p><P ID=\"speaker\">MELISSA\n <P ID=\"dia\">Thanks Martha, but we'd better" ], [ "<P ID=\"dia\">Roger Podacter, meet Ace Ventura.\nAce is our pet detective.\n</p><p><p ID=\"act\">Podacter shakes his hand.", "<P ID=\"dia\">Excuse me, guy?! My name is Ace\nVentura, I'm a pet detective. I'd\nlike to ask you a few questions if", "</p><p><p ID=\"act\">The guard scans him. He goes.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">Ace Ventura. Pet detective.", "stuffed dog. Around it's neck is a business card that reads, \"You have been had by Ace Ventura - \nPet Detective.\" He breathes fire.", "</p><p><p ID=\"act\">ACE VENTURA\nPET DETECTIVE\n</p><p><p ID=\"act\">Written by", "<P ID=\"spkdir\">(V.O.)\n <P ID=\"dia\">…Suspect's name: Ace Ventura,\nmale Caucasian, he is armed and", "<P ID=\"dia\">A great humanitarian, and lover of\nall animals… Mr. Ace Ventura!", "</p><p><p ID=\"act\">Ace walks to the desk of EMILIO ECHAVEZ, a young energetic member of the homicide \ndivision. Ace has a silly impish look on his face.", "Detective?\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">Well, I wouldn't say that. Lord\nknows, there is plenty of evidence", "</p><p><p ID=\"act\">A flurry of activity in the detective division. As Ace enters, several cops taunt him on sight, led by \nthe obnoxious, SERGEANT AGUADO.", "</p><p><p ID=\"act\">While Ace studies the tape, he chews sunflower seeds in a bird-like fashion, placing the shells in a \nneat little pile on her desk.", "detective.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">Well, now that you do, you'll know\nwho to call if your Schnauser ever", "</p><p><p ID=\"act\">As the UPS Man/Ace rounds the corner, his shirt opens up at his pot belly and the Shiatsu's head \nsticks out. Ace is gloating.", "</p><p><p ID=\"act\">The door slams and Ace is alone with the dog. After a moment he reaches down to pet it and we \nall see that it is one of the happiest dogs in the world.", "</p><p><p ID=\"act\">Ace immediately becomes the narrator of a nature show.\n</p><p><P ID=\"speaker\">ACE", "<HTML> <HEAD> <TITLE>\"ACE VENTUREA, PET DETECTIVE by Jack Bernstein, Tom Shadyac, Jim Carrey</TITLE>", "</p><p><p ID=\"act\">CHAOS ENSUES! Animals jump out from every direction. Lizards crawl out of drawers, birds fly \nthrough the air, all of them gravitating to Ace.", "</p><p><p ID=\"act\">Ace jumps out of his car and starts skipping around the park with the pigeon held high over his \nhead. He looks insane.", "</p><p><p ID=\"act\">The other cops all react with a big \"ooooooo\". Aguado has no comeback. Ace comes face to face \nwith him.", "</p><p><p ID=\"act\">Just like the trick in his routine, however, Snowflake swims around the tank, passes Ace, then \nhands the gun back to Einhorn. He finishes with a tail walk." ], [ "</p><p><p ID=\"act\">He jumps into an old beat-up Chevy Bel Air, and lets the dog out onto the passenger seat.\n</p><p><P ID=\"speaker\">ACE (CONT'D)", "</p><p><p ID=\"act\">The car drives by a sign on a telephone pole: \"Reward\" -- with a picture of the Shiatsu in Ace's \nseat.", "</p><p><p ID=\"slug\">INT. ACE'S CAR - A SHORT TIME LATER\n</p><p><p ID=\"act\">Ace drives straight ahead.", "</p><p><p ID=\"act\">Ace's head is out the driver's window through the entire chase. As he starts gaining on the bad \nguys, they start shooting. Ace wisely puts his head inside the car.", "</p><p><p ID=\"act\">Einhorn comes out her front door and gets into her car. Ace shudders once more and then follows \nher.", "stuffed dog. Around it's neck is a business card that reads, \"You have been had by Ace Ventura - \nPet Detective.\" He breathes fire.", "</p><p><p ID=\"act\">Ace sits back. SMASH!!!\n</p><p><p ID=\"act\">From Ace's POV we see a Baseball bat shatter the front windshield.", "</p><p><p ID=\"act\">Ace's car screeches to a stop, in front of the building. Ace jumps out, followed by Melissa.", "</p><p><p ID=\"act\">The long line of flashing lights and cop cars drives at top speed up Route One. Ace's Bel-Aire \nright in the middle.", "</p><p><p ID=\"act\">Ace jumps out of his car and starts skipping around the park with the pigeon held high over his \nhead. He looks insane.", "</p><p><p ID=\"act\">BOOM! The back window shatters. Then the car's engine roars to life. Ace rejoices.\n</p><p><P ID=\"speaker\">ACE", "end of an old shotgun in his mouth. He is struggling to reach the trigger.\n</p><p><p ID=\"act\">Through the glass behind him, we see Ace's car pull up to the only gasoline pump.", "</p><p><p ID=\"slug\">EXT. TEA ROOM - NIGHT\n</p><p><p ID=\"act\">Ace's car PEELS OUT and races by the parked '81 Ford Bronco.", "</p><p><p ID=\"slug\">EXT. PARK - DAY\n</p><p><p ID=\"act\">Ace's car smashes through benches and tables. Then it flips over a few times and lands on its", "</p><p><p ID=\"act\">…Ace and Marino in Ace's Chevy Bel-Aire with the cracked windshield. Both of them have their", "<P ID=\"dia\">Roger Podacter, meet Ace Ventura.\nAce is our pet detective.\n</p><p><p ID=\"act\">Podacter shakes his hand.", "<P ID=\"dia\">Thanks very much! Take care now,\n'bye 'bye then!\n</p><p><p ID=\"act\">Ace gets into his car and pulls out.", "<P ID=\"spkdir\">(V.O.)\n <P ID=\"dia\">…Suspect's name: Ace Ventura,\nmale Caucasian, he is armed and", "</p><p><p ID=\"act\">Parking lot. Ace's clunker drives by some real nice cars. Employees stare at him.", "</p><p><p ID=\"act\">Ace's prized WHITE PIGEON lands on the car door right beside him. Ace cracks his eyes and" ], [ "</p><p><p ID=\"act\">Behind one of the goal posts, the team's mascot, a rare dolphin (SNOWFLAKE), wearing #4, is", "</p><p><p ID=\"act\">The stands are empty, but there's plenty happening on the field. The Miami Dolphins are \npracticing. Dan Marino is in top form, hitting pass after pass.", "</p><p><p ID=\"slug\">INT. MIAMI DOLPHIN HEADQUARTERS - LATER THAT DAY", "</p><p><p ID=\"slug\">EXT. PLAYING FIELD - A SHORT TIME LATER\n</p><p><p ID=\"act\">The Dolphin players practice. A crowd of reporters interview Marino.", "of Snowflake's tank. It's from a\nDolphin '82 AFC Championship ring.\nIt would have been a Super Bowl\nring, but Ray Finkle missed the", "</p><p><P ID=\"speaker\">ANNOUNCER (O.S.)\n <P ID=\"dia\">Ladies and gentlemen, the Miami\nDolphins are proud to welcome back", "Hey, Marino, check it out. I'm\nthrowin' passes to a Dolphin!", "</p><p><p ID=\"act\">Just as he closes in for the grab, the Philadelphia Eagles mascot eagle walks up to get a drink and \nshoos the pigeon away. Ace is furious.", "</p><p><p ID=\"act\">The Trainer now sets the ball on the dolphin's tail and snowflake \"kicks\" a perfect field goal. The \nTrainer blows a whistle and raises both arms.", "That was Finkle. The Dolphins lost\nby one point.\n</p><p><p ID=\"act\">Another headline hits the screen: FINKLE CONTRACT NOT RENEWED.", "</p><p><p ID=\"act\">Newspaper articles fill the screen. One shows a picture of Camp and some Dolphin players.\n</p><p><P ID=\"speaker\">ACE", "<P ID=\"dia\">…bet on the Dolphins.\n</p><p><p ID=\"slug\">INT. ACE'S APARTMENT - LATE NIGHT", "</p><p><p ID=\"slug\">EXT. DOLPHIN STADIUM PLAYING FIELD - DAY", "</p><p><p ID=\"act\">On the field the mascot shoves Ace. Ace shoves back.\n</p><p><P ID=\"speaker\">ANNOUNCER (CONT'D)", "in Camp's ring.\n</p><p><p ID=\"act\">Ace finds a book on the Dolphin team and flips through it.\n</p><p><P ID=\"speaker\">MELISSA", "Did a Claude Raines. He's been\nplanning his revenge for years.\nWaiting for the perfect time to\nget back at the Dolphins. The time", "time bonehead plays', you might\nread about a Miami Dolphin kicker\nnamed Ray Finkle, who missed a\ntwenty-six yard field goal in the", "<P ID=\"dia\">Hold on, this guy's connected with\nthe Dolphins?\n</p><p><p ID=\"act\">Ace leans in.", "</p><p><p ID=\"act\">The very imposing office of BOBBY RIDDLE, owner of the Miami Dolphins. Riddle, 70, is a", "<P ID=\"dia\">He was a kicker for the Dolphins.\nRay Finkle." ], [ "</p><p><p ID=\"act\">Snowflake is loaded into the back of the truck. Move in on Snowflake's face. His excited cackle \nhas turned into a painful whimper.", "</p><p><p ID=\"act\">Some fireworks go off around the tank. A marching band plays a triumphant tune. We see a \nhelicopter come up over the side of the stadium carrying Snowflake.", "</p><p><p ID=\"act\">Snowflake surfaces to check out the action. One of the men holds out a fish. Snowflake eagerly", "</p><p><p ID=\"act\">Snowflake swims over, snatches the small football out of the trainer's hand, swims the length of", "with Snowflake?\n</p><p><p ID=\"act\">The tape shows Snowflake doing a trick. The trainer, dressed like a quarterback, shouts out \nsignals.", "</p><p><p ID=\"act\">Just like the trick in his routine, however, Snowflake swims around the tank, passes Ace, then \nhands the gun back to Einhorn. He finishes with a tail walk.", "</p><p><p ID=\"act\">He chucks the ball and hits Snowflake, hard. The thugs both laugh hysterically.", "</p><p><p ID=\"act\">Snowflake swims over, snatches a small football out of the Trainer's hand, and does an end zone \ndance on his tail. He then returns the ball to the trainer.", "</p><p><p ID=\"act\">Vinnie grabs a feeder fish and entices Snowflake to the surface. Roc raises a football.\n</p><p><p ID=\"act\">ROC", "</p><p><p ID=\"act\">Snowflake swims to him now, allowing him to grab onto his fin and pulls Finkle gently to the side \nof the pool. Finkle lies there exhausted.", "</p><p><p ID=\"act\">Snowflake makes an angry leap and drenches the thugs. Snowflake laughs now, the thugs are \nfurious.", "</p><p><p ID=\"act\">The helicopter lowering Snowflake into his tank.\n</p><p><P ID=\"speaker\">ANNOUNCER (O.S.)", "<P ID=\"dia\">I wouldn't want you to miss that.\n</p><p><p ID=\"act\">Einhorn walks to the edge of the tank. She aims the gun at Snowflake and FIRES!", "<P ID=\"spkdir\">(to Snowflake)\n <P ID=\"dia\">Snowflake. Come here, Snowflake!\nBring me the gun!", "</p><p><p ID=\"act\">Marino looks incredulously at the screen. Next to him, Snowflake \"watches\" from a ground level \ncistern serving as an ad hoc tank.", "<P ID=\"dia\">Snowflake!!\n</p><p><p ID=\"act\">As the crowd roars, Melissa turns to Ace, and with Snowflake in the background performing", "</p><p><p ID=\"act\">The Trainer now sets the ball on the dolphin's tail and snowflake \"kicks\" a perfect field goal. The \nTrainer blows a whistle and raises both arms.", "</p><p><p ID=\"act\">The stadium is now completely empty. Snowflake peacefully swims around his tank.", "the hand banged up against the wall when Snowflake was stolen. All the while, he is singing a \nbastardized version of the theme from, \"Flipper.\"", "</p><p><p ID=\"act\">Snowflake swims wildly. She FIRES again! Misses again. Suddenly, Ace HOLLERS!\n</p><p><P ID=\"speaker\">ACE" ], [ "</p><p><p ID=\"act\">Newspaper articles fill the screen. One shows a picture of Camp and some Dolphin players.\n</p><p><P ID=\"speaker\">ACE", "<P ID=\"dia\">Hold on, this guy's connected with\nthe Dolphins?\n</p><p><p ID=\"act\">Ace leans in.", "</p><p><p ID=\"act\">The stands are empty, but there's plenty happening on the field. The Miami Dolphins are \npracticing. Dan Marino is in top form, hitting pass after pass.", "</p><p><p ID=\"slug\">EXT. PLAYING FIELD - A SHORT TIME LATER\n</p><p><p ID=\"act\">The Dolphin players practice. A crowd of reporters interview Marino.", "<P ID=\"dia\">…bet on the Dolphins.\n</p><p><p ID=\"slug\">INT. ACE'S APARTMENT - LATE NIGHT", "</p><p><P ID=\"speaker\">ANNOUNCER (O.S.)\n <P ID=\"dia\">Ladies and gentlemen, the Miami\nDolphins are proud to welcome back", "</p><p><p ID=\"act\">The very imposing office of BOBBY RIDDLE, owner of the Miami Dolphins. Riddle, 70, is a", "</p><p><p ID=\"slug\">INT. MIAMI DOLPHIN HEADQUARTERS - LATER THAT DAY", "That was Finkle. The Dolphins lost\nby one point.\n</p><p><p ID=\"act\">Another headline hits the screen: FINKLE CONTRACT NOT RENEWED.", "in Camp's ring.\n</p><p><p ID=\"act\">Ace finds a book on the Dolphin team and flips through it.\n</p><p><P ID=\"speaker\">MELISSA", "</p><p><p ID=\"act\">One huge lineman uses a urinal. Ace, using the urinal next to him, nonchalantly tries to catch a", "</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">yeah, ever hear of a former\nDolphin kicker named Ray Finkle?", "</p><p><p ID=\"act\">On the field the mascot shoves Ace. Ace shoves back.\n</p><p><P ID=\"speaker\">ANNOUNCER (CONT'D)", "</p><p><p ID=\"slug\">EXT. PIGSKIN SPORTS BAR - DAY\n</p><p><p ID=\"act\">A weathered dive in the middle of a swamp. Ace parks.", "</p><p><p ID=\"act\">While Ace studies the tape, he chews sunflower seeds in a bird-like fashion, placing the shells in a \nneat little pile on her desk.", "</p><p><p ID=\"act\">Ace takes a \"snap\" from a three-foot hedge and dives over it into the end zone. Melissa and the \ndoctor stop to watch him.", "</p><p><p ID=\"slug\">EXT. HOTEL - DAY\n</p><p><p ID=\"act\">Pan a few kids getting autographs from Marino and other players, ending on Ace dressed up and", "</p><p><p ID=\"slug\">EXT. MIAMI STREET - DAY\n</p><p><p ID=\"act\">The road is jammed in one direction. Going towards the Super Bowl. Einhorn drives in the", "of Snowflake's tank. It's from a\nDolphin '82 AFC Championship ring.\nIt would have been a Super Bowl\nring, but Ray Finkle missed the", "<P ID=\"dia\">Roger Podacter, meet Ace Ventura.\nAce is our pet detective.\n</p><p><p ID=\"act\">Podacter shakes his hand." ], [ "definitely him! Just get me in\nthere! Let me work my magic!\n</p><p><p ID=\"act\">Ace takes the stone out of his pocket and studies it intensely.", "</p><p><p ID=\"act\">Ace hands Melissa the stone and quickly goes to one of her bookcases.\n</p><p><P ID=\"speaker\">MELISSA", "twigs and gunk. He roots through it, notices a very tiny amber stone. He smiles to himself.\n</p><p><P ID=\"speaker\">ACE", "<P ID=\"dia\">Alright, Ventura. Make it quick.\n</p><p><P ID=\"speaker\">ACE\n <P ID=\"dia\">I found a rare stone at the bottom", "swerves back into her own lane. Ace drops the stone somewhere on the seat and begins to search \nfor it frantically.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">Ace looks through the first couple of boxes and finds only clothes. In the third box, he hits the", "see that it's the ring with the missing stone. Ace replaces it with the stone in his pocket. It's a \nperfect fit.\n</p><p><P ID=\"speaker\">ACE", "<P ID=\"dia\">Ace, that stone could have come\nfrom anywhere. An earring, a\nnecklace…\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">He pokes his head out again. They shoot again.\n</p><p><p ID=\"act\">Ace swerves off the road into", "</p><p><p ID=\"act\">With a lightening move, Ace sidesteps the punch and forces Aguado's face down next to the dead \nbug.", "</p><p><p ID=\"act\">They leave Ace.\n</p><p><p ID=\"act\">After a beat, Ace gets up and does a quick spin pattern into the storage room door.", "</p><p><p ID=\"act\">We see Ace at the top of a giant machine. He is aiming a 200 pound steel hook, that hangs on a \nchain from the ceiling.", "</p><p><p ID=\"act\">Ace then gets down and finds scratches in the door. TWO FEET interrupt.\n</p><p><p ID=\"act\">Ace stands. He is face to face with Einhorn.", "</p><p><p ID=\"act\">BAM!!! Ace crashes to the ground. As he lies face down, in a heap of trash, his beeper goes off.", "</p><p><p ID=\"act\">While Ace studies the tape, he chews sunflower seeds in a bird-like fashion, placing the shells in a \nneat little pile on her desk.", "with his pants in shreds. Everyone stops. They all stare at Ace in amazement.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"slug\">EXT. HOUSE - DAY\n</p><p><p ID=\"act\">Ace pulls up outside a two-story stilt house. The place has been completely desecrated by graffiti,", "</p><p><p ID=\"act\">Ace walks out onto the balcony and turns, facing them.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">A thud from above. Ace looks up.\n</p><p><p ID=\"act\">ACE'S POV", "FROM ACE'S FACE!!! NEEDLESS TO SAY, ACE IS A TAD SURPRISED.\n</p><p><p ID=\"act\">He reels back, falling off the catwalk, into the water." ], [ "He was alone. He'd been drinking.\nNo sign of a struggle. Neighbor\nheard him scream on the way down.\nJust your classic fifteen story\nswan dive.", "and then Roger Podacter was thrown\nover that balcony. Roger Podacter\ndidn't commit suicide. He was\nmurdered.", "<P ID=\"dia\">Brian Piccalo is dead.\n</p><p><p ID=\"act\">Ace breaks down. Melissa hangs up the phone and leads him away.", "<P ID=\"dia\">Did he leave a note?\n</p><p><p ID=\"act\">The elevator arrives.\n</p><p><P ID=\"speaker\">EMILIO", "third, the blood on the railing.\nSimple. He doesn't jump far\nenough and whacks his head. A\nfact confirmed by the paramedics", "who found cuts on his scalp, with\ntraces of a white chalky\nsubstance. i.e. plaster from the\nbalcony.", "nooses around the neck, other hacked to pieces. Painted on the walls: \"Death to Marino!\", \nMarino must die!!!, etc.\n</p><p><P ID=\"speaker\">ACE", "work. He had a few drinks, and he\ncame home. But he wasn't alone. \nSomeone was with him in this\napartment. There was a struggle,", "</p><p><p ID=\"act\">Ace and Melissa see Roger Podacter's body taken away in an ambulance.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">Two headless bodies fall to the ground in slow motion with blood gushing from their necks.\n</p><p><p ID=\"act\">CLOSE ON ACE - HORRIFIED", "Then I opened the balcony door,\nlooked over the railing,\nand… splat, bang, pancake time", "</p><p><p ID=\"act\">in perfect order.\n</p><p><p ID=\"act\">Next, he notices police coming in and out of the balcony, closing the door behind them, shutting", "with a desperate look on his face, pouring a bottle of chloroform into a cloth. He leaps onto the \nman's back, smothering him with the cloth and holding on for dear life. The man slowly gives up", "<P ID=\"dia\">No. That's nothing unusual. Some\ndo, some don't. He didn't.\n</p><p><p ID=\"act\">The elevator doors close.", "</p><p><p ID=\"act\">BAM!!! Ace crashes to the ground. As he lies face down, in a heap of trash, his beeper goes off.", "</p><p><p ID=\"act\">He pokes his head out again. They shoot again.\n</p><p><p ID=\"act\">Ace swerves off the road into", "end of an old shotgun in his mouth. He is struggling to reach the trigger.\n</p><p><p ID=\"act\">Through the glass behind him, we see Ace's car pull up to the only gasoline pump.", "</p><p><p ID=\"act\">Before the thugs grab him, Ace runs up and throws himself from the stage. The insane crowd \nbegins to pass him around over their heads.", "FROM ACE'S FACE!!! NEEDLESS TO SAY, ACE IS A TAD SURPRISED.\n</p><p><p ID=\"act\">He reels back, falling off the catwalk, into the water.", "</p><p><p ID=\"act\">CLOSE ON ACE. THIS IS IT.\n</p><p><p ID=\"act\">He looks into the dark pool, but sees nothing. Now he stops singing, quietly squats down and" ], [ "</p><p><p ID=\"act\">The stands are empty, but there's plenty happening on the field. The Miami Dolphins are \npracticing. Dan Marino is in top form, hitting pass after pass.", "</p><p><p ID=\"slug\">EXT. PLAYING FIELD - A SHORT TIME LATER\n</p><p><p ID=\"act\">The Dolphin players practice. A crowd of reporters interview Marino.", "</p><p><p ID=\"act\">Newspaper articles fill the screen. One shows a picture of Camp and some Dolphin players.\n</p><p><P ID=\"speaker\">ACE", "That was Finkle. The Dolphins lost\nby one point.\n</p><p><p ID=\"act\">Another headline hits the screen: FINKLE CONTRACT NOT RENEWED.", "Hey, Marino, check it out. I'm\nthrowin' passes to a Dolphin!", "</p><p><p ID=\"slug\">INT. MIAMI DOLPHIN HEADQUARTERS - LATER THAT DAY", "</p><p><P ID=\"speaker\">ANNOUNCER (O.S.)\n <P ID=\"dia\">Ladies and gentlemen, the Miami\nDolphins are proud to welcome back", "of Snowflake's tank. It's from a\nDolphin '82 AFC Championship ring.\nIt would have been a Super Bowl\nring, but Ray Finkle missed the", "<P ID=\"dia\">He's the guy that missed the final\nfield goal in the Super Bowl that\nyear. Cost the Dolphins the game.", "</p><p><P ID=\"speaker\">JOHN MADDEN (ON TV)\n <P ID=\"dia\">…But the real story of this game\nis the absence of Dan Marino. Him", "<P ID=\"dia\">He was a kicker for the Dolphins.\nRay Finkle.", "<P ID=\"dia\">…So I protect the hands that\nprotect me. With Isotoners.\n</p><p><p ID=\"act\">The five linemen grab Marino and run off camera.", "time bonehead plays', you might\nread about a Miami Dolphin kicker\nnamed Ray Finkle, who missed a\ntwenty-six yard field goal in the", "</p><p><p ID=\"act\">CLOSE ON\n</p><p><p ID=\"act\">The poster of the '82 team. There is only one face that has not been crossed out. Ace circles it.", "</p><p><p ID=\"act\">Behind one of the goal posts, the team's mascot, a rare dolphin (SNOWFLAKE), wearing #4, is", "</p><p><p ID=\"act\">It's a death shrine to Dan Marino. Complete with lifesize cutouts of Dan Marino, some with", "</p><p><p ID=\"act\">The very imposing office of BOBBY RIDDLE, owner of the Miami Dolphins. Riddle, 70, is a", "in Camp's ring.\n</p><p><p ID=\"act\">Ace finds a book on the Dolphin team and flips through it.\n</p><p><P ID=\"speaker\">MELISSA", "Did a Claude Raines. He's been\nplanning his revenge for years.\nWaiting for the perfect time to\nget back at the Dolphins. The time", "<P ID=\"dia\">Hold on, this guy's connected with\nthe Dolphins?\n</p><p><p ID=\"act\">Ace leans in." ], [ "</p><p><p ID=\"act\">Ace checks on Snowflake then goes to Marino. He signals for Dan to keep quiet, then starts to \nuntie him.", "<P ID=\"dia\">When we find Marino, We'll deliver\nSnowflake.\n</p><p><P ID=\"speaker\">ACE", "</p><p><p ID=\"act\">Just like the trick in his routine, however, Snowflake swims around the tank, passes Ace, then \nhands the gun back to Einhorn. He finishes with a tail walk.", "<P ID=\"dia\">Thank you, Mr. Ventura. How can I\never repay you?\n</p><p><p ID=\"act\">She slinks over to Ace and puts her arms around his neck.", "</p><p><p ID=\"act\">Marino whispers something in his ear. Ace looks confident again. He once more addresses the \ncrowd.\n</p><p><P ID=\"speaker\">ACE", "sees the bird. Then, with a sudden quick lunge he successfully traps it in his hands, and forgets all \nabout Marino.\n</p><p><P ID=\"speaker\">ACE", "Marino who is back behind Einhorn, motions for Ace to come over.\n</p><p><P ID=\"speaker\">MARINO", "</p><p><P ID=\"speaker\">MARINO\n<P ID=\"spkdir\">(indicating Ace)\n <P ID=\"dia\">No… kill him!", "you to the man who rescued Dan\nMarino and our beloved\nSnowflake", "</p><p><p ID=\"act\">Ace heads out, then freezes. The two thugs that took Marino are standing at the exit. Then they \nsee Ace and start towards him, reaching inside their coats.", "</p><p><p ID=\"act\">Einhorn kicks Ace. He flies into Marino.\n</p><p><P ID=\"speaker\">MARINO", "</p><p><p ID=\"act\">Marino looks incredulously at the screen. Next to him, Snowflake \"watches\" from a ground level \ncistern serving as an ad hoc tank.", "<P ID=\"dia\">Roger Podacter, meet Ace Ventura.\nAce is our pet detective.\n</p><p><p ID=\"act\">Podacter shakes his hand.", "<P ID=\"dia\">A great humanitarian, and lover of\nall animals… Mr. Ace Ventura!", "stuffed dog. Around it's neck is a business card that reads, \"You have been had by Ace Ventura - \nPet Detective.\" He breathes fire.", "</p><p><p ID=\"slug\">EXT. HOTEL - DAY\n</p><p><p ID=\"act\">Pan a few kids getting autographs from Marino and other players, ending on Ace dressed up and", "</p><p><p ID=\"act\">Some fireworks go off around the tank. A marching band plays a triumphant tune. We see a \nhelicopter come up over the side of the stadium carrying Snowflake.", "</p><p><p ID=\"act\">The door slams and Ace is alone with the dog. After a moment he reaches down to pet it and we \nall see that it is one of the happiest dogs in the world.", "</p><p><p ID=\"act\">…Ace and Marino in Ace's Chevy Bel-Aire with the cracked windshield. Both of them have their", "</p><p><p ID=\"act\">The Trainer now sets the ball on the dolphin's tail and snowflake \"kicks\" a perfect field goal. The \nTrainer blows a whistle and raises both arms." ] ]

[ "Which two teams play in the Super Bowl at the end?", "Who hires Ace to find the team mascot?", "What type of specific ring did the triangular-cut orange amber stone come from?", "What is the name of the Dolphin player who missed the game-losing field goal kick in Super Bowl XVII?", "Why did Ace make himself vomit and set his clothes on fire?", "Why was Podacter murdered?", "How much is the reward for catching the albino pigeon?", "Which quarterback is kidnapped at the end?", "Who was in the super bowl?", "Where does Ace shadow Finkle to?", "What ring did. Ace take off Finkle?", "What goes missing two weeks before the super bowl?", "Who killed Rodger Podcater?", "Why was Finkle so angry with Dan Marino?", "Who is Ace Ventura?", "Where is Ace Ventura a detective?", "What type of detective is Ace Ventura?", "What type of car does Ace Ventura own?", "Who is the Miami Dolphins football team mascot?", "What type of animal is Snowflake?", "Who is the chief publicist of the Miami Dolphins who hires Ace?", "What kind of stone does Ace find?", "Who fell mysteriously to his death?", "Who was the Miami Dolphins player not in the team photo?", "How is Ace Ventura thanked for saving Marino and Snowflake?" ]

[ [ "Miami Dolphins and Philadelphia Eagles", "Dolphins and Eagles" ], [ "Melissa Robinson", "Melissa Robinson" ], [ "A 1984 AFC Championship ring", "Super bowl ring" ], [ "Ray Finkle", "Finkle" ], [ "He made out with Ray Finkle ", "Because he made out with Finkle in disguise." ], [ "He found out Lieutenant Einhorn was really Ray Finkle.", "he was snooping around" ], [ "$25,000", "25000 dollars" ], [ "Dan Marino", "Marino" ], [ "Miami Dolphins and Philadelphia Eagles.", "Miami and Philadelphia " ], [ "A old boat storage business.", "abandoned yacht storage facility" ], [ "A 1984 AFC championship ring that had no stone.", "1984 AFC Championship" ], [ "The Maimi Dolphins team mascot Snowflake.", "team's mascot" ], [ "Finkle.", "Snowflake" ], [ "Finkle blamed Dan for making h miss the field goal point in a prior super bowl game.", "bad ball snap" ], [ "A Private Investigater in Miami Fl.", "pet detective" ], [ "Miami", "Miami." ], [ "An animal detective", "Pet" ], [ "1970's Chevrolet Monte Carlo", "Cheverlot Monte Carlo." ], [ "Snowflake", "Snowflake" ], [ "A bottlenose dolphin", "Bottle nose dolphin" ], [ "Melissa Robinson", "Melissa Robinson." ], [ "a triangular-cut orange amber stone", "Triangular cut orange amber stone." ], [ "Roger Podacter", "Roger Podactor. " ], [ "Finkle", "Ray Finkle" ], [ "on the JumboTron", "Sebastian" ] ]

[ [ "Paul trembles violently as if riding the lightning himself,\n pleading for it to stop, but there's one last thing:", "Paul is trying to piss. Except for a few drops hitting the\n bowl, excruciating pain seems to be the only result. He gives\n up, grabs a towel, wipes the sweat from his feverish face...", "Paul and his men are expecting Coffey to spit out the \"bugs\",\n but he doesn't--he just keeps coughing, deep and hard, barely\n finding time to snatch in the next breath of air.", "PAUL\n He did it to me too. He put his\n hands on me and took my bladder\n infection away.\n\n The men absorb this. Brutal glances to Jan.", "Paul lies awake, watching Jan sleep. He looks troubled--not\n to mention feverish. It occurs to him how badly he has to\n pee. He sits up, clutching at a queasy stab of pain in his\n groin...", "Paul sighs. Things couldn't get much worse than this. He\n rises with a supreme effort, walks painfully down the Mile...\n\n COFFEY'S CELL", "Paul blinks. Maybe it's the fever clouding his brain, or\n maybe...hell, is this what being hypnotized is like? He tries\n to shake the sensation off, comes a little closer.", "Del falls silent, moaning over his hand. Paul turns to\n Coffey, who looks unsettled by all the commotion.", "They all exit. As soon as he's alone, Paul gives in to the\n pain, holding his crotch and sinking to his knees with a", "Paul starts toward them. Coffey crawls away, pressing himself\n into a corner with his face against the wallpaper. He's still", "He rolls onto his bunk, faces the wall. Paul just stares at\n him, stunned. He turns and walks up the Mile, his stiffness\n and pain now gone. Del watches him go by, also stunned:", "Paul and the men hustle Coffey out the front door toward the\n truck, helping him as best they can. He's weak as a baby,\n knees threatening to give out at any moment.", "The men are stunned. Paul raises his hand to Percy's face,\n snaps his fingers. Nothing. He tries again, clapping loudly.\n Percy reacts slightly, eyes fluttering, swaying a bit.", "Paul arrives at Coffey's cell. Coffey's on his bunk facing\n the wall. His head comes around, drawn by the aroma. He sits\n up, wipes the tears leaking from his eyes, looks at Paul.", "Paul screams, trying to pull away, but:", "Paul is wide awake, staring at the dark. Jan can sense him\n brooding. She rolls over sleepily.", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "Paul fumbles his keys to the lock, unsure if he should open\n the door, watching the big man's contortions grow stronger\n like a cat trying to cough up a hairball...", "Percy throws Paul a look of disdain--your block, huh? He\n swaggers out. Del's on his knees, weeping from the pain:", "PAUL\n Because he's a six-foot-eight-inch\n baldheaded black man with barely\n enough brains to feed himself. How" ], [ "PAUL\n Because he's a six-foot-eight-inch\n baldheaded black man with barely\n enough brains to feed himself. How", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "Coffey nods, relieved. Then he surprises everybody by\n offering Paul his hand, as if to show proper manners. Paul", "Paul arrives at Coffey's cell. Coffey's on his bunk facing\n the wall. His head comes around, drawn by the aroma. He sits\n up, wipes the tears leaking from his eyes, looks at Paul.", "PAUL\n Several times.\n\n Paul hands him the bundle through the bars. Coffey takes it,\n uncovers the cornbread reverently, gazes back up.", "PAUL\n We see that.\n\n DEL\n Watch dis! Watch what he do!", "Paul approaches the back door, returning from his walk. He\n reaches for the knob...and a figure in white lunges from", "is a huge black man, nearly 7 feet tall and 300 pounds, his\n massive head shiny and bald, his skin a tapestry of old", "PAUL\n God, please help us finish what\n we've started, and please welcome\n this man, John Coffey--like the", "PAUL\n Arlen Bitterbuck, step forward.\n\n Toot springs to his feet and steps from the cell.", "PAUL\n Your name is John Coffey.\n\n COFFEY\n (deep and quiet)\n Yes, sir, boss, like the drink,\n only not spelt the same.", "Paul and his men are expecting Coffey to spit out the \"bugs\",\n but he doesn't--he just keeps coughing, deep and hard, barely\n finding time to snatch in the next breath of air.", "Paul blinks. It's the last thing he expected. Coffey smiles\n uneasily, as if they might think him foolish for asking.", "The men are stunned. Paul raises his hand to Percy's face,\n snaps his fingers. Nothing. He tries again, clapping loudly.\n Percy reacts slightly, eyes fluttering, swaying a bit.", "PAUL\n You make a promise to a man, you\n shake his hand.\n\n Percy hesitates, shakes Paul's hand...", "PAUL\n You, Percy. Always you.\n\n Paul brushes past him, but:", "PAUL\n He did it to me too. He put his\n hands on me and took my bladder\n infection away.\n\n The men absorb this. Brutal glances to Jan.", "By now, the guard's jaws are hanging open. Paul's got a funny\n little chill running up his spine.", "PAUL\n What? Saw what?\n\n Coffey reaches toward him, straining through the bars.", "Paul sees Percy with his head turned away. He grabs him,\n forces his head around.\n\n PAUL\n You watch, you son of a bitch!" ], [ "PAUL\n John Coffey...you have been\n condemned to die in the electric\n chair by a jury of your", "PAUL (V.O.)\n ...that's my punishment, you see?\n My punishment for letting John\n Coffey ride the lightning...for\n killing a miracle of God...", "COFFEY\n Ma'am?\n\n MELINDA\n Yes, John Coffey?", "John Coffey sits on the riverbank in bloody overalls, his\n huge feet splayed out before him. He's making that inhuman", "COFFEY\n John Coffey, ma'am.\n\n MELINDA\n Like the drink, only not spelled\n the same.", "BURT\n Which client? Now you got my\n curiosity aroused.\n\n PAUL\n John Coffey.", "COFFEY\n John Coffey, ma'am. Like the\n drink, only not spelt the same.", "PAUL\n Your name is John Coffey.\n\n COFFEY\n (deep and quiet)\n Yes, sir, boss, like the drink,\n only not spelt the same.", "Coffey sits quietly in his cell, a solitary firefly flitting\n in circles around his finger. Paul and the men appear. The\n firefly flits away, vanishing through Coffey's tiny window.", "Paul can't. He reaches out and touches Coffey's hand. Their\n fingers clasp. In that moment, staring into his eyes, Paul\n hears the last thought that ever goes through Coffey's head:", "Coffey walked the Green Mile.", "McGEE\n What happened here, John Coffey?\n You want to tell me that?", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "one day. Same with John Coffey. He\n was sorry afterwards, of that I\n have no doubt...but those little\n girls stayed raped and murdered", "A tableau. The men staring. John Coffey howling. A train\n puffing smoke across the landscape.", "BRUTAL\n So you're talking about taking\n John Coffey to her. That's more\n than just our jobs, Paul.", "DEL\n Boss? You know you not s'pose to\n do dat.\n\n PAUL\n Mind your business, Del. What do\n you want, John Coffey?", "Coffey is brought in...and freezes in horror at the sight of\n Old Sparky. A whisper:", "Brutal tosses him a look--just wait. He swings the door open\n in a hot flood of daylight, giving us our first good look at:\n\n John coffey", "The men are speechless. Paul turns, sees Coffey sitting on\n the floor at his bars, watching.\n\n COFFEY\n Punished them bad men." ], [ "one nephew, and his name happens\n to be Percy Wetmore. I need to\n tell you how this lays out?", "She drags him through the house to a screened-off porch area\n where their 12 year old son HOWIE is pointing and shouting--\n\n HOWIE\n Papa! Papa, look! The blood!", "PAUL\n Is your grandson really Speaker of\n the House?\n\n ELAINE\n He is.", "ELAINE\n I am the grandmother of the man\n who is currently Speaker of the\n Georgia House of Representatives.", "She undoes her necklace, holds it up for him. He hesitates,\n glances to Paul. Paul nods--it's all right. Coffey lowers his\n head. Melinda affixes the delicate chain around his neck.", "Coffey regards her raptly for a moment or two, then starts\n coughing violently.\n\n He turns away and drops to his knees, hacking like a man in\n the last stages of tuberculosis.", "HAL\n I'm sure you had reason, but like\n it or not, the wife of the\n governor of this state has only", "Toot looks around. Nobody's watching, and a nickel's a\n nickel. He steps to Billy's bars, swaps the Moon Pie for the\n money.", "Paul, dressed in a dark suit, comes up the aisle. ANGLE\n SHIFTS to reveal Elaine Connelly lying in the open casket.", "They turn. Elaine stands just inside the screen door with a\n cup of tea. Brad's eyes become calculated, wondering how much\n she's seen. Elaine keeps her tone level, betraying nothing:", "Paul motions Percy behind the wall. Percy sighs, takes his\n spot next to Jack Van Hay, peers through the wire mesh as\n Toot plops into Old Sparky, wriggling his skinny ass to get\n comfy.", "Behind them, Dean stifles a sob.\n\n PAUL'S INNER OFFICE\n\n Coffey kneels. Paul joins him, self-conscious and uncertain.", "...and then her face is lost to view as Coffey puts his lips\n on hers. We hear a soft whistling sound as he begins inhaling", "Empty and silent. Young Paul walks the Mile alone, listening\n to the quiet. He pauses, seeing something. A whisper:\n\n PAUL\n Mr. Jingles?", "PAUL\n Shhh. John, you have to be quiet\n now.\n\n COFFEY\n (whispering)\n You see her? You see the lady?", "ELAINE\n You've mentioned it.\n\n PAUL\n Did I mention I was in charge of\n death row? That I supervised all\n the executions?", "PAUL\n No. But four men will swear you\n stood by while Wild Bill tried to\n strangle Dean to death. About that\n people will care, Percy. Even your\n uncle the governor will care.", "Paul rolls his eyes at Brutal. Brutal shifts his gaze past\n him and nods--look behind you.\n\n BRUTAL\n One of the witnesses showed up a\n day early.", "her hands, kisses them, tries not to cry. The rest of the\n family is there: SON-IN-LAW, GRANDCHILDREN, COUSINS. They", "The mouse stretches his neck forward, nose twitching,\n smelling Paul's breath. Paul looks to Elaine. Softly:" ], [ "...and sees Del at his bars, smiling. Infuriated, Percy\n swings his baton and smashes Del's fingers with a LOUD CRACK.\n Del jerks back, howling in pain:", "...as Del's screams rise and fall with them, echoing up the\n corridor. Coffey's shaking and screaming too, as if feeling", "...and the old Percy comes back. He bares his teeth in a mock\n snarl and curls his fingers as if to grab Del. It's a joke,", "The stricken look in Del's eyes tells us a part of him had\n known all along. Paul and Brutal would both like to deck", "PERCY\n You keep laughing, you French-\n fried faggot. You just keep\n laughing.\n\n Del falls silent. Percy turns and storms away as we", "BRUTAL\n Paul, what the hell--\n\n Paul motions him quiet. Del is pleading softly at his bars:", "Percy throws Paul a look of disdain--your block, huh? He\n swaggers out. Del's on his knees, weeping from the pain:", "...and then it's over. Paul comes back to the real world,\n weak against the bars, realizes Del is hollering in his cell:", "Del begins SCREAMING--the wild, hysterical sound of an animal\n being shredded alive in a hay baler. The HUMMING goes uneven\n and ragged, the lights rising and falling...", "Percy strolls past, exits to the execution chamber. Del is\n still screaming, all his pent-up terror and grief pouring out\n at the dying mouse. And then comes a soft, urgent voice:", "fabric of the mask, puffing upward. Del is being cooked\n alive. Paul spins to the partition, hollering--", "but Del doesn't know that--he jerks back in fear and trips\n over Brutal's big feet. Del goes down hard, hitting the", "Del screams in horror and throws himself at the bars, sobbing\n the mouse's name. Percy looks to Brutal and Paul, smiles.", "The flaming mask peels away, revealing Del's charring face.\n His eyeballs are misshapen globs of burning white jelly blown\n out of their sockets. The ATTENDING DOCTOR faints dead away.", "Wrong. Del's nowhere near about done. He's slamming back and\n forth in the chair hard enough to shake the platform,", "COFFEY\n Poor Del. Poor old Del.\n\n PAUL\n Yes. Poor old Del. John, are you\n okay?", "Delacroix begins twisting and jittering in the chair, his\n masked face snapping violently from side to side, his legs\n pistoning up and down in his restraints.", "BRUTAL\n That's right, Del.", "The door opens. Del returns with Mr. Jingles on his shoulder,\n escorted by Brutal. Brutal is toting the cigar box and spool\n like a magician's assistant carrying the boss' props.", "COFFEY\n Boss Percy's bad. He mean. He step\n on Del's mouse.\n (softly)\n I took it back, though." ], [ "The flaming mask peels away, revealing Del's charring face.\n His eyeballs are misshapen globs of burning white jelly blown\n out of their sockets. The ATTENDING DOCTOR faints dead away.", "Hal is horrified at the thought. Del is jittering and\n screaming, rocking from side to side, smoke pouring from his\n nostrils and mouth, his tongue sizzling purple-black.", "...and sees Del at his bars, smiling. Infuriated, Percy\n swings his baton and smashes Del's fingers with a LOUD CRACK.\n Del jerks back, howling in pain:", "...as Del's screams rise and fall with them, echoing up the\n corridor. Coffey's shaking and screaming too, as if feeling", "Del begins SCREAMING--the wild, hysterical sound of an animal\n being shredded alive in a hay baler. The HUMMING goes uneven\n and ragged, the lights rising and falling...", "The mask bursts into flame on Delacroix's face. Van Hay\n hollers through the wire mesh, horrified:", "Wrong. Del's nowhere near about done. He's slamming back and\n forth in the chair hard enough to shake the platform,", "fabric of the mask, puffing upward. Del is being cooked\n alive. Paul spins to the partition, hollering--", "Harry steps up, the extinguisher in his hands. Waiting. Del\n finally slumps over. He still vibrating, but now it's just\n the effect of current flowing through his body.", "...and then it's over. Paul comes back to the real world,\n weak against the bars, realizes Del is hollering in his cell:", "Down at his cell, Del starts laughing shrilly. Everybody else\n starts to realize it, including Percy himself...he looks\n down, sees the huge dark stain spreading at his crotch.", "Percy strolls past, exits to the execution chamber. Del is\n still screaming, all his pent-up terror and grief pouring out\n at the dying mouse. And then comes a soft, urgent voice:", "DEL\n Lookit, he done piss his pants!\n Look what the big man done! He", "Percy throws Paul a look of disdain--your block, huh? He\n swaggers out. Del's on his knees, weeping from the pain:", "He rolls onto his bunk, faces the wall. Paul just stares at\n him, stunned. He turns and walks up the Mile, his stiffness\n and pain now gone. Del watches him go by, also stunned:", "PAUL\n I think Mr. Jingles happened by\n accident. I think when we\n electrocuted Del, and it all went", "The stricken look in Del's eyes tells us a part of him had\n known all along. Paul and Brutal would both like to deck", "but Del doesn't know that--he jerks back in fear and trips\n over Brutal's big feet. Del goes down hard, hitting the", "Percy, sick and dazed, aims the extinguisher and hoses the\n smoking corpse. Hal is near the back, calming the crowd:", "Percy is flat on his back, staring up at nothing. The black\n \"bugs\" come drifting out of nose and mouth, swirling in the\n air over his head. They turn white and disappear." ], [ "Coffey makes that retching/gagging sound...and again exhales\n a cloud of swirling black \"insects\" from his nose and mouth.\n The men watch, speechless, as the bugs turn white and\n disappear.", "Coffey laughs softly, drawing their attention. A childlike\n smile has utterly transformed his face. He raises his hand,\n letting a firefly weave playfully in and out of his fingers.", "The men are stunned. Paul raises his hand to Percy's face,\n snaps his fingers. Nothing. He tries again, clapping loudly.\n Percy reacts slightly, eyes fluttering, swaying a bit.", "...and something goes WHUMP through Paul's body. He arches\n back with his mouth agape and arms outstretched as a rush of\n energy seems to pass from Paul through Coffey's hand...", "Van Hay cranks the generator. The lights flare hotter and\n brighter. It's just like in Melinda's bedroom the night\n Coffey cured her with a kiss. Airless and bright, dreamlike.", "DEAN\n What about Mrs. Moores? Was it\n like the mouse? Was it a...you\n know...a miracle?\n\n PAUL\n Yes. Yes it was.", "He rolls onto his bunk, faces the wall. Paul just stares at\n him, stunned. He turns and walks up the Mile, his stiffness\n and pain now gone. Del watches him go by, also stunned:", "PAUL\n We see that.\n\n DEL\n Watch dis! Watch what he do!", "Percy whacks him with his baton. Coffey barely seems to feel\n it. He curls his free hand around the back of Percy's head,\n pulling him ever closer...", "Percy walks away, leaving them dumbstruck. Paul turns to the\n others. Of all the things they've seen in the last few\n minutes, Percy being nice is the most amazing of all.", "He stretches out his left arm. The mouse crawls over the top\n of his head, scampers along his arm to the wrist, turns\n around and scampers back. The guards just stand there,\n staring.", "PAUL\n He did it to me too. He put his\n hands on me and took my bladder\n infection away.\n\n The men absorb this. Brutal glances to Jan.", "...and then it's over. Coffey raises his head, revealing:\n\n Melinda's beautiful face. Her mouth no longer droops. Color\n is coming back to her hair. Her skin is shining with life.", "He suddenly drops to the floor, bucking and jerking wildly,\n spewing drool. Harry's eyes go wide.\n\n HARRY\n Holy Christ, he's pitchin' a fit!", "them off and throws himself on Coffey with a scream of\n inarticulate rage, kicking and punching, fists flying. Coffey\n barely seems to notice.", "He turns and strolls up the Mile, leaving Mr. Jingles dying\n in a tiny pool of blood. Up at the duty desk, Dean and Harry\n get up from a cribbage game, stunned and furious.", "Paul turns back, helpless. The other guards are trading wild\n looks, unable to believe what's happening. Even Percy looks\n aghast--he was expecting something, but not this.", "Coffey regards her raptly for a moment or two, then starts\n coughing violently.\n\n He turns away and drops to his knees, hacking like a man in\n the last stages of tuberculosis.", "The others catch up with Klaus, drag him off. He falls to his\n knees on the riverbank, sobbing into his hands. Howie runs to", "Percy, sick and dazed, aims the extinguisher and hoses the\n smoking corpse. Hal is near the back, calming the crowd:" ], [ "PAUL\n He did it to me too. He put his\n hands on me and took my bladder\n infection away.\n\n The men absorb this. Brutal glances to Jan.", "Paul is trying to piss. Except for a few drops hitting the\n bowl, excruciating pain seems to be the only result. He gives\n up, grabs a towel, wipes the sweat from his feverish face...", "He manages to ride it out until his bladder empties. He falls\n onto his side, rolls over on the grass, and stares up at the\n sky with both hands pressed to his groin.", "...and we hear a healthy stream of water hitting the bowl.\n The look on Paul's face says it all--blessed relief.\n\n CUT TO:", "...and steps back into the toilet. Not trusting this\n situation for even a moment, Paul opens his fly, takes a deep\n breath to prepare himself for the pain, starts to pee...", "He rolls onto his bunk, faces the wall. Paul just stares at\n him, stunned. He turns and walks up the Mile, his stiffness\n and pain now gone. Del watches him go by, also stunned:", "Paul lies awake, watching Jan sleep. He looks troubled--not\n to mention feverish. It occurs to him how badly he has to\n pee. He sits up, clutching at a queasy stab of pain in his\n groin...", "PAUL (O.S.)\n For a man pissing razor blades.\n\n The door opens, revealing Paul's pale and sweaty face.", "They all exit. As soon as he's alone, Paul gives in to the\n pain, holding his crotch and sinking to his knees with a", "Paul rushes from the cell to join the fray. Billy whirls,\n delivering a stunning kick to Paul's groin. Paul's bladder", "Paul and his men are expecting Coffey to spit out the \"bugs\",\n but he doesn't--he just keeps coughing, deep and hard, barely\n finding time to snatch in the next breath of air.", "Paul blinks. Maybe it's the fever clouding his brain, or\n maybe...hell, is this what being hypnotized is like? He tries\n to shake the sensation off, comes a little closer.", "Paul wipes some foam away from Delacroix's chest, places the\n stethoscope pad to the raw flesh. He nods to Brutal--it's\n over.", "It dawns on him that he really is fine. Fever's gone. So is\n the pain in his groin. John Coffey, though, seems to be", "Paul and the men hustle Coffey out the front door toward the\n truck, helping him as best they can. He's weak as a baby,\n knees threatening to give out at any moment.", "The men are stunned. Paul raises his hand to Percy's face,\n snaps his fingers. Nothing. He tries again, clapping loudly.\n Percy reacts slightly, eyes fluttering, swaying a bit.", "Dean drops to the doctor's bag, digs through it, hands up the\n stethoscope. Paul plugs them into his ears. People are\n moaning and sobbing at the back of the room:", "PAUL\n It's not a bladder infection, or\n even a busted-up mouse. But there\n might be a chance.", "...and then it's over. Coffey raises his head, revealing:\n\n Melinda's beautiful face. Her mouth no longer droops. Color\n is coming back to her hair. Her skin is shining with life.", "Paul arrives at Coffey's cell. Coffey's on his bunk facing\n the wall. His head comes around, drawn by the aroma. He sits\n up, wipes the tears leaking from his eyes, looks at Paul." ], [ "so badly...well, John could feel\n it, you know...and I think a tiny\n part of whatever was inside of him\n just leapt out...", "John's coughing grows even worse. Brutal drops to his side\n and slaps his broad, spasming back.", "Paul and Brutal turn John around, sit him down. Paul notices\n Dean crying again, his back to the witnesses. They kneel to\n apply the leg clamps, while Brutal and Harry secure the arms.", "It dawns on him that he really is fine. Fever's gone. So is\n the pain in his groin. John Coffey, though, seems to be", "He turns and strolls up the Mile, leaving Mr. Jingles dying\n in a tiny pool of blood. Up at the duty desk, Dean and Harry\n get up from a cribbage game, stunned and furious.", "Coffey lays down, turns to face the wall.\n\n PAUL\n Me too, John. Me too.\n\n CUT TO:", "Paul can't. He reaches out and touches Coffey's hand. Their\n fingers clasp. In that moment, staring into his eyes, Paul\n hears the last thought that ever goes through Coffey's head:", "PAUL (V.O.)\n ...that's my punishment, you see?\n My punishment for letting John\n Coffey ride the lightning...for\n killing a miracle of God...", "John Coffey sits on the riverbank in bloody overalls, his\n huge feet splayed out before him. He's making that inhuman", "Percy strolls past, exits to the execution chamber. Del is\n still screaming, all his pent-up terror and grief pouring out\n at the dying mouse. And then comes a soft, urgent voice:", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "By now, Paul is blinking back tears. Softly:\n\n PAUL\n Yes, John. I think I can.", "Percy is flat on his back, staring up at nothing. The black\n \"bugs\" come drifting out of nose and mouth, swirling in the\n air over his head. They turn white and disappear.", "COFFEY\n Poor Del. Poor old Del.\n\n PAUL\n Yes. Poor old Del. John, are you\n okay?", "Bill takes all six rounds in the chest, reeling back across\n the cell. He hits the wall and slides down, leaving a smear,\n his face registering a final look of stunned surprise.", "and loved ones die off through the\n years...Hal and Melinda...Brutus\n Howell...my wife...my son...\n (beat)", "The others catch up with Klaus, drag him off. He falls to his\n knees on the riverbank, sobbing into his hands. Howie runs to", "PAUL\n You go right ahead, John. Take all\n the time you need.\n\n Coffey closes his eyes, frowning in deep concentration.", "John lets him take the necklace. Paul pockets it. They start\n to walk the Mile as:", "Percy, sick and dazed, aims the extinguisher and hoses the\n smoking corpse. Hal is near the back, calming the crowd:" ], [ "...while Paul Edgecomb, early 40's, stands in a cramped\n toilet in his guard's uniform, trying to piss. His face is\n pained, his forehead beaded with sweat.", "Young Paul transforms into Old Paul in the dissolve, the\n corridor of the Green Mile becoming the corridor of the\n nursing home. He's walking along, holding the little mouse\n the same way he did over sixty years ago.", "Billy falls silent. Paul continues down the Mile to Coffey's\n cell. Coffey's on his bunk, face streaked with tears. He\n wipes his eyes with the heels of his hands like an exhausted\n child.", "Paul nods, numb. Tears are flowing down Coffey's face. Softly:", "PAUL\n My name is Paul Edgecomb. If I'm\n not here, you can ask for Mr.", "Paul arrives at Coffey's cell. Coffey's on his bunk facing\n the wall. His head comes around, drawn by the aroma. He sits\n up, wipes the tears leaking from his eyes, looks at Paul.", "Behind them, Dean stifles a sob.\n\n PAUL'S INNER OFFICE\n\n Coffey kneels. Paul joins him, self-conscious and uncertain.", "Hal Moores, one of the toughest and steadiest men you'd ever\n meets, starts to cry. He dissolves into great big gasping\n sobs, losing all control.", "Paul can't hold it back anymore. He breaks down sobbing\n against her as we\n\n DISSOLVE TO:", "BURT\n That depends, Mr.--?\n\n PAUL\n Paul Edgecomb. I'm the E Block\n superintendant at Cold Mountain.", "Paul can't. He reaches out and touches Coffey's hand. Their\n fingers clasp. In that moment, staring into his eyes, Paul\n hears the last thought that ever goes through Coffey's head:", "Paul abruptly bursts into tears.\n\n The room goes quiet, everything comes to a standstill. All\n eyes turn, some concerned, others merely curious. Paul just\n sits sobbing into his hands, shoulders heaving.", "The rain has mostly stopped. Brad Dolan, back in street\n clothes, gets in his pickup truck and drives away...\n\n INT. NURSING HOME - DAY", "PAUL\n (softly)\n But he loves it so much.\n\n He glances around at the shack with a sad smile.", "He rolls onto his bunk, faces the wall. Paul just stares at\n him, stunned. He turns and walks up the Mile, his stiffness\n and pain now gone. Del watches him go by, also stunned:", "He trails off, no longer able to focus on the words. Paul is\n shocked to see tears spill silently down his cheeks.\n\n PAUL\n Hal?", "He turns and walks away.\n\n PAUL (V.O.)\n In truth, I wish for it already.\n\n INT. E BLOCK - NIGHT(1935)", "INT. NURSING HOME SUNROOM - PRESENT DAY\n\n It's late in the day as:", "Coffey falls silent. Paul goes to the entrance door and peers\n through the viewing slot, anxious to have this over with...\n\n EXT. COLD MOUNTAIN PENITENTIARY - DAY", "Coffey sits quietly in his cell, a solitary firefly flitting\n in circles around his finger. Paul and the men appear. The\n firefly flits away, vanishing through Coffey's tiny window." ], [ "Paul wonders if he's even up to talking about it after all\n this time...and decides that perhaps he is:\n\n PAUL\n I ever tell you I was a prison\n guard during the depression?", "said you and Jan had a grownup son\n in 1935. Is that right?\n (Paul nods)\n But if that's true...", "I've lived a lot of years, Ellie,\n but 1935 takes the prize. That was\n the year I had the worst urinary", "PAUL\n (softly)\n But he loves it so much.\n\n He glances around at the shack with a sad smile.", "PAUL\n How do you explain that?\n\n BURT\n We're in a Depression. A third of\n the country's out of work.", "PAUL\n You, Percy. Always you.\n\n Paul brushes past him, but:", "Paul's model T comes putt-putting up the road past a sign:\n \"Trapingus County Welcomes You.\"\n\n EXT. HOUSE IN TEFTON - BACK PORCH - DAY", "PAUL\n That's why I'm here. I'd like to\n ask you about one of them.\n\n Burt settles back down, motions \"please sit\".", "Paul says nothing, just pulls a spool from his pocket. Mr.\n Jingles might be old, but he's as obsessed as ever. He gets\n ready to fetch, eyes riveted to the spool. Softly:", "Paul enters in darkness, hangs his hat. He drifts into the\n kitchen, clicks on the radio. SOFT MUSIC BEGINS: Gene Austin\n singing \"Did You Ever See A Dream Walking?\"", "Paul is sitting with Delacroix. Brutal is leaning against the\n bars. Del is throwing the spool. Mr. Jingles is fetching it.", "Paul starts toward them. Coffey crawls away, pressing himself\n into a corner with his face against the wallpaper. He's still", "PAUL\n I haven't even had a cold since\n 1935. I've had to watch my friends", "...and Paul sees:\n\n The Detterick twins. Kathe and Cora. Laughing and playing\n hopscotch in the dust under a later afternoon sun...", "PAUL\n The man is mean, careless, and\n stupid. Bad combination in a place\n like this. Sooner or later, he's\n gonna get somebody hurt. Or worse.", "PAUL\n Their father hired him on for a\n few days last spring, help repair\n the barn. Cheap labor, just\n another drifter...", "They hear the truck HONKING as it rumbles up outside. Paul\n gives them a nod to resume their positions. Paul walks down", "PAUL\n Mr. Dolan and I were...chatting.\n About the weather. I think we're\n through now.\n\n Brad lets Paul loose, leans close:", "INT. PAUL'S INNER OFFICE - NIGHT\n\n Percy is parked in Paul's chair with his feet up, reading a\n book titled: \"CARING FOR MENTAL PATIENTS.\"", "Paul looks feverish and clammy as he buttons up his uniform\n jacket. Jan is packing his lunch, throwing him looks, knowing\n how sick he is.\n\n PAUL\n I'm going." ], [ "PAUL\n He did it to me too. He put his\n hands on me and took my bladder\n infection away.\n\n The men absorb this. Brutal glances to Jan.", "Paul trembles violently as if riding the lightning himself,\n pleading for it to stop, but there's one last thing:", "Paul and his men are expecting Coffey to spit out the \"bugs\",\n but he doesn't--he just keeps coughing, deep and hard, barely\n finding time to snatch in the next breath of air.", "Paul is trying to piss. Except for a few drops hitting the\n bowl, excruciating pain seems to be the only result. He gives\n up, grabs a towel, wipes the sweat from his feverish face...", "Paul sighs. Things couldn't get much worse than this. He\n rises with a supreme effort, walks painfully down the Mile...\n\n COFFEY'S CELL", "They all exit. As soon as he's alone, Paul gives in to the\n pain, holding his crotch and sinking to his knees with a", "He rolls onto his bunk, faces the wall. Paul just stares at\n him, stunned. He turns and walks up the Mile, his stiffness\n and pain now gone. Del watches him go by, also stunned:", "Paul and the men hustle Coffey out the front door toward the\n truck, helping him as best they can. He's weak as a baby,\n knees threatening to give out at any moment.", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "Paul arrives at Coffey's cell. Coffey's on his bunk facing\n the wall. His head comes around, drawn by the aroma. He sits\n up, wipes the tears leaking from his eyes, looks at Paul.", "Paul lies awake, watching Jan sleep. He looks troubled--not\n to mention feverish. It occurs to him how badly he has to\n pee. He sits up, clutching at a queasy stab of pain in his\n groin...", "Percy throws Paul a look of disdain--your block, huh? He\n swaggers out. Del's on his knees, weeping from the pain:", "Paul starts toward them. Coffey crawls away, pressing himself\n into a corner with his face against the wallpaper. He's still", "PAUL\n That's as good a word as any. He\n infected us both, didn't he, Mr.", "Paul blinks. Maybe it's the fever clouding his brain, or\n maybe...hell, is this what being hypnotized is like? He tries\n to shake the sensation off, comes a little closer.", "Del falls silent, moaning over his hand. Paul turns to\n Coffey, who looks unsettled by all the commotion.", "Paul nods, numb. Tears are flowing down Coffey's face. Softly:", "The men are stunned. Paul raises his hand to Percy's face,\n snaps his fingers. Nothing. He tries again, clapping loudly.\n Percy reacts slightly, eyes fluttering, swaying a bit.", "Paul fumbles his keys to the lock, unsure if he should open\n the door, watching the big man's contortions grow stronger\n like a cat trying to cough up a hairball...", "PAUL\n --and how you pissed yourself like\n a frightened little girl. Yes," ], [ "PAUL (V.O.)\n ...that's my punishment, you see?\n My punishment for letting John\n Coffey ride the lightning...for\n killing a miracle of God...", "PAUL\n John Coffey...you have been\n condemned to die in the electric\n chair by a jury of your", "John Coffey sits on the riverbank in bloody overalls, his\n huge feet splayed out before him. He's making that inhuman", "COFFEY\n Ma'am?\n\n MELINDA\n Yes, John Coffey?", "BURT\n Which client? Now you got my\n curiosity aroused.\n\n PAUL\n John Coffey.", "COFFEY\n John Coffey, ma'am.\n\n MELINDA\n Like the drink, only not spelled\n the same.", "Coffey sits quietly in his cell, a solitary firefly flitting\n in circles around his finger. Paul and the men appear. The\n firefly flits away, vanishing through Coffey's tiny window.", "one day. Same with John Coffey. He\n was sorry afterwards, of that I\n have no doubt...but those little\n girls stayed raped and murdered", "McGEE\n What happened here, John Coffey?\n You want to tell me that?", "PAUL\n Your name is John Coffey.\n\n COFFEY\n (deep and quiet)\n Yes, sir, boss, like the drink,\n only not spelt the same.", "COFFEY\n John Coffey, ma'am. Like the\n drink, only not spelt the same.", "Paul can't. He reaches out and touches Coffey's hand. Their\n fingers clasp. In that moment, staring into his eyes, Paul\n hears the last thought that ever goes through Coffey's head:", "A tableau. The men staring. John Coffey howling. A train\n puffing smoke across the landscape.", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "BRUTAL\n So you're talking about taking\n John Coffey to her. That's more\n than just our jobs, Paul.", "DEL\n Boss? You know you not s'pose to\n do dat.\n\n PAUL\n Mind your business, Del. What do\n you want, John Coffey?", "The men are speechless. Paul turns, sees Coffey sitting on\n the floor at his bars, watching.\n\n COFFEY\n Punished them bad men.", "(beat)\n Is Coffey guilty? Yes, he is.\n Don't you doubt it, and don't you\n turn your back on him. You might", "Coffey is brought in...and freezes in horror at the sight of\n Old Sparky. A whisper:", "JAN\n (absorbs this)\n Then you can stop it. The\n execution, I mean. Get Coffey a\n new trial." ], [ "Percy throws Paul a look of disdain--your block, huh? He\n swaggers out. Del's on his knees, weeping from the pain:", "...and sees Del at his bars, smiling. Infuriated, Percy\n swings his baton and smashes Del's fingers with a LOUD CRACK.\n Del jerks back, howling in pain:", "Percy strolls past, exits to the execution chamber. Del is\n still screaming, all his pent-up terror and grief pouring out\n at the dying mouse. And then comes a soft, urgent voice:", "PERCY\n You keep laughing, you French-\n fried faggot. You just keep\n laughing.\n\n Del falls silent. Percy turns and storms away as we", "Percy is flat on his back, staring up at nothing. The black\n \"bugs\" come drifting out of nose and mouth, swirling in the\n air over his head. They turn white and disappear.", "Del screams in horror and throws himself at the bars, sobbing\n the mouse's name. Percy looks to Brutal and Paul, smiles.", "The flaming mask peels away, revealing Del's charring face.\n His eyeballs are misshapen globs of burning white jelly blown\n out of their sockets. The ATTENDING DOCTOR faints dead away.", "The stricken look in Del's eyes tells us a part of him had\n known all along. Paul and Brutal would both like to deck", "DEL\n Don' hurt him, 'kay? 'kay?\n\n Percy shrugs as if to say \"no skin off me\", looks to Paul.", "...and the old Percy comes back. He bares his teeth in a mock\n snarl and curls his fingers as if to grab Del. It's a joke,", "Down at his cell, Del starts laughing shrilly. Everybody else\n starts to realize it, including Percy himself...he looks\n down, sees the huge dark stain spreading at his crotch.", "Dean is choking, dying. Paul is shifting his aim, trying for\n a clear shot, not getting one. Percy's still just inside the\n doorway, pressed against the wall with fear...", "Nothing they can do. Paul nods to Harry, who takes the black\n mask from the back of the chair and rolls it down over Del's\n head, leaving the top of his shaved head exposed.\n\n PERCY", "Percy, sick and dazed, aims the extinguisher and hoses the\n smoking corpse. Hal is near the back, calming the crowd:", "The men nod solemnly. Nobody's going to talk about this.\n Percy looks at Delacroix still snorting in his cell, points\n at him.", "for hours. Percy jerks like a fish on a hook, but can't get\n away. The men jump in, try to pry Percy loose, hollering for\n Coffey to let him go.", "Paul and the other tackle Percy and bring him down, wrestling\n the gun out of his hand. Dean is almost weeping:\n\n DEAN\n Oh God, oh God, no...", "HAL\n Okay, boys. Okay. Now what the\n hell happened?\n\n All eyes go to Percy. Hal turns, sees Percy's bloody lip.", "Del enters, horrified to see Percy waiting at Old Sparky.\n Paul gives Del's arm a reassuring squeeze, leads him\n forward...\n\n IN A TIGHT SERIES OF SHOTS:", "Percy only pretends to dip the sponge and soak it. It never\n touches the water. He straightens up and places the sponge\n atop Delacroix's head, hiding it with his hands." ], [ "The woman propped in bed barely resembles Melinda Moores\n anymore--she looks made up like a Halloween witch, her livid", "Jan looks to Paul, realization starting to dawn:\n\n JAN\n Melinda? Oh, Paul...\n\n BRUTAL\n Melinda? Melinda Moores?", "...and they walk outside to find MELINDA MOORES sitting in\n the sun, frail and wasted, a blanket on her knees. She'd be\n beautiful if not for the cancer killing her.", "COFFEY\n Thank you, ma'am.\n\n MELINDA\n Thank you, John.", "Hal Moores, one of the toughest and steadiest men you'd ever\n meets, starts to cry. He dissolves into great big gasping\n sobs, losing all control.", "so badly...well, John could feel\n it, you know...and I think a tiny\n part of whatever was inside of him\n just leapt out...", "Coffey keeps kissing Melinda in that deep and mysterious way,\n inhaling and inhaling, her hand held in his like a tiny white", "...and then it's over. Coffey raises his head, revealing:\n\n Melinda's beautiful face. Her mouth no longer droops. Color\n is coming back to her hair. Her skin is shining with life.", "COFFEY\n Ma'am?\n\n MELINDA\n Yes, John Coffey?", "Paul looks to the bed. Hal sits with Melinda, stroking her\n brow. Color is blooming in her cheeks even as we watch.", "She undoes her necklace, holds it up for him. He hesitates,\n glances to Paul. Paul nods--it's all right. Coffey lowers his\n head. Melinda affixes the delicate chain around his neck.", "Paul and Brutal turn John around, sit him down. Paul notices\n Dean crying again, his back to the witnesses. They kneel to\n apply the leg clamps, while Brutal and Harry secure the arms.", "...and we find them having a wild tumble in the sheets, both\n moaning and groaning, sweating and panting. She pushes him\n flat on the bed, pauses to catch her breath...", "COFFEY\n John Coffey, ma'am.\n\n MELINDA\n Like the drink, only not spelled\n the same.", "Paul is shocked at her appearance, hides it as best as he\n can. Jan covers this for him--she drops to Melinda's side\n with a warm smile and a kiss, takes the woman's frail hands\n in hers.", "DEAN\n What about Mrs. Moores? Was it\n like the mouse? Was it a...you\n know...a miracle?\n\n PAUL\n Yes. Yes it was.", "A frozen moment. Hal mortified. Paul gives him a look--is\n that Melinda?\n\n Hal's shotgun shifts back to Coffey--but Paul steps in front\n of the muzzle.", "moan. It's so bad he actually lays down on the Mile, face\n pressed against the cool linoleum, wishing he were dead. A\n stretch of silence...and then:", "Coffey sits on the edge of the bed. The lights seem to flare\n hotter and brighter. Tears are forming in Melinda's eyes.\n\n MELINDA\n What's your name?", "Hal groans with despair. Coffey just stands there for a\n moment, watching her from a distance, then approaches the\n bed...\n\n MELINDA\n Don't come near me, pigfucker." ], [ "PAUL (V.O.)\n ...that's my punishment, you see?\n My punishment for letting John\n Coffey ride the lightning...for\n killing a miracle of God...", "one day. Same with John Coffey. He\n was sorry afterwards, of that I\n have no doubt...but those little\n girls stayed raped and murdered", "(beat)\n Is Coffey guilty? Yes, he is.\n Don't you doubt it, and don't you\n turn your back on him. You might", "PAUL\n All the more reason he might take\n credit for the crime. He's gonna\n fry anyway, so why not boast?\n\n Jan stands thinking for a moment, then:", "BURT\n You didn't come up here to ask me\n whether he might have killed\n before. You came up here to see if", "He turns and strolls up the Mile, leaving Mr. Jingles dying\n in a tiny pool of blood. Up at the duty desk, Dean and Harry\n get up from a cribbage game, stunned and furious.", "JAN\n Tell them Wharton confessed to the\n crime. Brutus, you can back him", "(beat)\n Me, I was no accident. John had to\n give me a little part of\n himself...a gift, like...so I", "so badly...well, John could feel\n it, you know...and I think a tiny\n part of whatever was inside of him\n just leapt out...", "BURT\n Cries, does he? Well, he's got a\n lot to cry about, I'd say. You\n know what he did.", "McGEE\n What happened here, John Coffey?\n You want to tell me that?", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "BURT\n Which client? Now you got my\n curiosity aroused.\n\n PAUL\n John Coffey.", "BURT\n One seldom sees a less ambiguous\n case. He was found with the\n victims in his arms. Blurted out\n a confession right then and there.", "BRUTAL\n This is a mistake. Christ, Paul,\n what were we thinking?\n\n PAUL\n Too late now. Harry, keep John\n here until we call you.", "PAUL\n I think Mr. Jingles happened by\n accident. I think when we\n electrocuted Del, and it all went", "Paul and Brutal turn John around, sit him down. Paul notices\n Dean crying again, his back to the witnesses. They kneel to\n apply the leg clamps, while Brutal and Harry secure the arms.", "up, say you heard it too. You can\n say that's what set Percy off. He\n shot Wharton because he couldn't", "PAUL\n John Coffey...you have been\n condemned to die in the electric\n chair by a jury of your", "It dawns on him that he really is fine. Fever's gone. So is\n the pain in his groin. John Coffey, though, seems to be" ], [ "PAUL\n I do. I do have to.\n (beat)\n John, tell me what you want me to", "PAUL (V.O.)\n I'll die eventually, I imagine. I\n have no illusions of immortality.\n But I will have wished for death\n long before death finds me.", "By now, Paul is blinking back tears. Softly:\n\n PAUL\n Yes, John. I think I can.", "so badly...well, John could feel\n it, you know...and I think a tiny\n part of whatever was inside of him\n just leapt out...", "Paul sits, working himself up to it:\n\n PAUL\n John, I have to ask you something\n very important right now.", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "PAUL (V.O.)\n ...that's my punishment, you see?\n My punishment for letting John\n Coffey ride the lightning...for\n killing a miracle of God...", "PAUL\n John? John, what's wrong?", "PAUL\n (beat)\n What's with you? Seeing a man die\n isn't enough? You gotta be close\n enough to smell his nuts cook?", "JAN\n Hell? Oh Paul...\n (touches his face)\n Talk to him. Talk to John. Find\n out what he wants.\n\n CUT TO:", "Paul can't. He reaches out and touches Coffey's hand. Their\n fingers clasp. In that moment, staring into his eyes, Paul\n hears the last thought that ever goes through Coffey's head:", "PAUL\n It's yours, John. As you please.\n\n COFFEY\n Well. Fine. I think I'll keep the\n rest, then.", "PAUL\n You go right ahead, John. Take all\n the time you need.\n\n Coffey closes his eyes, frowning in deep concentration.", "They all exit. As soon as he's alone, Paul gives in to the\n pain, holding his crotch and sinking to his knees with a", "Coffey lays down, turns to face the wall.\n\n PAUL\n Me too, John. Me too.\n\n CUT TO:", "PAUL\n John, come along! Right now,\n y'hear? C'mon! Toward that door!\n\n Coffey finally responds, pulling away...", "Paul and Brutal turn John around, sit him down. Paul notices\n Dean crying again, his back to the witnesses. They kneel to\n apply the leg clamps, while Brutal and Harry secure the arms.", "Paul trembles violently as if riding the lightning himself,\n pleading for it to stop, but there's one last thing:", "how. For the life of me, Paul, I\n can't think how to tell my wife\n she's going to die.", "Paul doesn't think so--but that's not what Bitterbuck needs\n to hear, so the lie comes easy:\n\n PAUL\n I just about believe that very\n thing." ], [ "Paul trembles violently as if riding the lightning himself,\n pleading for it to stop, but there's one last thing:", "Paul can't. He reaches out and touches Coffey's hand. Their\n fingers clasp. In that moment, staring into his eyes, Paul\n hears the last thought that ever goes through Coffey's head:", "Paul sits, working himself up to it:\n\n PAUL\n John, I have to ask you something\n very important right now.", "Paul and Brutal turn John around, sit him down. Paul notices\n Dean crying again, his back to the witnesses. They kneel to\n apply the leg clamps, while Brutal and Harry secure the arms.", "so badly...well, John could feel\n it, you know...and I think a tiny\n part of whatever was inside of him\n just leapt out...", "Percy strolls past, exits to the execution chamber. Del is\n still screaming, all his pent-up terror and grief pouring out\n at the dying mouse. And then comes a soft, urgent voice:", "PAUL\n You go right ahead, John. Take all\n the time you need.\n\n Coffey closes his eyes, frowning in deep concentration.", "By now, Paul is blinking back tears. Softly:\n\n PAUL\n Yes, John. I think I can.", "PAUL\n I do. I do have to.\n (beat)\n John, tell me what you want me to", "BRUTAL\n There must be something we can do\n for you, John. There must be\n something you want.\n\n Coffey thinks about this long and hard, finally looks up.", "It dawns on him that he really is fine. Fever's gone. So is\n the pain in his groin. John Coffey, though, seems to be", "Coffey lays down, turns to face the wall.\n\n PAUL\n Me too, John. Me too.\n\n CUT TO:", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "John's coughing grows even worse. Brutal drops to his side\n and slaps his broad, spasming back.", "PAUL\n It's yours, John. You do with it\n as you please.", "PAUL\n It's yours, John. As you please.\n\n COFFEY\n Well. Fine. I think I'll keep the\n rest, then.", "PAUL\n God, please help us finish what\n we've started, and please welcome\n this man, John Coffey--like the", "PAUL (V.O.)\n ...that's my punishment, you see?\n My punishment for letting John\n Coffey ride the lightning...for\n killing a miracle of God...", "PAUL\n John, come along! Right now,\n y'hear? C'mon! Toward that door!\n\n Coffey finally responds, pulling away...", "DEL\n Please, John. Oh Johnny, help him,\n please help him, s'il vous plait.\n\n Harry and Dean join the group. Everybody watching now." ], [ "Paul turns. Sitting on the door sill, watching them with\n beady eyes, is the mouse. Paul turns back, addresses the room:", "Paul continues down the Mile. Whatever he's carrying, the\n smell of it brings Del to his bars. Even Mr.Jingles comes\n skittering out of his cigar box, sniffing.", "Paul is sitting with Delacroix. Brutal is leaning against the\n bars. Del is throwing the spool. Mr. Jingles is fetching it.", "Paul starts toward them. Coffey crawls away, pressing himself\n into a corner with his face against the wallpaper. He's still", "Paul tosses the spool. The mouse limps painfully after it. He\n reaches it, goes around...and has to lay down to catch his\n breath. Elaine starts forward, but Paul holds her back.", "It is Mr. Jingles. The little mouse is peering from under the\n restraint room door. He's come home, looking bedraggled. Paul\n bends down, gently picks him up.", "Paul says nothing, just pulls a spool from his pocket. Mr.\n Jingles might be old, but he's as obsessed as ever. He gets\n ready to fetch, eyes riveted to the spool. Softly:", "...and Paul sees:\n\n The Detterick twins. Kathe and Cora. Laughing and playing\n hopscotch in the dust under a later afternoon sun...", "The silence is thick. Just the clack-clatter of the spool,\n and the skitter skitter of tiny mouse paws on concrete. It's\n getting on Paul's nerves in a big way. Softly:", "Paul shrugs. Brutal drops the scrap. The mouse grabs it and\n eats, sitting up like a dog doing a trick.", "The mouse stretches his neck forward, nose twitching,\n smelling Paul's breath. Paul looks to Elaine. Softly:", "Empty and silent. Young Paul walks the Mile alone, listening\n to the quiet. He pauses, seeing something. A whisper:\n\n PAUL\n Mr. Jingles?", "Coffey sits quietly in his cell, a solitary firefly flitting\n in circles around his finger. Paul and the men appear. The\n firefly flits away, vanishing through Coffey's tiny window.", "Paul motions Percy behind the wall. Percy sighs, takes his\n spot next to Jack Van Hay, peers through the wire mesh as\n Toot plops into Old Sparky, wriggling his skinny ass to get\n comfy.", "Some witnesses turn away. Paul and Brutal maintain grim eye\n contact with each other, waiting.\n\n Behind the partition, Percy watches through the mesh with\n gleaming eyes, wishing he could see better.", "Paul approaches the back door, returning from his walk. He\n reaches for the knob...and a figure in white lunges from", "After a moment, Mr. Jingles finds his feet again. He rises\n and starts nosing the spool back to Paul.", "The boy races inside after his sister. Paul follows Burt's\n gaze off toward the rear of the property, where an unoccupied\n doghouse stands weathered and sad in the weeds.", "Dark in here, cobwebby and decrepit. We see Paul approaching\n outside the grimy window. He steps up to the glass and shades\n his eyes, peering curiously in as we", "Young Paul transforms into Old Paul in the dissolve, the\n corridor of the Green Mile becoming the corridor of the\n nursing home. He's walking along, holding the little mouse\n the same way he did over sixty years ago." ], [ "He finds the Movie Classic channel, which is playing an old\n black and white musical--\"Top Hat,\" with Fred Astaire and\n Ginger Rogers. A delighted reaction:", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "PAUL\n Your name is John Coffey.\n\n COFFEY\n (deep and quiet)\n Yes, sir, boss, like the drink,\n only not spelt the same.", "COFFEY\n Ma'am?\n\n MELINDA\n Yes, John Coffey?", "Fred and Ginger are now in the most passionate and graceful\n part of the dance. Irving Berlin's music swells.\n\n COFFEY", "He looks back at the TV. On screen, Fred and Ginger have\n begun their famous \"Cheek to Cheek\" number, with Astaire\n singing in that sublime, easy-go-lucky way of his:", "BURT\n Which client? Now you got my\n curiosity aroused.\n\n PAUL\n John Coffey.", "PAUL (V.O.)\n ...that's my punishment, you see?\n My punishment for letting John\n Coffey ride the lightning...for\n killing a miracle of God...", "Coffey sits quietly in his cell, a solitary firefly flitting\n in circles around his finger. Paul and the men appear. The\n firefly flits away, vanishing through Coffey's tiny window.", "DEL\n Boss? You know you not s'pose to\n do dat.\n\n PAUL\n Mind your business, Del. What do\n you want, John Coffey?", "COFFEY\n John Coffey, ma'am.\n\n MELINDA\n Like the drink, only not spelled\n the same.", "John Coffey sits on the riverbank in bloody overalls, his\n huge feet splayed out before him. He's making that inhuman", "A tableau. The men staring. John Coffey howling. A train\n puffing smoke across the landscape.", "COFFEY\n John Coffey, ma'am. Like the\n drink, only not spelt the same.", "PAUL\n John Coffey...you have been\n condemned to die in the electric\n chair by a jury of your", "Coffey is struggling to rise. Brutal does his best to help.\n\n PAUL\n John? Can you turn around? Can you\n turn around and see this lady?", "Coffey lays down, turns to face the wall.\n\n PAUL\n Me too, John. Me too.\n\n CUT TO:", "PAUL\n Shhh. John, you have to be quiet\n now.\n\n COFFEY\n (whispering)\n You see her? You see the lady?", "Paul can't. He reaches out and touches Coffey's hand. Their\n fingers clasp. In that moment, staring into his eyes, Paul\n hears the last thought that ever goes through Coffey's head:", "COFFEY\n I ain't never seen me a flicker\n show.\n\n CUT TO:\n\n TIGHT ON COFFEY'S FACE" ], [ "Percy looks up from his book as the door opens. Paul enters\n with Brutal and Harry, ominously hemming the desk.\n\n PERCY\n What is this?", "one nephew, and his name happens\n to be Percy Wetmore. I need to\n tell you how this lays out?", "Percy walks away, leaving them dumbstruck. Paul turns to the\n others. Of all the things they've seen in the last few\n minutes, Percy being nice is the most amazing of all.", "Percy nods. Hal steps close, gives him a tight, icy smile.", "INT. PAUL'S INNER OFFICE - NIGHT\n\n Percy is parked in Paul's chair with his feet up, reading a\n book titled: \"CARING FOR MENTAL PATIENTS.\"", "Percy is flat on his back, staring up at nothing. The black\n \"bugs\" come drifting out of nose and mouth, swirling in the\n air over his head. They turn white and disappear.", "His old enemy Percy.\n\n BRUTAL\n Percy, no!", "PAUL\n You, Percy. Always you.\n\n Paul brushes past him, but:", "...until Percy reappears.\n\n PERCY\n You switched them! You switched\n them somehow, you bastards!", "...as Percy enters the scene. Del catches sight of him and\n scoops up his mouse, drawing fearfully back on his bunk. He", "The men are stunned. Paul raises his hand to Percy's face,\n snaps his fingers. Nothing. He tries again, clapping loudly.\n Percy reacts slightly, eyes fluttering, swaying a bit.", "Percy falls reproachfully silent. Paul doesn't dignify it,\n just motions for them to come on. The procession comes down\n the Mile, with Brutal and Dean bringing up rear.", "Paul's eyes widen. A stunned beat of horror. He starts to\n open his mouth to scream \"NO!\", but Percy beats him to it\n with:", "Paul can't see them approach from where he stands, but he can\n certainly hear Percy:", "HAL\n Okay, boys. Okay. Now what the\n hell happened?\n\n All eyes go to Percy. Hal turns, sees Percy's bloody lip.", "for hours. Percy jerks like a fish on a hook, but can't get\n away. The men jump in, try to pry Percy loose, hollering for\n Coffey to let him go.", "Percy only pretends to dip the sponge and soak it. It never\n touches the water. He straightens up and places the sponge\n atop Delacroix's head, hiding it with his hands.", "Percy whacks him with his baton. Coffey barely seems to feel\n it. He curls his free hand around the back of Percy's head,\n pulling him ever closer...", "Percy nods, still numb. Paul is furious:", "...and the old Percy comes back. He bares his teeth in a mock\n snarl and curls his fingers as if to grab Del. It's a joke," ], [ "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "PAUL\n John? John, what's wrong?", "PAUL (V.O.)\n ...that's my punishment, you see?\n My punishment for letting John\n Coffey ride the lightning...for\n killing a miracle of God...", "Del falls silent, moaning over his hand. Paul turns to\n Coffey, who looks unsettled by all the commotion.", "Paul's eyes widen. A stunned beat of horror. He starts to\n open his mouth to scream \"NO!\", but Percy beats him to it\n with:", "Percy nods, still numb. Paul is furious:", "Percy throws Paul a look of disdain--your block, huh? He\n swaggers out. Del's on his knees, weeping from the pain:", "The men are stunned by this. Off their looks:\n\n PAUL\n I just can't see God putting a\n gift like that in the hands of a\n man who would kill a child.", "Paul can't. He reaches out and touches Coffey's hand. Their\n fingers clasp. In that moment, staring into his eyes, Paul\n hears the last thought that ever goes through Coffey's head:", "Paul trembles violently as if riding the lightning himself,\n pleading for it to stop, but there's one last thing:", "A frozen moment. Hal mortified. Paul gives him a look--is\n that Melinda?\n\n Hal's shotgun shifts back to Coffey--but Paul steps in front\n of the muzzle.", "Billy falls silent. Paul continues down the Mile to Coffey's\n cell. Coffey's on his bunk, face streaked with tears. He\n wipes his eyes with the heels of his hands like an exhausted\n child.", "Paul starts toward them. Coffey crawls away, pressing himself\n into a corner with his face against the wallpaper. He's still", "Behind them, Dean stifles a sob.\n\n PAUL'S INNER OFFICE\n\n Coffey kneels. Paul joins him, self-conscious and uncertain.", "PAUL\n (beat)\n What's with you? Seeing a man die\n isn't enough? You gotta be close\n enough to smell his nuts cook?", "The stricken look in Del's eyes tells us a part of him had\n known all along. Paul and Brutal would both like to deck", "Paul and Brutal turn John around, sit him down. Paul notices\n Dean crying again, his back to the witnesses. They kneel to\n apply the leg clamps, while Brutal and Harry secure the arms.", "PAUL\n This is not a good time, John\n Coffey. Not a good time at all.", "so badly...well, John could feel\n it, you know...and I think a tiny\n part of whatever was inside of him\n just leapt out...", "Paul forces himself to his feet, pulls his revolver, draws\n down on Billy...\n\n PAUL\n LET HIM GO!" ], [ "...and sees Del at his bars, smiling. Infuriated, Percy\n swings his baton and smashes Del's fingers with a LOUD CRACK.\n Del jerks back, howling in pain:", "Percy throws Paul a look of disdain--your block, huh? He\n swaggers out. Del's on his knees, weeping from the pain:", "Paul wipes some foam away from Delacroix's chest, places the\n stethoscope pad to the raw flesh. He nods to Brutal--it's\n over.", "PAUL\n We see that.\n\n DEL\n Watch dis! Watch what he do!", "Coffey flinches, enters the cell. Paul stares angrily at\n Percy, who stands slapping his hickory baton against the palm\n of his hand like a man with a toy he's itching to use.", "...and then it's over. Paul comes back to the real world,\n weak against the bars, realizes Del is hollering in his cell:", "The stricken look in Del's eyes tells us a part of him had\n known all along. Paul and Brutal would both like to deck", "Paul is sitting with Delacroix. Brutal is leaning against the\n bars. Del is throwing the spool. Mr. Jingles is fetching it.", "Del falls silent, moaning over his hand. Paul turns to\n Coffey, who looks unsettled by all the commotion.", "The men follow Paul onto the Mile. By now, Del is CACKLING\n WILDLY in his cell. Brutal shoots Paul a look--has he gone\n insane? Paul gestures \"see for yourself.\"", "INT. DEL'S CELL - NIGHT\n\n Del sits with Mr. Jingles in his lap, stroking the mouse\n between the ears. Paul, Brutal, and Harry appear at the bars.", "BRUTAL\n Paul, what the hell--\n\n Paul motions him quiet. Del is pleading softly at his bars:", "Paul continues down the Mile. Whatever he's carrying, the\n smell of it brings Del to his bars. Even Mr.Jingles comes\n skittering out of his cigar box, sniffing.", "He rolls onto his bunk, faces the wall. Paul just stares at\n him, stunned. He turns and walks up the Mile, his stiffness\n and pain now gone. Del watches him go by, also stunned:", "PAUL\n Dean, run Delacroix up to the\n infirmary and see if his fingers\n are broken.", "...and he pauses as Paul and Brutal step to the bars. Paul\n has a canvas straitjacket. Brutal pulls his nightstick.", "DEL\n Don' hurt him, 'kay? 'kay?\n\n Percy shrugs as if to say \"no skin off me\", looks to Paul.", "Paul gives him a hard, angry shove...\n\n INT. E BLOCK - NIGHT", "No answer. Just more giggling. Paul rises, walks down the\n Mile to Delacroix's cell--and stops, staring in through the\n bars.\n\n PAUL'S INNER OFFICE", "The men are stunned. Paul raises his hand to Percy's face,\n snaps his fingers. Nothing. He tries again, clapping loudly.\n Percy reacts slightly, eyes fluttering, swaying a bit." ], [ "He finds the Movie Classic channel, which is playing an old\n black and white musical--\"Top Hat,\" with Fred Astaire and\n Ginger Rogers. A delighted reaction:", "He looks back at the TV. On screen, Fred and Ginger have\n begun their famous \"Cheek to Cheek\" number, with Astaire\n singing in that sublime, easy-go-lucky way of his:", "Hal Moores, one of the toughest and steadiest men you'd ever\n meets, starts to cry. He dissolves into great big gasping\n sobs, losing all control.", "...while Fred Astaire and Ginger Rogers dance up there on the\n big screen, images flowing in magical black and silver tone.", "Fred and Ginger are now in the most passionate and graceful\n part of the dance. Irving Berlin's music swells.\n\n COFFEY", "She kisses that spot above his eyebrow again. He smiles.\n\n JAN\n Poor old guy...\n\n DISSOLVE TO:", "Paul is at the kitchen table in the wee hours, at his regular\n place, sipping his beer. Irving Berlin's \"Remember\" PLAYS\n SOFTLY on the radio. Jan comes down, looking miserable and\n exhausted.", "Paul is staring out the windows, pensive and drained. It's\n raining now, pattering the glass and the lawn beyond. Elaine\n waits across from him, wishing he would speak. Softly:", "She dissolves into tears. Klaus pulls her against his\n shoulder, looking dazed by the whole thing.", "No response. All he can hear is that music, all he can see\n are those dancers. The figures on TV are gliding with\n ghostlike grace in their silvery, phosphor-dot world of long\n ago...", "Paul can't hold it back anymore. He breaks down sobbing\n against her as we\n\n DISSOLVE TO:", "Brutal tries to hold on, but it's impossible--he cracks up.\n Everybody falls apart, howling helplessly with laughter. Even\n Jack Van Hay is guffawing behind his partition.", "...and sees Del at his bars, smiling. Infuriated, Percy\n swings his baton and smashes Del's fingers with a LOUD CRACK.\n Del jerks back, howling in pain:", "Hal goes to his wife, beyond stunned, sits at her side. She\n looks back at him with amazement, her face like a dirty\n mirror that's been suddenly wiped clean.", "We hear the sound of GLASS BREAKING, then she begins to sob.", "They turn. Elaine stands just inside the screen door with a\n cup of tea. Brad's eyes become calculated, wondering how much\n she's seen. Elaine keeps her tone level, betraying nothing:", "Elaine moves closer, sees it on the dusty floorboards:\n\n An old cigar box.\n\n For a moment, she doesn't know what to make of it.", "Hal bursts into tears. Melinda sits up, comforting him. Her\n eyes are drawn to the corner.\n\n MELINDA\n Who is that man?", "She runs off toward the house, starting to sob as we\n\n DISSOLVE TO:\n\n INT PAUL'S KITCHEN - NIGHT", "Coffey's lying on his bunk, weeping quiet tears. He stirs at\n the sound of GIGGLING. He sits up, peers curiously through\n the bars. Softly:" ], [ "COFFEY\n Because I get a little scared in\n the dark sometimes. If it's a\n strange place.\n\n Paul looks to his men. The guards are trading glances.", "PAUL\n No, can't say he is. He doesn't\n like the dark. He cries on\n occasion. Other than that...", "Dark in here, cobwebby and decrepit. We see Paul approaching\n outside the grimy window. He steps up to the glass and shades\n his eyes, peering curiously in as we", "COFFEY\n Please, boss, don't put that thing\n over my face. Don't put me in the\n dark, I's afraid of the dark.", "Paul is wide awake, staring at the dark. Jan can sense him\n brooding. She rolls over sleepily.", "All eyes go to the electric chair. It sits shrouded in shadow\n like an ominous throne. Never before has this place felt so\n haunted to the men. It makes the hairs on the neck stand up.", "Lights are coming on inside the house. Coffey rises and steps\n down from the truck, pulling Paul along. Brutal follows them.", "ELAINE\n Paul? This thing you want to show\n me. Is it scary?\n\n PAUL\n Scary? No. Not really.", "...and Billy lets go, stepping back with his hands raised,\n laughing. Percy darts across the Mile in terror and cringes\n against the cell opposite, breathing so loud and fast it\n almost sounds like sobbing.", "...as Percy enters the scene. Del catches sight of him and\n scoops up his mouse, drawing fearfully back on his bunk. He", "Four dark figures detach from the shadows, hurrying across\n the lonely country road into the fields on the far side...\n\n EXT. WOODS - NIGHT", "Wild Bill looms over the terrified little girls like a\n horrendous boogeyman, whispers to Kathe:", "Paul starts toward them. Coffey crawls away, pressing himself\n into a corner with his face against the wallpaper. He's still", "The men don't know whether to be enchanted or terrified.\n Harry gives Paul a look--can we go? Please?\n\n PAUL\n C'mon, big boy. Upsy-daisy.", "Paul and Brutal both look terrified now that they're actually\n here. An urgent whisper:\n\n BRUTAL\n We can still turn back.", "...and under it all, we hear a sibilant, frightening whisper:", "The cap is lowered, the straps drawn. Coffey is breathing\n fast, terrified, muttering under his breath:", "The door swings wider, revealing Hal's face gaunt and haggard\n in the yellow porch light, stunned to see them:", "Hal bursts into tears. Melinda sits up, comforting him. Her\n eyes are drawn to the corner.\n\n MELINDA\n Who is that man?", "Paul turns. Sitting on the door sill, watching them with\n beady eyes, is the mouse. Paul turns back, addresses the room:" ], [ "Paul and Brutal turn John around, sit him down. Paul notices\n Dean crying again, his back to the witnesses. They kneel to\n apply the leg clamps, while Brutal and Harry secure the arms.", "for hours. Percy jerks like a fish on a hook, but can't get\n away. The men jump in, try to pry Percy loose, hollering for\n Coffey to let him go.", "Percy throws Paul a look of disdain--your block, huh? He\n swaggers out. Del's on his knees, weeping from the pain:", "Percy is flat on his back, staring up at nothing. The black\n \"bugs\" come drifting out of nose and mouth, swirling in the\n air over his head. They turn white and disappear.", "...and sees Del at his bars, smiling. Infuriated, Percy\n swings his baton and smashes Del's fingers with a LOUD CRACK.\n Del jerks back, howling in pain:", "Percy whacks him with his baton. Coffey barely seems to feel\n it. He curls his free hand around the back of Percy's head,\n pulling him ever closer...", "Paul trembles violently as if riding the lightning himself,\n pleading for it to stop, but there's one last thing:", "John's coughing grows even worse. Brutal drops to his side\n and slaps his broad, spasming back.", "...and Percy hauls the last of the stuff out, exhausted. He\n steps back in and looks around, unable to believe there's no", "Percy walks away, leaving them dumbstruck. Paul turns to the\n others. Of all the things they've seen in the last few\n minutes, Percy being nice is the most amazing of all.", "Paul's eyes widen. A stunned beat of horror. He starts to\n open his mouth to scream \"NO!\", but Percy beats him to it\n with:", "Brutal grabs Percy by the ears, twisting hard. Percy lets out\n a shriek--not just of pain, but a dismayed understanding that\n he's not going to bluster his way out of this one.", "Percy strolls past, exits to the execution chamber. Del is\n still screaming, all his pent-up terror and grief pouring out\n at the dying mouse. And then comes a soft, urgent voice:", "throat. Percy squeals like a pig in a slaughter-chute,\n thinking he's gonna die. The guards scramble, drawing their", "Paul turns back, helpless. The other guards are trading wild\n looks, unable to believe what's happening. Even Percy looks\n aghast--he was expecting something, but not this.", "...until Percy reappears.\n\n PERCY\n You switched them! You switched\n them somehow, you bastards!", "Percy jerks his arms up before him. They get the straitjacket\n on him within seconds. Percy turns to Paul on the verge of\n tears. Softly:", "so badly...well, John could feel\n it, you know...and I think a tiny\n part of whatever was inside of him\n just leapt out...", "...and Billy lets go, stepping back with his hands raised,\n laughing. Percy darts across the Mile in terror and cringes\n against the cell opposite, breathing so loud and fast it\n almost sounds like sobbing.", "Percy loses it, kicking and punching the restraint room door\n in a screaming rage as we\n\n FADE TO:\n\n INT. E BLOCK - DAY" ], [ "PAUL\n You, Percy. Always you.\n\n Paul brushes past him, but:", "Paul says nothing, just pulls a spool from his pocket. Mr.\n Jingles might be old, but he's as obsessed as ever. He gets\n ready to fetch, eyes riveted to the spool. Softly:", "Paul enters, sees ELAINE CONNELLY sitting with a few other\n ladies, sipping tea. She's 80, refined and elegant, his best", "PAUL\n Hey. Wake up, old boy. Wake up.\n\n Elaine's breath catches in her throat...", "PAUL\n I haven't spoken of these things\n in a long time, Ellie. Over sixty\n years.\n\n She reaches out, gently takes his hand.", "Paul comes into view, spry for his age, murmurs an occasional\n greeting.\n\n INT. BREAKFAST ROOM - MORNING", "...and Paul sees:\n\n The Detterick twins. Kathe and Cora. Laughing and playing\n hopscotch in the dust under a later afternoon sun...", "Paul is wide awake, staring at the dark. Jan can sense him\n brooding. She rolls over sleepily.", "PAUL\n (softly)\n But he loves it so much.\n\n He glances around at the shack with a sad smile.", "PAUL\n The math doesn't work, does it?\n\n She shakes her head. Paul thinks for a moment, comes to a\n decision.", "Paul approaches the back door, returning from his walk. He\n reaches for the knob...and a figure in white lunges from", "He raises his hand, making biting motions with his fingers.\n\n BURT\n You understand?\n\n Paul says nothing. Burt gazes out again. Softly:", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "They all exit. As soon as he's alone, Paul gives in to the\n pain, holding his crotch and sinking to his knees with a", "PAUL\n You get that one for free. But\n that's the last one.\n\n Paul walks away. Billy laughs, hollering after him:", "Empty and silent. Young Paul walks the Mile alone, listening\n to the quiet. He pauses, seeing something. A whisper:\n\n PAUL\n Mr. Jingles?", "PAUL\n Mr. Dolan and I were...chatting.\n About the weather. I think we're\n through now.\n\n Brad lets Paul loose, leans close:", "PAUL\n Because he's a six-foot-eight-inch\n baldheaded black man with barely\n enough brains to feed himself. How", "PAUL\n We see that.\n\n DEL\n Watch dis! Watch what he do!", "Paul is staring out the windows, pensive and drained. It's\n raining now, pattering the glass and the lawn beyond. Elaine\n waits across from him, wishing he would speak. Softly:" ], [ "...and something goes WHUMP through Paul's body. He arches\n back with his mouth agape and arms outstretched as a rush of\n energy seems to pass from Paul through Coffey's hand...", "PAUL\n (eyes narrowing)\n You having a joke on me, John\n Coffey?\n\n COFFEY\n No, sir.", "PAUL\n You go right ahead, John. Take all\n the time you need.\n\n Coffey closes his eyes, frowning in deep concentration.", "could see for myself what Wild\n Bill had done. When John did that,\n a part of whatever power worked\n through him spilled into me.", "He rolls onto his bunk, faces the wall. Paul just stares at\n him, stunned. He turns and walks up the Mile, his stiffness\n and pain now gone. Del watches him go by, also stunned:", "PAUL\n He did it to me too. He put his\n hands on me and took my bladder\n infection away.\n\n The men absorb this. Brutal glances to Jan.", "Paul can't. He reaches out and touches Coffey's hand. Their\n fingers clasp. In that moment, staring into his eyes, Paul\n hears the last thought that ever goes through Coffey's head:", "By now, Paul is blinking back tears. Softly:\n\n PAUL\n Yes, John. I think I can.", "Paul arrives at Coffey's cell. Coffey's on his bunk facing\n the wall. His head comes around, drawn by the aroma. He sits\n up, wipes the tears leaking from his eyes, looks at Paul.", "PAUL\n God, please help us finish what\n we've started, and please welcome\n this man, John Coffey--like the", "Paul trembles violently as if riding the lightning himself,\n pleading for it to stop, but there's one last thing:", "The men are stunned. Paul raises his hand to Percy's face,\n snaps his fingers. Nothing. He tries again, clapping loudly.\n Percy reacts slightly, eyes fluttering, swaying a bit.", "PAUL\n It's yours, John. As you please.\n\n COFFEY\n Well. Fine. I think I'll keep the\n rest, then.", "Paul sits, working himself up to it:\n\n PAUL\n John, I have to ask you something\n very important right now.", "Coffey's eyes are locked on Paul's, riding the lightning all\n the way. He finally slumps. Van Hay kills the current.", "Paul approaches the back door, returning from his walk. He\n reaches for the knob...and a figure in white lunges from", "By now, the guard's jaws are hanging open. Paul's got a funny\n little chill running up his spine.", "Paul and the men hustle Coffey out the front door toward the\n truck, helping him as best they can. He's weak as a baby,\n knees threatening to give out at any moment.", "John lets him take the necklace. Paul pockets it. They start\n to walk the Mile as:", "PAUL\n It's yours, John. You do with it\n as you please." ], [ "MENTAL HOSPITAL. He finally got that transfer.", "...and Billy staggers to his feet in the straitjacket,\n inarticulate with rage, starts throwing himself against the\n door, screaming at the top of his lungs.", "Percy loses it, kicking and punching the restraint room door\n in a screaming rage as we\n\n FADE TO:\n\n INT. E BLOCK - DAY", "DEAN\n He's in the damn restraint room.\n You know he's gonna be chewing the\n padding out of walls and making\n himself a nice little nest.", "PAUL\n The mental hospital?\n\n HAL\n (nods)\n Administration job. Better pay.", "Delacroix begins twisting and jittering in the chair, his\n masked face snapping violently from side to side, his legs\n pistoning up and down in his restraints.", "CUT TO:\n\n INT. BRIAR RIDGE MENTAL HOSPITAL - MORNING", "him down the Mile toward the open restraint room door. Billy\n sees where they intend to put him, resorts to pleading:", "Paul and Brutal drag him semi-conscious from his cell and get\n the straitjacket on him. He comes around as they draw the\n straps tight and pull him to his feet.", "Percy jerks his arms up before him. They get the straitjacket\n on him within seconds. Percy turns to Paul on the verge of\n tears. Softly:", "They stride grimly down the Mile to the restraint room door,\n men on a mission. Coffey's awake now, peering from his cot.\n\n COFFEY\n Saw me a mouse go by.", "They pull him to his feet, undo the straps. He shrugs out of\n the straitjacket and adjusts his clothes, trying to maintain\n a shred of dignity.", "Percy strolls past, exits to the execution chamber. Del is\n still screaming, all his pent-up terror and grief pouring out\n at the dying mouse. And then comes a soft, urgent voice:", "He see the guards throwing him anxious looks. He misreads\n this, holds out his hand so they can smell too. They do it,\n just to make him happy.", "Coffey sits quietly in his cell, a solitary firefly flitting\n in circles around his finger. Paul and the men appear. The\n firefly flits away, vanishing through Coffey's tiny window.", "The men follow Paul onto the Mile. By now, Del is CACKLING\n WILDLY in his cell. Brutal shoots Paul a look--has he gone\n insane? Paul gestures \"see for yourself.\"", "No answer. Just more giggling. Paul rises, walks down the\n Mile to Delacroix's cell--and stops, staring in through the\n bars.\n\n PAUL'S INNER OFFICE", "Brutal helps Paul toss Billy headlong into the padded room.\n They slam the door...\n\n RESTRAINT ROOM", "sits quietly picking his nose in his cell. The mouse appears\n outside the bars, cruising inexorably up the Mile. Del turns\n slowly, watches the mouse go by...\n\n PERCY", "It is Mr. Jingles. The little mouse is peering from under the\n restraint room door. He's come home, looking bedraggled. Paul\n bends down, gently picks him up." ] ]

[ "What does Paul suffer from?", "What is the name of the black man Paul receives?", "What was John Coffey convicted of?", "Who is the nephew of Louisiana's First Lady?", "Who is abusive to \"del\"?", "Why does Del's body explode?", "Who demonstrates supernatural powers?", "How is Paul's bladder problem fixed?", "How does John die?", "What was Paul Edgecomb watching in the assisted-living home which caused him to cry?", "What was Paul's job in 1935?", "What did Paul suffer from?", "What crime was John Coffey convicted for?", "What did Percy fail to do which resulted in Del's painful death?", "What did John do to Melinda Moores?", "Who was actually responsible to the crime John was convicted for?", "Why did John tell Paul that he wanted to die?", "What was John's last request?", "What creature from 1935 still lives in 1999 along with Paul?", "Why did John Coffey Watch \"Top Hat\"?", "Who is Percy a nephew of?", "Why was Paul distraught about killing John?", "What does Paul break on Del's body with his baton?", "Who cries while watching \"Top Hat\" in 1999?", "Who is afraid of the dark?", "What is the last affliction given to Percy from John cause?", "How old is Paul?", "When does Paul receive John's supernatural energy?", "Who was comitted to the insane asylum where he had hoped to work at?" ]

[ [ "Suvior bladder control", "A very bad bladder infection." ], [ "John Coffey", "John Coffey" ], [ "rape and murder of two little white girls", "Raping and murdering two white girls" ], [ "Percy", "Percy Wetmore." ], [ "Percy", "Percy Wetmore" ], [ "Percy failed to soak the sponge ", "because Percy didn't soak the sponge to conduct the electricity into Del's head" ], [ "John", "John" ], [ "John uses magic", "John Coffey uses his supernatural powers to heal him" ], [ "execution", "Electric chair. " ], [ "Top Hat.", "Top Hat" ], [ "He was a prison officer who was in charge of the electric chair and death row.", "Prison officer" ], [ "Severe bladder infection.", "a severe bladder infection" ], [ "The rape and murder of two little white girls.", "Raping and killing 2 young white girls." ], [ "He failed to soak the sponge that would've conducted electricity to Del's head.", "Soak the sponge. " ], [ "He healed her of her brain tumor.", "Healed her of brain tumors" ], [ "Percy Wetmore.", "William Wharton" ], [ "John viewed the world as a cruel place.", "Because the world is a cruel place. " ], [ "Watch Top Hat with the other guards.", "To watch a movie. " ], [ "Mr. Jingles, Del's mouse.", "Mr. Jingles the mouse. " ], [ "John had never seen a movie before.", "As a last request before execution. " ], [ "Louisiana's First Lady.", "Louisiana's First Lady." ], [ "Because John was innocent of the crime he was convicted of.", "Because John is innocent of the crime he was condemned for." ], [ "Del's fingers.", "his fingers" ], [ "Paul.", "Paul Edgecomb" ], [ "John.", "John " ], [ "It causes Percy to shoot William Wharton.", "It causes Percy to shoot and kill a prisoner named William Wharton." ], [ "108 years old.", "108 " ], [ "When John reveals to Paul that William Wharton committed the crime that John was convicted of.", "When he was telling him his story." ], [ "Percy.", "Percy Wetmore" ] ]

[ [ "Dashiell's speedboat BURSTS through another wall. The boat SKIDS\n across the warehouse floor. SCREECHING TO A STOP! A SHAKEN Dashiell\n gets out. Indy RUNS to the window.", "crate, covered with the words \"FRAGILE\". The Golden Hooped Rod is\n obviously STORED inside. Indy is WAITING for someone. He impatiently", "Indiana's eyes DART around the room. He sees the VARIOUS NAZIS.\n WATCHING him. Indy gives a CONFIDENT SMILE. A WORRIED Dashiell\n continues WHISPERING to Indiana.", "Indiana moves to the FIRST DOOR. He REACHES for the handle. The\n Policemen DRAW their pistols. Indy OPENS the door. A LARGE OBJECT", "The Porter POINTS to a section of the barrel that reads: DELIVER TO:\n DR. INDIANA JONES.\n\n PORTER\n That's you, ain't it?", "The Nazi speedboat has already made a SHARP TURN, AVOIDING the\n warehouse. There's NO TIME for Dashiell to TURN. Indy HITS the deck.", "Indiana DOWNS his whiskey. A LAUGHING Kezure does the same. Indiana\n NOTICES something. ON the wall. He JUMPS to his feet. CAMERA PANS TO", "Indiana CLIMBS along the side of the monstrous tank. He searches for a\n PASSAGEWAY inside of the tank.\n\n INT. TANK", "Indiana grabs his WHIP. He KICKS OPEN the warehouse window. He SNAPS\n his wrist. CRACK. The whip SHOOTS forward, ATTACHING ITSELF TO THE", "CAMERA PULLS BACK. We are inside of the museum BOARD ROOM. Marcus\n holds the tattered painting before Indiana, who sits at a desk, still", "INDIANA\n Exactly. We can't let the Nazis get\n to the City first. If they do,\n they'll wipe out one of the greatest\n archeological finds in History!", "INDIANA\n This is Jones. I've got your tank.\n (pause)\n It's all over, pal. You lose.\n\n CUT TO:", "DARK. MUSTY. Surrounded with moss covered STONE WALLS. Located BENEATH\n the Palace. Indy and the others are LOCKED inside. Everyone is SILENT.", "Indy tries to PULL HIMSELF UP. The coffin's ancient stone begins to\n CRUMBLE. Large chunks and pieces FALL from Indy's grasp. He is LOSING\n HIS GRIP.", "Indiana still walks TOWARD the Baron, who is only concerned with\n spreading butter on his bread. Indy SHOUTS.", "INDIANA\n (shaking his head)\n They know he's important to us.\n (holds up ancient\n scroll)\n They'll use him to bargain for this.", "Indiana is RUNNING for his life. Gutterbuhg is DIRECTLY BEHIND him. In\n HOT PURSUIT. The Nazi continuously FIRES ELECTRICAL SHOTS at Indiana.", "Meanwhile, Indy and the others are led to an elaborate PALACE. They\n ascend the several GOLDEN STAIRS, toward the entrance. The palace", "TWO GUARDS lead a shirtless INDIANA JONES onto the playing field. They\n bring Indy to a STEEL CAGE, located directly below Gutterbuhg's box.", "Early AFTERNOON. A RAINY Spring day. Students RUN to the University\n doors, protecting themselves with textbooks.\n\n INT. INDIANA JONES' OFFICE" ], [ "SEVERAL FEET AWAY, Indiana Jones SURFACES. ALIVE. He SWIMS to the\n nearby shore and CLIMBS out of the water. He RUBS his reddened neck,", "Seconds before he plummets into the abyss, Indiana REACHES inside of\n the coffin. He clutches onto a CORPSE'S ARM! Using the arm, Indy\n SWINGS DOWNWARD.", "It STRETCHES along the ground, moving up OVER a wooden fence. Indy\n DIVES and STOMPS OUT the fuse. But Gutterbuhg, who is directly behind", "Indiana still FIGHTS the two Nazis. STRUGGLING to keep his body from\n the tank's deadly machine guns. Indy FLIPS one of the Nazis over his", "Indiana is RUNNING for his life. Gutterbuhg is DIRECTLY BEHIND him. In\n HOT PURSUIT. The Nazi continuously FIRES ELECTRICAL SHOTS at Indiana.", "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy", "INDIANA\n This is Jones. I've got your tank.\n (pause)\n It's all over, pal. You lose.\n\n CUT TO:", "The black knight is only a FEW FEET from Indy. Its deadly axe blade\n INCHES from Indy's face. Indiana MOVES FAST. He JERKS his body", "Indiana runs into a small ALLEYWAY. The burning fuse STRETCHES up\n along the alley wall, moving to the ROOFTOP. Indy begins to climb the", "Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP\n at his arm. But Indy manages to SNATCH the trumpet. He quickly moves", "Indy tries to PULL HIMSELF UP. The coffin's ancient stone begins to\n CRUMBLE. Large chunks and pieces FALL from Indy's grasp. He is LOSING\n HIS GRIP.", "OPENING. The FUSE will BLOW at any second. At the last moment, Indiana\n OVERPOWERS the Pirate. Indy LEAPS to the floor. The Pirate FALLS", "Indiana CRAWLS along the jeep hood. TOWARD the Nazis. Mephisto\n attempts to SHOOT Indy. The bullets ZIP through the windshield.", "Indiana and the other Nazi exchange PUNCHES. Their bodies TUMBLE over\n the rear of the tank. They fall onto a SMALL LEDGE. Above the", "arm SHOOTS OUT. With his last bit of strength, Indy's hand GRABS HOLD\n of a bar. CLUTCHING on for dear life. His body DANGLES over the", "the TNT. Kezure seems CALM. Perfectly WILLING TO DIE. Indy gets\n ANOTHER IDEA. He BLURTS it out to Kezure.", "Indy...is the deadly TIGER PIT. But Indy CAN'T STOP RUNNING, or he'll\n be CRUSHED by the bell. Indiana LEAPS INTO THE PIT! The bell ROLLS", "Indiana has MADE IT ACROSS the Zambesi. He CLIMBS UP the side of the\n Pirate Ship. The Pirates begin to SHOOT at Indy. Indy is HIT. An", "of... He had HEART! And nothin' can\n stop that! Nothin'!\n (we hear the Nazis\n approaching, Indy", "CRASH! The tank is HIT. RATTLING. SHAKING. Everyone is TOSSED. Save\n for Indy, who STAYS at the controls. He continues to GUIDE the tank" ], [ "The large room is filled with skeletons, fossils and statues dating\n back to the DAWN OF MAN. Indiana, his arms cluttered with the soaking", "unknown. But he is one of the most\n influentual religious figures in\n History, and his remains are most\n likely somewhere in the Lost City.", "glass encased TOMB built into the tree. Inside of the tomb, is a TINY\n SKELETON. No more than FOUR FEET TALL. The skeleton is adorned with a", "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "of Sun Wu Kung GLOWS with a BRIGHT LIGHT. The glass surrounding the\n tomb suddenly SHATTERS. The skeleton's head TURNS. Its body RATTLES.", "They have DUG A LARGE HOLE. Pieces of DECAYED BODIES and SKELETONS\n protrude from the surrounding hole. Scraggy STARES at the ghastly", "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy", "A few feet ahead of the graves, rests the LARGEST PEACH TREE in the\n forest. It is much WIDER and TALLER than the others. There is a small,", "The same crazed LAUGH of a man echoes through the crypt. A CHILLED\n Indy TURNS BACK to the door. He is startled to find the crypt door", "Indiana and Bottomley arrive in a circular CHAMBER, located at the far\n end of the crypt. Here, the ringing bell is nearly DEAFENING. The", "Meanwhile, Betsy and Clare work in ANOTHER SECTION of the cave. Clare\n is doing some ARCHEOLOGICAL WORK, studying the various artifacts and", "At the far end of the table, sits a shriveled, white haired ELDERLY\n MAN. It is BARON SEAMUS SEAGROVE III, the fellow whose likeness", "KEZURE\n (points to shrunken\n head)\n No. That is him.", "skeleton, they ATTACH themselves to his body. We see that the shrunken\n Gorillas are actually individual HAIRS on the skeleton's body. As the", "A CORPSE lies before them. The body has a somewhat rubbery appearance,\n as if all of its bones had been BROKEN. The man's pale, greenish face", "of truth in Dr. Clarke's findings...\n then you can lift the veil of\n mystery that has surrounded this\n Chinese legend for Centuries. You", "MARCUS\n Dr. Clarke wants to mount an\n expedition to find the Lost City of", "Bottomley... You go with Doctor\n Jones...\n (finger shaking, points\n to inside of crypt)\n In there.", "others, who also CLIMB OUT from underground. Everyone is UNHURT. SAFE.\n PROTECTED by the ground above. A skeleton has ATTACHED itself to", "INDIANA\n It's uncertain just how much of this\n legend is based in reality...\n Nevertheless, we're hoping to find\n some sign of the Lost Civilization." ], [ "MARCUS\n The woman is Dr. Clare Clarke. The\n famous zoologist. She works in\n Africa, studying animals in their\n natural habitat.", "MAN\n Just like the others...all his bones\n busted...crushed...\n\n OLD MAN\n Whatever's killin' people around\n here ain't human.", "CLARE\n There. There. He's a very disturbed\n man.", "CLARE\n I imitated the sound of a Lion\n Mother calling her babies.\n\n Betsy is IMPRESSED. Indiana SMILES. RELIEVED.", "STOPS. His eyes BURN through Betsy.", "MARCUS\n (continuing)\n Three weeks ago, Dr. Clarke\n discovered that cute little", "The woman SHOOTS FORWARD. The police and the townspeople are right\n BEHIND her. A curious Indiana FOLLOWS.", "BETSY\n His girlfriend.\n\n CLARE\n (revolted)\n A child!", "CLARE\n Will they be following us?\n\n INDIANA\n Every step of the way.", "Clare has been TIED to a mast pole. Kezure STANDS in front of her. As\n his men BATTLE around him, Kezure leans forward. The drooling Pirate", "lies on the GROUND. DEAD. His body riddled with BULLETS. The SHINY,\n BLACK BOOTS of the three men PASS his body. We notice that one of the", "Insulted, Betsy GOBBLES down her glass of wine and TURNS back to\n Indiana, who is still deeply CONCENTRATING on the scrolls.\n\n UNDER THE TABLE", "DR. CLARE CLARKE. 32 years old. A tall, strikingly BEAUTIFUL woman.\n She is COMMUNICATING with Tyki in sign language.", "Suddenly, they are INTERRUPTED BY A DISTANT SOUND. A LOW, RUMBLING", "It is SCRAGGY. He is wearing DRIVING GOGGLES. He rides a battered,\n bruised MOTORCYCLE, attached to a ricketty SIDECAR. The word \"TAXI\" is", "MOUTHED. SHOCKED. Indiana OPENS his eyes. He SEES Clare WATCHING HIM.\n An ANGRY Clare MARCHES into her room. She SLAMS the door. WE HEAR", "(who we met earlier), are beside him. Gutterbuhg SMILES. His stiff\n right arm EXTENDS from his side. His leather gloved INDEX FINGER is", "ever seen. HALF-HUMAN. HALF-HONKEY. His face is covered with WRINKLES.\n His wide eyes are COAL BLACK. PROBING. WARM. When he smiles, it is", "Scraggy and Betsy exchange a SHOCKED glance. Clare is also SURPRISED\n by the news. The TNT fuse nears the end...ready to BLOW AT ANY", "DASHIELL, the nightclub owner, is a few feet away. He is driving a\n sleek SPEEDBOAT, its side adorned with the AMERICAN FLAG. Dashiell" ], [ "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "The large room is filled with skeletons, fossils and statues dating\n back to the DAWN OF MAN. Indiana, his arms cluttered with the soaking", "skeleton, they ATTACH themselves to his body. We see that the shrunken\n Gorillas are actually individual HAIRS on the skeleton's body. As the", "Meanwhile, Betsy and Clare work in ANOTHER SECTION of the cave. Clare\n is doing some ARCHEOLOGICAL WORK, studying the various artifacts and", "KEZURE\n (points to shrunken\n head)\n No. That is him.", "MARCUS\n Dr. Clarke wants to mount an\n expedition to find the Lost City of", "NOT made of stone. He appears to be HALF HUMAN... HALF MONKEY. His\n face is WISE. His coal black eyes are PENETRATING. He wears a LION", "Suddenly, the exact sound seems to ECHO FROM THE SKY. It becomes\n LOUDER... LOUDER... But it belongs to A HUNDRED VOICES. The Nazis\n PAUSE. Looking UPWARD. PUZZLED.", "glass encased TOMB built into the tree. Inside of the tomb, is a TINY\n SKELETON. No more than FOUR FEET TALL. The skeleton is adorned with a", "They have DUG A LARGE HOLE. Pieces of DECAYED BODIES and SKELETONS\n protrude from the surrounding hole. Scraggy STARES at the ghastly", "unknown. But he is one of the most\n influentual religious figures in\n History, and his remains are most\n likely somewhere in the Lost City.", "INDIANA\n Enlighten me.\n\n MARCUS\n The pygmy is over 200 years old.", "The same crazed LAUGH of a man echoes through the crypt. A CHILLED\n Indy TURNS BACK to the door. He is startled to find the crypt door", "The woman stops in a CLEARING. She is POINTING ahead. The villagers\n SURROUND her. They STARE ahead, in the direction where the woman\n points. Nearly a mile in the distance, WE SEE", "Indiana TURNS to the others. Eyes WIDE. SHOCKED. But it is obvious\n that NO ONE else has SEEN the apparition. MacGowan notices the PALE\n expression on Indy's face.", "Betsy has an IDEA. She removes the STONE MIRROR from Indiana's pocket.\n\n BETSY\n Maybe he knows what to do with\n this...", "AGAIN, no answer. Indy SWEEPS the flashlight beam across the room. It\n PASSES one of the coffins...then SHOOTS BACK! Indy is met with a\n SHOCKING SIGHT!", "MARCUS\n Dr. Clarke has done a considerable\n amount of testing on the pygmy's\n clothing...his sandals...everything\n was over 200 years old.", "The vibrating is LOUDER. HARDER. The villagers PANIC. They RUN AWAY.\n SCATTERING into the jungle. Indiana and his party are CLUSTERED\n together. Clare EXCLAIMS.", "The Nazis SCREAM. DROPPING their weapons. FALLING to their knees. Each\n soldier is COVERED with birds. They are being TORN TO SHREDS. Clare" ], [ "Indiana CLIMBS along the side of the monstrous tank. He searches for a\n PASSAGEWAY inside of the tank.\n\n INT. TANK", "Meanwhile, Indy and the others are led to an elaborate PALACE. They\n ascend the several GOLDEN STAIRS, toward the entrance. The palace", "Meanwhile, Indiana, Scraggy and Kezure WALK through the cavern. Indy\n is LOOKING around. CURIOUS, he turns to Kezure.", "Indiana and the others are met with an AWESOME SIGHT! Indy STOPS. His\n mouth DROPS OPEN. Clare is equally ASTOUNDED. Betsy and the others", "Behind the open doors, there is only TOTAL DARKNESS. Indiana ENTERS,\n holding the flashlight before him. The Policemen exchange FRIGHTENED", "Indy's flashlight BEAM glazes over the castle's interior. It is a\n STONE PALACE. FILLED with elaborate, antique furnishings, macabre", "Indiana ASCENDS the stairs. SLOWLY. SILENTLY. Toward the LIGHT.\n MacGowan and the others are directly BEHIND Indy. As he makes his way", "Indy's flashlight beam shines ahead, ILLUMINATING the 'mysterious\n object', a WINE BARREL. And inside the room, is a deserted WINE", "Indiana moves to the FIRST DOOR. He REACHES for the handle. The\n Policemen DRAW their pistols. Indy OPENS the door. A LARGE OBJECT", "Indiana and Bottomley arrive in a circular CHAMBER, located at the far\n end of the crypt. Here, the ringing bell is nearly DEAFENING. The", "DARK. MUSTY. Surrounded with moss covered STONE WALLS. Located BENEATH\n the Palace. Indy and the others are LOCKED inside. Everyone is SILENT.", "stairway top, there is ANOTHER DOORWAY. Tyki and the others ENTER.\n Indiana's body is CARRIED through.", "Everyone TURNS. A large STONE DOOR, built into the wall, slowly OPENS.\n Indy and the police stare in AMAZEMENT. The door STOPS. Wide OPEN. A", "Indiana FIGHTS for his life. The VICIOUS dogs tear at his clothing and\n skin. Indy SPOTS something. On the wall ABOVE. Hanging amidst a", "The sound STOPS. Indiana is BOTHERED. DISTURBED. Kezure LEANS forward.\n He points to a CLUSTERED AREA OF JUNGLE. Nearly a MILE in the\n distance.", "Indiana finally LOOKS UP from the papers. He glances at Marcus, then\n LOOKS at the painting. CAMERA DOLLIES INTO Indiana's face. He becomes", "Indiana and the others CONTINUE AHEAD. Moving SLOWLY. CAREFULLY.\n Someone's foot STEPS ON A WOODEN TRIGGER. There is another CREAKING", "Indy's flashlight beam dances across the glass COFFIN TOPS. Decayed\n CORPSES smile from inside, their hands tightly clutching crucifixes.", "Hearing this, the other Policemen exchange TERRIFIED glances. Indiana\n shines his flashlight to a TWISTING, STONE STAIRCASE. The staircase", "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy" ], [ "The large room is filled with skeletons, fossils and statues dating\n back to the DAWN OF MAN. Indiana, his arms cluttered with the soaking", "Indiana and Bottomley arrive in a circular CHAMBER, located at the far\n end of the crypt. Here, the ringing bell is nearly DEAFENING. The", "of dust. Two Medieval SUITS OF ARMOR adorn one wall. A gargantuan\n crystal CHANDELIER hangs above a long, mahogany BANQUET TABLE.", "sculptures and oil paintings. The place is bathed in DUST. Thick\n COBWEBS fill each corner. It is extremely COLD. The men's breaths are", "glass encased TOMB built into the tree. Inside of the tomb, is a TINY\n SKELETON. No more than FOUR FEET TALL. The skeleton is adorned with a", "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "A BEDROOM. Deserted, except for a few pieces of elaborate, ancient\n FURNITURE and a large CANOPY BED. Everything in the room is CAKED with", "skeleton, they ATTACH themselves to his body. We see that the shrunken\n Gorillas are actually individual HAIRS on the skeleton's body. As the", "A beautiful, expansive chamber, filled with TAPESTRIES and ARTWORK.\n Gutterbuhg sits in an elaborate GOLDEN THRONE. He has donned a", "They have DUG A LARGE HOLE. Pieces of DECAYED BODIES and SKELETONS\n protrude from the surrounding hole. Scraggy STARES at the ghastly", "Indy's flashlight BEAM glazes over the castle's interior. It is a\n STONE PALACE. FILLED with elaborate, antique furnishings, macabre", "EMPTY, save for an elaborate MARBLE ALTAR. A dull MIRROR rests on the\n altar. The small mirror is surrounded by a crude, STONE FRAME. The", "A FAMILY CRYPT. Stone COFFINS, with glass covered tops, line the crypt\n walls. Macabre, ghastly RELIGIOUS STATUES decorate the room. Countless", "others, who also CLIMB OUT from underground. Everyone is UNHURT. SAFE.\n PROTECTED by the ground above. A skeleton has ATTACHED itself to", "The same crazed LAUGH of a man echoes through the crypt. A CHILLED\n Indy TURNS BACK to the door. He is startled to find the crypt door", "INT. CRYPT", "of Sun Wu Kung GLOWS with a BRIGHT LIGHT. The glass surrounding the\n tomb suddenly SHATTERS. The skeleton's head TURNS. Its body RATTLES.", "Bottomley... You go with Doctor\n Jones...\n (finger shaking, points\n to inside of crypt)\n In there.", "Indy's flashlight beam dances across the glass COFFIN TOPS. Decayed\n CORPSES smile from inside, their hands tightly clutching crucifixes.", "cavern walls stretch UPWARD. Filled with countless, tiny CAVES.\n Various stone artifacts and ancient untensils are SCATTERED throughout" ], [ "The skeleton takes a FEW STEPS forward, STOPS, and RAISES its arms.\n HIGH in the air. The skeleton OPENS its mouth. Emitting a HIGH PITCHED", "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "skeleton, they ATTACH themselves to his body. We see that the shrunken\n Gorillas are actually individual HAIRS on the skeleton's body. As the", "of Sun Wu Kung GLOWS with a BRIGHT LIGHT. The glass surrounding the\n tomb suddenly SHATTERS. The skeleton's head TURNS. Its body RATTLES.", "Sun Wu Kung has RETURNED to his skeletal form. He TURNS and WALKS back\n to his resting place. The pieces of broken glass RE-ASSEMBLE. SEALING\n the tomb.", "A CORPSE lies before them. The body has a somewhat rubbery appearance,\n as if all of its bones had been BROKEN. The man's pale, greenish face", "They have DUG A LARGE HOLE. Pieces of DECAYED BODIES and SKELETONS\n protrude from the surrounding hole. Scraggy STARES at the ghastly", "Beginning to MOVE. The skeleton STEPS OUT OF THE TOMB.", "Kezure's body CONTORTS. His skin WITHERS... FLAKES... It begins to\n PEEL from his bones. His screams FADE... His eyeballs ROLL OUT of", "The large room is filled with skeletons, fossils and statues dating\n back to the DAWN OF MAN. Indiana, his arms cluttered with the soaking", "others, who also CLIMB OUT from underground. Everyone is UNHURT. SAFE.\n PROTECTED by the ground above. A skeleton has ATTACHED itself to", "As the last Pirate makes his way ACROSS the pit, he DROPS a small bag\n of GOLD COINS. The coins REST a few feet below. DIRECTLY ON TOP of the", "Suddenly, there is a RUMBLING SOUND. Followed by a slight, TREMOR. The\n trees begin to SWAY, as a HOWLING WIND rushes through them. The tomb", "At the far end of the table, sits a shriveled, white haired ELDERLY\n MAN. It is BARON SEAMUS SEAGROVE III, the fellow whose likeness", "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy", "The bells have all COME TO A STOP. They LIE around the coliseum\n ground. STILL. Only one bell GENTLY ROCKS. It slowly TEETERS on the", "There is a LOUD WHOOSH! The candle GOES OUT! Indiana DROPS his\n flashlight. There is TOTAL DARKNESS. We hear the distant, MANICAL", "BOTTOMLEY LIES INSIDE THE COFFIN! DEAD! His face twisted in a GHOULISH\n SMILE. All of his bones BROKEN. His hands are wrapped around a", "glass encased TOMB built into the tree. Inside of the tomb, is a TINY\n SKELETON. No more than FOUR FEET TALL. The skeleton is adorned with a", "from the wound in his chest. He STUMBLES. To his KNEES. His eyes ROLL\n BACK. He FALLS to the ground. His body is STILL. MOTIONLESS." ], [ "Early AFTERNOON. A RAINY Spring day. Students RUN to the University\n doors, protecting themselves with textbooks.\n\n INT. INDIANA JONES' OFFICE", "INDIANA\n What's that you're writing?...\n\n CLARE\n \"The Erotic Adventures Of Indiana\n Jones, Professor Of Perversity\".", "etc. Sitting at a small wooden desk, amidst a mountain of TERM PAPERS,\n is INDIANA JONES. Indy is WEARING a brown three piece suit and", "The Dean STORMS OUT of the room. Indiana GATHERS the wet papers. He\n begins to EXIT the room, EXPLAINING to the students as he makes his\n way through the crowd.", "Indiana GRUMBLES. An amused Dr. Clarke gets back into the car. Indy\n SHOVES Betsy inside. He is FURIOUS.", "Indiana has NO ANSWER for Marcus. Indy PICKS up the painting. A\n THRILLING expression slowly covers Indiana's face. His eyes GLIMMER.", "Indiana finally LOOKS UP from the papers. He glances at Marcus, then\n LOOKS at the painting. CAMERA DOLLIES INTO Indiana's face. He becomes", "INDIANA\n (interrupted by phone)\n Yes, Marcus... I'm still here...\n Just hold on!\n (back to Dean)\n I'm very sorry, sir...", "MARCUS\n (smiles)\n You will not be disappointed,\n Indiana.\n\n CUT TO:", "INDIANA\n This is Jones. I've got your tank.\n (pause)\n It's all over, pal. You lose.\n\n CUT TO:", "way through the crowd. Indiana goes back to his grading, but is\n suddenly INTERRUPTED BY A LOUD TAPPING NOISE. He LOOKS UP. DEAN CLAUDE", "INDIANA\n Yes... Oh, Hello, Marcus... Look,\n can you hold on?...\n (back to Dean)\n You were saying, sir?", "Indiana continues to grade the papers, trying to IGNORE the verbal\n assault. BETSY TUFFET pushes her way to the front. Betsy is Indy's", "Indiana stands on the REAR DECK, shirt WRAPPED around his waist. He is\n SHAVING. CLARE sits a few feet away. WRITING in her journal. Indy\n GLANCES to her. CURIOUS.", "BETSY\n Goodbye, Ind --\n (giggles)\n Doctor Jones!\n\n She EXITS. Indy SIGHS. Again, the obnoxious student SHOUTS.", "The Porter POINTS to a section of the barrel that reads: DELIVER TO:\n DR. INDIANA JONES.\n\n PORTER\n That's you, ain't it?", "INDIANA\n Exactly. We can't let the Nazis get\n to the City first. If they do,\n they'll wipe out one of the greatest\n archeological finds in History!", "INDIANA\n This better be important, Marcus...\n or the museum will soon be\n displaying my bones. My teaching\n career is in danger of extinction.", "Indiana's eyes DART around the room. He sees the VARIOUS NAZIS.\n WATCHING him. Indy gives a CONFIDENT SMILE. A WORRIED Dashiell\n continues WHISPERING to Indiana.", "CAMERA PULLS BACK. We are inside of the museum BOARD ROOM. Marcus\n holds the tattered painting before Indiana, who sits at a desk, still" ], [ "SEVERAL FEET AWAY, Indiana Jones SURFACES. ALIVE. He SWIMS to the\n nearby shore and CLIMBS out of the water. He RUBS his reddened neck,", "It STRETCHES along the ground, moving up OVER a wooden fence. Indy\n DIVES and STOMPS OUT the fuse. But Gutterbuhg, who is directly behind", "Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP\n at his arm. But Indy manages to SNATCH the trumpet. He quickly moves", "Seconds before he plummets into the abyss, Indiana REACHES inside of\n the coffin. He clutches onto a CORPSE'S ARM! Using the arm, Indy\n SWINGS DOWNWARD.", "The black knight is only a FEW FEET from Indy. Its deadly axe blade\n INCHES from Indy's face. Indiana MOVES FAST. He JERKS his body", "INDIANA\n This is Jones. I've got your tank.\n (pause)\n It's all over, pal. You lose.\n\n CUT TO:", "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy", "Indiana still FIGHTS the two Nazis. STRUGGLING to keep his body from\n the tank's deadly machine guns. Indy FLIPS one of the Nazis over his", "of dynamite. Less than FIFTY FEET AHEAD. Still wrestling with\n Gutterbuhg, Indy ROLLS toward the fuse. Indy reaches out and STOPS THE", "CRASH! The tank is HIT. RATTLING. SHAKING. Everyone is TOSSED. Save\n for Indy, who STAYS at the controls. He continues to GUIDE the tank", "OPENING. The FUSE will BLOW at any second. At the last moment, Indiana\n OVERPOWERS the Pirate. Indy LEAPS to the floor. The Pirate FALLS", "FRIGHTENED by the blast. Indiana LEAPS ONTO THE TANK. GRIPPING the\n front section. HOLDING ON for dear life. Moments before he is crushed", "Indiana CRAWLS along the jeep hood. TOWARD the Nazis. Mephisto\n attempts to SHOOT Indy. The bullets ZIP through the windshield.", "Indiana runs into a small ALLEYWAY. The burning fuse STRETCHES up\n along the alley wall, moving to the ROOFTOP. Indy begins to climb the", "Indy tries to PULL HIMSELF UP. The coffin's ancient stone begins to\n CRUMBLE. Large chunks and pieces FALL from Indy's grasp. He is LOSING\n HIS GRIP.", "TIGHTEN... Becoming SMALLER... SMALLER... Until Indy is nearly running\n ALONGSIDE of the rhino. At the exact moment, Indy GRABS HOLD of the", "of... He had HEART! And nothin' can\n stop that! Nothin'!\n (we hear the Nazis\n approaching, Indy", "In desperation, Indy SWIMS downward. Looking for an ALTERNATE ESCAPE.\n But there is NO BOTTOM in sight. Indy's eyes BULGE. His face loses", "The tank FIRES. The blast is LOW. The ground in front of Indy and the\n rhino EXPLODES. A cloud of dust ERUPTS.\n\n INT. TANK", "Indiana is RUNNING for his life. Gutterbuhg is DIRECTLY BEHIND him. In\n HOT PURSUIT. The Nazi continuously FIRES ELECTRICAL SHOTS at Indiana." ], [ "INT. WAREHOUSE", "Bottomley... You go with Doctor\n Jones...\n (finger shaking, points\n to inside of crypt)\n In there.", "The Porter POINTS to a section of the barrel that reads: DELIVER TO:\n DR. INDIANA JONES.\n\n PORTER\n That's you, ain't it?", "Dashiell's speedboat BURSTS through another wall. The boat SKIDS\n across the warehouse floor. SCREECHING TO A STOP! A SHAKEN Dashiell\n gets out. Indy RUNS to the window.", "MacGowan is CALLING for Hennesey. Indy DASHES to a door along the far\n wall. He OPENS it. It leads into a DARK BASEMENT. The sound of the", "lies on the GROUND. DEAD. His body riddled with BULLETS. The SHINY,\n BLACK BOOTS of the three men PASS his body. We notice that one of the", "Behind the open doors, there is only TOTAL DARKNESS. Indiana ENTERS,\n holding the flashlight before him. The Policemen exchange FRIGHTENED", "A CORPSE lies before them. The body has a somewhat rubbery appearance,\n as if all of its bones had been BROKEN. The man's pale, greenish face", "compound. Indy gets to his FEET. He LIFTS his gun. Ready to SHOOT. But\n the Nazis are running behind SEVERAL ROWS OF CAGES, filled with", "DARK. MUSTY. Surrounded with moss covered STONE WALLS. Located BENEATH\n the Palace. Indy and the others are LOCKED inside. Everyone is SILENT.", "Standing inside, is the figure of the MYSTERIOUS CREW MEMBER. The\n TRAITOR. His face is HIDDEN in the shadows. Again, he RADIOS back to", "SLIDES a few feet, revealing an OPENING BENEATH THE FLOOR. A STAIRCASE\n leads into the opening. Gutterbuhg DESCENDS the stairs.", "The injured, wobbling tank moves OUT OF THE CLOUDS. Arriving around\n the corner from the MOUNTAIN TOP. The countless dark figures continue", "INDIANA\n This is Jones. I've got your tank.\n (pause)\n It's all over, pal. You lose.\n\n CUT TO:", "AGAIN, no answer. Indy SWEEPS the flashlight beam across the room. It\n PASSES one of the coffins...then SHOOTS BACK! Indy is met with a\n SHOCKING SIGHT!", "Clare OPENS a door at the rear of the cage. It LEADS into another\n room, directly behind the CAGE. Clare and Indiana ENTER. Scraggy STAYS", "Hearing this, the other Policemen exchange TERRIFIED glances. Indiana\n shines his flashlight to a TWISTING, STONE STAIRCASE. The staircase", "Indy's flashlight beam shines ahead, ILLUMINATING the 'mysterious\n object', a WINE BARREL. And inside the room, is a deserted WINE", "sculptures and oil paintings. The place is bathed in DUST. Thick\n COBWEBS fill each corner. It is extremely COLD. The men's breaths are", "The large room is filled with skeletons, fossils and statues dating\n back to the DAWN OF MAN. Indiana, his arms cluttered with the soaking" ], [ "INDIANA\n What's that you're writing?...\n\n CLARE\n \"The Erotic Adventures Of Indiana\n Jones, Professor Of Perversity\".", "Indiana ASCENDS the stairs. SLOWLY. SILENTLY. Toward the LIGHT.\n MacGowan and the others are directly BEHIND Indy. As he makes his way", "Indiana GRUMBLES. An amused Dr. Clarke gets back into the car. Indy\n SHOVES Betsy inside. He is FURIOUS.", "They exchange a handshake and a SMILE. Immediately ATTRACTED to each\n other.\n\n PORTER (O.S.)\n Indiana Jones! Calling passenger\n Indiana Jones!", "Indiana DRIVES. UNFAMILIAR with the controls. The tank is CROWDED with\n everyone. Betsy and Clare sit BESIDE Indy. Gutterbuhg is DIRECTLY", "CLARE\n (puzzled, to Indy)\n Your daughter?\n\n INDIANA\n My assistant.", "Indiana STARES at the painting of Sun Wu Kung.\n\n MARCUS\n Indiana... Can you afford to pass up\n the single most important adventure\n of your life?", "An almost PERFECT PATH has been cleared through the thick Jungle.\n Indiana and the others RUN through the path. Indy SUDDENLY PAUSES.", "Indiana still walks TOWARD the Baron, who is only concerned with\n spreading butter on his bread. Indy SHOUTS.", "A group of pygmies CARRY the limp body of Indiana Jones out of the\n coliseum. They GENTLY LOWER Indy's body to the ground. Clare and Betsy", "Indiana TURNS. A ship PORTER walks through the crowd, pushing a LARGE\n BARREL on a dolly. Indy WAVES to the Porter. The Porter STOPS in front\n of him.", "Early AFTERNOON. A RAINY Spring day. Students RUN to the University\n doors, protecting themselves with textbooks.\n\n INT. INDIANA JONES' OFFICE", "INDIANA\n What the hell's goin' on?\n\n Sun Wu Kung, looking very PLEASED with himself, stands BEHIND Indiana.\n Clare SMILES at Indy.", "etc. Sitting at a small wooden desk, amidst a mountain of TERM PAPERS,\n is INDIANA JONES. Indy is WEARING a brown three piece suit and", "Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP\n at his arm. But Indy manages to SNATCH the trumpet. He quickly moves", "Meanwhile, Indy and the others are led to an elaborate PALACE. They\n ascend the several GOLDEN STAIRS, toward the entrance. The palace", "Indiana TURNS. BETSY and CLARE walk toward him. Indy LOOKS at Betsy.\n PUZZLED.\n\n INDIANA\n Where're your bags?", "The Porter POINTS to a section of the barrel that reads: DELIVER TO:\n DR. INDIANA JONES.\n\n PORTER\n That's you, ain't it?", "Indiana stands on the REAR DECK, shirt WRAPPED around his waist. He is\n SHAVING. CLARE sits a few feet away. WRITING in her journal. Indy\n GLANCES to her. CURIOUS.", "Indiana and the others are met with an AWESOME SIGHT! Indy STOPS. His\n mouth DROPS OPEN. Clare is equally ASTOUNDED. Betsy and the others" ], [ "Indiana's eyes DART around the room. He sees the VARIOUS NAZIS.\n WATCHING him. Indy gives a CONFIDENT SMILE. A WORRIED Dashiell\n continues WHISPERING to Indiana.", "Gutterbuhg STEPS BACK. Suddenly FRIGHTENED. Scraggy ORDERS the guards\n to FREE Indiana. The guards hurriedly UNTIE Indy from the buffalo.", "A burly POSTMAN stands in the doorway, holding a thick, enormous BROWN\n ENVELOPE. Indy MOTIONS to the postman. The Postman tries to MAKE his", "switchblade from his pocket. He ATTACKS Indy's CLENCHED FINGERS with\n the knife. Indy begins to LOSE HIS GRIP. His body INCHES toward the", "Indiana CRAWLS along the jeep hood. TOWARD the Nazis. Mephisto\n attempts to SHOOT Indy. The bullets ZIP through the windshield.", "Indiana SLEEPS here. In a HAMMOCK. The vibration WAKES Indy. As he\n moves to climb out of the hammock, a FIGURE LEAPS ON TOP OF HIM!\n BETSY.", "Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP\n at his arm. But Indy manages to SNATCH the trumpet. He quickly moves", "Indiana is RUNNING for his life. Gutterbuhg is DIRECTLY BEHIND him. In\n HOT PURSUIT. The Nazi continuously FIRES ELECTRICAL SHOTS at Indiana.", "Indiana AIMS his pistol at Gutterbuhg. But suddenly, a SHOT WHIZZES by\n Indy's head. Followed by ANOTHER. And ANOTHER. COMING from behind.", "Indiana continues to CORRECT the papers. Suddenly, there is a CREAKING\n NOISE. Indy TURNS. His face goes WHITE. He runs OFF SCREEN.", "Indiana CLIMBS along the side of the monstrous tank. He searches for a\n PASSAGEWAY inside of the tank.\n\n INT. TANK", "Indiana still walks TOWARD the Baron, who is only concerned with\n spreading butter on his bread. Indy SHOUTS.", "her away. Betsy TRIES to hold his hand. Indy SHAKES her loose. Scraggy\n WATCHES all of this, GIGGLING to himself.", "INDIANA\n The Sacred Pai-Cho Scroll.\n\n Kezure GRABS the scroll. Attempting to READ it. Indy INTERRUPTS.", "EXTENDS a hand. The hand GRABS Indy's blanket. Indy WAKES. He LEAPS\n out of bed and TACKLES the mysterious person. Indy FLIPS on the cabin", "Indiana and Klaus CONTINUE their battle. They wrestle only a few feet\n from the ship's large, SPINNING STEEL PROPELLERS. The propellers", "Indiana continues to grade the papers, trying to IGNORE the verbal\n assault. BETSY TUFFET pushes her way to the front. Betsy is Indy's", "faced Gutterbuhg SLAMS his fist on the dashboard. He removes a SHARP\n KNIFE. He hurriedly begins to SLICE through Indy's whip. Trying to", "Indiana ASCENDS the stairs. SLOWLY. SILENTLY. Toward the LIGHT.\n MacGowan and the others are directly BEHIND Indy. As he makes his way", "He stands inside of Nazi Headquarters, huddled over the RADIO. The\n VOICES of Indiana and Clare echo over the speaker. Gutterbuhg\n FURIOUSLY transcribes the conversation." ], [ "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy", "Indy tries to PULL HIMSELF UP. The coffin's ancient stone begins to\n CRUMBLE. Large chunks and pieces FALL from Indy's grasp. He is LOSING\n HIS GRIP.", "Indy manages to GRAB HOLD of a stone coffin. His fingers tightly GRIP\n the coffin's edge. Indiana LOOKS DOWN. Beneath him, is a SEVERAL", "The same crazed LAUGH of a man echoes through the crypt. A CHILLED\n Indy TURNS BACK to the door. He is startled to find the crypt door", "Seconds before he plummets into the abyss, Indiana REACHES inside of\n the coffin. He clutches onto a CORPSE'S ARM! Using the arm, Indy\n SWINGS DOWNWARD.", "begins to SETTLE. The graveyard ground suddenly BUCKLES. MOVING. A\n HAND shoots out. Indiana CLIMBS OUT of the dirt. He is FOLLOWED by the", "KEZURE joins the others. CAMERA PULLS BACK to an extremely LONG SHOT.\n The entire village GATHERS around Indiana's body. Everyone is SOLEMN.", "AGAIN, no answer. Indy SWEEPS the flashlight beam across the room. It\n PASSES one of the coffins...then SHOOTS BACK! Indy is met with a\n SHOCKING SIGHT!", "Indiana and the others stand in the LARGE GRAVEYARD. SHOVELS in hand.", "Indy and Bottomley TURN to the crypt door. It begins to CLOSE! The two\n men DASH FORWARD. The door CONTINUES to close. Indy and Bottomley are", "DARK. MUSTY. Surrounded with moss covered STONE WALLS. Located BENEATH\n the Palace. Indy and the others are LOCKED inside. Everyone is SILENT.", "Indiana GRUMBLES. An amused Dr. Clarke gets back into the car. Indy\n SHOVES Betsy inside. He is FURIOUS.", "Indiana and the other Nazi exchange PUNCHES. Their bodies TUMBLE over\n the rear of the tank. They fall onto a SMALL LEDGE. Above the", "Indiana CLIMBS along the side of the monstrous tank. He searches for a\n PASSAGEWAY inside of the tank.\n\n INT. TANK", "Indiana ASCENDS the stairs. SLOWLY. SILENTLY. Toward the LIGHT.\n MacGowan and the others are directly BEHIND Indy. As he makes his way", "The pygmies begin to LOWER the dead bodies, including Indiana and\n Bohbala, into the ground. Tyki reads from ANCIENT SCRIPTURE. Scraggy", "Dashiell's speedboat BURSTS through another wall. The boat SKIDS\n across the warehouse floor. SCREECHING TO A STOP! A SHAKEN Dashiell\n gets out. Indy RUNS to the window.", "Indiana CRAWLS along the jeep hood. TOWARD the Nazis. Mephisto\n attempts to SHOOT Indy. The bullets ZIP through the windshield.", "Indy interrupts by PUSHING SCRAGGY INTO THE OPEN GRAVE. Scraggy falls\n into the ARMS OF A SKELETON. He SCREAMS.", "Indiana and Bottomley arrive in a circular CHAMBER, located at the far\n end of the crypt. Here, the ringing bell is nearly DEAFENING. The" ], [ "Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP\n at his arm. But Indy manages to SNATCH the trumpet. He quickly moves", "MARCUS\n The woman is Dr. Clare Clarke. The\n famous zoologist. She works in\n Africa, studying animals in their\n natural habitat.", "CLARE\n (puzzled, to Indy)\n Your daughter?\n\n INDIANA\n My assistant.", "The Mastiffs come to their SENSES. They DART after Indy. Mouths\n FOAMING.\n\n Baron Seagrove continues to DINE, still IGNORING the action.", "Indiana GRUMBLES. An amused Dr. Clarke gets back into the car. Indy\n SHOVES Betsy inside. He is FURIOUS.", "BETSY\n (pointing to Clare)\n Hey, Indy... Who's the babe?\n\n CLARE\n Your intellectual and emotional\n superior.", "A dirty, unkempt Betsy LEAPS OUT OF THE BARREL! She THROWS her arms\n around Indy.\n\n BETSY\n My precious!", "SCRAGGY\n He thank us...for returning his son.\n\n Indiana and the others SMILE. Betsy WHIPSERS to Indy.", "INDIANA\n What's that you're writing?...\n\n CLARE\n \"The Erotic Adventures Of Indiana\n Jones, Professor Of Perversity\".", "BETSY\n Goodbye, Ind --\n (giggles)\n Doctor Jones!\n\n She EXITS. Indy SIGHS. Again, the obnoxious student SHOUTS.", "CLARE\n I imitated the sound of a Lion\n Mother calling her babies.\n\n Betsy is IMPRESSED. Indiana SMILES. RELIEVED.", "BETSY\n Hello, Ind --\n (giggle)\n Doctor Jones.\n\n INDIANA\n Not now, Betsy.", "BETSY\n Mmmm, Indy. I love it when you don't\n shave. It's so sexy!", "A VOICE interrupts. In the DISTANCE.\n\n MACGOWAN (O.S.)\n Doctor Jones!... Doctor Jones !...", "Indiana TURNS. BETSY and CLARE walk toward him. Indy LOOKS at Betsy.\n PUZZLED.\n\n INDIANA\n Where're your bags?", "display of stuffed animal heads, is a HUNTER'S TRUMPET. Indy STRUGGLES\n to his knees. Trying to REACH for the horn. But the dogs are still", "her away. Betsy TRIES to hold his hand. Indy SHAKES her loose. Scraggy\n WATCHES all of this, GIGGLING to himself.", "Indiana continues to grade the papers, trying to IGNORE the verbal\n assault. BETSY TUFFET pushes her way to the front. Betsy is Indy's", "Indiana FIGHTS for his life. The VICIOUS dogs tear at his clothing and\n skin. Indy SPOTS something. On the wall ABOVE. Hanging amidst a", "The FIRST MASTIFF leaps at Indy. Indiana quickly DRAPES the curtain\n OVER the hound. Indy ties a large KNOT in the open curtain end. The\n dog is TRAPPED." ], [ "Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP\n at his arm. But Indy manages to SNATCH the trumpet. He quickly moves", "CLARE\n (puzzled, to Indy)\n Your daughter?\n\n INDIANA\n My assistant.", "Indiana GRUMBLES. An amused Dr. Clarke gets back into the car. Indy\n SHOVES Betsy inside. He is FURIOUS.", "of... He had HEART! And nothin' can\n stop that! Nothin'!\n (we hear the Nazis\n approaching, Indy", "Indiana finally LOOKS UP from the papers. He glances at Marcus, then\n LOOKS at the painting. CAMERA DOLLIES INTO Indiana's face. He becomes", "etc. Sitting at a small wooden desk, amidst a mountain of TERM PAPERS,\n is INDIANA JONES. Indy is WEARING a brown three piece suit and", "Indiana STARES at the painting of Sun Wu Kung.\n\n MARCUS\n Indiana... Can you afford to pass up\n the single most important adventure\n of your life?", "INDIANA\n What's that you're writing?...\n\n CLARE\n \"The Erotic Adventures Of Indiana\n Jones, Professor Of Perversity\".", "The Mastiffs come to their SENSES. They DART after Indy. Mouths\n FOAMING.\n\n Baron Seagrove continues to DINE, still IGNORING the action.", "Indiana FIGHTS for his life. The VICIOUS dogs tear at his clothing and\n skin. Indy SPOTS something. On the wall ABOVE. Hanging amidst a", "Dashiell's speedboat BURSTS through another wall. The boat SKIDS\n across the warehouse floor. SCREECHING TO A STOP! A SHAKEN Dashiell\n gets out. Indy RUNS to the window.", "INDIANA\n (flattered)\n Really?\n\n BETSY\n But now, I'll think of you as the\n Father I never had.", "Indiana's eyes DART around the room. He sees the VARIOUS NAZIS.\n WATCHING him. Indy gives a CONFIDENT SMILE. A WORRIED Dashiell\n continues WHISPERING to Indiana.", "Meanwhile, Indiana makes certain that his gun is PACKED. He places the\n familiar HAT on his head and begins to CLOSE the suitcase.", "SCRAGGY\n This time, it is very close, Indy.\n Very close!", "Indiana stands on the REAR DECK, shirt WRAPPED around his waist. He is\n SHAVING. CLARE sits a few feet away. WRITING in her journal. Indy\n GLANCES to her. CURIOUS.", "The Porter POINTS to a section of the barrel that reads: DELIVER TO:\n DR. INDIANA JONES.\n\n PORTER\n That's you, ain't it?", "Indiana is SEVERAL FEET AWAY. On the GROUND. ALONE. LOST in the thick\n of DUST. Suddenly, a DARK FIGURE appears. TOWERING over Indiana. The", "Kezure STOPS. He TURNS. Indy WALKS toward Kezure, stopping less than\n TEN FEET from the Pirate King and Clare. Indy's eyes BURN through\n Kezure.", "Gutterbuhg STEPS BACK. Suddenly FRIGHTENED. Scraggy ORDERS the guards\n to FREE Indiana. The guards hurriedly UNTIE Indy from the buffalo." ], [ "lies on the GROUND. DEAD. His body riddled with BULLETS. The SHINY,\n BLACK BOOTS of the three men PASS his body. We notice that one of the", "head. The Nazi falls DIRECTLY IN FRONT of an entire row of machine\n guns. His body does a GROTESQUE DANCE OF DEATH. RIDDLED with bullets.", "from the wound in his chest. He STUMBLES. To his KNEES. His eyes ROLL\n BACK. He FALLS to the ground. His body is STILL. MOTIONLESS.", "from his body. His mechanical arm suddenly EXPLODES. Gutterbuhg's\n charred body FALLS. FACE DOWN. ELECTROCUTED.", "The Nazis SCREAM. DROPPING their weapons. FALLING to their knees. Each\n soldier is COVERED with birds. They are being TORN TO SHREDS. Clare", "gunners. It sends them FLYING against the wall. OUT COLD. The cabin\n fills with SMOKE. Only Gutterbuhg and Tyki REMAIN. A FURIOUS", "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "THE END", "Kezure PUNCHES the crew member, who LOSES HIS BALANCE and FALLS from\n the tree. Going OVER THE EDGE of the ravine. His body DROPS hundreds", "DEADLY FINGER at Tyki. A trembling Tyki DROPS the dagger. The three\n NAZIS walk toward the helpless pygmy.", "The injured, wobbling tank moves OUT OF THE CLOUDS. Arriving around\n the corner from the MOUNTAIN TOP. The countless dark figures continue", "TOO SLOW. The hounds are UPON HIM. TEARING. CLAWING. BITING. They DRAG\n Indy to the floor.", "KEZURE joins the others. CAMERA PULLS BACK to an extremely LONG SHOT.\n The entire village GATHERS around Indiana's body. Everyone is SOLEMN.", "Kezure SMILES and removes his LONG KNIFE. He moves it Gutterbuhg's\n NECK. The snivelling Nazi CRIES OUT.", "INT. TANK\n\n Indiana still attempts to move the tank FORWARD. But the engine begins\n to COUGH. SPUTTER. And DIES.\n\n EXT. MOUNTAIN", "The Nazi wearing the radio HEADPHONES emits a LOUD SCREAM! His\n eardrums BURSTING with the trumpet sound!\n\n CUT TO:", "Indiana and the other Nazi exchange PUNCHES. Their bodies TUMBLE over\n the rear of the tank. They fall onto a SMALL LEDGE. Above the", "A CORPSE lies before them. The body has a somewhat rubbery appearance,\n as if all of its bones had been BROKEN. The man's pale, greenish face", "HIS P.O.V. We see the countless BODIES OF PYGMIES. SPRAWLED on the\n ground. DEAD. The price you pay for FREEDOM. Suddenly, the silence is", "FLIES TOWARD HIM. The biplane DIVES. Moving LOWER. LOWER. Gutterbuhg" ], [ "The large room is filled with skeletons, fossils and statues dating\n back to the DAWN OF MAN. Indiana, his arms cluttered with the soaking", "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "of Sun Wu Kung GLOWS with a BRIGHT LIGHT. The glass surrounding the\n tomb suddenly SHATTERS. The skeleton's head TURNS. Its body RATTLES.", "skeleton, they ATTACH themselves to his body. We see that the shrunken\n Gorillas are actually individual HAIRS on the skeleton's body. As the", "glass encased TOMB built into the tree. Inside of the tomb, is a TINY\n SKELETON. No more than FOUR FEET TALL. The skeleton is adorned with a", "The same crazed LAUGH of a man echoes through the crypt. A CHILLED\n Indy TURNS BACK to the door. He is startled to find the crypt door", "sculptures and oil paintings. The place is bathed in DUST. Thick\n COBWEBS fill each corner. It is extremely COLD. The men's breaths are", "They have DUG A LARGE HOLE. Pieces of DECAYED BODIES and SKELETONS\n protrude from the surrounding hole. Scraggy STARES at the ghastly", "others, who also CLIMB OUT from underground. Everyone is UNHURT. SAFE.\n PROTECTED by the ground above. A skeleton has ATTACHED itself to", "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy", "DARK. MUSTY. Surrounded with moss covered STONE WALLS. Located BENEATH\n the Palace. Indy and the others are LOCKED inside. Everyone is SILENT.", "Indy's flashlight BEAM glazes over the castle's interior. It is a\n STONE PALACE. FILLED with elaborate, antique furnishings, macabre", "Indy's flashlight beam dances across the glass COFFIN TOPS. Decayed\n CORPSES smile from inside, their hands tightly clutching crucifixes.", "AGAIN, no answer. Indy SWEEPS the flashlight beam across the room. It\n PASSES one of the coffins...then SHOOTS BACK! Indy is met with a\n SHOCKING SIGHT!", "Sun Wu Kung PACES through the clearing. He LOOKS into the many graves.\n He is DISTRESSED. TROUBLED. His wrinkled face twists into FURIOUS", "Sun Wu Kung has RETURNED to his skeletal form. He TURNS and WALKS back\n to his resting place. The pieces of broken glass RE-ASSEMBLE. SEALING\n the tomb.", "Indiana and Bottomley arrive in a circular CHAMBER, located at the far\n end of the crypt. Here, the ringing bell is nearly DEAFENING. The", "Sun Wu Kung flings the remaining TWO PEACHES into the GRAVES of\n Indiana and Bohbala. There is a small EXPLOSION...followed by the WARM", "Several GRASS HUTS are scattered throughout this large village.\n Indiana and the others are LED into the village. They PASS the\n penetrating, unfriendly glares of the villagers. Kezure EXPLAINS to\n Indiana.", "EMPTY, save for an elaborate MARBLE ALTAR. A dull MIRROR rests on the\n altar. The small mirror is surrounded by a crude, STONE FRAME. The" ], [ "The large room is filled with skeletons, fossils and statues dating\n back to the DAWN OF MAN. Indiana, his arms cluttered with the soaking", "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy", "The same crazed LAUGH of a man echoes through the crypt. A CHILLED\n Indy TURNS BACK to the door. He is startled to find the crypt door", "of Sun Wu Kung GLOWS with a BRIGHT LIGHT. The glass surrounding the\n tomb suddenly SHATTERS. The skeleton's head TURNS. Its body RATTLES.", "Indy tries to PULL HIMSELF UP. The coffin's ancient stone begins to\n CRUMBLE. Large chunks and pieces FALL from Indy's grasp. He is LOSING\n HIS GRIP.", "skeleton, they ATTACH themselves to his body. We see that the shrunken\n Gorillas are actually individual HAIRS on the skeleton's body. As the", "Sun Wu Kung has RETURNED to his skeletal form. He TURNS and WALKS back\n to his resting place. The pieces of broken glass RE-ASSEMBLE. SEALING\n the tomb.", "AGAIN, no answer. Indy SWEEPS the flashlight beam across the room. It\n PASSES one of the coffins...then SHOOTS BACK! Indy is met with a\n SHOCKING SIGHT!", "Meanwhile, Indy and the others are led to an elaborate PALACE. They\n ascend the several GOLDEN STAIRS, toward the entrance. The palace", "Indiana ASCENDS the stairs. SLOWLY. SILENTLY. Toward the LIGHT.\n MacGowan and the others are directly BEHIND Indy. As he makes his way", "Indiana TURNS to the others. Eyes WIDE. SHOCKED. But it is obvious\n that NO ONE else has SEEN the apparition. MacGowan notices the PALE\n expression on Indy's face.", "glass encased TOMB built into the tree. Inside of the tomb, is a TINY\n SKELETON. No more than FOUR FEET TALL. The skeleton is adorned with a", "The pygmies begin to LOWER the dead bodies, including Indiana and\n Bohbala, into the ground. Tyki reads from ANCIENT SCRIPTURE. Scraggy", "THE SOUND TRACK MUSIC RISES. It is the tomb of the STONE MONKEY KING.\n Clare exchanges an AWE INSPIRED glance with Betsy, then looks to the\n still body of Indiana.", "Bottomley... You go with Doctor\n Jones...\n (finger shaking, points\n to inside of crypt)\n In there.", "Indy manages to GRAB HOLD of a stone coffin. His fingers tightly GRIP\n the coffin's edge. Indiana LOOKS DOWN. Beneath him, is a SEVERAL", "DARK. MUSTY. Surrounded with moss covered STONE WALLS. Located BENEATH\n the Palace. Indy and the others are LOCKED inside. Everyone is SILENT.", "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "CRUCIFIX. Indy STARES in horror. There is a SOUND. FOOTSTEPS. There is\n SOMEONE ELSE in here. Indy's flashlight beam DARTS around the crypt.", "Indiana and Bottomley arrive in a circular CHAMBER, located at the far\n end of the crypt. Here, the ringing bell is nearly DEAFENING. The" ], [ "Standing inside, is the figure of the MYSTERIOUS CREW MEMBER. The\n TRAITOR. His face is HIDDEN in the shadows. Again, he RADIOS back to", "He stands inside of Nazi Headquarters, huddled over the RADIO. The\n VOICES of Indiana and Clare echo over the speaker. Gutterbuhg\n FURIOUSLY transcribes the conversation.", "At the far end of the table, sits a shriveled, white haired ELDERLY\n MAN. It is BARON SEAMUS SEAGROVE III, the fellow whose likeness", "CLARE\n It was you. You're the reason the\n Nazis found us.\n\n The crew member gives an evil SMILE.", "Betsy NODS. The Nazis MOVE CLOSER. Clare looks to the SKY. She begins", "lies on the GROUND. DEAD. His body riddled with BULLETS. The SHINY,\n BLACK BOOTS of the three men PASS his body. We notice that one of the", "DASHIELL\n I don't know what you've done to the\n Nazis. But they are certainly no\n friends of yours.\n\n CUT TO:", "Gutterbuhg turns to a Nazi who sits at a RADIO RECEIVER. The Nazi\n wears HEADPHONES, LISTENING for a transmission. THE LONG, FRIGHTENING", "gathered behind a group of SIX POLICEMEN. The policemen are headed by\n INSPECTOR ANGUS MACGOWAN, a plump, balding fellow, with a veiny,", "Kezure SMILES and removes his LONG KNIFE. He moves it Gutterbuhg's\n NECK. The snivelling Nazi CRIES OUT.", "Dashiell CATCHES UP with the Nazis. The two speedboats travel SIDE BY\n SIDE. Their edges SCRAPE together. SPARKS fly. The recovered Helmut", "DASHIELL\n Enjoying your dinners?...\n\n Everyone NODS, expressing their thanks. Dashiell LEANS close to\n Indiana and WHISPERS.", "inside. They HURRY to Baron Seagrove. Their PISTOLS aimed at him.\n Galbraith HANDCUFFS the Baron. MacGowan looks at the BRUISED, BLOODIED", "SGT. GUTTERBUHG continues to SPY on Indiana. The Nazi HIDES a few feet\n away. In a DARK alleyway.", "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "Clare PUSHES Betsy away. Betsy SPINS and WRAPS HER ARMS around\n Scraggy. Clare watches the Nazi Speedboat DISAPPEAR into the night.", "CLARE\n Your appearance is deceiving.\n\n INDIANA\n Likewise.", "Insulted, Betsy GOBBLES down her glass of wine and TURNS back to\n Indiana, who is still deeply CONCENTRATING on the scrolls.\n\n UNDER THE TABLE", "Through his fluttering eyes, Indiana SEES Gutterbuhg's speedboat\n headed for the ocean liners. Indiana is nearly UNCONSCIOUS. The\n giggling Nazis TIGHTEN the chain around his neck.", "The men MOVE to kill Scraggy, Betsy, Clare and the crew members.\n Suddenly, Kezure emits a LOUD SCREAM. He GRABS his stomach in pain. He" ], [ "SEVERAL FEET AWAY, Indiana Jones SURFACES. ALIVE. He SWIMS to the\n nearby shore and CLIMBS out of the water. He RUBS his reddened neck,", "It STRETCHES along the ground, moving up OVER a wooden fence. Indy\n DIVES and STOMPS OUT the fuse. But Gutterbuhg, who is directly behind", "Indiana runs into a small ALLEYWAY. The burning fuse STRETCHES up\n along the alley wall, moving to the ROOFTOP. Indy begins to climb the", "Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP\n at his arm. But Indy manages to SNATCH the trumpet. He quickly moves", "Indiana FIGHTS for his life. The VICIOUS dogs tear at his clothing and\n skin. Indy SPOTS something. On the wall ABOVE. Hanging amidst a", "Early AFTERNOON. A RAINY Spring day. Students RUN to the University\n doors, protecting themselves with textbooks.\n\n INT. INDIANA JONES' OFFICE", "Seconds before he plummets into the abyss, Indiana REACHES inside of\n the coffin. He clutches onto a CORPSE'S ARM! Using the arm, Indy\n SWINGS DOWNWARD.", "Indy tries to PULL HIMSELF UP. The coffin's ancient stone begins to\n CRUMBLE. Large chunks and pieces FALL from Indy's grasp. He is LOSING\n HIS GRIP.", "Indy manages to GRAB HOLD of a stone coffin. His fingers tightly GRIP\n the coffin's edge. Indiana LOOKS DOWN. Beneath him, is a SEVERAL", "Indiana CLIMBS along the side of the monstrous tank. He searches for a\n PASSAGEWAY inside of the tank.\n\n INT. TANK", "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy", "The tank FIRES. The blast is LOW. The ground in front of Indy and the\n rhino EXPLODES. A cloud of dust ERUPTS.\n\n INT. TANK", "FRIGHTENED by the blast. Indiana LEAPS ONTO THE TANK. GRIPPING the\n front section. HOLDING ON for dear life. Moments before he is crushed", "Priestly HIDES his chuckle. Rebecca THROWS a shirt that obviously\n belongs to Indiana on the desk and STORMS out of the room. Indy shakes", "The tank's top hatch FLIPS OPEN. Indy's HEAD pops out. TWO HAIRY ARMS", "Indiana moves to the FIRST DOOR. He REACHES for the handle. The\n Policemen DRAW their pistols. Indy OPENS the door. A LARGE OBJECT", "OPENING. The FUSE will BLOW at any second. At the last moment, Indiana\n OVERPOWERS the Pirate. Indy LEAPS to the floor. The Pirate FALLS", "Indiana still FIGHTS the two Nazis. STRUGGLING to keep his body from\n the tank's deadly machine guns. Indy FLIPS one of the Nazis over his", "Indiana is RUNNING for his life. Gutterbuhg is DIRECTLY BEHIND him. In\n HOT PURSUIT. The Nazi continuously FIRES ELECTRICAL SHOTS at Indiana.", "etc. Sitting at a small wooden desk, amidst a mountain of TERM PAPERS,\n is INDIANA JONES. Indy is WEARING a brown three piece suit and" ], [ "INDIANA\n (shaking his head)\n They know he's important to us.\n (holds up ancient\n scroll)\n They'll use him to bargain for this.", "KEZURE\n She is a wonderful treasure...\n Eh?...\n\n INDIANA\n We had a deal.", "KEZURE\n Your pathetic lives will be spared.\n For now.\n (scratching his neck)\n But everything we find in the Lost\n City...belongs to ME.", "Sun Wu Kung gives Indiana the GOLDEN HOOPED ROD. Indiana takes the\n PRICELESS ARTIFACT. He STARES at the beautiful rod. He is very MOVED.", "The crew members NOD. STARING at Indiana. Indiana turns to Clare. She\n SMILES.\n\n CLARE\n Tell us all a bedtime story, Doctor\n Jones.", "Indiana finally REMOVES the mechanical bug. He LIFTS it above the\n table. EXAMINING it. Clare is about to ASK a question. Indy INDICATES", "Gutterbuhg STEPS BACK. Suddenly FRIGHTENED. Scraggy ORDERS the guards\n to FREE Indiana. The guards hurriedly UNTIE Indy from the buffalo.", "LIEUT. MEPHISTO answers. Echoing over the SPEAKERS. Indy GRABS the\n microphone. INTERRUPTING.", "INDIANA\n Well, yeah...but...\n\n The Porter DROPS the barrel in front of Indiana and hurriedly WALKS\n back to the ship.", "Indy REACHES OUT. He TOUCHES the sparkling, green ice. He SNAPS back\n his hand. His fingers are BURNT.\n\n INT. BASEMENT", "SUN WU KUNG\n The honor is mine, Doctor Jones. You\n and your friends have saved my city\n from ruin.\n (a pause)\n I would like to return the favor.", "Indiana CLIMBS along the side of the monstrous tank. He searches for a\n PASSAGEWAY inside of the tank.\n\n INT. TANK", "INDIANA\n This is Jones. I've got your tank.\n (pause)\n It's all over, pal. You lose.\n\n CUT TO:", "Indiana STARES at the painting of Sun Wu Kung.\n\n MARCUS\n Indiana... Can you afford to pass up\n the single most important adventure\n of your life?", "Indiana TAKES the controls. But they are completely ALIEN to him. He", "Indiana FIGHTS for his life. The VICIOUS dogs tear at his clothing and\n skin. Indy SPOTS something. On the wall ABOVE. Hanging amidst a", "At the precise moment, Indy picks up a STERLING SILVER PLATE from the\n table top. Indy WHISKS the plate in the air. Toward the ROPE that", "The tank continues to LOSE CONTROL. It no longer SPINS in CIRCLES. It\n is headed STRAIGHT TOWARD the tree filled with Indy's friends.\n\n INT. TANK", "Before Indiana gets into the car, GUTTERBUHG steps out from the\n alleyway. He TOSSES the tiny mechanical COCKROACH at Indiana. The", "of... He had HEART! And nothin' can\n stop that! Nothin'!\n (we hear the Nazis\n approaching, Indy" ], [ "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "Suddenly, the exact sound seems to ECHO FROM THE SKY. It becomes\n LOUDER... LOUDER... But it belongs to A HUNDRED VOICES. The Nazis\n PAUSE. Looking UPWARD. PUZZLED.", "He is seated in NAZI HEADQUARTERS. He repairs his detached, MACHINE\n GUN ARM, which sits on the table before him. Behind Gutterbuhg, a", "FRIGHTENED by the blast. Indiana LEAPS ONTO THE TANK. GRIPPING the\n front section. HOLDING ON for dear life. Moments before he is crushed", "The Nazis SCREAM. DROPPING their weapons. FALLING to their knees. Each\n soldier is COVERED with birds. They are being TORN TO SHREDS. Clare", "The dark figures SHOWER the tank with heavy boulders. The tank's gun\n barrel SNAPS IN TWO. Headlights SMASH. Its body becomes DENTED.\n CRACKED.", "Remember... You are driving our\n tank. We can FOLLOW you anywhere.\n (vehement)\n You are far from defeating us, my", "A CORPSE lies before them. The body has a somewhat rubbery appearance,\n as if all of its bones had been BROKEN. The man's pale, greenish face", "continues to BARREL AHEAD. Many of the Nazis are CRUSHED beneath the\n heavy tank treads. Others DROP their weapons and RUN. FRIGHTENED.", "The tank SPEEDS TOWARD THE ROWS OF CHARGING NAZI TROOPS. The Nazis\n STOP. SHOCKED to see their own tank coming at them. But the tank", "Gutterbuhg turns to a Nazi who sits at a RADIO RECEIVER. The Nazi\n wears HEADPHONES, LISTENING for a transmission. THE LONG, FRIGHTENING", "at the fawn's head. Gutterbuhg and Helmut exchange a chilling LAUGH.\n Tyki stares in HORROR. Klaus CLICKS the luger...ready to SHOOT...", "They have DUG A LARGE HOLE. Pieces of DECAYED BODIES and SKELETONS\n protrude from the surrounding hole. Scraggy STARES at the ghastly", "He stands inside of Nazi Headquarters, huddled over the RADIO. The\n VOICES of Indiana and Clare echo over the speaker. Gutterbuhg\n FURIOUSLY transcribes the conversation.", "On the mountain path, the Nazi tank PASSES DIRECTLY BENEATH Betsy and\n Clare. The two women TURN to the Gorillas. Emitting Gorilla GRUNTS,", "The mysterious figures SURROUND the tank. All are holding ENORMOUS\n BOULDERS over their heads. AIMED at the tank.", "The injured, wobbling tank moves OUT OF THE CLOUDS. Arriving around\n the corner from the MOUNTAIN TOP. The countless dark figures continue", "The tank SHOOTS forward. SPEEDING ahead. An AVALANCHE BEGINS! JUST\n MISSING the tank. Several pounds of ROCKS and DEBRIS fall from above.", "The tank's large barrel FIRES A SHOT at the running group. The blast\n FLIES OVER THEIR HEADS. JUST MISSING everyone. It BLASTS a row of palm\n trees to smithereens.", "head. The Nazi falls DIRECTLY IN FRONT of an entire row of machine\n guns. His body does a GROTESQUE DANCE OF DEATH. RIDDLED with bullets." ], [ "BURSTING through a section of jungle. They arrive on the VAST JUNGLE\n PLAIN. Directly ahead of them, several feet in the distance, is the", "Hundreds of the RAGING animals plow through the jungle. Moving FAST.\n They CRUSH everything in their path.\n\n EXT. MONGOOBOO VILLAGE", "that leads into the jungle. Everyone POURS OUT of the Taxi. ARROWS fly\n by their heads. They DASH through the opening. Into the JUNGLE. The", "The sound STOPS. Indiana is BOTHERED. DISTURBED. Kezure LEANS forward.\n He points to a CLUSTERED AREA OF JUNGLE. Nearly a MILE in the\n distance.", "Early MORNING. The sparkling waters of the Zambesi are lined by thick\n JUNGLE. Sounds of screeching GIBBONS, exotic BIRDS, chattering", "The lions STOP. Inches from Clare. They SURROUND her. Ready to ATTACK.", "FEW FEET ABOVE the stinging scorpions. Indiana begins to CLIMB ACROSS.\n Moving HAND OVER HAND. Everyone hurriedly FOLLOWS. The bamboo tree", "BREATHLESS...FRIGHTENED...they continue to RUN through the jungle. The\n Nazis are a few feet BEHIND THEM. Moving FAST. Getting CLOSER. The", "INT. JUNGLE", "At that moment, directly behind Scraggy and Indy, the jungle ERUPTS!\n The trees SEPARATE. CRASHING to the ground. Making way for some GIANT", "The humans don't stand a CHANCE. Suddenly, Clare STOPS. She TURNS.\n FACING the charging lions. Indiana LOOKS BACK. SCREAMING.", "BAT! It sends the Pirate FLYING UPWARD. HIGH INTO THE AIR! His body is\n THROWN several feet into the jungle.", "Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP\n at his arm. But Indy manages to SNATCH the trumpet. He quickly moves", "SHOOTS out of the jungle. A METAL MONSTROSITY. ONE of a kind. The tank", "Into the THICK of the jungle. The Nazis FOLLOW. In HOT PURSUIT.", "Everyone DASHES FORWARD. RUNNING. The lions are in HOT PURSUIT. FAST.", "CREAKS with their every movement. Their feet DANGLE only INCHES above\n the scorpions. The last Pirate GRABS HOLD of the bamboo tree, just as", "SHOWER OF ARROWS. Scraggy FLOORS the gas. The taxi keeps MOVING AHEAD.\n SPEEDING toward the jungle. Indiana GLARES at Kezure.", "compound. Indy gets to his FEET. He LIFTS his gun. Ready to SHOOT. But\n the Nazis are running behind SEVERAL ROWS OF CAGES, filled with", "with various ANIMALS. The TIGERS, LIONS, GORILLAS and other violent\n creatures, are kept BEHIND BARS. But the LLAMAS, GIRAFFES, DEER and" ], [ "returns to his face. LIFE returns to his body. Indy RISES to his feet.\n He finds himself STANDING in the fountain.", "Indiana ASCENDS the stairs. SLOWLY. SILENTLY. Toward the LIGHT.\n MacGowan and the others are directly BEHIND Indy. As he makes his way", "Gutterbuhg STEPS BACK. Suddenly FRIGHTENED. Scraggy ORDERS the guards\n to FREE Indiana. The guards hurriedly UNTIE Indy from the buffalo.", "KEZURE joins the others. CAMERA PULLS BACK to an extremely LONG SHOT.\n The entire village GATHERS around Indiana's body. Everyone is SOLEMN.", "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy", "GLOW of their bodies. The wound in Indy's chest VANISHES. His eyes POP\n OPEN. To the delight of his friends, Indy STANDS. ALIVE. He is", "Indiana TURNS to the others. Eyes WIDE. SHOCKED. But it is obvious\n that NO ONE else has SEEN the apparition. MacGowan notices the PALE\n expression on Indy's face.", "Sun Wu Kung has RETURNED to his skeletal form. He TURNS and WALKS back\n to his resting place. The pieces of broken glass RE-ASSEMBLE. SEALING\n the tomb.", "AGAIN, no answer. Indy SWEEPS the flashlight beam across the room. It\n PASSES one of the coffins...then SHOOTS BACK! Indy is met with a\n SHOCKING SIGHT!", "LAUGH of a man. It ECHOES through the castle. Indy retrieves the\n flashlight, clicking it back ON. The candle has DISAPPEARED! The laugh", "The vibrating is LOUDER. HARDER. The villagers PANIC. They RUN AWAY.\n SCATTERING into the jungle. Indiana and his party are CLUSTERED\n together. Clare EXCLAIMS.", "Indiana finally REMOVES the mechanical bug. He LIFTS it above the\n table. EXAMINING it. Clare is about to ASK a question. Indy INDICATES", "CLARE\n Cheery thought.\n\n The sound suddenly STOPS. Everyone exchanges a FRIGHTENED, TERRIFIED\n GLANCE. Indiana STANDS.", "The same crazed LAUGH of a man echoes through the crypt. A CHILLED\n Indy TURNS BACK to the door. He is startled to find the crypt door", "The tank continues to LOSE CONTROL. It no longer SPINS in CIRCLES. It\n is headed STRAIGHT TOWARD the tree filled with Indy's friends.\n\n INT. TANK", "Indy tries to PULL HIMSELF UP. The coffin's ancient stone begins to\n CRUMBLE. Large chunks and pieces FALL from Indy's grasp. He is LOSING\n HIS GRIP.", "There is a LOUD WHOOSH! The candle GOES OUT! Indiana DROPS his\n flashlight. There is TOTAL DARKNESS. We hear the distant, MANICAL", "Indy REACHES OUT. He TOUCHES the sparkling, green ice. He SNAPS back\n his hand. His fingers are BURNT.\n\n INT. BASEMENT", "others, who also CLIMB OUT from underground. Everyone is UNHURT. SAFE.\n PROTECTED by the ground above. A skeleton has ATTACHED itself to", "The large room is filled with skeletons, fossils and statues dating\n back to the DAWN OF MAN. Indiana, his arms cluttered with the soaking" ], [ "returns to his face. LIFE returns to his body. Indy RISES to his feet.\n He finds himself STANDING in the fountain.", "bodies. The Gorillas begin to RISE from the ground. HIGH in the air.\n The ectoplasm appears to be CARRYING them toward Sun Wu Kung. As the", "Suddenly, there is a RUMBLING SOUND. Followed by a slight, TREMOR. The\n trees begin to SWAY, as a HOWLING WIND rushes through them. The tomb", "The injured, wobbling tank moves OUT OF THE CLOUDS. Arriving around\n the corner from the MOUNTAIN TOP. The countless dark figures continue", "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "of Sun Wu Kung GLOWS with a BRIGHT LIGHT. The glass surrounding the\n tomb suddenly SHATTERS. The skeleton's head TURNS. Its body RATTLES.", "Sun Wu Kung again RAISES his arms. Green ECOTPLASM again emanates from\n his fingers. The individual strands of HAIR fly from his body. In a", "The vibrating INTENSIFIES. The ground begins to RUMBLE. The\n surrounding trees SHAKE. The villagers POUR out of their huts,", "With nothing left standing, the wildebeest MOVE ON. The village has\n been completely DEVASTATED. Surrounded with a heavy CLOUD OF DUST.", "The bells have all COME TO A STOP. They LIE around the coliseum\n ground. STILL. Only one bell GENTLY ROCKS. It slowly TEETERS on the", "others, who also CLIMB OUT from underground. Everyone is UNHURT. SAFE.\n PROTECTED by the ground above. A skeleton has ATTACHED itself to", "begins to SETTLE. The graveyard ground suddenly BUCKLES. MOVING. A\n HAND shoots out. Indiana CLIMBS OUT of the dirt. He is FOLLOWED by the", "The procession ascends a TWISTING STONE STAIRCASE, that spirals\n upward, where the light becomes BRIGHTER... BRIGHTER... At the", "expression. He RAISES his golden hooped rod to the sky. He SCREAMS.\n His old voice CREAKS and GROANS.", "FEW FEET ABOVE the stinging scorpions. Indiana begins to CLIMB ACROSS.\n Moving HAND OVER HAND. Everyone hurriedly FOLLOWS. The bamboo tree", "dust begins to CLEAR. Revealing a protruding WHITE HORN. More dust\n CLEARS. We see that the figure is a large, BLACK RHINOCEROS! Indy", "Sun Wu Kung flings the remaining TWO PEACHES into the GRAVES of\n Indiana and Bohbala. There is a small EXPLOSION...followed by the WARM", "He begins to SING an unusual hymn. Suddenly, several peaches magically\n FLY from the trees. They congregate ABOVE the golden hooped rod. The", "behind a rock. There is a LOUD EXPLOSION. Rocks and debris FLY THROUGH\n THE AIR. The path is CLEARED.", "Sun Wu Kung PACES through the clearing. He LOOKS into the many graves.\n He is DISTRESSED. TROUBLED. His wrinkled face twists into FURIOUS" ], [ "The large room is filled with skeletons, fossils and statues dating\n back to the DAWN OF MAN. Indiana, his arms cluttered with the soaking", "At the precise moment, Indiana RELEASES the dead arm. He LANDS on a\n ROCKY LEDGE. Located only a few feet BELOW the open crypt floor. Indy", "The same crazed LAUGH of a man echoes through the crypt. A CHILLED\n Indy TURNS BACK to the door. He is startled to find the crypt door", "glass encased TOMB built into the tree. Inside of the tomb, is a TINY\n SKELETON. No more than FOUR FEET TALL. The skeleton is adorned with a", "DARK. MUSTY. Surrounded with moss covered STONE WALLS. Located BENEATH\n the Palace. Indy and the others are LOCKED inside. Everyone is SILENT.", "Bottomley... You go with Doctor\n Jones...\n (finger shaking, points\n to inside of crypt)\n In there.", "their sockets. Only his skeleton REMAINS. It turns BLACK and CRUMBLES\n TO DUST. Only his elaborate clothing REMAINS. The many stolen peaches", "LAUGH of a man. It ECHOES through the castle. Indy retrieves the\n flashlight, clicking it back ON. The candle has DISAPPEARED! The laugh", "skeleton, they ATTACH themselves to his body. We see that the shrunken\n Gorillas are actually individual HAIRS on the skeleton's body. As the", "Indy tries to PULL HIMSELF UP. The coffin's ancient stone begins to\n CRUMBLE. Large chunks and pieces FALL from Indy's grasp. He is LOSING\n HIS GRIP.", "Indiana and Bottomley arrive in a circular CHAMBER, located at the far\n end of the crypt. Here, the ringing bell is nearly DEAFENING. The", "CRUCIFIX. Indy STARES in horror. There is a SOUND. FOOTSTEPS. There is\n SOMEONE ELSE in here. Indy's flashlight beam DARTS around the crypt.", "MARCUS\n Dr. Clarke wants to mount an\n expedition to find the Lost City of", "Bottomley HURRIES to the candle. He REACHES OUT. There is a LOUD\n WHOOSH! The candle flame GOES OUT! Followed by TOTAL DARKNESS! Indy\n TURNS from the door.", "AGAIN, no answer. Indy SWEEPS the flashlight beam across the room. It\n PASSES one of the coffins...then SHOOTS BACK! Indy is met with a\n SHOCKING SIGHT!", "Indy's flashlight BEAM glazes over the castle's interior. It is a\n STONE PALACE. FILLED with elaborate, antique furnishings, macabre", "They have DUG A LARGE HOLE. Pieces of DECAYED BODIES and SKELETONS\n protrude from the surrounding hole. Scraggy STARES at the ghastly", "A SUIT OF ARMOR, located a few feet behind Indy, suddenly TWITCHES.\n Its arm LOWERS. Its head slowly TURNS.", "Indy manages to GRAB HOLD of a stone coffin. His fingers tightly GRIP\n the coffin's edge. Indiana LOOKS DOWN. Beneath him, is a SEVERAL", "The sound STOPS. Indiana is BOTHERED. DISTURBED. Kezure LEANS forward.\n He points to a CLUSTERED AREA OF JUNGLE. Nearly a MILE in the\n distance." ], [ "CLARE\n (puzzled, to Indy)\n Your daughter?\n\n INDIANA\n My assistant.", "MARCUS\n The woman is Dr. Clare Clarke. The\n famous zoologist. She works in\n Africa, studying animals in their\n natural habitat.", "Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP\n at his arm. But Indy manages to SNATCH the trumpet. He quickly moves", "Indiana GRUMBLES. An amused Dr. Clarke gets back into the car. Indy\n SHOVES Betsy inside. He is FURIOUS.", "A dirty, unkempt Betsy LEAPS OUT OF THE BARREL! She THROWS her arms\n around Indy.\n\n BETSY\n My precious!", "BETSY\n (pointing to Clare)\n Hey, Indy... Who's the babe?\n\n CLARE\n Your intellectual and emotional\n superior.", "Indiana TURNS. BETSY and CLARE walk toward him. Indy LOOKS at Betsy.\n PUZZLED.\n\n INDIANA\n Where're your bags?", "Indiana STARES at the painting of Sun Wu Kung.\n\n MARCUS\n Indiana... Can you afford to pass up\n the single most important adventure\n of your life?", "The Mastiffs come to their SENSES. They DART after Indy. Mouths\n FOAMING.\n\n Baron Seagrove continues to DINE, still IGNORING the action.", "Indiana FIGHTS for his life. The VICIOUS dogs tear at his clothing and\n skin. Indy SPOTS something. On the wall ABOVE. Hanging amidst a", "SCRAGGY\n He thank us...for returning his son.\n\n Indiana and the others SMILE. Betsy WHIPSERS to Indy.", "Indiana DRIVES. UNFAMILIAR with the controls. The tank is CROWDED with\n everyone. Betsy and Clare sit BESIDE Indy. Gutterbuhg is DIRECTLY", "The woman SHOOTS FORWARD. The police and the townspeople are right\n BEHIND her. A curious Indiana FOLLOWS.", "Indiana stands on the REAR DECK, shirt WRAPPED around his waist. He is\n SHAVING. CLARE sits a few feet away. WRITING in her journal. Indy\n GLANCES to her. CURIOUS.", "Indiana has NO ANSWER for Marcus. Indy PICKS up the painting. A\n THRILLING expression slowly covers Indiana's face. His eyes GLIMMER.", "Indiana finally LOOKS UP from the papers. He glances at Marcus, then\n LOOKS at the painting. CAMERA DOLLIES INTO Indiana's face. He becomes", "BETSY\n Mmmm, Indy. I love it when you don't\n shave. It's so sexy!", "Indiana is SEVERAL FEET AWAY. On the GROUND. ALONE. LOST in the thick\n of DUST. Suddenly, a DARK FIGURE appears. TOWERING over Indiana. The", "KEZURE\n She is a wonderful treasure...\n Eh?...\n\n INDIANA\n We had a deal.", "Clare WALKS BY the hut. She LOOKS inside. To her, it appears that Indy\n and Betsy are in the middle of a PASSIONATE love scene. She emits a" ], [ "CLARE\n (puzzled, to Indy)\n Your daughter?\n\n INDIANA\n My assistant.", "INDIANA\n What's that you're writing?...\n\n CLARE\n \"The Erotic Adventures Of Indiana\n Jones, Professor Of Perversity\".", "Indiana GRUMBLES. An amused Dr. Clarke gets back into the car. Indy\n SHOVES Betsy inside. He is FURIOUS.", "SCRAGGY\n He thank us...for returning his son.\n\n Indiana and the others SMILE. Betsy WHIPSERS to Indy.", "SEVERAL FEET AWAY, Indiana Jones SURFACES. ALIVE. He SWIMS to the\n nearby shore and CLIMBS out of the water. He RUBS his reddened neck,", "INDIANA\n This is Jones. I've got your tank.\n (pause)\n It's all over, pal. You lose.\n\n CUT TO:", "BETSY\n Goodbye, Ind --\n (giggles)\n Doctor Jones!\n\n She EXITS. Indy SIGHS. Again, the obnoxious student SHOUTS.", "Early AFTERNOON. A RAINY Spring day. Students RUN to the University\n doors, protecting themselves with textbooks.\n\n INT. INDIANA JONES' OFFICE", "etc. Sitting at a small wooden desk, amidst a mountain of TERM PAPERS,\n is INDIANA JONES. Indy is WEARING a brown three piece suit and", "Indiana stands on the REAR DECK, shirt WRAPPED around his waist. He is\n SHAVING. CLARE sits a few feet away. WRITING in her journal. Indy\n GLANCES to her. CURIOUS.", "Indy's fingers are INCHES from the horn. The Mastiffs' sharp claws RIP\n at his arm. But Indy manages to SNATCH the trumpet. He quickly moves", "INDIANA\n What the hell's goin' on?\n\n Sun Wu Kung, looking very PLEASED with himself, stands BEHIND Indiana.\n Clare SMILES at Indy.", "Indiana still walks TOWARD the Baron, who is only concerned with\n spreading butter on his bread. Indy SHOUTS.", "Indiana has NO ANSWER for Marcus. Indy PICKS up the painting. A\n THRILLING expression slowly covers Indiana's face. His eyes GLIMMER.", "MACGOWAN\n Doctor Jones! Try to push!\n\n INT. CRYPT\n\n Indy ANSWERS, taking a STEP BACK.", "Indiana ASCENDS the stairs. SLOWLY. SILENTLY. Toward the LIGHT.\n MacGowan and the others are directly BEHIND Indy. As he makes his way", "Indiana TURNS to the others. Eyes WIDE. SHOCKED. But it is obvious\n that NO ONE else has SEEN the apparition. MacGowan notices the PALE\n expression on Indy's face.", "Indiana finally LOOKS UP from the papers. He glances at Marcus, then\n LOOKS at the painting. CAMERA DOLLIES INTO Indiana's face. He becomes", "Indiana's eyes DART around the room. He sees the VARIOUS NAZIS.\n WATCHING him. Indy gives a CONFIDENT SMILE. A WORRIED Dashiell\n continues WHISPERING to Indiana.", "INDIANA JONES! He stands a FEW FEET away. Holding the WHIP. Indiana\n POINTS to Tyki, angrilly SHOUTING to the Nazis." ] ]

[ "What do the Soviets want Indiana Jones to find in the warehouse?", "How does Indiana Jones survive the nuclear explosion?", "What country was the latest crystal skull found?", "Who is Mutt William's mother?", "Who do the soviets think made the crystal skulls?", "What do Indiana and the others find inside the temple?", "How many crystal skeletons are in the chamber?", "What happens when the final skull is placed on the skeleton?", "What position does Indiana Jones take at Marshall College?", "How does Indiana Jones survive the Atomic bomb blast at the test site?", "What is the number of the warehouse in which the Soviets force Jones to find the alien corpse?", "Who accompanies Indiana Jones to Peru?", "Who tries to steal a letter from Indiana and Mutt?", "In whose grave do Indiana and Mutt find the crystal skull?", "What is the name of Mutt Williams' mother?", "Who is Mutt Williams' father?", "How does Dovchenko die?", "How many crystal skeletons are in the temple in Peru?", "Who brings the crystal skull to the alien skeleton in the temple?", "What character was a double agent secretly working for the Soviets?", "What does Indiana Jones hide in to survive the atomic blast?", "What does Spalko ask for as a reward from the aliens?", "The soviets believe the skull will give them advantage in what type of warfare?", "In the amazon, Jones and his companions must fight off and elude what giant anaimals?", "What happens to the 13 beings once Spalko returns the crystal skull?", "What rises from the debris of the temple once it collapses?", "Where did Harold Oxley find a crystal skull?", "Who is Mutt Williams' mother?", "Who is Indian Jones' son?" ]

[ [ "A Crystal Skull", "alien with crystal skull" ], [ "He hides inside a refrigerator.", "A lead-lined refrigerator." ], [ "Peru", "ten years ago" ], [ "Marion Ravenwood", "Marion Ravenwood." ], [ "Aliens ", "Aliens." ], [ "Ancient artifacts from different civilizations.", "ancient artifacts" ], [ "13", "13" ], [ "A portal opens up.", "the aliens come to life" ], [ "Associate Dean", "associate dean" ], [ "He hides in a lead-lined refrigerator.", "hides in a fridge which was lined with lead" ], [ "51", "51." ], [ "Mutt Williams.", "Mutt." ], [ "KGB agents.", "KGB agents" ], [ "Francisco de Orellana. ", "Francisco de Orellana" ], [ "Marion Ravenwood.", "Marion Ravenwood" ], [ "Indiana Jones.", "Henry Jones III" ], [ "He is eaten by giant ants.", "eaten by giant ants" ], [ "13", "Thirteen." ], [ "Spalko.", "Spalko." ], [ "George \"Mac\" Mchale", "Mac" ], [ "A lead lined refrigerator ", "lead-line refrigerator" ], [ "Knowledge", "Knowledge equal to the aliens'." ], [ "Psychic", "Psychic warfare." ], [ "Ants", "ants" ], [ "They fuse into one", "go thru a portal" ], [ "A flying saucer ", "flying saucer" ], [ "Peru", "Peru." ], [ "Marion Ravenwood", "Marion Ravenswood" ], [ "Mutt Williams", "Mutt" ] ]

[ [ "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "\"And now there is only she to be described. She is my niece; but\nwhen my brother died five years ago and left her alone in the", "\"You are the first who have ever heard my story. My father was a\nschoolmaster in Chesterfield, where I received an excellent", "stories that I have ever listened to. You cannot imagine how\ncomical he was, and I laughed until I was quite weary. Mrs.", "\"Well, now, in considering this case there are two points about\nyoung McCarthy's narrative which struck us both instantly,\nalthough they impressed me in his favour and you against him. One", "\"You will find it rather disconnected, I fear, and there may\nprove to be little relation between the different incidents of\nwhich I speak. On the very first day that I was at the Copper", "narrative which has already run to too great a length by telling\nhow we broke the sad news to the terrified girl, how we conveyed\nher by the morning train to the care of her good aunt at Harrow,", "story which we had listened to in the morning. It was a poky,\nlittle, shabby-genteel place, where four lines of dingy", "Holmes sat in his big armchair with the weary, heavy-lidded\nexpression which veiled his keen and eager nature, while I sat\nopposite to him, and we listened in silence to the strange story\nwhich our visitor detailed to us.", "until your reason breaks down under them and acknowledges me to\nbe right. Now, Mr. Jabez Wilson here has been good enough to call\nupon me this morning, and to begin a narrative which promises to", "the enthusiasm which has prompted you to chronicle, and, if you\nwill excuse my saying so, somewhat to embellish so many of my own\nlittle adventures.\"", "particular.\" He shook hands with us and took his leave. Outside\nthe wind still screamed and the rain splashed and pattered\nagainst the windows. This strange, wild story seemed to have come", "\"Then I'll tell our story right away,\" said the lady. \"Frank here\nand I met in '84, in McQuire's camp, near the Rockies, where pa", "\"You have come to me to tell your story, have you not?\" said he.\n\"You are fatigued with your haste. Pray wait until you have", "characteristics with which I have bored you. So now we must set\nourselves very seriously to finding this gentleman and\nascertaining what part he has played in this little mystery. To", "completed the cure. I shall take up as little of your valuable\ntime as possible, so I shall start at once upon my peculiar\nexperiences.\"", "once by paint. I could tell you tales of cobbler's wax which\nwould disgust you with human nature.' He stepped over to the\nwindow and shouted through it at the top of his voice that the", "Ryder passed his tongue over his parched lips. \"I will tell you\nit just as it happened, sir,\" said he. \"When Horner had been", "On glancing over my notes of the seventy odd cases in which I\nhave during the last eight years studied the methods of my friend\nSherlock Holmes, I find many tragic, some comic, a large number", "\"Away we went then, and we drove for at least an hour. Colonel\nLysander Stark had said that it was only seven miles, but I" ], [ "had been abandoned as hopeless by the official police. From time\nto time I heard some vague account of his doings: of his summons\nto Odessa in the case of the Trepoff murder, of his clearing up", "\"She died just two years ago, and it is of her death that I wish\nto speak to you. You can understand that, living the life which I", "their place? There could be no possible reason. As he loved his\ncousin, however, there was an excellent explanation why he should\nretain her secret--the more so as the secret was a disgraceful", "\"God bless you! You are doing what you can for him and for me.\nBut it is too heavy a task. What was he doing there at all? If\nhis purpose were innocent, why did he not say so?\"", "\"And so do I. It is precisely for that reason that we are going\nto Stoke Moran this day. I want to see whether the objections are\nfatal, or if they may be explained away. But what in the name of\nthe devil!\"", "I have led a life of martyrdom to atone for it. But that my girl\nshould be entangled in the same meshes which held me was more\nthan I could suffer. I struck him down with no more compunction", "\"Very naturally. By the way, about the bird, we were compelled to\neat it.\"\n\n\"To eat it!\" Our visitor half rose from his chair in his\nexcitement.", "statements instead of confining yourself to the task of placing\nupon record that severe reasoning from cause to effect which is\nreally the only notable feature about the thing.\"", "keeping her at home and forbidding her to seek the company of\npeople of her own age. But soon he found that that would not\nanswer forever. She became restive, insisted upon her rights, and", "\"You will observe,\" said Holmes, laying down the volume, \"that\nthe sudden breaking up of the society was coincident with the", "grounds for hope as long as he was dissatisfied with the accepted\nexplanation. He hardly spoke a word the whole way out to the\nsouthern suburb, but sat with his chin upon his breast and his", "\"Ah, of course. He was wrongfully accused of cheating at cards.\"\n\n\"He said that you could solve anything.\"\n\n\"He said too much.\"", "\"Excellent! We shall then look thoroughly into the affair. Of\ncourse there is only one feasible explanation. You have been\nbrought there to personate someone, and the real person is", "\"I would have spoken now had it not been for my dear girl. It\nwould break her heart--it will break her heart when she hears\nthat I am arrested.\"\n\n\"It may not come to that,\" said Holmes.", "\"But the reason is very obvious. The pressure of public opinion\ncan do in the town what the law cannot accomplish. There is no", "The Count shrugged his broad shoulders. \"Then I must begin,\" said\nhe, \"by binding you both to absolute secrecy for two years; at", "\"Away we went then, and we drove for at least an hour. Colonel\nLysander Stark had said that it was only seven miles, but I", "\"But they listened to my story with a smile. I am convinced that\nthe inspector has formed the opinion that the letters are all\npractical jokes, and that the deaths of my relations were really", "which it entailed upon me. There could be no doubt that, as it\nwas a national possession, a horrible scandal would ensue if any\nmisfortune should occur to it. I already regretted having ever", "\"'I am afraid that that is quite impossible,' said I. He had been\nwatching me eagerly out of his small eyes, and I could see a\nshadow pass over his face as I spoke." ], [ "THE ADVENTURES OF SHERLOCK HOLMES\n\nby", "\"You? Who are you? How could you know anything of the matter?\"\n\n\"My name is Sherlock Holmes. It is my business to know what other\npeople don't know.\"", "GUTENBERG EBOOK THE ADVENTURES OF SHERLOCK HOLMES ***\n\n\n\n\nProduced by an anonymous Project Gutenberg volunteer and Jose Menendez", "after my night of adventure. Sherlock Holmes was a man, however,\nwho, when he had an unsolved problem upon his mind, would go for\ndays, and even for a week, without rest, turning it over,", "End of the Project Gutenberg EBook of The Adventures of Sherlock Holmes, by \nArthur Conan Doyle", "\"Good-morning, madam,\" said Holmes cheerily. \"My name is Sherlock\nHolmes. This is my intimate friend and associate, Dr. Watson,", "\"My dear fellow,\" said Sherlock Holmes as we sat on either side\nof the fire in his lodgings at Baker Street, \"life is infinitely", "\"The case has been an interesting one,\" remarked Holmes when our\nvisitors had left us, \"because it serves to show very clearly how\nsimple the explanation may be of an affair which at first sight", "\"As a rule,\" said Holmes, \"the more bizarre a thing is the less\nmysterious it proves to be. It is your commonplace, featureless", "\"And what do you think of it all, Watson?\" asked Sherlock Holmes,\nleaning back in his chair.\n\n\"It seems to me to be a most dark and sinister business.\"", "\"It may turn out to be of more interest than you think. You\nremember that the affair of the blue carbuncle, which appeared to\nbe a mere whim at first, developed into a serious investigation.\nIt may be so in this case, also.\"", "\"The facts are briefly these: Some five years ago, during a\nlengthy visit to Warsaw, I made the acquaintance of the well-known\nadventuress, Irene Adler. The name is no doubt familiar to you.\"", "On glancing over my notes of the seventy odd cases in which I\nhave during the last eight years studied the methods of my friend\nSherlock Holmes, I find many tragic, some comic, a large number", "For answer Holmes clapped the hat upon his head. It came right\nover the forehead and settled upon the bridge of his nose. \"It is\na question of cubic capacity,\" said he; \"a man with so large a\nbrain must have something in it.\"", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "I had called upon my friend, Mr. Sherlock Holmes, one day in the\nautumn of last year and found him in deep conversation with a", "Of all the problems which have been submitted to my friend, Mr.\nSherlock Holmes, for solution during the years of our intimacy,\nthere were only two which I was the means of introducing to his", "\"This is my friend, Dr. Watson. He has been of most vital use to\nme in several of my cases, and a lucky chance has made it\npossible for me to bring him out and associate him with this\ninvestigation.\"", "\"Sherlock Holmes, Esq. To be left till called for.\" My friend\ntore it open and we all three read it together. It was dated at\nmidnight of the preceding night and ran in this way:", "He held up a piece of white cardboard about the size of a sheet\nof note-paper. It read in this fashion:\n\n THE RED-HEADED LEAGUE\n\n IS" ], [ "\"Pray take a seat,\" said Holmes. \"This is my friend and\ncolleague, Dr. Watson, who is occasionally good enough to help me\nin my cases. Whom have I the honour to address?\"", "\"You could not possibly have come at a better time, my dear\nWatson,\" he said cordially.\n\n\"I was afraid that you were engaged.\"\n\n\"So I am. Very much so.\"", "\"Good-morning, madam,\" said Holmes cheerily. \"My name is Sherlock\nHolmes. This is my intimate friend and associate, Dr. Watson,", "\"This is my friend, Dr. Watson. He has been of most vital use to\nme in several of my cases, and a lucky chance has made it\npossible for me to bring him out and associate him with this\ninvestigation.\"", "Watson, and as the clock makes it a few minutes after four, I\nhave no doubt that this will prove to be our noble client. Do not\ndream of going, Watson, for I very much prefer having a witness,", "All day I was engaged in my professional work, and it was late in\nthe evening before I returned to Baker Street. Sherlock Holmes\nhad not come back yet. It was nearly ten o'clock before he", "\"You have made your position very clear to me,\" said Holmes.\n\"This is my friend, Dr. Watson, before whom you can speak as\nfreely as before myself. Kindly tell us now all about your\nconnection with Mr. Hosmer Angel.\"", "\"My God! It's Watson,\" said he. He was in a pitiable state of\nreaction, with every nerve in a twitter. \"I say, Watson, what\no'clock is it?\"\n\n\"Nearly eleven.\"", "There was a long silence, broken only by his heavy breathing and\nby the measured tapping of Sherlock Holmes' finger-tips upon the\nedge of the table. Then my friend rose and threw open the door.", "\"Sherlock Holmes, Esq. To be left till called for.\" My friend\ntore it open and we all three read it together. It was dated at\nmidnight of the preceding night and ran in this way:", "Sherlock Holmes and I surveyed this curt announcement and the\nrueful face behind it, until the comical side of the affair so\ncompletely overtopped every other consideration that we both\nburst out into a roar of laughter.", "\"Well, Watson,\" said Holmes when our visitor had left us, \"what\ndo you make of it all?\"\n\n\"I make nothing of it,\" I answered frankly. \"It is a most\nmysterious business.\"", "\"We have had the pleasure of making the doctor's acquaintance,\"\nsaid Holmes, and in a few words he sketched out what had\noccurred. Miss Stoner turned white to the lips as she listened.", "I had called upon my friend, Mr. Sherlock Holmes, one day in the\nautumn of last year and found him in deep conversation with a", "Watson. Draw up a little to the fire, and we will talk this\nmatter over.\"", "Sherlock Holmes' quick eye took in my occupation, and he shook\nhis head with a smile as he noticed my questioning glances.", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "Sherlock Holmes had been leaning back in his chair with his eyes\nclosed and his head sunk in a cushion, but he half opened his\nlids now and glanced across at his visitor.", "\"Do you know, Watson,\" said Holmes as we sat together in the\ngathering darkness, \"I have really some scruples as to taking you\nto-night. There is a distinct element of danger.\"\n\n\"Can I be of assistance?\"", "\"I am Dr. Grimesby Roylott, of Stoke Moran.\"\n\n\"Indeed, Doctor,\" said Holmes blandly. \"Pray take a seat.\"" ], [ "\"Good-morning, madam,\" said Holmes cheerily. \"My name is Sherlock\nHolmes. This is my intimate friend and associate, Dr. Watson,", "\"Mr. Sherlock Holmes, I believe?\" said she.\n\n\"I am Mr. Holmes,\" answered my companion, looking at her with a\nquestioning and rather startled gaze.", "\"You? Who are you? How could you know anything of the matter?\"\n\n\"My name is Sherlock Holmes. It is my business to know what other\npeople don't know.\"", "\"Sherlock Holmes, Esq. To be left till called for.\" My friend\ntore it open and we all three read it together. It was dated at\nmidnight of the preceding night and ran in this way:", "There was a long silence, broken only by his heavy breathing and\nby the measured tapping of Sherlock Holmes' finger-tips upon the\nedge of the table. Then my friend rose and threw open the door.", "\"Which of you is Holmes?\" asked this apparition.\n\n\"My name, sir; but you have the advantage of me,\" said my\ncompanion quietly.", "\"Pray take a seat,\" said Holmes. \"This is my friend and\ncolleague, Dr. Watson, who is occasionally good enough to help me\nin my cases. Whom have I the honour to address?\"", "name; but, as Holmes had remarked, the initials \"H. B.\" were\nscrawled upon one side. It was pierced in the brim for a", "Good-day, Mr. Holmes, and we shall see which gets to the bottom\nof the matter first.\" He gathered up the garments, thrust them\ninto the bag, and made for the door.", "\"My dear fellow,\" said Sherlock Holmes as we sat on either side\nof the fire in his lodgings at Baker Street, \"life is infinitely", "\"In heaven's name, what for?\"\n\n\"In search of the body of Lady St. Simon.\"\n\nSherlock Holmes leaned back in his chair and laughed heartily.", "Sherlock Holmes and I surveyed this curt announcement and the\nrueful face behind it, until the comical side of the affair so\ncompletely overtopped every other consideration that we both\nburst out into a roar of laughter.", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "Holmes nodded his head. \"The name is familiar to me,\" said he.", "\"How, in the name of good-fortune, did you know all that, Mr.\nHolmes?\" he asked. \"How did you know, for example, that I did", "Sherlock Holmes had been leaning back in his chair with his eyes\nclosed and his head sunk in a cushion, but he half opened his\nlids now and glanced across at his visitor.", "Sherlock Holmes sat silent for a few minutes with his fingertips\nstill pressed together, his legs stretched out in front of him,\nand his gaze directed upward to the ceiling. Then he took down", "It was nearly one o'clock when Sherlock Holmes returned from his\nexcursion. He held in his hand a sheet of blue paper, scrawled\nover with notes and figures.", "\"I am Dr. Grimesby Roylott, of Stoke Moran.\"\n\n\"Indeed, Doctor,\" said Holmes blandly. \"Pray take a seat.\"", "\"Well, Watson,\" said Holmes when our visitor had left us, \"what\ndo you make of it all?\"\n\n\"I make nothing of it,\" I answered frankly. \"It is a most\nmysterious business.\"" ], [ "particular.\" He shook hands with us and took his leave. Outside\nthe wind still screamed and the rain splashed and pattered\nagainst the windows. This strange, wild story seemed to have come", "idea. For that matter, Reading, and possibly other large towns,\nwere within that radius, so the place might not be so secluded,\nafter all. Yet it was quite certain, from the absolute stillness,", "\"Then I'll tell our story right away,\" said the lady. \"Frank here\nand I met in '84, in McQuire's camp, near the Rockies, where pa", "our way over to England without being suspected. There I parted\nfrom my old pals and determined to settle down to a quiet and\nrespectable life. I bought this estate, which chanced to be in", "While Sherlock Holmes had been detailing this singular series of\nevents, we had been whirling through the outskirts of the great\ntown until the last straggling houses had been left behind, and", "\"Away we went then, and we drove for at least an hour. Colonel\nLysander Stark had said that it was only seven miles, but I", "\"'Some little time ago I bought a small place--a very small\nplace--within ten miles of Reading. I was fortunate enough to", "It was in the summer of '89, not long after my marriage, that the\nevents occurred which I am now about to summarise. I had returned", "statement of what had occurred. I settled myself down in the\ncorner of the carriage and read it very carefully. It ran in this\nway:", "happen, while to me the whole business was still confused and\ngrotesque. As I drove home to my house in Kensington I thought\nover it all, from the extraordinary story of the red-headed", "\"My name is Helen Stoner, and I am living with my stepfather, who\nis the last survivor of one of the oldest Saxon families in\nEngland, the Roylotts of Stoke Moran, on the western border of\nSurrey.\"", "story which we had listened to in the morning. It was a poky,\nlittle, shabby-genteel place, where four lines of dingy", "He flicked the horse with his whip, and we dashed away through\nthe endless succession of sombre and deserted streets, which\nwidened gradually, until we were flying across a broad", "\"There you are,\" said he. \"That circle is drawn at a radius of\nten miles from the village. The place we want must be somewhere\nnear that line. You said ten miles, I think, sir.\"", "hurried to him, but he passed away without having ever recovered\nhis consciousness. He had, as it appears, been returning from\nFareham in the twilight, and as the country was unknown to him,", "he remained for three or four years. About 1869 or 1870 he came\nback to Europe and took a small estate in Sussex, near Horsham.", "farthest east of the City. Hitherto his orgies had always been\nconfined to one day, and he had come back, twitching and\nshattered, in the evening. But now the spell had been upon him", "\"When we were taking coffee in the drawing-room that night after\ndinner, I told Arthur and Mary my experience, and of the precious", "\"It was too far for me to go, weak and ill as I was. I determined\nto wait until I got back to town before telling my story to the", "\"You are the first who have ever heard my story. My father was a\nschoolmaster in Chesterfield, where I received an excellent" ], [ "the man were a philanthropist or a villain, it was quite beyond\nmy powers to determine. As to Holmes, I observed that he sat\nfrequently for half an hour on end, with knitted brows and an", "\"You? Who are you? How could you know anything of the matter?\"\n\n\"My name is Sherlock Holmes. It is my business to know what other\npeople don't know.\"", "\"You may place considerable confidence in Mr. Holmes, sir,\" said\nthe police agent loftily. \"He has his own little methods, which", "For answer Holmes clapped the hat upon his head. It came right\nover the forehead and settled upon the bridge of his nose. \"It is\na question of cubic capacity,\" said he; \"a man with so large a\nbrain must have something in it.\"", "after my night of adventure. Sherlock Holmes was a man, however,\nwho, when he had an unsolved problem upon his mind, would go for\ndays, and even for a week, without rest, turning it over,", "equalled. It was not merely that Holmes changed his costume. His\nexpression, his manner, his very soul seemed to vary with every\nfresh part that he assumed. The stage lost a fine actor, even as", "Holmes that this smooth-faced pawnbroker's assistant was a\nformidable man--a man who might play a deep game. I tried to", "I could see that Holmes was favourably impressed by the manner\nand speech of his new client. He looked her over in his searching\nfashion, and then composed himself, with his lids drooping and\nhis finger-tips together, to listen to her story.", "Sherlock Holmes was transformed when he was hot upon such a scent\nas this. Men who had only known the quiet thinker and logician of", "Holmes grinned at the last item. \"Well,\" he said, \"I say now, as\nI said then, that a man should keep his little brain-attic", "\"Very good, Lestrade,\" said Holmes, laughing. \"You really are\nvery fine indeed. Let me see it.\" He took up the paper in a", "\"It is a curious thing,\" remarked Holmes, \"that a typewriter has\nreally quite as much individuality as a man's handwriting. Unless", "\"Indeed! That is interesting,\" said Holmes.\n\n\"Oh, yes! In a hundred other ways he has helped him. Everybody\nabout here speaks of his kindness to him.\"", "\"Smart fellow, that,\" observed Holmes as we walked away. \"He is,\nin my judgment, the fourth smartest man in London, and for daring", "\"He seems a very amiable person,\" said Holmes, laughing. \"I am\nnot quite so bulky, but if he had remained I might have shown him", "\"Good-morning, madam,\" said Holmes cheerily. \"My name is Sherlock\nHolmes. This is my intimate friend and associate, Dr. Watson,", "I had expected to see Sherlock Holmes impatient under this\nrambling and inconsequential narrative, but, on the contrary, he\nhad listened with the greatest concentration of attention.", "fall of the stricken man. To Holmes, as I could see by his eager\nface and peering eyes, very many other things were to be read\nupon the trampled grass. He ran round, like a dog who is picking", "side. Sometimes Holmes would hurry on, sometimes stop dead, and\nonce he made quite a little detour into the meadow. Lestrade and\nI walked behind him, the detective indifferent and contemptuous,", "Sherlock Holmes sat silent for a few minutes with his fingertips\nstill pressed together, his legs stretched out in front of him,\nand his gaze directed upward to the ceiling. Then he took down" ], [ "\"And now there is only she to be described. She is my niece; but\nwhen my brother died five years ago and left her alone in the", "\"You will find it rather disconnected, I fear, and there may\nprove to be little relation between the different incidents of\nwhich I speak. On the very first day that I was at the Copper", "\"Then I'll tell our story right away,\" said the lady. \"Frank here\nand I met in '84, in McQuire's camp, near the Rockies, where pa", "\"You are the first who have ever heard my story. My father was a\nschoolmaster in Chesterfield, where I received an excellent", "story which we had listened to in the morning. It was a poky,\nlittle, shabby-genteel place, where four lines of dingy", "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "\"But they listened to my story with a smile. I am convinced that\nthe inspector has formed the opinion that the letters are all\npractical jokes, and that the deaths of my relations were really", "On glancing over my notes of the seventy odd cases in which I\nhave during the last eight years studied the methods of my friend\nSherlock Holmes, I find many tragic, some comic, a large number", "\"Away we went then, and we drove for at least an hour. Colonel\nLysander Stark had said that it was only seven miles, but I", "stories that I have ever listened to. You cannot imagine how\ncomical he was, and I laughed until I was quite weary. Mrs.", "completed the cure. I shall take up as little of your valuable\ntime as possible, so I shall start at once upon my peculiar\nexperiences.\"", "\"Not him.\"\n\n\"What then?\"\n\n\"The knees of his trousers.\"\n\n\"And what did you see?\"\n\n\"What I expected to see.\"", "\"Well, now, in considering this case there are two points about\nyoung McCarthy's narrative which struck us both instantly,\nalthough they impressed me in his favour and you against him. One", "wide, but is barred up by four large staples. It is certain,\ntherefore, that my sister was quite alone when she met her end.\nBesides, there were no marks of any violence upon her.\"", "He unwound the handkerchief and held out his hand. It gave even\nmy hardened nerves a shudder to look at it. There were four", "\"It is simplicity itself,\" said he; \"my eyes tell me that on the\ninside of your left shoe, just where the firelight strikes it,", "particular.\" He shook hands with us and took his leave. Outside\nthe wind still screamed and the rain splashed and pattered\nagainst the windows. This strange, wild story seemed to have come", "\"'Well,' said I, 'the gentleman at No. 4.'\n\n\"'What, the red-headed man?'\n\n\"'Yes.'", "little monograph some of these days on the typewriter and its\nrelation to crime. It is a subject to which I have devoted some\nlittle attention. I have here four letters which purport to come", "seems to be almost inexplicable. Nothing could be more natural\nthan the sequence of events as narrated by this lady, and nothing\nstranger than the result when viewed, for instance, by Mr." ], [ "\"She died just two years ago, and it is of her death that I wish\nto speak to you. You can understand that, living the life which I", "had been abandoned as hopeless by the official police. From time\nto time I heard some vague account of his doings: of his summons\nto Odessa in the case of the Trepoff murder, of his clearing up", "\"You will observe,\" said Holmes, laying down the volume, \"that\nthe sudden breaking up of the society was coincident with the", "\"But they listened to my story with a smile. I am convinced that\nthe inspector has formed the opinion that the letters are all\npractical jokes, and that the deaths of my relations were really", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "\"Not a bite. I had no time to think of it.\"\n\n\"And how have you succeeded?\"\n\n\"Well.\"\n\n\"You have a clue?\"", "\"No, he was averse to it also. No one but Mr. McCarthy was in\nfavour of it.\" A quick blush passed over her fresh young face as\nHolmes shot one of his keen, questioning glances at her.", "It was in the summer of '89, not long after my marriage, that the\nevents occurred which I am now about to summarise. I had returned", "\"It was too far for me to go, weak and ill as I was. I determined\nto wait until I got back to town before telling my story to the", "\"Very naturally. By the way, about the bird, we were compelled to\neat it.\"\n\n\"To eat it!\" Our visitor half rose from his chair in his\nexcitement.", "keeping her at home and forbidding her to seek the company of\npeople of her own age. But soon he found that that would not\nanswer forever. She became restive, insisted upon her rights, and", "months after our interview, but he is now dead; and there is\nevery prospect that the son and daughter may come to live happily\ntogether in ignorance of the black cloud which rests upon their", "\"I think that I mentioned to you that the doctor kept a cheetah\nand a baboon. We had no feeling of security unless our doors were\nlocked.\"\n\n\"Quite so. Pray proceed with your statement.\"", "\"But the reason is very obvious. The pressure of public opinion\ncan do in the town what the law cannot accomplish. There is no", "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "\"You must know that my grandfather had two sons--my uncle Elias\nand my father Joseph. My father had a small factory at Coventry,", "\"Not him.\"\n\n\"What then?\"\n\n\"The knees of his trousers.\"\n\n\"And what did you see?\"\n\n\"What I expected to see.\"", "occurred to me that there might be a search in the room, and that\nthe clothes might betray me. I threw open the window, reopening\nby my violence a small cut which I had inflicted upon myself in", "gave my friend fewer openings for those deductive methods of\nreasoning by which he achieved such remarkable results. The story\nhas, I believe, been told more than once in the newspapers, but,", "particular.\" He shook hands with us and took his leave. Outside\nthe wind still screamed and the rain splashed and pattered\nagainst the windows. This strange, wild story seemed to have come" ], [ "months after our interview, but he is now dead; and there is\nevery prospect that the son and daughter may come to live happily\ntogether in ignorance of the black cloud which rests upon their", "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "The Count shrugged his broad shoulders. \"Then I must begin,\" said\nhe, \"by binding you both to absolute secrecy for two years; at", "gradually away as each new discovery furnishes a step which leads\non to the complete truth. At the time the circumstances made a\ndeep impression upon me, and the lapse of two years has hardly", "keeping her at home and forbidding her to seek the company of\npeople of her own age. But soon he found that that would not\nanswer forever. She became restive, insisted upon her rights, and", "in Baker Street. It is possible that I might have placed them\nupon record before, but a promise of secrecy was made at the\ntime, from which I have only been freed during the last month by", "\"It was in January, '85, that my poor father met his end, and two\nyears and eight months have elapsed since then. During that time", "\"She died just two years ago, and it is of her death that I wish\nto speak to you. You can understand that, living the life which I", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "It was in the summer of '89, not long after my marriage, that the\nevents occurred which I am now about to summarise. I had returned", "\"Then I'll tell our story right away,\" said the lady. \"Frank here\nand I met in '84, in McQuire's camp, near the Rockies, where pa", "stories that I have ever listened to. You cannot imagine how\ncomical he was, and I laughed until I was quite weary. Mrs.", "\"It was too far for me to go, weak and ill as I was. I determined\nto wait until I got back to town before telling my story to the", "farthest east of the City. Hitherto his orgies had always been\nconfined to one day, and he had come back, twitching and\nshattered, in the evening. But now the spell had been upon him", "\"I think that I mentioned to you that the doctor kept a cheetah\nand a baboon. We had no feeling of security unless our doors were\nlocked.\"\n\n\"Quite so. Pray proceed with your statement.\"", "\"You will observe,\" said Holmes, laying down the volume, \"that\nthe sudden breaking up of the society was coincident with the", "January of '85. On the fourth day after the new year I heard my\nfather give a sharp cry of surprise as we sat together at the\nbreakfast-table. There he was, sitting with a newly opened", "\"Two days later this same performance was gone through under\nexactly similar circumstances. Again I changed my dress, again I\nsat in the window, and again I laughed very heartily at the funny", "particular.\" He shook hands with us and took his leave. Outside\nthe wind still screamed and the rain splashed and pattered\nagainst the windows. This strange, wild story seemed to have come", "\"But they listened to my story with a smile. I am convinced that\nthe inspector has formed the opinion that the letters are all\npractical jokes, and that the deaths of my relations were really" ], [ "so close that a word of complaint can set it going, and there is\nbut a step between the crime and the dock. But look at these\nlonely houses, each in its own fields, filled for the most part", "\"There was a paragraph amplifying this in one of the society\npapers of the same week. Ah, here it is: 'There will soon be a", "\"It is simplicity itself,\" said he; \"my eyes tell me that on the\ninside of your left shoe, just where the firelight strikes it,", "\"Yes, I have got it now,\" he answered with his thick red finger\nplanted halfway down the column. \"Here it is. This is what began\nit all. You just read it for yourself, sir.\"", "\"Well, now, in considering this case there are two points about\nyoung McCarthy's narrative which struck us both instantly,\nalthough they impressed me in his favour and you against him. One", "docketing all paragraphs concerning men and things, so that it\nwas difficult to name a subject or a person on which he could not\nat once furnish information. In this case I found her biography", "\"Beyond the obvious facts that he has at some time done manual\nlabour, that he takes snuff, that he is a Freemason, that he has", "'American Encyclopaedia' which stands upon the shelf beside you.\nThank you. Now let us consider the situation and see what may be\ndeduced from it. In the first place, we may start with a strong", "\"You will observe,\" said Holmes, laying down the volume, \"that\nthe sudden breaking up of the society was coincident with the", "until your reason breaks down under them and acknowledges me to\nbe right. Now, Mr. Jabez Wilson here has been good enough to call\nupon me this morning, and to begin a narrative which promises to", "\"Yes, my correspondence has certainly the charm of variety,\" he\nanswered, smiling, \"and the humbler are usually the more\ninteresting. This looks like one of those unwelcome social", "\"Kindly look her up in my index, Doctor,\" murmured Holmes without\nopening his eyes. For many years he had adopted a system of", "\"'Is to copy out the \"Encyclopaedia Britannica.\" There is the first\nvolume of it in that press. You must find your own ink, pens, and", "more important and less innocent aspect. Here is the stone; the\nstone came from the goose, and the goose came from Mr. Henry\nBaker, the gentleman with the bad hat and all the other", "\"But we can't all be.\"\n\n\"Oh, yes, you can. This is my point.\" He placed his finger in the\ncentre of the circle. \"This is where we shall find them.\"", "their order of time, while I take a glance as to who our client\nis.\" He picked a red-covered volume from a line of books of\nreference beside the mantelpiece. \"Here he is,\" said he, sitting", "anxious look upon her face. After an hour or so, Mr. Rucastle\nsuddenly remarked that it was time to commence the duties of the", "\"'You blackguard!' I shouted, beside myself with rage. 'You have\ndestroyed it! You have dishonoured me forever! Where are the\njewels which you have stolen?'\n\n\"'Stolen!' he cried.", "\"The London press has not had very full accounts. I have just\nbeen looking through all the recent papers in order to master the\nparticulars. It seems, from what I gather, to be one of those\nsimple cases which are so extremely difficult.\"", "\"Such as they are, they are set forth in a single article of a\nmorning paper of yesterday, which I will read to you. It is\nheaded, 'Singular Occurrence at a Fashionable Wedding':" ], [ "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "near my father when I returned, and I have no idea how he came by\nhis injuries. He was not a popular man, being somewhat cold and", "had been abandoned as hopeless by the official police. From time\nto time I heard some vague account of his doings: of his summons\nto Odessa in the case of the Trepoff murder, of his clearing up", "stories that I have ever listened to. You cannot imagine how\ncomical he was, and I laughed until I was quite weary. Mrs.", "\"There was a paragraph amplifying this in one of the society\npapers of the same week. Ah, here it is: 'There will soon be a", "\"As I grew richer I grew more ambitious, took a house in the\ncountry, and eventually married, without anyone having a\nsuspicion as to my real occupation. My dear wife knew that I had\nbusiness in the City. She little knew what.", "\"She died just two years ago, and it is of her death that I wish\nto speak to you. You can understand that, living the life which I", "\"But they listened to my story with a smile. I am convinced that\nthe inspector has formed the opinion that the letters are all\npractical jokes, and that the deaths of my relations were really", "\"Very naturally. By the way, about the bird, we were compelled to\neat it.\"\n\n\"To eat it!\" Our visitor half rose from his chair in his\nexcitement.", "hoped with diligence that I might get on to the B's before very\nlong. It cost me something in foolscap, and I had pretty nearly\nfilled a shelf with my writings. And then suddenly the whole", "gave my friend fewer openings for those deductive methods of\nreasoning by which he achieved such remarkable results. The story\nhas, I believe, been told more than once in the newspapers, but,", "farthest east of the City. Hitherto his orgies had always been\nconfined to one day, and he had come back, twitching and\nshattered, in the evening. But now the spell had been upon him", "the contrary, for a small street in a quiet neighbourhood, it was\nremarkably animated. There was a group of shabbily dressed men\nsmoking and laughing in a corner, a scissors-grinder with his", "particular.\" He shook hands with us and took his leave. Outside\nthe wind still screamed and the rain splashed and pattered\nagainst the windows. This strange, wild story seemed to have come", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "\"Not a bite. I had no time to think of it.\"\n\n\"And how have you succeeded?\"\n\n\"Well.\"\n\n\"You have a clue?\"", "\"They always fill me with a certain horror. It is my belief,\nWatson, founded upon my experience, that the lowest and vilest\nalleys in London do not present a more dreadful record of sin\nthan does the smiling and beautiful countryside.\"", "everywhere, seen everything, a brilliant talker, and a man of\ngreat personal beauty. Yet when I think of him in cold blood, far\naway from the glamour of his presence, I am convinced from his", "\"I think that I mentioned to you that the doctor kept a cheetah\nand a baboon. We had no feeling of security unless our doors were\nlocked.\"\n\n\"Quite so. Pray proceed with your statement.\"", "keeping her at home and forbidding her to seek the company of\npeople of her own age. But soon he found that that would not\nanswer forever. She became restive, insisted upon her rights, and" ], [ "had been abandoned as hopeless by the official police. From time\nto time I heard some vague account of his doings: of his summons\nto Odessa in the case of the Trepoff murder, of his clearing up", "It was in the summer of '89, not long after my marriage, that the\nevents occurred which I am now about to summarise. I had returned", "\"She died just two years ago, and it is of her death that I wish\nto speak to you. You can understand that, living the life which I", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "\"You will observe,\" said Holmes, laying down the volume, \"that\nthe sudden breaking up of the society was coincident with the", "\"But they listened to my story with a smile. I am convinced that\nthe inspector has formed the opinion that the letters are all\npractical jokes, and that the deaths of my relations were really", "months after our interview, but he is now dead; and there is\nevery prospect that the son and daughter may come to live happily\ntogether in ignorance of the black cloud which rests upon their", "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "\"Not a bite. I had no time to think of it.\"\n\n\"And how have you succeeded?\"\n\n\"Well.\"\n\n\"You have a clue?\"", "\"Yes, sir. And no later than this morning. I went to my work as\nusual at ten o'clock, but the door was shut and locked, with a", "January of '85. On the fourth day after the new year I heard my\nfather give a sharp cry of surprise as we sat together at the\nbreakfast-table. There he was, sitting with a newly opened", "\"It was in January, '85, that my poor father met his end, and two\nyears and eight months have elapsed since then. During that time", "\"Then I'll tell our story right away,\" said the lady. \"Frank here\nand I met in '84, in McQuire's camp, near the Rockies, where pa", "\"It was too far for me to go, weak and ill as I was. I determined\nto wait until I got back to town before telling my story to the", "particular.\" He shook hands with us and took his leave. Outside\nthe wind still screamed and the rain splashed and pattered\nagainst the windows. This strange, wild story seemed to have come", "farthest east of the City. Hitherto his orgies had always been\nconfined to one day, and he had come back, twitching and\nshattered, in the evening. But now the spell had been upon him", "The Count shrugged his broad shoulders. \"Then I must begin,\" said\nhe, \"by binding you both to absolute secrecy for two years; at", "them. Then there are successive entries that A and B cleared, or\nleft the country, and finally that C was visited, with, I fear, a", "\"I think that I mentioned to you that the doctor kept a cheetah\nand a baboon. We had no feeling of security unless our doors were\nlocked.\"\n\n\"Quite so. Pray proceed with your statement.\"", "\"Such as they are, they are set forth in a single article of a\nmorning paper of yesterday, which I will read to you. It is\nheaded, 'Singular Occurrence at a Fashionable Wedding':" ], [ "\"I think, Watson,\" he remarked at last, \"that of all our cases we\nhave had none more fantastic than this.\"\n\n\"Save, perhaps, the Sign of Four.\"", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "Of all the problems which have been submitted to my friend, Mr.\nSherlock Holmes, for solution during the years of our intimacy,\nthere were only two which I was the means of introducing to his", "\"Very good, Lestrade,\" said Holmes, laughing. \"You really are\nvery fine indeed. Let me see it.\" He took up the paper in a", "On glancing over my notes of the seventy odd cases in which I\nhave during the last eight years studied the methods of my friend\nSherlock Holmes, I find many tragic, some comic, a large number", "\"He was a very shy man, Mr. Holmes. He would rather walk with me\nin the evening than in the daylight, for he said that he hated to", "\"My dear fellow,\" said Sherlock Holmes as we sat on either side\nof the fire in his lodgings at Baker Street, \"life is infinitely", "I had expected to see Sherlock Holmes impatient under this\nrambling and inconsequential narrative, but, on the contrary, he\nhad listened with the greatest concentration of attention.", "\"It was most suggestive,\" said Holmes. \"It has long been an axiom\nof mine that the little things are infinitely the most important.\nCan you remember any other little things about Mr. Hosmer Angel?\"", "\"I am Dr. Grimesby Roylott, of Stoke Moran.\"\n\n\"Indeed, Doctor,\" said Holmes blandly. \"Pray take a seat.\"", "of him, for he had seen him get in with his own eyes. That was\nlast Friday, Mr. Holmes, and I have never seen or heard anything\nsince then to throw any light upon what became of him.\"", "I had called upon my friend, Mr. Sherlock Holmes, one day in the\nautumn of last year and found him in deep conversation with a", "There was a long silence, broken only by his heavy breathing and\nby the measured tapping of Sherlock Holmes' finger-tips upon the\nedge of the table. Then my friend rose and threw open the door.", "\"Sherlock Holmes, Esq. To be left till called for.\" My friend\ntore it open and we all three read it together. It was dated at\nmidnight of the preceding night and ran in this way:", "\"Your experience has been a most entertaining one,\" remarked\nHolmes as his client paused and refreshed his memory with a huge\npinch of snuff. \"Pray continue your very interesting statement.\"", "\"No sign of it?\"\n\n\"Absolutely none.\"\n\nHolmes laughed. \"It is quite a pretty little problem,\" said he.", "It was nearly one o'clock when Sherlock Holmes returned from his\nexcursion. He held in his hand a sheet of blue paper, scrawled\nover with notes and figures.", "\"MY DEAR MR. SHERLOCK HOLMES,--You really did it very well. You\ntook me in completely. Until after the alarm of fire, I had not a", "\"What!\" Sherlock Holmes staggered back, white with chagrin and\nsurprise. \"Do you mean that she has left England?\"\n\n\"Never to return.\"", "I. A Scandal in Bohemia\n II. The Red-headed League\n III. A Case of Identity\n IV. The Boscombe Valley Mystery" ], [ "On glancing over my notes of the seventy odd cases in which I\nhave during the last eight years studied the methods of my friend\nSherlock Holmes, I find many tragic, some comic, a large number", "When I glance over my notes and records of the Sherlock Holmes\ncases between the years '82 and '90, I am faced by so many which\npresent strange and interesting features that it is no easy", "stories that I have ever listened to. You cannot imagine how\ncomical he was, and I laughed until I was quite weary. Mrs.", "I. A Scandal in Bohemia\n II. The Red-headed League\n III. A Case of Identity\n IV. The Boscombe Valley Mystery", "IX. The Adventure of the Engineer's Thumb\n X. The Adventure of the Noble Bachelor\n XI. The Adventure of the Beryl Coronet", "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "\"Kindly look her up in my index, Doctor,\" murmured Holmes without\nopening his eyes. For many years he had adopted a system of", "\"This went on day after day, Mr. Holmes, and on Saturday the\nmanager came in and planked down four golden sovereigns for my", "\"Some ten or twelve, but none which present any feature of\ninterest. They are important, you understand, without being\ninteresting. Indeed, I have found that it is usually in", "Holmes grinned at the last item. \"Well,\" he said, \"I say now, as\nI said then, that a man should keep his little brain-attic", "V. The Five Orange Pips\n VI. The Man with the Twisted Lip\n VII. The Adventure of the Blue Carbuncle\nVIII. The Adventure of the Speckled Band", "completed the cure. I shall take up as little of your valuable\ntime as possible, so I shall start at once upon my peculiar\nexperiences.\"", "Holmes sat in his big armchair with the weary, heavy-lidded\nexpression which veiled his keen and eager nature, while I sat\nopposite to him, and we listened in silence to the strange story\nwhich our visitor detailed to us.", "Of all the problems which have been submitted to my friend, Mr.\nSherlock Holmes, for solution during the years of our intimacy,\nthere were only two which I was the means of introducing to his", "to occur to the imagination of the average story-teller. Take a\npinch of snuff, Doctor, and acknowledge that I have scored over\nyou in your example.\"", "\"I think, Watson,\" he remarked at last, \"that of all our cases we\nhave had none more fantastic than this.\"\n\n\"Save, perhaps, the Sign of Four.\"", "End of the Project Gutenberg EBook of The Adventures of Sherlock Holmes, by \nArthur Conan Doyle", "\"Very good, Lestrade,\" said Holmes, laughing. \"You really are\nvery fine indeed. Let me see it.\" He took up the paper in a", "\"My dear fellow,\" said Sherlock Holmes as we sat on either side\nof the fire in his lodgings at Baker Street, \"life is infinitely" ], [ "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "Holmes grinned at the last item. \"Well,\" he said, \"I say now, as\nI said then, that a man should keep his little brain-attic", "When I glance over my notes and records of the Sherlock Holmes\ncases between the years '82 and '90, I am faced by so many which\npresent strange and interesting features that it is no easy", "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "On glancing over my notes of the seventy odd cases in which I\nhave during the last eight years studied the methods of my friend\nSherlock Holmes, I find many tragic, some comic, a large number", "\"Very good, Lestrade,\" said Holmes, laughing. \"You really are\nvery fine indeed. Let me see it.\" He took up the paper in a", "in Baker Street. It is possible that I might have placed them\nupon record before, but a promise of secrecy was made at the\ntime, from which I have only been freed during the last month by", "stories that I have ever listened to. You cannot imagine how\ncomical he was, and I laughed until I was quite weary. Mrs.", "gave my friend fewer openings for those deductive methods of\nreasoning by which he achieved such remarkable results. The story\nhas, I believe, been told more than once in the newspapers, but,", "\"Kindly look her up in my index, Doctor,\" murmured Holmes without\nopening his eyes. For many years he had adopted a system of", "\"This went on day after day, Mr. Holmes, and on Saturday the\nmanager came in and planked down four golden sovereigns for my", "\"In which, sir?\"\n\n\"Oh, in the Globe, Star, Pall Mall, St. James's, Evening News,\nStandard, Echo, and any others that occur to you.\"", "Holmes sat in his big armchair with the weary, heavy-lidded\nexpression which veiled his keen and eager nature, while I sat\nopposite to him, and we listened in silence to the strange story\nwhich our visitor detailed to us.", "Of all the problems which have been submitted to my friend, Mr.\nSherlock Holmes, for solution during the years of our intimacy,\nthere were only two which I was the means of introducing to his", "\"I think, Watson,\" he remarked at last, \"that of all our cases we\nhave had none more fantastic than this.\"\n\n\"Save, perhaps, the Sign of Four.\"", "I. A Scandal in Bohemia\n II. The Red-headed League\n III. A Case of Identity\n IV. The Boscombe Valley Mystery", "\"'MY DEAR MR. SHERLOCK HOLMES:--Lord Backwater tells me that I\nmay place implicit reliance upon your judgment and discretion. I", "hoped with diligence that I might get on to the B's before very\nlong. It cost me something in foolscap, and I had pretty nearly\nfilled a shelf with my writings. And then suddenly the whole", "\"To the man who loves art for its own sake,\" remarked Sherlock\nHolmes, tossing aside the advertisement sheet of the Daily\nTelegraph, \"it is frequently in its least important and lowliest", "\"The London press has not had very full accounts. I have just\nbeen looking through all the recent papers in order to master the\nparticulars. It seems, from what I gather, to be one of those\nsimple cases which are so extremely difficult.\"" ], [ "When I glance over my notes and records of the Sherlock Holmes\ncases between the years '82 and '90, I am faced by so many which\npresent strange and interesting features that it is no easy", "Of all the problems which have been submitted to my friend, Mr.\nSherlock Holmes, for solution during the years of our intimacy,\nthere were only two which I was the means of introducing to his", "On glancing over my notes of the seventy odd cases in which I\nhave during the last eight years studied the methods of my friend\nSherlock Holmes, I find many tragic, some comic, a large number", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "\"Kindly look her up in my index, Doctor,\" murmured Holmes without\nopening his eyes. For many years he had adopted a system of", "Holmes grinned at the last item. \"Well,\" he said, \"I say now, as\nI said then, that a man should keep his little brain-attic", "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "stories that I have ever listened to. You cannot imagine how\ncomical he was, and I laughed until I was quite weary. Mrs.", "It was nearly one o'clock when Sherlock Holmes returned from his\nexcursion. He held in his hand a sheet of blue paper, scrawled\nover with notes and figures.", "\"Very good, Lestrade,\" said Holmes, laughing. \"You really are\nvery fine indeed. Let me see it.\" He took up the paper in a", "I. A Scandal in Bohemia\n II. The Red-headed League\n III. A Case of Identity\n IV. The Boscombe Valley Mystery", "I had called upon my friend, Mr. Sherlock Holmes, one day in the\nautumn of last year and found him in deep conversation with a", "It was early in April in the year '83 that I woke one morning to\nfind Sherlock Holmes standing, fully dressed, by the side of my", "completed the cure. I shall take up as little of your valuable\ntime as possible, so I shall start at once upon my peculiar\nexperiences.\"", "\"This went on day after day, Mr. Holmes, and on Saturday the\nmanager came in and planked down four golden sovereigns for my", "Holmes sat in his big armchair with the weary, heavy-lidded\nexpression which veiled his keen and eager nature, while I sat\nopposite to him, and we listened in silence to the strange story\nwhich our visitor detailed to us.", "\"The facts are briefly these: Some five years ago, during a\nlengthy visit to Warsaw, I made the acquaintance of the well-known\nadventuress, Irene Adler. The name is no doubt familiar to you.\"", "\"Sherlock Holmes, Esq. To be left till called for.\" My friend\ntore it open and we all three read it together. It was dated at\nmidnight of the preceding night and ran in this way:", "\"Here is an advertisement which will interest you,\" said he. \"It\nappeared in all the papers about a year ago. Listen to this:", "End of the Project Gutenberg EBook of The Adventures of Sherlock Holmes, by \nArthur Conan Doyle" ], [ "\"Well, now, in considering this case there are two points about\nyoung McCarthy's narrative which struck us both instantly,\nalthough they impressed me in his favour and you against him. One", "\"You will find it rather disconnected, I fear, and there may\nprove to be little relation between the different incidents of\nwhich I speak. On the very first day that I was at the Copper", "\"Then I'll tell our story right away,\" said the lady. \"Frank here\nand I met in '84, in McQuire's camp, near the Rockies, where pa", "\"You are the first who have ever heard my story. My father was a\nschoolmaster in Chesterfield, where I received an excellent", "\"It is simplicity itself,\" said he; \"my eyes tell me that on the\ninside of your left shoe, just where the firelight strikes it,", "stories that I have ever listened to. You cannot imagine how\ncomical he was, and I laughed until I was quite weary. Mrs.", "\"Not him.\"\n\n\"What then?\"\n\n\"The knees of his trousers.\"\n\n\"And what did you see?\"\n\n\"What I expected to see.\"", "Across his lap lay the short stock with the long lash which we\nhad noticed during the day. His chin was cocked upward and his\neyes were fixed in a dreadful, rigid stare at the corner of the", "particular.\" He shook hands with us and took his leave. Outside\nthe wind still screamed and the rain splashed and pattered\nagainst the windows. This strange, wild story seemed to have come", "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "\"But they listened to my story with a smile. I am convinced that\nthe inspector has formed the opinion that the letters are all\npractical jokes, and that the deaths of my relations were really", "\"And now there is only she to be described. She is my niece; but\nwhen my brother died five years ago and left her alone in the", "\"Such as they are, they are set forth in a single article of a\nmorning paper of yesterday, which I will read to you. It is\nheaded, 'Singular Occurrence at a Fashionable Wedding':", "Holmes sat in his big armchair with the weary, heavy-lidded\nexpression which veiled his keen and eager nature, while I sat\nopposite to him, and we listened in silence to the strange story\nwhich our visitor detailed to us.", "like all such narratives, its effect is much less striking when\nset forth en bloc in a single half-column of print than when the\nfacts slowly evolve before your own eyes, and the mystery clears", "story which we had listened to in the morning. It was a poky,\nlittle, shabby-genteel place, where four lines of dingy", "On glancing over my notes of the seventy odd cases in which I\nhave during the last eight years studied the methods of my friend\nSherlock Holmes, I find many tragic, some comic, a large number", "completed the cure. I shall take up as little of your valuable\ntime as possible, so I shall start at once upon my peculiar\nexperiences.\"", "once by paint. I could tell you tales of cobbler's wax which\nwould disgust you with human nature.' He stepped over to the\nwindow and shouted through it at the top of his voice that the", "petty way as ever came before me. Now, let me just run over the\ncourse of events, and you will contradict me if I go wrong.\"" ], [ "\"You are the first who have ever heard my story. My father was a\nschoolmaster in Chesterfield, where I received an excellent", "until your reason breaks down under them and acknowledges me to\nbe right. Now, Mr. Jabez Wilson here has been good enough to call\nupon me this morning, and to begin a narrative which promises to", "\"Frequently.\"\n\n\"How often?\"\n\n\"Well, some hundreds of times.\"\n\n\"Then how many are there?\"", "\"Well, now, in considering this case there are two points about\nyoung McCarthy's narrative which struck us both instantly,\nalthough they impressed me in his favour and you against him. One", "like all such narratives, its effect is much less striking when\nset forth en bloc in a single half-column of print than when the\nfacts slowly evolve before your own eyes, and the mystery clears", "\"You will find it rather disconnected, I fear, and there may\nprove to be little relation between the different incidents of\nwhich I speak. On the very first day that I was at the Copper", "stories that I have ever listened to. You cannot imagine how\ncomical he was, and I laughed until I was quite weary. Mrs.", "foremost citizens of London to this most pitiable pass? We\nwaited, all curiosity, until with another effort he braced\nhimself to tell his story.", "\"It is simplicity itself,\" said he; \"my eyes tell me that on the\ninside of your left shoe, just where the firelight strikes it,", "seems to be almost inexplicable. Nothing could be more natural\nthan the sequence of events as narrated by this lady, and nothing\nstranger than the result when viewed, for instance, by Mr.", "\"In the bathroom,\" he answered. \"Oh, yes, I am not joking,\" he\ncontinued, seeing my look of incredulity. \"I have just been", "stories of which my employer had an immense répertoire, and which\nhe told inimitably. Then he handed me a yellow-backed novel, and", "\"'Because during the last few nights I have always, about three\nin the morning, heard a low, clear whistle. I am a light sleeper,", "\"Then I'll tell our story right away,\" said the lady. \"Frank here\nand I met in '84, in McQuire's camp, near the Rockies, where pa", "\"You have come to me to tell your story, have you not?\" said he.\n\"You are fatigued with your haste. Pray wait until you have", "narrative which has already run to too great a length by telling\nhow we broke the sad news to the terrified girl, how we conveyed\nher by the morning train to the care of her good aunt at Harrow,", "completed the cure. I shall take up as little of your valuable\ntime as possible, so I shall start at once upon my peculiar\nexperiences.\"", "\"Your experience has been a most entertaining one,\" remarked\nHolmes as his client paused and refreshed his memory with a huge\npinch of snuff. \"Pray continue your very interesting statement.\"", "\"And now there is only she to be described. She is my niece; but\nwhen my brother died five years ago and left her alone in the", "\"I come to a part of my story now in which I should wish to be\nparticularly so. I am not a very heavy sleeper, and the anxiety" ], [ "\"Kindly look her up in my index, Doctor,\" murmured Holmes without\nopening his eyes. For many years he had adopted a system of", "I could see that Holmes was favourably impressed by the manner\nand speech of his new client. He looked her over in his searching\nfashion, and then composed himself, with his lids drooping and\nhis finger-tips together, to listen to her story.", "I had expected to see Sherlock Holmes impatient under this\nrambling and inconsequential narrative, but, on the contrary, he\nhad listened with the greatest concentration of attention.", "\"Very good, Lestrade,\" said Holmes, laughing. \"You really are\nvery fine indeed. Let me see it.\" He took up the paper in a", "\"It was most suggestive,\" said Holmes. \"It has long been an axiom\nof mine that the little things are infinitely the most important.\nCan you remember any other little things about Mr. Hosmer Angel?\"", "\"He was a very shy man, Mr. Holmes. He would rather walk with me\nin the evening than in the daylight, for he said that he hated to", "\"You may place considerable confidence in Mr. Holmes, sir,\" said\nthe police agent loftily. \"He has his own little methods, which", "\"Try the settee,\" said Holmes, relapsing into his armchair and\nputting his fingertips together, as was his custom when in", "Holmes chuckled heartily. \"Your conversation is most\nentertaining,\" said he. \"When you go out close the door, for\nthere is a decided draught.\"", "\"Your experience has been a most entertaining one,\" remarked\nHolmes as his client paused and refreshed his memory with a huge\npinch of snuff. \"Pray continue your very interesting statement.\"", "\"We're hunting in couples again, Doctor, you see,\" said Jones in\nhis consequential way. \"Our friend here is a wonderful man for\nstarting a chase. All he wants is an old dog to help him to do\nthe running down.\"", "There was a long silence, broken only by his heavy breathing and\nby the measured tapping of Sherlock Holmes' finger-tips upon the\nedge of the table. Then my friend rose and threw open the door.", "He had hardly shut the door behind him when Holmes rose to put on\nhis overcoat. \"There is something in what the fellow says about\noutdoor work,\" he remarked, \"so I think, Watson, that I must\nleave you to your papers for a little.\"", "\"You could not possibly have come at a better time, my dear\nWatson,\" he said cordially.\n\n\"I was afraid that you were engaged.\"\n\n\"So I am. Very much so.\"", "equalled. It was not merely that Holmes changed his costume. His\nexpression, his manner, his very soul seemed to vary with every\nfresh part that he assumed. The stage lost a fine actor, even as", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "My friend smiled.\n\n\"Holmes, the busybody!\"\n\nHis smile broadened.\n\n\"Holmes, the Scotland Yard Jack-in-office!\"", "It was nearly one o'clock when Sherlock Holmes returned from his\nexcursion. He held in his hand a sheet of blue paper, scrawled\nover with notes and figures.", "Holmes grinned at the last item. \"Well,\" he said, \"I say now, as\nI said then, that a man should keep his little brain-attic", "\"I think, Watson,\" he remarked at last, \"that of all our cases we\nhave had none more fantastic than this.\"\n\n\"Save, perhaps, the Sign of Four.\"" ], [ "keeping her at home and forbidding her to seek the company of\npeople of her own age. But soon he found that that would not\nanswer forever. She became restive, insisted upon her rights, and", "\"It was not the wife; it was the children,\" groaned the prisoner.\n\"God help me, I would not have them ashamed of their father. My\nGod! What an exposure! What can I do?\"", "\"She died just two years ago, and it is of her death that I wish\nto speak to you. You can understand that, living the life which I", "at work upon him. This may account also for the obvious fact that\nhis wife has ceased to love him.\"", "of those who were opposed to its views. Its outrages were usually\npreceded by a warning sent to the marked man in some fantastic\nbut generally recognised shape--a sprig of oak-leaves in some", "I have led a life of martyrdom to atone for it. But that my girl\nshould be entangled in the same meshes which held me was more\nthan I could suffer. I struck him down with no more compunction", "\"The first thing that put us out was that advertisement.\nSpaulding, he came down into the office just this day eight\nweeks, with this very paper in his hand, and he says:", "\"I was very angry, for this was the third demand during the\nmonth. 'You shall not have a farthing from me,' I cried, on which\nhe bowed and left the room without another word.", "\"It saved me from ennui,\" he answered, yawning. \"Alas! I already\nfeel it closing in upon me. My life is spent in one long effort", "extreme limits of his reason. Then, suddenly springing to his\nfeet, he beat his head against the wall with such force that we\nboth rushed upon him and tore him away to the centre of the room.", "\"Yes, sir. And no later than this morning. I went to my work as\nusual at ten o'clock, but the door was shut and locked, with a", "\"No, he was averse to it also. No one but Mr. McCarthy was in\nfavour of it.\" A quick blush passed over her fresh young face as\nHolmes shot one of his keen, questioning glances at her.", "\"'Fritz! Fritz!' she cried in English, 'remember your promise\nafter the last time. You said it should not be again. He will be\nsilent! Oh, he will be silent!'", "hoped with diligence that I might get on to the B's before very\nlong. It cost me something in foolscap, and I had pretty nearly\nfilled a shelf with my writings. And then suddenly the whole", "farthest east of the City. Hitherto his orgies had always been\nconfined to one day, and he had come back, twitching and\nshattered, in the evening. But now the spell had been upon him", "\"God bless you!\" cried the prisoner passionately. \"I would have\nendured imprisonment, ay, even execution, rather than have left\nmy miserable secret as a family blot to my children.", "The salesman chuckled grimly. \"Bring me the books, Bill,\" said\nhe.\n\nThe small boy brought round a small thin volume and a great\ngreasy-backed one, laying them out together beneath the hanging\nlamp.", "\"You will observe,\" said Holmes, laying down the volume, \"that\nthe sudden breaking up of the society was coincident with the", "I know it, and I want you to start upon your work knowing it,\ntoo. Never let yourself doubt upon that point. We have known each\nother since we were little children, and I know his faults as no", "enabled him to take a medical degree and went out to Calcutta,\nwhere, by his professional skill and his force of character, he\nestablished a large practice. In a fit of anger, however, caused" ], [ "\"She died just two years ago, and it is of her death that I wish\nto speak to you. You can understand that, living the life which I", "had been abandoned as hopeless by the official police. From time\nto time I heard some vague account of his doings: of his summons\nto Odessa in the case of the Trepoff murder, of his clearing up", "keeping her at home and forbidding her to seek the company of\npeople of her own age. But soon he found that that would not\nanswer forever. She became restive, insisted upon her rights, and", "\"It was in January, '85, that my poor father met his end, and two\nyears and eight months have elapsed since then. During that time", "\"You will observe,\" said Holmes, laying down the volume, \"that\nthe sudden breaking up of the society was coincident with the", "\"As long as she was on the scene he could not take any action\nwithout a horrible exposure of the woman whom he loved. But the\ninstant that she was gone he realised how crushing a misfortune", "She was a nonentity. It was easy to see that she was passionately\ndevoted both to her husband and to her little son. Her light grey\neyes wandered continually from one to the other, noting every", "I have led a life of martyrdom to atone for it. But that my girl\nshould be entangled in the same meshes which held me was more\nthan I could suffer. I struck him down with no more compunction", "The Count shrugged his broad shoulders. \"Then I must begin,\" said\nhe, \"by binding you both to absolute secrecy for two years; at", "\"It saved me from ennui,\" he answered, yawning. \"Alas! I already\nfeel it closing in upon me. My life is spent in one long effort", "\"Very naturally. By the way, about the bird, we were compelled to\neat it.\"\n\n\"To eat it!\" Our visitor half rose from his chair in his\nexcitement.", "\"'Fritz! Fritz!' she cried in English, 'remember your promise\nafter the last time. You said it should not be again. He will be\nsilent! Oh, he will be silent!'", "occurred to me that there might be a search in the room, and that\nthe clothes might betray me. I threw open the window, reopening\nby my violence a small cut which I had inflicted upon myself in", "farthest east of the City. Hitherto his orgies had always been\nconfined to one day, and he had come back, twitching and\nshattered, in the evening. But now the spell had been upon him", "\"Not a bite. I had no time to think of it.\"\n\n\"And how have you succeeded?\"\n\n\"Well.\"\n\n\"You have a clue?\"", "\"It was not the wife; it was the children,\" groaned the prisoner.\n\"God help me, I would not have them ashamed of their father. My\nGod! What an exposure! What can I do?\"", "\"No, he was averse to it also. No one but Mr. McCarthy was in\nfavour of it.\" A quick blush passed over her fresh young face as\nHolmes shot one of his keen, questioning glances at her.", "grounds for hope as long as he was dissatisfied with the accepted\nexplanation. He hardly spoke a word the whole way out to the\nsouthern suburb, but sat with his chin upon his breast and his", "he remained for three or four years. About 1869 or 1870 he came\nback to Europe and took a small estate in Sussex, near Horsham.", "of Warsaw--yes! Retired from operatic stage--ha! Living in\nLondon--quite so! Your Majesty, as I understand, became entangled\nwith this young person, wrote her some compromising letters, and" ], [ "\"She died just two years ago, and it is of her death that I wish\nto speak to you. You can understand that, living the life which I", "I have led a life of martyrdom to atone for it. But that my girl\nshould be entangled in the same meshes which held me was more\nthan I could suffer. I struck him down with no more compunction", "had been abandoned as hopeless by the official police. From time\nto time I heard some vague account of his doings: of his summons\nto Odessa in the case of the Trepoff murder, of his clearing up", "\"Very naturally. By the way, about the bird, we were compelled to\neat it.\"\n\n\"To eat it!\" Our visitor half rose from his chair in his\nexcitement.", "keeping her at home and forbidding her to seek the company of\npeople of her own age. But soon he found that that would not\nanswer forever. She became restive, insisted upon her rights, and", "\"Ah, of course. He was wrongfully accused of cheating at cards.\"\n\n\"He said that you could solve anything.\"\n\n\"He said too much.\"", "She was a nonentity. It was easy to see that she was passionately\ndevoted both to her husband and to her little son. Her light grey\neyes wandered continually from one to the other, noting every", "\"It saved me from ennui,\" he answered, yawning. \"Alas! I already\nfeel it closing in upon me. My life is spent in one long effort", "\"God bless you! You are doing what you can for him and for me.\nBut it is too heavy a task. What was he doing there at all? If\nhis purpose were innocent, why did he not say so?\"", "\"No, he was averse to it also. No one but Mr. McCarthy was in\nfavour of it.\" A quick blush passed over her fresh young face as\nHolmes shot one of his keen, questioning glances at her.", "at work upon him. This may account also for the obvious fact that\nhis wife has ceased to love him.\"", "extreme limits of his reason. Then, suddenly springing to his\nfeet, he beat his head against the wall with such force that we\nboth rushed upon him and tore him away to the centre of the room.", "grounds for hope as long as he was dissatisfied with the accepted\nexplanation. He hardly spoke a word the whole way out to the\nsouthern suburb, but sat with his chin upon his breast and his", "\"As long as she was on the scene he could not take any action\nwithout a horrible exposure of the woman whom he loved. But the\ninstant that she was gone he realised how crushing a misfortune", "\"You will observe,\" said Holmes, laying down the volume, \"that\nthe sudden breaking up of the society was coincident with the", "\"It was not the wife; it was the children,\" groaned the prisoner.\n\"God help me, I would not have them ashamed of their father. My\nGod! What an exposure! What can I do?\"", "occurred to me that there might be a search in the room, and that\nthe clothes might betray me. I threw open the window, reopening\nby my violence a small cut which I had inflicted upon myself in", "\"Not a bite. I had no time to think of it.\"\n\n\"And how have you succeeded?\"\n\n\"Well.\"\n\n\"You have a clue?\"", "of those who were opposed to its views. Its outrages were usually\npreceded by a warning sent to the marked man in some fantastic\nbut generally recognised shape--a sprig of oak-leaves in some", "\"'I am afraid that that is quite impossible,' said I. He had been\nwatching me eagerly out of his small eyes, and I could see a\nshadow pass over his face as I spoke." ], [ "plenty of money. He took a large villa, laid out the grounds very\nnicely, and lived generally in good style. By degrees he made", "\"But how did you gain them?\"\n\n\"You know my method. It is founded upon the observation of\ntrifles.\"", "\"As I grew richer I grew more ambitious, took a house in the\ncountry, and eventually married, without anyone having a\nsuspicion as to my real occupation. My dear wife knew that I had\nbusiness in the City. She little knew what.", "enough to gain.' He bowed me out of the room and I went home with\nmy assistant, hardly knowing what to say or do, I was so pleased\nat my own good fortune.", "\"Here is an advertisement which will interest you,\" said he. \"It\nappeared in all the papers about a year ago. Listen to this:", "The salesman chuckled grimly. \"Bring me the books, Bill,\" said\nhe.\n\nThe small boy brought round a small thin volume and a great\ngreasy-backed one, laying them out together beneath the hanging\nlamp.", "hoped with diligence that I might get on to the B's before very\nlong. It cost me something in foolscap, and I had pretty nearly\nfilled a shelf with my writings. And then suddenly the whole", "making his professional acquaintance, and I have been surprised\nat the harvest which he has reaped in a short time. His\nappearance, you see, is so remarkable that no one can pass him", "matter to know which to choose and which to leave. Some, however,\nhave already gained publicity through the papers, and others have\nnot offered a field for those peculiar qualities which my friend", "everywhere, seen everything, a brilliant talker, and a man of\ngreat personal beauty. Yet when I think of him in cold blood, far\naway from the glamour of his presence, I am convinced from his", "\"'Some little time ago I bought a small place--a very small\nplace--within ten miles of Reading. I was fortunate enough to", "\"You are the first who have ever heard my story. My father was a\nschoolmaster in Chesterfield, where I received an excellent", "twenty before her father became a rich man. During that time she\nran free in a mining camp and wandered through woods or\nmountains, so that her education has come from Nature rather than", "\"There was a paragraph amplifying this in one of the society\npapers of the same week. Ah, here it is: 'There will soon be a", "\"He didn't mind me; in fact, he took a fancy to me, for at the\ntime when he saw me first I was a youngster of twelve or so. This", "idea. For that matter, Reading, and possibly other large towns,\nwere within that radius, so the place might not be so secluded,\nafter all. Yet it was quite certain, from the absolute stillness,", "farthest east of the City. Hitherto his orgies had always been\nconfined to one day, and he had come back, twitching and\nshattered, in the evening. But now the spell had been upon him", "\"Here is the first notice which I can find. It is in the personal\ncolumn of the Morning Post, and dates, as you see, some weeks", "he remained for three or four years. About 1869 or 1870 he came\nback to Europe and took a small estate in Sussex, near Horsham.", "enabled him to take a medical degree and went out to Calcutta,\nwhere, by his professional skill and his force of character, he\nestablished a large practice. In a fit of anger, however, caused" ], [ "The Count shrugged his broad shoulders. \"Then I must begin,\" said\nhe, \"by binding you both to absolute secrecy for two years; at", "\"She died just two years ago, and it is of her death that I wish\nto speak to you. You can understand that, living the life which I", "\"It was in January, '85, that my poor father met his end, and two\nyears and eight months have elapsed since then. During that time", "\"No, I must go. My heart is lightened already since I have\nconfided my trouble to you. I shall look forward to seeing you\nagain this afternoon.\" She dropped her thick black veil over her\nface and glided from the room.", "keeping her at home and forbidding her to seek the company of\npeople of her own age. But soon he found that that would not\nanswer forever. She became restive, insisted upon her rights, and", "\"You will observe,\" said Holmes, laying down the volume, \"that\nthe sudden breaking up of the society was coincident with the", "gradually away as each new discovery furnishes a step which leads\non to the complete truth. At the time the circumstances made a\ndeep impression upon me, and the lapse of two years has hardly", "months after our interview, but he is now dead; and there is\nevery prospect that the son and daughter may come to live happily\ntogether in ignorance of the black cloud which rests upon their", "\"Two days later this same performance was gone through under\nexactly similar circumstances. Again I changed my dress, again I\nsat in the window, and again I laughed very heartily at the funny", "he remained for three or four years. About 1869 or 1870 he came\nback to Europe and took a small estate in Sussex, near Horsham.", "other until he had gone. We could write in the meantime, and he\nused to write every day. I took the letters in in the morning, so\nthere was no need for father to know.\"", "\"As long as she was on the scene he could not take any action\nwithout a horrible exposure of the woman whom he loved. But the\ninstant that she was gone he realised how crushing a misfortune", "\"'Fritz! Fritz!' she cried in English, 'remember your promise\nafter the last time. You said it should not be again. He will be\nsilent! Oh, he will be silent!'", "\"9th. McCauley cleared.\n\n\"10th. John Swain cleared.\n\n\"12th. Visited Paramore. All well.\"", "It was useless, however. He was off in one of those hysterical\noutbursts which come upon a strong nature when some great crisis\nis over and gone. Presently he came to himself once more, very\nweary and pale-looking.", "of the efforts of the United States government and of the better\nclasses of the community in the South. Eventually, in the year\n1869, the movement rather suddenly collapsed, although there have", "\"A day which has saved England from a great public scandal,\" said\nthe banker, rising. \"Sir, I cannot find words to thank you, but", "What a time it seemed! From comparing notes afterwards it was but\nan hour and a quarter, yet it appeared to me that the night must\nhave almost gone and the dawn be breaking above us. My limbs", "\"'Yes, but with my back towards it.'\n\n\"This concluded the examination of the witness.\"", "would be in the year 1878, after he had been eight or nine years\nin England. He begged my father to let me live with him and he" ], [ "On glancing over my notes of the seventy odd cases in which I\nhave during the last eight years studied the methods of my friend\nSherlock Holmes, I find many tragic, some comic, a large number", "\"I think, Watson,\" he remarked at last, \"that of all our cases we\nhave had none more fantastic than this.\"\n\n\"Save, perhaps, the Sign of Four.\"", "Watson, and as the clock makes it a few minutes after four, I\nhave no doubt that this will prove to be our noble client. Do not\ndream of going, Watson, for I very much prefer having a witness,", "Of all the problems which have been submitted to my friend, Mr.\nSherlock Holmes, for solution during the years of our intimacy,\nthere were only two which I was the means of introducing to his", "\"Well, Watson,\" said Holmes when our visitor had left us, \"what\ndo you make of it all?\"\n\n\"I make nothing of it,\" I answered frankly. \"It is a most\nmysterious business.\"", "of him, for he had seen him get in with his own eyes. That was\nlast Friday, Mr. Holmes, and I have never seen or heard anything\nsince then to throw any light upon what became of him.\"", "When I glance over my notes and records of the Sherlock Holmes\ncases between the years '82 and '90, I am faced by so many which\npresent strange and interesting features that it is no easy", "with Sherlock Holmes. Here I had heard what he had heard, I had\nseen what he had seen, and yet from his words it was evident that\nhe saw clearly not only what had happened but what was about to", "\"Not invisible but unnoticed, Watson. You did not know where to\nlook, and so you missed all that was important. I can never bring", "believe, however, that the full facts have never been revealed to\nthe general public, and as my friend Sherlock Holmes had a\nconsiderable share in clearing the matter up, I feel that no", "\"You? Who are you? How could you know anything of the matter?\"\n\n\"My name is Sherlock Holmes. It is my business to know what other\npeople don't know.\"", "\"My God! It's Watson,\" said he. He was in a pitiable state of\nreaction, with every nerve in a twitter. \"I say, Watson, what\no'clock is it?\"\n\n\"Nearly eleven.\"", "We both sat in silence for some little time after listening to\nthis extraordinary narrative. Then Sherlock Holmes pulled down\nfrom the shelf one of the ponderous commonplace books in which he\nplaced his cuttings.", "\"Do you know, Watson,\" said he, \"that it is one of the curses of\na mind with a turn like mine that I must look at everything with", "as the fancies of a nervous woman. He does not say so, but I can\nread it from his soothing answers and averted eyes. But I have\nheard, Mr. Holmes, that you can see deeply into the manifold", "\"You are certainly joking, Holmes.\"\n\n\"Not in the least. Is it possible that even now, when I give you\nthese results, you are unable to see how they are attained?\"", "I. A Scandal in Bohemia\n II. The Red-headed League\n III. A Case of Identity\n IV. The Boscombe Valley Mystery", "\"Sherlock Holmes, Esq. To be left till called for.\" My friend\ntore it open and we all three read it together. It was dated at\nmidnight of the preceding night and ran in this way:", "\"As a rule,\" said Holmes, \"the more bizarre a thing is the less\nmysterious it proves to be. It is your commonplace, featureless", "\"So much for Mr. Henry Baker,\" said Holmes when he had closed the\ndoor behind him. \"It is quite certain that he knows nothing\nwhatever about the matter. Are you hungry, Watson?\"\n\n\"Not particularly.\"" ], [ "so close that a word of complaint can set it going, and there is\nbut a step between the crime and the dock. But look at these\nlonely houses, each in its own fields, filled for the most part", "\"Well, now, in considering this case there are two points about\nyoung McCarthy's narrative which struck us both instantly,\nalthough they impressed me in his favour and you against him. One", "\"And yet I am not convinced of it,\" I answered. \"The cases which\ncome to light in the papers are, as a rule, bald enough, and", "us. There are one or two minor points which were brought out in\nthe inquest, and which are worth considering.\"", "\"Ah, of course. He was wrongfully accused of cheating at cards.\"\n\n\"He said that you could solve anything.\"\n\n\"He said too much.\"", "with poor ignorant folk who know little of the law. Think of the\ndeeds of hellish cruelty, the hidden wickedness which may go on,", "to the many causes célèbres and sensational trials in which I\nhave figured but rather to those incidents which may have been\ntrivial in themselves, but which have given room for those", "\"You will find it rather disconnected, I fear, and there may\nprove to be little relation between the different incidents of\nwhich I speak. On the very first day that I was at the Copper", "even if they believe me, the clues which I can give them are so\nvague that it is a question whether justice will be done.\"", "\"you can hardly be open to a charge of sensationalism, for out of\nthese cases which you have been so kind as to interest yourself\nin, a fair proportion do not treat of crime, in its legal sense,", "rise from crime to crime until he does something very bad, and\nends on a gallows. The case has, in some respects, been not\nentirely devoid of interest.\"", "seems to be almost inexplicable. Nothing could be more natural\nthan the sequence of events as narrated by this lady, and nothing\nstranger than the result when viewed, for instance, by Mr.", "\"I do not know what I have done to be so severely tried,\" said\nhe. \"Only two days ago I was a happy and prosperous man, without", "a care in the world. Now I am left to a lonely and dishonoured\nage. One sorrow comes close upon the heels of another. My niece,\nMary, has deserted me.\"", "\"A certain selection and discretion must be used in producing a\nrealistic effect,\" remarked Holmes. \"This is wanting in the\npolice report, where more stress is laid, perhaps, upon the", "only fair to them to say that. But I cannot understand them, and\nI am not easy in my mind about them.\"", "\"In the first place, I may say that I have met, on the whole,\nwith no actual ill-treatment from Mr. and Mrs. Rucastle. It is", "I have led a life of martyrdom to atone for it. But that my girl\nshould be entangled in the same meshes which held me was more\nthan I could suffer. I struck him down with no more compunction", "lane so vile that the scream of a tortured child, or the thud of\na drunkard's blow, does not beget sympathy and indignation among\nthe neighbours, and then the whole machinery of justice is ever", "\"Then I'll tell our story right away,\" said the lady. \"Frank here\nand I met in '84, in McQuire's camp, near the Rockies, where pa" ] ]

[ "Which character is the narrator for the majority of the stories?", "For what reason did the Soviet Union Ban the stoy? ", "Name the major theme used in The Adventures of Sherlock Holmes?", "What was Watson's professional title?", "What was Holmes first name?", "Where did the majority of the story occur?", "How would Classify the kind of character Holmes was?", "Who's viewpoint is all but four of the storys told from?", "Why did the Soviet Union ban the collection of stories?", "When was the ban restriction on the collection of stories lifted?", "What Dictionary shows that these stories point out the social injustices of the time?", "Where was the collection of stories popular even with the Soviet ban?", "When did the Soviets ban the collection of stories?", "What was Doyle's favorite sherlock Homes story?", "How many stories was in Doyle's list of best stories?", "What magazine did Doyle give a list of best stories?", "What year did Doyle submit a list of best stories?", "What point of view are the stories told in?", "Who is the narrator on most?", "What was Doyle's favorite?", "Where was the work banned?", "When was it banned in the Soviet Union?", "Why was it banned in the Soviet Union?", "Where did the works gain popularity?", "When did the ban get lifted?", "How many are not told from Watson's point of view?", "What kind of injustices do the stories point out?" ]

[ [ "Watson. ", "Dr. WAtson" ], [ "They alleged it contained occultism. ", "occultism" ], [ "Social Injustice ", "The pointing out of social injustices." ], [ "Dr. ", "Doctor" ], [ "Sherlock.", "Sherlock" ], [ "London.", "The Strand Magazine" ], [ "Protagonist.", "fresh and fair" ], [ "Dr. Watson", "Dr. Watson" ], [ "Because of alleged occultism", "the stories contained occultism" ], [ "1940", "in 1940" ], [ "The Oxford Dictionary of National Biography", "The Oxford Dictionary of National Biography" ], [ "The black market", "On the black market." ], [ "1929", "1929" ], [ "The adventure of the Speckled Band", "\"The Adventures of the Speckled Band.\"" ], [ "12", "12" ], [ "The Strand Magazine", "The Strand." ], [ "1927", "1927" ], [ "First person.", "first person narrative" ], [ "Dr. Watson.", "Dr. Watson" ], [ "The Adventure of the Speckled Band.", "The Adventure of the Speckled Band" ], [ "In the Soviet Union.", "The Soviet Union." ], [ "In 1929.", "1929." ], [ "Occultism.", "Because of its perceived \"occultism.\"" ], [ "In the black market.", "A black market of banned books." ], [ "1940.", "1940" ], [ "Four.", "4" ], [ "Social injustices.", "social injustices" ] ]

[ [ "Two lodges are empty; a scalp, living or dead, is wanted at each door.\"", "\"Oh! Judith,\" exclaimed the weak minded girl, as soon as their first\ncare had been bestowed on sufferer. \"Father went for scalps, himself,", "men, word for word, what I am about to say. Tell them first, that father\nand Hurry came here with an intention to take as many scalps as they", "An exclamation of delight and exultation escaped the Indian, and then\nlaying his hand eagerly on the arm of his friend, he asked if there were\nany scalps taken.", "take scalp--all old chief take scalp, and Chingachgook take as many\nscalp as he can carry, himself.\"", "and they will give them two ivory creaturs, as ransom. One for each\nscalp. Go back and tell this to your chiefs, and bring me the answer\nbefore the sun sets.\"", "behind him. The scalps can go to Canada, for a pale-face has no\nsatisfaction in them.\"", "Delawares, or Mohicans whichever they may be, among the rest; and why\nshouldn't we scalp? I will own, it would be ag'in right for you and me", "enemies, watching equally for an opportunity to meet his mistress,\nand to take a scalp; and it may be questioned which he most ardently", "spring and sometimes on the land. He looks for scalps, like an outcast.\nHawkeye can go back and tell him how he has outwitted the Hurons, how he", "when he see young warrior come back from the war path, with two, ten,\nhundred scalp on a pole! Chingachgook father take scalp--grandfather", "\"Why, Judith, the Frenchers offer bounties as well as our own side, and\nthe price of two scalps would purchase a keg of powder, and a rifle;", "\"Ay, ay, this is all very well, in the animal way, though it makes but a\npoor figure alongside of scalps and ambushes. Shooting an Indian from an", "\"Well, well,\"--he commenced,--\"'twould have been wrong to kill a human\nmortal without an object. Scalps are of no account with me, and life", "avarsion to being scalped; whereas your Indian shaves his head\nin readiness for the knife, and leaves a lock of hair by way of\nbraggadocio, that one can lay hold of in the bargain.\"", "\"Good! Deerslayer is a pale-face, and has pale-face hands. A Delaware\nwill look for the scalp, and hang it on a pole, and sing a song in his", "now, to go into the settlements and bring out scalps, but it's a very\ndifferent matter as concerns Indians. A man shouldn't take scalps, if he", "\"High prices are offered for scalps on both sides,\" he observed, with a\ngrim smile, as if he felt the force of the inducement, at the very time", "\"Well, old Tom,\" cried Hurry, \"If we are to move, the sooner we make a\nbeginning, the sooner we shall know whether we are to have our scalps\nfor night-caps, or not.\"", "The young man had the words \"scalps\" and \"bounty\" on his lips, but a\nreluctance to alarm the feelings of the daughters prevented him from" ], [ "\"Well, then, Hutter, or Hovey, was a pirate, and being no father of\nmine, I cannot wish to call him one. His name shall no longer be my\nname.\"", "\"He told you he was a pirate--there is no need of mincing matters\nbetween friends. Read that, Deerslayer, and you will see that he told", "his youth, and a companion of a sartain Kidd, who was hanged for piracy,\nlong afore you and I were born or acquainted, and that he came up into", "\"You was once a sailor, they tell me, old Tom?\" said Hurry, in his\nabrupt manner, struck by one or two expressions that the other had just", "Nor swelling seas, nor threatening skies,\n Prevent the pirate's course:\n Their lives to selfish ends decreed\n Through blood and rapine they proceed;", "being supposed that he had formerly, in some way or other, dealings with\nsartain sea robbers, but, Lord, Judith, it can't surely give you any", "Raven, having as yet had no opportunity of obtaining a more warlike\nsobriquet. He was remarkable for high pretension, rather than for skill\nor exploits, and those who knew his character thought the captive", "whom was his old acquaintance Rivenoak. As soon as the latter caught a\nglimpse of the captive's countenance, he spoke apart to his companions,", "inquiry at the girl; for in common with all who knew Hutter, he had some\ncuriosity on the subject of his early history. \"Hurry Harry tells me he\nwas once a sailor.\"", "\"Partly that, lad, and partly eyesight,\" returned the good-natured\ngiant, laughing; \"there was a large gang of us in the lake, the summer", "\"Come,\" said the Huron with a quiet gesture of authority, to order his\nprisoner to land, \"my young friend has sailed about till he is tired; he\nwill forget how to run again, unless he uses his legs.\"", "\"Then he was wrong, Hurry; very wrong. A man can enjoy plunder peaceably\nnowhere.\"", "\"If Hurry knows anything of father's history, I would he had told it to\nme!\" she cried. \"Sometimes I think, too, he was once a sailor, and then", "\"The bounty,\" returned the other, looking up at his attentive companion\nin a cool, sullen manner, in which, however, heartless cupidity and", "which was certainly justified by the treatment formerly received from\nthe Indians. As soon as Rivenoak perceived the girl, she was recognised,\nand calling to two or three of the younger warriors, the chief sent", "\"I dare say Hurry had some of his vile hints about the people of the\ngarrisons,\" she added. \"He knows they are gentlemen, and can never\nforgive any one for being what he feels he can never become himself.\"", "two Indians he had hurled into the water mounted to the heads of the\npiles, along which they passed, and joined their companion on the\nplatform. The latter had so far rallied his faculties as to have gotten", "\"Let up, you painted riptyles--let up!\" cried Hurry, too hard pressed to\nbe particular about the terms he used; \"isn't it enough that I am withed\nlike a saw-log that ye must choke too!\"", "\"There the old fellow is!\" whispered Hurry, pointing with a finger, and\nlaughing heartily, though he carefully avoided making a noise, \"ratting", "There was no other priest than nature at that wild and singular funeral\nrite. March cast his eyes below, and through the transparent medium of" ], [ "abreast of Hutter's fortress. With the several parties thus situated the\nchase commenced.", "all--were encamped for the night abreast of the castle, and it was hoped\nthat the scalps of helpless victims would be the consequence. To confess\nthe truth, Hutter in particular--he who had just left two daughters", "the axe, and to be unresisted. This attention to security arose from\nHutter's having been robbed once or twice by the lawless whites of the", "At length the several conferences were broken up by the reappearance\nof Hutter on the platform. Here he assembled the whole party, and", "sufficiently understood English to have at length detected the drift of\nhis discourse. Immediately after, the whole group entered the forest,\nHutter and Hurry apparently making no resistance to the movement. Just", "This call was made to one that the young man knew had the strength of a\ngiant. It was so earnest and solemn, that both Hutter and March felt", "It was now a question as to the course to be steered. A short surly\nconference was held, when Hutter decided that the wisest way would be", "his numerous enemies. Hutter was already a captive and bound. There was\nnow a pause in the struggle, which resembled a lull in a tempest. The", "Hutter opened his glassy eyes, and stared wildly at the speaker. A flood\nof confused recollections rushed on his wavering mind at the sight of", "bed of their mother, and neither needed a monitor to warn them of the\ncrisis, and every sign of resentment vanished from the face of the\nfirst. Hutter opened his eyes, and even tried to feel about him with his", "entered the sleeping apartment of Hutter. This part of the rude building\nwas better furnished than the rest of the structure, containing several\narticles that had been especially devoted to the service of the deceased", "Hutter now rose, and, entering the cabin, he compelled his daughters\nto go into the adjoining room, when he secured both the doors, and", "Under the circumstances, Hutter and Hurry were not men to be long\ndeterred from proceeding by proofs as slight as that of the moccasin.", "\"Lay on your paddles, men,\" said Hutter, in a low voice, \"and let us\nlook about us for a moment. We must now be all eyes and ears, for these\nvermin have noses like bloodhounds.\"", "of a wilderness. As an enemy was known to be near, Hutter directed his\ndaughters to abstain from the use of lights, luxuries in which they", "afore he invited 'em. But Hutter is a first-rate look-outer, and can\npretty much scent danger, as a hound scents the deer.\"", "ransom, with a confidence that might, in a great degree, account for\ntheir apparent indifference. Once before, Hutter had been in the hands", "perceived that one of the warriors had left the group, and was already\nreturning to it with Hutter and Hurry. Understanding that the two\nlast were to become parties in the inquiry, she became mute, with", "Shortly after the disappearance of Judith, a light southerly air arose,\nand Hutter set a large square sail, that had once been the flying", "vigorously until they got within a hundred yards of the \"castle,\" as\nHurry familiarly called the house of Hutter, when they again ceased" ], [ "injury, he naturally believed that Hutter had been overcome, while he\nowed his own escape to his great bodily strength, and to a fortunate\nconcurrence of extraordinary circumstances. Death, in the silence and", "\"My brother knows I put faith in him,\" said the latter, as he advanced\nwith Hutter, whose legs had been released to enable the old man to\nascend to the platform. \"One scalp--one more beast.\"", "was not about to quit him. A minute before, Hutter would have been well\ncontent to compromise his danger, by entering into a compact to act only\non the defensive; but no sooner did he feel some security on this", "been previously related. This was the secret of neither party's having\nappeared in the subsequent struggle; Hutter having been literally\ndisabled, and his conqueror being ashamed to be seen with the traces of", "\"The death of Thomas Hutter,\" Judith commenced, after a short pause had\nprepared her sister to receive her communications, \"has altered all our", "by an enemy. It might have fallen from the platform, even while Hutter\nwas in possession of the place, and drifted to the spot where it was now", "Shortly after the disappearance of Judith, a light southerly air arose,\nand Hutter set a large square sail, that had once been the flying", "here! But, we will not talk of this any longer. The bodies of Mother\nand Thomas Hutter lie together in the lake, and we will hope that the", "in vain. When the scow came up over her grapnel, Hutter tripped the\nlatter in a way not to impede the motion; and being now beyond the", "the gentle spirit had departed. Thus died Hetty Hutter, one of those\nmysterious links between the material and immaterial world, which, while\nthey appear to be deprived of so much that it is esteemed and necessary", "\"Water,\" ejaculated Hutter, as it might be by a desperate effort, that\nrendered his voice frightfully deep and strong for one as near death as\nhe evidently was--\"Water--foolish girls--will you let me die of thirst?\"", "bed of their mother, and neither needed a monitor to warn them of the\ncrisis, and every sign of resentment vanished from the face of the\nfirst. Hutter opened his eyes, and even tried to feel about him with his", "Hutter opened his glassy eyes, and stared wildly at the speaker. A flood\nof confused recollections rushed on his wavering mind at the sight of", "all--were encamped for the night abreast of the castle, and it was hoped\nthat the scalps of helpless victims would be the consequence. To confess\nthe truth, Hutter in particular--he who had just left two daughters", "Hetty Hutter witnessed all that passed, and the scene at first had\npressed upon her feeble mind in a way to paralyze it entirely; but, by", "that she was not Thomas Hutter's child. At length Hetty dried her tears,\nand came and seated herself on a stool by the side of the dying man, who", "\"Never mind--never mind, child,\" answered the other huskily, \"'tis no\nmatter, now. Mother is gone, and Thomas Hutter is gone, and the time has\ncome when we must think and act for ourselves.\"", "It was now a question as to the course to be steered. A short surly\nconference was held, when Hutter decided that the wisest way would be", "\"These are high words to come from Thomas Hutter's darter, as Thomas\nHutter lies dying before her eyes,\" retorted Hurry.", "of his betrothed in length and intensity. Again they spoke together,\nconfidentially, appearing to compare opinions, after which the glass was\nlaid aside, and the young warrior quitted the cabin to join Hutter and" ], [ "\"That is soon told, Master Hutter,\" said the young man, with the\ncomposure of one who kept a clean conscience. \"I think, moreover, you've", "\"My brother knows I put faith in him,\" said the latter, as he advanced\nwith Hutter, whose legs had been released to enable the old man to\nascend to the platform. \"One scalp--one more beast.\"", "Hutter opened his glassy eyes, and stared wildly at the speaker. A flood\nof confused recollections rushed on his wavering mind at the sight of", "it is not easy to say, for, just then, Hutter gave unequivocal signs\nthat his last moment was nigh. Judith and Hetty had stood by the dying", "that perhaps none would have been willing to confess. Here the last\nstone was raised from the bottom, and the line led directly towards the\ngrapnel, which, as Hutter had explained, was dropped above the suction", "bed of their mother, and neither needed a monitor to warn them of the\ncrisis, and every sign of resentment vanished from the face of the\nfirst. Hutter opened his eyes, and even tried to feel about him with his", "that she was not Thomas Hutter's child. At length Hetty dried her tears,\nand came and seated herself on a stool by the side of the dying man, who", "\"If this be true, Master Hutter,\" said Hurry, whose change of\ncountenance denoted how serious he deemed the information, though it did", "\"Water,\" ejaculated Hutter, as it might be by a desperate effort, that\nrendered his voice frightfully deep and strong for one as near death as\nhe evidently was--\"Water--foolish girls--will you let me die of thirst?\"", "\"The death of Thomas Hutter,\" Judith commenced, after a short pause had\nprepared her sister to receive her communications, \"has altered all our", "\"These are high words to come from Thomas Hutter's darter, as Thomas\nHutter lies dying before her eyes,\" retorted Hurry.", "This call was made to one that the young man knew had the strength of a\ngiant. It was so earnest and solemn, that both Hutter and March felt", "was not about to quit him. A minute before, Hutter would have been well\ncontent to compromise his danger, by entering into a compact to act only\non the defensive; but no sooner did he feel some security on this", "injury, he naturally believed that Hutter had been overcome, while he\nowed his own escape to his great bodily strength, and to a fortunate\nconcurrence of extraordinary circumstances. Death, in the silence and", "been previously related. This was the secret of neither party's having\nappeared in the subsequent struggle; Hutter having been literally\ndisabled, and his conqueror being ashamed to be seen with the traces of", "\"If such is the case, we ought not to lie here a minute longer than is\nnecessary,\" said Hutter, glancing through the leaves of his cover, as if", "all--were encamped for the night abreast of the castle, and it was hoped\nthat the scalps of helpless victims would be the consequence. To confess\nthe truth, Hutter in particular--he who had just left two daughters", "her, and could have kissed her feet for forgiveness. I think it must be\nso with all dying people; though, now I think of it, I don't remember to\nhave had such feelings on account of father.\"", "spoke pretty plainly of the whole family, as we journeyed this-a-way,\nand he did hint something consarning Thomas Hutter's having been a", "At length the several conferences were broken up by the reappearance\nof Hutter on the platform. Here he assembled the whole party, and" ], [ "\"The death of Thomas Hutter,\" Judith commenced, after a short pause had\nprepared her sister to receive her communications, \"has altered all our", "Hutter now rose, and, entering the cabin, he compelled his daughters\nto go into the adjoining room, when he secured both the doors, and", "that she was not Thomas Hutter's child. At length Hetty dried her tears,\nand came and seated herself on a stool by the side of the dying man, who", "\"Never mind--never mind, child,\" answered the other huskily, \"'tis no\nmatter, now. Mother is gone, and Thomas Hutter is gone, and the time has\ncome when we must think and act for ourselves.\"", "all--were encamped for the night abreast of the castle, and it was hoped\nthat the scalps of helpless victims would be the consequence. To confess\nthe truth, Hutter in particular--he who had just left two daughters", "\"Water,\" ejaculated Hutter, as it might be by a desperate effort, that\nrendered his voice frightfully deep and strong for one as near death as\nhe evidently was--\"Water--foolish girls--will you let me die of thirst?\"", "his efforts. With a view to relieve himself from this disadvantage,\nhe told the girl to take the remaining canoe and to join Hutter's\ndaughters, who were incautiously but deliberately approaching, in order", "of accomplishing their own destruction would be neglected. As a matter\nof course Hutter felt these truths the deepest, his daughters having an\nhabitual reliance on his resources, and knowing too little to appreciate", "the gentle spirit had departed. Thus died Hetty Hutter, one of those\nmysterious links between the material and immaterial world, which, while\nthey appear to be deprived of so much that it is esteemed and necessary", "\"These are high words to come from Thomas Hutter's darter, as Thomas\nHutter lies dying before her eyes,\" retorted Hurry.", "in common with her sister, and which showed that she had been better\ntaught than her father's life and appearance would give reason to\nexpect. \"Many thanks to you; but Judith Hutter has the spirit and", "petitions. This she continued to do, at intervals, as long as it seemed\nto her that the act could benefit the dying man. Hutter, however,\nlingered longer than the girls had believed possible when they first", "Shortly after the disappearance of Judith, a light southerly air arose,\nand Hutter set a large square sail, that had once been the flying", "Hetty Hutter witnessed all that passed, and the scene at first had\npressed upon her feeble mind in a way to paralyze it entirely; but, by", "poor Hetty Hutter. Her body was laid in the lake, by the side of that of\nthe mother she had so loved and reverenced, the surgeon, though actually", "began even to muse on the singularity of the circumstance. But there had\nnever been sufficient intimacy between Hutter and his eldest daughter to", "The two men had now a little discussion together, touching the propriety\nof penetrating any farther into the chest of Hutter, when Judith\nre-appeared, divested of her robes, and in her own simple linen frock\nagain.", "The conjecture of Judith Hutter, concerning the manner in which the\nIndian girl had met her death, was accurate in the main. After sleeping", "bed of their mother, and neither needed a monitor to warn them of the\ncrisis, and every sign of resentment vanished from the face of the\nfirst. Hutter opened his eyes, and even tried to feel about him with his", "daughter--Thomas Hutter, whom you called the Muskrat; though he was no\nmuskrat, but a man like yourselves--he lived in a house on the water,\nand that was enough for you.\"" ], [ "their foes. When the runner arrived who announced the breaking out of\nhostilities between the English and French--a struggle that was certain\nto carry with it all the tribes that dwelt within the influence of the", "that were not unfrequent in the woods; and no commander who was hard\npressed could feel more joy at hearing of the arrival of reinforcements,\nthan the borderer experienced at being told this important auxiliary", "rushed to the shore to aid his companion, but was met and immediately\noverpowered by half a dozen fresh pursuers, who, just then, came leaping\ndown the bank.", "\"'Tis the officer who commands the troops that have rescued us all from\nthe hands of the Hurons,\" was the low answer of the sister.", "The parties in the Ark, and in the canoe, were indebted to the ferocity\nof Hurry's attack for their momentary security. In any ordinary case,", "\"Thank God!\" ejaculated Hurry, \"there is daylight, and we shall soon\nhave a chance of seeing our inimies, if we are to feel 'em.\"", "then your fri'nds may look for relief. 'Tis but a day's march from the\nnearest garrison, and true soldiers will never lie idle with the foe in", "The savage was a good deal startled by this sudden discovery of the\ndanger he ran. He had a little knowledge of English, however, and caught", "\"Are you the officer that came with Hurry?\" she asked. \"If you are, we\nought all to thank you, for, though I am hurt, the rest have saved their", "Her father, during her childhood, had been much employed as a warrior by\nthe authorities of the Colony, and dwelling for several years near the\nforts, she had caught a knowledge of the English tongue, which she spoke", "sufficiently understood English to have at length detected the drift of\nhis discourse. Immediately after, the whole group entered the forest,\nHutter and Hurry apparently making no resistance to the movement. Just", "to the Mohawk, and the nearest garrison, and send all you can to our\nassistance. And, Hurry, we are now friends, and I may trust in you, may\nI not?\"", "escaped, however, and two or three had been taken unharmed. As for\nthe wounded, the bayonet saved the surgeon much trouble. Rivenoak had", "all his reserve, as he gained a renewed confidence in the disposition\nof his companions. \"Something more may turn up from this inroad of the", "yet rendered necessary. But little more was said the while even by the\ngirls; and that little had more reference to the rescue of Hist than to\nany other subject. The Indian was calm to the eye, but as minute after", "each other, and after communicating their respective observations, they\nunhesitatingly approached the building. As had been expected, it was\nfound empty. The rafts were immediately sent for a reinforcement to the", "that so small a force would assail so strong a band, and each man\nexpected some extraordinary proposition to succeed so decisive a step.\nThe stranger did not seem disposed to disappoint them; he prepared to", "conscious that his safety rested on it's resolution. Hurry now seized\nthe other by the waist, raised him bodily from the platform, and fell\nwith his own great weight on the form beneath. This additional shock", "Now, it was certain that an important result was to be effected, or a\nmortifying failure was to ensue. The rescue, or the continued captivity", "mountain, expecting an enemy to break out of the one, or to come rushing\ndown the other. Still the silence was unbroken, and they all embarked\nwith the caution that had been used in coming ashore." ], [ "\"God forbid that we lay up regrets, in after life, through my want of\nsincerity now,\" she said. \"I hope we understand each other, at least.\nYou will not accept me for a wife, Deerslayer?\"", "\"You have done me justice in that at least, Deerslayer. Hurry is a man I\ncould never marry, though he were ten times more comely to the eye, and\na hundred times more stout of heart than he really is.\"", "\"I do not think Hetty will ever marry, Deerslayer,\" she said, \"and if\nyour name is to be borne by either of us, it must be borne by me.\"", "Judith started, and for a moment she seemed seriously hurt. Then she\nreflected, and in the end she laughed. \"And you think, Deerslayer, that", "and I can see but one reason why you cannot, will not love me. Tell me\nthen, Deerslayer,\" The girl paused, the words she was about to utter", "\"I know of none as deserving as your own, Deerslayer,\" answered the girl\nin haste; \"none but yours shall keep the rifle.\"", "\"What do you think of Deerslayer, Hetty?\" asked Judith, bending\nforward like her unsophisticated sister, and endeavoring to conceal her", "\"I understand your meaning, Deerslayer,\" returned the girl, with a\nmeekness and humility that a little surprised her listener, \"and hope to", "resumed Deerslayer, casting a friendly and approving glance at the\ninnocent and interested girl; \"and when that is the case, and all the\nelders are agreed, it does not often happen that the young couple keep", "\"Deerslayer,\" answered Judith, after a moment's pause, \"I shall be\nhonest with you. I confess that the time has been when what you call", "Judith and Deerslayer looked surprised, and for a minute the first\nseemed pained. But, suddenly recollecting herself, she turned away from\nher sister, as if in pity for her weakness and addressed the young man.", "Deerslayer was interrupted by a slight exclamation from the girl, who,\nin obedience to his hurried gestures, as much as in obedience to his\nwords, had immediately bent her looks again, in the opposite direction.", "Deerslayer, who had imbibed a prejudice against the girl in consequence\nof Hurry's suspicions of her levity, felt its charm, notwithstanding", "\"Fire, and slay a poor defenseless girl,\" returned a soft tremulous\nfemale voice. \"And God will never forgive you! Go your way, Deerslayer,\nand let me go mine.\"", "\"That's not a proper question to ask a young woman, Deerslayer, and\nI'll not answer it,\" returned the girl, in a reproving manner--much as", "\"Deerslayer!\" hastily said the girl, interrupting him, though nearly\nchoked by her own emotions; \"do you believe all you hear about a poor,\nmotherless girl? Is the foul tongue of Hurry Harry to blast my life?\"", "\"Deerslayer!\" repeated the other, looking up in unfeigned surprise.\n\"Why, Judith, Deerslayer isn't in the least comely, and is altogether\nunfit for one like you!\"", "Judith looked very happy. Accustomed as she was to adulation, the homely\nhomage of Deerslayer had given her more true satisfaction, than she had", "Deerslayer regarded the girl for a moment with concern. Her pale-face\nhad flushed a little, and her eye, usually so mild and serene,\nbrightened as she spoke, in the way to betray the inward impulses.", "scouts, and the like,--can do a deal of mischief if they try. 'T would\nbe an awful thing to me, Deerslayer, did I find Judith married, after an" ], [ "The incidents of this tale occurred between the years 1740 and 1745,\nwhen the settled portions of the colony of New York were confined to", "It may assist the reader in understanding the events we are about to\nrecord, if he has a rapidly sketched picture of the scene, placed before", "or twelve years old, however, put a momentary check to the whole\nproceedings. As this interruption has a close connection with the\ndénouement of our story, it shall be given in a separate chapter.", "All this while the furious struggle continued within the house. In\nscenes like these, events thicken in less time than they can be related.", "of any such animal. Little did either of them imagine at the time that\nlong ere a century elapsed, the progress of civilization would bring\neven much more extraordinary and rare animals into that region, as", "At the precise moment when Hurry committed this act of unthinking\ncruelty, the canoe of Judith was within a hundred feet of the spot from", "be at all weakened. Had he lived a century, the occurrences of the few\nmomentous minutes during which he was in the lake would have produced a\nchastening effect on his character, if not always on his manner.", "\"All very true, gal, and you might go on and say it is altogether out of\ntime, and place and season, in this region at all. What is it to us how", "possessed of life and volition, until it was a hundred yards from the\nshore. Then it turned and, making a wide sweep, as much to prolong the", "childhood to the present hour. Nevertheless the time had come when\nit would seem that this mystery was to be explained, and that under\ncircumstances, too, which left her very little choice in the matter.", "An hour later the scene had greatly changed. The lake was still placid\nand glassy, but the gloom of the hour had succeeded to the soft twilight", "\"I know your history, then, for Hurry Harry talks considerable, and he\nis free of speech when he can find other people's consarns to dwell on.\nYou pass most of your life on the lake, Hetty.\"", "three times within the last twenty minutes, and that she supposed it\nwas waiting to obtain some of the crumbs left from the late supper. This\nexplanation appeared satisfactory, and they moved towards the spring,", "themselves. He listened attentively, for the manner of the girl was so\nearnest and impressive as to apprise him that she had something on her\nmind of more than common concern.", "The girl gazed at him near a minute, in silent attention; then she\nturned her eyes backward, at the castle. \"This lake will soon be", "Poughkeepsie, were not regarded as safe from Indian incursions a century\nsince; and there is still standing on the banks of the same river, and", "possibly by her young companion, certainly by the old woman. The youth\nwas probably some suitor of either her or her companion; but even his\ndiscretion was distrusted under the influence of his admiration. The", "are now open wider than before, and his eyes are not shut. The Sumach\nis poorer than ever. Once she had a brother and a husband. She had\nchildren, too. The time came and the husband started for the Happy", "\"Ay, these are the notions of an ensign! Love in a cottage--doors--and\nwindows--the old story, for the hundredth time. The 20th--don't marry.", "From the moment when the first fall was heard within the building to\nthat when the Delaware ceased his awkward attempts to row, it might have\nbeen three or four minutes, but it had evidently served to weaken the" ], [ "\"This is Hawkeye,\" quietly returned Deerslayer, adopting the name by\nwhich he knew he would be known in future, among all the tribes of the\nIroquois. \"My sight is keen; is my brother's leap long?\"", "is to lose a husband and a brother. Go; when we want him, the name of\nDeerslayer will be called.\"", "Deerslayer--or Hawkeye, as the youth was then first named, for in after\nyears he bore the appellation throughout all that region--Deerslayer", "\"Deerslayer!\" repeated the other, looking up in unfeigned surprise.\n\"Why, Judith, Deerslayer isn't in the least comely, and is altogether\nunfit for one like you!\"", "This is Deerslayer, old Tom, a noted hunter among the Delawares, and\nChristian-born, and Christian-edicated, too, like you and me. The lad is", "\"Deerslayer is the name I bear now, though the Delawares have said that\nwhen I get back from this war-path, I shall have a more manly title,\nprovided I can 'arn one.\"", "\"Deerslayer!\" returned the other, with much of her native\nimpetuosity--\"That cannot be! Deerslayer is a prisoner, and I have", "\"Harkee, Deerslayer,\" put in Hurry, a little authoritatively--\"You're\na sensible man in a hunt, and as good a fellow on a march, as a", "\"Deerslayer,\" answered Judith, after a moment's pause, \"I shall be\nhonest with you. I confess that the time has been when what you call", "Deerslayer and Chingachgook great friend, and no the same colour, Hist\nand--what your name, pretty pale-face?\"", "\"Deerslayer,\" she said, after a considerable pause, \"this is not a\nmoment for affectation, deception, or a want of frankness of any sort.", "\"They never deserved them more, Deerslayer, and the name is a good one;\neither Hetty, or myself, would a thousand times rather be called Hetty", "\"I'm glad it has no name,\" resumed Deerslayer, \"or at least, no\npale-face name; for their christenings always foretell waste and", "\"Ay, ay, Sarpent, I see how it is; that name's to stick, and in time I\nshall get to be known by it instead of Deerslayer; well, if such honours", "Deerslayer started, and turning to his friend with admiration expressed\nin every lineament of his face, he fairly laughed, in his silent but\nhearty manner, at the ingenuity and readiness of the conjecture.", "Chingachgook was more commonly called. As the plan had been matured\nby Deerslayer, and fully communicated to his companions, all three set\nabout its execution, in concert, and intelligently. Hetty passed into", "\"I believe you are right, Deerslayer,\" returned the girl, after a little\nreflection and in a saddened voice: \"a man like you ought not to act", "Deerslayer, as Hurry called his companion, was a very different person\nin appearance, as well as in character. In stature he stood about", "\"Now, Judith,\" cried Deerslayer, laughing, with glistening and delighted\neyes, \"we'll see if Killdeer isn't Killeagle, too! Give me room", "Deerslayer laughed, in his own manner, as he concluded, and then he\nintimated to the patient-looking, but really impatient Chingachgook, his" ], [ "The incidents of this tale occurred between the years 1740 and 1745,\nwhen the settled portions of the colony of New York were confined to", "It may assist the reader in understanding the events we are about to\nrecord, if he has a rapidly sketched picture of the scene, placed before", "All this while the furious struggle continued within the house. In\nscenes like these, events thicken in less time than they can be related.", "or twelve years old, however, put a momentary check to the whole\nproceedings. As this interruption has a close connection with the\ndénouement of our story, it shall be given in a separate chapter.", "From the moment when the first fall was heard within the building to\nthat when the Delaware ceased his awkward attempts to row, it might have\nbeen three or four minutes, but it had evidently served to weaken the", "case. The facts were never known until years later in all their details,\nsimple as they were, but they may as well be related here, as it can be", "childhood to the present hour. Nevertheless the time had come when\nit would seem that this mystery was to be explained, and that under\ncircumstances, too, which left her very little choice in the matter.", "\"All very true, gal, and you might go on and say it is altogether out of\ntime, and place and season, in this region at all. What is it to us how", "An hour later the scene had greatly changed. The lake was still placid\nand glassy, but the gloom of the hour had succeeded to the soft twilight", "are now open wider than before, and his eyes are not shut. The Sumach\nis poorer than ever. Once she had a brother and a husband. She had\nchildren, too. The time came and the husband started for the Happy", "darkness, during the same period of time. She then reached a brook that\nhad dug a channel for itself into the earth, and went brawling into", "night was beginning to throw her shadows once more over the whole sylvan\nscene. Before darkness had completely set in, and while the girls were\npreparing the evening meal, Deerslayer related to Hutter an outline of", "three times within the last twenty minutes, and that she supposed it\nwas waiting to obtain some of the crumbs left from the late supper. This\nexplanation appeared satisfactory, and they moved towards the spring,", "At the precise moment when Hurry committed this act of unthinking\ncruelty, the canoe of Judith was within a hundred feet of the spot from", "It was the season of the shortest nights, and it was not long before the\ndeep obscurity which precedes the day began to yield to the returning", "examination of the chest. The search necessarily continued some time,\nduring which Judith collected her thoughts and regained her composure.\nShe took no part in the search, leaving everything to the young", "Shortly after the disappearance of Judith, a light southerly air arose,\nand Hutter set a large square sail, that had once been the flying", "When the mind is engaged, it is better than any clock. Mine is feeble,\nI know, but it goes true enough in all that touches poor Hurry Harry.\nJudith will never marry March, Deerslayer.\"", "on himself. Judith gradually grew calm again, and as she was obviously\nanxious to appear to advantage in the eyes of the young man, she was\nsoon able to renew the conversation as composedly as if nothing had", "\"For a time, Judith; yes, I allow that, for a time. But when that\nfeelin' dies away, then will come the love of revenge. We must" ], [ "The incidents of this tale occurred between the years 1740 and 1745,\nwhen the settled portions of the colony of New York were confined to", "It may assist the reader in understanding the events we are about to\nrecord, if he has a rapidly sketched picture of the scene, placed before", "for the fire, as it is for the aim, and nothing should be lost that can\nbe turned to just account. There, further north, Delaware.\"", "Delaware, arose and looked out upon the tranquil lake; when, finding\nall safe, each returned to his pallet, and slept like a man who was not", "\"I know your history, then, for Hurry Harry talks considerable, and he\nis free of speech when he can find other people's consarns to dwell on.\nYou pass most of your life on the lake, Hetty.\"", "where Hurry had made his fruitless attempt on the life of the deer. As\nthe distance from this point to the outlet was less than a mile, it\nwas like entering an enemy's country; and redoubled caution became", "Delaware and Hist, they worked perfectly covered by the cabin, and in\nless time than it requires to tell it, they had hauled the huge frame of", "As the girl used her figurative language and told her companions to\n\"open their eyes, and they would see\" the Delaware, Deerslayer thrust", "near a village where it is known to be kept. So, look well to it,\nDelaware, and remember that you've now to watch over a thing that has", "From the moment when the first fall was heard within the building to\nthat when the Delaware ceased his awkward attempts to row, it might have\nbeen three or four minutes, but it had evidently served to weaken the", "are now open wider than before, and his eyes are not shut. The Sumach\nis poorer than ever. Once she had a brother and a husband. She had\nchildren, too. The time came and the husband started for the Happy", "entered the latter. Neither Hutter nor Hurry spoke of what had occurred.\nBut the Delaware, in passing his friend, merely uttered the words\n\"fire's out,\" which, if not literally true, sufficiently explained the", "All this while the furious struggle continued within the house. In\nscenes like these, events thicken in less time than they can be related.", "At the precise moment when Hurry committed this act of unthinking\ncruelty, the canoe of Judith was within a hundred feet of the spot from", "During the interview between Deerslayer and the lad, a different scene\ntook place in the adjoining room. Hetty had inquired for the Delaware,", "would tell the same story, though in gin'ral I am just as well satisfied\nwith having the nearest neighbor fifty miles off, as when he is within\ncall.\"", "of any other prowlers near the camp were to be found. In this state\nof things, the old woman, whose name was Shebear, in plain English,", "\"Ay, he has darters, too; I've heard the Delawares, who've hunted this\na way, tell their histories of these young women. Is there no mother,\nHurry?\"", "in fact, and which is about fifty miles from the place where it ought to\nbe, if they meant it for this. I don't think my account will encourage\nhim to mark down another, by way of improvement.\"", "hereabouts. He had heard that there was a lake in this quarter, and\nhad got some general notions about it, such as that there was water and" ], [ "\"This is Hurry, dearest,\" whispered Judith, bending over her sister,\nashamed to utter the words so as to be audible to herself. \"Speak to\nhim, and let him go.\"", "avarice, and overbearing ferocity of Harry March. The very best that can\nbe said of him, is to be found in his name of Hurry Skurry, which, if it", "sense as Hurry Harry; and more too, Judith thinks, though I don't see\nhow that can well be.\"", "Harry. His real name was Henry March but the frontiersmen having caught\nthe practice of giving sobriquets from the Indians, the appellation of", "Hurry was far oftener applied to him than his proper designation, and\nnot unfrequently he was termed Hurry Skurry, a nickname he had obtained", "It would not have been easy to find a more noble specimen of vigorous\nmanhood than was offered in the person of him who called himself Hurry", "\"Not he,\" cried Judith, thrusting her handsome face out of the door;\n\"his nature is hurry, as well as his name, and he'll hurry off, as", "\"Hurry Harry, you're well acquainted with this young man, I hope, who\nhas meetings with savages in a part of the country where he has", "father, and poor Hurry Harry, who will be tortured and slain unless some\none cares for them.\"", "is deceased, and, as for Hurry, they've got the idee he has been near\nenough to death to-day, not to wish to take another look at him", "\"Ay, Hurry Harry,\" he muttered to himself, as he walked through the\ncabin towards the other end of the boat; \"this comes of good looks, if", "handsome face and fine form of Hurry Harry. She talks of him in her\nsleep, and sometimes betrays the inclination in her waking moments.\"", "This was said, as much, perhaps, in affected scorn for Hurry, as in\nsincerity. Still, it was not said without feeling. The fine face of", "\"Tut-tut Mingo; Hurry Harry is Hurry Harry, and you'll never make\nmore than a corporal of him, if you do that. He's tall enough, of a", "On the other hand, Hurry Harry, either from constitutional recklessness,\nor from a secret consciousness how little his appearance required", "inquiry at the girl; for in common with all who knew Hutter, he had some\ncuriosity on the subject of his early history. \"Hurry Harry tells me he\nwas once a sailor.\"", "his trunk yet, and, as for Hurry Harry, so far as height and strength\nand comeliness go, he may be called the pride of the human forest. Were", "March, and it also proclaimed that the victim was a woman. Hurry himself\nwas startled at these unlooked for consequences, and for a moment he", "Lest the reader should get an exaggerated opinion of Hurry's demerits\nfrom this boastful and indiscreet revelation, it may be well to say that", "\"If Hurry knows anything of father's history, I would he had told it to\nme!\" she cried. \"Sometimes I think, too, he was once a sailor, and then" ], [ "his position. It would seem that Hutter, or Floating Tom, as he was\nfamiliarly called by all the hunters who knew his habits, recognized the", "Floating Tom Hutter, at the bottom, was a good fellow, and will maintain\nthat ag'in all inimies for his sake, as well as for your'n.\"", "\"There's an end of Floating Tom!\" exclaimed Hurry, bending over\nthe scow, and gazing through the water at the body. \"He was a brave", "\"Common territory\" exclaimed Hurry, laughing aloud. \"I should like to\nknow what Floating Tom Hutter would say to that! He claims the lake as", "\"This comes of a smooth tongue, Floating Tom,\" exclaimed Hurry, grating\nhis teeth in pure resentment--\"This comes of a smooth tongue, and a", "The reader will readily understand that Floating Tom's worldly goods\nwere of no great amount. A couple of beds, some wearing apparel, the", "off, and isn't likely ever to see it. Floating Tom is some such king of\nthis region, as the wolf that prowls through the woods is king of the", "overcome. Favored by this foresight, and stimulated by the apprehension\nof discovery, Floating Tom and his two athletic companions hauled the", "\"Floating Tom is no father of mine, but he'll fare none the worse for\nthat. As for giving two beasts for his scalp, and each beast with two", "The ark, as the floating habitation of the Hutters was generally called,\nwas a very simple contrivance. A large flat, or scow, composed the", "but they have come from some distant country, and like all the other\narticles, have fallen into Thomas Hutter's hands when he was a sailor.\"", "\"I'm your mate, Floating Tom, and your comrade, but have nothing to do\nwith any snow. It's summer now, and Harry March always quits the hills\nas soon after the frosts set in, as is convenient.\"", "Hutter opened his glassy eyes, and stared wildly at the speaker. A flood\nof confused recollections rushed on his wavering mind at the sight of", "daughter--Thomas Hutter, whom you called the Muskrat; though he was no\nmuskrat, but a man like yourselves--he lived in a house on the water,\nand that was enough for you.\"", "inquiry at the girl; for in common with all who knew Hutter, he had some\ncuriosity on the subject of his early history. \"Hurry Harry tells me he\nwas once a sailor.\"", "\"You was once a sailor, they tell me, old Tom?\" said Hurry, in his\nabrupt manner, struck by one or two expressions that the other had just", "\"These are high words to come from Thomas Hutter's darter, as Thomas\nHutter lies dying before her eyes,\" retorted Hurry.", "Who, then, could Thomas Hutter be, and who are his darters?\"", "\"By what I've heard you say, Hurry, this Floating Tom must be an\noncommon mortal; neither Mingo, Delaware, nor pale-face. His possession,", "visible. Floating Tom steered, and he sailed along as near the land as\nthe depth of the water and the overhanging branches would allow. It was\nimpossible to distinguish anything that stood within the shadows of the" ], [ "\"My old father, and my young brother, the Big Pine,\"--for so the\nDelaware had named March--\"want to see Huron scalps at their belts,\"", "fallen into the hands of the Hutter tribe. The old man tells me that\nsome sharp ones have been wheedling the Mohawks for an Indian deed,", "native Americans are habitually cautious, and seldom break out in loud\nconversation, the adventurers knew by these facts that they must be\nvery near the encampment. It was easy to perceive that there was a fire", "\"Keep off the land, lad,\" called out Hutter; \"the girls depend only on\nyou, now; you will want all your caution to escape these savages. Keep\noff, and God prosper you, as you aid my children!\"", "safety. The three now prepared their arms, and began their tiger-like\napproach upon the camp. The Indian was on the lead, his two companions", "\"Then tell her the truth. I see no reason Judith Hutter shouldn't hear\nthe truth about me, as well as a lie. I'm a captyve in Indian hands, and", "all--were encamped for the night abreast of the castle, and it was hoped\nthat the scalps of helpless victims would be the consequence. To confess\nthe truth, Hutter in particular--he who had just left two daughters", "\"Are you sartain, Master Hutter, that the red-skins you dread are ra'al\nCanadas?\" asked Deerslayer, in a modest but earnest manner. \"Have you\nseen any, and can you describe their paint?\"", "people. Ah! Harry March, 'twould warm the heart within you to sit in\ntheir lodges of a winter's night, and listen to the traditions of the\nancient greatness and power of the Mohicans!\"", "Harry. His real name was Henry March but the frontiersmen having caught\nthe practice of giving sobriquets from the Indians, the appellation of", "that is pursued to his den with burning brands. But Hetty felt no fear,\nand she approached the spot where the Indian stood. Her movements\nwere so natural, and so perfectly devoid of any of the stealthiness of", "of any other prowlers near the camp were to be found. In this state\nof things, the old woman, whose name was Shebear, in plain English,", "\"If you took me for a Huron girl, warrior,\" she said, \"I don't wonder\nyou are so little pleased. I am Hetty Hutter, Thomas Hutter's daughter,", "earth, or that which was much the most difficult to overcome; and his\nknowledge of Indian habits told him at once that they were all in their\nwar-paint, and belonged to a hostile tribe.", "of the camp. It was by means of this same opening that the light had\nbeen first seen from the ark. In consequence of their recent change\nof ground, the Indians had not yet retired to their huts, but had been", "\"Now, friend Hutter,\" interrupted Hurry, \"the Indian don't live that\ncan find a canoe that is suitably wintered. I've done something at this", "from this spot to the Canadas. I am all Huron!\" As the last words were\nuttered, the traitor cast his knife at the naked breast of the Delaware.", "hands. Such bein' the case, the tribe would reproach them if they failed\nto send the spirit of a pale-face to keep the company of the spirit of", "Neither Hutter nor March spoke to Deerslayer concerning their object, or\nthe probable length of their absence. All this had been confided to\nthe Indian, who had acquitted himself of the trust with characteristic", "Indians. By this time, Chingachgook was up, and Hist was heard stirring\namong the furniture of the kitchen. The place for which they steered was" ], [ "Deerslayer, you injure your own friend; when father and Hurry Harry came\nafter your scalps, he refused to be of the party, and staid in the canoe", "Chingachgook was more commonly called. As the plan had been matured\nby Deerslayer, and fully communicated to his companions, all three set\nabout its execution, in concert, and intelligently. Hetty passed into", "\"Good! Deerslayer is a pale-face, and has pale-face hands. A Delaware\nwill look for the scalp, and hang it on a pole, and sing a song in his", "Deerslayer laughed, in his own manner, as he concluded, and then he\nintimated to the patient-looking, but really impatient Chingachgook, his", "Deerslayer started, and turning to his friend with admiration expressed\nin every lineament of his face, he fairly laughed, in his silent but\nhearty manner, at the ingenuity and readiness of the conjecture.", "One discovery mentioned at the close of the preceding chapter was of\ngreat moment in the eyes of Deerslayer and his friend. In the first", "As Deerslayer spoke, he took the weapon from the hand of his friend and\nopened the pan. The last was filled with priming, caked like a bit of", "So far as it was in his power, Deerslayer was as good as his word. In\nless than five minutes after this speech was made, the whole party was", "\"Deerslayer!\" repeated the other, looking up in unfeigned surprise.\n\"Why, Judith, Deerslayer isn't in the least comely, and is altogether\nunfit for one like you!\"", "\"Deerslayer!\" returned the other, with much of her native\nimpetuosity--\"That cannot be! Deerslayer is a prisoner, and I have", "would precede his death. Deerslayer read his thoughts; and he found a\nmelancholy satisfaction in relieving the apprehensions of the helpless\nsavage.", "All this Deerslayer saw, and noted with a degree of minuteness that\nwould have done credit to the habitual observation of his friends, the", "light; exposing the savages and concealing their foes. Profiting by\nthe latter circumstance, the young men advanced cautiously towards the\nridge, Deerslayer in front, for he insisted on this arrangement, lest", "\"Why no? Delaware scalp sell for much as Mingo scalp. Governor no tell\ndifference. Wicked t'ing for pale-face to scalp. No his gifts, as the\ngood Deerslayer always tell me.\"", "So saying, Deerslayer raised the Indian in his arms, and carried him to\nthe lake. Here he first helped him to take an attitude in which he could", "By this time the piece was reloaded, and Deerslayer, after tossing the\ntomahawk into the canoe, advanced to his victim, and stood over him,", "Judith and her companion continued silent, until Hetty had so far\ncomplied as to leave them alone, when Deerslayer took up the subject,\nas if it had been interrupted by some ordinary occurrence, and in a very\nmatter of fact way.", "Deerslayer laughed again, and seem'd to enjoy the success of the\nexploit, with as much glee as if he had not been its victim.", "\"You have been fighting the savages, Deerslayer, singly and by\nyourself!\" she said. \"In your wish to take care of us---of Hetty--of me,", "\"This is Hawkeye,\" quietly returned Deerslayer, adopting the name by\nwhich he knew he would be known in future, among all the tribes of the\nIroquois. \"My sight is keen; is my brother's leap long?\"" ], [ "\"And now, Deerslayer,\" said Judith, \"we may talk of yourself, and of the\nmeans of getting you out of the hands of the Hurons. Any part, or all", "\"Now, Deerslayer,\" commenced Judith, whose impatience resisted further\nrestraint--\"now, Deerslayer, tell us all the Hurons have to say, and the\nreason why they have sent you on parole, to make us some offer.\"", "and victory over the Iroquois, as well as to his own exertions in behalf\nof the two deserted young women. When Deerslayer ended, the Delaware", "\"Treachery is the last crime I hope to be accused of,\" returned\nDeerslayer, hurt at the gleam of distrust that had shot through Judith's\nmind; \"and least of all, treachery to my own color.\"", "\"Why not, Judith? Hurry and Deerslayer are friends, and friends should\nalways help one another.\"", "\"The Hurons shall not harm you, Deerslayer,\" cried the girl, much\nexcited--\"'Tis wicked as well as cruel; I have the Bible, here, to tell", "Judith started, and for a moment she seemed seriously hurt. Then she\nreflected, and in the end she laughed. \"And you think, Deerslayer, that", "Huron camp with our friend. Your being there can do no harm, not even to\nyourself, and may do great good to Deerslayer.\"", "had changed their minds. I am glad too, Judith, that they haven't hurt\nHurry. Deerslayer I don't think God will suffer any one to harm. It", "\"We understand you, Deerslayer,\" returned Judith, hastily, \"and take all\nthat falls from your lips, as it is meant, in kindness and friendship.\nWould to Heaven all men had tongues as true, and hearts as honest!\"", "\"Father,\" she said, \"neither Deerslayer nor Judith knew of my coming\nuntil I had left the Ark. They are afraid the Iroquois will make a raft", "the doorway, and the person last mentioned stood before him. The low\nexclamation that escaped Deerslayer and the slight scream of Judith were\nhardly uttered, when an Indian youth, between the ages of fifteen and", "\"Well, Judith,\" said Deerslayer, rising, after the interview had lasted\nmuch longer than even he himself suspected, \"'tis pleasant convarsing", "\"Pull, Deerslayer,\" cried Judith, hastily barring the door, in order\nto prevent an inroad by the passage through which the Delaware had just", "\"Wait you here, Sarpent,\" said Deerslayer as he followed in the\nfootsteps of the dejected beauty, while passing his friend. \"I will just\nsee Judith among her party, and come and j'ine you.\"", "\"There, Judith!\" exclaimed Hetty, who saw the accident, \"I hope now you\nwill own, that praying is useful! The Hurons have broke a paddle, and\nthey never can overtake us.\"", "of the others to the canoe with her voice, should they appear to\npass without observing it. The Ark approached under its sail, again,\nDeerslayer standing in its bow, with Judith near him, and the Delaware", "of Chingachgook and Judith, who would not fail to come to his relief\nwith other canoes, a circumstance that promised everything. As the young", "\"Thank God for that, father! Now I can speak boldly to the Iroquois, and\nwith an easy conscience. I hope Hurry, too, has not been able to harm\nany of the Indians?\"", "\"Deerslayer,\" answered Judith, after a moment's pause, \"I shall be\nhonest with you. I confess that the time has been when what you call" ], [ "\"Not while I stand by, Master March,\" coolly put in Deerslayer,\nmotioning for the other to forbear. \"Faith is faith, whether given to a", "So saying, Deerslayer raised the Indian in his arms, and carried him to\nthe lake. Here he first helped him to take an attitude in which he could", "\"Lead ahead, Deerslayer,\" said March, \"and open the bushes; the rest I\ncan do for myself.\"", "So far as it was in his power, Deerslayer was as good as his word. In\nless than five minutes after this speech was made, the whole party was", "been removed, and were already secreted, agreeably to Deerslayer's\ndirections. In consequence of this precaution, no means offered by which\nMarch could put his designs in execution.", "anywhere, Deerslayer urged the canoe forward to the rescue. His paddle\nhad not been raised twice, when the voice of Hurry was heard filling", "\"Deerslayer!\" returned the other, with much of her native\nimpetuosity--\"That cannot be! Deerslayer is a prisoner, and I have", "As Deerslayer ceased speaking, he laughed heartily, excited more\nperhaps by the delight of having got his friend safe at his side, under", "Chingachgook was more commonly called. As the plan had been matured\nby Deerslayer, and fully communicated to his companions, all three set\nabout its execution, in concert, and intelligently. Hetty passed into", "\"I!--I forget Henry March!\" exclaimed Hetty, starting. \"Why should I\nforget him, Deerslayer, when he is our friend, and only left us last", "the water to the aid of their friend, and Deerslayer yielded himself a\nprisoner, with a dignity that was as remarkable as his self-devotion.", "and victory over the Iroquois, as well as to his own exertions in behalf\nof the two deserted young women. When Deerslayer ended, the Delaware", "\"I rejoice to hear this, Deerslayer,\" returned Judith, \"and now we are\njoined by your friend, I make no manner of question that we shall find", "One discovery mentioned at the close of the preceding chapter was of\ngreat moment in the eyes of Deerslayer and his friend. In the first", "towards the end of their little journey, Deerslayer was obliged to land\nand meet them, in order to aid in lifting the canoe through the bushes.\nWith his assistance the task was successfully accomplished, and the", "light; exposing the savages and concealing their foes. Profiting by\nthe latter circumstance, the young men advanced cautiously towards the\nridge, Deerslayer in front, for he insisted on this arrangement, lest", "\"And now, Deerslayer,\" said Judith, \"we may talk of yourself, and of the\nmeans of getting you out of the hands of the Hurons. Any part, or all", "As Hutter led the way, in the execution of his project, the boat was\nsoon ready, with Hurry and Deerslayer at the paddles. Before the old man", "have such a treasure in his tribe, and Deerslayer was satisfied with the\nimpression he had made. It is true the lad proposed to carry one of the", "treaty about the ransom, and Deerslayer heard the whole of Hetty's\ncommunications. The latter listened with generous interest to his\nfriend's hopes, and promised cheerfully all the assistance he could" ], [ "The latter was still a quarter of a mile distant, when Chingachgook\ncame silently to the side of his friend and pointed to a place directly", "Fifteen years had passed away, ere it was in the power of the Deerslayer\nto revisit the Glimmerglass. A peace had intervened, and it was on the", "The Ark was slowly but steadily advancing, and the castle was materially\nwithin half a mile, when Chingachgook joined the two white men in", "Indians. By this time, Chingachgook was up, and Hist was heard stirring\namong the furniture of the kitchen. The place for which they steered was", "reached the point. Chingachgook had preceded it, and was already some\ndistance in the wood, at a spot where the two trails, that to the", "service, and they all embarked, with a desire to examine the place. All\nthe points were passed, and Chingachgook pointed out to his son the", "tradition had rendered it again a spot sacred to nature, the frequent\nwars and the feeble population of the colonies still confining the\nsettlements within narrow boundaries. Chingachgook and his friend left", "returned, both Deerslayer and Chingachgook, who had passed the brief\ntime of her absence in taking a second look at the male garments, arose", "eve of another and still more important war, when he and his constant\nfriend, Chingachgook, were hastening to the forts to join their allies.\nA stripling accompanied them, for Hist already slumbered beneath", "Both these frontiersmen were still young, Hurry having reached the\nage of six or eight and twenty, while Deerslayer was several years his", "Chingachgook and his pale-face friend set forth on their hazardous and\ndelicate enterprise, with a coolness and method that would have done", "Chingachgook was more commonly called. As the plan had been matured\nby Deerslayer, and fully communicated to his companions, all three set\nabout its execution, in concert, and intelligently. Hetty passed into", "\"I will go to the Iroquois camp,\" returned the Delaware, gravely. \"No\none knows Chingachgook but Wah, and a treaty for lives and scalps", "The manner in which the two friends now recognized each other, was\nhighly characteristic. Chingachgook, a noble, tall, handsome and", "Chingachgook obeyed, and by the time he had reached the head of the\nscow, Hurry was on the platform, stamping his feet, like one glad to", "Chingachgook, who was attentively listening to all that passed, heard\nand understood this proof of passing weakness in his friend, and on\na future occasion he questioned him more closely concerning the", "Chingachgook, by an understanding with his betrothed, drew the fire of\nthe Hurons again, not a man of whom saw the manner in which one whom", "might arrive during his absence. A conference followed, in which\nChingachgook was made acquainted with the state of things in the camp.\nWhen Hist named the point as the place of meeting, it was with the", "the lake, however, it glanced from its smooth surface, rose, and buried\nitself in the logs of the cabin near the spot at which Chingachgook had", "Hurry, and with Chingachgook it had been kept entirely out of view. If\nthe Indian thought of it at all, it was known only to himself." ], [ "a humble stock, though we have white gifts and a white natur', but we\nare not so poorly off as to have no name. Bumppo we are called, and I've", "course, the given name being Nathaniel, or Natty, as most people saw fit\nto tarm it.\"", "\"This is Hawkeye,\" quietly returned Deerslayer, adopting the name by\nwhich he knew he would be known in future, among all the tribes of the\nIroquois. \"My sight is keen; is my brother's leap long?\"", "Bumppo, or Judith Bumppo, than to be called Hetty or Judith Hutter.\"", "\"Why, that's as people fancy. Bumppo has no lofty sound, I admit; and\nyet men have bumped through the world with it. I did not go by this", "Deerslayer--or Hawkeye, as the youth was then first named, for in after\nyears he bore the appellation throughout all that region--Deerslayer", "when the heart is satisfied. Were Natty Bumppo, Henry March, and Henry\nMarch, Natty Bumppo, I might think the name of March better than it is;", "\"Deerslayer!\" repeated the other, looking up in unfeigned surprise.\n\"Why, Judith, Deerslayer isn't in the least comely, and is altogether\nunfit for one like you!\"", "\"Harkee, Deerslayer,\" put in Hurry, a little authoritatively--\"You're\na sensible man in a hunt, and as good a fellow on a march, as a", "\"That's nat'ral!\" cried Hurry. \"Yes, Deerslayer, you and I don't know it\nyet by experience; but, on the whole, I consider that as nat'ral. If we", "parents had a name that came down from father to son, as is a part of\ntheir gifts. My father was called Bumppo; and I was named after him, of", "This is Deerslayer, old Tom, a noted hunter among the Delawares, and\nChristian-born, and Christian-edicated, too, like you and me. The lad is", "The manner in which the two friends now recognized each other, was\nhighly characteristic. Chingachgook, a noble, tall, handsome and", "\"The questions are nat'ral and right, I suppose, though the youth has a\ngreat name, already, in his own part of the country. Chingachgook is a", "\"Deerslayer!\" returned the other, with much of her native\nimpetuosity--\"That cannot be! Deerslayer is a prisoner, and I have", "Deerslayer and Chingachgook great friend, and no the same colour, Hist\nand--what your name, pretty pale-face?\"", "Deerslayer started, and turning to his friend with admiration expressed\nin every lineament of his face, he fairly laughed, in his silent but\nhearty manner, at the ingenuity and readiness of the conjecture.", "THE DEERSLAYER\n\nBy James Fenimore Cooper\n\n\n\n\nChapter I.", "\"You have been fighting the savages, Deerslayer, singly and by\nyourself!\" she said. \"In your wish to take care of us---of Hetty--of me,", "\"Ay, ay, Sarpent, I see how it is; that name's to stick, and in time I\nshall get to be known by it instead of Deerslayer; well, if such honours" ], [ "Both these frontiersmen were still young, Hurry having reached the\nage of six or eight and twenty, while Deerslayer was several years his", "This is Deerslayer, old Tom, a noted hunter among the Delawares, and\nChristian-born, and Christian-edicated, too, like you and me. The lad is", "\"That may do in other quarters of the colony, Deerslayer, but it will\nnot do here. Not a human being, the Lord excepted, owns a foot of sile", "THE DEERSLAYER\n\nBy James Fenimore Cooper\n\n\n\n\nChapter I.", "lately occupied it, than the traces of their fires and resting places,\nand the trodden earth that still showed the marks of their feet. So\nsudden and unexpected a change caused Deerslayer a good deal of surprise", "Deerslayer--or Hawkeye, as the youth was then first named, for in after\nyears he bore the appellation throughout all that region--Deerslayer", "castle and the rock was a little more than two leagues. Knowing the\npunctuality of an Indian, Deerslayer had made his calculations closely,\nand had given himself a little more time than was necessary to reach the", "\"Ah, Deerslayer, you are a novelty in these particulars; keeping as true\nto education as if you had never left the settlements. With me the case", "\"Harkee, Deerslayer,\" put in Hurry, a little authoritatively--\"You're\na sensible man in a hunt, and as good a fellow on a march, as a", "\"Deerslayer has shown himself a boy, in going among the savages at this\nhour, and letting himself fall into their hands like a deer that tumbles", "Fifteen years had passed away, ere it was in the power of the Deerslayer\nto revisit the Glimmerglass. A peace had intervened, and it was on the", "The situation of Deerslayer was now more critical than it ever had\nbeen. He was virtually surrounded on three sides, having the lake on", "Deerslayer laughed again, and seem'd to enjoy the success of the\nexploit, with as much glee as if he had not been its victim.", "Deerslayer had ever seen. Hitherto, his experience had been limited to\nthe courses of rivers and smaller streams, and never before had he seen\nso much of that wilderness, which he so well loved, spread before", "\"Deerslayer,\" answered Judith, after a moment's pause, \"I shall be\nhonest with you. I confess that the time has been when what you call", "\"Deerslayer,\" she said, after a considerable pause, \"this is not a\nmoment for affectation, deception, or a want of frankness of any sort.", "\"You have been fighting the savages, Deerslayer, singly and by\nyourself!\" she said. \"In your wish to take care of us---of Hetty--of me,", "\"Good! Deerslayer is a pale-face, and has pale-face hands. A Delaware\nwill look for the scalp, and hang it on a pole, and sing a song in his", "Deerslayer started, and turning to his friend with admiration expressed\nin every lineament of his face, he fairly laughed, in his silent but\nhearty manner, at the ingenuity and readiness of the conjecture.", "Deerslayer himself, though he had heard the imitation a hundred times,\nactually thought it came from one of the little animals skipping about\nover his head. The sound is so familiar in the woods, that none of the" ], [ "\"That may do in other quarters of the colony, Deerslayer, but it will\nnot do here. Not a human being, the Lord excepted, owns a foot of sile", "The situation of Deerslayer was now more critical than it ever had\nbeen. He was virtually surrounded on three sides, having the lake on", "Deerslayer had ever seen. Hitherto, his experience had been limited to\nthe courses of rivers and smaller streams, and never before had he seen\nso much of that wilderness, which he so well loved, spread before", "This is Deerslayer, old Tom, a noted hunter among the Delawares, and\nChristian-born, and Christian-edicated, too, like you and me. The lad is", "THE DEERSLAYER\n\nBy James Fenimore Cooper\n\n\n\n\nChapter I.", "Both these frontiersmen were still young, Hurry having reached the\nage of six or eight and twenty, while Deerslayer was several years his", "lately occupied it, than the traces of their fires and resting places,\nand the trodden earth that still showed the marks of their feet. So\nsudden and unexpected a change caused Deerslayer a good deal of surprise", "mentioned, and it has also been said that the rock, which was a favorite\nplace of rendezvous throughout all that region, and where Deerslayer", "Deerslayer started, and turning to his friend with admiration expressed\nin every lineament of his face, he fairly laughed, in his silent but\nhearty manner, at the ingenuity and readiness of the conjecture.", "\"Harkee, Deerslayer,\" put in Hurry, a little authoritatively--\"You're\na sensible man in a hunt, and as good a fellow on a march, as a", "and victory over the Iroquois, as well as to his own exertions in behalf\nof the two deserted young women. When Deerslayer ended, the Delaware", "Deerslayer--or Hawkeye, as the youth was then first named, for in after\nyears he bore the appellation throughout all that region--Deerslayer", "terrible reputation that Deerslayer, or Hawkeye, as he was afterwards\ncalled, enjoyed among all the tribes of New York and Canada; a\nreputation that was certainly more limited in its territorial and", "So saying, Deerslayer raised the Indian in his arms, and carried him to\nthe lake. Here he first helped him to take an attitude in which he could", "Fifteen years had passed away, ere it was in the power of the Deerslayer\nto revisit the Glimmerglass. A peace had intervened, and it was on the", "castle and the rock was a little more than two leagues. Knowing the\npunctuality of an Indian, Deerslayer had made his calculations closely,\nand had given himself a little more time than was necessary to reach the", "\"I may never see this spot again, Deerslayer,\" she said, \"and it\ncontains the bodies of my mother and sister! Is it not possible, think", "Deerslayer near me; give me his hand.\"", "Deerslayer's self possession. His first measure was to speak rapidly in\nDelaware to his friend, cautioning him to keep out of sight, while he", "Deerslayer laughed again, and seem'd to enjoy the success of the\nexploit, with as much glee as if he had not been its victim." ], [ "Harry. His real name was Henry March but the frontiersmen having caught\nthe practice of giving sobriquets from the Indians, the appellation of", "lives. Did Harry March tell you, where to find us, and how much need\nthere was for your services?\"", "March, and it also proclaimed that the victim was a woman. Hurry himself\nwas startled at these unlooked for consequences, and for a moment he", "matter with my eyes--you look dim and distant--and so does Hurry, now\nI look at him--well, I never could have believed that Henry March would", "\"Harry March and I understand each other, and no more need be said about\nhim. There is one--but no matter. It is all in the hands of providence,", "\"I!--I forget Henry March!\" exclaimed Hetty, starting. \"Why should I\nforget him, Deerslayer, when he is our friend, and only left us last", "March released his grip, and sat regarding the other in silent\nastonishment.\n\n\"I thought we had been friends,\" he at length added; \"but you've got the\nlast secret of mine that will ever enter your ears.\"", "\"No--no--Harry March, further off--further off. Poor Hetty, you know not\nwhat you say. Leave me to order this.\"", "\"March is your fri'nd, Judith; and fri'nds should be tender of each\nother, when apart.\"", "when the heart is satisfied. Were Natty Bumppo, Henry March, and Henry\nMarch, Natty Bumppo, I might think the name of March better than it is;", "avarice, and overbearing ferocity of Harry March. The very best that can\nbe said of him, is to be found in his name of Hurry Skurry, which, if it", "do know Harry March, which is a proof of their sense as well as his.\nHe's human enough to follow human natur', and that tells him to see the", "\"The Lord, in his wisdom, only can tell, Henry March! The clouds look\nblack and threatening, and I keep my mind in a state to meet the worst.", "his ar'n'd. But he's now far beyond your reach, Master March, and\nthere's little use in talking, like a couple of women, of what can no\nlonger be helped.\"", "March was a little embarrassed at this rebuke, which was uttered with\nsufficient warmth of manner, and with a point that left no doubt of the", "the savages would be less given to vengeance. The death of that young\nwoman, too, was on-called for, Henry March, and leaves a heavy load on\nour names if not on our consciences!\"", "March was now glad again to escape. It was quite impossible that he\ncould enter into the sentiments that ennobled his companion, and he", "\"That's more than you can know, Hetty. Harry March is the handsomest,\nand the strongest, and the boldest young man that ever visits the lake;", "\"You do March injustice, Judith; yes, you do. The poor fellow dotes\non you, and when a man has ra'ally set his heart on such a creatur' it", "\"Thy fancy!\" exclaimed March, taking fire equally at the indifference\nand at the presumption of his companion, \"what the devil have you to do" ], [ "all--were encamped for the night abreast of the castle, and it was hoped\nthat the scalps of helpless victims would be the consequence. To confess\nthe truth, Hutter in particular--he who had just left two daughters", "was not about to quit him. A minute before, Hutter would have been well\ncontent to compromise his danger, by entering into a compact to act only\non the defensive; but no sooner did he feel some security on this", "\"My brother knows I put faith in him,\" said the latter, as he advanced\nwith Hutter, whose legs had been released to enable the old man to\nascend to the platform. \"One scalp--one more beast.\"", "\"Lay on your paddles, men,\" said Hutter, in a low voice, \"and let us\nlook about us for a moment. We must now be all eyes and ears, for these\nvermin have noses like bloodhounds.\"", "of his betrothed in length and intensity. Again they spoke together,\nconfidentially, appearing to compare opinions, after which the glass was\nlaid aside, and the young warrior quitted the cabin to join Hutter and", "\"Never mind--never mind, child,\" answered the other huskily, \"'tis no\nmatter, now. Mother is gone, and Thomas Hutter is gone, and the time has\ncome when we must think and act for ourselves.\"", "entered the sleeping apartment of Hutter. This part of the rude building\nwas better furnished than the rest of the structure, containing several\narticles that had been especially devoted to the service of the deceased", "\"This is for you, Judith; it is altogether for you. The chist is your'n,\nor your father's; and Hutter is your father, not mine. Cur'osity is a", "afore he invited 'em. But Hutter is a first-rate look-outer, and can\npretty much scent danger, as a hound scents the deer.\"", "by an enemy. It might have fallen from the platform, even while Hutter\nwas in possession of the place, and drifted to the spot where it was now", "\"This is it,\" whispered Hutter, laying a foot on the trunk of a fallen\nlinden; \"hand me the paddles first, and draw the boat out with care, for\nthe wretches may have left it for a bait, after all.\"", "ransom, with a confidence that might, in a great degree, account for\ntheir apparent indifference. Once before, Hutter had been in the hands", "This call was made to one that the young man knew had the strength of a\ngiant. It was so earnest and solemn, that both Hutter and March felt", "\"Pull, Hurry,\" he cried; \"pull for your life, and as you love Judith\nHutter! Pull, man, pull!\"", "been previously related. This was the secret of neither party's having\nappeared in the subsequent struggle; Hutter having been literally\ndisabled, and his conqueror being ashamed to be seen with the traces of", "bed of their mother, and neither needed a monitor to warn them of the\ncrisis, and every sign of resentment vanished from the face of the\nfirst. Hutter opened his eyes, and even tried to feel about him with his", "Shortly after the disappearance of Judith, a light southerly air arose,\nand Hutter set a large square sail, that had once been the flying", "It was now a question as to the course to be steered. A short surly\nconference was held, when Hutter decided that the wisest way would be", "\"That is more than you or any man can say,\" growled Hutter. \"There is no\nspot so likely to harbor a party as the shore around the outlet, and the", "instance, the very opening sentence--\"Is there not an appointed time to\nman on earth?\" was startling, and as Hetty proceeded, Hutter applied, or" ], [ "raw flesh, the bared veins and muscles, and all the other disgusting\nsigns of mortality, as they are revealed by tearing away the skin,\nshowed he had been scalped, though still living.", "away alive, unless, indeed, the fierce wish for torturing should get the\nmastery of them. I fear nothing for my father's scalp, and little for", "\"Oh! Judith,\" exclaimed the weak minded girl, as soon as their first\ncare had been bestowed on sufferer. \"Father went for scalps, himself,", "avarsion to being scalped; whereas your Indian shaves his head\nin readiness for the knife, and leaves a lock of hair by way of\nbraggadocio, that one can lay hold of in the bargain.\"", "behind him. The scalps can go to Canada, for a pale-face has no\nsatisfaction in them.\"", "isn't ready to be scalped, himself, on fitting occasions. One good turn\ndesarves another, the world over. That's reason, and I believe it to be\ngood religion.\"", "\"My brother knows I put faith in him,\" said the latter, as he advanced\nwith Hutter, whose legs had been released to enable the old man to\nascend to the platform. \"One scalp--one more beast.\"", "\"They have done that for him which you and he, Harry March, would have\nso gladly done for them. His skin and hair have been torn from his head", "abandon the castle and join the party on the land, Hutter was simply\nscalped to secure the usual trophy, and was left to die by inches, as\nhas been done in a thousand similar instances by the ruthless warriors", "it, where it would be beyond the reach of the scalping knife. He gazed\nwistfully towards the castle, but there all seemed to be silent and", "\"Well, well,\"--he commenced,--\"'twould have been wrong to kill a human\nmortal without an object. Scalps are of no account with me, and life", "Two lodges are empty; a scalp, living or dead, is wanted at each door.\"", "bending his head to avoid it. The keen little axe struck the victim in\na perpendicular line with the nose, directly between the eyes, literally", "trophy of his scalp; and the trophy itself more than his life. To slay,\nand not to bring off the proof of victory, indeed, was scarcely deemed", "and they didn't take your scalp, though you and father wanted to take\ntheirs.\"", "scalps, when Hist had told them how few warriors, and how many women and\nchildren there were in the camp. Judith would give me no peace, till I\nhad come ashore to see what had happened to you.\"", "\"Ay, there is the chest as you say, Judith, and when the question gets\nto be between a secret and a scalp, I should think most men would prefer", "\"Poor Tom! That scalp business hasn't turned out at all profitable, and\nI've pretty much concluded to give it up; and to follow a less bloody\ncalling.\"", "words, and by way of disposing of the difficulty, he drew his keen\nknife, and severed the head of the sufferer from its body.", "An exclamation of delight and exultation escaped the Indian, and then\nlaying his hand eagerly on the arm of his friend, he asked if there were\nany scalps taken." ], [ "their foes. When the runner arrived who announced the breaking out of\nhostilities between the English and French--a struggle that was certain\nto carry with it all the tribes that dwelt within the influence of the", "that were not unfrequent in the woods; and no commander who was hard\npressed could feel more joy at hearing of the arrival of reinforcements,\nthan the borderer experienced at being told this important auxiliary", "rushed to the shore to aid his companion, but was met and immediately\noverpowered by half a dozen fresh pursuers, who, just then, came leaping\ndown the bank.", "England. Still not a musket or rifle was fired, though that steady,\nmeasured tramp continued, and the bayonet was seen gleaming in advance", "sufficiently understood English to have at length detected the drift of\nhis discourse. Immediately after, the whole group entered the forest,\nHutter and Hurry apparently making no resistance to the movement. Just", "At the same time, the circle, which had got to be crowded and confused,\nwas enlarged, and brought once more into order. Rivenoak now announced\nthe intention of the old men again to proceed, the delay having", "then your fri'nds may look for relief. 'Tis but a day's march from the\nnearest garrison, and true soldiers will never lie idle with the foe in", "of the acclivity were now audible, and presently voices and treads\nannounced the arrival of the pursuers. The foremost shouted as they", "\"Are you the officer that came with Hurry?\" she asked. \"If you are, we\nought all to thank you, for, though I am hurt, the rest have saved their", "that so small a force would assail so strong a band, and each man\nexpected some extraordinary proposition to succeed so decisive a step.\nThe stranger did not seem disposed to disappoint them; he prepared to", "mountain, expecting an enemy to break out of the one, or to come rushing\ndown the other. Still the silence was unbroken, and they all embarked\nwith the caution that had been used in coming ashore.", "from the point. This man, evidently another scout, who had probably been\ndrawn to the place by the reports of the rifles, broke out of the forest", "movement towards the shore with a regularity and order that prevented\nnoise or confusion. Of all the officers, Warley alone remained. Craig\nheaded the detachment in advance, Thornton was with the wounded, and", "each other, and after communicating their respective observations, they\nunhesitatingly approached the building. As had been expected, it was\nfound empty. The rafts were immediately sent for a reinforcement to the", "trees of the background, and a body of troops was seen advancing with\nmeasured tread. They came upon the charge, the scarlet of the King's", "though an old sergeant of the garrison, who had lately come from\nEngland, was enabled to tell our hero that Sir Robert Warley lived on", "The young men who had been sent out to reconnoitre, on the sudden\nappearance of Hetty, soon returned to report their want of success in", "It would seem that the enemy had carried their artifices so far as to\nemploy an agent who understood English. The previous dialogue had taken", "all his reserve, as he gained a renewed confidence in the disposition\nof his companions. \"Something more may turn up from this inroad of the", "\"I dare say Hurry had some of his vile hints about the people of the\ngarrisons,\" she added. \"He knows they are gentlemen, and can never\nforgive any one for being what he feels he can never become himself.\"" ], [ "\"God forbid that we lay up regrets, in after life, through my want of\nsincerity now,\" she said. \"I hope we understand each other, at least.\nYou will not accept me for a wife, Deerslayer?\"", "\"You have done me justice in that at least, Deerslayer. Hurry is a man I\ncould never marry, though he were ten times more comely to the eye, and\na hundred times more stout of heart than he really is.\"", "\"I do not think Hetty will ever marry, Deerslayer,\" she said, \"and if\nyour name is to be borne by either of us, it must be borne by me.\"", "and I can see but one reason why you cannot, will not love me. Tell me\nthen, Deerslayer,\" The girl paused, the words she was about to utter", "\"That's not a proper question to ask a young woman, Deerslayer, and\nI'll not answer it,\" returned the girl, in a reproving manner--much as", "\"Stop, Deerslayer,\" exclaimed the girl, as he was about to withdraw.\n\"Not a single thing will I touch--I will not even raise the lid--unless", "\"Deerslayer!\" repeated the other, looking up in unfeigned surprise.\n\"Why, Judith, Deerslayer isn't in the least comely, and is altogether\nunfit for one like you!\"", "Deerslayer, who had imbibed a prejudice against the girl in consequence\nof Hurry's suspicions of her levity, felt its charm, notwithstanding", "\"I know of none as deserving as your own, Deerslayer,\" answered the girl\nin haste; \"none but yours shall keep the rifle.\"", "Judith started, and for a moment she seemed seriously hurt. Then she\nreflected, and in the end she laughed. \"And you think, Deerslayer, that", "\"This is strange!\" said Deerslayer, looking steadily at the excited\ngirl, anxious to know more, but unwilling to inquire into matters that", "\"I do thus look at it, Deerslayer,\" returned the girl with emphasis,\nstill shrinking with a woman's sensitiveness from a direct offer of her", "\"Deerslayer!\" returned the other, with much of her native\nimpetuosity--\"That cannot be! Deerslayer is a prisoner, and I have", "resumed Deerslayer, casting a friendly and approving glance at the\ninnocent and interested girl; \"and when that is the case, and all the\nelders are agreed, it does not often happen that the young couple keep", "Deerslayer was interrupted by a slight exclamation from the girl, who,\nin obedience to his hurried gestures, as much as in obedience to his\nwords, had immediately bent her looks again, in the opposite direction.", "\"Deerslayer,\" answered Judith, after a moment's pause, \"I shall be\nhonest with you. I confess that the time has been when what you call", "\"None, perhaps, Deerslayer,\" answered the girl, with firmness, \"but I\ncan suffer with my friends--die with them if necessary.\"", "\"I believe you are right, Deerslayer,\" returned the girl, after a little\nreflection and in a saddened voice: \"a man like you ought not to act", "suspicions unfavorable to her discretion, if not to her morals. With\nDeerslayer, however, these glances were rendered less obnoxious to", "Judith and Deerslayer looked surprised, and for a minute the first\nseemed pained. But, suddenly recollecting herself, she turned away from\nher sister, as if in pity for her weakness and addressed the young man." ], [ "This call was made to one that the young man knew had the strength of a\ngiant. It was so earnest and solemn, that both Hutter and March felt", "\"That is soon told, Master Hutter,\" said the young man, with the\ncomposure of one who kept a clean conscience. \"I think, moreover, you've", "his position. It would seem that Hutter, or Floating Tom, as he was\nfamiliarly called by all the hunters who knew his habits, recognized the", "\"My brother knows I put faith in him,\" said the latter, as he advanced\nwith Hutter, whose legs had been released to enable the old man to\nascend to the platform. \"One scalp--one more beast.\"", "Hutter opened his glassy eyes, and stared wildly at the speaker. A flood\nof confused recollections rushed on his wavering mind at the sight of", "Hutter again; nor, with my consent, shall Hetty! Hutter was not even his\nown name, I find, but had he a thousand rights to it, it would give none", "\"Lay on your paddles, men,\" said Hutter, in a low voice, \"and let us\nlook about us for a moment. We must now be all eyes and ears, for these\nvermin have noses like bloodhounds.\"", "Under the circumstances, Hutter and Hurry were not men to be long\ndeterred from proceeding by proofs as slight as that of the moccasin.", "daughter--Thomas Hutter, whom you called the Muskrat; though he was no\nmuskrat, but a man like yourselves--he lived in a house on the water,\nand that was enough for you.\"", "afore he invited 'em. But Hutter is a first-rate look-outer, and can\npretty much scent danger, as a hound scents the deer.\"", "\"Any silence where you are, Hurry Harry,\" returned Hutter, thrusting his\nhead in at the hole as he uttered the last word, which instantly caused", "You are right, for that is her name; and I am Hetty; Thomas Hutter's\ndaughters.\"", "\"If this be true, Master Hutter,\" said Hurry, whose change of\ncountenance denoted how serious he deemed the information, though it did", "of the world, I know. No, no; I'm Hetty Hutter, and wouldn't meet even\nHurry Harry, though he should fall down on his knees and ask me! Mother", "\"If you took me for a Huron girl, warrior,\" she said, \"I don't wonder\nyou are so little pleased. I am Hetty Hutter, Thomas Hutter's daughter,", "Hutter, and if he gives good counsel, he must have listened to very bad\nin that affair. There's only one king of this lake, and he's a long way", "of his betrothed in length and intensity. Again they spoke together,\nconfidentially, appearing to compare opinions, after which the glass was\nlaid aside, and the young warrior quitted the cabin to join Hutter and", "\"Water,\" ejaculated Hutter, as it might be by a desperate effort, that\nrendered his voice frightfully deep and strong for one as near death as\nhe evidently was--\"Water--foolish girls--will you let me die of thirst?\"", "\"Pull, Hurry,\" he cried; \"pull for your life, and as you love Judith\nHutter! Pull, man, pull!\"", "Hurry had a respectable reputation for prowess among his associates,\nand Hutter heard this pledge with a satisfaction that was not concealed." ], [ "in common with her sister, and which showed that she had been better\ntaught than her father's life and appearance would give reason to\nexpect. \"Many thanks to you; but Judith Hutter has the spirit and", "\"This is for you, Judith; it is altogether for you. The chist is your'n,\nor your father's; and Hutter is your father, not mine. Cur'osity is a", "The two men had now a little discussion together, touching the propriety\nof penetrating any farther into the chest of Hutter, when Judith\nre-appeared, divested of her robes, and in her own simple linen frock\nagain.", "\"Ah! Judith; that is what I've long feared--and I did so hope he might\nbe my brother-in-law!\"\n\n\"Never mind it now. Let us talk of our poor mother--and of Thomas\nHutter.\"", "one admiring glance at Judith, which was extorted by her brilliant and\nsingular beauty; but even this could detain him but a single instant\nfrom the indulgence of his interest in Hutter's contrivances. Step", "\"Leave us, Judith,\" Hutter ordered sternly, before either of the young\nmen could reply; \"leave us; and do not return until you come with", "on himself. Judith gradually grew calm again, and as she was obviously\nanxious to appear to advantage in the eyes of the young man, she was\nsoon able to renew the conversation as composedly as if nothing had", "sweetly, as Judith Hutter, herself. The piece already in his possession\nwas again examined, and an ejaculation of pleasure showed how much he\nwas pleased with this unexpected termination of the affair. In point of", "\"The death of Thomas Hutter,\" Judith commenced, after a short pause had\nprepared her sister to receive her communications, \"has altered all our", "\"If that man should be Judith Hutter's husband, after what has passed, I\nmight tell enough, at least, to put the colony on the trail.\"", "\"Which is more than you think was the case with old Hutter? Well,\nJudith, I'll not deny that hard stories were in circulation consarning", "\"Judith Hutter! you frighten me. Hurry is the handsomest mortal in the\nworld--even handsomer than you are yourself; because a man's good looks,\nyou know, are always better than a woman's good looks.\"", "But Judith I shall always esteem, as it's recommend enough to one woman\nto be the mother of such a creatur' as her darter, Judith Hutter!\"", "Shortly after the disappearance of Judith, a light southerly air arose,\nand Hutter set a large square sail, that had once been the flying", "\"How do I know, Judith, that you wouldn't be as glad to find I am not\nyour sister, as you are in finding that Thomas Hutter, as you call him,", "Marcy on 'em. Howsoever, there is no occasion for our following their\nexample, and more especially about a husband that this Judith Hutter", "\"You!--You, Hetty Hutter, think of such an act!\" exclaimed Judith,\nlooking up in uncontrollable surprise, for she well knew nothing passed\nthe lips of her conscientious sister, that was not religiously true.", "\"Pull, Hurry,\" he cried; \"pull for your life, and as you love Judith\nHutter! Pull, man, pull!\"", "finding it out. When it's agreeable to hear what an honest and\nonpretending man has to say, Judith, I should like to talk a little with\nyou, apart.\"", "found him. At times he spoke intelligibly, though his lips oftener moved\nin utterance of sounds that carried no distinct impressions\nto the mind. Judith listened intently, and she heard the" ] ]

[ "What two characters seek to take scalps?", "Which character is a former priate?", "What group besieged Hutter's residence?", "How did Hutter die?", "What did Hutter confess on this deathbed?", "Which daugher of Hutter died in this story?", "Who came to the rescue with English reinforcements?", "Which one of Hutter's daughters proposed marriage to Deerslayer?", "What century does this story take place?", "What is the real name of the man called Deerslayer?", "During what time period does this story take place?", "What state does this story take place within?", "What is the real name of the man called Hurry Harry?", "What was the former occupation of Floating Tom Hutter?", "What is the name of the Native American tribe who captured Hutter and March as they sneaked into their camp?", "Which of Deerslayer's compatriots ended up being scalped?", "Who ultimately rescues Deerslayer, Judith, and Bumppo from the Hurons?", "Who does March bring along with him to rescue Deerslayer and the others?", "How many years passed before Chingachgook and Bumppo return to Hutters' house?", "What is Natty Bumppo's nickname?", "What century does Deerslayer reside in?", "What state is Deerslayer located in?", "What is Henry March's alias?", "Who seizes on Hutter's home?", "Who is scalpled alive?", "Who comes with English reinforcements?", "Who does Deerslayer refuse to marry?", "What is Hutter's nickname?", "What does Judith learn about Hutter?" ]

[ [ "Henry March and Tom Hutter.", "Henry and tom" ], [ "Tom Hutter.", "floating tom hutter" ], [ "The Hurons.", "the indigienous Hurons" ], [ "He was scalped alive.", "He was scalped alive." ], [ "That Judith and Hetty are not his biological daughers.", "Judith and Hetty are not his real daughters. " ], [ "Hetty.", "Hetty" ], [ "Henry March.", "Henry March" ], [ "Judith.", "Judith" ], [ "The 18th century.", "18th century" ], [ "Natty Bumppo", "Natty Bumppo" ], [ "Early 18th century", "Early 18th century." ], [ "New York", "New York" ], [ "Henry March", "Henry March " ], [ "Pirate", "Scalper" ], [ "The Hurons", "Bumppo" ], [ "Hutter", "Hutter." ], [ "March", "March with English reinforcements." ], [ "English reinforcements", "English reinforcements" ], [ "15 years", "15 years" ], [ "Deerslayer", "Deerslayer" ], [ "18th Century", "18th century" ], [ "New York", "New York." ], [ "Hurry Harry", "Hurry Harry" ], [ "The Hurons", "the Hurons" ], [ "Hutter", "Hutter" ], [ "March", "Henry March." ], [ "Judith", "Judith" ], [ "Floating Tom", "floating tom" ], [ "He's not her biological father", "Hutter is not her biological father." ] ]

[ [ "Rebecca, who knew nothing of their business affairs, merely saw her\naunts grow more and more saving, pinching here and there, cutting off", "Rebecca did not see her aunt Miranda till she had been at the brick\nhouse for several days. Miranda steadily refused to have any one but", "Rebecca, given a free hand for the only time in her life, dashed\nupstairs like a whirlwind. Every room in the brick house was as neat as", "all the earlier years when her babies were young, carking cares and\nanxieties darkened the fireside with their brooding wings. Then Rebecca\nhad gone away, and in the long months of absence her mind and soul had", "in all her mother's problems. She it was who kept the house while\nAurelia busied herself in barn and field. Rebecca was capable of\ncertain set tasks, such as keeping the small children from killing", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "Rebecca walked through all the old playgrounds and favorite haunts of\nher early childhood; all her familiar, her secret places; some of them", "It is needless to say that Rebecca irritated her aunt with every breath\nshe drew. She continually forgot and started up the front stairs", "Rebecca entered the home dining-room joyously. The Burnham sisters had\ngone and the two aunts were knitting.\n\n\"It was a heavenly party,\" she cried, taking off her hat and cape.", "There was a long pause, during which Rebecca sat down by the bedside\nand timidly touched her aunt's hand, her heart swelling with tender\npity at the gaunt face and closed eyes.", "Rebecca burst into a passion of tears as she cried, \"Poor, poor aunt\nMiranda! She is gone without taking a bit of comfort in life, and I", "while Rebecca, who apparently needed nothing but space to develop in,\nand a knowledge of terms in which to express herself, grew and grew and\ngrew, always from within outward. Her forces of one sort and another", "Rebecca, her heart fluttering with sympathy. Mrs. Robinson leaned over\nand whispered significantly, \"The missionaries always used to be\nentertained at the brick house; your grandfather never would let 'em", "for years. On a footstool near the open fire sat Rebecca, silent and\nshy, so conscious of her fine apparel and the presence of aunt Miranda", "died, and Rebecca went home for a fortnight's visit. The sight of the\nsmall still shape that had been Mira, the baby who had been her special", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"", "At the noise and rumble of the approaching stage the house door opened\nfrom within, just as Rebecca closed the gate behind her. Aunt Jane came", "\"No book could be printed that would fit you, Rebecca,\" answered aunt\nJane, \"for nobody could imagine beforehand the things you'd want to do.\nAre you going to carry that heavy child home in your arms?\"", "\"Not this time of night,\" Rebecca answered; \"not till aunt Mirandy goes\nto bed; but oh! what if it should be?\"", "The year was notable also as being the one in which Rebecca shot up\nlike a young tree. She had seemingly never grown an inch since she was\nten years old, but once started she attended to growing precisely as" ], [ "\"I don't think anything takes the place of the farm where one lived\nwhen one was a child,\" observed Rebecca, nearly bursting with pride at\nhaving at last successfully used the indefinite pronoun in general\nconversation.", "of one subject. Hannah had never had a chance; never been freed from\nthe daily care and work of the farm. She, Rebecca, had enjoyed all the", "in all her mother's problems. She it was who kept the house while\nAurelia busied herself in barn and field. Rebecca was capable of\ncertain set tasks, such as keeping the small children from killing", "It was in this happy-go-lucky household that Rebecca had grown up. It\nwas just an ordinary family; two or three of the children were handsome", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "\"Or with me,\" laughed Rebecca.\n\n\"What is your name, young lady?\"\n\n\"Rebecca Rowena Randall, sir.\"", "REBECCA OF SUNNYBROOK FARM\n\n\n\nI\n\n\"WE ARE SEVEN\"", "Miss Delia Weeks may have exaggerated matters somewhat, but it is easy\nto imagine that Rebecca as well as all the other Riverboro children had", "Miranda (named in a lively hope of favors which never came), was a\nsmall farm two miles from Temperance. Aurelia managed this herself, and", "The news from Sunnybrook Farm was hopeful rather than otherwise. Cousin\nAnn's husband had died, and John, Rebecca's favorite brother, had gone", "Rebecca Of Sunnybrook Farm\n\n\nby\n\nKate Douglas Wiggin", "Rebecca self-supporting, the mother ought to push the education of the\noldest boy, who is a fine, ambitious fellow. He should be taken away\nfrom farm work and settled at his studies.\"", "\"A letter from Rebecca Randall to her sister Hannah at Sunnybrook Farm,\nor to her aunt Jane at the brick house, Riverboro, is so dull and", "mounting the hill that led to their house. In the autumn Rebecca was\noften the old man's companion while he was digging potatoes or shelling\nbeans, and now in the winter, when a younger man was driving the stage,", "At the man's nod of assent Rebecca sped down the lane, crying\nirrepressibly as she neared the wagon, \"Oh, Emma Jane! Emma Jane! we\nare sold out!\"", "Rebecca, her heart fluttering with sympathy. Mrs. Robinson leaned over\nand whispered significantly, \"The missionaries always used to be\nentertained at the brick house; your grandfather never would let 'em", "There was a knock at the door at breakfast time, and Rebecca, answering\nit, was asked by a boy if Miss Rebecca Randall lived there. On being", "\"Will you pay a little faster?\" said the mortgage to the farm;\n \"I confess I'm very tired of this place.\"\n \"The weariness is mutual,\" Rebecca Randall cried;", "other children, as well as chances for study and reading. Riverboro had\nnot been the world itself, but it had been a glimpse of it through a\ntiny peephole that was infinitely better than nothing. Rebecca shed" ], [ "Rebecca, who knew nothing of their business affairs, merely saw her\naunts grow more and more saving, pinching here and there, cutting off", "It is needless to say that Rebecca irritated her aunt with every breath\nshe drew. She continually forgot and started up the front stairs", "There was a long pause, during which Rebecca sat down by the bedside\nand timidly touched her aunt's hand, her heart swelling with tender\npity at the gaunt face and closed eyes.", "Rebecca burst into a passion of tears as she cried, \"Poor, poor aunt\nMiranda! She is gone without taking a bit of comfort in life, and I", "Rebecca entered the home dining-room joyously. The Burnham sisters had\ngone and the two aunts were knitting.\n\n\"It was a heavenly party,\" she cried, taking off her hat and cape.", "When Rebecca crept upstairs, and undressing in the dark finally found\nherself in her bed that night, though she was aching and throbbing in", "Rebecca, given a free hand for the only time in her life, dashed\nupstairs like a whirlwind. Every room in the brick house was as neat as", "It seems they wrote to Aurelia and invited Hannah, the oldest, but\nAurelia said she could spare Rebecca better, if 't was all the same to", "\"It'll be good fancy work for you, Rebecca; for your aunt Miranda won't\nlike to see you always reading in the long winter evenings. Now if you", "Rebecca, her heart fluttering with sympathy. Mrs. Robinson leaned over\nand whispered significantly, \"The missionaries always used to be\nentertained at the brick house; your grandfather never would let 'em", "At the noise and rumble of the approaching stage the house door opened\nfrom within, just as Rebecca closed the gate behind her. Aunt Jane came", "Rebecca did not see her aunt Miranda till she had been at the brick\nhouse for several days. Miranda steadily refused to have any one but", "Here she ceased abruptly, having talked more than she had for weeks;\nand Rebecca stole out of the room, to cry by herself and wonder if old", "What sunshine in a shady place was aunt Jane to Rebecca! Aunt Jane with\nher quiet voice, her understanding eyes, her ready excuses, in these", "\"It was a very small meeting, aunt Miranda,\" began Rebecca, \"and the\nmissionary and his wife are lovely people, and they are coming here to\nstay all night and to-morrow with you. I hope you won't mind.\"", "of strangers and guests. Knowing that she was deeply interested in all\nRebecca's plans, he told her, as he drew her aside, that the girl would\nhave to leave Wareham for Riverboro the next day.", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "\"Not this time of night,\" Rebecca answered; \"not till aunt Mirandy goes\nto bed; but oh! what if it should be?\"", "and so fault-finding. One Saturday Rebecca ran upstairs and, bursting\ninto a flood of tears, exclaimed, \"Aunt Jane, it seems as if I never", "in all her mother's problems. She it was who kept the house while\nAurelia busied herself in barn and field. Rebecca was capable of\ncertain set tasks, such as keeping the small children from killing" ], [ "Brunswick with her. Poor aunt Miranda! And I have been so gay and happy\nall day, except that I was longing for mother and aunt Jane.\"", "and said, \"Hannah, after this term I'm going to stay at home and let\nyou go away. Aunt Miranda has always wanted you, and it's only fair you\nshould have your turn.\"", "Miss Jane still looked a little unconvinced, though she only said, \"I\nhope your aunt Miranda won't mind, but you know how particular she is,", "child, and that is the reason her aunts had invited her to Riverboro to\nbe a member of their family and participate in all the advantages of\ntheir loftier position in the world. It was several years since Miranda", "\"It was a very small meeting, aunt Miranda,\" began Rebecca, \"and the\nmissionary and his wife are lovely people, and they are coming here to\nstay all night and to-morrow with you. I hope you won't mind.\"", "\"Oh, aunt Jane and I get along splendidly,\" exclaimed Rebecca; \"she's\njust as good and kind as she can be, and I like her better all the", "books and her new acquaintances to keep her interested and occupied, or\nlife would have gone heavily with her that first summer in Riverboro.\nShe tried to like her aunt Miranda (the idea of loving her had been", "\"It was a heavenly party,\" reiterated Rebecca, coming in again, much\ntoo excited to be easily crushed, \"and oh! aunt Jane, aunt Miranda, if", "There was a long pause, during which Jane knit silently, wiping the\ntears from her eyes from time to time, as she looked at the pitiful\nfigure lying weakly on the pillows. Suddenly Miranda said slowly and\nfeebly:--", "\"I want you should take her to my sisters' in Riverboro,\" she said. \"Do\nyou know Mirandy and Jane Sawyer? They live in the brick house.\"", "The child took her sewing and sat beside aunt Jane in the kitchen while\naunt Miranda had the post of observation at the sitting-room window.", "occasion? Aunt Miranda had not intended to come, she knew, but where,\non this day of days, was her beloved aunt Jane? However, this thought,", "to sudden prosperity. She had made a visit of a week at the brick\nhouse; and Miranda's impression, conveyed in privacy to Jane, was that", "In reality Jane did not understand her niece very much better than\nMiranda; the difference between the sisters was, that while Jane was", "Miranda and Miss Jane Sawyer would be happy to have you visit at the\nbrick house, just as the missionaries always did when their father was", "\"I daresay you are,\" remarked Jane, with what might be described as one\nof her annual bursts of courage; \"but all the same, Mirandy, it wasn't\ngood manners, and it wasn't good religion!\"", "\"Oh! aunt Jane!\" softly. \"Away from you?\"\n\n\"No, I was with him.\"\n\n\"Was he young?\"", "\"They were both away and I didn't ask,\" Rebecca responded anxiously.\n\"Why? Do you think they'd have said no?\"\n\n\"Miss Mirandy always says no, doesn't she?\" asked Emma Jane.", "They had been called the Sawyer girls when Miranda at eighteen, Jane at\ntwelve, and Aurelia at eight participated in the various activities of", "and Jane had seen the children, but they remembered with pleasure that\nHannah had not spoken a word during the interview, and it was for this\nreason that they had asked for the pleasure of her company. Rebecca, on" ], [ "\"Or with me,\" laughed Rebecca.\n\n\"What is your name, young lady?\"\n\n\"Rebecca Rowena Randall, sir.\"", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "\"REBECCA!\"\n\nThe tone in which the word was voiced gave it all the effect of having\nbeen shouted from the housetops.", "unlike Rebekah at the Well in our family Bible; her hair and\n eyes being so dark as to suggest a strain of Italian or\n Spanish blood. She is nobody in particular. Man has done", "Rebecca, Adam thought, as he took off his hat and saluted the pretty\npanorama,--Rebecca, with her tall slenderness, her thoughtful brow, the", "Rebecca, it must be confessed, seemed sometimes painfully deficient.", "\"She was a good woman, Rebecca; she had a quick temper and a sharp\ntongue, but she wanted to do right, and she did it as near as she", "and she was less censorious in her treatment of Rebecca, less harsh in\nher judgments, more hopeful of final salvation for her. This had come\nabout largely from her sudden vision that Rebecca, after all, inherited", "and the rest plain, three of them rather clever, two industrious, and\ntwo commonplace and dull. Rebecca had her father's facility and had", "appealed to Rebecca. There are certain narrow, unimaginative, and\nautocratic old people who seem to call out the most mischievous, and", "Rebecca had pricked up her ears at Huldah's speech. She remembered a\ncertain strange ring, and it belonged to the only person in the world", "This is Rebecca's fairy story, copied the next day and given to Emily\nMaxwell just as she was going to her room for the night. She read it", "Rebecca's journey had ended.", "and now we call her Mira. We are all named after somebody in\nparticular. Hannah is Hannah at the Window Binding Shoes, and I am", "This was all said merrily and laughingly, but there were times when\nHuldah could scarcely make up her mind whether Rebecca was trying to be", "occasionally bringing them to the table as fictitious or historical\ncharacters found in her favorite books. Rebecca amused her mother and\nher family generally, but she never was counted of serious importance,", "It seems they wrote to Aurelia and invited Hannah, the oldest, but\nAurelia said she could spare Rebecca better, if 't was all the same to", "was the most remarkable personality in Wareham, and that her few years\nof teaching happened to be in Rebecca's time was the happiest of all\nchances. There was no indecision or delay in the establishment of their", "The year was notable also as being the one in which Rebecca shot up\nlike a young tree. She had seemingly never grown an inch since she was\nten years old, but once started she attended to growing precisely as", "Rebecca's first letters to her mother would seem to indicate that she\ncordially coincided with the latter view of the situation.\n\n\n\nIV" ], [ "Miss Delia Weeks may have exaggerated matters somewhat, but it is easy\nto imagine that Rebecca as well as all the other Riverboro children had", "Riverboro's \"younger set,\" and Rebecca was obliged to make friends with\nthe Robinson baby, he being the only long-clothes child in the village", "of strangers and guests. Knowing that she was deeply interested in all\nRebecca's plans, he told her, as he drew her aside, that the girl would\nhave to leave Wareham for Riverboro the next day.", "\"Do you know Mr. Ladd?\" asked Miss Maxwell in surprise.\n\n\"Yes, he's my very best friend,\" cried Rebecca delightedly. \"Do you\nknow him too?\"", "other children, as well as chances for study and reading. Riverboro had\nnot been the world itself, but it had been a glimpse of it through a\ntiny peephole that was infinitely better than nothing. Rebecca shed", "The day of Rebecca's arrival had been Friday, and on the Monday\nfollowing she began her education at the school which was in Riverboro", "she sometimes stayed with him while he did his evening milking. It is\nsafe to say that he was the only creature in Riverboro who possessed\nRebecca's entire confidence; the only being to whom she poured out her", "esteem in Riverboro, where the cheerful chromo or the dignified steel\nengraving were respected and valued. There was a slight, a very slight\nhope, that Rebecca might be allowed a few music lessons from Miss", "Rebecca found the side door locked, but she knew that the key was under\nthe step, and so of course did everybody else in Riverboro, for they", "who lived between North Riverboro and Shaker Village, and who for more\nthan a quarter of a century had come to pass the holiday with the\nSawyers every year. Rebecca sat silent with a book after the dinner", "friendship, so before long Rebecca and Emma Jane sat in one end of the\nrailway train in going to and from Riverboro, and Huldah occupied the\nother with her court. Sometimes this was brilliant beyond words,", "the last fifteen minutes. What child in Riverboro could be described as\nremarkable and winning, save Rebecca? What child had wonderful eyes,\nexcept the same Rebecca? and finally, was there ever a child in the", "have a fascinating way with her. Riverboro being poorly furnished with\nbeaux, she intended to have as good a time during her four years at\nWareham as circumstances would permit. Her idea of pleasure was an", "Among the Riverboro girls of her own age was a certain excellently\nnamed Minnie Smellie, who was anything but a general favorite. She was", "Rebecca Randall was of precisely the same stock, and had had much the\nsame associations as her schoolmates, so one can hardly say why she so\nhated mean gossip and so instinctively held herself aloof from it.", "\"Or with me,\" laughed Rebecca.\n\n\"What is your name, young lady?\"\n\n\"Rebecca Rowena Randall, sir.\"", "books and her new acquaintances to keep her interested and occupied, or\nlife would have gone heavily with her that first summer in Riverboro.\nShe tried to like her aunt Miranda (the idea of loving her had been", "\"I want you should take her to my sisters' in Riverboro,\" she said. \"Do\nyou know Mirandy and Jane Sawyer? They live in the brick house.\"", "was the most remarkable personality in Wareham, and that her few years\nof teaching happened to be in Rebecca's time was the happiest of all\nchances. There was no indecision or delay in the establishment of their", "Rebecca was in the normally unconscious state that belonged to her\nyears; boys were good comrades, but no more; she liked reciting in the" ], [ "Adam Ladd was in the station and came up to Rebecca instantly, as she\nentered the door looking very unlike her bright self.", "Adam put a finger under Rebecca's chin and looked into her eyes; eyes\nas soft, as clear, as unconscious, and childlike as they had been when", "\"You are a comforting little person, Rebecca,\" said Adam, rising from\nhis chair.\n\nAs Rebecca rose, the tears still trembling on her lashes, he looked at\nher suddenly as with new vision.", "\"Adam Ladd! Well I never! Don't you remember Ellen Burnham said he was\ngoing to send Rebecca a Christmas present? But I never supposed he'd\nthink of it again,\" said Jane. \"What's the other package?\"", "Rebecca, Adam thought, as he took off his hat and saluted the pretty\npanorama,--Rebecca, with her tall slenderness, her thoughtful brow, the", "\"Do you know Mr. Ladd?\" asked Miss Maxwell in surprise.\n\n\"Yes, he's my very best friend,\" cried Rebecca delightedly. \"Do you\nknow him too?\"", "Rebecca had never thought of alluding to the circumstances with her\nprevious customers, but unexpectedly she found herself describing Mr.", "Rebecca dimpled. \"I didn't mean THAT; I have some soap to sell; I mean\nI would like to introduce to you a very remarkable soap, the best now\non the market. It is called the\"--", "At the man's nod of assent Rebecca sped down the lane, crying\nirrepressibly as she neared the wagon, \"Oh, Emma Jane! Emma Jane! we\nare sold out!\"", "the thing well done. Good-by Miss Rebecca Rowena! Just let me know\nwhenever you have anything to sell, for I'm certain beforehand I shall\nwant it.\"", "Coming from Temperance to Wareham one day, Adam had a long walk and\ntalk with Rebecca, whom he thought looking pale and thin, though she", "\"Of all things!\" exclaimed the two old ladies, rising in their seats.\n\"Who sent it?\"\n\n\"Mr. Ladd,\" said Rebecca under her breath.", "\"Rebecca, who was it that sold the three hundred cakes of soap to Mr.\nLadd in North Riverboro?\"\n\n\"Mr. WHO?\" exclaimed Rebecca.", "Here Rebecca appeared in sight, walking down the quiet street with a\nlad of sixteen. They were in animated conversation, and were apparently", "Rebecca walked up the lane and went to the side door. There was a porch\nthere, and seated in a rocking-chair, husking corn, was a good-looking", "This was great good fortune, to find a customer who knew all the\nvirtues of the article in advance. Rebecca dimpled more and more, and", "Adam Ladd looked at her in a way that made her put her hands over her\nface and laugh through them shyly as she said: \"I know what you are", "\"I asked you who sold the soap to Adam Ladd?\" resumed Miss Jane.\n\n\"Adam Ladd! then he's A. Ladd, too; what fun!\"\n\n\"Answer me, Rebecca.\"", "\"One of them must have,\" said Miss Ellen Burnham, \"for the girl that\nwas selling soap at the Ladds' in North Riverboro was described by Adam\nLadd as the most remarkable and winning child he ever saw.\"", "familiarity crept back into Rebecca's heart. Adam had not seen her for\nseveral months, and there was much to be learned about school matters\nas viewed from her own standpoint; he had already inquired concerning" ], [ "The news from Sunnybrook Farm was hopeful rather than otherwise. Cousin\nAnn's husband had died, and John, Rebecca's favorite brother, had gone", "There was another milestone, a sad one, marking a little grave under a\nwillow tree at Sunnybrook Farm. Mira, the baby of the Randall family,", "Hannah's engagement to Will Melville,--a young farmer whose land joined\nSunnybrook, who had a good house, was alone in the world, and his own", "the \"York and Yank 'em,\" and while there he gained an inkling of\nSunnybrook affairs. The building of the new road was not yet a", "she had known there was no possibility of seeing her; for poor Aurelia\nwas kept at Sunnybrook by cares of children and farm, and lack of money", "She caught her breath. \"The time has come!\" she thought. \"I am saying\ngood-by to Sunnybrook, and the golden gates that almost swung together", "\"No, I can't say I do,\" responded Mr. Cobb uneasily.\n\n\"Now when I say Sunnybrook Farm, what does it make you think of?\"", "It was home; her roof, her garden, her green acres, her dear trees; it\nwas shelter for the little family at Sunnybrook; her mother would have", "arts known to a thrifty New England woman, the limit of letting down\nand piecing down was reached at last, and the dresses were sent to\nSunnybrook Farm to be made over for Jenny.", "He spoke lightly, for he thought her trouble was something connected\nwith affairs at Sunnybrook, and that he could soon bring the smiles by", "through Sunnybrook, from corner to corner, and Mrs. Randall would be\ncompensated; in the other, her interests would not be affected either\nfor good or ill, save as all land in the immediate neighborhood might", "Rebecca Of Sunnybrook Farm\n\n\nby\n\nKate Douglas Wiggin", "advance upon Riverboro as that village had been upon Sunnybrook Farm.\nRebecca's intention was to complete the four years' course in three, as", "this meant one stormy night in her little room at Sunnybrook, but the\nclouds blew over, the sun shone again, a rainbow stretched across the", "was all right! Sunnybrook would sing again in the spring; perhaps Mira\ntoo would have her singing time somewhere--she wondered where and how.\nIn the course of these lonely rambles she was ever thinking, thinking,", "REBECCA OF SUNNYBROOK FARM\n\n\n\nI\n\n\"WE ARE SEVEN\"", "honorable toad made his home; these were the landmarks of her\nchildhood, and she looked at them as across an immeasurable distance.\nThe dear little sunny brook, her chief companion after John, was sorry", "\"Will you pay a little faster?\" said the mortgage to the farm;\n \"I confess I'm very tired of this place.\"\n \"The weariness is mutual,\" Rebecca Randall cried;", "\"A letter from Rebecca Randall to her sister Hannah at Sunnybrook Farm,\nor to her aunt Jane at the brick house, Riverboro, is so dull and", "There was, however, no concealing the state of things at Sunnybrook,\nwhere chapters of accidents had unfolded themselves in a sort of serial" ], [ "something from the Sawyer side of the house instead of belonging, mind,\nbody, and soul, to the despised Randall stock. Everything that was\ninteresting in Rebecca, and every evidence of power, capability, or", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"", "small Sawyer property had been invested in the business of a friend of\ntheir father's, and had returned them a regular annual income of a\nhundred dollars. The family friend had been dead for some five years,", "glorified himself that he had prevented Rebecca from being all Sawyer.\nFailure as he was, complete and entire, he had generously handed down\nto her all that was best in himself, and prudently retained all that", "\"He died--just before.\"\n\n\"Oh!\" And Rebecca's eyes grew misty.\n\n\"He was a soldier and he died of a gunshot wound, in a hospital, down\nSouth.\"", "appreciated, and that the regular schooling and church privileges, as\nwell as the influence of the Sawyer home, would doubtless be \"the\nmaking of Rebecca.\"", "Sawyer that she'd better look after Rebecca, for she was given to\n\"swearing and profane language;\" that she had been heard saying\nsomething dreadful that very afternoon, saying it before Emma Jane and", "\"Rebecca'll have some new clothes now,\" said Delia, \"and the land knows\nshe needs 'em. Seems to me the Sawyer girls are gittin' turrible near!\"", "who lived between North Riverboro and Shaker Village, and who for more\nthan a quarter of a century had come to pass the holiday with the\nSawyers every year. Rebecca sat silent with a book after the dinner", "The news from Sunnybrook Farm was hopeful rather than otherwise. Cousin\nAnn's husband had died, and John, Rebecca's favorite brother, had gone", "that winter. The faithful Seesaw had called at the side door of the\nbrick house on the evening before his departure, and when Rebecca", "The brick house came next, looking just as of yore; though it seemed to\nRebecca as if death should have cast some mysterious spell over it.", "died, and Rebecca went home for a fortnight's visit. The sight of the\nsmall still shape that had been Mira, the baby who had been her special", "Deacon Milliken, meantime, said to Miss Sawyer, \"Mirandy, do you know\nwho Rebecky reminds me of?\"\n\n\"I can guess pretty well,\" she replied.", "Rebecca, her heart fluttering with sympathy. Mrs. Robinson leaned over\nand whispered significantly, \"The missionaries always used to be\nentertained at the brick house; your grandfather never would let 'em", "Rebecca, given a free hand for the only time in her life, dashed\nupstairs like a whirlwind. Every room in the brick house was as neat as", "\"I will,\" said Adam, shaking the old man's hand cordially; \"perhaps\nto-morrow if I drive Rebecca home, as I shall offer to do. Do you think\nMiss Sawyer's condition is serious?\"", "Mirandy had the brick house. She probably took it awful hard that\nRebecca's fifty dollars had to be swallowed up in a mortgage, 'stead of", "till you are here. She died very suddenly and without any\n pain. Oh, Rebecca! I long for you so!", "sleep anywheres else when he was alive.\" She meant this for a stab at\nMiss Miranda's parsimony, remembering the four spare chambers, closed\nfrom January to December; but Rebecca thought it was intended as a" ], [ "Rebecca, given a free hand for the only time in her life, dashed\nupstairs like a whirlwind. Every room in the brick house was as neat as", "Rebecca's journey had ended.", "Here she ceased abruptly, having talked more than she had for weeks;\nand Rebecca stole out of the room, to cry by herself and wonder if old", "died, and Rebecca went home for a fortnight's visit. The sight of the\nsmall still shape that had been Mira, the baby who had been her special", "Rebecca took the blank-book in which she kept copies of her effusions\nand left it at Miss Maxwell's door, hoping that she might be asked in", "of strangers and guests. Knowing that she was deeply interested in all\nRebecca's plans, he told her, as he drew her aside, that the girl would\nhave to leave Wareham for Riverboro the next day.", "Rebecca was to go to and fro on the cars daily from September to\nChristmas, and then board in Wareham during the three coldest months.", "all the earlier years when her babies were young, carking cares and\nanxieties darkened the fireside with their brooding wings. Then Rebecca\nhad gone away, and in the long months of absence her mind and soul had", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "The time so long and eagerly waited for had come, and Rebecca was a\nstudent at Wareham. Persons who had enjoyed the social bewilderments", "What Rebecca thought of Miss Maxwell we already know; how the teacher\nregarded the pupil may be gathered from the following letter written\ntwo or three months later.\n\n Wareham, December 1st", "This is Rebecca's fairy story, copied the next day and given to Emily\nMaxwell just as she was going to her room for the night. She read it", "When Rebecca crept upstairs, and undressing in the dark finally found\nherself in her bed that night, though she was aching and throbbing in", "Rebecca stood still for a moment until uncle Jerry took his seat again\nat the table, and then, unable to contain herself longer, cried, \"Oh,", "Rebecca, her heart fluttering with sympathy. Mrs. Robinson leaned over\nand whispered significantly, \"The missionaries always used to be\nentertained at the brick house; your grandfather never would let 'em", "This conversation took place on a Friday afternoon at Emma Jane's\nhouse, where Rebecca, to her unbounded joy, was to stay over Sunday,", "Rebecca, comforted by the old man's tone, and timidly enjoying the\ndignity of sitting in Mrs. Cobb's seat and lifting the blue china", "Rebecca walked through all the old playgrounds and favorite haunts of\nher early childhood; all her familiar, her secret places; some of them", "Rebecca drove, seated on a green-covered bench that looked not unlike a\nthrone. No girl clad in white muslin, no happy girl of seventeen, is", "There was a knock at the door at breakfast time, and Rebecca, answering\nit, was asked by a boy if Miss Rebecca Randall lived there. On being" ], [ "Rebecca, who knew nothing of their business affairs, merely saw her\naunts grow more and more saving, pinching here and there, cutting off", "mother, the isolation of the little house, and the pinching economies\nthat went on within it, all conspired to depress a child who was so\nsensitive to beauty and harmony as Rebecca.", "Rebecca, it must be confessed, seemed sometimes painfully deficient.", "Rebecca burst into a passion of tears as she cried, \"Poor, poor aunt\nMiranda! She is gone without taking a bit of comfort in life, and I", "occasionally bringing them to the table as fictitious or historical\ncharacters found in her favorite books. Rebecca amused her mother and\nher family generally, but she never was counted of serious importance,", "It was in this happy-go-lucky household that Rebecca had grown up. It\nwas just an ordinary family; two or three of the children were handsome", "and the rest plain, three of them rather clever, two industrious, and\ntwo commonplace and dull. Rebecca had her father's facility and had", "\"So was mine,\" sighed Rebecca. \"What was your worst trouble?\"\n\n\"Lack of food and clothes principally.\"", "Rebecca, her heart fluttering with sympathy. Mrs. Robinson leaned over\nand whispered significantly, \"The missionaries always used to be\nentertained at the brick house; your grandfather never would let 'em", "Rebecca had never thought of alluding to the circumstances with her\nprevious customers, but unexpectedly she found herself describing Mr.", "REBECCA REPRESENTS THE FAMILY", "II\n\nREBECCA'S RELATIONS", "and she was less censorious in her treatment of Rebecca, less harsh in\nher judgments, more hopeful of final salvation for her. This had come\nabout largely from her sudden vision that Rebecca, after all, inherited", "He had scarcely greeted his hostess when he said: \"Miss Maxwell,\ndoesn't it strike you that our friend Rebecca looks wretchedly tired?\"", "Rebecca leaned her aching head against Mr. Cobb's homespun knee and\nrecounted the history of her trouble. Tragic as that history seemed to\nher passionate and undisciplined mind, she told it truthfully and\nwithout exaggeration.", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "Notwithstanding the encomiums of Mr. and Mrs. Cobb, Rebecca made a poor\nhand at composition writing at this time. Miss Dearborn gave her every", "\"Rebecca'll have some new clothes now,\" said Delia, \"and the land knows\nshe needs 'em. Seems to me the Sawyer girls are gittin' turrible near!\"", "appealed to Rebecca. There are certain narrow, unimaginative, and\nautocratic old people who seem to call out the most mischievous, and", "Rebecca had wrestled, struggled, perspired in vain. When her turn came\nto read she was obliged to confess she had written nothing." ], [ "\"Your farm ain't the old Hobbs place, is it?\"\n\n\"No, it's just Randall's Farm. At least that's what mother calls it. I\ncall it Sunnybrook Farm.\"", "Miranda (named in a lively hope of favors which never came), was a\nsmall farm two miles from Temperance. Aurelia managed this herself, and", "\"I don't think anything takes the place of the farm where one lived\nwhen one was a child,\" observed Rebecca, nearly bursting with pride at\nhaving at last successfully used the indefinite pronoun in general\nconversation.", "\"Oh! don't say that, and be like all the rest! It does make a\ndifference what you call things. When I say Randall's Farm, do you see\nhow it looks?\"", "\"I can't seem to locate your farm,\" he said, \"though I've been to\nTemperance and used to live up that way. What's your folks' name?\"", "\"Will you pay a little faster?\" said the mortgage to the farm;\n \"I confess I'm very tired of this place.\"\n \"The weariness is mutual,\" Rebecca Randall cried;", "tasks or long ones. But whatever else there was or was not, there was\nfreedom at Randall's farm. The children grew, worked, fought, ate what\nand slept where they could; loved one another and their parents pretty", "It was home; her roof, her garden, her green acres, her dear trees; it\nwas shelter for the little family at Sunnybrook; her mother would have", "\"It'll be nice for you to be all together again at the farm--such a\nhouse full o' children!\" remarked the dear old deceiver, who longed for\nnothing so much as to cuddle and comfort the poor little creature.", "telling her that the farm was sold and that her mother was to receive a\nhandsome price in return. He meant to remind her, too, that though she", "\"Oh, you live on a farm, do ye? Where is it?--near to where you got on?\"", "and now we call her Mira. We are all named after somebody in\nparticular. Hannah is Hannah at the Window Binding Shoes, and I am", "Then we got up and drove ever so far to Maplewood, where the stage was.\nOur farm is away off from everywheres, but our school and meeting house", "There was another milestone, a sad one, marking a little grave under a\nwillow tree at Sunnybrook Farm. Mira, the baby of the Randall family,", "\"Or with me,\" laughed Rebecca.\n\n\"What is your name, young lady?\"\n\n\"Rebecca Rowena Randall, sir.\"", "for you to know how he looks, and then when you have a husband and\nseven children, you won't allow him to come anywhere within a mile of\nyour farm.\"", "and clothing of the children. George, a lanky boy of fourteen, did\nchores on neighboring farms, and the others, Samuel, Clara Belle,", "century. So although Miranda and Jane were between fifty and sixty at\nthe time this story opens, Riverboro still called them the Sawyer", "This town is stilish, gay and fair,\n And full of wellthy riches rare,\n But I would pillow on my arm\n The thought of my sweet Brookside Farm.", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"" ], [ "Mirandy's were, and she's made up to you for all she ever sinned\nagainst me 'n' your father! And oh, Rebecca,\" she continued with", "Deacon Milliken, meantime, said to Miss Sawyer, \"Mirandy, do you know\nwho Rebecky reminds me of?\"\n\n\"I can guess pretty well,\" she replied.", "and looks at you out of blank, uncomprehending eyes! Common sense,\nright, and logic were all arrayed on Miranda's side. When poor Rebecca,", "\"Mirandy'll have her hands full, I guess,\" she said to herself; \"but I\nshouldn't wonder if it would be the making of Rebecca.\"", "\"I never see a child improve in her work as Rebecca has to-day,\"\nremarked Miranda Sawyer to Jane on Saturday evening. \"That settin' down", "\"Is aunt Miranda worse? She is; I can see it by your looks;\" and\nRebecca's color faded.", "difference between the sisters in this matter was that while Miranda\nonly wondered how they could endure Rebecca, Jane had flashes of\ninspiration in which she wondered how Rebecca would endure them. It was", "irritation, a mood born of Miss Miranda Sawyer's stiff, grim, and\nmartial attitude. The remembrance of Rebecca was so vivid that their", "and she was less censorious in her treatment of Rebecca, less harsh in\nher judgments, more hopeful of final salvation for her. This had come\nabout largely from her sudden vision that Rebecca, after all, inherited", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"", "Rebecca burst into a passion of tears as she cried, \"Poor, poor aunt\nMiranda! She is gone without taking a bit of comfort in life, and I", "\"I look like a drudge,\" said Rebecca mysteriously, with laughing eyes,\n\"but I really am a princess; you mustn't tell, but this is only a", "and imagination, Rebecca. You have not the first three yet, but I\nrather think you have a touch of the last.\"", "Rebecca lifted her head in a flash. \"Look here, aunt Mirandy, I'll be\nas good as I know how to be. I'll mind quick when I'm spoken to and", "\"She was a good woman, Rebecca; she had a quick temper and a sharp\ntongue, but she wanted to do right, and she did it as near as she", "\"It'll be good fancy work for you, Rebecca; for your aunt Miranda won't\nlike to see you always reading in the long winter evenings. Now if you", "Rebecca took her scolding (which she richly deserved) like a soldier.\nThere was considerable of it, and Miss Miranda remarked, among other", "\"'Handsome is as handsome does,' say I. Rebecca never'll come to grief\nalong of her beauty, that's certain, and there's no use in humoring her", "believe. Would you like to see my mother, Miss Rebecca?\"", "\"It was a heavenly party,\" reiterated Rebecca, coming in again, much\ntoo excited to be easily crushed, \"and oh! aunt Jane, aunt Miranda, if" ], [ "Emma Jane had enjoyed considerable experience of this kind, and Rebecca\nhad succeeded in unstopping her ears, ungluing her eyes, and loosening\nher tongue, so that she could \"play the game\" after a fashion.", "Rebecca, on being confronted and charged with the crime, denied it\nindignantly, and aunt Jane believed her.", "Rebecca's eyes blazed reproach, almost anger, as she said chokingly:\n\"Oh, aunt Jane! Could you believe it of me? I am going in with a heart\nbrimful of gratitude!\"", "Aunt Jane, never demonstrative, cried with Rebecca as she attempted to\nsoothe her.", "\"I never see a child improve in her work as Rebecca has to-day,\"\nremarked Miranda Sawyer to Jane on Saturday evening. \"That settin' down", "What sunshine in a shady place was aunt Jane to Rebecca! Aunt Jane with\nher quiet voice, her understanding eyes, her ready excuses, in these", "difference between the sisters in this matter was that while Miranda\nonly wondered how they could endure Rebecca, Jane had flashes of\ninspiration in which she wondered how Rebecca would endure them. It was", "Jane in the room until her face had regained its natural look, but her\ndoor was always ajar, and Jane fancied she liked to hear Rebecca's", "Jane then kissed Rebecca, giving a somewhat better imitation of the\nreal thing than her sister. \"Put the trunk in the entry, Jeremiah, and\nwe'll get it carried upstairs this afternoon,\" she said.", "\"I'm glad you're pleased,\" returned Jane. \"A cringing worm is what you\nwant, not a bright, smiling child. Rebecca looks to me as if she'd been", "This conversation took place on a Friday afternoon at Emma Jane's\nhouse, where Rebecca, to her unbounded joy, was to stay over Sunday,", "and so fault-finding. One Saturday Rebecca ran upstairs and, bursting\ninto a flood of tears, exclaimed, \"Aunt Jane, it seems as if I never", "and she was less censorious in her treatment of Rebecca, less harsh in\nher judgments, more hopeful of final salvation for her. This had come\nabout largely from her sudden vision that Rebecca, after all, inherited", "\"Oh, aunt Jane and I get along splendidly,\" exclaimed Rebecca; \"she's\njust as good and kind as she can be, and I like her better all the", "\"They were your own, Rebecca,\" interposed aunt Jane, \"and if you chose\nto save them to give away, it is all right. We ought never to let this", "and Jane had seen the children, but they remembered with pleasure that\nHannah had not spoken a word during the interview, and it was for this\nreason that they had asked for the pleasure of her company. Rebecca, on", "table sufficiently uncomfortable and wishing plaintively that Jane\nwouldn't always insist on being sick at the same time she was, she\ndecided that Rebecca must go to the meeting in their stead. \"You'll be", "\"Rebecca,\" said Emma Jane, with the nearest approach to tragedy that\nher nature would permit, \"I don't know as I shall be able to bear it,", "Dull Emma Jane had never seemed to Rebecca so near, so dear, so tried\nand true; and Rebecca, to Emma Jane's faithful heart, had never been so", "Jane accompanied Rebecca into the kitchen. Although the feeble glimmer\nwhich she was able to see from that distance did not seem to her a\ndazzling exhibition, she tried to be as enthusiastic as possible." ], [ "and she was less censorious in her treatment of Rebecca, less harsh in\nher judgments, more hopeful of final salvation for her. This had come\nabout largely from her sudden vision that Rebecca, after all, inherited", "difference between the sisters in this matter was that while Miranda\nonly wondered how they could endure Rebecca, Jane had flashes of\ninspiration in which she wondered how Rebecca would endure them. It was", "\"Mirandy'll have her hands full, I guess,\" she said to herself; \"but I\nshouldn't wonder if it would be the making of Rebecca.\"", "\"I never see a child improve in her work as Rebecca has to-day,\"\nremarked Miranda Sawyer to Jane on Saturday evening. \"That settin' down", "Mirandy's were, and she's made up to you for all she ever sinned\nagainst me 'n' your father! And oh, Rebecca,\" she continued with", "irritation, a mood born of Miss Miranda Sawyer's stiff, grim, and\nmartial attitude. The remembrance of Rebecca was so vivid that their", "Deacon Milliken, meantime, said to Miss Sawyer, \"Mirandy, do you know\nwho Rebecky reminds me of?\"\n\n\"I can guess pretty well,\" she replied.", "\"Is aunt Miranda worse? She is; I can see it by your looks;\" and\nRebecca's color faded.", "Rebecca took her scolding (which she richly deserved) like a soldier.\nThere was considerable of it, and Miss Miranda remarked, among other", "and looks at you out of blank, uncomprehending eyes! Common sense,\nright, and logic were all arrayed on Miranda's side. When poor Rebecca,", "The effect of the Burches' visit on Rebecca is not easily described.\nNevertheless, as she looked back upon it from the vantage ground of", "that lay hidden in her heart when she watched the girl's dark head bent\nover her lessons at night, nor dreamed of her joy it, certain quiet\nevenings when Miranda went to prayer meeting; evenings when Rebecca", "REBECCA'S POINT OF VIEW", "Rebecca's first letters to her mother would seem to indicate that she\ncordially coincided with the latter view of the situation.\n\n\n\nIV", "Rebecca did not see her aunt Miranda till she had been at the brick\nhouse for several days. Miranda steadily refused to have any one but", "\"Not this time of night,\" Rebecca answered; \"not till aunt Mirandy goes\nto bed; but oh! what if it should be?\"", "all other accomplishments, was viewed by Miss Miranda as a trivial,\nuseless, and foolish amusement, but she allowed Rebecca an hour a day\nfor practice on the old piano, and a little extra time for lessons, if", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"", "\"You are a comforting little person, Rebecca,\" said Adam, rising from\nhis chair.\n\nAs Rebecca rose, the tears still trembling on her lashes, he looked at\nher suddenly as with new vision.", "\"I often think,\" Rebecca continued, walking to the window and looking\nout at the trees,--\"I often think how dreadful it would be if I were" ], [ "\"Do you know Mr. Ladd?\" asked Miss Maxwell in surprise.\n\n\"Yes, he's my very best friend,\" cried Rebecca delightedly. \"Do you\nknow him too?\"", "\"Or with me,\" laughed Rebecca.\n\n\"What is your name, young lady?\"\n\n\"Rebecca Rowena Randall, sir.\"", "Your afectionate friend\n\n Rebecca.", "\"Of course you don't. Men have no interest in the careers of women! But\nI know Rebecca better than you.\"", "This conversation took place on a Friday afternoon at Emma Jane's\nhouse, where Rebecca, to her unbounded joy, was to stay over Sunday,", "was the most remarkable personality in Wareham, and that her few years\nof teaching happened to be in Rebecca's time was the happiest of all\nchances. There was no indecision or delay in the establishment of their", "\"I wish you wouldn't talk against Miss Maxwell to me,\" said Rebecca\nhotly. \"You know how I feel.\"\n\n\"I know; but I can't understand how you can abide her.\"", "\"Oh, yes!\" she laughed. \"I always forget that it pleases you to pretend\nyou discovered Rebecca.\"", "It seems they wrote to Aurelia and invited Hannah, the oldest, but\nAurelia said she could spare Rebecca better, if 't was all the same to", "As Rebecca went back to her seat she asked Miss Dearborn if she might\npass a note to Minnie Smellie and received permission. This was the\nnote:--", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "Rebecca was in the normally unconscious state that belonged to her\nyears; boys were good comrades, but no more; she liked reciting in the", "Rebecca Randall was of precisely the same stock, and had had much the\nsame associations as her schoolmates, so one can hardly say why she so\nhated mean gossip and so instinctively held herself aloof from it.", "This was all said merrily and laughingly, but there were times when\nHuldah could scarcely make up her mind whether Rebecca was trying to be", "making people believe I was great things, like Rebecca Randall. There's\none thing: though the boys call her handsome, you notice they don't\ntrouble her with much attention.\"", "Here Rebecca appeared in sight, walking down the quiet street with a\nlad of sixteen. They were in animated conversation, and were apparently", "What Rebecca thought of Miss Maxwell we already know; how the teacher\nregarded the pupil may be gathered from the following letter written\ntwo or three months later.\n\n Wareham, December 1st", "\"No,\" Rebecca answered. \"I had to invite them for you; but I thought\nyou'd like to have such interesting company. It was this way\"--", "Meserve. She was friendly enough with Emma Jane and Rebecca, but grew\nless and less intimate as time went on. She was extremely pretty, with", "\"She was a good woman, Rebecca; she had a quick temper and a sharp\ntongue, but she wanted to do right, and she did it as near as she" ], [ "\"Do you know Mr. Ladd?\" asked Miss Maxwell in surprise.\n\n\"Yes, he's my very best friend,\" cried Rebecca delightedly. \"Do you\nknow him too?\"", "Adam Ladd was in the station and came up to Rebecca instantly, as she\nentered the door looking very unlike her bright self.", "\"Adam Ladd! Well I never! Don't you remember Ellen Burnham said he was\ngoing to send Rebecca a Christmas present? But I never supposed he'd\nthink of it again,\" said Jane. \"What's the other package?\"", "\"You are a comforting little person, Rebecca,\" said Adam, rising from\nhis chair.\n\nAs Rebecca rose, the tears still trembling on her lashes, he looked at\nher suddenly as with new vision.", "shall be Mr. Adam Ladd.\"", "\"Of all things!\" exclaimed the two old ladies, rising in their seats.\n\"Who sent it?\"\n\n\"Mr. Ladd,\" said Rebecca under her breath.", "\"Mr. Ladd, in North Riverboro.\"\n\n\"Is that his real name?\" queried Rebecca in astonishment. \"I didn't\nmake a bad guess;\" and she laughed softly to herself.", "\"Or with me,\" laughed Rebecca.\n\n\"What is your name, young lady?\"\n\n\"Rebecca Rowena Randall, sir.\"", "Adam Ladd looked at her in a way that made her put her hands over her\nface and laugh through them shyly as she said: \"I know what you are", "Adam put a finger under Rebecca's chin and looked into her eyes; eyes\nas soft, as clear, as unconscious, and childlike as they had been when", "Rebecca, Adam thought, as he took off his hat and saluted the pretty\npanorama,--Rebecca, with her tall slenderness, her thoughtful brow, the", "\"I won't; I promise you that,\" said Adam. \"Rebecca,\" he continued,\nafter a moment's pause, \"who is that young girl with a lot of pretty", "goin' towards school expenses. The more I think of it, the more I think\nAdam Ladd intended Rebecca should have that prize when he gave it.\" The", "\"Oh, Rebecca! how could you call him a nickname the very first time you\never saw him?\"\n\n\"Aladdin isn't a nickname exactly; anyway, he laughed and seemed to\nlike it.\"", "\"I asked you who sold the soap to Adam Ladd?\" resumed Miss Jane.\n\n\"Adam Ladd! then he's A. Ladd, too; what fun!\"\n\n\"Answer me, Rebecca.\"", "\"REBECCA!\"\n\nThe tone in which the word was voiced gave it all the effect of having\nbeen shouted from the housetops.", "\"Oh, is it you, Mr. Ladd? Rebecca wouldn't let me cry for fear of\nspoiling my looks, but I must have just one chance before I go in. I", "\"Mr. Ladd says that you are almost wasted on Wareham,\" said Rebecca\nthoughtfully.", "familiarity crept back into Rebecca's heart. Adam had not seen her for\nseveral months, and there was much to be learned about school matters\nas viewed from her own standpoint; he had already inquired concerning", "Rebecca squeezed Emma Jane's arm, and Emma Jane gave a rapturous return\nsqueeze. \"It was Mr. Aladdin,\" whispered Rebecca, as they ran down the" ], [ "The news from Sunnybrook Farm was hopeful rather than otherwise. Cousin\nAnn's husband had died, and John, Rebecca's favorite brother, had gone", "There was another milestone, a sad one, marking a little grave under a\nwillow tree at Sunnybrook Farm. Mira, the baby of the Randall family,", "Hannah's engagement to Will Melville,--a young farmer whose land joined\nSunnybrook, who had a good house, was alone in the world, and his own", "She caught her breath. \"The time has come!\" she thought. \"I am saying\ngood-by to Sunnybrook, and the golden gates that almost swung together", "Rebecca Of Sunnybrook Farm\n\n\nby\n\nKate Douglas Wiggin", "It was home; her roof, her garden, her green acres, her dear trees; it\nwas shelter for the little family at Sunnybrook; her mother would have", "\"No, I can't say I do,\" responded Mr. Cobb uneasily.\n\n\"Now when I say Sunnybrook Farm, what does it make you think of?\"", "she had known there was no possibility of seeing her; for poor Aurelia\nwas kept at Sunnybrook by cares of children and farm, and lack of money", "this meant one stormy night in her little room at Sunnybrook, but the\nclouds blew over, the sun shone again, a rainbow stretched across the", "arts known to a thrifty New England woman, the limit of letting down\nand piecing down was reached at last, and the dresses were sent to\nSunnybrook Farm to be made over for Jenny.", "REBECCA OF SUNNYBROOK FARM\n\n\n\nI\n\n\"WE ARE SEVEN\"", "\"A letter from Rebecca Randall to her sister Hannah at Sunnybrook Farm,\nor to her aunt Jane at the brick house, Riverboro, is so dull and", "was all right! Sunnybrook would sing again in the spring; perhaps Mira\ntoo would have her singing time somewhere--she wondered where and how.\nIn the course of these lonely rambles she was ever thinking, thinking,", "\"Will you pay a little faster?\" said the mortgage to the farm;\n \"I confess I'm very tired of this place.\"\n \"The weariness is mutual,\" Rebecca Randall cried;", "through Sunnybrook, from corner to corner, and Mrs. Randall would be\ncompensated; in the other, her interests would not be affected either\nfor good or ill, save as all land in the immediate neighborhood might", "He spoke lightly, for he thought her trouble was something connected\nwith affairs at Sunnybrook, and that he could soon bring the smiles by", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"", "honorable toad made his home; these were the landmarks of her\nchildhood, and she looked at them as across an immeasurable distance.\nThe dear little sunny brook, her chief companion after John, was sorry", "will be bought by the new railroad. We must have right of way through\nthe land, and the station will be built on her property. She will\nreceive six thousand dollars, which, though not a fortune, will yield", "GUTENBERG EBOOK REBECCA OF SUNNYBROOK FARM ***\n\n\n\n\nProduced by Charles Keller. HTML version by Al Haines." ], [ "something from the Sawyer side of the house instead of belonging, mind,\nbody, and soul, to the despised Randall stock. Everything that was\ninteresting in Rebecca, and every evidence of power, capability, or", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"", "Rebecca, given a free hand for the only time in her life, dashed\nupstairs like a whirlwind. Every room in the brick house was as neat as", "appreciated, and that the regular schooling and church privileges, as\nwell as the influence of the Sawyer home, would doubtless be \"the\nmaking of Rebecca.\"", "that winter. The faithful Seesaw had called at the side door of the\nbrick house on the evening before his departure, and when Rebecca", "Rebecca, her heart fluttering with sympathy. Mrs. Robinson leaned over\nand whispered significantly, \"The missionaries always used to be\nentertained at the brick house; your grandfather never would let 'em", "Mirandy had the brick house. She probably took it awful hard that\nRebecca's fifty dollars had to be swallowed up in a mortgage, 'stead of", "\"Rebecca'll have some new clothes now,\" said Delia, \"and the land knows\nshe needs 'em. Seems to me the Sawyer girls are gittin' turrible near!\"", "glorified himself that he had prevented Rebecca from being all Sawyer.\nFailure as he was, complete and entire, he had generously handed down\nto her all that was best in himself, and prudently retained all that", "They did, most uncompromisingly, and to the dullest eye. Rebecca gave\none searching look, and then said, as she took her hat from a nail in", "Sawyer that she'd better look after Rebecca, for she was given to\n\"swearing and profane language;\" that she had been heard saying\nsomething dreadful that very afternoon, saying it before Emma Jane and", "Deacon Milliken, meantime, said to Miss Sawyer, \"Mirandy, do you know\nwho Rebecky reminds me of?\"\n\n\"I can guess pretty well,\" she replied.", "This is Rebecca's fairy story, copied the next day and given to Emily\nMaxwell just as she was going to her room for the night. She read it", "At the noise and rumble of the approaching stage the house door opened\nfrom within, just as Rebecca closed the gate behind her. Aunt Jane came", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "she is, quite unconsciously to herself, in possession of the\n secret. . . . Good-by; I'll bring Rebecca home with me some\n Friday, and let you and mother see her for yourselves.", "Rebecca had never thought of alluding to the circumstances with her\nprevious customers, but unexpectedly she found herself describing Mr.", "\"REBECCA!\"\n\nThe tone in which the word was voiced gave it all the effect of having\nbeen shouted from the housetops.", "was the most remarkable personality in Wareham, and that her few years\nof teaching happened to be in Rebecca's time was the happiest of all\nchances. There was no indecision or delay in the establishment of their", "Rebecca walked up the lane and went to the side door. There was a porch\nthere, and seated in a rocking-chair, husking corn, was a good-looking" ], [ "she is, quite unconsciously to herself, in possession of the\n secret. . . . Good-by; I'll bring Rebecca home with me some\n Friday, and let you and mother see her for yourselves.", "of strangers and guests. Knowing that she was deeply interested in all\nRebecca's plans, he told her, as he drew her aside, that the girl would\nhave to leave Wareham for Riverboro the next day.", "This conversation took place on a Friday afternoon at Emma Jane's\nhouse, where Rebecca, to her unbounded joy, was to stay over Sunday,", "Rebecca, given a free hand for the only time in her life, dashed\nupstairs like a whirlwind. Every room in the brick house was as neat as", "Rebecca's journey had ended.", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "Rebecca took the blank-book in which she kept copies of her effusions\nand left it at Miss Maxwell's door, hoping that she might be asked in", "What Rebecca thought of Miss Maxwell we already know; how the teacher\nregarded the pupil may be gathered from the following letter written\ntwo or three months later.\n\n Wareham, December 1st", "Rebecca was to go to and fro on the cars daily from September to\nChristmas, and then board in Wareham during the three coldest months.", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"", "Here Rebecca appeared in sight, walking down the quiet street with a\nlad of sixteen. They were in animated conversation, and were apparently", "Rebecca's first letters to her mother would seem to indicate that she\ncordially coincided with the latter view of the situation.\n\n\n\nIV", "Here she ceased abruptly, having talked more than she had for weeks;\nand Rebecca stole out of the room, to cry by herself and wonder if old", "possibly be spared for a few years yet, but that Rebecca would come as\nsoon as she could be made ready; that the offer was most thankfully", "to me Rebecca never has any respite. I had so many plans for her this\nnext month in fitting her for her position, and now she will settle\ndown to housework again, and to the nursing of that poor, sick, cross", "died, and Rebecca went home for a fortnight's visit. The sight of the\nsmall still shape that had been Mira, the baby who had been her special", "Rebecca, her heart fluttering with sympathy. Mrs. Robinson leaned over\nand whispered significantly, \"The missionaries always used to be\nentertained at the brick house; your grandfather never would let 'em", "This is Rebecca's fairy story, copied the next day and given to Emily\nMaxwell just as she was going to her room for the night. She read it", "The time so long and eagerly waited for had come, and Rebecca was a\nstudent at Wareham. Persons who had enjoyed the social bewilderments", "Rebecca's hand stirred nervously in her lap and she moved in her seat.\n\"I didn't think I was going to be afraid,\" she said almost under her" ], [ "\"I don't think anything takes the place of the farm where one lived\nwhen one was a child,\" observed Rebecca, nearly bursting with pride at\nhaving at last successfully used the indefinite pronoun in general\nconversation.", "\"Or with me,\" laughed Rebecca.\n\n\"What is your name, young lady?\"\n\n\"Rebecca Rowena Randall, sir.\"", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"", "\"Will you pay a little faster?\" said the mortgage to the farm;\n \"I confess I'm very tired of this place.\"\n \"The weariness is mutual,\" Rebecca Randall cried;", "Miranda (named in a lively hope of favors which never came), was a\nsmall farm two miles from Temperance. Aurelia managed this herself, and", "\"REBECCA!\"\n\nThe tone in which the word was voiced gave it all the effect of having\nbeen shouted from the housetops.", "in all her mother's problems. She it was who kept the house while\nAurelia busied herself in barn and field. Rebecca was capable of\ncertain set tasks, such as keeping the small children from killing", "\"Your farm ain't the old Hobbs place, is it?\"\n\n\"No, it's just Randall's Farm. At least that's what mother calls it. I\ncall it Sunnybrook Farm.\"", "evening. All this had an air of unreality to Rebecca. In the midst of\nthe happy excitement of the last two days, when \"blushing honors\" had", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "Rebecca herself had fashioned an elaborate tea-cosy with a letter \"M\"\nin outline stitch, and a pretty frilled pincushion marked with a \"J,\"", "Rebecca, her heart fluttering with sympathy. Mrs. Robinson leaned over\nand whispered significantly, \"The missionaries always used to be\nentertained at the brick house; your grandfather never would let 'em", "REBECCA OF SUNNYBROOK FARM\n\n\n\nI\n\n\"WE ARE SEVEN\"", "At the man's nod of assent Rebecca sped down the lane, crying\nirrepressibly as she neared the wagon, \"Oh, Emma Jane! Emma Jane! we\nare sold out!\"", "of one subject. Hannah had never had a chance; never been freed from\nthe daily care and work of the farm. She, Rebecca, had enjoyed all the", "This is Rebecca's fairy story, copied the next day and given to Emily\nMaxwell just as she was going to her room for the night. She read it", "There was a knock at the door at breakfast time, and Rebecca, answering\nit, was asked by a boy if Miss Rebecca Randall lived there. On being", "me, till he has to give in. Rebecca didn't know nothin' about his\ntricks, and the other day she went int' the barn to hitch up. I", "They did, most uncompromisingly, and to the dullest eye. Rebecca gave\none searching look, and then said, as she took her hat from a nail in", "Rebecca, given a free hand for the only time in her life, dashed\nupstairs like a whirlwind. Every room in the brick house was as neat as" ], [ "What Rebecca thought of Miss Maxwell we already know; how the teacher\nregarded the pupil may be gathered from the following letter written\ntwo or three months later.\n\n Wareham, December 1st", "There were classes of a sort, although nobody, broadly speaking,\nstudied the same book with anybody else, or had arrived at the same\ndegree of proficiency in any one branch of learning. Rebecca in", "\"I never see a child improve in her work as Rebecca has to-day,\"\nremarked Miranda Sawyer to Jane on Saturday evening. \"That settin' down", "Among the teachers at Wareham was one who influenced Rebecca\nprofoundly, Miss Emily Maxwell, with whom she studied English", "\"Do you know Mr. Ladd?\" asked Miss Maxwell in surprise.\n\n\"Yes, he's my very best friend,\" cried Rebecca delightedly. \"Do you\nknow him too?\"", "was the most remarkable personality in Wareham, and that her few years\nof teaching happened to be in Rebecca's time was the happiest of all\nchances. There was no indecision or delay in the establishment of their", "Rebecca was in the normally unconscious state that belonged to her\nyears; boys were good comrades, but no more; she liked reciting in the", "hold. This first winter was, in fact, the most tranquilly happy of\nRebecca's school life,--a winter long to be looked back upon. She and", "The time so long and eagerly waited for had come, and Rebecca was a\nstudent at Wareham. Persons who had enjoyed the social bewilderments", "of one subject. Hannah had never had a chance; never been freed from\nthe daily care and work of the farm. She, Rebecca, had enjoyed all the", "occasionally bringing them to the table as fictitious or historical\ncharacters found in her favorite books. Rebecca amused her mother and\nher family generally, but she never was counted of serious importance,", "The year was notable also as being the one in which Rebecca shot up\nlike a young tree. She had seemingly never grown an inch since she was\nten years old, but once started she attended to growing precisely as", "great day had dawned for Rebecca,--the day to which she had been\nlooking forward for five years, as the first goal to be reached on her\nlittle journey through the world. School-days were ended, and the", "and the rest plain, three of them rather clever, two industrious, and\ntwo commonplace and dull. Rebecca had her father's facility and had", "while Rebecca, who apparently needed nothing but space to develop in,\nand a knowledge of terms in which to express herself, grew and grew and\ngrew, always from within outward. Her forces of one sort and another", "\"Oh, I've read lots of books,\" answered Rebecca casually. \"Father's and\nMiss Ross's and all the dif'rent school teachers', and all in the", "familiarity crept back into Rebecca's heart. Adam had not seen her for\nseveral months, and there was much to be learned about school matters\nas viewed from her own standpoint; he had already inquired concerning", "\"You'll like her; she writes,\" whispered Huldah to Rebecca the first\nmorning at prayers, where the faculty sat in an imposing row on the\nfront seats. \"She writes; and I call her stuck up.\"", "The little schoolhouse on the hill had its moments of triumph as well\nas its scenes of tribulation, but it was fortunate that Rebecca had her", "better or the worse I can't hardly tell till she grows up. She's got\nthe making of 'most anything in her, Rebecca has; but I feel sometimes\nas if we were not fitted to cope with her.\"" ], [ "\"Do you know Mr. Ladd?\" asked Miss Maxwell in surprise.\n\n\"Yes, he's my very best friend,\" cried Rebecca delightedly. \"Do you\nknow him too?\"", "\"You are a comforting little person, Rebecca,\" said Adam, rising from\nhis chair.\n\nAs Rebecca rose, the tears still trembling on her lashes, he looked at\nher suddenly as with new vision.", "\"I wish you wouldn't talk against Miss Maxwell to me,\" said Rebecca\nhotly. \"You know how I feel.\"\n\n\"I know; but I can't understand how you can abide her.\"", "\"Well,\" sighed Miss Maxwell whimsically, \"prodigy or pearl, the Randall\nProtective Agency may pull Rebecca in opposite directions, but\nnevertheless she will follow her saint.\"", "\"We might form ourselves into a Randall Protective Agency, Limited,\"\nmused Miss Maxwell. \"I confess I want Rebecca to have a career.\"\n\n\"I don't,\" said Adam promptly.", "Rebecca's heart beat high at this sweet praise from her hero's lips,\nbut before she had found words to thank him, Mr. and Mrs. Cobb, who had", "Rebecca had never thought of alluding to the circumstances with her\nprevious customers, but unexpectedly she found herself describing Mr.", "Rebecca, comforted by the old man's tone, and timidly enjoying the\ndignity of sitting in Mrs. Cobb's seat and lifting the blue china", "What Rebecca thought of Miss Maxwell we already know; how the teacher\nregarded the pupil may be gathered from the following letter written\ntwo or three months later.\n\n Wareham, December 1st", "\"She was a good woman, Rebecca; she had a quick temper and a sharp\ntongue, but she wanted to do right, and she did it as near as she", "A shadow crept over Rebecca's face and her eyes suffused. \"Don't be", "she sometimes stayed with him while he did his evening milking. It is\nsafe to say that he was the only creature in Riverboro who possessed\nRebecca's entire confidence; the only being to whom she poured out her", "and she was less censorious in her treatment of Rebecca, less harsh in\nher judgments, more hopeful of final salvation for her. This had come\nabout largely from her sudden vision that Rebecca, after all, inherited", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "Rebecca had pricked up her ears at Huldah's speech. She remembered a\ncertain strange ring, and it belonged to the only person in the world", "his first meeting with Rebecca. \"From the beginning I've tried to think\nof a way I could be useful in her development, but no reasonable\nsolution seemed to offer itself.\"", "There had been one outburst of righteous wrath occasioned by Rebecca's\nover-hospitable habits, which were later shown in a still more dramatic\nand unexpected fashion.", "When Rebecca crept upstairs, and undressing in the dark finally found\nherself in her bed that night, though she was aching and throbbing in", "shouldered, and given to stammering when nervous. Perhaps because of\nhis very weakness Rebecca's decision of character had a fascination for\nhim, and although she snubbed him to the verge of madness, he could", "Suddenly the door opened softly and somebody looked in, somebody who\nsaid: \"Miss Maxwell told me I should find Miss Rebecca Randall here.\"" ], [ "\"I don't think anything takes the place of the farm where one lived\nwhen one was a child,\" observed Rebecca, nearly bursting with pride at\nhaving at last successfully used the indefinite pronoun in general\nconversation.", "resolve growing in her mind, that of leaving the brick house and going\nback to the farm. She would not be received there with open\narms,--there was no hope of that,--but she would help her mother about", "in all her mother's problems. She it was who kept the house while\nAurelia busied herself in barn and field. Rebecca was capable of\ncertain set tasks, such as keeping the small children from killing", "\"How long is Rebecca goin' to stay at the farm?\" asked Delia.", "There was only an hour for preparation. Will would drive Rebecca to\nTemperance and send Jenny back from school. He volunteered also to\nengage a woman to sleep at the farm in case Mrs. Randall should be\nworse at any time in the night.", "of one subject. Hannah had never had a chance; never been freed from\nthe daily care and work of the farm. She, Rebecca, had enjoyed all the", "all the earlier years when her babies were young, carking cares and\nanxieties darkened the fireside with their brooding wings. Then Rebecca\nhad gone away, and in the long months of absence her mind and soul had", "At the man's nod of assent Rebecca sped down the lane, crying\nirrepressibly as she neared the wagon, \"Oh, Emma Jane! Emma Jane! we\nare sold out!\"", "Here she ceased abruptly, having talked more than she had for weeks;\nand Rebecca stole out of the room, to cry by herself and wonder if old", "she sometimes stayed with him while he did his evening milking. It is\nsafe to say that he was the only creature in Riverboro who possessed\nRebecca's entire confidence; the only being to whom she poured out her", "Rebecca walked up the lane and went to the side door. There was a porch\nthere, and seated in a rocking-chair, husking corn, was a good-looking", "that winter. The faithful Seesaw had called at the side door of the\nbrick house on the evening before his departure, and when Rebecca", "\"Will you pay a little faster?\" said the mortgage to the farm;\n \"I confess I'm very tired of this place.\"\n \"The weariness is mutual,\" Rebecca Randall cried;", "Rebecca flew down over the hill to get a last pail of spring water, and\nas she lifted the bucket from the crystal depths and looked out over", "Rebecca pushed her cup away, rose from the table, and put on her hat\nand jacket quietly. \"I'm not going to drive up river, Mr. Cobb,\" she", "This depressed and depressing frame of mind had lasted until the\neventful day dawned on which Rebecca was to arrive.", "You might harness Rebecca to the heaviest plough, and while she had\nyouth on her side, she would always remember the green earth under her", "Rebecca's journey had ended.", "and she was less censorious in her treatment of Rebecca, less harsh in\nher judgments, more hopeful of final salvation for her. This had come\nabout largely from her sudden vision that Rebecca, after all, inherited", "me, till he has to give in. Rebecca didn't know nothin' about his\ntricks, and the other day she went int' the barn to hitch up. I" ], [ "died, and Rebecca went home for a fortnight's visit. The sight of the\nsmall still shape that had been Mira, the baby who had been her special", "It was a sorrowful home-coming for Rebecca. The death of Mira, the\nabsence of John, who had been her special comrade, the sadness of her", "\"He died--just before.\"\n\n\"Oh!\" And Rebecca's eyes grew misty.\n\n\"He was a soldier and he died of a gunshot wound, in a hospital, down\nSouth.\"", "The news from Sunnybrook Farm was hopeful rather than otherwise. Cousin\nAnn's husband had died, and John, Rebecca's favorite brother, had gone", "Rebecca's journey had ended.", "all the earlier years when her babies were young, carking cares and\nanxieties darkened the fireside with their brooding wings. Then Rebecca\nhad gone away, and in the long months of absence her mind and soul had", "Rebecca stood still for a moment until uncle Jerry took his seat again\nat the table, and then, unable to contain herself longer, cried, \"Oh,", "Here she ceased abruptly, having talked more than she had for weeks;\nand Rebecca stole out of the room, to cry by herself and wonder if old", "till you are here. She died very suddenly and without any\n pain. Oh, Rebecca! I long for you so!", "Rebecca, given a free hand for the only time in her life, dashed\nupstairs like a whirlwind. Every room in the brick house was as neat as", "realize, when they were called upon, that Rebecca's absence would make\neverything come wrong, and the blow descended with crushing force when", "Rebecca burst into a passion of tears as she cried, \"Poor, poor aunt\nMiranda! She is gone without taking a bit of comfort in life, and I", "Rebecca had never thought of alluding to the circumstances with her\nprevious customers, but unexpectedly she found herself describing Mr.", "Every drop of blood in Rebecca's body seemed to stand still, and her\nheart almost stopped beating. Mrs. Cobb's excited breathing could be", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "that winter. The faithful Seesaw had called at the side door of the\nbrick house on the evening before his departure, and when Rebecca", "When Rebecca crept upstairs, and undressing in the dark finally found\nherself in her bed that night, though she was aching and throbbing in", "There was a long pause, during which Rebecca sat down by the bedside\nand timidly touched her aunt's hand, her heart swelling with tender\npity at the gaunt face and closed eyes.", "Rebecca's heart, which, it seemed to her, almost drowned the voice of\nthe clock. The rain ceased, a sudden rosy light filled the room, and", "There had been one outburst of righteous wrath occasioned by Rebecca's\nover-hospitable habits, which were later shown in a still more dramatic\nand unexpected fashion." ], [ "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"", "Mirandy's were, and she's made up to you for all she ever sinned\nagainst me 'n' your father! And oh, Rebecca,\" she continued with", "\"Mirandy'll have her hands full, I guess,\" she said to herself; \"but I\nshouldn't wonder if it would be the making of Rebecca.\"", "\"It'll be good fancy work for you, Rebecca; for your aunt Miranda won't\nlike to see you always reading in the long winter evenings. Now if you", "Rebecca burst into a passion of tears as she cried, \"Poor, poor aunt\nMiranda! She is gone without taking a bit of comfort in life, and I", "and looks at you out of blank, uncomprehending eyes! Common sense,\nright, and logic were all arrayed on Miranda's side. When poor Rebecca,", "died, and Rebecca went home for a fortnight's visit. The sight of the\nsmall still shape that had been Mira, the baby who had been her special", "Mirandy had the brick house. She probably took it awful hard that\nRebecca's fifty dollars had to be swallowed up in a mortgage, 'stead of", "and she was less censorious in her treatment of Rebecca, less harsh in\nher judgments, more hopeful of final salvation for her. This had come\nabout largely from her sudden vision that Rebecca, after all, inherited", "\"Not this time of night,\" Rebecca answered; \"not till aunt Mirandy goes\nto bed; but oh! what if it should be?\"", "\"I'll take you up and show you your room, Rebecca,\" Miss Miranda said.\n\"Shut the mosquito nettin' door tight behind you, so 's to keep the", "\"I never see a child improve in her work as Rebecca has to-day,\"\nremarked Miranda Sawyer to Jane on Saturday evening. \"That settin' down", "all other accomplishments, was viewed by Miss Miranda as a trivial,\nuseless, and foolish amusement, but she allowed Rebecca an hour a day\nfor practice on the old piano, and a little extra time for lessons, if", "sleep anywheres else when he was alive.\" She meant this for a stab at\nMiss Miranda's parsimony, remembering the four spare chambers, closed\nfrom January to December; but Rebecca thought it was intended as a", "that lay hidden in her heart when she watched the girl's dark head bent\nover her lessons at night, nor dreamed of her joy it, certain quiet\nevenings when Miranda went to prayer meeting; evenings when Rebecca", "Rebecca lifted her head in a flash. \"Look here, aunt Mirandy, I'll be\nas good as I know how to be. I'll mind quick when I'm spoken to and", "difference between the sisters in this matter was that while Miranda\nonly wondered how they could endure Rebecca, Jane had flashes of\ninspiration in which she wondered how Rebecca would endure them. It was", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "\"Don't tell Rebecca I've willed her the brick house. She won't git it\ntill I'm gone, and I want to take my time 'bout dyin' and not be", "Rebecca took her scolding (which she richly deserved) like a soldier.\nThere was considerable of it, and Miss Miranda remarked, among other" ], [ "The news from Sunnybrook Farm was hopeful rather than otherwise. Cousin\nAnn's husband had died, and John, Rebecca's favorite brother, had gone", "There was another milestone, a sad one, marking a little grave under a\nwillow tree at Sunnybrook Farm. Mira, the baby of the Randall family,", "Hannah's engagement to Will Melville,--a young farmer whose land joined\nSunnybrook, who had a good house, was alone in the world, and his own", "She caught her breath. \"The time has come!\" she thought. \"I am saying\ngood-by to Sunnybrook, and the golden gates that almost swung together", "\"No, I can't say I do,\" responded Mr. Cobb uneasily.\n\n\"Now when I say Sunnybrook Farm, what does it make you think of?\"", "Rebecca Of Sunnybrook Farm\n\n\nby\n\nKate Douglas Wiggin", "It was home; her roof, her garden, her green acres, her dear trees; it\nwas shelter for the little family at Sunnybrook; her mother would have", "she had known there was no possibility of seeing her; for poor Aurelia\nwas kept at Sunnybrook by cares of children and farm, and lack of money", "arts known to a thrifty New England woman, the limit of letting down\nand piecing down was reached at last, and the dresses were sent to\nSunnybrook Farm to be made over for Jenny.", "REBECCA OF SUNNYBROOK FARM\n\n\n\nI\n\n\"WE ARE SEVEN\"", "\"Will you pay a little faster?\" said the mortgage to the farm;\n \"I confess I'm very tired of this place.\"\n \"The weariness is mutual,\" Rebecca Randall cried;", "through Sunnybrook, from corner to corner, and Mrs. Randall would be\ncompensated; in the other, her interests would not be affected either\nfor good or ill, save as all land in the immediate neighborhood might", "this meant one stormy night in her little room at Sunnybrook, but the\nclouds blew over, the sun shone again, a rainbow stretched across the", "\"A letter from Rebecca Randall to her sister Hannah at Sunnybrook Farm,\nor to her aunt Jane at the brick house, Riverboro, is so dull and", "He spoke lightly, for he thought her trouble was something connected\nwith affairs at Sunnybrook, and that he could soon bring the smiles by", "was all right! Sunnybrook would sing again in the spring; perhaps Mira\ntoo would have her singing time somewhere--she wondered where and how.\nIn the course of these lonely rambles she was ever thinking, thinking,", "the \"York and Yank 'em,\" and while there he gained an inkling of\nSunnybrook affairs. The building of the new road was not yet a", "will be bought by the new railroad. We must have right of way through\nthe land, and the station will be built on her property. She will\nreceive six thousand dollars, which, though not a fortune, will yield", "advance upon Riverboro as that village had been upon Sunnybrook Farm.\nRebecca's intention was to complete the four years' course in three, as", "me tell you something, Rebecca. Your aunt Mirandy 's willed all this to\nyou,--the brick house and buildings and furniture, and the land all\nround the house, as far 's you can see.\"" ], [ "This is Rebecca's fairy story, copied the next day and given to Emily\nMaxwell just as she was going to her room for the night. She read it", "Rebecca was in the normally unconscious state that belonged to her\nyears; boys were good comrades, but no more; she liked reciting in the", "sang together, and Rebecca, at the urgent request of Mrs. Burch, seated\nherself at the tinkling old piano and gave \"Wild roved an Indian girl,", "As Rebecca went back to her seat she asked Miss Dearborn if she might\npass a note to Minnie Smellie and received permission. This was the\nnote:--", "Notwithstanding the encomiums of Mr. and Mrs. Cobb, Rebecca made a poor\nhand at composition writing at this time. Miss Dearborn gave her every", "It seems they wrote to Aurelia and invited Hannah, the oldest, but\nAurelia said she could spare Rebecca better, if 't was all the same to", "\"I never see a child improve in her work as Rebecca has to-day,\"\nremarked Miranda Sawyer to Jane on Saturday evening. \"That settin' down", "occasionally bringing them to the table as fictitious or historical\ncharacters found in her favorite books. Rebecca amused her mother and\nher family generally, but she never was counted of serious importance,", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "and then call Rebecca down, set her to work, and tell her, meanwhile, a\nfew plain facts concerning the proper way of representing the family at\na missionary meeting.", "Here she ceased abruptly, having talked more than she had for weeks;\nand Rebecca stole out of the room, to cry by herself and wonder if old", "\"It'll be good fancy work for you, Rebecca; for your aunt Miranda won't\nlike to see you always reading in the long winter evenings. Now if you", "\"No,\" Rebecca answered; \"I plan a new essay every night. I've begun one\non What is Failure? and another on He and She. That would be a dialogue", "What Rebecca thought of Miss Maxwell we already know; how the teacher\nregarded the pupil may be gathered from the following letter written\ntwo or three months later.\n\n Wareham, December 1st", "in all her mother's problems. She it was who kept the house while\nAurelia busied herself in barn and field. Rebecca was capable of\ncertain set tasks, such as keeping the small children from killing", "while Rebecca, who apparently needed nothing but space to develop in,\nand a knowledge of terms in which to express herself, grew and grew and\ngrew, always from within outward. Her forces of one sort and another", "\"You'll like her; she writes,\" whispered Huldah to Rebecca the first\nmorning at prayers, where the faculty sat in an imposing row on the\nfront seats. \"She writes; and I call her stuck up.\"", "Rebecca's emotions seemed always to be stored, as it were, in adjoining\ncompartments, and to be continually getting mixed. At this moment,", "The Burnham sisters nodded approvingly as Rebecca went out, and\nremarked that they had never seen a child grow and improve so fast in\nso short a time.", "and the rest plain, three of them rather clever, two industrious, and\ntwo commonplace and dull. Rebecca had her father's facility and had" ], [ "It was in this happy-go-lucky household that Rebecca had grown up. It\nwas just an ordinary family; two or three of the children were handsome", "and the rest plain, three of them rather clever, two industrious, and\ntwo commonplace and dull. Rebecca had her father's facility and had", "The year was notable also as being the one in which Rebecca shot up\nlike a young tree. She had seemingly never grown an inch since she was\nten years old, but once started she attended to growing precisely as", "There came a morning when she asked for Rebecca. The door was opened\ninto the dim sick-room, and Rebecca stood there with the sunlight", "II\n\nREBECCA'S RELATIONS", "\"Is Fanny your sister?\"\n\n\"She's one of them.\"\n\n\"How many are there of you?\"\n\n\"Seven. There's verses written about seven children:--", "REBECCA REPRESENTS THE FAMILY", "Rebecca was in the normally unconscious state that belonged to her\nyears; boys were good comrades, but no more; she liked reciting in the", "The Burnham sisters nodded approvingly as Rebecca went out, and\nremarked that they had never seen a child grow and improve so fast in\nso short a time.", "It seems they wrote to Aurelia and invited Hannah, the oldest, but\nAurelia said she could spare Rebecca better, if 't was all the same to", "occasionally bringing them to the table as fictitious or historical\ncharacters found in her favorite books. Rebecca amused her mother and\nher family generally, but she never was counted of serious importance,", "Miss Delia Weeks may have exaggerated matters somewhat, but it is easy\nto imagine that Rebecca as well as all the other Riverboro children had", "Rebecca, who knew nothing of their business affairs, merely saw her\naunts grow more and more saving, pinching here and there, cutting off", "difference between the sisters in this matter was that while Miranda\nonly wondered how they could endure Rebecca, Jane had flashes of\ninspiration in which she wondered how Rebecca would endure them. It was", "This is Rebecca's fairy story, copied the next day and given to Emily\nMaxwell just as she was going to her room for the night. She read it", "while Rebecca, who apparently needed nothing but space to develop in,\nand a knowledge of terms in which to express herself, grew and grew and\ngrew, always from within outward. Her forces of one sort and another", "\"Or with me,\" laughed Rebecca.\n\n\"What is your name, young lady?\"\n\n\"Rebecca Rowena Randall, sir.\"", "\"Not so very,\" confessed Rebecca; \"but it's hard to tell all by\nyourself. The Perkinses and the Cobbs always said they were wonderful,", "What Rebecca thought of Miss Maxwell we already know; how the teacher\nregarded the pupil may be gathered from the following letter written\ntwo or three months later.\n\n Wareham, December 1st", "and so fault-finding. One Saturday Rebecca ran upstairs and, bursting\ninto a flood of tears, exclaimed, \"Aunt Jane, it seems as if I never" ] ]

[ "Where did Rebecca live prior to living with her aunts?", "What is the name of the farm Rebecca lived on with her siblings?", "Why is Rebecca moving in with her aunts?", "Who did Aunt Jane and Aunt Miranda want to live with them?", "Who was Rebecca named after?", "Who is Rebecca's best friend at Riverboro?", "What was Rebecca selling when she first met Adam Ladd?", "Who bought Sunnybrook Farm for construction purposes?", "Who died and left the Sawyer house and land to Rebecca?", "Who does Rebecca go to live with?", "Why is Rebecca's family poor?", "Who named the farm?", "Who does miranda say Rebecca is in the image of?", "What does Jane teach Rebecca?", "What is mirandas view of Rebecca?", "Who is Rebecca's best friend?", "What did Rebecca call Adam Ladd?", "Who buys sunnybrook farm?", "How does Rebecca obtain the Sawyer house?", "Whom is Rebecca going to live with?", "What does Rebecca name the farm?", "What is Rebecca's best subject in school?", "Who is Rebecca's protector?", "Why does Rebecca return to the farm?", "Who dies while Rebecca is gone?", "What does Miranda leave Rebecca in her will?", "Who buys Sunnybrook farm?", "What does Rebecca compose for her brothers and sisters?", "How many siblings does Rebecca have?" ]

[ [ "The family farm", "he family farm" ], [ "Sunnybrook Farm", "Sunnybrook Farm" ], [ "To help ease financial strain on her family ", "less strain on family budget" ], [ "Hannah", "Hannah. " ], [ "Two heroines in Ivanhoe", "the two heroines in Ivanhoe" ], [ "Emma Jane Perkins", "Emma Jane Perkins" ], [ "soap to help a poor family receive a lamp ", "Soap" ], [ "The railway company", "railway company" ], [ "Miranda", "Miranda" ], [ "Her aunts", "Miranda and Jane Sawyer" ], [ "Because of the children, the morgage, and her father not keeping a job", "Too many kids and no jobs" ], [ "Rebecca", "Rebecca" ], [ "Rebecca's father", "Lorenzo DiMedici" ], [ "To cook, keep house and sew", "sew cook and manage household" ], [ "She is No sawyer and all randall", "Miranda feels that Rebecca is not up to her standards. " ], [ "Emma Jane Perkins", "Emma Jane Perkins" ], [ "Mr. Aladdan", "Mr. Aladdin" ], [ "A railway company", "A railway company. " ], [ "Miranda dies", "Miranda dies. " ], [ "Her two aunts", "Miranda and Jane Sawyer, her 2 aunts" ], [ "Sunnybrook", "Sunnybrook" ], [ "English", "English" ], [ "Jane", "Jane" ], [ "Her mother is ill", "Her mother is sick" ], [ "Miranda", "Miranda " ], [ "The land and farm", "a lot of money" ], [ "Railroad company", "a railway company" ], [ "Poems", "Poems and songs that express her feelings" ], [ "Six", "Six" ] ]

[ [ "As we have before said, the orphans were four in number; the two eldest\nwere boys, and the youngest were girls. Edward, the eldest boy, was", "them Holdfast as a watch dog, and they took leave of Alice and Edith\nwith much regret. Humphrey and Edward accompanied them to their new", "Alice and Edith hearing this, and Edward also crying out to them, made a\nhasty retreat to the cottage. Humphrey then backed the cart against the", "\"Well, Master Edward,\" replied Jacob, \"you must do as you please; but it\nwill be cruel to leave your sisters here; they and Humphrey must come", "and Edith in Humphrey's, and it was long before the brothers could\nconsole them. Humphrey at last said to Alice, \"You hurt poor Edward's", "Humphrey all that had occurred, and Humphrey was much pleased at Edward\nhaving accepted the offer of the Intendant. Alice and Edith did not", "Edward took the Bible under his arm, and Alice by the hand. Humphrey\nled Edith until they arrived at the grave, when the two little girls saw\nthe covered body of Jacob lying in it.", "To this Edward consented. The pony was soon loaded, and the little\ngirls, who were still playing in the garden, were called in by Humphrey.", "able to help themselves, they might perish. Edward was not fourteen\nyears old; it was true that he was an active, brave boy, and thoughtful", "Humphrey, for you can ill be spared. Hold to the farm as it now is; it\nwill support you all. My dear Alice and Edith, I am dying; very soon I", "\"Alice and Edith, my dear little sisters, we have lost a good friend,\nand one to whose memory we cannot be too grateful. He saved us from", "Humphrey, who will assist you; and to make the beds. And little Edith\nshall take care of the fowls, and feed them every morning, and look for\nthe eggs--will you, Edith?\"", "day. Edith and Humphrey learnt to read while Alice worked, and then\nAlice learnt; and thus passed the winter away so rapidly, that although", "anything happens to me,\" thought Edward, \"Humphrey will still be at the\ncottage to take care of my sisters; and if I am obliged to fly the", "called to Edward and the children to get up again, which they soon did.\nAlice put on Edith's frock, Humphrey put on his jacket, and Edward\npulled off the hunting-shirt.", "\"I really think, Edward,\" said Humphrey, as they were standing outside\nof the door of the cottage, \"that the lad may be very useful to us, and", "The little girls threw themselves into their brothers' arms; and having\nwept for some time, Alice raised herself, and taking Edith by the hand,\nled her away to the bedroom.\n\n\n\nCHAPTER TEN.", "\"Well, Humphrey, you beat us, I will say,\" said Edward. \"Shall I shoot\nhim?\"\n\n\"Yes, now that he is looking up.\"", "Edward found them all very anxious for his arrival. Humphrey and Pablo\nhad been to the cottage, which they had found undisturbed since the\ncapture of the robbers, and made everything ready for the reception of", "\"Are you all safe, Humphrey?\"\n\n\"Yes, all safe, Edward. Wait till Alice brings a light.\"" ], [ "Jacob took the children into the bedroom, and removing the upper dress,\nwhich would have betrayed that they were not the children of poor", "As we have before said, the orphans were four in number; the two eldest\nwere boys, and the youngest were girls. Edward, the eldest boy, was", "safe. Under this conviction, and feeling himself bound by his promise\nto Colonel Beverley to protect them, Jacob resolved that they should\nlive with him in the forest, and be brought up as his own grandchildren.", "Now Jacob, knowing that the children of such a Malignant as Colonel\nBeverley would have sorry treatment if discovered, and knowing also that\nwomen were not always to be trusted, determined not to tell them how\nthey were disposed of. He therefore replied:", "\"They'll all leave her,\" thought Jacob; \"well, my duty is plain; I'll\nnot leave the children in the house.\" Jacob then went in search of", "Edward took the Bible under his arm, and Alice by the hand. Humphrey\nled Edith until they arrived at the grave, when the two little girls saw\nthe covered body of Jacob lying in it.", "This latter ruse of Jacob's succeeded. Edward promised that he would\nnot leave his sisters, and it wanted but a few minutes of twilight when", "of the thorn-bushes was directly between him and the troopers, and\neffectually concealed him. At last Jacob ventured to raise his head and", "he went into Jacob's room, and remained with him more than an hour.\nDuring this conference Jacob confided to Oswald that the four children\nwere the sons and daughters of Colonel Beverley, supposed to have been", "adjoined it were now appropriated, one for Jacob and the other for the\ntwo boys; the third, or inner bedroom, was arranged for the two girls,", "With such thoughts running in his head, Jacob arrived at the cottage,\nand found the children outside the door, watching for him. They all", "But if they remained indoors during the inclement weather, they were not\nidle. Jacob took this opportunity to instruct the children in", "Jacob then left Edward, and went down to the lee side of the covert,\nwhere he entered it with Smoker. Edward was stationed behind a", "We must now describe the cottage of Jacob Armitage, in which the\nchildren have in future to dwell. As we said before, it contained a", "The man, who was now joined by others, commenced his search. Jacob\nopened all the doors of the rooms, and they passed through. Little", "The next morning, as soon as Jacob had given the children their\nbreakfast, he set off towards Arnwood. He knew that Benjamin had stated", "As soon as they arrived at the cottage they lifted the lad out of the\ncart, and carried him into Jacob's room, and laid him on the bed, for he\nwas too weak to stand.", "\"Very true; I quite forgot that.\" And so Jacob had. He expected that\nthe old woman would have been burnt, and then nobody would have known of", "they were in the house or in existence, but soon dismissed and left to\ntheir own resources. Such was the neglect to which these young orphans\nwere exposed. It must, however, be admitted, that this very neglect", "told him relative to the money that he would find in his chest. He went\ninto Jacob's room and opened the chest, at the bottom of which, under" ], [ "the history of the times; but the old forester thought otherwise; he had\na hatred of the Puritans, and their deeds had been so exaggerated by\nrumour that he fully believed that the lives of the children were not", "\"What is the name of the verderer whom I met in the forest?\" inquired\nEdward.\n\n\"James Corbould; he was discharged from the army,\" replied Oswald.", "ever there was a breast animated with intense hatred against the\nPuritans it was that of Edward Beverley. Although this was to be\nlamented, it could not create surprise or wonder in the old forester.", "\"Jacob Armitage has heard nothing of this, sir,\" replied Edward. \"He\nwas a keeper, appointed under the king; for two or three years his", "Puritans. Cromwell had great difficulty in eventually putting them\ndown, which he did at last accomplish by hanging and slaughtering many.\nOf this Jacob knew nothing; all he knew was, that Arnwood was to be", "\"I came, sir, on private business with the keeper, Oswald Partridge, to\nobtain two young hounds, which he promised to my grandfather, Jacob\nArmitage.\"", "\"I acknowledge nothing for Jacob Armitage, he may answer for himself,\"\nreplied Edward; \"but allow me to assure you that if he has killed\nvenison no one can blame him.\"\n\n\"Perhaps you will explain why?\"", "Edward then uncocked his gun, with his eyes fixed upon the man, and the\nverderer did the same; and then they walked side by side, Edward keeping\nat the distance of three yards from him, in case of treachery.", "prisoner of a Roundhead when he only expected to meet a keeper, was\nfurther irritated by the neglect shown towards him by the party.", "\"No, they are not now, Jacob,\" said Humphrey; \"as you and Edward claim\nall the game, I shall claim the cattle as my portion of the forest.\nRecollect, there are more, and I mean to have more of them yet.\"", "be put under the charge of some Puritan family, who would have a\npleasure in ill-treating and humiliating the daughters of such a man as\nColonel Beverley.\"", "\"We will ride there, then,\" replied the leader. \"Arnwood, sayest thou?\nIs not that the property of the Malignant, Cavalier Beverley, who was\nshot down at Naseby?\"", "\"Armitage!\" said the other party, referring to a list on the table;\n\"Armitage--Jacob--yes--I see he is one of the verderers. Why has he not\nbeen here to call upon me?\"", "but fast asleep upon the turf lay James Corbould, the sinister-looking\nverderer who had accosted him in the forest on the previous day.", "\"Then you admit that Jacob Armitage has killed the deer in the forest?\"\n\n\"I admit nothing for Jacob Armitage.\"\n\n\"You admit that you have killed it yourself.\"", "\"In the forest, Master Andrew, where there are no few chops and\nchanges.\"\n\n\"Yes, I heard you have a sort of Parliamentary keeper, I'm told; and who\nis this with you?\"", "The keeper nodded adieu to Edward, who left him to go to the stable for\nthe pony. Edward saddled White Billy, and rode away across the forest\nwith the dogs trotting at the pony's heels.", "\"I have brought Edward Armitage over here to introduce him to you,\nMaster Andrew. Now that the old man is dead, you must look to him for\nforest meat.\"", "\"It is a noble beast,\" said Edward; \"I wonder we never thought of\nkilling one before.\"\n\n\"They ain't game, Edward,\" replied Jacob.", "\"I am one of the verderers of the forest, sir,\" replied Humphrey\nrespectfully.\n\n\"And whose cottage is that? And who have you there?\"" ], [ "large property of Arnwood, and it will be hers after his death. It is\nnot fit that the heiress of Arnwood should mix herself up with", "\"At Arnwood. The house has been rebuilt, and I understand is a very\nprincely mansion. Humphrey has charge of it, until it is ascertained to\nwhom it is to belong.\"", "an heir to the estate, that there was no chance of that, and that you\nwould be the mistress of Arnwood. I threw it out as a hint to him,", "\"You were brought up at Arnwood, you told my father; did you not?\"\n\n\"Yes, I was brought up there, and remained there until the death of\nColonel Beverley.\"", "\"It was, sir.\"\n\n\"By his appearance, I presume that he also was brought up at Arnwood?\"\n\n\"He was, sir, as well as I,\" replied Edward.", "informed Mr Heatherstone that his application for the property of\nArnwood had been acceded to, and signed by the Commissioners; and that\nhe might take immediate possession. Edward turned pale as he laid the", "grandfather's cottage was his own property, and a grant to his\nforefathers: that you were brought up at Arnwood, and had joined your\ngrandfather after the death of the colonel, and the murderous burning of", "\"With respect to the conditions upon which you are to possess Arnwood,\"\nsaid Humphrey, \"I can inform you what they are. They are wholly", "\"I should of course state who I was, and take possession of my father's\nproperty at Arnwood, which is mine by descent.\"", "establishment at Arnwood, and he was constantly there as a boy. The\nchaplain of Arnwood had taken a fancy to him, and taught him to read--", "family all perished; and Arnwood will become the dower of Patience\nHeatherstone.\"", "\"Indeed!\" replied his majesty; \"I heard that all his family perished at\nthe ruthless burning of Arnwood. I hold myself fortunate, as a king,", "Before Jacob is admitted to the presence of Miss Judith Villiers, we\nmust give some account of the establishment at Arnwood. With the", "his wife and family at Arnwood, and he was fated never to meet them\nagain. The news of his death had such an effect upon Mrs Beverley,", "\"I never knew that he had one,\" replied Benjamin; \"nor did I know that\nold Jacob was dead.\"\n\n\"What became of all the women who were at Arnwood?\" inquired Oswald.", "would accept it? Never! But here is a property without an heir; the\nwhole family perished in the flames of Arnwood! There is no living", "have since been satisfied, that Edward Armitage is Edward Beverley, who,\nwith his brother and sisters, were supposed to have been burnt to death\nat Arnwood.\"", "\"But, my dear sister, it appears to me that his intentions are evident.\nWhy has he rebuilt Arnwood? He is not going to surrender my property\nand make me a present of the house.\"", "also went to Arnwood, and lived to a good old age, in the capacity of\nhousekeeper, her temper becoming rather worse than better as she\nadvanced in years.", "\"I can't exactly say, but I think London way. I only stayed here to\nwatch over the children; and now that they are gone, I shall leave\nArnwood for ever.\"" ], [ "\"These are my sisters, sir,\" said Edward. \"Where is Clara, Alice?\"\n\n\"She is alarmed, and has gone into our bedroom.\"", "upon them. They were to leave their brothers, whom they loved so\ndearly, to go to strangers; and when they understood that they were to\nleave in two days, and that they should not see Edward again, their", "\"Well, Master Edward,\" replied Jacob, \"you must do as you please; but it\nwill be cruel to leave your sisters here; they and Humphrey must come", "The conversation was then dropped, and as soon as Edward had had his\nbreakfast, he kissed his sisters, bidding them and Humphrey farewell: he", "Edward. The Misses Conynghame were delighted at the idea of receiving\nthe two daughters of Colonel Beverley, and would treat them as their\nown; they requested that they might be sent to London immediately, where", "\"Be it so,\" replied Edward; \"let me only see my sisters well placed, and\nI shall be off the next day. It is misery to remain there now.\"", "of being fair and delicate. Look at your sisters, Edward, do you think\nthat any of your former friends--do you think that Martha, who had the\ncare of them, would know them?\"", "\"Never, while my sisters are under my protection,\" replied Edward; \"were\nthey safe, I would be out of it to-morrow.\"", "suspicion being created, in consequence of the presence of Edward, and\nhis explanations. The parties were invariably sent in another\ndirection. Edward wrote to the Intendant, informing him what had", "Edward remained with his sisters, as he was to leave them on the Monday.", "As we have before said, the orphans were four in number; the two eldest\nwere boys, and the youngest were girls. Edward, the eldest boy, was", "As soon as the ceremonies were over, and they could escape from their\nattendance on the king's person, Edward and his two friends went to the\nhouse in which resided the Ladies Conynghame and his sisters.", "This latter ruse of Jacob's succeeded. Edward promised that he would\nnot leave his sisters, and it wanted but a few minutes of twilight when", "\"You are very unkind, Humphrey,\" sobbed she. \"You had no right to send\naway your sisters. I don't believe you--that's more!\" and Clara ran\naway into the house.", "\"Humphrey,\" said Edward, \"the sooner all this is over the better. As\nlong as poor Jacob's body remains in the cottage there will be nothing\nbut distress with the poor girls.\"", "\"I perceive,\" replied Edward. \"When did you hear that the little girl\nwas to live with him?\"\n\n\"Not till yesterday morning; and it was not till the evening that we\nknew it was the order of Parliament.\"", "\"Now, then,\" said Edward, \"we must go, or we shall be late. My poor\nlittle sisters have been dreadfully alarmed at my not having come home\nlast night, and I long to clasp them in my arms.\"", "\"He went away with Edward and Humphrey, I think,\" said Edith. \"I'll\nscold him when he comes back for being out of the way.\"", "Edward summoned his sisters and Humphrey.", "\"Now, Master Edward,\" said Jacob, \"will you take your sisters by the\nhand and lead them to the cottage? Here is the key of the door; Master" ], [ "of Edward, much more so than she had believed herself to be. \"And now,\"\nshe thought, \"if he really loves me, and hears my father's explanation,", "Patience coloured up and trembled when Edward first saw her. Edward did\nnot refer to the past for some time after they had renewed their\nacquaintance. He wooed her again, and won her. Then all was explained.", "Edward thought of the smile she gave him when they parted but an hour\nago, and agreed with Humphrey, but he replied--\n\n\"Why, brother, you are really in love with the Intendant's daughter.\"", "\"Now tell me, my child, what passed between Edward and you?\"\n\n\"He told me, just before you came up to us that evening, that he loved\nme.\"\n\n\"And what was your reply?\"", "\"She does, at all events,\" replied Edward; \"she is truth itself. No, I\ncannot deceive myself. She feels a deep debt of gratitude for the", "in birth, he felt convinced, and therefore she could have no idea that\nhe was Edward Beverley. It was not till several days after he had made\nup his mind that he had an opportunity of being with her alone, as Clara", "\"I perceive,\" replied Edward. \"When did you hear that the little girl\nwas to live with him?\"\n\n\"Not till yesterday morning; and it was not till the evening that we\nknew it was the order of Parliament.\"", "they rose up, found that he was dead. They all wept bitterly, for they\ndearly loved the good old man. Alice remained sobbing in Edward's arms,", "\"Your wishes, my father?\" said Patience. \"Yes--my wishes; there is\nnothing that I so ardently desired as an union between you and Edward;\nbut I wished you to love him for his own merits.\"", "Patience held out her hand again to Edward, who this time, like a true\ncavalier, raised it respectfully to his lips. Patience coloured a", "\"Indeed! I must be careful of my heart. Dear Edith, who is she?\"\n\n\"No less than one with whom you were formerly well acquainted, Edward--\nPatience Heatherstone.\"", "\"Yes, Massa Edward,\" replied Pablo, taking hold of Edward's wrist, \"you\nquite right. Pablo does love Missy Alice, Missy Edith, Massa Humphrey,", "Edward left the room, and went downstairs. It hardly need be said how\njoyfully he was received by Patience and Clara. The former, however,\nexpressed her joy in tears--the latter in wild mirth.", "and, soon afterwards, Edward lost sight of her in the crowd. If there\never had been any check to Edward's feelings towards Patience--and time", "Edward first kissed Patience's hand, that was held in his own; but\nperceiving the tears starting in her eyes, he kissed them off, without", "\"A girl!\" replied Edward, astonished.\n\n\"Yes, she has told me so, and wished me to tell you.\"\n\n\"But why does she wear boys' clothes?\"", "Ratcliffe was their constant companion. However, one evening Clara went\nout, and stayed out so long, carelessly wrapped up, that she caught\ncold; and the following evening she remained at home, leaving Edward and", "\"Nature has done more, Edward. I never thought that they would have\ngrown into such lovely girls as they have, although I always thought\nthat they were handsome.\"\n\nAs they passed Edward caught the eye of Edith, and smiled.", "\"We will make him as happy as we can, Edward; and we will be sisters to\nhim,\" said Alice, looking at the boy, who was blushing deeply. \"How old\nare you? And what is your name?\"", "\"Most willingly,\" replied Edward.\n\nAfter an hour's more conversation, they were shown into their rooms, and\nretired for the night." ], [ "Forgetting that he was, by his own assertion, not Edward Beverley, but\nthe relative of one Jacob Armitage, he coloured up with anger as he", "\"Jacob Armitage has heard nothing of this, sir,\" replied Edward. \"He\nwas a keeper, appointed under the king; for two or three years his", "have since been satisfied, that Edward Armitage is Edward Beverley, who,\nwith his brother and sisters, were supposed to have been burnt to death\nat Arnwood.\"", "\"May I inquire what relation you are to Jacob Armitage?\"\n\n\"I believe, I have before said, his grandson.\"\n\n\"You live with him?\"\n\n\"I do.\"", "\"Now, Master Edward,\" said Jacob, \"will you take your sisters by the\nhand and lead them to the cottage? Here is the key of the door; Master", "possible. Edward Armitage has come to live with us as one of the\nfamily, and he will find himself treated by me as one of us. I shall,", "\"Nay, Oswald,\" replied Edward, \"remember that I am still Edward\nArmitage, and that we are the grandchildren of old Jacob.\"", "\"I acknowledge nothing for Jacob Armitage, he may answer for himself,\"\nreplied Edward; \"but allow me to assure you that if he has killed\nvenison no one can blame him.\"\n\n\"Perhaps you will explain why?\"", "\"Now, recollect, you are all my grandchildren,\" said Jacob; \"for I shall\nno longer call you Miss and Master--that we never do in a cottage. You\nunderstand me, Edward, of course?\" added Jacob.", "\"Well, Master Edward,\" replied Jacob, \"you must do as you please; but it\nwill be cruel to leave your sisters here; they and Humphrey must come", "\"Sir, it is a base dog that bites the hand that feeds him,\" replied\nEdward with warmth. \"Jacob Armitage, and his father before him, were", "Edward took the Bible under his arm, and Alice by the hand. Humphrey\nled Edith until they arrived at the grave, when the two little girls saw\nthe covered body of Jacob lying in it.", "This latter ruse of Jacob's succeeded. Edward promised that he would\nnot leave his sisters, and it wanted but a few minutes of twilight when", "\"I promise you that it shall be done, Jacob,\" replied Edward, \"and I\nwill not forget your other advice.\"\n\n\"God bless you, Edward. Now call the children.\"", "\"And now, Edward,\" said Jacob Armitage, one day at breakfast, \"we will\ntry for venison again to sell at Lymington, for I must purchase", "As we have before said, the orphans were four in number; the two eldest\nwere boys, and the youngest were girls. Edward, the eldest boy, was", "\"_Who_ is there?\" said the Intendant.\n\n\"Edward Armitage,\" was the reply, and the door was opened. The\nIntendant started back at the sight of Edward in the trooper's costume.", "\"May I go with you, Jacob?\" said Edward.\n\n\"Why, I would rather not; they may ask questions.\"\n\n\"And so would I rather he would not, for he will shirk his work here.\"", "\"I have brought Edward Armitage over here to introduce him to you,\nMaster Andrew. Now that the old man is dead, you must look to him for\nforest meat.\"", "\"Master Armitage!\" rejoined Edward; \"how well you know how to remind me,\nby that expression, of my obscure birth and parentage, whenever I am apt\nto forget the distance which I ought to observe!\"" ], [ "We must now pass over some time in a few words. Edward continued at the\nIntendant's, and gave great satisfaction to Mr Heatherstone. He passed", "In a few days Edward became quite at home. In the forenoon Mr\nHeatherstone dictated one or two letters to him, which he wrote; and", "\"I have had some conversation with Master Heatherstone,\" continued\nOswald to Edward. \"He is much pleased with you, I can tell you. He", "He appeared to be very grave and thoughtful, and Edward thought that\nthere was a coolness in his manner towards himself,--for it must be\nrecollected that Mr Heatherstone had not seen Edward since he had", "Patience Heatherstone, and he called himself Edward Beverley more than\nonce, and he talked of his father and of Arnwood.", "\"Patience,\" said Mr Heatherstone, \"Edward has left the house this\nmorning; here is a letter which he has written to me. Read it, and let", "Mr Heatherstone rushed out, passed by Edward, who was standing at the\ndoor of the other cottage, and was in his daughter's arms. Oswald came\nout to Edward, who then detailed to him the way in which he had saved\nthe girl.", "\"Yes,\" replied Edward. He went out of the cottage-door, and remained\nthere while Oswald went to Mr Heatherstone.", "Edward's heart beat quick. A moment's thought told him his situation.\nHe had been prevented, by the interruption of Mr Heatherstone, from", "informed Mr Heatherstone that his application for the property of\nArnwood had been acceded to, and signed by the Commissioners; and that\nhe might take immediate possession. Edward turned pale as he laid the", "\"It belongs to Mr Heatherstone, does it not?\" replied Edward.\n\n\"How can you say so, Edward? You received Humphrey's letters a long\nwhile ago.\"", "Edward was most kindly received by Mr Heatherstone. Edward, on Mr\nHeatherstone repeating to him his intentions relative to Arnwood,\nexpressed his sense of that gentleman's conduct, simply adding--", "\"Patience Heatherstone,\" cried Edward, \"the toast of all London!\"", "by Patience Heatherstone herself, who said, \"Oh, how glad I am to see\nyou! Come in.\" Edward took off his hat and bowed; Patience led the way", "other, Patience and Edward were the only appellations made use of. Once\nMr Heatherstone asked Edward whether he would not like to go out with", "afterwards. But the hour of parting arrived, for it was a long ride\nback, and they could not stay any longer, if they wished to get home\nbefore dark, as Mr Heatherstone had requested Edward that they should", "\"Surely I have done wrong, for I feel afraid to meet him.\"\n\nMr Heatherstone now joined them, and said to Edward--", "Heatherstone paid them a visit; but after the winter set in Edward came\nover by himself, shooting as he went; and when he and Smoker came, Billy", "length, and then they sat down to table. As soon as the repast was over\nMr Heatherstone returned to his study, and Edward went out to find", "Edward had made no alteration in the dress which he had worn since he\nhad been received in the house of Mr Heatherstone. It was plain," ], [ "As we have before said, the orphans were four in number; the two eldest\nwere boys, and the youngest were girls. Edward, the eldest boy, was", "lives were in jeopardy, and the orphans remained at Arnwood, still under\nthe care of their elderly relation, at the time that our history\ncommences.", "\"You were brought up at Arnwood, you told my father; did you not?\"\n\n\"Yes, I was brought up there, and remained there until the death of\nColonel Beverley.\"", "\"It was, sir.\"\n\n\"By his appearance, I presume that he also was brought up at Arnwood?\"\n\n\"He was, sir, as well as I,\" replied Edward.", "to who were resident at Arnwood. Jacob replied that the children were\nthere, and a few servants, and he was about to mention Miss Judith", "\"At Arnwood. The house has been rebuilt, and I understand is a very\nprincely mansion. Humphrey has charge of it, until it is ascertained to\nwhom it is to belong.\"", "\"Were you brought up at the cottage, young man?\"\n\n\"No, sir, I was brought up at Arnwood. I was a playmate of the children\nof Colonel Beverley.\"", "\"Arnwood! Oh yes, I have heard my father speak of it,\" said Clara, with\nthe tears starting in her eyes at his memory. \"Yes, it was burnt down,\nand all the children burnt to death!\"", "large property of Arnwood, and it will be hers after his death. It is\nnot fit that the heiress of Arnwood should mix herself up with", "\"And now, children, tell me,\" said Jacob, \"has not this year passed very\nquickly and very happily--quite as quickly and quite as happily as if\nyou had been staying at Arnwood?\"", "establishment at Arnwood, and he was constantly there as a boy. The\nchaplain of Arnwood had taken a fancy to him, and taught him to read--", "\"Indeed!\" replied his majesty; \"I heard that all his family perished at\nthe ruthless burning of Arnwood. I hold myself fortunate, as a king,", "they were in the house or in existence, but soon dismissed and left to\ntheir own resources. Such was the neglect to which these young orphans\nwere exposed. It must, however, be admitted, that this very neglect", "from Arnwood behind me on a pillion, as I did; she might have been burnt\nwith the poor children, for all as I cared.\"", "have since been satisfied, that Edward Armitage is Edward Beverley, who,\nwith his brother and sisters, were supposed to have been burnt to death\nat Arnwood.\"", "\"I can't exactly say, but I think London way. I only stayed here to\nwatch over the children; and now that they are gone, I shall leave\nArnwood for ever.\"", "\"With respect to the conditions upon which you are to possess Arnwood,\"\nsaid Humphrey, \"I can inform you what they are. They are wholly", "\"I never knew that he had one,\" replied Benjamin; \"nor did I know that\nold Jacob was dead.\"\n\n\"What became of all the women who were at Arnwood?\" inquired Oswald.", "Before Jacob is admitted to the presence of Miss Judith Villiers, we\nmust give some account of the establishment at Arnwood. With the", "\"They found it lonely in the forest, Mr Heatherstone, and wished to see\nLondon; so we have taken them there, and put them into the care of those\nwho have promised that they shall be well placed.\"" ], [ "\"Indeed!\" replied his majesty; \"I heard that all his family perished at\nthe ruthless burning of Arnwood. I hold myself fortunate, as a king,", "to who were resident at Arnwood. Jacob replied that the children were\nthere, and a few servants, and he was about to mention Miss Judith", "lives were in jeopardy, and the orphans remained at Arnwood, still under\nthe care of their elderly relation, at the time that our history\ncommences.", "from Arnwood behind me on a pillion, as I did; she might have been burnt\nwith the poor children, for all as I cared.\"", "\"Arnwood! Oh yes, I have heard my father speak of it,\" said Clara, with\nthe tears starting in her eyes at his memory. \"Yes, it was burnt down,\nand all the children burnt to death!\"", "\"No. The fire is all out again.\"\n\n\"Who saved me? Tell me.\"\n\n\"Young Armitage, miss.\"", "establishment at Arnwood, and he was constantly there as a boy. The\nchaplain of Arnwood had taken a fancy to him, and taught him to read--", "\"At Arnwood. The house has been rebuilt, and I understand is a very\nprincely mansion. Humphrey has charge of it, until it is ascertained to\nwhom it is to belong.\"", "\"It was, sir.\"\n\n\"By his appearance, I presume that he also was brought up at Arnwood?\"\n\n\"He was, sir, as well as I,\" replied Edward.", "grandfather's cottage was his own property, and a grant to his\nforefathers: that you were brought up at Arnwood, and had joined your\ngrandfather after the death of the colonel, and the murderous burning of", "\"You were brought up at Arnwood, you told my father; did you not?\"\n\n\"Yes, I was brought up there, and remained there until the death of\nColonel Beverley.\"", "have since been satisfied, that Edward Armitage is Edward Beverley, who,\nwith his brother and sisters, were supposed to have been burnt to death\nat Arnwood.\"", "\"Indeed!\" replied Oswald; \"I pray what may be your name?\"\n\n\"Benjamin White,\" replied the man; \"I served at Arnwood till the night\nit was burned down; and I have been here ever since.\"", "By this time Edward's continual calls of \"Fire! Fire!\" had aroused the\npeople of the house, and also of the cottages adjacent. Mr", "\"Were you brought up at the cottage, young man?\"\n\n\"No, sir, I was brought up at Arnwood. I was a playmate of the children\nof Colonel Beverley.\"", "large property of Arnwood, and it will be hers after his death. It is\nnot fit that the heiress of Arnwood should mix herself up with", "\"Where were you when Arnwood was burnt down?\"\n\n\"I was at the cottage at that time,\" replied Edward, grinding his teeth\nand looking wildly.", "At that moment a voice in the crowd called out, \"There were four burnt\nat Arnwood!\"", "\"And now, children, tell me,\" said Jacob, \"has not this year passed very\nquickly and very happily--quite as quickly and quite as happily as if\nyou had been staying at Arnwood?\"", "burnt in the firing of Arnwood. Oswald came out, much surprised as well\nas pleased with the information, and with the confidence reposed in him." ], [ "At this moment Edward came out and saluted the officer.\n\n\"This is the secretary, sir, Master Armitage,\" said Humphrey, falling\nback.", "\"You forget that I am only a forester, Clara,\" replied Edward, with a\ngrave smile.\n\n\"No, you are a secretary _now_,\" replied Clara.", "\"Edward, you do look like a--,\" said Clara, stopping.\n\n\"Like a secretary, I hope,\" added Edward.", "\"I perceive,\" replied Edward. \"When did you hear that the little girl\nwas to live with him?\"\n\n\"Not till yesterday morning; and it was not till the evening that we\nknew it was the order of Parliament.\"", "Edward did not think it right to tell Oswald what he knew, as it was a\nsecret confided to him by the Intendant, and therefore merely observed,", "\"Very true,\" replied Edward; \"he offers me the post of secretary. What\ndo you think?\"", "\"Jacob Armitage has heard nothing of this, sir,\" replied Edward. \"He\nwas a keeper, appointed under the king; for two or three years his", "remarks. My dear Edward, you have done me a service. As my secretary,\nand having been known to have been a follower of the Beverleys, your", "\"Because he means kindly, but does not want other people to know it,\"\nreplied Edward. \"Come in, Humphrey; I have much to tell you and much to\nsurprise you with.\"", "\"And why do you take it to London with you? Surely it is not the weapon\nwhich should be worn by a secretary, Edward: it is too large, and\ncumbrous, and out of character.\"", "Edward stepped up to the table, and very quietly took up the paper and\nread it. \"You have stated what is correct, sir,\" said he, laying it", "One of the ladies produced the letters, which Chaloner, as he read them,\nhanded over to Edward for his perusal. They were from General", "Edward, much excited by the intelligence, went into the room where he\nusually sat with the Intendant. The latter, who was at his desk, looked\nup, and saw how flushed Edward was, and said very quietly--", "Edward remained silent for some little while, for he could not trust\nhimself to speak; at last he replied: \"To be candid with you, I am, and", "In a few days Edward became quite at home. In the forenoon Mr\nHeatherstone dictated one or two letters to him, which he wrote; and", "Edward had already arranged his plans. His great object was to ward off\nany suspicion of where he had been, and of course any idea that the", "It was only to Oswald that Edward made known what had occurred; he knew\nthat he was to be trusted. The next day Edward resumed his forester's", "\"Indeed!\" replied Edward, \"that is news indeed! The Intendant has never\nmentioned it to me.\"\n\n\"I daresay not, sir; for he knows your feelings, and would be sorry to\npart with you.\"", "\"You must keep our secret, Oswald,\" replied Edward. \"I have a very good\nopinion of the Intendant, I acknowledge; but I will trust nobody.\"", "\"That I really believe,\" replied Edward; \"and I have, pretty well, made\nup my mind to accept the office. It is a post of confidence, and I" ], [ "Humphrey nodded, and turned away, and Edward re-entered the cottage.", "Humphrey returned home to attend his farm-yard, while Edward continued\nhis journey through the forest. Some estimate of the character of the\ntwo boys may be formed from the above conversation. Edward was", "Edward went out with the rest, and calling Humphrey aside, said to him,\n\"Contrive to slip away unperceived; here are the keys; haste to the", "them Holdfast as a watch dog, and they took leave of Alice and Edith\nwith much regret. Humphrey and Edward accompanied them to their new", "\"Humphrey,\" said Edward, after they had ridden about two miles across\nthe forest, and the sun had risen in an unclouded sky, \"I feel like an", "Humphrey helped Edward to put the venison in the cart, and they returned\nto the cottage, which was not more than three miles off. Humphrey told", "In the meantime Edward and Humphrey, after the first greetings were\nover, had walked out to converse, while Pablo had taken the horses into\nthe stable.\n\n\"Well, Humphrey, how do you get on?\"", "history. Humphrey must take the first place. His love of farming\ncontinued. Edward gave him a large farm, rent free; and in a few years", "\"Humphrey,\" said Edward, as soon as Oswald was gone, \"I have made up my\nmind to go to Lymington to-morrow. We must have some flour, and many", "Pablo was the cause of a fresh burst of tears. Having made every\narrangement with Humphrey, Edward once more took his leave, promising to\ncome over and assist Pablo as soon as he could.", "\"Well, Humphrey, you beat us, I will say,\" said Edward. \"Shall I shoot\nhim?\"\n\n\"Yes, now that he is looking up.\"", "\"He went away with Edward and Humphrey, I think,\" said Edith. \"I'll\nscold him when he comes back for being out of the way.\"", "Shortly afterwards Humphrey heard his name called by Edward, and he\nreplied, and went to the door and undid the barricades.", "\"After that speech, sir, the sooner you get back again the better!\"\nretorted Edith. But Edward made a sign to Humphrey, and they beat a\nretreat.", "\"Humphrey,\" said Edward, \"the sooner all this is over the better. As\nlong as poor Jacob's body remains in the cottage there will be nothing\nbut distress with the poor girls.\"", "\"Humphrey, by all means; it will not do for them to suppose I had the\ncart from you, Edward; they do not know Humphrey, and he will be off\nagain in the morning before they are up.\"", "Edward then replaced the money in the chest, and he and Humphrey then\nwent out to the farm-yard to go on with their work.", "\"Well, Master Edward,\" replied Jacob, \"you must do as you please; but it\nwill be cruel to leave your sisters here; they and Humphrey must come", "The conversation was then dropped, and as soon as Edward had had his\nbreakfast, he kissed his sisters, bidding them and Humphrey farewell: he", "Humphrey all that had occurred, and Humphrey was much pleased at Edward\nhaving accepted the offer of the Intendant. Alice and Edith did not" ], [ "\"These are my sisters, sir,\" said Edward. \"Where is Clara, Alice?\"\n\n\"She is alarmed, and has gone into our bedroom.\"", "them Holdfast as a watch dog, and they took leave of Alice and Edith\nwith much regret. Humphrey and Edward accompanied them to their new", "The little girls threw themselves into their brothers' arms; and having\nwept for some time, Alice raised herself, and taking Edith by the hand,\nled her away to the bedroom.\n\n\n\nCHAPTER TEN.", "that Pablo could be trusted. Edward said he would remain at home with\nhis sisters, and see if he could be of any use to Alice; if not, there", "\"Well, Master Edward,\" replied Jacob, \"you must do as you please; but it\nwill be cruel to leave your sisters here; they and Humphrey must come", "\"Alice and Edith, my dear little sisters, we have lost a good friend,\nand one to whose memory we cannot be too grateful. He saved us from", "Alice and Edith rose and waved their handkerchiefs, but they were\nobliged to cease, and put them to their eyes.\n\n\"Are those your sisters, Edward?\" said the king.", "\"We will make him as happy as we can, Edward; and we will be sisters to\nhim,\" said Alice, looking at the boy, who was blushing deeply. \"How old\nare you? And what is your name?\"", "upon them. They were to leave their brothers, whom they loved so\ndearly, to go to strangers; and when they understood that they were to\nleave in two days, and that they should not see Edward again, their", "Edward took the Bible under his arm, and Alice by the hand. Humphrey\nled Edith until they arrived at the grave, when the two little girls saw\nthe covered body of Jacob lying in it.", "of being fair and delicate. Look at your sisters, Edward, do you think\nthat any of your former friends--do you think that Martha, who had the\ncare of them, would know them?\"", "As we have before said, the orphans were four in number; the two eldest\nwere boys, and the youngest were girls. Edward, the eldest boy, was", "\"Well, Master Edward, I will go to Lymington to-morrow and see the old\nlady; but you must remain here, and take charge of your sisters till I", "This latter ruse of Jacob's succeeded. Edward promised that he would\nnot leave his sisters, and it wanted but a few minutes of twilight when", "\"Now, Master Edward,\" said Jacob, \"will you take your sisters by the\nhand and lead them to the cottage? Here is the key of the door; Master", "anything happens to me,\" thought Edward, \"Humphrey will still be at the\ncottage to take care of my sisters; and if I am obliged to fly the", "they rose up, found that he was dead. They all wept bitterly, for they\ndearly loved the good old man. Alice remained sobbing in Edward's arms,", "The conversation was then dropped, and as soon as Edward had had his\nbreakfast, he kissed his sisters, bidding them and Humphrey farewell: he", "The clerk and the others left the cottage, and the Intendant desired\nEdward to bring Clara from the bedroom. She came out, accompanied by\nand indeed clinging to Alice, for she was much alarmed.", "\"Why, thou insensible and unnatural animal! They are thy sisters, Alice\nand Edith: and do you not recognise behind them my good aunts\nConynghame?\"" ], [ "the history of the times; but the old forester thought otherwise; he had\na hatred of the Puritans, and their deeds had been so exaggerated by\nrumour that he fully believed that the lives of the children were not", "\"Then you admit that Jacob Armitage has killed the deer in the forest?\"\n\n\"I admit nothing for Jacob Armitage.\"\n\n\"You admit that you have killed it yourself.\"", "Puritans. Cromwell had great difficulty in eventually putting them\ndown, which he did at last accomplish by hanging and slaughtering many.\nOf this Jacob knew nothing; all he knew was, that Arnwood was to be", "\"I acknowledge nothing for Jacob Armitage, he may answer for himself,\"\nreplied Edward; \"but allow me to assure you that if he has killed\nvenison no one can blame him.\"\n\n\"Perhaps you will explain why?\"", "\"Jacob Armitage has heard nothing of this, sir,\" replied Edward. \"He\nwas a keeper, appointed under the king; for two or three years his", "\"What is the name of the verderer whom I met in the forest?\" inquired\nEdward.\n\n\"James Corbould; he was discharged from the army,\" replied Oswald.", "ever there was a breast animated with intense hatred against the\nPuritans it was that of Edward Beverley. Although this was to be\nlamented, it could not create surprise or wonder in the old forester.", "\"No, they are not now, Jacob,\" said Humphrey; \"as you and Edward claim\nall the game, I shall claim the cattle as my portion of the forest.\nRecollect, there are more, and I mean to have more of them yet.\"", "\"I came, sir, on private business with the keeper, Oswald Partridge, to\nobtain two young hounds, which he promised to my grandfather, Jacob\nArmitage.\"", "\"It is a noble beast,\" said Edward; \"I wonder we never thought of\nkilling one before.\"\n\n\"They ain't game, Edward,\" replied Jacob.", "Edward then uncocked his gun, with his eyes fixed upon the man, and the\nverderer did the same; and then they walked side by side, Edward keeping\nat the distance of three yards from him, in case of treachery.", "proceeds of the farm, and not run the risk of imprisonment by stalking\nthe deer. But he had told the intendant that he considered the game as", "The keeper nodded adieu to Edward, who left him to go to the stable for\nthe pony. Edward saddled White Billy, and rode away across the forest\nwith the dogs trotting at the pony's heels.", "hundred yards from the game, Jacob again sank down on his hands and\nknees, crawling from bush to bush, stopping whenever the stag raised his", "\"We must now track him to his lair, Edward.\"\n\nThis took them about a mile farther, when they arrived at a small\nthicket of thorns about an acre in extent.", "Jacob had gone out accordingly; he had gained his leeward position of a\nfine buck, and was gradually nearing him by stealth, now behind a huge", "\"Yes, sir, I was.\"\n\n\"With your gun?\"\n\n\"I always carry my gun,\" replied Edward.\n\n\"In pursuit of game?\"", "but fast asleep upon the turf lay James Corbould, the sinister-looking\nverderer who had accosted him in the forest on the previous day.", "A short time elapsed, and a fine stag came out at a trot; he turned his\nhead, and was just bounding away, when Edward fired, and the animal", "\"We will ride there, then,\" replied the leader. \"Arnwood, sayest thou?\nIs not that the property of the Malignant, Cavalier Beverley, who was\nshot down at Naseby?\"" ], [ "The circumstances which I am about to relate to my juvenile readers took\nplace in the year 1647. By referring to the history of England of that", "but little to tell them, as Chaloner had commenced his narrative with an\naccount of his first meeting with Edward when he had been attacked by\nthe highwaymen. As soon as he could get away, Edward went out with", "\"I will tell you all. Listen to me,\" replied Edward, who then gave him\nthe detail of all that had passed, from the time he had walked out with", "Time passed; the month of November came on without anything to disturb\nthe daily employments of the family in the forest: when one evening", "\"Leave them where they are,\" replied the stranger. \"I am in a hurry to\nget on. I have important business at the city of York, and cannot waste", "perceive that the covering had been broken in, and therefore, in all\nprobability, something must have been trapped. He sat down and waited\nfor daylight, but at times he thought he heard a heavy breathing, and", "trouble; but she has not told me her story as yet--she says that she\nwill to-night.\"", "During this winter, which passed rapidly away, very few circumstances of\nany consequence occurred. Old Jacob was more or less confined to the", "to the yard every evening; and as soon as they were put into the yard\nthe dog had his supper, and he took good care, therefore, not to be too\nlate. To return to our narrative.", "was alone. He then read the letter over more carefully than he had done\nat first. \"`Circumstances had occurred of which no explanation could be", "\"I perceive,\" replied Edward. \"When did you hear that the little girl\nwas to live with him?\"\n\n\"Not till yesterday morning; and it was not till the evening that we\nknew it was the order of Parliament.\"", "Edward took the Bible under his arm, and Alice by the hand. Humphrey\nled Edith until they arrived at the grave, when the two little girls saw\nthe covered body of Jacob lying in it.", "land around it. All was still, and as dark as pitch; Edward remained\nbehind the trees, and when the two men again stopped, he was not six", "Ratcliffe was their constant companion. However, one evening Clara went\nout, and stayed out so long, carelessly wrapped up, that she caught\ncold; and the following evening she remained at home, leaving Edward and", "young persons which we are about to narrate, we shall say little about\nthem at present, except that for many months they had been under little\nor no restraint, and less attended to. Their companions were Benjamin,", "All the others remained fast asleep. Humphrey walked about a mile with\nOswald, and was returning to the farm, when he thought, as he had not", "day. Edith and Humphrey learnt to read while Alice worked, and then\nAlice learnt; and thus passed the winter away so rapidly, that although", "the morning from the house of Oswald Partridge--he entered into a\nnarrative of the events of the day. They all listened with great", "remainder early on the following morning. It was now past noon, and\nEdward took out of the cupboard what victuals were left, and then went", "Patience to take their usual walk unaccompanied by her. They had walked\nfor some minutes in silence, when Patience observed--" ], [ "and Edith in Humphrey's, and it was long before the brothers could\nconsole them. Humphrey at last said to Alice, \"You hurt poor Edward's", "them Holdfast as a watch dog, and they took leave of Alice and Edith\nwith much regret. Humphrey and Edward accompanied them to their new", "Alice and Edith hearing this, and Edward also crying out to them, made a\nhasty retreat to the cottage. Humphrey then backed the cart against the", "Edward took the Bible under his arm, and Alice by the hand. Humphrey\nled Edith until they arrived at the grave, when the two little girls saw\nthe covered body of Jacob lying in it.", "\"He went away with Edward and Humphrey, I think,\" said Edith. \"I'll\nscold him when he comes back for being out of the way.\"", "Humphrey all that had occurred, and Humphrey was much pleased at Edward\nhaving accepted the offer of the Intendant. Alice and Edith did not", "Humphrey, for you can ill be spared. Hold to the farm as it now is; it\nwill support you all. My dear Alice and Edith, I am dying; very soon I", "Humphrey went to the door, and said, \"Alice--Alice and Edith--come out\nimmediately.\" They were both ready dressed.", "The little girls took one last look at the body, and then turned away\nweeping to the cottage. Edward and Humphrey filled up the grave, and\nthen followed their sisters home.", "\"Nor would, I think, Humphrey be known again. You, Edward, were always\na stout boy; and, except that you have grown very much, and are more", "Edward went out with the rest, and calling Humphrey aside, said to him,\n\"Contrive to slip away unperceived; here are the keys; haste to the", "\"Humphrey,\" said Edward, \"the sooner all this is over the better. As\nlong as poor Jacob's body remains in the cottage there will be nothing\nbut distress with the poor girls.\"", "Humphrey returned home to attend his farm-yard, while Edward continued\nhis journey through the forest. Some estimate of the character of the\ntwo boys may be formed from the above conversation. Edward was", "\"Well, Humphrey, you beat us, I will say,\" said Edward. \"Shall I shoot\nhim?\"\n\n\"Yes, now that he is looking up.\"", "they rose up, found that he was dead. They all wept bitterly, for they\ndearly loved the good old man. Alice remained sobbing in Edward's arms,", "Edward and Humphrey exchanged glances and smiles, and then worked away\nin silence till it was, as they supposed, dinner-time. They were not", "day. Edith and Humphrey learnt to read while Alice worked, and then\nAlice learnt; and thus passed the winter away so rapidly, that although", "\"Well, Master Edward,\" replied Jacob, \"you must do as you please; but it\nwill be cruel to leave your sisters here; they and Humphrey must come", "\"Oh, Massa Humphrey,\" said Pablo, as they rode along, \"Missy Alice and\nMissy Edith go away--I wish go with them. Massa Edward go away--I wish", "\"Are you all safe, Humphrey?\"\n\n\"Yes, all safe, Edward. Wait till Alice brings a light.\"" ], [ "of Edward, much more so than she had believed herself to be. \"And now,\"\nshe thought, \"if he really loves me, and hears my father's explanation,", "\"Now tell me, my child, what passed between Edward and you?\"\n\n\"He told me, just before you came up to us that evening, that he loved\nme.\"\n\n\"And what was your reply?\"", "Edward thought of the smile she gave him when they parted but an hour\nago, and agreed with Humphrey, but he replied--\n\n\"Why, brother, you are really in love with the Intendant's daughter.\"", "\"Yes, Massa Edward,\" replied Pablo, taking hold of Edward's wrist, \"you\nquite right. Pablo does love Missy Alice, Missy Edith, Massa Humphrey,", "\"She does, at all events,\" replied Edward; \"she is truth itself. No, I\ncannot deceive myself. She feels a deep debt of gratitude for the", "upon them. They were to leave their brothers, whom they loved so\ndearly, to go to strangers; and when they understood that they were to\nleave in two days, and that they should not see Edward again, their", "Patience coloured up and trembled when Edward first saw her. Edward did\nnot refer to the past for some time after they had renewed their\nacquaintance. He wooed her again, and won her. Then all was explained.", "\"I perceive,\" replied Edward. \"When did you hear that the little girl\nwas to live with him?\"\n\n\"Not till yesterday morning; and it was not till the evening that we\nknew it was the order of Parliament.\"", "\"Your wishes, my father?\" said Patience. \"Yes--my wishes; there is\nnothing that I so ardently desired as an union between you and Edward;\nbut I wished you to love him for his own merits.\"", "Edward remained silent for some little while, for he could not trust\nhimself to speak; at last he replied: \"To be candid with you, I am, and", "they rose up, found that he was dead. They all wept bitterly, for they\ndearly loved the good old man. Alice remained sobbing in Edward's arms,", "Edward first kissed Patience's hand, that was held in his own; but\nperceiving the tears starting in her eyes, he kissed them off, without", "Edward, \"he has for a time forgotten his misery. What a beautiful boy\nhe is! I long to know his history. Sleep on, my poor fellow! It will\ndo you service.\"", "\"He has,\" replied Edward, as he turned away, and went into the bar to\nspeak with the hostess, and give his property into her care.\n\n\"Going north, sir?\" inquired the same person when Edward returned.", "\"A girl!\" replied Edward, astonished.\n\n\"Yes, she has told me so, and wished me to tell you.\"\n\n\"But why does she wear boys' clothes?\"", "removed a heavy load from Edward's mind; but he now thought of nothing\nbut war, and although he cherished the idea of Patience Heatherstone, he", "Edward left the room, and went downstairs. It hardly need be said how\njoyfully he was received by Patience and Clara. The former, however,\nexpressed her joy in tears--the latter in wild mirth.", "and, soon afterwards, Edward lost sight of her in the crowd. If there\never had been any check to Edward's feelings towards Patience--and time", "Ratcliffe was their constant companion. However, one evening Clara went\nout, and stayed out so long, carelessly wrapped up, that she caught\ncold; and the following evening she remained at home, leaving Edward and", "\"Nature has done more, Edward. I never thought that they would have\ngrown into such lovely girls as they have, although I always thought\nthat they were handsome.\"\n\nAs they passed Edward caught the eye of Edith, and smiled." ], [ "\"And yet I feel a little mortified that he did not trust me,\" continued\nEdward; \"my life was at his service.\"", "\"They are traitors who condemned him,\" replied Edward in wrath.\n\n\"Yes, so they are; but there is better news, which is, that the Duke of\nYork has escaped to Holland.\"", "Edward remained silent for some little while, for he could not trust\nhimself to speak; at last he replied: \"To be candid with you, I am, and", "Edward during his illness, added to his sudden and unexpected departure\nwithout a word to her, had broken her spirits, and she sank beneath the\nload of sorrow.", "Edward now began to talk incoherently, and attempted to rise from the\nbed, but his efforts were unavailing--he was too weak; but he raved of", "Edward's heart beat quick. A moment's thought told him his situation.\nHe had been prevented, by the interruption of Mr Heatherstone, from", "\"I have reflected upon it,\" replied Edward, \"and I think it was perhaps\nprudent: some were to be trusted, and some not; it was impossible to", "Edward was much distressed to perceive the change which had taken place\nin old Jacob. He was evidently much worse; but Edward had no idea how", "This reply puzzled the man still more; and he now, from the tone of\nauthority assumed by Edward, began to imagine that he had made some", "since Edward had spoken to her, and during his subsequent illness, she\nhad been very unhappy. The reserve of Humphrey, the expressions he had\nmade use of, his repulse of Clara, and her not having seen anything of", "upon them. They were to leave their brothers, whom they loved so\ndearly, to go to strangers; and when they understood that they were to\nleave in two days, and that they should not see Edward again, their", "of Edward, much more so than she had believed herself to be. \"And now,\"\nshe thought, \"if he really loves me, and hears my father's explanation,", "\"It's my opinion, Edward,\" said Humphrey, \"that he thinks matters have\nbeen carried too far, and that he is sorry that he belongs to the", "On his return he found, to his surprise, that Edward had not called at\nthe cottage as he had promised; and, with a mind foreboding evil, he", "\"I perceive,\" replied Edward. \"When did you hear that the little girl\nwas to live with him?\"\n\n\"Not till yesterday morning; and it was not till the evening that we\nknew it was the order of Parliament.\"", "It was only to Oswald that Edward made known what had occurred; he knew\nthat he was to be trusted. The next day Edward resumed his forester's", "\"She does, at all events,\" replied Edward; \"she is truth itself. No, I\ncannot deceive myself. She feels a deep debt of gratitude for the", "\"He has,\" replied Edward, as he turned away, and went into the bar to\nspeak with the hostess, and give his property into her care.\n\n\"Going north, sir?\" inquired the same person when Edward returned.", "Edward, \"he has for a time forgotten his misery. What a beautiful boy\nhe is! I long to know his history. Sleep on, my poor fellow! It will\ndo you service.\"", "\"Sir, it is a base dog that bites the hand that feeds him,\" replied\nEdward with warmth. \"Jacob Armitage, and his father before him, were" ], [ "We must now describe the cottage of Jacob Armitage, in which the\nchildren have in future to dwell. As we said before, it contained a", "\"I'll not stay to be burnt to death,\" exclaimed the cook, as Jacob came\nin. \"Well, Mr Armitage, this is pretty news you have brought. What\ndoes my lady say?\"", "safe. Under this conviction, and feeling himself bound by his promise\nto Colonel Beverley to protect them, Jacob resolved that they should\nlive with him in the forest, and be brought up as his own grandchildren.", "The cottage of Jacob Armitage was situated on the skirts of the New\nForest, about a mile and a half from the mansion of Arnwood; and when", "\"They'll all leave her,\" thought Jacob; \"well, my duty is plain; I'll\nnot leave the children in the house.\" Jacob then went in search of", "\"No. The fire is all out again.\"\n\n\"Who saved me? Tell me.\"\n\n\"Young Armitage, miss.\"", "lives were in jeopardy, and the orphans remained at Arnwood, still under\nthe care of their elderly relation, at the time that our history\ncommences.", "As we have before said, the orphans were four in number; the two eldest\nwere boys, and the youngest were girls. Edward, the eldest boy, was", "Jacob took the children into the bedroom, and removing the upper dress,\nwhich would have betrayed that they were not the children of poor", "\"Jacob Armitage has heard nothing of this, sir,\" replied Edward. \"He\nwas a keeper, appointed under the king; for two or three years his", "\"Yes,\" they all replied; and then Jacob Armitage read a chapter in the\nBible, after which they all knelt down and said the Lord's Prayer. As", "to who were resident at Arnwood. Jacob replied that the children were\nthere, and a few servants, and he was about to mention Miss Judith", "\"Will the children be in more danger than I shall be, Jacob Armitage?\"\nreplied the old lady stiffly. \"They dare not ill-treat me--they may", "\"Jacob Armitage, leave this house I will not, if it were filled with\ntroopers; I have said so.\"\n\n\"But, madam--\"", "happen, and hastened on his way. He had been about eight miles from\nArnwood when he had concealed himself in the fern. Jacob first went to", "Jacob found Agatha and the other maid in the courtyard; he took up their\npackages, and, as he promised, accompanied them to Gossip Allwood, who\nkept a small ale-house about a mile distant.", "Edward took the Bible under his arm, and Alice by the hand. Humphrey\nled Edith until they arrived at the grave, when the two little girls saw\nthe covered body of Jacob lying in it.", "the dog Smoker, were the animals on the establishment. Here Jacob\nArmitage had been born--for the cottage had been built by his\ngrandfather--but he had not always remained at the cottage. When young,", "he went into Jacob's room, and remained with him more than an hour.\nDuring this conference Jacob confided to Oswald that the four children\nwere the sons and daughters of Colonel Beverley, supposed to have been", "The next morning, as soon as Jacob had given the children their\nbreakfast, he set off towards Arnwood. He knew that Benjamin had stated" ], [ "yourselves by the name of Armitage, and not that of Beverley; and you\nmust dress like children of the forest, as you do now, and you must do", "We must now describe the cottage of Jacob Armitage, in which the\nchildren have in future to dwell. As we said before, it contained a", "Jacob took the children into the bedroom, and removing the upper dress,\nwhich would have betrayed that they were not the children of poor", "Jacob Armitage, who listened to the conversation, immediately recognised\nthe young man in question. He was one of those who had joined the", "in our present dresses and under the name of Armitage. No one would\nrecognise us; you are grown tall, and so am I, and we are so tanned and", "Forgetting that he was, by his own assertion, not Edward Beverley, but\nthe relative of one Jacob Armitage, he coloured up with anger as he", "\"Jacob Armitage has heard nothing of this, sir,\" replied Edward. \"He\nwas a keeper, appointed under the king; for two or three years his", "Now Jacob, knowing that the children of such a Malignant as Colonel\nBeverley would have sorry treatment if discovered, and knowing also that\nwomen were not always to be trusted, determined not to tell them how\nthey were disposed of. He therefore replied:", "\"Yes,\" they all replied; and then Jacob Armitage read a chapter in the\nBible, after which they all knelt down and said the Lord's Prayer. As", "\"Will the children be in more danger than I shall be, Jacob Armitage?\"\nreplied the old lady stiffly. \"They dare not ill-treat me--they may", "The next morning, as soon as Jacob had given the children their\nbreakfast, he set off towards Arnwood. He knew that Benjamin had stated", "With such thoughts running in his head, Jacob arrived at the cottage,\nand found the children outside the door, watching for him. They all", "Edward took the Bible under his arm, and Alice by the hand. Humphrey\nled Edith until they arrived at the grave, when the two little girls saw\nthe covered body of Jacob lying in it.", "to who were resident at Arnwood. Jacob replied that the children were\nthere, and a few servants, and he was about to mention Miss Judith", "Jacob Armitage would not last much longer he was convinced; even now the\npoor old man was shrunk away to a skeleton with pain and disease. That", "between the two robbers. \"Alas!\" thought Edward, \"the family of Arnwood\nappear not to be the only people who are in disguise in this forest.", "Edward nodded his head, and Jacob telling the children that they might\nnow go out of the cottage and play, they all set off quite delighted\nwith clothes which procured them their liberty.", "\"I'll not stay to be burnt to death,\" exclaimed the cook, as Jacob came\nin. \"Well, Mr Armitage, this is pretty news you have brought. What\ndoes my lady say?\"", "The cottage of Jacob Armitage was situated on the skirts of the New\nForest, about a mile and a half from the mansion of Arnwood; and when", "\"The grandson of an old friend of yours, now dead, poor old Jacob\nArmitage.\"" ], [ "\"I have brought Edward Armitage over here to introduce him to you,\nMaster Andrew. Now that the old man is dead, you must look to him for\nforest meat.\"", "We must now describe the cottage of Jacob Armitage, in which the\nchildren have in future to dwell. As we said before, it contained a", "The inquest is over. Let every one leave the house except Edward\nArmitage, to whom I would speak alone.\"", "Edward took the Bible under his arm, and Alice by the hand. Humphrey\nled Edith until they arrived at the grave, when the two little girls saw\nthe covered body of Jacob lying in it.", "bringing him any family; after which, his father being also dead, Jacob\nArmitage had lived alone until the period at which we have commenced\nthis history.", "Edward Armitage, when we will come for her. Good-bye, dear Clara, and\ngood-bye, my little girls. Humphrey Armitage, good-bye. Who is this", "yourselves by the name of Armitage, and not that of Beverley; and you\nmust dress like children of the forest, as you do now, and you must do", "so little as I do now, surrounded by death, compared to what I did when\ngood old Jacob Armitage died! Then I felt it deeply, and there was an", "lives were in jeopardy, and the orphans remained at Arnwood, still under\nthe care of their elderly relation, at the time that our history\ncommences.", "have since been satisfied, that Edward Armitage is Edward Beverley, who,\nwith his brother and sisters, were supposed to have been burnt to death\nat Arnwood.\"", "The little girls took one last look at the body, and then turned away\nweeping to the cottage. Edward and Humphrey filled up the grave, and\nthen followed their sisters home.", "\"Yes,\" they all replied; and then Jacob Armitage read a chapter in the\nBible, after which they all knelt down and said the Lord's Prayer. As", "his wife and family at Arnwood, and he was fated never to meet them\nagain. The news of his death had such an effect upon Mrs Beverley,", "\"They'll all leave her,\" thought Jacob; \"well, my duty is plain; I'll\nnot leave the children in the house.\" Jacob then went in search of", "\"The grandson of an old friend of yours, now dead, poor old Jacob\nArmitage.\"", "\"At Arnwood. The house has been rebuilt, and I understand is a very\nprincely mansion. Humphrey has charge of it, until it is ascertained to\nwhom it is to belong.\"", "The cottage of Jacob Armitage was situated on the skirts of the New\nForest, about a mile and a half from the mansion of Arnwood; and when", "\"I can't exactly say, but I think London way. I only stayed here to\nwatch over the children; and now that they are gone, I shall leave\nArnwood for ever.\"", "\"Jacob Armitage has heard nothing of this, sir,\" replied Edward. \"He\nwas a keeper, appointed under the king; for two or three years his", "possible. Edward Armitage has come to live with us as one of the\nfamily, and he will find himself treated by me as one of us. I shall," ], [ "Pablo was a very short-built lad, of apparently fifteen or sixteen years\nof age, very dark in complexion, but very handsome in features, with", "Pablo, which was, to leave the scoundrel where he was; but on the\nremonstrance of Humphrey, he set off, with two of the other verderers,", "\"Then we will bring them out. Come, Pablo, you must help us.\"\n\nPablo made signs, and pointed to the door. Edward went out.\n\n\"First pull body away from this.\"", "Edward talked a great deal with Pablo relative to his former life; and,\nby the answers which the boy gave him, was satisfied that,", "themselves in vain. Humphrey and Pablo, who had followed them as fast\nas they could run, now came up with them and threw the lasso over the", "\"Got them now, Massa Humphrey,\" said Pablo.\n\n\"Yes, but our work is not yet over, Pablo; we must get them home; how\nshall we manage that?\"", "The danger that Edward had incurred that day was felt strongly by the\nwhole party; and, with the exception of Pablo, there was earnest\ndevotion and gratitude to Heaven when their orisons were offered up.", "\"Now he is in the pit, to-morrow morning I take gun and shoot him.\"\n\n\"No, no, Pablo, you must not do that,\" replied Edward, laughing.", "Pablo was the cause of a fresh burst of tears. Having made every\narrangement with Humphrey, Edward once more took his leave, promising to\ncome over and assist Pablo as soon as he could.", "\"But if you shoot him, you will be a bad boy, Pablo,\" replied Edith, who\nappeared to have assumed an authority over him. Pablo did not appear to", "caught the loop round the animal's neck. The calf set off galloping\ntowards Humphrey, and dragging Pablo after him, for the latter was not\nstrong enough to hold it.", "\"I see,\" said Pablo, who immediately busied himself with some cold meat\nwhich Alice put before him. Pablo had finished his breakfast and", "As soon as the calf, which was so busy with the dog that it did not\nperceive Pablo, came sufficiently near to him, Pablo threw his rope, and", "of them might have occasioned suspicion. We must, however, expect more\nvisits. Keep a good look-out, Pablo.\"", "she was very nearly taken by a party of gipsies? And by what Pablo can\nmake out, it would appear that it was by the party which he belonged\nto.\"", "work when Pablo came up to them. More than a dozen trees had fallen,\nand lay one upon the other, before they stopped a while to recover\nthemselves a little.", "sisters, that he might return and deliver up his prisoners. Pablo went\nwith him to bring back the cart which carried the two dead bodies. This", "did several times before Pablo returned with the dogs. Humphrey held\none part of the lasso on one side, and Pablo on the other, keeping the", "Pablo went to the cart and took out a long small cord which Humphrey had\nbrought with them, and made a noose at one end; he coiled the rope in", "Spain: call him lasso. Now come with me.\" Pablo had his rope again\ncoiled in his hand, and then went round to the other side of the calf," ], [ "\"There,\" said she, putting it on the table, \"that is all that I can\nfind.\"\n\n\"Your father's name is Heatherstone, I believe. It was so on the\nwarrant.\"", "daughter as he does you, by her name of baptism, he will, I daresay, now\nthat he has heard my opinion, do so; and reserve `Mistress Heatherstone'", "Mr Heatherstone opened the door, and called to his daughter.", "Mr Heatherstone rushed out, passed by Edward, who was standing at the\ndoor of the other cottage, and was in his daughter's arms. Oswald came\nout to Edward, who then detailed to him the way in which he had saved\nthe girl.", "Mr Heatherstone then opened the door, and saying to his daughter,\n\"Patience, my dear, I leave you to entertain Edward Armitage till", "sisters have been buried here so long that they cannot but gain by her\ncompany now and then. No! I will leave Mistress Heatherstone for you;\nI am in love with little Clara.\"", "Mr Heatherstone advanced and made his obeisance, and then his daughter\nwas led forward, and introduced by a lady unknown to Edward. After he\nhad saluted her, the king said, loud enough for Edward to hear--", "Patience Heatherstone from his own lawless men, and preserving the life\nof her father, which was about to be sacrificed; and at last he awoke,", "Heatherstone, in my opinion; and Patience was ever in my thoughts during\nmy long absence.\"", "Patience Heatherstone, however, did not make any answer to this second\nappeal made by Clara.\n\n\"Why don't you answer me, Patience?\" said Clara.", "\"Patience Heatherstone,\" cried Edward, \"the toast of all London!\"", "Patience Heatherstone, and he called himself Edward Beverley more than\nonce, and he talked of his father and of Arnwood.", "\"Save her! My daughter is in the room!\" exclaimed Mr Heatherstone.\n\"Oh, save her, or let me do so!\" cried the poor man in agony; but the", "colouring to your proceeding, provided you may not choose to reveal your\ntrue object. How wears our good friend Heatherstone, and his daughter?\"", "\"I have had some conversation with Master Heatherstone,\" continued\nOswald to Edward. \"He is much pleased with you, I can tell you. He", "\"Mistress Patience is older than you by several years. I call you\nClara, because you are but a little girl; but I must not take that\nliberty with Mistress Heatherstone.\"", "Heatherstone knows more on that score than any one, I should think; but\nhe is very close.\"", "Patience Heatherstone till he went to bed. \"Now, Humphrey, you know\nall; and what shall I do? Remain there I cannot!\"", "penny, and that being known as the heir of Beverley would be to his\ndisadvantage; that he was in love with Patience Heatherstone, and had no", "\"Patience,\" said Mr Heatherstone, \"Edward has left the house this\nmorning; here is a letter which he has written to me. Read it, and let" ], [ "Mr Heatherstone rushed out, passed by Edward, who was standing at the\ndoor of the other cottage, and was in his daughter's arms. Oswald came\nout to Edward, who then detailed to him the way in which he had saved\nthe girl.", "\"Save her! My daughter is in the room!\" exclaimed Mr Heatherstone.\n\"Oh, save her, or let me do so!\" cried the poor man in agony; but the", "Mr Heatherstone then opened the door, and saying to his daughter,\n\"Patience, my dear, I leave you to entertain Edward Armitage till", "Patience Heatherstone from his own lawless men, and preserving the life\nof her father, which was about to be sacrificed; and at last he awoke,", "sisters have been buried here so long that they cannot but gain by her\ncompany now and then. No! I will leave Mistress Heatherstone for you;\nI am in love with little Clara.\"", "Mr Heatherstone opened the door, and called to his daughter.", "\"There,\" said she, putting it on the table, \"that is all that I can\nfind.\"\n\n\"Your father's name is Heatherstone, I believe. It was so on the\nwarrant.\"", "\"Your child is safe, sir,\" replied Oswald.\n\n\"Safe, did you say?\" cried Mr Heatherstone, starting up. \"Safe;\nwhere?\"", "Mr Heatherstone looked at the face and appeared much moved--\"Cover it\nup,\" said he, turning away; and then sitting down on a chair close to\nthe table--\n\n\"And how was this found?\" he said.", "daughter as he does you, by her name of baptism, he will, I daresay, now\nthat he has heard my opinion, do so; and reserve `Mistress Heatherstone'", "\"No. The fire is all out again.\"\n\n\"Who saved me? Tell me.\"\n\n\"Young Armitage, miss.\"", "\"They found it lonely in the forest, Mr Heatherstone, and wished to see\nLondon; so we have taken them there, and put them into the care of those\nwho have promised that they shall be well placed.\"", "Mr Heatherstone advanced and made his obeisance, and then his daughter\nwas led forward, and introduced by a lady unknown to Edward. After he\nhad saluted her, the king said, loud enough for Edward to hear--", "Heatherstone came out half dressed, and with horror on his countenance.\nPhoebe followed screaming, and the other people now hastened from the\ncottages.", "Patience Heatherstone, and he called himself Edward Beverley more than\nonce, and he talked of his father and of Arnwood.", "The cottage of Jacob Armitage was situated on the skirts of the New\nForest, about a mile and a half from the mansion of Arnwood; and when", "Patience Heatherstone, however, did not make any answer to this second\nappeal made by Clara.\n\n\"Why don't you answer me, Patience?\" said Clara.", "\"Patience Heatherstone,\" cried Edward, \"the toast of all London!\"", "afterwards. But the hour of parting arrived, for it was a long ride\nback, and they could not stay any longer, if they wished to get home\nbefore dark, as Mr Heatherstone had requested Edward that they should", "by Patience Heatherstone herself, who said, \"Oh, how glad I am to see\nyou! Come in.\" Edward took off his hat and bowed; Patience led the way" ], [ "upon them. They were to leave their brothers, whom they loved so\ndearly, to go to strangers; and when they understood that they were to\nleave in two days, and that they should not see Edward again, their", "Edward during his illness, added to his sudden and unexpected departure\nwithout a word to her, had broken her spirits, and she sank beneath the\nload of sorrow.", "Edward was much distressed to perceive the change which had taken place\nin old Jacob. He was evidently much worse; but Edward had no idea how", "since Edward had spoken to her, and during his subsequent illness, she\nhad been very unhappy. The reserve of Humphrey, the expressions he had\nmade use of, his repulse of Clara, and her not having seen anything of", "\"They are traitors who condemned him,\" replied Edward in wrath.\n\n\"Yes, so they are; but there is better news, which is, that the Duke of\nYork has escaped to Holland.\"", "Pablo was the cause of a fresh burst of tears. Having made every\narrangement with Humphrey, Edward once more took his leave, promising to\ncome over and assist Pablo as soon as he could.", "suspicion being created, in consequence of the presence of Edward, and\nhis explanations. The parties were invariably sent in another\ndirection. Edward wrote to the Intendant, informing him what had", "Edward, who but rarely heard from Humphrey, was now anxious to quit the\narmy and go to the king, who was in Spain; but to leave his colours\nwhile things were adverse was impossible.", "Edward's heart beat quick. A moment's thought told him his situation.\nHe had been prevented, by the interruption of Mr Heatherstone, from", "\"And so an old woman like her remains to face the enemy, while I run\naway from them!\" replied Edward. \"I will not go.\"", "Edward now began to talk incoherently, and attempted to rise from the\nbed, but his efforts were unavailing--he was too weak; but he raved of", "\"Humphrey,\" said Edward, \"the sooner all this is over the better. As\nlong as poor Jacob's body remains in the cottage there will be nothing\nbut distress with the poor girls.\"", "Edward had already arranged his plans. His great object was to ward off\nany suspicion of where he had been, and of course any idea that the", "were all grieved to see him look so pale and haggard. As soon as\nbreakfast was over Edward made a sign, and he and Humphrey went out.", "and that they had better go into the next room. Edward mechanically\nfollowed. At supper he was tormented by the incessant inquiries of", "Edward was indeed in a state of mind which required calming down. He\nquitted the cottage and walked out for some distance into the forest in\ndeep thought.", "Edward threw himself on his bed, but to sleep was impossible. He\nthought of the events of the day over and over again. Had he any reason", "Edward had left the room, and having obtained the saddle-bags from\nPhoebe, had gone up to his chamber. The first thing that he laid hold", "Edward rode fast, for he was anxious to get home and ascertain the state\nof poor old Jacob; and, moreover, his burnt arm was very painful. He", "The clerk and the others left the cottage, and the Intendant desired\nEdward to bring Clara from the bedroom. She came out, accompanied by\nand indeed clinging to Alice, for she was much alarmed." ], [ "he was so harsh. At the same time it must be admitted that Mr\nHeatherstone having obtained possession of Arnwood, rankled no doubt in", "informed Mr Heatherstone that his application for the property of\nArnwood had been acceded to, and signed by the Commissioners; and that\nhe might take immediate possession. Edward turned pale as he laid the", "large property of Arnwood, and it will be hers after his death. It is\nnot fit that the heiress of Arnwood should mix herself up with", "an heir to the estate, that there was no chance of that, and that you\nwould be the mistress of Arnwood. I threw it out as a hint to him,", "Edward was most kindly received by Mr Heatherstone. Edward, on Mr\nHeatherstone repeating to him his intentions relative to Arnwood,\nexpressed his sense of that gentleman's conduct, simply adding--", "family all perished; and Arnwood will become the dower of Patience\nHeatherstone.\"", "establishment at Arnwood, and he was constantly there as a boy. The\nchaplain of Arnwood had taken a fancy to him, and taught him to read--", "\"But, my dear sister, it appears to me that his intentions are evident.\nWhy has he rebuilt Arnwood? He is not going to surrender my property\nand make me a present of the house.\"", "Patience Heatherstone, and he called himself Edward Beverley more than\nonce, and he talked of his father and of Arnwood.", "\"It was, sir.\"\n\n\"By his appearance, I presume that he also was brought up at Arnwood?\"\n\n\"He was, sir, as well as I,\" replied Edward.", "grandfather's cottage was his own property, and a grant to his\nforefathers: that you were brought up at Arnwood, and had joined your\ngrandfather after the death of the colonel, and the murderous burning of", "\"You were brought up at Arnwood, you told my father; did you not?\"\n\n\"Yes, I was brought up there, and remained there until the death of\nColonel Beverley.\"", "\"At Arnwood. The house has been rebuilt, and I understand is a very\nprincely mansion. Humphrey has charge of it, until it is ascertained to\nwhom it is to belong.\"", "\"With respect to the conditions upon which you are to possess Arnwood,\"\nsaid Humphrey, \"I can inform you what they are. They are wholly", "That Edward Beverley had fits of gloominess and impatience is not\nsurprising. Edward had been brought up as the heir of Arnwood; and a", "\"I should of course state who I was, and take possession of my father's\nproperty at Arnwood, which is mine by descent.\"", "names as those of Arnwood. After I had ascertained this point, I\nengaged Edward, as you know, wishing to secure him; for I was once", "would accept it? Never! But here is a property without an heir; the\nwhole family perished in the flames of Arnwood! There is no living", "for another reason. I want to know what is going on, and watch the\nmotions of the Intendant and the heiress of Arnwood. I also do not wish", "lose sight of Arnwood, but to call there as often as possible to see if\nhe could be of service to Mrs Beverley. The colonel would have\npersuaded Jacob to have altogether taken up his residence at the" ], [ "We must now pass over some time in a few words. Edward continued at the\nIntendant's, and gave great satisfaction to Mr Heatherstone. He passed", "In a few days Edward became quite at home. In the forenoon Mr\nHeatherstone dictated one or two letters to him, which he wrote; and", "He appeared to be very grave and thoughtful, and Edward thought that\nthere was a coolness in his manner towards himself,--for it must be\nrecollected that Mr Heatherstone had not seen Edward since he had", "\"I have had some conversation with Master Heatherstone,\" continued\nOswald to Edward. \"He is much pleased with you, I can tell you. He", "Mr Heatherstone rushed out, passed by Edward, who was standing at the\ndoor of the other cottage, and was in his daughter's arms. Oswald came\nout to Edward, who then detailed to him the way in which he had saved\nthe girl.", "\"Yes,\" replied Edward. He went out of the cottage-door, and remained\nthere while Oswald went to Mr Heatherstone.", "\"Patience,\" said Mr Heatherstone, \"Edward has left the house this\nmorning; here is a letter which he has written to me. Read it, and let", "Patience Heatherstone, and he called himself Edward Beverley more than\nonce, and he talked of his father and of Arnwood.", "Edward's heart beat quick. A moment's thought told him his situation.\nHe had been prevented, by the interruption of Mr Heatherstone, from", "\"It belongs to Mr Heatherstone, does it not?\" replied Edward.\n\n\"How can you say so, Edward? You received Humphrey's letters a long\nwhile ago.\"", "Edward was most kindly received by Mr Heatherstone. Edward, on Mr\nHeatherstone repeating to him his intentions relative to Arnwood,\nexpressed his sense of that gentleman's conduct, simply adding--", "\"Patience Heatherstone,\" cried Edward, \"the toast of all London!\"", "by Patience Heatherstone herself, who said, \"Oh, how glad I am to see\nyou! Come in.\" Edward took off his hat and bowed; Patience led the way", "Heatherstone paid them a visit; but after the winter set in Edward came\nover by himself, shooting as he went; and when he and Smoker came, Billy", "informed Mr Heatherstone that his application for the property of\nArnwood had been acceded to, and signed by the Commissioners; and that\nhe might take immediate possession. Edward turned pale as he laid the", "\"He has,\" replied Edward, as he turned away, and went into the bar to\nspeak with the hostess, and give his property into her care.\n\n\"Going north, sir?\" inquired the same person when Edward returned.", "afterwards. But the hour of parting arrived, for it was a long ride\nback, and they could not stay any longer, if they wished to get home\nbefore dark, as Mr Heatherstone had requested Edward that they should", "removed a heavy load from Edward's mind; but he now thought of nothing\nbut war, and although he cherished the idea of Patience Heatherstone, he", "Edward the result of his journey, and then proposed that Edward should\nstop at home for a few days and help him with the new enclosure. To\nthis Edward cheerfully consented; and as soon as they arrived at the", "Edward had made no alteration in the dress which he had worn since he\nhad been received in the house of Mr Heatherstone. It was plain," ], [ "of the New Forest, the troops were subdivided and ordered to scour the\nforest, in parties of twelve to twenty, while others hastened down to", "The New Forest, my readers are perhaps aware, was first enclosed by\nWilliam the Conqueror as a royal forest for his own amusement, for in", "come up in the coach to take charge of them, they quitted him with many\ntears, and Humphrey hastened back to the New Forest.", "discovered it. Why, troops of horse might scour the forest for months,\nand never discover such a hiding-place.\" Edward walked round by the", "that after four days they had gained the skirts of the New Forest, and\nconcealed themselves in a thicket till night-time, when Edward proposed\nthat he should conduct his fellow-travellers to the cottage, where he", "\"Simply, young man, because the New Forest is, by the Parliament,\ncommitted to my charge. Notice has been given for all those who were", "brother and sisters: the troopers are all about the New Forest, for King\nCharles has escaped, and they are seeking for him. You must not,", "from Hampton Court, and rode as fast as the horses could carry them\ntowards that part of Hampshire which led to the New Forest. The king\nexpected that his friends had provided a vessel in which he might escape", "his side, that he might answer the questions he had to make upon all\nthat he saw, and which the reader must be aware was quite new to one\nwhose peregrinations had been confined to the New Forest and the town", "Edward put the pony to a trot, and in two hours was on the other side of\nthe New Forest. The directions given to him by Jacob were not", "their quarters in the forest, and had committed several depredations\nupon the houses adjacent to it, always returning to the forest as a\nrendezvous. Edward listened, and heard one say:", "This sudden attack from behind decided the affair. The Parliamentary\ntroopers, thinking that there were wore than two coming upon them, made\noff after another minute's combat, leaving five or six of their men on\nthe ground.", "Lymington, as far as the road went into the forest, on the following\nday; when Humphrey would meet him, pay him his money, and drive them to", "were extinguished, and then, for the first time, discovered that he had\nbrought down the daughter of the intendant of the forest. There was no", "The cottage of Jacob Armitage was situated on the skirts of the New\nForest, about a mile and a half from the mansion of Arnwood; and when", "\"No, we cannot get at him from this spot,\" replied Edward; \"but if we\nwere to fall back to leeward, and gain the forest again, I think that", "Oswald, so soon as Edward came down to Arnwood, gave up his place in the\nNew Forest, and lived entirely with Edward as his steward; and Phoebe", "GUTENBERG EBOOK THE CHILDREN OF THE NEW FOREST ***\n\n\n\n\nProduced by Nick Hodson of London, England", "not far from Titchfield, where the king took shelter, but on the other\nside of the Southampton Water, and south of the New Forest, to which it", "The keeper nodded adieu to Edward, who left him to go to the stable for\nthe pony. Edward saddled White Billy, and rode away across the forest\nwith the dogs trotting at the pony's heels." ], [ "Or has all England become craven? Well, the time will come; and if I\ncan no longer hope to fight for my king, at all events I can fight\nagainst those who have murdered him.\"", "\"They say a great deal more, sir,\" replied Oswald; \"they say that the\nking is in Scotland, and that the Scotch have raised an army for him.\"", "date they will find that King Charles the First, against whom the\nCommons of England had rebelled, after a civil war of nearly five years,\nhad been defeated, and was confined as a prisoner at Hampton Court. The", "But we must now leave the king, and retrace history to the commencement\nof the civil war. A short distance from the town of Lymington, which is", "\"More than a year,\" replied Edward; \"before that I was in the household\nat Arnwood.\"\n\n\"Then you are of the king's side, I presume?\" replied Oswald.", "\"Most important, madam,\" replied Jacob. \"In the first place, it is\nright that you should be informed that his Majesty King Charles has\nescaped from Hampton Court.\"\n\n\"His majesty escaped!\" replied the lady.", "It was soon after this conversation that a messenger arrived from London\nwith letters, announcing that King Charles had been crowned in Scotland\nwith great solemnity and magnificence.", "The circumstances which I am about to relate to my juvenile readers took\nplace in the year 1647. By referring to the history of England of that", "\"On the contrary, well-known to us,\" replied the king, \"as a loyal and\nfaithful subject, whose loss we must deplore. I have no doubt that his\nson inherits his courage and his fidelity.\"", "making rapid advances towards that absolute authority for which the king\nhas suffered, and which he would now vest in his own person. I\nconsidered that our cause was just; and, had the power been left in the", "soon found, in the disorganised state of the country, that their wages\nwere no longer to be obtained; and then, when the king had decided upon", "of the king.\" The memory of the king raised other thoughts in Edward's\nmind, and he again sank into one of his reveries, which lasted till he", "Edward retired to bed, but not to sleep. The Scots had proclaimed the\nking, and invited him over. \"He will surely come,\" thought Edward, \"and", "It was not till next morning that the troops discovered that the king\nhad left them, and then they determined to separate, and as the major", "country, it will suit well my feelings, as I can then offer my services\nto those who still support the king.\" With these thoughts, and many\nothers, he amused himself until, late in the evening, he arrived at the", "That he was justified in so doing at first, he felt; but since the\njoining the king's army, and the events which had followed, he", "\"Yes, deliberate murder, sir; in short, they have beheaded the king--\nbeheaded King Charles, our sovereign.\"\n\n\"Have they dared to do it?\"", "\"In the first place, Humphrey, the murder of the king--for it was\nmurder, and nothing better--I cannot get that out of my head; and", "The king held out his hand, and Chaloner bent his knee and kissed it.", "before an hour had passed the alarm came that the armies were engaged.\nThe king mounted his horse, which was ready saddled at the door; but\nbefore he could ride out of the city he was met and nearly beaten back" ], [ "\"At Arnwood. The house has been rebuilt, and I understand is a very\nprincely mansion. Humphrey has charge of it, until it is ascertained to\nwhom it is to belong.\"", "\"You were brought up at Arnwood, you told my father; did you not?\"\n\n\"Yes, I was brought up there, and remained there until the death of\nColonel Beverley.\"", "to who were resident at Arnwood. Jacob replied that the children were\nthere, and a few servants, and he was about to mention Miss Judith", "\"It was, sir.\"\n\n\"By his appearance, I presume that he also was brought up at Arnwood?\"\n\n\"He was, sir, as well as I,\" replied Edward.", "Before Jacob is admitted to the presence of Miss Judith Villiers, we\nmust give some account of the establishment at Arnwood. With the", "large property of Arnwood, and it will be hers after his death. It is\nnot fit that the heiress of Arnwood should mix herself up with", "establishment at Arnwood, and he was constantly there as a boy. The\nchaplain of Arnwood had taken a fancy to him, and taught him to read--", "grandfather's cottage was his own property, and a grant to his\nforefathers: that you were brought up at Arnwood, and had joined your\ngrandfather after the death of the colonel, and the murderous burning of", "The cottage of Jacob Armitage was situated on the skirts of the New\nForest, about a mile and a half from the mansion of Arnwood; and when", "\"Were you brought up at the cottage, young man?\"\n\n\"No, sir, I was brought up at Arnwood. I was a playmate of the children\nof Colonel Beverley.\"", "lives were in jeopardy, and the orphans remained at Arnwood, still under\nthe care of their elderly relation, at the time that our history\ncommences.", "his wife and family at Arnwood, and he was fated never to meet them\nagain. The news of his death had such an effect upon Mrs Beverley,", "also went to Arnwood, and lived to a good old age, in the capacity of\nhousekeeper, her temper becoming rather worse than better as she\nadvanced in years.", "Oswald, so soon as Edward came down to Arnwood, gave up his place in the\nNew Forest, and lived entirely with Edward as his steward; and Phoebe", "\"Arnwood! Oh yes, I have heard my father speak of it,\" said Clara, with\nthe tears starting in her eyes at his memory. \"Yes, it was burnt down,\nand all the children burnt to death!\"", "\"You are going to Arnwood, I know,\" said Jacob, \"and I have heard who\nyou are in search of. Well, Southwold, I'll give you a hint. I may be", "\"With respect to the conditions upon which you are to possess Arnwood,\"\nsaid Humphrey, \"I can inform you what they are. They are wholly", "adjoins, was a property called Arnwood, which belonged to a Cavalier of\nthe name of Beverley. It was at that time a property of considerable", "\"No, indeed!\" said she, \"I have no doubt that you were at the cottage at\nthe time; but I was thinking that if the apartments at Arnwood were more", "\"Indeed!\" replied his majesty; \"I heard that all his family perished at\nthe ruthless burning of Arnwood. I hold myself fortunate, as a king," ], [ "As we have before said, the orphans were four in number; the two eldest\nwere boys, and the youngest were girls. Edward, the eldest boy, was", "they were in the house or in existence, but soon dismissed and left to\ntheir own resources. Such was the neglect to which these young orphans\nwere exposed. It must, however, be admitted, that this very neglect", "lives were in jeopardy, and the orphans remained at Arnwood, still under\nthe care of their elderly relation, at the time that our history\ncommences.", "\"If I had not been where I was this poor boy would have been killed as\nwell as his father. Make him welcome, Alice, for he is an orphan now,", "and the orphan. And now let us pray.\"", "\"They found it lonely in the forest, Mr Heatherstone, and wished to see\nLondon; so we have taken them there, and put them into the care of those\nwho have promised that they shall be well placed.\"", "\"They'll all leave her,\" thought Jacob; \"well, my duty is plain; I'll\nnot leave the children in the house.\" Jacob then went in search of", "side of the orphan, and remained for some time in deep and melancholy\nthought. \"How strange,\" thought he at last, \"it is, that I should feel", "\"My dear children, you know that you must remain in this cottage, that\nthe wicked troopers may not find you out; they killed your father, and", "That poor boy! He must not remain there.\" Edward looked round, and\nperceived that there was a bed in the adjoining room, the door of which", "By this time Edward's continual calls of \"Fire! Fire!\" had aroused the\npeople of the house, and also of the cottages adjacent. Mr", "\"Save her! My daughter is in the room!\" exclaimed Mr Heatherstone.\n\"Oh, save her, or let me do so!\" cried the poor man in agony; but the", "\"Very true, Humphrey; but you have been saved that misfortune, and ought\nto be grateful to Heaven that such is the case. What shall we do with\nhim now we have him?\"", "orphan boy. He afterwards went into another small room, where he found\nsundry small trunks and cases locked-up. These he brought out without", "three female servants held the offices of cook, attendant upon Miss\nVilliers, and housemaid; the children being under the care of no\nparticular servant, and left much to themselves. There had been a", "\"No. The fire is all out again.\"\n\n\"Who saved me? Tell me.\"\n\n\"Young Armitage, miss.\"", "was a heavy blow to the old forester, and he watched over Mrs Beverley\nand the orphans with the greatest solicitude; but when Mrs Beverley", "able to help themselves, they might perish. Edward was not fourteen\nyears old; it was true that he was an active, brave boy, and thoughtful", "if I had not taken you away, they would have burnt you in your beds.\nYou must therefore live here as my children, and you must call", "returned, they, in all probability, had shared his fate. Three female\nservants, with the man above mentioned, composed the whole household.\nIndeed, there was every reason for not increasing the establishment; for" ], [ "Jacob took the children into the bedroom, and removing the upper dress,\nwhich would have betrayed that they were not the children of poor", "Now Jacob, knowing that the children of such a Malignant as Colonel\nBeverley would have sorry treatment if discovered, and knowing also that\nwomen were not always to be trusted, determined not to tell them how\nthey were disposed of. He therefore replied:", "This latter ruse of Jacob's succeeded. Edward promised that he would\nnot leave his sisters, and it wanted but a few minutes of twilight when", "\"They'll all leave her,\" thought Jacob; \"well, my duty is plain; I'll\nnot leave the children in the house.\" Jacob then went in search of", "from them, Jacob set off as fast as he could for Lymington. He went to\none shop and purchased two peasant dresses which he thought would fit", "safe. Under this conviction, and feeling himself bound by his promise\nto Colonel Beverley to protect them, Jacob resolved that they should\nlive with him in the forest, and be brought up as his own grandchildren.", "With such thoughts running in his head, Jacob arrived at the cottage,\nand found the children outside the door, watching for him. They all", "of the thorn-bushes was directly between him and the troopers, and\neffectually concealed him. At last Jacob ventured to raise his head and", "he went into Jacob's room, and remained with him more than an hour.\nDuring this conference Jacob confided to Oswald that the four children\nwere the sons and daughters of Colonel Beverley, supposed to have been", "\"Very true; I quite forgot that.\" And so Jacob had. He expected that\nthe old woman would have been burnt, and then nobody would have known of", "But if they remained indoors during the inclement weather, they were not\nidle. Jacob took this opportunity to instruct the children in", "Edward took the Bible under his arm, and Alice by the hand. Humphrey\nled Edith until they arrived at the grave, when the two little girls saw\nthe covered body of Jacob lying in it.", "The next morning, as soon as Jacob had given the children their\nbreakfast, he set off towards Arnwood. He knew that Benjamin had stated", "hands with Benjamin, and hastened away. \"Well,\" thought Jacob, as he\nwended his way, \"I'm sorry for the poor old lady; but still, perhaps,", "\"Well,\" said Jacob, \"they are very welcome to the dinner; I little\nthought to get off so cheap.\" As soon as they were out of sight Jacob", "Jacob, as soon as he had seen the children on their way, returned to the\nkitchen, where he found Agatha and the cook collecting their property,\nevidently bent upon a hasty retreat.", "Acting upon this resolution, Jacob, as soon as the children were dressed\nand in the sitting-room, opened his Bible, which he had put on the\ntable, and said:", "children, and may you live to see many returns, and happy returns, of\nthe day;\" and Jacob was so much moved as he said this, that a tear was\nseen rolling down his furrowed cheek.", "intending to remain concealed until they should gallop out of sight; for\nJacob thought, \"I am a king's forester, and they may consider me as an", "While the dinner was cooking Jacob amused the children by showing them\nhow to put things in order; the floor was swept, the hearth was made" ], [ "themselves in vain. Humphrey and Pablo, who had followed them as fast\nas they could run, now came up with them and threw the lasso over the", "Humphrey went on till they came close to a clump of large trees, and\nthen brought them to a pit-fall which he had dug, about six feet wide\nand eight feet long, and nine feet deep.", "\"My dear children, you know that you must remain in this cottage, that\nthe wicked troopers may not find you out; they killed your father, and", "In a few moments they were off again, and soon arrived at the pit-fall,\nwhere they found the lad still lying where Humphrey had left him. They", "which saved Alice a good deal of time and trouble in watching them. It\nwas astonishing how much the children could do, now that there was no\none to do it for them; and they had daily instruction from Jacob. In", "contrived, with the assistance of Edward, to hoist them uninjured out of\nthe pit. They were put into the yard, and after having been starved", "perceive that the covering had been broken in, and therefore, in all\nprobability, something must have been trapped. He sat down and waited\nfor daylight, but at times he thought he heard a heavy breathing, and", "able to help themselves, they might perish. Edward was not fourteen\nyears old; it was true that he was an active, brave boy, and thoughtful", "\"They'll all leave her,\" thought Jacob; \"well, my duty is plain; I'll\nnot leave the children in the house.\" Jacob then went in search of", "The boys put their arms under the stomach of the calf, and carried it\naway. The heifer was at first too busy defending herself against the", "These were the last words spoken by the old forester. The children, who\nwere kneeling by the side of the bed, praying as he had requested, when", "along, my fine fellow.\" And Edward walked on till he came to the\npit-fall; there he stopped and looked round, and soon discovered the", "With such thoughts running in his head, Jacob arrived at the cottage,\nand found the children outside the door, watching for him. They all", "CHAPTER TWELVE.\n\n\"A narrow escape,\" said Edward, as he held his brother's hand.", "towards the tree, having passed the open spot, and being now not many\nyards from the tree. Perceiving the danger that his brother was in, and", "safe. Under this conviction, and feeling himself bound by his promise\nto Colonel Beverley to protect them, Jacob resolved that they should\nlive with him in the forest, and be brought up as his own grandchildren.", "\"I read of it in the same book I did about the traps for hares,\" replied\nHumphrey. \"I dug out the pit and covered it with brambles, and then put", "he perceived that Humphrey was safe; but still he was a prisoner, for\nthe bull went round and round the tree roaring and looking up at\nHumphrey. Edward thought a minute, then loaded his gun and ordered", "He walked in, and after a moment's thought, he said, \"My dear children,\nthose men may come and search the cottage; you must do as I tell you,", "attempt, he found out, from exhaustion, the poor lad was light enough\nfor him to carry him, which he did, and safely landed him by the side of\nthe pit." ], [ "expressed and felt that is to say, we believe that he might have made\nknown the existence of the children to the Villiers family, and that\nthey would never have been harmed by anybody. That by the burning of", "\"I cannot say that I exactly do; you have a secret that you wish to make\nknown to my father, and you think the knowledge of it may harm him. I\ncannot imagine what kind of secret that may be.\"", "to discover from their people, or by other means, for what purpose they\nmay have come; for you must be aware, Master Armitage, that the times\nare dangerous and people's minds are various. In attempting to free", "\"My dear children, you know that you must remain in this cottage, that\nthe wicked troopers may not find you out; they killed your father, and", "therefore, that they should remain with him till better times; and then\nhe would make known their existence to the other branches of the family,\nbut not before. \"I can hunt for them, and provide for them,\" thought", "accordingly; and that there were so many anxious to have a gift of the\nproperty that you would have thousands of people compassing your death.\nHe said that your making known yourself and claiming your property would", "\"Who would hurt such young children as those? No, no, they are safe\nenough; even the troopers would protect them.\"\n\n\"I should hope so,\" replied Agatha.", "were in the forest with him, and this disclosure would put the whole\nfamily in the power of their bitterest enemies; and what would become of\nyour sisters, it would be impossible to say; but most likely they would", "here, while you and Pablo prepare the cottage for them; and when I\nreturn everything shall be settled, and we will conduct them to it. I\ndo not think there is much danger of their being discovered while they", "doubt that they know where we live, and that Edward is at the\nIntendant's. They may come and attack us, and I dare not leave the", "of them might have occasioned suspicion. We must, however, expect more\nvisits. Keep a good look-out, Pablo.\"", "towards the tree, having passed the open spot, and being now not many\nyards from the tree. Perceiving the danger that his brother was in, and", "of accident, who would look after them and protect them? And it is my\nhope, that by leaving them now, I shall make powerful and kind friends\nfor them. Do you understand me?\"", "The inquest is over. Let every one leave the house except Edward\nArmitage, to whom I would speak alone.\"", "only hurt him and those who made the attempt.\" Having said this she\nleft the room.", "\"They'll all leave her,\" thought Jacob; \"well, my duty is plain; I'll\nnot leave the children in the house.\" Jacob then went in search of", "is now ready to bite the hand that has fed him, to burn the house that\nhas ever welcomed him. This is a bad world, and I thank heaven that I", "\"Not a day passes without my thinking of them,\" replied Edward. \"I\nshould like to see them. I should like to see if any one has taken\npossession of the property; for they say it is confiscated.\"", "\"Perhaps you may be persuaded to the contrary before we part,\" replied\nthe Intendant. \"The first duty you owe is to your family in their", "\"I fear they will venture anything, madam. At all events, they will\nfrighten the children, and for one night they will be better in my\ncottage.\"" ], [ "Edward had already arranged his plans. His great object was to ward off\nany suspicion of where he had been, and of course any idea that the", "Edward required powder and lead, and they went to a gunsmith's where it\nwas to be procured. While making his purchases, Edward perceived a", "\"Jacob Armitage has heard nothing of this, sir,\" replied Edward. \"He\nwas a keeper, appointed under the king; for two or three years his", "\"I perceive,\" replied Edward. \"When did you hear that the little girl\nwas to live with him?\"\n\n\"Not till yesterday morning; and it was not till the evening that we\nknew it was the order of Parliament.\"", "\"He has,\" replied Edward, as he turned away, and went into the bar to\nspeak with the hostess, and give his property into her care.\n\n\"Going north, sir?\" inquired the same person when Edward returned.", "Edward the result of his journey, and then proposed that Edward should\nstop at home for a few days and help him with the new enclosure. To\nthis Edward cheerfully consented; and as soon as they arrived at the", "\"If you think he has no means of subsistence, sir, you are mistaken,\"\nreplied Edward. \"We have land of our own, which we cultivate; we have\nour pony and our cart; we have our pigs and our cows.\"", "Edward did not think it right to tell Oswald what he knew, as it was a\nsecret confided to him by the Intendant, and therefore merely observed,", "Edward would be at the risk of his own life; and he knew that his orders\nwere to apprehend all poachers, but not to shoot people. It was true", "Edward stepped up to the table, and very quietly took up the paper and\nread it. \"You have stated what is correct, sir,\" said he, laying it", "Oswald, so soon as Edward came down to Arnwood, gave up his place in the\nNew Forest, and lived entirely with Edward as his steward; and Phoebe", "Edward, much excited by the intelligence, went into the room where he\nusually sat with the Intendant. The latter, who was at his desk, looked\nup, and saw how flushed Edward was, and said very quietly--", "This reply puzzled the man still more; and he now, from the tone of\nauthority assumed by Edward, began to imagine that he had made some", "\"More than a year,\" replied Edward; \"before that I was in the household\nat Arnwood.\"\n\n\"Then you are of the king's side, I presume?\" replied Oswald.", "Edward remained silent for some little while, for he could not trust\nhimself to speak; at last he replied: \"To be candid with you, I am, and", "Edward bowed, and then turned to the Intendant, who had apparently been\nwaiting while the conversation was going on. The Intendant bade him a", "suspicion being created, in consequence of the presence of Edward, and\nhis explanations. The parties were invariably sent in another\ndirection. Edward wrote to the Intendant, informing him what had", "Edward's appearance and manner so different from a common person, that\nhe was puzzled. Moreover, Edward had stated that he was going to the", "\"Indeed!\" replied Edward, \"that is news indeed! The Intendant has never\nmentioned it to me.\"\n\n\"I daresay not, sir; for he knows your feelings, and would be sorry to\npart with you.\"", "\"May I go with you, Jacob?\" said Edward.\n\n\"Why, I would rather not; they may ask questions.\"\n\n\"And so would I rather he would not, for he will shirk his work here.\"" ], [ "Edward the result of his journey, and then proposed that Edward should\nstop at home for a few days and help him with the new enclosure. To\nthis Edward cheerfully consented; and as soon as they arrived at the", "Edward had already arranged his plans. His great object was to ward off\nany suspicion of where he had been, and of course any idea that the", "Edward required powder and lead, and they went to a gunsmith's where it\nwas to be procured. While making his purchases, Edward perceived a", "\"If you think he has no means of subsistence, sir, you are mistaken,\"\nreplied Edward. \"We have land of our own, which we cultivate; we have\nour pony and our cart; we have our pigs and our cows.\"", "Edward would be at the risk of his own life; and he knew that his orders\nwere to apprehend all poachers, but not to shoot people. It was true", "Edward's appearance and manner so different from a common person, that\nhe was puzzled. Moreover, Edward had stated that he was going to the", "Edward remained silent for some little while, for he could not trust\nhimself to speak; at last he replied: \"To be candid with you, I am, and", "\"I perceive,\" replied Edward. \"When did you hear that the little girl\nwas to live with him?\"\n\n\"Not till yesterday morning; and it was not till the evening that we\nknew it was the order of Parliament.\"", "\"He has,\" replied Edward, as he turned away, and went into the bar to\nspeak with the hostess, and give his property into her care.\n\n\"Going north, sir?\" inquired the same person when Edward returned.", "\"Jacob Armitage has heard nothing of this, sir,\" replied Edward. \"He\nwas a keeper, appointed under the king; for two or three years his", "Humphrey returned home to attend his farm-yard, while Edward continued\nhis journey through the forest. Some estimate of the character of the\ntwo boys may be formed from the above conversation. Edward was", "By this time Edward's continual calls of \"Fire! Fire!\" had aroused the\npeople of the house, and also of the cottages adjacent. Mr", "Edward's heart beat quick. A moment's thought told him his situation.\nHe had been prevented, by the interruption of Mr Heatherstone, from", "Edward stepped up to the table, and very quietly took up the paper and\nread it. \"You have stated what is correct, sir,\" said he, laying it", "Edward now began to talk incoherently, and attempted to rise from the\nbed, but his efforts were unavailing--he was too weak; but he raved of", "Edward, much excited by the intelligence, went into the room where he\nusually sat with the Intendant. The latter, who was at his desk, looked\nup, and saw how flushed Edward was, and said very quietly--", "the world, does not suit Edward Beverley. Our father was a soldier, and\na right good one; and if I were old enough I think even now I should", "As Edward was equally anxious to proceed, he agreed with the stranger\nthat it was best to do as he proposed.\n\n\"I am also going north,\" replied Edward, \"and am anxious to get there as\nsoon as I can.\"", "This reply puzzled the man still more; and he now, from the tone of\nauthority assumed by Edward, began to imagine that he had made some", "That Edward Beverley had fits of gloominess and impatience is not\nsurprising. Edward had been brought up as the heir of Arnwood; and a" ], [ "he will have an army round him as soon as he lands.\" Edward made up his\nresolution to join the army as soon as he had heard that the king had", "little true chivalric feeling, and much of interested motives, in those\nwho have joined the king's forces. The army collected was composed of", "Chaloner then talked about the chances of the war. He stated that King\nCharles's army was in a good state of discipline, and well found in", "Charles raising another army in Holland, and that his adherents in\nEngland were preparing to join him as soon as he marched southward.", "But we must follow Edward for a time. On his arrival at Paris he was\nkindly received by King Charles, who promised to assist his views in\njoining the army.", "Colonel Beverley went to join the king's troops, feeling how little\nsecurity there would be for his wife and children in those troubled\ntimes, he requested the old man, by his attachment to the family, not to", "\"They say a great deal more, sir,\" replied Oswald; \"they say that the\nking is in Scotland, and that the Scotch have raised an army for him.\"", "and marched them away with him to join the king's army. Some few\nremained, their age not rendering their services of value, and among", "\"No. King Charles the Second has been proclaimed in Scotland, and\ninvited to come over.\"\n\n\"That is indeed news,\" replied Edward. \"Where is he now?\"", "On the 3rd of October the army of Cromwell appeared in sight. Edward\nhad been on horseback, attending the king, for the best part of the", "two boys were his inseparable companions, and he instructed them, young\nas they were, in all the secrets of his own calling. Such was the state\nof affairs at the time that King Charles made his escape from Hampton", "That he was justified in so doing at first, he felt; but since the\njoining the king's army, and the events which had followed, he", "country, it will suit well my feelings, as I can then offer my services\nto those who still support the king.\" With these thoughts, and many\nothers, he amused himself until, late in the evening, he arrived at the", "Worcester was a town well affected to the king, and the country abounded\nwith provisions, it was resolved that the army should march there, and\nwait for English reinforcements. This was done; the city opened the", "shall succeed. The Parliamentary army is not equal to ours in numbers,\nas it is; and we shall add to ours daily. The king has sent to the Isle", "\"I will tell you: I was over with Oswald Partridge the day before; you\nhad just arrived from London, and he gave me the news that King Charles\nhad been proclaimed in Scotland, and that news unsettled me.\"", "\"Most important, madam,\" replied Jacob. \"In the first place, it is\nright that you should be informed that his Majesty King Charles has\nescaped from Hampton Court.\"\n\n\"His majesty escaped!\" replied the lady.", "king, who is now in France, would raise an army and come over. It is\nbetter that Edward should be fighting in the field than remain here and", "rather opposition to the unfortunate King Charles. He attempted to make\nhimself absolute, and to wrest the liberties from the people of England;\nthat his warmest adherents will admit. When I joined the party which", "come to the Low Countries. At the time of their joining the king,\nRichard, the son of Cromwell, who had been nominated Protector, had\nresigned, and everything was ready for the Restoration." ], [ "Oswald, so soon as Edward came down to Arnwood, gave up his place in the\nNew Forest, and lived entirely with Edward as his steward; and Phoebe", "informed Mr Heatherstone that his application for the property of\nArnwood had been acceded to, and signed by the Commissioners; and that\nhe might take immediate possession. Edward turned pale as he laid the", "Edward the result of his journey, and then proposed that Edward should\nstop at home for a few days and help him with the new enclosure. To\nthis Edward cheerfully consented; and as soon as they arrived at the", "\"With such feelings, Mr Heatherstone, I can now congratulate you upon\nyour having obtained possession of the property,\" replied Edward.", "\"There is a grant to me of a property which I have long solicited for my\nservices--read it.\" Edward took up the letter, in which the Parliament", "\"He has,\" replied Edward, as he turned away, and went into the bar to\nspeak with the hostess, and give his property into her care.\n\n\"Going north, sir?\" inquired the same person when Edward returned.", "We must now pass over some time in a few words. Edward continued at the\nIntendant's, and gave great satisfaction to Mr Heatherstone. He passed", "While all these purchases on the part of Edward, and many others by\nHumphrey, such as nails, saws, tools, and various articles which Alice", "her some money which was left from the sale of the chickens, after he\nhad made the purchases. He also bought a new suit for Edward and", "The shopkeeper then produced the account, which Edward paid; and giving\non the paper the name of Edward Armitage, he took possession of the", "\"Not a day passes without my thinking of them,\" replied Edward. \"I\nshould like to see them. I should like to see if any one has taken\npossession of the property; for they say it is confiscated.\"", "\"Most willingly,\" replied Edward.\n\nAfter an hour's more conversation, they were shown into their rooms, and\nretired for the night.", "dress, while another one was preparing for him, and went over to the\ncottage; where, with the consent of the Intendant, he proposed remaining\nfor a few days. Of course Edward had not failed to acquaint the", "\"I perceive,\" replied Edward. \"When did you hear that the little girl\nwas to live with him?\"\n\n\"Not till yesterday morning; and it was not till the evening that we\nknew it was the order of Parliament.\"", "\"It was your house, Master Edward, and it was your property; but how\nlong it will be so remains to be seen. I fear it will be forfeited.\"", "Humphrey returned home to attend his farm-yard, while Edward continued\nhis journey through the forest. Some estimate of the character of the\ntwo boys may be formed from the above conversation. Edward was", "Edward required powder and lead, and they went to a gunsmith's where it\nwas to be procured. While making his purchases, Edward perceived a", "Edward had left the room, and having obtained the saddle-bags from\nPhoebe, had gone up to his chamber. The first thing that he laid hold", "As soon as the ceremonies were over, and they could escape from their\nattendance on the king's person, Edward and his two friends went to the\nhouse in which resided the Ladies Conynghame and his sisters.", "Edward had already arranged his plans. His great object was to ward off\nany suspicion of where he had been, and of course any idea that the" ] ]

[ "Who saves the 4 orphans; Edward, Humphrey, Alice and Edith?", "Where did Jacob hide the 4 orphans?", "What is the name of the hostile Puritan gamekeeper?", "Who been awarded the old Arnwood estate?", "Why were Edward's sisters sent away?", "Who eventually falls in love with Edward?", "What relation do Edward and his siblings pretend to be towards Jacob Armitage?", "What was Edward's job title while working for Heatherstone?", "Who are the four orphan children of the Arnwood house?", "Who rescues the children from fire at Arnwood?", "Who does Edward work for as a secretary?", "Where are Humphrey live after Edward leaves?", "After Edward leaves who raises his sisters Alice and Edith?", "What is the name of the antagonist Puritan gamekeeper?", "When does the story begin?", "What is believed to have happen to Edward, Humphrey, Alice and Edith?", "Who does Edward love?", "Who does Edward feel betrayed by and why?", "Where does Jacob Armitage hide the four orphan children when he saves them from the fire?", "What are the children disquised as by Jacob Armitage?", "Who takes charge of the children after Armitage's death?", "What is Pablo rescued from?", "What is the name of Heatherstone's daughter?", "What is Heatherstone's daughter rescued from by Armitage?", "What two things cause Edward distress and forces him to flee to France?", "Why did Heatherstone acquire the Arnwood estate?", "What job did Edward do for Heatherstone?", "Who was originally defeated that caused the soldiers to first search for the New Forest?", "What king has just been defeated when the story begins?", "Who lives in Arnwood?", "Who are the orphans in the house saved by?", "Who does Jacob disguise the children as?", "Who do the children rescue from a trap?", "Who wants to harm the family?", "Who does Edward work for?", "What is Edward's job?", "Who joins the army of King Charles II?", "Who acquired the estate for Edward?" ]

[ [ "Jacob Armitage", "Jacob Armitage" ], [ "In his isolated cottage", "In his cottage" ], [ "Corbould", "Corbould" ], [ "Heatherstone", "Heatherstone" ], [ "To be brought up as aristocratic ladies ", "To be taught to be proper ladies" ], [ "Patience", "Patience. " ], [ "His grandchildren", "His grandchildren" ], [ "Secretary", "secretary" ], [ "Edward, Humphrey, Alice and Edith", "William Humphrey Alice Edith" ], [ "Jacob Armitage", "Jacob Armitage" ], [ "Heatherstone", "Heatherstone" ], [ "New Forest", "New Forest " ], [ "Aristocratic ladies", "Aristocrats " ], [ "Corbould", "Corbould " ], [ "1647", "1647." ], [ "They were believed to have died in the flames at Arnwood.", "Died in a fire" ], [ "Patience", "Patience." ], [ "Edward feels betrayed by Heatherstone when he learns that Heatherstone was awarded the Arnwood estate.", "Patience, because she supposedly does not return his feelings of love." ], [ "his isolated cottage", "His isolated cottage." ], [ "his grandchildren", "His grandchildren" ], [ "Edward", "Edward" ], [ "a pitfall trap", "Trap" ], [ "Patience", "Patience" ], [ "a house fire", "A house-fire." ], [ "Heatherstone has been awarded the old Arnwood estate and Patience's apparent rejection of his love", "Royalist defeat at the battle of Worcester and Patience's rejection of his love" ], [ "To give to Edward", "For william" ], [ "He was his secretary", "Secretary" ], [ "King Charles I", "King Charles I" ], [ "King Charles I.", "Charles I" ], [ "Colonel Beverly.", "Colnel Beverly's Children" ], [ "Jacob Armitage.", "Jacob Armitage " ], [ "His grandchildren.", "grandchildren" ], [ "Pablo.", "A gypsy kid" ], [ "Corbould.", "Parliamentary soldiers " ], [ "Heatherstone.", "Heatherstone" ], [ "He is a secretary.", "secretary" ], [ "Edward.", "Edward" ], [ "Heatherwood.", "Heatherstone" ] ]

[ [ "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "THE MONK.\nCALAIS.", "THE MONK.\nCALAIS.", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "Yorick—", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "putting it into his hand.—’Tis most excellent, said the monk. Then do me\nthe favour, I replied, to accept of the box and all, and when you take a", "—A better reason was, I had predetermined not to give him a single sous.\n\n\n\n\nTHE MONK.\nCALAIS.", "jester.—But you are Yorick?—Yes.—_Et vous plaisantez_?—I answered, Indeed", "Alas, poor Yorick! cried I, what art thou doing here? On the very first\nonset of all this glittering clatter thou art reduced to an", "pointing at my portmanteau, full cheerfully should it have been open’d to\nyou, for the ransom of the unfortunate.—The monk made me a bow.—But of", "should be _plus badinant_, said the Count, looking down upon his own;—but\na word, Monsieur Yorick, _to the wise_—", "Lord! said I, hearing the town clock strike four, and recollecting that I\nhad been little more than a single hour in Calais,—", "hands,—shall it be smitten to its very root,—and smitten, Yorick! by\nthee, who hast promised to shelter it in thy breast?" ], [ "La Fleur returned a little pale; and told me it was a Chevalier de St.", "When the landlord had set me right in this matter, he called in La Fleur,\nwhich was the name of the young man he had spoke of,—saying only first,", "La Fleur had set out early in life, as gallantly as most Frenchmen do,\nwith _serving_ for a few years; at the end of which, having satisfied the", "Fleur if he had brought a letter,—_O qu’oui_, said La Fleur: so laying\ndown his hat upon the ground, and taking hold of the flap of his right", "La Fleur, who had made no such covenant with himself, followed the bidet\nwith his eyes till it was got out of sight,—and then, you may imagine, if\nyou please, with what word he closed the whole affair.", "—And what mistress, La Fleur, said I, canst thou have picked up in so\nlittle a time at Paris? La Fleur laid his hand upon his breast, and said", "AS La Fleur went the whole tour of France and Italy with me, and will be\noften upon the stage, I must interest the reader a little further in his", "—’Tis all very well, La Fleur, said I.—’Twas sufficient. La Fleur flew", "Yorick—", "—How perfidious! cried La Fleur.—How unlucky! said I.", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "That as for his talents he would presume to say nothing,—Monsieur was the\nbest judge what would suit him; but for the fidelity of La Fleur he would\nstand responsible in all he was worth.", "into tears.—I could not sustain the picture of confinement which my fancy\nhad drawn.—I started up from my chair, and calling La Fleur: I bid him", "that I was sorry on my side for the occasion I had given him;—and you may\ntell him, if you will, La Fleur, added I, that if the young woman should", "When La Fleur told me the Lieutenant de Police had been enquiring after\nme,—the thing instantly recurred;—and by the time La Fleur had well told", "As there was no hunting down a frightened horse in jack-boots, there\nremained no alternative but taking La Fleur either behind the chaise, or\ninto it.—", "added of his too; but La Fleur was out of the reach of every thing; for,\nwhether ’twas hunger or thirst, or cold or nakedness, or watchings, or", "I COULD not find in my heart to torture La Fleur’s with a serious look\nupon the subject of my embarrassment, which was the reason I had treated", "_C’est un garcon de bonne fortune_, said the landlord, pointing through\nthe window to half a dozen wenches who had got round about La Fleur, and" ], [ "by the Lieutenant de Police.—The deuce take it! said I,—I know the\nreason. It is time the reader should know it, for in the order of things", "When La Fleur told me the Lieutenant de Police had been enquiring after\nme,—the thing instantly recurred;—and by the time La Fleur had well told", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "—And the master of my hotel, said I, as I concluded it, will needs have\nit, Monsieur le Count, that I shall be sent to the Bastile;—but I have no", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "me, the master of the hotel came into my room to tell me the same thing,\nwith this addition to it, that my passport had been particularly asked\nafter: the master of the hotel concluded with saying, He hoped I had", "with the man.—I own it is necessary, resumed the master of the hotel,\nthat a stranger at Paris should have the opportunities presented to him", "said I, step back to her to the Count de B—’s hotel, and see if thou\ncanst get it.—There is no doubt of it, said La Fleur;—and away he flew.", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "quoth I, with an air of indifference.—Then _certes_, replied he, you’ll\nbe sent to the Bastile or the Chatelet _au moins_.—Poo! said I, the King", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "He told me it was some poor Abbé in one of the upper loges, who, he\nsupposed, had got planted perdu behind a couple of grisettes in order to", "Yorick—", "“Here’s a poor stranger come into the box—he seems as if he knew nobody;\nand is never likely, was he to be seven years in Paris, if every man he", "The master of the hotel retired three steps from me, as from an infected\nperson, as I declared this;—and poor La Fleur advanced three steps" ], [ "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "Yorick—", "should be _plus badinant_, said the Count, looking down upon his own;—but\na word, Monsieur Yorick, _to the wise_—", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "jester.—But you are Yorick?—Yes.—_Et vous plaisantez_?—I answered, Indeed", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "See, Monsieur le Count, said I, rising up, and laying them before him\nupon the table,—by jingling and rubbing one against another for seventy", "Alas, poor Yorick! cried I, what art thou doing here? On the very first\nonset of all this glittering clatter thou art reduced to an", "The Count smiled at the singularity of the introduction; and seeing I\nlook’d a little pale and sickly, insisted upon my taking an arm-chair; so", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "your embarrassment? let me hear it, said the Count. So I told him the\nstory just as I have told it the reader.", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "When I had got to the end of the third act the Count de B— entered, with\nmy passport in his hand. Monsieur le Duc de C—, said the Count, is as", "hands,—shall it be smitten to its very root,—and smitten, Yorick! by\nthee, who hast promised to shelter it in thy breast?", "The Count led the discourse: we talk’d of indifferent things,—of books," ], [ "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "A\n SENTIMENTAL JOURNEY\n THROUGH\n FRANCE AND ITALY;\n\n\n BY MR. YORICK.", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "powers, because you have the whole world against you.—I promised the\nCount I would do myself the honour of dining with him before I set out\nfor Italy;—so took my leave.", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "Yorick—", "Then I will meet thee, said I, fair spirit! at Brussels;—’tis only\nreturning from Italy through Germany to Holland, by the route of", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "In my return from Italy I brought him with me to the country in whose\nlanguage he had learned his notes; and telling the story of him to Lord", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "inclination to serve me could reach no farther than Calais, as he was to\nreturn by way of Brussels to Paris; however, when I had once pass’d", "why should I not go, thought I, to the Count de B—, who has so high an\nidea of English books and English men—and tell him my story? so I changed", "—And so, quoth Wisdom, you have hired a drummer to attend you in this\ntour of yours through France and Italy!—Psha! said I, and do not one half", "should be _plus badinant_, said the Count, looking down upon his own;—but\na word, Monsieur Yorick, _to the wise_—", "I feel a damp upon my spirits, as I am going to add, that in my last\nreturn through Calais, upon enquiring after Father Lorenzo, I heard he" ], [ "When we had got within half a league of Moulines, at a little opening in\nthe road leading to a thicket, I discovered poor Maria sitting under a", "anguish, for the loss of Maria’s senses, about a month before.—She had\nfeared at first, she added, that it would have plunder’d her poor girl of", "Maria in the background of the piece, sitting pensive under her poplar;\nand I had got almost to Lyons before I was able to cast a shade across\nher.", "Maria, though not tall, was nevertheless of the first order of fine\nforms:—affliction had touched her looks with something that was scarce", "I sat down close by her; and Maria let me wipe them away as they fell,", "THOUGH I hate salutations and greetings in the market-place, yet, when we\ngot into the middle of this, I stopp’d to take my last look and last\nfarewell of Maria.", "And where are you going, Maria? said I.—She said, to Moulines.—Let us go,", "And is your heart still so warm, Maria? said I.", "not leave me, Sylvio,” said she. I look’d in Maria’s eyes and saw she\nwas thinking more of her father than of her lover, or her little goat;", "WHEN Maria had come a little to herself, I ask’d her if she remembered a\npale thin person of a man, who had sat down betwixt her and her goat", "what little understanding was left;—but, on the contrary, it had brought\nher more to herself:—still, she could not rest.—Her poor daughter, she", "taken up with the poor Maria my friend, Mr. Shandy, met with near\nMoulines.", "Maria? said I.—I’ll dry it in my bosom, said she:—’twill do me good.", "Nature melted within me, as I utter’d this; and Maria observing, as I\ntook out my handkerchief, that it was steep’d too much already to be of", "them, but ’twas nothing but the account of his miserable feelings.", "’Tis going, I own, like the Knight of the Woeful Countenance in quest of\nmelancholy adventures. But I know not how it is, but I am never so", "about two years before? She said she was unsettled much at that time,\nbut remembered it upon two accounts:—that ill as she was, she saw the", "—There was a dead silence. When the Marquis had approached within six\npaces of the tribunal, he gave the Marchioness to his youngest son, and", "and how she had got supported, she could not tell;—but _God tempers the\nwind_, said Maria, _to the shorn lamb_.", "I touch’d upon the string on which hung all her sorrows:—she look’d with\nwistful disorder for some time in my face; and then, without saying any" ], [ "THE FILLE DE CHAMBRE.\nPARIS.", "and dress seemed to be _fille de chambre_ to some devout woman of\nfashion, come into the shop and asked for _Les Egarements du Cœur et de", "As I finished my address, I raised the fair _fille de chambre_ up by the\nhand, and led her out of the room:—she stood by me till I locked the door", "The fair _fille de chambre_ came close up to the bureau where I was\nlooking for a card—took up first the pen I cast down, then offer’d to", "As the fair _fille de chambre_ was so near my door, she returned back,\nand went into the room with me for a moment or two whilst I wrote a card.", "A strap had given way in her walk, and the buckle of her shoe was just\nfalling off.—See, said the _fille de chambre_, holding up her foot.—I", "It was the fair _fille de chambre_ I had walked along the Quai de Conti\nwith; Madame de R— had sent her upon some commission to a _marchande des", "I’ll just show you, said the fair _fille de chambre_, the little purse I\nhave been making to-day to hold your crown. So she put her hand into her", "So that when I stretch’d out my hand I caught hold of the _fille de\nchambre’s_—\n\n * * * * *\n\n THE END", "But the _fille de chambre_ hearing there were words between us, and\nfearing that hostilities would ensue in course, had crept silently out of", "bed) were drawn close:—the sun was setting, and reflected through them so\nwarm a tint into the fair _fille de chambre’s_ face,—I thought she", "far as the bookseller’s shop; but seeing me come out with the young\n_fille de chambre_, and that we walk’d down the Quai de Conti together,", "till necessity herself had set them at liberty;—but the lady having a few\nbottles of Burgundy in her voiture, sent down her _fille de chambre_ for", "A stitch or two had broke out in the gathers of my stock; the fair _fille\nde chambre_, without saying a word, took out her little housewife,", "chambre_ to Madame R—.—Good God! said I, ’tis the very lady for whom I", "The lady was a Piedmontese of about thirty, with a glow of health in her\ncheeks. The maid was a Lyonoise of twenty, and as brisk and lively a", "scanty to draw close, that the _fille de chambre_ shall fasten up the\nopening, either by corking pins, or needle and thread, in such manner as", "word by her _fille de chambre_ that I would assuredly wait upon her;—but\nI am governed by circumstances;—I cannot govern them: so seeing a man", "Rue de St. Pierre.—You live there? said I.—She told me she was _fille de", "Now Janatone, being the landlord’s daughter, and the landlord supposing I\nwas young in French, took the liberty to inform me, I should not have" ], [ "First, as the right of the bed-chamber is in Monsieur,—and he thinking\nthe bed next to the fire to be the warmest, he insists upon the\nconcession on the lady’s side of taking up with it.", "3dly. It was insisted upon and stipulated for by the lady, that after\nMonsieur was got to bed, and the candle and fire extinguished, that\nMonsieur should not speak one single word the whole night.", "I forthwith took possession of my bedchamber—got a good fire—order’d\nsupper; and was thanking heaven it was no worse, when a voiture arrived\nwith a lady in it and her servant maid.", "_C’EST bien comique_, ’tis very droll, said the lady, smiling, from the\nreflection that this was the second time we had been left together by a", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "said I.—He answered, I had had a young woman lock’d up with me two hours\nthat evening in my bedchamber, and ’twas against the rules of his", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "As there was no other bed-chamber in the house, the hostess,—without much\nnicety, led them into mine, telling them, as she usher’d them in, that", "The lady would by no means give up her point, though she weaken’d her\nbarrier by it; for in the warmth of the dispute, I could hear two or\nthree corking pins fall out of the curtain to the ground.", "’Tis their _fort_, replied the lady.", "2dly. It is required on the part of Madame, that Monsieur shall lie the\nwhole night through in his _robe de chambre_.", "lady, the count de L—, her brother, was just arrived at the hotel.\nThough I had infinite good will for the lady, I cannot say that I", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "moment, and he shall attend you to the place.—So I walk’d in with her to\nthe far side of the shop: and taking up the ruffle in my hand which she", "The lady was a Piedmontese of about thirty, with a glow of health in her\ncheeks. The maid was a Lyonoise of twenty, and as brisk and lively a", "WHEN I told the reader that I did not care to get out of the\n_désobligeant_, because I saw the monk in close conference with a lady", "figure of the lady he was talking to. Suspicion crossed my brain and\nsaid, he was telling her what had passed: something jarred upon it within\nme,—I wished him at his convent.", "to it, it was that the two beds were both of them so very small, as to\ncut us off from every idea of the lady and the maid lying together; which", "She placed me upon the same sofa with her, for the sake of disputing the\npoint of religion more closely.—In short Madame de V— told me she", "THIS certainly, fair lady, said I, raising her hand up little lightly as\nI began, must be one of Fortune’s whimsical doings; to take two utter" ], [ "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "Yorick—", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "Alas, poor Yorick! cried I, what art thou doing here? On the very first\nonset of all this glittering clatter thou art reduced to an", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "hands,—shall it be smitten to its very root,—and smitten, Yorick! by\nthee, who hast promised to shelter it in thy breast?", "So that when I stretch’d out my hand I caught hold of the _fille de\nchambre’s_—\n\n * * * * *\n\n THE END", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "moment, and he shall attend you to the place.—So I walk’d in with her to\nthe far side of the shop: and taking up the ruffle in my hand which she", "them upon the floor,—pulled out a dirty cravat,—a handkerchief,—a comb,—a", "A poor little dwarfish brisk fellow, who stood over against me in the\ncircle, putting something first under his arm, which had once been a hat,", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "—AND this, said he, putting the remains of a crust into his wallet—and\nthis should have been thy portion, said he, hadst thou been alive to have", "jester.—But you are Yorick?—Yes.—_Et vous plaisantez_?—I answered, Indeed", "When he had entered the room three paces, he stood still; and laying his\nleft hand upon his breast (a slender white staff with which he journey’d" ], [ "me known to him.—But _a propos_, said he;—Shakespeare is full of great\nthings;—he forgot a small punctilio of announcing your name:—it puts you", "read Shakespeare; so taking up “_Much Ado About Nothing_,” I transported\nmyself instantly from the chair I sat in to Messina in Sicily, and got so", "It is a story, _Monsieur le Notaire_, said the gentleman, which will\nrouse up every affection in nature;—it will kill the humane, and touch\nthe heart of Cruelty herself with pity.—", "my life I could accomplish this to any purpose;—for Shakespeare lying\nupon the table, and recollecting I was in his books, I took up Hamlet,", "handsome, and heaven will fill it. I had a parcel of crowns in my hand\nto pay for Shakespeare; and, as she had let go the purse entirely, I put", "towards the notary, began to dictate his story in these words:—", "I FOUND no difficulty in getting admittance to Monsieur le Count de B—.\nThe set of Shakespeares was laid upon the table, and he was tumbling them", "—And does the Count de B—, said I, read Shakespeare? _C’est un esprit\nfort_, replied the bookseller.—He loves English books! and what is more", "moment, and he shall attend you to the place.—So I walk’d in with her to\nthe far side of the shop: and taking up the ruffle in my hand which she", "The Count said a great many civil things to me upon the occasion; and\nadded very politely, how much he stood obliged to Shakespeare for making", "The story he had told of that disordered maid affected me not a little in\nthe reading; but when I got within the neighbourhood where she lived, it", "As I have told this to please the reader, I beg he will allow me to\nrelate another, out of its order, to please myself:—the two stories", "WHAT the old French officer had delivered upon travelling, bringing\nPolonius’s advice to his son upon the same subject into my head,—and that", "myself.—Did we but love each other as this poor soul loved his\nass—’twould be something.—", "value of the ass—but the loss of him.—The ass, he said, he was assured,\nloved him;—and upon this told them a long story of a mischance upon their", "THIS certainly, fair lady, said I, raising her hand up little lightly as\nI began, must be one of Fortune’s whimsical doings; to take two utter", "dozen French plays compounded together,—and yet they are absolutely\nfine;—and whenever I have a more brilliant affair upon my hands than", "countryman, the great Shakespeare, said I, pointing to his works—_et ayez\nla bouté_, _mon cher ami_, apostrophizing his spirit, added I, _de me", "MY heart smote me the moment he shut the door—Psha! said I, with an air\nof carelessness, three several times—but it would not do: every", "—And here, I know, Eugenius, thou wilt smile at the remembrance of a\nshort dialogue which passed betwixt us the moment I was going to set\nout:—I must tell it here." ], [ "putting it into his hand.—’Tis most excellent, said the monk. Then do me\nthe favour, I replied, to accept of the box and all, and when you take a", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "Yorick—", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "Alas, poor Yorick! cried I, what art thou doing here? On the very first\nonset of all this glittering clatter thou art reduced to an", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "Whilst this lasted, the monk rubbed his horn box upon the sleeve of his\ntunic; and as soon as it had acquired a little air of brightness by the", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "pointing at my portmanteau, full cheerfully should it have been open’d to\nyou, for the ransom of the unfortunate.—The monk made me a bow.—But of", "hands,—shall it be smitten to its very root,—and smitten, Yorick! by\nthee, who hast promised to shelter it in thy breast?", "I was just then taking a pinch of snuff out of my monk’s little horn\nbox.—And how would thy meek and courteous spirit, my dear monk! so", "I HAD scarce uttered the words, when a poor monk of the order of St.\nFrancis came into the room to beg something for his convent. No man", "should be _plus badinant_, said the Count, looking down upon his own;—but\na word, Monsieur Yorick, _to the wise_—", "jester.—But you are Yorick?—Yes.—_Et vous plaisantez_?—I answered, Indeed", "The poor monk blush’d as red as scarlet. _Mon Dieu_! said he, pressing" ], [ "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "Yorick—", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "Monsieur le Count de B—, merely because he had done me one kindness in\nthe affair of my passport, would go on and do me another, the few days he", "Monsieur, said he, has not a passport (_apparemment_) in all likelihood\nhe has friends in Paris who can procure him one.—Not that I know of,", "The Count instantly put the Shakespeare into his pocket, and left me\nalone in his room.\n\n\n\n\nTHE PASSPORT.\nVERSAILLES.", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "When I had got to the end of the third act the Count de B— entered, with\nmy passport in his hand. Monsieur le Duc de C—, said the Count, is as", "THE PASSPORT.\nPARIS.", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "without a passport. Go but to the end of a street, I have a mortal\naversion for returning back no wiser than I set out; and as this was one", "jester.—But you are Yorick?—Yes.—_Et vous plaisantez_?—I answered, Indeed", "should be _plus badinant_, said the Count, looking down upon his own;—but\na word, Monsieur Yorick, _to the wise_—", "A\n SENTIMENTAL JOURNEY\n THROUGH\n FRANCE AND ITALY;\n\n\n BY MR. YORICK." ], [ "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "Yorick—", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "jester.—But you are Yorick?—Yes.—_Et vous plaisantez_?—I answered, Indeed", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "Alas, poor Yorick! cried I, what art thou doing here? On the very first\nonset of all this glittering clatter thou art reduced to an", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "should be _plus badinant_, said the Count, looking down upon his own;—but\na word, Monsieur Yorick, _to the wise_—", "hands,—shall it be smitten to its very root,—and smitten, Yorick! by\nthee, who hast promised to shelter it in thy breast?", "Monsieur Yorick a autant d’esprit que nous autres_.—_Il raisonne bien_,", "before me as happy and as perpendicular as a prince.—But what is\nhappiness! what is grandeur in this painted scene of life! A dead ass,", "Good God! said I, you might as well confound Alexander the Great with\nAlexander the Coppersmith, my lord!—“’Twas all one,” he replied.—", "risk them: where there is risk there may be loss:—and what wilt thou\nhave, Yorick, to answer to a heart so full of trust and confidence—so", "mistaken in her character; but upon turning her face towards me, the\nspirit which had animated the reply was fled,—the muscles relaxed, and I" ], [ "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "Yorick—", "WHEN Maria had come a little to herself, I ask’d her if she remembered a\npale thin person of a man, who had sat down betwixt her and her goat", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "THOUGH I hate salutations and greetings in the market-place, yet, when we\ngot into the middle of this, I stopp’d to take my last look and last\nfarewell of Maria.", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "taken up with the poor Maria my friend, Mr. Shandy, met with near\nMoulines.", "When we had got within half a league of Moulines, at a little opening in\nthe road leading to a thicket, I discovered poor Maria sitting under a", "Maria, though not tall, was nevertheless of the first order of fine\nforms:—affliction had touched her looks with something that was scarce", "jester.—But you are Yorick?—Yes.—_Et vous plaisantez_?—I answered, Indeed", "should be _plus badinant_, said the Count, looking down upon his own;—but\na word, Monsieur Yorick, _to the wise_—", "I sat down close by her; and Maria let me wipe them away as they fell,", "And where are you going, Maria? said I.—She said, to Moulines.—Let us go," ], [ "3dly. It was insisted upon and stipulated for by the lady, that after\nMonsieur was got to bed, and the candle and fire extinguished, that\nMonsieur should not speak one single word the whole night.", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "chambre_; and so it was stipulated and agreed upon, that I should lie in\nmy black silk breeches all night.", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "—There was a dead silence. When the Marquis had approached within six\npaces of the tribunal, he gave the Marchioness to his youngest son, and", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "The poor Franciscan made no reply: a hectic of a moment pass’d across his\ncheek, but could not tarry—Nature seemed to have done with her", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "just arrived at the inn—I told him the truth,—but I did not tell him the\nwhole truth; for I was as full as much restrained by the appearance and", "Now, when we were got to bed, whether it was the novelty of the\nsituation, or what it was, I know not; but so it was, I could not shut my", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "2dly. It is required on the part of Madame, that Monsieur shall lie the\nwhole night through in his _robe de chambre_.", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "should be _plus badinant_, said the Count, looking down upon his own;—but\na word, Monsieur Yorick, _to the wise_—", "whether I had any wit or no;—I was let in, to be convinced she had. I\ncall heaven to witness I never once opened the door of my lips.", "Yorick—", "I knew not that contention could be rendered so sweet and pleasurable a\nthing to the nerves as I then felt it.—We remained silent, without any" ], [ "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "Yorick—", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "When I had got to the end of the third act the Count de B— entered, with\nmy passport in his hand. Monsieur le Duc de C—, said the Count, is as", "me, the master of the hotel came into my room to tell me the same thing,\nwith this addition to it, that my passport had been particularly asked\nafter: the master of the hotel concluded with saying, He hoped I had", "jester.—But you are Yorick?—Yes.—_Et vous plaisantez_?—I answered, Indeed", "The Count instantly put the Shakespeare into his pocket, and left me\nalone in his room.\n\n\n\n\nTHE PASSPORT.\nVERSAILLES.", "AND how do you find the French? said the Count de B—, after he had given\nme the passport.", "Monsieur le Count de B—, merely because he had done me one kindness in\nthe affair of my passport, would go on and do me another, the few days he", "Alas, poor Yorick! cried I, what art thou doing here? On the very first\nonset of all this glittering clatter thou art reduced to an", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "should be _plus badinant_, said the Count, looking down upon his own;—but\na word, Monsieur Yorick, _to the wise_—", "Monsieur, said he, has not a passport (_apparemment_) in all likelihood\nhe has friends in Paris who can procure him one.—Not that I know of," ], [ "Yorick—", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "A\n SENTIMENTAL JOURNEY\n THROUGH\n FRANCE AND ITALY;\n\n\n BY MR. YORICK.", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "Alas, poor Yorick! cried I, what art thou doing here? On the very first\nonset of all this glittering clatter thou art reduced to an", "jester.—But you are Yorick?—Yes.—_Et vous plaisantez_?—I answered, Indeed", "should be _plus badinant_, said the Count, looking down upon his own;—but\na word, Monsieur Yorick, _to the wise_—", "He said, heaven had accepted the conditions; and that he had set out from\nhis cottage with this poor creature, who had been a patient partner of", "When he had entered the room three paces, he stood still; and laying his\nleft hand upon his breast (a slender white staff with which he journey’d", "Now the two travellers, who had spoke to me in the coach-yard, happening\nat that crisis to be passing by, and observing our communications,", "AS La Fleur went the whole tour of France and Italy with me, and will be\noften upon the stage, I must interest the reader a little further in his", "Monsieur Yorick a autant d’esprit que nous autres_.—_Il raisonne bien_," ], [ "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "Yorick—", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "When he had entered the room three paces, he stood still; and laying his\nleft hand upon his breast (a slender white staff with which he journey’d", "short of his stage at a little decent kind of an inn by the roadside.", "just arrived at the inn—I told him the truth,—but I did not tell him the\nwhole truth; for I was as full as much restrained by the appearance and", "The story he had told of that disordered maid affected me not a little in\nthe reading; but when I got within the neighbourhood where she lived, it", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "Lord! said I, hearing the town clock strike four, and recollecting that I\nhad been little more than a single hour in Calais,—", "A\n SENTIMENTAL JOURNEY\n THROUGH\n FRANCE AND ITALY;\n\n\n BY MR. YORICK.", "The master of the hotel retired three steps from me, as from an infected\nperson, as I declared this;—and poor La Fleur advanced three steps", "—He said he had come last from Spain, where he had been from the furthest\nborders of Franconia; and had got so far on his return home, when his ass", "had finished its career of Europe in the corner of Mons. Dessein’s\ncoach-yard; and having sallied out from thence but a vampt-up business at", "A servant! That I do most sadly, quoth I.—Because, Monsieur, said the\nlandlord, there is a clever young fellow, who would be very proud of the" ], [ "When the landlord had set me right in this matter, he called in La Fleur,\nwhich was the name of the young man he had spoke of,—saying only first,", "La Fleur had set out early in life, as gallantly as most Frenchmen do,\nwith _serving_ for a few years; at the end of which, having satisfied the", "That as for his talents he would presume to say nothing,—Monsieur was the\nbest judge what would suit him; but for the fidelity of La Fleur he would\nstand responsible in all he was worth.", "—And what mistress, La Fleur, said I, canst thou have picked up in so\nlittle a time at Paris? La Fleur laid his hand upon his breast, and said", "La Fleur, who had made no such covenant with himself, followed the bidet\nwith his eyes till it was got out of sight,—and then, you may imagine, if\nyou please, with what word he closed the whole affair.", "Fleur if he had brought a letter,—_O qu’oui_, said La Fleur: so laying\ndown his hat upon the ground, and taking hold of the flap of his right", "When La Fleur told me the Lieutenant de Police had been enquiring after\nme,—the thing instantly recurred;—and by the time La Fleur had well told", "La Fleur returned a little pale; and told me it was a Chevalier de St.", "interest, La Fleur had contrived to make it do to win the maid to his.\nThe family, it seems, was to be at Paris that day, and he had made a", "As there was no hunting down a frightened horse in jack-boots, there\nremained no alternative but taking La Fleur either behind the chaise, or\ninto it.—", "—How perfidious! cried La Fleur.—How unlucky! said I.", "WHEN I got home to my hotel, La Fleur told me I had been enquired after", "LA FLEUR had left me something to amuse myself with for the day more than\nI had bargain’d for, or could have enter’d either into his head or mine.", "Madame de L— had said this with such a tone of reliance upon the fact,\nthat La Fleur had not power to disappoint her expectations;—he trembled", "_C’est un garcon de bonne fortune_, said the landlord, pointing through\nthe window to half a dozen wenches who had got round about La Fleur, and", "that I was sorry on my side for the occasion I had given him;—and you may\ntell him, if you will, La Fleur, added I, that if the young woman should", "—’Tis all very well, La Fleur, said I.—’Twas sufficient. La Fleur flew", "La Fleur would have put me to bed; but—not willing he should see anything\nupon my cheek which would cost the honest fellow a heart-ache,—I told him", "not quit them a day before the time for all the kings of France in the\nworld. La Fleur whispered in my ear, That nobody could oppose the king\nof France.", "and as a Frenchman, whatever be his talents, has no sort of prudery in\nshowing them, La Fleur, in less than five minutes, had pulled out his" ], [ "I had left London with so much precipitation, that it never enter’d my\nmind that we were at war with France; and had reached Dover, and looked", "—In England, dear Sir, said I, _we sit all at our ease_.", "Whilst the Honourable Mr. — was waiting for a wind at Dover, it had been\ncaught upon the cliffs, before it could well fly, by an English lad who", "honour to serve an Englishman.—But why an English one, more than any\nother?—They are so generous, said the landlord.—I’ll be shot if this is", "He had had the honour, he said, to be at the bombardment of it last\nwar;—that it was finely situated, _pour cela_,—and full of noblesse when", "affair was somewhere else than in his brain. “He could like to take a\ntrip to England,” and asked much of the English ladies.—Stay where you", "—_As an Englishman does not travel to see Englishmen_, I retired to my\nroom.\n\n\n\n\nCALAIS.", "to his honour, Monsieur, he loves the English too. You speak this so\ncivilly, said I, that it is enough to oblige an Englishman to lay out a", "stranger, and what is worse in the present conjuncture of affairs, being\nan Englishman too.—He replied, that did not increase the difficulty.—I", "powers, because you have the whole world against you.—I promised the\nCount I would do myself the honour of dining with him before I set out\nfor Italy;—so took my leave.", "not quit them a day before the time for all the kings of France in the\nworld. La Fleur whispered in my ear, That nobody could oppose the king\nof France.", "The English, like ancient medals, kept more apart, and passing but few\npeople’s hands, preserve the first sharpnesses which the fine hand of", "THEY order, said I, this matter better in France.—You have been in\nFrance? said my gentleman, turning quick upon me, with the most civil", "Lord! said I, hearing the town clock strike four, and recollecting that I\nhad been little more than a single hour in Calais,—", "are, I beseech you, Monsieur le Marquis, said I.—_Les Messieurs Anglois_\ncan scarce get a kind look from them as it is.—The Marquis invited me to", "There is one sweet lenitive at least for evils, which Nature holds out to\nus: so I took it kindly at her hands, and fell asleep; and the first word\nwhich roused me was _Amiens_.", "In my return from Italy I brought him with me to the country in whose\nlanguage he had learned his notes; and telling the story of him to Lord", "there was nobody in it but an English gentleman;—that there were two good\nbeds in it, and a closet within the room which held another. The accent", "When I had fished my dinner, and drank the King of France’s health, to\nsatisfy my mind that I bore him no spleen, but, on the contrary, high", "I forthwith took possession of my bedchamber—got a good fire—order’d\nsupper; and was thanking heaven it was no worse, when a voiture arrived\nwith a lady in it and her servant maid." ], [ "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "Yorick—", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Monsieur, said he, has not a passport (_apparemment_) in all likelihood\nhe has friends in Paris who can procure him one.—Not that I know of,", "The Count instantly put the Shakespeare into his pocket, and left me\nalone in his room.\n\n\n\n\nTHE PASSPORT.\nVERSAILLES.", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "Monsieur le Count de B—, merely because he had done me one kindness in\nthe affair of my passport, would go on and do me another, the few days he", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "When I had got to the end of the third act the Count de B— entered, with\nmy passport in his hand. Monsieur le Duc de C—, said the Count, is as", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "THE PASSPORT.\nPARIS.", "A\n SENTIMENTAL JOURNEY\n THROUGH\n FRANCE AND ITALY;\n\n\n BY MR. YORICK.", "without a passport. Go but to the end of a street, I have a mortal\naversion for returning back no wiser than I set out; and as this was one", "AND how do you find the French? said the Count de B—, after he had given\nme the passport.", "THE PASSPORT.\nTHE HOTEL AT PARIS." ], [ "anguish, for the loss of Maria’s senses, about a month before.—She had\nfeared at first, she added, that it would have plunder’d her poor girl of", "Maria, though not tall, was nevertheless of the first order of fine\nforms:—affliction had touched her looks with something that was scarce", "When we had got within half a league of Moulines, at a little opening in\nthe road leading to a thicket, I discovered poor Maria sitting under a", "THOUGH I hate salutations and greetings in the market-place, yet, when we\ngot into the middle of this, I stopp’d to take my last look and last\nfarewell of Maria.", "what little understanding was left;—but, on the contrary, it had brought\nher more to herself:—still, she could not rest.—Her poor daughter, she", "Maria in the background of the piece, sitting pensive under her poplar;\nand I had got almost to Lyons before I was able to cast a shade across\nher.", "I sat down close by her; and Maria let me wipe them away as they fell,", "WHEN Maria had come a little to herself, I ask’d her if she remembered a\npale thin person of a man, who had sat down betwixt her and her goat", "not leave me, Sylvio,” said she. I look’d in Maria’s eyes and saw she\nwas thinking more of her father than of her lover, or her little goat;", "in that state of its declension, which had passed the two first paroxysms\nof sorrow, and was quietly beginning to reconcile itself to its loss;—but", "When the mourner got thus far on his story, he stopp’d to pay Nature her\ntribute,—and wept bitterly.", "The old mother came to the door; her looks told me the story before she\nopen’d her mouth.—She had lost her husband; he had died, she said, of", "I NEVER finished a twelve guinea bargain so expeditiously in my life: my\ntime seemed heavy, upon the loss of the lady, and knowing every moment of", "and how she had got supported, she could not tell;—but _God tempers the\nwind_, said Maria, _to the shorn lamb_.", "it, which, in the frame of mind I was in, attached me much more to it,—it\nwas interesting: I fancied it wore the characters of a widow’d look, and", "And is your heart still so warm, Maria? said I.", "taken up with the poor Maria my friend, Mr. Shandy, met with near\nMoulines.", "Nature melted within me, as I utter’d this; and Maria observing, as I\ntook out my handkerchief, that it was steep’d too much already to be of", "—There was a dead silence. When the Marquis had approached within six\npaces of the tribunal, he gave the Marchioness to his youngest son, and", "And where are you going, Maria? said I.—She said, to Moulines.—Let us go," ], [ "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "Yorick—", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "As there was no other bed-chamber in the house, the hostess,—without much\nnicety, led them into mine, telling them, as she usher’d them in, that", "there was nobody in it but an English gentleman;—that there were two good\nbeds in it, and a closet within the room which held another. The accent", "—The master of the hotel will share the profit with her;—no matter,—then\nI have only paid as many a poor soul has _paid_ before me, for an act he\n_could_ not do, or think of.", "Alas, poor Yorick! cried I, what art thou doing here? On the very first\nonset of all this glittering clatter thou art reduced to an", "just arrived at the inn—I told him the truth,—but I did not tell him the\nwhole truth; for I was as full as much restrained by the appearance and", "That the beds we were to lie in were in one and the same room, was enough\nsimply by itself to have excited all this;—but the position of them, for", "shared it with me.—I thought, by the accent, it had been an apostrophe to\nhis child; but ’twas to his ass, and to the very ass we had seen dead in", "A servant! That I do most sadly, quoth I.—Because, Monsieur, said the\nlandlord, there is a clever young fellow, who would be very proud of the", "As for the little room within, it offer’d little or no consolation to us:\n’twas a damp, cold closet, with a half dismantled window-shutter, and" ], [ "Depend upon it, Yorick! said Discretion, ’twill be said you went off with\na mistress, and came by assignation to Calais for that purpose;—", "Denmark’s jester.” Good, my Lord said I; but there are two Yoricks. The\nYorick your Lordship thinks of, has been dead and buried eight hundred", "and turning immediately to the grave-diggers’ scene in the fifth act, I\nlaid my finger upon Yorick, and advancing the book to the Count, with my", "—And there you are wrong again, replied I.—A heart at ease, Yorick, flies", "of justice, to let Mr. Yorick the king’s jester, and his baggage, travel\nquietly along, I own the triumph of obtaining the passport was not a", "into mine.—I’ve enough in conscience, Eugenius, said I.—Indeed, Yorick,\nyou have not, replied Eugenius; I know France and Italy better than", "Now, whether the idea of poor Yorick’s skull was put out of the Count’s\nmind by the reality of my own, or by what magic he could drop a period of", "—_Et_, _Monsieur_, _est-il Yorick_? cried the Count.—_Je le suis_, said", "hands,—shall it be smitten to its very root,—and smitten, Yorick! by\nthee, who hast promised to shelter it in thy breast?", "Ill fated Yorick! that the gravest of thy brethren should be able to\nwrite that to the world, which stains thy face with crimson to copy, even\nin thy study.", "Yorick—", "years ago; he flourished in Horwendillus’s court;—the other Yorick is\nmyself, who have flourished, my Lord, in no court.—He shook his head.", "THIS certainly, fair lady, said I, raising her hand up little lightly as\nI began, must be one of Fortune’s whimsical doings; to take two utter", "Alas, poor Yorick! cried I, what art thou doing here? On the very first\nonset of all this glittering clatter thou art reduced to an", "I HAD never quitted the lady’s hand all this time, and had held it so\nlong, that it would have been indecent to have let it go, without first", "jester.—But you are Yorick?—Yes.—_Et vous plaisantez_?—I answered, Indeed", "3dly. It was insisted upon and stipulated for by the lady, that after\nMonsieur was got to bed, and the candle and fire extinguished, that\nMonsieur should not speak one single word the whole night.", "I NEVER finished a twelve guinea bargain so expeditiously in my life: my\ntime seemed heavy, upon the loss of the lady, and knowing every moment of", "_C’EST bien comique_, ’tis very droll, said the lady, smiling, from the\nreflection that this was the second time we had been left together by a", "A servant! That I do most sadly, quoth I.—Because, Monsieur, said the\nlandlord, there is a clever young fellow, who would be very proud of the" ], [ "without a passport. Go but to the end of a street, I have a mortal\naversion for returning back no wiser than I set out; and as this was one", "THE PASSPORT.\nPARIS.", "Monsieur, said he, has not a passport (_apparemment_) in all likelihood\nhe has friends in Paris who can procure him one.—Not that I know of,", "me, the master of the hotel came into my room to tell me the same thing,\nwith this addition to it, that my passport had been particularly asked\nafter: the master of the hotel concluded with saying, He hoped I had", "THE PASSPORT.\nVERSAILLES.", "THE PASSPORT.\nTHE HOTEL AT PARIS.", "The poor notary, just as he was passing by the sentry, instinctively\nclapp’d his cane to the side of it, but in raising it up, the point of", "took to be of a child, which complained “it could not get out.”—I look’d\nup and down the passage, and seeing neither man, woman, nor child, I went", "O, how I envied him his feelings!\n\n\n\n\nTHE PASSPORT.\nVERSAILLES.", "The Count instantly put the Shakespeare into his pocket, and left me\nalone in his room.\n\n\n\n\nTHE PASSPORT.\nVERSAILLES.", "As there was no hunting down a frightened horse in jack-boots, there\nremained no alternative but taking La Fleur either behind the chaise, or\ninto it.—", "As the notary was passing on by a dark passage, complaining in this sort,\na voice call’d out to a girl, to bid her run for the next notary.—Now the", "AS the passport was directed to all lieutenant-governors, governors, and\ncommandants of cities, generals of armies, justiciaries, and all officers", "When I had got to the end of the third act the Count de B— entered, with\nmy passport in his hand. Monsieur le Duc de C—, said the Count, is as", "quoth I, with an air of indifference.—Then _certes_, replied he, you’ll\nbe sent to the Bastile or the Chatelet _au moins_.—Poo! said I, the King", "Whilst the Honourable Mr. — was waiting for a wind at Dover, it had been\ncaught upon the cliffs, before it could well fly, by an English lad who", "landing of the staircase, during the time I was taken up with my\npassport; and as there was time enough for me to win the Count to my", "AND how do you find the French? said the Count de B—, after he had given\nme the passport.", "“Here’s a poor stranger come into the box—he seems as if he knew nobody;\nand is never likely, was he to be seven years in Paris, if every man he", "passage over the Pyrenean mountains, which had separated them from each\nother three days; during which time the ass had sought him as much as he\nhad sought the ass, and that they had scarce either eaten or drank till" ], [ "towards the notary, began to dictate his story in these words:—", "I had left London with so much precipitation, that it never enter’d my\nmind that we were at war with France; and had reached Dover, and looked", "As I have told this to please the reader, I beg he will allow me to\nrelate another, out of its order, to please myself:—the two stories", "It is a story, _Monsieur le Notaire_, said the gentleman, which will\nrouse up every affection in nature;—it will kill the humane, and touch\nthe heart of Cruelty herself with pity.—", "The old mother came to the door; her looks told me the story before she\nopen’d her mouth.—She had lost her husband; he had died, she said, of", "The old French officer, seeing me lift up my eyes with an emotion, as I\nmade the apostrophe, took the liberty to ask me what was the matter?—I\ntold him the story in three words; and added, how inhuman it was.", "The story he had told of that disordered maid affected me not a little in\nthe reading; but when I got within the neighbourhood where she lived, it", "When the Marquis had said this, he returned his sword into its scabbard,\nmade a bow to the guardians of it,—and, with his wife and daughter, and\nhis two sons following him, walk’d out.", "himself. The dwarf suffered inexpressibly on all sides; but the thing\nwhich incommoded him most, was a tall corpulent German, near seven feet", "He had had the honour, he said, to be at the bombardment of it last\nwar;—that it was finely situated, _pour cela_,—and full of noblesse when", "Arquebusses in those days went off with matches; and an old woman’s paper\nlantern at the end of the bridge happening to be blown out, she had", "the Imperialists were driven out by the French (the lady made a slight\ncourtesy)—so giving her an account of the affair, and of the share he had", "As there was no hunting down a frightened horse in jack-boots, there\nremained no alternative but taking La Fleur either behind the chaise, or\ninto it.—", "value of the ass—but the loss of him.—The ass, he said, he was assured,\nloved him;—and upon this told them a long story of a mischance upon their", "about two years before? She said she was unsettled much at that time,\nbut remembered it upon two accounts:—that ill as she was, she saw the", "had impelled me rather to go to him with the story of a little\nembarrassment I was under, than to any other man in France.—And what is", "—There was a dead silence. When the Marquis had approached within six\npaces of the tribunal, he gave the Marchioness to his youngest son, and", "By this time the dwarf was driven to extremes, and in his first\ntransports, which are generally unreasonable, had told the German he", "in which it happened, it was omitted: not that it was out of my head; but\nthat had I told it then it might have been forgotten now;—and now is the\ntime I want it.", "passage over the Pyrenean mountains, which had separated them from each\nother three days; during which time the ass had sought him as much as he\nhad sought the ass, and that they had scarce either eaten or drank till" ] ]

[ "What does Yorick trade with the monk in Calais?", "Who is La Fleur to Yorick?", "Why is Yorick concerned when the police show up at his hotel in Paris?", "What does Yorick use to attempt to identify himself to the Count?", "Who does Yorick decide to visit on his way to Italy?", "Why is Maria sad?", "What does \"fille de chambre\" mean?", "Why does Yorick fight with the lady he shares a room with?", "What does Yorick grab at the end of the story?", "What Shakespere play does the story mention?", "What item did the Monk give to Yorick?", "Why did Yorick require a passport?", "Who was Yorick mistaken for?", "How did Yorick come to know Maria?", "Why do you think Yorick was required to be silent through the night in the inn?", "Who inquired after Yorick's passport?", "Who accompanied Yorick on his trip?", "In what general area was the inn Yorick stayed at located?", "What is La Fleur hired to do?", "Who was England at war with?", "Where does Yorick acquire his passport?", "Why was Maria stuck in grief? ", "Who does Yorick have to share a room with at the inn?", "What died Yorick promise the lady at the inn?", "What happened if you were caught without your passport?", "What war was going on during this story?" ]

[ [ "A snuff-box.", "snuffboxes" ], [ "He is a servant who will join Yorick on his travels.", "A servant" ], [ "He does not have a passport and could be imprisoned.", "He does not have his passport." ], [ "A copy of Hamlet.", "Hamlet" ], [ "Maria?", "Maria" ], [ "Her husband died. ", "Her husband died." ], [ "A chamber maid.", "Chambermaid." ], [ "He makes too much noise.", "Because he accidentally breaks his promise to remain silent during the night." ], [ "It is unclear.", "Fille de chambre's" ], [ "Hamlet", "Hamlet" ], [ "Snuff box", "snuff boxes" ], [ "Because of the war between England and France.", "So he wouldn't get imprisoned by the police." ], [ "The King's jester.", "King's Jester " ], [ "They met before Maria's husband died.", "Tristram shady- in Moulin's." ], [ "The Lady was a light sleeper.", "Because there was only one bedroom which had to be shared with other inn patrons." ], [ "Paris police.", "the police" ], [ "His servant LaFleur.", "A servant named La Fleur." ], [ "Outside of Lyon.", "Lyon" ], [ "Accompany Yorick on his journey", "be a servant" ], [ "France", "France" ], [ "Count de Bitch", "Versailles." ], [ "Her husband died", "Her husband died" ], [ "A lady and her chamber-maid", "lady and her chambermaid" ], [ "He would remain silent throughout the night", "remain silent" ], [ "You were imprisoned ", "imprisionment" ], [ "Seven Years", "The Seven Years' War." ] ]

[ [ "WILLIAMSON\n (pause)\n What about the other two?\n\n LEVENE\n What two?", "48.\n\n\n ROMA\n Three? I count two.\n\n WILLIAMSON\n Three.", "WILLIAMSON\n Four. You had four leads. One\n kicked out, one the judge, you say...", "ROMA\n You hear what I said?\n\n MOSS\n Yeah. He closed a deal.\n\n ROMA\n Eight units. Mountain View.", "Even so. Alright. Fine. Fine.\n Even so. I go in, FOUR FUCKING\n LEADS they got their money in a", "They like to talk to salesmen.\n (pause)\n They're lonely, something.\n (pause)", "MOSS\n Those fuckin' deadbeats...\n\n LEVENE\n My ass. I told 'em.\n (to Roma)\n Listen to this: I said...", "ROMA\n They took the typewriters, they\n took the leads, they took the cash,\n they took the contracts...\n\n LEVENE\n Wh...wh...Wha...?", "Dying breed. Yes it is.\n (pause)\n We are the members of a dying breed.\n That's...that's...that's why we", "The real estate office. Ransacked. A broken plateglass\nwindow boarded up, glass all over the floor. Aaronow and\nWilliamson standing around, smoking.\n\nPause.", "try to earn a living. You fairy.\n You company man...I'll tell you\n something else. I hope you knocked\n the joint off, I can tell our", "(pause)\n And it's a big reward.\n (pause)\n It's a big reward. For one night's\n work.", "LINGK\n My wife...\n\n LEVENE\n Rick, we really have to go.\n\n LINGK\n My wife...", "sock. They're fucking Polacks,\n John. Four leads. I close two.\n Two. Fifty per...", "WILLIAMSON\n Somebody broke in.\n\n ROMA\n Eight units?\n\n LEVENE\n That's right.", "ROMA\n Huh?\n\n AARONOW\n Yes. They are old.\n\n ROMA\n They're ancient.", "ROMA\n Last night, this morning.\n\nPause.\n\n LEVENE\n They took the leads?\n\n ROMA\n Mmm.", "Come on, Jim.\n (pause)\n I want to tell you something. Your\n life is your own. You have a", "All it is, it's a carnival. What's\n special...what draws us?\n (pause)\n We're all different.", "LEVENE\n \"...You look around, you say, 'This\n one has so-and-so, and I have\n nothing...\"\n\n MOSS\n Shit." ], [ "GLENGARRY GLEN ROSS\n\n by\n\n David Mamet\n\n\n\n\nSCENE ONE", "WILLIAMSON\n The leads are coming.\n\n LEVENE\n Get 'em to me!", "MOSS\n The Glengarry...the premium leads...?\n I'd say we got five thousand. Five.\n Five thousand leads.", "The Glengarry Highland's leads,\n you're sending Roma out. Fine.\n He's a good man. We know what he", "Baylen sticks his head out of the room:\n\n BAYLEN\n Mr. Levene...?\n\n ROMA\n You're done, come down, and let's...", "I'm...don't look at the board, look\n at me. Shelly Levene. Anyone.\n Ask them on Western. Ask Getz at", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "WILLIAMSON\n If you tell me where the leads are,\n I won't turn you in. If you don't,", "the man to sell. I'm getting\n garbage.\n (pause)\n You're giving it to me, and what", "WILLIAMSON\n I don't care. You understand?\n Where are the leads?\n (pause)\n Alright.\n\nWilliamson goes to open the office door.", "AARONOW\n And you're saying a fella could\n take and sell these leads to Jerry\n Graff.\n\n MOSS\n Yes.", "MOSS\n Then listen to this: I have to get\n those leads tonight. That's\n something I have to do. If I'm not", "WILLIAMSON\n I called them when we had the\n lead... four months ago.\n (pause)\n The people are insane. They just\n like talking to salesmen.", "ROMA\n (to Baylen)\n Asshole...\n (to Levene)", "WILLIAMSON\n Will you please wait a second.\n Shelly. Please. Murray told me:\n the hot leads...\n\n LEVENE\n ...ah, fuck this...", "tell you \"Get out there and close.\"\n \"Go win the Cadillac.\" Graff. He\n goes out and buys. He pays top", "ROMA\n Williamson: listen to me: when the\n leads come in...listen to me: when\n the leads come in I want my top two", "(pause)\n That's \"talk,\" my friend, that's\n \"talk.\" Our job is to sell. I'm", "AARONOW\n What?\n\n MOSS\n What? What? The leads.\n\n AARONOW\n You have to steal the leads tonight?", "WILLIAMSON\n (pause)\n What about the other two?\n\n LEVENE\n What two?" ], [ "WILLIAMSON\n Mmm.\n\n AARONOW\n Did they find the guy who broke\n into the office yet?", "The real estate office. Ransacked. A broken plateglass\nwindow boarded up, glass all over the floor. Aaronow and\nWilliamson standing around, smoking.\n\nPause.", "AARONOW\n You want me to break into the\n office tonight and steal the leads?\n\n MOSS\n Yes.\n\nPause.", "LEVENE\n (laughs)\n Sure! I robbed the office. Sure.", "WILLIAMSON\n I don't care. You understand?\n Where are the leads?\n (pause)\n Alright.\n\nWilliamson goes to open the office door.", "LEVENE\n You're so full of shit.\n\n WILLIAMSON\n You robbed the office.", "WILLIAMSON\n Somebody broke in.\n\n ROMA\n Eight units?\n\n LEVENE\n That's right.", "WILLIAMSON\n (going back into his office)\n Excuse me...\n\n 74.", "MOSS\n Someone should rob the office.\n\n AARONOW\n Huh.", "FUCK FUCK FUCK! WILLIAMSON!!!\n WILLIAMSON!!!\n (goes to the door\n Williamson went into,", "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "(retreats into office)", "WILLIAMSON\n Who used to say that?\n\n AARONOW\n In school.\n\nPause. Baylen, a detective, comes out of the inner office.", "ROMA\n He's right, Williamson.\n\nWilliamson goes into a side office. Pause.", "Pause. Williamson returns to his office.\n\n AARONOW\n He said we're all going to have to\n go talk to the guy.", "ROMA\n The truth, George. Always tell the\n truth. It's the easiest thing to\n remember.\n\nWilliamson comes out of the office with leads. Roma takes\none, reads it.", "WILLIAMSON\n No, I think I don't want your money.\n I think you fucked up my office.\n And I think you're going away.", "WILLIAMSON\n That was easy, wasn't it?\n\nPause.\n\n LEVENE\n It was his idea.", "BAYLEN\n (looking back toward\n the inner office)\n Moss...Who told him?", "knock it off, and trash the joint,\n it looks like robbery, and take the\n fuckin' leads out of the files...go\n to Jerry Graff." ], [ "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "WILLIAMSON\n Somebody broke in.\n\n ROMA\n Eight units?\n\n LEVENE\n That's right.", "BAYLEN\n Yeah. What do you want? You want\n to what?\n\nHe pushes Levene into the room, closes the door behind him.\nPause.", "LEVENE\n You're so full of shit.\n\n WILLIAMSON\n You robbed the office.", "LEVENE\n Thank you, George.\n\nBaylen sticks his head out of the room; calls in, \"Aaronow.\"\nAaronow goes into the side room.", "AARONOW\n We had a robbery.\n (goes into the inner room)\n\n\n LEVENE\n (pause)\n When?", "AARONOW\n Fuck. I had them on River Glen.\n\nLevene looks around.\n\n LEVENE\n What happened?", "LEVENE\n Yes. I did. This morning.\n (to Williamson)\n What I'm saying to you: things can", "The real estate office. Ransacked. A broken plateglass\nwindow boarded up, glass all over the floor. Aaronow and\nWilliamson standing around, smoking.\n\nPause.", "LEVENE\n (laughs)\n Sure! I robbed the office. Sure.", "Detective puts his head out of the doorway.\n\n BAYLEN\n Levene!!!\n\n LINGK\n I, I...", "WILLIAMSON\n That was easy, wasn't it?\n\nPause.\n\n LEVENE\n It was his idea.", "83.\n\n\n WILLIAMSON\n You are?\n\n LEVENE\n Yes, I am.", "Baylen sticks his head out of the room:\n\n BAYLEN\n Mr. Levene...?\n\n ROMA\n You're done, come down, and let's...", "MOSS\n Those fuckin' deadbeats...\n\n LEVENE\n My ass. I told 'em.\n (to Roma)\n Listen to this: I said...", "Shelly Levene enters.", "Roma goes to the inner room.\n\n LEVENE\n You are a shithead, Williamson...\n\nPause.", "MOSS\n (to Levene)\n You did that?\n\n LEVENE\n Yeah.\n\nPause.", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "LEVENE\n (taking Baylen into\n the office)\n Ah. Ah. Perhaps I can advise you" ], [ "BAYLEN\n Yeah. What do you want? You want\n to what?\n\nHe pushes Levene into the room, closes the door behind him.\nPause.", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "WILLIAMSON\n The leads are coming.\n\n LEVENE\n Get 'em to me!", "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "WILLIAMSON\n A hundred bucks.\n\nPause.\n\n LEVENE\n Now?\n (pause)\n Now?", "AARONOW\n Fuck. I had them on River Glen.\n\nLevene looks around.\n\n LEVENE\n What happened?", "Detective puts his head out of the doorway.\n\n BAYLEN\n Levene!!!\n\n LINGK\n I, I...", "Baylen sticks his head out of the room:\n\n BAYLEN\n Mr. Levene...?\n\n ROMA\n You're done, come down, and let's...", "ROMA\n Last night, this morning.\n\nPause.\n\n LEVENE\n They took the leads?\n\n ROMA\n Mmm.", "LEVENE\n No...Black Creek. Yes. In Florida?\n\n ROMA\n Yes.\n\n LEVENE\n I wanted to speak with you about...", "LEVENE\n Williamson, get on the phone, call\n Mitch...\n\n ROMA\n They took the phones...\n\n LEVENE\n They...", "BAYLEN\n Mr. Levene, I think we have to talk.", "LEVENE\n I can't close these leads, John.\n No one can. It's a joke. John,", "LEVENE\n On an eighty-thousand dollar day?\n And it ain't even noon.\n\n ROMA\n You closed 'em today?", "LEVENE\n I sold them to Jerry Graff.\n\n WILLIAMSON\n How much did you get for them?\n (pause)\n How much did you get for them?", "MOSS\n Those fuckin' deadbeats...\n\n LEVENE\n My ass. I told 'em.\n (to Roma)\n Listen to this: I said...", "LEVENE\n Ricky...\n\n BAYLEN\n \"Ricky\" can't help you, pal.\n\n LEVENE\n ...I only want to...", "LEVENE\n Thank you, George.\n\nBaylen sticks his head out of the room; calls in, \"Aaronow.\"\nAaronow goes into the side room.", "WILLIAMSON\n Will you please wait a second.\n Shelly. Please. Murray told me:\n the hot leads...\n\n LEVENE\n ...ah, fuck this...", "I'm...don't look at the board, look\n at me. Shelly Levene. Anyone.\n Ask them on Western. Ask Getz at" ], [ "LINGK\n This.\n\n ROMA\n What, \"this\"?\n\nPause.\n\n LINGK\n The deal.", "LINGK\n My wife said I have to cancel the\n deal.", "LINGK\n My wife...\n\n LEVENE\n Rick, we really have to go.\n\n LINGK\n My wife...", "LINGK\n I told you.\n\n ROMA\n You tell me again.\n\n LINGK\n She wants her money back.", "LINGK\n Oh, Christ...\n (starts out the door)\n Don't follow me...Oh, Christ.", "LINGK\n I can't regotiate.\n\n ROMA\n What does that mean?\n\n LINGK\n That...", "LINGK\n Yest...\n\n ROMA\n What was yesterday?\n\n LINGK\n Tuesday.", "LINGK\n I don't know.\n (pause)\n They said we have three days.\n (pause)\n They said we have three days.", "ROMA\n ...some of the contracts...Lingk.\n James Lingk. I closed...\n\n WILLIAMSON\n You closed him yesterday.", "LINGK\n But I'm not counting it.\n (pause)\n Wednesday. Thursday. Friday. So\n it would have elapsed.", "Pause.\n\n LINGK\n So we can't talk Monday.\n\nPause.", "LINGK\n I've got to talk to you.\n\n ROMA\n (looking up)\n Jim! What are you doing here? Jim\n Lingk, D. Ray Morton...", "LINGK\n Lingk. James Lingk.", "LINGK\n (rising)\n I can't talk to you, you met my\n wife, I...\n\n 78.\n\n\nPause.", "ROMA\n No, I don't know. Tell me.\n\n LINGK\n To change our minds.\n\n ROMA\n Of course you have three days.", "WILLIAMSON\n Yes. Please. Please.\n (to Lingk)\n The police\n (shrugs)\n can be...\n\n 80.", "LINGK\n ...and...and...\n\nPause.\n\n ROMA\n What?\n\n LINGK\n And the check is...", "joint off, I'm doing business.\n I'll be with you in a while. You\n got it...?\n (looks back. Lingk", "ROMA\n Three business days. They mean\n three business days.\n\n LINGK\n Wednesday, Thursday, Friday.\n\n ROMA\n I don't understand.", "LINGK\n That's what they are. Three\n business...I wait till Monday, my\n time limit runs out.\n\n 70." ], [ "The real estate office. Ransacked. A broken plateglass\nwindow boarded up, glass all over the floor. Aaronow and\nWilliamson standing around, smoking.\n\nPause.", "AARONOW\n Fuck. I had them on River Glen.\n\nLevene looks around.\n\n LEVENE\n What happened?", "They like to talk to salesmen.\n (pause)\n They're lonely, something.\n (pause)", "SCENE TWO\n\nA booth at the restaurant. Moss and Aaronow seated. After\nthe meal.\n\n MOSS\n Polacks and deadbeats.", "WILLIAMSON\n I don't care. You understand?\n Where are the leads?\n (pause)\n Alright.\n\nWilliamson goes to open the office door.", "Baylen sticks his head out of the room:\n\n BAYLEN\n Mr. Levene...?\n\n ROMA\n You're done, come down, and let's...", "Williamson starts back into the office. He is accosted by\nAaronow.\n\n AARONOW\n Were the leads...", "GLENGARRY GLEN ROSS\n\n by\n\n David Mamet\n\n\n\n\nSCENE ONE", "WILLIAMSON\n Mmm.\n\n AARONOW\n Did they find the guy who broke\n into the office yet?", "ROMA\n Last night, this morning.\n\nPause.\n\n LEVENE\n They took the leads?\n\n ROMA\n Mmm.", "ROMA\n They took the typewriters, they\n took the leads, they took the cash,\n they took the contracts...\n\n LEVENE\n Wh...wh...Wha...?", "a streak. You never heard of\n \"marshaling your sales force...\"\n What are you, you're a secretary,\n John. Fuck you. That's my message", "AARONOW\n We had a robbery.\n (goes into the inner room)\n\n\n LEVENE\n (pause)\n When?", "Detective puts his head out of the doorway.\n\n BAYLEN\n Levene!!!\n\n LINGK\n I, I...", "LEVENE (CONT'D)\n They, I swear to God, they both\n kind of imperceptibly slumped. And", "MOSS\n You missed a fucking sale. Big\n deal. A deadbeat Polack. Big deal.", "LEVENE\n On an eighty-thousand dollar day?\n And it ain't even noon.\n\n ROMA\n You closed 'em today?", "WILLIAMSON\n Somebody broke in.\n\n ROMA\n Eight units?\n\n LEVENE\n That's right.", "WILLIAMSON\n I called them when we had the\n lead... four months ago.\n (pause)\n The people are insane. They just\n like talking to salesmen.", "WILLIAMSON\n Who used to say that?\n\n AARONOW\n In school.\n\nPause. Baylen, a detective, comes out of the inner office." ], [ "LEVENE\n I'm asking you. As a favor to me?\n (pause)\n John.\n (long pause)\n John: my daughter...", "LEVENE\n Why?\n\n WILLIAMSON\n Because I don't like you.\n\n LEVENE\n John: John:...my daughter...", "LEVENE\n ...and what is that, John? What?\n Bad luck. That's all it is. I", "LEVENE\n It's not right. I'm sorry, and\n I'll tell you who's to blame is\n Mitch and Murray.\n\nRoma sees something outside the window.", "LEVENE\n No, his wife is.\n\n ROMA\n Ah. Ah, his wife is. Ray: what\n time do you have...?", "LEVENE\n Yes. I did. This morning.\n (to Williamson)\n What I'm saying to you: things can", "LEVENE\n \"...You look around, you say, 'This\n one has so-and-so, and I have\n nothing...\"\n\n MOSS\n Shit.", "LEVENE\n Do I have to tell you?\n (pause, Williamson\n starts to open the door)\n Moss.", "LEVENE\n Fuck that. That's defeatist. Fuck\n that. Fuck it...Get on my side.\n Go with me. Let's do something.\n You want to run this office, run it.", "LEVENE\n ...I, if you'd listen to me.\n Please. I closed the cocksucker.", "LEVENE\n (pointing to contract)\n Read it. Bruce and Harriett Nyborg.\n (looking around)\n What happened here?", "LINGK\n My wife...\n\n LEVENE\n Rick, we really have to go.\n\n LINGK\n My wife...", "Williamson starts for door.\n\n LEVENE\n Don't.\n\n WILLIAMSON\n I'm sorry.", "LEVENE (CONT'D)\n They, I swear to God, they both\n kind of imperceptibly slumped. And", "LEVENE\n John...John...John. Okay. John.\n John. Look:\n (pause)", "LINGK\n My wife...\n\nRoma rubs his head.\n\n LEVENE\n (standing in the door)\n Rick...?", "LEVENE\n Fuck him. Fuck Murray. John? You\n know? You tell him I said so.", "LEVENE\n (simultaneously)\n I'm sure she can...\n\n 68.", "LEVENE\n You can't think on your feet you\n should keep your mouth closed.\n (pause)\n You hear me? I'm talking to you.\n Do you hear me...?", "LEVENE\n No. You're right. That's for\n later. We'll talk in a month.\n What have you got? I want two sits.\n Tonight." ], [ "LEVENE\n Yes. I did. This morning.\n (to Williamson)\n What I'm saying to you: things can", "LEVENE\n Why?\n\n WILLIAMSON\n Because I don't like you.\n\n LEVENE\n John: John:...my daughter...", "WILLIAMSON\n You're saying that I'm fucked.\n\n LEVENE\n Yes.\n (pause)\n I am. I'm sorry to antagonize you.", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "WILLIAMSON\n Because I say so.\n\n LEVENE\n (pause)\n Is that it? Is that it? You want\n to do business that way...?", "WILLIAMSON\n I want to tell you something,\n Shelly. You have a big mouth.\n\nPause.\n\n LEVENE\n What?", "WILLIAMSON\n ...I only...\n\n LEVENE\n ...then what is this \"you say\"\n shit, what is that?\n (pause)\n What is that...?", "WILLIAMSON\n That was easy, wasn't it?\n\nPause.\n\n LEVENE\n It was his idea.", "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "WILLIAMSON\n I can't do it, Shel.\n\nPause.\n\n LEVENE\n I'll give you ten percent.", "WILLIAMSON\n ...let me...are you listening to\n me...?\n\n LEVENE\n Yes.", "WILLIAMSON\n Either way. You're out.\n\n LEVENE\n I'm out.\n\n WILLIAMSON\n Yes.", "WILLIAMSON\n The only thing remarkable is who\n you made it to.\n\n LEVENE\n What does that fucking mean?", "WILLIAMSON\n Let me...\n\n 5.\n\n\n LEVENE\n ...and I'm going to get bounced and\n you're...", "WILLIAMSON\n Alright.\n\n LEVENE\n Good. Now we're talking.\n\nPause.", "WILLIAMSON\n I can't split them.\n\nPause.\n\n LEVENE\n Why?", "LEVENE\n You're so full of shit.\n\n WILLIAMSON\n You robbed the office.", "LEVENE\n Then put me on the board.\n\n WILLIAMSON\n You start closing again, you'll be\n on the board.", "Williamson starts for door.\n\n LEVENE\n Don't.\n\n WILLIAMSON\n I'm sorry.", "LEVENE\n I will close.\n\n WILLIAMSON\n What if you don't close...?\n\n 9." ], [ "They like to talk to salesmen.\n (pause)\n They're lonely, something.\n (pause)", "Shelly Levene enters.", "a streak. You never heard of\n \"marshaling your sales force...\"\n What are you, you're a secretary,\n John. Fuck you. That's my message", "(pause)\n That's \"talk,\" my friend, that's\n \"talk.\" Our job is to sell. I'm", "GLENGARRY GLEN ROSS\n\n by\n\n David Mamet\n\n\n\n\nSCENE ONE", "Baylen sticks his head out of the room:\n\n BAYLEN\n Mr. Levene...?\n\n ROMA\n You're done, come down, and let's...", "calling. Walk up to the door. I\n don't even know their name. I'm\n selling something they don't even", "BAYLEN\n Yeah. What do you want? You want\n to what?\n\nHe pushes Levene into the room, closes the door behind him.\nPause.", "the man to sell. I'm getting\n garbage.\n (pause)\n You're giving it to me, and what", "tell you \"Get out there and close.\"\n \"Go win the Cadillac.\" Graff. He\n goes out and buys. He pays top", "Detective puts his head out of the doorway.\n\n BAYLEN\n Levene!!!\n\n LINGK\n I, I...", "last time he went out on a sit?\n Sales contest? It's laughable.\n It's cold out there now, John.", "I'm...don't look at the board, look\n at me. Shelly Levene. Anyone.\n Ask them on Western. Ask Getz at", "your sale when they bring in the\n leads. Alright? Shelly. Alright?\n We had a little... You closed a", "AARONOW\n Huh.\n\n MOSS\n You don't ax your sales force.\n\n AARONOW\n No.", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "LINGK\n I've got to talk to you.\n\n ROMA\n (looking up)\n Jim! What are you doing here? Jim\n Lingk, D. Ray Morton...", "LINGK\n My wife...\n\n LEVENE\n Rick, we really have to go.\n\n LINGK\n My wife...", "WILLIAMSON\n I called them when we had the\n lead... four months ago.\n (pause)\n The people are insane. They just\n like talking to salesmen.", "WILLIAMSON\n The leads are coming.\n\n LEVENE\n Get 'em to me!" ], [ "LEVENE\n I'm asking you. As a favor to me?\n (pause)\n John.\n (long pause)\n John: my daughter...", "you if she knew. This is your life.\n (pause)\n Yes. Now I want to talk to you\n because you're obviously upset and", "Nobody knew that but you. Now how\n did you know that?\n (pause)\n You want to talk to me, you want to", "LEVENE\n Why?\n\n WILLIAMSON\n Because I don't like you.\n\n LEVENE\n John: John:...my daughter...", "(pause. Roma rises\n and starts walking\n toward the front door)\n Come on.\n (pause)", "LINGK\n My wife...\n\n LEVENE\n Rick, we really have to go.\n\n LINGK\n My wife...", "LINGK\n I told you.\n\n ROMA\n You tell me again.\n\n LINGK\n She wants her money back.", "wife...? You did it, live with it.\n (pause)\n You fuck little girls, so be it.\n There's an absolute morality? May", "MOSS\n The nurses?\n\n AARONOW\n Yes.", "I nod at her like this.\n \"Bruce...Harriet...\" I'm beaming at\n them. I'm nodding like this. I", "BAYLEN\n Would you come in here, please?\n\n ROMA\n And let's put this together. Okay?\n Shel? Say okay.\n\nPause.", "LINGK\n My wife...\n\nRoma rubs his head.\n\n LEVENE\n (standing in the door)\n Rick...?", "LEVENE\n No...Black Creek. Yes. In Florida?\n\n ROMA\n Yes.\n\n LEVENE\n I wanted to speak with you about...", "I have to go. You understand.\n They treat me like a member of the\n family, so I have to go.\n (MORE)", "LEVENE\n No, his wife is.\n\n ROMA\n Ah. Ah, his wife is. Ray: what\n time do you have...?", "Twenty-two minutes by the kitchen\n clock. Not a word, not a motion.\n What am I thinking? \"My arm's", "ROMA\n Guess who?\n\n MOSS\n You just this morning...\n\n ROMA\n Harriet and blah blah Nyborg.", "ROMA\n They're inured to it.\n\n AARONOW\n You think so?\n\n ROMA\n Yes.\n\nPause.", "LEVENE\n (pointing to contract)\n Read it. Bruce and Harriett Nyborg.\n (looking around)\n What happened here?", "75.\n\n\n LINGK\n What's going on here?\n\n ROMA\n Tell me again. Your wife." ], [ "The Glengarry Highland's leads,\n you're sending Roma out. Fine.\n He's a good man. We know what he", "MOSS\n The Glengarry...the premium leads...?\n I'd say we got five thousand. Five.\n Five thousand leads.", "WILLIAMSON\n The leads are coming.\n\n LEVENE\n Get 'em to me!", "your sale when they bring in the\n leads. Alright? Shelly. Alright?\n We had a little... You closed a", "I'm...don't look at the board, look\n at me. Shelly Levene. Anyone.\n Ask them on Western. Ask Getz at", "WILLIAMSON\n Will you please wait a second.\n Shelly. Please. Murray told me:\n the hot leads...\n\n LEVENE\n ...ah, fuck this...", "MOSS\n Then listen to this: I have to get\n those leads tonight. That's\n something I have to do. If I'm not", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "GLENGARRY GLEN ROSS\n\n by\n\n David Mamet\n\n\n\n\nSCENE ONE", "AARONOW\n And you're saying a fella could\n take and sell these leads to Jerry\n Graff.\n\n MOSS\n Yes.", "WILLIAMSON\n I don't care. You understand?\n Where are the leads?\n (pause)\n Alright.\n\nWilliamson goes to open the office door.", "AARONOW\n What?\n\n MOSS\n What? What? The leads.\n\n AARONOW\n You have to steal the leads tonight?", "Shelly Levene enters.", "MOSS\n That's what I'm saying. Why? The\n leads. He's got the good leads...", "MOSS\n You have to go in.\n (pause)\n You have to get the leads.\n\nPause.\n\n AARONOW\n I do?", "MOSS\n That's thinking. Now, he's got the\n leads, he goes in business for", "WILLIAMSON\n If you tell me where the leads are,\n I won't turn you in. If you don't,", "ROMA\n Last night, this morning.\n\nPause.\n\n LEVENE\n They took the leads?\n\n ROMA\n Mmm.", "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "throwing them away, he's throwing\n the leads away. All that I'm\n saying, that you're wasting leads." ], [ "WILLIAMSON\n If you tell me where the leads are,\n I won't turn you in. If you don't,", "WILLIAMSON\n I don't care. You understand?\n Where are the leads?\n (pause)\n Alright.\n\nWilliamson goes to open the office door.", "WILLIAMSON\n Will you please wait a second.\n Shelly. Please. Murray told me:\n the hot leads...\n\n LEVENE\n ...ah, fuck this...", "WILLIAMSON\n The leads are coming.\n\n LEVENE\n Get 'em to me!", "WILLIAMSON\n I want to tell you something,\n Shelly. You have a big mouth.\n\nPause.\n\n LEVENE\n What?", "WILLIAMSON\n I can't do it, Shel.\n\nPause.\n\n LEVENE\n I'll give you ten percent.", "WILLIAMSON\n The leads come in, I'll let...\n\n AARONOW\n ...that's why I came in. I thought\n I...", "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "Pause.\n\n WILLIAMSON\n I can't do it, Shelly.\n\n 8.\n\n\nPause.", "WILLIAMSON\n The...Shelly?\n (pause)\n The hot leads are assigned according\n to the board. During the contest.\n Period. Anyone who beats fifty\n per...", "WILLIAMSON\n And fifty bucks a lead.", "WILLIAMSON\n I'm giving you three leads. You...", "Williamson starts back into the office. He is accosted by\nAaronow.\n\n AARONOW\n Were the leads...", "WILLIAMSON\n Well, I'm saying this, Shel:\n usually I take the contracts to the", "WILLIAMSON\n I called them when we had the\n lead... four months ago.\n (pause)\n The people are insane. They just\n like talking to salesmen.", "ROMA\n The truth, George. Always tell the\n truth. It's the easiest thing to\n remember.\n\nWilliamson comes out of the office with leads. Roma takes\none, reads it.", "WILLIAMSON\n I have. And my job is to marshal\n those leads...", "WILLIAMSON\n No, I don't think so, Shel.\n\n LEVENE\n I...", "WILLIAMSON\n Let me tell you something, Shelly.\n I do what I'm hired to do." ], [ "LINGK\n This.\n\n ROMA\n What, \"this\"?\n\nPause.\n\n LINGK\n The deal.", "LINGK\n My wife said I have to cancel the\n deal.", "LINGK\n I told you.\n\n ROMA\n You tell me again.\n\n LINGK\n She wants her money back.", "LINGK\n My wife...\n\n LEVENE\n Rick, we really have to go.\n\n LINGK\n My wife...", "LINGK\n I've got to talk to you.\n\n ROMA\n (looking up)\n Jim! What are you doing here? Jim\n Lingk, D. Ray Morton...", "LINGK\n Lingk. James Lingk.", "LINGK\n Oh, Christ...\n (starts out the door)\n Don't follow me...Oh, Christ.", "ROMA\n ...some of the contracts...Lingk.\n James Lingk. I closed...\n\n WILLIAMSON\n You closed him yesterday.", "WILLIAMSON\n Mr. Lingk. James Lingk. Your\n contract went out. Nothing to...\n\n ROMA\n John...", "LINGK\n I can't regotiate.\n\n ROMA\n What does that mean?\n\n LINGK\n That...", "WILLIAMSON\n Yes. Please. Please.\n (to Lingk)\n The police\n (shrugs)\n can be...\n\n 80.", "I'm meeting your man at the bank...\n (to Lingk)\n I wish you'd phoned...I'll tell", "joint off, I'm doing business.\n I'll be with you in a while. You\n got it...?\n (looks back. Lingk", "Pause.\n\n LINGK\n So we can't talk Monday.\n\nPause.", "LINGK\n ...and...and...\n\nPause.\n\n ROMA\n What?\n\n LINGK\n And the check is...", "LINGK\n (rising)\n I can't talk to you, you met my\n wife, I...\n\n 78.\n\n\nPause.", "Lingk exits. Pause.", "LINGK\n I don't know.\n (pause)\n They said we have three days.\n (pause)\n They said we have three days.", "BAYLEN\n Levene?\n (to Williamson)\n Is this Lev...\n\nBaylen accosts Lingk.", "LINGK\n My wife...\n\nRoma rubs his head.\n\n LEVENE\n (standing in the door)\n Rick...?" ], [ "LINGK\n ...and...and...\n\nPause.\n\n ROMA\n What?\n\n LINGK\n And the check is...", "Pause.\n\n LINGK\n (to Roma)\n You cashed the check?\n\n ROMA\n Not to my knowledge, no...", "I'm meeting your man at the bank...\n (to Lingk)\n I wish you'd phoned...I'll tell", "WILLIAMSON\n Your contract went out to the bank.\n\n LINGK\n You cashed the check?\n\n WILLIAMSON\n We...", "LINGK\n The check wasn't cashed?\n\n ROMA\n I just called downtown, and it's on\n their desk.", "LINGK\n I told you.\n\n ROMA\n You tell me again.\n\n LINGK\n She wants her money back.", "ROMA\n I'm talking with Mr. Lingk. If you\n please, I'll be back in.\n (checks watch)", "LINGK\n I've got to talk to you.\n\n ROMA\n (looking up)\n Jim! What are you doing here? Jim\n Lingk, D. Ray Morton...", "The restaurant. Roma is seated alone at the booth. Lingk\nis at the booth next to him. Roma is talking to him.", "LINGK\n My wife...\n\n LEVENE\n Rick, we really have to go.\n\n LINGK\n My wife...", "ROMA\n And when was that check cashed?\n\n LINGK\n I don't know.", "Detective puts his head out of the doorway.\n\n BAYLEN\n Levene!!!\n\n LINGK\n I, I...", "joint off, I'm doing business.\n I'll be with you in a while. You\n got it...?\n (looks back. Lingk", "LINGK\n My wife...\n\nRoma rubs his head.\n\n LEVENE\n (standing in the door)\n Rick...?", "LINGK\n This.\n\n ROMA\n What, \"this\"?\n\nPause.\n\n LINGK\n The deal.", "LEVENE\n Their check's no good? They're\n nuts...?\n\n WILLIAMSON\n Call up the bank. I called them.", "ROMA\n What would have elapsed?\n\n LINGK\n If we wait till Mon...\n\n ROMA\n When did you write the check?", "WILLIAMSON\n Yes. Please. Please.\n (to Lingk)\n The police\n (shrugs)\n can be...\n\n 80.", "LINGK\n Oh, Christ...\n (starts out the door)\n Don't follow me...Oh, Christ.", "LINGK\n Lingk. James Lingk." ], [ "WILLIAMSON\n (bursting out of his office)\n Will you get out of here. Will you", "WILLIAMSON\n Murray said...", "WILLIAMSON\n I don't care. You understand?\n Where are the leads?\n (pause)\n Alright.\n\nWilliamson goes to open the office door.", "WILLIAMSON\n Yes.\n (pause)\n I hear you.", "WILLIAMSON\n No, I think I don't want your money.\n I think you fucked up my office.\n And I think you're going away.", "WILLIAMSON\n (brushing past him)\n Excuse me...", "WILLIAMSON\n Fuck you.\n\nRoma comes out of the Detective's door. Williamson goes in.", "FUCK FUCK FUCK! WILLIAMSON!!!\n WILLIAMSON!!!\n (goes to the door\n Williamson went into,", "LEVENE\n Why?\n\n WILLIAMSON\n Because I don't like you.\n\n LEVENE\n John: John:...my daughter...", "WILLIAMSON\n I want to tell you something,\n Shelly. You have a big mouth.\n\nPause.\n\n LEVENE\n What?", "WILLIAMSON\n I have to go...\n (gets up)", "WILLIAMSON\n It isn't me...\n\n 4.", "ROMA\n (to Williamson)\n You stupid fucking cunt. You,\n Williamson...I'm talking to you,", "WILLIAMSON\n What if you don't? Then I'm fucked.\n You see...? Then it's my job.\n That's what I'm telling you.", "Williamson starts for door.\n\n LEVENE\n Don't.\n\n WILLIAMSON\n I'm sorry.", "WILLIAMSON\n ...let me...are you listening to\n me...?\n\n LEVENE\n Yes.", "WILLIAMSON\n No, I don't think so, Shel.\n\n LEVENE\n I...", "ROMA\n He's right, Williamson.\n\nWilliamson goes into a side office. Pause.", "WILLIAMSON\n Who used to say that?\n\n AARONOW\n In school.\n\nPause. Baylen, a detective, comes out of the inner office.", "WILLIAMSON\n You said, \"You don't make something\n up unless it's sure to help.\"\n (pause)\n How did you know that I made it up?" ], [ "BAYLEN\n Yeah. What do you want? You want\n to what?\n\nHe pushes Levene into the room, closes the door behind him.\nPause.", "Baylen sticks his head out of the room:\n\n BAYLEN\n Mr. Levene...?\n\n ROMA\n You're done, come down, and let's...", "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "WILLIAMSON\n Alright.\n\n LEVENE\n Good. Now we're talking.\n\nPause.", "WILLIAMSON\n Because I say so.\n\n LEVENE\n (pause)\n Is that it? Is that it? You want\n to do business that way...?", "LEVENE\n ...do you want to go downtown...?\n\n WILLIAMSON\n ...no...\n\n LEVENE\n ...then...", "WILLIAMSON\n I want to tell you something,\n Shelly. You have a big mouth.\n\nPause.\n\n LEVENE\n What?", "Shelly Levene enters.", "BAYLEN\n Mr. Levene, I think we have to talk.", "WILLIAMSON\n That was easy, wasn't it?\n\nPause.\n\n LEVENE\n It was his idea.", "WILLIAMSON\n A hundred bucks.\n\nPause.\n\n LEVENE\n Now?\n (pause)\n Now?", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "LEVENE\n Yes. I did. This morning.\n (to Williamson)\n What I'm saying to you: things can", "LEVENE\n No...Black Creek. Yes. In Florida?\n\n ROMA\n Yes.\n\n LEVENE\n I wanted to speak with you about...", "LEVENE\n \"...You look around, you say, 'This\n one has so-and-so, and I have\n nothing...\"\n\n MOSS\n Shit.", "MOSS\n Those fuckin' deadbeats...\n\n LEVENE\n My ass. I told 'em.\n (to Roma)\n Listen to this: I said...", "ROMA\n (to Baylen)\n Asshole...\n (to Levene)", "ROMA\n (to Levene)\n You were saying?\n (pause)", "LEVENE\n On an eighty-thousand dollar day?\n And it ain't even noon.\n\n ROMA\n You closed 'em today?", "ROMA\n Well, you want to swing by the\n Chinks, watch me eat, we'll talk?\n\n LEVENE\n I think I'd better stay here for a\n while." ], [ "(pause)\n I mean, talk about a bad streak.\n That would sap anyone's self\n confi... I got to go out and", "14.\n\n\n MOSS\n You have to cheer up, George, you\n aren't out yet.\n\n AARONOW\n I'm not?", "LEVENE (CONT'D)\n They, I swear to God, they both\n kind of imperceptibly slumped. And", "(pause)\n Some poor newly married guy gets\n run down by a cab. Some busboy\n wins the lottery.\n (pause)", "It was skill. You want to throw\n that away, John...? You want to\n throw that away?", "That was \"luck\"? Bullshit, John.\n You're burning my ass, I can't get\n a fucking lead...you think that was", "The restaurant. Roma is seated alone at the booth. Lingk\nis at the booth next to him. Roma is talking to him.", "(slaps contract down\n on Williamson's desk)\n Eighty-two fucking grand. And\n twelve grand in commission. John.", "is. He's fine. All I'm saying,\n you look at the board, he's\n throwing...wait, wait, wait, he's", "himself. He's...that's what I...\n that's thinking! \"Who? Who's got a\n steady job, a couple bucks nobody's", "The real estate office. Ransacked. A broken plateglass\nwindow boarded up, glass all over the floor. Aaronow and\nWilliamson standing around, smoking.\n\nPause.", "Come on. Come on, you got them in\n the kitchen, you got the stats\n spread out, you're in your shirt-", "AARONOW\n He is?\n\n MOSS\n He's doing very well.\n\n AARONOW\n I heard that they were running cold.", "Dying breed. Yes it is.\n (pause)\n We are the members of a dying breed.\n That's...that's...that's why we", "reputation. We know how this...all\n I'm saying, put a closer on the job.\n There's more than one man for the...", "man? A month...? Two months...?\n Eight months in twelve for three\n years in a row. You know what that\n means? You know what that means?", "Williamson, shit. You...Moss...\n Roma...look at the sheets...look at\n the sheets. Nineteen eighty,", "(to himself)\n Fucking Mitch and Murray going to\n shit a br...what am I going to do\n all...", "last time he went out on a sit?\n Sales contest? It's laughable.\n It's cold out there now, John.", "MOSS\n Look at Jerry Graff. He's clean,\n he's doing business for himself," ], [ "AARONOW\n What?\n\n MOSS\n What? What? The leads.\n\n AARONOW\n You have to steal the leads tonight?", "MOSS\n That's right.\n\nPause.\n\n AARONOW\n You're going to steal the leads?", "ROMA\n Last night, this morning.\n\nPause.\n\n LEVENE\n They took the leads?\n\n ROMA\n Mmm.", "AARONOW\n You want me to break into the\n office tonight and steal the leads?\n\n MOSS\n Yes.\n\nPause.", "WILLIAMSON\n The leads are coming.\n\n LEVENE\n Get 'em to me!", "AARONOW\n You're going to steal the leads and\n sell the leads to him?\n\n 27.\n\n\nPause.", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "LEVENE\n You're so full of shit.\n\n WILLIAMSON\n You robbed the office.", "ROMA\n They took the typewriters, they\n took the leads, they took the cash,\n they took the contracts...\n\n LEVENE\n Wh...wh...Wha...?", "AARONOW\n And you're saying a fella could\n take and sell these leads to Jerry\n Graff.\n\n MOSS\n Yes.", "LEVENE (CONT'D)\n I've seen those leads. I saw them\n when I was at Homestead, we pitched", "LEVENE\n \"'Why? Why don't I get the\n opportunities...?\"\n\n MOSS\n And did they steal the contracts...?", "WILLIAMSON\n That was easy, wasn't it?\n\nPause.\n\n LEVENE\n It was his idea.", "LEVENE\n I can't close these leads, John.\n No one can. It's a joke. John,", "LEVENE\n (laughs)\n Sure! I robbed the office. Sure.", "AARONOW\n Fuck. I had them on River Glen.\n\nLevene looks around.\n\n LEVENE\n What happened?", "AARONOW\n We had a robbery.\n (goes into the inner room)\n\n\n LEVENE\n (pause)\n When?", "MOSS\n Those fuckin' deadbeats...\n\n LEVENE\n My ass. I told 'em.\n (to Roma)\n Listen to this: I said...", "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "Williamson starts back into the office. He is accosted by\nAaronow.\n\n AARONOW\n Were the leads..." ], [ "They like to talk to salesmen.\n (pause)\n They're lonely, something.\n (pause)", "The real estate office. Ransacked. A broken plateglass\nwindow boarded up, glass all over the floor. Aaronow and\nWilliamson standing around, smoking.\n\nPause.", "ROMA\n You hear what I said?\n\n MOSS\n Yeah. He closed a deal.\n\n ROMA\n Eight units. Mountain View.", "(pause)\n That's \"talk,\" my friend, that's\n \"talk.\" Our job is to sell. I'm", "GLENGARRY GLEN ROSS\n\n by\n\n David Mamet\n\n\n\n\nSCENE ONE", "a streak. You never heard of\n \"marshaling your sales force...\"\n What are you, you're a secretary,\n John. Fuck you. That's my message", "LEVENE\n What sales...? I just closed\n eighty-two grand...Are you\n fuckin'...I'm back...I'm back, this\n is only the beginning.", "WILLIAMSON\n Somebody broke in.\n\n ROMA\n Eight units?\n\n LEVENE\n That's right.", "(pause)\n Some poor newly married guy gets\n run down by a cab. Some busboy\n wins the lottery.\n (pause)", "years I've sold him...I can't tell\n you the dollar amount, but quite a\n lot of land. I promised five weeks", "LINGK\n This.\n\n ROMA\n What, \"this\"?\n\nPause.\n\n LINGK\n The deal.", "AARONOW\n Fuck. I had them on River Glen.\n\nLevene looks around.\n\n LEVENE\n What happened?", "the man to sell. I'm getting\n garbage.\n (pause)\n You're giving it to me, and what", "MOSS\n For some fuckin' \"Sell ten thousand\n and you win the steak knives...\"\n\n AARONOW\n For some sales pro...", "WILLIAMSON\n I called them when we had the\n lead... four months ago.\n (pause)\n The people are insane. They just\n like talking to salesmen.", "AARONOW\n And you're saying a fella could\n take and sell these leads to Jerry\n Graff.\n\n MOSS\n Yes.", "Baylen sticks his head out of the room:\n\n BAYLEN\n Mr. Levene...?\n\n ROMA\n You're done, come down, and let's...", "estate. Now: what are they?\n (pause)\n An opportunity. To what? To make\n money? Perhaps. To lose money?", "LEVENE\n I sold them to Jerry Graff.\n\n WILLIAMSON\n How much did you get for them?\n (pause)\n How much did you get for them?", "tell you \"Get out there and close.\"\n \"Go win the Cadillac.\" Graff. He\n goes out and buys. He pays top" ], [ "ROMA\n You hear what I said?\n\n MOSS\n Yeah. He closed a deal.\n\n ROMA\n Eight units. Mountain View.", "Jim, excuse me...Ray, I told you,\n who he is is the senior vice-\n president American Express. His\n family owns 32 per...Over the past", "The real estate office. Ransacked. A broken plateglass\nwindow boarded up, glass all over the floor. Aaronow and\nWilliamson standing around, smoking.\n\nPause.", "MOSS\n Yes.\n (pause)\n Twenty-five hundred apiece. One\n night's work, and the job with\n Graff. Working the premium leads.\n\nPause.", "ROMA\n (to Levene)\n I own the property, my mother owns\n the property, I put her into it.", "ROMA\n You're a client. I just sold you\n five waterfront Glengarry Farms. I\n rub my head, throw me the cue\n \"Kenilworth.\"", "MOSS\n River Oaks, Brook Farms. All of\n that shit. Somebody told me, you\n know what he's clearing himself?\n Fourteen, fifteen grand a week.", "WILLIAMSON\n Somebody broke in.\n\n ROMA\n Eight units?\n\n LEVENE\n That's right.", "MOSS\n The Glengarry...the premium leads...?\n I'd say we got five thousand. Five.\n Five thousand leads.", "MOSS\n You hear a lot of things...He's\n doing very well. He's doing very\n well.\n\n AARONOW\n With River Oaks?", "AARONOW\n Fuck. I had them on River Glen.\n\nLevene looks around.\n\n LEVENE\n What happened?", "ROMA\n Mountain View. Eight units.\n\n MOSS\n Fuckin' cop's got no right talk to\n me that way. I didn't rob the\n place...", "MOSS\n Fuck you.\n\n ROMA\n Guess who?\n\n MOSS\n When...\n\n LEVENE\n Just now.", "WILLIAMSON\n Roma.\n\n LEVENE\n Under him?\n\n WILLIAMSON\n Moss.", "MOSS\n Look at Jerry Graff. He's clean,\n he's doing business for himself,", "The restaurant. Roma is seated alone at the booth. Lingk\nis at the booth next to him. Roma is talking to him.", "WILLIAMSON\n Uh-huh?\n\n LEVENE\n He told me my share was twenty-five.\n\n WILLIAMSON\n Mmm.", "AARONOW\n How do you know he'd buy them?\n\n MOSS\n Graff? Because I worked for him.", "WILLIAMSON\n Because I say so.\n\n LEVENE\n (pause)\n Is that it? Is that it? You want\n to do business that way...?", "Company Man, all business...this\n man, no. We'll go out to his home\n sometime. Let's see.\n (he checks his datebook)" ], [ "LEVENE\n I'm asking you. As a favor to me?\n (pause)\n John.\n (long pause)\n John: my daughter...", "you if she knew. This is your life.\n (pause)\n Yes. Now I want to talk to you\n because you're obviously upset and", "LEVENE\n Why?\n\n WILLIAMSON\n Because I don't like you.\n\n LEVENE\n John: John:...my daughter...", "LINGK\n My wife...\n\n LEVENE\n Rick, we really have to go.\n\n LINGK\n My wife...", "LINGK\n My wife...\n\nRoma rubs his head.\n\n LEVENE\n (standing in the door)\n Rick...?", "(pause. Roma rises\n and starts walking\n toward the front door)\n Come on.\n (pause)", "The restaurant. Roma is seated alone at the booth. Lingk\nis at the booth next to him. Roma is talking to him.", "I have to go. You understand.\n They treat me like a member of the\n family, so I have to go.\n (MORE)", "LINGK\n I told you.\n\n ROMA\n You tell me again.\n\n LINGK\n She wants her money back.", "Nobody knew that but you. Now how\n did you know that?\n (pause)\n You want to talk to me, you want to", "LEVENE\n No, his wife is.\n\n ROMA\n Ah. Ah, his wife is. Ray: what\n time do you have...?", "I nod at her like this.\n \"Bruce...Harriet...\" I'm beaming at\n them. I'm nodding like this. I", "75.\n\n\n LINGK\n What's going on here?\n\n ROMA\n Tell me again. Your wife.", "MOSS\n The nurses?\n\n AARONOW\n Yes.", "Baylen starts manhandling Shelly into the room.\n\n LEVENE\n Ricky, I...\n\n ROMA\n Okay, okay, I'll be at the resta...", "wife...? You did it, live with it.\n (pause)\n You fuck little girls, so be it.\n There's an absolute morality? May", "You're goddamned right I am. Sit\n down. Tell you something...?\n Sometimes we need someone from", "LINGK\n I...\n\n LEVENE\n Rick.\n\n ROMA\n What?", "Detective puts his head out of the doorway.\n\n BAYLEN\n Levene!!!\n\n LINGK\n I, I...", "I just let it sit. I nod like this.\n I nod again. I grasp his hands. I\n shake his hands. I grasp her hands." ], [ "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "Shelly Levene enters.", "I'm...don't look at the board, look\n at me. Shelly Levene. Anyone.\n Ask them on Western. Ask Getz at", "Baylen sticks his head out of the room:\n\n BAYLEN\n Mr. Levene...?\n\n ROMA\n You're done, come down, and let's...", "WILLIAMSON\n I want to tell you something,\n Shelly. You have a big mouth.\n\nPause.\n\n LEVENE\n What?", "GLENGARRY GLEN ROSS\n\n by\n\n David Mamet\n\n\n\n\nSCENE ONE", "AARONOW\n Shelly, the Machine, Levene.\n\n LEVENE\n You...\n\n AARONOW\n That's great.", "Baylen starts manhandling Shelly into the room.\n\n LEVENE\n Ricky, I...\n\n ROMA\n Okay, okay, I'll be at the resta...", "BAYLEN\n Yeah. What do you want? You want\n to what?\n\nHe pushes Levene into the room, closes the door behind him.\nPause.", "ROMA (CONT'D)\n (to Lingk)\n Mr. Morton's with American Express...\n he's...\n (to Levene)\n I can tell Jim what you do...?", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "WILLIAMSON\n I can't do it, Shel.\n\nPause.\n\n LEVENE\n I'll give you ten percent.", "ROMA\n Ray is director of all European\n sales and services for American\n Ex...\n (to Levene)", "ROMA\n Shelly...!\n\n LEVENE\n Hey, big fucking deal. Broke a bad\n streak...", "LEVENE\n You're so full of shit.\n\n WILLIAMSON\n You robbed the office.", "WILLIAMSON\n Will you please wait a second.\n Shelly. Please. Murray told me:\n the hot leads...\n\n LEVENE\n ...ah, fuck this...", "AARONOW\n Fuck. I had them on River Glen.\n\nLevene looks around.\n\n LEVENE\n What happened?", "WILLIAMSON\n A hundred bucks.\n\nPause.\n\n LEVENE\n Now?\n (pause)\n Now?", "LINGK\n My wife...\n\n LEVENE\n Rick, we really have to go.\n\n LINGK\n My wife...", "ROMA\n (to Baylen)\n Asshole...\n (to Levene)" ], [ "23.\n\n\n MOSS\n Something. To pay them back.\n (pause)\n Someone, someone should hurt them.\n Murray and Mitch.", "MOSS\n How? Do something to hurt them.\n Where they live.\n\n AARONOW\n What?\n (pause)", "MOSS\n Someone should stand up and strike\n back.\n\n AARONOW\n What do you mean?\n\n MOSS\n Somebody...", "MOSS\n You know who it is. It's Mitch.\n And Murray. 'Cause it doesn't have\n to be this way.\n\n AARONOW\n No.", "AARONOW\n Yes...?\n\n MOSS\n Should do something to them.\n\n AARONOW\n What?", "AARONOW\n Someone should hurt them.\n\n MOSS\n Yes.\n\n AARONOW\n (pause)\n How?", "Moss comes out of the interrogation.\n\n MOSS\n Fuckin' asshole.\n\n ROMA\n What, they beat you with a rubber\n bat?", "MOSS\n And so they kill the goose. I, I,\n I'll...and a fuckin' man, worked\n all his life has got to...", "(to himself)\n Fucking Mitch and Murray going to\n shit a br...what am I going to do\n all...", "MOSS\n (simultaneously with \"trip\")\n And fuck you. Fuck the lot of you.\n Fuck you all.\n\nMoss exits. Pause.", "MOSS\n That's right, the guys are moving\n them downtown. After the thirtieth.\n Murray and Mitch. After the contest.", "MOSS\n Shut the fuck up.\n (pause)\n Ricky. You have a mean streak in\n you...", "MOSS\n ...Shut up. Decide who should be\n dealt with how? Is that the thing?\n I come into the fuckin' office", "MOSS\n Those fuckin' deadbeats...\n\n LEVENE\n My ass. I told 'em.\n (to Roma)\n Listen to this: I said...", "MOSS\n Fuck you.\n\n ROMA\n Guess who?\n\n MOSS\n When...\n\n LEVENE\n Just now.", "MOSS\n Someone should rob the office.\n\n AARONOW\n Huh.", "MOSS\n Fuck you, Ricky. I ain't going out\n today. I'm going home. I'm going\n home because nothing's accomplished\n here...Anyone talks to this guy is...", "MOSS\n (to Levene)\n You did that?\n\n LEVENE\n Yeah.\n\nPause.", "MOSS\n And now...\n\n AARONOW\n We're stuck with this...\n\n MOSS\n We're stuck with this fucking shit...", "MOSS\n Then tough luck, George, because\n you are.\n\n AARONOW\n Why? Why, because you only told me\n about it?" ], [ "Roma rubs his head.\n\n LEVENE\n Rick...?", "The restaurant. Roma is seated alone at the booth. Lingk\nis at the booth next to him. Roma is talking to him.", "LINGK\n My wife...\n\nRoma rubs his head.\n\n LEVENE\n (standing in the door)\n Rick...?", "ROMA\n My name is Richard Roma.\n\nBaylen goes back into the inner room.\n\n AARONOW\n I, you know, they should be insured.", "LINGK\n Gimlet.\n\n ROMA\n Well, let's have a couple more. My\n name is Richard Roma, what's yours?", "Baylen sticks his head out of the room:\n\n BAYLEN\n Mr. Levene...?\n\n ROMA\n You're done, come down, and let's...", "GLENGARRY GLEN ROSS\n\n by\n\n David Mamet\n\n\n\n\nSCENE ONE", "LINGK\n I...\n\n LEVENE\n Rick.\n\n ROMA\n What?", "(pause. Roma rises\n and starts walking\n toward the front door)\n Come on.\n (pause)", "Baylen starts manhandling Shelly into the room.\n\n LEVENE\n Ricky, I...\n\n ROMA\n Okay, okay, I'll be at the resta...", "ROMA\n You hear what I said?\n\n MOSS\n Yeah. He closed a deal.\n\n ROMA\n Eight units. Mountain View.", "LINGK\n I've got to talk to you.\n\n ROMA\n (looking up)\n Jim! What are you doing here? Jim\n Lingk, D. Ray Morton...", "ROMA\n (to Baylen)\n Asshole...\n (to Levene)", "ROMA (CONT'D)\n (to Lingk)\n Mr. Morton's with American Express...\n he's...\n (to Levene)\n I can tell Jim what you do...?", "Roma goes to the inner room.\n\n LEVENE\n You are a shithead, Williamson...\n\nPause.", "LINGK\n This.\n\n ROMA\n What, \"this\"?\n\nPause.\n\n LINGK\n The deal.", "ROMA\n (to Levene)\n You were saying?\n (pause)", "ROMA\n Well, you want to swing by the\n Chinks, watch me eat, we'll talk?\n\n LEVENE\n I think I'd better stay here for a\n while.", "ROMA\n I'm talking with Mr. Lingk. If you\n please, I'll be back in.\n (checks watch)", "I'm...don't look at the board, look\n at me. Shelly Levene. Anyone.\n Ask them on Western. Ask Getz at" ], [ "LINGK\n This.\n\n ROMA\n What, \"this\"?\n\nPause.\n\n LINGK\n The deal.", "LINGK\n I've got to talk to you.\n\n ROMA\n (looking up)\n Jim! What are you doing here? Jim\n Lingk, D. Ray Morton...", "LINGK\n Lingk. James Lingk.", "LINGK\n My wife...\n\n LEVENE\n Rick, we really have to go.\n\n LINGK\n My wife...", "WILLIAMSON\n Mr. Lingk. James Lingk. Your\n contract went out. Nothing to...\n\n ROMA\n John...", "LINGK\n I told you.\n\n ROMA\n You tell me again.\n\n LINGK\n She wants her money back.", "ROMA\n ...some of the contracts...Lingk.\n James Lingk. I closed...\n\n WILLIAMSON\n You closed him yesterday.", "LINGK\n My wife said I have to cancel the\n deal.", "LINGK\n I can't regotiate.\n\n ROMA\n What does that mean?\n\n LINGK\n That...", "LINGK\n Oh, Christ...\n (starts out the door)\n Don't follow me...Oh, Christ.", "ROMA (CONT'D)\n (to Lingk)\n Mr. Morton's with American Express...\n he's...\n (to Levene)\n I can tell Jim what you do...?", "WILLIAMSON\n Yes. Please. Please.\n (to Lingk)\n The police\n (shrugs)\n can be...\n\n 80.", "Come on, Jim.\n (pause)\n I want to tell you something. Your\n life is your own. You have a", "joint off, I'm doing business.\n I'll be with you in a while. You\n got it...?\n (looks back. Lingk", "ROMA\n I'm talking with Mr. Lingk. If you\n please, I'll be back in.\n (checks watch)", "LINGK\n ...and...and...\n\nPause.\n\n ROMA\n What?\n\n LINGK\n And the check is...", "ROMA\n The \"deal,\" forget the deal.\n Forget the deal, you've got\n something on your mind, Jim, what\n is it?", "ROMA\n Forget the deal, Jimmy.\n (pause)\n Forget the deal...you know me. The", "LINGK\n My wife...\n\nRoma rubs his head.\n\n LEVENE\n (standing in the door)\n Rick...?", "Detective puts his head out of the doorway.\n\n BAYLEN\n Levene!!!\n\n LINGK\n I, I..." ], [ "The real estate office. Ransacked. A broken plateglass\nwindow boarded up, glass all over the floor. Aaronow and\nWilliamson standing around, smoking.\n\nPause.", "WILLIAMSON\n Mmm.\n\n AARONOW\n Did they find the guy who broke\n into the office yet?", "AARONOW\n You want me to break into the\n office tonight and steal the leads?\n\n MOSS\n Yes.\n\nPause.", "(retreats into office)", "WILLIAMSON\n I don't care. You understand?\n Where are the leads?\n (pause)\n Alright.\n\nWilliamson goes to open the office door.", "FUCK FUCK FUCK! WILLIAMSON!!!\n WILLIAMSON!!!\n (goes to the door\n Williamson went into,", "WILLIAMSON\n Somebody broke in.\n\n ROMA\n Eight units?\n\n LEVENE\n That's right.", "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "MOSS\n Someone should rob the office.\n\n AARONOW\n Huh.", "WILLIAMSON\n (going back into his office)\n Excuse me...\n\n 74.", "ROMA\n He's right, Williamson.\n\nWilliamson goes into a side office. Pause.", "Roma goes to the inner room.\n\n LEVENE\n You are a shithead, Williamson...\n\nPause.", "knock it off, and trash the joint,\n it looks like robbery, and take the\n fuckin' leads out of the files...go\n to Jerry Graff.", "MOSS\n ...Shut up. Decide who should be\n dealt with how? Is that the thing?\n I come into the fuckin' office", "WILLIAMSON\n (bursting out of his office)\n Will you get out of here. Will you", "LEVENE\n (laughs)\n Sure! I robbed the office. Sure.", "Detective puts his head out of the doorway.\n\n BAYLEN\n Levene!!!\n\n LINGK\n I, I...", "AARONOW\n At home.\n\n 46.\n\n\n ROMA\n See...? Were you the guy who broke\n in?", "WILLIAMSON\n Who used to say that?\n\n AARONOW\n In school.\n\nPause. Baylen, a detective, comes out of the inner office.", "tries the door; it's locked)\n OPEN THE FUCKING...WILLIAMSON..." ], [ "LEVENE\n Why?\n\n WILLIAMSON\n Because I don't like you.\n\n LEVENE\n John: John:...my daughter...", "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "WILLIAMSON\n I want to tell you something,\n Shelly. You have a big mouth.\n\nPause.\n\n LEVENE\n What?", "WILLIAMSON\n I can't do it, Shel.\n\nPause.\n\n LEVENE\n I'll give you ten percent.", "WILLIAMSON\n Will you please wait a second.\n Shelly. Please. Murray told me:\n the hot leads...\n\n LEVENE\n ...ah, fuck this...", "WILLIAMSON\n Because I say so.\n\n LEVENE\n (pause)\n Is that it? Is that it? You want\n to do business that way...?", "WILLIAMSON\n Now.\n (pause)\n Yes...When?\n\n 11.\n\n\n LEVENE\n Ah, shit, John.", "WILLIAMSON\n You're saying that I'm fucked.\n\n LEVENE\n Yes.\n (pause)\n I am. I'm sorry to antagonize you.", "WILLIAMSON\n That was easy, wasn't it?\n\nPause.\n\n LEVENE\n It was his idea.", "LEVENE\n Ah, fuck. Leads! Leads!\n Williamson!\n (Williamson sticks\n his head out of the office)\n Send me out! Send me out!", "WILLIAMSON\n No, I don't think so, Shel.\n\n LEVENE\n I...", "LEVENE\n ...you want to see the court\n records? John? Eh? You want to\n go down...\n\n WILLIAMSON\n ...no...", "WILLIAMSON\n Murray said...\n\n LEVENE\n John. John...", "LEVENE\n You're so full of shit.\n\n WILLIAMSON\n You robbed the office.", "WILLIAMSON\n The only thing remarkable is who\n you made it to.\n\n LEVENE\n What does that fucking mean?", "WILLIAMSON\n Either way. You're out.\n\n LEVENE\n I'm out.\n\n WILLIAMSON\n Yes.", "LEVENE\n I will close. John, John, ten\n percent. I can get hot. You know\n that...\n\n WILLIAMSON\n Not lately you can't...", "WILLIAMSON\n ...let me...are you listening to\n me...?\n\n LEVENE\n Yes.", "WILLIAMSON\n A hundred bucks.\n\nPause.\n\n LEVENE\n Now?\n (pause)\n Now?", "WILLIAMSON\n (bursting out of his office)\n Will you get out of here. Will you" ], [ "The real estate office. Ransacked. A broken plateglass\nwindow boarded up, glass all over the floor. Aaronow and\nWilliamson standing around, smoking.\n\nPause.", "WILLIAMSON\n Who used to say that?\n\n AARONOW\n In school.\n\nPause. Baylen, a detective, comes out of the inner office.", "Detective puts his head out of the doorway.\n\n BAYLEN\n Levene!!!\n\n LINGK\n I, I...", "Baylen sticks his head out of the room:\n\n BAYLEN\n Mr. Levene...?\n\n ROMA\n You're done, come down, and let's...", "Williamson sees Levene.\n\n WILLIAMSON\n Shelly: get in the office.", "GLENGARRY GLEN ROSS\n\n by\n\n David Mamet\n\n\n\n\nSCENE ONE", "LINGK\n What are the police doing?\n\n ROMA\n It's nothing.\n\n LINGK\n What are the police doing here...?", "They like to talk to salesmen.\n (pause)\n They're lonely, something.\n (pause)", "WILLIAMSON\n I don't care. You understand?\n Where are the leads?\n (pause)\n Alright.\n\nWilliamson goes to open the office door.", "Moss comes out of the interrogation.\n\n MOSS\n Fuckin' asshole.\n\n ROMA\n What, they beat you with a rubber\n bat?", "AARONOW\n Fuck. I had them on River Glen.\n\nLevene looks around.\n\n LEVENE\n What happened?", "WILLIAMSON\n (going back into his office)\n Excuse me...\n\n 74.", "WILLIAMSON\n Yes. Please. Please.\n (to Lingk)\n The police\n (shrugs)\n can be...\n\n 80.", "BAYLEN\n Yeah. What do you want? You want\n to what?\n\nHe pushes Levene into the room, closes the door behind him.\nPause.", "AARONOW\n (pause)\n When I talk to the police, I get\n nervous.\n\n ROMA\n Yeah. You know who doesn't?", "WILLIAMSON\n Somebody broke in.\n\n ROMA\n Eight units?\n\n LEVENE\n That's right.", "WILLIAMSON\n What'd you do with the leads?\n (pause, points to the\n Detective's room)", "I'm...don't look at the board, look\n at me. Shelly Levene. Anyone.\n Ask them on Western. Ask Getz at", "AARONOW\n Huh.\n\n MOSS\n You don't ax your sales force.\n\n AARONOW\n No.", "ROMA\n To the cops?\n\n AARONOW\n Yeah.\n\n ROMA\n Yeah. That's swell. Another waste\n of time." ] ]

[ "What is the occupation of the four main characters?", "Blake tells the salesmen that the top two will get the Glengarry leads. What does he say will happen to the other two salesmen?", "Who admits to breaking into the office?", "Who does Levene say broke into the office with him?", "Who does Levene try to bribe for some leads?", "What excuse does Lingk use to try and cancel the deal he made on the first day?", "What did the salesmen find when they arrived at the office on the morning of the second day?", "What is wrong with Leven's daughter?", "Why does Williamson say he wants to crush Levene?", "Who is sent to motivate the salesman?", "Whose daughter has an unknown medical condition?", "Who does Shelley try to convince to get the Glengarry leads?", "What does Williamson want, in order to give away some of the Glengarry leads to Shelley?", "Who has told Lingk to cancel the deal? ", "Who tells Lingk that his check has already been deposited?", "Who does William tell that he doesn't like him?", "Who talks to Levene about forming a business partnership?", "Who is in a long running slump?", "Who worked with Levene to steal the leads?", "This story is about how many real estate salesmen?", "Who owns Premier Properties?", "Whose daughter is sick in the hospital?", "What is the name of the office manager Shelley Levene tries to charm and bribe?", "How does Moss suggest they strike back at Mitch and Murray?", "Who does Ricky Roma talk with in the bar?", "Who tells James Lingk to cancel the deal?", "Who breaks into the office?", "Why does John Williamson want to ruin Shelley Levene?", "Who's office do the police use to interrogate the salesmen?" ]

[ [ "real estate salesmen", "real estate salesman" ], [ "They will be fired", "The two salesmen will be fired." ], [ "Levene", "Levene" ], [ "Moss", "Dave Moss." ], [ "Williamson", "Office manager John Williamson." ], [ "His wife told him to cancel the deal", "Lingk says his wife has told him to cancel the deal." ], [ "Someone had broken into the office.", "The Glengarry leads have been stolen in a burglary." ], [ "She is chronically ill", "She is chronically ill, with an unknown condition." ], [ "He doesn't like him.", "he dislikes him" ], [ "Blake", "Blake." ], [ "Shelley", "Levene" ], [ "John", "John Williamson" ], [ "Cash in advance", "Cash, in advance of any sales Shelley makes." ], [ "His wife", "His wife." ], [ "Williamson", "Williamson" ], [ "Levene", "Shelley Levene" ], [ "Roma", "Roma" ], [ "Shelley", "Shelley Levene." ], [ "Moss", "Dave Moss" ], [ "Four", "Four" ], [ "Mitch and Murray.", "Mitch and Murray." ], [ "Shelley Levene", "Shelley Levene" ], [ "John Williamson", "John Williamson." ], [ "By stealing the Glengarry leads.", "By stealing all their leads and sell them to a competing real estate agency." ], [ "James Lingk", "James Lingk" ], [ "His wife", "James wife." ], [ "Shelley Levene", "Aaronow." ], [ "Because he does not like him.", "Because John doesn't like Shelley." ], [ "John Williamson's", "Williamson's" ] ]

[ [ "'Miss! Come, come. Miss us, no Misses,' said my uncle; 'she is Maud, and\nyou Dudley, or I mistake; or we shall have you calling Milly, madame.", "'Go?--oh!--a--yes--_yes_, Maud--go. I must see poor Dudley before his\ndeparture,' he added, as it were, in soliloquy.", "'Drop it, Dudley, I tell ye; you'll kill him,' screamed Milly.", "'Do I?' said she; 'I was not thinking--it was quite an accident. The fact\nis, Maud, your poor papa quite mistook me. I had no prejudice respecting", "'Will ye _cut_?' barked Dudley, in a tone that made her jump; and suddenly,\nwithout looking about, he strode after her from the room.", "'Come, will ye?' said Dudley, grinding his teeth. 'You're pretty well done\nhere.'\n\nNot half understanding the situation, but looking woefully bewildered, she\ndropped a farewell courtesy at the door.", "'What did you see, Miss?' repeated Mary.\n\n'_Mr. Dudley_,' I whispered, with a terrified emphasis, not daring to turn\nmy head as I spoke.", "'You'll want some supper, Dudley, so Maud and I will excuse your going.\nGood-night, my dear boy,' and he smiled and waved him from the room.", "'Oh, oh, my God!' said Dudley, hoarsely, and wiped his forehead with his\nopen hand.\n\n'There now, you'll be all well in a minute,' continued the old man.", "Dudley groaned.\n\n'Whoever advised it, you're a gainer, Dudley,' said Uncle Silas.\n\nThen there was a pause.", "'I'll not say a word. Go on.'\n\n'Did ye see Dudley?'\n\n'I think I saw him getting up the ladder.'", "What could that ruffian, Hawkes, be doing in the house? Why was Dudley\nthere? Could a more ominous combination be imagined? I puzzled my", "Dudley had disappeared; but in one of her letters, Meg, writing from her\nAustralian farm, says: 'There's a fella in toon as calls hisself Colbroke,", "'I knew it, of course; and upon my word, madame, you and he make a very\npretty couple,' sneered Uncle Silas.\n\nDudley made no answer, looking, however, very savage.", "'_How?_' he continued; 'how has Dudley _insulted_ you, my dear child? Come,\nyou're excited; sit down; take time, and tell me all about it. I did not\nknow that Dudley was here.'", "'Brice said, Miss, he saw Dudley a-cryin' and lookin' awful black, and says", "'My dear child, you ought to come in and see him; indeed but you should,\nMiss Maud. He's quite dead an hour ago. You'd wonder all the blood that's", "'Master wants Miss Maud,' said Wyat's disagreeable tones, at the half-open\ndoor.\n\nI followed in silence, with the pressure of a near alarm at my heart, like\na person going to an operation.", "Like a quarrelsome man worried in his sleep by a noise, Dudley suddenly\nwoke up, as it were, with a start, in a half-suppressed exasperation,", "'I hope that was not heard,' said Uncle Silas.\n\nDudley walked to the window and stood there." ], [ "in the house but its master. He never alluded again to Madame de la\nRougierre. But whether connected with her exposure and dismissal, I could", "'Sit down, Maud, _there_. You have not been very happy with Madame de la\nRougierre. It is time you were relieved. This occurrence decides it.'\n\nHe rang the bell.", "'There now, dear Maud, we have heard enough; it is, I do believe, a\ndelusion. Madame de la Rougierre will be your companion, at the utmost, for", "'So that's Madame de la Rougierre?' at length exclaimed Lady Knollys, with\na very stately disdain. I think I never saw anyone look more shocked.", "And with these words Madame de la Rougierre broke down altogether. She\nsobbed, she wept, she gabbled piteously, all manner of incomprehensible", "'Madame de la Rougierre.'\n\n\n\n\nCHAPTER X\n\n_LADY KNOLLYS REMOVES A COVERLET_", "'Why am I disturbed, pray?'\n\n'Miss Maud a Ruthyn, she weel explain,' replied Madame, with a great\ncourtesy, like a boat going down in a ground swell.", "'Oh, Mary, Mary, she's come--that dreadful woman, Madame de la Rougierre,\nhas come to be my governess again; and Uncle Silas won't hear or believe", "The servants, indeed, made no secret of their opinion of Madame de la\nRougierre, and frankly charged her with a long list of larcenies. Even Anne", "'She assures me she is Madame de la Rougierre, and, I suppose, in French\nphrase she so calls herself,' answered Lady Knollys, with a laugh, but\nuncomfortably, I thought.", "Madame de la Rougierre, I found, was always quite ready to explain\neverything 'à fond;' but somehow her 'explications,' as she termed them,", "Next morning I made acquaintance with Madame de la Rougierre. She was tall,\nmasculine, a little ghastly perhaps, and draped in purple silk, with a", "Madame de la Rougierre has appeared! She is here, and my uncle insists on\nmaking her my close companion. I am at my wits' ends. I cannot escape--the", "Madame seemed to be in a strange perplexity. She bridled up, dried her eyes\nfiercely, and dropped a great courtesy, and then sailed away towards the", "And he waved us out a little impatiently; and I, without one look toward\nMadame de la Rougierre, stunned and incensed, walked into my room and shut\nthe door.", "But you have seen how troubled my life was with fear and anxiety during the\nresidence of Madame de la Rougierre, and now there rested upon my mind a", "Madame de la Rougierre, who has my directions to see that it contains no\n_libels_ upon my character. Now, sit down.'", "'Did not you tell me, Maud, that you had lost your pearl cross while that\ndreadful Madame de la Rougierre was here?'\n\n'Yes; but--'", "'I am sorry, Maud, I allowed you to see that I have any unpleasant\nimpressions about that governess lady. I shall be at liberty some day to", "little time we must manage apart from one another. Do not be alarmed. You\nshall not be in Madame de la Rougierre's charge, but under the care of a" ], [ "'Why, if you die before you come to the age of twenty-one, the entire of\nthe property will go to him--do you see?--and he has the custody of your", "'And to whom,' said Lady Knollys, with an effort, 'will the property\nbelong, in case--in case my little cousin here should die before she comes\nof age?'", "'Whose?--your uncle Silas's. In the course of nature he must survive me. He\nwill then represent the family name. Would you make some sacrifice to clear\nthat name, Maud?'", "'Is this all, my dear child? I really fancied you had found a second will,\nand had lost everything. Why, my dearest Maud, we knew all this before.", "'There, there, little Maud, you must not cry. She is here only for your\ngood. If you are afraid--even _foolishly_ afraid--it is enough. Be it as", "'You're taking too much for granted, Maud,' said she; 'Silas Ruthyn,\nmost likely, will refuse his consent, and insist on your going to\nBartram-Haugh.'", "'Surely, Maud, you don't wish to deceive your guardian? Come, the question\nis a plain one, and I know the truth already. I ask you again--have you\never heard me spoken ill of by Lady Knollys?'", "leave to apply for a copy of this instrument. It will save a deal of\ntrouble, if the young lady as represents the testator here has no\nobjection.'", "'Why, if all goes well, it may do a little; but a great deal less than you\nfancy. But take it that you happen to _die_, Miss, during your minority. We", "servants, get inventories made, and provide for the care of the place and\ngrounds during her minority.", "'Therefore the literal widow in this case _can_ have no interest in view\nbut one, and that is yours and Maud's. I wish him well, but he shan't put", "'There, Maud, enough. I have spoken, as I always do to you, frankly,\nperhaps too frankly; but agony and despair will speak out, and plead, even\nwith the most obdurate and cruel.'", "It won't last, though; and I do assure you, my dear Maud, I am quite happy\nabout you now that you are quite on your guard. Just act respecting that", "'Yes, we will, Maud--you and I--we'll leave one proof on record, which,\nfairly read, will go far to convince the world.'", "'Well, Maud, I am sure there is _no_ risk; but you are to suppose there is.\nAre you still willing to accept it?'\n\nAgain I assented.", "'Eh? Well--wouldn't it go to the heir-at-law and next of kin?' said Doctor\nBryerly, turning to Abel Grimston.", "Maud--on her journey, and she send me; and so, ma chère, here is poor\nMadame arrive to charge herself of that affair.'", "'There now, dear Maud, we have heard enough; it is, I do believe, a\ndelusion. Madame de la Rougierre will be your companion, at the utmost, for", "'Well, Maud, in the course of a few months--and it may be sooner--there\nmust be a change. I have had a letter from London this morning that assures", "poor father's will, Maud. Surely he doesn't mean to go on lounging and\nsmoking away his life among poachers, and prize-fighters, and worse people." ], [ "So this was Bartram, and here was Uncle Silas. I was almost breathless as\nI approached. The bright moon shining full on the white front of the old", "Uncle Silas was perfectly still. I would not suffer myself to think of the\nnumber of dark rooms and passages which now separated me from the other\nliving tenants of the house. I awaited with a false composure the return of\nold Wyat.", "Uncle Silas, who, after his nightly horror or vision, lay extended on a\nsofa, with his faded yellow silk dressing-gown about him, his long white", "So the summons reached me from Uncle Silas. The hours at Knowl were\nnumbered.", "'Well, dear Maud, the adventure of Church Scarsdale is hardly so terrific\nas I expected,' said Uncle Silas with a cold little laugh; 'and I don't", "'Not a word, sir,' snarled Uncle Silas, with a white flash from his eyes.\n\nThere was a pause.\n\n'Sit where you are, Maud.'", "'Whose?--your uncle Silas's. In the course of nature he must survive me. He\nwill then represent the family name. Would you make some sacrifice to clear\nthat name, Maud?'", "A voice, clear and penetrating, from within summoned us to enter. The old\nwoman opened the door, and the next moment I was in the presence of Uncle\nSilas.", "With these words Uncle Silas leaned back exhausted, and languidly poured\nsome of his favourite eau-de-cologne over the palms of his hands, nodded a\nfarewell, and, in a whisper, wished me good-night.", "'I name my oppressed and unhappy brother, Silas Ruthyn, residing at my\nhouse of Bartram-Haugh, as guardian of the person of my beloved child, to", "The figure of Uncle Silas rose up, and dressed in a long white morning\ngown, slid over the end of the bed, and with two or three swift", "It came, and with it a note from Uncle Silas, which was curious, and,\ntherefore, is printed here:--", "Uncle Silas had been at death's door for hours; the question of life had\ntrembled in the scale; but now the doctor said 'he might do.'\n\n'Where was the doctor?'", "Uncle Silas here seemed suddenly overtaken by exhaustion. He leaned back\nwith a ghastly look, and his lean features glistened with the dew of", "Of course Milly and I did as we were directed. We sat by the fire, scarcely\ndaring to whisper. Uncle Silas, about whom a new and dreadful suspicion", "Sometimes this grew into a dismal panic, and Uncle Silas--polished,\nmild--seemed unaccountably horrible to me. Then it was no longer an", "'No harm, dear. You have said nothing wrong,' he said gently, observing\nmy alarm. 'You said I was always sad, I think, about Uncle Silas. Well,", "Uncle Silas replaced the papers which had ostensibly interested him so\nmuch, and returned. There was a vein which was visible near the angle", "by murder, supervened. I dare say that Uncle Silas thought for a while that\nhe was a righteous man. He wished to have heaven and to escape hell, if", "Madame assented with a courtesy to Uncle Silas, and a great hollow smile to\nme.\n\nBy this time Uncle Silas had raised himself from his reclining posture, and\nwas sitting, gaunt and white, upon the sofa." ], [ "'How are ye, Maud?' he said, doing his best, and drawing near, he extended\nhis hand.' You're welcome to Bartram-Haugh, Miss.'", "of Bartram-Haugh, I beheld dear old Mary Quince gazing after us. Again\nmy tears flowed. I waved my handkerchief from the window; and now the", "Bartram-Haugh; but she is attached, trustworthy, and honest; and those are\nqualities valuable everywhere, especially in a solitude. Don't allow them", "'Run down, Giblets, you never do nout without driving, and let Cousin Maud\nout. You're very welcome to Bartram.' This greeting was screamed at an", "She was to be for the Christmas at Elverston, and that was only six miles\naway from Bartram-Haugh, so I had the excitement of a pleasant look\nforward.", "Quince, who was to accompany me to Bartram-Haugh as my maid.", "Mary Quince and I, with the hopefulness of inexperienced travellers, began\nalready to speculate about our proximity to Bartram-Haugh, and were sorely", "'Your distracted and terrified cousin,\n\nMAUD'\n\n'Bartram-Haugh.'", "was jealousy, of course, and brutal quarrelling, and all sorts of horrid\nstories. I visited at Bartram-Haugh for a year or two, though no one else", "At the door my beloved old friend, Mary Quince, awaited me.\n\n'Am I going with you, Miss Maud?'\n\nI burst into tears and clasped her in my arms.", "say, is blowing toward us from the wood there. If so, Maud, it is blowing\nfrom Bartram-Haugh, too, over the trees and chimneys of that old place, and", "'My dear Maud, listen to reason. Doctor Bryerly has seen your uncle at\nBartram at least two hours ago. You _can't_ stop it, and why on earth", "Ruthyn, of Bartram-Haugh. I look upon him, I do assure you, quite in the\nlight of a saint; not, of course, in the Popish sense, but in the very", "distinctly heard papa's voice say sharply outside the bed-curtain:--'Maud,\nwe shall be late at Bartram-Haugh.'", "Meanwhile, the winter deepened, and we had short days and long nights,\nand long fireside gossipings at Bartram-Haugh. I was frightened at the", "him to the houses where ladies were. But Silas's wife was not much regarded\nat Bartram-Haugh. Indeed, she was very little seen, for she was every", "Dudley had not left Bartram-Haugh when a little note reached me from Lady\nKnollys. It said--", "The second evening of his visit, Cousin Monica took occasion to introduce\nthe subject of his visit to Bartram-Haugh.\n\n'You saw him, of course?' said Lady Knollys.", "A Tale of Bartram-Haugh\n\nBy J. S. LeFanu\n\n1899", "'Well, Miss Maud, I never did expect to see the like o' that!' exclaimed\nhonest Mary Quince, 'Did you ever see such a young lady? She's no more like" ], [ "'There now, dear Maud, we have heard enough; it is, I do believe, a\ndelusion. Madame de la Rougierre will be your companion, at the utmost, for", "'Sit down, Maud, _there_. You have not been very happy with Madame de la\nRougierre. It is time you were relieved. This occurrence decides it.'\n\nHe rang the bell.", "And with these words Madame de la Rougierre broke down altogether. She\nsobbed, she wept, she gabbled piteously, all manner of incomprehensible", "in the house but its master. He never alluded again to Madame de la\nRougierre. But whether connected with her exposure and dismissal, I could", "Next morning I made acquaintance with Madame de la Rougierre. She was tall,\nmasculine, a little ghastly perhaps, and draped in purple silk, with a", "Maud--on her journey, and she send me; and so, ma chère, here is poor\nMadame arrive to charge herself of that affair.'", "After the first elation of relief, now and then a filmy shadow of Madame de\nla Rougierre would glide across the sunlight, and the remembrance of her\nmenace return with an unexpected pang of fear.", "The servants, indeed, made no secret of their opinion of Madame de la\nRougierre, and frankly charged her with a long list of larcenies. Even Anne", "Madame de la Rougierre has appeared! She is here, and my uncle insists on\nmaking her my close companion. I am at my wits' ends. I cannot escape--the", "'Madame de la Rougierre.'\n\n\n\n\nCHAPTER X\n\n_LADY KNOLLYS REMOVES A COVERLET_", "Madame de la Rougierre, who has my directions to see that it contains no\n_libels_ upon my character. Now, sit down.'", "But morning came, and with its light some reassurance. Early, Madame de la\nRougierre made her appearance; she searched my eyes darkly and shrewdly,", "It was not for nearly an hour after, that my father suddenly, after his\nwont, in a few words, apprised me of the arrival of Madame de la Rougierre", "So soon as I had seen Madame fairly off, I hurried Mary Quince, and got my\nthings on quickly. We left the house by the side entrance, which I knew my", "But I was really frightened. I was in a horrible state of uncertainty as to\nMadame de la Rougierre's complicity with the party who had beset us at the", "'You shall join my daughter at the Pension, in France; Madame de la\nRougierre shall accompany you,' said my uncle, delivering his directions", "'I am, Madame--I am--in great danger! Oh, Madame, think of me--take pity on\nme! I have none to help me--there is no one but God and you!'", "little time we must manage apart from one another. Do not be alarmed. You\nshall not be in Madame de la Rougierre's charge, but under the care of a", "But you have seen how troubled my life was with fear and anxiety during the\nresidence of Madame de la Rougierre, and now there rested upon my mind a", "'Yes, thank you--Madame de la Rougierre, who has arrived with excellent\ntestimonials, strenuously denies the whole thing. Here is a conflict, my" ], [ "'And so _you_ are Millicent. Well, dear, I am very glad to see you.' And\nCousin Monica was on her feet again in an instant, with Milly's hand very", "'I wish to apprise my dear niece and ward of my plans. Milly proceeds to\nan admirable French school, as a pensionnaire, and leaves this on Thursday", "This was addressed to poor Milly, who stood at the corner of the\nchimney-piece, staring with her round eyes and plump cheeks in fear and\nwonder upon the strange lady.", "Poor Milly! she was really very grateful, and entered into the project of\nher education with great zeal, and with a strange mixture of humility and\ninsubordination.", "little more than a fortnight. I must provide for your comfort. You must\nleave. I have arranged that you shall join Milly, for the present, in", "with some points on which she was not satisfactory; and she found on the\nfly-leaf this little inscription:--'Presented to Miss Millicent Ruthyn by", "With this awful image of death we kept our vigil, until poor Milly grew so\nsleepy that old Wyat proposed that she should take her place and watch with\nme.", "Milly indeed was very pretty. She looked much taller now that her dresses\nwere made of the usual length. A little plump she was, beautifully fair,\nwith such azure eyes, and rich hair.", "And poor Milly broke into a flood of tears, and stamped on the ground, and\nburied her face in her short frock, which she whisked up to her eyes; and\nan odder figure of grief I never beheld.", "When silence returned, and Milly ran away once more to try whether the old\ngray trout was visible in the still water under the bridge, Cousin Monica\nsaid to me in a low tone, looking hard at me--", "longing to behold him. This was about to be gratified. Then there was my\ncousin Milicent, about my own age. My life had been so lonely, that I", "Poor Milly, in all her life, had never read three books, and hated to\nthink of them. One, over which she was wont to yawn and sigh, and stare", "And so on, Milly, quite delighted, and longing to begin her course of\ninstruction, sat down beside me in a rapture, and hugged and kissed me so", "I must mention, however, that in certain important points Milly was very\nessentially reformed. Her dress, though not very fashionable, was no longer", "sparsely, leaving the rest of the chamber in the nakedness of a stately\ndesolation. My cousin Milly ran away to report progress to 'the Governor,'\nas she termed Uncle Silas.", "'There, don't cry; it may well shock you. Did she not, to your knowledge,\nsay the same things in presence of my child Millicent? I know it, I", "She departed. But in half an hour did not return. I had a dull longing to\nleave Bartram-Haugh. For me, since the departure of poor Milly, it had", "'Certainly, Milly,' I answered, not liking it, you may be sure; 'you shan't\nsit there alone.'\n\nSo together we went, old Wyat cautioning us for our lives to make no noise.", "Cousin Monica, with her hands upon Milly's shoulders, looked amusedly and\nkindly in her face. 'And,' said she, 'we must be very good friends--you", "By this time poor Milly had grown very nervous; a state which she described\nin such very odd phraseology as threw me, in spite of myself--for I\naffected an impressive gravity in lecturing her upon her language--into a\nhearty fit of laughter." ], [ "'Well now, dear Maud, have not I told you fifty times over to have nothing\nto say to him? I've found out, my dear, he plays, and he is very much in", "'How are ye, Maud?' he said, doing his best, and drawing near, he extended\nhis hand.' You're welcome to Bartram-Haugh, Miss.'", "'Well, Miss Maud, dear, I _will_ send to please you, but it is all to no\nuse. If only you saw him yourself you'd know that. Mary Quince, run you", "'Well, I'll tell you how it is, Maud. I may as well have it out. I like", "'Surely, Maud, you don't wish to deceive your guardian? Come, the question\nis a plain one, and I know the truth already. I ask you again--have you\never heard me spoken ill of by Lady Knollys?'", "'Go?--oh!--a--yes--_yes_, Maud--go. I must see poor Dudley before his\ndeparture,' he added, as it were, in soliloquy.", "'Master wants Miss Maud,' said Wyat's disagreeable tones, at the half-open\ndoor.\n\nI followed in silence, with the pressure of a near alarm at my heart, like\na person going to an operation.", "'There, Maud, enough. I have spoken, as I always do to you, frankly,\nperhaps too frankly; but agony and despair will speak out, and plead, even\nwith the most obdurate and cruel.'", "'Now, Maud,' said he, pathetically, leaning back suddenly in his chair,\nwith all his conscious beauty and misfortunes in his face, 'is not it hard\nlines?'", "about Feltram this week. How long does he remain at home? Not very long,\neh? And, Maud, dear, he has not been making love to you? Well, I see; of", "'But, after all,' he suddenly resumed, as if a new thought had struck him,\n'is it quite such folly, after all? It really strikes me, dear Maud, that", "'And who has been a talking about Charke--a pack o lies, I warrant. I\ns'pose you want to frighten Miss Maud here' (another crippled courtesy)\n'wi' ghosts and like nonsense.'", "'It is very noble of you, Maud--it is angelic; your sympathy with a ruined\nand despairing old man. But I fear you will recoil. I tell you frankly that", "'\"I think Maud is by this time about halfway to Elverston,\" said the old\ngentleman. \"I persuaded her to take a drive, and advised a call there,\nwhich seemed to please her, so I conjecture she obeyed.\"", "'Miss! Come, come. Miss us, no Misses,' said my uncle; 'she is Maud, and\nyou Dudley, or I mistake; or we shall have you calling Milly, madame.", "'Good night, my dear Maud;' and turning to her, he said, with a peculiar\ngentle sharpness, 'Had not you better wake, my dear, and try whether your\ncousin would like some supper?'", "'Maud--Maud--fickle Maud!--What, Captain Oakley already superseded! and Mr.", "'My guardian angel!--my guardian angel! Maud, _you_ have a heart.' He\naddressed me suddenly--'Listen, for a few moments, to the appeal of an old", "'But, Maud,' he said, 'I am disquieted to think of that stupid jackanapes\npresuming to make you such an offer! A creditable situation truly--arriving", "'Come, come, Maud, you must not prevaricate, girl. I _will_ have it. Does\nshe not habitually speak disparagingly of me, in your presence, and _to_\nyou? _Answer_.'" ], [ "Meg Hawkes, proud and wayward, and the most affectionate creature on earth,\nwas married to Tom Brice a few months after these events; and, as both", "'Surely, Maud, you don't wish to deceive your guardian? Come, the question\nis a plain one, and I know the truth already. I ask you again--have you\never heard me spoken ill of by Lady Knollys?'", "'Go?--oh!--a--yes--_yes_, Maud--go. I must see poor Dudley before his\ndeparture,' he added, as it were, in soliloquy.", "'There, Maud, enough. I have spoken, as I always do to you, frankly,\nperhaps too frankly; but agony and despair will speak out, and plead, even\nwith the most obdurate and cruel.'", "'But, after all,' he suddenly resumed, as if a new thought had struck him,\n'is it quite such folly, after all? It really strikes me, dear Maud, that", "At last she said suddenly--\n\n'Are you ever grateful, Maud?'\n\n'I hope so, Madame,' I answered.", "'Well, I'll tell you how it is, Maud. I may as well have it out. I like", "'Time enough, my dear Maud; you are fatigued; are you sure you feel quite\nwell?'\n\n'Well enough to get up; I should be better, I think, out of bed.'", "'I have talked too long, I believe; we are children to the last. Leave me,\nMaud. I think I know you better than I did, and I am pleased with you. Go,\nchild--I'll sit here.'", "At last she shut her mouth sternly, and eyes me with a more determined and\nmeaning scowl, and then said in a low tone--\n\n'I believe, Maud, that you are a cunning and wicked little thing.'", "'Well, Maud, as I have begun, I'll complete the story, though perhaps it\nmight have been better untold. It was something rather shocking--indeed,", "'So am I, dear Maud.'\n\n'But can't you stay a little longer; _won't_ you?'", "'Well, Miss Maud, dear, I _will_ send to please you, but it is all to no\nuse. If only you saw him yourself you'd know that. Mary Quince, run you", "'I yield, Maud--I yield, my dear. I will _not_ press you; you shall have\ntime, your _own_ time, to think. I will accept no answer now--no, _none_,\nMaud.'", "'I mean, Maud, if ye'll marry me, you'll never ha' cause to complain; I'll\nnever let ye want for nout, nor gi'e ye a wry word.'", "'There, there, little Maud, you must not cry. She is here only for your\ngood. If you are afraid--even _foolishly_ afraid--it is enough. Be it as", "'Well now, dear Maud, have not I told you fifty times over to have nothing\nto say to him? I've found out, my dear, he plays, and he is very much in", "'It is very noble of you, Maud--it is angelic; your sympathy with a ruined\nand despairing old man. But I fear you will recoil. I tell you frankly that", "'Sit down, Maud, _there_. You have not been very happy with Madame de la\nRougierre. It is time you were relieved. This occurrence decides it.'\n\nHe rang the bell.", "He looked hard at me, got up, and kissing my forehead, said--'Don't be\nfrightened, Maud; I venture to say it is a mare's nest; at all events, my" ], [ "'And, my dear Maud, did not your poor father speak to you as if it _was_\nsomething serious?' said she. 'And so it _is_, I can tell you, something", "poor father's will, Maud. Surely he doesn't mean to go on lounging and\nsmoking away his life among poachers, and prize-fighters, and worse people.", "'So she would,' acquiesced my father, in his gloomy, amused way. 'Maud, you\nmust try to be a clever woman.'", "'But I'm quite sure,' said my father, a little drily. 'You forget how old\nI am, and how long I've lived alone--I and little Maud;' and he smiled and", "'Miss! Come, come. Miss us, no Misses,' said my uncle; 'she is Maud, and\nyou Dudley, or I mistake; or we shall have you calling Milly, madame.", "'Go?--oh!--a--yes--_yes_, Maud--go. I must see poor Dudley before his\ndeparture,' he added, as it were, in soliloquy.", "'There, Maud, enough. I have spoken, as I always do to you, frankly,\nperhaps too frankly; but agony and despair will speak out, and plead, even\nwith the most obdurate and cruel.'", "'No, Maud; I'm vexed with Austin--very much vexed with your father; in\nshort, I can't conceive anything so entirely preposterous, and dangerous,", "'Whose?--your uncle Silas's. In the course of nature he must survive me. He\nwill then represent the family name. Would you make some sacrifice to clear\nthat name, Maud?'", "'Master wants Miss Maud,' said Wyat's disagreeable tones, at the half-open\ndoor.\n\nI followed in silence, with the pressure of a near alarm at my heart, like\na person going to an operation.", "'Maud--Maud--fickle Maud!--What, Captain Oakley already superseded! and Mr.", "'Surely, Maud, you don't wish to deceive your guardian? Come, the question\nis a plain one, and I know the truth already. I ask you again--have you\never heard me spoken ill of by Lady Knollys?'", "'Do I?' said she; 'I was not thinking--it was quite an accident. The fact\nis, Maud, your poor papa quite mistook me. I had no prejudice respecting", "'Well, _Maud, then_. I did see them with the corner of my eye, and my back\nturned, when they did not think I could spy anything, as plain as I see you\nnow.'", "'Well now, dear Maud, have not I told you fifty times over to have nothing\nto say to him? I've found out, my dear, he plays, and he is very much in", "'It is very noble of you, Maud--it is angelic; your sympathy with a ruined\nand despairing old man. But I fear you will recoil. I tell you frankly that", "relation; but even so, little Maud will miss her old father, I think.'", "'Uncle!' I ventured to say, having stood for some time unperceived near his\ntable.\n\n'Ah, yes, Maud, my dear child--my _dear_ child.'", "'\"I think Maud is by this time about halfway to Elverston,\" said the old\ngentleman. \"I persuaded her to take a drive, and advised a call there,\nwhich seemed to please her, so I conjecture she obeyed.\"", "'There--don't cry, little Maud--only let us do better for the future.\nThere--there--there has been enough.'\n\nAnd he kissed my forehead, and gently put me out and closed the door." ], [ "'Well, her uncle, Mr. Silas Ruthyn. He's both heir-at-law and next of kin,'\npursued Abel Grimston.\n\n'Thank you,' said Lady Knollys.", "'People will talk, my dear. Your uncle Silas had injured himself before\nthat in the opinion of the people of his county. He was a black sheep,", "'My uncle, Mr. Silas Ruthyn, you are aware, is my guardian; and this is my\ncousin, his daughter.'", "of thee.\" You go--and what pray is thought of your uncle, Mr. Silas Ruthyn,\nwho walks in for the entire inheritance, and who has long been abused like", "wicked slander, which has done no one any good, and caused some persons so\nmuch misery. There is Uncle Silas, I may say, ruined by it; and we all know", "light had been thrown upon the occurrence, and your uncle Silas remains an\noutcast. At first he was quite wild with rage, and would have fought the", "'I remain, my dear niece, your most affectionate uncle and guardian,\n\nSILAS RUTHYN.'", "'Mr. Silas Ruthyn is a religious man?'\n\n'Oh, _very_!' said I.\n\n'You've seen a good deal of him?'", "'Your uncle Silas,' he said, speaking suddenly in loud and fierce tones\nthat sounded from so old a man almost terrible, 'lies under an intolerable", "uncle Silas; and it was made up, rather oddly, on the very occasion which\nsome people said ought to have totally separated them. Did you ever hear\nanything--anything _very_ remarkable--about your uncle?'", "he ought to be told it is not _delicate_, under all circumstances.\nYou know, Miss, that your uncle, Mr. Silas Ruthyn, was talked about\nunpleasantly once.'", "'I name my oppressed and unhappy brother, Silas Ruthyn, residing at my\nhouse of Bartram-Haugh, as guardian of the person of my beloved child, to", "'You are a very secrete family, you Ruthyns--you are so coning. I hate the\nconing people. By my faith, I weel see Mr. Silas Ruthyn, and ask wat he", "that there was no such thing, and that when he talked so he was only\njesting. There was no suspicion during the inquest that your uncle Silas\nwas involved, except those questions of Mr. Manwaring's.'", "'I had such a curious note from Mr. Silas Ruthyn. I am sure he thinks me a\nvery impertinent fellow, for it was really anything but inviting--extremely", "It came, and with it a note from Uncle Silas, which was curious, and,\ntherefore, is printed here:--", "'I weel try what I can do weeth your Uncle Silas. We are very good\nold friends, Mr. Ruthyn and I,' she said with a leer which I did not\nunderstand, and which yet frightened me.", "I was disappointed. I had fancied that Uncle Silas's gentle nature would\nhave recoiled from such an outrage with horror and indignation; and", "'He is not very rich,' I commenced.\n\n'Who?' said Lady Knollys.\n\n'Uncle Silas,' I replied.", "'Your uncle Silas, dear? It is very odd, I was just thinking of him;' and\nshe laughed a little.\n\n'Wondering whether that little boy could be he.'" ], [ "SILAS RUTHYN.'", "'I name my oppressed and unhappy brother, Silas Ruthyn, residing at my\nhouse of Bartram-Haugh, as guardian of the person of my beloved child, to", "'I am Miss Ruthyn of Knowl, and Mr. Silas Ruthyn, your master, is my\nuncle.'", "place, I am told. You must not be a _bestiole_. We must do, you and I, as\nwe are ordered. Mr. Silas Ruthyn he will tell us.'", "addressed to Silas Alymer Ruthyn, Esq., Bartram-Haugh Manor, &c. &c., which\nMr. Sleigh offered to deliver. But Doctor Bryerly thought the post-office", "'My uncle, Mr. Silas Ruthyn, you are aware, is my guardian; and this is my\ncousin, his daughter.'", "'Yes, exactly so, under Silas Ruthyn's guardianship, to spend\ntwo--_three_--of the most important years of your education and your life", "'Well, her uncle, Mr. Silas Ruthyn. He's both heir-at-law and next of kin,'\npursued Abel Grimston.\n\n'Thank you,' said Lady Knollys.", "Ruthyn, Silas's daughter, you know, whom I venture to call Milly; and they\nare very pretty, as you will see, when we get a little more light, and they\nknow it very well themselves.'", "Arthur Hughes, Dudley R. Ruthyn, Esq., only son and heir of Silas Ruthyn,\nEsq., of Bartram-Haugh, Derbyshire, to Sarah Matilda, second daughter of", "'I remain, my dear niece, your most affectionate uncle and guardian,\n\nSILAS RUTHYN.'", "'Mr. Silas Ruthyn is a religious man?'\n\n'Oh, _very_!' said I.\n\n'You've seen a good deal of him?'", "'This is extremely important. You must see Mr. Silas Ruthyn this moment. I\nam certain he knows nothing of it. I will conduct you to him.'", "of thee.\" You go--and what pray is thought of your uncle, Mr. Silas Ruthyn,\nwho walks in for the entire inheritance, and who has long been abused like", "'You're taking too much for granted, Maud,' said she; 'Silas Ruthyn,\nmost likely, will refuse his consent, and insist on your going to\nBartram-Haugh.'", "SILAS RUTHYN.'\n\n'Is not it a kind letter?' I said, while tears stood in my eyes.\n\n'Yes,' answered Lady Knollys, drily.", "The only other person in the room--the only person in the house related to\nme--was my father. He was Mr. Ruthyn, of Knowl, so called in his county,", "'I had such a curious note from Mr. Silas Ruthyn. I am sure he thinks me a\nvery impertinent fellow, for it was really anything but inviting--extremely", "'I don't understand metaphysics, my dear, nor witchcraft. I sometimes\nbelieve in the supernatural, and sometimes I don't. Silas Ruthyn is himself", "'Whose?--your uncle Silas's. In the course of nature he must survive me. He\nwill then represent the family name. Would you make some sacrifice to clear\nthat name, Maud?'" ], [ "'I name my oppressed and unhappy brother, Silas Ruthyn, residing at my\nhouse of Bartram-Haugh, as guardian of the person of my beloved child, to", "Ruthyn, Silas's daughter, you know, whom I venture to call Milly; and they\nare very pretty, as you will see, when we get a little more light, and they\nknow it very well themselves.'", "'Well, her uncle, Mr. Silas Ruthyn. He's both heir-at-law and next of kin,'\npursued Abel Grimston.\n\n'Thank you,' said Lady Knollys.", "Arthur Hughes, Dudley R. Ruthyn, Esq., only son and heir of Silas Ruthyn,\nEsq., of Bartram-Haugh, Derbyshire, to Sarah Matilda, second daughter of", "SILAS RUTHYN.'", "'My uncle, Mr. Silas Ruthyn, you are aware, is my guardian; and this is my\ncousin, his daughter.'", "'I am Miss Ruthyn of Knowl, and Mr. Silas Ruthyn, your master, is my\nuncle.'", "'Mr. Silas Ruthyn is a religious man?'\n\n'Oh, _very_!' said I.\n\n'You've seen a good deal of him?'", "place, I am told. You must not be a _bestiole_. We must do, you and I, as\nwe are ordered. Mr. Silas Ruthyn he will tell us.'", "'Yes, exactly so, under Silas Ruthyn's guardianship, to spend\ntwo--_three_--of the most important years of your education and your life", "SILAS RUTHYN.'\n\n'Is not it a kind letter?' I said, while tears stood in my eyes.\n\n'Yes,' answered Lady Knollys, drily.", "of thee.\" You go--and what pray is thought of your uncle, Mr. Silas Ruthyn,\nwho walks in for the entire inheritance, and who has long been abused like", "'This is extremely important. You must see Mr. Silas Ruthyn this moment. I\nam certain he knows nothing of it. I will conduct you to him.'", "'I remain, my dear niece, your most affectionate uncle and guardian,\n\nSILAS RUTHYN.'", "'I had such a curious note from Mr. Silas Ruthyn. I am sure he thinks me a\nvery impertinent fellow, for it was really anything but inviting--extremely", "'This is your _truce_, Silas,' said Lady Knollys, with a quiet sharpness.\n'I think, Silas Ruthyn, you want to provoke me to speak in a way before\nthese young creatures which we should all regret.'", "'You're taking too much for granted, Maud,' said she; 'Silas Ruthyn,\nmost likely, will refuse his consent, and insist on your going to\nBartram-Haugh.'", "'I don't understand metaphysics, my dear, nor witchcraft. I sometimes\nbelieve in the supernatural, and sometimes I don't. Silas Ruthyn is himself", "The only other person in the room--the only person in the house related to\nme--was my father. He was Mr. Ruthyn, of Knowl, so called in his county,", "'You are a very secrete family, you Ruthyns--you are so coning. I hate the\nconing people. By my faith, I weel see Mr. Silas Ruthyn, and ask wat he" ], [ "'There now, dear Maud, we have heard enough; it is, I do believe, a\ndelusion. Madame de la Rougierre will be your companion, at the utmost, for", "'Sit down, Maud, _there_. You have not been very happy with Madame de la\nRougierre. It is time you were relieved. This occurrence decides it.'\n\nHe rang the bell.", "'Oh, Mary, Mary, she's come--that dreadful woman, Madame de la Rougierre,\nhas come to be my governess again; and Uncle Silas won't hear or believe", "in the house but its master. He never alluded again to Madame de la\nRougierre. But whether connected with her exposure and dismissal, I could", "'You shall join my daughter at the Pension, in France; Madame de la\nRougierre shall accompany you,' said my uncle, delivering his directions", "'Madame de la Rougierre.'\n\n\n\n\nCHAPTER X\n\n_LADY KNOLLYS REMOVES A COVERLET_", "Next morning I made acquaintance with Madame de la Rougierre. She was tall,\nmasculine, a little ghastly perhaps, and draped in purple silk, with a", "Madame de la Rougierre has appeared! She is here, and my uncle insists on\nmaking her my close companion. I am at my wits' ends. I cannot escape--the", "'So that's Madame de la Rougierre?' at length exclaimed Lady Knollys, with\na very stately disdain. I think I never saw anyone look more shocked.", "It was not for nearly an hour after, that my father suddenly, after his\nwont, in a few words, apprised me of the arrival of Madame de la Rougierre", "Madame de la Rougierre, who has my directions to see that it contains no\n_libels_ upon my character. Now, sit down.'", "'Why am I disturbed, pray?'\n\n'Miss Maud a Ruthyn, she weel explain,' replied Madame, with a great\ncourtesy, like a boat going down in a ground swell.", "'She assures me she is Madame de la Rougierre, and, I suppose, in French\nphrase she so calls herself,' answered Lady Knollys, with a laugh, but\nuncomfortably, I thought.", "Maud--on her journey, and she send me; and so, ma chère, here is poor\nMadame arrive to charge herself of that affair.'", "And with these words Madame de la Rougierre broke down altogether. She\nsobbed, she wept, she gabbled piteously, all manner of incomprehensible", "the linkman. I was scarcely less frightened to see that of Madame de la\nRougierre. She was dressed in a sort of grey silk, which she called her", "little time we must manage apart from one another. Do not be alarmed. You\nshall not be in Madame de la Rougierre's charge, but under the care of a", "The servants, indeed, made no secret of their opinion of Madame de la\nRougierre, and frankly charged her with a long list of larcenies. Even Anne", "'Well, Miss Maud, dear, I hope you'll like your new governess--for it's\nmore than _I_ do, just at present at least,' said Mrs. Rusk, sharply--she", "But you have seen how troubled my life was with fear and anxiety during the\nresidence of Madame de la Rougierre, and now there rested upon my mind a" ], [ "father's hand:--'Will of Austin R. Ruthyn, of Knowl.' Then, in smaller\ncharacters, the date, and in the corner a note--'This will was drawn from", "'I, Austin Alymer Ruthyn Ruthyn, being, I thank God, of sound mind and\nperfect recollection,' &c, &c.; and then came a bequest of all his", "Aylmer Ruthyn, and 3,500_l_. each to the two children of his said brother;\nand lest any doubt should arise by reason of his, the testator's decease", "since by your deceased father, the late Mr. Austin Ruthyn of Knowl, for\nwhom I cherished a warm esteem, being knit besides with him in spiritual", "CHAPTER I\n\n_AUSTIN RUTHYN, OF KNOWL, AND HIS DAUGHTER_", "employed about this will, he has been Mr. Ruthyn's solicitor a great many\nyears: we must have Grimston; for, as I suppose you know, though it is a", "CHAPTER XX\n\n_AUSTIN RUTHYN SETS OUT ON HIS JOURNEY_", "'So she will in her time, but that is not come yet; and I tell you, Austin\nRuthyn, if you won't look about and marry somebody, somebody may possibly\nmarry you.'", "The tape was carefully cut, and the envelope removed without tearing the\nwriting, and forth came the will, at sight of which my heart swelled and\nfluttered up to my lips, and then dropped down dead as it seemed into its\nplace.", "'But, cheaile, it will not kill Monsieur Ruthyn to make his will; he will\nnot come to lie here a day sooner by cause of that; but if he make no will,", "words--'Copy of my letter addressed to ----, one of the trustees named in\nmy will.' Here, then, were the contents of those four sealed letters which", "You have now a sufficient outline of my father's will. The only thing I\npainfully felt in this arrangement was, the break-up--the dismay that", "Along with these lay a large envelope, inscribed with the words 'Directions\nto be complied with immediately on my death.' One of which was, 'Let the", "'I only wait your decision, Miss Ruthyn,' said the trustee, 'to see\nyour uncle. If his advantage was the chief object contemplated in this", "that amount, but that, in consideration of all the trouble devolving\nupon him as trustee, he made that bequest by his codicil; and with these\narrangements the permanent disposition of his property was completed.", "regretting. One thing you must believe Miss Ruthyn: in framing the\nprovisions of the will I was never consulted--although I expostulated", "Bryerly's hand. But nowhere was a will, or any document resembling one, to\nbe found. I had now, therefore, no doubt that his will was placed in the\ncabinet.", "CONTENTS\n\n\nCHAPTER\n\nI. AUSTIN RUTHYN, OF KNOWL, AND HIS DAUGHTER", "'Well, her uncle, Mr. Silas Ruthyn. He's both heir-at-law and next of kin,'\npursued Abel Grimston.\n\n'Thank you,' said Lady Knollys.", "view; a note will reach him in London. But this, excuse me, is not to the\npresent purpose. The late Mr. Ruthyn told me I was to receive a key" ], [ "'Whose?--your uncle Silas's. In the course of nature he must survive me. He\nwill then represent the family name. Would you make some sacrifice to clear\nthat name, Maud?'", "and, my dear Maud, you are to remember that Silas is _my_ cousin as well as\nyour uncle. Come, dear, put on your hat.'", "'And so I was, dear Maud; I 'av just arrive. Your uncle Silas he wrote to\nthe superioress for gouvernante to accompany a young lady--that is you,", "months, possibly much shorter. On the whole, too, I pleased myself with\nthinking Uncle Silas's note, though peremptory, was kind.", "'Has my aunt been long dead?'\n\n'Twelve or fifteen years--more, indeed--she died before your poor mamma.\nShe was very unhappy, and I am sure would have given her right hand she had\nnever married Silas.'", "And so I will, Maud, and to me you _shall_ come--my guest, mind--I should\nbe so delighted; and really if Silas is under a cloud, it has been his own", "Uncle Silas had been at death's door for hours; the question of life had\ntrembled in the scale; but now the doctor said 'he might do.'\n\n'Where was the doctor?'", "And with these words their hands were joined; and Uncle Silas, after he had\nreleased hers, patted and fondled it with his, laughing icily and very low\nall the time.", "'I remain, my dear niece, your most affectionate uncle and guardian,\n\nSILAS RUTHYN.'", "'You're taking too much for granted, Maud,' said she; 'Silas Ruthyn,\nmost likely, will refuse his consent, and insist on your going to\nBartram-Haugh.'", "'\"For wishing to place Maud in my care. I am very much obliged to you.\"\n\n'\"I did not suggest it, I must say, Monica, with the least intention of\nobliging _you_,\" said Silas.", "'No harm, dear. You have said nothing wrong,' he said gently, observing\nmy alarm. 'You said I was always sad, I think, about Uncle Silas. Well,", "Uncle Silas was perfectly still. I would not suffer myself to think of the\nnumber of dark rooms and passages which now separated me from the other\nliving tenants of the house. I awaited with a false composure the return of\nold Wyat.", "'No! Well, then, Maud, will _you_ enlighten us?' said Uncle Silas, coldly.\n\n'I _did_ see that young gentleman before,' I faltered.", "then, and would be glad--provided she talks about suitable things--very\nglad, Maud, to leave her with you for a week or so.'", "'Well, dear Maud, the adventure of Church Scarsdale is hardly so terrific\nas I expected,' said Uncle Silas with a cold little laugh; 'and I don't", "So the summons reached me from Uncle Silas. The hours at Knowl were\nnumbered.", "uncle Silas; and it was made up, rather oddly, on the very occasion which\nsome people said ought to have totally separated them. Did you ever hear\nanything--anything _very_ remarkable--about your uncle?'", "She had come to let us know that Uncle Silas would be happy to see me\nwhenever I was ready; and that my cousin Millicent would conduct me to the\nroom where he awaited me.", "My letter, I afterwards found, reached Lady Knollys, accompanied by one\nfrom Uncle Silas, who said--'Dear Maud apprises me that she has written" ], [ "Uncle Silas here seemed suddenly overtaken by exhaustion. He leaned back\nwith a ghastly look, and his lean features glistened with the dew of", "Sometimes this grew into a dismal panic, and Uncle Silas--polished,\nmild--seemed unaccountably horrible to me. Then it was no longer an", "Uncle Silas, it seemed, had been 'silly-ish' all yesterday, and 'could not\nbe woke this morning,' and 'the doctor had been here twice, being now in\nthe house.'", "look as if a pain had pierced his brain, and then shrug and smile piteously\ninto vacancy. When Uncle Silas, therefore, was not in the talking vein", "Uncle Silas, who, after his nightly horror or vision, lay extended on a\nsofa, with his faded yellow silk dressing-gown about him, his long white", "With these words Uncle Silas leaned back exhausted, and languidly poured\nsome of his favourite eau-de-cologne over the palms of his hands, nodded a\nfarewell, and, in a whisper, wished me good-night.", "The image of Uncle Silas, as I had seen him that day, troubled and\naffrighted my imagination, as I lay in my bed; I had slept very well since", "I cannot say how it really was, but I fancied that Uncle Silas was all\nthe time reading my countenance, with a grim and practised scrutiny; but\nnothing came of it, and we were dismissed.", "'Your uncle Silas,' he said, speaking suddenly in loud and fierce tones\nthat sounded from so old a man almost terrible, 'lies under an intolerable", "wicked slander, which has done no one any good, and caused some persons so\nmuch misery. There is Uncle Silas, I may say, ruined by it; and we all know", "So now at last I had heard the story of Uncle Silas's mysterious disgrace.\nWe sat silent for a while, and I, gazing into vacancy, sent him in a", "frequency of the strange collapses to which Uncle Silas was subject. I\ndid not at first mind them much, for I naturally fell into Milly's way of\ntalking about them.", "Uncle Silas replaced the papers which had ostensibly interested him so\nmuch, and returned. There was a vein which was visible near the angle", "Uncle Silas had been at death's door for hours; the question of life had\ntrembled in the scale; but now the doctor said 'he might do.'\n\n'Where was the doctor?'", "'Not a word, sir,' snarled Uncle Silas, with a white flash from his eyes.\n\nThere was a pause.\n\n'Sit where you are, Maud.'", "I know that I could not then have defined my feelings and agitations. I am\nnot sure that I even now could. Any misgiving about Uncle Silas was, in my", "What was my new trouble? A very fantastic one, you will say--the illusion\nof a self-tormentor. It was the face of Uncle Silas which haunted me.", "I felt on the point of fainting, but I rallied.\n\n'Not much, Meg. Go on, for Heaven's sake. Does Uncle Silas know he is\nhere?'", "Uncle Silas rose up with the same glassy smile and scowl, in token that the\ninterview was ended.", "uncle Silas; and it was made up, rather oddly, on the very occasion which\nsome people said ought to have totally separated them. Did you ever hear\nanything--anything _very_ remarkable--about your uncle?'" ], [ "I never knew, but I believe that the spiced claret which Madame drank was\ndrugged. She was a person who could, I have been told, drink a great deal", "he was glad she drank, for it kept her out of his way, and was likely to\nkill her. At this time your poor father, who was thoroughly disgusted at", "'Drink, Maud,' said Madame, raising the cover, and evidently enjoying the\nfragrant steam.", "'Frightened as usual, Maud,' she said quietly, and eyeing me with a\nsinister smile, 'and with cause you think, no doubt. Wat 'av you done to", "after she had finished the claret she laid down upon my bed, and, I now\nknow, fell asleep. I then thought she was _feigning_ sleep only, and that\nshe was really watching me.", "At last she shut her mouth sternly, and eyes me with a more determined and\nmeaning scowl, and then said in a low tone--\n\n'I believe, Maud, that you are a cunning and wicked little thing.'", "'Master wants Miss Maud,' said Wyat's disagreeable tones, at the half-open\ndoor.\n\nI followed in silence, with the pressure of a near alarm at my heart, like\na person going to an operation.", "intended poisoning me? What was in that basket? I looked in her dreadful\nface. I felt for a minute quite frantic. A feeling of rage with my father,", "'Good night, my dear Maud;' and turning to her, he said, with a peculiar\ngentle sharpness, 'Had not you better wake, my dear, and try whether your\ncousin would like some supper?'", "her a table-spoonful of brandy and some drops of laudanum whenever the pain\nof stomach returned. The flask would last a whole year, perhaps two. She\nclaimed her medicine.", "'Be quaite, Maud,' whispered Madame, with an awful adjuration, which I do\nnot care to set down. 'They are teepsy; don't seem 'fraid.'", "'Why am I disturbed, pray?'\n\n'Miss Maud a Ruthyn, she weel explain,' replied Madame, with a great\ncourtesy, like a boat going down in a ground swell.", "declared the truth. Madame had commissioned her to buy it in the town, and\nconvey it to her bed-room. Upon this, Mrs. Rusk impounded the flask; and,", "'There, Maud, enough. I have spoken, as I always do to you, frankly,\nperhaps too frankly; but agony and despair will speak out, and plead, even\nwith the most obdurate and cruel.'", "to kill her; but I don't know that she had feeling enough to die of it, if\nit had not been that she drank: I am told that Welsh women often do. There", "injure poor Madame? Well, I think I know, little girl, and have quite\ndiscover the cleverness of my sweet little Maud. Eh--is not so? Petite", "and unscrupulous, I venture to say, and you can't be too much on your\nguard. Do you quite understand me, Maud?'", "I declined. I must do her justice, however, upon the suspicion of poison,\nwhich she quite disposed of by gobbling up, to her own share, everything\nwhich the basket contained.", "Wyat was dropping the 'white' restorative into a wine-glass and the room\nwas redolent of ether. I was glad to escape. The figures and whole _mise en\nscène_ were unearthly.", "and bloodless in this solitude. It was not my fault, Maud--I say it was no\nfault of mine; I have no remorse, though more regrets than I can count," ], [ "Uncle Silas had been at death's door for hours; the question of life had\ntrembled in the scale; but now the doctor said 'he might do.'\n\n'Where was the doctor?'", "Uncle Silas here seemed suddenly overtaken by exhaustion. He leaned back\nwith a ghastly look, and his lean features glistened with the dew of", "by murder, supervened. I dare say that Uncle Silas thought for a while that\nhe was a righteous man. He wished to have heaven and to escape hell, if", "With these words Uncle Silas leaned back exhausted, and languidly poured\nsome of his favourite eau-de-cologne over the palms of his hands, nodded a\nfarewell, and, in a whisper, wished me good-night.", "Uncle Silas had risen, and made them one of his old courtly bows, smiling a\ndeath-like sneer, and pointing to the door with his trembling fingers.", "Uncle Silas replaced the papers which had ostensibly interested him so\nmuch, and returned. There was a vein which was visible near the angle", "'Your uncle Silas,' he said, speaking suddenly in loud and fierce tones\nthat sounded from so old a man almost terrible, 'lies under an intolerable", "Uncle Silas rose up with the same glassy smile and scowl, in token that the\ninterview was ended.", "wicked slander, which has done no one any good, and caused some persons so\nmuch misery. There is Uncle Silas, I may say, ruined by it; and we all know", "And Uncle Silas smoothed my hair with his thin aged hand, and kissed my\nforehead.", "The figure of Uncle Silas rose up, and dressed in a long white morning\ngown, slid over the end of the bed, and with two or three swift", "'The wretches! Of course, Uncle Silas--of course, he's innocent?' I said at\nlast.", "It came, and with it a note from Uncle Silas, which was curious, and,\ntherefore, is printed here:--", "And with these words their hands were joined; and Uncle Silas, after he had\nreleased hers, patted and fondled it with his, laughing icily and very low\nall the time.", "The image of Uncle Silas, as I had seen him that day, troubled and\naffrighted my imagination, as I lay in my bed; I had slept very well since", "that there was no such thing, and that when he talked so he was only\njesting. There was no suspicion during the inquest that your uncle Silas\nwas involved, except those questions of Mr. Manwaring's.'", "'It is not very much, after all. Your uncle Silas, you know, is living?'\n\n'Oh yes, in Derbyshire.'", "'Whose?--your uncle Silas's. In the course of nature he must survive me. He\nwill then represent the family name. Would you make some sacrifice to clear\nthat name, Maud?'", "I felt on the point of fainting, but I rallied.\n\n'Not much, Meg. Go on, for Heaven's sake. Does Uncle Silas know he is\nhere?'", "After some delay, during which my heart sank, and I quite gave up Uncle\nSilas, the aged little servant-man opened the door, and trotted shakily\ndown the steps to the carriage side." ], [ "'No, Maud; I'm vexed with Austin--very much vexed with your father; in\nshort, I can't conceive anything so entirely preposterous, and dangerous,", "dangerous. At one time I think he could have made poor Austin do almost\nanything; but his influence vanished with his marriage, never to return", "'Austin--your papa--was very kind to him--_very_; but then, you know,\nhe's an oddity, dear--he _is_ an oddity, though no one may have told you", "'So she will in her time, but that is not come yet; and I tell you, Austin\nRuthyn, if you won't look about and marry somebody, somebody may possibly\nmarry you.'", "'Yes, and really, Austin, it is quite clear you ought to marry; you want\nsome one to take this girl out, and look after her, and who's to do it?", "'I've a great respect for instinct. I believe, Austin, it is truer than\nreason, and yours and Maud's are both against me, though I know I have\nreason on my side.'", "'You see, my dear Maud, it is very natural you should think I hate you.\nWhen I was with Mr. Austin Ruthyn, at Knowl, you know you did not like a", "'Master wants Miss Maud,' said Wyat's disagreeable tones, at the half-open\ndoor.\n\nI followed in silence, with the pressure of a near alarm at my heart, like\na person going to an operation.", "'Ah! the girl--Austin's child. Well, dear, I'm hardly able--I'll speak", "'Well now, dear Maud, have not I told you fifty times over to have nothing\nto say to him? I've found out, my dear, he plays, and he is very much in", "would. But when that sort of thing began, of course I gave it up; it was\nout of the question. I don't think poor Austin ever knew how bad it was.", "'Tut! Austin; you forget Charlie is my nephew.'\n\n'So I did,' said my father.", "'Miss! Come, come. Miss us, no Misses,' said my uncle; 'she is Maud, and\nyou Dudley, or I mistake; or we shall have you calling Milly, madame.", "that poor Austin's liberality seems to have positively precipitated his\nextremity. His great anxiety is that I should see you before you leave for", "'Well, I'll tell you how it is, Maud. I may as well have it out. I like", "Maud--on her journey, and she send me; and so, ma chère, here is poor\nMadame arrive to charge herself of that affair.'", "'Oh, I see; ha, ha, ha! And so poor Austin must ask leave to go up to town.\nWell, go he shall, whether his doctor likes it or not, for it would not do", "'Go?--oh!--a--yes--_yes_, Maud--go. I must see poor Dudley before his\ndeparture,' he added, as it were, in soliloquy.", "'Surely, Maud, you don't wish to deceive your guardian? Come, the question\nis a plain one, and I know the truth already. I ask you again--have you\never heard me spoken ill of by Lady Knollys?'", "and, my dear Maud, you are to remember that Silas is _my_ cousin as well as\nyour uncle. Come, dear, put on your hat.'" ], [ "to be my governess, highly recommended and perfectly qualified. My heart\nsank with a sure presage of ill. I already disliked, distrusted, and feared\nher.", "Was it really the arrival of a governess? Was that apparition which had\nimpressed me so unpleasantly to take the command of me--to sit alone with\nme, and haunt me perpetually with her sinister looks and shrilly gabble?", "Dismissed from this interview, I ran to Milly, who burst into tears from\nsheer disappointment, so we wept and wailed together. But in my grief I\nthink there was more reason.", "'Please, 'm, she says she's the governess.'\n\n'The governess! _What_ governess?'\n\nBranston was too well-bred to smile, and he said thoughtfully--", "Mary said all she could to console me. I was making too much of her. What\nwas she, after all, more than a governess?--she could not hurt me. I was", "I was going to my governess, as Lady Knollys said; and so I went. The\nundefinable sense of danger that smote me whenever I beheld that woman had", "in the house but its master. He never alluded again to Madame de la\nRougierre. But whether connected with her exposure and dismissal, I could", "'I--I really don't know; I rather think not. She is my governess--a\nfinishing governess, Mrs. Rusk says.'", "The tone in which Cousin Monica had asked, 'are you going to your\ngoverness?' and the curious, grave, and anxious look that accompanied the", "'I am sorry, Maud, I allowed you to see that I have any unpleasant\nimpressions about that governess lady. I shall be at liberty some day to", "'Mi ladi has diverted my attention for a moment, but that does not prevent\nthat I suffer frightfully. I am, of course, only poor governess, and such", "'I 'av not conceal myself, Mademoiselle,' retorted the governness. 'I 'av\nact precisally as I 'av been ordered. Your uncle, Mr. Silas Ruthyn, he is", "The countenance of the gouvernante relaxed. I think she in turn was\nfrightened at my extreme agitation. It might have worked unfavourably with\nmy father.", "'I've been so long my own mistress that I sometimes forget there are such\nthings as fear and jealousy; and are you going to your governess, Maud?'\n\n\n\n\nCHAPTER XIV", "'So she is going to be good cheaile, and tell everything to her\naffectionate gouvernante. What do you cry for, little fool?'", "'Some one left here last night, I think, Miss,' said Mary Quince, with a\nmysterious nod, one morning. ''Twas two o'clock, and I was bad with the", "'Well, Miss Maud, dear, I hope you'll like your new governess--for it's\nmore than _I_ do, just at present at least,' said Mrs. Rusk, sharply--she", "With that little black man, on the day after the funeral, I was sent out,\nfor some reason, for a walk; my governess was ill, I know, and there was", "governess, who was looking downward, straight before her, very sulkily and\ndisconcerted.", "Another farewell to poor Mary Quince, quite bewildered at the suddenness of\nher bereavement. A serious and tremulous bow from our little old butler on" ], [ "'But I'm quite sure,' said my father, a little drily. 'You forget how old\nI am, and how long I've lived alone--I and little Maud;' and he smiled and", "poor father's will, Maud. Surely he doesn't mean to go on lounging and\nsmoking away his life among poachers, and prize-fighters, and worse people.", "'There--don't cry, little Maud--only let us do better for the future.\nThere--there--there has been enough.'\n\nAnd he kissed my forehead, and gently put me out and closed the door.", "relation; but even so, little Maud will miss her old father, I think.'", "When my dear mamma died I was not nine years old; and I remember, two days\nbefore the funeral, there came to Knowl, where she died, a thin little man,\nwith large black eyes, and a very grave, dark face.", "'There, Maud, enough. I have spoken, as I always do to you, frankly,\nperhaps too frankly; but agony and despair will speak out, and plead, even\nwith the most obdurate and cruel.'", "'I have talked too long, I believe; we are children to the last. Leave me,\nMaud. I think I know you better than I did, and I am pleased with you. Go,\nchild--I'll sit here.'", "Maud--on her journey, and she send me; and so, ma chère, here is poor\nMadame arrive to charge herself of that affair.'", "Rather late in life he married, and his beautiful young wife died, leaving\nme, their only child, to his care. This bereavement, I have been told,", "'And, my dear Maud, did not your poor father speak to you as if it _was_\nsomething serious?' said she. 'And so it _is_, I can tell you, something", "'Whose?--your uncle Silas's. In the course of nature he must survive me. He\nwill then represent the family name. Would you make some sacrifice to clear\nthat name, Maud?'", "'So she would,' acquiesced my father, in his gloomy, amused way. 'Maud, you\nmust try to be a clever woman.'", "'There, there, little Maud, you must not cry. She is here only for your\ngood. If you are afraid--even _foolishly_ afraid--it is enough. Be it as", "the girl's silence; in the meantime you shall hear of them, and perhaps\ncircuitously, from me. Our dear Maud started this morning _en route_ for", "'You must be very solitary, little Maud; it is not good. I have written to\nMonica: in a matter of detail she is competent to advise; perhaps she will\ncome here for a short visit.'", "'Go?--oh!--a--yes--_yes_, Maud--go. I must see poor Dudley before his\ndeparture,' he added, as it were, in soliloquy.", "'That's right, Maud Ruthyn,' said Cousin Monica, with a sad little smile\nand a nod. 'And your papa was, you may suppose, very angry.'\n\n'Of course he was,' I exclaimed.", "'We think too much of the poor remains, and too little of the spirit which\nlives for ever. I am sure they are happy.' And she sighed again. 'I wish", "'My dear child, you ought to come in and see him; indeed but you should,\nMiss Maud. He's quite dead an hour ago. You'd wonder all the blood that's", "'No, Miss Maud,' she answered, rising and drawing near.\n\n'She thinks we are going to France immediately, and to leave this place\nperhaps for ever.'" ], [ "'Silas was in one of his vicious old moods, and liked to menace me. His\nvindictiveness got the better of his craft; but he knows as well as I do", "at cards. All these particulars, as I told you, came out afterwards, for\nthere was an inquest, you know, and then Silas published what he called his", "look as if a pain had pierced his brain, and then shrug and smile piteously\ninto vacancy. When Uncle Silas, therefore, was not in the talking vein", "light had been thrown upon the occurrence, and your uncle Silas remains an\noutcast. At first he was quite wild with rage, and would have fought the", "Uncle Silas here seemed suddenly overtaken by exhaustion. He leaned back\nwith a ghastly look, and his lean features glistened with the dew of", "'Your uncle Silas,' he said, speaking suddenly in loud and fierce tones\nthat sounded from so old a man almost terrible, 'lies under an intolerable", "Sometimes this grew into a dismal panic, and Uncle Silas--polished,\nmild--seemed unaccountably horrible to me. Then it was no longer an", "his marriage, had stopped the supplies, you know, and Silas was very poor,\nand as hungry as a hawk, and they said he pounced upon this rich London", "Silas. One day, perhaps, you will know him--yes, very well--and understand\nhow villains have injured him.", "'Well, you know I'm a peevish old Tabby, and of course I scratch now and\nthen, and see in the dark. I dare say Silas is sorry, but I don't think he", "There are periods of incapacity and collapse, followed by paroxysms\nof active terror. Thus in my journey during those long hours I found\nit--agonies subsiding into lethargies, and these breaking again into", "'Not a word, sir,' snarled Uncle Silas, with a white flash from his eyes.\n\nThere was a pause.\n\n'Sit where you are, Maud.'", "father used to send his letters to me to read, and I sometimes really\nthought that Silas was losing his faculties; but I believe he was only\ntrying to write in character.'", "Uncle Silas, who, after his nightly horror or vision, lay extended on a\nsofa, with his faded yellow silk dressing-gown about him, his long white", "I saw Uncle Silas's lip, eyelid, and thin cheek quiver and shrink, as if\nwith a thrill of tic-douloureux, as Doctor Bryerly spoke this unconsciously", "that there was no such thing, and that when he talked so he was only\njesting. There was no suspicion during the inquest that your uncle Silas\nwas involved, except those questions of Mr. Manwaring's.'", "And with these words their hands were joined; and Uncle Silas, after he had\nreleased hers, patted and fondled it with his, laughing icily and very low\nall the time.", "frequency of the strange collapses to which Uncle Silas was subject. I\ndid not at first mind them much, for I naturally fell into Milly's way of\ntalking about them.", "Silas explains his sad situation, and must hold himself in readiness for\nearly flight, if he would avoid the risk of losing his personal liberty. It\nis a sad thing that he should have so irretrievably ruined himself,", "The image of Uncle Silas, as I had seen him that day, troubled and\naffrighted my imagination, as I lay in my bed; I had slept very well since" ], [ "him to the houses where ladies were. But Silas's wife was not much regarded\nat Bartram-Haugh. Indeed, she was very little seen, for she was every", "'I name my oppressed and unhappy brother, Silas Ruthyn, residing at my\nhouse of Bartram-Haugh, as guardian of the person of my beloved child, to", "'So it was. Your uncle Silas was called up, and greatly shocked of course,\nand he did what I believe was best. He had everything left as nearly as", "'So I see you do know something of him, sly girl! but no matter. You know\nhow very rich your father is; but Silas was the younger brother, and had", "When he was gone, I bethought me that now was a good opportunity of making\nmy complaint of Dickon Hawkes. Uncle Silas having risen, I hesitated, and\nbegan,", "'I don't want to chouce ye, Miss; but I must take care o' myself, ye see.\nThe letters goes all through Silas's fingers to the post, and he'd know", "'Yes, dear; that is if Silas allows me; and I'm sure he will,' she added\nhastily, seeing, I suppose, my terror in my face. 'All I can do, you may be", "father used to send his letters to me to read, and I sometimes really\nthought that Silas was losing his faculties; but I believe he was only\ntrying to write in character.'", "light had been thrown upon the occurrence, and your uncle Silas remains an\noutcast. At first he was quite wild with rage, and would have fought the", "'Yes, exactly so, under Silas Ruthyn's guardianship, to spend\ntwo--_three_--of the most important years of your education and your life", "Silas. One day, perhaps, you will know him--yes, very well--and understand\nhow villains have injured him.", "'Do you think, girls, you could be ready to come away with me, if Silas\ngives leave, in an hour or two? I should so like to take you both home with\nme to Elverston.'", "So the summons reached me from Uncle Silas. The hours at Knowl were\nnumbered.", "at cards. All these particulars, as I told you, came out afterwards, for\nthere was an inquest, you know, and then Silas published what he called his", "'Doctor Bryerly will, I have no doubt, arrange it all. In fact, I do not\nthink it would be very difficult to bring Silas to terms; and if you do not", "'I remain, my dear niece, your most affectionate uncle and guardian,\n\nSILAS RUTHYN.'", "sparsely, leaving the rest of the chamber in the nakedness of a stately\ndesolation. My cousin Milly ran away to report progress to 'the Governor,'\nas she termed Uncle Silas.", "Uncle Silas replaced the papers which had ostensibly interested him so\nmuch, and returned. There was a vein which was visible near the angle", "Silas explains his sad situation, and must hold himself in readiness for\nearly flight, if he would avoid the risk of losing his personal liberty. It\nis a sad thing that he should have so irretrievably ruined himself,", "It came, and with it a note from Uncle Silas, which was curious, and,\ntherefore, is printed here:--" ], [ "'No, Miss Maud,' she answered, rising and drawing near.\n\n'She thinks we are going to France immediately, and to leave this place\nperhaps for ever.'", "'Miss Maud Ruthyn has gone out to drive, but I shall be happy to see Lady\nKnollys here, if she will do me the favour to come upstairs and see me for\na few moments; and you can mention that I am very far from well.'", "'Frightened as usual, Maud,' she said quietly, and eyeing me with a\nsinister smile, 'and with cause you think, no doubt. Wat 'av you done to", "the girl's silence; in the meantime you shall hear of them, and perhaps\ncircuitously, from me. Our dear Maud started this morning _en route_ for", "'There now, dear Maud, we have heard enough; it is, I do believe, a\ndelusion. Madame de la Rougierre will be your companion, at the utmost, for", "Maud--on her journey, and she send me; and so, ma chère, here is poor\nMadame arrive to charge herself of that affair.'", "'I'm going to France, Maud--I'm going away. Mrs. Jolks is going to London,", "'There, there, little Maud, you must not cry. She is here only for your\ngood. If you are afraid--even _foolishly_ afraid--it is enough. Be it as", "'Why am I disturbed, pray?'\n\n'Miss Maud a Ruthyn, she weel explain,' replied Madame, with a great\ncourtesy, like a boat going down in a ground swell.", "about Feltram this week. How long does he remain at home? Not very long,\neh? And, Maud, dear, he has not been making love to you? Well, I see; of", "'Well, dearest Maud, is not clever trick?'\n\nI was so utterly confounded that I could only stare about me in stupid\nsilence, a spectacle which renewed Madame's peals of laughter.", "'\"I think Maud is by this time about halfway to Elverston,\" said the old\ngentleman. \"I persuaded her to take a drive, and advised a call there,\nwhich seemed to please her, so I conjecture she obeyed.\"", "'Master wants Miss Maud,' said Wyat's disagreeable tones, at the half-open\ndoor.\n\nI followed in silence, with the pressure of a near alarm at my heart, like\na person going to an operation.", "Maud, and if I had found something I would tell you all about. But it was\nvery great _sottise_, and you were very right to denounce me to Monsieur.", "'There, Maud, enough. I have spoken, as I always do to you, frankly,\nperhaps too frankly; but agony and despair will speak out, and plead, even\nwith the most obdurate and cruel.'", "'Sit down, Maud, _there_. You have not been very happy with Madame de la\nRougierre. It is time you were relieved. This occurrence decides it.'\n\nHe rang the bell.", "'And although I shall not be always near, yet I shall know everything\nabout my charming little Maud; you will not know how, but I shall indeed,", "'But, my dear Maud, if't be so, we shall go at once, you and me, to join\nMeess Millicent in France. La belle France! You weel like so moche! We", "That evening Madame visited me again, in one of her sedate and moral moods.\nShe found me dejected and passive, as she had left me.\n\n'I think, Maud, there is news; but I am not certain.'", "'I have been thinking a great deal about you, Maud. I am anxious. I have\nnot been so troubled for years. Why has not Monica Knollys a little more\nsense?'" ], [ "And with these words Madame de la Rougierre broke down altogether. She\nsobbed, she wept, she gabbled piteously, all manner of incomprehensible", "'Madame de la Rougierre.'\n\n\n\n\nCHAPTER X\n\n_LADY KNOLLYS REMOVES A COVERLET_", "The servants, indeed, made no secret of their opinion of Madame de la\nRougierre, and frankly charged her with a long list of larcenies. Even Anne", "in the house but its master. He never alluded again to Madame de la\nRougierre. But whether connected with her exposure and dismissal, I could", "Next morning I made acquaintance with Madame de la Rougierre. She was tall,\nmasculine, a little ghastly perhaps, and draped in purple silk, with a", "'So that's Madame de la Rougierre?' at length exclaimed Lady Knollys, with\na very stately disdain. I think I never saw anyone look more shocked.", "CHAPTER IV\n\n_MADAME DE LA ROUGIERRE_", "'Yes, thank you--Madame de la Rougierre, who has arrived with excellent\ntestimonials, strenuously denies the whole thing. Here is a conflict, my", "Madame de la Rougierre, who has my directions to see that it contains no\n_libels_ upon my character. Now, sit down.'", "'She assures me she is Madame de la Rougierre, and, I suppose, in French\nphrase she so calls herself,' answered Lady Knollys, with a laugh, but\nuncomfortably, I thought.", "'There now, dear Maud, we have heard enough; it is, I do believe, a\ndelusion. Madame de la Rougierre will be your companion, at the utmost, for", "Madame de la Rougierre, I found, was always quite ready to explain\neverything 'à fond;' but somehow her 'explications,' as she termed them,", "It was not for nearly an hour after, that my father suddenly, after his\nwont, in a few words, apprised me of the arrival of Madame de la Rougierre", "But I was really frightened. I was in a horrible state of uncertainty as to\nMadame de la Rougierre's complicity with the party who had beset us at the", "You will not be astonished, that after a night so passed I was ill and\nfeverish in the morning. To my horror, Madame de la Rougierre came to visit", "terror, I became perfectly certain that I saw the countenance of Madame de\nla Rougierre.", "the linkman. I was scarcely less frightened to see that of Madame de la\nRougierre. She was dressed in a sort of grey silk, which she called her", "Of course Madame had tampered with him. But truth, like murder, will out\nsome day. Tom Williams, the groom, had seen her, when alone with him, and", "But you have seen how troubled my life was with fear and anxiety during the\nresidence of Madame de la Rougierre, and now there rested upon my mind a", "After the first elation of relief, now and then a filmy shadow of Madame de\nla Rougierre would glide across the sunlight, and the remembrance of her\nmenace return with an unexpected pang of fear." ], [ "'Master wants Miss Maud,' said Wyat's disagreeable tones, at the half-open\ndoor.\n\nI followed in silence, with the pressure of a near alarm at my heart, like\na person going to an operation.", "And the next moment Madame entered my room, with long tiptoe steps, and\nlooking, Mary Quince said, as if she were going to be hanged.", "'Me, Miss,' whispered Mary Quince, to my unutterable relief; and with her\ncandle flared, and a wild and pallid face, Mary Quince glided into the\nroom, locking the door as she entered.", "I heard a step moving stealthily along the gallery. I called my cousin\nMonica softly; and we both heard the door of the room in which my father's\nbody lay unlocked, some one furtively enter, and the door shut.", "'They are trying to murder him!' I cried, and I ran along the gallery to\nhis door, followed by Mary Quince, whose white face I shall never forget,\nthough her entreaties only sounded like unmeaning noises in my ears.", "This was the room in which they had placed me, and this the contrivance\nby means of which the room had been entered. The problem of Mr. Charke's\nmurder was solved.", "chamber where the crime had just been committed, and the discovery was\nimpending. I could see him against the broad window which in the daytime\nlighted this long passage, and the moment he had passed the corner I", "Strangely enough, he fancied that I had made my escape long before the room\nwas entered; and, even if he were arrested, there was no evidence, he was", "And then, with a nod, I saw him enter.\n\n'Would not you like to see the Doctor, Miss Maud?' asked Mary Quince.\n\nThe question roused me a little.", "We heard a step softly approaching the open door, and, in a horrible _sauve\nqui peut_, we rushed and stumbled together toward the light by Uncle\nSilas's bed. But old Wyat's voice and figure reassured us.", "'So I do, Maud,' said Lady Knollys, who had just entered the room\nunperceived,--'How do you do, Doctor Bryerly?--a serious injury. You have", "'Viola! here 'tis, my dear old room. Enter, dearest Maud.'", "'Frightened as usual, Maud,' she said quietly, and eyeing me with a\nsinister smile, 'and with cause you think, no doubt. Wat 'av you done to", "In a little while a knock came to my door, and Mary Quince was ordered by\nold Wyat into my uncle's room. She returned flushed, in a huge fuss, to say", "favoured their noiseless movements. It was well for me that there were\nin the house three persons whom it was part of their plan to mystify\nrespecting my fate. This alone compelled the extreme caution of their", "There was no answer; so she opened the door, and we both entered. Madame\nhad rolled herself in the blue coverlet, and was lying on the bed, with her\nface buried in the pillow, and enveloped in the covering.", "after a moment's listening, into the room. His foot made no sound upon the\nfloor; his head was bare, and he wore his usual short shooting-jacket.", "swung noiselessly open, admitting the frosty night-air; and the man, whom\nI now distinctly saw to be Dudley Ruthyn, kneeled on the sill, and stept,", "At my left was a door-case open, but no door. I entered; it was a short\npassage about six feet long, leading perhaps to a backstair, but the door\nat the end was locked.", "through the top of the window, and shook the whole house with his descent.\nI found myself standing at my own door, crying, 'Help, help! murder!" ], [ "at cards. All these particulars, as I told you, came out afterwards, for\nthere was an inquest, you know, and then Silas published what he called his", "by murder, supervened. I dare say that Uncle Silas thought for a while that\nhe was a righteous man. He wished to have heaven and to escape hell, if", "Uncle Silas here seemed suddenly overtaken by exhaustion. He leaned back\nwith a ghastly look, and his lean features glistened with the dew of", "Uncle Silas had risen, and made them one of his old courtly bows, smiling a\ndeath-like sneer, and pointing to the door with his trembling fingers.", "that there was no such thing, and that when he talked so he was only\njesting. There was no suspicion during the inquest that your uncle Silas\nwas involved, except those questions of Mr. Manwaring's.'", "Uncle Silas had been at death's door for hours; the question of life had\ntrembled in the scale; but now the doctor said 'he might do.'\n\n'Where was the doctor?'", "'Your uncle Silas,' he said, speaking suddenly in loud and fierce tones\nthat sounded from so old a man almost terrible, 'lies under an intolerable", "With these words Uncle Silas leaned back exhausted, and languidly poured\nsome of his favourite eau-de-cologne over the palms of his hands, nodded a\nfarewell, and, in a whisper, wished me good-night.", "'Silas was in one of his vicious old moods, and liked to menace me. His\nvindictiveness got the better of his craft; but he knows as well as I do", "light had been thrown upon the occurrence, and your uncle Silas remains an\noutcast. At first he was quite wild with rage, and would have fought the", "Uncle Silas rose up with the same glassy smile and scowl, in token that the\ninterview was ended.", "And with these words their hands were joined; and Uncle Silas, after he had\nreleased hers, patted and fondled it with his, laughing icily and very low\nall the time.", "Silas. One day, perhaps, you will know him--yes, very well--and understand\nhow villains have injured him.", "'So it was. Your uncle Silas was called up, and greatly shocked of course,\nand he did what I believe was best. He had everything left as nearly as", "With these words Uncle Silas entered his bed-chamber, and shut the door,\nnot violently, but with a resolute hand, and I thought I heard a cry.", "'So I see you do know something of him, sly girl! but no matter. You know\nhow very rich your father is; but Silas was the younger brother, and had", "his marriage, had stopped the supplies, you know, and Silas was very poor,\nand as hungry as a hawk, and they said he pounced upon this rich London", "Uncle Silas replaced the papers which had ostensibly interested him so\nmuch, and returned. There was a vein which was visible near the angle", "'It is not very much, after all. Your uncle Silas, you know, is living?'\n\n'Oh yes, in Derbyshire.'", "'You know we can't quite condemn Silas till we have heard what he has to\nsay. He may have done it in ignorance; or, it is just possible, he may have\nthe right.'" ], [ "Meg Hawkes, proud and wayward, and the most affectionate creature on earth,\nwas married to Tom Brice a few months after these events; and, as both", "'There, Maud, enough. I have spoken, as I always do to you, frankly,\nperhaps too frankly; but agony and despair will speak out, and plead, even\nwith the most obdurate and cruel.'", "'Go?--oh!--a--yes--_yes_, Maud--go. I must see poor Dudley before his\ndeparture,' he added, as it were, in soliloquy.", "'But, after all,' he suddenly resumed, as if a new thought had struck him,\n'is it quite such folly, after all? It really strikes me, dear Maud, that", "'Surely, Maud, you don't wish to deceive your guardian? Come, the question\nis a plain one, and I know the truth already. I ask you again--have you\never heard me spoken ill of by Lady Knollys?'", "'Well, I'll tell you how it is, Maud. I may as well have it out. I like", "At last she said suddenly--\n\n'Are you ever grateful, Maud?'\n\n'I hope so, Madame,' I answered.", "At last she shut her mouth sternly, and eyes me with a more determined and\nmeaning scowl, and then said in a low tone--\n\n'I believe, Maud, that you are a cunning and wicked little thing.'", "'Time enough, my dear Maud; you are fatigued; are you sure you feel quite\nwell?'\n\n'Well enough to get up; I should be better, I think, out of bed.'", "'I mean, Maud, if ye'll marry me, you'll never ha' cause to complain; I'll\nnever let ye want for nout, nor gi'e ye a wry word.'", "'Well now, dear Maud, have not I told you fifty times over to have nothing\nto say to him? I've found out, my dear, he plays, and he is very much in", "about Feltram this week. How long does he remain at home? Not very long,\neh? And, Maud, dear, he has not been making love to you? Well, I see; of", "'Well, Maud, in the course of a few months--and it may be sooner--there\nmust be a change. I have had a letter from London this morning that assures", "'I yield, Maud--I yield, my dear. I will _not_ press you; you shall have\ntime, your _own_ time, to think. I will accept no answer now--no, _none_,\nMaud.'", "It won't last, though; and I do assure you, my dear Maud, I am quite happy\nabout you now that you are quite on your guard. Just act respecting that", "'Well, Miss Maud, dear, I _will_ send to please you, but it is all to no\nuse. If only you saw him yourself you'd know that. Mary Quince, run you", "'Sit down, Maud, _there_. You have not been very happy with Madame de la\nRougierre. It is time you were relieved. This occurrence decides it.'\n\nHe rang the bell.", "'I have talked too long, I believe; we are children to the last. Leave me,\nMaud. I think I know you better than I did, and I am pleased with you. Go,\nchild--I'll sit here.'", "'So am I, dear Maud.'\n\n'But can't you stay a little longer; _won't_ you?'", "'Come, come, Maud, you must not prevaricate, girl. I _will_ have it. Does\nshe not habitually speak disparagingly of me, in your presence, and _to_\nyou? _Answer_.'" ] ]

[ "Who does Dudley accidentally kill instead of Maud?", "Why is Madame de la Rougierre dismissed as Maud's governess?", "What happens if Maud dies while still a minor?", "What is the name of Uncle Silas's mansion?", "Who is Maud's best friend at Bartram-Haugh?", "Who helps Maud escape after Madame de la Rougierre is killed?", "Where is Millicent sent to boarding school?", "Who makes several attempts to court Maud?", "Who does Maud marry at the end of the story?", "What is Maud's fathers name?", "Why is her uncle Silas Ruthyn considered to be a black sheep?", "What was the name of the manson owned by Silas Ruthyn?", "What is the name of Silas Ruthyn's son?", "Who hired the governess Madame de la Rougierre as a companion for Maud?", "What was the name of the stipulation laid forth in Austin Ruthy's will known as? ", "How lon did Maud agree to stay with her uncle Silas? ", "Why is Uncle Silas sufferng from mysterious catatonic fits? ", "What drink had been druged and intended for Maud to partake? ", "What finally claims the life of Uncle Silas?", "Who is Austin to Maud?", "Why is the governess dismissed from her job?", "Who does Maud have to spend the rest of her childhood with after her father dies?", "What causes Silas' catatonic fits?", "Who does Silas send away to boarding school?", "Where is Maud actually staying while everyone thinks she is in France?", "Who murders Madame de la Rougierre by mistake?", "Who enters the room during the murder allowing Maud to quietly escape?", "How does Silas die?", "Who does Maud eventually marry?" ]

[ [ "He kills Madame de la Rougierre.", "madame de la rougierre" ], [ "Maud catches her stealing from her father's desk.", "For breaking into Maud's father's desk." ], [ "Her father's estate goes to Uncle Silas. ", "Silas inherits the estate" ], [ "The mansion is called Bartram-Haugh.", "bartram haugh" ], [ "Silas's daughter Millicent.", "milly" ], [ "Dickon Hawkes' daughter helps Maud escape.", "Dickon Hawke's daughter. " ], [ "Millicent is sent to a boarding school in France.", "France" ], [ "Dudley tries to court Maud.", "dudley" ], [ "She marries Lord Ilbury.", "Lord Ilbury" ], [ "Austin Ruthyn", "Austin Ruthyn." ], [ "He was an infamouse rake and gambler", "He was once a gambler." ], [ "Bartram-Haugh", "Knowl." ], [ "Dudley", "Dudley" ], [ "Her father. ", "mauds father " ], [ "a codicil", "a codicil" ], [ "Three and a half years. ", "three and a half years" ], [ "His massive consumtion of opium", "massive opium consumption" ], [ "claret", "Claret." ], [ "an opium overdose", "Opium overdose." ], [ "Her father.", "her father" ], [ "Stealing", "theft" ], [ "With her uncle Silas.", "uncle silas" ], [ "Opium consumption.", "Too much opium consumption." ], [ "Millicent", "milly" ], [ "Bartram-Haugh", "a room in the mansion" ], [ "Dudley", "Dudley" ], [ "Silas.", "uncle silas " ], [ "Opium overdose.", "Opium overdose." ], [ "Lord Ilbury.", "Lord Ilbury." ] ]

[ [ "not on the Kennedy killing, but on \n us. One of their top guys, Harry \n Stoner, is talking to everybody he", "FERRIE\n You think your investigation's been \n all that secret? You know, when you \n talk to people, they talk to other \n people.", "or that he has had any connection \n with the assassination of President \n Kennedy. The Special Agent in Charge \n would like to make clear that Mr.", "could easily be traced to a scapegoat \n after the assassination. Does the \n real Oswald know he's been put", "ATTORNEY GENERAL\n Yes, Mr. Shaw was included in our \n investigation and there was no \n connection found at all between Shaw \n and the President's assassin.", "Police are saying there could be a tie - in here to the murder \n of the President.", "the assassination area. Other Secret Service agents are \n there. Some 18 people are detained there.", "by their handlers, either to prevent \n the assassination or to take part in \n it. They coulda told him anything,", "Cuba, to help them raise money to \n assassinate Castro. Something about \n the men bothers her. She tells them", "Banister, Ferrie are dead. Shaw - \n maybe he's an agent, I don't know, \n but as a covert operator in my book", "White House all combined in some \n elaborate conspiracy to kill John \n Kennedy. Let me ask you, is there \n anyone besides Lee Harvey Oswald who", "Arrests are made. We see Oswald in a room in the police \n station, talking with FBI Agent John Quigley. A calendar on \n the wall shows that it's August, 1963.", "Jim is with his key players: Lou Ivon, chief investigator; \n Susie Cox, in her 30's, and efficient, attractive Assistant", "They look to Jim. There's a pause. He is deeply disturbed.\n\n JIM\n (quietly)\n Well, let's get Ferrie in here anyway.", "and recommended the Justice Department investigate further. \n As of 1991, the Justice Department has done nothing. The \n files of the House Select Committee on Assassinations are", "investigate him? And why, if they \n did, is his name not mentioned once \n in the entire 26 volumes of the Warren", "the receptionist as Numa passes him with a stack of mail. \n Also in the hall are many individual citizens who have come \n to give tips and theories. One of them is dressed as Satan", "G-men were just going through the \n motions for Washington. Their hearts \n were with their old FBI buddy \n Banister.", "Washington. An interesting lead, \n says he's closely connected to these \n events, but he won't come down here...", "Situation Room to Lyndon Johnson \n that one individual performed the \n assassination. Does that sound like" ], [ "Ferrie hangs up. Pause. At his end, Lou Ivon hangs up, \n excited.\n\n GARRISON'S HOME - NIGHT(1967)", "BACK TO Garrison's office later that day. Everyone looks \n tired as the questioning goes on. Shaw sucks on endless \n Gauloises.", "LOU\n Dave Ferrie's dead. The body was \n found at his apartment two hours \n ago.\n\n Jim's look says \"There goes the case.\"", "It doesn't play with the press. They shuffle off, quiet, \n whispering.\n\n GARRISON'S HOUSE(1967)", "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "conspiracy in New Orleans - but it's \n a plot of Garrison's own making\"... \n and this - \"one of the D.A.'s", "G-men were just going through the \n motions for Washington. Their hearts \n were with their old FBI buddy \n Banister.", "The staff is assembled. We see the headline in the Times-\n Picayune, which says: \"FERRIE CALLS GARRISON PROBE A WITCH \n HUNT.\"", "MILLER\n Stop your investigation... it was a \n magnificent effort but it's over and", "CUT TO JIM GARRISON'S OFFICE - NEW ORLEANS - SAME DAY (1963)", "showed up immediately. They have a \n private session. Oswald is released \n and Quigley destroys his notes from \n the interview.", "FRANK\n Who do you think fed him that \n information? Garrison's going down.", "X\n Jim Garrison?\n\n JIM\n Yes.", "(pauses, adjusts)\n There wasn't no conspiracy, Jim. If \n there were, why the hell didn't Bobby", "Garrison, you understand? I'll come \n to that later... I spent much of \n September '63 working on the Kennedy", "and recommended the Justice Department investigate further. \n As of 1991, the Justice Department has done nothing. The \n files of the House Select Committee on Assassinations are", "for all seven wounds in Kennedy and \n Connally. But rather than admit to \n a conspiracy or investigate further, \n the Commission chose to endorse the", "JIM\n There's a word - orders.\n\n Back in Garrison's office in 1968.", "thought they had an open and shut \n case: three bullets, one assassin - \n but two things happened that made it", "Jim Garrison - they want the hard \n evidence! They want to know why he \n was killed and what forces were \n opposed to..." ], [ "comes back a week later and one guy \n in the Dallas police department \n suddenly finds a palm print which \n for all I know he could've taken off", "JIM\n We're going back into the case, Lou - \n the murder of the President. I want", "thought they had an open and shut \n case: three bullets, one assassin - \n but two things happened that made it", "Blow up right in our face. Ruby was \n just given a new trial. If he has \n something to say, it'll be there.", "and recommended the Justice Department investigate further. \n As of 1991, the Justice Department has done nothing. The \n files of the House Select Committee on Assassinations are", "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "Banister, going to a file cabinet to get a bottle out, notices \n one of the file drawers is slightly ajar. He flies into a \n rage.", "of 1973, after defending himself in Federal Court, he was \n quickly found not guilty of charges that appear to have been \n framed against him. Less than six weeks later, he was", "LOU\n Dave Ferrie's dead. The body was \n found at his apartment two hours \n ago.\n\n Jim's look says \"There goes the case.\"", "it had something to do with the \n Mafia... Well, about a week later, \n after she told the newspapers she'd", "BILL\n The fact is he's gone, chief, and \n so's our case.\n\n LOU\n Not unless we go for Shaw now.", "Back in the courtroom, Jim continues speaking:", "BACK TO Garrison's office later that day. Everyone looks \n tired as the questioning goes on. Shaw sucks on endless \n Gauloises.", "In their bedroom upstairs that night, Jim gently wakes Liz \n and holds her.\n\n JIM\n They killed him, honey.", "Hill, 32 years old that day, is shown into a third floor \n office of the County Courts Building - which has a view of", "JIM\n (to chief police \n officer)\n This case is in our jurisdiction. I", "CUT TO later in the trial. A movie screen has been installed \n for the jury. Jim paces dramatically, as if waiting, casting", "DYMOND\n Exception taken. That case is on \n appeal!\n\n Arguments follow.", "To this date, he has brought the only public prosecution in \n the Kennedy killing.", "SUSIE\n (counter-arguing)\n Objection, your Honor. This office \n has won a conviction of perjury \n against Dean Andrews on this matter." ], [ "JIM (V.O.)\n ...but what the Warren Report would \n have us believe is that after firing", "JIM\n They didn't call a lot of people, \n Mr. Mercer. I think it's safe to \n say the Warren Report is a work of \n fiction.", "The overall effect is vague and confusing, as is much of the \n Warren Report. A Mr. Ball is questioning Lee Bowers, the", "LONG\n Hell, you're the District Attorney. \n You read the Warren Report - and", "JIM\n The interesting thing is the extent \n to which the Warren Commission went \n to make him a Communist. They got", "and this wasn't even mentioned in \n the Warren Report! Read it, Al.", "JIM\n (skeptical)\n But you didn't seem nearly so sure \n in your statement to the Warren \n Commission.", "for all seven wounds in Kennedy and \n Connally. But rather than admit to \n a conspiracy or investigate further, \n the Commission chose to endorse the", "In the stillness, his mind crawls all over the place. The \n camera closes on the thickly-worded pages of the Warren \n Report.", "in secret ops since the beginning \n knew the Warren Commission was \n fiction, but there was something... \n deeper, uglier. And I knew Allen", "solve the case that the Warren \n Commission with dozens of support \n staff and millions of dollars couldn't \n solve. We can't keep up with the", "JIM\n Because you keep conning me, Dean. \n I read your testimony to the Warren \n Commission and...", "scared, doesn't see them again till \n she sees Oswald's picture in the \n paper. But the Warren Commission", "MARTIN\n I didn't say that. All I know is he \n died suddenly just before the Warren \n Report came out.", "JIM\n (shaking his head)\n His boss was the one on the Warren \n Commission who handled all the leads \n to the intelligence community.", "JIM\n (to Bill)\n Clay Bertrand. He's in the Warren", "just taking a deposition gets that \n involved and angry... sure enough, \n when I finally read my testimony as \n published by the Warren Commission,", "JIM\n Then how the hell did you get in the \n Warren Commission, Dean? Except \n through the phone records in the \n Dallas jail?", "reads in a red leather chair from one of the 26 thick Warren \n Commission volumes piled all over the place. Liz enters.", "JIM\n A picture speaks a thousand words. \n Yet sometimes the truth is too simple \n for some... The Warren Commission" ], [ "JEAN HILL\n The truth is that I heard between \n four and six shots. I'm not going \n to lie for you.", "JEAN HILL\n No, I saw a guy shooting from over \n there. He was behind that fence. \n What are you going to do about it?", "MAN\n How many shots you say you heard?\n\n JEAN HILL\n Four to six.", "these witnesses has no doubt \n whatsoever one or more shots came \n from behind the picket fence! Twenty \n six trained medical personnel at", "Then we hear the shots: the volley sounds like a motorcycle \n backfire. We catch a glimpse of a muzzle flash and smoke.", "PRICE (V.O.)\n ...yes, sir, right here on this spot. \n The shots came from near that wooden \n fence over there, near the overpass.", "shouting, \"Get down, they're shooting, \n get down, they're shooting.\" I knew \n it but I was moving to get closer to", "Hill, 32 years old that day, is shown into a third floor \n office of the County Courts Building - which has a view of", "Later Jim and Lou stand on the south side of Elm Street in \n Dealey Plaza talking to Jean Hill, an attractive, 30-ish", "HOLLAND\n I made it very clear to the Warren \n people one of the shots came from", "JIM (V.O.)\n Oddly, considering three shots are \n supposed to have come from there,", "JEAN HILL\n I was standing here next to my friend \n Mary Mooman, who took the photograph \n when he was killed...", "CUT TO the Book Depository.\n\n MAN 2\n I heard shots from over there.\n\n CUT TO the County Records Building.", "fifth floor of the Criminal Courts Building, convicts watch \n and holler from their jail cells. We see the sixth floor of \n the Texas Book Depository with open windows and a vague blur", "James Tague down at the underpass is \n hit sometime now by another shot \n that misses.", "From Houston Street we look up at the sixth floor of the \n Book Depository and see the shooter moving around. Arnold \n Rowland points him out to his wife.", "and dozens of witnesses in Dealey \n Plaza that day are saying they heard \n shots coming from the Grassy Knoll", "JEAN HILL\n He kept trying to get me to change \n my story about the shots. He was", "CUT TO the picket fence above the Grassy Knoll.\n\n WOMAN 2\n I thought... it came from up there, \n that building.", "saw... then Jack Ruby in a brown coat running from the Book \n Depository toward the railroad tracks. Then we see Jean's \n view as she runs toward the Knoll along with others. there" ], [ "Washington. An interesting lead, \n says he's closely connected to these \n events, but he won't come down here...", "Jim watches this mystery man walking away. The figure \n vanishes in the Washington breeze. Flags flap over some \n distant memorial to some distant history of the Republic. \n Jim rises, a decision made.", "Jim walks down from the Lincoln Memorial, where he is met \n unobtrusively by a military man in his 50's in casual", "FERRIE\n Do you remember me, Mr. Garrison? I \n met you on Carondolet Street right \n after your election. I congratulated \n you, remember?", "We see a shot of the Supreme Court building in Washington, \n D.C. and then a corridor inside the building. A Chief", "It doesn't play with the press. They shuffle off, quiet, \n whispering.\n\n GARRISON'S HOUSE(1967)", "Bill, taken aback, listens.\n\n WASHINGTON D.C. - PARK(1967)", "Garrison, you understand? I'll come \n to that later... I spent much of \n September '63 working on the Kennedy", "BACK TO Garrison's office later that day. Everyone looks \n tired as the questioning goes on. Shaw sucks on endless \n Gauloises.", "The audience is enthusiastic. Jim smiles and waves, then \n sits down next to Johnson.\n\n JOHNSON\n Welcome, District Attorney Garrison. \n May I call you Jim?", "GARRISON'S STUDY - NIGHT(1966)", "GARRISON CONFERENCE ROOM - 2 DAYS LATER - DAY(1963)", "information which will gain for him \n exposure on a national level? Mr. \n Garrison it seems, should have some \n explanation.", "BACK TO Garrison's office.", "Ferrie hangs up. Pause. At his end, Lou Ivon hangs up, \n excited.\n\n GARRISON'S HOME - NIGHT(1967)", "He and Liz squeeze hands as they walk on.\n\n DISSOLVE TO WASHINGTON, D.C. - (1970)", "Clarence Darrow... a law degree and an appointment as District \n Attorney of the New Orleans Parish... Mother Garrison with \n young Jim on the desk... another family - his own. We look", "I'm one of Garrison's fucking \n suspects. I can't go home.\n I'm out on the street. The maggots", "ANDREWS\n (just a slight \n hesitation)\n Like I told to the Washington boys,", "RECEPTIONIST\n You know who killed the President? \n Mr. Garrison is busy but his \n assistant...\n\n A camera moves by into the interior offices." ], [ "Then, at a New Zealand airport, we see X, in a uniform, at a \n newsstand reading of Kennedy's assassination. The banner", "not on the Kennedy killing, but on \n us. One of their top guys, Harry \n Stoner, is talking to everybody he", "JASPER\n Because of Kennedy?\n (a beat. Jim doesn't \n answer)\n Are the same people gonna kill us, \n Daddy?", "And this was never more true than \n for John F. Kennedy whose murder was \n probably the most terrible moment in \n the history of our country. You the", "X (V.O.)\n Kennedy, like Caesar, is surrounded \n with enemies. Something is underway \n but it has no face. Yet everyone in \n the loop knows...", "X\n Jim Garrison?\n\n JIM\n Yes.", "JIM\n (strangled)\n He won... and they killed Robert \n Kennedy. They shot him down.", "killing Kennedy, is that not so?", "56, and 57. These are crucial \n documents, classified top secret, \n but basically in them Kennedy", "JOHNSON\n First we had your charge that the \n Cuban exiles killed the President,", "the men who killed Kennedy, no doubt, \n were honorable men. I believe we \n have reached a time in our country,", "Hitler always said \"the bigger the \n lie, the more people will believe \n it.\" Lee Oswald - a crazed, lonely", "nevertheless continues its plan to \n assassinate Castor... In March '63, \n Kennedy announces drastic cuts in \n the defense budget. In November", "in secret ops since the beginning \n knew the Warren Commission was \n fiction, but there was something... \n deeper, uglier. And I knew Allen", "Kennedy's commitment to withdraw \n from Vietnam. War is the biggest \n business in America worth $80 billion \n a year. The President was murdered", "BILL\n And therefore because Oswald pulled \n the trigger, the intelligence \n community murdered their own commander \n in chief. That's what you're saying!", "White House all combined in some \n elaborate conspiracy to kill John \n Kennedy. Let me ask you, is there \n anyone besides Lee Harvey Oswald who", "whose killers still possess the \n throne. The ghost of John F. Kennedy \n confronts us with the secret murder", "Kennedy has been shot by a would-be \n assassin in Dallas. Three bursts of \n gunfire, apparently from automatic \n weapons...", "JACKIE KENNEDY\n I never realized Kennedy was so \n dangerous to the establishment. Is \n that why?" ], [ "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "BILL\n So for those reasons, you're going \n to trial against Clay Shaw, chief?", "CUT TO Clay Shaw on the stand. Dymond cross-examines him.\n\n DYMOND\n ...Oswald?", "CUT TO Willie O'Keefe pointing out Clay Shaw.", "Clay Shaw (\"Bertrand\"), in an elegant white summer suit, is \n shown in. Indeed, there is a slight limp to his gait which \n Jim notices right away.", "CIA meetings during Shaw's trial in 1969, CIA director RICHARD \n HELMS disclosed that CLAY SHAW and DAVID FERRIE had worked", "the point of unruliness. Suddenly there's a hush as everyone \n cranes their necks to see Clay Shaw and his attorneys, Irvin", "law, we hope, against the odds, to \n nail Clay Shaw on a conspiracy charge. \n In the court of public opinion, it", "FLASHBACK TO 1967, in the New Orleans police station. Shaw \n is being booked. The press is there and Habighorst is \n questioning him.", "we believe involved the accused Clay \n Shaw. Fifty-one witnesses, gentlemen \n of the jury, thought they heard shots", "people, you the jury system, in \n sitting in judgement on Clay Shaw, \n represent the hope of humanity against \n Government power. In discharging", "Honor, but we are nowhere closer to \n the truth. Let it be noted, my office \n is charging Clay Shaw with outright", "Ferrie and Clay Shaw while on a \n vacation here from your accounting \n business in New York, you had drinks \n and, under the influence discussed", "BILL\n (stunned)\n Clay Bertrand is Clay Shaw? The guy \n who used to run the International \n Trade Mart?", "** CLAY SHAW died in 1974 of supposed lung cancer. No autopsy \n was allowed.", "JURY FOREMAN\n We find Clay Shaw... not guilty on \n all counts.", "BILL\n (excited)\n What's the other name?\n\n MOBSTER\n Shaw. Clay Shaw.", "EXTERIOR OF CLAY SHAW'S HOUSE - NEW ORLEANS(1967)\n\n Jim, Lou, Al, Numa and several policemen stand at the door \n as Clay Shaw comes to it.", "SHAW\n Clay Bertrand? Clay Bertrand? I \n believe there was a man with a name", "Warriors in the Pentagon and CIA's \n covert operations apparatus - among \n them Clay Shaw here before you. It" ], [ "COLLINS\n (pointing at Shaw)\n ...that was the man there. He dropped", "The voice dropping away as the devastated look on Shaw's \n face spreads, sickly, undone, his arrogant public composure \n gone, face now filled with terror, disbelief.", "SHAW\n Of course not! Such a pity, that \n assassination. In fact, I admired", "SHAW\n Clay Bertrand? Clay Bertrand? I \n believe there was a man with a name", "FERRIE\n (to Shaw)\n Come here, bitch.\n (Ferrie grabs Shaw by", "** CLAY SHAW died in 1974 of supposed lung cancer. No autopsy \n was allowed.", "and Shaw?", "Dymond goes back to Shaw, very please. Shaw smokes, icy. \n Jim, devastated, sits, feeling it's over.", "SHAW\n (in present)\n Not at all. But on the other hand,", "Habighorst notes it as routinely as Shaw seems to have said \n it, without thinking, possibly preoccupied by thoughts of \n press people pushing in.", "JIM\n And Shaw?", "admitted to the townhouse. Shaw appears behind the butler.", "I'm sorry, Mr. Shaw, it's getting \n late. That's all the questions we \n have. Thank you for your honesty", "SHANKLIN\n (reading the note)\n Oswald's dead now. There's no trial.", "SHAW\n Naturally.\n (he looks up)\n Are you claiming, Mr. Garrison, that \n Mr. Oswald also had dinner with me?", "Shaw uses a bell to summon the butler.", "I'm the man. Don't ever forget it.\n (Shaw begs and whines)\n You want it? You want it?", "Ferrie forces more poppers on Shaw. The camera movies to \n Shaw's bedroom, where Ferrie scatters a drawer full of leather \n tools.", "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "The camera holds on onlookers shuffling and murmuring. Clay \n Shaw smirks, smoking his cigarette. The very grandiosity of" ], [ "NEWSMAN 10\n (as TV cuts to \n President Johnson)\n President Johnson, meanwhile at an", "lawyer... we hear sounds of political rallies, cheering... a \n shot of Jim's grandfather shaking hands with President William", "by the shooting. More details just \n arrived. United Press say the wounds \n to President Kennedy perhaps could \n be fatal. Repeating: President", "JIM\n What's wrong, Lou?\n\n LOU\n Boss, the President's been shot. In \n Dallas. Five minutes ago.", "TELEVISION IMAGES: Kennedy's casket coming off the plane in \n Washington D.C. play under the newsman... Jackie stands there", "Jim moves to the phone as Liz starts the kids up the stairs. \n The TV cuts to stills of Oswald's life. Two newsmen sit in \n a studio, smoking, sharing information.", "CUT TO Jim's study, where Jim also watches the news in horror. \n We see TV images of Martin Luther King on the motel balcony, \n dead.", "We see images of Oswald being lifted onto the stretcher, \n into the ambulance, and the newscaster crouching, whispering. \n Everybody in the room is stunned still.", "On the TV, we see the scene at Dealey Plaza. The reporter \n has several men, women, and children gathered around him. \n He puts his microphone in their faces.", "JIM\n Bill doesn't scare that easy. \n Somebody got to his thinking. He \n was never that good a thinker.\n\n On the TV, the news is on.", "TRULY\n Yes he is.\n (as Baker moves on)\n The President's been shot!", "We look down at the White House from the plane's point of \n view. A subtitle reads: \"THREE YEARS LATER.\"\n\n INTERIOR OF PLANE", "We see the last close-ups of Kennedy shaking hands on the \n tarmac at Love Field, smiling, into the motorcade... the", "FLASHBACK TO: Love Field the same day. We see Air Force One \n taking off and a photo of L.B.J. being sworn in.", "VOICE\n January, 1961 - President Dwight D. \n Eisenhower's Farewell Address to the \n Nation -\n\n EISENHOWER ADDRESS", "A motorcycle officer paralleling the Kennedy car tries to \n use his radio.\n\n It's jammed. The sound of the jammed Dictabelt drives the \n rest of the sequence.", "Then, at a New Zealand airport, we see X, in a uniform, at a \n newsstand reading of Kennedy's assassination. The banner", "JIM\n Let's get outta here, Lou. I saw \n too much stuff like this in the war.\n\n As they leave, the camera holds on the image of Oswald.", "Everyone laughs, but the camera goes to the look of shock on \n Lou's face as he holds the receiver. They all look over at \n him; feeling the bad news before they hear it.", "JIM (V.O.)\n This is the key shot. Watch it again. \n The President going back to his left." ], [ "And this was never more true than \n for John F. Kennedy whose murder was \n probably the most terrible moment in \n the history of our country. You the", "President Kennedy.", "Kennedy has been shot by a would-be \n assassin in Dallas. Three bursts of \n gunfire, apparently from automatic \n weapons...", "on November 22, 1963 was a coup \n d'etat. Its most direct and tragic \n result was a reversal of President", "in '76. In November, 1963 John \n Kennedy travels to Texas, his \n popularity sagging to 59% largely", "nevertheless continues its plan to \n assassinate Castor... In March '63, \n Kennedy announces drastic cuts in \n the defense budget. In November", "JIM\n (holds up his pipe)\n How could I? Dave, as you know, \n President Kennedy was assassinated", "Dominican Republic, he's working on \n Castro. No big deal. In September, \n Kennedy announces the Texas trip.", "JASPER\n Because of Kennedy?\n (a beat. Jim doesn't \n answer)\n Are the same people gonna kill us, \n Daddy?", "JIM\n What's wrong, Lou?\n\n LOU\n Boss, the President's been shot. In \n Dallas. Five minutes ago.", "on Friday. A man named Lee Harvey \n Oswald was arrested as a suspect and \n then was murdered yesterday by a man \n named Jack Ruby.", "JIM\n I sometimes feel things've gone \n downhill since John Kennedy was \n killed, Senator.", "We see the last close-ups of Kennedy shaking hands on the \n tarmac at Love Field, smiling, into the motorcade... the", "the murder of John Kennedy. That's \n important - it's historic.", "of shit Kennedy. He's doing all \n kinds of deals! Kissing Khrushchev's \n ass. I wouldn't even call him", "whose killers still possess the \n throne. The ghost of John F. Kennedy \n confronts us with the secret murder", "CUT TO the picket fence shooter. We see J.F.K. from his \n point of view. He fires, and then we see Kennedy in the", "that all ended on November 22, 1963.", "In the crowd on Elm Street, we catch brief glimpses of the \n umbrella man and the Cuban, neither of them watching Kennedy,", "by the shooting. More details just \n arrived. United Press say the wounds \n to President Kennedy perhaps could \n be fatal. Repeating: President" ], [ "X\n Jim Garrison?\n\n JIM\n Yes.", "JIM\n Notorious is more like it. \"Jim \n Garrison is right. There has been a", "CUT TO JIM GARRISON'S OFFICE - NEW ORLEANS - SAME DAY (1963)", "Jim Marrs & Jim Garrison\n\n \n\n FADE IN", "JIM\n Welcome, Mr. Miller. Jim Garrison. \n Would you care for some coffee?", "** In November, 1969 JIM GARRISON was re-elected to a third \n term as District Attorney of Orleans Parish. In June of", "of a lot more important than Jim \n Garrison.\n (suddenly)\n Goddammit, look at me when I talk to", "The audience is enthusiastic. Jim smiles and waves, then \n sits down next to Johnson.\n\n JOHNSON\n Welcome, District Attorney Garrison. \n May I call you Jim?", "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "moving to 12:36. We hear the sound of a pen on paper, \n scratching... We see a shot of Jim Garrison as a young air", "conspiracy in New Orleans - but it's \n a plot of Garrison's own making\"... \n and this - \"one of the D.A.'s", "Jim Garrison - they want the hard \n evidence! They want to know why he \n was killed and what forces were \n opposed to...", "Clarence Darrow... a law degree and an appointment as District \n Attorney of the New Orleans Parish... Mother Garrison with \n young Jim on the desk... another family - his own. We look", "They'll tell you I'm crazy. You got \n plenty of people'll tell you Jim \n Garrison's crazy. You won't have a", "thirty, Jim Garrison. I have five \n children are gonna be awake in another \n hour and ...", "JIM\n There's a word - orders.\n\n Back in Garrison's office in 1968.", "The staff is assembled. We see the headline in the Times-\n Picayune, which says: \"FERRIE CALLS GARRISON PROBE A WITCH \n HUNT.\"", "MALE VOICE\n Hello. Is this Jim Garrison's \n daughter?\n\n VIRGINIA\n Yes?", "SIDEKICK\n And now, Jerry, here's Big Jim \n Garrison, District Attorney of New \n Orleans, Louisiana.", "As the door opens following a knock, David Ferrie is brought \n into Jim's office by two police officers and Lou Ivon. Jim \n stands up, cordial." ], [ "We see Oswald dying on the floor of the police station. A \n paramedic pushes in and starts administering artificial \n respiration, which only aggravates the internal hemorrhaging.", "Oswald comes out with his two guards. We see a repeat of \n the assassination in stop time... Ruby's eyes, Oswald's... \n do they recognize each other?", "JIM\n Let's get outta here, Lou. I saw \n too much stuff like this in the war.\n\n As they leave, the camera holds on the image of Oswald.", "Scared, Oswald takes a swing at a policeman. He pulls out \n his gun. The officers close in on him from the rear and", "On a Dallas avenue near the Texas Theatre, Oswald moves along, \n spooked. Police cars roar by with sirens blaring. Johnny \n Brewer, in a shoestore, spots him and follows him.", "on Friday. A man named Lee Harvey \n Oswald was arrested as a suspect and \n then was murdered yesterday by a man \n named Jack Ruby.", "At the Dallas police station, Dallas Police Captain Will \n Fritz takes a call from a high official in Washington. In \n the background we notice Lee Oswald continuing to be", "LOU (V.O.)\n My God! Lee Harvey Oswald.", "A moving car carrying two Cuban males disgorges a rumpled, \n screaming woman, Rose Cheramie, a whore in her thirties, \n lying there bleeding in the dirt. The car drives off.", "TELEVISION INSERT: Lee Harvey Oswald, a bruise over his \n right temple, is apprehended at the Texas Theatre.", "The cops advance on Oswald, who jumps up, as if expecting to \n be shot.\n\n OSWALD\n This is it!", "Outside, we see Oswald stroll out the door of the Book \n Depository into the crowd. He heads for the bus stop to the \n east.", "JIM (V.O.)\n What happens then? Pandemonium. \n The shooters quickly disassemble \n their various weapons, all except \n the Oswald rifle.", "SHANKLIN\n (reading the note)\n Oswald's dead now. There's no trial.", "that Lee Oswald was the lone killer.", "At a Texas cemetery, Oswald's mother weeps. Oswald is buried \n with a few people present, but there are no details, no dates. \n We see Marina whisked out by agents.", "White House all combined in some \n elaborate conspiracy to kill John \n Kennedy. Let me ask you, is there \n anyone besides Lee Harvey Oswald who", "We see images of Oswald being lifted onto the stretcher, \n into the ambulance, and the newscaster crouching, whispering. \n Everybody in the room is stunned still.", "who saw the killer run away, stated \n flatly that the killer was not Lee \n Oswald. Oswald is found with a .38", "him. By the time he reaches police \n headquarters, he is booked for \n murdering Tippit..." ], [ "and recommended the Justice Department investigate further. \n As of 1991, the Justice Department has done nothing. The \n files of the House Select Committee on Assassinations are", "comes back a week later and one guy \n in the Dallas police department \n suddenly finds a palm print which \n for all I know he could've taken off", "BACK TO Garrison's office later that day. Everyone looks \n tired as the questioning goes on. Shaw sucks on endless \n Gauloises.", "JIM\n We're going back into the case, Lou - \n the murder of the President. I want", "Banister, going to a file cabinet to get a bottle out, notices \n one of the file drawers is slightly ajar. He flies into a \n rage.", "it had something to do with the \n Mafia... Well, about a week later, \n after she told the newspapers she'd", "If it takes me 30 years to nail every \n one of the assassins, then I will \n continue this investigation for 30", "Lou Ivon, Jim's chief investigator, is already standing there \n in the room. He is burly, in his 30s - his expression \n universal for that day.", "fired them both. Cabell was his \n deputy for nine years.\n (sickened)\n Talk about the fox investigating the", "thought they had an open and shut \n case: three bullets, one assassin - \n but two things happened that made it", "Blow up right in our face. Ruby was \n just given a new trial. If he has \n something to say, it'll be there.", "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "JIM\n (bringing some papers \n forward)\n Well... in an investigation we're \n conducting your name has come up a \n number of times.", "investigate him? And why, if they \n did, is his name not mentioned once \n in the entire 26 volumes of the Warren", "In their bedroom upstairs that night, Jim gently wakes Liz \n and holds her.\n\n JIM\n They killed him, honey.", "our minds, why are you digging it up \n again? You're the D.A. of New \n Orleans. Isn't the Kennedy", "of 1973, after defending himself in Federal Court, he was \n quickly found not guilty of charges that appear to have been \n framed against him. Less than six weeks later, he was", "Hill, 32 years old that day, is shown into a third floor \n office of the County Courts Building - which has a view of", "Jim is silent. Mercer picks up the report and finds the \n pertinent paragraphs:", "Jim's mood darkens, and he heads back into the living room \n as Ferrie's corpse is being trundled out the door. The \n sickness is everywhere; an oppressive mood. Bill comes up." ], [ "CUT TO Willie O'Keefe pointing out Clay Shaw.", "Willie O'Keefe, a handsome, muscled, young chickenhawk with \n an earring, bandana, colorful clothes, an aura of burned", "O'KEEFE\n Call me Willie. I ain't got nuthin' \n but time, Mr. Garrison. Minutes,", "Jean Hill, and Willie O'Keefe have \n come forward and taken that risk.\n (he produces a stack \n of letters)", "JIM\n A Willie O'Keefe?\n\n SHAW\n No, I don't believe I know anyone by \n that name.", "BILL\n With whose testimony? Willie O'Keefe? \n A male prostitute. Jack Martini? A", "Willie O'Keefe and Clay Shaw leave the dining table.\n\n JIM (V.O.)\n After dinner you paid him to have \n sex with you.", "O'KEEFE (V.O.)\n Yeah, strange guy. Dave introduced \n him as...\n\n FERRIE\n Willie, say hello to Leon Oswald.", "that bring back memories of Willie \n O'Keefe?", "O'KEEFE\n (pauses)\n You wanna know why? 'Cause that \n mother fucker Kennedy stole that", "FERRIE\n (to O'Keefe)\n We're having a little meeting here.\n (indicates the second", "FLASHBACK TO Ferrie at the party with Oswald (obscured) per \n Willie O'Keefe's witness. Jim, in the present, doesn't feel \n right about it.", "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "Oswald reacts as if hearing it for the first time. Truly \n and Baker continue running up the stairs. Oswald proceeds \n to get a Coke and continues out of the room.", "A moving car carrying two Cuban males disgorges a rumpled, \n screaming woman, Rose Cheramie, a whore in her thirties, \n lying there bleeding in the dirt. The car drives off.", "Irvin Dymond cross-examines O'Keefe.", "OSWALD\n (sullen, to Ferrie)\n What the fuck's he doing here?\n\n O'KEEFE\n Fuck you, man.", "We see Oswald dying on the floor of the police station. A \n paramedic pushes in and starts administering artificial \n respiration, which only aggravates the internal hemorrhaging.", "We see images of Oswald being lifted onto the stretcher, \n into the ambulance, and the newscaster crouching, whispering. \n Everybody in the room is stunned still.", "We see Marina and Oswald in bed at night in the Williams' \n house, in a tender scene. Oswald says goodbye to his child." ], [ "JEAN HILL\n He asked me why I thought I was in \n danger and I said:", "Jean Hill, and Willie O'Keefe have \n come forward and taken that risk.\n (he produces a stack \n of letters)", "JEAN HILL\n (without hesitation)\n Damned right I would. Somebody's", "JEAN HILL (V.O.)\n So off the record, he starts talking \n about my family, and even mentioned", "JEAN HILL\n Well if they can kill the President, \n they can certainly get me.", "JEAN HILL (V.O.)\n I was scared. It was all kinda queer, \n but it sure felt like two and two", "JEAN HILL\n The truth is that I heard between \n four and six shots. I'm not going \n to lie for you.", "JEAN HILL\n It was him I was chasing up the Grassy \n Knoll, thinking our guys had shot", "JEAN HILL\n He kept trying to get me to change \n my story about the shots. He was", "JEAN HILL\n Look, do you want the truth, or just \n what you want me to say?\n\n LAWYER\n I want the truth.", "JEAN HILL (V.O.)\n ...he put a hurt on me but good.", "JEAN HILL\n No, I saw a guy shooting from over \n there. He was behind that fence. \n What are you going to do about it?", "JEAN HILL\n I looked up and saw smoke from the \n Knoll. And everything was frozen -", "JEAN HILL\n I was standing here next to my friend \n Mary Mooman, who took the photograph \n when he was killed...", "JEAN HILL\n I jumped out in the street and yelled, \n \"Hey Mr. President, look over here,", "MAN\n How many shots you say you heard?\n\n JEAN HILL\n Four to six.", "*JEAN HILL\n I never did catch him. All I saw in \n that parking area were railroad \n workers and Dallas' finest.", "JEAN HILL\n Oh no, I'm not. I don't know you. \n We gotta catch this shooter - don't \n you realize?", "JEAN HILL (V.O.)\n ...which is strange 'cause this is \n less than 20 minutes after the \n assassination.", "Later Jim and Lou stand on the south side of Elm Street in \n Dealey Plaza talking to Jean Hill, an attractive, 30-ish" ], [ "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "CUT TO Clay Shaw on the stand. Dymond cross-examines him.\n\n DYMOND\n ...Oswald?", "CUT TO Willie O'Keefe pointing out Clay Shaw.", "BILL\n So for those reasons, you're going \n to trial against Clay Shaw, chief?", "law, we hope, against the odds, to \n nail Clay Shaw on a conspiracy charge. \n In the court of public opinion, it", "CIA meetings during Shaw's trial in 1969, CIA director RICHARD \n HELMS disclosed that CLAY SHAW and DAVID FERRIE had worked", "Clay Shaw (\"Bertrand\"), in an elegant white summer suit, is \n shown in. Indeed, there is a slight limp to his gait which \n Jim notices right away.", "the point of unruliness. Suddenly there's a hush as everyone \n cranes their necks to see Clay Shaw and his attorneys, Irvin", "we believe involved the accused Clay \n Shaw. Fifty-one witnesses, gentlemen \n of the jury, thought they heard shots", "Ferrie and Clay Shaw while on a \n vacation here from your accounting \n business in New York, you had drinks \n and, under the influence discussed", "people, you the jury system, in \n sitting in judgement on Clay Shaw, \n represent the hope of humanity against \n Government power. In discharging", "Honor, but we are nowhere closer to \n the truth. Let it be noted, my office \n is charging Clay Shaw with outright", "BILL\n (stunned)\n Clay Bertrand is Clay Shaw? The guy \n who used to run the International \n Trade Mart?", "JURY FOREMAN\n We find Clay Shaw... not guilty on \n all counts.", "** CLAY SHAW died in 1974 of supposed lung cancer. No autopsy \n was allowed.", "Warriors in the Pentagon and CIA's \n covert operations apparatus - among \n them Clay Shaw here before you. It", "SHAW\n Clay Bertrand? Clay Bertrand? I \n believe there was a man with a name", "BILL\n (excited)\n What's the other name?\n\n MOBSTER\n Shaw. Clay Shaw.", "FLASHBACK TO 1967, in the New Orleans police station. Shaw \n is being booked. The press is there and Habighorst is \n questioning him.", "FOREMAN\n We believe there was a conspiracy, \n but whether Clay Shaw was a part of \n it is another kettle of fish." ], [ "** CLAY SHAW died in 1974 of supposed lung cancer. No autopsy \n was allowed.", "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "CUT TO Willie O'Keefe pointing out Clay Shaw.", "CUT TO Clay Shaw on the stand. Dymond cross-examines him.\n\n DYMOND\n ...Oswald?", "Clay Shaw (\"Bertrand\"), in an elegant white summer suit, is \n shown in. Indeed, there is a slight limp to his gait which \n Jim notices right away.", "SHAW\n Clay Bertrand? Clay Bertrand? I \n believe there was a man with a name", "Ferrie and Clay Shaw while on a \n vacation here from your accounting \n business in New York, you had drinks \n and, under the influence discussed", "BILL\n (stunned)\n Clay Bertrand is Clay Shaw? The guy \n who used to run the International \n Trade Mart?", "Warriors in the Pentagon and CIA's \n covert operations apparatus - among \n them Clay Shaw here before you. It", "even had a full head of hair like \n everyone else. And then I lost that. \n That fuckin' Clay Shaw. I hate the", "the point of unruliness. Suddenly there's a hush as everyone \n cranes their necks to see Clay Shaw and his attorneys, Irvin", "Willie O'Keefe and Clay Shaw leave the dining table.\n\n JIM (V.O.)\n After dinner you paid him to have \n sex with you.", "Honor, but we are nowhere closer to \n the truth. Let it be noted, my office \n is charging Clay Shaw with outright", "law, we hope, against the odds, to \n nail Clay Shaw on a conspiracy charge. \n In the court of public opinion, it", "we believe involved the accused Clay \n Shaw. Fifty-one witnesses, gentlemen \n of the jury, thought they heard shots", "FOREMAN\n We believe there was a conspiracy, \n but whether Clay Shaw was a part of \n it is another kettle of fish.", "came to New Orleans to address the \n Foreign Policy Association, you know \n who introduced him? Our friend Clay \n Shaw.", "JURY FOREMAN\n We find Clay Shaw... not guilty on \n all counts.", "JIM\n To prove their was a conspiracy \n involving Clay Shaw we must prove \n there was more than one man involved", "FERRIE\n (to Shaw)\n Come here, bitch.\n (Ferrie grabs Shaw by" ], [ "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "JURY FOREMAN\n We find Clay Shaw... not guilty on \n all counts.", "people, you the jury system, in \n sitting in judgement on Clay Shaw, \n represent the hope of humanity against \n Government power. In discharging", "CUT TO Willie O'Keefe pointing out Clay Shaw.", "we believe involved the accused Clay \n Shaw. Fifty-one witnesses, gentlemen \n of the jury, thought they heard shots", "CUT TO Clay Shaw on the stand. Dymond cross-examines him.\n\n DYMOND\n ...Oswald?", "law, we hope, against the odds, to \n nail Clay Shaw on a conspiracy charge. \n In the court of public opinion, it", "acquitted. Oswald must've felt like \n Josef K in Kafka's \"The Trial\". He \n was never told the reason of his", "the point of unruliness. Suddenly there's a hush as everyone \n cranes their necks to see Clay Shaw and his attorneys, Irvin", "Honor, but we are nowhere closer to \n the truth. Let it be noted, my office \n is charging Clay Shaw with outright", "FOREMAN\n We believe there was a conspiracy, \n but whether Clay Shaw was a part of \n it is another kettle of fish.", "BILL\n So for those reasons, you're going \n to trial against Clay Shaw, chief?", "Clay Shaw (\"Bertrand\"), in an elegant white summer suit, is \n shown in. Indeed, there is a slight limp to his gait which \n Jim notices right away.", "Willie O'Keefe and Clay Shaw leave the dining table.\n\n JIM (V.O.)\n After dinner you paid him to have \n sex with you.", "FERRIE\n (to Shaw)\n Come here, bitch.\n (Ferrie grabs Shaw by", "BILL\n (excited)\n What's the other name?\n\n MOBSTER\n Shaw. Clay Shaw.", "JIM\n To prove their was a conspiracy \n involving Clay Shaw we must prove \n there was more than one man involved", "LIZ\n Do you have any evidence against \n him, Jim? Clay Shaw's done so much", "JIM\n I think Clinton is a breakthrough. \n Shaw denies he knows Ferrie or Oswald.", "Ferrie and Clay Shaw while on a \n vacation here from your accounting \n business in New York, you had drinks \n and, under the influence discussed" ], [ "the military - industrial complex\", \n he said. Kennedy wanted to end the \n Cold War in his second term. He", "by the military industrial complex.\n The potential for the disastrous \n rise of misplaced power exists and \n will persist... We must never let", "EISENHOWER\n The conjunction of an immense military \n establishment and a large arms \n industry is new in the American", "people resides in it's war powers. \n Even Eisenhower - military hero of \n WWII - warned us about it: \"beware", "in after the War for our missile \n program. He used slave labor to \n build the V-2 Rockets for Hitler \n before Bell needed him.", "I was a soldier, Mr. Garrison. Two \n wars. I was one of those secret \n guys in the Pentagon that supplies", "Kennedy's commitment to withdraw \n from Vietnam. War is the biggest \n business in America worth $80 billion \n a year. The President was murdered", "did. But if that comes out, there's \n gonna be a war, boy - millions of \n people are gonna die. That's a hell", "touched Eisenhower once. We need to \n have three mechanics at three \n different locations. An office \n building with a high-powered rifle.", "cows of Intell since World War II. \n You got some very upset people here.", "promised he would, into a \"thousand \n pieces\", - and now was ordering the \n military to help. This was", "business in Asia...\n (he pauses)\n You just get me elected, and I'll \n give you your damned war.", "Warriors in the Pentagon and CIA's \n covert operations apparatus - among \n them Clay Shaw here before you. It", "his brother. He'll stop that war. \n No, they'll kill him before they let \n him become President.", "of Kennedy's staff - young, brilliant \n Judases, ready to go to war in \n Southeast Asia...", "them. We had the entire Cabinet on \n a trip to the Far East. We had a \n third of a combat division returning", "by American weapons of war... We \n must re-examine our own attitudes \n towards the Soviet Union... If we \n cannot now end our differences at", "in secret ops since the beginning \n knew the Warren Commission was \n fiction, but there was something... \n deeper, uglier. And I knew Allen", "of shit Kennedy. He's doing all \n kinds of deals! Kissing Khrushchev's \n ass. I wouldn't even call him", "Army... He starts work only days \n before the government reveals Russian \n missiles in Cuba and the crisis \n explodes. Oswald may have had access" ], [ "** In November, 1969 JIM GARRISON was re-elected to a third \n term as District Attorney of Orleans Parish. In June of", "Jim Garrison - they want the hard \n evidence! They want to know why he \n was killed and what forces were \n opposed to...", "Garrison, you understand? I'll come \n to that later... I spent much of \n September '63 working on the Kennedy", "To this date, he has brought the only public prosecution in \n the Kennedy killing.", "\"Dear Mr. Garrison, God bless you \n for having the courage to go after \n the murderers of President Kennedy.", "and recommended the Justice Department investigate further. \n As of 1991, the Justice Department has done nothing. The \n files of the House Select Committee on Assassinations are", "We see a close-up of the headline: \"D.A. LAUNCHES FULL J.F.K. \n DEATH PLOT PROBE - Mysterious Trips Cost Large Sums.\"", "for all seven wounds in Kennedy and \n Connally. But rather than admit to \n a conspiracy or investigate further, \n the Commission chose to endorse the", "the remotest interest in becoming a \n Federal Judge. And nothing is going \n to keep me from going ahead with my \n investigation of John Kennedy's", "not on the Kennedy killing, but on \n us. One of their top guys, Harry \n Stoner, is talking to everybody he", "CUT TO JIM GARRISON'S OFFICE - NEW ORLEANS - SAME DAY (1963)", "Jim Marrs & Jim Garrison\n\n \n\n FADE IN", "conspiracy in New Orleans - but it's \n a plot of Garrison's own making\"... \n and this - \"one of the D.A.'s", "G-men were just going through the \n motions for Washington. Their hearts \n were with their old FBI buddy \n Banister.", "JIM\n We're going back into the case, Lou - \n the murder of the President. I want", "JIM\n Notorious is more like it. \"Jim \n Garrison is right. There has been a", "X\n Jim Garrison?\n\n JIM\n Yes.", "or that he has had any connection \n with the assassination of President \n Kennedy. The Special Agent in Charge \n would like to make clear that Mr.", "BACK TO Garrison's office later that day. Everyone looks \n tired as the questioning goes on. Shaw sucks on endless \n Gauloises.", "in secret ops since the beginning \n knew the Warren Commission was \n fiction, but there was something... \n deeper, uglier. And I knew Allen" ], [ "President Kennedy.", "And this was never more true than \n for John F. Kennedy whose murder was \n probably the most terrible moment in \n the history of our country. You the", "JOHNSON\n First we had your charge that the \n Cuban exiles killed the President,", "Then, at a New Zealand airport, we see X, in a uniform, at a \n newsstand reading of Kennedy's assassination. The banner", "White House all combined in some \n elaborate conspiracy to kill John \n Kennedy. Let me ask you, is there \n anyone besides Lee Harvey Oswald who", "JASPER\n Because of Kennedy?\n (a beat. Jim doesn't \n answer)\n Are the same people gonna kill us, \n Daddy?", "or that he has had any connection \n with the assassination of President \n Kennedy. The Special Agent in Charge \n would like to make clear that Mr.", "killing Kennedy, is that not so?", "nevertheless continues its plan to \n assassinate Castor... In March '63, \n Kennedy announces drastic cuts in \n the defense budget. In November", "X (V.O.)\n Kennedy, like Caesar, is surrounded \n with enemies. Something is underway \n but it has no face. Yet everyone in \n the loop knows...", "to think they're blaming it on some \n silly fuckin' Oswald who didn't know \n shit anyway. People should know why", "Kennedy's commitment to withdraw \n from Vietnam. War is the biggest \n business in America worth $80 billion \n a year. The President was murdered", "not on the Kennedy killing, but on \n us. One of their top guys, Harry \n Stoner, is talking to everybody he", "whose killers still possess the \n throne. The ghost of John F. Kennedy \n confronts us with the secret murder", "known he was the patsy. An intuition \n maybe - the President killed in spite \n of his warning. The phone call that", "President Kennedy's brain in the \n National Archives in the hopes of \n finding from what direction the \n bullets came, we were told by the", "56, and 57. These are crucial \n documents, classified top secret, \n but basically in them Kennedy", "the men who killed Kennedy, no doubt, \n were honorable men. I believe we \n have reached a time in our country,", "X\n Jim Garrison?\n\n JIM\n Yes.", "on November 22, 1963 was a coup \n d'etat. Its most direct and tragic \n result was a reversal of President" ], [ "JOHNSON\n First we had your charge that the \n Cuban exiles killed the President,", "information - and were pretty sure \n of the fact he'd killed the President \n alone, although it took them four \n more hours to charge him with the", "you think did not conspire to kill \n the President?", "White House all combined in some \n elaborate conspiracy to kill John \n Kennedy. Let me ask you, is there \n anyone besides Lee Harvey Oswald who", "Police are saying there could be a tie - in here to the murder \n of the President.", "of 1973, after defending himself in Federal Court, he was \n quickly found not guilty of charges that appear to have been \n framed against him. Less than six weeks later, he was", "or that he has had any connection \n with the assassination of President \n Kennedy. The Special Agent in Charge \n would like to make clear that Mr.", "on Friday. A man named Lee Harvey \n Oswald was arrested as a suspect and \n then was murdered yesterday by a man \n named Jack Ruby.", "to plot the death of the President\"... \n How can they write that? Where did \n they come up with this? ...\n (sorting through others)", "JIM\n Then who killed the President?", "FBI, and the White House - all the \n way up to and including J. Edgar \n Hoover and Lyndon Johnson, whom I", "22-23. Information received by the \n Bureau has determined that a militant \n revolutionary group may attempt to \n assassinate President Kennedy on his", "BILL\n Boss, are you calling the President \n a murderer?", "was a public execution and it was \n covered up by like - minded \n individuals in the Dallas Police \n Department, the Secret Service, the", "(laughter)\n Let's ask the two men who have \n profited the most from the \n assassination - your former President", "G-men were just going through the \n motions for Washington. Their hearts \n were with their old FBI buddy \n Banister.", "murderer of the President?", "agreement with other persons for the \n specific purpose of committing the \n crime of murder of President John F. \n Kennedy in violation of...", "got mentioned... 'cause the first \n ones behind bars would've been \n Banister and Ferrie, but I think the", "MARTIN\n God's sake, chief. The President \n was shot." ], [ "Jim is getting incredibly irritated. He feels Shaw is lying.\n\n CUT TO Antoine's Restaurant, where Liz and all five kids \n look at menus.", "LIZ\n You never talked to me this way \n before, Jim Garrison. I'm not making", "FERRIE\n (to Shaw)\n Come here, bitch.\n (Ferrie grabs Shaw by", "BACK TO Garrison's office later that day. Everyone looks \n tired as the questioning goes on. Shaw sucks on endless \n Gauloises.", "LIZ\n (screaming)\n Your daughter's life was just \n threatened!", "(Ferrie spits on Shaw)\n Fuck you and your rich friends. \n You're nothing but a rich whore!", "SHAW\n (with powerful contempt)\n And if I was, Mr. Garrison... do you \n think I would be here today... talking \n to somebody like you?", "Liz and Jim watch, silently devastated, as the NBC \"WHITE \n PAPER\" unfolds, attacking Jim. They can do nothing. Liz \n leaves the room, upset.", "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "even need the parole. This is about \n the truth coming out. You're a \n goddamn liberal, Mr. Garrison, you", "SHAW\n Naturally.\n (he looks up)\n Are you claiming, Mr. Garrison, that \n Mr. Oswald also had dinner with me?", "JIM\n (astounded)\n That's not why I'm attacking him! \n You don't believe me - all this time \n you never believed me.", "NUMA\n Pillar of the community by day, gay \n bars at night.\n\n Liz Garrison is the most shaken, as she pours a fresh pot of \n coffee.", "LIZ\n Do you have any evidence against \n him, Jim? Clay Shaw's done so much", "At Shaw's townhouse, we see Ferrie coming in, with another \n young chicken.\n\n SHAW (V.O.)\n Who?", "LIZ\n Leave us ALONE for God's sake!\n (recognizes the voice)\n ...Oh, it's Lou.", "GARRISON'S HOME THAT NIGHT (1967)\n\n Jim walks in, contrite. Liz is shutting down the house. \n Some of the kids are still up.", "SHAW\n (rising)\n May I go? Regardless of what you \n may think of me, Mr. Garrison, I am \n a patriot first and foremost.", "LIZ\n These books are getting to your mind, \n Mr. Garrison. I wish you'd stop \n readin' them.", "SHAW\n Mr. Garrison, you're reaching. I am \n an international businessman. The" ], [ "be Secret Service. So I accepted \n that and let him go and continued \n our search. But I regretted it,", "FIRST AGENT\n Secret Service, ma'am. You're coming \n with us.", "teacher. Her demeanor has a rock-solid Texas back-country \n conviction to it; she's a woman not easily frightened.", "was a public execution and it was \n covered up by like - minded \n individuals in the Dallas Police \n Department, the Secret Service, the", "She talked to a cop from a hospital bed two days before the \n assassination, said Kennedy would be hit that Friday. She \n said she was a dope runner for Jack Ruby and that Ruby knew \n Oswald for years...", "it had something to do with the \n Mafia... Well, about a week later, \n after she told the newspapers she'd", "A moving car carrying two Cuban males disgorges a rumpled, \n screaming woman, Rose Cheramie, a whore in her thirties, \n lying there bleeding in the dirt. The car drives off.", "Two Secret Service types approach her suddenly, and one of \n them puts an arm on her shoulder.", "In a Parkland Hospital office in 1964, a lawyer interviews \n Jean Hill. A female stenographer takes notes.", "JEAN HILL\n The truth is that I heard between \n four and six shots. I'm not going \n to lie for you.", "just taking a deposition gets that \n involved and angry... sure enough, \n when I finally read my testimony as \n published by the Warren Commission,", "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "side. I guarantee you the boss'll \n protect you...\n (there's a long silence \n as Ferrie, torn,", "JEAN HILL\n He kept trying to get me to change \n my story about the shots. He was", "LOU\n There was Rose Cheramie. A whore. \n Two Cubans threw her out of a car on \n the way to Dallas.", "like Dallas, to supplement the Secret \n Service. Even if we had not allowed \n the bubbletop to be removed from the", "showed up immediately. They have a \n private session. Oswald is released \n and Quigley destroys his notes from \n the interview.", "sign, then to Mrs. Kennedy out of the car reaching for help, \n then to the agent rushing onto the rear fender. The car \n finally speeds away. The people on the other side of the", "SUSIE\n But what the note really said no one \n knows because his boss Shanklin told \n Hosty...", "In the second floor lunchroom of the Book Depository we see \n Carolyn Arnold, a pregnant secretary, crossing past Oswald, \n who is in a booth." ], [ "not on the Kennedy killing, but on \n us. One of their top guys, Harry \n Stoner, is talking to everybody he", "Kennedy has been shot by a would-be \n assassin in Dallas. Three bursts of \n gunfire, apparently from automatic \n weapons...", "been destroyed. Many strange things \n were happening that day, and Lee \n Harvey Oswald had nothing to do with", "on Friday. A man named Lee Harvey \n Oswald was arrested as a suspect and \n then was murdered yesterday by a man \n named Jack Ruby.", "In the crowd on Elm Street, we catch brief glimpses of the \n umbrella man and the Cuban, neither of them watching Kennedy,", "JIM\n Yet on November 22, 1963 - the day \n of the President's murder - our police", "And this was never more true than \n for John F. Kennedy whose murder was \n probably the most terrible moment in \n the history of our country. You the", "We see the last close-ups of Kennedy shaking hands on the \n tarmac at Love Field, smiling, into the motorcade... the", "killing Kennedy, is that not so?", "JOHNSON\n First we had your charge that the \n Cuban exiles killed the President,", "on November 22, 1963 was a coup \n d'etat. Its most direct and tragic \n result was a reversal of President", "White House all combined in some \n elaborate conspiracy to kill John \n Kennedy. Let me ask you, is there \n anyone besides Lee Harvey Oswald who", "JIM\n (strangled)\n He won... and they killed Robert \n Kennedy. They shot him down.", "nevertheless continues its plan to \n assassinate Castor... In March '63, \n Kennedy announces drastic cuts in \n the defense budget. In November", "We see images of Oswald being lifted onto the stretcher, \n into the ambulance, and the newscaster crouching, whispering. \n Everybody in the room is stunned still.", "There is one other matter that's \n come up, Dave. We were told you \n took a trip to Texas shortly after \n the assassination of Friday.", "by the shooting. More details just \n arrived. United Press say the wounds \n to President Kennedy perhaps could \n be fatal. Repeating: President", "the men who killed Kennedy, no doubt, \n were honorable men. I believe we \n have reached a time in our country,", "LOU\n ...several witnesses see him on \n several separate days at different \n firing ranges.\n\n FLASHBACK TO a Dallas firing range in 1963.", "that all ended on November 22, 1963." ], [ "CIA meetings during Shaw's trial in 1969, CIA director RICHARD \n HELMS disclosed that CLAY SHAW and DAVID FERRIE had worked", "** In 1979, RICHARD HELMS, director of covert operations in \n 1963, admitted under oath that CLAY SHAW had Agency \n connections.", "for the Agency, and asked his assistants to make sure Mr. \n Shaw received Agency help at his trial.", "Warriors in the Pentagon and CIA's \n covert operations apparatus - among \n them Clay Shaw here before you. It", "ATTORNEY GENERAL\n Yes, Mr. Shaw was included in our \n investigation and there was no \n connection found at all between Shaw \n and the President's assassin.", "JIM\n If Mr. Shaw had no connection to the \n assassination, why did the FBI", "FERRIE\n (to Shaw)\n Come here, bitch.\n (Ferrie grabs Shaw by", "JIM\n Mr. Shaw, have you ever been a \n contract agent with the Central \n Intelligence Agency?\n\n Shaw glares at him. Silence.", "we believe involved the accused Clay \n Shaw. Fifty-one witnesses, gentlemen \n of the jury, thought they heard shots", "FERRIE\n Shaw's an \"untouchable\", man - highest \n clearance. Shaw, Oswald, the Cubans - \n all Agency.", "JIM\n (in present)\n Let me show you his picture.\n (he hands Shaw a \n general photo of \n Ferrie)", "The judge is shaken. The people in the courtroom murmur. \n Even Clay Shaw is surprised at what he has seen. Jim says \n nothing, letting the truth of it sink in. Then:", "COLLINS\n (pointing at Shaw)\n ...that was the man there. He dropped", "Allen Dulles, Charles Cabell, CIA \n Director Richard Helms, or any FBI \n agent we named.", "CUT TO Clay Shaw on the stand. Dymond cross-examines him.\n\n DYMOND\n ...Oswald?", "SHAW\n No. Never heard of him.\n\n JIM\n A Perry Russo?\n\n SHAW\n No.", "CUT TO Willie O'Keefe pointing out Clay Shaw.", "At Shaw's townhouse, we see Ferrie coming in, with another \n young chicken.\n\n SHAW (V.O.)\n Who?", "SHAW\n Clay Bertrand? Clay Bertrand? I \n believe there was a man with a name", "JIM\n I think Clinton is a breakthrough. \n Shaw denies he knows Ferrie or Oswald." ], [ "for all seven wounds in Kennedy and \n Connally. But rather than admit to \n a conspiracy or investigate further, \n the Commission chose to endorse the", "conspiracy in New Orleans - but it's \n a plot of Garrison's own making\"... \n and this - \"one of the D.A.'s", "G-men were just going through the \n motions for Washington. Their hearts \n were with their old FBI buddy \n Banister.", "Garrison, you understand? I'll come \n to that later... I spent much of \n September '63 working on the Kennedy", "and recommended the Justice Department investigate further. \n As of 1991, the Justice Department has done nothing. The \n files of the House Select Committee on Assassinations are", "Ferrie hangs up. Pause. At his end, Lou Ivon hangs up, \n excited.\n\n GARRISON'S HOME - NIGHT(1967)", "CUT TO JIM GARRISON'S OFFICE - NEW ORLEANS - SAME DAY (1963)", "BACK TO Garrison's office later that day. Everyone looks \n tired as the questioning goes on. Shaw sucks on endless \n Gauloises.", "showed up immediately. They have a \n private session. Oswald is released \n and Quigley destroys his notes from \n the interview.", "The staff is assembled. We see the headline in the Times-\n Picayune, which says: \"FERRIE CALLS GARRISON PROBE A WITCH \n HUNT.\"", "thought they had an open and shut \n case: three bullets, one assassin - \n but two things happened that made it", "was a public execution and it was \n covered up by like - minded \n individuals in the Dallas Police \n Department, the Secret Service, the", "fired them both. Cabell was his \n deputy for nine years.\n (sickened)\n Talk about the fox investigating the", "It doesn't play with the press. They shuffle off, quiet, \n whispering.\n\n GARRISON'S HOUSE(1967)", "FLASHBACK TO the Dallas Homicide Office in 1963. Oswald is \n being interrogated by Will Fritz, Dallas Homicide Chief, who \n shows him the original of the photo from the Williams garage.", "(pauses, adjusts)\n There wasn't no conspiracy, Jim. If \n there were, why the hell didn't Bobby", "ATTORNEY GENERAL\n Yes, Mr. Shaw was included in our \n investigation and there was no \n connection found at all between Shaw \n and the President's assassin.", "Jim Garrison - they want the hard \n evidence! They want to know why he \n was killed and what forces were \n opposed to...", "Jim Marrs & Jim Garrison\n\n \n\n FADE IN", "** In November, 1969 JIM GARRISON was re-elected to a third \n term as District Attorney of Orleans Parish. In June of" ], [ "LIZ\n You never talked to me this way \n before, Jim Garrison. I'm not making", "Jim is getting incredibly irritated. He feels Shaw is lying.\n\n CUT TO Antoine's Restaurant, where Liz and all five kids \n look at menus.", "Back in the courtroom, Liz is totally absorbed. Jim exchanges \n looks with her. The camera movies in for a close - up of \n Jim.", "Jim looks at the famous photo... the camera closes in on a \n heavyset man who looks nothing like Oswald. Liz has come \n back in and overhears.", "LIZ\n Do you have any evidence against \n him, Jim? Clay Shaw's done so much", "JIM\n Liz, do I have to spell it out for \n you? Lee Oswald was no ordinary", "The camera moves to Jim, who walks out past the banks of \n reporters. TV lights are in his face. Liz is by his side.", "LIZ\n (gives up)\n Jim, what is going on, for heaven's", "The phone rings. Liz picks it up. Jim is watching the TV \n news: Martin Luther King is delivering a speech against the \n Vietnam War.", "LIZ\n I don't think so, Jim...\n\n She walks out.", "GARRISON'S HOME THAT NIGHT (1967)\n\n Jim walks in, contrite. Liz is shutting down the house. \n Some of the kids are still up.", "Jim and his wife, Liz, watch the television. She is in her \n early 30's, an attractive, quiet southern woman from", "LIZ\n Our home, Jim! A kidnapper, a \n murderer, who knows!", "LIZ\n Jim, before this Kennedy thing, \n nothing mattered to you in this life", "The camera moves onto Jim with Liz and the children - Jasper, \n the oldest at 4, holds his dad's hand. On Liz's lap, Snapper,", "NUMA\n Pillar of the community by day, gay \n bars at night.\n\n Liz Garrison is the most shaken, as she pours a fresh pot of \n coffee.", "the charge works in his favor. Jim is falling apart from \n built - up strain and fatigue. He looks over at Liz, \n gathering his spirit.", "Liz and Jim watch, silently devastated, as the NBC \"WHITE \n PAPER\" unfolds, attacking Jim. They can do nothing. Liz \n leaves the room, upset.", "X\n Jim Garrison?\n\n JIM\n Yes.", "Liz watches, moved. Susie, Al and Numa are also there for \n the summation. Even Lou Ivon has come back to support his \n friend." ] ]

[ "Who is investigating potential people involved in the assassination?", "Why is the investigation closed by Garrison?", "When is the case reopened?", "Why is the Warren Report suspicious?", "Where does Hill say she witnessed shots come from?", "Who does Garrison meet in Washington, D.C.?", "Why does X believe Kennedy was killed?", "When does Clay Shaw's trial take place?", "How did Shaw die?", "What president was giving their farewell address in the news reel?", "When was John F. Kennedy assasinated?", "What is Jim Garrison's title?", "Who kills Lee Harvey Oswald?", "When is the investigation reopened ?", "What did Willie O'Keeffe witness?", "Who threatened Jean hill?", "When did Clay Shaw's trial take place?", "What did Clay Shaw die from? ", "Why does the jury acquit Clay Shaw?", "Who gave warning about the build-up of the military industrial complex?", "Why did Garrison reopen the investigation into Kennedy's death?", "Why does X think that President Kennedy was killed?", "Who was charged with conspiring to murder the President?", "What did Liz say was the real reason Garrison was attacking Shaw?", "Who was the teacher tat said the Secret Service threatened her to change her story?", "Who was killed other than Kennedy on the day of the assassination?", "Who testified that Shaw had been a contact of the CIA?", "Why did Garrison close the original investigation regarding the assassination?", "Who is Liz to Jim Garrison?" ]

[ [ "Garrison", "Garrison" ], [ "JFK's suspected assassion, Lee Harvey Oswald, is killed", "Lee Harvey Oswald was killed" ], [ "In 1966", "1966." ], [ "There are a lot of inaccuracies contained in it", "multiple inaccuracies" ], [ "The grassy knoll", "The grassy knoll." ], [ "X", "A High Level figure in DC named X" ], [ "Because Kennedy wanted to pull the United States out of Vietnam and dismantle the CIA", "He wanted to pull the US out of the Vietnam War and dismantle the CIA." ], [ "In 1969", "1969" ], [ "He died of lung cancer", "Lung Cancer." ], [ "Dwight D. Eisenhower ", "Dwight D. Eisenhower" ], [ "November 22, 1963", "11/22/63" ], [ "New Orleans District Attorney ", "New Orleans District Attorney" ], [ "Jack Ruby", "Jack Ruby." ], [ "1966", "1966" ], [ "Ferrie discussing a coup d'ĂŠtat", "Kennedy's assassination" ], [ "The Secret Service ", "Secret Service" ], [ "1969", "1969" ], [ "Lung cancer", "Lung Cancer" ], [ "Not enough evidence", "There was not enough evidence to link Shaw to a conspiracy." ], [ "President Dwight D. Eisenhower.", "Former President Dwight D Eisenhower" ], [ "He read the Warren report.", "He found inaccuracies in the Warren Report." ], [ "He wanted to pull the US out of the Vietnam War.", "He wanted to stop fighting in Vietnam and do away with the CIA" ], [ "Clay Shaw", "Oswald" ], [ "Shaw's homosexuality.", "Because Shaw is gay." ], [ "Jean Hill", "Jean Hill" ], [ "Officer J.D.Tippit.", "Officer J. D. Tippit" ], [ "Richard Helms", "Richard Helms" ], [ "Lee Harvey Oswald was killed by Jack Ruby", "Because Lee Harvey Oswald was killed by Jack Ruby" ], [ "His wife", "His wife" ] ]

[ [ "Oh, this place... It should never have\n been a camp. Not for children. They\n had so much trouble here.", "STEVE\n (continuing)\n To answer your question, my parents once\n owned this camp. There were some tragic", "the heels. It is the same camp we saw in the early scenes, but\n time has torn the place badly.", "NED\n Some campers drowned. Then some\n counsellors got killed.\n \n BILL", "CUT TO:\n \n \n 71 EXT. CAMP GROUNDS - NIGHT", "those two others were killed? An\n accident? It was inadequate supervision.\n The counsellors were not paying enough", "137 EXT. CAMP - DAWN\n \n The first rays of sunlight streak the sky from beyond the", "No shit. When?\n \n NED\n Late fifties sometime. They never\n caught the guy who did it either.", "MRS. VOORHEES\n (continuing)\n You know a boy drowned the year before", "31 EXT. MAIN CAMP AREA - DAY\n \n This is the main building. It is the building where Barry and", "It was my son they killed. They said he\n drowned, but I know it was inadequate\n supervision...", "flips. She scrambles to her feet and starts running towards\n the camp.\n \n CUT TO:", "CAMP CRYSTAL LAKE--Established 1935\n \n CUT TO:", "59 EXT. CAMP - LATE AFTERNOON\n \n Looking across the lake, we can see the camp, nestled in among", "MRS. VOORHEES\n (continuing)\n Camp Blood.", "60 INT. CAMP KITCHEN - LATE AFTERNOON\n \n The kitchen and the main meeting room are really one in the", "140 EXT. CAMP - MORNING\n \n LONG SHOT of the camp with the sun sparkling on the waters of", "CUT TO:\n \n \n 105 INT. CAMP BATHROOM - NIGHT", "127 EXT. CAMP GROUNDS/EQUIP. SHED - NIGHT\n \n The central area is bathed in light. The rain has stopped.", "MRS. VOORHEES\n (continuing)\n I couldn't let them start this camp\n again, could I?" ], [ "CAMP CRYSTAL LAKE--Established 1935\n \n CUT TO:", "MRS. VOORHEES\n (continuing)\n Camp Blood.", "NED\n Some campers drowned. Then some\n counsellors got killed.\n \n BILL", "88 INT. GIRL'S CABIN/COUNSELLOR'S SECTION - NIGHT\n \n Under a single hanging lightbulb, BRENDA finishes writing at a", "STEVE\n (continuing)\n To answer your question, my parents once\n owned this camp. There were some tragic", "Wasn't that Camp Crystal Lake? Just\n back there?\n \n CUT TO:", "As the CAMERA scans the peaceful scene, we see the sky\n reflected in the calm waters of Crystal Lake. The canoe\n holding ALICE is drifting in big slow circles across the", "MRS. VOORHEES\n (continuing)\n You know a boy drowned the year before", "those two others were killed? An\n accident? It was inadequate supervision.\n The counsellors were not paying enough", "Christy. Welcome to Camp Crystal Lake.\n You got some grubby clothes? Climb into\n 'em. Alice, see if Bill has cleaned out", "Help me! Save me! The frog people are\n after me! It's swim time at Camp Crystal\n Lake. Come on, Alice, I need protection!", "As he bends down to pick up two Coleman lanterns, the CAMERA\n slowly moves toward the wall where once we saw all the hatchets\n and knives. They are all missing.", "throwing MRS. VOORHEES into the water. The machete flies out\n of her hand and lands in the water. The two women roll in the", "one, wild swing, decapitates MRS. VOORHEES, whose head flies\n off into the water.", "MRS. VOORHEES has to put her arms up to ward off the spinning\n knives. One cuts her under the eye and she lets out a low\n animal bellow.", "JULY 4, 1958\n \n The CHILDREN'S VOICES FADE slowly.", "SALESMAN OPERATOR\n They gonna open that place Camp Blood?\n again?\n TRUDY", "a solid blow on top of her head. MRS. VOORHEES sprawls\n sideways across the table and then collapses in a heap on the\n floor.", "stand looking before NED breaks the silence.\n \n NED\n He neglected to mention this place is\n called \"Camp Blood\" downtown.", "MRS. VOORHEES\n No, he won't. I killed him as well...." ], [ "the heels. It is the same camp we saw in the early scenes, but\n time has torn the place badly.", "STEVE\n (continuing)\n To answer your question, my parents once\n owned this camp. There were some tragic", "31 EXT. MAIN CAMP AREA - DAY\n \n This is the main building. It is the building where Barry and", "137 EXT. CAMP - DAWN\n \n The first rays of sunlight streak the sky from beyond the", "140 EXT. CAMP - MORNING\n \n LONG SHOT of the camp with the sun sparkling on the waters of", "109 EXT. CAMP ENTRANCE - NIGHT\n \n In the FG we see a camp sign. In the BG we see a figure\n running towards us.", "flips. She scrambles to her feet and starts running towards\n the camp.\n \n CUT TO:", "Oh, this place... It should never have\n been a camp. Not for children. They\n had so much trouble here.", "MRS. VOORHEES\n (continuing)\n Camp Blood.", "32 EXT. CAMP MAIN AREA - DAY\n \n An axe flashes through the FRAME and hacks apart the halves of", "127 EXT. CAMP GROUNDS/EQUIP. SHED - NIGHT\n \n The central area is bathed in light. The rain has stopped.", "30 EXT. CAMP DRIVE - DAY\n \n The CAMERA SEES what NED saw. The buildings are run down at", "CUT TO:\n \n \n 71 EXT. CAMP GROUNDS - NIGHT", "59 EXT. CAMP - LATE AFTERNOON\n \n Looking across the lake, we can see the camp, nestled in among", "60 INT. CAMP KITCHEN - LATE AFTERNOON\n \n The kitchen and the main meeting room are really one in the", "65 EXT. MAIN CAMP AREA - EVENING\n \n We watch NED come away from the main cabin and walk moodily", "The COUNSELLOR hands the weapon to a CAMPER who snaps in at the\n line.", "From across the lake, the lights from the camp twinkle through\n the rain drops.\n \n CUT TO:", "stand looking before NED breaks the silence.\n \n NED\n He neglected to mention this place is\n called \"Camp Blood\" downtown.", "CUT TO:\n \n \n 105 INT. CAMP BATHROOM - NIGHT" ], [ "The rain continues as STEVE exits the diner, gets in his Jeep\n and starts it up. He roars off through a big puddle, splashing", "STEVE gets out quickly.\n \n STEVE\n (continuing)\n Good luck.", "CU as STEVE watches the lights grow dim in the distance.\n \n ANOTHER ANGLE: as STEVE turns and jogs the other way. Low", "STEVE\n (continuing)\n To answer your question, my parents once\n owned this camp. There were some tragic", "81 EXT. RURAL ROAD - NIGHT\n \n The rain is very heavy. Steve's Jeep drives past the CAMERA.", "STEVE turns as the cop's car door slams. TIERNEY peels out on\n the wet road.", "Steve said you were thinking of leaving.\n True?\n \n ALICE\n Un-hunh.", "tip.\n \n STEVE\n Yeah. I got it on before this--\n (indicates the storm outside)", "STEVE smiles and leaves. She watches, then counts her changes\n and sticks it her pocket with the rest of her tips for the day.", "TIERNEY bangs the mike down on the holder. He stops the car.\n \n TIERNEY\n Have to drop you here, Steve.", "37 EXT. ARTS & CRAFTS CABIN - DAY\n \n STEVE CHRISTY comes upon ALICE, who is renailing floorboards on", "86 INT. STEVE'S JEEP - NIGHT\n \n STEVE angrily steps on the gas again and hits the starter.", "65 EXT. MAIN CAMP AREA - EVENING\n \n We watch NED come away from the main cabin and walk moodily", "STEVE is at the wheel of his Jeep. The COUNSELLORS are\n standing within earshot, huddled around the Jeep.\n \n JACK", "STEVE\n Hi. What are you doing out in this mess?\n \n He shields his eyes from the light.", "STEVE, wearing a yellow slicker, gets out of the Jeep to try to\n flag down the oncoming car.\n \n CUT TO:", "ALICE watches her go. A glimmer of lightning outlines her as\n she heads off.", "STEVE's hand reaches in and shuts off the radio.\n \n CUT TO:", "87 EXT. RURAL ROAD - NIGHT\n \n STEVE smiles to see that the oncoming car is the local police", "85 EXT. RURAL ROAD - NIGHT\n \n STEVE's Jeep coughs, sputters, stalls. OVER we can hear him" ], [ "BILL sees it. He freezes, then takes a step forward.\n Carefully, he winds up and smashes down with the edge of the", "The something turns slowly in the wind. It is BILL--dead--in\n a travesty of the martyrdom of St. Sebastian, shot with arrows.", "ALICE turns. BILL is halfway out the door.\n \n ALICE\n (continuing)", "BILL\n Oh, shit....\n \n He goes to the ping-pong table where he has placed some", "The rain has lessened a bit. BILL approaches the shed with his\n fluorescent lamp and rifle. He has the rifle at the ready.", "BILL's eyes are closing. He jerks himself awake, then starts\n to doze again.", "PULLS BACK to reveal BILL clearing away the years of vine\n growth which have choked off a path. He wipes the perspiration\n from his eyes and continues along.", "BILL\n For sure.\n \n CUT TO:", "BILL reacts quickly: knowing better than to touch him and\n continue the connection, he takes a half-step backwards, aims\n at an oblique angle and executes a perfect Bruce Lee-type drop-", "ALICE comes out of the shed, distraught.\n \n ALICE\n Bill?", "BILL runs into the room, still carrying his machete. He looks\n at ALICE.\n \n ALICE", "BILL\n (continuing)\n It's dead. Try the pay phone.", "Impatient and curious, she walks to the front door of the cabin\n and looks out.\n \n ALICE\n Bill? Bill?", "JACK lands, almost unconscious. BILL kneels into FRAME and\n cheeks JACK's vital sign: his eyes, his carotid pulse, his\n breathing.", "112 INT. BIG MEETING ROOM - NIGHT\n \n BILL sits on the chair, a rifle across his lap. In the BG,", "Help him! Oh, my God!\n \n BILL JACK\n Roll him over! Get behind him more.", "up. A brush slaps into view. BILL is sweating while finishing\n a coat of paint on the last canoe.", "BILL is a thin, ascetic-looking college sophomore. He rubs his\n long thin rose with the back of his wrist as he hears someone", "The bulb overhead grows yellow, orange, and then goes out.\n \n BILL snaps awake. He grabs a flashlight by his feet and flicks\n it on.", "ALICE\n (continuing)\n The generator...\n \n Now that she has figured out where Bill must be, she relaxes a" ], [ "ALICE looks from side to side, hoping to find a place to hide.\n She spots the half-open door to the larder, looks inside and\n then hides there, closing the door behind her.", "ALICE comes out of the shed, distraught.\n \n ALICE\n Bill?", "She closes the door, and turns in the direction of the body.\n \n REACTION SHOT: ALICE. She is riveted with horror, unable to", "ALICE\n (continuing)\n The generator...\n \n Now that she has figured out where Bill must be, she relaxes a", "Impatient and curious, she walks to the front door of the cabin\n and looks out.\n \n ALICE\n Bill? Bill?", "ALICE turns. BILL is halfway out the door.\n \n ALICE\n (continuing)", "ALICE finally gives voice to her terror--again and again. She\n turns, leaving the lantern, and runs back towards the main\n cabin.", "BILL runs into the room, still carrying his machete. He looks\n at ALICE.\n \n ALICE", "ALICE lugs down the box and suddenly a bunch of leather-working\n tools clatters down, shattering the silence. ALICE fends off\n the flying implements and BILL rushes to her side.", "ALICE\n Bill?!\n \n She gets her bearings and looks around. Stands up. She looks", "ALICE\n He's dead... She's dead... all dead...\n Please save me... oh... poor Bill... Oh", "ALICE watches him go. She shrugs. This might be a good place\n to stay. She turns and goes into her cabin.\n \n CUT TO:", "for the generator shed.\n \n ALICE\n Bill!\n \n CUT TO:", "small puddle of blood under her head.\n \n ANGLE ON ALICE: She relaxes, puts down her weapon and crosses\n slowly out of the room.", "She turns to go up the steps to her front door.\n \n BILL\n Alice?", "ALICE leaps up, climbs over the table and runs for the door.\n \n MRS. VOORHEES shoves the tables over and hurries after her.", "the cans of food and cooking implements. There is a large\n skillet, some bags of flour, etc.\n \n ALICE covers her head with her arms.", "ALICE runs out the door.\n \n CUT TO:", "BILL sees it. He freezes, then takes a step forward.\n Carefully, he winds up and smashes down with the edge of the", "She goes to the second shower, looks over her shoulder to the\n empty toilet. Then reaches in to the shower curtain." ], [ "MRS. VOORHEES\n No, he won't. I killed him as well....", "As she speaks, MRS. VOORHEES reaches into her slicker in a\n surreptitious manner and very slowly slips out a long hunting\n knife.", "Please kill her, mommy... Help me,\n please. Kill her, mommy.\n \n There is the sound of pots being rustled through. Then the", "The CAMERA PULLS BACK. Her throat has been cut. She collapses\n out of FRAME.\n \n A bird soars across the sky above.", "It was my son they killed. They said he\n drowned, but I know it was inadequate\n supervision...", "The shock of recognition hits ALICE. In CU her eyes look up\n and see the knife which MRS. VOORHEES now has poised and ready\n to strike.", "a solid blow on top of her head. MRS. VOORHEES sprawls\n sideways across the table and then collapses in a heap on the\n floor.", "ALICE\n The killer is still out there.\n \n MRS. VOORHEES\n I will protect you.", "The PROWLER's hand has the knife. It moves quickly forward.\n We can hear the blade strike.", "MRS. VOORHEES has to put her arms up to ward off the spinning\n knives. One cuts her under the eye and she lets out a low\n animal bellow.", "MARCIE and JACK enter. JACK carries a shovel as a weapon.\n MARCIE stops when she sees the embrace, but then looks further\n to see the blood and guts.", "his arms, his head is down on his chest, and a long blade\n protrudes from his heart.\n \n REACTION SHOT: ALICE in terror.", "shower. A hatchet glints. MARCIE screams. The hatchet\n strikes. The flashlight clatters to the floor.", "She turns off the faucets and now we hear the dripping sound\n that Marcie had heard. BRENDA looks off at the shower stalls,", "When the knife has passed, all we can see is a look of surprise\n on ANNIE's face.", "She closes the door, and turns in the direction of the body.\n \n REACTION SHOT: ALICE. She is riveted with horror, unable to", "Suddenly there is a blood-curdling scream, a MUSICAL STINGER,\n and the screen is filled with the flying, whirling form of MRS.", "MRS. VOORHEES is having trouble catching her own breath. She\n strokes her throat with her free hand and the voice of the\n child stops.", "BILL sees it. He freezes, then takes a step forward.\n Carefully, he winds up and smashes down with the edge of the", "As he bends down to pick up two Coleman lanterns, the CAMERA\n slowly moves toward the wall where once we saw all the hatchets\n and knives. They are all missing." ], [ "MRS. VOORHEES\n (continuing)\n Camp Blood.", "JASON (V.O.)\n Kill her, mommy! Kill her!\n \n CUT TO:", "MRS. VOORHEES\n (in her own voice)\n I can't let them kill any more children.\n Come out now.", "MRS. VOORHEES has to put her arms up to ward off the spinning\n knives. One cuts her under the eye and she lets out a low\n animal bellow.", "As she speaks, MRS. VOORHEES reaches into her slicker in a\n surreptitious manner and very slowly slips out a long hunting\n knife.", "MRS. VOORHEES\n No, he won't. I killed him as well....", "MRS. VOORHEES\n (continuing)\n You know a boy drowned the year before", "ALICE\n The killer is still out there.\n \n MRS. VOORHEES\n I will protect you.", "a solid blow on top of her head. MRS. VOORHEES sprawls\n sideways across the table and then collapses in a heap on the\n floor.", "MRS. VOORHEES is in pain, her face a mask of rage.\n \n ALICE drops the poker to run for the door.", "MRS. VOORHEES comforts her with a strong arm.\n \n MRS. VOORHEES\n It's just this place. The storm.", "The shock of recognition hits ALICE. In CU her eyes look up\n and see the knife which MRS. VOORHEES now has poised and ready\n to strike.", "It was my son they killed. They said he\n drowned, but I know it was inadequate\n supervision...", "Her face goes through a horrifying transformation. From her\n mouth comes the VOICE OF JASON.\n \n JASON (Lipsync)", "She goes back to whacking away at the door. The hole is near\n the lock. It is soon big enough for MRS. VOORHEES to reach", "(continuing)\n No! No! No!\n \n MRS. VOORHEES raises her arm to slash downward with the knife.", "the paddle nearly in half. MRS. VOORHEES raises the knife for\n another blow and ALICE lunges for her knees and succeeds in", "one, wild swing, decapitates MRS. VOORHEES, whose head flies\n off into the water.", "then stops and turns and dives under an arts & crafts table.\n \n ANOTHER ANGLE: MRS. VOORHEES opens the door and walks in a few", "Then we hear some shuffling around outside. The lights are\n turned on.\n \n JASON (V.O.)" ], [ "throwing MRS. VOORHEES into the water. The machete flies out\n of her hand and lands in the water. The two women roll in the", "MRS. VOORHEES chops down with the machete. ALICE fends off the\n blow with the skillet that she holds with both hands above her", "the paddle nearly in half. MRS. VOORHEES raises the knife for\n another blow and ALICE lunges for her knees and succeeds in", "head. As the machete blade bounces off the skillet, ALICE is\n able to swing the skillet downward and hit MRS. VOORHEES with", "As she speaks, MRS. VOORHEES reaches into her slicker in a\n surreptitious manner and very slowly slips out a long hunting\n knife.", "MRS. VOORHEES has to put her arms up to ward off the spinning\n knives. One cuts her under the eye and she lets out a low\n animal bellow.", "MRS. VOORHEES\n (continuing)\n Camp Blood.", "one, wild swing, decapitates MRS. VOORHEES, whose head flies\n off into the water.", "ANOTHER ANGLE: MRS. VOORHEES is standing in the doorway,\n blocking the light. Still carrying the machete, MRS. VOORHEES", "a solid blow on top of her head. MRS. VOORHEES sprawls\n sideways across the table and then collapses in a heap on the\n floor.", "The shock of recognition hits ALICE. In CU her eyes look up\n and see the knife which MRS. VOORHEES now has poised and ready\n to strike.", "She goes back to whacking away at the door. The hole is near\n the lock. It is soon big enough for MRS. VOORHEES to reach", "begun to use her machete to chop away at the outside of the\n door to the larder.\n \n REACTION SHOT: ALICE... oh, my God...", "swinging it like a baseball bat, whacks MRS. VOORHEES on the\n arm/shoulder, knocking the killer off balance and into the wall.", "ALICE\n The killer is still out there.\n \n MRS. VOORHEES\n I will protect you.", "Her machete is coming up in an attack.\n \n ALICE reaches into the box in CU and pulls out a handful of", "MRS. VOORHEES\n No, he won't. I killed him as well....", "is covered in mud and blood. She sees ALICE struggling to get\n up and move toward her, brandishing her blood-spattered machete.", "then stops and turns and dives under an arts & crafts table.\n \n ANOTHER ANGLE: MRS. VOORHEES opens the door and walks in a few", "MRS. VOORHEES\n (in her own voice)\n I can't let them kill any more children.\n Come out now." ], [ "CAMP CRYSTAL LAKE--Established 1935\n \n CUT TO:", "Wasn't that Camp Crystal Lake? Just\n back there?\n \n CUT TO:", "Christy. Welcome to Camp Crystal Lake.\n You got some grubby clothes? Climb into\n 'em. Alice, see if Bill has cleaned out", "the path and goes to sit on a log in a small clearing.\n CLAUDETTE hesitates, then goes to sit next to him.\n \n BARRY", "CLAUDETTE\n I can't, Barry...\n \n CUT TO:", "Somebody's there, Barry.\n \n BARRY\n Come on, Claudette. A man's not made of", "MRS. VOORHEES\n (continuing)\n Camp Blood.", "Must be the fourth time somebody's tried\n to reopen that place.\n \n ANNIE\n Camp Crystal Lake?", "As the CAMERA scans the peaceful scene, we see the sky\n reflected in the calm waters of Crystal Lake. The canoe\n holding ALICE is drifting in big slow circles across the", "CLAUDETTE\n We've got to talk.\n \n BARRY looks at CHLOE, then eases off the rail. Nods.", "BARRY\n I need you so much, Claudette.\n \n BARRY leans in and unhooks her bra. They kiss again,", "BARRY & CLAUDETTE walk along a path. This is not an aimless\n walk, for BARRY knows exactly where he wants to go. He leaves", "breast. She reaches up to take his hand away.\n \n BARRY\n Claudette...", "STEVE\n (continuing)\n To answer your question, my parents once\n owned this camp. There were some tragic", "Help me! Save me! The frog people are\n after me! It's swim time at Camp Crystal\n Lake. Come on, Alice, I need protection!", "BARRY\n I wouldn't know.\n \n CLAUDETTE\n Oh, you...", "CLAUDETTE\n Somebody'll see.\n \n BARRY", "I hope that's the last time we see the\n Camp Crystal Lake Drama Program.\n \n CUT TO:", "SALESMAN OPERATOR\n They gonna open that place Camp Blood?\n again?\n TRUDY", "28 EXT. CAMP CRYSTAL LAKE ENTRANCE - DAY\n \n The van turns past the sign that reads:" ], [ "BARRY & CLAUDETTE walk along a path. This is not an aimless\n walk, for BARRY knows exactly where he wants to go. He leaves", "Somebody's there, Barry.\n \n BARRY\n Come on, Claudette. A man's not made of", "BARRY\n I need you so much, Claudette.\n \n BARRY leans in and unhooks her bra. They kiss again,", "breast. She reaches up to take his hand away.\n \n BARRY\n Claudette...", "CLAUDETTE\n I can't, Barry...\n \n CUT TO:", "CLAUDETTE\n We've got to talk.\n \n BARRY looks at CHLOE, then eases off the rail. Nods.", "the path and goes to sit on a log in a small clearing.\n CLAUDETTE hesitates, then goes to sit next to him.\n \n BARRY", "BARRY\n Okay.\n \n 5 BARRY puts an arms around CLAUDETTE, looks over his", "CLAUDETTE\n Somebody'll see.\n \n BARRY", "QUICK CUT to BARRY & CLAUDETTE'S faces, their eyes closed, the\n perspiration streaking their flushed skin.", "passes them impatiently as she sees BARRY and CHLOE.\n \n BARRY is leaning against the front rail of the porch, his arms", "BARRY\n I wouldn't know.\n \n CLAUDETTE\n Oh, you...", "Claudette met. Outside is a flagpole, a small parking area, a\n large overhanging tree.\n \n In the BG we can see part of the lake.", "This unseen observer will be called the PROWLER.\n \n BARRY reaches up outside CLAUDETTE'S t-shirt to hold her", "begun to use her machete to chop away at the outside of the\n door to the larder.\n \n REACTION SHOT: ALICE... oh, my God...", "stone.\n \n CLAUDETTE\n Let's go back, Barry...", "BARRY grabs the knife-hand at the wrist. The knife falls to\n the mossy floor of the clearing.", "The rain has lessened a bit. BILL approaches the shed with his\n fluorescent lamp and rifle. He has the rifle at the ready.", "Two hands go for the free blade. BARRY's hand has it.\n \n There is a confused jumble of struggle.", "MARCIE and JACK enter. JACK carries a shovel as a weapon.\n MARCIE stops when she sees the embrace, but then looks further\n to see the blood and guts." ], [ "Must be the fourth time somebody's tried\n to reopen that place.\n \n ANNIE\n Camp Crystal Lake?", "Wasn't that Camp Crystal Lake? Just\n back there?\n \n CUT TO:", "CAMP CRYSTAL LAKE--Established 1935\n \n CUT TO:", "MRS. VOORHEES\n (continuing)\n Camp Blood.", "Christy. Welcome to Camp Crystal Lake.\n You got some grubby clothes? Climb into\n 'em. Alice, see if Bill has cleaned out", "SALESMAN OPERATOR\n They gonna open that place Camp Blood?\n again?\n TRUDY", "As the CAMERA scans the peaceful scene, we see the sky\n reflected in the calm waters of Crystal Lake. The canoe\n holding ALICE is drifting in big slow circles across the", "28 EXT. CAMP CRYSTAL LAKE ENTRANCE - DAY\n \n The van turns past the sign that reads:", "I hope that's the last time we see the\n Camp Crystal Lake Drama Program.\n \n CUT TO:", "STEVE\n (continuing)\n To answer your question, my parents once\n owned this camp. There were some tragic", "Help me! Save me! The frog people are\n after me! It's swim time at Camp Crystal\n Lake. Come on, Alice, I need protection!", "there'd by any other gorgeous women at\n Camp Crystal Lake. Besides yourself.\n \n MARCIE", "smile at us as we sit in the DRIVER's seat.\n \n ANNIE\n Hiya! I'm headed for Camp Crystal Lake.", "MRS. VOORHEES\n (continuing)\n You know a boy drowned the year before", "But it's in the brochure! \"Camp Crystal\n Lake has a full drama program.\" You\n just saw it.", "behind. A sign off to the side reads:\n \n CRYSTAL LAKE 45 Mi.\n \n CUT TO:", "the heels. It is the same camp we saw in the early scenes, but\n time has torn the place badly.", "I musta seen that Kojak 82 times.\n \n ANNIE\n Excuse me. How far is Camp Crystal Lake?", "stand looking before NED breaks the silence.\n \n NED\n He neglected to mention this place is\n called \"Camp Blood\" downtown.", "Then we hear some shuffling around outside. The lights are\n turned on.\n \n JASON (V.O.)" ], [ "Set up behind the cabin is a make-shift exercise area. There\n are chinning bars--pipeslashed between two trees--and there's", "ALICE watches him go. She shrugs. This might be a good place\n to stay. She turns and goes into her cabin.\n \n CUT TO:", "The CAMERA PANS and we move toward cabins.\n \n CUT TO:", "Cabin B is ready.\n \n STEVE\n Push on this side. Alice, this is Jack,", "JACK turns and jogs toward the nearest cabin. MARCIE is only\n a half step behind, laughing.", "BILL and ALICE stand in front of the Arts & Crafts cabin. BILL\n is smiling, ALICE is a little bit amused.\n \n MARCIE", "seen a coat of paint in six years.\n \n CUT TO:", "BILL opens the door to the cabin.\n \n CUT TO:", "same room, cut off by a partition. The kitchen has a couple of\n sinks, a heavy old stove, long shelves, a pantry/larder, and\n some windows which look out on the rear.", "the heels. It is the same camp we saw in the early scenes, but\n time has torn the place badly.", "She flips on both faucets and nothing comes out. She put her\n lantern down on the floor and turns on the water valves. She\n stands up, and washes her hands and face.", "ALICE heads from her cabin to the showers.\n \n CUT TO:", "104 INT. JACK'S CABIN - NIGHT\n \n The door opens at us. We see the silhouetted figures of BILL", "68 INT. BOY'S CABIN - NIGHT\n \n The door bursts open, a flashlight pierces the shadows, and", "ALICE runs into the dimly lit cabin and takes one of the rifles\n from the wall.", "Across the way from the row of toilet stalls is a row of shower\n stalls, and further down is a row of several sinks and mirrors.\n We hear the toilet flush.", "accidents and they went bankrupt. I\n promised them I'd reopen if I could.\n See if it closes right now.", "Angry, BRENDA turns and goes back inside the cabin.\n \n CUT TO:", "90 INT. GIRL'S CABIN - NIGHT\n \n The tapping returns.\n \n BRENDA", "of hibachis, some entrenching tools packs, portable ice chests,\n etc. Up on the long side wall are a half-dozen hunting knives" ], [ "MRS. VOORHEES\n (continuing)\n Camp Blood.", "Christy. Welcome to Camp Crystal Lake.\n You got some grubby clothes? Climb into\n 'em. Alice, see if Bill has cleaned out", "CAMP CRYSTAL LAKE--Established 1935\n \n CUT TO:", "Wasn't that Camp Crystal Lake? Just\n back there?\n \n CUT TO:", "Must be the fourth time somebody's tried\n to reopen that place.\n \n ANNIE\n Camp Crystal Lake?", "As the CAMERA scans the peaceful scene, we see the sky\n reflected in the calm waters of Crystal Lake. The canoe\n holding ALICE is drifting in big slow circles across the", "Help me! Save me! The frog people are\n after me! It's swim time at Camp Crystal\n Lake. Come on, Alice, I need protection!", "there'd by any other gorgeous women at\n Camp Crystal Lake. Besides yourself.\n \n MARCIE", "STEVE\n (continuing)\n To answer your question, my parents once\n owned this camp. There were some tragic", "fun, fresh and expectant as they head towards Crystal Lake.\n They are instantly likeable.", "28 EXT. CAMP CRYSTAL LAKE ENTRANCE - DAY\n \n The van turns past the sign that reads:", "NED\n Some campers drowned. Then some\n counsellors got killed.\n \n BILL", "smile at us as we sit in the DRIVER's seat.\n \n ANNIE\n Hiya! I'm headed for Camp Crystal Lake.", "I hope that's the last time we see the\n Camp Crystal Lake Drama Program.\n \n CUT TO:", "88 INT. GIRL'S CABIN/COUNSELLOR'S SECTION - NIGHT\n \n Under a single hanging lightbulb, BRENDA finishes writing at a", "But it's in the brochure! \"Camp Crystal\n Lake has a full drama program.\" You\n just saw it.", "stand looking before NED breaks the silence.\n \n NED\n He neglected to mention this place is\n called \"Camp Blood\" downtown.", "Crystal Lake. The canoe lies half sunken in the shallows. One\n paddle drifts in the current. The lake has swallowed its secret.", "those two others were killed? An\n accident? It was inadequate supervision.\n The counsellors were not paying enough", "behind. A sign off to the side reads:\n \n CRYSTAL LAKE 45 Mi.\n \n CUT TO:" ], [ "STEVE\n (continuing)\n To answer your question, my parents once\n owned this camp. There were some tragic", "STEVE gets out quickly.\n \n STEVE\n (continuing)\n Good luck.", "Steve said you were thinking of leaving.\n True?\n \n ALICE\n Un-hunh.", "The rain continues as STEVE exits the diner, gets in his Jeep\n and starts it up. He roars off through a big puddle, splashing", "CU as STEVE watches the lights grow dim in the distance.\n \n ANOTHER ANGLE: as STEVE turns and jogs the other way. Low", "STEVE turns as the cop's car door slams. TIERNEY peels out on\n the wet road.", "TIERNEY bangs the mike down on the holder. He stops the car.\n \n TIERNEY\n Have to drop you here, Steve.", "STEVE smiles and leaves. She watches, then counts her changes\n and sticks it her pocket with the rest of her tips for the day.", "STEVE is at the wheel of his Jeep. The COUNSELLORS are\n standing within earshot, huddled around the Jeep.\n \n JACK", "86 INT. STEVE'S JEEP - NIGHT\n \n STEVE angrily steps on the gas again and hits the starter.", "37 EXT. ARTS & CRAFTS CABIN - DAY\n \n STEVE CHRISTY comes upon ALICE, who is renailing floorboards on", "65 EXT. MAIN CAMP AREA - EVENING\n \n We watch NED come away from the main cabin and walk moodily", "STEVE\n Thanks, Alice.\n \n He stands up.\n \n STEVE", "STEVE's hand reaches in and shuts off the radio.\n \n CUT TO:", "Steve's got a woodlore program. You see\n any life rings?\n \n MARCIE looks behind some piled up equipment. She pulls out two", "The figure reaches our vantage point and is revealed as STEVE\n CHRISTY. Just as he's about to make the turn into the", "the heels. It is the same camp we saw in the early scenes, but\n time has torn the place badly.", "87 EXT. RURAL ROAD - NIGHT\n \n STEVE smiles to see that the oncoming car is the local police", "35 EXT. EDGE OF THE LAKE - DAY\n \n STEVE, ALICE, BRENDA, MARCIE, NED, JACK and BILL are lugging a", "flips. She scrambles to her feet and starts running towards\n the camp.\n \n CUT TO:" ], [ "SOUNDS of the generator starting outside and suddenly three\n bright overhead lights come on.\n \n ALICE looks across the room to the light switch, afraid to", "114 INT. GENERATOR SHED - NIGHT\n \n The generator stands there quietly. BILL comes into view,\n spraying the interior with lamplight.", "until she finally wrenches the door open. The lamp casts long\n shadows upwards.\n \n The generator sits silent.", "ECU of the lightbulb over the kitchen area. It flickers on as\n we hear in the BG the sound of the generator start up. The", "generator grows louder as the door is opened.\n \n CUT TO:", "JACK stumbles out of the shack and the light goes dead. The\n machine stops.\n \n CUT TO:", "for the generator shed.\n \n ALICE\n Bill!\n \n CUT TO:", "The bulb overhead grows yellow, orange, and then goes out.\n \n BILL snaps awake. He grabs a flashlight by his feet and flicks\n it on.", "111 EXT. GENERATOR SHED - NIGHT\n \n The CAMERA as PROWLER moves to the shed. The noise of the", "She grabs a flashlight, scoots to the door and is gone.\n \n JACK lies back and puts his hands under his hand.", "screams, the generator chugs roughly. Hundreds of volts are\n streaking through JACK's body and grounded through his wet\n shoes.", "Steve taught me how to use the emergency\n generator. The town power lines are\n supposed to be real shitty.", "61 INT. GENERATOR SHED - LATE AFTERNOON\n \n JACK steps in and, in CU, we see there is a puddle where he is", "120 EXT. GENERATOR SHED - NIGHT\n \n The door to the shed is closed. ALICE looks around and then", "off his poncho and stamps his feet.\n \n BILL\n Got to it just in time. The generator", "Then his eye catches something. He looks at the broken plug.\n He shakes his head and looks around for a wrench to fix it. He\n puts the rifle down on the floor of the shed.", "We can look in over BILL's shoulder and see a smoke-scarred\n switch and a now-silent generator.\n \n BILL", "36 INT. EQUIPMENT SHED - DAY\n \n The screen has gone completely black. The door to the shed is", "ALICE\n (continuing)\n The generator...\n \n Now that she has figured out where Bill must be, she relaxes a", "Then we hear some shuffling around outside. The lights are\n turned on.\n \n JASON (V.O.)" ], [ "The CAMERA PANS BACK while the two men get out of their vehicle\n and come around to help ALICE.\n \n CUT TO:", "two middle-aged bureaucrats inside.\n \n ALICE waves down the car, which pulls up beside her.\n \n 1st INSPECTOR", "As ALICE nods, she is interrupted by a shrill scream outside.\n \n CUT TO:", "ALICE\n (continuing)\n Help! Help!\n \n CUT TO:", "She closes the door, and turns in the direction of the body.\n \n REACTION SHOT: ALICE. She is riveted with horror, unable to", "The shock of recognition hits ALICE. In CU her eyes look up\n and see the knife which MRS. VOORHEES now has poised and ready\n to strike.", "enough to tell her what the matter is. ALICE sobs incoherently,\n pointing back to the rear window.", "The CAMERA, shooting from the PROWLER's POV, moves to a place\n alongside Alice's cabin. There is underbrush about two feet", "is covered in mud and blood. She sees ALICE struggling to get\n up and move toward her, brandishing her blood-spattered machete.", "his arms, his head is down on his chest, and a long blade\n protrudes from his heart.\n \n REACTION SHOT: ALICE in terror.", "small puddle of blood under her head.\n \n ANGLE ON ALICE: She relaxes, puts down her weapon and crosses\n slowly out of the room.", "ALICE leaps up, climbs over the table and runs for the door.\n \n MRS. VOORHEES shoves the tables over and hurries after her.", "ALICE watches him go. She shrugs. This might be a good place\n to stay. She turns and goes into her cabin.\n \n CUT TO:", "the back window.\n \n ALICE\n All dead? Neddy? Oh, Marcie...", "ALICE runs out the door.\n \n CUT TO:", "ALICE is very still. Her eyes widen as she listens to MRS.\n VOORHEES rave.", "ALICE relaxes a little bit now that she is locked inside.\n \n As soon as she relaxes, we hear the front screen door slam.", "ALICE looks behind her and sees a shelf. On the shelf is a box.\n \n MRS. VOORHEES is coming down the aisle between the two tables.", "ALICE finally gives voice to her terror--again and again. She\n turns, leaving the lantern, and runs back towards the main\n cabin.", "ALICE nods.\n \n CUT TO:" ], [ "MRS. VOORHEES\n No, he won't. I killed him as well....", "MRS. VOORHEES\n (continuing)\n Camp Blood.", "those two others were killed? An\n accident? It was inadequate supervision.\n The counsellors were not paying enough", "ALICE\n The killer is still out there.\n \n MRS. VOORHEES\n I will protect you.", "NED\n Some campers drowned. Then some\n counsellors got killed.\n \n BILL", "Wasn't that Camp Crystal Lake? Just\n back there?\n \n CUT TO:", "MRS. VOORHEES\n (in her own voice)\n I can't let them kill any more children.\n Come out now.", "MRS. VOORHEES has to put her arms up to ward off the spinning\n knives. One cuts her under the eye and she lets out a low\n animal bellow.", "JASON (V.O.)\n Kill her, mommy! Kill her!\n \n CUT TO:", "As he bends down to pick up two Coleman lanterns, the CAMERA\n slowly moves toward the wall where once we saw all the hatchets\n and knives. They are all missing.", "As she speaks, MRS. VOORHEES reaches into her slicker in a\n surreptitious manner and very slowly slips out a long hunting\n knife.", "The shock of recognition hits ALICE. In CU her eyes look up\n and see the knife which MRS. VOORHEES now has poised and ready\n to strike.", "one, wild swing, decapitates MRS. VOORHEES, whose head flies\n off into the water.", "MRS. VOORHEES\n (continuing)\n You know a boy drowned the year before", "Please kill her, mommy... Help me,\n please. Kill her, mommy.\n \n There is the sound of pots being rustled through. Then the", "a solid blow on top of her head. MRS. VOORHEES sprawls\n sideways across the table and then collapses in a heap on the\n floor.", "It was my son they killed. They said he\n drowned, but I know it was inadequate\n supervision...", "Then we hear some shuffling around outside. The lights are\n turned on.\n \n JASON (V.O.)", "I hope that's the last time we see the\n Camp Crystal Lake Drama Program.\n \n CUT TO:", "As the CAMERA scans the peaceful scene, we see the sky\n reflected in the calm waters of Crystal Lake. The canoe\n holding ALICE is drifting in big slow circles across the" ], [ "water. MRS. VOORHEES is trying to strangle ALICE, her hands\n stretching to reach around her throat. They roll over and", "It is BRENDA, long-since dead, dripping wet, white-faced.\n \n ALICE sees her, turns and runs as fast as she can for the front", "who is slashing the air with her big knife trying to hit ALICE.\n ALICE slips, falls in the water, gets her footing back and has", "The body stands for a minute, then falls heavily into the lake.\n \n ALICE drops the machete into the water and starts to wade to\n shore.", "Kill her, mommy! Kill her, mommy!\n \n ALICE shoots up out of the water holding the machete, and in", "They shade ALICE from the bright rays of the sun. The canoe\n rocks gently. ALICE is still, listening to the sound of the\n lapping water.", "under the water. We cannot see who is winning.\n \n Suddenly MRS. VOORHEES finds her footing and stands up, looking", "ALICE\n The way I feel, that's perfect.\n \n ALICE goes to the sink and begins to work her way through the", "ALICE smiles at the reference.\n \n ALICE\n I'll be along.", "Exhausted, ALICE puts her paddle across her lap and falls\n forward, slumped across a thwart.\n \n CUT TO:", "MRS. VOORHEES is in pain, her face a mask of rage.\n \n ALICE drops the poker to run for the door.", "ALICE screams. The figure holds ALICE in a strong grasp.\n \n When ALICE focuses, she sees a kindly woman in her early", "NED surfaces between them. He looks with googly eyes at ALICE.\n \n NED\n There are sand sharks in this lake and", "snakes in the outhouse and green lizards\n in the lake.\n \n As they laugh, the CAMERA HOLDS on ALICE.", "night and sucks our counsellor's body...\n \n ALICE leans against the sink and laughs. She is a very pretty\n girl, younger than she first appeared.", "ALICE starts to become increasingly anxious. She can't see the\n knife rise behind her.\n \n ALICE", "47 EXT. LAKE - DAY\n \n ALICE is treading water, talking with BRENDA, as NED comes up", "ALICE looks from side to side, hoping to find a place to hide.\n She spots the half-open door to the larder, looks inside and\n then hides there, closing the door behind her.", "ALICE is very still. Her eyes widen as she listens to MRS.\n VOORHEES rave.", "ALICE is humming to herself and is happier now than she has\n been since we met her.\n \n The room is small. There is the metal-frame cot, an old wooden" ], [ "those two others were killed? An\n accident? It was inadequate supervision.\n The counsellors were not paying enough", "NED\n Some campers drowned. Then some\n counsellors got killed.\n \n BILL", "MRS. VOORHEES\n (continuing)\n You know a boy drowned the year before", "88 INT. GIRL'S CABIN/COUNSELLOR'S SECTION - NIGHT\n \n Under a single hanging lightbulb, BRENDA finishes writing at a", "It was my son they killed. They said he\n drowned, but I know it was inadequate\n supervision...", "JULY 4, 1958\n \n The CHILDREN'S VOICES FADE slowly.", "MRS. VOORHEES\n No, he won't. I killed him as well....", "NED\n (continuing)\n And, Mommy, we really love our counsellor.", "STEVE\n (continuing)\n To answer your question, my parents once\n owned this camp. There were some tragic", "CLAUDETTE leaves. The COUNSELLOR smiles.\n \n CUT TO:", "night and sucks our counsellor's body...\n \n ALICE leans against the sink and laughs. She is a very pretty\n girl, younger than she first appeared.", "a solid blow on top of her head. MRS. VOORHEES sprawls\n sideways across the table and then collapses in a heap on the\n floor.", "No shit. When?\n \n NED\n Late fifties sometime. They never\n caught the guy who did it either.", "the back window.\n \n ALICE\n All dead? Neddy? Oh, Marcie...", "STEVE\n I have six new counsellor up there.\n They're all babes in the woods in every\n sense of the word.", "The regulars are there: five MEN and two WOMEN who always come\n in for breakfast. They are the retailers, the oil delivery", "MRS. VOORHEES\n (continuing)\n Camp Blood.", "Oh, this place... It should never have\n been a camp. Not for children. They\n had so much trouble here.", "COUNSELLOR\n He and Chloe were at the Lodge last time\n I saw him.", "CAMP CRYSTAL LAKE--Established 1935\n \n CUT TO:" ], [ "above. A slice of lightning reveals it to be the dead body of\n STEVE CHRISTY hanging from the tree. A rope is looped under", "MRS. VOORHEES\n No, he won't. I killed him as well....", "She closes the door, and turns in the direction of the body.\n \n REACTION SHOT: ALICE. She is riveted with horror, unable to", "The something turns slowly in the wind. It is BILL--dead--in\n a travesty of the martyrdom of St. Sebastian, shot with arrows.", "his arms, his head is down on his chest, and a long blade\n protrudes from his heart.\n \n REACTION SHOT: ALICE in terror.", "a solid blow on top of her head. MRS. VOORHEES sprawls\n sideways across the table and then collapses in a heap on the\n floor.", "realize he is dead: his throat has been slashed.\n \n ANOTHER ANGLE: JACK and MARCIE lie completely still beneath", "MRS. VOORHEES has to put her arms up to ward off the spinning\n knives. One cuts her under the eye and she lets out a low\n animal bellow.", "Her face goes through a horrifying transformation. From her\n mouth comes the VOICE OF JASON.\n \n JASON (Lipsync)", "The CAMERA PULLS BACK. Her throat has been cut. She collapses\n out of FRAME.\n \n A bird soars across the sky above.", "Then we hear some shuffling around outside. The lights are\n turned on.\n \n JASON (V.O.)", "Suddenly there is a blood-curdling scream, a MUSICAL STINGER,\n and the screen is filled with the flying, whirling form of MRS.", "MARCIE and JACK enter. JACK carries a shovel as a weapon.\n MARCIE stops when she sees the embrace, but then looks further\n to see the blood and guts.", "Opens the next drawer. Nothing there.\n \n ALICE opens the fourth drawer and the snake strikes! It flails\n at her right wrist, a wrist which we have established earlier", "There you are dead wrong.\n \n JACK\n Ha!\n \n NED", "BILL sees it. He freezes, then takes a step forward.\n Carefully, he winds up and smashes down with the edge of the", "It was my son they killed. They said he\n drowned, but I know it was inadequate\n supervision...", "MRS. VOORHEES\n (continuing)\n You know a boy drowned the year before", "It is BRENDA, long-since dead, dripping wet, white-faced.\n \n ALICE sees her, turns and runs as fast as she can for the front", "The body stands for a minute, then falls heavily into the lake.\n \n ALICE drops the machete into the water and starts to wade to\n shore." ], [ "ANNIE looks around and sees an old gas station. It is closed.\n There's a sign which reads: \"No Gas 'Til Sat.\" A mangey dog", "The forest outside the speeding Jeep is deeper and signs of\n civilization have all but disappeared. ANNIE still turns and\n looks at the CAMERA when she speaks to the DRIVER.", "Panicked, without any other recourse, ANNIE looks about her and\n then leaps from the moving Jeep, aiming for the relatively soft", "In a final desperate move, ANNIE drives into the underbrush to\n escape.\n \n The Jeep skids to a stop.", "Must be the fourth time somebody's tried\n to reopen that place.\n \n ANNIE\n Camp Crystal Lake?", "A look of surprise passes ANNIE's young face.\n \n ANNIE\n (continuing)", "ALICE finally gives voice to her terror--again and again. She\n turns, leaving the lantern, and runs back towards the main\n cabin.", "Oh, this place... It should never have\n been a camp. Not for children. They\n had so much trouble here.", "MRS. VOORHEES\n (continuing)\n Camp Blood.", "She turns off the faucets and now we hear the dripping sound\n that Marcie had heard. BRENDA looks off at the shower stalls,", "MRS. VOORHEES has to put her arms up to ward off the spinning\n knives. One cuts her under the eye and she lets out a low\n animal bellow.", "As she speaks, MRS. VOORHEES reaches into her slicker in a\n surreptitious manner and very slowly slips out a long hunting\n knife.", "BRENDA exited. We hold on that spot for several seconds.\n Finally the silence is broken by a terrified scream. Then\n another.", "stuck ANNIE stumbles and falls. She screams as a knife flashes\n past her in a blur.", "MRS. VOORHEES comforts her with a strong arm.\n \n MRS. VOORHEES\n It's just this place. The storm.", "the heels. It is the same camp we saw in the early scenes, but\n time has torn the place badly.", "She closes the door, and turns in the direction of the body.\n \n REACTION SHOT: ALICE. She is riveted with horror, unable to", "flips. She scrambles to her feet and starts running towards\n the camp.\n \n CUT TO:", "She hears no response and assumes that her imagination is\n playing tricks with her. MARCIE picks up the flashlight and\n exits the stall.", "MRS. VOORHEES\n (in her own voice)\n I can't let them kill any more children.\n Come out now." ], [ "BRENDA exited. We hold on that spot for several seconds.\n Finally the silence is broken by a terrified scream. Then\n another.", "BRENDA\n Neddy? Cut the screwing around, Neddy!\n \n She grabs the knife, breaking the string.", "BRENDA\n (still laughing)\n You ever fire one of those bows again,\n and I'll tack you up on the wall to dry.", "She turns off the faucets and now we hear the dripping sound\n that Marcie had heard. BRENDA looks off at the shower stalls,", "streaks into the center of the gold, missing her head by\n eighteen inches.\n \n BRENDA whips around.", "We PULL BACK to see BRENDA watching NED work out on the uneven\n parallel bars. He is really very good and there is no doubt\n about his strength.", "BRENDA turns and runs from her room.\n \n CUT TO:", "Good night, Brenda.\n \n BRENDA takes her lantern, and, throwing the slicker over her\n head like a portable tent, she races off into the night.", "As she speaks, MRS. VOORHEES reaches into her slicker in a\n surreptitious manner and very slowly slips out a long hunting\n knife.", "It is BRENDA, long-since dead, dripping wet, white-faced.\n \n ALICE sees her, turns and runs as fast as she can for the front", "BRENDA\n Christ, what a jerk.\n \n The single bulb goes out.", "BRENDA snatches the bow from him, shakes her head and puts the\n bow down next to a collection of wicked-looking arrows.", "She hands one to BRENDA, who is curled up on the couch in front\n of the fire. BILL stands to the left of the hearth, picks up", "92 INT. GIRL'S CABIN - NIGHT\n \n BRENDA comes in shaking off her slicker, carrying the knife.", "BRENDA crosses to the table, puts down her knife and strikes a\n match. She fires up the propane lantern.\n \n BRENDA", "Angry, BRENDA turns and goes back inside the cabin.\n \n CUT TO:", "ANOTHER ANGLE, CLOSER: as BRENDA hears the tapping sound\n closer by. She looks and sees.", "BRENDA is not laughing. She is looking off towards the cabin\n area.\n \n ALICE sees her and look where she looks.", "MRS. VOORHEES has to put her arms up to ward off the spinning\n knives. One cuts her under the eye and she lets out a low\n animal bellow.", "MARCIE and JACK enter. JACK carries a shovel as a weapon.\n MARCIE stops when she sees the embrace, but then looks further\n to see the blood and guts." ], [ "BILL sees it. He freezes, then takes a step forward.\n Carefully, he winds up and smashes down with the edge of the", "The something turns slowly in the wind. It is BILL--dead--in\n a travesty of the martyrdom of St. Sebastian, shot with arrows.", "BILL reacts quickly: knowing better than to touch him and\n continue the connection, he takes a half-step backwards, aims\n at an oblique angle and executes a perfect Bruce Lee-type drop-", "Help!\n \n BILL doesn't hesitate. Carrying his machete, he runs to\n ALICE's cabin.", "BILL\n (continuing)\n It's dead. Try the pay phone.", "ALICE turns. BILL is halfway out the door.\n \n ALICE\n (continuing)", "BILL runs into the room, still carrying his machete. He looks\n at ALICE.\n \n ALICE", "PULLS BACK to reveal BILL clearing away the years of vine\n growth which have choked off a path. He wipes the perspiration\n from his eyes and continues along.", "The rain has lessened a bit. BILL approaches the shed with his\n fluorescent lamp and rifle. He has the rifle at the ready.", "ALICE comes out of the shed, distraught.\n \n ALICE\n Bill?", "BILL\n For sure.\n \n CUT TO:", "BILL\n Oh, shit....\n \n He goes to the ping-pong table where he has placed some", "ALICE\n He's dead... She's dead... all dead...\n Please save me... oh... poor Bill... Oh", "Help him! Oh, my God!\n \n BILL JACK\n Roll him over! Get behind him more.", "BILL\n Wet. I don't know.\n \n He tries a few more times.", "CUT BACK to see BILL standing over her with a machete.\n \n ALICE\n I didn't know I was asleep...What time", "Impatient and curious, she walks to the front door of the cabin\n and looks out.\n \n ALICE\n Bill? Bill?", "As BILL and JACK flip him over to try to give him the Heimlich,\n NED stops his act and grins from ear to ear. It's a big finish:", "BILL's eyes are closing. He jerks himself awake, then starts\n to doze again.", "ALICE\n (continuing)\n The generator...\n \n Now that she has figured out where Bill must be, she relaxes a" ], [ "She hands one to BRENDA, who is curled up on the couch in front\n of the fire. BILL stands to the left of the hearth, picks up", "Suddenly there is a blood-curdling scream, a MUSICAL STINGER,\n and the screen is filled with the flying, whirling form of MRS.", "We PULL BACK to see BRENDA watching NED work out on the uneven\n parallel bars. He is really very good and there is no doubt\n about his strength.", "ALICE looks from side to side, hoping to find a place to hide.\n She spots the half-open door to the larder, looks inside and\n then hides there, closing the door behind her.", "She turns off the faucets and now we hear the dripping sound\n that Marcie had heard. BRENDA looks off at the shower stalls,", "looks up. Listens, yawns, then gets up and starts to take off\n her clothes.\n \n CUT TO:", "The fist-banging gives way to a short silence.\n \n The silence is interrupted by a new sound: MRS. VOORHEES has", "ALICE, in panic, looks for an escape. She grabs the fireplace\n poker.\n \n ALICE", "The CAMERA PANS UP to her face and we see that the voice of\n JASON is coming from within her in LIP SYNC. She is both", "ALICE relaxes a little bit now that she is locked inside.\n \n As soon as she relaxes, we hear the front screen door slam.", "two middle-aged bureaucrats inside.\n \n ALICE waves down the car, which pulls up beside her.\n \n 1st INSPECTOR", "pets him and then heads off up the road.\n \n The dog watches her go.\n \n CUT TO:", "reaches down and takes the coverlet and tugs it clear,\n revealing something that has been left there.\n \n REACTION SHOT: Fear spreads across her face.", "She throws back the curtain. Again no one is there.\n \n She breathes a sigh of disappointment.\n \n MARCIE", "STEVE\n (continuing)\n That's got her. Thanks. I'm Steve", "night and sucks our counsellor's body...\n \n ALICE leans against the sink and laughs. She is a very pretty\n girl, younger than she first appeared.", "ALICE misses a nail and hits her thumb. She reacts good-\n naturedly and keeps on working.\n \n STEVE bends down next to ALICE.", "Impatient and curious, she walks to the front door of the cabin\n and looks out.\n \n ALICE\n Bill? Bill?", "little, then goes on to her next task. There is a row of newly-\n arrived cardboard boxes. She opens the first in CU with a", "Throws back the first curtain. There is no one there. She\n reaches in and makes sure the spigot is really off." ], [ "It was my son they killed. They said he\n drowned, but I know it was inadequate\n supervision...", "those two others were killed? An\n accident? It was inadequate supervision.\n The counsellors were not paying enough", "a solid blow on top of her head. MRS. VOORHEES sprawls\n sideways across the table and then collapses in a heap on the\n floor.", "MARCIE\n I don't blame him.\n \n BRENDA", "MRS. VOORHEES is having trouble catching her own breath. She\n strokes her throat with her free hand and the voice of the\n child stops.", "The fist-banging gives way to a short silence.\n \n The silence is interrupted by a new sound: MRS. VOORHEES has", "MRS. VOORHEES\n (continuing)\n You know a boy drowned the year before", "MRS. VOORHEES comforts her with a strong arm.\n \n MRS. VOORHEES\n It's just this place. The storm.", "MRS. VOORHEES has to put her arms up to ward off the spinning\n knives. One cuts her under the eye and she lets out a low\n animal bellow.", "enough to tell her what the matter is. ALICE sobs incoherently,\n pointing back to the rear window.", "MRS. VOORHEES is in pain, her face a mask of rage.\n \n ALICE drops the poker to run for the door.", "Suddenly there is a blood-curdling scream, a MUSICAL STINGER,\n and the screen is filled with the flying, whirling form of MRS.", "MRS. VOORHEES\n No, he won't. I killed him as well....", "ALICE finally gives voice to her terror--again and again. She\n turns, leaving the lantern, and runs back towards the main\n cabin.", "MRS. VOORHEES\n (in her own voice)\n I can't let them kill any more children.\n Come out now.", "So young, so pretty. What monster could\n have done such a thing?\n \n ALICE", "I thought you hated your kids.\n \n TRUDY looks around, does a take, then laughs.\n \n CUT TO:", "Please kill her, mommy... Help me,\n please. Kill her, mommy.\n \n There is the sound of pots being rustled through. Then the", "BRENDA\n Christ, what a jerk.\n \n The single bulb goes out.", "ALICE looks from side to side, hoping to find a place to hide.\n She spots the half-open door to the larder, looks inside and\n then hides there, closing the door behind her." ], [ "ALICE finally gives voice to her terror--again and again. She\n turns, leaving the lantern, and runs back towards the main\n cabin.", "flips. She scrambles to her feet and starts running towards\n the camp.\n \n CUT TO:", "ALICE watches him go. She shrugs. This might be a good place\n to stay. She turns and goes into her cabin.\n \n CUT TO:", "ALICE\n (continuing)\n Help! Help!\n \n CUT TO:", "ALICE runs out the door.\n \n CUT TO:", "ALICE leaps up, climbs over the table and runs for the door.\n \n MRS. VOORHEES shoves the tables over and hurries after her.", "There is no way that ALICE can get past the snake to run away.\n Her scream is loud.\n \n CUT TO:", "ALICE watches her go. A glimmer of lightning outlines her as\n she heads off.", "They head off. ALICE turns over to tan her front.\n \n CUT TO:", "ALICE gets to the door, shuts off the light switch and runs out.\n \n We can hear JASON'S VOICE.", "The body stands for a minute, then falls heavily into the lake.\n \n ALICE drops the machete into the water and starts to wade to\n shore.", "ALICE looks from side to side, hoping to find a place to hide.\n She spots the half-open door to the larder, looks inside and\n then hides there, closing the door behind her.", "the paddle nearly in half. MRS. VOORHEES raises the knife for\n another blow and ALICE lunges for her knees and succeeds in", "As ALICE nods, she is interrupted by a shrill scream outside.\n \n CUT TO:", "The moon comes out from behind a cloud. ALICE pushes a canoe\n into the water and paddles, as rapidly as her tired body will\n permit, out in the lake to safety.", "ALICE, in panic, looks for an escape. She grabs the fireplace\n poker.\n \n ALICE", "The CAMERA PANS BACK while the two men get out of their vehicle\n and come around to help ALICE.\n \n CUT TO:", "Unable to contain her impatience any longer, ALICE picks up her\n lantern, grabs a slicker, and heads out the door.\n \n CUT TO:", "ALICE nods slowly.\n \n ALICE\n I'll tell him.\n \n She turns away.", "They shade ALICE from the bright rays of the sun. The canoe\n rocks gently. ALICE is still, listening to the sound of the\n lapping water." ], [ "ALICE\n (continuing)\n Help! Help!\n \n CUT TO:", "They laugh.\n \n ALICE\n I think we should go wake them up. Just\n in case.", "ALICE finally gives voice to her terror--again and again. She\n turns, leaving the lantern, and runs back towards the main\n cabin.", "ALICE runs out the door.\n \n CUT TO:", "ALICE sits on the couch, dozing. On the coffee table in front\n of her is a large machete.", "As ALICE nods, she is interrupted by a shrill scream outside.\n \n CUT TO:", "ALICE looks from side to side, hoping to find a place to hide.\n She spots the half-open door to the larder, looks inside and\n then hides there, closing the door behind her.", "ALICE\n Bill?!\n \n She gets her bearings and looks around. Stands up. She looks", "The CAMERA looks down on ALICE as she sleeps peacefully in the\n late sun. A shadow passes across her face, and she awakes with\n a start.", "ALICE screams. The figure holds ALICE in a strong grasp.\n \n When ALICE focuses, she sees a kindly woman in her early", "ALICE is humming to herself and is happier now than she has\n been since we met her.\n \n The room is small. There is the metal-frame cot, an old wooden", "ALICE nods.\n \n CUT TO:", "There is no way that ALICE can get past the snake to run away.\n Her scream is loud.\n \n CUT TO:", "She closes the door, and turns in the direction of the body.\n \n REACTION SHOT: ALICE. She is riveted with horror, unable to", "Exhausted, ALICE puts her paddle across her lap and falls\n forward, slumped across a thwart.\n \n CUT TO:", "ALICE watches him go. She shrugs. This might be a good place\n to stay. She turns and goes into her cabin.\n \n CUT TO:", "They head off. ALICE turns over to tan her front.\n \n CUT TO:", "The body stands for a minute, then falls heavily into the lake.\n \n ALICE drops the machete into the water and starts to wade to\n shore.", "ALICE relaxes a little bit now that she is locked inside.\n \n As soon as she relaxes, we hear the front screen door slam.", "ALICE bolts off the couch and stumbles backwards into the\n fireplace, scattering ashes and sparks.\n \n MRS. VOORHEES stands and steps forward." ], [ "MRS. VOORHEES\n No, he won't. I killed him as well....", "MRS. VOORHEES has to put her arms up to ward off the spinning\n knives. One cuts her under the eye and she lets out a low\n animal bellow.", "The PROWLER's hand has the knife. It moves quickly forward.\n We can hear the blade strike.", "those two others were killed? An\n accident? It was inadequate supervision.\n The counsellors were not paying enough", "MARCIE and JACK enter. JACK carries a shovel as a weapon.\n MARCIE stops when she sees the embrace, but then looks further\n to see the blood and guts.", "Please kill her, mommy... Help me,\n please. Kill her, mommy.\n \n There is the sound of pots being rustled through. Then the", "As she speaks, MRS. VOORHEES reaches into her slicker in a\n surreptitious manner and very slowly slips out a long hunting\n knife.", "She turns off the faucets and now we hear the dripping sound\n that Marcie had heard. BRENDA looks off at the shower stalls,", "ALICE\n The killer is still out there.\n \n MRS. VOORHEES\n I will protect you.", "MRS. VOORHEES\n (in her own voice)\n I can't let them kill any more children.\n Come out now.", "realize he is dead: his throat has been slashed.\n \n ANOTHER ANGLE: JACK and MARCIE lie completely still beneath", "NED\n Some campers drowned. Then some\n counsellors got killed.\n \n BILL", "a solid blow on top of her head. MRS. VOORHEES sprawls\n sideways across the table and then collapses in a heap on the\n floor.", "The CAMERA PULLS BACK. Her throat has been cut. She collapses\n out of FRAME.\n \n A bird soars across the sky above.", "TRACK explodes with a MUSICAL STINGER. It happens in a flash.\n A shape lunges from the toilet booth across from the first", "BRENDA exited. We hold on that spot for several seconds.\n Finally the silence is broken by a terrified scream. Then\n another.", "Then we hear some shuffling around outside. The lights are\n turned on.\n \n JASON (V.O.)", "Kill her, mommy! Kill her, mommy!\n \n ALICE shoots up out of the water holding the machete, and in", "As he bends down to pick up two Coleman lanterns, the CAMERA\n slowly moves toward the wall where once we saw all the hatchets\n and knives. They are all missing.", "It was my son they killed. They said he\n drowned, but I know it was inadequate\n supervision..." ] ]

[ "What tragic event happened at the camp in 1957?", "Which two camp counselors are murdered in 1958?", "Who is the owner of the camp?", "Why does Steve leave the campground before the storm?", "What is Bill doing before he dies?", "Where does Alice hide after finding Bill's body?", "Who is the killer in the story?", "Who does Pamela Voorhees blame for the death of her son, Jason?", "Who kills Pamela Voorhees with a machete?", "Iin what year did Barry and Caludette work as consulers at Camp Crystal lake?", "What were Barry and Claudette attempting to do inside the storage barn?", "In what year did Camp Crystal Lake reopen?", "Who refurbished the cabins and facilities?", "What were the names of the camp counselors at Crystal Lake?", "Why did Steve leave the campground?", "When the power goes out who goes to check the generator?", "Whose vehicle did alice see pull up after the killings?", "Who was the killer of the counselors and other people?", "Who does alice think drug here under the water?", "What are the names of the counselors who died in 1958?", "How does the undead villian originally die? ", "Who gives Ann a warning that her desired location is a death camp?", "What weapon was used to kill Brenda?", "What is Bill attempting to do when killed?", "Who is Pamela?", "Who does Pamela blame for her sons death?", "How does Alice get away from the camp?", "Where does Alice wake up?", "How many killers are there?" ]

[ [ "A young boy drowned", "A little boy drowns." ], [ "Barry and Claudette", "Barry and Claudette" ], [ "Steve Christy", "Steve Christy" ], [ "To stock supplies", "To get supplies." ], [ "Checking the generator", "checking generator" ], [ "The main cabin", "The main cabinet" ], [ "Pamela Voorhees", "Mrs. Vorhees." ], [ "Camp counselors", "counselors" ], [ "Alice", "Alice" ], [ "1958", "1958" ], [ "copulate", "copulate" ], [ "1979", "1979" ], [ "Steve Christy", "Steve Christy and the camp counselors." ], [ "Ned,jack,bill,marcie and brenda.", "Ned, Jack, Bill, Marcie, Brenda, and Alice" ], [ "To get supplies", "stock supplies" ], [ "Bill", "Bill" ], [ "Pamela Voorhees", "Steve's" ], [ "Pamela Vorhees", "Jason" ], [ "Jason Vorhees", "Jason." ], [ "Barry and Claudette died in 1958", "Barry and Claudette" ], [ "He drowns in the lake", "drowning" ], [ "Ralph tried to warn her", "Ralph" ], [ "An axe was used to kill Brenda.", "ax" ], [ "He went to check the generator.", "Check on the generator." ], [ "Pamela is the killers mother.", "Jason Voorhees' mother" ], [ "The camp counselors.", "the counselors who were having sex" ], [ "Alice escapes in a canoe.", "kills pamela" ], [ "Alice wakes up in the hospital.", "in a hospital" ], [ "There are two killers.", "1" ] ]

[ [ "A lone NURSE watches them grimly as they make their \"selections,\"\n marking the cribs of the most active, noisy BABIES with X's.\n\n CUT TO:", "This a brutal cross country run under a grim sky in bitter cold\n weather, but the SIXTEEN-YEAR-OLDS are super-fit, their faces\n hard and without expression, their eyes as cold as snake eyes.", "Then he sees the frightened CHILDREN and orients himself. When\n he looks down at NATHAN again, tiny NATHAN is an enemy as good as \n dead. One blow and...", "Behind a cyclone fence topped with curlicues of razor wire, the\n boys, now TEN-YEAR-OLDS, are marching in formation under the", "The frightened CHILDREN see CAINE 607 ignore NATHAN's ineffectual\n blows and struggle with enormous effort to his feet.", "It's creepy: the same children two years older, milling about a\n bare cement room, apparently unsupervised. They ought to look", "NATHAN is SCREAMING in terror on the floor, ignored as SANDRA and\n CHILDREN haul the bed from the bedroom to add to the heap of", "They're still in the giant warehouse in the gym section among all\n sorts of ominous exercise devices. The NEW SOLDIERS and VETERANS\n are gathered in separate groups at attention, their faces like\n stone.", "The terrified CHILDREN watch as the giant CAINE 607 clubs TODD \n mercilessly with the rifle butt, then hurls him backwards like a\n rag doll.", "Terrified, wide-eyed CHILDREN watch TODD hurled back across the\n room.\n\n TODD scrambles to his feet, shakes his head clear.", "Draped in battle gear the seventeen NEW SOLDIERS obediently\n repeat the words after her, their eyes blank and sullen... \"Kill\n kill kill...\" They look like somber death machines as we...", "friendly. If not...\n (indicating Jimmy Pig,\n others)\n ...those of you with weapons will be", "Except for the STRAGGLER, a lone boy who's bringing up the rear, \n obviously in trouble, gasping for air, struggling, struggling, \n struggling to keep his feet...", "The light probes again, this time revealing the frightened faces\n of CHILDREN cowering in the back seat, hiding from the wind.\n\n Suddenly RILEY whirls.", "They all look at MEKUM. Is this the chink in the armor? The new \n soldiers can't fight?", "The CHILDREN's eyes are like saucers, their jaws agape.\n\n HAWKINS shudders...and breaks the hypnotic spell, speaking aloud\n to the children.", "As the two boys make their ritual grunting noises, HAWKlNS frowns\n a worried frown, and we...\n\n CUT TO:", "SANDRA\n Keep going, children, don't panic,\n don't panic.\n\n But if her demeanor doesn't reveal her fear, her eyes do.", "TODD sees all the CHILDREN looking at him, their eyes big with\n hope and fear as we...\n\n CUT TO:\n\n INT. DINING COMMONS", "Still encumbered by CHILDREN clutching at him, TODD sees his\n weapons, but can't get to them. Then it's too late!" ], [ "His feet slash through flooding gutters and trash filled streets \n bordered by ruins as he runs smoothly, evenly, keeping a good\n pace, his breath rasping rhythmically, his eyes revealing\n nothing as we...", "TODD looks ahead again, his face revealing nothing, his legs \n maintaining the same even pace, running, running, running.\n\n Then he looks back again.", "TODD is carefully following her example, cutting the stalks away\n with the knife.\n\n NATHAN is tottering across the floor an a beginner's wobbly legs.", "his way in, followed by four more PIONEERS. All five of then are \n wearing their huge hooded parkas, strange Eskimo-type wind\n goggles, and carrying weapons.", "Then he gets to his feet again and in the stillness makes his way\n past a smoking chimney toward the next window. Halfway there he \n freezes...listening!", "Breathing steadily, raspily, TODD lopes through the rain.\n Something makes him glance back over his shoulder.\n\n Thirty yards back he sees a vague shape, obscured by rain.", "Every stop is an effort, but the eyes stare into the dark and\n they reveal no emotion, not even when he suddenly tenses, seeing \n something ahead.\n\n In the distance a faint light glows.", "For a moment TODD watches them.\n\n Then he starts to climb downward through the labyrinth of junk \n \"inside\" the mountain, and we...", "Light spills from other windows, some more brightly lit, as TODD \n begins to jog along the trench, gradually picking up speed, until", "Then he sees the frightened CHILDREN and orients himself. When\n he looks down at NATHAN again, tiny NATHAN is an enemy as good as \n dead. One blow and...", "Then, as RUBRICK is pushed out of view, CHURCH appears, indignant\n and panicky, as CHESLEY hustles him past.", "Lying there, barely conscious, gasping for breath, he suddenly\n sees something.\n\n Shoes! Less than a foot from his bloody face.", "Off to the right about a quarter mile away he can see a big piece\n of pipe...and a trail of smoke blowing out of the pipe and \n disappearing in the wind.", "Entering, the MAN shakes rain off his poncho. His name is\n RUBRICK, he's thirty-five, a lieutenant. He faces the two bored", "MELTON gurgles while GOINES hits him in the face.\n\n ANGLE ON MEKUM WATCHING BELOW. For the first time a frown of\n concern wrinkles his brow.", "A shape appears in the rain a hundred yards off, moves closer,\n takes the form of a runner running. It's TODD, still moving at\n the same pace, his face like stone.", "TODD drops to his belly to keep under the wind. He crawls ten\n yards to the window and pears through it.", "After a moment he turns away and lumbers off into the darkness,\n the CLANKING of his equipment the only sound in the spooky\n stillness.\n\n CUT TO:", "Then, backing against a wall, he looks up and VETERANS loom past\n him with blank faces. He is alone again.\n\n NATHAN totters onward.", "Finally he rolls over weakly and looks up.\n\n In the weak light he can just make out the steep earthen walls of\n a narrow trench looming eight feet straight up, protecting him\n from the wind howling overhead." ], [ "MACE\n Replaced?\n\n TODD hesitates for half a second before answering.\n\n TODD\n By a better soldier, sir.", "RUBRICK\n What are we supposed to do with the\n old soldiers?\n\n MEKUM\n (a shrug and a grin)\n Old soldiers never die.", "ON TODD, actually struggling with the question...\n remembering. Suddenly he blurts...\n\n TODD\n I was...replaced.", "Finally, with great effort, he pulls out a big carton that \n immediately spills old magazines on him.\n\n Disgusted, he pulls the partially full carton across the refuse-\n littered floor toward the furnaces.", "SANDRA\n Even after they made the repairs, it\n barely got off the ground, it was an\n old converted mining transport, a", "NEW SOLDIER FOUR sticks his head up from behind an old boiler and \n signals NEW SOLDIER FIVE.", "RUBRICK\n She's right! Four more casualties\n aren't gonna mean anything to\n anybody, especially when they're\n already obsolete.", "MEKUM\n Old news! They're nothing at all!\n Wait until you get these new fellas\n into some real action. I guarantee", "they've been through all kinds of\n heavy shit...and they've always got\n the job done. Now these new ones,", "They're still in the giant warehouse in the gym section among all\n sorts of ominous exercise devices. The NEW SOLDIERS and VETERANS\n are gathered in separate groups at attention, their faces like\n stone.", "All they hear is the HUM of the air system and miscellaneous\n WHITE NOISE.\n\n CHURCH and RUBRICK exchange a glance and are about to speak when\n they all hear it...", "Again RUBRICK and SLOAN exchange a glance and an eye-roll at the \n fretting old fuddy-duddy. Then SLOAN changes the subject\n brightly.", "piece of junk to start with. It\n just...dropped. Maybe you saw\n what's left of it...out there in the", "The GUNNER screams and screams and screams like a machine running\n at high speed while the two NEW SOLDIERS lie open-eyed with death\n in the back seat.\n\n EXT. CRAWLER", "The captain, CHURCH, has his feet on the desk. He's fifty years\n old, gray and fat and soft. The other officer, SLOAN, also a", "For a long moment, RUBRICK looks up at the three men dangling\n around the new soldier, then he shouts loudly at them.\n RUBRICK\n Get him, men!", "Then TODD replaces the scarf over his mouth and starts to climb\n out of the trench into the wind as we...\n\n CUT TO:", "Nothing shows on MELTON's machine-face, but he starts a slight\n motion in his chain so that he spins slowly. That way, as the \n veterans surround him, he keeps a continual eye an all three.", "effort they shove it into the blazing furnace where it is quickly \n consumed. Slowly the BURNERS turn and trudge back for another", "CHURCH\n Not only are we apparently out\n twenty of your fancy new soldiers,\n your supermen, we're out both" ], [ "TODD has turned his gaze back to the DUMPER SHIP, fascinated. So \n that's what they did to him!", "TODD is delivering a final savage blow to the prone body when a \n movement or shadow catches the corner of his eye and he whirls \n savagely to defend himself from behind --", "TODD tries to get up...but the fall has injured his leg and he\n slumps to the floor of the three-foot-wide trench, too weak and \n injured even to crawl.", "As GOINES' shoe drags over TODD's face, TODD's eyes flicker\n stupidly.\n\n Then GOINES' corpse is pulled over the edge of the bin.", "TODD's head, caked with blood, appears from the junk like a man\n looking out of a cave. Wind seizes at his hair furiously.", "TODD is crouched over MACE inside an abandoned diesel engine not\n far from the disintegrated turbine. He's making a tourniquet to", "Not far from a smoking piece of steel, WE FIND TODD'S foot\n protruding from the junk heap! It's motionless! Acid drips and \n hisses.", "TODD'S light reveals NEW SOLDIER THREE slumped in the water, his\n head askew, neck broken, eyes vacant. TODD is hastily rummaging", "TODD picks his way among collapsed walls, fallen timbers.\n\n He peers through doorways, sees CORPSES.\n\n Moves on. Searching.", "As they pass close along the trench, TODD looks in and observes\n the trench is knee deep in muddy water with rusty machine parts\n and assorted junk protruding.", "TODD blinks, fighting for consciousness. Where is he? He moves\n his head...\n\n INT. FURNACE ROOM", "Holding on for dear life, TODD looks down at the ground four\n hundred feet below and sees a bleak wasteland strewn with junk\n shifting and skittering in the wind.", "BURNERS' hands reach in and haul out another corpse, GOINES,\n dragging the body right over TODD's body.", "TODD is hurtled into the air, tossed head over heels by the wind,\n struggling, clutching at empty air in vain, buffeted, slammed to", "For a moment TODD watches them.\n\n Then he starts to climb downward through the labyrinth of junk \n \"inside\" the mountain, and we...", "The burnt furniture has been heaped in one corner of the room,\n leaving a large open space where TODD, bare-chested, a tourniquet", "Getting to his feet and finds even the breeze is dying, replaced\n by a terrible stillness.\n\n As TODD looks off into the darkness, a voice calls to him from\n the trench behind biz.", "Turning back to the dead man, TODD goes for the last item...the\n goggles. Ripping them off he reveals...", "False alarm! Just another piece of blowing junk. No sign of\n TODD.\n\n EXT. CRAWLER/JUNK TERRAIN", "MACE screams, he's hurled wildly mid-stride, tossed ten yards.\n\n TODD looks back, sees him lying on the sand, screaming in pain." ], [ "Barely conscious, TODD can just make out the astonishment on\n their blurred shadowy faces as they look down at him in", "TODD blinks, fighting for consciousness. Where is he? He moves\n his head...\n\n INT. FURNACE ROOM", "TODD'S impassive face somehow reveals the alarm and awkwardness\n he feels at what's happening to him. TOMMY is seated on his", "TODD is delivering a final savage blow to the prone body when a \n movement or shadow catches the corner of his eye and he whirls \n savagely to defend himself from behind --", "There are no soldiers...but somehow, he's trampled several rows\n of seedlings.\n\n TODD looks toward them, confused, disoriented by his \"memory.\"", "TODD tries to get up...but the fall has injured his leg and he\n slumps to the floor of the three-foot-wide trench, too weak and \n injured even to crawl.", "TODD's head, caked with blood, appears from the junk like a man\n looking out of a cave. Wind seizes at his hair furiously.", "TODD looks down. He sees a knit scarf lying on the floor. He\n doesn't understand. He looks up.", "TODD is hurtled into the air, tossed head over heels by the wind,\n struggling, clutching at empty air in vain, buffeted, slammed to", "TODD turns and looks into MACE's face. MACE's eyes are clouded\n with horror.\n\n MACE\n Why? Why?\n\n No answer.", "ANGLE ON TODD, prone on the \"roof,\" mystified. He's never seen \n anything like it. His grease-covered face barely reveals his", "TODD looks ahead again, his face revealing nothing, his legs \n maintaining the same even pace, running, running, running.\n\n Then he looks back again.", "TODD's eyes flick around the room even as he lies motionless.\n\n He sees a window high on one wall.", "Getting to his feet and finds even the breeze is dying, replaced\n by a terrible stillness.\n\n As TODD looks off into the darkness, a voice calls to him from\n the trench behind biz.", "TODD is on his back in a bed in a tiny earth-walled bedroom. He\n stares stupidly at the woman bending over him. She is SANDRA, a", "The burnt furniture has been heaped in one corner of the room,\n leaving a large open space where TODD, bare-chested, a tourniquet", "Struggling weakly to his feet, TODD staggers toward the next\n window. The MUSIC is LOUDER as he approaches -- it's waltz music \n played on an accordion.", "TODD follows his look to a long open trench leading, apparently, \n nowhere.", "TODD is loping through sheets of rain. The terrain around him \n features ghostly shells of buildings, shards of a city nearly \n invisible through the curtains of rain.", "He struggles to his feet, can't figure out where he is. He pulls\n a flashlight from his waist and shines it down the trench in both \n directions." ], [ "TODD sees NATHAN looking at his mother with fear in his eyes. \n Struggling to his feet, TODD picks up NATHAN and puts the boy\n down close to his mother.", "As NATHAN looks out, TODD works his face again, trying for a\n smile the way a weak man might try to lift a heavy weight.", "But TODD spots NATHAN trying to pull his pull toy along so the\n wings flap. NATHAN is pretty wobbly and he goes down hard and\n starts to cry.", "NATHAN is close to TODD's face, looking right into it, trying a\n little smile, a nervous one, looking for a response.", "NATHAN reads the intention successfully. His face collapses into\n a huge friendly grin.\n\n TODD tries again, making a clumsy sort of rubbery wince.", "NATHAN recognizes his \"friend,\" tries a tentative little smile.\n But TODD just stares at him, and the unformed smile fades from", "NATHAN looks into TODD's eyes with childlike interest and wonder.\n TODD meets the look with those blank soldier's eyes.\n\n INT. \"LIVING ROOM\"", "TODD hesitates a half second more, then leans down and picks\n NATHAN up in his arms, lifting the boy to his chest.\n\n RILEY looks on. Never seen anything like it.", "But TODD is as tense in her arms as steel. He can't relax. He's\n even trembling.\n\n NATHAN, on the floor, looks up, smiles innocently.", "TODD wets his lips. He seems about to answer...and yet it's\n difficult for him. He could kill a person easier.\n\n On the floor NATHAN GOOS happily, oblivious.", "NATHAN looks up with open-mouthed innocence and childlike wonder\n at TODD who looms past him, walking very cautiously with the help\n of a cane.", "SANDRA\n (nervous)\n You must be...you must be feeling\n better.\n\n TODD says nothing. His eyes flick to NATHAN.", "TODD looks down at NATHAN. Their eyes meet for a moment. TODD\n is wearing one of the heavy parkas the pioneers wear.", "TODD is just putting NATHAN gently on the floor when he sees\n CAINE 607 arrive in the doorway. For halt a second their eyes\n meet, then --", "NATHAN smiles a tentative smile, raises a hand, reaches out to\n touch TODD'S face affectionately, curiously, testing their \n friendship...", "NATHAN accepts it, thinks it's a gift. He's pleased. It's that\n kind of game! He gives TODD a friendly \"thanks for the boot\"\n smile.", "NATHAN doesn't see it; he's still trying to figure out this game.\n\n TODD pulls off his boot and hands it to NATHAN.", "A two-year-old is crawling into the room on hands and knees. The\n baby boy, NATHAN, stops just inside, seeing TODD in the bed.", "NATHAN puts his arms out to be picked up.\n\n TODD considers the outstretched arms.", "Horrified, NATHAN sees CAINE 607 smash the unconscious TODD with\n the last of his strength, \"finishing him off.\" NATHAN can't\n stand it." ], [ "Then he sees the frightened CHILDREN and orients himself. When\n he looks down at NATHAN again, tiny NATHAN is an enemy as good as \n dead. One blow and...", "SANDRA starts after him, looking worried...but before she gets to\n the door, MACE reappears with NATHAN safely in his arms.", "TODD sees NATHAN looking at his mother with fear in his eyes. \n Struggling to his feet, TODD picks up NATHAN and puts the boy\n down close to his mother.", "NATHAN starts to cry and holds his arms out to his mother as\n ELLEN hugs him and comforts him.", "Immediately SANDRA disengages from the adults and rushes to the \n sobbing NATHAN and clutches him to her breast, soothing him...and\n MACE joins her, hovering over his son.", "But TODD spots NATHAN trying to pull his pull toy along so the\n wings flap. NATHAN is pretty wobbly and he goes down hard and\n starts to cry.", "NATHAN accepts it, thinks it's a gift. He's pleased. It's that\n kind of game! He gives TODD a friendly \"thanks for the boot\"\n smile.", "into NATHAN'S face, only six inches from his own.\n\n They're all alone in the room. It's very quiet.", "NATHAN's face. For a long moment they just look each other in\n the eyes very seriously.", "NATHAN reads the intention successfully. His face collapses into\n a huge friendly grin.\n\n TODD tries again, making a clumsy sort of rubbery wince.", "NATHAN is SCREAMING in terror on the floor, ignored as SANDRA and\n CHILDREN haul the bed from the bedroom to add to the heap of", "NATHAN looks unsure. He's used to affection. Then he\n realizes... it must be a game! He reaches out again...", "MACE and SANDRA laugh, making the whole thing a game, and NATHAN, \n after a moment of confusion, joins in the laughter. It's a warm", "TODD hesitates a half second more, then leans down and picks\n NATHAN up in his arms, lifting the boy to his chest.\n\n RILEY looks on. Never seen anything like it.", "NATHAN looks up with open-mouthed innocence and childlike wonder\n at TODD who looms past him, walking very cautiously with the help\n of a cane.", "SANDRA stands there, hugging NATHAN to her chest, holding her\n tears in, her lids quivering, fighting to conquer her emotion.", "A wry laugh. She turns to put NATHAN down on the floor and\n catches TODD's eyes just as he shifts them quickly from her\n breasts.", "NATHAN doesn't understand it, it's confusing. MEN and WOMEN loom\n past him. He wobbles off down the corridor, toddling away from\n the sounds of pain.", "NATHAN recognizes his \"friend,\" tries a tentative little smile.\n But TODD just stares at him, and the unformed smile fades from", "Once standing, he looks down at NATHAN beating at his knees. For\n a moment he's confused. What's this?" ], [ "They're still in the giant warehouse in the gym section among all\n sorts of ominous exercise devices. The NEW SOLDIERS and VETERANS\n are gathered in separate groups at attention, their faces like\n stone.", "The NEW SOLDIERS sit impassively, the bleeding MELTON among them,\n staring right at the VETERANS.\n\n Not far away three dead bodies lie motionless as we...", "Separated by fifteen yards, the two groups of SOLDIERS, the NEW\n and the VETERAN, sit on the cold cement floor, staring vacantly", "The firing stops, and RILEY, his weapon empty, leaps to his feet\n and salutes RUBRICK, who's been watching the demonstration with\n the rest of the officers.", "RUBRICK\n What are we supposed to do with the\n old soldiers?\n\n MEKUM\n (a shrug and a grin)\n Old soldiers never die.", "Seven of the NEW SOLDIERS -- the three hanging on CRAWLER ONE and\n the four from CRAWLER TWO -- drop off into the stillness. One", "OLD looks down at him, and other FOUR-YEAR-OLDS gather ominously.", "The four VETERANS axe astonished at what they see.\n\n CRAWLER ONE, battered and motionless, is abandoned only ten yards \n away.", "The GUNNER screams and screams and screams like a machine running\n at high speed while the two NEW SOLDIERS lie open-eyed with death\n in the back seat.\n\n EXT. CRAWLER", "territories. All you do is set\n down, send out a patrol purely as a\n formality, then have those veterans", "For a long moment, RUBRICK looks up at the three men dangling\n around the new soldier, then he shouts loudly at them.\n RUBRICK\n Get him, men!", "MEKUM\n Old news! They're nothing at all!\n Wait until you get these new fellas\n into some real action. I guarantee", "They all look at MEKUM. Is this the chink in the armor? The new \n soldiers can't fight?", "SLOAN walks close to the line of NEW SOLDIERS and studies one,\n her eyes drifting over their muscular bodies. She breaks the\n long silence.", "Nothing shows on MELTON's machine-face, but he starts a slight\n motion in his chain so that he spins slowly. That way, as the \n veterans surround him, he keeps a continual eye an all three.", "human compared to the NEW SOLDIERS. Their battle scars mark them\n as individuals in sharp contrast to the perfectly-muscled young\n giants across from them.)", "The WIND SIGHS and a faint breeze stirs. Then a tin can skitters\n by in a puff of wind as the NEW SOLDIERS take turns moving\n closer to TODD, flanking him from safe vantage points.", "We see that RILEY and three other VETERANS -- GREEN, CHESLEY, and \n MOORE -- are struggling to maneuver the heavy bomb along the", "The flashlight beams and wavers in the darkness, catching brief\n glimpses of the faces of the NEW SOLDIERS. Their eyes glitter in\n the lurching beam, their faces are ghostly like vampires.", "NEW SOLDIER FOUR sticks his head up from behind an old boiler and \n signals NEW SOLDIER FIVE." ], [ "TODD savagely gouges out one of MELTON's eyes.\n\n ANGLE ON MEKUM, sixty feet below, enraged at the sight of\n MELTON's injury.", "MELTON gurgles while GOINES hits him in the face.\n\n ANGLE ON MEKUM WATCHING BELOW. For the first time a frown of\n concern wrinkles his brow.", "It's MEKUM who breaks the silence, SCREAMING furiously at the one-\n eyed MELTON who's still sixty feet up...\n MEKUM", "MEKUM smirks, picks up the weapon, disassembles it rapidly.\n MEKUM\n Let's make it more difficult.", "MEKUM\n Old news! They're nothing at all!\n Wait until you get these new fellas\n into some real action. I guarantee", "MEKUM\n (smug grin, to Church)\n In a minute.\n (turning back to Sloan)", "RUBRICK\n Colonel Mekum has his \"boys\"\n unpacked. I think he wants to show\n them off.\n\n CHURCH\n Hmmmmph.", "MEKUM'S IMAGE cuts out mid-babble.\n\n SLADE'S VOICE (O.S.)\n That was the boss, huh?", "MEKUM\n (to Caine 607)\n As you were, soldier.\n\n RUBRICK is looking at the electronic target, grudgingly\n impressed.", "MEKUM\n Ten miles, Melton, on the run.\n\n MELTON's face shows no expression as MEKUM continues.", "INT. OFFICERS QUARTERS - DAY\n\n MEKUM is filling his coffee cup as he speaks.", "RUBRICK and SLOAN exchange a startled glance, but MEKUM doesn't\n seem fazed as we...\n\n CUT TO:", "MEKUM\n Assemble the weapon, load, fire on\n the target from various evasive\n positions in a thirty-second period.", "MEKUM (O.S.)\n You've got sixty minutes. Go.\n\n MELTON\n Sir!", "MEKUM is standing there in a poncho.\n\n MEKUM\n Melton, Eight Five. Forward.", "MEKUM\n (fuming)\n Yeah, well, the big moron shouldn't\n have lost an eye.", "MEKUM\n WHAT GOOD IS THIS MAN NOW? WITH ONE", "MEKUM\n (a smirk)\n Not in the Caribbean. Have a good\n Christmas, guys. See you when I get\n back.", "OFFICERS look at each other again in disbelief.\n MEKUM\n Starting...now!", "Turning his back on SLOAN and RUBRICK, CHURCH approaches MEKUM\n who's still raging, indicating MELTON to the blank-faced NEW\n SOLDIERS." ], [ "A lone NURSE watches them grimly as they make their \"selections,\"\n marking the cribs of the most active, noisy BABIES with X's.\n\n CUT TO:", "It's the SQUALLING BABIES, the ones with pinched faces and tiny\n bunched fists, that seem to interest the TWO ANONYMOUS MEN in", "Then he sees the frightened CHILDREN and orients himself. When\n he looks down at NATHAN again, tiny NATHAN is an enemy as good as \n dead. One blow and...", "The gap between the floor and the trap door has increased to ten\n inches, enough for EMMA and RUTH to squeeze an INFANT through to\n SANDRA'S reaching arms.", "The BURNERS stare at the body, exchange a blank look through\n their visors, shrug and start to drag the heavy carcass toward\n the flames.", "passive boy is FOUR-YEAR-OLD TODD. The boys don't fight like \n children; they don't quit or cry as the blood flows.", "effort they shove it into the blazing furnace where it is quickly \n consumed. Slowly the BURNERS turn and trudge back for another", "This a brutal cross country run under a grim sky in bitter cold\n weather, but the SIXTEEN-YEAR-OLDS are super-fit, their faces\n hard and without expression, their eyes as cold as snake eyes.", "EXT. VAN/HOSPITAL - NIGHT\n\n ANGLE ON VAN DOORS slamming shut on a dozen squalling BABIES in\n tiered red cribs.", "Except for the STRAGGLER, a lone boy who's bringing up the rear, \n obviously in trouble, gasping for air, struggling, struggling, \n struggling to keep his feet...", "killing them.", "As the two boys make their ritual grunting noises, HAWKlNS frowns\n a worried frown, and we...\n\n CUT TO:", "His feet slash through flooding gutters and trash filled streets \n bordered by ruins as he runs smoothly, evenly, keeping a good\n pace, his breath rasping rhythmically, his eyes revealing\n nothing as we...", "Excitement, confusion. PIONEERS and CHILDREN are clogging the\n narrow, earthen corridors, shouting excitedly, hurrying outside.", "It's creepy: the same children two years older, milling about a\n bare cement room, apparently unsupervised. They ought to look", "A knife blade rips across his throat, opening it wide in one\n swift movement, and...", "NATHAN is SCREAMING in terror on the floor, ignored as SANDRA and\n CHILDREN haul the bed from the bedroom to add to the heap of", "to walk, encouraging each step. But when they let go, NATHAN\n totters forward only one step before landing flat on his ass.", "The fire is raging. The INFANT SQUALLS in SANDRA'S arms. SLADE\n snaps at her as he pushes on the beam.", "Wearing cotton shifts dyed red, blue, or yellow they're smacking\n each other violently with rag pillows and laughing happily in a \n dormitory-style full of stacked bunks.)" ], [ "A lone NURSE watches them grimly as they make their \"selections,\"\n marking the cribs of the most active, noisy BABIES with X's.\n\n CUT TO:", "This a brutal cross country run under a grim sky in bitter cold\n weather, but the SIXTEEN-YEAR-OLDS are super-fit, their faces\n hard and without expression, their eyes as cold as snake eyes.", "Behind a cyclone fence topped with curlicues of razor wire, the\n boys, now TEN-YEAR-OLDS, are marching in formation under the", "MEKUM\n Of course, age is a factor, but the\n real factor is the training program,\n especially the psychological. The", "Then he sees the frightened CHILDREN and orients himself. When\n he looks down at NATHAN again, tiny NATHAN is an enemy as good as \n dead. One blow and...", "It's creepy: the same children two years older, milling about a\n bare cement room, apparently unsupervised. They ought to look", "FOURTEEN YEAR OLDS bloody each other with pugil sticks and padded\n cudgels while they swing twenty feet above the ground. One of", "Draped in battle gear the seventeen NEW SOLDIERS obediently\n repeat the words after her, their eyes blank and sullen... \"Kill\n kill kill...\" They look like somber death machines as we...", "The FOURTEEN-YEAR-OLDS, TODD among them, jump, roll, dive, crawl,\n swim, and rappel through a brutal course featuring:\n\n vertical wooden walls,", "HAWKINS\n There in a man...one man. He was\n found in the trench by several\n children...", "TODD reaches for another seedling. He's one of a group of ten\n PIONEERS, all on their hands and knees, all working intently, \n silently. They seem to have accepted him. Nobody stares.", "WE NOTICE one of the SIX-YEAR-OLDS is becoming familiar to us.\n TODD. We NOTICE his intense eyes as he dexterously manipulates\n a puzzle.", "passive boy is FOUR-YEAR-OLD TODD. The boys don't fight like \n children; they don't quit or cry as the blood flows.", "cute, but somehow these joyless FOUR-YEAR-OLDS look slightly\n sinister, all of them wearing drab uniforms and military burr-cut", "1994\n\n WE DISCOVER in the shadows more ANONYMOUS MEN (and WOMEN), some\n of them in Military Uniforms, observing the children.", "Silhouetted by the light spilling from an open door in the trench\n wall are four children...ELLEN, ten, WILL, six, TOMMY, five, and \n JOHNNY, eight.", "The cage is in the middle of a gloomy windowless room surrounded\n by twenty TWO-YEAR-OLDS seated on folding chairs and dressed in", "RILEY, panning for the next target, holds fire, passes over two \n MOTHERS HOLDING CHILDREN, pans for a nearby SOLDIER TARGET. But", "Silent and surreal, the events of 1986 continue with the PASSIVE\n FOUR-YEAR-OLD sitting on the floor while the AGGRESSIVE FOUR-YEAR-", "Terrified, wide-eyed CHILDREN watch TODD hurled back across the\n room.\n\n TODD scrambles to his feet, shakes his head clear." ], [ "As CAINE 607 looks up into TODD's fierce face, the fight goes out\n of his eyes. He knows he's beaten, he knows TODD will never", "This time it's CAINE 607 who has to back away to recover. And\n now he seems to re-consider TODD, revealing for the first time a \n genuine respect.", "SNAP! TODD breaks CAINE 607's neck and watches the life go out\n of him.", "Horrified, NATHAN sees CAINE 607 smash the unconscious TODD with\n the last of his strength, \"finishing him off.\" NATHAN can't\n stand it.", "He toddles toward CAINE 607, who's still on all fours, and\n attacks, his tiny fists raining blows on the amazed monster's\n bloody face.", "But just then big hands close around CAINE 607's ankles, tackling\n him. As the giant topples, TODD lets go of the ankles and crawls\n on top of the fallen man.", "WHUMP! TODD's bloodied head is slammed on the floor. His eyes\n are almost swollen shut as he looks up at CAINE 607 kneeling on", "The terrified CHILDREN watch as the giant CAINE 607 clubs TODD \n mercilessly with the rifle butt, then hurls him backwards like a\n rag doll.", "Here comes CAINE 607, dragging his bad leg.\n\n TODD attacks! Combining a martial arts feint and lunge with a\n vicious kick!", "TODD is just putting NATHAN gently on the floor when he sees\n CAINE 607 arrive in the doorway. For halt a second their eyes\n meet, then --", "SMACK! CAINE 607 outmaneuvers TODD again, punishing him\n brutally.", "TODD is delivering a final savage blow to the prone body when a \n movement or shadow catches the corner of his eye and he whirls \n savagely to defend himself from behind --", "Vaguely, TODD sees CAINE 607 parry her thrust effortlessly and\n grab her. As she beats at CAINE 607 bravely with her fists, the", "top of him. Both men are bloody and exhausted their breath\n coming in gasps, but it's CAINE 607 who's on top, beating the", "And CAINE 607 clubs him to the ground with the butt of the rifle, \n crushes his skull with three brutal blows.\n\n INT. ROOM", "SMASH! CAINE 607 creams him.\n\n TODD twists, slams CAINE 607 back.\n\n BASH! A fist to the face!", "quit. He's helpless as TODD grips him in a terrible hold and as\n TODD puts the pressure on, CAINE 607 whispers...", "CAINE 607\n It hurts!\n\n TODD\n (sympathetic)\n I know.", "CAINE 607 only flinches... and, as he YANKS the knife from his\n neck by the handle, he turns to see who threw the blade...", "is bigger and stronger than TODD. His powerful arms rip TODD off\n him like he's taking off a Band-Aid." ], [ "NATHAN looks up with open-mouthed innocence and childlike wonder\n at TODD who looms past him, walking very cautiously with the help\n of a cane.", "Then he sees the frightened CHILDREN and orients himself. When\n he looks down at NATHAN again, tiny NATHAN is an enemy as good as \n dead. One blow and...", "As NATHAN looks out, TODD works his face again, trying for a\n smile the way a weak man might try to lift a heavy weight.", "NATHAN reads the intention successfully. His face collapses into\n a huge friendly grin.\n\n TODD tries again, making a clumsy sort of rubbery wince.", "But TODD spots NATHAN trying to pull his pull toy along so the\n wings flap. NATHAN is pretty wobbly and he goes down hard and\n starts to cry.", "NATHAN accepts it, thinks it's a gift. He's pleased. It's that\n kind of game! He gives TODD a friendly \"thanks for the boot\"\n smile.", "NATHAN's face. For a long moment they just look each other in\n the eyes very seriously.", "NATHAN looks unsure. He's used to affection. Then he\n realizes... it must be a game! He reaches out again...", "NATHAN wobbles into the meeting room doorway and stops there,\n staring.", "NATHAN is wobbling forward with wide eyes as MACE holds one of\n his hands and SANDRA holds the other. They're teaching the child", "NATHAN is close to TODD's face, looking right into it, trying a\n little smile, a nervous one, looking for a response.", "NATHAN recognizes his \"friend,\" tries a tentative little smile.\n But TODD just stares at him, and the unformed smile fades from", "Then, backing against a wall, he looks up and VETERANS loom past\n him with blank faces. He is alone again.\n\n NATHAN totters onward.", "into NATHAN'S face, only six inches from his own.\n\n They're all alone in the room. It's very quiet.", "NATHAN smiles a tentative smile, raises a hand, reaches out to\n touch TODD'S face affectionately, curiously, testing their \n friendship...", "Once standing, he looks down at NATHAN beating at his knees. For\n a moment he's confused. What's this?", "NATHAN doesn't understand it, it's confusing. MEN and WOMEN loom\n past him. He wobbles off down the corridor, toddling away from\n the sounds of pain.", "to walk, encouraging each step. But when they let go, NATHAN\n totters forward only one step before landing flat on his ass.", "NATHAN doesn't see it; he's still trying to figure out this game.\n\n TODD pulls off his boot and hands it to NATHAN.", "NATHAN looks into TODD's eyes with childlike interest and wonder.\n TODD meets the look with those blank soldier's eyes.\n\n INT. \"LIVING ROOM\"" ], [ "TODD sees NATHAN looking at his mother with fear in his eyes. \n Struggling to his feet, TODD picks up NATHAN and puts the boy\n down close to his mother.", "As NATHAN looks out, TODD works his face again, trying for a\n smile the way a weak man might try to lift a heavy weight.", "But TODD spots NATHAN trying to pull his pull toy along so the\n wings flap. NATHAN is pretty wobbly and he goes down hard and\n starts to cry.", "TODD hesitates a half second more, then leans down and picks\n NATHAN up in his arms, lifting the boy to his chest.\n\n RILEY looks on. Never seen anything like it.", "NATHAN is close to TODD's face, looking right into it, trying a\n little smile, a nervous one, looking for a response.", "NATHAN looks into TODD's eyes with childlike interest and wonder.\n TODD meets the look with those blank soldier's eyes.\n\n INT. \"LIVING ROOM\"", "But TODD is as tense in her arms as steel. He can't relax. He's\n even trembling.\n\n NATHAN, on the floor, looks up, smiles innocently.", "NATHAN reads the intention successfully. His face collapses into\n a huge friendly grin.\n\n TODD tries again, making a clumsy sort of rubbery wince.", "NATHAN looks up with open-mouthed innocence and childlike wonder\n at TODD who looms past him, walking very cautiously with the help\n of a cane.", "TODD is carefully following her example, cutting the stalks away\n with the knife.\n\n NATHAN is tottering across the floor an a beginner's wobbly legs.", "TODD looks down at NATHAN. Their eyes meet for a moment. TODD\n is wearing one of the heavy parkas the pioneers wear.", "NATHAN recognizes his \"friend,\" tries a tentative little smile.\n But TODD just stares at him, and the unformed smile fades from", "A two-year-old is crawling into the room on hands and knees. The\n baby boy, NATHAN, stops just inside, seeing TODD in the bed.", "TODD wets his lips. He seems about to answer...and yet it's\n difficult for him. He could kill a person easier.\n\n On the floor NATHAN GOOS happily, oblivious.", "NATHAN smiles a tentative smile, raises a hand, reaches out to\n touch TODD'S face affectionately, curiously, testing their \n friendship...", "NATHAN accepts it, thinks it's a gift. He's pleased. It's that\n kind of game! He gives TODD a friendly \"thanks for the boot\"\n smile.", "NATHAN puts his arms out to be picked up.\n\n TODD considers the outstretched arms.", "Tiny NATHAN is looking up at TODD who's towering over him.\n\n TODD looks down without expression, the scarf from Jimmy Pig\n still wrapped around his neck.", "SANDRA\n (nervous)\n You must be...you must be feeling\n better.\n\n TODD says nothing. His eyes flick to NATHAN.", "TODD is just putting NATHAN gently on the floor when he sees\n CAINE 607 arrive in the doorway. For halt a second their eyes\n meet, then --" ], [ "TODD looks at her for a long moment, his face a mask, before he\n nods almost imperceptibly. Her eyes are full of tears.", "TODD hesitates, takes a breath, moves the muscles of his face.\n\n All he can produce is an awkward grimace, the distortion of a\n smile, almost comical.", "TODD looks like a stone statue oozing tears. He reaches up and \n touches the strange water with his finger, then studies the", "TODD'S impassive face somehow reveals the alarm and awkwardness\n he feels at what's happening to him. TOMMY is seated on his", "TODD sees NATHAN looking at his mother with fear in his eyes. \n Struggling to his feet, TODD picks up NATHAN and puts the boy\n down close to his mother.", "CLOSE ON TODD, his stone face. What does he see? What does he\n feel? Anything? A mystery!\n\n CUT TO:", "and smudged, his uniform torn and stained with blood, TODD\n reveals nothing on his stone face. But he's clearly", "But TODD is as tense in her arms as steel. He can't relax. He's\n even trembling.\n\n NATHAN, on the floor, looks up, smiles innocently.", "TODD is delivering a final savage blow to the prone body when a \n movement or shadow catches the corner of his eye and he whirls \n savagely to defend himself from behind --", "TODD looks ahead again, his face revealing nothing, his legs \n maintaining the same even pace, running, running, running.\n\n Then he looks back again.", "Nothing shows in TODD's eyes...but affection seems to fascinate\n him.", "As NATHAN looks out, TODD works his face again, trying for a\n smile the way a weak man might try to lift a heavy weight.", "TODD\n Always. It makes us...alert.\n\n SANDRA is overwhelmed. She reaches for him, hugs him to her\n breast like a little baby, holding him.", "TODD hesitates a half second more, then leans down and picks\n NATHAN up in his arms, lifting the boy to his chest.\n\n RILEY looks on. Never seen anything like it.", "TODD turns and looks into MACE's face. MACE's eyes are clouded\n with horror.\n\n MACE\n Why? Why?\n\n No answer.", "Does TODD understand her gesture? His face is impassive. Maybe\n he doesn't. Just then a hand touches his shoulder.", "TODD'S face is as impassive as ever while his eyes caress the\n shape of her body...and she, unaware, continues to reminisce.", "But TODD spots NATHAN trying to pull his pull toy along so the\n wings flap. NATHAN is pretty wobbly and he goes down hard and\n starts to cry.", "TODD tries to get up...but the fall has injured his leg and he\n slumps to the floor of the three-foot-wide trench, too weak and \n injured even to crawl.", "A one-eyed soldier. The dead man staring up at him is MELTON.\n\n For just a moment TODD stares into the dead face, revealing\n nothing of how he feels, as we..." ], [ "SANDRA starts after him, looking worried...but before she gets to\n the door, MACE reappears with NATHAN safely in his arms.", "TODD looks up to see MACE standing on the snake, reaching down\n for NATHAN. As MACE hugs the boy protectively to his chest, he\n glares down at TODD with eyes blazing with fury.", "SANDRA sits up in bad, looking around, alarmed.\n\n MACE is holding NATHAN, staring down at the VIPER.", "We all want to do the decent thing.\n The decent thing is to help him.\n Mace's wife, Sandra, is looking", "MACE is wearing his parka, pulling on his eye protectors\n hurriedly as he opens the door to the corridor. SANDRA's voice\n makes him stop and turn to her.", "MACE and SANDRA are lying awake in the bed in darkness. For a\n long moment they're both silent with the silence that comes in a\n heavy moment in a conversation. Then MACE speaks, his eyes on\n the ceiling.", "MACE never even realizes how much danger he was in.\n\n CUT TO:\n\n INT. OTHER ROOM - DAY - A LITTLE LATER", "MACE\n Oh, my God. They won't...they\n won't...? Not Sandra! Not...\n not...Nathan!", "MACE screams, he's hurled wildly mid-stride, tossed ten yards.\n\n TODD looks back, sees him lying on the sand, screaming in pain.", "Immediately SANDRA disengages from the adults and rushes to the \n sobbing NATHAN and clutches him to her breast, soothing him...and\n MACE joins her, hovering over his son.", "MACE and SANDRA laugh, making the whole thing a game, and NATHAN, \n after a moment of confusion, joins in the laughter. It's a warm", "The VIPER has up the ghost, lying on the floor.\n\n MACE hugs NATHAN to him and looks toward SANDRA. They both look\n at the boot. And at the dead VIPER.", "SANDRA\n This way...\n\n MACE gives her a wave. He waves at TODD too. TODD looks\n confused at the wave, then he salutes.", "They look like a strange four-footed beast as TODD drags him\n through the wind in an awkward \"embrace\" toward the cable.\n\n Once MACE has the cable in his hands, he laughs and gasps...", "MACE and SANDRA lock eyes in firm understanding as we...\n\n CUT TO:\n\n INT. WAR SHIP - \"DAY\"", "MACE is startled by that. He sort of grins as we...\n\n CUT TO:\n\n EXT. GARDEN - DAY - LATER", "MACE is screaming. His right leg is gone.\n\n TODD gets him, drags him, stumbles.\n\n WHOOM! Another SHOT, another miss.", "A heavy silence, then...\n\n SANDRA\n Are you afraid of him, Mace?\n\n MACE stares at the ceiling and speaks with difficult honesty.", "SANDRA flips the still wriggling thing aside and wipes her trowel \n clean in the dirt as TODD watches with those blank snake eyes of\n his.", "SANDRA\n We'll have to sleep on the floor.\n\n MACE\n (suddenly alarmed)\n Where's Nathan?" ], [ "The captain, CHURCH, has his feet on the desk. He's fifty years\n old, gray and fat and soft. The other officer, SLOAN, also a", "As SLOAN and CHURCH are shoved out the hatch, they see RUBRICK\n blown off into the night, screaming.", "CHURCH gets up noisily from the navigation cubicle and joins\n them, shaking his head.\n\n CHURCH\n Next one's going to be a real pain\n in the ass.", "Then, as RUBRICK is pushed out of view, CHURCH appears, indignant\n and panicky, as CHESLEY hustles him past.", "CHURCH\n (sharply, to Sloan)\n At ease, Lieutenant.\n (turning to Mekum,\n serious)\n What if they fought?", "CHURCH bumps madly along the ground on his belly.\n\n EXT. SPACESHIP/\"DADDY\"", "CHURCH\n (sharply)\n Absolutely not. Those bastards are\n just waiting in there for us. No", "Silence. CHURCH is dozing fully clothed on his bunk in a tiny\n stateroom.\n\n BZZZZT. BZZZZT! A buzzer sounds and a light flashes.", "RUBRICK turns to CHURCH who's standing in the cramped cockpit,\n staring out a window at the gloomy planet outside, watching the \n CRAWLER creep over the terrain.", "CHURCH\n It may not be heroic, and we may\n waste some ammo, but by God we'll\n get the job done.\n\n CUT TO:", "CHURCH\n Not only are we apparently out\n twenty of your fancy new soldiers,\n your supermen, we're out both", "CHURCH hesitates. SLOAN and RUBRICK look at him. Then CHURCH\n blurts a question, his voice breaking...", "CHURCH and SLOAN are hunched desperately over the bomb in near\n darkness, the wind tearing at them. SLOAN tries to punch a code\n into the keys...", "As RUBRICK and CHURCH watch, the four VETS stagger into the\n darkness with the bomb, RUBRICK has to shout to CHURCH to be\n heard over the wind outside.", "CHURCH\n (to Rubrick)\n Go ahead, Rube. Tell Todd to take\n him.\n MEKUM\n No!", "CHURCH is punching buttons on the control console, causing lights\n to light up reading \"Port Power Cluster,\" \"Starboard Power\n Cluster,\" \"Vertical Stabilizer Unit,\" and so on.", "CHURCH has been staring out the window into the pouring rain. He \n turns to MEKUM and interrupts.", "And CAINE 607 clubs him to the ground with the butt of the rifle, \n crushes his skull with three brutal blows.\n\n INT. ROOM", "CHURCH\n Oh, I wouldn't worry about that.\n \"Training accident.\" Paperwork.\n\n SLOAN\n What about the bodies?", "CHURCH glances at TODD's corpse dumped over ROMERO's broken body,\n tries to assuage him." ], [ "The countdown timer on the bomb is faintly visible in the dying\n light. It reads twenty seconds.\n\n CHURCH (V.O.)\n Twenty seconds. Hurry.", "CHURCH and SLOAN are hunched desperately over the bomb in near\n darkness, the wind tearing at them. SLOAN tries to punch a code\n into the keys...", "Carrying the heavy bomb in a sling, RILEY, CHESLEY, MOORE, and\n GREEN stagger past the work-lights into the darkness while the", "CHURCH\n THERE IT IS! I SEE IT!\n\n The bomb is clearly visible ten yards away in the dying glow of\n the takeoff.", "BAWHOOM! The whole edge of the trench explodes, dirt flies, and\n CHESTER is hurled backwards, dead.\n\n PIONEERS are screaming and running wildly down the trenches...", "As RUBRICK and CHURCH watch, the four VETS stagger into the\n darkness with the bomb, RUBRICK has to shout to CHURCH to be\n heard over the wind outside.", "As SLOAN and CHURCH are shoved out the hatch, they see RUBRICK\n blown off into the night, screaming.", "The GUNNER screams and screams and screams like a machine running\n at high speed while the two NEW SOLDIERS lie open-eyed with death\n in the back seat.\n\n EXT. CRAWLER", "BAWHOOM! The area where they disappeared EXPLODES, chunks of \n steel fly.\n\n TODD keeps pulling MACE, who looks half dead as...", "WHOOOOSH! RED and SALLY see SINGH incinerated before their eyes.", "Then he sees the frightened CHILDREN and orients himself. When\n he looks down at NATHAN again, tiny NATHAN is an enemy as good as \n dead. One blow and...", "CRUDE LETTERS scrawled on the metal skin of the bomb say \"LOVE\n FROM DADDY.\"\n\n The heavy bomb is lugged along a long narrow corridor.", "We see that RILEY and three other VETERANS -- GREEN, CHESLEY, and \n MOORE -- are struggling to maneuver the heavy bomb along the", "The NAF ship \"Daddy\" climbs off into space, getting smaller and\n smaller, the light from the takeoff diminishing.\n EXT. THE BOMB/TERRAIN", "RUBRICK\n Listen, you don't understand! That\n bomb is triggered! It's on a timer!", "BAWHOOM, the grenade goes off and, bleeding from his arm, TODD\n swings into the corridor and follows the grenade with three quick \n rocket shots.\n\n INT. CORRIDOR", "All they hear is the HUM of the air system and miscellaneous\n WHITE NOISE.\n\n CHURCH and RUBRICK exchange a glance and are about to speak when\n they all hear it...", "Gripping the wire for his life, he turns just in time to be \n decapitated by a piece of aluminum housing flying through the\n air.\n\n EXT. TERRAIN", "The BURNERS, silhouetted by flames, feed GOINES' body to the\n furnace.\n\n CLOSE ON THE FLAMES as GOINES' body is consumed by raging\n flames.", "Darkness! Buffeted by the wind, RILEY and his COMPANIONS lower\n the bomb to the ground and release it gently. They're just" ], [ "TODD sees NATHAN looking at his mother with fear in his eyes. \n Struggling to his feet, TODD picks up NATHAN and puts the boy\n down close to his mother.", "TODD hesitates a half second more, then leans down and picks\n NATHAN up in his arms, lifting the boy to his chest.\n\n RILEY looks on. Never seen anything like it.", "TODD is on his back in a bed in a tiny earth-walled bedroom. He\n stares stupidly at the woman bending over him. She is SANDRA, a", "But TODD spots NATHAN trying to pull his pull toy along so the\n wings flap. NATHAN is pretty wobbly and he goes down hard and\n starts to cry.", "As ELLEN and her cohorts hurry off with NATHAN, they sneak over-\n the-shoulder glances at the strange monster, TODD.", "TODD is just putting NATHAN gently on the floor when he sees\n CAINE 607 arrive in the doorway. For halt a second their eyes\n meet, then --", "TODD looks down. He sees a knit scarf lying on the floor. He\n doesn't understand. He looks up.", "TODD watches the FIGURE moving among bits of junk until he\n locates something he wants, picks it up, and starts to struggle\n back toward the others, dragging his burden after him.", "TODD looks at her for a long moment, his face a mask, before he\n nods almost imperceptibly. Her eyes are full of tears.", "NATHAN puts his arms out to be picked up.\n\n TODD considers the outstretched arms.", "TODD looks ahead again, his face revealing nothing, his legs \n maintaining the same even pace, running, running, running.\n\n Then he looks back again.", "TODD is delivering a final savage blow to the prone body when a \n movement or shadow catches the corner of his eye and he whirls \n savagely to defend himself from behind --", "TODD looks down at NATHAN. Their eyes meet for a moment. TODD\n is wearing one of the heavy parkas the pioneers wear.", "TODD's head, caked with blood, appears from the junk like a man\n looking out of a cave. Wind seizes at his hair furiously.", "But TODD is as tense in her arms as steel. He can't relax. He's\n even trembling.\n\n NATHAN, on the floor, looks up, smiles innocently.", "Does TODD understand her gesture? His face is impassive. Maybe\n he doesn't. Just then a hand touches his shoulder.", "A two-year-old is crawling into the room on hands and knees. The\n baby boy, NATHAN, stops just inside, seeing TODD in the bed.", "TODD reaches for another seedling. He's one of a group of ten\n PIONEERS, all on their hands and knees, all working intently, \n silently. They seem to have accepted him. Nobody stares.", "TODD is carefully following her example, cutting the stalks away\n with the knife.\n\n NATHAN is tottering across the floor an a beginner's wobbly legs.", "As TODD eyes her (and everybody else) warily, she gives him a\n peck on the cheek and points over head." ], [ "A lone NURSE watches them grimly as they make their \"selections,\"\n marking the cribs of the most active, noisy BABIES with X's.\n\n CUT TO:", "Then he sees the frightened CHILDREN and orients himself. When\n he looks down at NATHAN again, tiny NATHAN is an enemy as good as \n dead. One blow and...", "Draped in battle gear the seventeen NEW SOLDIERS obediently\n repeat the words after her, their eyes blank and sullen... \"Kill\n kill kill...\" They look like somber death machines as we...", "This a brutal cross country run under a grim sky in bitter cold\n weather, but the SIXTEEN-YEAR-OLDS are super-fit, their faces\n hard and without expression, their eyes as cold as snake eyes.", "They're still in the giant warehouse in the gym section among all\n sorts of ominous exercise devices. The NEW SOLDIERS and VETERANS\n are gathered in separate groups at attention, their faces like\n stone.", "Or a bullet! They're trained,\n they're killing machines. They got\n an objective and they go after that\n objective and nothing stops them but", "It's creepy: the same children two years older, milling about a\n bare cement room, apparently unsupervised. They ought to look", "Behind a cyclone fence topped with curlicues of razor wire, the\n boys, now TEN-YEAR-OLDS, are marching in formation under the", "unscarred musculature. He looks straight ahead, unblinking, and\n so does the one next to him, and the next one. Twenty of them", "passive boy is FOUR-YEAR-OLD TODD. The boys don't fight like \n children; they don't quit or cry as the blood flows.", "The BURNERS stare at the body, exchange a blank look through\n their visors, shrug and start to drag the heavy carcass toward\n the flames.", "cute, but somehow these joyless FOUR-YEAR-OLDS look slightly\n sinister, all of them wearing drab uniforms and military burr-cut", "Separated by fifteen yards, the two groups of SOLDIERS, the NEW\n and the VETERAN, sit on the cold cement floor, staring vacantly", "They all look at MEKUM. Is this the chink in the armor? The new \n soldiers can't fight?", "The GUNNER screams and screams and screams like a machine running\n at high speed while the two NEW SOLDIERS lie open-eyed with death\n in the back seat.\n\n EXT. CRAWLER", "The terrified CHILDREN watch as the giant CAINE 607 clubs TODD \n mercilessly with the rifle butt, then hurls him backwards like a\n rag doll.", "The frightened CHILDREN see CAINE 607 ignore NATHAN's ineffectual\n blows and struggle with enormous effort to his feet.", "It's the SQUALLING BABIES, the ones with pinched faces and tiny\n bunched fists, that seem to interest the TWO ANONYMOUS MEN in", "RILEY, panning for the next target, holds fire, passes over two \n MOTHERS HOLDING CHILDREN, pans for a nearby SOLDIER TARGET. But", "As the two boys make their ritual grunting noises, HAWKlNS frowns\n a worried frown, and we...\n\n CUT TO:" ], [ "As CAINE 607 looks up into TODD's fierce face, the fight goes out\n of his eyes. He knows he's beaten, he knows TODD will never", "Horrified, NATHAN sees CAINE 607 smash the unconscious TODD with\n the last of his strength, \"finishing him off.\" NATHAN can't\n stand it.", "This time it's CAINE 607 who has to back away to recover. And\n now he seems to re-consider TODD, revealing for the first time a \n genuine respect.", "TODD is delivering a final savage blow to the prone body when a \n movement or shadow catches the corner of his eye and he whirls \n savagely to defend himself from behind --", "TODD is just putting NATHAN gently on the floor when he sees\n CAINE 607 arrive in the doorway. For halt a second their eyes\n meet, then --", "SNAP! TODD breaks CAINE 607's neck and watches the life go out\n of him.", "TODD turns and sees SANDRA slumped against the wall where Caine\n 607 threw her. There's a trickle of blood coming from a nostril,", "WHUMP! TODD's bloodied head is slammed on the floor. His eyes\n are almost swollen shut as he looks up at CAINE 607 kneeling on", "The terrified CHILDREN watch as the giant CAINE 607 clubs TODD \n mercilessly with the rifle butt, then hurls him backwards like a\n rag doll.", "Here comes CAINE 607, dragging his bad leg.\n\n TODD attacks! Combining a martial arts feint and lunge with a\n vicious kick!", "quit. He's helpless as TODD grips him in a terrible hold and as\n TODD puts the pressure on, CAINE 607 whispers...", "And CAINE 607 clubs him to the ground with the butt of the rifle, \n crushes his skull with three brutal blows.\n\n INT. ROOM", "But just then big hands close around CAINE 607's ankles, tackling\n him. As the giant topples, TODD lets go of the ankles and crawls\n on top of the fallen man.", "CAINE 607\n It hurts!\n\n TODD\n (sympathetic)\n I know.", "He toddles toward CAINE 607, who's still on all fours, and\n attacks, his tiny fists raining blows on the amazed monster's\n bloody face.", "As TODD's huge hand opens...and closes, their eyes are on it. He \n could pick up the table and hurl it at them, break men in half", "Vaguely, TODD sees CAINE 607 parry her thrust effortlessly and\n grab her. As she beats at CAINE 607 bravely with her fists, the", "Horrified, SANDRA sees TODD slam into a wall, slump to the floor.\n\n Dismissing TODD, CAINE 607 turns, looms toward the CHILDREN.", "He looks back at her, right into her eyes this time.\n\n TODD\n I am going to kill them all, sir.\n\n CUT TO:", "SMACK! CAINE 607 outmaneuvers TODD again, punishing him\n brutally." ], [ "Backing, RED trips, goes down flat on his back.\n\n CAINE 607, only six feet away, hurls the door at him.", "And CAINE 607 clubs him to the ground with the butt of the rifle, \n crushes his skull with three brutal blows.\n\n INT. ROOM", "But just then big hands close around CAINE 607's ankles, tackling\n him. As the giant topples, TODD lets go of the ankles and crawls\n on top of the fallen man.", "Gripping the wire for his life, he turns just in time to be \n decapitated by a piece of aluminum housing flying through the\n air.\n\n EXT. TERRAIN", "Air goes out of CAINE 607, the knife drops from his hand.", "body. To no avail! He's suddenly airborne, his legs still\n churning like cartoon legs as he flaps helplessly at the end of", "TODD is just putting NATHAN gently on the floor when he sees\n CAINE 607 arrive in the doorway. For halt a second their eyes\n meet, then --", "Lying there, barely conscious, gasping for breath, he suddenly\n sees something.\n\n Shoes! Less than a foot from his bloody face.", "Then the wind dies enough for him to get both hands on the wire\n and get weakly to his feet. For a moment he looks like he might \n collapse, but he doesn't, and we...", "Before RED can pull the trigger, CAINE 607 snatches the rifle\n barrel and yanks the weapon out of RED'S hands.\n\n RED rolls, scrambles to his feet.", "He toddles toward CAINE 607, who's still on all fours, and\n attacks, his tiny fists raining blows on the amazed monster's\n bloody face.", "Two tiny FIGURES in the distance on a long cable.\n\n The driver is the beady-eyed giant, CAINE 607. Reacting to what\n he see, he adjusts the vehicle to the right.", "MELTON gasps, then grabs GOINES by the neck with one hand, rips\n him from the chain, and sends him plunging violently downward\n even as...", "top of him. Both men are bloody and exhausted their breath\n coming in gasps, but it's CAINE 607 who's on top, beating the", "TODD is delivering a final savage blow to the prone body when a \n movement or shadow catches the corner of his eye and he whirls \n savagely to defend himself from behind --", "CAINE 607 only flinches... and, as he YANKS the knife from his\n neck by the handle, he turns to see who threw the blade...", "Looking up, RED looks right into the distorted face of CAINE 607.\n\n Before RED can react, CAINE 607'S hand shoots out and snatches\n one of the axes.", "Plunging downward, TODD grabs wildly at the chain and catches it\n ...but he keeps falling, the chain ripping flesh from his hand\n for twenty feet until...", "Sitting up now, using a flashlight, CAINE 607 is examining a\n terrible gash in his thigh that reveals tissue and tendon. The", "WHUMP! TODD's bloodied head is slammed on the floor. His eyes\n are almost swollen shut as he looks up at CAINE 607 kneeling on" ], [ "TODD is on his back in a bed in a tiny earth-walled bedroom. He\n stares stupidly at the woman bending over him. She is SANDRA, a", "TODD is delivering a final savage blow to the prone body when a \n movement or shadow catches the corner of his eye and he whirls \n savagely to defend himself from behind --", "TODD sees NATHAN looking at his mother with fear in his eyes. \n Struggling to his feet, TODD picks up NATHAN and puts the boy\n down close to his mother.", "TODD drops to his belly to keep under the wind. He crawls ten\n yards to the window and pears through it.", "TODD is loping through sheets of rain. The terrain around him \n features ghostly shells of buildings, shards of a city nearly \n invisible through the curtains of rain.", "TODD looks at her for a long moment, his face a mask, before he\n nods almost imperceptibly. Her eyes are full of tears.", "TODD looks ahead again, his face revealing nothing, his legs \n maintaining the same even pace, running, running, running.\n\n Then he looks back again.", "TODD's head, caked with blood, appears from the junk like a man\n looking out of a cave. Wind seizes at his hair furiously.", "TODD struggles for cover, staggering in the wind with MACE on his \n back.\n\n INT. CRAWLER", "TODD tries to get up...but the fall has injured his leg and he\n slumps to the floor of the three-foot-wide trench, too weak and \n injured even to crawl.", "TODD\n Always. It makes us...alert.\n\n SANDRA is overwhelmed. She reaches for him, hugs him to her\n breast like a little baby, holding him.", "TODD is carefully patting the next seedling in the ground when\n something causes him to look up.", "Protected by a hunk of pipe, TODD crouches and watches the\n CRAWLER, his eyes glittering, his weapon ready. It's clear now\n that the tables are turned and he is the hunter as we...", "TODD reaches for another seedling. He's one of a group of ten\n PIONEERS, all on their hands and knees, all working intently, \n silently. They seem to have accepted him. Nobody stares.", "Does TODD understand her gesture? His face is impassive. Maybe\n he doesn't. Just then a hand touches his shoulder.", "At ground level now, TODD is watching them, crouched behind a\n massive transformer that teeters slightly in the wind in spite of\n its great bulk.", "TODD is wrapped in a heavy parka, his mouth wrapped with the\n scarf JIMMY PIG knit, his eyes covered with eye protectors as\n MACE hands him another sack in addition to the one already over\n his shoulder.", "TODD reaches the settlement, enters a half collapsed doorway.\n\n INT. SUPPLY ROOM", "TODD looks into her eyes. It is impossible to tell if he knows\n that she cares about him and that she is blessing him.", "Breathing steadily, raspily, TODD lopes through the rain.\n Something makes him glance back over his shoulder.\n\n Thirty yards back he sees a vague shape, obscured by rain." ], [ "MACE and SANDRA are lying awake in the bed in darkness. For a\n long moment they're both silent with the silence that comes in a\n heavy moment in a conversation. Then MACE speaks, his eyes on\n the ceiling.", "A heavy silence, then...\n\n SANDRA\n Are you afraid of him, Mace?\n\n MACE stares at the ceiling and speaks with difficult honesty.", "They're both silent for a long moment. MACE has something\n weighing on his mind that he hesitates to say...but finally he\n says it.", "MACE is wearing his parka, pulling on his eye protectors\n hurriedly as he opens the door to the corridor. SANDRA's voice\n makes him stop and turn to her.", "MACE is startled to see TODD pull the scarf from his mouth to\n speak. He's never spoken before unless spoken to.", "SANDRA starts after him, looking worried...but before she gets to\n the door, MACE reappears with NATHAN safely in his arms.", "MACE\n Oh, my God. They won't...they\n won't...? Not Sandra! Not...\n not...Nathan!", "We all want to do the decent thing.\n The decent thing is to help him.\n Mace's wife, Sandra, is looking", "MACE\n Sandra said she told you how we\n wound up here. Our parents and so\n on.", "SANDRA\n (nervously filling silence)\n He's late learning. He was sick for\n a long time.", "Immediately SANDRA disengages from the adults and rushes to the \n sobbing NATHAN and clutches him to her breast, soothing him...and\n MACE joins her, hovering over his son.", "SANDRA\n We'll have to sleep on the floor.\n\n MACE\n (suddenly alarmed)\n Where's Nathan?", "A second tiny room next to the bedroom is the rest of the\n Mace/Sandra/Nathan living quarters. MACE and SANDRA are deep in \n conversation.", "SANDRA\n (nervous)\n You must be...you must be feeling\n better.\n\n TODD says nothing. His eyes flick to NATHAN.", "SANDRA\n He told me he's afraid.\n\n MACE\n Maybe he is. It doesn't matter.", "MACE\n There's going to be a meeting.\n People are upset about him.\n\n SANDRA\n He's not fully recovered.", "MACE screams, he's hurled wildly mid-stride, tossed ten yards.\n\n TODD looks back, sees him lying on the sand, screaming in pain.", "SANDRA\n This way...\n\n MACE gives her a wave. He waves at TODD too. TODD looks\n confused at the wave, then he salutes.", "MACE\n I've caught him..sneaking looks at\n you. At your body.\n\n SANDRA\n I know.", "SANDRA\n My husband...Mace...he went out to\n look for you. He...found you,\n didn't he?" ], [ "TODD\n (at last)\n Fear.", "TODD sees NATHAN looking at his mother with fear in his eyes. \n Struggling to his feet, TODD picks up NATHAN and puts the boy\n down close to his mother.", "TODD\n Fear.\n\n SANDRA\n (amazed)\n Now?\n\n TODD\n Always.", "The PIONEERS are nervous, ready for trouble, afraid TODD might\n take this badly and fly off the handle.", "TODD reaches for another seedling. He's one of a group of ten\n PIONEERS, all on their hands and knees, all working intently, \n silently. They seem to have accepted him. Nobody stares.", "TODD turns to see JOHNNY face him, trembling but valiant, to ask\n the question the others are fearful of asking.", "TODD is delivering a final savage blow to the prone body when a \n movement or shadow catches the corner of his eye and he whirls \n savagely to defend himself from behind --", "As TODD's huge hand opens...and closes, their eyes are on it. He \n could pick up the table and hurl it at them, break men in half", "TODD looks at her. This is incredibly difficult for him, like \n physical labor. He wets his lips and take a breath.\n\n TODD\n Fear and...discipline.", "But all the PIONEERS are gathering around TODD in such a jovial\n manner that the puzzled soldier sort of understands this isn't an\n attack.\n\n CUT TO:", "TODD looks ahead again, his face revealing nothing, his legs \n maintaining the same even pace, running, running, running.\n\n Then he looks back again.", "TODD sees all the CHILDREN looking at him, their eyes big with\n hope and fear as we...\n\n CUT TO:\n\n INT. DINING COMMONS", "ANGLE ON MACE and the other PIONEERS reacting with alarm at the\n sight of TODD picking up the rifle.\n\n ANGLE ON TODD as he turns, rifle in hand.", "TODD\n No, sir.\n\n A sigh of relief from everybody! But SLADE presses on.", "TODD glances up at him, and RED sees TODD'S eyes and RED backs\n away quickly because...\n\n TODD looks badder even than the new soldiers!", "TODD turns away from MACE and peers through the machinery.\n\n He can see the CRAWLER is a hundred yards away now, traveling\n along the cable toward the colony.", "TODD tries to get up...but the fall has injured his leg and he\n slumps to the floor of the three-foot-wide trench, too weak and \n injured even to crawl.", "TODD is standing in front of the room full of grim-faced\n PIONEERS, all looking at him. It's like a court.", "TODD turns and looks into MACE's face. MACE's eyes are clouded\n with horror.\n\n MACE\n Why? Why?\n\n No answer.", "Getting to his feet and finds even the breeze is dying, replaced\n by a terrible stillness.\n\n As TODD looks off into the darkness, a voice calls to him from\n the trench behind biz." ], [ "SANDRA starts after him, looking worried...but before she gets to\n the door, MACE reappears with NATHAN safely in his arms.", "MACE and SANDRA are lying awake in the bed in darkness. For a\n long moment they're both silent with the silence that comes in a\n heavy moment in a conversation. Then MACE speaks, his eyes on\n the ceiling.", "TODD looks up to see MACE standing on the snake, reaching down\n for NATHAN. As MACE hugs the boy protectively to his chest, he\n glares down at TODD with eyes blazing with fury.", "MACE is wearing his parka, pulling on his eye protectors\n hurriedly as he opens the door to the corridor. SANDRA's voice\n makes him stop and turn to her.", "SANDRA sits up in bad, looking around, alarmed.\n\n MACE is holding NATHAN, staring down at the VIPER.", "We all want to do the decent thing.\n The decent thing is to help him.\n Mace's wife, Sandra, is looking", "MACE never even realizes how much danger he was in.\n\n CUT TO:\n\n INT. OTHER ROOM - DAY - A LITTLE LATER", "MACE\n Oh, my God. They won't...they\n won't...? Not Sandra! Not...\n not...Nathan!", "SANDRA\n We'll have to sleep on the floor.\n\n MACE\n (suddenly alarmed)\n Where's Nathan?", "MACE screams, he's hurled wildly mid-stride, tossed ten yards.\n\n TODD looks back, sees him lying on the sand, screaming in pain.", "MACE and SANDRA laugh, making the whole thing a game, and NATHAN, \n after a moment of confusion, joins in the laughter. It's a warm", "Immediately SANDRA disengages from the adults and rushes to the \n sobbing NATHAN and clutches him to her breast, soothing him...and\n MACE joins her, hovering over his son.", "A heavy silence, then...\n\n SANDRA\n Are you afraid of him, Mace?\n\n MACE stares at the ceiling and speaks with difficult honesty.", "The VIPER has up the ghost, lying on the floor.\n\n MACE hugs NATHAN to him and looks toward SANDRA. They both look\n at the boot. And at the dead VIPER.", "MACE\n Practice with it. In a day or two\n maybe you'll be strong enough to go\n out to the garden with Sandra.", "A second tiny room next to the bedroom is the rest of the\n Mace/Sandra/Nathan living quarters. MACE and SANDRA are deep in \n conversation.", "MACE is screaming. His right leg is gone.\n\n TODD gets him, drags him, stumbles.\n\n WHOOM! Another SHOT, another miss.", "They look like a strange four-footed beast as TODD drags him\n through the wind in an awkward \"embrace\" toward the cable.\n\n Once MACE has the cable in his hands, he laughs and gasps...", "MACE is startled by that. He sort of grins as we...\n\n CUT TO:\n\n EXT. GARDEN - DAY - LATER", "MACE rolls over in the bed.\n\n SMACK! MACE comes awake, looks around.\n\n MACE lunges from the bed." ], [ "RUBRICK\n Colonel Mekum has his \"boys\"\n unpacked. I think he wants to show\n them off.\n\n CHURCH\n Hmmmmph.", "MEKUM\n They'll serve as a labor force. You\n can use them for physical stuff...", "eyed blond colonel about thirty, named MEKUM, stands proudly by,\n glowing with satisfaction.", "RUBRICK\n This is Colonel Mekum from Q. He's\n their commanding officer.", "MEKUM\n Old news! They're nothing at all!\n Wait until you get these new fellas\n into some real action. I guarantee", "INT. OFFICERS QUARTERS - DAY\n\n MEKUM is filling his coffee cup as he speaks.", "MEKUM\n That's up to you field guys. H.Q.\n wants you to break 'em in when you\n do the annual security sweep in\n January.", "MEKUM\n Such as?\n\n CHURCH\n Maybe we could run some tests. Kind\n of a comparison, the old and the\n new...", "MEKUM\n (smug grin, to Church)\n In a minute.\n (turning back to Sloan)", "MEKUM\n WHAT GOOD IS THIS MAN NOW? WITH ONE", "MEKUM smirks, picks up the weapon, disassembles it rapidly.\n MEKUM\n Let's make it more difficult.", "RUBRICK\n At ease, soldier.\n\n CHURCH has been thinking and now he speaks to MEKUM.", "SLOAN\n (panicky, blurting at\n the screen)\n We've got to get out of here,\n Colonel Mekum!", "MEKUM\n (interrupting)\n Piece of cake, guys! These are\n totally remote, totally uninhabited", "They all look at MEKUM. Is this the chink in the armor? The new \n soldiers can't fight?", "As MEKUM turns, including all the NEW SOLDIERS in his continuing\n tirade, CHURCH, SLOAN, and RUBRICK confer in low voices.", "MEKUM\n (a smirk)\n Not in the Caribbean. Have a good\n Christmas, guys. See you when I get\n back.", "CHURCH\n (sharply, to Sloan)\n At ease, Lieutenant.\n (turning to Mekum,\n serious)\n What if they fought?", "RILEY turns to TODD, looking a question at him. TODD meets his\n look and no words are necessary.\n\n RILEY reaches for the control switch as MEKUM continues babbling.", "territories. All you do is set\n down, send out a patrol purely as a\n formality, then have those veterans" ], [ "Then he sees the frightened CHILDREN and orients himself. When\n he looks down at NATHAN again, tiny NATHAN is an enemy as good as \n dead. One blow and...", "The countdown timer on the bomb is faintly visible in the dying\n light. It reads twenty seconds.\n\n CHURCH (V.O.)\n Twenty seconds. Hurry.", "CHURCH and SLOAN are hunched desperately over the bomb in near\n darkness, the wind tearing at them. SLOAN tries to punch a code\n into the keys...", "Carrying the heavy bomb in a sling, RILEY, CHESLEY, MOORE, and\n GREEN stagger past the work-lights into the darkness while the", "The GUNNER screams and screams and screams like a machine running\n at high speed while the two NEW SOLDIERS lie open-eyed with death\n in the back seat.\n\n EXT. CRAWLER", "The countdown clock shows four minutes and twenty seconds as it\n CLICKS off the seconds.\n\n Their soldier faces inscrutable, TODD and RUBRICK consider the\n various lights winking on the control panel.", "As RUBRICK and CHURCH watch, the four VETS stagger into the\n darkness with the bomb, RUBRICK has to shout to CHURCH to be\n heard over the wind outside.", "CHURCH\n THERE IT IS! I SEE IT!\n\n The bomb is clearly visible ten yards away in the dying glow of\n the takeoff.", "Gripping the wire for his life, he turns just in time to be \n decapitated by a piece of aluminum housing flying through the\n air.\n\n EXT. TERRAIN", "But the blip continues straight, directly at them.\n\n And suddenly CAINE realizes! Dropping the mike he snaps at his\n GUNNER urgently.", "This is a very dirty bomb! That\n wind will churn the radioactivity\n around like soap in a washing\n machine. This is gonna be one clean", "As the startled GUNNER starts to obey both of them are bathed in\n sudden, blinding white light as CRAWLER ONE suddenly switches on\n all lights and...", "Brightly lit by the ignition, SLOAN, still on her belly, sees the\n ship taking off.\n\n SLOAN\n OH, MY GOD! OH, MY GOD!", "Dirt explodes around the door frame as TODD ducks back. Quick as\n a wink, he yanks a grenade from his utility belt, triggers it,", "All they hear is the HUM of the air system and miscellaneous\n WHITE NOISE.\n\n CHURCH and RUBRICK exchange a glance and are about to speak when\n they all hear it...", "MACE is screaming. His right leg is gone.\n\n TODD gets him, drags him, stumbles.\n\n WHOOM! Another SHOT, another miss.", "BAHWHOOOOOOOOOOOOOOOOM! Everything is dazzling, blinding light!\n\n INT. COCKPIT/\"DADDY\"", "As SLOAN and CHURCH are shoved out the hatch, they see RUBRICK\n blown off into the night, screaming.", "THE TIMER on the bomb CLICKS into action, ticking off seconds and \n blurring off the tenths.", "The countdown clock is TICKING away, showing ten minutes, as\n CHURCH, RUBRICK, and SLOAN complete their pre-launch prep.\n CHURCH\n Right horizontal?" ], [ "TODD has turned his gaze back to the DUMPER SHIP, fascinated. So \n that's what they did to him!", "TODD\n That one.\n\n RILEY\n Aye, aye, sir.", "TODD looks ahead again, his face revealing nothing, his legs \n maintaining the same even pace, running, running, running.\n\n Then he looks back again.", "For a moment TODD watches them.\n\n Then he starts to climb downward through the labyrinth of junk \n \"inside\" the mountain, and we...", "TODD is a tiny dot in the vastness, traveling like a bug along\n one of the long cables that stretches for miles and miles. He's\n out by the skeleton of the old ship as we...", "TODD doesn't answer. He's staring at the descending ship with\n soldier eyes and a stone face as we...\n\n CUT TO:", "TODD's head, caked with blood, appears from the junk like a man\n looking out of a cave. Wind seizes at his hair furiously.", "MACE breaks off. Todd isn't listening; he's looking off toward\n the horizon.\n\n MACE follows his look.", "Then TODD replaces the scarf over his mouth and starts to climb\n out of the trench into the wind as we...\n\n CUT TO:", "RILEY throws the switches. A row of red lights goes on and the\n ship seems to hum with life.\n\n Still communicating wordlessly, TODD points to another switch,\n RILEY throws it!", "TODD is delivering a final savage blow to the prone body when a \n movement or shadow catches the corner of his eye and he whirls \n savagely to defend himself from behind --", "TODD is crouched over MACE inside an abandoned diesel engine not\n far from the disintegrated turbine. He's making a tourniquet to", "TODD salutes and lopes toward ten chains that dangle from the\n rafters sixty feet above, grabs one, and starts up it, hand over\n hand.", "TODD is loping through sheets of rain. The terrain around him \n features ghostly shells of buildings, shards of a city nearly \n invisible through the curtains of rain.", "INT. CRAWLER ONE\n\n TODD is at the wheel, speaking into the radio as wind whips at\n him through the shattered windshield.", "RILEY turns to TODD, looking a question at him. TODD meets his\n look and no words are necessary.\n\n RILEY reaches for the control switch as MEKUM continues babbling.", "TODD drops to the ground and starts to crawl \"under the wind,\"\n toward the taut cable, and we...\n\n CUT TO:", "TODD sees the CRAWLER approach the cable, watches it veer left\n and start to travel along the cable...straight toward the colony!", "The SECOND NEW SOLDIER, ten yards ahead, stops, turns to fire.\n\n TODD yanks the wheel, swerving toward him.\n\n EXT. CRAWLERS", "TODD turns back, sprinting, low, weaving, tossed by the wind.\n\n WHOOOM! Another SHOT. If the wind hadn't hit him, TODD would\n have been hit." ] ]

[ "What happens to the children that can not take the training?", "What character is followed first?", "Why is the old unit replaced?", "Where is Todd dumpbed when thought dead?", "Why is Todd so disoriented there?", "How does Todd try to help Nathan?", "How does Nathan save his parents?", "What happens to the old squad?", "Who does Mekum shoot in cold blood?", "What happened to those babies who did not live up to expectation?", "What kind of children were selected for this training?", "How does Todd defeat Cain 607?", "What is Nathan's handicap?", "How does Todd try to teach Nathan to be strong?", "What is Todd's first real display of emotion?", "Who saves Mace and Sandra from a snake?", "Who kills Captain Church?", "Who dies when the bomb goes off?", "Who does Todd pick up in the ned?", "What happens to the orphaned infants who are trained as militants, but are deemed unfit?", "What does Todd do to Caine?", "What cushions Caine's fall, preventing his death?", "Who provides Todd shelter?", "Why is Mace and Sandra's son mute?", "What do the fearful colonists due to Todd?", "Who saves Mace and Sandra from being bit by a snake while they sleep?", "What does Colonel Mekum decide to use the colonists' community as?", "Who accidentally sets off the nuclear device?", "After Todd takes over the ship, where does he head towards?" ]

[ [ "They are killed", "executed" ], [ "Sgt Todd 3465", "Sgt. Todd. 3465" ], [ "They created genetically enhanced new soilders. ", "A superior unit has been created." ], [ "Arcadia 234", "Planet Arcadia 234" ], [ "Arcadia 234 is a very peaceful community", "It's to calm and peaceful" ], [ "He tries to teach Nathan how to face his fears", "By teaching him to face down a snake, using an aggressive technique. " ], [ "By killing a snake that tried to bite them in their sleep", "By using Todd's military technique to fend off a snake." ], [ "They are left behind with a nuke they activated", "They are killed when Mekum accidently sets off a nuclear device" ], [ "Captain Church", "Captain Church" ], [ "They were killed", "They were killed. " ], [ "orphans", "Orphaned infants" ], [ "He pulls out Cain 607's eye.", "using his wits rather than strength" ], [ "He is mute.", "Mute" ], [ "By facing down a coiled snake.", "by refusing to save him from a dangerous snake" ], [ "Him crying when he is kicked out of the community.", "sadness, overcome by loss" ], [ "Nathan.", "Nathan." ], [ "Colonel Mekum.", "Colonel Mekum" ], [ "Colonel Mekum and his aides.", "Mekum and his aides. " ], [ "Nathan", "Todd picks up Nathan in the control room. " ], [ "They are killed", "executed" ], [ "Gouges his eyes out", "He defeats Caine in hand-to-hand combat." ], [ "The body of a dead soldier", "a dead body" ], [ "Mace and Sandra", "Mace and Sandra. " ], [ "He was traumatized by a snakebite at a young age", "snakebite" ], [ "Expel him from the community", "Exile him" ], [ "Nathan", "Nathan" ], [ "A target for a training exercise", "training practice for the new unit" ], [ "Mekum", "Mekum. " ], [ "Trinity Moons", "Trinity Moons" ] ]

[ [ "NICK\n God bless our country.\n\n ADAM\n (in a daze)\n We're in 1987.", "LOU (CONT'D)\n (to Adam and Nick)\n We'll travel to 2010. Then one of\n us will come back and get one of\n you. And so on and so forth.", "ADAM\n Guys! I refuse to accept that\n we're stuck in 1987! Maybe you're", "time most definitely has been\n moving forward. It is exactly\n three days since you've arrived\n here in beautiful Havenhurst.\n Jacob looks at Nick.", "JACOB\n No, we traveled through time.\n We're not invisible.\n Lou looks upset.\n\n LOU\n (under his breath)\n I'm still gonna do it.", "LOU\n You just traveled 23 years in three\n seconds. Took me 23 years. It's\n good to see you guys!", "78.\n\n ADAM\n So you're telling me that Red Bull\n plus hot tub equals time travel?\n\n LOU", "ADAM\n It didn't explode. It vanished.\n It went back... to the present.\n\n LOU\n This is the present.", "NICK\n Now hold on, we don't know for sure\n that we're in 1987.", "LOU\n (with genuine emotion)\n We're in 1971.\n\n ADAM", "A DELOREAN is parked in the empty lot. Adam, Nick, and Jacob\n look at it, drunkenly and bleary-eyed. Adam and Nick trade", "(CORRECTING HIM)\n We're in 1987.\n Everyone looks stunned and dazed.", "ADAM\n No! No spaceship. No astronaut\n pants. Just regular time travel.\n With normal pants.", "NICK\n Yeah, except one little problem.\n There's no Red Bull in 1987.\n For a moment, they're all bummed again. Then Adam gets an\n encouraged look on his face.", "ADAM\n How about figure out how the hell\n to get back to the present day?\n Nick walks back to the table and SLAMS down a pile of CASH.", "ADAM\n I came here from the future.\n She rolls her eyes - she's heard all the one-liners.", "JACOB\n We're from the future.\n\n SCIENTIST\n Get the fuck out of here.\n\n EXT. IBM OFFICE PARK - LATE AFTERNOON", "LOU\n Rental car agency fucked us!\n There's no flux capacitor.\n Lou pulls Jacob over and straps him in the driver's seat,\n before walking around to the passenger side.", "47.\n\n JACOB\n Back to the Future had a time\n machine.", "LOU (CONT'D)\n Gentlemen, it's fucking 1987.\n Nixon's in the White House, gas is\n free, and we're about to put a man\n on the moon!" ], [ "Jennie is talking to TWO OTHER GIRLS as Adam approaches. He\n lurks near them like a creep. Jennie eventually notices him,", "ADAM\n What a rush!\n He notices the girl on the ground and goes to help her up.\n\n ADAM (CONT'D)\n Oh wow, are you OK?", "ADAM (CONT'D)\n The truth is there's a girl I need\n to go see. We have plans to spend", "Adam smiles, feeling the rush of knowing he's ready. But\n then he sees how sad Jennie is. He moves closer to her.", "ADAM\n Well this place has improved.\n -- In the lift line, Lou passes a GUY wearing a BIG HEADBAND.\n\n LOU\n Really, asshole?", "ADAM\n (softens, to Jacob)\n You might like it. Havenhurst is\n pretty awesome.\n Jacob shrugs, but Lou gets excited.", "ADAM\n What is going on?\n Lou strolls up to the guys, with his arms around TWO HOT\n CHICKS. He looks elated.", "ADAM (CONT'D)\n Let's give it a chance. We don't\n know for sure that the room sucks.\n Nick nods, appreciating the optimism. He opens the door:", "DUCK HUNT, while in another area, people make out and dance.\n Adam, Nick, Lou, and Jacob walk in the front door. They have", "and space for your love.\n She nods and tears up a little bit, as Adam HUGS her.", "JACOB\n What?\n\n ADAM\n Pink Paradise. Best strip club\n ever.\n The car rounds the corner and a SIGN comes into view. The\n beginning reads \"Pink.\"", "INT. FRENCH RESTAURANT - NIGHT\n\n Adam and Lily nervously make eye contact at the front of the\n restaurant, as a SNOOTY HOST shakes his head.", "INT. ADAM'S APARTMENT - NIGHT", "ADAM\n Yes there is! Come on!\n Adam heads for the door, as Lou and Nick follow.\n\n EXT. BUNNY SLOPE - DAY", "Jennie laughs, despite herself. She looks around, as if\n someone might see her. Adam notices.", "14.\n\n INT. BURGER KING REST STOP - DAY\n\n Lou walks from the bathroom back to the TABLE where Adam,\n Nick, and Jacob sit and eat.", "ADAM\n\n (SHRUGS)\n OK, so now we know.\n The guys drag their bags in and depressingly take stock of\n the situation -- presently the dirty old room.", "NICK\n Come here.\n He leads Adam near the tub, where Lou points at something.\n\n LOU\n There!", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "ADAM\n Ah.\n\n NICK\n Adam, where are we going?\n Adam gets a look of determination again." ], [ "LOU\n Fuck yeah.\n Lou picks up Adam's half-eaten sandwich and takes a BITE.\n\n ADAM\n You just puked.", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "LOU\n\n (FREAKED OUT)\n I've gotta stop doing cocaine and I\n need to go to the hospital. I just\n saw a fucking kitten explode.", "LOU (CONT'D)\n\n (SURPRISED)\n This thing's a piece of shit.\n Up ahead, the ROAD CURVES DRASTICALLY.", "41.\n Lou stands up and throws down his magazine.\n\n LOU\n This is bullshit! I told you--", "(DISGUSTED)\n Tell me you are not going to keep\n eating that.\n Lou takes a bite and SHRUGS.\n\n LOU\n Chicken parm. It's my favorite.", "LOU\n If he doesn't lose that arm soon,\n I'm gonna take it from him myself.\n With that, Lou wanders off toward another room, leering at\n and groping girls as he goes.", "LOU\n That would be awesome.\n Adam gives Lou a distasteful look.", "LOU\n I'm still pretty OK with it.\n\n ADAM\n You have a problem.\n\n LOU\n Just help me put him outside.", "LOU (CONT'D)\n How do I look?\n\n JACOB\n Like a fucking madman?\n He slaps Jacob's arms.", "27.\n He POURS A VODKA and SLAMS IT BACK.\n Adam climbs in with Lou, pouring his own drink.", "92.\n\n LOU\n Keep the sandwich.\n\n JACOB\n This is disgusting.", "81.\n\n LOU (CONT'D)", "29.\n Lou JOLTS AWAKE and PUKES ON THE KITTEN, sending it FLYING!\n This wakes up everyone and they stir to life, inspecting the\n carnage, mostly hangover-related.", "Lou sits in the backseat, voraciously eating a bowl of\n cereal, as the other guys are up front.", "LOU\n I thought it was some guy's jizz.\n\n ADAM\n What's wrong with you?\n\n LOU\n It worked, didn't it?", "SANDY\n Oh you poor thing! Come here...\n She takes Jacob's head to her chest and strokes it gently.\n Lou makes a jerk-off gesture.\n\n SANDY (CONT'D)", "LOU (CONT'D)\n There's coke everywhere around\n here. This place rules!\n Lou dips into the coke and rubs it on his gums and we:\n\n CUT TO:", "LOU\n Holy shit!\n Lou immediately approaches the kids, even as Nick tries to\n hold him back.\n\n NICK", "LOU (CONT'D)\n This is a horrible thing you're\n doing and I hope you never have to\n experience what I am currently\n going through.\n Lou sits down and Michelle consoles him." ], [ "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "drink, playing a game, the rules of which only they know.\n -- Adam takes a big bite of the SANDWICH Lily gave him.\n -- Nick uses his iPhone to take video and pictures.", "ADAM\n What is that?\n\n NICK\n Red Bull.", "Blaine smiles like an asshole. Adam's face goes desperate,\n as Blaine OPENS THE CAN and DRINKS THE WHOLE THING.", "42.\n The guys' eyebrows raise. After a moment:\n\n ADAM\n Well, maybe one drink. Just to\n confirm.", "ADAM\n Here goes nothing!\n They simultaneously DOWN their drinks. Nothing happens.", "Adam takes a FLASK out of his backpack. He and Nick look\n over their shoulders like scheming kids as they take a nip.", "NICK\n Mmm hmm. You get drunk while you\n enjoy a delicious gelatin snack.\n\n PARTY CHICK\n How come no one ever thought of\n this before?", "JACOB\n Where's the Red Bull?\n\n BLAINE (V.0.)\n You looking for this?\n Across the patio, a drunk, disheveled Blaine holds the CAN.", "ADAM\n Red Bull or Fresca?\n Jacob takes the Fresca, as Lou inspects the CLAW MARKS.\n\n LOU\n That fucking bear got me good.", "CHAZ\n Don't tell me. Prague. Do you\n want some coke?\n\n JACOB\n Do you have Coke Zero?", "27.\n He POURS A VODKA and SLAMS IT BACK.\n Adam climbs in with Lou, pouring his own drink.", "NICK'S CROWD\n Nick! Nick! Nick!\n He finishes the last of the beer, and the crowd celebrates.", "28.\n -- In the tub, the guys DRINK like fish, pouring various", "looks loopy from the coke.\n Just then, a a too-blond, mirror-sunglass-wearing, feathered", "NICK\n Thank you.\n The waiter walks away and Nick RAISES HIS GLASS in a toast.", "and helps submerge Nick's head in the same way.\n -- Slam! Another bottle of vodka killed. Crush! Another\n empty Red Bull his the patio.", "ADAM\n What am I looking at? It's some\n kind of stain.\n\n LOU\n Smell it.", "his face. It makes the Jared Leto scene from Fight Club look\n tame. Eventually, Adam's friends pull him off.\n Adam crawls to the Red Bull can and it's empty.", "LOU (CONT'D)\n There's coke everywhere around\n here. This place rules!\n Lou dips into the coke and rubs it on his gums and we:\n\n CUT TO:" ], [ "NICK'S CROWD\n Nick! Nick! Nick!\n He finishes the last of the beer, and the crowd celebrates.", "NICK\n (whispers, teeth clenched)\n Look.\n Lou looks to where Nick is looking:", "all the answers, but you don't.\n Not by a long shot.\n Nick is getting emotional.", "NICK\n You're not riding the horse. The\n horse is heroin.\n Adam can't stop moving and fidgeting.", "NICK\n Oh, sorry man.\n\n (NOTICES HIM)\n Hey! How's that iPod working out\n for you?", "NICK (CONT'D)\n You'll wake up every morning,\n comforted by the fact that your", "NICK\n Jacob. Son. The hot tub is the\n whole thing! You ski all day.\n Then you hit the town, get trashed,", "DUCK HUNT, while in another area, people make out and dance.\n Adam, Nick, Lou, and Jacob walk in the front door. They have", "Nick's car transitions from the HIGHWAY to the MOUNTAINS to\n the WOODS, as we track the drive.\n Finally, the car passes a \"Welcome to Havenhurst\" sign.", "NICK (CONT'D)\n We're gonna drink too much, eat\n whatever we want...\n\n (FANTASIZING)\n I might not even change my socks.", "NICK (CONT'D)\n Hot tub!\n A lightbulb goes off for Adam too.\n\n ADAM\n Yes!\n Lou gets up and throws down his napkin.", "NICK\n God bless our country.\n\n ADAM\n (in a daze)\n We're in 1987.", "NICK (CONT'D)\n So the town's dead? Fine, we skip\n that part and go right to the tub.", "NICK\n I'm more than willing to forget\n about earlier, but this shit's\n going on Facebook.\n\n INT. NICK'S CAR - DAY - DRIVING", "INT. RESTAURANT - NIGHT - LATER\n\n Nick SLOW DANCES with Courtney.", "NICK\n Gentlemen... in this room lies the\n beginning of our awesome weekend.\n\n JACOB\n Or a continuation of everything\n that's sucked so far.", "You bring your button fly jeans and some sweet hair gel\n Want blow? All you gotta do is yell\n (Yeah you're) lookin real smooth, (and you're) lookin real mean", "NICK\n Come here.\n He leads Adam near the tub, where Lou points at something.\n\n LOU\n There!", "46.\n\n NICK\n Bam!", "NICK (ON PHONE) (CONT'D)\n You think you're better than me?\n Last night I made jello shots and\n everybody loved me.\n\n (MORE)" ], [ "NICK (CONT'D)\n OK, we're in 1987.\n Adam stands up, completely losing it.", "NICK\n God bless our country.\n\n ADAM\n (in a daze)\n We're in 1987.", "NICK\n Yeah, except one little problem.\n There's no Red Bull in 1987.\n For a moment, they're all bummed again. Then Adam gets an\n encouraged look on his face.", "hosts what appears to be an amazing 80s RETRO PARTY. A radio\n plays Miami Sound Machine's \"Conga.\"\n Girls and guys wear printed sweaters, feathered dos, and neon", "You bring your button fly jeans and some sweet hair gel\n Want blow? All you gotta do is yell\n (Yeah you're) lookin real smooth, (and you're) lookin real mean", "NICK'S CROWD\n Nick! Nick! Nick!\n He finishes the last of the beer, and the crowd celebrates.", "all the answers, but you don't.\n Not by a long shot.\n Nick is getting emotional.", "NICK\n (whispers, teeth clenched)\n Look.\n Lou looks to where Nick is looking:", "leggings. It's something out of a mid-80s Aspen photo shoot.\n Nick walks in behind them, looking as confused as them. He", "It's like the 80s exploded. Music, clothes, hair, attitude --\n it's all on overdrive. In one section, PARTY-GOERS marvel at", "LOU\n Guess who re-popped his 80s cherry?\n This guy!\n He points at himself in a celebratory manner, as behind him --\n The Towel Guy whose room this is comes RUNNING UP.", "67.\n\n ADAM\n Nothing's wrong with it. It's\n beautiful.\n In the next bed, Nick rolls over and wakes up.", "NICK\n Was this like an 80s thing?", "NICK\n You're not riding the horse. The\n horse is heroin.\n Adam can't stop moving and fidgeting.", "NICK (CONT'D)\n I'd like to propose a toast. To my\n best friend, Adam. He may be", "NICK\n Everyone relax. I think I know\n what's happened. And when we're\n done discussing it, we're all gonna\n feel a lot better.\n Everyone looks to Nick, who seems to have the answer.", "NICK (CONT'D)\n So the town's dead? Fine, we skip\n that part and go right to the tub.", "WAITRESS (CONT'D)\n What? I have lipstick on my teeth?\n Nick sips his WINE COOLER, feeling the eyes of the others on\n him.", "NICK (CONT'D)\n Hot tub!\n A lightbulb goes off for Adam too.\n\n ADAM\n Yes!\n Lou gets up and throws down his napkin.", "could say I'm a little bit like\n Michael Jackson, except I don't\n fuck kids.\n Two YOUNG HOTTIES walk by and wave at Lou." ], [ "LOU\n If he doesn't lose that arm soon,\n I'm gonna take it from him myself.\n With that, Lou wanders off toward another room, leering at\n and groping girls as he goes.", "LOU (CONT'D)\n Are you with me?\n\n ADAM\n\n (CONFUSED)\n I don't know.", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "LOU\n Rock and roll.\n Lou exits the bathroom and calls out to the girls.\n\n LOU (CONT'D)\n Who's ready to get laid by an\n awesome penis?!", "LOU (CONT'D)\n There's coke everywhere around\n here. This place rules!\n Lou dips into the coke and rubs it on his gums and we:\n\n CUT TO:", "LOU (O.S.)\n My fault entirely, madam!\n The room is ABUZZ with CHATTER, as Lou makes a nearly REGAL\n ENTRANCE, wearing a WHITE TUXEDO.", "81.\n\n LOU (CONT'D)", "LOU\n Fuck that guy.\n ON THE STAGE, TWO GIRLS compete for wettest t-shirt. They\n both decide that NO T-SHIRT is the wettest option.", "could say I'm a little bit like\n Michael Jackson, except I don't\n fuck kids.\n Two YOUNG HOTTIES walk by and wave at Lou.", "LOU (CONT'D)\n This is a horrible thing you're\n doing and I hope you never have to\n experience what I am currently\n going through.\n Lou sits down and Michelle consoles him.", "LOU (CONT'D)\n Oh, that's just great.\n Jacob runs up, in a friendlier disposition.\n\n JACOB\n Hey guys!", "LOU\n I would like you to die. And then\n I would like you to leave.\n Aiden walks away, freaked out. Lou turns back to the guys.", "LOU (CONT'D)\n See? I'm awesome here. You\n shoulda stayed out of that tub.\n\n CUT TO:", "LOU\n Name's Musselman. Hank Musselman.\n I've got a cool name, huh?", "RICK\n Who the hell are you?\n Lou thinks about the question for a moment.", "LOU\n Fuck yeah.\n Lou picks up Adam's half-eaten sandwich and takes a BITE.\n\n ADAM\n You just puked.", "Lou watches with BINOCULARS and PUMPS HIS FIST.\n\n LOU\n Yes!\n\n EXT. MOUNTAIN - RACE - DAY", "LOU (CONT'D)\n\n (SURPRISED)\n This thing's a piece of shit.\n Up ahead, the ROAD CURVES DRASTICALLY.", "NICK\n (whispers, teeth clenched)\n Look.\n Lou looks to where Nick is looking:", "LOU (CONT'D)\n How do I look?\n\n JACOB\n Like a fucking madman?\n He slaps Jacob's arms." ], [ "JACOB\n Not necessarily.\n Everyone looks toward Jacob.", "ADAM\n Friends?\n Jacob takes Adam's hand and helps him to his feet.\n\n JACOB\n Brothers.\n They EMBRACE. Lou looks disgusted.", "ADAM\n Be nice. I know Jacob's kind of a\n douche, but I'm trying to be closer\n to him since Mom died.\n Jacob gets in the back next to Lou.", "ADAM\n Thanks for coming, man. It means a\n lot to me.\n Jacob nods halfheartedly.\n\n NICK\n To Adam!", "ADAM\n (takes a moment)\n Is this about something else?\n\n JACOB\n Forget it.", "JACOB\n That's not what I--\n\n ADAM\n (looking at watch)\n Fellas, we are not making progress\n and we're losing time.", "JACOB\n Has anyone else noticed that things\n around here are weird as shit?\n Adam and Nick nod. Lou shakes his head.", "ADAM\n That's the sacrifice.\n Jacob nods, agreeing with Lou's concern.", "76.\n\n TAD\n Geoffrey, please meet Jacob.\n Excuse his Jewish name. He really\n quite exceeds it.\n Jacob looks confused by that, as Geoffrey shakes his hand.", "ADAM\n (softens, to Jacob)\n You might like it. Havenhurst is\n pretty awesome.\n Jacob shrugs, but Lou gets excited.", "ADAM\n Jacob, I'm sorry for not always\n being the big brother I should've\n been. I was away at college, Mom", "JACOB\n I said forget it.\n\n \n\n \n\n \n\n \n\n 16.", "LOU (CONT'D)\n How do I look?\n\n JACOB\n Like a fucking madman?\n He slaps Jacob's arms.", "Jacob looks indifferent and a little turned off by it all.\n Lou strips down to his underwear and CLIMBS IN.", "LOU (CONT'D)\n Oh, that's just great.\n Jacob runs up, in a friendlier disposition.\n\n JACOB\n Hey guys!", "go of Adam, as Jacob snowboards up and stops short, coming to\n his brother's side.", "NICK (CONT'D)\n Yes! It's amazing.\n Now it's just Jacob outside the hot tub. The other three", "JACOB\n Just looking out for you. That's\n what brothers do, right? They look\n out for each other?", "105.\n\n JACOB\n This is why we shouldn't have sold\n that iPod.\n Adam puts his hand through Jacob, who speaks with purpose.", "JACOB\n It's 8:45.\n The other guys look at their watches, surprised.\n\n NICK\n Why am I so wiped out?" ], [ "LOU (CONT'D)\n (to Adam and Nick)\n We'll travel to 2010. Then one of\n us will come back and get one of\n you. And so on and so forth.", "LOU\n You just traveled 23 years in three\n seconds. Took me 23 years. It's\n good to see you guys!", "LOU\n Rental car agency fucked us!\n There's no flux capacitor.\n Lou pulls Jacob over and straps him in the driver's seat,\n before walking around to the passenger side.", "LOU (CONT'D)\n I had some time to plan. God, it's\n good to have you guys back!\n\n EXT. PRIVATE AIRFIELD - AFTERNOON", "Lou's private jet takes off from the runway.\n\n INT. PRIVATE JET - AFTERNOON", "LOU (CONT'D)\n If it's '87, the PF Chang's will be\n gone, which means the Brew Haus\n still stands.", "LOU (CONT'D)\n Gentlemen, it's fucking 1987.\n Nixon's in the White House, gas is\n free, and we're about to put a man\n on the moon!", "JACOB\n No, we traveled through time.\n We're not invisible.\n Lou looks upset.\n\n LOU\n (under his breath)\n I'm still gonna do it.", "81.\n\n LOU (CONT'D)", "LOU\n (puts it together)\n A hot tub time machine.\n\n CUT TO:", "LOU (CONT'D)\n There's coke everywhere around\n here. This place rules!\n Lou dips into the coke and rubs it on his gums and we:\n\n CUT TO:", "ADAM\n It didn't explode. It vanished.\n It went back... to the present.\n\n LOU\n This is the present.", "LOU (CONT'D)\n Oh, that's just great.\n Jacob runs up, in a friendlier disposition.\n\n JACOB\n Hey guys!", "LOU\n I'll give you the short version,\n because time is of the essence.\n First of all, to settle an old bet,", "LOU (CONT'D)\n We saw the scientist. He was\n worthless. We tried the tub. Dead\n end. I got us a fucking time", "INT. DELOREAN - EARLY EVENING\n\n Lou sits in the passenger seat next to Jacob.", "LOU (CONT'D)\n Let's see the look on this pig's\n face when we hit 88 and disappear", "LOU (O.S.)\n Right on schedule!\n Lou walks toward them, but there's a lot that's \"off\" about", "LOU (CONT'D)\n\n (SURPRISED)\n This thing's a piece of shit.\n Up ahead, the ROAD CURVES DRASTICALLY.", "LOU (CONT'D)\n See? I'm awesome here. You\n shoulda stayed out of that tub.\n\n CUT TO:" ], [ "-- The guys keep Adam awake and use a homemade SCALE MODEL of\n the mountain to formulate a plan, a la Iron Eagle.\n -- Back on the hill, Jacob and Adam snowboard next to each", "JACOB\n No, we traveled through time.\n We're not invisible.\n Lou looks upset.\n\n LOU\n (under his breath)\n I'm still gonna do it.", "LOU (CONT'D)\n (to Adam and Nick)\n We'll travel to 2010. Then one of\n us will come back and get one of\n you. And so on and so forth.", "LOU (CONT'D)\n I had some time to plan. God, it's\n good to have you guys back!\n\n EXT. PRIVATE AIRFIELD - AFTERNOON", "LOU\n I would like you to die. And then\n I would like you to leave.\n Aiden walks away, freaked out. Lou turns back to the guys.", "42.\n The guys' eyebrows raise. After a moment:\n\n ADAM\n Well, maybe one drink. Just to\n confirm.", "(TO LOU)\n Where are you going?\n Lou points to his watch.\n\n LOU\n Five o'clock. Happy hour.\n The guys look at him, confused.", "Like the chimps in 2001, each of them begins FIDDLING WITH\n KNOBS and PUSHING ON LIGHTS, trying to find the magic button.\n After a few moments:", "NICK\n Yeah, except one little problem.\n There's no Red Bull in 1987.\n For a moment, they're all bummed again. Then Adam gets an\n encouraged look on his face.", "JACOB\n (to the waitress)\n Can you give us a second?\n She walks away, as Jacob turns to the guys.", "NICK\n Holy shit. It's that bellhop.\n\n JACOB\n Should we warn him?\n\n ADAM", "JACOB\n We're from the future.\n\n SCIENTIST\n Get the fuck out of here.\n\n EXT. IBM OFFICE PARK - LATE AFTERNOON", "LOU\n I actually kinda like that idea.\n\n ADAM\n Guys!\n Everyone looks at Adam.", "(RE: LOU)\n He's gonna be a problem.\n Tad and Chaz walk over, looking dapper and douchey. They are\n excited to see Jacob.", "JACOB (CONT'D)\n Guys, we're in trouble. Our cards\n aren't gonna work and our new money\n looks fake.\n The guys look concerned, but then Nick notices something:", "A DELOREAN is parked in the empty lot. Adam, Nick, and Jacob\n look at it, drunkenly and bleary-eyed. Adam and Nick trade", "DUDE #2\n Excellent.\n The dudes take custody of the passed out TOWEL GUY and\n continue on down the hall, as our guys go back inside.", "GUYS\n To Adam!\n The guys hug and clink glasses and excitedly CHATTER. Just\n then, a MANAGER appears at the table and CLEARS HIS THROAT.", "NICK\n Everyone relax. I think I know\n what's happened. And when we're\n done discussing it, we're all gonna\n feel a lot better.\n Everyone looks to Nick, who seems to have the answer.", "The guys walk silently behind a MIDDLE-AGED BELLHOP (PHIL),\n who struggles to wrangle their bags on a shaky hand truck." ], [ "LOU\n Thank. God.\n\n ADAM\n At least some things never change.\n\n JACOB\n What's the big deal about a hot\n tub?", "A GUY and a GIRL are using the hot tub, which is still hot\n and bubbly, despite the fact that it isn't plugged in.\n Nick and Lou sit at the table, as Adam approaches with CATS.", "LOU\n Um...\n The HOT TUB IS NOT PLUGGED IN, and yet it's clearly running.\n\n ADAM\n OK. You guys know what to do.", "NICK (CONT'D)\n Hot tub!\n A lightbulb goes off for Adam too.\n\n ADAM\n Yes!\n Lou gets up and throws down his napkin.", "LOU\n (puts it together)\n A hot tub time machine.\n\n CUT TO:", "NICK (CONT'D)\n Yes! It's amazing.\n Now it's just Jacob outside the hot tub. The other three", "NICK\n Jacob. Son. The hot tub is the\n whole thing! You ski all day.\n Then you hit the town, get trashed,", "78.\n\n ADAM\n So you're telling me that Red Bull\n plus hot tub equals time travel?\n\n LOU", "On a patio outside their suite, our guys stare at a KICK-ASS\n TOP OF THE LINE HOT TUB. Spacious seating, plenty of jets,", "NICK\n Adam, all we did is get drunk in\n the hot tub.\n Everyone's EYES GO WIDE.", "NICK\n Come here.\n He leads Adam near the tub, where Lou points at something.\n\n LOU\n There!", "EXT. PINE VALLEY INN / PATIO - LATER THAT AFTERNOON\n\n The guys stare at the tub, which continues to bubble, even\n though it's not plugged in.", "Adam, Nick, and Jacob sit in the tub. Adam crosses his\n fingers.\n Lou stands outside the tub, fully dressed.\n\n ADAM\n Come on, Lou.", "we see Adam, Nick, Jacob (and the floating puke) in the hot\n tub where we left them.\n Only Lou is missing.", "NICK\n I saw it too.\n The guys run over to the tub. The bubbles are on low, but\n there's NOTHING IN IT.", "GUY IN TUB\n Hey, you fellas mind? I'm trying\n to get a handjob here.\n\n INT. PINE VALLEY INN / SUITE - AFTERNOON", "-- Jacob's LAPTOP is propped on the edge of the tub, playing\n BETTER OFF DEAD. Every so often, one of our guys takes a", "As the light of a new day spills into Havenhurst, we find all\n four of our guys PASSED OUT in the hot tub, the water calm.", "But double bag your dude, don't wanna get AIDS\n Just listen right up, consider me your dean\n In the college of the Hot Tub Time Machine\n Yeah!", "JACOB\n Has anyone else noticed that things\n around here are weird as shit?\n Adam and Nick nod. Lou shakes his head." ], [ "LOU\n I'll give you the short version,\n because time is of the essence.\n First of all, to settle an old bet,", "LOU\n If he doesn't lose that arm soon,\n I'm gonna take it from him myself.\n With that, Lou wanders off toward another room, leering at\n and groping girls as he goes.", "41.\n Lou stands up and throws down his magazine.\n\n LOU\n This is bullshit! I told you--", "81.\n\n LOU (CONT'D)", "NICK\n Dammit. Even the deck furniture's\n the same. We fucking blew it. It\n didn't work.\n\n ADAM\n Where's Lou?", "LOU\n The kid sucked, OK? He couldn't\n take even a little bit of\n direction. Pretty soon I realized", "LOU\n It better! You know how much I pay\n the groundspeople around here? A\n lot. But that's all right, I'm\n fucking loaded. Look at all this.\n Everyone looks confused.", "RICK\n Fat chance, pal. Elway's done\n nothing all day.\n\n LOU\n Care to make it interesting?", "LOU\n Moment of truth.\n Lou takes off his hat and feels his scalp - no hair.", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "LOU\n We're millionaires!\n\n NICK\n Close. It's a thousand bucks.", "LOU\n Yeah, I bet it's gonna be lame as\n shit in there. The furniture\n probably smells like mold.\n\n JACOB\n I say we go to Foxwoods.", "RICK\n Yes!\n\n LOU\n Hate to tell ya, pal. Browns are\n gonna lose by 3 in overtime.", "LOU\n Not only that, but I bet you\n Elway's gonna throw a touchdown\n with 37 seconds left.", "Lou watches with BINOCULARS and PUMPS HIS FIST.\n\n LOU\n Yes!\n\n EXT. MOUNTAIN - RACE - DAY", "LOU\n I'm serious. You look like a man\n who has everything. Except the\n license to kill. Care to gamble?\n Rick looks at Lou long and hard. Lou doesn't flinch.", "LOU\n Our system is fucked, gentlemen.\n You tell me how a whore wife can\n fuck some black dude - no offense -\n and still take her cuckold of a\n husband for all he's got.", "LOU (CONT'D)\n There's coke everywhere around\n here. This place rules!\n Lou dips into the coke and rubs it on his gums and we:\n\n CUT TO:", "LOU (CONT'D)\n This is a horrible thing you're\n doing and I hope you never have to\n experience what I am currently\n going through.\n Lou sits down and Michelle consoles him.", "LOU (O.S.)\n Right on schedule!\n Lou walks toward them, but there's a lot that's \"off\" about" ], [ "JACOB\n No, we traveled through time.\n We're not invisible.\n Lou looks upset.\n\n LOU\n (under his breath)\n I'm still gonna do it.", "(LAUGHS)\n I always wanted to say that. Punch\n it!\n Jacob HITS THE GAS.", "JACOB\n We're from the future.\n\n SCIENTIST\n Get the fuck out of here.\n\n EXT. IBM OFFICE PARK - LATE AFTERNOON", "time most definitely has been\n moving forward. It is exactly\n three days since you've arrived\n here in beautiful Havenhurst.\n Jacob looks at Nick.", "LOU\n Rental car agency fucked us!\n There's no flux capacitor.\n Lou pulls Jacob over and straps him in the driver's seat,\n before walking around to the passenger side.", "78.\n\n ADAM\n So you're telling me that Red Bull\n plus hot tub equals time travel?\n\n LOU", "JACOB\n That's not what I--\n\n ADAM\n (looking at watch)\n Fellas, we are not making progress\n and we're losing time.", "JACOB\n It's 8:45.\n The other guys look at their watches, surprised.\n\n NICK\n Why am I so wiped out?", "LOU (CONT'D)\n (to Adam and Nick)\n We'll travel to 2010. Then one of\n us will come back and get one of\n you. And so on and so forth.", "105.\n\n JACOB\n This is why we shouldn't have sold\n that iPod.\n Adam puts his hand through Jacob, who speaks with purpose.", "ADAM\n It didn't explode. It vanished.\n It went back... to the present.\n\n LOU\n This is the present.", "JACOB\n Told you.", "47.\n\n JACOB\n Back to the Future had a time\n machine.", "JACOB\n Has anyone else noticed that things\n around here are weird as shit?\n Adam and Nick nod. Lou shakes his head.", "JACOB\n Yeah, whatever.\n And with that, the guys travel in silence for a few moments,\n the lifeblood drained from the car. Finally...", "LOU\n Thank. God.\n\n ADAM\n At least some things never change.\n\n JACOB\n What's the big deal about a hot\n tub?", "LOU (CONT'D)\n We saw the scientist. He was\n worthless. We tried the tub. Dead\n end. I got us a fucking time", "JACOB\n (to the waitress)\n Can you give us a second?\n She walks away, as Jacob turns to the guys.", "JACOB\n Uh, yeah it is. Lest we forget the\n lessons learned from Bill and Ted.\n\n NICK\n Well then I give you Back to the\n Future.", "Like the chimps in 2001, each of them begins FIDDLING WITH\n KNOBS and PUSHING ON LIGHTS, trying to find the magic button.\n After a few moments:" ], [ "LOU (CONT'D)\n Oh, that's just great.\n Jacob runs up, in a friendlier disposition.\n\n JACOB\n Hey guys!", "LOU (CONT'D)\n How do I look?\n\n JACOB\n Like a fucking madman?\n He slaps Jacob's arms.", "JACOB\n Hey Lou?\n\n LOU\n Yeah?\n\n JACOB", "ADAM\n Be nice. I know Jacob's kind of a\n douche, but I'm trying to be closer\n to him since Mom died.\n Jacob gets in the back next to Lou.", "in his RIGHT EAR. Lou points at Jacob.", "44.\n Jennie.\n He stares at her from across the room. Lou and Jacob notice.", "81.\n\n LOU (CONT'D)", "LOU\n Tab?\n\n JACOB\n Stop talking to me!\n Despite the fact that this looks like very good sex -- it is\n very bad sex for Jacob.", "Jacob looks indifferent and a little turned off by it all.\n Lou strips down to his underwear and CLIMBS IN.", "ADAM\n Friends?\n Jacob takes Adam's hand and helps him to his feet.\n\n JACOB\n Brothers.\n They EMBRACE. Lou looks disgusted.", "ADAM\n (softens, to Jacob)\n You might like it. Havenhurst is\n pretty awesome.\n Jacob shrugs, but Lou gets excited.", "ADAM\n That's the sacrifice.\n Jacob nods, agreeing with Lou's concern.", "JACOB\n Has anyone else noticed that things\n around here are weird as shit?\n Adam and Nick nod. Lou shakes his head.", "SANDY\n Oh you poor thing! Come here...\n She takes Jacob's head to her chest and strokes it gently.\n Lou makes a jerk-off gesture.\n\n SANDY (CONT'D)", "Lou has Jacob PINNED AGAINST THE WALL with his arm. He\n speaks quietly, but with purpose.\n\n LOU\n You're gonna fuck her!", "INT. DELOREAN - EARLY EVENING\n\n Lou sits in the passenger seat next to Jacob.", "LOU\n You have sex with trains?\n\n JACOB\n For your information, I fuck\n chicks. Hot ones.", "(THEN)\n No offense.\n Adam, Nick, and Jacob kinda nod and understand.\n\n ADAM\n Yeah, no, I get it.\n Lou goes around and gives them all hugs.", "JACOB\n She probably has a hairy vagina.\n\n LOU\n Exactly!\n Jacob looks confused.", "JACOB\n No, we traveled through time.\n We're not invisible.\n Lou looks upset.\n\n LOU\n (under his breath)\n I'm still gonna do it." ], [ "Lou gets up and whispers to Adam.", "LOU\n I'm still pretty OK with it.\n\n ADAM\n You have a problem.\n\n LOU\n Just help me put him outside.", "ADAM\n That's the sacrifice.\n Jacob nods, agreeing with Lou's concern.", "LOU (CONT'D)\n Are you with me?\n\n ADAM\n\n (CONFUSED)\n I don't know.", "LOU\n Sure...\n Adam GETS UP. He slowly makes his way over across the room.", "LOU\n I had to do it.\n\n ADAM\n What did you do?\n\n LOU\n I killed myself.", "LOU\n You don't wanna know.\n\n ADAM\n Lou...", "ADAM\n Lou?\n\n LOU\n You're damn right it's me.\n\n ADAM\n What happened?", "27.\n He POURS A VODKA and SLAMS IT BACK.\n Adam climbs in with Lou, pouring his own drink.", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "LOU\n That would be awesome.\n Adam gives Lou a distasteful look.", "ADAM\n Be nice. I know Jacob's kind of a\n douche, but I'm trying to be closer\n to him since Mom died.\n Jacob gets in the back next to Lou.", "NICK\n Dammit. Even the deck furniture's\n the same. We fucking blew it. It\n didn't work.\n\n ADAM\n Where's Lou?", "LOU\n I actually kinda like that idea.\n\n ADAM\n Guys!\n Everyone looks at Adam.", "LOU\n Holy shit! You may have killed\n this guy! No wait... wait... I've\n got a pulse. Eh, so much for that.\n Nick puts his hand on Adam's shoulder.", "ADAM\n Yeah he did.\n\n LOU\n But we showed him, didn't we?", "LOU\n I'm gonna slaughter you in your\n sleep tonight.\n\n ADAM\n (turns to Lou, genuine)\n Thanks for coming, man.", "LOU\n If he doesn't lose that arm soon,\n I'm gonna take it from him myself.\n With that, Lou wanders off toward another room, leering at\n and groping girls as he goes.", "(THEN)\n No offense.\n Adam, Nick, and Jacob kinda nod and understand.\n\n ADAM\n Yeah, no, I get it.\n Lou goes around and gives them all hugs.", "NICK\n Come here.\n He leads Adam near the tub, where Lou points at something.\n\n LOU\n There!" ], [ "81.\n\n LOU (CONT'D)", "LOU\n I'll give you the short version,\n because time is of the essence.\n First of all, to settle an old bet,", "LOU (CONT'D)\n Gentlemen, it's fucking 1987.\n Nixon's in the White House, gas is\n free, and we're about to put a man\n on the moon!", "(LOOKS BACK)\n That fucker!\n Just then, Lou's NOSE SLIGHTLY SHIFTS, the result of being", "LOU (CONT'D)\n If it's '87, the PF Chang's will be\n gone, which means the Brew Haus\n still stands.", "LOU (CONT'D)\n (to Adam and Nick)\n We'll travel to 2010. Then one of\n us will come back and get one of\n you. And so on and so forth.", "LOU (CONT'D)\n We saw the scientist. He was\n worthless. We tried the tub. Dead\n end. I got us a fucking time", "LOU\n If he doesn't lose that arm soon,\n I'm gonna take it from him myself.\n With that, Lou wanders off toward another room, leering at\n and groping girls as he goes.", "LOU (CONT'D)\n See? I'm awesome here. You\n shoulda stayed out of that tub.\n\n CUT TO:", "41.\n Lou stands up and throws down his magazine.\n\n LOU\n This is bullshit! I told you--", "LOU (CONT'D)\n Guys, I was tailor-made for 1987.\n And you'll excuse me, but I value\n banging young chicks way more than\n all of your friendships combined.", "LOU\n I had to do it.\n\n ADAM\n What did you do?\n\n LOU\n I killed myself.", "LOU (O.S.)\n Right on schedule!\n Lou walks toward them, but there's a lot that's \"off\" about", "LOU\n I would like you to die. And then\n I would like you to leave.\n Aiden walks away, freaked out. Lou turns back to the guys.", "LOU (CONT'D)\n This is a horrible thing you're\n doing and I hope you never have to\n experience what I am currently\n going through.\n Lou sits down and Michelle consoles him.", "LOU\n By the way, Adam, I hope you don't\n mind. Right after you left, I\n fucked Jennie silly.", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "JACOB\n No, we traveled through time.\n We're not invisible.\n Lou looks upset.\n\n LOU\n (under his breath)\n I'm still gonna do it.", "LOU\n Yeah, you're gonna have some\n lingering memories of both\n versions.\n\n ADAM\n Wait a minute, what happened to...\n you know. Other Lou.", "LOU\n You will!\n (leans in, quietly)\n Or I'll tell everyone about how you\n jerked off to that issue of\n Playgirl.\n\n YOUNG LOU" ], [ "all the answers, but you don't.\n Not by a long shot.\n Nick is getting emotional.", "NICK\n Everyone relax. I think I know\n what's happened. And when we're\n done discussing it, we're all gonna\n feel a lot better.\n Everyone looks to Nick, who seems to have the answer.", "NICK\n (whispers, teeth clenched)\n Look.\n Lou looks to where Nick is looking:", "NICK (CONT'D)\n Hot tub!\n A lightbulb goes off for Adam too.\n\n ADAM\n Yes!\n Lou gets up and throws down his napkin.", "NICK\n Thank you.\n The waiter walks away and Nick RAISES HIS GLASS in a toast.", "NICK'S CROWD\n Nick! Nick! Nick!\n He finishes the last of the beer, and the crowd celebrates.", "11.\n\n LOU\n All my belongings.\n\n NICK\n So you're sorta like a bum now,\n huh?", "NICK\n\n (SMILES)\n You know what they say about hard\n work. Builds character.", "NICK (CONT'D)\n You'll wake up every morning,\n comforted by the fact that your", "LOU\n (to Nick and Adam)\n You told him?!\n\n (GRIMACES)\n I hate all you people.", "NICK\n Yes. And the best thing for us to\n do is to stay put. The universe\n will eventually reverse itself and", "NICK\n Oh, we're going to jail.\n\n LOU\n Help me put him in the closet.", "NICK (CONT'D)\n I'd like to propose a toast. To my\n best friend, Adam. He may be", "At the top of the mountain, Nick looks WIDE AWAKE. Adam, on\n the other hand, looks COKED OUT OF HIS SKULL. He sniffs,\n fidgets, clenches his jaw, and looks generally \"up.\"", "LOU\n Think really hard about that one.\n What happened to me when I was 19?\n Nick shrugs. He looks at Adam. Suddenly, both their eyes\n nearly pop out of their skulls.", "67.\n\n ADAM\n Nothing's wrong with it. It's\n beautiful.\n In the next bed, Nick rolls over and wakes up.", "NICK\n What the fuck is going on?\n The car climbs a twisty part of the road.\n\n NICK (CONT'D)\n Please god let it still be there...", "NICK\n That's the biggest mistake of your\n life?\n\n LOU\n Fuck yeah. And he's not making\n that same mistake.", "ADAM\n Wait a minute. Just tell him.\n\n NICK\n OK. You tell him, Adam.\n\n ADAM\n Sir, we...", "NICK (CONT'D)\n So the town's dead? Fine, we skip\n that part and go right to the tub." ], [ "LOU (CONT'D)\n I had some time to plan. God, it's\n good to have you guys back!\n\n EXT. PRIVATE AIRFIELD - AFTERNOON", "LOU (CONT'D)\n Oh, that's just great.\n Jacob runs up, in a friendlier disposition.\n\n JACOB\n Hey guys!", "LOU\n If he doesn't lose that arm soon,\n I'm gonna take it from him myself.\n With that, Lou wanders off toward another room, leering at\n and groping girls as he goes.", "LOU\n I actually kinda like that idea.\n\n ADAM\n Guys!\n Everyone looks at Adam.", "GUY AT TABLE\n Hey, it's Lou Blustein!\n The whole room APPLAUDS Lou, as he walks in. Adam and the\n guys can't believe it.", "ADAM\n What is going on?\n Lou strolls up to the guys, with his arms around TWO HOT\n CHICKS. He looks elated.", "LOU\n Close enough. We'll talk some more\n at the party.\n\n INT. HOUSE PARTY - NIGHT", "DUCK HUNT, while in another area, people make out and dance.\n Adam, Nick, Lou, and Jacob walk in the front door. They have", "(RE: LOU)\n He's gonna be a problem.\n Tad and Chaz walk over, looking dapper and douchey. They are\n excited to see Jacob.", "LOU\n Guess who re-popped his 80s cherry?\n This guy!\n He points at himself in a celebratory manner, as behind him --\n The Towel Guy whose room this is comes RUNNING UP.", "(THEN)\n No offense.\n Adam, Nick, and Jacob kinda nod and understand.\n\n ADAM\n Yeah, no, I get it.\n Lou goes around and gives them all hugs.", "IN THE LIVING ROOM\n Lou SITS ON A COUCH with Michelle, one of the girls we met\n earlier at the lodge. Her friend Sandy sits across from them\n next to Jacob, who looks uncomfortable.", "Lou sits in the backseat, voraciously eating a bowl of\n cereal, as the other guys are up front.", "Adam, Jacob, and Lou sit in the main room with the TV on, as\n Nick emerges from a bedroom.", "NICK\n Dammit. Even the deck furniture's\n the same. We fucking blew it. It\n didn't work.\n\n ADAM\n Where's Lou?", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "LOU (O.S.)\n Right on schedule!\n Lou walks toward them, but there's a lot that's \"off\" about", "81.\n\n LOU (CONT'D)", "INT. PINE VALLEY INN / SUITE - LATER THAT NIGHT\n\n Looking ragged as hell, the four guys walk into the room and\n silently collapse on various BEDS and COUCHES.", "LOU (O.S.)\n My fault entirely, madam!\n The room is ABUZZ with CHATTER, as Lou makes a nearly REGAL\n ENTRANCE, wearing a WHITE TUXEDO." ], [ "ADAM\n Yes there is! Come on!\n Adam heads for the door, as Lou and Nick follow.\n\n EXT. BUNNY SLOPE - DAY", "NICK (CONT'D)\n Hot tub!\n A lightbulb goes off for Adam too.\n\n ADAM\n Yes!\n Lou gets up and throws down his napkin.", "EXT. MOUNTAIN - DAY\n\n Adam walks off the mountain with Nick and Lou.", "NICK\n Adam! Jesus.\n\n EXT. MOUNTAIN / SKI TRAIL - DAY - CONTINUOUS", "NICK\n Come here.\n He leads Adam near the tub, where Lou points at something.\n\n LOU\n There!", "LOU\n Think really hard about that one.\n What happened to me when I was 19?\n Nick shrugs. He looks at Adam. Suddenly, both their eyes\n nearly pop out of their skulls.", "NICK\n Dammit. Even the deck furniture's\n the same. We fucking blew it. It\n didn't work.\n\n ADAM\n Where's Lou?", "LOU (CONT'D)\n What was I saying?\n Adam and Nick get out and towel off. Lou follows.\n\n ADAM\n Maybe we have to learn something?", "Adam shares a gondola with Nick, as they make their way up\n the mountain. A DUDE IN SUNGLASSES sits across, napping.", "LOU\n (to Nick and Adam)\n You told him?!\n\n (GRIMACES)\n I hate all you people.", "NICK\n (whispers, teeth clenched)\n Look.\n Lou looks to where Nick is looking:", "A few yards away from Nick and Lou, Adam sits on the ground,\n as Jacob helps him strap into the snowboard.", "At the top of the mountain, Adam, Nick, and Lou look\n ridiculous in TIGHT, RETRO-STYLE NEON SKI JUMPSUITS. Jacob,\n on a snowboard, is the only one dressed in current attire.", "ADAM\n Shame on you.\n\n NICK\n There's plenty of time for tubbin'.\n Let's ski.", "(THEN)\n No offense.\n Adam, Nick, and Jacob kinda nod and understand.\n\n ADAM\n Yeah, no, I get it.\n Lou goes around and gives them all hugs.", "Jennie instructs a group of TEENAGERS on the basics of\n skiing, as Adam approaches, with Nick and Lou in tow.", "LOU\n Fuck yeah it is! We're gonna ski\n the trail and bone some tail!\n\n ADAM", "NICK\n Guys, look...\n Their gaze turns to the MOUNTAIN PEAK, on which is a fresh\n LAYER OF POWDER. It looks like perfect skiing conditions.", "NICK\n That is a lot of cocaine.\n\n ADAM\n I feel like we're in Scarface.\n Only with skiing.", "NICK\n It was a beautiful fall.\n Lou goes into Adam's backpack and pulls out the SANDWICH,\n which he begins unwrapping.\n\n ADAM" ], [ "JACOB\n Not necessarily.\n Everyone looks toward Jacob.", "JACOB\n Just looking out for you. That's\n what brothers do, right? They look\n out for each other?", "ADAM\n Friends?\n Jacob takes Adam's hand and helps him to his feet.\n\n JACOB\n Brothers.\n They EMBRACE. Lou looks disgusted.", "LOU (CONT'D)\n How do I look?\n\n JACOB\n Like a fucking madman?\n He slaps Jacob's arms.", "Jacob looks indifferent and a little turned off by it all.\n Lou strips down to his underwear and CLIMBS IN.", "LOU (CONT'D)\n Oh, that's just great.\n Jacob runs up, in a friendlier disposition.\n\n JACOB\n Hey guys!", "JACOB AND LOU COLLIDE, BOTH TRYING TO AVOID A BARE PATCH.\n\n CUT TO:", "44.\n Jennie.\n He stares at her from across the room. Lou and Jacob notice.", "ADAM\n (softens, to Jacob)\n You might like it. Havenhurst is\n pretty awesome.\n Jacob shrugs, but Lou gets excited.", "in his RIGHT EAR. Lou points at Jacob.", "(TO JACOB)\n Hey, can we use that?\n Jacob looks beside himself.", "ADAM\n That's the sacrifice.\n Jacob nods, agreeing with Lou's concern.", "go of Adam, as Jacob snowboards up and stops short, coming to\n his brother's side.", "ADAM\n Be nice. I know Jacob's kind of a\n douche, but I'm trying to be closer\n to him since Mom died.\n Jacob gets in the back next to Lou.", "JACOB\n Hey Lou?\n\n LOU\n Yeah?\n\n JACOB", "head, which he has been FORCIBLY HOLDING UNDER WATER. Jacob\n coughs and spits out water and looks pissed. Then he smiles", "JACOB\n Just stick to the plan and you're\n gonna be fine.\n Adam looks at Jacob seriously for a moment.", "JACOB\n (to the waitress)\n Can you give us a second?\n She walks away, as Jacob turns to the guys.", "JACOB\n That's not what I--\n\n ADAM\n (looking at watch)\n Fellas, we are not making progress\n and we're losing time.", "JACOB\n Has anyone else noticed that things\n around here are weird as shit?\n Adam and Nick nod. Lou shakes his head." ], [ "81.\n\n LOU (CONT'D)", "LOU\n If he doesn't lose that arm soon,\n I'm gonna take it from him myself.\n With that, Lou wanders off toward another room, leering at\n and groping girls as he goes.", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "41.\n Lou stands up and throws down his magazine.\n\n LOU\n This is bullshit! I told you--", "LOU (CONT'D)\n\n (SURPRISED)\n This thing's a piece of shit.\n Up ahead, the ROAD CURVES DRASTICALLY.", "NICK\n (whispers, teeth clenched)\n Look.\n Lou looks to where Nick is looking:", "LOU\n Oh shit, they found me! I don't\n know how but they found me!", "LOU (O.S.)\n Right on schedule!\n Lou walks toward them, but there's a lot that's \"off\" about", "LOU (CONT'D)\n There's coke everywhere around\n here. This place rules!\n Lou dips into the coke and rubs it on his gums and we:\n\n CUT TO:", "LOU (CONT'D)\n This is a horrible thing you're\n doing and I hope you never have to\n experience what I am currently\n going through.\n Lou sits down and Michelle consoles him.", "Lou watches with BINOCULARS and PUMPS HIS FIST.\n\n LOU\n Yes!\n\n EXT. MOUNTAIN - RACE - DAY", "LOU (CONT'D)\n We saw the scientist. He was\n worthless. We tried the tub. Dead\n end. I got us a fucking time", "LOU (CONT'D)\n How do I look?\n\n JACOB\n Like a fucking madman?\n He slaps Jacob's arms.", "LOU\n That would be awesome.\n Adam gives Lou a distasteful look.", "Lou gets up and whispers to Adam.", "NICK\n Dammit. Even the deck furniture's\n the same. We fucking blew it. It\n didn't work.\n\n ADAM\n Where's Lou?", "RICK\n Who the hell are you?\n Lou thinks about the question for a moment.", "LOU\n You don't wanna know.\n\n ADAM\n Lou...", "LOU (CONT'D)\n Oh, that's just great.\n Jacob runs up, in a friendlier disposition.\n\n JACOB\n Hey guys!", "LOU (CONT'D)\n See? I'm awesome here. You\n shoulda stayed out of that tub.\n\n CUT TO:" ], [ "SANDY (CONT'D)\n He bled for about an hour before he\n died.\n\n (MORE)", "LOU\n I had to do it.\n\n ADAM\n What did you do?\n\n LOU\n I killed myself.", "LOU\n I'll give you the short version,\n because time is of the essence.\n First of all, to settle an old bet,", "nose thing. But no, it was just a\n murder. I didn't suffer.", "Adam wheels his suitcase down the front path of this modest,\n well-kept suburban home, as a recovered, dressed, embarrassed", "29.\n Lou JOLTS AWAKE and PUKES ON THE KITTEN, sending it FLYING!\n This wakes up everyone and they stir to life, inspecting the\n carnage, mostly hangover-related.", "his face. It makes the Jared Leto scene from Fight Club look\n tame. Eventually, Adam's friends pull him off.\n Adam crawls to the Red Bull can and it's empty.", "BLAINE (CONT'D)\n You couldn't leave well enough\n alone, could ya? You couldn't just\n win the race and call it a day?\n You had to have Jennie too.", "NICK (CONT'D)\n Hot tub!\n A lightbulb goes off for Adam too.\n\n ADAM\n Yes!\n Lou gets up and throws down his napkin.", "LOU (CONT'D)\n This is a horrible thing you're\n doing and I hope you never have to\n experience what I am currently\n going through.\n Lou sits down and Michelle consoles him.", "ADAM\n Yeah he did.\n\n LOU\n But we showed him, didn't we?", "LOU (CONT'D)\n We saw the scientist. He was\n worthless. We tried the tub. Dead\n end. I got us a fucking time", "(LAUGHS)\n I always wanted to say that. Punch\n it!\n Jacob HITS THE GAS.", "ADAM\n Oh my god!\n She kisses him again and they start to go at it. Just then --", "NICK\n No way...\n\n ADAM\n You went missing and were never\n found.", "102.\n\n LOU\n It was strangulation.\n\n ADAM\n I don't wanna hear any more!\n They sit in horrified silence for a bit.", "ADAM\n Lou?\n\n LOU\n You're damn right it's me.\n\n ADAM\n What happened?", "ADAM\n If by showing him, you mean we\n laughed and he got bored and\n wandered off into the woods with\n your sneakers, then yeah, we got\n him good.", "JACOB\n Yeah, whatever.\n And with that, the guys travel in silence for a few moments,\n the lifeblood drained from the car. Finally...", "7.\n\n ADAM\n Yeah.\n\n (REALIZATION)\n Wow." ], [ "LOU (CONT'D)\n (to Adam and Nick)\n We'll travel to 2010. Then one of\n us will come back and get one of\n you. And so on and so forth.", "JACOB\n No, we traveled through time.\n We're not invisible.\n Lou looks upset.\n\n LOU\n (under his breath)\n I'm still gonna do it.", "ADAM\n Guys! I refuse to accept that\n we're stuck in 1987! Maybe you're", "78.\n\n ADAM\n So you're telling me that Red Bull\n plus hot tub equals time travel?\n\n LOU", "LOU\n You just traveled 23 years in three\n seconds. Took me 23 years. It's\n good to see you guys!", "A DELOREAN is parked in the empty lot. Adam, Nick, and Jacob\n look at it, drunkenly and bleary-eyed. Adam and Nick trade", "ADAM\n It didn't explode. It vanished.\n It went back... to the present.\n\n LOU\n This is the present.", "LOU\n Rental car agency fucked us!\n There's no flux capacitor.\n Lou pulls Jacob over and straps him in the driver's seat,\n before walking around to the passenger side.", "ADAM (CONT'D)\n One day, you're going to find the\n right guy who's willing to give up\n everything and travel across time", "ADAM\n How are we supposed to get back?\n For a moment, everyone sits and absorbs the question. Then:\n\n LOU\n We find a scientist.", "47.\n\n JACOB\n Back to the Future had a time\n machine.", "(TO LOU)\n Where are you going?\n Lou points to his watch.\n\n LOU\n Five o'clock. Happy hour.\n The guys look at him, confused.", "ADAM\n How about figure out how the hell\n to get back to the present day?\n Nick walks back to the table and SLAMS down a pile of CASH.", "LOU (CONT'D)\n I had some time to plan. God, it's\n good to have you guys back!\n\n EXT. PRIVATE AIRFIELD - AFTERNOON", "JACOB\n Yeah, whatever.\n And with that, the guys travel in silence for a few moments,\n the lifeblood drained from the car. Finally...", "ADAM\n Guys, ignoring the ridiculousness\n of how we got here for a moment--\n\n NICK\n Black hole.", "beautiful fiancee who means more to\n you than anything in the world.\n And if you could, you'd literally\n travel across time for her.", "ADAM\n No! No spaceship. No astronaut\n pants. Just regular time travel.\n With normal pants.", "JACOB\n It's 8:45.\n The other guys look at their watches, surprised.\n\n NICK\n Why am I so wiped out?", "-- The guys keep Adam awake and use a homemade SCALE MODEL of\n the mountain to formulate a plan, a la Iron Eagle.\n -- Back on the hill, Jacob and Adam snowboard next to each" ], [ "LOU (O.S.)\n My fault entirely, madam!\n The room is ABUZZ with CHATTER, as Lou makes a nearly REGAL\n ENTRANCE, wearing a WHITE TUXEDO.", "81.\n\n LOU (CONT'D)", "LOU (O.S.)\n Right on schedule!\n Lou walks toward them, but there's a lot that's \"off\" about", "LOU (CONT'D)\n It's tub time.\n\n EXT. PINE VALLEY INN / PATIO - NIGHT", "LOU\n Listen, your lives at home sound\n all beautiful and happy with your\n barbecues and swimming pools and", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "LOU\n If he doesn't lose that arm soon,\n I'm gonna take it from him myself.\n With that, Lou wanders off toward another room, leering at\n and groping girls as he goes.", "IN THE LIVING ROOM\n Lou SITS ON A COUCH with Michelle, one of the girls we met\n earlier at the lodge. Her friend Sandy sits across from them\n next to Jacob, who looks uncomfortable.", "SANDY\n Oh you poor thing! Come here...\n She takes Jacob's head to her chest and strokes it gently.\n Lou makes a jerk-off gesture.\n\n SANDY (CONT'D)", "LOU\n You get the big time assist. All\n that talk of her finding the right\n guy who's willing to give up\n everything? Made her wetter than a\n log flume.", "Lou's private jet takes off from the runway.\n\n INT. PRIVATE JET - AFTERNOON", "LOU\n I was partaking in a little ski\n adventure and I mistakenly wandered\n into your fiance's path. His", "LOU\n By the way, Adam, I hope you don't\n mind. Right after you left, I\n fucked Jennie silly.", "LOU (CONT'D)\n See? I'm awesome here. You\n shoulda stayed out of that tub.\n\n CUT TO:", "41.\n Lou stands up and throws down his magazine.\n\n LOU\n This is bullshit! I told you--", "LOU\n Herschel and Evelyn aren't gonna do\n a damn thing. They're losers.\n\n YOUNG LOU\n How do you know my parents?", "NICK\n Dammit. Even the deck furniture's\n the same. We fucking blew it. It\n didn't work.\n\n ADAM\n Where's Lou?", "LOU\n I'll give you the short version,\n because time is of the essence.\n First of all, to settle an old bet,", "Lou gets up and whispers to Adam.", "LOU (CONT'D)\n Oh, that's just great.\n Jacob runs up, in a friendlier disposition.\n\n JACOB\n Hey guys!" ], [ "JACOB\n Not necessarily.\n Everyone looks toward Jacob.", "ADAM\n Friends?\n Jacob takes Adam's hand and helps him to his feet.\n\n JACOB\n Brothers.\n They EMBRACE. Lou looks disgusted.", "ADAM\n Be nice. I know Jacob's kind of a\n douche, but I'm trying to be closer\n to him since Mom died.\n Jacob gets in the back next to Lou.", "ADAM\n Thanks for coming, man. It means a\n lot to me.\n Jacob nods halfheartedly.\n\n NICK\n To Adam!", "ADAM\n (takes a moment)\n Is this about something else?\n\n JACOB\n Forget it.", "JACOB\n That's not what I--\n\n ADAM\n (looking at watch)\n Fellas, we are not making progress\n and we're losing time.", "JACOB\n Has anyone else noticed that things\n around here are weird as shit?\n Adam and Nick nod. Lou shakes his head.", "ADAM\n That's the sacrifice.\n Jacob nods, agreeing with Lou's concern.", "76.\n\n TAD\n Geoffrey, please meet Jacob.\n Excuse his Jewish name. He really\n quite exceeds it.\n Jacob looks confused by that, as Geoffrey shakes his hand.", "ADAM\n (softens, to Jacob)\n You might like it. Havenhurst is\n pretty awesome.\n Jacob shrugs, but Lou gets excited.", "ADAM\n Jacob, I'm sorry for not always\n being the big brother I should've\n been. I was away at college, Mom", "JACOB\n I said forget it.\n\n \n\n \n\n \n\n \n\n 16.", "LOU (CONT'D)\n How do I look?\n\n JACOB\n Like a fucking madman?\n He slaps Jacob's arms.", "Jacob looks indifferent and a little turned off by it all.\n Lou strips down to his underwear and CLIMBS IN.", "LOU (CONT'D)\n Oh, that's just great.\n Jacob runs up, in a friendlier disposition.\n\n JACOB\n Hey guys!", "go of Adam, as Jacob snowboards up and stops short, coming to\n his brother's side.", "NICK (CONT'D)\n Yes! It's amazing.\n Now it's just Jacob outside the hot tub. The other three", "JACOB\n Just looking out for you. That's\n what brothers do, right? They look\n out for each other?", "105.\n\n JACOB\n This is why we shouldn't have sold\n that iPod.\n Adam puts his hand through Jacob, who speaks with purpose.", "JACOB\n It's 8:45.\n The other guys look at their watches, surprised.\n\n NICK\n Why am I so wiped out?" ], [ "LOU\n Fuck yeah.\n Lou picks up Adam's half-eaten sandwich and takes a BITE.\n\n ADAM\n You just puked.", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "41.\n Lou stands up and throws down his magazine.\n\n LOU\n This is bullshit! I told you--", "27.\n He POURS A VODKA and SLAMS IT BACK.\n Adam climbs in with Lou, pouring his own drink.", "Lou sits in the backseat, voraciously eating a bowl of\n cereal, as the other guys are up front.", "LOU\n If he doesn't lose that arm soon,\n I'm gonna take it from him myself.\n With that, Lou wanders off toward another room, leering at\n and groping girls as he goes.", "LOU\n That would be awesome.\n Adam gives Lou a distasteful look.", "81.\n\n LOU (CONT'D)", "LOU (CONT'D)\n\n (SURPRISED)\n This thing's a piece of shit.\n Up ahead, the ROAD CURVES DRASTICALLY.", "LOU (CONT'D)\n There's coke everywhere around\n here. This place rules!\n Lou dips into the coke and rubs it on his gums and we:\n\n CUT TO:", "LOU (CONT'D)\n This is a horrible thing you're\n doing and I hope you never have to\n experience what I am currently\n going through.\n Lou sits down and Michelle consoles him.", "LOU (CONT'D)\n How do I look?\n\n JACOB\n Like a fucking madman?\n He slaps Jacob's arms.", "29.\n Lou JOLTS AWAKE and PUKES ON THE KITTEN, sending it FLYING!\n This wakes up everyone and they stir to life, inspecting the\n carnage, mostly hangover-related.", "LOU\n I thought it was some guy's jizz.\n\n ADAM\n What's wrong with you?\n\n LOU\n It worked, didn't it?", "92.\n\n LOU\n Keep the sandwich.\n\n JACOB\n This is disgusting.", "INT. PINE VALLEY INN / SUITE - DAY\n\n Nick, Lou, and Jacob look sick.", "LOU\n Fuck that guy.\n ON THE STAGE, TWO GIRLS compete for wettest t-shirt. They\n both decide that NO T-SHIRT is the wettest option.", "LOU (O.S.)\n Right on schedule!\n Lou walks toward them, but there's a lot that's \"off\" about", "LOU (CONT'D)\n See? I'm awesome here. You\n shoulda stayed out of that tub.\n\n CUT TO:", "Lou nevertheless grabs a TWIZZLER from the snack bowl and\n shoves it down the back of his pants. His face contorts\n uncomfortably and he is almost on the verge of tears." ], [ "81.\n\n LOU (CONT'D)", "LOU\n I'll give you the short version,\n because time is of the essence.\n First of all, to settle an old bet,", "LOU (CONT'D)\n Gentlemen, it's fucking 1987.\n Nixon's in the White House, gas is\n free, and we're about to put a man\n on the moon!", "(LOOKS BACK)\n That fucker!\n Just then, Lou's NOSE SLIGHTLY SHIFTS, the result of being", "LOU (CONT'D)\n If it's '87, the PF Chang's will be\n gone, which means the Brew Haus\n still stands.", "LOU (CONT'D)\n (to Adam and Nick)\n We'll travel to 2010. Then one of\n us will come back and get one of\n you. And so on and so forth.", "LOU (CONT'D)\n We saw the scientist. He was\n worthless. We tried the tub. Dead\n end. I got us a fucking time", "LOU\n If he doesn't lose that arm soon,\n I'm gonna take it from him myself.\n With that, Lou wanders off toward another room, leering at\n and groping girls as he goes.", "LOU (CONT'D)\n See? I'm awesome here. You\n shoulda stayed out of that tub.\n\n CUT TO:", "41.\n Lou stands up and throws down his magazine.\n\n LOU\n This is bullshit! I told you--", "LOU (CONT'D)\n Guys, I was tailor-made for 1987.\n And you'll excuse me, but I value\n banging young chicks way more than\n all of your friendships combined.", "LOU\n I had to do it.\n\n ADAM\n What did you do?\n\n LOU\n I killed myself.", "LOU (O.S.)\n Right on schedule!\n Lou walks toward them, but there's a lot that's \"off\" about", "LOU\n I would like you to die. And then\n I would like you to leave.\n Aiden walks away, freaked out. Lou turns back to the guys.", "LOU (CONT'D)\n This is a horrible thing you're\n doing and I hope you never have to\n experience what I am currently\n going through.\n Lou sits down and Michelle consoles him.", "LOU\n By the way, Adam, I hope you don't\n mind. Right after you left, I\n fucked Jennie silly.", "LOU\n (stares at girl)\n I love this place.\n As Lou pours himself another, Adam starts to lose it again.", "JACOB\n No, we traveled through time.\n We're not invisible.\n Lou looks upset.\n\n LOU\n (under his breath)\n I'm still gonna do it.", "LOU\n Yeah, you're gonna have some\n lingering memories of both\n versions.\n\n ADAM\n Wait a minute, what happened to...\n you know. Other Lou.", "LOU\n You will!\n (leans in, quietly)\n Or I'll tell everyone about how you\n jerked off to that issue of\n Playgirl.\n\n YOUNG LOU" ], [ "ADAM (CONT'D)\n Wait a minute. Are you\n suggesting... yes. YES!\n Adam excitedly heads for the door.", "ADAM (CONT'D)\n The truth is there's a girl I need\n to go see. We have plans to spend", "ADAM (CONT'D)\n (no nerves at all)\n I'm so happy to see you and I can't\n wait to spend the rest of my life\n with you.\n\n LILY", "ADAM (CONT'D)\n You're so beautiful.", "ADAM (CONT'D)\n Ignore that one. Nothing happened.\n\n (BEAT)\n I love you.\n Lily laughs.", "ADAM\n I love her. But you guys are\n right. I'm gonna be with her for\n the rest of my life.\n\n NICK", "7.\n\n ADAM\n Yeah.\n\n (REALIZATION)\n Wow.", "ADAM\n Check out that young stud. Can you\n believe he's about to get married?", "ADAM\n I was born in a hospital like a\n normal baby!\n Adam bends down and picks up even more speed, NARROWLY", "ADAM\n Oh my god!\n She kisses him again and they start to go at it. Just then --", "LILY\n I can't wait for you to come back\n and marry me. Wow, that's crazy.\n Adam looks almost like it just hit him.", "3.\n\n ADAM\n Oh! Jennie.", "ADAM\n She's nobody. Ski instructor.\n (off her look)\n You didn't know me yet.\n Lily still looks at him a little hard.", "ADAM\n Lily?\n\n LILY\n So you do like her better than me?", "ADAM\n Come on, let's get out of here. We\n have unfinished business.\n Lily smiles. She gets into it.", "ADAM\n What a rush!\n He notices the girl on the ground and goes to help her up.\n\n ADAM (CONT'D)\n Oh wow, are you OK?", "ADAM\n No, she just--\n Adam looks to where Jennie just was, but now the bed is", "ADAM\n\n (CORRECTING)\n Lily.\n\n LOU\n Right. Lily. But one vagina?\n Forever?", "ADAM (CONT'D)\n What's all this?\n\n (LOOKS AROUND)\n Jennie?", "Adam smiles, feeling the rush of knowing he's ready. But\n then he sees how sad Jennie is. He moves closer to her." ] ]

[ "What year have they time traveled to?", "What band is giving a concert when Adam meets April?", "What kind of animal does Lou vomit on?", "What kind of beverage is Chernobly?", "What modern song does Nick's band cover?", "What 1980's hit does Nick's band cover?", "What song does Lou sing with Motley Lou?", "Who is Jacob's father?", "When they return to the future, what company has Lou founded?", "What do the guys plan to do in order to minimize the butterfly effect?", "Why did the hot tub repairman tell the friends not to change anything?", "How did Lou lose his money when he bet everything on sports?", "What did the repairman tell Jacob was the key to their time travel?", "How was Lou related to Jacob?", "What happens to Adam although he volunteers to stay with Lou?", "How did Lou change history?", "What does Nick discover about himself in the end?", "Who did the guys reunite with at Lou's mansion?", "What did Adam, Nick, and Lou realize while skiing?", "Who was Jacob looking for?", "What did Lou found?", "What happened at the end of the story?", "What made the guys travel back in time?", "What was Lou's mother doing at the resort?", "Who is Jacob's father?", "What did Lou vomit on?", "How did Lou change history?", "Who did Adam marry?" ]

[ [ "1986.", "1986" ], [ "Poison.", "Poison" ], [ "A squirrel.", "squirrel" ], [ "An illegal Russian energy drink.", "An illegal energy drink from Russia" ], [ "Let's Get it Started.", "Let's Get It Started" ], [ "Jessie's Girl.", "\"Jessie's Girl\"" ], [ "Home Sweet Home.", "Home Sweet Home" ], [ "Lou.", "Lou" ], [ "\"Lougle\"", "Lougle" ], [ "They plan to re-enact their experiences.", "to re-enact their experiences" ], [ "He said it might affect the machine.", "it might affect the machine" ], [ "A squirrel ruined the last bet.", "the squirrel got on the field and ruined the play" ], [ "A nuclear chemical.", "a nuclear chemical" ], [ "He is Jacob's father.", "they aren't related" ], [ "He is thrown into the vortex.", "Adam is thrown into the vortex." ], [ "He founded Lougle and enjoys a luxurious lifestyle.", "founded Lougle" ], [ "He is a succesful music producer who is married to a loyal and loving wife.", "that he is a successful music producer, and is happily married to Courtney" ], [ "Their families.", "their families" ], [ "That they had traveled back in time.", "that they are back in 1986" ], [ "His father.", "his mother" ], [ "Lougle.", "Lougle" ], [ "They were all rich and happy.", "Adam, Nick, and Jacob go back to the present and discover that Lou has changed history." ], [ "A hot tub time machine.", "the nuclear Chernobly drink that they spilled on the hot tub console" ], [ "Acting slutty.", "She was acting rather slutty." ], [ "Lou.", "Lou" ], [ "A squirrel.", "A squirrel" ], [ "By founding Lougle.", "By founding \"Lougle\"" ], [ "April.", "April" ] ]

[ [ "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "THE TALE OF\n\n THE FLOPSY BUNNIES\n\n BY", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "GUTENBERG EBOOK THE TALE OF THE FLOPSY BUNNIES ***\n\n\n\n\nProduced by Michael Ciesielski and the Online Distributed Proofreading\nTeam.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "End of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "They dreamt that their mother Flopsy was tucking them up in a hay bed." ], [ "Sometimes Peter Rabbit had no cabbages to spare.", "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "BEATRIX POTTER\n\n _Author of\n \"The Tale of Peter Rabbit,\" &c._", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"" ], [ "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "They dreamt that their mother Flopsy was tucking them up in a hay bed.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "GUTENBERG EBOOK THE TALE OF THE FLOPSY BUNNIES ***\n\n\n\n\nProduced by Michael Ciesielski and the Online Distributed Proofreading\nTeam.", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"", "THE TALE OF\n\n THE FLOPSY BUNNIES\n\n BY", "_I_ have never felt sleepy after eating lettuces; but then _I_ am not a\nrabbit.\n\nThey certainly had a very soporific effect upon the Flopsy Bunnies!", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "End of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit." ], [ "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in the\nbottom corner of the sack.\n\n\n\nThe little rabbits were pulled out and pinched to wake them.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes." ], [ "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "Mr. McGregor tied up the sack and left it on the wall.\n\nHe went to put away the mowing machine.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "Mr. McGregor's rubbish heap was a mixture. There were jam pots and paper\nbags, and mountains of chopped grass from the mowing machine (which always", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "\"Don't you be silly; what do you mean, you silly old man?\"\n\n\"In the sack! one, two, three, four, five, six!\" replied Mr. McGregor.", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor.", "\"Not fit to eat; but the skins will do fine to line my old cloak.\"\n\n\"Line your old cloak?\" shouted Mr. McGregor--\"I shall sell them and buy\nmyself baccy!\"", "Presently a fly settled on one of them and it moved.\n\nMr. McGregor climbed down on to the rubbish heap--", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was" ], [ "But next Christmas Thomasina Tittlemouse got a present of enough\nrabbit-wool to make herself a cloak and a hood, and a handsome muff and a\npair of warm mittens.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "They dreamt that their mother Flopsy was tucking them up in a hay bed.", "GUTENBERG EBOOK THE TALE OF THE FLOPSY BUNNIES ***\n\n\n\n\nProduced by Michael Ciesielski and the Online Distributed Proofreading\nTeam.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"", "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "THE TALE OF\n\n THE FLOPSY BUNNIES\n\n BY", "End of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter" ], [ "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "Mr. McGregor's rubbish heap was a mixture. There were jam pots and paper\nbags, and mountains of chopped grass from the mowing machine (which always", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor.", "Mr. McGregor tied up the sack and left it on the wall.\n\nHe went to put away the mowing machine.", "\"Not fit to eat; but the skins will do fine to line my old cloak.\"\n\n\"Line your old cloak?\" shouted Mr. McGregor--\"I shall sell them and buy\nmyself baccy!\"", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "Presently a fly settled on one of them and it moved.\n\nMr. McGregor climbed down on to the rubbish heap--", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house." ], [ "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "Mr. McGregor's rubbish heap was a mixture. There were jam pots and paper\nbags, and mountains of chopped grass from the mowing machine (which always", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor." ], [ "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "\"Not fit to eat; but the skins will do fine to line my old cloak.\"\n\n\"Line your old cloak?\" shouted Mr. McGregor--\"I shall sell them and buy\nmyself baccy!\"", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in the\nbottom corner of the sack.\n\n\n\nThe little rabbits were pulled out and pinched to wake them.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor.", "But next Christmas Thomasina Tittlemouse got a present of enough\nrabbit-wool to make herself a cloak and a hood, and a handsome muff and a\npair of warm mittens.", "Mr. McGregor's rubbish heap was a mixture. There were jam pots and paper\nbags, and mountains of chopped grass from the mowing machine (which always", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "They dreamt that their mother Flopsy was tucking them up in a hay bed." ], [ "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "End of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "Benjamin was not so much overcome as his children. Before going to sleep\nhe was sufficiently wide awake to put a paper bag over his head to keep\noff the flies.", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time." ], [ "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "GUTENBERG EBOOK THE TALE OF THE FLOPSY BUNNIES ***\n\n\n\n\nProduced by Michael Ciesielski and the Online Distributed Proofreading\nTeam.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "THE TALE OF\n\n THE FLOPSY BUNNIES\n\n BY", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "End of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "They dreamt that their mother Flopsy was tucking them up in a hay bed.", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "THE TALE OF THE FLOPSY BUNNIES\n\nBY BEATRIX POTTER\n\nF. WARNE & Co" ], [ "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "Sometimes Peter Rabbit had no cabbages to spare.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "GUTENBERG EBOOK THE TALE OF THE FLOPSY BUNNIES ***\n\n\n\n\nProduced by Michael Ciesielski and the Online Distributed Proofreading\nTeam.", "End of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter", "THE TALE OF\n\n THE FLOPSY BUNNIES\n\n BY", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside." ], [ "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "Mr. McGregor tied up the sack and left it on the wall.\n\nHe went to put away the mowing machine.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "Mr. McGregor's rubbish heap was a mixture. There were jam pots and paper\nbags, and mountains of chopped grass from the mowing machine (which always", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in the\nbottom corner of the sack.\n\n\n\nThe little rabbits were pulled out and pinched to wake them.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house." ], [ "(I can tell you her name, she was called Thomasina Tittlemouse, a\nwoodmouse with a long tail.)", "But next Christmas Thomasina Tittlemouse got a present of enough\nrabbit-wool to make herself a cloak and a hood, and a handsome muff and a\npair of warm mittens.", "But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in the\nbottom corner of the sack.\n\n\n\nThe little rabbits were pulled out and pinched to wake them.", "machine. The bluebottles buzzed about the wall, and a little old mouse\npicked over the rubbish among the jam pots.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house." ], [ "But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in the\nbottom corner of the sack.\n\n\n\nThe little rabbits were pulled out and pinched to wake them.", "But next Christmas Thomasina Tittlemouse got a present of enough\nrabbit-wool to make herself a cloak and a hood, and a handsome muff and a\npair of warm mittens.", "(I can tell you her name, she was called Thomasina Tittlemouse, a\nwoodmouse with a long tail.)", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house." ], [ "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in the\nbottom corner of the sack.\n\n\n\nThe little rabbits were pulled out and pinched to wake them.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "Their parents stuffed the empty sack with three rotten vegetable marrows,\nan old blacking-brush and two decayed turnips.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a" ], [ "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "\"Not fit to eat; but the skins will do fine to line my old cloak.\"\n\n\"Line your old cloak?\" shouted Mr. McGregor--\"I shall sell them and buy\nmyself baccy!\"", "Their parents stuffed the empty sack with three rotten vegetable marrows,\nan old blacking-brush and two decayed turnips.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "\"Don't you be silly; what do you mean, you silly old man?\"\n\n\"In the sack! one, two, three, four, five, six!\" replied Mr. McGregor.", "Mr. McGregor's rubbish heap was a mixture. There were jam pots and paper\nbags, and mountains of chopped grass from the mowing machine (which always", "Mr. McGregor tied up the sack and left it on the wall.\n\nHe went to put away the mowing machine.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor." ], [ "But next Christmas Thomasina Tittlemouse got a present of enough\nrabbit-wool to make herself a cloak and a hood, and a handsome muff and a\npair of warm mittens.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "They dreamt that their mother Flopsy was tucking them up in a hay bed.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "(I can tell you her name, she was called Thomasina Tittlemouse, a\nwoodmouse with a long tail.)", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"" ], [ "But next Christmas Thomasina Tittlemouse got a present of enough\nrabbit-wool to make herself a cloak and a hood, and a handsome muff and a\npair of warm mittens.", "But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in the\nbottom corner of the sack.\n\n\n\nThe little rabbits were pulled out and pinched to wake them.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "(I can tell you her name, she was called Thomasina Tittlemouse, a\nwoodmouse with a long tail.)", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "\"Not fit to eat; but the skins will do fine to line my old cloak.\"\n\n\"Line your old cloak?\" shouted Mr. McGregor--\"I shall sell them and buy\nmyself baccy!\"", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "Mr. McGregor's rubbish heap was a mixture. There were jam pots and paper\nbags, and mountains of chopped grass from the mowing machine (which always" ], [ "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "THE TALE OF\n\n THE FLOPSY BUNNIES\n\n BY", "GUTENBERG EBOOK THE TALE OF THE FLOPSY BUNNIES ***\n\n\n\n\nProduced by Michael Ciesielski and the Online Distributed Proofreading\nTeam.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "They dreamt that their mother Flopsy was tucking them up in a hay bed.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "End of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing" ], [ "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "THE TALE OF\n\n THE FLOPSY BUNNIES\n\n BY", "GUTENBERG EBOOK THE TALE OF THE FLOPSY BUNNIES ***\n\n\n\n\nProduced by Michael Ciesielski and the Online Distributed Proofreading\nTeam.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "End of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter", "They dreamt that their mother Flopsy was tucking them up in a hay bed.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a" ], [ "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "Sometimes Peter Rabbit had no cabbages to spare.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "I do not remember the separate names of their children; they were\ngenerally called the \"Flopsy Bunnies.\"", "End of Project Gutenberg's The Tale of the Flopsy Bunnies, by Beatrix Potter", "THE TALE OF\n\n THE FLOPSY BUNNIES\n\n BY", "They dreamt that their mother Flopsy was tucking them up in a hay bed." ], [ "As there was not always quite enough to eat,--Benjamin used to borrow\ncabbages from Flopsy's brother, Peter Rabbit, who kept a nursery garden.", "Sometimes Peter Rabbit had no cabbages to spare.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "_I_ have never felt sleepy after eating lettuces; but then _I_ am not a\nrabbit.\n\nThey certainly had a very soporific effect upon the Flopsy Bunnies!", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "\"Not fit to eat; but the skins will do fine to line my old cloak.\"\n\n\"Line your old cloak?\" shouted Mr. McGregor--\"I shall sell them and buy\nmyself baccy!\"" ], [ "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "\"Not fit to eat; but the skins will do fine to line my old cloak.\"\n\n\"Line your old cloak?\" shouted Mr. McGregor--\"I shall sell them and buy\nmyself baccy!\"", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "Mr. McGregor's rubbish heap was a mixture. There were jam pots and paper\nbags, and mountains of chopped grass from the mowing machine (which always", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "Mr. McGregor tied up the sack and left it on the wall.\n\nHe went to put away the mowing machine.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "Presently a fly settled on one of them and it moved.\n\nMr. McGregor climbed down on to the rubbish heap--" ], [ "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in the\nbottom corner of the sack.\n\n\n\nThe little rabbits were pulled out and pinched to wake them.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "Mr. McGregor tied up the sack and left it on the wall.\n\nHe went to put away the mowing machine." ], [ "But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in the\nbottom corner of the sack.\n\n\n\nThe little rabbits were pulled out and pinched to wake them.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a\nlarge family, and they were very improvident and cheerful.", "But next Christmas Thomasina Tittlemouse got a present of enough\nrabbit-wool to make herself a cloak and a hood, and a handsome muff and a\npair of warm mittens.", "Then the mouse came out of her jam pot, and Benjamin took the paper bag\noff his head, and they told the doleful tale.\n\nBenjamin and Flopsy were in despair, they could not undo the string.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "(I can tell you her name, she was called Thomasina Tittlemouse, a\nwoodmouse with a long tail.)", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "She rustled across the paper bag, and awakened Benjamin Bunny.\n\nThe mouse apologized profusely, and said that she knew Peter Rabbit.", "The little Flopsy Bunnies slept delightfully in the warm sun. From the\nlawn beyond the garden came the distant clacketty sound of the mowing", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "He carried it hanging down, as if it were rather heavy.\n\nThe Flopsy Bunnies followed at a safe distance.\n\n\n\nThe watched him go into his house." ], [ "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "\"One, two, three, four! five! six leetle rabbits!\" said he as he dropped\nthem into his sack. The Flopsy Bunnies dreamt that their mother was", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "The Flopsy Bunnies simply stuffed lettuces. By degrees, one after another,\nthey were overcome with slumber, and lay down in the mown grass.", "Mr. McGregor tied up the sack and left it on the wall.\n\nHe went to put away the mowing machine.", "They could hear him drag his chair on the flags, and chuckle--\n\n\"One, two, three, four, five, six leetle rabbits!\" said Mr. McGregor.", "\"Don't you be silly; what do you mean, you silly old man?\"\n\n\"In the sack! one, two, three, four, five, six!\" replied Mr. McGregor.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "But Mrs. Tittlemouse was a resourceful person. She nibbled a hole in the\nbottom corner of the sack.\n\n\n\nThe little rabbits were pulled out and pinched to wake them.", "sackful of lawn mowings right upon the top of the sleeping Flopsy Bunnies!\nBenjamin shrank down under his paper bag. The mouse hid in a jam pot.", "Their parents stuffed the empty sack with three rotten vegetable marrows,\nan old blacking-brush and two decayed turnips.", "Then Benjamin and Flopsy thought that it was time to go home.\n\n\n\nSo Mr. McGregor did not get his tobacco, and Mrs. McGregor did not get her\nrabbit skins.", "\"Not fit to eat; but the skins will do fine to line my old cloak.\"\n\n\"Line your old cloak?\" shouted Mr. McGregor--\"I shall sell them and buy\nmyself baccy!\"" ], [ "\"Rabbit tobacco! I shall skin them and cut off their heads.\"\n\n\n\nMrs. McGregor untied the sack and put her hand inside.", "When she felt the vegetables she became very very angry. She said that Mr.\nMcGregor had \"done it a purpose.\"", "Mrs. McGregor took hold of the sack and felt it. She said she could feel\nsix, but they must be _old_ rabbits, because they were so hard and all\ndifferent shapes.", "Mr. McGregor looked down after emptying his sack. He saw some funny little\nbrown tips of ears sticking up through the lawn mowings. He stared at them\nfor some time.", "And Mr. McGregor was very angry too. One of the rotten marrows came flying\nthrough the kitchen window, and hit the youngest Flopsy Bunny.\n\nIt was rather hurt.", "Mr. McGregor threw down the sack on the stone floor in a way that would\nhave been extremely painful to the Flopsy Bunnies, if they had happened to\nhave been inside it.", "While he was gone, Mrs. Flopsy Bunny (who had remained at home) came\nacross the field.\n\nShe looked suspiciously at the sack and wondered where everybody was?", "Their parents stuffed the empty sack with three rotten vegetable marrows,\nan old blacking-brush and two decayed turnips.", "Then they all hid under a bush and watched for Mr. McGregor.\n\n\n\nMr. McGregor came back and picked up the sack, and carried it off.", "While she and Benjamin were talking, close under the wall, they heard a\nheavy tread above their heads; and suddenly Mr. McGregor emptied out a", "Mr. McGregor's rubbish heap was a mixture. There were jam pots and paper\nbags, and mountains of chopped grass from the mowing machine (which always", "\"Not fit to eat; but the skins will do fine to line my old cloak.\"\n\n\"Line your old cloak?\" shouted Mr. McGregor--\"I shall sell them and buy\nmyself baccy!\"", "When this happened, the Flopsy Bunnies went across the field to a rubbish\nheap, in the ditch outside Mr. McGregor's garden.", "Mr. McGregor tied up the sack and left it on the wall.\n\nHe went to put away the mowing machine.", "\"Eh? What's that? What have they been spoiling now?\" enquired Mrs.\nMcGregor.", "\"One, two, three, four, five, six leetle fat rabbits!\" repeated Mr.\nMcGregor, counting on his fingers--\"one, two, three--\"", "\"Don't you be silly; what do you mean, you silly old man?\"\n\n\"In the sack! one, two, three, four, five, six!\" replied Mr. McGregor.", "tasted oily), and some rotten vegetable marrows and an old boot or two.\nOne day--oh joy!--there were a quantity of overgrown lettuces, which had\n\"shot\" into flower.", "MR. MCGREGOR & PETER & BENJAMIN\n\n\n\nIt is said that the effect of eating too much lettuce is \"soporific.\"", "Presently a fly settled on one of them and it moved.\n\nMr. McGregor climbed down on to the rubbish heap--" ] ]

[ "How many children do Benjamin and Flopsy have?", "What does Peter Rabbit do for a living?", "Who discovers the sleeping Flopsy bunnies?", "Who creates a hole for the Flopsy bunnies to escape the bag?", "What does Mr. McGregor find in the sack when he gets home?", "What do the Flopsy bunnies send Thomasina for Christmas?", "Where do the animals hide from Mr. McGregor?", "Why do Benjamin and Flopsy travel to Mr. McGregor's vegetable garden?", "What does Mrs. McGregor want to use the rabbits' fur for?", "Who does Benjamin Bunny marry?", "Benjamin and Flopsy are the parents of how many young bunnies?", "What does Peter Rabbit sometimes give the Flopsy Bunnies?", "What did Mr. McGregor put the bunnies in when he finds them sleeping?", "Who is Thomasina Tittlemouse?", "How does Thomasina Tittlemouse help the bunnies escape?", "What does Benjamin and Flopsy fill the sack with after the bunnies escape?", "What does Mrs. McGregor think Mr. McGregor did when she found rotten vegetables in the sack instead of bunnies?", "What do Benjamin and Flopsy give to Thomasina for Christmas?", "What does Thomasina make out of the rabbit-wool given to her for Christmas?", "How are Benjamin and Flopsy related?", "How many children do Banjamin and Flopsy have together?", "What do Banjamin and Flopsy sometimes ask Peter Rabbit to help them with?", "What do the Flopsy bunnies do when Peter has no cabbage to spare?", "What happens when Mr. McGregor finds the bunnies?", "Who frees the bunnies from the sack?", "How does Thomasina free the bunnies?", "What do the bunnies put in the sack to make Mr McGregor think they are still inside it?", "What does Mrs. McGregor think when she finds the rotten vegetables in the sack?" ]

[ [ "6 children", "six" ], [ "He is a florist.", "He is a florist" ], [ "Mr. McGregor", "Mr. McGregor" ], [ "Thomasina Tittlemouse", "Thomasina Tittlemouse" ], [ "Rotten Vegetables", "Rotten vegetables" ], [ "Rabbit wool", "Rabbit wool" ], [ "Beneath a bush.", "Underground" ], [ "Peter Rabbit did not have enough cabbages to spare.", "To steal veggies" ], [ " To line her cloak.", "to line her old cloak" ], [ "Flopsy", "Flopsy" ], [ "Six", "6 bunnies" ], [ "Cabbage", "Flowers" ], [ "A sack", "In a cag" ], [ "A \"resourceful\" wood mouse", "A wood mouse." ], [ "She gnaws a hole in the sack", "she gnaws a hole in the sack" ], [ "Rotten vegetables", "Rotten Vegetables." ], [ "Played a trick on her", "He played a trick on her" ], [ "Rabbit-wool", "Some rabbit-wool." ], [ "Cloak and a hood, and a muff and mittens", "cloak, hood, muff, and mittens" ], [ "They are cousins.", "They are married" ], [ "Six", "six" ], [ "to help feed their bunnies", "Feed their bunnies." ], [ "They eat cabbage in Mr. McGregor's garden", "Steal it" ], [ "He puts them in a sack and ties it so they can't get out", "He puts them in a sack." ], [ "Thomasina Tittlemouse", "Thomasina." ], [ "She chews a hole in the sack so they can get out.", "He gnaws a hole in it." ], [ "rotten vegetables", "Rotten vegetables" ], [ "Mr. McGregor played a trick on her", "That Mr. McGregor played a trick on her." ] ]

[ [ "RAY\n I'm Ray. My wife Annie. And this is\n my daughter, Karin.\n\n (TO KARIN)\n Karin, this is...\n He almost says \"My father.\"", "RAY\n Get your hands off her.\n Ray rises threateningly, and Mark turns toward him. In so\n doing, he twists little Karin off balance.", "RAY\n Mr. Jackson: my wife Annie, my daughter\n Karin.\n\n SHOELESS JOE\n Joe. Ma'm...", "RAY\n So long Tiger.\n He get into the car and looks up at Annie.", "RAY (V.O.)\n My father’s name was John Kinsella.\n A faded, sepia shot of a dirty little kid on a farm.", "KARIN\n Daddy, the baseball game is on.\n Ray beams. Karin returns the smile and reaches her arms\n out to be picked up. She scissors her legs around her\n father at belt level, hugging his neck.", "RAY\n It's not his best work, but the hero of\n the story, a character that Mann created\n twenty-six years ago, is named John\n Kinsella. My father.\n She stops short.", "RAY\n Oh, my God.\n\n ANNIE\n What is it?\n\n RAY\n Its my father.", "Ray is throwing clothes into a suitcase as fast as he can.\n Annie reads from a road map she has marked for him.", "ANNIE\n Introduce him to his granddaughter.\n Ray cannot believe how wonderful Annie is. The Catcher has\n reached the edge of the field, and now stands before Ray\n and Annie.", "RAY\n It is kinda pretty, isn't it?\n Annie smiles at him and carries Karin inside. Ray steps\n onto the porch and flicks the switch shutting off the\n floodlights over the field.", "RAY\n Thank you.\n Annie smiles, but sees that Ray is troubled. She hugs him.", "RAY\n Something's going to happen out there.\n I can feel it.\n Annie lowers her head against his chest and goes back to\n sleep. Outside, the trees are fully leafed.", "RAY\n She fell.\n Doc kneels beside her and instantly knows what is wrong.\n\n DOC GRAHAM\n This child's choking to death.", "RAY (V.O.)\n It’s an Irish name. He was born in\n North Dakota, in 1896...\n Young man in doughboy uniform.", "RAY\n Them.\n Now, Mother and Dee look as if they're about to go into\n mourning. Mark kneels next to Karin.", "Parents stream in past the \"PTA Meeting Tonite\" sign. Ray\n and Annie stand by the doorway, talking with Miss Corser,\n Karin's teacher. (Ray is too distracted by his own\n thoughts to pay this much attention.)", "Annie honks again. Ray waves her to him. Mark cannot\n believe what he is seeing.\n Suddenly, Karin's diaphragm expands as she sucks in air.", "RAY\n I don't know.\n None of this questioning has dampened Ray's pride and\n excitement. Annie shakes her head.\n\n ANNIE\n Ray...", "MANN\n Ray, for God's sake, I'm unattached.\n You've got a family.\n This takes Ray down a peg or two." ], [ "RAY\n Annie, he was a baseball fanatic!\n Listen to this:\n He finds a page and reads from it:", "RAY (CONT'D)\n Babe Ruth, Lou Gehrig...and the great\n Shoeless Joe Jackson. Dad was a Yankees", "RAY (V.O.)\n ...died a lot the following summer when\n eight members of the team were accused\n of throwing that Series.\n Dad (a catcher) playing ball. At work. Weeding.", "Ray as an infant. With his father. In front of Ebbets Field\n in miniature Dodger uniform, etc.", "RAY\n My father said he saw him years later\n playing under a made-up name in some\n tenth-rate league in Carolina. He'd put", "KARIN\n Daddy, the baseball game is on.\n Ray beams. Karin returns the smile and reaches her arms\n out to be picked up. She scissors her legs around her\n father at belt level, hugging his neck.", "RAY\n He never made it as ball player, so he\n tried to get his son to make it for him.", "At one point, Ray becomes suddenly and strangely aware that\n something is about to happen. He looks at Mann who is just\n watching the game. Then he looks at the scoreboard.", "RAY\n I asked him. He wouldn't tell me.\n\n ANNIE\n Shoeless Joe's?\n\n RAY\n I don't think so.", "95\n Ray looks around him. The sounds of the game return, and\n from the unconcerned faces of the people near him, he", "THE MAN\n Joe Jackson.\n Ray is thrilled to hear the words spoken. It is Shoeless", "the game, the sounds, the smells. You\n ever held a glove or a ball to your\n face?\n Ray smiles as he walks in from the mound.", "RAY\n Watch Joe. Watch his feet as the\n pitcher gets the sign and starts to\n pitch. A good left fielder knows what", "RAY\n I have to take you to a baseball game.\n\n MANN\n You what?\n\n CONTINUED", "RAY (V.O.)\n My name’s Ray Kinsella. Mom died when\n I was three, and I suppose Dad did the\n best he could. Instead of Mother Goose,\n I was put to bed at night to stories of", "RAY\n My God, I only saw him later, when he\n was worn down by life. Look at him.\n The young Catcher has reached the outfield grass. Ray\n walks down to the edge of the outfield.", "RAY\n You bet.\n Ray makes another pitch, and Jackson hits a line drive down\n the third base line. Then a smoker down the first base\n line. Ray is mightily impressed.", "Ray watches it with wonder and when he turns back, Jackson\n is gesturing with the bat for him to make the next pitch.\n Ray makes the standard pitcher's gesture for a curve ball.", "falls into left field. The Man runs in for it, scoops it\n up cleanly and throws it back to the plate.\n Ray is thrilled. He hits another ground ball, and this", "Ray writes a check for his purchases: bats, balls, bases\n pitcher's rubber, home plate, etc. He appears slightly" ], [ "RAY\n What.\n\n MANN\n That's Shoeless Joe Jackson!\n\n RAY\n Well of course it is.", "RAY\n I think it means if I build a baseball\n field out there, Shoeless Joe Jackson\n will get to come back and play ball\n again.", "RAY\n I am pitching to Shoeless Joe Jackson.\n He makes a pitch. It's not a very good one, and Joe has", "RAY\n No. It's Iowa.\n Shoeless Joe Jackson nods and fades away as he walks\n through the door in the fence. Ray and Annie looks at each\n other in absolute wonder.", "RAY\n Wait a second. Why him?\n Shoeless Joe and the other players wait for Mann to join\n them, ignoring Ray's question.", "RAY\n Karin...\n Then, without reason, Ray slowly turns toward the field.\n The White Sox stand near him by the fence, the Giants stay\n around their bench. All except one: young Archie Graham.", "SHOELESS JOE\n No, Ray. It was you.\n Shoeless joe winks and walks away, disappearing through the\n door in the outfield fence.", "RAY\n I asked him. He wouldn't tell me.\n\n ANNIE\n Shoeless Joe's?\n\n RAY\n I don't think so.", "RAY\n My God, I only saw him later, when he\n was worn down by life. Look at him.\n The young Catcher has reached the outfield grass. Ray\n walks down to the edge of the outfield.", "RAY\n Annie, he was a baseball fanatic!\n Listen to this:\n He finds a page and reads from it:", "as one player hits to several others in the field. A few\n sportswriters and other civilians stand near the dugouts.\n Ray and Mann stop at the first row, right behind the Red", "The baseball diamond set in the cornfield is quite\n beautiful. Ray takes a satisfied breath, and walks back\n toward his house. He is the very picture of contentment.", "RAY\n Hi.\n The Man nods at him, takes the bat, and tests it to feel\n its weight.\n\n RAY\n Ray Kinsella.", "RAY\n 'As a child, my earliest recurring dream\n was to play at Ebbets Field with Jackie\n Robinson and the Brooklyn Dodgers. Of", "falls into left field. The Man runs in for it, scoops it\n up cleanly and throws it back to the plate.\n Ray is thrilled. He hits another ground ball, and this", "Ray watches it with wonder and when he turns back, Jackson\n is gesturing with the bat for him to make the next pitch.\n Ray makes the standard pitcher's gesture for a curve ball.", "62 ON THE FIELD - LATER 62\n The practice is over, the players are perspired and\n exhilarated. Ray is over at first base talking with Swede\n Risberg, the shortstop.", "THE MAN\n Joe Jackson.\n Ray is thrilled to hear the words spoken. It is Shoeless", "(TO MANN)\n He can't see any of it.\n\n MARK\n And who's that? Babe Ruth?\n Ray smiles, savoring the moment.", "154\n Karin is coming to, Ray and Annie by her side. Some of the\n players start to gather up their equipment. Shoeless Joe\n calls to Ray." ], [ "ANNIE\n They couldn't see it.\n\n RAY\n Interesting.\n He and Annie sit beside Karin and watch the players. Each\n slowly starts to smile.", "(TO MANN)\n He can't see any of it.\n\n MARK\n And who's that? Babe Ruth?\n Ray smiles, savoring the moment.", "He parks the car at the edge of the field, and the game\n stops as he walks right across it, completely mindless of\n the players. Since he doesn't see any of them, a few", "as one player hits to several others in the field. A few\n sportswriters and other civilians stand near the dugouts.\n Ray and Mann stop at the first row, right behind the Red", "93\n The game is in progress. Ray and Mann are in their fifth\n row seats. They do not speak.", "RAY\n Right. See you guys.\n The players call their \"good-byes\" to Ray and head for the", "RAY\n See, there's only eight of them, so they\n can't play a real game...\n\n MARK\n Eight of what?\n Ray points to the noisy players on the field.", "SOME OF THE PLAYERS", "ARCHIE\n I can't. I'm...\n He motions with his head toward the other players\n disappearing through the outfield door. Ray nods\n understandingly.", "Mann has moved everyone (but Mark) with the beauty of his\n words, and the passion in his.voice. Behind him, the\n assembled ballplayers respectfully applaud.", "132\n Ray and Annie walk silently with their arms around each\n other as they lead Mann, Archie and Karin to the bleachers.\n Mann's eyes widen as several of the players shout greetings\n to Ray.", "154\n Karin is coming to, Ray and Annie by her side. Some of the\n players start to gather up their equipment. Shoeless Joe\n calls to Ray.", "95\n Ray looks around him. The sounds of the game return, and\n from the unconcerned faces of the people near him, he", "Joe and the players. He looks at his family. Then he\n turns back to Mark. It's decision time.", "Karin cheers. One of the players good-naturedly boos.", "155 MARK\n\n 155\n is absolutely dumbfounded as'he sees the players fade out\n upon walking through the outfield gate. He turns to Annie.", "RAY\n I know.\n Mark just stands there for a moment, the only sounds coming\n from the players on the, field.\n\n MARK\n I thought you two were going to watch\n some game.", "PLAYERS\n All right,'Karin!\n The players resume their practicing and ribbing.\n\n 61 EXT. HOUSE", "He walks around the edge of the fence, and heads for the\n outfield door. The players respectfully make way for him.", "realizes that no one else can see the message. He opens\n his program and starts writing it down. Mann notices this,\n but cannot see what Ray is writing." ], [ "RAY\n New York Giants, 1922. He played one\n game, never got to bat.\n Mann looks spectrial in the high-contrast glare on the\n headlights.", "RAY\n Look.\n Archie Graham -- now wearing a Giant's uniform -- drops one", "As Archie curls across the diamond from the first baseline\n to the Giants' bench, he hears cheering.\n In the stands, Ray, Annie, Karin and Mann are giving him", "RAY\n Karin...\n Then, without reason, Ray slowly turns toward the field.\n The White Sox stand near him by the fence, the Giants stay\n around their bench. All except one: young Archie Graham.", "RAY\n When you got to the majors, you played\n only one inning of one game. What\n happened in that inning?\n\n 123 INT. HIGH SCHOOL 123", "program -- at the handwritten legend of Moonlight Graham,\n who played one game fifty-seven years ago, but did not get\n to bat -- and follows Mann out of the ballpark.", "as one player hits to several others in the field. A few\n sportswriters and other civilians stand near the dugouts.\n Ray and Mann stop at the first row, right behind the Red", "RAY\n My God, I only saw him later, when he\n was worn down by life. Look at him.\n The young Catcher has reached the outfield grass. Ray\n walks down to the edge of the outfield.", "RAY\n Wait a second. Why him?\n Shoeless Joe and the other players wait for Mann to join\n them, ignoring Ray's question.", "ARCHIE\n\n (FROM THE\n\n BLEACHERS)\n Hey, that's Mel Ott. And Carl Hubbell.\n Those are the New York Giants!", "154\n Karin is coming to, Ray and Annie by her side. Some of the\n players start to gather up their equipment. Shoeless Joe\n calls to Ray.", "133\n The White Sox are in the field, the Giants at bat. A Giant\n hitter bunts, and the runner on second takes third despite", "LIFETIME STATISTICS:\n 1 Game, 0 At Bats\n The message does not just glow, it pulsates. It looks", "The pitcher looks in for his signs. Archie stares back.\n As the pitcher goes into his windup, Archie winks at him.\n There is a moment of confusion and then anger on the", "RAY\n I was warned about you.\n\n DOC GRAHAM\n Anyway, one inning later the game was\n over, and so was I.", "RAY\n Annie, he was a baseball fanatic!\n Listen to this:\n He finds a page and reads from it:", "60 THE FIELD 6 0\n Karin and Ray sit on the bleachers, eating peanuts while\n Shoeless Joe and his seven teammates practice. (Three,", "falls into left field. The Man runs in for it, scoops it\n up cleanly and throws it back to the plate.\n Ray is thrilled. He hits another ground ball, and this", "At one point, Ray becomes suddenly and strangely aware that\n something is about to happen. He looks at Mann who is just\n watching the game. Then he looks at the scoreboard.", "MANN\n Who was his hero?\n\n RAY\n Shoeless Joe Jackson.\n Mann considers this all very carefully." ], [ "RAY\n Either way we lose the farm. Maybe we\n can make it a condition of the sale that\n they keep the field up.", "farm. First thing they'll do is plow\n under your field.\n Ray just sits there, letting that sink in.", "RAY (V.O.)\n A few years later Karin was born. She\n smelled weird, but we loved her anyway.\n Then Annie got the crazy idea that she\n could talk me into buying a farm.", "(SADLY)\n It makes it real hard to keep the farm,\n Ray.\n Ray closes his eyes.\n\n KARIN (O.S.)\n Daddy...", "MARK\n Then you must realize we cannot keep a\n useless baseball diamond in the middle\n of rich farmland.\n\n RAY\n No deal, Mark. We're staying.", "RAY\n What about the baseball field?\n\n MARK\n Do you realize what this land is worth?\n\n RAY\n Over $2200 an acre.", "RAY\n That's what I need to find out.\n\n ANNIE\n Ray, we're behind on the mortgage. That\n field ate up our savings. We could lose\n the farm.", "RAY\n Hey; I know a lot more about farming\n than you think.\n\n MARK\n How could you plow under your major\n crop?\n\n RAY", "1 CONTINUED (2)\n\n 1\n Ray, Annie, and four-year-old Karin by the \"SOLD\" sign of\n their farm. Ray in a cornfield.", "RAY\n What. What!\n\n STORE OWNER\n You're the fella that plowed under your\n corn and built a baseball diamond,\n right?", "RAY\n Just a minute, Karin.\n\n (TO ANNIE)\n So what are you saying? We can't keep\n the field?\n\n ANNIE", "OLD-TIMER\n Ray is. Out in the fields.\n Now, everyone in the store turns to look at Ray.", "131 RAY AND ANNIE'S FARM - NIGHT\n Ray turns the Datsun into the long driveway and, with a", "RAY\n We're keeping this field.\n\n ANNIE\n You bet your ass we are.\n\n CUT TO", "MARK\n Ray, this stupid baseball field is going\n to bankrupt you. Everybody knows it.\n All I'm saying is if you wait till you", "just sold the note on the farm to Mark\n and his partners. So they own the\n paper now, and he says if we don't sell", "Then Ray hears The Voice.", "RAY\n Noises! That darn tractor, it's...\n (forces a nervous", "MARK\n Listen to me. Tomorrow morning, when\n the bank opens, they will foreclose.\n\n MANN\n People will come, Ray.", "Ray sees the Policeman is getting out of his cruiser and\n walking towards them. Ray is desperate." ], [ "KARIN\n It's not nothing.\n Mark grabs Karin's arm and pulls her to her feet as if she\n were \"Exhibit A.\"", "Karin. Her nose and one side of her face have been scraped\n by the fall. Blood starts to trickle from her nose, across\n her cheek and down her neck. She is becoming bluer and her", "MARK\n Oh my God, I'm sorry...Annie...I didn't\n mean to...\n Karin is unconscious, and seems to be fighting for breath.\n Ray and Annie's eyes meet in anguish.", "jacket and covers Karin gently.\n Karin is getting paler, bluer, and her breathing more\n strained and distant.", "Annie honks again. Ray waves her to him. Mark cannot\n believe what he is seeing.\n Suddenly, Karin's diaphragm expands as she sucks in air.", "CUT TO\n\n 23 INT. KARIN'S BEDROOM - NIGHT\n\n\n 23\n Ray and Annie are putting little Karin to bed.", "35 CONTINUED 35\n\n KARIN\n Then what happened?", "RAY\n Get your hands off her.\n Ray rises threateningly, and Mark turns toward him. In so\n doing, he twists little Karin off balance.", "KARIN\n I can't.\n\n CONTINUED", "MARK\n I'm trying to help you, goddamnit!\n In that split second, they hear a strangled gasp, and see\n Karin falling forward from the top row of the bleachers.", "RAY\n She fell.\n Doc kneels beside her and instantly knows what is wrong.\n\n DOC GRAHAM\n This child's choking to death.", "3\n Annie and Karin lock at each other and exchange a shrug.\n Annie extends her arms palms upward, and calls to Ray.", "133 CONTINUED\n\n 133\n Mann is impressed. He lifts Karin up from her seat on the\n row below them, and places her next to him to help him.", "the three men unfold themselves from the car, Karin bolts\n from the back door of the house, a blur of white blouse and\n pink pedal pushers. She flings herself into Ray's arms,", "L\n ittle Karin is watching Harvey while she eats her\n breakfast. Ray enters, looking like he had very little\n sleep, and promptly turns the TV set off.", "RAY\n Excuse us.\n He exits, carrying Karin. Mark shakes his head.", "Doc reaches around and pries her mouth open, releasing a\n sizable piece of hog dog and bun.\n As he turns her over, we can see the blueness disappearing", "Karin cheers. One of the players good-naturedly boos.", "ANNIE\n Sorry. Come on. Dinner.\n Annie leads Karin inside.\n\n 4 -IN THE FIELD", "(FALSETTO)\n Ra--ay! Dinner!\n They all laugh. Ray clearly loves being part of this\n locker room-style comradery. Karin runs to the house." ], [ "Then Ray hears The Voice.", "RAY\n Chisholm, Minnesota. We were the only\n ones who saw it. Did you hear the\n voice, too?\n Mann glances at Ray, then looks away.", "RAY\n That voice.\n\n ANNIE\n What voice?\n\n CONTINUED", "THE VOICE\n 'If you build it, he will come.'\n Ray's eyes pop open. He looks at Annie, who does not stir.", "12 CONTINUED 12\n He throws his tools down angrily and looks all around, but\n there is no apparent source of the voice. Ray is pissed.", "THE VOICE\n 'If you build it, he will come.'\n Ray jerks his head in all directions to see where this", "THE VOICE\n 'Ease his pain.'\n Ray stops short.\n\n RAY\n What?\n No response.\n\n CONTINUED", "THE VOICE\n 'If you build it, he will come.'\n Ray looks up and around, but sees nothing that could be the", "THE VOICE\n 'If you build it, he will come.'\n This is serious. Ray shakes his head and repeats the words\n to himself.", "RAY\n You'll think I'm crazy.\n\n MANN\n I already think you're crazy. What did\n it say?\n After a little thought, Ray smiles sadly.", "Then he hears The Voice.", "(PLAYING ALONG)\n Ray...\n\n RAY\n You're not going to believe this...\n\n ANNIE\n You heard the voice again.", "RAY\n\n (CALLS)\n Annie, what was that?\n\n ANNIE\n\n (CALLS BACK)\n What was what?", "It is later that same night, and Ray has been recounting\n his experience with Doc Graham to Mann, who appears quietly\n troubled.", "(ROARS)\n Now get the fuck out of here!!!\n And he slams the door shut again. Ray is flabbergasted.", "RAY\n What?\n No response.\n\n RAY\n I'm sorry. I didn't understand.\n\n THE VOICE\n 'Ease his pain.'", "62\n\n RAY\n I'm sorry. I didn't understand.\n\n THE VOICE\n 'Ease his pain.'\n Ray stops short.", "RAY\n It said 'The man's done enough. Leave\n him alone.'\n Ray puts the car in gear, makes a wide turn, and starts to", "At one point, Ray becomes suddenly and strangely aware that\n something is about to happen. He looks at Mann who is just\n watching the game. Then he looks at the scoreboard.", "4\n Ray looks all around him with an \"Okay, fellas, what's the\n joke?\" look on his face. But there is no one there. He\n puts down his tools and walks toward the house." ], [ "down the driveway. Dozens of cars. Cars with out-of-state\n license plates.\n Some people,have gotten out of their cars and wait", "146\n springs for the house. The tourists by their cars watch\n quietly.", "32 SIDE OF THE ROAD\n\n 32\n Now, dozens of families stand to watch silent and\n dumb-eyed, at what has obviously become a daily spectacle\n among the townspeople. Some snap photos.", "142 RAY'S POINT OF VIEW - CARS 142\n have parked in front of the house. More are coming quietly", "patiently. One or two families sit on their hoods, or have\n set up picnic dinners on their station wagons' tailgates.", "He parks the car at the edge of the field, and the game\n stops as he walks right across it, completely mindless of\n the players. Since he doesn't see any of them, a few", "KARIN\n So, the people in the cars? They'll\n drive up and they'll want to pay us,\n like buying a ticket.\n Mark looks at them all as if they're crazy.", "RAY\n He's here.\n They look and see Mark's car heading up the gravel lane.", "And as we pull up higher and higher we see a father and son\n bathed by white floodlights and car headlights... on the\n silent, satiny green of a baseball diamond at the edge of\n a cornfield.", "116\n frowns. He says the word to himself.\n\n RAY\n Nominated?\n Ray now looks at the car parked nearest to him.", "first time that a crowd of spectators -- employees and\n customers -- has been watching him and whispering among\n themselves. They look at him as if he had two heads.", "143 CONTINUED\n\n 143\n\n RAY\n (with an edge)\n You don't see those cars? All those\n people?", "in. Ray releases the brake and peels out, burning rubber.\n The two men look happy as kids with bats over shoulders,\n gloves dangling, on their way to a sandlot.", "119\n All the cars on the street are pre-1972. And still walking\n down the block away from him, is the elderly man Ray passed", "rumble, crosses the metal cattle guard that keeps livestock\n from escaping to the roadway.\n He eases the car to a stop in front of the house, and as", "MARK\n Don't do this, you son of a bitch!\n There's no cars, no people...\n\n KARIN\n Uncle Mark, I can see them.", "car over to the side of the road, and shuts off the\n ignition. Mann just looks at him, and starts to chuckle.", "the three men unfold themselves from the car, Karin bolts\n from the back door of the house, a blur of white blouse and\n pink pedal pushers. She flings herself into Ray's arms,", "Annie honks again. Ray waves her to him. Mark cannot\n believe what he is seeing.\n Suddenly, Karin's diaphragm expands as she sucks in air.", "149 BLEACHERS\n\n 149\n Annie has pulled the car over and honks. Ray holds up his\n hand to her to wait. His eyes are on young Archie Graham." ], [ "RAY (V.O.)\n My father’s name was John Kinsella.\n A faded, sepia shot of a dirty little kid on a farm.", "RAY\n It's not his best work, but the hero of\n the story, a character that Mann created\n twenty-six years ago, is named John\n Kinsella. My father.\n She stops short.", "CATCHER\n Hi, I just wanted to thank you folks for\n putting up the field and letting us play\n here. I'm John Kinsella.\n They shake his hand.", "Kinsella is working in the cornfield when a voice -- like\n that of a public address announcer -- speaks to him.", "RAY\n Annie, he was a baseball fanatic!\n Listen to this:\n He finds a page and reads from it:", "RAY\n Hi, I'm Ray Kinsella. I'm really a big\n fan of...", "ARCHIE\n Mr. Kinsella?\n Ray turns toward him. Archie looks as if he knows more\n than he's saying.", "Kinsella... that's my wish.\n Ray begins to smile. Graham is staring intently at him.", "a breath. He hears footsteps inside, approaching the door.\n He cannot help but smile with delight at the thought of\n meeting one of his cultural heroes.", "RAY (V.O.)\n My name’s Ray Kinsella. Mom died when\n I was three, and I suppose Dad did the\n best he could. Instead of Mother Goose,\n I was put to bed at night to stories of", "RAY\n My name is Ray Kinsella. I'm from Iowa.\n Are you Moonlight Graham?\n The old man narrows his bright eyes to see Ray more\n clearly.", "On a side wall there are book jackets and newspaper photos\n in cheap frames: pictures of Mann with Martin Luther\n King...with Bob Dylan...with Timothy Leary...rann being", "he stops writing books. He starts\n writing poetry. About whales and stuff.\n Then, he starts fooling around with a\n home computer, and gets hooked. Know", "Without moving, he looks around the room. There is no one\n there. Very quietly, he crosses to the window and looks\n out. He whispers out toward the cornfield:", "chanting 'Burn, baby, burn,' he was\n writing about love, and peace, and\n understanding. He helped define an era.\n And a generation. And he helped us", "165\n looks toward the house and sees his wife and daughter on\n the veranda, a moon bright as butter silvering the night\n above them. He smiles. He finally understands. He turns\n back to John and nods.", "RAY\n Sir, my name is Ray Kinsella, and it's\n a great pleasure 'Co finally ---", "164 JOHN\n\n 164\n takes time to answer that. He looks up at the night sky\n and searches it.", "JOHN\n Thank you. It's so beautiful here. Its\n like-well for me, it's like a dream\n come true.\n Ray cannot speak. He nods.", "that ball', and one of the boys threw\n him the ball, and he walked over behind\n home plate, reared back, and fired that\n ball over the left field fence." ], [ "Kinsella is working in the cornfield when a voice -- like\n that of a public address announcer -- speaks to him.", "RAY\n If you build it...\n As he thinks about these words,,some unexplained impulse\n causes Ray to turn his head deliberately toward a portion\n of the cornfield between him and the house.", "26\n Stalks of corn wave slowly in the breeze. A bee buzzes\n near one. The light is yellow. Suddenly, the stalks bend\n violently to the ground as Ray's tractor plows them under.", "Without moving, he looks around the room. There is no one\n there. Very quietly, he crosses to the window and looks\n out. He whispers out toward the cornfield:", "RAY\n It's okay, honey, I'm just-talking to\n the cornfield.", "The baseball diamond set in the cornfield is quite\n beautiful. Ray takes a satisfied breath, and walks back\n toward his house. He is the very picture of contentment.", "Then Ray hears The Voice.", "They hold each other's gaze, and Ray cannot remember when\n he has loved her so much. He takes her in his arms.\n Outside their window, the field of corn lies waiting.", "picks up. He stops fora moment, cocks an ear and looks\n around. All he sees are the empty fields. Insects make\n the only sounds. He goes back to work. Then:", "28 HIGH ANGLE 28\n The tractor turns to plow under more corn, and we can see\n the size of the area Ray has staked off with marker sticks.", "RAY\n What. What!\n\n STORE OWNER\n You're the fella that plowed under your\n corn and built a baseball diamond,\n right?", "4\n Ray looks all around him with an \"Okay, fellas, what's the\n joke?\" look on his face. But there is no one there. He\n puts down his tools and walks toward the house.", "RAY\n What does that mean?\n\n ANNIE\n Come on.\n They walk towards the field.", "THE VOICE\n 'If you build it, he will come.'\n Ray jerks his head in all directions to see where this", "12 RAY'S FARM - DAY 12\n Ray is out in the fields again, hard at work. A breeze", "RAY\n Noises! That darn tractor, it's...\n (forces a nervous", "THE VOICE\n 'If you build it, he will come.'\n Ray looks up and around, but sees nothing that could be the", "RAY\n Chisholm, Minnesota. We were the only\n ones who saw it. Did you hear the\n voice, too?\n Mann glances at Ray, then looks away.", "RAY\n Careful...\n Moonl ight butters the Iowa night. They walk along the side\n of the field, and Ray stops. He looks at the field.\n\n CONTINUED", "farm. First thing they'll do is plow\n under your field.\n Ray just sits there, letting that sink in." ], [ "MISS CORSER\n Karin has such a wonderful imagination.\n Lately, she's been making up these\n charming little stories about ghosts who\n play baseball in a cornfield... wonderful\n imagination.", "The baseball diamond set in the cornfield is quite\n beautiful. Ray takes a satisfied breath, and walks back\n toward his house. He is the very picture of contentment.", "Kinsella is working in the cornfield when a voice -- like\n that of a public address announcer -- speaks to him.", "Annie and Karin follow behind with rakes. On either side\n of the base paths, the infield and outfield grass is\n growing.", "And as we pull up higher and higher we see a father and son\n bathed by white floodlights and car headlights... on the\n silent, satiny green of a baseball diamond at the edge of\n a cornfield.", "130\n Something down the road, in the midst of all this flat\n farmland, is glowing in the night.\n It is an illuminated baseball diamond in a cornfield.", "Ray directs Karin's attention to the left fielder.", "154\n Karin is coming to, Ray and Annie by her side. Some of the\n players start to gather up their equipment. Shoeless Joe\n calls to Ray.", "KARIN\n Daddy, the baseball game is on.\n Ray beams. Karin returns the smile and reaches her arms\n out to be picked up. She scissors her legs around her\n father at belt level, hugging his neck.", "KARIN\n Say it ain't so, Joe!\n Joe laughs and walks to the outfield. Annie puts her arm", "Without moving, he looks around the room. There is no one\n there. Very quietly, he crosses to the window and looks\n out. He whispers out toward the cornfield:", "RAY\n Karin...\n Then, without reason, Ray slowly turns toward the field.\n The White Sox stand near him by the fence, the Giants stay\n around their bench. All except one: young Archie Graham.", "KARIN\n Are you a ghost?\n Ray and Annie are instantly embarrassed, and try to cover\n with forced, nervous laughter.", "MARK\n Karin honey... what are you watching?\n\n KARIN\n The baseball men.\n\n MARK\n Do you see any baseball men right now?", "RAY\n It is kinda pretty, isn't it?\n Annie smiles at him and carries Karin inside. Ray steps\n onto the porch and flicks the switch shutting off the\n floodlights over the field.", "60 THE FIELD 6 0\n Karin and Ray sit on the bleachers, eating peanuts while\n Shoeless Joe and his seven teammates practice. (Three,", "where the dirt will be smoothed out for the base paths.\n Ray stands stock-still in the moonlight, water hose in\n hand, patiently misting the baby grass, little Karin at his", "RAY\n Karin...\n (to Shoeless Joe)\n She's just kidding.\n\n SHOELESS JOE\n It's okay.", "RAY\n No. It's Iowa.\n Shoeless Joe Jackson nods and fades away as he walks\n through the door in the fence. Ray and Annie looks at each\n other in absolute wonder.", "RAY\n If you build it...\n As he thinks about these words,,some unexplained impulse\n causes Ray to turn his head deliberately toward a portion\n of the cornfield between him and the house." ], [ "to high-ranking officers of the United\n States Army. And that's why right-\n thinking school boards all across the\n country have been banning this guy's", "Parents stream in past the \"PTA Meeting Tonite\" sign. Ray\n and Annie stand by the doorway, talking with Miss Corser,\n Karin's teacher. (Ray is too distracted by his own\n thoughts to pay this much attention.)", "IRATE MOTHER\n .and I say smut and filth like this has\n no place in our schools!\n A large portion of the audience applauds. Annie whispers\n snarlingly to Ray:", "PARENT)\n At least he's not a book burner, you\n Nazi cow!\n Now the crowd erupts.", "PRINCIPAL\n Mrs. Perkins, the book you are waving\n about is hardly smut. It is considered\n by many critics as the classic novel\n about growing up in the 1960s.", "ANNIE\n Who thinks we have to stand up to the\n kind of censorship they have in Russia?\n Reluctantly, just about everyone raises their hands. Annie\n is thrilled.", "United Sates? Anybody?\n The majority who had sided with the book-banner wants to\n vote for censorship, but under these terms just can't raise", "backsides. Ray is still lost in his own thoughts, doodling\n \"Ease his pain\" over and over again, while an Irate Mother\n has the floor, holding up a novel.", "ANNIE\n Come on, wash up. We've got a PTA\n meeting after dinner. They're talking\n about banning books again. Really", "(TO RAY)\n What planet are these people from?\n Ray looks as if he is starting to realize something.\n\n ANOTHER PARENT\n\n (READING FROM", "ANNIE (CONT'D)\n here? Who wants to burn books? Who\n wants to piss on the Constitution of the", "MARK\n I'm trying to help you, goddamnit!\n In that split second, they hear a strangled gasp, and see\n Karin falling forward from the top row of the bleachers.", "RAY\n\n (TO HIMSELF)\n Terence Mann...\n\n IRATE MOTHER\n You know why he stopped writing books?\n Because he masturbates!", "MARK\n He used to be so normal.\n\n MOTHER\n Does he beat you?\n\n ANNIE\n What???", "subversive books like, Wizard of Oz,\n Diary of Anne Frank ---\n She notices Ray is strangely silent.", "PRINCIPAL\n The Supreme Court said its not. And\n its author, Mr. Mann ---\n\n ANGRY FATHER\n -- is sick!", "to start thinking for themselves. And\n I want my privacy!\n Ray looks slightly embarrassed.", "gotten me to worship Satan with him, but\n just a little.\n Her mother gasps.", "IRATE PARENT\n You're both a bunch of weirdos!\n Annie pulls herself up to her full 5'4\" and thrusts an\n angry finger at. the woman.", "IRATE MOTHER\n The weirdo.\n Ray is so excited at his revelation that he really wants\n to leave immediately. He tugs Annie's sleeve." ], [ "MANN\n You wrote that.\n\n VEDA\n The day he died.", "course, it never happened, and the\n Dodgers left Brooklyn, and they torn\n down Ebbets Field. But even now, I\n still dream that dream.'", "he was ancient. He must have had\n dreams, but he never did anything about\n them. For all I know, he may have even\n heard voices, too, but he sure didn't", "MANN\n There's something out there for me, Ray.\n And what a story it'll make: a man\n being able to touch the perfect dream.\n\n CONTINUED", "RAY\n 'As a child, my earliest recurring dream\n was to play at Ebbets Field with Jackie\n Robinson and the Brooklyn Dodgers. Of", "MANN\n Why at fourteen?\n\n RAY\n That's when I read The Boat Rocker, by\n Terence Mann.", "MANN\n Yes. I suppose I have. How's this?\n (smiles and makes\n the peace sign)\n 'Peace, love, dope.'", "133 CONTINUED\n\n 133\n Mann is impressed. He lifts Karin up from her seat on the\n row below them, and places her next to him to help him.", "On a side wall there are book jackets and newspaper photos\n in cheap frames: pictures of Mann with Martin Luther\n King...with Bob Dylan...with Timothy Leary...rann being", "MANN\n I envy you your craziness, Ray. It's\n been years since I did something\n completely crazy.\n\n RAY\n Well, you want to hear something really\n crazy?", "MANN\n You were kidnapping me at the time, you\n asshole! Think of it, Ray: maybe", "FLASH CUT\n i5 THE MAN AND THE FIELD 1 5\n The dream image flares in again, this time closer to the", "MANN\n What was the awful thing you said?\n\n RAY\n I said I could never respect a man whose\n hero was a criminal.", ". MANN\n I want them to stop looking to me for\n answers. Begging me to speak again,\n write again, be a leader. I want them", "MANN\n Oh God.\n\n RAY\n I never played catch with him again.\n\n MANN", "It is later that same night, and Ray has been recounting\n his experience with Doc Graham to Mann, who appears quietly\n troubled.", "MANN\n I wish I had your passion, Ray. However\n misdirected it may be, it's still a\n passion. I used to feel that way about\n things, but...", "MANN.\n What did I see, Ray?", "Mann has moved everyone (but Mark) with the beauty of his\n words, and the passion in his.voice. Behind him, the\n assembled ballplayers respectfully applaud.", "MANN\n Tell me about his wife.\n\n CONTINUED" ], [ "MANN\n 'Moonlight' Graham.\n Ray's jaw drops.\n\n RAY\n You saw it.\n\n MANN\n Saw what?", "program -- at the handwritten legend of Moonlight Graham,\n who played one game fifty-seven years ago, but did not get\n to bat -- and follows Mann out of the ballpark.", "DOC GRAHAM\n No one's called me 'Moonlight' Graham\n for fifty years.\n\n RAY\n Well, I've come...", "which no player can pass\n -- and when he emerges from the\n shadows on the bleachers side, he is no longer young\n Moonlight Graham, the ballplayer of long ago...but Doc", "MANN\n Yes.\n\n RAY\n What.\n\n MANN\n It means...we're going to Minnesota to\n find Moonlight Graham.", "DOC GRAHAM\n Anyway, I fell asleep. Next morning,\n they found me in the on-deck circle, all\n curled up like a baby. Someone called\n me 'Moonlight,' and it stuck.", "RAY\n My name is Ray Kinsella. I'm from Iowa.\n Are you Moonlight Graham?\n The old man narrows his bright eyes to see Ray more\n clearly.", "Graham, the old man from Chisholm, Minnesota. His baseball\n glove has turned into a black doctor's bag.", "(TO ARCHIE)\n Hey, are you Graham?\n\n ARCHIE\n Yes sir.\n Ray and Mann are astonished that Shoeless Joe knows who\n Archie is.", "RAY\n Karin...\n Then, without reason, Ray slowly turns toward the field.\n The White Sox stand near him by the fence, the Giants stay\n around their bench. All except one: young Archie Graham.", "MANN\n We're trying to find an ex-baseball\n player named Archibald Graham.\n\n VEDA\n You mean 'Doc' Graham.", "ARCHIBALD \"MOONLIGHT\" GRAHAM\n Chisholm, Minn.\n New York Giants", "DOC GRAHAM\n It was the last day of the season.\n Bottom of the eighth, and we were way", "RAY\n Look.\n Archie Graham -- now wearing a Giant's uniform -- drops one", "falls into left field. The Man runs in for it, scoops it\n up cleanly and throws it back to the plate.\n Ray is thrilled. He hits another ground ball, and this", "RAY\n Annie, he was a baseball fanatic!\n Listen to this:\n He finds a page and reads from it:", "The baseball diamond set in the cornfield is quite\n beautiful. Ray takes a satisfied breath, and walks back\n toward his house. He is the very picture of contentment.", "As Archie curls across the diamond from the first baseline\n to the Giants' bench, he hears cheering.\n In the stands, Ray, Annie, Karin and Mann are giving him", "RAY\n And this young fellow is Moon -- uh,\n Archie Graham.\n Karin and Annie shake his hand.\n\n RAY\n He's come to practice with the team.", "RAY\n I asked him. He wouldn't tell me.\n\n ANNIE\n Shoeless Joe's?\n\n RAY\n I don't think so." ], [ "RAY\n As a matter of fact, it's Terence Mann.\n\n MARK\n Ah, how do you? I'm Michael Jackson.", "RAY\n I have to take you to a baseball game.\n\n MANN\n You what?\n\n CONTINUED", "RAY\n What.\n\n MANN\n That's Shoeless Joe Jackson!\n\n RAY\n Well of course it is.", "RAY\n I asked him. He wouldn't tell me.\n\n ANNIE\n Shoeless Joe's?\n\n RAY\n I don't think so.", "90\n Ray slides the Datsun into a parking place, and he and Mann\n walk the short sleazy block to Fenway, and old-fashioned\n center-city ballpark.", "RAY\n I'm Ray Kinsella, this is Terry Mann.", "as one player hits to several others in the field. A few\n sportswriters and other civilians stand near the dugouts.\n Ray and Mann stop at the first row, right behind the Red", "falls into left field. The Man runs in for it, scoops it\n up cleanly and throws it back to the plate.\n Ray is thrilled. He hits another ground ball, and this", "RAY\n Hi.\n The Man nods at him, takes the bat, and tests it to feel\n its weight.\n\n RAY\n Ray Kinsella.", "RAY\n No. It's Iowa.\n Shoeless Joe Jackson nods and fades away as he walks\n through the door in the fence. Ray and Annie looks at each\n other in absolute wonder.", "RAY\n Annie, he was a baseball fanatic!\n Listen to this:\n He finds a page and reads from it:", "RAY\n Terence Mann.\n\n ANNIE\n What about him?\n\n RAY\n That's whose pain.", "MANN\n The one about Ebbets Field. The one\n that charged you up and sent you all the\n way to Boston to find me.\n\n RAY\n Then you lied to me.", "The door opens. Terence Mann is menacingly huge. He\n glares at Ray and roars:", "RAY\n I am pitching to Shoeless Joe Jackson.\n He makes a pitch. It's not a very good one, and Joe has", "The baseball diamond set in the cornfield is quite\n beautiful. Ray takes a satisfied breath, and walks back\n toward his house. He is the very picture of contentment.", "(TO MANN)\n He can't see any of it.\n\n MARK\n And who's that? Babe Ruth?\n Ray smiles, savoring the moment.", "MARK\n Ray, this stupid baseball field is going\n to bankrupt you. Everybody knows it.\n All I'm saying is if you wait till you", "RAY\n Two, field level, first base side.\n The elderly Ticket Seller pulls out two tickets.", "RAY\n I think it means if I build a baseball\n field out there, Shoeless Joe Jackson\n will get to come back and play ball\n again." ], [ "RAY\n Hey; I know a lot more about farming\n than you think.\n\n MARK\n How could you plow under your major\n crop?\n\n RAY", "MARK\n Then you must realize we cannot keep a\n useless baseball diamond in the middle\n of rich farmland.\n\n RAY\n No deal, Mark. We're staying.", "MARK\n Ray, this stupid baseball field is going\n to bankrupt you. Everybody knows it.\n All I'm saying is if you wait till you", "farm. First thing they'll do is plow\n under your field.\n Ray just sits there, letting that sink in.", "MARK (CONT'D)\n give you a more than a fair price and\n you walk away with a nest egg.\n\n RAY\n Thanks, Mark, but no.", "RAY\n He's here.\n They look and see Mark's car heading up the gravel lane.", "RAY\n Get your hands off her.\n Ray rises threateningly, and Mark turns toward him. In so\n doing, he twists little Karin off balance.", "RAY\n What about the baseball field?\n\n MARK\n Do you realize what this land is worth?\n\n RAY\n Over $2200 an acre.", "MARK\n Ray. You will lose everything and you\n will be evicted.\n Ray looks at the paper with dread. He looks at Shoeless", "just sold the note on the farm to Mark\n and his partners. So they own the\n paper now, and he says if we don't sell", "RAY\n Either way we lose the farm. Maybe we\n can make it a condition of the sale that\n they keep the field up.", "MARK\n Listen to me. Tomorrow morning, when\n the bank opens, they will foreclose.\n\n MANN\n People will come, Ray.", "This has Ray's attention. Mark climbs the bleachers to\n stand closer to him.", "(SADLY)\n It makes it real hard to keep the farm,\n Ray.\n Ray closes his eyes.\n\n KARIN (O.S.)\n Daddy...", "RAY (V.O.)\n A few years later Karin was born. She\n smelled weird, but we loved her anyway.\n Then Annie got the crazy idea that she\n could talk me into buying a farm.", "MARK\n You're going to lose your farm, pal.\n It is Sunday afternoon, and Annie's family is visiting.", "MARK\n What are you holding on to this place\n for? You've never even liked Iowa. You\n don't like farming, you don't know the\n first thing about it ---", "RAY\n That's what I need to find out.\n\n ANNIE\n Ray, we're behind on the mortgage. That\n field ate up our savings. We could lose\n the farm.", "KARIN\n Daddy, we don't have to sell the farm.\n But no one pays her any attention. All eyes are on Mark.\n\n CONTINUED", "KARIN\n Daddy, we don't have to sell the farm.\n\n MARK\n Karin, please!" ], [ "MARK\n I'm trying to help you, goddamnit!\n In that split second, they hear a strangled gasp, and see\n Karin falling forward from the top row of the bleachers.", "at the foot of the bleacher. It takes forever for her body\n to come down with a sickening thud on the hard green boards\n of one of the bottom rows.", "In the stands, Mann keeps score, Karin munches on a hot\n dog, and Annie and Ray snuggle together to watch the game.", "Doc reaches around and pries her mouth open, releasing a\n sizable piece of hog dog and bun.\n As he turns her over, we can see the blueness disappearing", "144\n Her hot dog flies off, the bun and wiener separating in\n midair. One small sandal bounces end over end and lands", "actually have to move out of his way. He approaches the\n bottom of the bleachers.", "151 THE BLEACHERS\n\n 151\n as Doc Graham approaches.\n\n DOC GRAHAM\n What have we got here?", "149 BLEACHERS\n\n 149\n Annie has pulled the car over and honks. Ray holds up his\n hand to her to wait. His eyes are on young Archie Graham.", "RAY\n She fell.\n Doc kneels beside her and instantly knows what is wrong.\n\n DOC GRAHAM\n This child's choking to death.", "falls into left field. The Man runs in for it, scoops it\n up cleanly and throws it back to the plate.\n Ray is thrilled. He hits another ground ball, and this", "(LAUGHS)\n •Look at that. Mr. Cool.\n But when Archie gets to the bench, he can't contain himself\n anymore. He leaps up and lets out a cheer of pure joy.", "OPEN-MOUTHED)\n You were keeping score and eating\n\n RAY\n -- a hot dog. I had the same dream.", "154\n\n MANN\n Good night.\n Joe starts to trot off the field, then he stops and turns\n back to the bleachers.", "This has Ray's attention. Mark climbs the bleachers to\n stand closer to him.", "(THRILLED)\n Yes sir!\n Archie quickly scampers down the bleachers, onto the field,\n shakes Joe's hand, and runs to the dugout.", "132\n Ray and Annie walk silently with their arms around each\n other as they lead Mann, Archie and Karin to the bleachers.\n Mann's eyes widen as several of the players shout greetings\n to Ray.", "three climb their way down the bleachers. Ray's hand\n steadies Annie as she takes one of the steps.", "RAY\n No, I meant what do you want from...\n Ray points to the hot dog vendor, as they have reached the\n front of the line.\n\n MANN\n Oh.", "DCC GRAHAM\n She's okay. I don't think the fall\n really hurt her, just the dog in her\n throat. She'll be coming around in a\n minute or two.", "148 ARCHIE GRAHAM\n\n 148\n has noticed the'commotion in the bleachers, and he starts\n to lope across the field." ], [ "KARIN\n It's not nothing.\n Mark grabs Karin's arm and pulls her to her feet as if she\n were \"Exhibit A.\"", "MARK\n Oh my God, I'm sorry...Annie...I didn't\n mean to...\n Karin is unconscious, and seems to be fighting for breath.\n Ray and Annie's eyes meet in anguish.", "Karin. Her nose and one side of her face have been scraped\n by the fall. Blood starts to trickle from her nose, across\n her cheek and down her neck. She is becoming bluer and her", "RAY\n Get your hands off her.\n Ray rises threateningly, and Mark turns toward him. In so\n doing, he twists little Karin off balance.", "jacket and covers Karin gently.\n Karin is getting paler, bluer, and her breathing more\n strained and distant.", "Annie honks again. Ray waves her to him. Mark cannot\n believe what he is seeing.\n Suddenly, Karin's diaphragm expands as she sucks in air.", "133 CONTINUED\n\n 133\n Mann is impressed. He lifts Karin up from her seat on the\n row below them, and places her next to him to help him.", "MARK\n I'm trying to help you, goddamnit!\n In that split second, they hear a strangled gasp, and see\n Karin falling forward from the top row of the bleachers.", "RAY\n Excuse us.\n He exits, carrying Karin. Mark shakes his head.", "RAY\n She fell.\n Doc kneels beside her and instantly knows what is wrong.\n\n DOC GRAHAM\n This child's choking to death.", "CUT TO\n\n 23 INT. KARIN'S BEDROOM - NIGHT\n\n\n 23\n Ray and Annie are putting little Karin to bed.", "the three men unfold themselves from the car, Karin bolts\n from the back door of the house, a blur of white blouse and\n pink pedal pushers. She flings herself into Ray's arms,", "Karin cheers. One of the players good-naturedly boos.", "(FALSETTO)\n Ra--ay! Dinner!\n They all laugh. Ray clearly loves being part of this\n locker room-style comradery. Karin runs to the house.", "KARIN\n Are you a ghost?\n Ray and Annie are instantly embarrassed, and try to cover\n with forced, nervous laughter.", "3\n Annie and Karin lock at each other and exchange a shrug.\n Annie extends her arms palms upward, and calls to Ray.", "L\n ittle Karin is watching Harvey while she eats her\n breakfast. Ray enters, looking like he had very little\n sleep, and promptly turns the TV set off.", "35 CONTINUED 35\n\n KARIN\n Then what happened?", "KARIN\n I can't.\n\n CONTINUED", "MANN\n You bet I will.\n Annie walks Karin over. Ray bends down to Karin's face.\n\n RAY\n How you feeling, honey?" ], [ "RAY\n Thank you.\n Annie smiles, but sees that Ray is troubled. She hugs him.", "RAY\n Get your hands off her.\n Ray rises threateningly, and Mark turns toward him. In so\n doing, he twists little Karin off balance.", "Ray sees the Policeman is getting out of his cruiser and\n walking towards them. Ray is desperate.", "RAY\n Oh.\n Ray thinks for a second, then shakes it off, trying to\n dislodge that thought from his mind, and gets back to work.", "Ray does not know why Mann is blocking his path. Or why\n he appears tense, almost frightened.", "Mann looks behind him, sees the police car, and turns back\n to Ray. Ray wears a look of resignation as he pulls the", "Then Ray hears The Voice.", "RAY\n Nothing.\n\n MANN\n You okay?\n Ray sighs.\n\n RAY\n Yeah.", "Ray nods, and a look of understanding begins to appear on\n his face. He looks out the window, focused on faraway.", "Mann now has no idea what to make of all this, so he just\n looks Ray over for a few seconds.", "(ROARS)\n Now get the fuck out of here!!!\n And he slams the door shut again. Ray is flabbergasted.", "RAY\n Annie...\n But Annie mistakes her husband's intentions. She thinks\n he is cautioning her not to get embroiled in trouble.\n\n ANNIE", "RAY\n Noises! That darn tractor, it's...\n (forces a nervous", "It is later that same night, and Ray has been recounting\n his experience with Doc Graham to Mann, who appears quietly\n troubled.", "He sighs and goes back to bed. Annie cuddles up to him.\n Her eyes are closed, but Ray's eyes remain open. He is\n puzzled and concerned.", "58 CONTINUED\n Joe looks over at Ray, now, his dark eyes evincing the pain\n his steady voice tries to conceal.", "Mann has returned to work, his back to the door.\n Ray enters the loft, his left hand in his jacket pocket.\n When he is halfway across the loft, he clears his throat.", "RAY\n So long Tiger.\n He get into the car and looks up at Annie.", "RAY\n Oh, my God.\n\n ANNIE\n What is it?\n\n RAY\n Its my father.", "Parents stream in past the \"PTA Meeting Tonite\" sign. Ray\n and Annie stand by the doorway, talking with Miss Corser,\n Karin's teacher. (Ray is too distracted by his own\n thoughts to pay this much attention.)" ], [ "RAY\n If you build it...\n As he thinks about these words,,some unexplained impulse\n causes Ray to turn his head deliberately toward a portion\n of the cornfield between him and the house.", "Kinsella is working in the cornfield when a voice -- like\n that of a public address announcer -- speaks to him.", "26\n Stalks of corn wave slowly in the breeze. A bee buzzes\n near one. The light is yellow. Suddenly, the stalks bend\n violently to the ground as Ray's tractor plows them under.", "Without moving, he looks around the room. There is no one\n there. Very quietly, he crosses to the window and looks\n out. He whispers out toward the cornfield:", "The baseball diamond set in the cornfield is quite\n beautiful. Ray takes a satisfied breath, and walks back\n toward his house. He is the very picture of contentment.", "picks up. He stops fora moment, cocks an ear and looks\n around. All he sees are the empty fields. Insects make\n the only sounds. He goes back to work. Then:", "RAY\n It's okay, honey, I'm just-talking to\n the cornfield.", "Then Ray hears The Voice.", "They hold each other's gaze, and Ray cannot remember when\n he has loved her so much. He takes her in his arms.\n Outside their window, the field of corn lies waiting.", "4\n Ray looks all around him with an \"Okay, fellas, what's the\n joke?\" look on his face. But there is no one there. He\n puts down his tools and walks toward the house.", "RAY\n What. What!\n\n STORE OWNER\n You're the fella that plowed under your\n corn and built a baseball diamond,\n right?", "28 HIGH ANGLE 28\n The tractor turns to plow under more corn, and we can see\n the size of the area Ray has staked off with marker sticks.", "It is later that same night, and Ray has been recounting\n his experience with Doc Graham to Mann, who appears quietly\n troubled.", "RAY\n Careful...\n Moonl ight butters the Iowa night. They walk along the side\n of the field, and Ray stops. He looks at the field.\n\n CONTINUED", "around Ray and snuggles her head against his chest.\n Nearby, brook water splashes softly in the darkness, a frog\n shrills, and fireflies dazzle the night.", "12 RAY'S FARM - DAY 12\n Ray is out in the fields again, hard at work. A breeze", "RAY\n Chisholm, Minnesota. We were the only\n ones who saw it. Did you hear the\n voice, too?\n Mann glances at Ray, then looks away.", "RAY (V.O.)\n My name’s Ray Kinsella. Mom died when\n I was three, and I suppose Dad did the\n best he could. Instead of Mother Goose,\n I was put to bed at night to stories of", "RAY\n Noises! That darn tractor, it's...\n (forces a nervous", "voice is coming from, but again, he sees nothing unusual\n -- just the furrowed fields and a few hundred feet away,\n the massive old farmhouse with a sagging veranda on three" ], [ "he was ancient. He must have had\n dreams, but he never did anything about\n them. For all I know, he may have even\n heard voices, too, but he sure didn't", "Then he hears The Voice.", "MANN.\n What did I see, Ray?", "Without moving, he looks around the room. There is no one\n there. Very quietly, he crosses to the window and looks\n out. He whispers out toward the cornfield:", "RAY\n Wait, this gets better, I just saw a\n vision.\n\n ANNIE\n Get out of here!", "Ray nods, and a look of understanding begins to appear on\n his face. He looks out the window, focused on faraway.", "He is thinking furiously. Then he notices that in slamming\n the door, the latch has not locked in place. He thinks,\n makes up his mind, and quietly opens the door.", "165\n looks toward the house and sees his wife and daughter on\n the veranda, a moon bright as butter silvering the night\n above them. He smiles. He finally understands. He turns\n back to John and nods.", "FLASH CUT\n i5 THE MAN AND THE FIELD 1 5\n The dream image flares in again, this time closer to the", "Then Ray hears The Voice.", "It is later that same night, and Ray has been recounting\n his experience with Doc Graham to Mann, who appears quietly\n troubled.", "MANN\n You wrote that.\n\n VEDA\n The day he died.", "a breath. He hears footsteps inside, approaching the door.\n He cannot help but smile with delight at the thought of\n meeting one of his cultural heroes.", "At one point, Ray becomes suddenly and strangely aware that\n something is about to happen. He looks at Mann who is just\n watching the game. Then he looks at the scoreboard.", "17\n Now we see him in head-and-shoulders. He has the muscular\n neck of an athlete. As he slowly turns we start to see a\n bit of his weathered face before the image flares out.", "RAY (V.O.)\n There's a famous story about when he\n came out of the courtroom, a kid ran up", "RAY\n I swear to God. An actual vision.\n\n ANNIE\n We're going to have to burn you at the\n stake if this keeps up.", "18 RAY\n\n 18\n Wheels are turning inside his head. He is trying to figure\n all this out. In the distance, a bell is ringing. He\n looks O.S.", "14 RAY 14\n Ray's eyes widen.\n\n RAY\n . he will come'.", "that ball', and one of the boys threw\n him the ball, and he walked over behind\n home plate, reared back, and fired that\n ball over the left field fence." ], [ "KARIN\n Daddy, the baseball game is on.\n Ray beams. Karin returns the smile and reaches her arms\n out to be picked up. She scissors her legs around her\n father at belt level, hugging his neck.", "Ray directs Karin's attention to the left fielder.", "KARIN\n Say it ain't so, Joe!\n Joe laughs and walks to the outfield. Annie puts her arm", "Annie and Karin follow behind with rakes. On either side\n of the base paths, the infield and outfield grass is\n growing.", "RAY\n Karin...\n Then, without reason, Ray slowly turns toward the field.\n The White Sox stand near him by the fence, the Giants stay\n around their bench. All except one: young Archie Graham.", "154\n Karin is coming to, Ray and Annie by her side. Some of the\n players start to gather up their equipment. Shoeless Joe\n calls to Ray.", "KARIN (O.S.)\n There's a man out there on your lawn.\n Ray opens his eyes and turns to see Karin kneeling on the", "132\n Ray and Annie walk silently with their arms around each\n other as they lead Mann, Archie and Karin to the bleachers.\n Mann's eyes widen as several of the players shout greetings\n to Ray.", "the three men unfold themselves from the car, Karin bolts\n from the back door of the house, a blur of white blouse and\n pink pedal pushers. She flings herself into Ray's arms,", "49\n There is a Man standing on the edge ofthebaseballfield.\n Hi es wearing a baseball uniform.\n Anold-fashionedone.\n\n 50 INT HOUSE", "MANN\n Good night, kid.\n Ray, Karin, Annie and Mann watch Archie jog towards the\n rest of the players. When he reaches the fence, he turns\n back to them.", "MARK\n Karin honey... what are you watching?\n\n KARIN\n The baseball men.\n\n MARK\n Do you see any baseball men right now?", "Karin cheers. One of the players good-naturedly boos.", "man. He stands in the middle distance, silhouetted by the\n lights, and we see he is wearing a uniform of some kind.\n He starts to turn slowly towards us, but before we can see", "KARIN\n It's not nothing.\n Mark grabs Karin's arm and pulls her to her feet as if she\n were \"Exhibit A.\"", "And as we pull up higher and higher we see a father and son\n bathed by white floodlights and car headlights... on the\n silent, satiny green of a baseball diamond at the edge of\n a cornfield.", "that ball', and one of the boys threw\n him the ball, and he walked over behind\n home plate, reared back, and fired that\n ball over the left field fence.", "RAY\n It is kinda pretty, isn't it?\n Annie smiles at him and carries Karin inside. Ray steps\n onto the porch and flicks the switch shutting off the\n floodlights over the field.", "54\n Moving closer to the field we see the Man standing out in\n left field. Feet spread wide, body bent forward from the\n waist, hands on hips, he waits.\n\n 55 RAY", "In the stands, Mann keeps score, Karin munches on a hot\n dog, and Annie and Ray snuggle together to watch the game." ], [ "course, it never happened, and the\n Dodgers left Brooklyn, and they torn\n down Ebbets Field. But even now, I\n still dream that dream.'", "RAY\n 'As a child, my earliest recurring dream\n was to play at Ebbets Field with Jackie\n Robinson and the Brooklyn Dodgers. Of", "RAY\n I read an interview you gave a long time\n ago about how you always dreamed of\n playing at Ebbets Field, and how sad you\n felt when they tore it down.", "fan then, so of course I rooted for\n Brooklyn. But in '58 the Dodgers moved\n away, so we had to find other things to", "that ball', and one of the boys threw\n him the ball, and he walked over behind\n home plate, reared back, and fired that\n ball over the left field fence.", "a twenty-year-old kid with a smooth face\n and kinky hair try out for the 1948\n Dodgers.", "RAY\n Annie, he was a baseball fanatic!\n Listen to this:\n He finds a page and reads from it:", "there's an Ebbets Field still floating\n around out there somewhere. And maybe\n I'll get to sit in the stands, and watch", "falls into left field. The Man runs in for it, scoops it\n up cleanly and throws it back to the plate.\n Ray is thrilled. He hits another ground ball, and this", "RAY\n My God, I only saw him later, when he\n was worn down by life. Look at him.\n The young Catcher has reached the outfield grass. Ray\n walks down to the edge of the outfield.", "RAY (V.O.)\n ...died a lot the following summer when\n eight members of the team were accused\n of throwing that Series.\n Dad (a catcher) playing ball. At work. Weeding.", "Ray as an infant. With his father. In front of Ebbets Field\n in miniature Dodger uniform, etc.", "As Archie curls across the diamond from the first baseline\n to the Giants' bench, he hears cheering.\n In the stands, Ray, Annie, Karin and Mann are giving him", "HAPPY FELSCH\n And wait.\n\n SHOELESS JOE\n We dream.", "ARCHIE\n\n (FROM THE\n\n BLEACHERS)\n Hey, that's Mel Ott. And Carl Hubbell.\n Those are the New York Giants!", "The baseball diamond set in the cornfield is quite\n beautiful. Ray takes a satisfied breath, and walks back\n toward his house. He is the very picture of contentment.", "And as we pull up higher and higher we see a father and son\n bathed by white floodlights and car headlights... on the\n silent, satiny green of a baseball diamond at the edge of\n a cornfield.", "MANN\n The one about Ebbets Field. The one\n that charged you up and sent you all the\n way to Boston to find me.\n\n RAY\n Then you lied to me.", "By the time I was ten, playing baseball\n got to be like eating vegetables or\n taking out the garbage, so when I was\n fourteen, I started to refuse. Can you", "RAY\n I asked him. He wouldn't tell me.\n\n ANNIE\n Shoeless Joe's?\n\n RAY\n I don't think so." ], [ "RAY\n I have to take you to a baseball game.\n\n MANN\n You what?\n\n CONTINUED", "At one point, Ray becomes suddenly and strangely aware that\n something is about to happen. He looks at Mann who is just\n watching the game. Then he looks at the scoreboard.", "90\n Ray slides the Datsun into a parking place, and he and Mann\n walk the short sleazy block to Fenway, and old-fashioned\n center-city ballpark.", "MANN,\n What I mean by that is, I don't care\n much for baseball, but Raymond insisted.\n\n POLICEMAN\n Yeah, I hate baseball.\n (hands Ray back", "132\n Ray and Annie walk silently with their arms around each\n other as they lead Mann, Archie and Karin to the bleachers.\n Mann's eyes widen as several of the players shout greetings\n to Ray.", "RAY\n Annie, he was a baseball fanatic!\n Listen to this:\n He finds a page and reads from it:", "as one player hits to several others in the field. A few\n sportswriters and other civilians stand near the dugouts.\n Ray and Mann stop at the first row, right behind the Red", "MANN\n The one constant through all the years,\n Ray, has been baseball. America has\n rolled by like an`army of steamrollers.", "MANN\n The one about Ebbets Field. The one\n that charged you up and sent you all the\n way to Boston to find me.\n\n RAY\n Then you lied to me.", "93\n The game is in progress. Ray and Mann are in their fifth\n row seats. They do not speak.", "falls into left field. The Man runs in for it, scoops it\n up cleanly and throws it back to the plate.\n Ray is thrilled. He hits another ground ball, and this", "In the stands, Mann keeps score, Karin munches on a hot\n dog, and Annie and Ray snuggle together to watch the game.", "RAY--\n I want a full description.\n\n MANN\n -You take care of this family, Ray.\n Mann joins several of the White Sox as they leave the\n field.", "MANN\n You're damn right it is.\n Ray pays the man and receives the tickets.", "RAY\n What.\n\n MANN\n That's Shoeless Joe Jackson!\n\n RAY\n Well of course it is.", "Ray watches it with wonder and when he turns back, Jackson\n is gesturing with the bat for him to make the next pitch.\n Ray makes the standard pitcher's gesture for a curve ball.", "Joe holds the bat out low over the plate and Ray pitches\n it reasonably close to that spot. Jackson hits it out of\n the park, and beams. Ray brightens up with remembrance.", "MANN\n Then let's go.\n Mann rises and heads up the aisle. Ray looks down at the", "RAY\n I asked him. He wouldn't tell me.\n\n ANNIE\n Shoeless Joe's?\n\n RAY\n I don't think so.", "MANN\n Shoeless Joe had a problem. That's why\n he needed you. This guy doesn't need\n us.\n Suddenly, Ray straightens with a start." ], [ "At one point, Ray becomes suddenly and strangely aware that\n something is about to happen. He looks at Mann who is just\n watching the game. Then he looks at the scoreboard.", "90\n Ray slides the Datsun into a parking place, and he and Mann\n walk the short sleazy block to Fenway, and old-fashioned\n center-city ballpark.", "as one player hits to several others in the field. A few\n sportswriters and other civilians stand near the dugouts.\n Ray and Mann stop at the first row, right behind the Red", "RAY\n What.\n\n MANN\n That's Shoeless Joe Jackson!\n\n RAY\n Well of course it is.", "132\n Ray and Annie walk silently with their arms around each\n other as they lead Mann, Archie and Karin to the bleachers.\n Mann's eyes widen as several of the players shout greetings\n to Ray.", "(TO MANN)\n He can't see any of it.\n\n MARK\n And who's that? Babe Ruth?\n Ray smiles, savoring the moment.", "MANN\n 'Moonlight' Graham.\n Ray's jaw drops.\n\n RAY\n You saw it.\n\n MANN\n Saw what?", "RAY\n Wait a second. Why him?\n Shoeless Joe and the other players wait for Mann to join\n them, ignoring Ray's question.", "RAY\n Annie, he was a baseball fanatic!\n Listen to this:\n He finds a page and reads from it:", "MANN\n Shoeless Joe had a problem. That's why\n he needed you. This guy doesn't need\n us.\n Suddenly, Ray straightens with a start.", "RAY\n My God, I only saw him later, when he\n was worn down by life. Look at him.\n The young Catcher has reached the outfield grass. Ray\n walks down to the edge of the outfield.", "In the stands, Mann keeps score, Karin munches on a hot\n dog, and Annie and Ray snuggle together to watch the game.", "RAY\n Hi.\n The Man nods at him, takes the bat, and tests it to feel\n its weight.\n\n RAY\n Ray Kinsella.", "RAY\n New York Giants, 1922. He played one\n game, never got to bat.\n Mann looks spectrial in the high-contrast glare on the\n headlights.", "THE MAN\n Joe Jackson.\n Ray is thrilled to hear the words spoken. It is Shoeless", "RAY\n I asked him. He wouldn't tell me.\n\n ANNIE\n Shoeless Joe's?\n\n RAY\n I don't think so.", "MANN\n The one about Ebbets Field. The one\n that charged you up and sent you all the\n way to Boston to find me.\n\n RAY\n Then you lied to me.", "Ray watches it with wonder and when he turns back, Jackson\n is gesturing with the bat for him to make the next pitch.\n Ray makes the standard pitcher's gesture for a curve ball.", "MANN\n Good night, kid.\n Ray, Karin, Annie and Mann watch Archie jog towards the\n rest of the players. When he reaches the fence, he turns\n back to them.", "RAY\n No. It's Iowa.\n Shoeless Joe Jackson nods and fades away as he walks\n through the door in the fence. Ray and Annie looks at each\n other in absolute wonder." ], [ "RAY\n Either way we lose the farm. Maybe we\n can make it a condition of the sale that\n they keep the field up.", "farm. First thing they'll do is plow\n under your field.\n Ray just sits there, letting that sink in.", "RAY (V.O.)\n A few years later Karin was born. She\n smelled weird, but we loved her anyway.\n Then Annie got the crazy idea that she\n could talk me into buying a farm.", "(SADLY)\n It makes it real hard to keep the farm,\n Ray.\n Ray closes his eyes.\n\n KARIN (O.S.)\n Daddy...", "MARK\n Then you must realize we cannot keep a\n useless baseball diamond in the middle\n of rich farmland.\n\n RAY\n No deal, Mark. We're staying.", "RAY\n What about the baseball field?\n\n MARK\n Do you realize what this land is worth?\n\n RAY\n Over $2200 an acre.", "RAY\n That's what I need to find out.\n\n ANNIE\n Ray, we're behind on the mortgage. That\n field ate up our savings. We could lose\n the farm.", "RAY\n Hey; I know a lot more about farming\n than you think.\n\n MARK\n How could you plow under your major\n crop?\n\n RAY", "1 CONTINUED (2)\n\n 1\n Ray, Annie, and four-year-old Karin by the \"SOLD\" sign of\n their farm. Ray in a cornfield.", "RAY\n What. What!\n\n STORE OWNER\n You're the fella that plowed under your\n corn and built a baseball diamond,\n right?", "RAY\n Just a minute, Karin.\n\n (TO ANNIE)\n So what are you saying? We can't keep\n the field?\n\n ANNIE", "OLD-TIMER\n Ray is. Out in the fields.\n Now, everyone in the store turns to look at Ray.", "131 RAY AND ANNIE'S FARM - NIGHT\n Ray turns the Datsun into the long driveway and, with a", "RAY\n We're keeping this field.\n\n ANNIE\n You bet your ass we are.\n\n CUT TO", "MARK\n Ray, this stupid baseball field is going\n to bankrupt you. Everybody knows it.\n All I'm saying is if you wait till you", "just sold the note on the farm to Mark\n and his partners. So they own the\n paper now, and he says if we don't sell", "Then Ray hears The Voice.", "RAY\n Noises! That darn tractor, it's...\n (forces a nervous", "MARK\n Listen to me. Tomorrow morning, when\n the bank opens, they will foreclose.\n\n MANN\n People will come, Ray.", "Ray sees the Policeman is getting out of his cruiser and\n walking towards them. Ray is desperate." ], [ "RAY\n She fell.\n Doc kneels beside her and instantly knows what is wrong.\n\n DOC GRAHAM\n This child's choking to death.", "KARIN\n It's not nothing.\n Mark grabs Karin's arm and pulls her to her feet as if she\n were \"Exhibit A.\"", "MARK\n Oh my God, I'm sorry...Annie...I didn't\n mean to...\n Karin is unconscious, and seems to be fighting for breath.\n Ray and Annie's eyes meet in anguish.", "RAY\n Get your hands off her.\n Ray rises threateningly, and Mark turns toward him. In so\n doing, he twists little Karin off balance.", "133 CONTINUED\n\n 133\n Mann is impressed. He lifts Karin up from her seat on the\n row below them, and places her next to him to help him.", "Annie honks again. Ray waves her to him. Mark cannot\n believe what he is seeing.\n Suddenly, Karin's diaphragm expands as she sucks in air.", "Karin. Her nose and one side of her face have been scraped\n by the fall. Blood starts to trickle from her nose, across\n her cheek and down her neck. She is becoming bluer and her", "DCC GRAHAM\n She's okay. I don't think the fall\n really hurt her, just the dog in her\n throat. She'll be coming around in a\n minute or two.", "35 CONTINUED 35\n\n KARIN\n Then what happened?", "jacket and covers Karin gently.\n Karin is getting paler, bluer, and her breathing more\n strained and distant.", "MARK\n I'm trying to help you, goddamnit!\n In that split second, they hear a strangled gasp, and see\n Karin falling forward from the top row of the bleachers.", "RAY\n Excuse us.\n He exits, carrying Karin. Mark shakes his head.", "L\n ittle Karin is watching Harvey while she eats her\n breakfast. Ray enters, looking like he had very little\n sleep, and promptly turns the TV set off.", "CUT TO\n\n 23 INT. KARIN'S BEDROOM - NIGHT\n\n\n 23\n Ray and Annie are putting little Karin to bed.", "KARIN\n I can't.\n\n CONTINUED", "DOC GRAHAM\n No, son. Thank you.\n It just now sinking for Ray what-Doc Graham has sacrificed\n to save the child. Ray looks to the field, and then back\n at the Doctor.", "the three men unfold themselves from the car, Karin bolts\n from the back door of the house, a blur of white blouse and\n pink pedal pushers. She flings herself into Ray's arms,", "3\n Annie and Karin lock at each other and exchange a shrug.\n Annie extends her arms palms upward, and calls to Ray.", "KARIN\n Are you a ghost?\n Ray and Annie are instantly embarrassed, and try to cover\n with forced, nervous laughter.", "(FALSETTO)\n Ra--ay! Dinner!\n They all laugh. Ray clearly loves being part of this\n locker room-style comradery. Karin runs to the house." ], [ "157 THE YOUNG CATCHER\n has taken off his mask. He is in his early twenties. He\n is in the same pose as the photo we saw in the prologue.", "At one point, Ray becomes suddenly and strangely aware that\n something is about to happen. He looks at Mann who is just\n watching the game. Then he looks at the scoreboard.", "Karin cheers. One of the players good-naturedly boos.", "95\n Ray looks around him. The sounds of the game return, and\n from the unconcerned faces of the people near him, he", "and hits the dirt hard. The Catcher chuckles through his\n mask.", "The pitcher looks in for his signs. Archie stares back.\n As the pitcher goes into his windup, Archie winks at him.\n There is a moment of confusion and then anger on the", "(TO MANN)\n He can't see any of it.\n\n MARK\n And who's that? Babe Ruth?\n Ray smiles, savoring the moment.", "Mann has moved everyone (but Mark) with the beauty of his\n words, and the passion in his.voice. Behind him, the\n assembled ballplayers respectfully applaud.", "SHOELESS JOE\n No, Ray. It was you.\n Shoeless joe winks and walks away, disappearing through the\n door in the outfield fence.", "Ray laughs. This guy is great. He pulls on the wire. On\n the other side of the door, a bell rings.\n Ray has to struggle to control his nervousness. He takes", "MANN\n Shoeless Joe had a problem. That's why\n he needed you. This guy doesn't need\n us.\n Suddenly, Ray straightens with a start.", "RAY\n What.\n\n MANN\n That's Shoeless Joe Jackson!\n\n RAY\n Well of course it is.", "Ray watches it with wonder and when he turns back, Jackson\n is gesturing with the bat for him to make the next pitch.\n Ray makes the standard pitcher's gesture for a curve ball.", "He parks the car at the edge of the field, and the game\n stops as he walks right across it, completely mindless of\n the players. Since he doesn't see any of them, a few", "man. He stands in the middle distance, silhouetted by the\n lights, and we see he is wearing a uniform of some kind.\n He starts to turn slowly towards us, but before we can see", "RAY\n My God, I only saw him later, when he\n was worn down by life. Look at him.\n The young Catcher has reached the outfield grass. Ray\n walks down to the edge of the outfield.", "154\n Karin is coming to, Ray and Annie by her side. Some of the\n players start to gather up their equipment. Shoeless Joe\n calls to Ray.", "ANNIE\n They couldn't see it.\n\n RAY\n Interesting.\n He and Annie sit beside Karin and watch the players. Each\n slowly starts to smile.", "3.50\n As Graham gets closer, his features begin to change, and\n his step slows. He reaches the end of the fence -- around", "Mann has returned to work, his back to the door.\n Ray enters the loft, his left hand in his jacket pocket.\n When he is halfway across the loft, he clears his throat." ] ]

[ "What is the name of Ray's daughter?", "What sport was Ray's dad a fan of?", "Which deceased baseball player shows up at Ray's field?", "Who can't see the players?", "Which player played only one game for the Giants?", "Who demands that Ray sell the farm?", "What was Karin choking on?", "Who did Ray think \"the voice\" was?", "What do the hundreds of cars come to watch?", "What was John Kinsella an ardent fan of?", "What words does Ray hear while walking through a cornfield?", "What ghost of baseball does Karin spot in the cornfield?", "Who does the PTA wish to ban?", "What was Mann's childhood dream?", "What did archibald Moonlight Graham become after playing baseball?", "What famous baseball field does Ray take Terence Mann to?", "What does Mark want Ray to do with the farm?", "Who falls from the bleachers and almost chokes on a hotdog?", "Who saves Karin from choking?", "Who does Ray have a troubled relationship with?", "What did Ray hear while walking through his cornfield one evening?", "What did he see a vision of?", "Who was the uniformed man Karin saw in the baseball field?", "Who had a childhood dream of playing for the New York Dodgers?", "Where did Ray and Mann attend a baseball game together?", "What was the name of the player Ray and Mann saw on the scoreboard at Fenway Park?", "Who demands that Ray sell the farm?", "What did Graham do to save Karin from choking?", "Who is the player that removes his mask?" ]

[ [ "Karin ", "Karin." ], [ "Baseball", "Baseball" ], [ "Shoeless Joe Jackson", "Shoeless Joe Jackson" ], [ "Ray's brother in law", "Mark " ], [ "Archibald \"Moonlight\" Graham", "Archibald Moonlight Graham" ], [ "Mark", "Mark " ], [ "A hot dog", "hot dog" ], [ "Shoeless Joe", "Shoeless Joe Jackson" ], [ "Baseball ", "baseball" ], [ "Baseball", "Baseball." ], [ "\"If you build it, he will come\"", "\"If you build it, he will come.\"" ], [ "Shoeless Joe Jackson", "Shoeless Joe Jackson." ], [ "Terrence Mann", "books written by radical author Terence Mann" ], [ "To play for the Brooklyn Dodgers", "Playing for the Brooklyn Dodgers" ], [ "A doctor", "Doctor" ], [ "Fenway Park", "Fenway Park." ], [ "sell it", "Plant corn to restore profitability." ], [ "Karin", "Karin" ], [ "Graham", "Graham " ], [ "His father.", "His father John. " ], [ "He heard a voice whisper, If you build it, he will come.", "A voice." ], [ "A baseball diamond in his cornfield.", "Shoeless Joe Jackson" ], [ "Deceased baseball player Shoeless Joe Jackson.", "'Shoeless' Joe Jackson." ], [ "Terence Mann", "Terence Mann." ], [ "At Fenway Park?", "Fenway Park." ], [ "Archibald \"Moonlight\" Graham", "Archibald Graham." ], [ "His brother in law Mark.", "Mark" ], [ "He sacrificed his youth by stepping off the field.", "he came off the baseball diamond and became his older self, the doctor" ], [ "John", "Shoeless Joe" ] ]

[ [ "offering to the Public. The character of the Author (Marcus Tullius\nCicero) is so universally celebrated, that it would be needless, and", "accordingly did. C. Cotta, indeed, who was his nephew, made a short speech\nin his vindication, which he spoke in the true style of an Orator, though", "Cicero's garden at Rome, under the statue of Plato, whom he always\nadmired, and usually imitated in his dialogues: and he seems in this to", "assist us. We have several of his Orations still extant, and three books\ninscribed to L. Fufidius containing the History of his own Life, which,", "or that any fort of reward or encouragement was given to Eloquence: I only\nconjecture what appears very probable. It is also recorded, that C.", "most eminent men of that profession, have been crowded with disciples; who\ncan be reasonably censured for exciting our youth to the study of\nEloquence, and furnishing them with all the assistance in his power? If it", "Orator of the first eminence; and really appears, from his Orations which\nare still extant, to have been a masterly writer. For he was the first", "Servius Galba, in the open Forum, with great energy and spirit:--he has\nleft a copy of this Oration behind him. But when Cato was in the decline", "with you in the defence of Appius, your father-in-law. As to our\nrespective talents, the Orations we have published will enable posterity", "his very presence, which bespeaks a great and elevated mind.\"--\"Indeed,\"\nsaid Brutus, \"his Orations please me highly; for I have had the", "history and the laws of his country; besides which, he had a tolerable\nfreedom of expression. But he happened to live at a time when many\nexcellent Orators made their appearance; and yet he served his friends", "was in a perpetual hurry of business, could dedicate to _you_, my Cicero,\na laboured Treatise on the Art of Speaking correctly; that _he_, who, in", "whole body of the Roman people, to employ my pen so largely upon the art\nof Speaking. [Footnote: The long apology which our author is now going to", "might likewise observe of C. Caelius, that he was a man of great\napplication, and many eminent qualities, and had eloquence enough to\nsupport the private interests of his friends, and his own dignity in the", "I went to Rhodes, and applied myself again to Molo, whom I had heard\nbefore at Rome; and who was both an experienced pleader, and a fine\nwriter, and particularly judicious in remarking the faults of his", "and from another passage of the same kind further on, that Cicero had as\ngreat a veneration for his own talents as any man living. His merit,", "_Caius_, and a Tribune of the people, once said in a public trial in which\nI was personally engaged,--\"_O Marce Druse, Patrem appello_;\" where you", "rigorous course of private practice, but enriched his Oratory with the\nfurniture of philosophical Science, and thus united the highest virtue to\nthe most consummate Eloquence. Your situation, therefore, wounds us with", "speak in Public, they make a poor appearance. Cato, however, must be\nexcepted; in whom, though as rigid a Stoic as ever existed, I could not", "and Scipio are greatly extolled for their abilities; the preference was\ngiven to Laelius as a speaker; and yet his Oration, in defence of the" ], [ "The first character, then, to be described, is the Orator who, according\nto some, is the only one that has any just pretensions to _Atticism_. He", "of it to Cato? They are fond, they tell us, of the _Attic_ style of\nEloquence: and their choice is certainly judicious, provided they borrow", "the proper theatre of Eloquence.\"--\"His aim,\" said Brutus, \"was to be\nadmired as an _Attic_ Orator: and to this we must attribute that accurate", "them were truly _Attic_. The first (Charisius) was the author of a number\nof speeches, which he composed for his friends, professedly in imitation", "ordered him to be instantly torn from the Rostrum? Those, therefore, who\ncan accommodate themselves to the nice and critical ears of an Athenian\naudience, are the only persons who should pretend to Atticism.", "faulty or impertinent. But to speak floridly, nervously, and copiously,\nthis also is true Atticism:--otherwise, neither Aeschines nor even", "_Attic_ Speakers.--It is time, however, to return to Hortensius.\"--\"\nIndeed, I think so,\" cried Brutus: \"though I must acknowledge that this", "Be it allowed, then, that Lysias, that graceful and most polite of\nSpeakers, was truly Attic: for who can deny it? But let it also be", "But though Atticism may be divided into several kinds, these mimic\nAthenians suspect but one. They imagine that to discourse plainly, and", "in Cato. It was the distinguishing character, say they, of Lysias and\nHyperides. I own it, and I admire them for it: but why not allow a share", "mistaken; though when they tell us that this is really Attic, they are so\nfar in the right. For if the only true Atticism is what they suppose to", "talk, than those Orators I have taken the pains to enumerate: [Footnote:\nThis was probably intended as an indirect Compliment to Atticus.] but I", "Demosthenes himself were Attic Speakers.", "of the rest of the Roman Orators.\"--\"Nothing,\" said Atticus, \"(for I can\nsafely answer for my friend Brutus) would please us better.\"--\"Curio,", "had so vain a conceit of his own taste for Atticism, that he considered\nhis predecessors, who were really masters of it, as mere rustics in", "Cicero's garden at Rome, under the statue of Plato, whom he always\nadmired, and usually imitated in his dialogues: and he seems in this to", "number of well-chosen examples, and such an agreeable vein of politeness,\nthat they almost seem to have been composed in the true Attic style. He", "language, though rapid and voluble, was neither loose nor exuberant. He\nwas a professed imitator of Crassus, while Cotta chose Antonius for his", "vicious expression, has, in this sense, an undoubted right to refuse his\napprobation to every thing which is not strictly _Attic_. For he must", "good-manners of an Orator:--and every one who pretends to speak in public\nshould adopt the same opinion. But if he bestows the name of Atticism on a" ], [ "The first character, then, to be described, is the Orator who, according\nto some, is the only one that has any just pretensions to _Atticism_. He", "of it to Cato? They are fond, they tell us, of the _Attic_ style of\nEloquence: and their choice is certainly judicious, provided they borrow", "them were truly _Attic_. The first (Charisius) was the author of a number\nof speeches, which he composed for his friends, professedly in imitation", "talk, than those Orators I have taken the pains to enumerate: [Footnote:\nThis was probably intended as an indirect Compliment to Atticus.] but I", "the proper theatre of Eloquence.\"--\"His aim,\" said Brutus, \"was to be\nadmired as an _Attic_ Orator: and to this we must attribute that accurate", "in Cato. It was the distinguishing character, say they, of Lysias and\nHyperides. I own it, and I admire them for it: but why not allow a share", "remembered that Lysias claims the merit of Atticism, not so much for his\nsimplicity and want of ornament, as because he has nothing which is either", "faulty or impertinent. But to speak floridly, nervously, and copiously,\nthis also is true Atticism:--otherwise, neither Aeschines nor even", "ordered him to be instantly torn from the Rostrum? Those, therefore, who\ncan accommodate themselves to the nice and critical ears of an Athenian\naudience, are the only persons who should pretend to Atticism.", "But though Atticism may be divided into several kinds, these mimic\nAthenians suspect but one. They imagine that to discourse plainly, and", "Be it allowed, then, that Lysias, that graceful and most polite of\nSpeakers, was truly Attic: for who can deny it? But let it also be", "mistaken; though when they tell us that this is really Attic, they are so\nfar in the right. For if the only true Atticism is what they suppose to", "Demosthenes himself were Attic Speakers.", "had so vain a conceit of his own taste for Atticism, that he considered\nhis predecessors, who were really masters of it, as mere rustics in", "vicious expression, has, in this sense, an undoubted right to refuse his\napprobation to every thing which is not strictly _Attic_. For he must", "number of well-chosen examples, and such an agreeable vein of politeness,\nthat they almost seem to have been composed in the true Attic style. He", "of the rest of the Roman Orators.\"--\"Nothing,\" said Atticus, \"(for I can\nsafely answer for my friend Brutus) would please us better.\"--\"Curio,", "language, though rapid and voluble, was neither loose nor exuberant. He\nwas a professed imitator of Crassus, while Cotta chose Antonius for his", "_Attic_ Speakers.--It is time, however, to return to Hortensius.\"--\"\nIndeed, I think so,\" cried Brutus: \"though I must acknowledge that this", "characters are so opposite? Let me further ask you, whether Demetrius\nPhalereus spoke in the Attic style? In my opinion, his Orations have the" ], [ "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "or extort from him the tear of compassion;--or who can influence and bend\nhis soul (which is confessedly the capital perfection of an Orator) in\nsuch a manner as shall best suit his purpose.", "as numerous as the various passions it is capable of exciting. The\nfinished Orator, therefore, who is the subject of this Essay, in whatever\nmanner he would appear to be affected himself, and touch the heart of his", "is the business of an Orator to instruct, to please, and _to move the\npassions_; he was, indeed, perfectly master of the two first; for no one", "He then is truly an _Orator_, (I again repeat it,) who can speak upon\ntrivial subjects with simplicity, upon indifferent ones with moderation,", "Thus then, my Brutus, we have at last discovered the finished Orator we\nare seeking for: but we have caught him in imagination only;--for if I", "and has a more agreeable effect than any other. This, however, is not\npeculiar to the Orators, but is equally common to every well-bred citizen.", "effect of his Eloquence, while I can likewise amuse myself with remarking\nthe causes which produce it. When a Citizen hears an able Orator, he", "calmness of an excellent Orator, as an argument to invalidate his\ncharge.\"--\"But is it possible to doubt,\" cried Brutus, \"whether this was a", "Our Orator then, (for I am not speaking of a mere school-declaimer, or a\nnoisy ranter in the Forum, but of a well-accomplished and a finished", "those three effects which I have just observed an Orator should be able to\nproduce. He then proceeded to remark that it was evidently the intention", "Orator of the first eminence; and really appears, from his Orations which\nare still extant, to have been a masterly writer. For he was the first", "then, is an Orator indeed! who can speak upon trivial subjects with\nsimplicity and art, upon weighty ones with energy and pathos, and upon", "Accordingly, _he_, whom we have just mentioned as surpassing the rest, has\nbeen careful in his Oration for Ctesiphon, (which is the best he ever", "_willing_ enough to speak, upon every occasion, as the nature of the\nsubject required. But he, beyond dispute, was a consummate Orator; for he", "management of Hortensius. For a crowded audience, and a clamorous Forum,\nrequire an Orator who is lively, animated, full of action, and able to", "The Orator, then, who means to be the prince of his profession, will\nchange and vary his voice with the most delicate propriety; and by", "not a single Orator_.\" The full and perfect semblance of Eloquence had so\nthoroughly possessed his mind, and was so completely visible there, though", "Those who have attained to any degree of perfection in either of the above\ncharacters, have been distinguished as eminent Orators: but the question", "Caesar, and every body else says the same of this accurate connoisseur in\nthe Art of Speaking, that he has the purest and the most elegant command" ], [ "tone. His equal, and professed antagonist C. Fimbria was not able to\nmaintain his character so long; and though he always spoke with a strong", "\"But the real speeches of Cato are almost as numerous as those of Lysias\nthe Athenian; a great number of whose are still extant. For Lysias was", "cannot be said that either Sulpicius or Cotta, or any other Speaker of\nrepute, was absolutely deficient in any one of the five parts of Oratory.", "of Brutus. It contains a plan, or critical delineation, of what he himself\nesteemed the most finished Eloquence, or style of Speaking. He calls it", "As the kinds of causes are so few, the rules for the invention of\narguments must be few also. The topics, or common places from which those", "and from another passage of the same kind further on, that Cicero had as\ngreat a veneration for his own talents as any man living. His merit,", "Caesar, and every body else says the same of this accurate connoisseur in\nthe Art of Speaking, that he has the purest and the most elegant command", "Good Speaking, then, may be divided into three characters, in each of\nwhich there are some who have made an eminent figure: but to be equally\nexcellent in all (which is what we require) has been the happiness of few.", "and Scipio are greatly extolled for their abilities; the preference was\ngiven to Laelius as a speaker; and yet his Oration, in defence of the", "connection of his words, (which was as little practised even by the older\nGreeks as by him) and you will discover no one who can claim the\npreference to Cato. The Greeks themselves acknowledge that the chief", "such importance, let him consider at his leisure, what is proper to be\ndone in particular causes, and in their several parts and divisions:--for\nit is sufficiently evident, not only that the different parts of an", "But there are likewise certain forms of expression, which have such a\nnatural concinnity, as will necessarily have a similar effect to that of\nregular numbers. For when parallel circumstances are compared, or opposite", "till it comes to a natural pause. It is therefore plain that the style of\nan Orator should be measured and harmonized by _numbers_, though entirely\nfree from verse; but whether these numbers should be the same as those of", "with any rules of art; but he spoke his native language with purity, and\nhad a great freedom of address. We had likewise the two Lentuli, men of", "generally had the preference: so that all the causes in which any honour\nwas to be acquired, were pleaded by these six Orators. We may add, that", "distinguished into two sorts, called by Cicero _tracta_, strait or direct,\nand _contorta_, bent or winding. By the former are meant such, whose", "\"I am perfectly sensible,\" said Brutus, \"of the justice of your remarks;\nand yet I have always looked upon Hortensius as a great Orator, but", "thing as it ought to be said. He will neither speak drily upon copious\nsubjects, nor without dignity and spirit upon things of importance; but\nhis language will always be proportioned, and equal to his subject. His", "\"But many thought that he was equalled, and others that he was even\nexcelled by Lucius Crassus. All, however, were agreed in this, that", "evidently rude and imperfect. In the same manner, when you represented his\n_Antiquities_ as replete with all the graces of Oratory, and compared Cato" ], [ "Orator of the first eminence; and really appears, from his Orations which\nare still extant, to have been a masterly writer. For he was the first", "The first character, then, to be described, is the Orator who, according\nto some, is the only one that has any just pretensions to _Atticism_. He", "The second, which is intitled _The Orator_, was composed a very short time\nafterwards (both of them in the 61st year of his age) and at the request", "\"He expressly calls him an _Orator_, you see, and attributes to him a\nremarkable sweetness of elocution; which, even now a-days, is an", "Orator will make use of both;--of the latter in his narratives, to make\nthem lively and entertaining;--and of the other, either in giving or", "same office. He is certainly, however, the most ancient Orator we have,\nwhose writings may claim our attention; unless any one is pleased with the", "Our Orator then, (for I am not speaking of a mere school-declaimer, or a\nnoisy ranter in the Forum, but of a well-accomplished and a finished", "Orator, being equally distinguished, in every other respect, by the\nsuperior elegance of his taste; for a more copious and splendid way of", "Accordingly, he was never mentioned as an Orator; nor would his name have\nbeen known to posterity, if he had not composed his History,", "He then is truly an _Orator_, (I again repeat it,) who can speak upon\ntrivial subjects with simplicity, upon indifferent ones with moderation,", "Orator, but was a man of the most rigid virtue, and strictly conformable\nto the doctrine he professed: but, in truth, he was rather too crabbed. In", "was joint consul with L. Veturius Philo. But the first person we have any\ncertain account of, who was publicly distinguished as an _Orator_, and who", "as numerous as the various passions it is capable of exciting. The\nfinished Orator, therefore, who is the subject of this Essay, in whatever\nmanner he would appear to be affected himself, and touch the heart of his", "is the business of an Orator to instruct, to please, and _to move the\npassions_; he was, indeed, perfectly master of the two first; for no one", "character of a Stoic, and neither aimed to be, nor ever was an Orator: but\nhe composed several Orations for other people to pronounce; as for Q.", "then, is an Orator indeed! who can speak upon trivial subjects with\nsimplicity and art, upon weighty ones with energy and pathos, and upon", "an Orator, as to the choice of his words. For, as to a purity of style,\nthough this is certainly (as before observed) a very commendable quality,", "Those who have attained to any degree of perfection in either of the above\ncharacters, have been distinguished as eminent Orators: but the question", "opinion of every one in such explicit terms, that it may be easily\nunderstood whom I consider as a mere Declaimer, and whom as an Orator.\"", "_willing_ enough to speak, upon every occasion, as the nature of the\nsubject required. But he, beyond dispute, was a consummate Orator; for he" ], [ "Let us return then to the Orator we are seeking after, and furnish him\nwith those powers of Elocution, which Antonius could not discover in any", "Thus then, my Brutus, we have at last discovered the finished Orator we\nare seeking for: but we have caught him in imagination only;--for if I", "Caelius. I acknowledge, however, that we may call them Orators: but as to\nthe nature and extent of their merit, let your own judgment decide. It is", "THE ORATOR,\nBY MARCUS TULLIUS CICERO;\nADDRESSED TO MARCUS BRUTUS;\nAnd now first translated from the Original Latin.", "arise, which are either trivial, or foreign to our purpose, or entirely\nuseless. An Orator, therefore, should carefully examine each, that he may", "of the rest of the Roman Orators.\"--\"Nothing,\" said Atticus, \"(for I can\nsafely answer for my friend Brutus) would please us better.\"--\"Curio,", "Servius Galba, in the open Forum, with great energy and spirit:--he has\nleft a copy of this Oration behind him. But when Cato was in the decline", "Our Orator then, (for I am not speaking of a mere school-declaimer, or a\nnoisy ranter in the Forum, but of a well-accomplished and a finished", "of his merit as a Citizen, a Senator, and a General; we must confine our\nattention to the Orator. Who, then, has displayed more dignity as a", "Orations (for they are still extant) and then tell me honestly, whether\nyou would wish your friend Brutus here to speak as _he_? Lepidus too was", "a professed History, (for such, in fact, is the account you have been\ngiving us of the Roman Orators) I shall leave you to judge, whether an", "whole body of the Roman people, to employ my pen so largely upon the art\nof Speaking. [Footnote: The long apology which our author is now going to", "Orators, and Scaevola to be the most eloquent Civilian of the age: for the\nlatter could not only discover with the nicest precision what was", "his very presence, which bespeaks a great and elevated mind.\"--\"Indeed,\"\nsaid Brutus, \"his Orations please me highly; for I have had the", "For to speak handsomely, and like an Orator (as no one, my Brutus, knows\nbetter than yourself) is nothing more than to express the choicest", "rigorous course of private practice, but enriched his Oratory with the\nfurniture of philosophical Science, and thus united the highest virtue to\nthe most consummate Eloquence. Your situation, therefore, wounds us with", "But as I am not seeking a pupil to instruct, but an Orator who is to be\nthe model of his profession, _he_ must have the preference who can always", "same office. He is certainly, however, the most ancient Orator we have,\nwhose writings may claim our attention; unless any one is pleased with the", "who were any ways deficient. Let us then, my Brutus, (if we are able)\ntrace out the Orator whom Antonius never saw, and who, it may be, has", "Thus, my Brutus, I have given you my opinion of a complete Orator; which\nyou are at liberty either to adopt or reject, as your better judgment" ], [ "of Brutus. It contains a plan, or critical delineation, of what he himself\nesteemed the most finished Eloquence, or style of Speaking. He calls it", "was in a perpetual hurry of business, could dedicate to _you_, my Cicero,\na laboured Treatise on the Art of Speaking correctly; that _he_, who, in", "whole body of the Roman people, to employ my pen so largely upon the art\nof Speaking. [Footnote: The long apology which our author is now going to", "who were any ways deficient. Let us then, my Brutus, (if we are able)\ntrace out the Orator whom Antonius never saw, and who, it may be, has", "upon many occasions to good purpose: in short, his life was so long, that\nhe was successively cotemporary with a variety of Orators of different\ndates, and had an extensive series of practice in judicial causes. Nearly", "management of Hortensius. For a crowded audience, and a clamorous Forum,\nrequire an Orator who is lively, animated, full of action, and able to", "It contains a critical and very instructive account of all the noted\nOrators of _Greece_ and _Rome_ and might be called, with great propriety,", "rigorous course of private practice, but enriched his Oratory with the\nfurniture of philosophical Science, and thus united the highest virtue to\nthe most consummate Eloquence. Your situation, therefore, wounds us with", "Thus, my Brutus, I have given you my opinion of a complete Orator; which\nyou are at liberty either to adopt or reject, as your better judgment", "most eminent men of that profession, have been crowded with disciples; who\ncan be reasonably censured for exciting our youth to the study of\nEloquence, and furnishing them with all the assistance in his power? If it", "of his merit as a Citizen, a Senator, and a General; we must confine our\nattention to the Orator. Who, then, has displayed more dignity as a", "speak in Public, they make a poor appearance. Cato, however, must be\nexcepted; in whom, though as rigid a Stoic as ever existed, I could not", "Our Orator then, (for I am not speaking of a mere school-declaimer, or a\nnoisy ranter in the Forum, but of a well-accomplished and a finished", "make for bestowing his time in composing a treatise of Oratory, is in fact\na very artful as well as an elegant digression; to relieve the dryness and", "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "Orators, and Scaevola to be the most eloquent Civilian of the age: for the\nlatter could not only discover with the nicest precision what was", "Let us return then to the Orator we are seeking after, and furnish him\nwith those powers of Elocution, which Antonius could not discover in any", "the first Orator in the Forum. For the style he chose to speak in, though\nit has little weight, or authority, appeared very suitable to his age: and\nas it discovered in him the most visible marks of genius and application,", "furnished but little assistance for acquiring an ornamental style, gave\nmany useful precepts to expedite and improve the invention of an Orator.\nFor in this System we have a collection of fixed and determinate rules for", "and has a more agreeable effect than any other. This, however, is not\npeculiar to the Orators, but is equally common to every well-bred citizen." ], [ "The first character, then, to be described, is the Orator who, according\nto some, is the only one that has any just pretensions to _Atticism_. He", "The second, which is intitled _The Orator_, was composed a very short time\nafterwards (both of them in the 61st year of his age) and at the request", "Orator of the first eminence; and really appears, from his Orations which\nare still extant, to have been a masterly writer. For he was the first", "Orator will make use of both;--of the latter in his narratives, to make\nthem lively and entertaining;--and of the other, either in giving or", "\"He expressly calls him an _Orator_, you see, and attributes to him a\nremarkable sweetness of elocution; which, even now a-days, is an", "He then is truly an _Orator_, (I again repeat it,) who can speak upon\ntrivial subjects with simplicity, upon indifferent ones with moderation,", "as numerous as the various passions it is capable of exciting. The\nfinished Orator, therefore, who is the subject of this Essay, in whatever\nmanner he would appear to be affected himself, and touch the heart of his", "then, is an Orator indeed! who can speak upon trivial subjects with\nsimplicity and art, upon weighty ones with energy and pathos, and upon", "is the business of an Orator to instruct, to please, and _to move the\npassions_; he was, indeed, perfectly master of the two first; for no one", "same office. He is certainly, however, the most ancient Orator we have,\nwhose writings may claim our attention; unless any one is pleased with the", "Thus then, my Brutus, we have at last discovered the finished Orator we\nare seeking for: but we have caught him in imagination only;--for if I", "Orator, being equally distinguished, in every other respect, by the\nsuperior elegance of his taste; for a more copious and splendid way of", "an Orator, as to the choice of his words. For, as to a purity of style,\nthough this is certainly (as before observed) a very commendable quality,", "Our Orator then, (for I am not speaking of a mere school-declaimer, or a\nnoisy ranter in the Forum, but of a well-accomplished and a finished", "manners and disposition, but in his very language; and an unblemished\npurity and correctness of style. This may be easily seen by his Orations;", "Orator, but was a man of the most rigid virtue, and strictly conformable\nto the doctrine he professed: but, in truth, he was rather too crabbed. In", "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "Orations. In his youth, he studied at Athens, and returned from thence a\nthorough proficient in the doctrine of Epicurus; which, of all others, is", "be near enough to hear a single word, he immediately discovers that the\ncause is managed by a real Orator, who is either performing, or has\nalready played his part to good purpose.\"", "\"As, therefore, the two principal qualities required in an Orator, are to\nbe neat and clear in stating the nature of his subject, and warm and" ], [ "or extort from him the tear of compassion;--or who can influence and bend\nhis soul (which is confessedly the capital perfection of an Orator) in\nsuch a manner as shall best suit his purpose.", "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "is the business of an Orator to instruct, to please, and _to move the\npassions_; he was, indeed, perfectly master of the two first; for no one", "those three effects which I have just observed an Orator should be able to\nproduce. He then proceeded to remark that it was evidently the intention", "be near enough to hear a single word, he immediately discovers that the\ncause is managed by a real Orator, who is either performing, or has\nalready played his part to good purpose.\"", "question. This was the third, and the most important duty we assigned to\nan Orator.", "Those who have attained to any degree of perfection in either of the above\ncharacters, have been distinguished as eminent Orators: but the question", "\"He expressly calls him an _Orator_, you see, and attributes to him a\nremarkable sweetness of elocution; which, even now a-days, is an", "Our Orator then, (for I am not speaking of a mere school-declaimer, or a\nnoisy ranter in the Forum, but of a well-accomplished and a finished", "as numerous as the various passions it is capable of exciting. The\nfinished Orator, therefore, who is the subject of this Essay, in whatever\nmanner he would appear to be affected himself, and touch the heart of his", "The second, which is intitled _The Orator_, was composed a very short time\nafterwards (both of them in the 61st year of his age) and at the request", "thought it adviseable to recommend himself, by undertaking the management\nof some popular cause. His Oration, in support of the act which was\nproposed for that purpose, is still extant; and discovers a greater", "\"As, therefore, the two principal qualities required in an Orator, are to\nbe neat and clear in stating the nature of his subject, and warm and", "first departments of Oratory. But, as we before observed, these, though\nvery important in their consequences, require less art and application.", "The Orator, then, who means to be the prince of his profession, will\nchange and vary his voice with the most delicate propriety; and by", "and while in the Forum in pleading them, and the remainder of it in a\nseasonable relaxation, what opportunity had they for teaching and\ninstructing others? I might venture to add that most of our Orators have", "Orator will make use of both;--of the latter in his narratives, to make\nthem lively and entertaining;--and of the other, either in giving or", "Thus then, my Brutus, we have at last discovered the finished Orator we\nare seeking for: but we have caught him in imagination only;--for if I", "a cause decided to our wishes. But as the duties of an Orator, so the\nkinds of Elocution are three. The neat and accurate is used in _proving;_", "The first character, then, to be described, is the Orator who, according\nto some, is the only one that has any just pretensions to _Atticism_. He" ], [ "Rhetoric, that it is an art which has a near resemblance to that of\nLogic;--and that the only difference between them is, that the method of", "occasions, he uses as freely as any of the figures of Rhetoric. How the\nReader will relish it, I know not; but it is evident from what follows,", "parts of rhetoric? Or shall we content ourselves with the instructions\nwhich _they_ have provided for us? But wherefore do I offer such a\nquestion, when your elegant letters have informed me, that this is the", "the art of Speaking, he had recourse to the masters of Rhetoric, and\nexercised himself in the manner they directed. If, however, we must be", "between a private controversy, and a public Harangue; yet both the one and\nthe other come under the notion of reasoning. But mere discourse and\nargument belongs to the Logician, and the art of Speaking gracefully and", "ornaments of language, which, at the time above mentioned, were the only\nweapons which the Masters of Rhetoric could furnish. This is the reason", "mentioned.\"--\"You may use your pleasure,\" replied Atticus with a smile:\n\"for it is the privilege of rhetoricians to exceed the truth of history,", "The manner of speaking, then, which is observed in the _demonstrative_ or\nornamental species of Eloquence, and which I have before remarked, was", "\"That which the Greeks call [Greek: Peitho], _(i.e. Persuasion)_ and which\nit is the chief business of an Orator to effect, is here called _Suada_ by", "and diffusively: but that he should also borrow the assistance of it's\nnearest neighbour, the art of Logic. For though public speaking is one\nthing, and disputing another; and though there is a visible difference", "of Brutus. It contains a plan, or critical delineation, of what he himself\nesteemed the most finished Eloquence, or style of Speaking. He calls it", "The Art of Speaking then, so far as it regards only the _manner_ in which\nour thoughts should be expressed, consists in _action_ and _Elocution_;", "but particularly in Logic, which may be considered as a close and\ncontracted species of Eloquence; and without which, you yourself have\ndeclared it impossible to acquire that full and perfect Eloquence, which", "sometimes obscure. But as soon as the force of a regular and a well-\nadjusted speech was understood, a sudden crowd of rhetoricians appeared,--", "again, and displayed his open hand,--\"this,\" said he, \"resembles\nEloquence.\" But Aristotle observed before him, in the introduction to his", "whole body of the Roman people, to employ my pen so largely upon the art\nof Speaking. [Footnote: The long apology which our author is now going to", "Then resuming the conversation,--\"to recommend the study of eloquence,\"\nsaid I, \"and describe its force, and the great dignity it confers upon", "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "and partly acquired by the most laborious rhetorical exercises. In short,\nhe had a most retentive view of his subject, and always divided and\nparcelled it out with the greatest exactness; and he very seldom", "This is an art which was in common use among the Greek Orators, about four\nhundred years ago, though it has been but lately introduced among the" ], [ "of Brutus. It contains a plan, or critical delineation, of what he himself\nesteemed the most finished Eloquence, or style of Speaking. He calls it", "whole body of the Roman people, to employ my pen so largely upon the art\nof Speaking. [Footnote: The long apology which our author is now going to", "the art of Speaking, he had recourse to the masters of Rhetoric, and\nexercised himself in the manner they directed. If, however, we must be", "was in a perpetual hurry of business, could dedicate to _you_, my Cicero,\na laboured Treatise on the Art of Speaking correctly; that _he_, who, in", "parts of rhetoric? Or shall we content ourselves with the instructions\nwhich _they_ have provided for us? But wherefore do I offer such a\nquestion, when your elegant letters have informed me, that this is the", "speak in Public, they make a poor appearance. Cato, however, must be\nexcepted; in whom, though as rigid a Stoic as ever existed, I could not", "rigorous course of private practice, but enriched his Oratory with the\nfurniture of philosophical Science, and thus united the highest virtue to\nthe most consummate Eloquence. Your situation, therefore, wounds us with", "Let us return then to the Orator we are seeking after, and furnish him\nwith those powers of Elocution, which Antonius could not discover in any", "Then resuming the conversation,--\"to recommend the study of eloquence,\"\nsaid I, \"and describe its force, and the great dignity it confers upon", "most eminent men of that profession, have been crowded with disciples; who\ncan be reasonably censured for exciting our youth to the study of\nEloquence, and furnishing them with all the assistance in his power? If it", "Speaking, and Crassus more than he has: by so doing, they would have\ntransmitted their fame to _posterity_; and to us a valuable system of", "_the History of Eloquence_. Though it is perhaps the most entertaining of\nall Cicero's performances, the Public have never been obliged before with", "in Cato. It was the distinguishing character, say they, of Lysias and\nHyperides. I own it, and I admire them for it: but why not allow a share", "Orations (for they are still extant) and then tell me honestly, whether\nyou would wish your friend Brutus here to speak as _he_? Lepidus too was", "But we may justly infer from the example of Curio, that nothing will more\nrecommend an Orator, than a brilliant and ready flow of expression; for he", "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "benefit of his instructions. But I am surprised, that Cotta, who was\nreally an excellent Orator, and a man of good learning, should be willing", "Rhetoric, that it is an art which has a near resemblance to that of\nLogic;--and that the only difference between them is, that the method of", "Thus, my Brutus, I have given you my opinion of a complete Orator; which\nyou are at liberty either to adopt or reject, as your better judgment", "to form a proper judgment of them. But if we mean to inquire, why\nHortensius was more admired for his Eloquence in the younger part of his" ], [ "of Appius Claudius, as I have frequently done for others. Thus you see, my\nBrutus, I am come insensibly to _yourself_, though there was undoubtedly a", "calmness of an excellent Orator, as an argument to invalidate his\ncharge.\"--\"But is it possible to doubt,\" cried Brutus, \"whether this was a", "Brutus, \"why you choose to be silent about the living.\"--\"What then do you\nsuppose it to be,\" said I?--\"You are only fearful,\" replied he, \"that your", "in the Forum.\"--\"I did so,\" answered I, \"as indeed I frequently do: and\nwhenever I see you, my Brutus, I am concerned to think where your", "\"What do you mean,\" said Brutus? \"Or in what manner are these two objects\nto be distinguished?\"--\"I distinguish them thus,\" replied I: \"As honour is", "riper age, would have acquired the highest reputation for their\nEloquence.\"--\"You mean, I suppose,\" said Brutus, \"C. Curio, and C.", "GUTENBERG EBOOK CICERO'S BRUTUS ***\n\n\n\n\nProduced by Anne Soulard, Ted Garvin, and the Project\nGutenberg Online Distributed Proofreading Team", "body, and his concerning _your's_ is very far from being a secret. But,\nhowever,\" said he, (addressing himself to Brutus) \"I really think of", "the time he specifies. If these remarks, my Brutus, appear unsuitable to\nthe subject before us, you must throw the whole blame upon Atticus, who", "demand upon you, not indeed to distress you, but yet very closely and\nseriously.\"--\"To speak ingenuously,\" said Atticus, \"my friend Brutus, I", "Sulpicius, which you have just been making between Crassus and Scaevola.\"\n--\"In what manner?\" said I.--\"Because _you_,\" replied Brutus, \"have taken", "cried Brutus.--\"As favourably as you please,\" said I, \"and that not so\nmuch upon my own account, as your's. But _his_ death was truly fortunate,", "and dignity.\"--\"True,\" replied he, \"and you took occasion from the ill\nsuccess of Brutus, to lament the loss of a fair administration of justice", "Orations (for they are still extant) and then tell me honestly, whether\nyou would wish your friend Brutus here to speak as _he_? Lepidus too was", "Brutus, by order of the Senate, tried a capital cause of great\nconsequence. For several persons of note having been murdered in the Silan", "of Brutus. It contains a plan, or critical delineation, of what he himself\nesteemed the most finished Eloquence, or style of Speaking. He calls it", "BRUTUS, OR THE HISTORY OF ELOQUENCE.", "_Attic_ Speakers.--It is time, however, to return to Hortensius.\"--\"\nIndeed, I think so,\" cried Brutus: \"though I must acknowledge that this", "of the rest of the Roman Orators.\"--\"Nothing,\" said Atticus, \"(for I can\nsafely answer for my friend Brutus) would please us better.\"--\"Curio,", "and the Latin Colonies, which was delivered before the Senate.\"--\"And what\nthen is the merit,\" said Brutus, \"which you mean to ascribe to these" ], [ "The first character, then, to be described, is the Orator who, according\nto some, is the only one that has any just pretensions to _Atticism_. He", "faulty or impertinent. But to speak floridly, nervously, and copiously,\nthis also is true Atticism:--otherwise, neither Aeschines nor even", "of it to Cato? They are fond, they tell us, of the _Attic_ style of\nEloquence: and their choice is certainly judicious, provided they borrow", "ordered him to be instantly torn from the Rostrum? Those, therefore, who\ncan accommodate themselves to the nice and critical ears of an Athenian\naudience, are the only persons who should pretend to Atticism.", "_Attic_ Speakers.--It is time, however, to return to Hortensius.\"--\"\nIndeed, I think so,\" cried Brutus: \"though I must acknowledge that this", "of the rest of the Roman Orators.\"--\"Nothing,\" said Atticus, \"(for I can\nsafely answer for my friend Brutus) would please us better.\"--\"Curio,", "Be it allowed, then, that Lysias, that graceful and most polite of\nSpeakers, was truly Attic: for who can deny it? But let it also be", "the time he specifies. If these remarks, my Brutus, appear unsuitable to\nthe subject before us, you must throw the whole blame upon Atticus, who", "the proper theatre of Eloquence.\"--\"His aim,\" said Brutus, \"was to be\nadmired as an _Attic_ Orator: and to this we must attribute that accurate", "mistaken; though when they tell us that this is really Attic, they are so\nfar in the right. For if the only true Atticism is what they suppose to", "But though Atticism may be divided into several kinds, these mimic\nAthenians suspect but one. They imagine that to discourse plainly, and", "vicious expression, has, in this sense, an undoubted right to refuse his\napprobation to every thing which is not strictly _Attic_. For he must", "evidently rude and imperfect. In the same manner, when you represented his\n_Antiquities_ as replete with all the graces of Oratory, and compared Cato", "in Cato. It was the distinguishing character, say they, of Lysias and\nHyperides. I own it, and I admire them for it: but why not allow a share", "accordingly did. C. Cotta, indeed, who was his nephew, made a short speech\nin his vindication, which he spoke in the true style of an Orator, though", "Atticus, \"that Brutus sent you a letter from Asia, which I read with\ninfinite pleasure: for he advised you in it like a man of sense, and gave", "talk, than those Orators I have taken the pains to enumerate: [Footnote:\nThis was probably intended as an indirect Compliment to Atticus.] but I", "them were truly _Attic_. The first (Charisius) was the author of a number\nof speeches, which he composed for his friends, professedly in imitation", "characters are so opposite? Let me further ask you, whether Demetrius\nPhalereus spoke in the Attic style? In my opinion, his Orations have the", "Caesar, and every body else says the same of this accurate connoisseur in\nthe Art of Speaking, that he has the purest and the most elegant command" ], [ "Those who have attained to any degree of perfection in either of the above\ncharacters, have been distinguished as eminent Orators: but the question", "He then is truly an _Orator_, (I again repeat it,) who can speak upon\ntrivial subjects with simplicity, upon indifferent ones with moderation,", "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "The Orator, then, who means to be the prince of his profession, will\nchange and vary his voice with the most delicate propriety; and by", "Caesar, and every body else says the same of this accurate connoisseur in\nthe Art of Speaking, that he has the purest and the most elegant command", "\"As, therefore, the two principal qualities required in an Orator, are to\nbe neat and clear in stating the nature of his subject, and warm and", "or extort from him the tear of compassion;--or who can influence and bend\nhis soul (which is confessedly the capital perfection of an Orator) in\nsuch a manner as shall best suit his purpose.", "not a single Orator_.\" The full and perfect semblance of Eloquence had so\nthoroughly possessed his mind, and was so completely visible there, though", "Thus then, my Brutus, we have at last discovered the finished Orator we\nare seeking for: but we have caught him in imagination only;--for if I", "_willing_ enough to speak, upon every occasion, as the nature of the\nsubject required. But he, beyond dispute, was a consummate Orator; for he", "have shared the applauses of the Public, he can judge, on a careful\nobservation of the principal merits of each, what is the most perfect\ncharacter of Eloquence: since whatever does not meet the approbation of", "\"He expressly calls him an _Orator_, you see, and attributes to him a\nremarkable sweetness of elocution; which, even now a-days, is an", "For to speak handsomely, and like an Orator (as no one, my Brutus, knows\nbetter than yourself) is nothing more than to express the choicest", "Accordingly, _he_, whom we have just mentioned as surpassing the rest, has\nbeen careful in his Oration for Ctesiphon, (which is the best he ever", "is the business of an Orator to instruct, to please, and _to move the\npassions_; he was, indeed, perfectly master of the two first; for no one", "certain. For it is the invariable, property of an accomplished Orator, to\nbe reckoned such in the opinion of the people. Though Antigenidas,", "carried to perfection, becomes a great, if not the greatest of Orators;\nnor does he walk upon slippery ground, so that if he has but learned to", "But we are to exhibit the portrait of a finished Orator, whose chief\nexcellence must be supposed, from his very name, to consist in his", "But we may justly infer from the example of Curio, that nothing will more\nrecommend an Orator, than a brilliant and ready flow of expression; for he", "then, is an Orator indeed! who can speak upon trivial subjects with\nsimplicity and art, upon weighty ones with energy and pathos, and upon" ], [ "He then is truly an _Orator_, (I again repeat it,) who can speak upon\ntrivial subjects with simplicity, upon indifferent ones with moderation,", "then, is an Orator indeed! who can speak upon trivial subjects with\nsimplicity and art, upon weighty ones with energy and pathos, and upon", "\"As, therefore, the two principal qualities required in an Orator, are to\nbe neat and clear in stating the nature of his subject, and warm and", "_willing_ enough to speak, upon every occasion, as the nature of the\nsubject required. But he, beyond dispute, was a consummate Orator; for he", "arise, which are either trivial, or foreign to our purpose, or entirely\nuseless. An Orator, therefore, should carefully examine each, that he may", "make for bestowing his time in composing a treatise of Oratory, is in fact\na very artful as well as an elegant digression; to relieve the dryness and", "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "as numerous as the various passions it is capable of exciting. The\nfinished Orator, therefore, who is the subject of this Essay, in whatever\nmanner he would appear to be affected himself, and touch the heart of his", "is the business of an Orator to instruct, to please, and _to move the\npassions_; he was, indeed, perfectly master of the two first; for no one", "Speaker)--our Orator, as there is such a copious variety of common-places,\nwill examine them all, and employ those which suit his purpose in as", "For to speak handsomely, and like an Orator (as no one, my Brutus, knows\nbetter than yourself) is nothing more than to express the choicest", "Orator will make use of both;--of the latter in his narratives, to make\nthem lively and entertaining;--and of the other, either in giving or", "Those who have attained to any degree of perfection in either of the above\ncharacters, have been distinguished as eminent Orators: but the question", "a cause decided to our wishes. But as the duties of an Orator, so the\nkinds of Elocution are three. The neat and accurate is used in _proving;_", "thought it adviseable to recommend himself, by undertaking the management\nof some popular cause. His Oration, in support of the act which was\nproposed for that purpose, is still extant; and discovers a greater", "Orator of the first eminence; and really appears, from his Orations which\nare still extant, to have been a masterly writer. For he was the first", "first departments of Oratory. But, as we before observed, these, though\nvery important in their consequences, require less art and application.", "Accordingly, _he_, whom we have just mentioned as surpassing the rest, has\nbeen careful in his Oration for Ctesiphon, (which is the best he ever", "rigorous course of private practice, but enriched his Oratory with the\nfurniture of philosophical Science, and thus united the highest virtue to\nthe most consummate Eloquence. Your situation, therefore, wounds us with", "of Orators, as there are of Eloquence. But as I have already enlarged the\ntalk you have imposed upon me;--(for though your enquiries related only to" ], [ "Orator will make use of both;--of the latter in his narratives, to make\nthem lively and entertaining;--and of the other, either in giving or", "a cause decided to our wishes. But as the duties of an Orator, so the\nkinds of Elocution are three. The neat and accurate is used in _proving;_", "arise, which are either trivial, or foreign to our purpose, or entirely\nuseless. An Orator, therefore, should carefully examine each, that he may", "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "Speaker)--our Orator, as there is such a copious variety of common-places,\nwill examine them all, and employ those which suit his purpose in as", "\"As, therefore, the two principal qualities required in an Orator, are to\nbe neat and clear in stating the nature of his subject, and warm and", "He then is truly an _Orator_, (I again repeat it,) who can speak upon\ntrivial subjects with simplicity, upon indifferent ones with moderation,", "of ornament which is peculiar to the second species of Eloquence. In the\ncause of Rabirius, as the honour of the Republic was at stake, I blazed", "then, is an Orator indeed! who can speak upon trivial subjects with\nsimplicity and art, upon weighty ones with energy and pathos, and upon", "there to explain and exemplify them? The bare mention of them will be\nsufficient.--Our Orator, then, will sometimes exhibit an idea in different\npoints of view, and when he has started a good argument, he will dwell", "--ornaments, which in real pleadings, are to be used more sparingly, and\nwith less appearance of art. Isocrates, therefore, confesses in his", "\"He expressly calls him an _Orator_, you see, and attributes to him a\nremarkable sweetness of elocution; which, even now a-days, is an", "as numerous as the various passions it is capable of exciting. The\nfinished Orator, therefore, who is the subject of this Essay, in whatever\nmanner he would appear to be affected himself, and touch the heart of his", "of the same kind, he gained the assent of his hearers; which is another of\nthe three duties of an Orator. Lastly, he supported, at all events, the", "_willing_ enough to speak, upon every occasion, as the nature of the\nsubject required. But he, beyond dispute, was a consummate Orator; for he", "ornamentally is the prerogative of the Orator. _Zeno_, the father of the\n_Stoics_, used to illustrate the difference between the two by holding up", "calmness of an excellent Orator, as an argument to invalidate his\ncharge.\"--\"But is it possible to doubt,\" cried Brutus, \"whether this was a", "language. There are many of his Orations which are entirely of the close\nand simple character, as that against _Lepsines_; many which are all", "Those who have attained to any degree of perfection in either of the above\ncharacters, have been distinguished as eminent Orators: but the question", "management of Hortensius. For a crowded audience, and a clamorous Forum,\nrequire an Orator who is lively, animated, full of action, and able to" ], [ "then, is an Orator indeed! who can speak upon trivial subjects with\nsimplicity and art, upon weighty ones with energy and pathos, and upon", "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "be near enough to hear a single word, he immediately discovers that the\ncause is managed by a real Orator, who is either performing, or has\nalready played his part to good purpose.\"", "He then is truly an _Orator_, (I again repeat it,) who can speak upon\ntrivial subjects with simplicity, upon indifferent ones with moderation,", "as numerous as the various passions it is capable of exciting. The\nfinished Orator, therefore, who is the subject of this Essay, in whatever\nmanner he would appear to be affected himself, and touch the heart of his", "came into the Forum ready prepared for the combat. He was expected with\nimpatience, and heard with pleasure. When he first began his Oration\n(which he always did in a very accurate style) he seemed worthy of the", "or extort from him the tear of compassion;--or who can influence and bend\nhis soul (which is confessedly the capital perfection of an Orator) in\nsuch a manner as shall best suit his purpose.", "The second, which is intitled _The Orator_, was composed a very short time\nafterwards (both of them in the 61st year of his age) and at the request", "ornaments of language, which, at the time above mentioned, were the only\nweapons which the Masters of Rhetoric could furnish. This is the reason", "Thus then, my Brutus, we have at last discovered the finished Orator we\nare seeking for: but we have caught him in imagination only;--for if I", "arise, which are either trivial, or foreign to our purpose, or entirely\nuseless. An Orator, therefore, should carefully examine each, that he may", "Let us return then to the Orator we are seeking after, and furnish him\nwith those powers of Elocution, which Antonius could not discover in any", "Thus furnished and equipped our Orator may undertake the management of\ncauses. But, in the first place, he should be well acquainted with their", "those three effects which I have just observed an Orator should be able to\nproduce. He then proceeded to remark that it was evidently the intention", "is the business of an Orator to instruct, to please, and _to move the\npassions_; he was, indeed, perfectly master of the two first; for no one", "first departments of Oratory. But, as we before observed, these, though\nvery important in their consequences, require less art and application.", "Oration where it is your business either to prove or refute: as in my\nsecond defence of Cornelius, where I exclaimed, \"O callidos homines! O rem", "Speaker)--our Orator, as there is such a copious variety of common-places,\nwill examine them all, and employ those which suit his purpose in as", "a cause decided to our wishes. But as the duties of an Orator, so the\nkinds of Elocution are three. The neat and accurate is used in _proving;_", "Upon the whole, it is sufficiently plain that prose is susceptible of\n_numbers_, and that the numbers of an Orator must be the same as those of" ], [ "THE ORATOR,\nBY MARCUS TULLIUS CICERO;\nADDRESSED TO MARCUS BRUTUS;\nAnd now first translated from the Original Latin.", "_Attic_ Speakers.--It is time, however, to return to Hortensius.\"--\"\nIndeed, I think so,\" cried Brutus: \"though I must acknowledge that this", "offering to the Public. The character of the Author (Marcus Tullius\nCicero) is so universally celebrated, that it would be needless, and", "Servius Galba, in the open Forum, with great energy and spirit:--he has\nleft a copy of this Oration behind him. But when Cato was in the decline", "demand upon you, not indeed to distress you, but yet very closely and\nseriously.\"--\"To speak ingenuously,\" said Atticus, \"my friend Brutus, I", "_Caius_, and a Tribune of the people, once said in a public trial in which\nI was personally engaged,--\"_O Marce Druse, Patrem appello_;\" where you", "speak in Public, they make a poor appearance. Cato, however, must be\nexcepted; in whom, though as rigid a Stoic as ever existed, I could not", "in the Forum.\"--\"I did so,\" answered I, \"as indeed I frequently do: and\nwhenever I see you, my Brutus, I am concerned to think where your", "Orations (for they are still extant) and then tell me honestly, whether\nyou would wish your friend Brutus here to speak as _he_? Lepidus too was", "of Appius Claudius, as I have frequently done for others. Thus you see, my\nBrutus, I am come insensibly to _yourself_, though there was undoubtedly a", "was in a perpetual hurry of business, could dedicate to _you_, my Cicero,\na laboured Treatise on the Art of Speaking correctly; that _he_, who, in", "whole body of the Roman people, to employ my pen so largely upon the art\nof Speaking. [Footnote: The long apology which our author is now going to", "of the rest of the Roman Orators.\"--\"Nothing,\" said Atticus, \"(for I can\nsafely answer for my friend Brutus) would please us better.\"--\"Curio,", "body, and his concerning _your's_ is very far from being a secret. But,\nhowever,\" said he, (addressing himself to Brutus) \"I really think of", "Atticus, \"that Brutus sent you a letter from Asia, which I read with\ninfinite pleasure: for he advised you in it like a man of sense, and gave", "the time he specifies. If these remarks, my Brutus, appear unsuitable to\nthe subject before us, you must throw the whole blame upon Atticus, who", "audience. To him I may add Q. Metellus Celer, who, though certainly no\nOrator, was far from being destitute of utterance: but Q. Varius, C.", "to my friend Brutus, when he mounts the Rostra, as he frequently does,--\nPlay to me and the people;--that those who hear him may be sensible of the", "his very presence, which bespeaks a great and elevated mind.\"--\"Indeed,\"\nsaid Brutus, \"his Orations please me highly; for I have had the", "Thus then, my Brutus, we have at last discovered the finished Orator we\nare seeking for: but we have caught him in imagination only;--for if I" ], [ "whole body of the Roman people, to employ my pen so largely upon the art\nof Speaking. [Footnote: The long apology which our author is now going to", "_Caius_, and a Tribune of the people, once said in a public trial in which\nI was personally engaged,--\"_O Marce Druse, Patrem appello_;\" where you", "specimens of their respective abilities. But Servius Galba, who was\nsomething older than any of them, was indisputably the best speaker of the\nage. He was the first among the Romans who displayed the proper and", "offering to the Public. The character of the Author (Marcus Tullius\nCicero) is so universally celebrated, that it would be needless, and", "of the rest of the Roman Orators.\"--\"Nothing,\" said Atticus, \"(for I can\nsafely answer for my friend Brutus) would please us better.\"--\"Curio,", "Speaking, and Crassus more than he has: by so doing, they would have\ntransmitted their fame to _posterity_; and to us a valuable system of", "Servius Galba, in the open Forum, with great energy and spirit:--he has\nleft a copy of this Oration behind him. But when Cato was in the decline", "speak in Public, they make a poor appearance. Cato, however, must be\nexcepted; in whom, though as rigid a Stoic as ever existed, I could not", "question. This was the third, and the most important duty we assigned to\nan Orator.", "or even think it possible to exist. But when Crassus, who spoke on the\nopposite side, began with the story of a notable youth, who having found a", "and the Latin Colonies, which was delivered before the Senate.\"--\"And what\nthen is the merit,\" said Brutus, \"which you mean to ascribe to these", "_Attic_ Speakers.--It is time, however, to return to Hortensius.\"--\"\nIndeed, I think so,\" cried Brutus: \"though I must acknowledge that this", "his very presence, which bespeaks a great and elevated mind.\"--\"Indeed,\"\nsaid Brutus, \"his Orations please me highly; for I have had the", "riper age, would have acquired the highest reputation for their\nEloquence.\"--\"You mean, I suppose,\" said Brutus, \"C. Curio, and C.", "Cicero's garden at Rome, under the statue of Plato, whom he always\nadmired, and usually imitated in his dialogues: and he seems in this to", "_the History of Eloquence_. Though it is perhaps the most entertaining of\nall Cicero's performances, the Public have never been obliged before with", "disgust to the literature of the Romans. He was a neat and polished\nSpeaker, and had a sweet and harmonious turn of expression; but as he was", "of his merit as a Citizen, a Senator, and a General; we must confine our\nattention to the Orator. Who, then, has displayed more dignity as a", "delivery of his speeches. But to conclude the story, Galba pleaded his\ncause before Laelius himself, and a very numerous and attentive audience,", "to form a proper judgment of them. But if we mean to inquire, why\nHortensius was more admired for his Eloquence in the younger part of his" ], [ "every subject of debate. I must add, that I never knew a man of greater\nindustry and application. As to C. Piso, my son-in-law, it is scarcely", "not live to complete them. In short, my Brutus, _he_, if any one, should\nbe carefully studied by the Roman youth: for he is able, not only to edge,", "Orations. In his youth, he studied at Athens, and returned from thence a\nthorough proficient in the doctrine of Epicurus; which, of all others, is", "Eloquence of Hortensius was extinguished by his _own_ death, and mine by\nthat of the Commonwealth.\"--\"Ominate more favourably, I beg of you,\"", "and from another passage of the same kind further on, that Cicero had as\ngreat a veneration for his own talents as any man living. His merit,", "or even think it possible to exist. But when Crassus, who spoke on the\nopposite side, began with the story of a notable youth, who having found a", "offering to the Public. The character of the Author (Marcus Tullius\nCicero) is so universally celebrated, that it would be needless, and", "and Hortensius were in such high reputation, who, that had liberty to\nchoose for himself, would have employed any other?\"--\"But what occasion is", "of the rest of the Roman Orators.\"--\"Nothing,\" said Atticus, \"(for I can\nsafely answer for my friend Brutus) would please us better.\"--\"Curio,", "them, though you pleaded several by yourself; and Hortensius, though he\ndied a short time afterwards, bore his share in these limited efforts. He", "for none could be more so than Cotta and Sulpicius, and yet both of them\nwere far superior to any of their cotemporaries. It is therefore the\nbusiness of every intelligent matter to take notice what is the natural", "most eminent men of that profession, have been crowded with disciples; who\ncan be reasonably censured for exciting our youth to the study of\nEloquence, and furnishing them with all the assistance in his power? If it", "connection of his words, (which was as little practised even by the older\nGreeks as by him) and you will discover no one who can claim the\npreference to Cato. The Greeks themselves acknowledge that the chief", "particular passion. The same might be said of _Demosthenes_, whose letters\nwill satisfy us, how assiduously he attended the Lectures of Plato. For", "Cotta, Sulpicius, Hortensius, and--but I say no more: I can only add, that\nif I had been so fortunate, &c, &c,\"--[_Caetera defunt._]", "informs us in the treatise which he dedicated to Philip of Macedon, in the\nlatter part of his life; for he there says, that he had thrown off that", "him,\" said Brutus. \"For, a few years ago I heard him often and very\nattentively at Samos, when I wanted to be instructed by him in the", "another, which was his last, and which he spoke in the 48th year of his\nage, at the time he was censor. In these we have the genuine complexion of", "the doctrine of the Stoics. A little before these, M. Brutus, and very\nsoon after him, C. Bilienus, who was a man of great natural capacity, made", "art of Speaking than he did, or indeed to the study of every useful\nscience. In our youth, we both of us followed the same liberal exercises;\nand he afterwards accompanied me to Rhodes, to pursue those studies which" ], [ "_Caius_, and a Tribune of the people, once said in a public trial in which\nI was personally engaged,--\"_O Marce Druse, Patrem appello_;\" where you", "exerting the powers of Persuasion!--We are likewise informed that a few\nyears after the expulsion of the Kings, when the Plebeians retired to the", "to promote him to the Consulship.--C. Macer was never a man of much\ninterest or authority, but was one of the most active Pleaders of his", "especially when he pleaded for Messala, in the time of your absence.\"--\"I\nhave often heard of it,\" replied I, \"and his Oration, which was afterwards", "by the vicious inclinations of the man. At the same time lived L.\nCaesulenus, a man of Plebeian rank, and a professed accuser, like the", "delivery of his speeches. But to conclude the story, Galba pleaded his\ncause before Laelius himself, and a very numerous and attentive audience,", "whole body of the Roman people, to employ my pen so largely upon the art\nof Speaking. [Footnote: The long apology which our author is now going to", "Aedile, was daily employed in making Speeches to the people, which were\ncomposed with great neatness and accuracy. But while I attended the Forum\nwith this eager curiosity, my first disappointment was the banishment of", "Senate, which was deeply interested in the debate; and excites the\njealousy of the audience against the party of the judges and accusers,\nwhose power it was necessary to expose in the most popular terms. Many", "same Laelius, a few days after, pleaded their cause again with more\naccuracy, and much better than at first. The affair, however, was once", "qualification he had to recommend him as an Orator. When this man, as\nTribune of the people, had summoned Curio and Octavius, who were then", "came into the Forum ready prepared for the combat. He was expected with\nimpatience, and heard with pleasure. When he first began his Oration\n(which he always did in a very accurate style) he seemed worthy of the", "harangues almost every day. C. Curio was chosen a Tribune of the people;\nthough he left off speaking after being once deserted by his whole", "his very presence, which bespeaks a great and elevated mind.\"--\"Indeed,\"\nsaid Brutus, \"his Orations please me highly; for I have had the", "public speech; and that Cato, who died in the 83d year of his age, was\nthen living, and actually pleaded, that very year, against the defendant", "citizens. For, by my diligence and assiduity as a Pleader, and my accurate\nway of speaking, which was rather superior to the ordinary style of the", "_the History of Eloquence_. Though it is perhaps the most entertaining of\nall Cicero's performances, the Public have never been obliged before with", "in the Mithridatic war. My defence of Sext. Roscius, which was the first\ncause I pleaded, met with such a favourable reception, that, from that", "sufficiently appeared upon many other occasions, but particularly in the\ncause of M. Curius, which was tried before the Centum Viri. For he urged a", "to my friend Brutus, when he mounts the Rostra, as he frequently does,--\nPlay to me and the people;--that those who hear him may be sensible of the" ], [ "The first character, then, to be described, is the Orator who, according\nto some, is the only one that has any just pretensions to _Atticism_. He", "ordered him to be instantly torn from the Rostrum? Those, therefore, who\ncan accommodate themselves to the nice and critical ears of an Athenian\naudience, are the only persons who should pretend to Atticism.", "faulty or impertinent. But to speak floridly, nervously, and copiously,\nthis also is true Atticism:--otherwise, neither Aeschines nor even", "_Attic_ Speakers.--It is time, however, to return to Hortensius.\"--\"\nIndeed, I think so,\" cried Brutus: \"though I must acknowledge that this", "But though Atticism may be divided into several kinds, these mimic\nAthenians suspect but one. They imagine that to discourse plainly, and", "them were truly _Attic_. The first (Charisius) was the author of a number\nof speeches, which he composed for his friends, professedly in imitation", "the proper theatre of Eloquence.\"--\"His aim,\" said Brutus, \"was to be\nadmired as an _Attic_ Orator: and to this we must attribute that accurate", "had so vain a conceit of his own taste for Atticism, that he considered\nhis predecessors, who were really masters of it, as mere rustics in", "of it to Cato? They are fond, they tell us, of the _Attic_ style of\nEloquence: and their choice is certainly judicious, provided they borrow", "Be it allowed, then, that Lysias, that graceful and most polite of\nSpeakers, was truly Attic: for who can deny it? But let it also be", "Demosthenes himself were Attic Speakers.", "accordingly did. C. Cotta, indeed, who was his nephew, made a short speech\nin his vindication, which he spoke in the true style of an Orator, though", "the time he specifies. If these remarks, my Brutus, appear unsuitable to\nthe subject before us, you must throw the whole blame upon Atticus, who", "mistaken; though when they tell us that this is really Attic, they are so\nfar in the right. For if the only true Atticism is what they suppose to", "of the rest of the Roman Orators.\"--\"Nothing,\" said Atticus, \"(for I can\nsafely answer for my friend Brutus) would please us better.\"--\"Curio,", "evidently rude and imperfect. In the same manner, when you represented his\n_Antiquities_ as replete with all the graces of Oratory, and compared Cato", "vicious expression, has, in this sense, an undoubted right to refuse his\napprobation to every thing which is not strictly _Attic_. For he must", "Caesar, and every body else says the same of this accurate connoisseur in\nthe Art of Speaking, that he has the purest and the most elegant command", "Atticus, \"that Brutus sent you a letter from Asia, which I read with\ninfinite pleasure: for he advised you in it like a man of sense, and gave", "talk, than those Orators I have taken the pains to enumerate: [Footnote:\nThis was probably intended as an indirect Compliment to Atticus.] but I" ], [ "The first character, then, to be described, is the Orator who, according\nto some, is the only one that has any just pretensions to _Atticism_. He", "of it to Cato? They are fond, they tell us, of the _Attic_ style of\nEloquence: and their choice is certainly judicious, provided they borrow", "faulty or impertinent. But to speak floridly, nervously, and copiously,\nthis also is true Atticism:--otherwise, neither Aeschines nor even", "them were truly _Attic_. The first (Charisius) was the author of a number\nof speeches, which he composed for his friends, professedly in imitation", "ordered him to be instantly torn from the Rostrum? Those, therefore, who\ncan accommodate themselves to the nice and critical ears of an Athenian\naudience, are the only persons who should pretend to Atticism.", "the proper theatre of Eloquence.\"--\"His aim,\" said Brutus, \"was to be\nadmired as an _Attic_ Orator: and to this we must attribute that accurate", "Be it allowed, then, that Lysias, that graceful and most polite of\nSpeakers, was truly Attic: for who can deny it? But let it also be", "remembered that Lysias claims the merit of Atticism, not so much for his\nsimplicity and want of ornament, as because he has nothing which is either", "_Attic_ Speakers.--It is time, however, to return to Hortensius.\"--\"\nIndeed, I think so,\" cried Brutus: \"though I must acknowledge that this", "But though Atticism may be divided into several kinds, these mimic\nAthenians suspect but one. They imagine that to discourse plainly, and", "characters are so opposite? Let me further ask you, whether Demetrius\nPhalereus spoke in the Attic style? In my opinion, his Orations have the", "Demosthenes himself were Attic Speakers.", "in Cato. It was the distinguishing character, say they, of Lysias and\nHyperides. I own it, and I admire them for it: but why not allow a share", "vicious expression, has, in this sense, an undoubted right to refuse his\napprobation to every thing which is not strictly _Attic_. For he must", "mistaken; though when they tell us that this is really Attic, they are so\nfar in the right. For if the only true Atticism is what they suppose to", "talk, than those Orators I have taken the pains to enumerate: [Footnote:\nThis was probably intended as an indirect Compliment to Atticus.] but I", "of the rest of the Roman Orators.\"--\"Nothing,\" said Atticus, \"(for I can\nsafely answer for my friend Brutus) would please us better.\"--\"Curio,", "_concinnity_ of his language. I have frequently practised it myself; as,\nfor instance, in the following passage of my fourth Invective against\n_Verres_:", "the time he specifies. If these remarks, my Brutus, appear unsuitable to\nthe subject before us, you must throw the whole blame upon Atticus, who", "language, though rapid and voluble, was neither loose nor exuberant. He\nwas a professed imitator of Crassus, while Cotta chose Antonius for his" ], [ "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "or extort from him the tear of compassion;--or who can influence and bend\nhis soul (which is confessedly the capital perfection of an Orator) in\nsuch a manner as shall best suit his purpose.", "as numerous as the various passions it is capable of exciting. The\nfinished Orator, therefore, who is the subject of this Essay, in whatever\nmanner he would appear to be affected himself, and touch the heart of his", "is the business of an Orator to instruct, to please, and _to move the\npassions_; he was, indeed, perfectly master of the two first; for no one", "He then is truly an _Orator_, (I again repeat it,) who can speak upon\ntrivial subjects with simplicity, upon indifferent ones with moderation,", "Thus then, my Brutus, we have at last discovered the finished Orator we\nare seeking for: but we have caught him in imagination only;--for if I", "effect of his Eloquence, while I can likewise amuse myself with remarking\nthe causes which produce it. When a Citizen hears an able Orator, he", "and has a more agreeable effect than any other. This, however, is not\npeculiar to the Orators, but is equally common to every well-bred citizen.", "calmness of an excellent Orator, as an argument to invalidate his\ncharge.\"--\"But is it possible to doubt,\" cried Brutus, \"whether this was a", "those three effects which I have just observed an Orator should be able to\nproduce. He then proceeded to remark that it was evidently the intention", "then, is an Orator indeed! who can speak upon trivial subjects with\nsimplicity and art, upon weighty ones with energy and pathos, and upon", "Our Orator then, (for I am not speaking of a mere school-declaimer, or a\nnoisy ranter in the Forum, but of a well-accomplished and a finished", "be near enough to hear a single word, he immediately discovers that the\ncause is managed by a real Orator, who is either performing, or has\nalready played his part to good purpose.\"", "The Orator, then, who means to be the prince of his profession, will\nchange and vary his voice with the most delicate propriety; and by", "management of Hortensius. For a crowded audience, and a clamorous Forum,\nrequire an Orator who is lively, animated, full of action, and able to", "Accordingly, _he_, whom we have just mentioned as surpassing the rest, has\nbeen careful in his Oration for Ctesiphon, (which is the best he ever", "Thus, my Brutus, I have given you my opinion of a complete Orator; which\nyou are at liberty either to adopt or reject, as your better judgment", "For to speak handsomely, and like an Orator (as no one, my Brutus, knows\nbetter than yourself) is nothing more than to express the choicest", "Orator will make use of both;--of the latter in his narratives, to make\nthem lively and entertaining;--and of the other, either in giving or", "\"As, therefore, the two principal qualities required in an Orator, are to\nbe neat and clear in stating the nature of his subject, and warm and" ], [ "The first character, then, to be described, is the Orator who, according\nto some, is the only one that has any just pretensions to _Atticism_. He", "The second, which is intitled _The Orator_, was composed a very short time\nafterwards (both of them in the 61st year of his age) and at the request", "Orator will make use of both;--of the latter in his narratives, to make\nthem lively and entertaining;--and of the other, either in giving or", "Orator of the first eminence; and really appears, from his Orations which\nare still extant, to have been a masterly writer. For he was the first", "\"He expressly calls him an _Orator_, you see, and attributes to him a\nremarkable sweetness of elocution; which, even now a-days, is an", "as numerous as the various passions it is capable of exciting. The\nfinished Orator, therefore, who is the subject of this Essay, in whatever\nmanner he would appear to be affected himself, and touch the heart of his", "He then is truly an _Orator_, (I again repeat it,) who can speak upon\ntrivial subjects with simplicity, upon indifferent ones with moderation,", "is the business of an Orator to instruct, to please, and _to move the\npassions_; he was, indeed, perfectly master of the two first; for no one", "an Orator, as to the choice of his words. For, as to a purity of style,\nthough this is certainly (as before observed) a very commendable quality,", "then, is an Orator indeed! who can speak upon trivial subjects with\nsimplicity and art, upon weighty ones with energy and pathos, and upon", "Orator, being equally distinguished, in every other respect, by the\nsuperior elegance of his taste; for a more copious and splendid way of", "manners and disposition, but in his very language; and an unblemished\npurity and correctness of style. This may be easily seen by his Orations;", "same office. He is certainly, however, the most ancient Orator we have,\nwhose writings may claim our attention; unless any one is pleased with the", "Thus then, my Brutus, we have at last discovered the finished Orator we\nare seeking for: but we have caught him in imagination only;--for if I", "decided by the effects which his eloquence produces. For (in my opinion at\nleast) there are three things which an Orator should be able to effect;", "Our Orator then, (for I am not speaking of a mere school-declaimer, or a\nnoisy ranter in the Forum, but of a well-accomplished and a finished", "be near enough to hear a single word, he immediately discovers that the\ncause is managed by a real Orator, who is either performing, or has\nalready played his part to good purpose.\"", "those three effects which I have just observed an Orator should be able to\nproduce. He then proceeded to remark that it was evidently the intention", "compleat Orator, and are likewise common to _his_ with many other\nprofessions;--and though, to invent, and judge with accuracy, what is", "of his age, I can so far agree with you, for such was the character he\nbore:--but if you meant to recommend him as an _Orator_, produce his" ], [ "is called a _thesis_. In _this_ the famous Aristotle carefully practised\nhis scholars;--not to argue with the formal precision of Philosophers, but", "speak in Public, they make a poor appearance. Cato, however, must be\nexcepted; in whom, though as rigid a Stoic as ever existed, I could not", "or that any fort of reward or encouragement was given to Eloquence: I only\nconjecture what appears very probable. It is also recorded, that C.", "informs us in the treatise which he dedicated to Philip of Macedon, in the\nlatter part of his life; for he there says, that he had thrown off that", "again, and displayed his open hand,--\"this,\" said he, \"resembles\nEloquence.\" But Aristotle observed before him, in the introduction to his", "whole body of the Roman people, to employ my pen so largely upon the art\nof Speaking. [Footnote: The long apology which our author is now going to", "connection of his words, (which was as little practised even by the older\nGreeks as by him) and you will discover no one who can claim the\npreference to Cato. The Greeks themselves acknowledge that the chief", "offering to the Public. The character of the Author (Marcus Tullius\nCicero) is so universally celebrated, that it would be needless, and", "and from another passage of the same kind further on, that Cicero had as\ngreat a veneration for his own talents as any man living. His merit,", "would speak like _him_. Who also was more nervous than Aristotle? Who\nsweeter than Theophrastus? We are told that even Demosthenes attended the", "Accordingly, he was never mentioned as an Orator; nor would his name have\nbeen known to posterity, if he had not composed his History,", "easily be avoided by a course of habitual circumspection. _Hieronymus_, an\neminent Peripatetic, has collected out of the numerous writings of", "been invented. As to the above Oration of Crassus, he himself, perhaps,\ncould have written better, if he had been willing to take the trouble; but", "Orator of the first eminence; and really appears, from his Orations which\nare still extant, to have been a masterly writer. For he was the first", "was Plato, (though a much better writer)--not only in his _Dialogues_, in\nwhich it was necessary to maintain an easy negligence, to resemble the", "for none could be more so than Cotta and Sulpicius, and yet both of them\nwere far superior to any of their cotemporaries. It is therefore the\nbusiness of every intelligent matter to take notice what is the natural", "was in a perpetual hurry of business, could dedicate to _you_, my Cicero,\na laboured Treatise on the Art of Speaking correctly; that _he_, who, in", "or even think it possible to exist. But when Crassus, who spoke on the\nopposite side, began with the story of a notable youth, who having found a", "rigorous course of private practice, but enriched his Oratory with the\nfurniture of philosophical Science, and thus united the highest virtue to\nthe most consummate Eloquence. Your situation, therefore, wounds us with", "supply us with nothing which is proper for the Forum. For his very\nspeeches have so many obscure and intricate periods, that they are\nscarcely intelligible; which in a public discourse is the greatest fault" ], [ "of Brutus. It contains a plan, or critical delineation, of what he himself\nesteemed the most finished Eloquence, or style of Speaking. He calls it", "was in a perpetual hurry of business, could dedicate to _you_, my Cicero,\na laboured Treatise on the Art of Speaking correctly; that _he_, who, in", "upon many occasions to good purpose: in short, his life was so long, that\nhe was successively cotemporary with a variety of Orators of different\ndates, and had an extensive series of practice in judicial causes. Nearly", "whole body of the Roman people, to employ my pen so largely upon the art\nof Speaking. [Footnote: The long apology which our author is now going to", "rigorous course of private practice, but enriched his Oratory with the\nfurniture of philosophical Science, and thus united the highest virtue to\nthe most consummate Eloquence. Your situation, therefore, wounds us with", "who were any ways deficient. Let us then, my Brutus, (if we are able)\ntrace out the Orator whom Antonius never saw, and who, it may be, has", "speak in Public, they make a poor appearance. Cato, however, must be\nexcepted; in whom, though as rigid a Stoic as ever existed, I could not", "management of Hortensius. For a crowded audience, and a clamorous Forum,\nrequire an Orator who is lively, animated, full of action, and able to", "It contains a critical and very instructive account of all the noted\nOrators of _Greece_ and _Rome_ and might be called, with great propriety,", "of his merit as a Citizen, a Senator, and a General; we must confine our\nattention to the Orator. Who, then, has displayed more dignity as a", "Thus, my Brutus, I have given you my opinion of a complete Orator; which\nyou are at liberty either to adopt or reject, as your better judgment", "arise, which are either trivial, or foreign to our purpose, or entirely\nuseless. An Orator, therefore, should carefully examine each, that he may", "furnished but little assistance for acquiring an ornamental style, gave\nmany useful precepts to expedite and improve the invention of an Orator.\nFor in this System we have a collection of fixed and determinate rules for", "Let us return then to the Orator we are seeking after, and furnish him\nwith those powers of Elocution, which Antonius could not discover in any", "make for bestowing his time in composing a treatise of Oratory, is in fact\na very artful as well as an elegant digression; to relieve the dryness and", "THE ORATOR,\nBY MARCUS TULLIUS CICERO;\nADDRESSED TO MARCUS BRUTUS;\nAnd now first translated from the Original Latin.", "offering to the Public. The character of the Author (Marcus Tullius\nCicero) is so universally celebrated, that it would be needless, and", "Accordingly, _he_, whom we have just mentioned as surpassing the rest, has\nbeen careful in his Oration for Ctesiphon, (which is the best he ever", "most eminent men of that profession, have been crowded with disciples; who\ncan be reasonably censured for exciting our youth to the study of\nEloquence, and furnishing them with all the assistance in his power? If it", "Orators, and Scaevola to be the most eloquent Civilian of the age: for the\nlatter could not only discover with the nicest precision what was" ] ]

[ "Who did Cicero encourage through his writings?", "Who said Cicero was an Atticist?", "What did Cicero said made him not an Atticist?", "What did Cicero claim the perfect orator creates?", "Cicero stated that how many canons are of equal importance?", "Who wrote Orator?", "What does Cicero tell Romans to search and discover in Orator?", "Cicero outlined a guide to create successful orators across what society?", "With what ideas is Orator written?", "What the goal of the Oratory?", "What is rhetoric?", "What does Cicero propose about rhetoric?", "What is Cicero accused of by Brutus?", "How does Cicero respond to being accused of being an Atticist?", "Ciceo claims the perfect orator has what?", "What kind of topic works best for an oratory?", "What kinds of evidence can be used for an oratory?", "How many cannons are there for an oratory?", "Who is Cicero addressing?", "What does Cicero state to the Romans it is important to discover?", "Who was Cicero sure did not put an end to the studies of others?", "What did Cicero encourage the plebeians through?", "Who accused Cicero that he was an Atticist?", "How did Cicero argue that he was not an Atticist?", "What does Cicero claim the perfect orator creates?", "What ideas is Orator written with?", "Who and what did Cicero state did not deter Aristotle from writing?", "Cicero outlined a guide to help lead to successful orators across what society?" ]

[ [ "The plebians", "Plebeians." ], [ "fellow senators including Brutus", "His fellow senators including Brutus" ], [ "He said he was too independent, too bold, and unique in style", "He produced his own unique style." ], [ "His own elecutio or diction and style", "His own \"elocutio\", or diction and style." ], [ "five", "All five" ], [ "Cicero", "Cicero." ], [ "their own sense of rhetoric", "Their own sense of rhetoric." ], [ "Roman society", "Roman." ], [ "Construction of arguments to rhetorical performance", "Construction of arguments to to rhetorical performance" ], [ "To be both inspiring and entertaining.", "Instruct on how to form proper oratory." ], [ "The art of using language effectively and persuasively. ", "A guide for teaching people to orate successfully." ], [ "Rhetoric cannot be confined to one specific group.", "Cannot be confined to one specific group" ], [ "Being an \"Atticist.\"", "Being an Atticist." ], [ "He says he is too independent and too bold to be an Atticist. ", "He answered that he could not be, as he was too independent." ], [ "\"Elocutio,\" their own diction and style.", "diction and style" ], [ "A simple one.", "Construction of arguments to rhetorical performance." ], [ "Hard evidence or soft evidence.", "all five canons" ], [ "5", "5" ], [ "The Romans.", "a Roman audience" ], [ "Their own sense of rhetoric", "one's own sense of oratory" ], [ "Aristotle", "Aristotle" ], [ "His writing", "His writing." ], [ "His fellow senators and Brutus", "Brutus" ], [ "He said he was too independent and bold to be associated with Atticism", "He is too independent and bold." ], [ "His own elocutio", "diction and style" ], [ "Construction of arguments to rhetorical performance", "construction of arguments and rhetorical performance" ], [ "the magnficance of Plato", "the magnificence of Plato" ], [ "Roman", "Roman." ] ]

[ [ "Thanksgiving; look through the stores: weigh anchor; and make all ready\nfor sea. Then send Jack to wait for me at the slip with a boat; and give\nme a gunfire for a signal. Lose no time.", "LADY CICELY (quite lost, slowly stretches out her hand to give it to\nhim). I-- (Gunfire from the Thanksgiving. His eyes dilate. It wakes her\nfrom her trance) What is that?", "BRASSBOUND. I have no plans. You will hear a gun fired in the harbor\npresently. That will mean that the Thanksgiving's anchor's weighed and", "BRASSBOUND. If one brass pin of that lady's property is missing, I'll\nhang you with my own hands at the gaff of the Thanksgiving--and would,", "they embrace one another; they set to partners and waltz clumsily; they\nshake hands repeatedly and maudlinly. Three only retain some sort of\nself-possession. Marzo, proud of having successfully thrust himself into", "to heathens exclusively. Mr. Rahnkin: I thahnk you in the name of the\nUnited States for the hospitahlity you have extended to us today; and", "is wornted, there's maw friend and commawnder Kepn Brarsbahnd of the\nschooner Thenksgivin, an is crew, incloodin mawseolf, will see the lidy", "SIR HOWARD. As to your inheritance, sir, it was yours whenever you came\nforward to claim it. Three minutes ago I did not know of your existence.", "DRINKWATER (feebly). Kepn of the schooner Thenksgivin, gavner.", "DRINKWATER (in a small voice). Thenkyer, Lidy. (He retires among his\ncomrades, snivelling subduedly.)", "bringing us safely off to-day when we were attacked. So far, you have\ncarried out your contract. But since we have been your guests here,", "THE MAN. Awtenoon, Mr. Renkin. (The missionary sits up quickly, and\nturns, resigning himself dutifully to the interruption.) Yr honor's\neolth.", "DRINKWATER (indignantly). Yuss; an the people that sells sich\nthings into the ends o' them eathen bleck niggers calls theirseolves\nChristians! It's a crool shime, sow it is.", "BRASSBOUND. It will be on your own tombstone, presently, if you cannot\nhold your tongue. (Turning to the others) Let us understand one another,", "LADY CICELY (delighted). Oh, that is so nice of you, Mr. Rankin. This\nis a delicious country! And the people seem so good! They have such", "it at all. She pounces genially on Drinkwater, who is smirking at her,\nhat in hand, with an air of hearty welcome. The gentleman, on the other", "ermine of the judge. We will all now drop a subject that should never\nhave been broached in a lady's presence. (He resumes his seat, and adds,", "and takes her hands) You can do no more for me now: I have blundered\nsomehow on the secret of command at last (he kisses her hands): thanks", "property, it is ready for you as soon as you come to your senses and\nclaim it as your father's heir. Commit a crime, and you will become", "BRASSBOUND (in tones of command). Stand by, all hands. (They stand by.)\nTake that man and wash him. (With a roar of laughter they seize him.)" ], [ "LADY CICELY. I don't want an escort.\n\nSIR HOWARD. I do. And I suppose you will expect me to accompany you.", "SIR HOWARD. In short, we are to have an escort of Hooligans commanded\nby a filibuster. Very well, very well. You will most likely admire all", "SIR HOWARD (startled). I did not know I was so favorably spoken of in\nthese parts, Captain Brassbound. We want an escort for a trip into the\nmountains.", "it out again. That's what escorts always do. But since Sir Howard\nprefers an escort, I think you had better stay at home and let me take", "officer, posts himself on the captain's right, behind Rankin and Sir\nHoward. Finally Brassbound appears with Lady Cicely on his arm. He is", "SIR HOWARD. Captain Brassbound: if you can frighten Lady Cicely, you\nwill confer a great obligation on her family. If she had any sense of\ndanger, perhaps she would keep out of it.", "LADY CICELY. Well, that put the poor fellow into a most cruel dilemma.\nYou see, he could claim to carry off Sir Howard, because Sir Howard is a", "SIR HOWARD. Cicely: you are talking great nonsense and you know it.\nThese people have no laws to restrain them, which means, in plain\nEnglish, that they are habitual thieves and murderers.", "SIR HOWARD. I have already met the only member of your escort who might\nhave borne a grudge against me, Captain; and he was acquitted.\n\nBRASSBOUND. You are fated to come, then?", "LADY CICELY. No: Arabs are never frightened. The escort, of course:\nescorts are always frightened. I wanted to speak to the Arab chief; but", "SIR HOWARD. Oh! You were a Hooligan, were you?\n\nLADY CICELY (puzzled). A Hooligan!", "Sir Howard goes to the table and sits on the saddle, rather exhausted.\nLady Cicely comes to Drinkwater.\n\nLADY CICELY. Where is Marzo's bed?", "SIR HOWARD (remonstrating). Cicely!\n\nLADY CICELY. He did: you know he did. You told me to tell the exact\ntruth.", "SIR HOWARD. That does not seem to me to make you any safer here, Cicely.\nYou shall certainly not stir a step beyond the protection of the consul,\nif I can help it, without a strong escort.", "SIR HOWARD. Probably, unless you had taken care to keep outside the law\nagainst conspiracy. Whenever you wish to do anything against the law,\nCicely, always consult a good solicitor first.", "LADY CICELY (outside). Coming, coming.\n\nThe prisoners are brought in by a guard of armed bluejackets.", "SIR HOWARD. I suppose you answer for your men being sturdy fellows, who\nwill stand to their guns if necessary.\n\nBRASSBOUND. I can answer for their being more afraid of me than of the\nMoors.", "SIR HOWARD (contemplating Kearney's expression with dismay). I am really\nvery sorry, Captain Kearney. I am quite aware that Lady Cicely has no\nright whatever to give orders to your men.", "LADY CICELY. Oh! Didn't Sir Howard tell you that? Why, Captain\nBrassbound turns out to be Sir Howard's nephew, the son of the brother\nyou knew.", "SIR HOWARD (faintly amused). You are superstitious, Captain. Most\nsailors are, I notice. However, I have complete confidence in your\nescort." ], [ "LADY CICELY. Oh! Didn't Sir Howard tell you that? Why, Captain\nBrassbound turns out to be Sir Howard's nephew, the son of the brother\nyou knew.", "SIR HOWARD (almost voiceless). You are the son of that woman!\n\nBRASSBOUND (fiercely). \"That woman!\" (He makes a movement as if to rush\nat Sir Howard.)", "SIR HOWARD (who has listened with approval and growing confidence).\nCaptain Brassbound: you are the man I want. If your terms are at", "SIR HOWARD (drily). I told you you were not in a strong position,\nCaptain Brassbound. (Looking implacably at him.) You are laid by the\nheels, my friend, as I said you would be.", "SIR HOWARD. Captain Brassbound: if you can frighten Lady Cicely, you\nwill confer a great obligation on her family. If she had any sense of\ndanger, perhaps she would keep out of it.", "thoroughly, Captain Kearney. Then Captain Brassbound and Sir Howard\nturned out to be related to one another (sensation); and then of course,", "SIR HOWARD (after a momentary flush of anger, with a controlled force\nthat compels Brassbound's attention in spite of himself). You seem to be\nin a strong position with reference to these men of yours.", "BRASSBOUND. I do. (He turns to Lady Cicely, and adds, pointing\ncontemptuously to Sir Howard) Look at him. You would not take this\nvirtuously indignant gentleman for the uncle of a brigand, would you?", "BRASSBOUND (to Sir Howard). I wish you to understand, Sir Howard, that\nin this castle, it is I who give orders, and no one else. Will you be\ngood enough to let Lady Cicely Waynflete know that.", "SIR HOWARD. I suppose you answer for your men being sturdy fellows, who\nwill stand to their guns if necessary.\n\nBRASSBOUND. I can answer for their being more afraid of me than of the\nMoors.", "SIR HOWARD (scandalized). My DEAR Cicely: you really must restrain your\nexpressions of confidence in people's eyes and faces. (To Brassbound)\nNow, about terms, Captain?", "SIR HOWARD. If you feel at all nervous, Captain Brassbound, I will\nmention the matter with pleasure.", "SIR HOWARD. I have already met the only member of your escort who might\nhave borne a grudge against me, Captain; and he was acquitted.\n\nBRASSBOUND. You are fated to come, then?", "BRASSBOUND (stopping abruptly and flinging the announcement at him). You\nare not my guest: you are my prisoner.\n\nSIR HOWARD. Prisoner!", "SIR HOWARD. Cicely: when you have quite done talking nonsense to Captain\nBrassbound, we can proceed to make some definite arrangement with him.", "SIR HOWARD (smiling). It seems so.\n\nBRASSBOUND. On your head be it! (To Lady Cicely, accepting her hand at\nlast) Goodnight.", "SIR HOWARD. Are you yet able to attend to me for a moment, Captain\nBrassbound?\n\nBRASSBOUND (still walking about). What do you want?", "LADY CICELY (springing up again). Did Sir Howard tell you the things he\nsaid about Captain Brassbound's mother? (Renewed sensation.) I told you", "SIR HOWARD (rising). And now, Captain Brass--", "BRASSBOUND. Put him where you please so long as you can find him when he\nis wanted.\n\nSIR HOWARD. You will be laid by the heels yet, my friend." ], [ "BRASSBOUND. I do. (He turns to Lady Cicely, and adds, pointing\ncontemptuously to Sir Howard) Look at him. You would not take this\nvirtuously indignant gentleman for the uncle of a brigand, would you?", "SIR HOWARD (almost voiceless). You are the son of that woman!\n\nBRASSBOUND (fiercely). \"That woman!\" (He makes a movement as if to rush\nat Sir Howard.)", "SIR HOWARD (drily). I told you you were not in a strong position,\nCaptain Brassbound. (Looking implacably at him.) You are laid by the\nheels, my friend, as I said you would be.", "SIR HOWARD (after a momentary flush of anger, with a controlled force\nthat compels Brassbound's attention in spite of himself). You seem to be\nin a strong position with reference to these men of yours.", "SIR HOWARD (who has listened with approval and growing confidence).\nCaptain Brassbound: you are the man I want. If your terms are at", "SIR HOWARD. Captain Brassbound: if you can frighten Lady Cicely, you\nwill confer a great obligation on her family. If she had any sense of\ndanger, perhaps she would keep out of it.", "LADY CICELY. Oh! Didn't Sir Howard tell you that? Why, Captain\nBrassbound turns out to be Sir Howard's nephew, the son of the brother\nyou knew.", "SIR HOWARD. I suppose you answer for your men being sturdy fellows, who\nwill stand to their guns if necessary.\n\nBRASSBOUND. I can answer for their being more afraid of me than of the\nMoors.", "Brassbound continues, with an evil glance at Sir Howard) I shall do no\nmore than justice.", "SIR HOWARD. I have already met the only member of your escort who might\nhave borne a grudge against me, Captain; and he was acquitted.\n\nBRASSBOUND. You are fated to come, then?", "SIR HOWARD (scandalized). My DEAR Cicely: you really must restrain your\nexpressions of confidence in people's eyes and faces. (To Brassbound)\nNow, about terms, Captain?", "BRASSBOUND (stopping abruptly and flinging the announcement at him). You\nare not my guest: you are my prisoner.\n\nSIR HOWARD. Prisoner!", "BRASSBOUND. My manners are rough, Sir Howard. I have no wish to frighten\nthe lady.", "BRASSBOUND. Your defence--\n\nSIR HOWARD (interrupting him determinedly). I do not defend myself. I\ncall on you to obey the law.", "with the Cadi as well as with Sir Howrrd; and there is little question in\nmy mind but that Captain Brassbound is no better than a breegand.", "BRASSBOUND (to Sir Howard). I wish you to understand, Sir Howard, that\nin this castle, it is I who give orders, and no one else. Will you be\ngood enough to let Lady Cicely Waynflete know that.", "SIR HOWARD. If you feel at all nervous, Captain Brassbound, I will\nmention the matter with pleasure.", "Brassbound folds up the letter, looking glum.\n\nSIR HOWARD (sharply). Well, sir, are we not to have the benefit of that\nletter? Your men are waiting to hear it, I think.", "what the whole quarrel is about. Captain Brassbound is just like you:\nhe thinks we have no right to judge one another; and its Sir Howard gets", "KEARNEY. But Sir Howard told me yesterday that Captain Brassbound\nthreatened to sell him into slavery." ], [ "SIR HOWARD. Yes: on me. If my throat is cut, the Sultan of Morocco may\nsend Sidi's head with a hundred thousand dollars blood-money to the", "SIR HOWARD. No doubt, by paying him enough to compensate him for\ngiving up his London practice: that is, rather more than there was any\nreasonable likelihood of the estate proving worth.", "SIR HOWARD (immediately taking the tone of cold disgust for moral\ndelinquency). Am I to understand, then, that you are a brigand? Is this\na matter of ransom?", "SIR HOWARD (who has listened with approval and growing confidence).\nCaptain Brassbound: you are the man I want. If your terms are at", "SIDI. It is well. You shall keep the man, and give me the woman in\npayment.\n\nSIR HOWARD AND BRASSBOUND (with the same impulse). No, no.", "Sir Howard starts. The shock is too much for him: he sits down again,\nlooking very old; and his hands tremble; but his eyes and mouth are\nintrepid, resolute, and angry.", "KEARNEY. But I understood from our chahplain that you reported Captain\nBrassbound as in league with the Sheikh to deliver Sir Howard up to him.", "REDBROOK (in a fierce whisper). Shut up, you fool, will you? (Again he\npushes him back with a furtive kick.)\n\nSIR HOWARD (remonstrating). Cicely!", "SIR HOWARD. You are mad. Do you suppose this man will treat you as a\nEuropean gentleman would?", "SIR HOWARD. You are very good, I am sure.\n\nSIDI (graver than ever). Muley Othman--", "SIR HOWARD. I have already met the only member of your escort who might\nhave borne a grudge against me, Captain; and he was acquitted.\n\nBRASSBOUND. You are fated to come, then?", "tried to smuggle Sir Howrrd through under this compact, and the Sheikh\nfound him out.", "SIR HOWARD (drily). I told you you were not in a strong position,\nCaptain Brassbound. (Looking implacably at him.) You are laid by the\nheels, my friend, as I said you would be.", "SIR HOWARD. Well, I am afraid I want a little privacy, and, if you will\nallow me to say so, a little civility. I am greatly obliged to you for", "LADY CICELY. Well, that put the poor fellow into a most cruel dilemma.\nYou see, he could claim to carry off Sir Howard, because Sir Howard is a", "SIR HOWARD (startled). I did not know I was so favorably spoken of in\nthese parts, Captain Brassbound. We want an escort for a trip into the\nmountains.", "SIR HOWARD (smiling). It seems so.\n\nBRASSBOUND. On your head be it! (To Lady Cicely, accepting her hand at\nlast) Goodnight.", "SIR HOWARD. I suppose you answer for your men being sturdy fellows, who\nwill stand to their guns if necessary.\n\nBRASSBOUND. I can answer for their being more afraid of me than of the\nMoors.", "(Pointing to Sir Howard): e'll give huz fawv unnerd red uns. (To the\nothers) Ynt yer spowk to im, Miste Jornsn--Miste Redbrook--", "it out again. That's what escorts always do. But since Sir Howard\nprefers an escort, I think you had better stay at home and let me take" ], [ "ermine of the judge. We will all now drop a subject that should never\nhave been broached in a lady's presence. (He resumes his seat, and adds,", "Sir Howard starts. The shock is too much for him: he sits down again,\nlooking very old; and his hands tremble; but his eyes and mouth are\nintrepid, resolute, and angry.", "now will you excuse me a moment. I want to speak to somebody before the\ninquiry begins. (She hurries out.)", "SIR HOWARD (rising and bobbing to them in a judicial manner). Good\nmorning, gentlemen.", "crime. Now the counsel for the prosecution can proceed to prosecute. The\nfloor is yours, Lady Waynflete.", "whatever leader you are willing to obey. So choose your captain and look\nsharp about it. (Murmurs of surprise and discontent.)", "RANKIN (naively). Yes. (Sir Howard qrunts emphatically, as who should\nsay \"I thought so.\" Rankin continues, addressing the court) May I say\nhow sorry I am that there are so few chairs, Captain and gentlemen.", "SIR HOWARD (startled). I did not know I was so favorably spoken of in\nthese parts, Captain Brassbound. We want an escort for a trip into the\nmountains.", "anything. The proper thing for you to do, Howard, is to let ME tell the\nexact truth. Then you can simply say that you are bound to confirm me.\nNobody can blame you for that.", "and courts and laws and juries to drive him into it so that he can't\nhelp doing it, what can you expect? Sir Howard's all right when he's", "KEARNEY (calmly). Allow the lady to proceed, Sir Howard Hallam.", "DRINKWATER. Aw thenk yr honor. (He sits down on the seat under the tree\nand composes himself for conversation.) Hever ear o Jadge Ellam?\n\nRANKIN. Sir Howrrd Hallam?", "an Jadge Ellam through henny little excursion in reason. Yr honor mawt\nmention it.", "SIR HOWARD (not pleased by this remark). Perhaps because you never asked\nme. (Turning more blandly to Rankin) I will tell you the story, Mr.", "KEARNEY (with gravely dissembled humor). Well, I ahsked that question\ntoo. I said, Why did you obey that lady's orders instead of waiting for", "SIR HOWARD. I shall meet it, I trust, as becomes an innocent man and an\nupright judge. What do you charge against me?", "(Pointing to Sir Howard): e'll give huz fawv unnerd red uns. (To the\nothers) Ynt yer spowk to im, Miste Jornsn--Miste Redbrook--", "himself in the captain's hands. (Looking reproachfully at her) On your\njourney back here, ye seem to have frightened the poor man yourself,", "KEARNEY (slightly overwhelmed by the unexpected profusion of incident\nand character in her story). Well, what happened then?", "hour. He is a judge like yourself. You can talk law to him. He will give\nyou both the law and the prophets." ], [ "Brassbound is about to ask Johnson for an explanation, when Lady Cicely\nreturns through the little door, and comes between Brassbound and\nDrinkwater.", "SIR HOWARD. Captain Brassbound: if you can frighten Lady Cicely, you\nwill confer a great obligation on her family. If she had any sense of\ndanger, perhaps she would keep out of it.", "BRASSBOUND. I do. (He turns to Lady Cicely, and adds, pointing\ncontemptuously to Sir Howard) Look at him. You would not take this\nvirtuously indignant gentleman for the uncle of a brigand, would you?", "LADY CICELY (putting down the jar, and coming between Brassbound and\nDrinkwater as before). And now, Captain, before I go to poor Marzo, what\nhave you to say to me?", "BRASSBOUND. What is that?\n\nLADY CICELY. Well--you WON'T mind, Mr. Drinkwater, will you?", "LADY CICELY (naively). Bless me, that's quite true; and I never thought\nof it! Oh, after that you really must do all you can to help Captain\nBrassbound.", "BRASSBOUND. In Heaven's name then, do what you like! Only don't worry me\nwith it.\n\nLADY CICELY. I'm so sorry. All the Hallams are irritable.", "LADY CICELY (springing up again). Did Sir Howard tell you the things he\nsaid about Captain Brassbound's mother? (Renewed sensation.) I told you", "LADY CICELY (stopping). I'll come back to hear it presently, Captain.\nAnd oh, while I remember it (coming forward between Brassbound and", "BRASSBOUND. Well, sir, if she were ten Lady Cicelys, she must consult me\nwhile she is here.", "BRASSBOUND. Justice on a thief and a murderer.\n\nLady Cicely lays down her work and looks up anxiously.", "LADY CICELY. Oh, please don't fight. (Brassbound, seeing that his men\nare hopelessly outnumbered, makes no resistance. They are made prisoners\nby the Cadi's followers.)", "Brassbound walks up and down the room, nursing his indignation. In doing\nso he unconsciously enters upon an unequal contest with Lady Cicely, who", "BRASSBOUND. What for?\n\nLADY CICELY. Why, to make the most of your opportunities.\n\nBRASSBOUND. What opportunities?", "LADY CICELY. THEIR evidence! It would spoil everything. They would\nperjure themselves out of pure spite against poor Captain Brassbound.", "BRASSBOUND (darkening a little, but politely). Sit down. (She sits down.\nSo does he.)\n\nLADY CICELY. What are your plans?", "BRASSBOUND (scolding her). Do I THINK! Do you think my coat's worth\nmending?\n\nLADY CICELY (prosaically). Oh yes: it's not so far gone as that.", "and rising to approach Brassbound with his fists clenched; so that Lady\nCicely lifts one eye from her work to assure herself that the table is", "LADY CICELY. Yes: so you told Howard. (With genuine pity for him) You\nmust have had a very unhappy childhood.\n\nBRASSBOUND (grimily). Hell. That was what my childhood was. Hell.", "LADY CICELY. Uncle! What do you mean?\n\nBRASSBOUND. Has he never told you about my mother? this fellow who puts\non ermine and scarlet and calls himself Justice." ], [ "BRASSBOUND. I do. (He turns to Lady Cicely, and adds, pointing\ncontemptuously to Sir Howard) Look at him. You would not take this\nvirtuously indignant gentleman for the uncle of a brigand, would you?", "BRASSBOUND. Then throw away the last bit of self. Marry me.\n\nLADY CICELY (vainly struggling to recall her wandering will). Must I?", "BRASSBOUND. Then I shall be the first man you ever found to stand to his\nword.\n\nLADY CICELY (part pleased, part amused, part sympathetic). Do you really\nwant a wife?", "BRASSBOUND. What's that?\n\nLADY CICELY. Marry them straight off to some girl with enough money for\nthem, and plenty of sentiment. That's their fate.", "BRASSBOUND. What for?\n\nLADY CICELY. Why, to make the most of your opportunities.\n\nBRASSBOUND. What opportunities?", "LADY CICELY (naively). Bless me, that's quite true; and I never thought\nof it! Oh, after that you really must do all you can to help Captain\nBrassbound.", "BRASSBOUND. What is that?\n\nLADY CICELY. Well--you WON'T mind, Mr. Drinkwater, will you?", "BRASSBOUND. In Heaven's name then, do what you like! Only don't worry me\nwith it.\n\nLADY CICELY. I'm so sorry. All the Hallams are irritable.", "SIR HOWARD (smiling). It seems so.\n\nBRASSBOUND. On your head be it! (To Lady Cicely, accepting her hand at\nlast) Goodnight.", "SIR HOWARD. Captain Brassbound: if you can frighten Lady Cicely, you\nwill confer a great obligation on her family. If she had any sense of\ndanger, perhaps she would keep out of it.", "LADY CICELY (putting down the jar, and coming between Brassbound and\nDrinkwater as before). And now, Captain, before I go to poor Marzo, what\nhave you to say to me?", "BRASSBOUND. Yes. Danger for all of us unless I keep to my bargain with\nthis fanatic.\n\nLADY CICELY. What bargain?", "LADY CICELY. Oh! Didn't Sir Howard tell you that? Why, Captain\nBrassbound turns out to be Sir Howard's nephew, the son of the brother\nyou knew.", "BRASSBOUND. But his duty as a brother!\n\nLADY CICELY. Are you going to do your duty as a nephew?", "Brassbound is about to ask Johnson for an explanation, when Lady Cicely\nreturns through the little door, and comes between Brassbound and\nDrinkwater.", "LADY CICELY. Yes: aren't you glad it's been defeated for once? (She\ntakes his arm to go out with him.) Captain Brassbound: I will come back", "BRASSBOUND (darkening a little, but politely). Sit down. (She sits down.\nSo does he.)\n\nLADY CICELY. What are your plans?", "BRASSBOUND. With my heart's noblest honor and triumph, farewell. (He\nturns and flies.)\n\nLADY CICELY. How glorious! how glorious! And what an escape!", "BRASSBOUND (to Sir Howard). I wish you to understand, Sir Howard, that\nin this castle, it is I who give orders, and no one else. Will you be\ngood enough to let Lady Cicely Waynflete know that.", "BRASSBOUND (scolding her). Do I THINK! Do you think my coat's worth\nmending?\n\nLADY CICELY (prosaically). Oh yes: it's not so far gone as that." ], [ "(General alarm. All look to Brassbound.)", "BRASSBOUND. I have no plans. You will hear a gun fired in the harbor\npresently. That will mean that the Thanksgiving's anchor's weighed and", "ALL. No, no. Brassbound, Brassbound.\n\nJOHNSON. There's nobody but you, Captain.", "BRASSBOUND (cutting him short with a fierce contempt that astonishes\nhim). I will attend to you presently. (Calling) Johnson. Send me Johnson", "BRASSBOUND (returning in his own clothes, getting into his jacket as\nhe comes). Stand by, all. (They start asunder guiltily, and wait for", "BRASSBOUND (in tones of command). Stand by, all hands. (They stand by.)\nTake that man and wash him. (With a roar of laughter they seize him.)", "BRASSBOUND. Tell him what you have seen here. That is all. Johnson: give\nhim a dollar; and note the hour of his going, that his master may know\nhow fast he rides.", "Brassbound and his men, left by themselves in the room, free and\nunobserved, go straight out of their senses. They laugh; they dance;", "BRASSBOUND. Put him where you please so long as you can find him when he\nis wanted.\n\nSIR HOWARD. You will be laid by the heels yet, my friend.", "Brassbound; and it would be such an education for your men! (Brassbound\nstares at her with drying lips.)", "shuts his mouth convulsively, and opens his eyes sleepily. A door is\nviolently kicked outside; and the voice of Drinkwater is heard raising\nurgent alarm.", "BRASSBOUND. I quite understand the proper treatment for him, madam. If\nhe opens his mouth again without my leave, I will break every bone in\nhis skin.", "There is a scuffling noise in the house; and Drinkwater shoots out\nthrough the doorway across the garden with every appearance of having", "moment of his entrance, and continues to do so in so marked a way that\nthe glow in Brassbound's eyes deepens as he begins to take offence.", "SIR HOWARD (almost voiceless). You are the son of that woman!\n\nBRASSBOUND (fiercely). \"That woman!\" (He makes a movement as if to rush\nat Sir Howard.)", "Brassbound folds up the letter, looking glum.\n\nSIR HOWARD (sharply). Well, sir, are we not to have the benefit of that\nletter? Your men are waiting to hear it, I think.", "BRASSBOUND. Yes; but it's a part of my life gone: YOUR doing, remember.\nWhat have I left? See here! (He take up the letters) the letters", "BRASSBOUND. No. I am your prisoner. My name is Brassbound.\n\nDRINKWATER (officiously). Kepn Brarsbahnd, of the schooner Thenksgiv--", "BRASSBOUND (stopping abruptly and flinging the announcement at him). You\nare not my guest: you are my prisoner.\n\nSIR HOWARD. Prisoner!", "BRASSBOUND. Your brother's, you mean. A man should wear his own clothes;\nand a man should tell his own lies. I'm sorry you had to tell mine for\nme to-day." ], [ "death, you know--you MUST know--that she died in her native country,\nyears after our last meeting. Perhaps you were too young to know that\nshe could hardly have expected to live long.", "me than the fact that everything that has ever happened to him seems to\nhave happened in Paraguay or Texas instead of in Spain or Scotland. He", "There is a scuffling noise in the house; and Drinkwater shoots out\nthrough the doorway across the garden with every appearance of having", "and a higher place. Well, I took him for a villain out of a storybook.\nMy mother would have opened anybody else's eyes: she shut mine. I'm", "REDBROOK (softly). Look here, Johnson, and gents generally. (They gather\nabout him.) Spose she takes him back to England!", "BRASSBOUND. You are safe here. I warn you, in those hills there is a\njustice that is not the justice of your courts in England. If you have", "The silence is broken only by the snores of the young gentleman, whose\nmouth has fallen open, until a few distant shots half waken him. He", "A lady and gentleman, both English, come into the garden. The gentleman,\nmore than elderly, is facing old age on compulsion, not resignedly. He", "is towards her; and he does not hear her. Perceiving this, she shuts the\ndoor loudly enough to attract his attention. He starts up.", "SIR HOWARD (not pleased by this remark). Perhaps because you never asked\nme. (Turning more blandly to Rankin) I will tell you the story, Mr.", "they embrace one another; they set to partners and waltz clumsily; they\nshake hands repeatedly and maudlinly. Three only retain some sort of\nself-possession. Marzo, proud of having successfully thrust himself into", "KEARNEY (slightly overwhelmed by the unexpected profusion of incident\nand character in her story). Well, what happened then?", "takes from the breast pocket of his jacket a leather case, from which he\nextracts a scrappy packet of dirty letters and newspaper cuttings. These\nhe throws on the table. Next comes a photograph in a cheap frame. He", "RANKIN. Certainly. (She comes in, to the nearest end of the table. She\nhas discarded all travelling equipment, and is dressed exactly as she", "Morocco is based on a morning's walk through Tangier, and a cursory\nobservation of the coast through a binocular from the deck of an Orient", "LADY CICELY (delighted). Oh, that is so nice of you, Mr. Rankin. This\nis a delicious country! And the people seem so good! They have such", "Lady Cicely sits down on the bench under the tamarisk. Rankin takes his\nstool from the flowerbed and sits down on her left, Sir Howard being on\nher right.", "JOHNSON (severely). Don't you be a ignorant and immoral foreigner. (The\nrebuke is well received; and Marzo is hustled into the background and", "SIDI (timidly touching her hand). Now this is a wonderful thing, and\nworthy to be chronicled with the story of Solomon and the Queen of\nSheba. Is it not so, Osman Ali?", "did. (Raising his voice and narrowly escaping a squeak of pain) Kepn\nBrarsbahnd. (He gets as far from the house as possible, on Rankin's" ], [ "RANKIN. There is a certain Captain Brassbound here who trades along the\ncoast, and occasionally escorts parties of merchants on journeys into\nthe interior. I understand that he served under Gordon in the Soudan.", "RANKIN. That is so. (Drinkwater slaps his knee triumphantly. The\nmissionary proceeds determinedly) And the someone was a verra honest,\nstraightforward man, as far as I could judge.", "wears what was once a fashionable white English yachting suit. He is\nevidently a pleasantly worthless young English gentleman gone to the\nbad, but retaining sufficient self-respect to shave carefully and", "RANKIN. That's impoassible, my leddy. The natives are verra dangerous.\n\nLADY CICELY. Why? Has any explorer been shooting them?", "in acknowledgement.) This (pointing to Brassbound) is Brassbound the\nFranguestani captain, the servant of Sidi.", "SIR HOWARD (startled). I did not know I was so favorably spoken of in\nthese parts, Captain Brassbound. We want an escort for a trip into the\nmountains.", "RANKIN. Well, perhaps hardly an acquaintance, Sir Howrrd. But I was a\nclose friend of your brother Miles: and when he sailed for Brazil I", "SIR HOWARD. Our host the missionary.", "they embrace one another; they set to partners and waltz clumsily; they\nshake hands repeatedly and maudlinly. Three only retain some sort of\nself-possession. Marzo, proud of having successfully thrust himself into", "SIR HOWARD (faintly amused). You are superstitious, Captain. Most\nsailors are, I notice. However, I have complete confidence in your\nescort.", "SIR HOWARD (decorously subduing his voice). Yes: he did not live long:\nindeed, he never came back to England. It must be nearly thirty years\nago now that he died in the West Indies on his property there.", "THE MAN. Awtenoon, Mr. Renkin. (The missionary sits up quickly, and\nturns, resigning himself dutifully to the interruption.) Yr honor's\neolth.", "Captain Hamlin Kearney is a robustly built western American, with the\nkeen, squeezed, wind beaten eyes and obstinately enduring mouth of his", "THE PORTER (at the door, addressing Rankin). Bikouros (Moroccan for\nEpicurus, a general Moorish name for the missionaries, who are supposed", "Sidi el Aasif, clad in spotless white, is a nobly handsome Arab, hardly\nthirty, with fine eyes, bronzed complexion, and instinctively dignified", "himself by assuming the character of a circus ringmaster, flourishing an\nimaginary whip and egging on the rest to wilder exertions. A climax is", "SIDI (timidly touching her hand). Now this is a wonderful thing, and\nworthy to be chronicled with the story of Solomon and the Queen of\nSheba. Is it not so, Osman Ali?", "SIR HOWARD (not pleased by this remark). Perhaps because you never asked\nme. (Turning more blandly to Rankin) I will tell you the story, Mr.", "LADY CICELY. What nonsense! As if anybody ever knew the whole truth\nabout anything! (Sitting down, much hurt and discouraged.) I'm sorry you\nwish Captain Kearney to understand that I am an untruthful witness.", "The man is on public record too. The battle of Trafalgar Square, in\nwhich he personally and bodily assailed civilization as represented by\nthe concentrated military and constabular forces of the capital of the" ], [ "THE MAN. Awtenoon, Mr. Renkin. (The missionary sits up quickly, and\nturns, resigning himself dutifully to the interruption.) Yr honor's\neolth.", "Sir Howard starts. The shock is too much for him: he sits down again,\nlooking very old; and his hands tremble; but his eyes and mouth are\nintrepid, resolute, and angry.", "BRASSBOUND (cutting him short with a fierce contempt that astonishes\nhim). I will attend to you presently. (Calling) Johnson. Send me Johnson", "JOHNSON. Let me introdooce Mr. Redbrook. Your ladyship may know his\nfather, the very Rev. Dean Redbrook. (He goes to Marzo.)", "at Billingsgate. His manner shows an earnest disposition to ingratiate\nhimself with the missionary, probably for some dishonest purpose.", "ermine of the judge. We will all now drop a subject that should never\nhave been broached in a lady's presence. (He resumes his seat, and adds,", "RANKIN. That is so. (Drinkwater slaps his knee triumphantly. The\nmissionary proceeds determinedly) And the someone was a verra honest,\nstraightforward man, as far as I could judge.", "VOICES. No, no. Brassbound must command.\n\nBRASSBOUND. You're wasting your five minutes. Try Johnson.", "THE PORTER (at the door, addressing Rankin). Bikouros (Moroccan for\nEpicurus, a general Moorish name for the missionaries, who are supposed", "shuts his mouth convulsively, and opens his eyes sleepily. A door is\nviolently kicked outside; and the voice of Drinkwater is heard raising\nurgent alarm.", "is towards her; and he does not hear her. Perceiving this, she shuts the\ndoor loudly enough to attract his attention. He starts up.", "JOHNSON. Coming, Captain. He had a prayer to finish.\n\nOsman, a tall, skinny, whiteclad, elderly Moor, appears in the archway.", "sleepers) Nah then. Git ap. Git ap, will yr, Kiddy Redbrook. (He gives\nthe young qentleman a rude shove.)", "who read novels. His eyes turn to the ground; and his brow clouds\nperplexedly. He rises; rubs his chin nervously with his forefinger; and", "BRASSBOUND (in tones of command). Stand by, all hands. (They stand by.)\nTake that man and wash him. (With a roar of laughter they seize him.)", "el Assif. He told me I should never see Sir Howrrd again, because his\nmaster knew he was a Christian and would take him out of the hands of", "SIR HOWARD (rising quietly, and taking refuge between Redbrook and\nJohnson, whom he addresses). Can you find me a more private room than\nthis?", "He looks up at her for a moment; then kisses her hand. She presses his\nand turns away with her eyes so wet that she sees Drinkwater, coming in", "RANKIN. Good afternoon to ye, Mr. Drinkwotter.\n\nAs Drinkwater turns to go, a Moorish porter comes from the house with\ntwo Krooboys.", "The silence is broken only by the snores of the young gentleman, whose\nmouth has fallen open, until a few distant shots half waken him. He" ], [ "RANKIN. We've come to it at last. I thought so. Captain Brassbound is a\nsmuggler.", "is this. My ship, the United States cruiser Santiago, was spoken off\nMogador latest Thursday by the yacht Redgauntlet. The owner of the", "BRASSBOUND (in tones of command). Stand by, all hands. (They stand by.)\nTake that man and wash him. (With a roar of laughter they seize him.)", "wears what was once a fashionable white English yachting suit. He is\nevidently a pleasantly worthless young English gentleman gone to the\nbad, but retaining sufficient self-respect to shave carefully and", "BRASSBOUND. An American cruiser. The Santiago.\n\nTHE CADI (tearing his beard). Woe! alas! it is where they set the sea on\nfire.", "JOHNSON. Ay, ay, air. All aboard, mates.\n\nALL. Ay, ay. (They rush out tumultuously.)", "BRASSBOUND. It is not a British ship. (Sir Howard's face falls.)\n\nLADY CICELY. What is it, then?", "Captain Brassbound. I hurried on board the yacht and told the owner to\nscour the coast for a gunboat or cruiser to come into the harbor and", "BRASSBOUND. Warship! (He takes the letter and opens it, his men\nwhispering to one another very low-spiritedly meanwhile.)\n\nREDBROOK. Warship! Whew!", "A general smile. Drinkwater splutters into a half suppressed laugh.", "SIR HOWARD (faintly amused). You are superstitious, Captain. Most\nsailors are, I notice. However, I have complete confidence in your\nescort.", "BRASSBOUND. I have no plans. You will hear a gun fired in the harbor\npresently. That will mean that the Thanksgiving's anchor's weighed and", "RANKIN. I understood it was your business to provide escorts, Captain\nBrassbound.\n\nBRASSBOUND. You were rightly informed. That IS my business.", "BRASSBOUND. In my world a man can navigate a ship and get his living by\nit.", "it at all. She pounces genially on Drinkwater, who is smirking at her,\nhat in hand, with an air of hearty welcome. The gentleman, on the other", "As he slinks away in tears towards the arch, Brassbound enters.\nDrinkwater promptly shelters himself on the captain's left hand, the", "Lady Cicely and Rankin sit down as before to receive the Captain. The\nlight is by this time waning rapidly, the darkness creeping west into\nthe orange crimson.", "JOHNSON. On the lookout. Look here, Capn: we don't half like this job.\nThe gentleman has been talking to us a bit; and we think that he IS a\ngentleman, and talks straight sense.", "at Billingsgate. His manner shows an earnest disposition to ingratiate\nhimself with the missionary, probably for some dishonest purpose.", "As the search will be conducted with machine guns, the prompt return of\nthe travellers to Mogador Harbor will save much trouble to all parties.\"" ], [ "Midday. A roam in a Moorish castle. A divan seat runs round the\ndilapidated adobe walls, which are partly painted, partly faced with", "by the Moors to have chosen their calling through a love of luxurious\nidleness): I have brought to your house a Christian dog and his woman.", "LADY CICELY. This castle is very romantic, Captain; but it hasn't had a\nspring cleaning since the Prophet lived in it. There's only one room I", "On the heights overlooking the harbor of Mogador, a seaport on the west\ncoast of Morocco, the missionary, in the coolness of the late afternoon,", "JOHNSON. Coming, Captain. He had a prayer to finish.\n\nOsman, a tall, skinny, whiteclad, elderly Moor, appears in the archway.", "sheepskins, and leathern cushions with geometrical patterns on them.\nThere is a tiny Moorish table in the middle; and at it a huge saddle,", "THE CADI. As I live, O Cadi, and thou, moon of loveliness, ye shall be\nled back to Mogador with honor. And thou, accursed Brassbound, shall go", "Johnson, Redbrook, and the others return, rather mistrustfully ushering\nin Sidi el Assif, attended by Osman and a troop of Arabs. Brassbound's", "LADY CICELY. Then the escort ran away--all escorts do--and dragged me\ninto the castle, which you really ought to make them clean and whitewash", "RANKIN. Excuse me a moment, my leddy. I have a word in season to say to\nthat same Moor. (He goes into the house.)", "Torrid forenoon filtered through small Moorish windows high up in the\nadobe walls of the largest room in Leslie Rankin's house. A clean", "big, which, with a dusty smilax or two, is the sole product of his pet\nflower-bed. He is sitting to his work on a Moorish stool. In the middle", "Sidi el Aasif, clad in spotless white, is a nobly handsome Arab, hardly\nthirty, with fine eyes, bronzed complexion, and instinctively dignified", "with a copious pagri on his white hat, enters through the horseshoe\narch, followed by a couple of men supporting the wounded Marzo, who,\nweeping and terrorstricken by the prospect of death and of subsequent", "Lady Cicely and Rankin sit down as before to receive the Captain. The\nlight is by this time waning rapidly, the darkness creeping west into\nthe orange crimson.", "BRASSBOUND (tearing it quietly). You killed her for me that day in the\ncastle; and I am better without her. (He throws away the fragments.) Now", "RANKIN. But ye cannot see them. They decamped last night, back to their\ncastles in the Atlas.\n\nLADY CICELY (delighted). No!", "As the search will be conducted with machine guns, the prompt return of\nthe travellers to Mogador Harbor will save much trouble to all parties.\"", "RANKIN (pondering). 'Tis strange that they should come to Mogador, of\nall places; and to my house! I once met Sir Howrrd Hallam, years ago.", "A lady and gentleman, both English, come into the garden. The gentleman,\nmore than elderly, is facing old age on compulsion, not resignedly. He" ], [ "BRASSBOUND (in tones of command). Stand by, all hands. (They stand by.)\nTake that man and wash him. (With a roar of laughter they seize him.)", "in acknowledgement.) This (pointing to Brassbound) is Brassbound the\nFranguestani captain, the servant of Sidi.", "BRASSBOUND. No. I am your prisoner. My name is Brassbound.\n\nDRINKWATER (officiously). Kepn Brarsbahnd, of the schooner Thenksgiv--", "BRASSBOUND. This thing (pointing to Drinkwater) is the greatest liar,\nthief, drunkard, and rapscallion on the west coast.", "BRASSBOUND. You see what my men are like. That rascal (indicating Marzo)\nwould cut a throat for a dollar if he had courage enough.", "ALL. No, no. Brassbound, Brassbound.\n\nJOHNSON. There's nobody but you, Captain.", "BRASSBOUND. It is not a British ship. (Sir Howard's face falls.)\n\nLADY CICELY. What is it, then?", "KEARNEY (surprised and rather suspicious). Well, I hardly understahnd\nthis. However, if you are Captain Brassbound, you can take your place", "BRASSBOUND. It is farewell. Rescue for you--safety, freedom! You were\nmade to be something better than the wife of Black Paquito. (He kneels", "BRASSBOUND. An American cruiser. The Santiago.\n\nTHE CADI (tearing his beard). Woe! alas! it is where they set the sea on\nfire.", "BRASSBOUND (recovering himself). It was only this. That fellow there\n(pointing to Drinkwater) is subject to fits of insolence. If he is", "Captain Brassbound. I hurried on board the yacht and told the owner to\nscour the coast for a gunboat or cruiser to come into the harbor and", "BRASSBOUND (cutting him short with a fierce contempt that astonishes\nhim). I will attend to you presently. (Calling) Johnson. Send me Johnson", "RANKIN. We've come to it at last. I thought so. Captain Brassbound is a\nsmuggler.", "BRASSBOUND. Warship! (He takes the letter and opens it, his men\nwhispering to one another very low-spiritedly meanwhile.)\n\nREDBROOK. Warship! Whew!", "BRASSBOUND. In my world a man can navigate a ship and get his living by\nit.", "BRASSBOUND. Why have you sent for me?\n\nRANKIN. We have a matter of business with ye, Captain.\n\nBRASSBOUND. Who are \"we\"?", "BRASSBOUND (returning in his own clothes, getting into his jacket as\nhe comes). Stand by, all. (They start asunder guiltily, and wait for", "BRASSBOUND. Your brother's, you mean. A man should wear his own clothes;\nand a man should tell his own lies. I'm sorry you had to tell mine for\nme to-day.", "RANKIN (cutting him short). I see. And now I will put ye another\nquestion. WHAT is Captain Brassbound, or Paquito, or whatever he calls\nhimself?" ], [ "BRASSBOUND. No. I am your prisoner. My name is Brassbound.\n\nDRINKWATER (officiously). Kepn Brarsbahnd, of the schooner Thenksgiv--", "BRASSBOUND (stopping abruptly and flinging the announcement at him). You\nare not my guest: you are my prisoner.\n\nSIR HOWARD. Prisoner!", "ALL. No, no. Brassbound, Brassbound.\n\nJOHNSON. There's nobody but you, Captain.", "BRASSBOUND. Put him where you please so long as you can find him when he\nis wanted.\n\nSIR HOWARD. You will be laid by the heels yet, my friend.", "BRASSBOUND. I quite understand the proper treatment for him, madam. If\nhe opens his mouth again without my leave, I will break every bone in\nhis skin.", "SIR HOWARD (drily). I told you you were not in a strong position,\nCaptain Brassbound. (Looking implacably at him.) You are laid by the\nheels, my friend, as I said you would be.", "BRASSBOUND. Your brother's, you mean. A man should wear his own clothes;\nand a man should tell his own lies. I'm sorry you had to tell mine for\nme to-day.", "thither a prisoner in chains, thou and thy people. (Brassbound and his\nmen make a movement to defend themselves.) Seize them.", "BRASSBOUND. It will be on your own tombstone, presently, if you cannot\nhold your tongue. (Turning to the others) Let us understand one another,", "BRASSBOUND (taking out a pistol). You wanted to sell me to my prisoner,\ndid you, you dog.", "here this morning. Now WOULD you mind taking it to the prison, and\nsmartening up Captain Brassbound a little. Tell him he ought to do it to", "BRASSBOUND. Why have you sent for me?\n\nRANKIN. We have a matter of business with ye, Captain.\n\nBRASSBOUND. Who are \"we\"?", "BRASSBOUND (with unaccountable intensity). All the wealth of England\nshall not ransom you.\n\nSIR HOWARD. Then what do you expect to gain by this?", "KEARNEY (surprised and rather suspicious). Well, I hardly understahnd\nthis. However, if you are Captain Brassbound, you can take your place", "SIR HOWARD (who has listened with approval and growing confidence).\nCaptain Brassbound: you are the man I want. If your terms are at", "BRASSBOUND. He had a fellow feeling for a thief, knowing he was a thief\nhimself. Do you forget that he sent my mother to prison?", "BRASSBOUND (cutting him short with a fierce contempt that astonishes\nhim). I will attend to you presently. (Calling) Johnson. Send me Johnson", "Brassbound; and it would be such an education for your men! (Brassbound\nstares at her with drying lips.)", "BRASSBOUND (in tones of command). Stand by, all hands. (They stand by.)\nTake that man and wash him. (With a roar of laughter they seize him.)", "BRASSBOUND. What else can I say? See what I've done! My uncle is no\nworse a man than myself--better, most likely; for he has a better head" ], [ "LADY CICELY. Oh! Didn't Sir Howard tell you that? Why, Captain\nBrassbound turns out to be Sir Howard's nephew, the son of the brother\nyou knew.", "SIR HOWARD (almost voiceless). You are the son of that woman!\n\nBRASSBOUND (fiercely). \"That woman!\" (He makes a movement as if to rush\nat Sir Howard.)", "RANKIN. And where may Miles be now, Sir Howard?\n\nSIR HOWARD (abruptly). Don't you know that he is dead?", "RANKIN. Well, perhaps hardly an acquaintance, Sir Howrrd. But I was a\nclose friend of your brother Miles: and when he sailed for Brazil I", "SIR HOWARD (reflecting). Yes: there was a young friend of my brother's\nwho might well be you. But the name, as I recollect it, was Leslie.", "I affirm that most solemnly. I never knew--never dreamt--that my brother\nMiles left a son. As to your mother, her case was a hard one--perhaps", "SIR HOWARD (remonstrating). Cicely!\n\nLADY CICELY. He did: you know he did. You told me to tell the exact\ntruth.", "SIR HOWARD (swinging round on his chair, astonished). Sorry for ME! Why?\n\nLADY CICELY. It will look so dreadful. Your own nephew, you know.", "Sir Howard starts. The shock is too much for him: he sits down again,\nlooking very old; and his hands tremble; but his eyes and mouth are\nintrepid, resolute, and angry.", "was Sir Howard's nephew, did he?", "SIR HOWARD (drily). I told you you were not in a strong position,\nCaptain Brassbound. (Looking implacably at him.) You are laid by the\nheels, my friend, as I said you would be.", "REDBROOK (in a fierce whisper). Shut up, you fool, will you? (Again he\npushes him back with a furtive kick.)\n\nSIR HOWARD (remonstrating). Cicely!", "Sir Howard goes to the table and sits on the saddle, rather exhausted.\nLady Cicely comes to Drinkwater.\n\nLADY CICELY. Where is Marzo's bed?", "Sir Howard and addresses him with warning earnestness.)", "SIR HOWARD. I have already met the only member of your escort who might\nhave borne a grudge against me, Captain; and he was acquitted.\n\nBRASSBOUND. You are fated to come, then?", "SIR HOWARD. Our host the missionary.", "SIR HOWARD (who has listened with approval and growing confidence).\nCaptain Brassbound: you are the man I want. If your terms are at", "SIR HOWARD (scandalized). My DEAR Cicely: you really must restrain your\nexpressions of confidence in people's eyes and faces. (To Brassbound)\nNow, about terms, Captain?", "RANKIN. I should be glad to hear it for Miles's sake, though I am no\nlawyer, Sir Howrrd.\n\nLADY CICELY. I never knew you had a brother, Howard.", "SIR HOWARD (very angry, and full of the crustiest pluck). You insult me,\nsir. You are a rascal. You are a rascal." ], [ "ermine of the judge. We will all now drop a subject that should never\nhave been broached in a lady's presence. (He resumes his seat, and adds,", "said, \"Mary: I've just told all the world that your sister-in-law was a\npolice court criminal, and that I sent her to prison; and your nephew is", "Sir Howard starts. The shock is too much for him: he sits down again,\nlooking very old; and his hands tremble; but his eyes and mouth are\nintrepid, resolute, and angry.", "SIR HOWARD. It is the truth, Cicely, and nothing but the truth. But the\nEnglish law requires a witness to tell the WHOLE truth.", "SIR HOWARD (not pleased by this remark). Perhaps because you never asked\nme. (Turning more blandly to Rankin) I will tell you the story, Mr.", "LADY CICELY. Of course he OUGHT to have told you. You see he only tells\none side of the story. That comes from his training as a barrister. You", "anything. The proper thing for you to do, Howard, is to let ME tell the\nexact truth. Then you can simply say that you are bound to confirm me.\nNobody can blame you for that.", "to tell the exact truth. You call that devilment. So it is, I daresay,\nfrom a lawyer's point of view.", "himself in the captain's hands. (Looking reproachfully at her) On your\njourney back here, ye seem to have frightened the poor man yourself,", "RANKIN (naively). Yes. (Sir Howard qrunts emphatically, as who should\nsay \"I thought so.\" Rankin continues, addressing the court) May I say\nhow sorry I am that there are so few chairs, Captain and gentlemen.", "crime. Now the counsel for the prosecution can proceed to prosecute. The\nfloor is yours, Lady Waynflete.", "an Jadge Ellam through henny little excursion in reason. Yr honor mawt\nmention it.", "BRASSBOUND. Tell him what you have seen here. That is all. Johnson: give\nhim a dollar; and note the hour of his going, that his master may know\nhow fast he rides.", "SIR HOWARD. I shall meet it, I trust, as becomes an innocent man and an\nupright judge. What do you charge against me?", "adds) I think, perhaps, on reflection, that there is something to be\nsaid for your proposal to relieve me of the very painful duty of telling\nwhat has occurred.", "and courts and laws and juries to drive him into it so that he can't\nhelp doing it, what can you expect? Sir Howard's all right when he's", "KEARNEY (slightly overwhelmed by the unexpected profusion of incident\nand character in her story). Well, what happened then?", "SIR HOWARD. I did; and I can confidently say, after a long experience of\nfaces of the worst type looking at me from the dock, that I have never", "it out again. That's what escorts always do. But since Sir Howard\nprefers an escort, I think you had better stay at home and let me take", "DRINKWATER. Aw thenk yr honor. (He sits down on the seat under the tree\nand composes himself for conversation.) Hever ear o Jadge Ellam?\n\nRANKIN. Sir Howrrd Hallam?" ], [ "vacant chair.) Now let me see. You are a man of experience in these\nmatters, Sir Howard Hallam. If you had to conduct this business, how\nwould you start?", "No, Sir Howard Hallam: excuse ME. In moments of pahssion I have called\na man that myself. We are glahd to find real flesh and blood beneath the", "Sir Howard starts. The shock is too much for him: he sits down again,\nlooking very old; and his hands tremble; but his eyes and mouth are\nintrepid, resolute, and angry.", "KEARNEY (calmly). Allow the lady to proceed, Sir Howard Hallam.", "KEARNEY. There is sertnly a wonderful chahrn about the British\naristocracy, Sir Howard Hallam. Are they all like that? (He takes the\npresidential chair.)", "RANKIN. This is Sir Howrrd Hallam, who will be well known to ye as one\nof Her Majesty's judges.", "SIR HOWARD (deeply and personally offended by this slight to his\nprofession, and for the first time throwing away his assumed dignity", "SIR HOWARD (a little impatient of these questions, which strike him as\nsomewhat impertinent). Let us come to business, if you please. We are", "SIR HOWARD (rising quietly, and taking refuge between Redbrook and\nJohnson, whom he addresses). Can you find me a more private room than\nthis?", "profession. A curious ethnological specimen, with all the nations of\nthe old world at war in his veins, he is developing artificially in\nthe direction of sleekness and culture under the restraints of an", "SIR HOWARD (not pleased by this remark). Perhaps because you never asked\nme. (Turning more blandly to Rankin) I will tell you the story, Mr.", "SIR HOWARD (decorously subduing his voice). Yes: he did not live long:\nindeed, he never came back to England. It must be nearly thirty years\nago now that he died in the West Indies on his property there.", "JOHNSON (phlegmatically). Yes: we know it. (He is going out when Sir\nHoward speaks.)", "SIR HOWARD. Well, I am afraid I want a little privacy, and, if you will\nallow me to say so, a little civility. I am greatly obliged to you for", "SIR HOWARD (drily). I told you you were not in a strong position,\nCaptain Brassbound. (Looking implacably at him.) You are laid by the\nheels, my friend, as I said you would be.", "Sir Howard and addresses him with warning earnestness.)", "SIR HOWARD (to Rankin, sitting down again resignedly). You can imagine\nhow much use there is in talking to a woman who admires the faces of the", "and courts and laws and juries to drive him into it so that he can't\nhelp doing it, what can you expect? Sir Howard's all right when he's", "SIR HOWARD. Our host the missionary.", "SIR HOWARD (drily). Yes, I think I know him.\n\nKEARNEY. Bring in the prisoners." ], [ "Sir Howard and addresses him with warning earnestness.)", "Sir Howard starts. The shock is too much for him: he sits down again,\nlooking very old; and his hands tremble; but his eyes and mouth are\nintrepid, resolute, and angry.", "SIR HOWARD. Our host the missionary.", "SIR HOWARD. Well, I am afraid I want a little privacy, and, if you will\nallow me to say so, a little civility. I am greatly obliged to you for", "SIR HOWARD (who has listened with approval and growing confidence).\nCaptain Brassbound: you are the man I want. If your terms are at", "SIR HOWARD (deeply and personally offended by this slight to his\nprofession, and for the first time throwing away his assumed dignity", "and courts and laws and juries to drive him into it so that he can't\nhelp doing it, what can you expect? Sir Howard's all right when he's", "Sir Howard rises punctiliously when Kearney rises and sits when he sits.", "SIR HOWARD. You are very good, I am sure.\n\nSIDI (graver than ever). Muley Othman--", "SIR HOWARD (immediately taking the tone of cold disgust for moral\ndelinquency). Am I to understand, then, that you are a brigand? Is this\na matter of ransom?", "SIR HOWARD. That sounds promising. But I should like to know a little\nmore about him before I trust myself in his hands.", "SIR HOWARD (a little impatient of these questions, which strike him as\nsomewhat impertinent). Let us come to business, if you please. We are", "SIR HOWARD (not pleased by this remark). Perhaps because you never asked\nme. (Turning more blandly to Rankin) I will tell you the story, Mr.", "(Pointing to Sir Howard): e'll give huz fawv unnerd red uns. (To the\nothers) Ynt yer spowk to im, Miste Jornsn--Miste Redbrook--", "SIR HOWARD (horrified). What! The Hooligan!\n\nRANKIN (puzzled). Hooligan? No, my lord: he is an Englishman.", "SIR HOWARD (drily). I told you you were not in a strong position,\nCaptain Brassbound. (Looking implacably at him.) You are laid by the\nheels, my friend, as I said you would be.", "JOHNSON (phlegmatically). Yes: we know it. (He is going out when Sir\nHoward speaks.)", "SIR HOWARD (after a momentary flush of anger, with a controlled force\nthat compels Brassbound's attention in spite of himself). You seem to be\nin a strong position with reference to these men of yours.", "SIR HOWARD. I have already met the only member of your escort who might\nhave borne a grudge against me, Captain; and he was acquitted.\n\nBRASSBOUND. You are fated to come, then?", "SIR HOWARD. My dear Mr. Rankin, this man was tried before me on a charge\nof street ruffianism." ], [ "SIR HOWARD (introducing her). My sister-in-law, Lady Cicely Waynflete,\nMr. Rankin.", "Waynflete: I thahnk you for the delicacy with which you have given\nyour evidence. (Lady Cicely beams on him gratefully and sits down", "SIR HOWARD. I shall expect Lord Waynflete to look at the matter as a\nreasonable man.\n\nLADY CICELY. Do you think he's so greatly changed as that, Howard?", "SIR HOWARD (rather stiffly). I really do not see how I need your\ncommiseration, Cicely. The woman was an impossible person, half mad,", "LADY CICELY (with sweet melancholy). Ah, don't you wish you could,\nCaptain? Oh, if I could only show you my children from Waynflete Sunday", "KEARNEY (coming between Sir Howard and Lady Cicely). When we parted\nyesterday ahfternoon, Lady Waynflete, I was unaware that in the", "LADY CICELY (shaking her head). I have never been in love with any real\nperson; and I never shall. How could I manage people if I had that mad\nlittle bit of self left in me? That's my secret.", "KEARNEY. Oh, that was it, was it? May I ask, sir, did you notice any\nsign on Lady Waynflete's part of cawmplying with that verry moderate\nrequest?", "LADY CICELY. Bless you, Mr. Rankin. (Rankin goes out. She comes to\nthe other end of the table, looking at Sir Howard with a troubled,", "KEARNEY (somewhat sternly, suspecting Lady Cicely of aristocratic\natheism). But you are a Christian woman.", "LADY CICELY. What is the use of saying that? In my world, which is now\nyour world--OUR world--getting patronage is the whole art of life. A man\ncan't have a career without it.", "LADY CICELY. It's a little sad; but perhaps it is best so.\n\nBRASSBOUND. That leaves one relic: her portrait. (He plucks the\nphotograph out of its cheap case.)", "LADY CICELY. Oh, I've thought of that. You know I'm going back to\nEngland by way of Rome, Mr. Rankin; and I'm bringing a portmanteau full", "LADY CICELY (with vivid curiosity). Oh, let me see. (He hands it to\nher. Before she can control herself, her expression changes to one of\nunmistakable disappointment and repulsion.)", "BLUEJACKET. Captain Kearney's cawmpliments to Lady Waynflete; and may he\ncome in?\n\nLADY CICELY. Yes. By all means. Where are the prisoners?", "LADY CICELY (promptly washing her hands of his interests). Oh, very\nwell. Tell the story yourself, in your own clever way. I only proposed", "LADY CICELY. Well, why not? theology is as respectable as law, I should\nthink. Besides, I'm only talking commonsense. Why do people get", "Brassbound is about to ask Johnson for an explanation, when Lady Cicely\nreturns through the little door, and comes between Brassbound and\nDrinkwater.", "Johnson nods gravely, and is going out when Lady Cicely returns softly\nby the little door and calls to him in a whisper. She has taken off her", "LADY CICELY. Oh, women spend half their lives telling little lies for\nmen, and sometimes big ones. We're used to it. But mind! I don't admit\nthat I told any to-day." ], [ "LADY CICELY. What is the use of saying that? In my world, which is now\nyour world--OUR world--getting patronage is the whole art of life. A man\ncan't have a career without it.", "SIR HOWARD (rather stiffly). I really do not see how I need your\ncommiseration, Cicely. The woman was an impossible person, half mad,", "SIR HOWARD (introducing her). My sister-in-law, Lady Cicely Waynflete,\nMr. Rankin.", "LADY CICELY. Bless you, Mr. Rankin. (Rankin goes out. She comes to\nthe other end of the table, looking at Sir Howard with a troubled,", "LADY CICELY (shaking her head). I have never been in love with any real\nperson; and I never shall. How could I manage people if I had that mad\nlittle bit of self left in me? That's my secret.", "LADY CICELY (sternly). Certainly not. I would not allow such a thing,\neven if you were wicked enough to attempt it. No. What I say is, that\nyou ought not to tell the story yourself", "SIR HOWARD (looking suspiciously at her). Cicely: you are up to some\ndevilment.", "LADY CICELY. All a mistake, Mr. Rankin: all a mistake, I assure you.\nYou said just now, Heaven forgive you for judging him! Well, that's just", "LADY CICELY (eagerly). Yes, yes. Certainly, Mr. Sidi. Certainly.\n\nSidi smiles gravely.\n\nSIR HOWARD. Impossible.", "LADY CICELY. It's a little sad; but perhaps it is best so.\n\nBRASSBOUND. That leaves one relic: her portrait. (He plucks the\nphotograph out of its cheap case.)", "LADY CICELY (stopping). I'll come back to hear it presently, Captain.\nAnd oh, while I remember it (coming forward between Brassbound and", "SIR HOWARD (smiling). It seems so.\n\nBRASSBOUND. On your head be it! (To Lady Cicely, accepting her hand at\nlast) Goodnight.", "LADY CICELY. Oh, women spend half their lives telling little lies for\nmen, and sometimes big ones. We're used to it. But mind! I don't admit\nthat I told any to-day.", "years. (With moistening eyes, which at once touch Lady Cicely's\nsympathy) I'm right sorry--right sorry.", "SIR HOWARD (remonstrating). Cicely!\n\nLADY CICELY. He did: you know he did. You told me to tell the exact\ntruth.", "LADY CICELY. No, Sidi. The Sheikh. Sidi el Assif. A noble creature, with\nsuch a fine face! He fell in love with me at first sight--", "LADY CICELY. Ever so much better, dear Captain Kearney. (Silence.\nKearney composes himself to speak. She breaks out again). You look so\nnice as a judge!", "LADY CICELY. Don't you understand that when you are the nephew of a\ngreat bigwig, and have influential connexions, and good friends among", "LADY CICELY. Allah be praised! WHAT a weight off our minds, Mr. Rankin!\n\nRANKIN (puzzled). And why? Do ye not understand how necessary their\nevidence is?", "Lady Cicely, after a single glance up, continues stitching, apparently\nquite unconcerned.\n\nBRASSBOUND. I warned you. You should have taken my warning." ], [ "Rankin hurries in, and takes his place near Sir Howard.\n\nSIR HOWARD. This is Mr. Rankin, Captain Kearney.", "RANKIN. That is so. (Drinkwater slaps his knee triumphantly. The\nmissionary proceeds determinedly) And the someone was a verra honest,\nstraightforward man, as far as I could judge.", "RANKIN. So he told me. He was badly broat up, I am afraid. But he is now\na converted man.", "RANKIN. I would have you to know that I met him privately, Mr.\nDrinkwotter. His brother was a dear friend of mine. Years ago. He went\nout to the West Indies.", "RANKIN. Good afternoon to ye, Mr. Drinkwotter.\n\nAs Drinkwater turns to go, a Moorish porter comes from the house with\ntwo Krooboys.", "RANKIN. Then we must lose no time: the dark is soon down in this\nlatitude. (To Drinkwater) Will ye ask him to step out here to us, Mr.\nDrinkwotter?", "RANKIN. I have been at work here for twenty-five years, Mr. Drinkwotter;\nand you are my first and only convert.", "Rankin. When Miles died, he left an estate in one of the West Indian\nislands. It was in charge of an agent who was a sharpish fellow, with", "RANKIN (much shocked). Never haird of it. Dear, dear: I shall never see\nhim again; and I can scarcely bring his face to mind after all these", "RANKIN. That was my first hasty conclusion, Captain Kearney. But it\nappears that the compact between them was that Captain Brassbound should", "RANKIN (drily changing the subject). And how have ye been, Sir Howrrd,\nsince our last meeting that morning nigh forty year ago down at the\ndocks in London?", "SIR HOWARD (not pleased by this remark). Perhaps because you never asked\nme. (Turning more blandly to Rankin) I will tell you the story, Mr.", "RANKIN. There is a certain Captain Brassbound here who trades along the\ncoast, and occasionally escorts parties of merchants on journeys into\nthe interior. I understand that he served under Gordon in the Soudan.", "RANKIN (not at all impressed). If ye will be so good, Mr. Drinkwotter.", "RANKIN (reservedly). Good afternoon, Mr. Drinkwotter.", "RANKIN. That was me, sir. My name is Leslie Rankin; and your brother and\nI were always Miles and Leslie to one another.", "RANKIN. We've come to it at last. I thought so. Captain Brassbound is a\nsmuggler.", "RANKIN. I understood it was your business to provide escorts, Captain\nBrassbound.\n\nBRASSBOUND. You were rightly informed. That IS my business.", "RANKIN (with a rueful smile). No.\n\nDRINKWATER (solemnly). Nor never will, gavner.", "RANKIN. I don't say that. I hope I have done some good. They come to me\nfor medicine when they are ill; and they call me the Christian who is\nnot a thief. THAT is something." ], [ "RANKIN. That is so. (Drinkwater slaps his knee triumphantly. The\nmissionary proceeds determinedly) And the someone was a verra honest,\nstraightforward man, as far as I could judge.", "RANKIN. I have been at work here for twenty-five years, Mr. Drinkwotter;\nand you are my first and only convert.", "RANKIN. So he told me. He was badly broat up, I am afraid. But he is now\na converted man.", "RANKIN. I don't say that. I hope I have done some good. They come to me\nfor medicine when they are ill; and they call me the Christian who is\nnot a thief. THAT is something.", "RANKIN (much shocked). Never haird of it. Dear, dear: I shall never see\nhim again; and I can scarcely bring his face to mind after all these", "RANKIN. That is a point, certainly, Leddy Ceecily.\n\nSIR HOWARD. Oh, if you are going to talk theology--", "Rankin hurries in, and takes his place near Sir Howard.\n\nSIR HOWARD. This is Mr. Rankin, Captain Kearney.", "Rankin. When Miles died, he left an estate in one of the West Indian\nislands. It was in charge of an agent who was a sharpish fellow, with", "RANKIN. 'Tis not safe, Leddy Ceecily. Really and truly, 'tis not safe.\nThe tribes are verra fierce; and there are cities here that no Christian", "RANKIN. I would have you to know that I met him privately, Mr.\nDrinkwotter. His brother was a dear friend of mine. Years ago. He went\nout to the West Indies.", "RANKIN (with a rueful smile). No.\n\nDRINKWATER (solemnly). Nor never will, gavner.", "RANKIN. Certainly. (She comes in, to the nearest end of the table. She\nhas discarded all travelling equipment, and is dressed exactly as she", "RANKIN (drily). And DO ye go down on your bended knees to him to do it?", "RANKIN. A missionary knows nothing of leks of that soart, or of disleks\neither, Mr. Drinkwotter. What can I do for ye?", "RANKIN (not at all impressed). If ye will be so good, Mr. Drinkwotter.", "RANKIN. Now on your faith as a Christian, Felix Drinkwotter, is Captain\nBrassbound a slaver or not?", "RANKIN. Then we must lose no time: the dark is soon down in this\nlatitude. (To Drinkwater) Will ye ask him to step out here to us, Mr.\nDrinkwotter?", "RANKIN. No. But every man of them believes he will go to heaven if he\nkills an unbeliever.", "RANKIN (drily changing the subject). And how have ye been, Sir Howrrd,\nsince our last meeting that morning nigh forty year ago down at the\ndocks in London?", "RANKIN. You saw him here just now. He is a convert of mine.\n\nLADY CICELY (delighted). That nice truthful sailor!" ], [ "they embrace one another; they set to partners and waltz clumsily; they\nshake hands repeatedly and maudlinly. Three only retain some sort of\nself-possession. Marzo, proud of having successfully thrust himself into", "RANKIN. And where may Miles be now, Sir Howard?\n\nSIR HOWARD (abruptly). Don't you know that he is dead?", "Rankin. When Miles died, he left an estate in one of the West Indian\nislands. It was in charge of an agent who was a sharpish fellow, with", "There is a scuffling noise in the house; and Drinkwater shoots out\nthrough the doorway across the garden with every appearance of having", "is towards her; and he does not hear her. Perceiving this, she shuts the\ndoor loudly enough to attract his attention. He starts up.", "RANKIN. I should be glad to hear it for Miles's sake, though I am no\nlawyer, Sir Howrrd.\n\nLADY CICELY. I never knew you had a brother, Howard.", "LADY CICELY (cheerfully). Well, I must go and look after Marzo, at all\nevents. (She goes out through the little door. Johnson, Redbrook and the", "Lady Cicely walks beside Marzo. Redbrook, a little shamefaced, crosses\nthe room to the opposite wall as far away as possible from the visitors.", "He looks up at her for a moment; then kisses her hand. She presses his\nand turns away with her eyes so wet that she sees Drinkwater, coming in", "I affirm that most solemnly. I never knew--never dreamt--that my brother\nMiles left a son. As to your mother, her case was a hard one--perhaps", "RANKIN (pondering). 'Tis strange that they should come to Mogador, of\nall places; and to my house! I once met Sir Howrrd Hallam, years ago.", "did. (Raising his voice and narrowly escaping a squeak of pain) Kepn\nBrarsbahnd. (He gets as far from the house as possible, on Rankin's", "SIR HOWARD (decorously subduing his voice). Yes: he did not live long:\nindeed, he never came back to England. It must be nearly thirty years\nago now that he died in the West Indies on his property there.", "RANKIN. Well, perhaps hardly an acquaintance, Sir Howrrd. But I was a\nclose friend of your brother Miles: and when he sailed for Brazil I", "been violently kicked. Marzo immediately hurries down the garden on Sir\nHoward's right out of the neighborhood of the doorway.", "Captain Hamlin Kearney is a robustly built western American, with the\nkeen, squeezed, wind beaten eyes and obstinately enduring mouth of his", "there was a quarrel. The Hallams always quarrel.", "it out again. That's what escorts always do. But since Sir Howard\nprefers an escort, I think you had better stay at home and let me take", "BRASSBOUND (tearing it quietly). You killed her for me that day in the\ncastle; and I am better without her. (He throws away the fragments.) Now", "KEARNEY. There is sertnly a wonderful chahrn about the British\naristocracy, Sir Howard Hallam. Are they all like that? (He takes the\npresidential chair.)" ], [ "Sir Howard goes to the table and sits on the saddle, rather exhausted.\nLady Cicely comes to Drinkwater.\n\nLADY CICELY. Where is Marzo's bed?", "SIR HOWARD (taken aback). I must say, Cicely, I think you might have\nchosen a more suitable moment to mention that fact.", "SIR HOWARD. Cicely: you are talking great nonsense and you know it.\nThese people have no laws to restrain them, which means, in plain\nEnglish, that they are habitual thieves and murderers.", "SIR HOWARD (smiling). It seems so.\n\nBRASSBOUND. On your head be it! (To Lady Cicely, accepting her hand at\nlast) Goodnight.", "SIR HOWARD (looking suspiciously at her). Cicely: you are up to some\ndevilment.", "SIR HOWARD (sitting up on the divan and pulling himself together). You\nwill have ample opportunity for speaking to Lady Cicely yourself when\nshe returns. (Drinkwater chuckles: and the rest grin.)", "SIR HOWARD (remonstrating). Cicely!\n\nLADY CICELY. He did: you know he did. You told me to tell the exact\ntruth.", "SIR HOWARD. Myself AND Lady Cicely.", "SIR HOWARD. Cicely: when you have quite done talking nonsense to Captain\nBrassbound, we can proceed to make some definite arrangement with him.", "SIR HOWARD (scandalized). My DEAR Cicely: you really must restrain your\nexpressions of confidence in people's eyes and faces. (To Brassbound)\nNow, about terms, Captain?", "LADY CICELY (getting up to look and uttering a cry of admiration). Oh,\nhow lovely!\n\nSIR HOWARD (also rising). What are those hills over there to the\nsoutheast?", "LADY CICELY. The Atlas Mountains! Where Shelley's witch lived! We'll\nmake an excursion to them to-morrow, Howard.", "SIR HOWARD. I am sorry to have to warn you, Mr. Rankin, that Lady\nCicely, from travelling in Africa, has acquired a habit of walking into\npeople's houses and behaving as if she were in her own.", "SIR HOWARD. That does not seem to me to make you any safer here, Cicely.\nYou shall certainly not stir a step beyond the protection of the consul,\nif I can help it, without a strong escort.", "SIR HOWARD. Very good, very good. (He comes to the table and takes Lady\nCicely's chair.)\n\nRANKIN. Oo revoir, Leddy Ceecily.", "SIR HOWARD. Probably, unless you had taken care to keep outside the law\nagainst conspiracy. Whenever you wish to do anything against the law,\nCicely, always consult a good solicitor first.", "SIR HOWARD (contemplating Kearney's expression with dismay). I am really\nvery sorry, Captain Kearney. I am quite aware that Lady Cicely has no\nright whatever to give orders to your men.", "LADY CICELY. But, my dear Howard, I assure you the natives like it.\n\nRANKIN (gallantly). So do I.", "LADY CICELY (to Sir Howard). Did you ever see such a helpless lot of\npoor creatures? (She makes for the little door.)", "SIR HOWARD (with emotion). I don't think, Cicely, that my dear wife\nwould misunderstand me." ], [ "they embrace one another; they set to partners and waltz clumsily; they\nshake hands repeatedly and maudlinly. Three only retain some sort of\nself-possession. Marzo, proud of having successfully thrust himself into", "Count Marzo. (Marzo groans as Johnson and Redbrook raise him.)", "JOHNSON (severely). Don't you be a ignorant and immoral foreigner. (The\nrebuke is well received; and Marzo is hustled into the background and", "KEARNEY. The Count! What Count?\n\nLADY CICELY. Marzo. That's Marzo (pointing to Marzo, who grins and\ntouches his forehead).", "They deposit Marzo on the flags against the wall close to the little\ndoor. He groans. Johnson phlegmatically leaves him and joins Redbrook.", "MARZO. I not understand. I no spik Englis.", "MARZO. No lady nurse dam rascal. Only saint. She saint. She get me to\nheaven--get us all to heaven. We do what we like now.", "MARZO (trying to repeat his success). Im! Im only dam pirate. She saint,\nI tell you--no take any man nowhere.", "LADY CICELY (cheerfully). Well, I must go and look after Marzo, at all\nevents. (She goes out through the little door. Johnson, Redbrook and the", "You're going to get some water for Marzo, who is very thirsty. And then,\nwhen I've chosen a room for him, you're going to make a bed for him\nthere.", "BRASSBOUND. You see what my men are like. That rascal (indicating Marzo)\nwould cut a throat for a dollar if he had courage enough.", "LADY CICELY (nodding affably to Marzo). Howdyedo? I love Italy. What\npart of it were you born in?", "with a copious pagri on his white hat, enters through the horseshoe\narch, followed by a couple of men supporting the wounded Marzo, who,\nweeping and terrorstricken by the prospect of death and of subsequent", "KEARNEY. And who are you, pray?\n\nMARZO (seized with a sanctimonious desire to demonstrate his higher\nnature). Only dam thief. Dam liar. Dam rascal. She no lady.", "Lady Cicely walks beside Marzo. Redbrook, a little shamefaced, crosses\nthe room to the opposite wall as far away as possible from the visitors.", "except one of extreme and indignant dumbfoundedness). Will you ask\nyour strong friend to help you with Marzo: strong people are always so\ngentle.", "been violently kicked. Marzo immediately hurries down the garden on Sir\nHoward's right out of the neighborhood of the doorway.", "LADY CICELY. Now they're NOT hurting you, Marzo. They couldn't be more\ngentle.\n\nMARZO. Drink.", "Lady Cicely, who has resumed her travelling equipment, and has her hat\nslung across her arm, comes through the little door supporting Marzo,", "the right. (She goes out with Marzo and his bearers through the little\ndoor.)" ], [ "SIR HOWARD (who has listened with approval and growing confidence).\nCaptain Brassbound: you are the man I want. If your terms are at", "BRASSBOUND. No. I am your prisoner. My name is Brassbound.\n\nDRINKWATER (officiously). Kepn Brarsbahnd, of the schooner Thenksgiv--", "BRASSBOUND (with sardonic assent). Good. I agree. (To Drinkwater) You\nshall go without me.", "SIR HOWARD (drily). I told you you were not in a strong position,\nCaptain Brassbound. (Looking implacably at him.) You are laid by the\nheels, my friend, as I said you would be.", "BRASSBOUND. Yes. Danger for all of us unless I keep to my bargain with\nthis fanatic.\n\nLADY CICELY. What bargain?", "BRASSBOUND (stopping abruptly and flinging the announcement at him). You\nare not my guest: you are my prisoner.\n\nSIR HOWARD. Prisoner!", "BRASSBOUND. Put him where you please so long as you can find him when he\nis wanted.\n\nSIR HOWARD. You will be laid by the heels yet, my friend.", "LADY CICELY. Oh, please don't fight. (Brassbound, seeing that his men\nare hopelessly outnumbered, makes no resistance. They are made prisoners\nby the Cadi's followers.)", "BRASSBOUND (with unaccountable intensity). All the wealth of England\nshall not ransom you.\n\nSIR HOWARD. Then what do you expect to gain by this?", "ALL. No, no. Brassbound, Brassbound.\n\nJOHNSON. There's nobody but you, Captain.", "BRASSBOUND (unexpectedly acquiescing). Very good. You know, I suppose,\nthat if you break my bargain with Sidi, you'll have to defend this place", "BRASSBOUND. I quite understand the proper treatment for him, madam. If\nhe opens his mouth again without my leave, I will break every bone in\nhis skin.", "BRASSBOUND. Your ladyship sees. These men serve me by their own free\nchoice. If they are dissatisfied, they go. If I am dissatisfied, they\ngo. They take care that I am not dissatisfied.", "BRASSBOUND. Then I shall be the first man you ever found to stand to his\nword.\n\nLADY CICELY (part pleased, part amused, part sympathetic). Do you really\nwant a wife?", "BRASSBOUND. It is farewell. Rescue for you--safety, freedom! You were\nmade to be something better than the wife of Black Paquito. (He kneels", "BRASSBOUND. Why have you sent for me?\n\nRANKIN. We have a matter of business with ye, Captain.\n\nBRASSBOUND. Who are \"we\"?", "BRASSBOUND. It will be on your own tombstone, presently, if you cannot\nhold your tongue. (Turning to the others) Let us understand one another,", "BRASSBOUND (to Sir Howard). I wish you to understand, Sir Howard, that\nin this castle, it is I who give orders, and no one else. Will you be\ngood enough to let Lady Cicely Waynflete know that.", "BRASSBOUND (tearing it quietly). You killed her for me that day in the\ncastle; and I am better without her. (He throws away the fragments.) Now", "KEARNEY. I suppose you and your men accept this lady's account of what\npassed, Captain Brassbound.\n\nBRASSBOUND (gloomily). Yes. It is true--as far as it goes." ] ]

[ "Who owns the Thanksgiving?", "Who is the armed escort hired by Sir Howard and Lady Cicely?", "How is Brassbound related to Sir Howard?", "Why does Brassbound dislike Sir Howard?", "What is the price for the Shiek taking Sir Howard?", "Who wants to talk to the Court about everything that happened on the trip?", "Why does Lady Cicely want to talk to the court about Brassbound's actions?", "Why does Brassbound declare he wants to marry Lady Cicely?", "What is the sound that alerts Brassbound that it's time for him to go?", "What country does the story take place?", "Which character is know as a explorer?", "What is the ministers name?", "What is the smugglers ship called?", "Who is occupying a Moorish castle?", "Which character is an Italian member of Brassbound's crew?", "Who does Brassbound say is his prisoner?", "Who is the son of Sir Howards brother Miles?", "Who tells the court what happened on the trip?", "What is Howard Hallams profession?", "What is Howard's title?", "What is Cicely Waynflete's profession?", "What is Cicely's title?", "What is Rankin's profession?", "What is the denomination of Rankin's church?", "Where does Miles Hallam move after marrying?", "Where do Cicely and Howard decide to explore? ", "What is Marzo's nationality?", "Who agrees to release Brassbound?" ]

[ [ "Captain Brassbound", "Captain Brassbound" ], [ "Captain Brassbound", "Brassbound" ], [ "His father is Sir Howard's brother, Miles, so Brasshound is Howard's nephew", "He is his nephew." ], [ "Brassbound blames Howard for the death of his mother and being tricked out of his inheritance", "Brassbound believes Sir Howard is at fault for his mother's death and his lack of inheritance" ], [ "Lady Cicely", "Lady Cicely" ], [ "Lady Cicely", "Lady Cicely" ], [ "To try to free him", "To convince the court of Brassbound's innocence" ], [ "Because she saved him from being punished", "He is devoted to her" ], [ "A gunshot", "a gunshot" ], [ "Morocco", "Morocco" ], [ "Lady Cicely Waynflete", "Lady Cicely Waynflete" ], [ "Rankin", "Rankin" ], [ "The Thanksgiving", "Thanksgiving" ], [ "Brassbound", "Brassbound" ], [ "Marzo", "Marzo" ], [ "Sir Howard", "Sir Howard" ], [ "Brassbound", "Brassbound" ], [ "Lady Cicely", "Lady Cicely" ], [ "judge", "Judge" ], [ "Sir", "Sir and judge" ], [ "explorer", "Explorer" ], [ "Lady", "Lady" ], [ "minister", "a minister" ], [ "Presbyterian", "Presbyterian" ], [ "Brazil", "Brazil" ], [ "Morocco", "Morocco" ], [ "Italian", "Italian" ], [ "Kearney", "Commander Kearney" ] ]

[ [ "\"Oh, boy, Germany has declared war on France. This means that England\nwill fight too, probably--and if she does--well, the Piper of your old\nfancy will have come at last.\"", "Then the smile faded from the doctor's face; the Germans were twenty\nmiles from Paris. Horrible tales were beginning to appear in the papers\nof deeds done in martyred Belgium. Life was very tense at Ingleside for\nthe older people.", "\"England declared war on Germany today,\" said Jack Elliott slowly. \"The\nnews came by wire just as I left town.\"", "\"Have you noticed,\" asked Miss Oliver, glancing up from her book, \"how\neverything written before the war seems so far away now, too? One feels", "\"It is two years tonight since the dance at the light, when Jack\nElliott brought us news of the war. Do you remember, Miss Oliver?\"", "\"It is four years tonight since the dance at the lighthouse--four years\nof war. It seems like three times four. I was fifteen then. I am", "Rilla's world had tumbled to pieces the very day after the party. As\nthey lingered around the dinner table at Ingleside, talking of the war,", "\"Well, Mrs. Dr. dear, he was sitting out on the back steps this\nafternoon. It was just after the news came that the Armistice had been", "On a pale-yellow, windy evening in October Carl Meredith went away. He\nhad enlisted on his eighteenth birthday. John Meredith saw him off with", "\"Before this war is over,\" he said--or something said through his\nlips--\"every man and woman and child in Canada will feel it--you, Mary,", "\"I am told,\" said Susan, \"that old Mr. Pryor does not believe in this\nwar. I am told that he says England went into it just because she was", "There had been an undercurrent of tension in the Ingleside existence\nfor several days. Only Rilla, absorbed in her own budding life, was", "\"A few months ago,\" said Miss Oliver, \"we thought and talked in terms\nof Glen St. Mary. Now, we think and talk in terms of military tactics\nand diplomatic intrigue.\"", "\"There is only one thing of importance just now--and that is that the\nAllies win the war,\" she said aloud. \"Therefore, it follows without", "\"I knew this war was coming,\" said Mrs. Norman triumphantly. \"I saw it\ncoming right along. I could have told all those stupid Englishmen what", "\"They are calling for volunteers in town, father,\" said Jem. \"Scores\nhave joined up already. I'm going in tonight to enlist.\"", "\"I am much afraid that this war has been sent as a punishment for our\nsins,\" said Cousin Sophia, unclasping her pale hands from her lap and", "\"Germany and Austria are suing for peace,\" she said.\n\nRilla went crazy for a few minutes. She sprang up and danced around the\nroom, clapping her hands, laughing, crying.", "\"You would never suppose,\" said Irene Howard to Olive Kirk afterwards,\n\"that Walter had left for the front only this morning. But some people", "\"Do you think a war for which Germany has been preparing for twenty\nyears will be over in a few weeks?\" said Walter passionately. \"This" ], [ "\"When Walter was in the hospital with typhoid last year I was almost\ncrazy,\" sighed Rilla, a little importantly. \"They never told me how ill", "Walter laughed bitterly. \"It is not a nice thing to feel yourself a\ncoward.\" But Rilla got her arms about him and cuddled her head on his", "This merciful knowledge was given to Rilla. A letter came from Walter's\ncommanding officer, telling them that he had been killed instantly by a\nbullet during a charge at Courcelette. The same day there was a letter\nfor Rilla from Walter himself.", "Rilla was beside herself with delight. It was her dear Walter who had\ndone this thing--Walter, to whom someone had sent a white feather at", "\"But, Walter, you couldn't go anyhow,\" said Rilla piteously. She was\nsick with a new terror that Walter would go after all. \"You're not\nstrong enough.\"", "Walter came wandering through the valley as Rilla sat there, with his\nhead bent and his hands clasped behind him. When he saw Rilla he turned\nabruptly away; then as abruptly he turned and came back to her.", "to be. She missed Walter keenly; since their talk in Rainbow Valley\nthey had grown very near together and Rilla discussed problems with\nWalter which she never mentioned to others. But she was so busy with", "Kaiser across all the acres of his farm. Walter slipped away, not\ncaring to see or be seen, but Rilla sat down on the steps, where the", "\"Don't you despise me, Rilla-my-Rilla?\" asked Walter wistfully.\nSomehow, it hurt him to think Rilla might despise him--hurt him as much", "Rilla repressed tear and sigh, but she could not repress a little\nshiver, and Walter knew that he had said enough. After a moment of", "\"Oh, mother, how can you bear it?\" she cried wildly. \"Rilla, dear, I've\nknown for several days that Walter meant to go. I've had time to--to", "Rilla loved Walter with all her heart. He never teased her as Jem and\nShirley did. He never called her \"Spider.\" His pet name for her was", "\"Oh, I wish Walter wouldn't write such things,\" sighed Rilla. \"It hurts\nme. He isn't a coward--he isn't--he isn't!\"", "Walter sat down on a neighbouring stone and took Rilla's little\nappealing hand.\n\n\"I'm afraid our old world has come to an end, Rilla. We've got to face\nthat fact.\"", "night as it was. But sometimes,\" concluded Rilla bitterly--she liked to\nspeak bitterly now and then in imitation of Miss Oliver--\"sometimes I\nthink Walter cares more for Dog Monday than he does for me.\"", "\"Everything is so changed, Walter,\" said Rilla wistfully. \"Even\nyou--you're changed. A week ago we were all so happy--and--and--now I\njust can't find myself at all. I'm lost.\"", "\"This is the first Christmas that Walter was not home,\" Rilla wrote in\nher diary that night. \"Jem used to be away for Christmases up in", "At this Nan had cried out \"Oh!\" as if a knife had been thrust into her,\nand rushed from the room. Di followed her. Rilla turned to Walter for\ncomfort but Walter was lost to her in some reverie she could not share.", "\"It's so terrible to think of Jem,\" pleaded Rilla. \"Sometimes I forget\nfor a little while what it really means and feel excited and proud--and\nthen it comes over me again like a cold wind.\"", "\"Rilla, you sweet thing, you're looking simply angelic to-night. You\nhave spunk--I thought you would feel so badly over Walter's enlisting" ], [ "remember the words, Susan Baker--that you had complete confidence in\nGod and Kitchener. Ah well, Susan Baker, there is only God left now.'", "It was a warm, golden-cloudy, lovable afternoon. In the big living-room\nat Ingleside Susan Baker sat down with a certain grim satisfaction", "believe it, Susan Baker. The British have lost millions of men at the\nSomme and how far have they got? Look facts in the face, Susan Baker,\nlook facts in the face.\"", "\"Because there ain't any bright side, Susan Baker.\"", "\"I'll go to work on that cake at once,\" vowed Susan, with a glance at\nthe clock. \"Mrs. Dr. dear, will you pick over the fruit and beat up the", "babies but Susan did not, and it was worth while to make some slight\nsacrifice of principle to keep Susan in good humour. She laid down her", "\"She really could not do better for that child than if she had raised a\nbaker's dozen, Mrs. Dr. dear,\" Susan had avowed solemnly. \"Little did I", "Susan got up and went to bed by \"God's time,\" and regulated her own\ngoings and comings by it. She served the meals, under protest, by", "\"It is not likely I would forget to set his place, Mrs. Dr. dear,\" said\nSusan, wiping her eyes as she departed to pack up for her \"honeymoon.\"", "The doctor was away on a case that night and Susan stalked into Mrs.\nBlythe's room on her way to bed to see if her adored Mrs. Dr. dear were", "\"Mrs. Dr. dear,\" said Susan, making an admission she would once have\ndied rather than make, \"I feel very old. Jem and Walter were yours but", "\"Warren's remark was spark to powder. Susan just 'sailed in' as she\nputs it, and 'said her say.' She said it remarkably well, too. There", "\"It is not decent, Mrs. Dr. dear,\" poor Susan would say bitterly. She\nherself compromised by always referring to Jack as \"it\" or \"the white", "\"I have come to see you, Miss Baker.'", "Susan disappeared downstairs to the kitchen, whence a dreadful thud and\na piercing shriek presently sounded. Everybody rushed to the", "\"You may well ask that, Mrs. Dr. dear,\" Susan replied wrathfully. \"I\nhave not been so upset in years. That--that--that pacifist has actually", "\"Mrs. Dr. dear,\" said Susan. \"I wish you would wake me up. Am I\ndreaming--or am I awake? Does that blessed boy realize what he is", "The result of her thinking things over was that she went to Susan when\nthe baby woke.", "\"Susan is an old brick, and the way she flattens out poor Cousin Sophia\nis beautiful to behold.", "Susan wandered by, her head tied up with a shawl, her hands full of\ngarden implements. Doc, stealthy and wild-eyed, was shadowing her steps\namong the spirea bushes." ], [ "organize a Junior Red Cross among the young girls? I think they would\nlike it better and do better work by themselves than if mixed up with\nthe older people.\"", "Blythe and Miss Cornelia were organizing a Red Cross. The doctor and\nMr. Meredith were rounding up the men for a Patriotic Society. Rilla,", "behind Rilla's romantic pose. So here was Rilla hemming sheets and\norganizing a Junior Red Cross in her thoughts as she hemmed; moreover,", "who has done her bit as thoroughly and patiently. Our Junior Red Cross\nwould have gone on the rocks a dozen times if it hadn't been for her", "\"The Junior Red Cross met here yesterday. The hour of meeting was\nhalf-past two but Irene came at half-past one, because she got the", "chosen after the Juniors were organized, but Rilla knew just who should\nbe put on which. They would meet around--and there must be no", "\"I'm having a perfectly dreadful time getting the Junior Reds started.\nI succeeded in getting Betty Mead as president, and I am secretary, but", "\"Why--why--that is impossible, Rilla.\"\n\n\"Why?\" briefly demanded the organizer of the Junior Red Cross and the\ntransporter of babies in soup tureens.", "Early one morning, several days later, Miranda Pryor slipped up to\nIngleside, ostensibly to get some Red Cross sewing, but in reality to", "the Junior Reds and her baby that there was rarely a spare minute for\nloneliness; sometimes, after she went to bed, she cried a little in her", "The independent Miss Blythe, whom a certain clique of Junior Red Cross\ngirls accused of being domineering and \"bossy,\" was thoroughly cowed.", "\"Miranda Pryor spent an afternoon here a few days ago, helping me cut\nout certain Red Cross garments known by the charming name of 'vermin", "Rilla was on her way into Charlottetown to spend the night with a\nfriend and the next day in Red Cross shopping; she had taken Jims with", "in her diary, remembered that she had elected to be brave and heroic.\nAnd, she thought, it really was heroic to volunteer to drive about the\nGlen and Four Winds one day, collecting promised Red Cross supplies", "it; when it was over she went home and made rompers for Jims. In the\nevening she went to a Junior Red Cross committee meeting and was\nseverely businesslike.", "\"We have all been campaigning furiously of late for the new Victory\nLoan. We Junior Reds canvassed diligently and landed several tough old", "ironed--there was a committee meeting of the Junior Reds that\nnight--there was her new knitting bag to finish--it would be the\nhandsomest bag in the Junior Society--handsomer even than Irene", "was very plucky and loyal about it too; and she is a perfect tower of\nstrength in the Red Cross. It's a little hard to remember all the", "It was a never-to-be-forgotten afternoon. As the news spread excited\npeople ran about the village and dashed up to Ingleside. The Merediths", "Miranda to do any Red Cross work public opinion would make the Glen too\nhot for comfort. Rilla went out to the kitchen, shut all the doors with\na mysterious expression which alarmed Susan, and then said solemnly," ], [ "\"No, he's a little war-baby I've been taking care of, because his\nmother died and his father was overseas,\" answered Rilla in a subdued\ntone.", "Rilla hopped out. She picked Jims out of his basket and took him into\nher own bed. His hands were cold, poor mite. But he had promptly ceased", "Rilla sat looking blankly at the baby. It was absurd to think she could\ntake care of it. But--that poor little, frail, dead mother who had\nworried about it--that dreadful old Meg Conover.", "In a few minutes Jims was sound asleep; and, as Rilla listened to his\nsoft, regular breathing and felt the little body warm and contented\nagainst her, she realized that--at last--she loved her war-baby.", "The baby began to cry again.\n\n\"It must be hungry--it has to be fed anyhow,\" said Rilla desperately.\n\"Tell me what to get for it, Susan, and I'll get it.\"", "Then Rilla's imagination began to torment her. Suppose, she thought, I\nwas a tiny, helpless creature only five months old, with my father", "fate of wife and child seemed a matter of indifference. Eventually\nRilla decided to call the baby James, and Susan opined that Kitchener\nshould be added thereto. So James Kitchener Anderson became the", "And so it was that Rilla Blythe, who had driven to the Anderson house a\nself-confessed hater of babies, drove away from it carrying one in a\nsoup tureen on her lap!", "\"I'm waiting to hear from Jim Anderson,\" said Rilla. \"He may want to\nname his own child.\"", "\"I can't endure this suspense any longer,\" said Rilla desperately.\n\nBut she endured it as the others did for another week. Then a letter\ncame from Jem. He was all right.", "For the first time in her life Rilla Blythe touched a baby--lifted\nit--rolled it in a blanket, trembling with nervousness lest she drop it\nor--or--break it. Then she put it in the soup tureen.", "Under Susan's directions a ration of milk and water was prepared, and a\nbottle obtained from the doctor's office. Then Rilla lifted the baby", "as it the Anderson baby had always been at Ingleside. After the first\nthree distracted nights Rilla began to sleep again, waking\nautomatically to attend to her charge on schedule time. She bathed and", "\"What in the world is this?\" asked the doctor, coming in.\n\nRilla poured out her story. \"I just had to bring it, father,\" she\nconcluded. \"I couldn't leave it there.\"", "\"Rilla, dear, do not you worry. Little Jem is not dead.\"\n\n\"Oh, how can you believe that, Susan?\"", "Rilla was silent, looking down at the crying baby. She had never\nencountered any of the tragedies of life before and this one smote her", "Rilla hung up the 'phone and flew to Jims. But she did not wring that\ninjured infant's neck. Instead she snatched him bodily out of his", "\"It mightn't. Somehow, institutional care, no matter how good it may\nbe, doesn't always succeed with delicate babies. But you know what it\nmeans if you want it kept here, Rilla.\"", "Rilla was the \"baby\" of the Blythe family and was in a chronic state of\nsecret indignation because nobody believed she was grown up. She was so", "have called her by her first name, Bertha, which was beautiful and\ndignified, instead of that silly \"Rilla\"? She did not mind Walter's\nversion, but nobody else was allowed to call her that, except Miss" ], [ "\"The British army will settle Germany,\" shouted Norman. \"Just wait till\nit gets into line and the Kaiser will find that real war is a different\nthing from parading round Berlin with your moustaches cocked up.\"", "\"Britain hasn't got an army,\" said Mrs. Norman emphatically. \"You\nneedn't glare at me, Norman. Glaring won't make soldiers out of timothy", "\"Remember, Mrs. Dr. dear, that the British army is not the British\nnavy. Never forget that. And the Russians are on their way, too, though", "part of Roddy's name. So he let it pass, never dreaming how he was\ndiddled. Well, I am going to leave the war to Haig for the rest of the", "\"I knew this war was coming,\" said Mrs. Norman triumphantly. \"I saw it\ncoming right along. I could have told all those stupid Englishmen what", "\"The existence of the British Empire is at stake,\" said the Methodist\nminister.\n\n\"There's certainly something about uniforms,\" sighed Irene Howard.", "believe it, Susan Baker. The British have lost millions of men at the\nSomme and how far have they got? Look facts in the face, Susan Baker,\nlook facts in the face.\"", "\"I am told,\" said Susan, \"that old Mr. Pryor does not believe in this\nwar. I am told that he says England went into it just because she was", "\"That isn't the point. We are part of the British Empire. It's a family\naffair. We've got to stand by each other. The worst of it is, it will\nbe over before I can be of any use.\"", "\"There is only one thing of importance just now--and that is that the\nAllies win the war,\" she said aloud. \"Therefore, it follows without", "\"Mrs. Dr. dear, Lloyd George is at the helm at last. I have been\npraying for this for many a day. Now we shall soon see a blessed", "Lloyd George is Premier of England. He will not be bamboozled and that\nyou may tie to. Things look good to me. The U. S. is in the war, and we", "on and the Russians are still going well. Why, General Haig says that\nthe German officers he has captured admit that they have lost the war.\"", "\"Kenneth Ford is down at Martin West's over-harbour,\" the doctor was\nsaying. \"His regiment was on its way to the front but was held up in", "\"It is two years tonight since the dance at the light, when Jack\nElliott brought us news of the war. Do you remember, Miss Oliver?\"", "\"Things are coming our way at last. We have got the Germans on the\nrun,\" she boasted. \"The United States has declared war at last, as I", "\"If the Allies go back three miles more the war is lost,\" she wailed.\n\n\"Is the British navy anchored in those three miles?\" demanded Susan\nscornfully.", "\"No,\" she said briskly, with a sudden return of her real self. \"No, God\nisn't dead--nor Lloyd George either. We were forgetting that, Mrs. Dr.", "\"Before this war is over,\" he said--or something said through his\nlips--\"every man and woman and child in Canada will feel it--you, Mary,", "\"England declared war on Germany today,\" said Jack Elliott slowly. \"The\nnews came by wire just as I left town.\"" ], [ "her that Walter had been killed in action at Courcelette she crumpled\nup in a pitiful little heap of merciful unconsciousness in his arms.\nNor did she waken to her pain for many hours.", "him, even to the little details of daily life. Walter died for\nCanada--I must live for her. That is what he asked me to do.\"", "This merciful knowledge was given to Rilla. A letter came from Walter's\ncommanding officer, telling them that he had been killed instantly by a\nbullet during a charge at Courcelette. The same day there was a letter\nfor Rilla from Walter himself.", "Redmond--it was Walter who had dashed back from the safety of the\ntrench to drag in a wounded comrade who had fallen on No-man's-land.", "Walter,\" and he had done so, and read it to them the next day--just a\nshort thing with goblin imagination in every line of it. Oh, how happy\nthey had been then!", "Walter came back with a long breath. He stood up and looked about him\nat the beautiful valley of moonlight, as if to impress on his mind and", "one on which Walter had ever talked to her as if she were a woman and\nnot a child. They comforted and strengthened each other. Walter felt,", "\"When I am 'somewhere in France,'\" said Walter, looking around him with\neager eyes on all the beauty his soul loved, \"I shall remember these", "really was. \"Why, after all her pose of being so devoted to Walter, she\ndoesn't seem to mind his death at all. Nobody has ever seen her shed a", "Walter came wandering through the valley as Rilla sat there, with his\nhead bent and his hands clasped behind him. When he saw Rilla he turned\nabruptly away; then as abruptly he turned and came back to her.", "Kaiser across all the acres of his farm. Walter slipped away, not\ncaring to see or be seen, but Rilla sat down on the steps, where the", "Rilla was beside herself with delight. It was her dear Walter who had\ndone this thing--Walter, to whom someone had sent a white feather at", "Rilla repressed tear and sigh, but she could not repress a little\nshiver, and Walter knew that he had said enough. After a moment of", "\"The Russians will not be in time to save Paris,\" said Walter gloomily.\n\"Paris is the heart of France--and the road to it is open. Oh, I\nwish\"--he stopped abruptly and went out.", "Avonlea, but Walter never was. I had letters from Ken and him today.\nThey are still in England but expect to be in the trenches very soon.", "\"This is the first Christmas that Walter was not home,\" Rilla wrote in\nher diary that night. \"Jem used to be away for Christmases up in", "to me again, now that Walter had gone--we were such friends, you\nknow--why I was the very first person he told about having\nenlisted--and Rilla answered, as coolly and indifferently as if she", "At this Nan had cried out \"Oh!\" as if a knife had been thrust into her,\nand rushed from the room. Di followed her. Rilla turned to Walter for\ncomfort but Walter was lost to her in some reverie she could not share.", "\"You would never suppose,\" said Irene Howard to Olive Kirk afterwards,\n\"that Walter had left for the front only this morning. But some people", "receiving it--to think of thrusting a bayonet through another man.\"\nWalter writhed and shuddered. \"I think of these things all the" ], [ "Jims, and sat down on the veranda. It was, no doubt, a ridiculous thing\nto sit and cuddle a contrary war-baby when your best young man was", "Upstairs I found that Jims was over that paroxysm, but almost as soon\nas I got back to the room he was in the grip of another. I couldn't do", "\"Jem was badly wounded in the thigh--and he was picked up and taken to\nprison, so delirious with fever that he didn't know what was happening", "Hope revived momentarily when Jims went so thoroughly asleep that she\nthought it would be safe to lay him down on the couch in the", "\"I feel like a prisoner on the rack when they stopped turning it,\" Miss\nOliver said to Rilla, as they went to church on Easter morning. \"But I\nam not off the rack. The torture may begin again at any time.\"", "He wrote that he was being very kindly treated and that all the\nprisoners had plenty of food and so on, till you would have supposed\neverything was lovely. But when he signed his name, right in between", "in a big hamper and taken down to the Pryor house. Joe soon arrived in\nhis uniform and a state of violent excitement, accompanied by his best", "two days, until the roads were opened so that she could get home. Jims\nwas almost well by that time, and father turned up. He heard our tale\nwithout saying much. Father is rather scornful generally about what he", "There was no longer any doubt in anybody's mind that Jims was getting\npositively pretty. His little cheeks were round and firm and faintly", "In the third place, Jims, who was usually so well-behaved in public,\ntook a fit of shyness and contrariness combined and began to cry at the", "Jims was supremely happy. He kicked his little pink-soled feet\nrapturously out under his white nighty and gave one of his rare laughs.", "Rilla hopped out. She picked Jims out of his basket and took him into\nher own bed. His hands were cold, poor mite. But he had promptly ceased", "\"Oh, I was just wild! I never realized how dear Jims was to me until\nthat moment. And I felt so utterly helpless.\"", "Jims was not in the least concerned over what was to become of him. He\nwas gleefully watching the antics of a striped chipmunk that was", "Jims chose this moment for waking up. He opened his big brown eyes and\nlooked at Mrs. Matilda Pitman unblinkingly. Then he sat up, dimpled", "\"Then, the third night after father and mother went away, Jims suddenly\ngot worse--oh, so much worse--all at once. Susan and I were all alone.", "Old Nick when he sees him--this because Jims threw poor Doc out of an\nupstairs window one day. Doc turned into Mr. Hyde on his way down and", "So Jims went away--with the soup tureen, though not in it. Then the\nnews of the Armistice came, and even Glen St. Mary went mad. That night", "Nobody has ever heard a word from Jim Anderson. If he never comes back\nI shall keep Jims always. Everybody here worships and spoils him--or", "At this moment, before Rilla could make any reply, Jims began to cry at\nthe top of his voice in the room whose open window was just above" ], [ "Rilla was the \"baby\" of the Blythe family and was in a chronic state of\nsecret indignation because nobody believed she was grown up. She was so", "Then Rilla's imagination began to torment her. Suppose, she thought, I\nwas a tiny, helpless creature only five months old, with my father", "\"I must be getting old, Gilbert.\" Mrs. Blythe laughed a trifle\nruefully. \"People are beginning to tell me I look so young. They never", "\"It seems just the other day that you were all babies,\" said Susan,\nignoring Rilla's protest. \"You were really the prettiest baby I ever", "\"A young baby means a great deal of additional work and trouble in a\nhousehold, Rilla. Nan and Di are leaving for Redmond next week and", "\"Children! Jem is twenty-one and Faith is nineteen,\" retorted Miss\nCornelia. \"You must not forget, Susan, that we old folks are not the\nonly grown-up people in the world.\"", "now, and at sixty-four even a lieutenant's uniform is just clothes and\nnothing else. \"It is an amazing thing how fast children do grow up.\nRilla here, now, is almost fifteen.\"", "\"Mrs. Dr. dear,\" said Susan, making an admission she would once have\ndied rather than make, \"I feel very old. Jem and Walter were yours but", "mattered to her. He was ages older than she was. He chummed with Nan\nand Di and Faith, and looked upon her, Rilla, as a child whom he never", "\"'Rilla has developed in a wonderful fashion these past four years. She\nused to be such an irresponsible young creature. She has changed into a", "\"Poor Nan,\" said Mrs. Blythe, when the news came. She thought of her\nown happy girlhood at old Green Gables. There had been no tragedy like", "\"The only part of me that feels old,\" said Mrs. Blythe, \"is the ankle I\nbroke when Josie Pye dared me to walk the Barry ridge-pole in the Green", "Irene was twenty. But it was the truth. Irene was just what she had\nbeen a year ago--just what she would always be. Rilla Blythe's nature", "\"Rilla here, now,\" said Susan, looking affectionately at that unhappy\ndamsel, \"never was much spanked. She was a real well-behaved child for", "\"Where are you wandering, Anne o' mine?\" asked the doctor, who even\nyet, after twenty-four years of marriage, occasionally addressed his", "Sophia. But Rilla felt insulted. A little girl indeed! She whisked out\nof the kitchen in high dudgeon. Another time she wouldn't go down to", "though Hannah had been three years the older. She had married very\nyoung and had gone to live in Millward. What with hard work and babies", "There had been an undercurrent of tension in the Ingleside existence\nfor several days. Only Rilla, absorbed in her own budding life, was", "\"I'm going on seventeen, Susan,\" cried Rilla almost passionately. She\nwas a whole month past sixteen. It was intolerable of Susan.", "and Mrs. Norman Douglas had come up from the farm. Cousin Sophia was\nthere also, sitting with Susan in the shadowy background. Mrs. Blythe" ], [ "There had been an undercurrent of tension in the Ingleside existence\nfor several days. Only Rilla, absorbed in her own budding life, was", "\"You're not!\" Rilla burst out angrily. \"Why, anybody would be afraid to\ngo. You might be--why, you might be killed.\"", "Then Rilla's imagination began to torment her. Suppose, she thought, I\nwas a tiny, helpless creature only five months old, with my father", "paper had contained the cheerful announcement that \"the present moment\nis the darkest since the war began.\" It was dark enough, and Rilla\nwished desperately that she could do something besides waiting and", "cruel. Rilla remembered now that more than once that day she had caught\nher mother looking at her with an odd expression. She had been too busy\nto wonder what it meant. She understood now. Mother had known why", "\"It's so terrible to think of Jem,\" pleaded Rilla. \"Sometimes I forget\nfor a little while what it really means and feel excited and proud--and\nthen it comes over me again like a cold wind.\"", "\"Oh, mother, how can you bear it?\" she cried wildly. \"Rilla, dear, I've\nknown for several days that Walter meant to go. I've had time to--to", "\"Rilla--I'm frightened--frightened as a baby--I've had another of my\nstrange dreams. Something terrible is before us--I know.\"\n\n\"What was it?\" asked Rilla.", "Nobody noticed Rilla's flushed face and trembling hands. Even the most\nthoughtful and watchful of parents do not see everything that goes on", "\"No, he's a little war-baby I've been taking care of, because his\nmother died and his father was overseas,\" answered Rilla in a subdued\ntone.", "Walter laughed bitterly. \"It is not a nice thing to feel yourself a\ncoward.\" But Rilla got her arms about him and cuddled her head on his", "\"No,\" said Rilla slowly. \"I wouldn't. It's strange--isn't it?--They\nhave been two terrible years--and yet I have a queer feeling of", "\"Rilla, dear, do not you worry. Little Jem is not dead.\"\n\n\"Oh, how can you believe that, Susan?\"", "Rilla came to herself with a gasp. There was a sudden quiet. Nothing to\ndo now but to go home--and wait. The doctor and Mrs. Blythe walked off", "\"Oh--yes,\" said Rilla vaguely. \"It will be dreadful if it isn't, I\nsuppose. But it won't really matter much to us, will it? I think a war", "Rilla's world had tumbled to pieces the very day after the party. As\nthey lingered around the dinner table at Ingleside, talking of the war,", "\"You may--be--killed,\" Rilla hated herself for saying it--she knew it\nwas a weak and cowardly thing to say--but she had rather gone to pieces\nafter the tension of the evening.", "Rilla was heavy-hearted over this, and worried also. She loved Jims\ndearly and would feel deeply giving him up in any case; but if Jim", "She might never see her dear, sunshiny, carefully brought-up little\nJims again. With such a father what might his fate be? Rilla meant to", "\"I can't endure this suspense any longer,\" said Rilla desperately.\n\nBut she endured it as the others did for another week. Then a letter\ncame from Jem. He was all right." ], [ "\"This--is--different,\" Rilla had to stop after every word to fight down\na wild outburst of sobs. \"I loved--Jem--of course--but--when--he", "Most of the little crowd were paired off after a fashion. Jem walked\nwith Faith Meredith, of course, and Jerry Meredith with Nan Blythe. Di\nand Walter were together, deep in confidential conversation which Rilla\nenvied.", "\"I can't endure this suspense any longer,\" said Rilla desperately.\n\nBut she endured it as the others did for another week. Then a letter\ncame from Jem. He was all right.", "Rilla flushed and looked at Susan. Ken looked, too, and saw that\nSusan's back was turned. He put his arm about Rilla and kissed her. It", "\"Rilla, dear, do not you worry. Little Jem is not dead.\"\n\n\"Oh, how can you believe that, Susan?\"", "\"This was another high explosive for poor mother. She exclaimed, with\nthe queerest little catch in her voice, 'Rilla, are you engaged to\nKenneth Ford?'", "\"A wedding-cake!\" Susan stared. Rilla had, without any warning, brought\nher a war-baby once upon a time. Was she now, with equal suddenness,\ngoing to produce a husband?", "\"It's so terrible to think of Jem,\" pleaded Rilla. \"Sometimes I forget\nfor a little while what it really means and feel excited and proud--and\nthen it comes over me again like a cold wind.\"", "Rilla was standing among the budding daffodils with tear-filled eyes.\nHer evening was spoiled; she detested Susan, who had somehow hurt\nWalter; and Jem--had Jem been gassed? Had he died in torture?", "kissed Faith before everybody--old Mrs. Drew whooped hysterically--the\nmen, led by Kenneth, cheered--Rilla felt Jem seize her hand--\"Good-bye,", "\"I have been thinking, Rilla dear, of the old days in the House of\nDreams, when Kenneth's mother and father were courting and Jem was a", "Susan felt that she was really too old to be subjected to such shocks.\n\n\"Who are you going to marry, Rilla?\" she asked feebly.", "Jem had been killed? No, Rilla dear, little Jem is not dead, and that\nyou may tie to. If he were, Dog Monday would have known, just as he", "There had been an undercurrent of tension in the Ingleside existence\nfor several days. Only Rilla, absorbed in her own budding life, was", "\"Is that you, Joe? Rilla Blythe is speaking--Rilla--Rilla--oh, never\nmind. Listen to this. Before you come home tonight get a marriage", "over-harbour. He wondered if Rilla had put Susan up to this, not\nwanting to be left alone with him, lest he say something Fred Arnold's", "\"Oh, yes. He implored me in his letter to run away and be married. But\nI cannot do that, Rilla, not even for Joe. My only comfort is that I", "The doctor and his wife went out of the room. Jem had gone--Walter had\ngone--Shirley got up to go. Rilla and Susan remained staring at each", "Jem and Faith moved on out of hearing. Gertrude Oliver suddenly\nshivered. Rilla pressed her arm sympathetically.", "\"Rilla-my-Rilla,\" said Ken, \"will you promise that you won't let anyone\nelse kiss you until I come back?\"\n\n\"Yes,\" said Rilla, trembling and thrilling." ], [ "station agent and a small black-and-yellow dog, who for four and a half\nyears had met every train that had steamed into Glen St. Mary.", "of miles away at the old Glen station there is a small spotted dog\nsharing my vigil.", "Thousands of trains had Dog Monday met and never had the boy he waited\nand watched for returned. Yet still Dog Monday watched on with eyes\nthat never quite lost hope. Perhaps his dog-heart failed him at times;", "the Glen station was still watching with unbroken faith for his master\nto come home. Common sense might scorn--incredulity might mutter \"Mere", "one of us goes down nearly every day to take him something. He just\nlies curled up in the shipping-shed, and every time a train comes in he", "\"Shirley and I went down to the station this morning to take Little Dog\nMonday a bang-up Christmas dinner. Dog Monday waits and watches there", "\"So we have decided to let him alone and father has arranged with the\nbutcher near the station to feed him with bones and scraps. Besides,", "bridegroom at the Glen station. The dawn was white as a pearl, clear as\na diamond. Behind the station the balsamy copse of young firs was", "\"Whenever any of you go to the station be sure to give Dog Monday a\ndouble pat for me. Fancy the faithful little beggar waiting there for", "the supper dishes washed and the bread set, I went down to the station.\nThere was Dog Monday, waiting for the train, just as patient as usual.", "purple violets, the little, lazy afternoon accommodation train pulled\ninto the Glen station. It was very seldom that passengers for the Glen\ncame by that train, so nobody was there to meet it except the new", "still, with just as much hope and confidence as ever. Sometimes he\nhangs around the station house and talks to people and the rest of his\ntime he sits at his little kennel door and watches the track", "The station agent had heard the story of Dog Monday. He knew now who\nthe returned soldier was. Dog Monday's long vigil was ended. Jem Blythe\nhad come home.", "the end of the platform, and every few minutes the poor lonely little\nbeggar'd lift his nose and howl as if his heart was breaking. He never", "will rush over to the platform, wagging his tail expectantly, and tear\naround to every one who comes off the train. And then, when the train", "did it afore--always slept in his kennel real quiet and canny from\ntrain to train. But he sure had something on his mind last night.\"", "\"I was down to see little Dog Monday today. He has grown quite stiff\nand rheumatic but there he sat, waiting for the train. He thumped his", "wait for the next train. Mr. Gray, the station master, says there are\ntimes when he can hardly help crying from sheer sympathy. One day some\nboys threw stones at Monday and old Johnny Mead, who never was known to", "Nobody had seen what had happened and the train whisked briskly away\nround a curve in the barrens. Rilla picked herself up, dizzy but", "know--they could never be quite sure; and Dog Monday would wait for the\ntrain until he died of old age. Monday was only a poor, faithful," ], [ "Blythe and Miss Cornelia were organizing a Red Cross. The doctor and\nMr. Meredith were rounding up the men for a Patriotic Society. Rilla,", "One night Rilla came home late from a recruiting meeting at the Glen\nwhere she had been giving patriotic recitations. Rilla had never been", "behind Rilla's romantic pose. So here was Rilla hemming sheets and\norganizing a Junior Red Cross in her thoughts as she hemmed; moreover,", "paper had contained the cheerful announcement that \"the present moment\nis the darkest since the war began.\" It was dark enough, and Rilla\nwished desperately that she could do something besides waiting and", "There had been an undercurrent of tension in the Ingleside existence\nfor several days. Only Rilla, absorbed in her own budding life, was", "Rilla was singing upstairs as she put the baby to bed. Paris was\nsaved--the war was over--Germany had lost--there would soon be an end\nnow--Jem and Jerry would be back. The black clouds had rolled by.", "Rilla's world had tumbled to pieces the very day after the party. As\nthey lingered around the dinner table at Ingleside, talking of the war,", "Rilla wished they would talk of something besides war. She had heard\nnothing else for a week and she was really a little tired of it. Now", "\"I can't endure this suspense any longer,\" said Rilla desperately.\n\nBut she endured it as the others did for another week. Then a letter\ncame from Jem. He was all right.", "Rilla curled herself up in her bed and determined she would let him\ncry. She had Morgan behind her for justification. Jims was warm,", "Susan laid her parcels on the reed table, as one determined to do her\nduty. She was very tired but she must help Rilla out. Here was Kenneth", "\"No, he's a little war-baby I've been taking care of, because his\nmother died and his father was overseas,\" answered Rilla in a subdued\ntone.", "\"It's so terrible to think of Jem,\" pleaded Rilla. \"Sometimes I forget\nfor a little while what it really means and feel excited and proud--and\nthen it comes over me again like a cold wind.\"", "\"Our concert,\" said Rilla slowly, \"is in aid of Belgian children who\nare starving to death. Don't you think you could wear a shabby dress\nonce for their sake, Irene?\"", "Rilla was the \"baby\" of the Blythe family and was in a chronic state of\nsecret indignation because nobody believed she was grown up. She was so", "fearlessly and uncalculatingly to the call of their country. Rilla\ncarried her head high among the girls whose brothers had not so\nresponded. In her diary she wrote:", "\"Germany and Austria are suing for peace,\" she said.\n\nRilla went crazy for a few minutes. She sprang up and danced around the\nroom, clapping her hands, laughing, crying.", "physically sooner than her mother. For weeks Mrs. Blythe lay ill from\ngrief and shock. Rilla found it was possible to go on with existence,", "lingered as dance after dance went on above them. It was cool and\npleasant and they were tired. Rilla sat silent, taking no part in the\ngay conversation. She was glad when someone called down that the", "Nobody except herself seemed to mind it. And she was so earnest and\nappealing and shining-eyed! More than one recruit joined up because\nRilla's eyes seemed to look right at him when she passionately demanded" ], [ "one on which Walter had ever talked to her as if she were a woman and\nnot a child. They comforted and strengthened each other. Walter felt,", "\"Walter, one time I heard father say that the trouble with you was a\nsensitive nature and a vivid imagination. You feel things before they", "a falsehood about Walter. But I feel unhappy over it for all that.\nWe've always been such good chums and until lately Irene was lovely to\nme; and now another illusion has been stripped from my eyes and I feel", "skulking behind that belief. I--I should have been a girl,\" Walter\nconcluded in a burst of passionate bitterness.", "effective in meeting the slur upon Walter. It was foolish and childish\nto fly out as she had done--well, she would be wiser in the future, but", "\"Then Irene told me the meanest, most contemptible thing that someone\nhad said about Walter. I won't write it down--I can't. Of course, she", "it was hideous, and made Walter unhappy in its threat to the beauty of\nlife. He would not think of it--he would resolutely put it out of his", "At this Nan had cried out \"Oh!\" as if a knife had been thrust into her,\nand rushed from the room. Di followed her. Rilla turned to Walter for\ncomfort but Walter was lost to her in some reverie she could not share.", "Rilla repressed tear and sigh, but she could not repress a little\nshiver, and Walter knew that he had said enough. After a moment of", "whatever of her. She did not at all resent his using Walter's pet name\nfor her; it sounded beautifully in his low caressing tones, with just", "really was. \"Why, after all her pose of being so devoted to Walter, she\ndoesn't seem to mind his death at all. Nobody has ever seen her shed a", "receiving it--to think of thrusting a bayonet through another man.\"\nWalter writhed and shuddered. \"I think of these things all the", "\"I envy Jem!\" said Walter moodily.\n\n\"Envy Jem! Oh, Walter you--you don't want to go too.\"", "\"Don't you despise me, Rilla-my-Rilla?\" asked Walter wistfully.\nSomehow, it hurt him to think Rilla might despise him--hurt him as much", "Walter,\" and he had done so, and read it to them the next day--just a\nshort thing with goblin imagination in every line of it. Oh, how happy\nthey had been then!", "\"You insulted her,\" she answered sharply. \"Irene told me all about\nit--she was literally heart-broken. You told her never to speak to you", "\"Oh, my God, no!\" exclaimed Walter passionately. He turned and went\nback to the house.", "\"Do not you come here calling him poor Walter,\" said Susan indignantly,\nappearing in the kitchen door, much to the relief of Rilla, who felt", "They tried to think so, but a shadow stalked in the background of their\ndetermined merrymaking. Walter, too, was quiet and dull, all through", "night as it was. But sometimes,\" concluded Rilla bitterly--she liked to\nspeak bitterly now and then in imitation of Miss Oliver--\"sometimes I\nthink Walter cares more for Dog Monday than he does for me.\"" ], [ "her that Walter had been killed in action at Courcelette she crumpled\nup in a pitiful little heap of merciful unconsciousness in his arms.\nNor did she waken to her pain for many hours.", "him, even to the little details of daily life. Walter died for\nCanada--I must live for her. That is what he asked me to do.\"", "This merciful knowledge was given to Rilla. A letter came from Walter's\ncommanding officer, telling them that he had been killed instantly by a\nbullet during a charge at Courcelette. The same day there was a letter\nfor Rilla from Walter himself.", "Redmond--it was Walter who had dashed back from the safety of the\ntrench to drag in a wounded comrade who had fallen on No-man's-land.", "one on which Walter had ever talked to her as if she were a woman and\nnot a child. They comforted and strengthened each other. Walter felt,", "Walter came back with a long breath. He stood up and looked about him\nat the beautiful valley of moonlight, as if to impress on his mind and", "Walter,\" and he had done so, and read it to them the next day--just a\nshort thing with goblin imagination in every line of it. Oh, how happy\nthey had been then!", "really was. \"Why, after all her pose of being so devoted to Walter, she\ndoesn't seem to mind his death at all. Nobody has ever seen her shed a", "Kaiser across all the acres of his farm. Walter slipped away, not\ncaring to see or be seen, but Rilla sat down on the steps, where the", "Walter came wandering through the valley as Rilla sat there, with his\nhead bent and his hands clasped behind him. When he saw Rilla he turned\nabruptly away; then as abruptly he turned and came back to her.", "\"When I am 'somewhere in France,'\" said Walter, looking around him with\neager eyes on all the beauty his soul loved, \"I shall remember these", "Rilla was beside herself with delight. It was her dear Walter who had\ndone this thing--Walter, to whom someone had sent a white feather at", "\"The Russians will not be in time to save Paris,\" said Walter gloomily.\n\"Paris is the heart of France--and the road to it is open. Oh, I\nwish\"--he stopped abruptly and went out.", "Rilla repressed tear and sigh, but she could not repress a little\nshiver, and Walter knew that he had said enough. After a moment of", "mechanically. Then she was away from them all--oh, thank God, she was\naway from them all--Walter was waiting for her at the door. He put his", "\"This is the first Christmas that Walter was not home,\" Rilla wrote in\nher diary that night. \"Jem used to be away for Christmases up in", "Walter had gone to Kingsport the first of June. Nan, Di and Faith had\ngone also to do Red Cross work in their vacation. In mid-July Walter", "Avonlea, but Walter never was. I had letters from Ken and him today.\nThey are still in England but expect to be in the trenches very soon.", "At this Nan had cried out \"Oh!\" as if a knife had been thrust into her,\nand rushed from the room. Di followed her. Rilla turned to Walter for\ncomfort but Walter was lost to her in some reverie she could not share.", "to me again, now that Walter had gone--we were such friends, you\nknow--why I was the very first person he told about having\nenlisted--and Rilla answered, as coolly and indifferently as if she" ], [ "The evening came at last and was all that could be desired in an\nevening. The doctor and his wife went to the Manse, Shirley and Miss", "They did not tell Susan right away. She did not know it until, a few\ndays later, Shirley presented himself in her kitchen in his aviation", "Shirley Blythe was with Una Meredith and both were rather silent\nbecause such was their nature. Shirley was a lad of sixteen, sedate,", "Shirley said nothing more. He was not a lad of many words. Anne did not\nsay anything more just then, either. She was thinking of little Joyce's", "Shirley comes. But Carl Meredith will be home, and Nan and Di, and we\nwill have a grand celebration once more. We'll set chairs for all,", "CHAPTER XXV\n\nSHIRLEY GOES", "Just at that moment Shirley was sitting on the edge of the table in the\nliving-room, swinging his legs--a brown, ruddy, wholesome lad, from top", "Susan spoiled Shirley shamelessly that winter. He came home from\nQueen's every week-end, and Susan had all his favourite dishes for him,", "Yet that night she told Shirley that he might go.", "Shirley had been away all winter except for week-ends, and had always\nbeen a quiet fellow even when home. Was it because he had been the only", "\"Guess Monday has made up his mind to wait there till Jem comes back,\"\nsaid Shirley, trying to laugh as he rejoined the rest. This was exactly", "The pale mother looked at him.\n\n\"Two of my sons have gone and one will never return. Must I give you\ntoo, Shirley?\"", "So Shirley went--not radiantly, as to a high adventure, like Jem, not\nin a white flame of sacrifice, like Walter, but in a cool,", "Shirley is mine. And I cannot bear to think of him flying--his machine\ncrashing down--the life crushed out of his body--the dear little body I", "tramps were tarred with the same brush--\"and that would be something.\nBut thank God,\" she muttered in a lower tone, \"that Shirley is not old\nenough to go.\"", "Gertrude Oliver looked at him from her corner and shivered again. She\nhad enjoyed the party herself, after all, for she had foregathered with", "doesn't join up is looked upon as a shirker and treated accordingly.\nDr. Milne, the English professor, who has always made a special pet of", "\"I thought of Shirley--my heart stood still--and then I heard him\nsaying, 'It's from Holland.'\n\n\"The message was,", "did Shirley went back for him. He found Dog Monday curled up in one of\nthe shipping-sheds near the station and tried to coax him home. Dog", "with the bodies of \"able-bodied men between the ages of eighteen and\nforty-five.\" Only the other day Carl had been a little scrap of a boy," ], [ "which was not only an unromantic but an uncomfortable seat. But Mary\nand Miller were both supremely happy on it. Miller Douglas was a big,", "Mary Vance came up to Ingleside that same afternoon to tell them that\nMiller Douglas, who had been wounded when the Canadians took Hill 70,", "They did see. The next Sunday Miller Douglas walked into the Glen\nChurch beside Mary Vance in khaki. And Mary was so proud of him that", "\"The doctor lost both his legs--they were smashed to pulp--and he was\nleft on the field to die. And he crawled about from man to man, to all", "\"To hear Mary talk about Miller Douglas you would think he was the only\nGlen boy who had enlisted,\" Susan went on. \"But of course she always", "without a name. Even stolid Miller Douglas was so fired one night that\nit took Mary Vance a good hour to talk him back to sense. Mary Vance", "Mary Vance dropped in one evening to tell the Ingleside folks that she\nhad withdrawn all opposition to Miller Douglas's enlisting.", "herself away on Miller Douglas, believe me! She knows my opinion on the\nmatter and Mary has never disobeyed me yet.\"", "Lowbridge and speeches of home manufacture. Miller was brisk and\nbeaming in spite of his wooden leg; he had developed into a\nbroad-shouldered, imposing looking fellow and the D. C. Medal he wore", "\"Some folks have been twitting me about having a husband with only one\nleg. But,\" said Mary, rising to a lofty height, \"I would rather Miller", "had had to have his leg amputated. The Ingleside folk sympathized with\nMary, whose zeal and patriotism had taken some time to kindle but now", "\"I'll tell my mother all about it--and Miss Oliver--and Walter,\" Rilla\ngasped between sniffs. \"You sat for hours with Miller Douglas on that", "\"'Miller Douglas has decided not to go West. He says old P.E.I. is good\nenough for him and he will continue to farm for his aunt, Mrs. Alec\nDavis.'\"", "\"When he was a boy I gave him many a good trouncing,\" shouted Norman\nDouglas, who seemed to be referring to some one high in military", "\"I won't have Miller Douglas hanging round Mary,\" she said crisply. \"He\ncomes of a low family. His father was a sort of outcast from the", "Miller's real ambitious and he'll have a wife that'll back him up. He\nsays he never saw a French girl worth looking at twice and that his\nheart beat true to me every moment he was away.\"", "keep your lips for him, I think you may consider yourself engaged to\nhim. But--oh, my baby--my last little baby--I have lost you--the war\nhas made a woman of you too soon.'", "So the \"fools\" took it--and paid the price.\n\nJerry Meredith was seriously wounded at Vimy Ridge--shot in the back,\nthe telegram said.", "Carl Meredith and Miller Douglas came home just before Christmas and\nGlen St. Mary met them at the station with a brass band borrowed from", "Norman Douglas suddenly went berserk. With a positive roar he bounded\nto his feet in his side pew, facing the audience, and shouted in tones\nof thunder:" ], [ "\"I suppose I'd better go with Una and take up Household Science too,\"\nshe thought, as she stood by her window and looked down through a", "knows slightly by their first names--behind their backs. And she is sly\nand two-faced. Una doesn't mind, of course. She is willing to do", "\"Una, would you like to have this letter--to keep?\" she asked slowly.\n\n\"Yes--if you can give it to me,\" Una said dully.", "Una took the letter and when Rilla had gone she pressed it against her\nlonely lips. Una knew that love would never come into her life now--it", "until he gets through his course in medicine. Una Meredith has decided,\nI think, to take a course in Household Science at Kingsport--and", "Una shook hands quietly, looking at him with wistful, sorrowful,\ndark-blue eyes. But then Una's eyes had always been wistful. Walter", "like a chum than a step-mother. They all love her and Una adores her.\nAs for that little Bruce, Una just makes a perfect slave of herself to", "comical, believing letters--I think I'd give up. And Una's! Una is\nreally a little brick, isn't she? There's a wonderful fineness and", "He liked to walk with Una Meredith because she never tried to make him\ntalk or badgered him with chatter. Una was as sweet and shy as she had", "\"Then--you may have it,\" said Rilla hurriedly.\n\n\"Thank you,\" said Una. It was all she said, but there was something in\nher voice which repaid Rilla for her bit of sacrifice.", "\"I meant to write to Una tonight, too, but I won't have time now. Read\nthis letter to her and tell her it's really meant for you both--you two", "selfishness to keep it. A copy would be such a soulless thing. But\nUna--Una had so little--and her eyes were the eyes of a woman stricken", "Blythe that nobody but Rilla ever suspected. Rilla sympathized with it\nand wished Walter would return it. She liked Una better than Faith,", "Una's blue eyes--somehow I see those eyes very plainly tonight, too.\nYes, you'll both keep faith--I'm sure of that--you and Una. And", "Rilla glanced up at the Manse on the hill. She could see a light in Una\nMeredith's window. She felt tempted to say something--then she knew she", "Well, I can't go. You have a brother and Una has a friend who is a\ncoward.\"", "Dear, dear, was Irene at feud with everybody? As for Una Meredith being\nhateful to anybody, the idea was so farcical that Rilla had much ado to\nkeep from laughing in Irene's very face.", "of its own. Yet she played steadily for the drills and gave her\nreadings without faltering. She even put on a grotesque old Irish", "He stood on the rear platform and waved to them as the train pulled\nout. Rilla was standing by herself, but Una Meredith came to her and", "Rosamond\"--i.e., Faith Meredith--and that he aimed at a Professorship\nof English literature in some big college. She knew his passionate love" ], [ "\"Jem says that he thinks they will be leaving very soon now, and that\nhe will not be able to get leave to come so far before they go, as they", "no reply came. As soon as he was strong enough he tried to escape, but\nwas caught and brought back; a month later he and a comrade made\nanother attempt and succeeded in reaching Holland.", "We've rented a little farm just out of the village, and we're going to\nsettle down there. Jim wanted to stay in England but I says 'No.' I", "\"It wasn't a fancy,\" said Walter slowly. \"It was a presentiment--a\nvision--Jem, I really saw him for a moment that evening long ago.\nSuppose England does fight?\"", "\"Jem can't come home right away. He isn't quite so well as his cable\nsaid, for his wound has not healed properly and he has to go into a", "husband, who was an Englishman by birth and who had been working in\nKingsport when the war broke out, had promptly sailed for England to", "aim or ambition about which to build up their lives--she had none. And\nshe was very lonely, horribly lonely. Jem had come back--but he was not", "the world where such a thing could happen--shake its accursed dust from\nmy feet for ever. Then I knew I had to go.\"", "\"Well, she's been a-pining ever since that worthless Jim lit out for\nEngland--which I say it's a pity as he ever left. It's my belief she", "joy they gave him. \"Anyhow, no one will expect me to go,\" he thought.\n\"As Jem says, typhoid has seen to that.\"", "\"'He's alive--he's well--he's in Holland,' I said.", "\"What a fuss to make over nothing,\" said Mary Vance disdainfully as Jem\ndashed off. She was sitting out with Miller Douglas on a lobster trap", "goes and he realizes that Jem has not come, he creeps dejectedly back\nto his shed, with his disappointed eyes, and lies down patiently to", "Europe without letting us even have a last glimpse of him! If I were\nyou, doctor dear, I would write to the papers about it.\"", "\"They are calling for volunteers in town, father,\" said Jem. \"Scores\nhave joined up already. I'm going in tonight to enlist.\"", "Western front! She had wished that in a burst of romance when Jem had\ngone, without, perhaps, really meaning it. She meant it now. There were", "\"And Jem is a lieutenant now--won his promotion on the field. He sent\nme a snap-shot, taken in his new uniform. He looked thin and", "matters absolutely nothing to me now. The only thing that does matter\nis that Jem has volunteered for active service and will be going to", "can't. He doesn't go about with Jem and Jerry at all. I shall never\nforget Susan's face when Jem came home in his khaki. It worked and", "Mr. Meredith's face quivered. He had had a terrible hour alone in his\nstudy on the night Jem and Jerry had gone to town. But he answered\nquietly." ], [ "Walter looked at her and had one of his odd visitations of prophecy.", "really was. \"Why, after all her pose of being so devoted to Walter, she\ndoesn't seem to mind his death at all. Nobody has ever seen her shed a", "one on which Walter had ever talked to her as if she were a woman and\nnot a child. They comforted and strengthened each other. Walter felt,", "go--her beautiful Walter with his beautiful soul and dreams and ideals.\nAnd she had known all along that it would come sooner or later. She had\nseen it coming to her--coming--coming--as one sees the shadow of a", "Rilla repressed tear and sigh, but she could not repress a little\nshiver, and Walter knew that he had said enough. After a moment of", "One week--only one week more with Walter! The eyes of youth did not see\nhow she was to go on living.", "\"Mrs. Dr. dear,\" said Susan, making an admission she would once have\ndied rather than make, \"I feel very old. Jem and Walter were yours but", "\"Walter, one time I heard father say that the trouble with you was a\nsensitive nature and a vivid imagination. You feel things before they", "Walter came wandering through the valley as Rilla sat there, with his\nhead bent and his hands clasped behind him. When he saw Rilla he turned\nabruptly away; then as abruptly he turned and came back to her.", "\"There isn't one word of truth in it,\" she declared hotly. \"Walter,\nyou've got morbid--as Miss Oliver says she gets when she broods too\nlong over one thing.\"", "was took for death when she heard the news. That young un there was\nborn a fortnight ago and since then she's just gone down and today she\nup and died, without a soul expecting it.\"", "reminded her of Jem was beginning to give intolerable pain. Walter's\ndeath had inflicted on her heart a terrible wound. But it had been a", "that pierced Walter's heart. Perhaps some day a new kind of gladness\nwill be born in my soul--but the old kind will never live again.", "\"It wasn't a fancy,\" said Walter slowly. \"It was a presentiment--a\nvision--Jem, I really saw him for a moment that evening long ago.\nSuppose England does fight?\"", "Walter looked about him lingeringly and lovingly. This spot had always\nbeen so dear to him. What fun they all had had here lang syne. Phantoms", "She looked wistfully about her--at the little woodland valley and the\ngrey, lonely fallows beyond. How everything reminded her of Walter! The", "heavily that every one within a radius of three pews heard him and knew\nwhat his trouble was. Walter Blythe did not sigh. But Rilla, scanning", "terrible day in September when we knew that Walter would not come back;\nbut she has always been brave and patient. Now it seemed as if even she\nhad reached the limit of her endurance.", "her that Walter had been killed in action at Courcelette she crumpled\nup in a pitiful little heap of merciful unconsciousness in his arms.\nNor did she waken to her pain for many hours.", "a falsehood about Walter. But I feel unhappy over it for all that.\nWe've always been such good chums and until lately Irene was lovely to\nme; and now another illusion has been stripped from my eyes and I feel" ], [ "one on which Walter had ever talked to her as if she were a woman and\nnot a child. They comforted and strengthened each other. Walter felt,", "\"I couldn't bear to have Walter go,\" she wrote. \"I love Jem ever so\nmuch but Walter means more to me than anyone in the world and I would", "really was. \"Why, after all her pose of being so devoted to Walter, she\ndoesn't seem to mind his death at all. Nobody has ever seen her shed a", "Walter was, as ever, the handsomest of the Ingleside boys. Miss Oliver\nfound pleasure in looking at him for his good looks--he was so exactly", "and demonic in other spots. I wish Walter would take a fancy to her,\nbut he never seems to think about her in that way, although I heard him", "whatever of her. She did not at all resent his using Walter's pet name\nfor her; it sounded beautifully in his low caressing tones, with just", "One week--only one week more with Walter! The eyes of youth did not see\nhow she was to go on living.", "a falsehood about Walter. But I feel unhappy over it for all that.\nWe've always been such good chums and until lately Irene was lovely to\nme; and now another illusion has been stripped from my eyes and I feel", "Rilla loved Walter with all her heart. He never teased her as Jem and\nShirley did. He never called her \"Spider.\" His pet name for her was", "Walter came wandering through the valley as Rilla sat there, with his\nhead bent and his hands clasped behind him. When he saw Rilla he turned\nabruptly away; then as abruptly he turned and came back to her.", "Walter,\" and he had done so, and read it to them the next day--just a\nshort thing with goblin imagination in every line of it. Oh, how happy\nthey had been then!", "to be. She missed Walter keenly; since their talk in Rainbow Valley\nthey had grown very near together and Rilla discussed problems with\nWalter which she never mentioned to others. But she was so busy with", "Walter looked at her and had one of his odd visitations of prophecy.", "mechanically. Then she was away from them all--oh, thank God, she was\naway from them all--Walter was waiting for her at the door. He put his", "\"Oh, Walter coaxed her over. He knew I would be heart-broken if I\ndidn't go. It's my first really-truly grown-up party, Miss Oliver, and", "Rilla was beside herself with delight. It was her dear Walter who had\ndone this thing--Walter, to whom someone had sent a white feather at", "her that Walter had been killed in action at Courcelette she crumpled\nup in a pitiful little heap of merciful unconsciousness in his arms.\nNor did she waken to her pain for many hours.", "At this Nan had cried out \"Oh!\" as if a knife had been thrust into her,\nand rushed from the room. Di followed her. Rilla turned to Walter for\ncomfort but Walter was lost to her in some reverie she could not share.", "\"There isn't one word of truth in it,\" she declared hotly. \"Walter,\nyou've got morbid--as Miss Oliver says she gets when she broods too\nlong over one thing.\"", "\"Walter--enlisting\"--she heard herself saying--then she heard Irene's\naffected little laugh." ], [ "Rilla's world had tumbled to pieces the very day after the party. As\nthey lingered around the dinner table at Ingleside, talking of the war,", "Harbour Head school and Shirley was off to Queen's. Rilla was left\nalone at Ingleside and would have been very lonely if she had had time", "Rilla came to herself with a gasp. There was a sudden quiet. Nothing to\ndo now but to go home--and wait. The doctor and Mrs. Blythe walked off", "There had been an undercurrent of tension in the Ingleside existence\nfor several days. Only Rilla, absorbed in her own budding life, was", "paper had contained the cheerful announcement that \"the present moment\nis the darkest since the war began.\" It was dark enough, and Rilla\nwished desperately that she could do something besides waiting and", "enlist there, without, it may be said, coming home or sending much hard\ncash to represent him. So possibly Mrs. Anderson might feel hurt if she\nwere overlooked. Rilla decided to call. There were times afterwards", "\"Oh, yes. He implored me in his letter to run away and be married. But\nI cannot do that, Rilla, not even for Joe. My only comfort is that I", "\"No, he's a little war-baby I've been taking care of, because his\nmother died and his father was overseas,\" answered Rilla in a subdued\ntone.", "But on the morrow and the next morrow came the news of the miracle of\nthe Marne. Rilla rushed madly home from the office waving the", "She was gone--oh, thank God, she was gone! Rilla was alone again,\nstaring out at the unchanged, dream-like beauty of moonlit Four Winds.", "Blythe and Miss Cornelia were organizing a Red Cross. The doctor and\nMr. Meredith were rounding up the men for a Patriotic Society. Rilla,", "while their men held the Western front. Rilla walked away, realising\nthat she must not spy on such a moment. She went down to the end of the\nplatform where Sir Wilfrid and Dog Monday were sitting, looking at each", "Marilla Blythe, swear solemnly with the moon as witness\"--Rilla lifted\nher hand dramatically to the said moon--\"that I will never leave my\nroom again without looking carefully at both my feet.\"", "came home for a week's leave before going overseas. Rilla had lived\nthrough the days of his absence on the hope of that week, and now that", "Rilla wished they would talk of something besides war. She had heard\nnothing else for a week and she was really a little tired of it. Now", "Rilla did not sleep that night. Perhaps no one at Ingleside did except\nJims. The body grows slowly and steadily, but the soul grows by leaps", "Rilla was on her way into Charlottetown to spend the night with a\nfriend and the next day in Red Cross shopping; she had taken Jims with", "fearlessly and uncalculatingly to the call of their country. Rilla\ncarried her head high among the girls whose brothers had not so\nresponded. In her diary she wrote:", "When the train had gone Rilla rejoined the little trembling Miranda.\n\"Well, he's gone,\" said Miranda, \"and he may never come back--but I'm", "\"I can't endure this suspense any longer,\" said Rilla desperately.\n\nBut she endured it as the others did for another week. Then a letter\ncame from Jem. He was all right." ], [ "as it the Anderson baby had always been at Ingleside. After the first\nthree distracted nights Rilla began to sleep again, waking\nautomatically to attend to her charge on schedule time. She bathed and", "And so it was that Rilla Blythe, who had driven to the Anderson house a\nself-confessed hater of babies, drove away from it carrying one in a\nsoup tureen on her lap!", "that out of her thoughts. And that very morning she discovered that the\nbaby had gained eight ounces since its coming to Ingleside. Rilla had\nfelt such a thrill of pride over this.", "Rilla hopped out. She picked Jims out of his basket and took him into\nher own bed. His hands were cold, poor mite. But he had promptly ceased", "In a few minutes Jims was sound asleep; and, as Rilla listened to his\nsoft, regular breathing and felt the little body warm and contented\nagainst her, she realized that--at last--she loved her war-baby.", "\"I--I can't carry it,\" said Rilla. \"I have to drive the horse and I'd\nbe afraid I'd drop it. Is there a--a basket anywhere that I could put\nit in?\"", "For the first time in her life Rilla Blythe touched a baby--lifted\nit--rolled it in a blanket, trembling with nervousness lest she drop it\nor--or--break it. Then she put it in the soup tureen.", "Under Susan's directions a ration of milk and water was prepared, and a\nbottle obtained from the doctor's office. Then Rilla lifted the baby", "Rilla thought she would never get to Ingleside. In the soup tureen\nthere was an uncanny silence. In one way she was thankful the baby did", "Rilla's fear lifted. Dog Monday howled no more and resumed his routine\nof train meeting and watching. When five days had passed the Ingleside\npeople began to feel that they might be cheerful again. Rilla dashed", "Rilla was singing upstairs as she put the baby to bed. Paris was\nsaved--the war was over--Germany had lost--there would soon be an end\nnow--Jem and Jerry would be back. The black clouds had rolled by.", "that Rilla had to carry him for the last quarter. She reached the\nBrewster house, almost exhausted, and dropped Jims on the walk with a\nsigh of thankfulness. The sky was black with clouds; the first heavy", "There had been an undercurrent of tension in the Ingleside existence\nfor several days. Only Rilla, absorbed in her own budding life, was", "The baby began to cry again.\n\n\"It must be hungry--it has to be fed anyhow,\" said Rilla desperately.\n\"Tell me what to get for it, Susan, and I'll get it.\"", "When they turned in at the Ingleside gate Walter stopped in the shadows\nof the old pines and drew Rilla close to him.", "Rilla had risen to take Irene's chilly finger-tips and now, as she sat\ndown again, she saw something that temporarily stunned her. Irene saw", "Rilla ran down through the sunlit glory of the maple grove behind\nIngleside, to her favourite nook in Rainbow Valley. She sat down on a", "Rilla came to herself with a gasp. There was a sudden quiet. Nothing to\ndo now but to go home--and wait. The doctor and Mrs. Blythe walked off", "Dr. Blythe walked up and down the kitchen for a moment or two while the\nbaby stared at the white walls of the soup tureen and Susan showed\nsigns of returning animation.\n\nPresently the doctor confronted Rilla.", "For a moment Rilla was tempted to say \"Yes.\" The baby could be sent to\nHopetown--it would be decently looked after--she could have her free" ], [ "Gertrude Oliver looked at him from her corner and shivered again. She\nhad enjoyed the party herself, after all, for she had foregathered with", "They went back to Ingleside. Mr. and Mrs. Meredith were there, with\nGertrude Oliver, who had come from Lowbridge to say good-bye. Everybody", "stretched, and smiled at Gertrude Oliver. The latter had come over from\nLowbridge the previous evening and had been prevailed upon to remain\nfor the dance at the Four Winds lighthouse the next night.", "was fathoms deep in love with her teacher and was even willing to share\nher room, since no other was available. Gertrude Oliver was\ntwenty-eight and life had been a struggle for her. She was a", "Gertrude is to be married to her Major and is frankly happy about\nit--'shamelessly happy' she says; but I think her attitude is very", "\"Tomorrow--tomorrow--will bring the news that the Germans are in\nParis,\" said Gertrude Oliver, through her tense lips. She had one of", "\"Oh God--Oh God,\" moaned Gertrude Oliver, walking about the room and\nwringing her hands, \"Oh--God!\"", "Jem and Faith moved on out of hearing. Gertrude Oliver suddenly\nshivered. Rilla pressed her arm sympathetically.", "\"Miss Oliver dear,\" interrupted Susan, desperately determined to save\nGertrude from herself, if human power could do it, \"you are all tired", "under the big Scotch pine, Gertrude Oliver sat at its roots beside her,\nand Walter was stretched at full length on the grass, lost in a romance\nof chivalry wherein old heroes and beauties of dead and gone centuries", "Gertrude Oliver turned her head. There was an odd brilliancy in her\neyes.\n\n\"Rilla, I've had another dream.\"", "\"Mr. Grant is quite as much in love with Gertrude as she is with him,\nSusan. It is not he whom she distrusts--it is fate. She has a little", "wouldn't touch it for anything and I don't feel a single real spark of\ninterest in it. Gertrude Oliver says she just feels the same. (She is", "\"God help us,\" whispered Gertrude Oliver under her breath. \"My\ndream--my dream! The first wave has broken.\" She looked at Allan Daly\nand tried to smile.\n\n\"Is this Armageddon?\" she asked.", "\"We eat up the war news,\" Gertrude Oliver told Mrs. Meredith, trying to\nlaugh and failing. \"We study the maps and nip the whole Hun army in a", "\"It's not true--it's not,\" gasped Rilla.\n\n\"The thing would be--ridiculous,\" said Gertrude Oliver--and then she\nlaughed horribly.", "Rilla had a \"white night\" and did not fall asleep until late. When she\nwakened Gertrude Oliver was sitting at her window leaning out to meet", "One cold grey morning in February Gertrude Oliver wakened with a\nshiver, slipped into Rilla's room, and crept in beside her.", "\"'Observe my egotism. Because I, Gertrude Oliver, have lost a friend,\nit is incredible that the spring can come as usual. The spring does not", "was really frightened. And when poor tortured Gertrude, unable to\nendure it any longer, hurried out of the room, Cousin Sophia asked\nmother if the blow hadn't affected Miss Oliver's mind." ], [ "\"I have been thinking, Rilla dear, of the old days in the House of\nDreams, when Kenneth's mother and father were courting and Jem was a", "Rilla flushed and looked at Susan. Ken looked, too, and saw that\nSusan's back was turned. He put his arm about Rilla and kissed her. It", "Most of the little crowd were paired off after a fashion. Jem walked\nwith Faith Meredith, of course, and Jerry Meredith with Nan Blythe. Di\nand Walter were together, deep in confidential conversation which Rilla\nenvied.", "\"This--is--different,\" Rilla had to stop after every word to fight down\na wild outburst of sobs. \"I loved--Jem--of course--but--when--he", "\"Rilla-my-Rilla,\" said Ken, \"will you promise that you won't let anyone\nelse kiss you until I come back?\"\n\n\"Yes,\" said Rilla, trembling and thrilling.", "\"No, he's a little war-baby I've been taking care of, because his\nmother died and his father was overseas,\" answered Rilla in a subdued\ntone.", "France. He had had a strong fancy for Rilla Blythe ever since the night\nof the Four Winds dance; but it was when he saw her there, with little", "was the first time Rilla had ever been kissed. She thought perhaps she\nought to resent it but she didn't. Instead, she glanced timidly into\nKenneth's seeking eyes and her glance was a kiss.", "There had been an undercurrent of tension in the Ingleside existence\nfor several days. Only Rilla, absorbed in her own budding life, was", "Mrs. Brewster is a friend of mine. I am Rilla Blythe--Dr. Blythe's\ndaughter from Glen St. Mary. I--I was going to town with my--my--this", "This merciful knowledge was given to Rilla. A letter came from Walter's\ncommanding officer, telling them that he had been killed instantly by a\nbullet during a charge at Courcelette. The same day there was a letter\nfor Rilla from Walter himself.", "\"Oh, yes. He implored me in his letter to run away and be married. But\nI cannot do that, Rilla, not even for Joe. My only comfort is that I", "\"Oh, you have lots of lovely songs that nobody in the Glen ever heard\nbefore,\" said Rilla, who knew Irene had been going to town all winter\nfor lessons and that this was only a pretext. \"They will all be new\ndown there.\"", "Rilla loved Walter with all her heart. He never teased her as Jem and\nShirley did. He never called her \"Spider.\" His pet name for her was", "\"His looks are very well,\" said Rilla, bitterly, as if to imply that\nthey were much the best of him. Jims, being an astute infant, sensed", "mattered to her. He was ages older than she was. He chummed with Nan\nand Di and Faith, and looked upon her, Rilla, as a child whom he never", "you, Rilla-my-Rilla,\" he said softly and tenderly. After all it was not\na hard thing to fight for a land that bore daughters like this.", "\"Is that you, Joe? Rilla Blythe is speaking--Rilla--Rilla--oh, never\nmind. Listen to this. Before you come home tonight get a marriage", "about her head. She was not pretty but there was a certain charm of\ninterest and mystery in her face, and Rilla found her fascinating. Even", "\"This was another high explosive for poor mother. She exclaimed, with\nthe queerest little catch in her voice, 'Rilla, are you engaged to\nKenneth Ford?'" ], [ "Thousands of trains had Dog Monday met and never had the boy he waited\nand watched for returned. Yet still Dog Monday watched on with eyes\nthat never quite lost hope. Perhaps his dog-heart failed him at times;", "did Shirley went back for him. He found Dog Monday curled up in one of\nthe shipping-sheds near the station and tried to coax him home. Dog", "\"Whenever any of you go to the station be sure to give Dog Monday a\ndouble pat for me. Fancy the faithful little beggar waiting there for", "know--they could never be quite sure; and Dog Monday would wait for the\ntrain until he died of old age. Monday was only a poor, faithful,", "The station agent had heard the story of Dog Monday. He knew now who\nthe returned soldier was. Dog Monday's long vigil was ended. Jem Blythe\nhad come home.", "Jem--never comes back--Monday will wait there for him as long as his\ndear dog heart goes on beating.", "Dog Monday was the Ingleside dog, so called because he had come into\nthe family on a Monday when Walter had been reading Robinson Crusoe. He", "Whereat Dog Monday, laconically: \"I have a tryst to keep.\"", "Wherefore, he, Monday, would wait there until the smoking, snorting\nmonster, which had carried his hero off, carried him back.", "Dog Monday was lying in his kennel. He wagged his tail and licked\nRilla's hand. But he would not touch the food she brought for him.", "\"Shirley and I went down to the station this morning to take Little Dog\nMonday a bang-up Christmas dinner. Dog Monday waits and watches there", "\"I was down to see little Dog Monday today. He has grown quite stiff\nand rheumatic but there he sat, waiting for the train. He thumped his", "one cried. Dog Monday came out of his lair in the shipping-shed and sat\ndown close to Walter, thumping his tail vigorously on the boards of the", "the supper dishes washed and the bread set, I went down to the station.\nThere was Dog Monday, waiting for the train, just as patient as usual.", "tail and looked pleadingly into my eyes. 'When will Jem come?' he\nseemed to say. Oh, Dog Monday, there is no answer to that question; and", "must tear his little body in pieces. He licked his boots and when the\nlieutenant had, with laughter on his lips and tears in his eyes,\nsucceeded in gathering the little creature up in his arms Dog Monday", "\"Father got old Joe Mead to build a kennel for Dog Monday in the corner\nof the shipping-shed today. We thought perhaps Monday would come home", "\"Guess Monday has made up his mind to wait there till Jem comes back,\"\nsaid Shirley, trying to laugh as he rejoined the rest. This was exactly", "Susan had put her bonnet back on her head, hindside foremost, and\nstalked grimly off alone. Nobody missed Dog Monday at first. When they", "A black-and-yellow streak shot past the station agent. Dog Monday\nstiff? Dog Monday rheumatic? Dog Monday old? Never believe it. Dog\nMonday was a young pup, gone clean mad with rejuvenating joy." ], [ "\"Walter--enlisting\"--she heard herself saying--then she heard Irene's\naffected little laugh.", "\"But, Walter, you couldn't go anyhow,\" said Rilla piteously. She was\nsick with a new terror that Walter would go after all. \"You're not\nstrong enough.\"", "to me again, now that Walter had gone--we were such friends, you\nknow--why I was the very first person he told about having\nenlisted--and Rilla answered, as coolly and indifferently as if she", "\"No,\" said Walter, gazing straight before him down the emerald vistas\nof the valley, \"no, I don't want to go. That's just the trouble. Rilla,\nI'm afraid to go. I'm a coward.\"", "\"I couldn't bear to have Walter go,\" she wrote. \"I love Jem ever so\nmuch but Walter means more to me than anyone in the world and I would", "\"Oh, my God, no!\" exclaimed Walter passionately. He turned and went\nback to the house.", "\"It wasn't a fancy,\" said Walter slowly. \"It was a presentiment--a\nvision--Jem, I really saw him for a moment that evening long ago.\nSuppose England does fight?\"", "him, even to the little details of daily life. Walter died for\nCanada--I must live for her. That is what he asked me to do.\"", "\"Walter, one time I heard father say that the trouble with you was a\nsensitive nature and a vivid imagination. You feel things before they", "\"Oh, I wish Walter wouldn't write such things,\" sighed Rilla. \"It hurts\nme. He isn't a coward--he isn't--he isn't!\"", "\"No, I don't. Why, Walter, hundreds of people feel just as you do. You\nknow what that verse of Shakespeare in the old Fifth Reader says--'the\nbrave man is not he who feels no fear.'\"", "receiving it--to think of thrusting a bayonet through another man.\"\nWalter writhed and shuddered. \"I think of these things all the", "\"The Russians will not be in time to save Paris,\" said Walter gloomily.\n\"Paris is the heart of France--and the road to it is open. Oh, I\nwish\"--he stopped abruptly and went out.", "to her, she thought of something. Could she do it? Oh, no, she could\nnot give up Walter's letter--his last letter. Surely it was not", "\"I suppose Kenneth would enlist too if it weren't for his ankle. I\nthink that is quite providential. He is his mother's only son and how\ndreadful she would feel if he went. Only sons should never think of\ngoing!\"", "Rilla repressed tear and sigh, but she could not repress a little\nshiver, and Walter knew that he had said enough. After a moment of", "skulking behind that belief. I--I should have been a girl,\" Walter\nconcluded in a burst of passionate bitterness.", "one on which Walter had ever talked to her as if she were a woman and\nnot a child. They comforted and strengthened each other. Walter felt,", "Walter came wandering through the valley as Rilla sat there, with his\nhead bent and his hands clasped behind him. When he saw Rilla he turned\nabruptly away; then as abruptly he turned and came back to her.", "Kaiser across all the acres of his farm. Walter slipped away, not\ncaring to see or be seen, but Rilla sat down on the steps, where the" ] ]

[ "Which World War is about to begin in the story?", "What illness did Rilla's brother Walter have?", "Susan Baker serves what position ?", "Who organizes the Junior Red Cross in the local village?", "What does Rilla name the sickly 2 week old orphaned boy she finds?", "Who is the British Secretary of State for War?", "Where was Walter killed in action?", "Where was Jim taken prisoner?", "How old is Anne's youngest daughter?", "Why are Rilla's parents worried?", "Who does Rilla suspect is engaged to Jem?", "What kind of animal took up a vigil at Glen train station?", "What did Rilla organize in her village as the war dragged on?", "What kind of insult did Walter feel deeply about?", "Walter was killed in action where?", "What did Shirley join as he came of age?", "What body part did Miller Douglas lose in the war?", "What course does Una plan to take?", "Why does Jem go to England after leaving Holland?", "What sign of death did Anne see over Walter when he was younger?", "Who was in love with Walter?", "Where is Marilla during the war?", "How does Rilla take the baby back to Ingleside?", "Where is Gertrude Oliver's fiancee?", "Who are the parents of Rilla's love interest?", "Where does Dog Monday wait?", "Why does Walter not enlist?" ]

[ [ "WWI", "World War I." ], [ "Typhoid fever", "typhoid" ], [ "Housekeeper", "housekeeper" ], [ "Rilla", "Rilla" ], [ "James Kitchener Anderson", "James Kitchener Anderson" ], [ "Herbert Kitchener", "Herbert Kitchener" ], [ "Courcelette", "Courcelette" ], [ "Germany", "Germany" ], [ "14 but almost 15.", "almost 15" ], [ "She seems to have no ambition, only cares about fun, and is disinterested in college.", "She has no direction in life" ], [ "Faith Meredith.", "Faith Meredith" ], [ "A dog.", "dog" ], [ "The Junior Red Cross.", "Junior Red Cross" ], [ "Being branded a slacker.", "that he's a slacker" ], [ "At Courcelette.", "Courcelette" ], [ "The flying corps.", "flying corps" ], [ "His leg.", "his leg" ], [ "Household Science", "Household Science" ], [ "To pursue medical treatment", "medical treatment" ], [ "The shadow of a cross", "The shadow of a cross" ], [ "Una Merideth", "Una Meredith" ], [ "She died before the war", "She has previously passed away." ], [ "In a soup tureen", "In a soup tureen" ], [ "He reported to the front.", "at the front" ], [ "Owen and Leslie Ford", "Owen and Leslie Ford." ], [ "The Glen train station", "At the Glen train station." ], [ "Because he had typhoid and he fears war.", "recent bout with typhoid" ] ]

[ [ "Wallace hugs them, first Stephen, then Hamish. Tears roll \n down Hamish's cheeks. With one last look at his friends, \n Wallace rides away.", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "Wallace is sitting alone nearby, staring at nothing. Hamish \n moves over and puts a hand on his shoulder. Wallace looks at \n his friend, and looks away; killing the Magistrate did not \n bring Marion back.", "She trots her horse the rest of the way, while the French \n guards stay back. Hamish helps her from her horse. She moves \n to Wallace, and opens the heavy folds of her heavy riding \n cape.", "The Princess is mesmerized by Wallace's passion.\n\n PRINCESS\n I understand you have suffered. I \n know... about your woman.", "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "Finally his father and brother reach William and hug him \n tight. There in the barn, among the swinging bodies of the \n hanged nobles, Malcolm Wallace grips his sons.", "Wallace is in the woods, in the grove of trees, looking at \n Marion's hidden grave. The rain falls on his face, like tears.", "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed.", "They return to the Scottish lines. Wallace dismounts where \n his men are breaking out new 14-foot spears. Hamish, eyebrows \n raised, looks expectantly at Wallace; Wallace nods.", "WALLACE\n Marion! Is... is it you?\n\n Joy explodes on his face, and he runs to her, but stops before \n he touches her, as if she might evaporate.", "Wallace mounts up and rides out with the Scottish nobles to \n meet the English contingent.\n\n OUT ON THE FIELD, THE TWO GROUPS OF RIDERS", "But Wallace's gaze has locked onto Robert the Bruce, who \n stares back, the two young lions instantly recognizing the \n leadership power of each other.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "the Scots are carving their way through the English soldiers; \n nothing can stop them. Wallace is relentless; each time he", "The nobles rise; court attendants hurry to Wallace and drape \n a golden chain of office around his neck. Wallace takes the", "Carefully, Faudron pulls out a beautiful tartan scarf, and \n replaces Wallace's tattered old one.", "WALLACE\n I need you so much! I love you!\n\n MARION\n Wake up, William. Wake up!", "Wallace draws his broadsword. The burning debris inside the \n gate collapses, leaving a tunnel through the fire. Wallace \n screams, and leads the charge through the burning barrier.", "Then, riding into the mob of men, comes Wallace, followed by \n his friends. He's striking, charismatic, his powerful arms" ], [ "They bind Wallace hand and foot. He stares at Robert the \n Bruce, who averts his eyes. The soldiers hurry Wallace out \n the back, where others are bringing up horses. Robert grabs \n the English Captain of the soldiers.", "A procession of heavily armed English soldiers winds its way \n toward London, Wallace strapped to an unsaddled horse, his \n head bare to the sun. Country people come out to jeer...", "unsettled as she notices that one of the soldiers, a \n particularly nasty looking brute with a scarred face, is \n leering at her. William Wallace sees this too.", "Hamish hands the shrouded body up to William and bounds into \n the saddle of his own horse. They spur the horses and ride \n away, William clutching Marion's shrouded body to his chest.", "Marion is thrown into a chair and her arms are bound with an \n oak staff behind her elbows. She and two dozen soldiers are \n in the tavern the English have commandeered.", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek.", "She trots her horse the rest of the way, while the French \n guards stay back. Hamish helps her from her horse. She moves \n to Wallace, and opens the heavy folds of her heavy riding \n cape.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "ROBERT\n In Lanark village, the king's soldiers \n killed a girl. Her lover fought his \n way through the soldiers and killed \n the magistrate.", "The Scots wait, biding their time as the barrier burns.\n\n Suddenly they look up in horror; the English are throwing \n the bodies of hanged Scots over the wall.", "ride after them. The Scots run for their lives; the English \n horses gallop. The Scots run down one slope, up another; the \n English follow, find their horses stumbling, and see...", "The crowd is festive; hawkers sell roast chickens, and beer \n from barrels. Royal horsemen arrive, dragging Wallace strapped", "William stares up at this frightening figure. They are \n interrupted by the ominous sound of approaching horses; a \n dozen mounted English soldiers, armed with lances, are \n approaching. Argyle rattles to the priest...", "A commotion; the nobles, their heads hooded, are led in on \n horseback by guerrillas from the village. The nobles stop, \n feel their hoods pulled off, and see Wallace.", "ROBERT (V.O.)\n After the beheading, William Wallace's \n body was torn to pieces. His head", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "Farmers in the field, blacksmiths at their forges, leave \n their work and uncover their inevitable weapons and run after \n the riders. They put on their forbidden tartans, kiss their", "of the English, who are surrounded in the bog. Too late, \n Dolecroft realizes his blunder. Wallace lifts his broadsword, \n screams, and leads the charge...", "The Princess hurries up to her husband as he leaves the king's \n bedroom, and follows him down the hall to his own.\n\n PRINCESS\n Is it true? Wallace is captured?", "FATHER\n Murderin' English bastards.\n\n CUT TO:\n\n EXT. WALLACE FARMHOUSE - NIGHT" ], [ "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "EDWARD\n Wallace has sacked York!\n\n LONGSHANKS\n Impossible.\n (to messenger)\n How dare you bring a panicky lie.", "WALLACE\n York was the staging point for every \n invasion of my country. And that", "sack coldly, looks in, and withdraws the severed head of his \n nephew, York's (former) Governor.", "and run to follow them; we see Wallace's face, relentless, \n as he hacks men down in the attack; with the fortress sacked", "ROBERT (V.O.)\n After the beheading, William Wallace's \n body was torn to pieces. His head", "WALLACE\n We won at Stirling and still you \n quibbled! We won at York and you \n would not support us! Then I said \n nothing! Now I say you are cowards!", "Wallace, still bloody and in his battered armor, removes the \n chain of office from beneath his breastplate, lays it onto", "AT THE BRIDGE, WALLACE\n\n sees the Scottish nobles attacking. The English soldiers are \n in utter panic, running and being cut down on all sides.", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "WALLACE\n From his king? Absolutely. Here are \n Scotland's terms. Lower your flags", "Wallace looks around at the aftermath of the battle: bodies \n on the field; soldiers lying impaled; stacks of bodies on \n the bridge; the bridge slick with blood.", "-- Wallace's house burns, as soldiers dig up the graves of \n his father and brother, and scatter their bones to dogs.\n\n -- The English search through the woods, finding nothing.", "He emphasizes \"mercy\" by pointing to the axe. Wallace is \n pale, and trebles -- but he shakes his head. The CROWD grows \n noisier as they put the noose around Wallace's neck...", "Wallace slings out his broadsword and moves down the length \n of the table, bashing the succession documents into the laps \n of the nobles.", "Wallace -- suddenly looms up behind them, galloping and \n swirling fire! He hurls burning torches into the clustered \n soldiers, setting some of them on fire!", "helpless. The bolts fall, cutting through their helmets and \n breastplates like paper. Wallace has no cavalry -- and his \n men are being slaughtered! He spurs his horse, and Stephen", "Wallace draws his broadsword. The burning debris inside the \n gate collapses, leaving a tunnel through the fire. Wallace \n screams, and leads the charge through the burning barrier.", "a signal. They cut the ropes, drag Wallace over and put his \n head on the block. The executioner lifts his huge axe -- and \n Wallace looks toward the crowd.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant." ], [ "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed.", "They look to see a half dozen new volunteers being led in, \n blindfolded. When the guides remove the blindfolds, the new \n recruits see Wallace and rush to him, bowing.", "Wallace walks; Robert catches up and speaks to him in an \n urgent half whisper, so that no one else can hear.", "Wallace lifts his eyes, taking it all in. At the rear of the \n hall is a balcony, backed by a magnificent sunlit stained", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "With great effort, Wallace rises to his knees. The Magistrate \n assumes a formal posture and offers the cloak.\n\n Wallace struggles all the way to his feet.", "Wallace and his friends are starting to panic. The blood \n beats in their ears, their breath scalds their lungs. And we \n MOVE IN on Wallace's eyes. He stops, gasping.", "Then, riding into the mob of men, comes Wallace, followed by \n his friends. He's striking, charismatic, his powerful arms", "They stare at this in mute shock. Wallace is frozen, his \n eyes reflecting his boyhood reaction. His men rush forward.", "PRINCESS\n Wallace himself. If you wish to \n pretend a ghost rallies new volunteers", "WALLACE AND HIS MEN", "He reluctantly obeys. Seeing that she wants the exchange to \n be private, Wallace turns and nods for his men to leave.", "Wallace's eyes flutter, and clear. He fights through the \n pain, struggles for one last deep breath, and screams...\n\n WALLACE\n FREEEEE-DOMMMMMM!", "But Wallace's gaze has locked onto Robert the Bruce, who \n stares back, the two young lions instantly recognizing the \n leadership power of each other.", "see them, not Wallace, as the irons are touched to his body, \n but we hear the burning of flesh. Then the Magistrate signals; \n Wallace wants to say something.", "Wallace is sitting alone nearby, staring at nothing. Hamish \n moves over and puts a hand on his shoulder. Wallace looks at \n his friend, and looks away; killing the Magistrate did not \n bring Marion back.", "Wallace faces Talmadge in the distance.\n\n WALLACE\n Here I am, English coward! Come get \n me!!", "Wallace is scanning the battlefield. He sees the English \n cavalry charge, but before they reach the bristling spears, \n they pull up, and crossbowmen, moving up behind the knights.", "The Magistrate, abandoned, runs too. Wallace pursues.\n\n Not far along a twisting lane, the bulky Magistrate falters.", "WALLACE'S VOICE\n In the year of our Lord 1314, patriots \n of Scotland, starving and outnumbered," ], [ "WALLACE\n I will invade England. And defeat \n the English on their own ground.\n\n CRAIG\n Invade?! That's impossible, it --", "Wallace is scanning the battlefield. He sees the English \n cavalry charge, but before they reach the bristling spears, \n they pull up, and crossbowmen, moving up behind the knights.", "WALLACE\n York was the staging point for every \n invasion of my country. And that", "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed.", "They stare at this in mute shock. Wallace is frozen, his \n eyes reflecting his boyhood reaction. His men rush forward.", "And as they draw nearer, Wallace hears a haunting noise. He \n sees the bowmen more clearly, and the English infantry. Some \n are wearing kilts and marching to bagpipes.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "Wallace stands alone, looking at the moon and stars. Hamish \n moves up and sits down beside him.\n\n HAMISH\n You know it's a trap.", "Coming closer. He hears shouts too, screams from below -- \n and those strange, approaching hoofbeats...\n\n WALLACE, ON HORSEBACK", "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "Wallace walks; Robert catches up and speaks to him in an \n urgent half whisper, so that no one else can hear.", "Wallace signals to Mornay with the Scottish cavalry. Mornay \n does nothing. The crossbowmen, though taking great punishment, \n are beginning to overwhelm the dogs by sheer numbers, and \n are regrouping.", "AT THE BRIDGE, WALLACE\n\n sees the Scottish nobles attacking. The English soldiers are \n in utter panic, running and being cut down on all sides.", "WALLACE'S VOICE\n In the year of our Lord 1314, patriots \n of Scotland, starving and outnumbered,", "WALLACE\n Yes, I have heard! He kills men by \n the hundreds! And if he were here,", "Wallace and his inner circle hare huddled around a small \n fire. Other highlanders guard the perimeters. Old Campbell", "-- Wallace's house burns, as soldiers dig up the graves of \n his father and brother, and scatter their bones to dogs.\n\n -- The English search through the woods, finding nothing.", "Wallace is huddled with his inner circle, all except Campbell, \n who receives a report from a scout.", "WALLACE\n A meeting in a barn. It had to be a \n trap. And only you would know I would \n be aware of it.", "Then, riding into the mob of men, comes Wallace, followed by \n his friends. He's striking, charismatic, his powerful arms" ], [ "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "WALLACE'S VOICE\n In the year of our Lord 1314, patriots \n of Scotland, starving and outnumbered,", "Wallace is scanning the battlefield. He sees the English \n cavalry charge, but before they reach the bristling spears, \n they pull up, and crossbowmen, moving up behind the knights.", "-- Wallace's house burns, as soldiers dig up the graves of \n his father and brother, and scatter their bones to dogs.\n\n -- The English search through the woods, finding nothing.", "of the English, who are surrounded in the bog. Too late, \n Dolecroft realizes his blunder. Wallace lifts his broadsword, \n screams, and leads the charge...", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek.", "AT THE BRIDGE, WALLACE\n\n sees the Scottish nobles attacking. The English soldiers are \n in utter panic, running and being cut down on all sides.", "the Scots are carving their way through the English soldiers; \n nothing can stop them. Wallace is relentless; each time he", "Still Wallace fights back, meeting the English charge. The \n Scots hold their own. An English knight tries to ride over", "WALLACE\n That's my friend, Irishman. And the \n answer's yes. You fight for me, you \n kill the English.", "The English heavy cavalry surge to meet them, but Wallace \n weaves through them, dodging with his horse, slashing with \n the broadsword, cutting down on knight, another, another...", "On horseback, Wallace fights his way into the watery edge of \n the field, where English infantry is now overrunning the", "All around, the battle has decayed; the Scots are being \n slaughtered. Another bolt glances off Wallace's helmet; a \n third rips into his thigh plate, making his legs collapse.", "DOWN ON THE PLAIN, Wallace and the attacking men drive the \n English back, killing as they go. The Scots reach the bridge \n itself. The waters below it run red with blood.", "WALLACE\n Now! Charge! Charge them!\n\n Mornay tugs his reins and leads his cavalry away.\n\n AT THE ENGLISH COMMAND", "A procession of heavily armed English soldiers winds its way \n toward London, Wallace strapped to an unsaddled horse, his \n head bare to the sun. Country people come out to jeer...", "They are loading to fire again when Wallace runs in -- on \n foot! -- and cuts down two soldiers! The other Scots charge!\n\n The startled soldiers break and run in every direction.", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "Wallace hugs them, first Stephen, then Hamish. Tears roll \n down Hamish's cheeks. With one last look at his friends, \n Wallace rides away." ], [ "Longshanks glares at him, but takes the point. The wheels \n grind in his brain; his dark eyes falling on the Princess, \n he is inspired.", "INT. LONGSHANKS' BEDCHAMBER - NIGHT\n\n Longshanks lies helpless, his body racked with consumption.", "He stabs at Longshanks; the old king smiles at the attack, \n parrying, letting his arms be cut.\n\n LONGSHANKS\n You fight back at last!", "Prince Edward is in his garden, playing the medieval version \n of croquet with his friend. The Princess, ignored, sits \n watching. Longshanks marches through the game, furious.", "Then Longshanks grabs him and throws him out the window, the \n same one Edward and Phillip were looking out, six stories \n above the courtyard. We hear Phillip's SCREAM as he falls.", "Longshanks shakes his head.\n\n PRINCESS\n Even now, you are incapable of mercy?\n\n The king can't speak. But hatred still glows in his eyes.", "Edward is a bloody mess; Longshanks coughs up a bit of blood.\n\n He ignores it and his son's wreckage, and goes back to the \n discussion, as if this fight was normal business.", "Then Longshanks unleashes his own hateful fury; he grapples \n with Edward, knocking the dagger away and hurling him to the", "Longshanks bangs the door open and stalks in angrily. First \n he glares at Phillip with obvious loathing, then turns his \n piercing stare to his own son.", "-- Hamish and Stephen, disguised as peasants among the crowd, \n helpless too, but there, as if to shoulder some of the pain.\n\n -- Longshanks, rattling, coughing blood, as Edward watches.", "PRINCESS\n Your pardon, M'lord, he asked me to \n come in his stead.\n\n Longshanks' eyes expand in fury; it is frightening to see.", "Edward sits against the wall, watching him die, glee in his \n eyes. The Princess enters, and marches to the bedside.", "So does a dog. But you must understand \n this: Edward Longshanks is the most \n ruthless king ever to sit on the", "CRAIG\n You are surprised he would lie? \n Balliol was murdered in a church \n yesterday. You are Longshanks' new \n designate. You will be king.", "Longshanks and our nobles. Pay it, \n and you will be our king. And we \n will have peace.", "uncovering its contents. Prince Edward is closest; he looks \n in, then staggers back, stunned. Longshanks moves to the", "LONGSHANKS\n (exploding)\n He is gone! Finished! Dead! If he", "Longshanks slaps his son, knocking him down among the colored \n balls and wickets. Everyone gasps, stunned.\n\n LONGSHANKS\n You weak little coward! Stand up!", "EDWARD\n You let Wallace escape your whole \n army. You cannot blame me for this.\n\n Longshanks glowers at his son; the Princess arrives.", "Prince Edward and Phillip, his fencing friend and lover, \n hear a contingent of horsemen clatter into the courtyard \n below; they look out the window and see the arrival of \n Longshanks." ], [ "Wallace's eyes roll to the magistrate, who signals QUIET!\n\n MAGISTRATE\n (booming)\n The prisoner wishes to say a word!", "The crowd can't hear the magistrate but they know the \n procedure, and they goad Wallace, chanting...\n\n CROWD\n Mer-cy! Mer-cy! Mer-cy!", "He emphasizes \"mercy\" by pointing to the axe. Wallace is \n pale, and trebles -- but he shakes his head. The CROWD grows \n noisier as they put the noose around Wallace's neck...", "see them, not Wallace, as the irons are touched to his body, \n but we hear the burning of flesh. Then the Magistrate signals; \n Wallace wants to say something.", "too far, he prolongs the moment; then the Magistrate nods \n and the executioner cuts the rope. Wallace slams to the \n platform; the Magistrate leans to him.", "With great effort, Wallace rises to his knees. The Magistrate \n assumes a formal posture and offers the cloak.\n\n Wallace struggles all the way to his feet.", "He turns to fight, and Wallace slashes away his sword.\n\n MAGISTRATE\n No! I beg you... mercy!\n\n IN THE TOWN SQUARE", "Wallace's eyes flutter, and clear. He fights through the \n pain, struggles for one last deep breath, and screams...\n\n WALLACE\n FREEEEE-DOMMMMMM!", "Wallace shakes his head. The executioners cut off his clothes, \n take hot irons from a fire box. The crowd grows silent; we", "MAGISTRATE\n Please. Mercy!\n\n Wallace's eyes shift, falling on\n\n THE STAIN OF BLOOD", "MAGISTRATE\n It can all end. Right now! Bliss. \n Peace. Just say it. Cry out. \"Mercy!\" \n Yes?... Yes?", "WALLACE\n Never, in my whole life, did I swear \n allegiance to your king --\n\n MAGISTRATE\n It matters not, he is thy king!", "We are spared seeing the cutting: we are ON WALLACE'S FACE \n as the disembowelment begins. The Magistrate leans in beside \n him.", "Grim magistrates prod Wallace and he climbs the execution \n platform. On the platform are a noose, a dissection table", "The Magistrate, abandoned, runs too. Wallace pursues.\n\n Not far along a twisting lane, the bulky Magistrate falters.", "ROBERT\n Fight me! Fight me!\n\n But Wallace can only stagger back. Bruce's voice grows ragged \n as he screams.", "The jailer obeys. The Princess can barely contain her shock \n at the sight of Wallace; the jailers snatch him upright.\n\n JAILER\n On your feet, you filth!", "a signal. They cut the ropes, drag Wallace over and put his \n head on the block. The executioner lifts his huge axe -- and \n Wallace looks toward the crowd.", "INT. TOWER DUNGEON\n\n Wallace stands in medieval restraints worthy of Hannibal \n Lecter. Before him are six scarlet-robed royal magistrates.", "Wallace is sitting alone nearby, staring at nothing. Hamish \n moves over and puts a hand on his shoulder. Wallace looks at \n his friend, and looks away; killing the Magistrate did not \n bring Marion back." ], [ "shocked even more. Robert the Bruce, king of Scotland, spurs \n his horse into full gallop toward the English, and the \n Highlanders hurl their bodies down the hill, ready to run", "As the horse plunges away into the smoke, Robert falls to \n the water. His own troops reach him, realize who he is, see \n the horrible expression on his face, and race on after the \n Scots.", "UP ON THE HILL, Robert the Bruce sits on his horse, and waits. \n He looks down at the English generals, at their banners, \n their army. He looks down the ranks at his own.", "They bind Wallace hand and foot. He stares at Robert the \n Bruce, who averts his eyes. The soldiers hurry Wallace out \n the back, where others are bringing up horses. Robert grabs \n the English Captain of the soldiers.", "But Robert holds something -- uncurling his fist, he looks \n at the thistle handkerchief that belonged to Wallace. The \n nobles start to rein their horses toward the English.", "The chant builds to a frenzy; it shakes the earth. The \n Scottish nobles can scarcely believe it; the English are", "The rider rolls to his feet. William struggles up to meet \n him -- and comes face to face with Robert the Bruce.", "Robert the Bruce tucks the handkerchief safely behind his \n breastplate, and turns to the Highlanders who line the hilltop \n with him. He takes a long breath, and shouts --", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek.", "ride after them. The Scots run for their lives; the English \n horses gallop. The Scots run down one slope, up another; the \n English follow, find their horses stumbling, and see...", "charged the fields of Bannockburn. \n They fought like warrior poets. They \n fought like Scotsmen. And won their \n freedom. Forever.", "The English try to form up; but the Scottish horsemen, fording \n the river high upstream, come crashing into the English flank \n and ride over the surprised English infantry.", "ROBERT (V.O.)\n And I, Robert the Bruce, backed by a \n body of Scottish veterans, rode out", "The shock and recognition stun Wallace; in that moment, \n looking at Robert the Bruce's guilt-ridden face, he", "William stares up at this frightening figure. They are \n interrupted by the ominous sound of approaching horses; a \n dozen mounted English soldiers, armed with lances, are \n approaching. Argyle rattles to the priest...", "Farmers in the field, blacksmiths at their forges, leave \n their work and uncover their inevitable weapons and run after \n the riders. They put on their forbidden tartans, kiss their", "The spears bristle out, ready... the English horsemen thunder \n in. But before the spears impale the horses, another flight \n of crossbow bolts cuts down half the Scots still fighting.", "ROBERT\n He will. I know he will.\n\n They hear the approach of a single horse. The Bruce looks \n out to see Wallace arriving.", "On Wallace's army behind Robert the Bruce, charging down the \n hill to victory and glory, we slow to FREEZE FRAME and hear \n their chant, huge, echoing...", "of the English, who are surrounded in the bog. Too late, \n Dolecroft realizes his blunder. Wallace lifts his broadsword, \n screams, and leads the charge..." ], [ "WILLIAM\n That is.\n\n Everybody cheers and laughs! They surround William.\n\n CAMPBELL\n A fine display, young Wallace!", "Riding along the road comes William Wallace. Grown now, a \n man. He sits his horse as if born there, his back straight,", "WALLACE'S VOICE\n In the year of our Lord 1314, patriots \n of Scotland, starving and outnumbered,", "Finally his father and brother reach William and hug him \n tight. There in the barn, among the swinging bodies of the \n hanged nobles, Malcolm Wallace grips his sons.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "Wallace raises his hand, and the army falls silent.\n\n WALLACE\n Sons of Scotland!... I am William \n Wallace!", "But Wallace's gaze has locked onto Robert the Bruce, who \n stares back, the two young lions instantly recognizing the \n leadership power of each other.", "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "Before it can all sink in, William is lifted on the shoulders \n of his men.\n\n SCOTTISH SOLDIERS\n Wal-lace! Wal-lace! Wal-lace!", "WALLACE\n You are Robert the Bruce.\n\n ROBERT THE BRUCE\n I am.", "The nobles rise; court attendants hurry to Wallace and drape \n a golden chain of office around his neck. Wallace takes the", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "ROBERT (V.O.)\n After the beheading, William Wallace's \n body was torn to pieces. His head", "WALLACE\n We won at Stirling and still you \n quibbled! We won at York and you \n would not support us! Then I said \n nothing! Now I say you are cowards!", "Wallace lifts his eyes, taking it all in. At the rear of the \n hall is a balcony, backed by a magnificent sunlit stained", "Wallace mounts up and rides out with the Scottish nobles to \n meet the English contingent.\n\n OUT ON THE FIELD, THE TWO GROUPS OF RIDERS", "Wallace hugs them, first Stephen, then Hamish. Tears roll \n down Hamish's cheeks. With one last look at his friends, \n Wallace rides away.", "Then, riding into the mob of men, comes Wallace, followed by \n his friends. He's striking, charismatic, his powerful arms", "EDWARD\n Before he lost his powers of speech, \n he told me his one comfort was that \n he would live to know Wallace was \n dead.", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek." ], [ "PRINCESS\n I come as the king's servant, and \n with his authority.\n\n WALLACE\n It's battle I want, not talk.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "EDWARD\n You let Wallace escape your whole \n army. You cannot blame me for this.\n\n Longshanks glowers at his son; the Princess arrives.", "Wallace has gathered the nobles, among them Robert the Bruce, \n Mornay, and old Craig, for a demonstration. Hamish and Stephen", "WALLACE\n From his king? Absolutely. Here are \n Scotland's terms. Lower your flags", "The Princess hurries up to her husband as he leaves the king's \n bedroom, and follows him down the hall to his own.\n\n PRINCESS\n Is it true? Wallace is captured?", "STEPHEN\n Her husband's more of a queen than \n she is. Did you know that?\n\n Stephen moves off with Hamish and Campbell. Wallace and the \n princess are left alone.", "They bind Wallace hand and foot. He stares at Robert the \n Bruce, who averts his eyes. The soldiers hurry Wallace out \n the back, where others are bringing up horses. Robert grabs \n the English Captain of the soldiers.", "She trots her horse the rest of the way, while the French \n guards stay back. Hamish helps her from her horse. She moves \n to Wallace, and opens the heavy folds of her heavy riding \n cape.", "PRINCESS\n I have come to beg for the life of \n William Wallace.\n\n EDWARD\n You fancy him.", "WALLACE\n Wife of Edward, the king's son?\n\n She nods; somehow she is already ashamed.", "WALLACE\n You are Robert the Bruce.\n\n ROBERT THE BRUCE\n I am.", "unsettled as she notices that one of the soldiers, a \n particularly nasty looking brute with a scarred face, is \n leering at her. William Wallace sees this too.", "Wallace mounts up and rides out with the Scottish nobles to \n meet the English contingent.\n\n OUT ON THE FIELD, THE TWO GROUPS OF RIDERS", "WALLACE\n A thousand.\n (beat)\n You have made me Guardian of Scotland. \n So I tell you this is what we face.", "WALLACE\n A Lordship. And gold. That I should \n become Judas.\n\n PRINCESS\n Peace is made is such ways.", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "CHIEF ASSASSIN\n We came in small groups, so the rebels \n would not suspect.\n\n PRINCESS\n And you have reached Wallace's men?", "The Scots are lining up to leave their encampment. Wallace \n is about to give the signal to start the march when Hamish,", "The jailer obeys. The Princess can barely contain her shock \n at the sight of Wallace; the jailers snatch him upright.\n\n JAILER\n On your feet, you filth!" ], [ "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "The English force charges off. Hamish and his men changed \n direction but the English spot them crossing a hilltop and", "The English leaders shout orders and keep their men moving \n across the bridge. Talmadge gestures for the attack flag.\n\n THE CAVALRY ON THE OTHER SIDE OF THE BRIDGE", "The English army moves forward toward the bridge. It's so \n narrow that only a single file of riders can move across it", "TALMADGE has seen enough; he gallops away. The remaining \n English General tries to save the army.\n\n GENERAL\n We are still five thousand! Rally!", "English LORD DOLECROFT is in command, wearing a hat with a \n pompous white plume. UP AHEAD, the English SCOUT sees five", "William stares up at this frightening figure. They are \n interrupted by the ominous sound of approaching horses; a \n dozen mounted English soldiers, armed with lances, are \n approaching. Argyle rattles to the priest...", "sits on his horse and looks down at the English generals in \n their martial finery. The English are haughty, victorious,", "The English leaders try to herd more of their footsoldiers \n onto the bridge, which only hams them up. Meanwhile, on the", "of the English, who are surrounded in the bog. Too late, \n Dolecroft realizes his blunder. Wallace lifts his broadsword, \n screams, and leads the charge...", "Hamish hurries off with the message.\n\n The English infantry keeps moving across the little bridge.\n\n The Scottish nobles watch from their positions on horseback.", "WALLACE\n Now! Charge! Charge them!\n\n Mornay tugs his reins and leads his cavalry away.\n\n AT THE ENGLISH COMMAND", "led by BOTTOMS, the English lord who claimed the right of \n prima noctes. Now he shouts to his scurrying soldiers.", "CHELTHAM\n Here are the King's terms. Lead this \n army off the field, and he will give", "The English try to form up; but the Scottish horsemen, fording \n the river high upstream, come crashing into the English flank \n and ride over the surprised English infantry.", "The English leaders are stunned by the ferocious attack.\n\n TALMADGE\n Press reinforcements across!", "Wallace is scanning the battlefield. He sees the English \n cavalry charge, but before they reach the bristling spears, \n they pull up, and crossbowmen, moving up behind the knights.", "UP ON THE HILL, Robert the Bruce sits on his horse, and waits. \n He looks down at the English generals, at their banners, \n their army. He looks down the ranks at his own.", "The English are not without courage. Cheltham leads a \n desperate counterattack. The Scots make an impenetrable", "A procession of heavily armed English soldiers winds its way \n toward London, Wallace strapped to an unsaddled horse, his \n head bare to the sun. Country people come out to jeer..." ], [ "Farmers in the field, blacksmiths at their forges, leave \n their work and uncover their inevitable weapons and run after \n the riders. They put on their forbidden tartans, kiss their", "A commotion; the nobles, their heads hooded, are led in on \n horseback by guerrillas from the village. The nobles stop, \n feel their hoods pulled off, and see Wallace.", "SHOUTS of alarm: ARMED MEN are coming! The farmers scramble \n for their weapons, ready to fight; even Campbell jumps up;", "by desecrating the graves of his \n father and brother and setting an \n ambush at the grave of his wife. He", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek.", "ROBERT\n In Lanark village, the king's soldiers \n killed a girl. Her lover fought his \n way through the soldiers and killed \n the magistrate.", "-- Wallace's house burns, as soldiers dig up the graves of \n his father and brother, and scatter their bones to dogs.\n\n -- The English search through the woods, finding nothing.", "GIRL\n You've taken over your father's farm?\n (beat)\n They say he died long ago. Fighting \n the English.", "As the soldiers stumble after him, the Magistrate looks down \n at his mangled soldiers. The one with the ruptured arm is \n lying in agony.", "A dozen strong, tough farmers have huddled. Red-headed \n CAMPBELL, scarred and missing fingers, is stirred up, while \n his friend MacCLANNOUGH is reluctant.", "Outmaneuvered, the leader reins his horse away. Several of \n the farmers spit on the ground. Argyle glares at them.", "Out in the corridor, the guards gather; they have Wallace \n trapped. He covers the horse's eyes with a cloth and spurs \n his flanks. The blind animal runs through the window!", "The soldiers grip their weapons, ready to take their \n prisoners. They burst into the little clearing; the dogs", "Shoving groups of men in different directions, Wallace then \n takes off. His group is about a dozen; they race through the \n woods, dodging trees, running aimlessly. They stop and listen. \n The BARKS are getting closer.", "helpless. The bolts fall, cutting through their helmets and \n breastplates like paper. Wallace has no cavalry -- and his \n men are being slaughtered! He spurs his horse, and Stephen", "It takes a moment for the other soldiers to realize what \n just happened, and in that instant William is on them. He", "MALCOLM WALLACE\n They have a camp here. We attack \n them at sunset tomorrow. Give us all \n night to run home.", "The shout rings through the village; Marion hears it, and \n when she sees more soldiers at the far end of the lane she's", "He has stopped, rock still. The soldiers hush; there is \n something unsettling about this man alone, staring at the \n twenty of them, as if to steel himself for the butchery.", "She shouts to warn him that the scarred soldier, now \n bloodyfaced, has recovered from the rock and is behind William" ], [ "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "Hamish is weeping. When he looks up again, his father has \n died. We PULL BACK from them in tableaux, with the army, the \n people of Scotland, the whole gray world in defeat.", "Her eyes spring open like a doe's; then she sags, dead. The \n townspeople are speechless; even some of the soldiers are \n shocked. The Magistrate turns calmly to his men.", "Edward sits against the wall, watching him die, glee in his \n eyes. The Princess enters, and marches to the bedside.", "ARGYLE\n My brother and nephew perished two \n days ago, when their hay cart turned \n over.", "WILLIAM\n He died in an accident, with my \n brother. Their cart turned over.", "Hamish hands the shrouded body up to William and bounds into \n the saddle of his own horse. They spur the horses and ride \n away, William clutching Marion's shrouded body to his chest.", "Then Longshanks grabs him and throws him out the window, the \n same one Edward and Phillip were looking out, six stories \n above the courtyard. We hear Phillip's SCREAM as he falls.", "The Priest from their home village is moving through the \n Scottish ranks, dispensing absolution. He reaches the two \n friends, who accept the Host, say their own last prayers,", "From his perch in the loft, William sees that the neighbors \n have brought: the bodies of his father and brother. The cart", "Pickering's eyes go wide, then roll back as Stephen's dagger \n slides expertly through his back ribs and into his heart. As", "William keeps reaching out helplessly. His father and brother \n move past him to the hanged knights. Two empty nooses are", "Opposite William stands old MacClannough; he stares across \n the open hole that accepts the body of his daughter, his \n eyes full of pain, and then staggers away.", "William looks up and their young eyes meet; her sad blue \n eyes hold William's as the grave diggers cover the bodies.", "LONGSHANKS\n (exploding)\n He is gone! Finished! Dead! If he", "Hamish reaches the rear of the battle and lowers the limp \n body of his father to the Scottish monks who are attending \n to the wounded and giving absolution to the dying...", "With the final Amen, the neighbors drift from the graveside, \n pulling their Children along, to give William a last moment \n of private grief before the grave diggers cover the bodies.", "They move closer and closer together. Just as they are about \n to reach each other, a huge round stone THUMPS to the earth \n at Williams' feet.", "ROBERT\n He was so brave. With courage alone \n he nearly won.\n\n LEPER\n So more men were slaughtered \n uselessly!", "The farmers file by the graveside, crossing themselves, each \n whispering his own private prayer. Argyle whispers, half to \n William, and half to himself..." ], [ "Wallace's eyes capture the soldier, and hold him, piercing \n his soul. The soldier looks away in shame, even as the rest \n of the crowd jeers more.", "THE CROWD, WALLACE'S POV\n\n He sees Hamish, eyes brimming, face glowing...\n\n SLOW MOTION - THE AXE", "a signal. They cut the ropes, drag Wallace over and put his \n head on the block. The executioner lifts his huge axe -- and \n Wallace looks toward the crowd.", "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed.", "the crowd, they pull the ropes taut. They crowd grows quiet \n enough to hear the groaning of Wallace's limbs. Hamish and \n Stephen feel it in their own bodies.", "Wallace lifts his eyes, taking it all in. At the rear of the \n hall is a balcony, backed by a magnificent sunlit stained", "Wallace and his friends are starting to panic. The blood \n beats in their ears, their breath scalds their lungs. And we \n MOVE IN on Wallace's eyes. He stops, gasping.", "They stare at this in mute shock. Wallace is frozen, his \n eyes reflecting his boyhood reaction. His men rush forward.", "Then, riding into the mob of men, comes Wallace, followed by \n his friends. He's striking, charismatic, his powerful arms", "see them, not Wallace, as the irons are touched to his body, \n but we hear the burning of flesh. Then the Magistrate signals; \n Wallace wants to say something.", "with knives in plain view, and a chopping block with an \n enormous axe. Wallace sees it all.", "Wallace shakes his head. The executioners cut off his clothes, \n take hot irons from a fire box. The crowd grows silent; we", "Wallace reins his horse around to face the mob of sullen \n men, now frightened, ready to desert. We play this picture,", "begins to drop.\n\n WALLACE'S POV", "At a loss, Wallace looks up at the sky. HE SEES: the trees \n stretching into the night like spikes to skewer the stars.", "CROWD\n Wal-lace, Wal-lace!!", "The crowd can't hear the magistrate but they know the \n procedure, and they goad Wallace, chanting...\n\n CROWD\n Mer-cy! Mer-cy! Mer-cy!", "Wallace looks around at the aftermath of the battle: bodies \n on the field; soldiers lying impaled; stacks of bodies on \n the bridge; the bridge slick with blood.", "He emphasizes \"mercy\" by pointing to the axe. Wallace is \n pale, and trebles -- but he shakes his head. The CROWD grows \n noisier as they put the noose around Wallace's neck...", "Wallace gallops on; his farmer neighbors, and people from \n the village, follow in his wake.\n\n EXT. IN THE VILLAGE - DAY" ], [ "WALLACE\n Now! Charge! Charge them!\n\n Mornay tugs his reins and leads his cavalry away.\n\n AT THE ENGLISH COMMAND", "They stare at this in mute shock. Wallace is frozen, his \n eyes reflecting his boyhood reaction. His men rush forward.", "Wallace draws his broadsword. The burning debris inside the \n gate collapses, leaving a tunnel through the fire. Wallace \n screams, and leads the charge through the burning barrier.", "Then, riding into the mob of men, comes Wallace, followed by \n his friends. He's striking, charismatic, his powerful arms", "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "helpless. The bolts fall, cutting through their helmets and \n breastplates like paper. Wallace has no cavalry -- and his \n men are being slaughtered! He spurs his horse, and Stephen", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "Wallace is scanning the battlefield. He sees the English \n cavalry charge, but before they reach the bristling spears, \n they pull up, and crossbowmen, moving up behind the knights.", "They are loading to fire again when Wallace runs in -- on \n foot! -- and cuts down two soldiers! The other Scots charge!\n\n The startled soldiers break and run in every direction.", "Wallace looks around at the aftermath of the battle: bodies \n on the field; soldiers lying impaled; stacks of bodies on \n the bridge; the bridge slick with blood.", "Wallace's eyes flutter, and clear. He fights through the \n pain, struggles for one last deep breath, and screams...\n\n WALLACE\n FREEEEE-DOMMMMMM!", "Rallied by Wallace's presence, the Scots surge back. Then \n Wallace sees the English reinforcement cavalry coming.\n\n WALLACE\n A charge! Form up! Form up!", "and run to follow them; we see Wallace's face, relentless, \n as he hacks men down in the attack; with the fortress sacked", "of the English, who are surrounded in the bog. Too late, \n Dolecroft realizes his blunder. Wallace lifts his broadsword, \n screams, and leads the charge...", "On Wallace's army behind Robert the Bruce, charging down the \n hill to victory and glory, we slow to FREEZE FRAME and hear \n their chant, huge, echoing...", "Wallace -- suddenly looms up behind them, galloping and \n swirling fire! He hurls burning torches into the clustered \n soldiers, setting some of them on fire!", "The arrows tear through Wallace's clothes, but don't catch \n his flesh. He charges on; his horse LEAPS the barrier as", "On horseback, Wallace fights his way into the watery edge of \n the field, where English infantry is now overrunning the", "AT THE BRIDGE, WALLACE\n\n sees the Scottish nobles attacking. The English soldiers are \n in utter panic, running and being cut down on all sides." ], [ "Wallace's eyes flutter, and clear. He fights through the \n pain, struggles for one last deep breath, and screams...\n\n WALLACE\n FREEEEE-DOMMMMMM!", "WALLACE\n We all end up dead. It's only a \n question of how. And why.", "WALLACE\n My dreams of Marion are gone. I killed \n them myself. If I knew I could live \n with her on the other side of death, \n I'd welcome it.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "Wallace is in the woods, in the grove of trees, looking at \n Marion's hidden grave. The rain falls on his face, like tears.", "Wallace hugs them, first Stephen, then Hamish. Tears roll \n down Hamish's cheeks. With one last look at his friends, \n Wallace rides away.", "EDWARD\n Before he lost his powers of speech, \n he told me his one comfort was that \n he would live to know Wallace was \n dead.", "Wallace looks around at the aftermath of the battle: bodies \n on the field; soldiers lying impaled; stacks of bodies on \n the bridge; the bridge slick with blood.", "Wallace and his friends are starting to panic. The blood \n beats in their ears, their breath scalds their lungs. And we \n MOVE IN on Wallace's eyes. He stops, gasping.", "Wallace is sitting alone nearby, staring at nothing. Hamish \n moves over and puts a hand on his shoulder. Wallace looks at \n his friend, and looks away; killing the Magistrate did not \n bring Marion back.", "Marion's blood, in a dark dry splash by the wall of the well, \n the stain dripping down onto the dirt of the street. Wallace", "Wallace kneels at the graveside in unspeakable grief. From \n within his shirt he withdraws the embroidered handkerchief", "They stare at this in mute shock. Wallace is frozen, his \n eyes reflecting his boyhood reaction. His men rush forward.", "Wallace's eyes capture the soldier, and hold him, piercing \n his soul. The soldier looks away in shame, even as the rest \n of the crowd jeers more.", "EXT. LARGE ESTATE HOUSE - SUNSET\n\n The house looks quiet as Wallace rides toward it.\n\n INT. ESTATE HOUSE - DAY", "ROBERT\n Fight me! Fight me!\n\n But Wallace can only stagger back. Bruce's voice grows ragged \n as he screams.", "sits up gawking as the door explodes inward and Wallace rides \n through! Mornay is frozen. Wallace slashes him down.", "Wallace stands alone in the grove where Marion lies.\n\n MONTAGE", "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed." ], [ "BALLIOL\n With this new success, the result of \n all of Scotland's efforts, now is \n the time to declare a king!", "The Scots are lining up to leave their encampment. Wallace \n is about to give the signal to start the march when Hamish,", "England. Tell them Scotland's \n daughters and her sons are yours no \n more. Tell them Scotland is free.", "The rider rolls to his feet. William struggles up to meet \n him -- and comes face to face with Robert the Bruce.", "charged the fields of Bannockburn. \n They fought like warrior poets. They \n fought like Scotsmen. And won their \n freedom. Forever.", "Wallace moves to the front of the lead group of Scots.\n\n WALLACE\n Steady! Hold... hold... NOW!", "Tell your king that William Wallace \n will not be ruled. Nor will any Scot, \n while I live.", "The Scots, hidden just outside the gate, come pouring through, \n led by Wallace! Arrows pick soldiers from their perches,", "HAMISH\n That's just a dream, William!\n\n WALLACE\n We've lived a dream together. A dream \n of freedom!", "All around, the battle has decayed; the Scots are being \n slaughtered. Another bolt glances off Wallace's helmet; a \n third rips into his thigh plate, making his legs collapse.", "But Wallace's gaze has locked onto Robert the Bruce, who \n stares back, the two young lions instantly recognizing the \n leadership power of each other.", "A commotion; the nobles, their heads hooded, are led in on \n horseback by guerrillas from the village. The nobles stop, \n feel their hoods pulled off, and see Wallace.", "cruel pagan known as Edward the \n Longshanks, claimed the throne for \n himself. Scotland’s nobles fought", "ROBERT\n A commoner named William Wallace.\n\n THE LEPER\n A commoner? So no one leads Scotland?", "shocked even more. Robert the Bruce, king of Scotland, spurs \n his horse into full gallop toward the English, and the \n Highlanders hurl their bodies down the hill, ready to run", "The noble and his escorts ride away, and as they do it begins \n to rain. The celebration destroyed, the Scots gather the", "But as they move toward the firm ground, fifty Scots appear \n on the crest of the hill. Hamish leads them, smiling.", "They return to the Scottish lines. Wallace dismounts where \n his men are breaking out new 14-foot spears. Hamish, eyebrows \n raised, looks expectantly at Wallace; Wallace nods.", "They are loading to fire again when Wallace runs in -- on \n foot! -- and cuts down two soldiers! The other Scots charge!\n\n The startled soldiers break and run in every direction.", "the Scots are carving their way through the English soldiers; \n nothing can stop them. Wallace is relentless; each time he" ], [ "cruel pagan known as Edward the \n Longshanks, claimed the throne for \n himself. Scotland’s nobles fought", "EDWARD\n So I did! And what was so important \n about it?\n\n PRINCESS\n Scotland. He intends --", "shocked even more. Robert the Bruce, king of Scotland, spurs \n his horse into full gallop toward the English, and the \n Highlanders hurl their bodies down the hill, ready to run", "EDWARD\n The Scots will fight for us?\n\n LONGSHANKS\n What choice do they have? Now they \n must serve us or starve.", "EDWARD\n Wallace has sacked York!\n\n LONGSHANKS\n Impossible.\n (to messenger)\n How dare you bring a panicky lie.", "BALLIOL\n With this new success, the result of \n all of Scotland's efforts, now is \n the time to declare a king!", "WALLACE'S VOICE\n In the year of our Lord 1314, patriots \n of Scotland, starving and outnumbered,", "So does a dog. But you must understand \n this: Edward Longshanks is the most \n ruthless king ever to sit on the", "uncovering its contents. Prince Edward is closest; he looks \n in, then staggers back, stunned. Longshanks moves to the", "The chant builds to a frenzy; it shakes the earth. The \n Scottish nobles can scarcely believe it; the English are", "will recognize you as king of \n Scotland. Our nobles have agreed to \n this as well.", "The English try to form up; but the Scottish horsemen, fording \n the river high upstream, come crashing into the English flank \n and ride over the surprised English infantry.", "NICOLETTE\n When the king returns he will bury \n them in those new clothes. Scotland \n is in chaos. Your husband is secretly \n sending an army north.", "Prince Edward is in his garden, playing the medieval version \n of croquet with his friend. The Princess, ignored, sits \n watching. Longshanks marches through the game, furious.", "LONGSHANKS\n What news of the north?\n\n EDWARD\n Nothing new, Majesty. We have sent \n riders to speed any word.", "WALLACE\n A thousand.\n (beat)\n You have made me Guardian of Scotland. \n So I tell you this is what we face.", "And the Scottish soldiers taste something Scots have not \n tasted for a hundred years: victory. Even while finishing \n off the last of the English soldiers, they begin their highlow \n chant... Even the noblemen take up the chant!", "VOICE OVER\n Twelve years later, Longshanks \n supervised the wedding of his eldest \n son, also named Edward, who would \n succeed him to the throne.", "ROBERT\n In Lanark village, the king's soldiers \n killed a girl. Her lover fought his \n way through the soldiers and killed \n the magistrate.", "England. Tell them Scotland's \n daughters and her sons are yours no \n more. Tell them Scotland is free." ], [ "PRINCESS\n You see? Death comes to us all. And \n it comes to William Wallace. But", "CRAIG\n You are surprised he would lie? \n Balliol was murdered in a church \n yesterday. You are Longshanks' new \n designate. You will be king.", "EDWARD\n You let Wallace escape your whole \n army. You cannot blame me for this.\n\n Longshanks glowers at his son; the Princess arrives.", "Prince Edward is in his garden, playing the medieval version \n of croquet with his friend. The Princess, ignored, sits \n watching. Longshanks marches through the game, furious.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "Hamish hands the shrouded body up to William and bounds into \n the saddle of his own horse. They spur the horses and ride \n away, William clutching Marion's shrouded body to his chest.", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek.", "Longshanks glares at him, but takes the point. The wheels \n grind in his brain; his dark eyes falling on the Princess, \n he is inspired.", "-- Hamish and Stephen, disguised as peasants among the crowd, \n helpless too, but there, as if to shoulder some of the pain.\n\n -- Longshanks, rattling, coughing blood, as Edward watches.", "ROBERT (V.O.)\n After the beheading, William Wallace's \n body was torn to pieces. His head", "EDWARD\n The Scots will fight for us?\n\n LONGSHANKS\n What choice do they have? Now they \n must serve us or starve.", "Hamish is weeping. When he looks up again, his father has \n died. We PULL BACK from them in tableaux, with the army, the \n people of Scotland, the whole gray world in defeat.", "cruel pagan known as Edward the \n Longshanks, claimed the throne for \n himself. Scotland’s nobles fought", "EDWARD\n Wallace has sacked York!\n\n LONGSHANKS\n Impossible.\n (to messenger)\n How dare you bring a panicky lie.", "unsettled as she notices that one of the soldiers, a \n particularly nasty looking brute with a scarred face, is \n leering at her. William Wallace sees this too.", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "Then Longshanks grabs him and throws him out the window, the \n same one Edward and Phillip were looking out, six stories \n above the courtyard. We hear Phillip's SCREAM as he falls.", "ROBERT\n In Lanark village, the king's soldiers \n killed a girl. Her lover fought his \n way through the soldiers and killed \n the magistrate.", "WALLACE\n No! They will not!\n\n He dismounts, and draws his sword.\n\n WALLACE\n And I will.", "The noble and his escorts ride away, and as they do it begins \n to rain. The celebration destroyed, the Scots gather the" ], [ "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "The Princess is mesmerized by Wallace's passion.\n\n PRINCESS\n I understand you have suffered. I \n know... about your woman.", "But Wallace's gaze has locked onto Robert the Bruce, who \n stares back, the two young lions instantly recognizing the \n leadership power of each other.", "WALLACE\n You are Robert the Bruce.\n\n ROBERT THE BRUCE\n I am.", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "FATHER\n Murderin' English bastards.\n\n CUT TO:\n\n EXT. WALLACE FARMHOUSE - NIGHT", "unsettled as she notices that one of the soldiers, a \n particularly nasty looking brute with a scarred face, is \n leering at her. William Wallace sees this too.", "WALLACE'S VOICE\n In the year of our Lord 1314, patriots \n of Scotland, starving and outnumbered,", "Wallace is scanning the battlefield. He sees the English \n cavalry charge, but before they reach the bristling spears, \n they pull up, and crossbowmen, moving up behind the knights.", "Wallace draws his broadsword. The burning debris inside the \n gate collapses, leaving a tunnel through the fire. Wallace \n screams, and leads the charge through the burning barrier.", "Wallace is sitting alone nearby, staring at nothing. Hamish \n moves over and puts a hand on his shoulder. Wallace looks at \n his friend, and looks away; killing the Magistrate did not \n bring Marion back.", "Wallace hugs them, first Stephen, then Hamish. Tears roll \n down Hamish's cheeks. With one last look at his friends, \n Wallace rides away.", "She trots her horse the rest of the way, while the French \n guards stay back. Hamish helps her from her horse. She moves \n to Wallace, and opens the heavy folds of her heavy riding \n cape.", "WALLACE\n Wife of Edward, the king's son?\n\n She nods; somehow she is already ashamed.", "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed.", "Then, riding into the mob of men, comes Wallace, followed by \n his friends. He's striking, charismatic, his powerful arms", "WALLACE\n Longshanks did far worse, the last \n time he took a Scottish city.\n\n The Crony mumbles to her in LATIN, WITH SUBTITLES...", "Wallace stands alone, looking at the moon and stars. Hamish \n moves up and sits down beside him.\n\n HAMISH\n You know it's a trap.", "Wallace mounts up and rides out with the Scottish nobles to \n meet the English contingent.\n\n OUT ON THE FIELD, THE TWO GROUPS OF RIDERS" ], [ "The nobles rise; court attendants hurry to Wallace and drape \n a golden chain of office around his neck. Wallace takes the", "WALLACE\n Longshanks! I have come.", "CAMPBELL\n A royal entourage comes, flying \n banners of truce, and the standards \n of Longshanks himself!\n\n Wallace buckles on his sword.", "WALLACE\n LISTEN TO ME! Longshanks understands \n this! This!\n\n He brandishes the broadsword.", "They return to the Scottish lines. Wallace dismounts where \n his men are breaking out new 14-foot spears. Hamish, eyebrows \n raised, looks expectantly at Wallace; Wallace nods.", "Longshanks and our nobles. Pay it, \n and you will be our king. And we \n will have peace.", "Longshanks glares at him, but takes the point. The wheels \n grind in his brain; his dark eyes falling on the Princess, \n he is inspired.", "But Robert holds something -- uncurling his fist, he looks \n at the thistle handkerchief that belonged to Wallace. The \n nobles start to rein their horses toward the English.", "HAMISH\n There is... one thing, William. \n Longshanks is offering a truce. He", "LONGSHANKS\n You spoke with this Wallace in \n private. What kind of man is he?", "He stabs at Longshanks; the old king smiles at the attack, \n parrying, letting his arms be cut.\n\n LONGSHANKS\n You fight back at last!", "EDWARD\n Wallace has sacked York!\n\n LONGSHANKS\n Impossible.\n (to messenger)\n How dare you bring a panicky lie.", "Longshanks smiles. No one notices that the Princess is deadly \n pale.\n\n EXT. WALLACE ARMY CAMP - DAY", "Finally his father and brother reach William and hug him \n tight. There in the barn, among the swinging bodies of the \n hanged nobles, Malcolm Wallace grips his sons.", "CRAIG\n Sir William. We come to seek a \n meeting.\n\n WALLACE\n You've all sworn to Longshanks.", "LONGSHANKS\n For double his lands in Scotland, \n and matching estates in England.\n\n WALLACE, WITH STEPHEN", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "Wallace raises his hand, and the army falls silent.\n\n WALLACE\n Sons of Scotland!... I am William \n Wallace!", "Robert the Bruce spots something on the floor that must have \n fallen from Wallace's clothes as they grabbed him; Bruce \n lifts the white handkerchief, and sees the familiar thistle \n embroidered on it.", "But Wallace's gaze has locked onto Robert the Bruce, who \n stares back, the two young lions instantly recognizing the \n leadership power of each other." ], [ "WALLACE\n From his king? Absolutely. Here are \n Scotland's terms. Lower your flags", "PRINCESS\n I come as the king's servant, and \n with his authority.\n\n WALLACE\n It's battle I want, not talk.", "There are two dozen royal soldiers there, but they make no \n threatening moves.\n\n No sound from the tent. Wallace rests his hand on the handle \n of his broadsword, ready.", "Wallace has gathered the nobles, among them Robert the Bruce, \n Mornay, and old Craig, for a demonstration. Hamish and Stephen", "The nobles rise; court attendants hurry to Wallace and drape \n a golden chain of office around his neck. Wallace takes the", "CAMPBELL\n A royal entourage comes, flying \n banners of truce, and the standards \n of Longshanks himself!\n\n Wallace buckles on his sword.", "Wallace mounts up and rides out with the Scottish nobles to \n meet the English contingent.\n\n OUT ON THE FIELD, THE TWO GROUPS OF RIDERS", "The Princess hurries up to her husband as he leaves the king's \n bedroom, and follows him down the hall to his own.\n\n PRINCESS\n Is it true? Wallace is captured?", "They return to the Scottish lines. Wallace dismounts where \n his men are breaking out new 14-foot spears. Hamish, eyebrows \n raised, looks expectantly at Wallace; Wallace nods.", "They bind Wallace hand and foot. He stares at Robert the \n Bruce, who averts his eyes. The soldiers hurry Wallace out \n the back, where others are bringing up horses. Robert grabs \n the English Captain of the soldiers.", "The nobles grip their weapons; Wallace, Hamish and Stephen \n are ready to finish this quarrel right here. Robert the Bruce, \n backed by Mornay, steps between the two sides.", "ROBERT\n He will. I know he will.\n\n They hear the approach of a single horse. The Bruce looks \n out to see Wallace arriving.", "Robert the Bruce walks off the field, heading the way the \n other nobles went. Wallace rejoins Hamish and Stephen. They \n look to him; what do we do now?", "The Scots are lining up to leave their encampment. Wallace \n is about to give the signal to start the march when Hamish,", "But Wallace's gaze has locked onto Robert the Bruce, who \n stares back, the two young lions instantly recognizing the \n leadership power of each other.", "They see the Scottish army abandoned.\n\n STEPHEN\n Betrayed!\n\n Wallace glances to the other hilltop; still no sign of Bruce.", "WALLACE\n A thousand.\n (beat)\n You have made me Guardian of Scotland. \n So I tell you this is what we face.", "Campbell, Hamish and Stephen ride off. Mornay reins his horse \n over, lifts the reins of Wallace's horse, and extends them \n to him: an invitation to join the pre-battle talks.", "Finally his father and brother reach William and hug him \n tight. There in the barn, among the swinging bodies of the \n hanged nobles, Malcolm Wallace grips his sons.", "But Robert holds something -- uncurling his fist, he looks \n at the thistle handkerchief that belonged to Wallace. The \n nobles start to rein their horses toward the English." ], [ "The Princess is mesmerized by Wallace's passion.\n\n PRINCESS\n I understand you have suffered. I \n know... about your woman.", "WALLACE\n Marion! Is... is it you?\n\n Joy explodes on his face, and he runs to her, but stops before \n he touches her, as if she might evaporate.", "The Princess is struck with Wallace, too -- tall, powerful, \n and commanding. Wallace dismounts, and moves to face her.", "He reluctantly obeys. Seeing that she wants the exchange to \n be private, Wallace turns and nods for his men to leave.", "But Wallace's gaze has locked onto Robert the Bruce, who \n stares back, the two young lions instantly recognizing the \n leadership power of each other.", "WALLACE\n Why did you?\n\n PRINCESS\n Because of the way you're looking at \n me now. The same way... as when we \n met.", "Bruce faces him. The eyes of BOTH MEN meet, saying everything. \n Wallace steps into the room. He sees something flicker onto", "The shock and recognition stun Wallace; in that moment, \n looking at Robert the Bruce's guilt-ridden face, he", "Wallace is sitting alone nearby, staring at nothing. Hamish \n moves over and puts a hand on his shoulder. Wallace looks at \n his friend, and looks away; killing the Magistrate did not \n bring Marion back.", "The jailer obeys. The Princess can barely contain her shock \n at the sight of Wallace; the jailers snatch him upright.\n\n JAILER\n On your feet, you filth!", "Wallace hugs them, first Stephen, then Hamish. Tears roll \n down Hamish's cheeks. With one last look at his friends, \n Wallace rides away.", "She stares for a long moment at Wallace's eyes.\n\n PRINCESS\n Hamilton, leave us.", "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed.", "Then, riding into the mob of men, comes Wallace, followed by \n his friends. He's striking, charismatic, his powerful arms", "Finally his father and brother reach William and hug him \n tight. There in the barn, among the swinging bodies of the \n hanged nobles, Malcolm Wallace grips his sons.", "Surprised, he looks at her now.\n\n WALLACE\n You have... you have a husband.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "Hamish is unsure if he did the right thing in coming here -- \n unsure, until Wallace moves to them, and hugs them.\n\n INT. CAVE - NIGHT", "see them, not Wallace, as the irons are touched to his body, \n but we hear the burning of flesh. Then the Magistrate signals; \n Wallace wants to say something.", "The Princess hurries up to her husband as he leaves the king's \n bedroom, and follows him down the hall to his own.\n\n PRINCESS\n Is it true? Wallace is captured?" ], [ "They see the Scottish army abandoned.\n\n STEPHEN\n Betrayed!\n\n Wallace glances to the other hilltop; still no sign of Bruce.", "A commotion; the nobles, their heads hooded, are led in on \n horseback by guerrillas from the village. The nobles stop, \n feel their hoods pulled off, and see Wallace.", "Wallace has gathered the nobles, among them Robert the Bruce, \n Mornay, and old Craig, for a demonstration. Hamish and Stephen", "CAMPBELL\n Wallace is right! We fight 'em!\n\n MACCLANNOUGH\n Every nobleman who had any will to \n fight was at that meeting.", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek.", "But Robert holds something -- uncurling his fist, he looks \n at the thistle handkerchief that belonged to Wallace. The \n nobles start to rein their horses toward the English.", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "They bind Wallace hand and foot. He stares at Robert the \n Bruce, who averts his eyes. The soldiers hurry Wallace out \n the back, where others are bringing up horses. Robert grabs \n the English Captain of the soldiers.", "AT THE BRIDGE, WALLACE\n\n sees the Scottish nobles attacking. The English soldiers are \n in utter panic, running and being cut down on all sides.", "The common soldiers, already having broken ranks, cluster up \n the hill to see the confrontation. As Wallace and his captains \n reach the nobles, Stephen laughs.", "The Balliols shrivel. The nobles on the Bruce side can barely \n keep from grinning. Suddenly the men on the other end of the \n table change their attack.", "CRAIG\n Our nobles are frightened and \n confused... Wallace has the commoners", "The nobles grip their weapons; Wallace, Hamish and Stephen \n are ready to finish this quarrel right here. Robert the Bruce, \n backed by Mornay, steps between the two sides.", "They return to the Scottish lines. Wallace dismounts where \n his men are breaking out new 14-foot spears. Hamish, eyebrows \n raised, looks expectantly at Wallace; Wallace nods.", "THE LEPER\n You have said yourself that the nobles \n will not support Wallace, so how \n does it help us to join the side \n that is slaughtered?", "The nobles rise; court attendants hurry to Wallace and drape \n a golden chain of office around his neck. Wallace takes the", "Wallace and his men are marching away, as Robert the Bruce \n runs out after them.", "Robert the Bruce walks off the field, heading the way the \n other nobles went. Wallace rejoins Hamish and Stephen. They \n look to him; what do we do now?", "Wallace mounts up and rides out with the Scottish nobles to \n meet the English contingent.\n\n OUT ON THE FIELD, THE TWO GROUPS OF RIDERS", "WALLACE\n We won at Stirling and still you \n quibbled! We won at York and you \n would not support us! Then I said \n nothing! Now I say you are cowards!" ], [ "They bind Wallace hand and foot. He stares at Robert the \n Bruce, who averts his eyes. The soldiers hurry Wallace out \n the back, where others are bringing up horses. Robert grabs \n the English Captain of the soldiers.", "understands everything: the betrayal, the hopelessness of \n Scotland. As he stands there frozen, a bolt punches into the \n muscle of his neck, and Wallace doesn't react to it.", "CHELTHAM\n Mornay. Lochlan. Inverness.\n\n MORNAY\n Cheltham. This is William Wallace", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "The executioners slam Wallace onto his back on the table, \n spread his arms and legs, and tie each to a crank. Goaded by", "Wallace pulls his broadsword and snaps it at Cheltham, whose \n eyes flash in disbelief at the bad manners.\n\n LOCHLAN\n You disrespect a banner of truce?!", "The crowd is festive; hawkers sell roast chickens, and beer \n from barrels. Royal horsemen arrive, dragging Wallace strapped", "Finally his father and brother reach William and hug him \n tight. There in the barn, among the swinging bodies of the \n hanged nobles, Malcolm Wallace grips his sons.", "Wallace signals to Mornay with the Scottish cavalry. Mornay \n does nothing. The crossbowmen, though taking great punishment, \n are beginning to overwhelm the dogs by sheer numbers, and \n are regrouping.", "Wallace has gathered the nobles, among them Robert the Bruce, \n Mornay, and old Craig, for a demonstration. Hamish and Stephen", "The Scots wait, biding their time as the barrier burns.\n\n Suddenly they look up in horror; the English are throwing \n the bodies of hanged Scots over the wall.", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek.", "All around, the battle has decayed; the Scots are being \n slaughtered. Another bolt glances off Wallace's helmet; a \n third rips into his thigh plate, making his legs collapse.", "They return to the Scottish lines. Wallace dismounts where \n his men are breaking out new 14-foot spears. Hamish, eyebrows \n raised, looks expectantly at Wallace; Wallace nods.", "The horse and rider plunge past the sheer walls of the \n castle... and into the loch! Mornay's guards and the castle", "A procession of heavily armed English soldiers winds its way \n toward London, Wallace strapped to an unsaddled horse, his \n head bare to the sun. Country people come out to jeer...", "ROBERT (V.O.)\n After the beheading, William Wallace's \n body was torn to pieces. His head", "The nobles grip their weapons; Wallace, Hamish and Stephen \n are ready to finish this quarrel right here. Robert the Bruce, \n backed by Mornay, steps between the two sides.", "They see the Scottish army abandoned.\n\n STEPHEN\n Betrayed!\n\n Wallace glances to the other hilltop; still no sign of Bruce.", "He turns to fight, and Wallace slashes away his sword.\n\n MAGISTRATE\n No! I beg you... mercy!\n\n IN THE TOWN SQUARE" ], [ "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed.", "They stare at this in mute shock. Wallace is frozen, his \n eyes reflecting his boyhood reaction. His men rush forward.", "Wallace's eyes capture the soldier, and hold him, piercing \n his soul. The soldier looks away in shame, even as the rest \n of the crowd jeers more.", "see them, not Wallace, as the irons are touched to his body, \n but we hear the burning of flesh. Then the Magistrate signals; \n Wallace wants to say something.", "Wallace's eyes roll to the magistrate, who signals QUIET!\n\n MAGISTRATE\n (booming)\n The prisoner wishes to say a word!", "The shock and recognition stun Wallace; in that moment, \n looking at Robert the Bruce's guilt-ridden face, he", "Wallace faces Talmadge in the distance.\n\n WALLACE\n Here I am, English coward! Come get \n me!!", "EDWARD\n Wallace's? For treason there is no \n trial. Tomorrow he will be charged, \n then executed.", "Wallace reins his horse around to face the mob of sullen \n men, now frightened, ready to desert. We play this picture,", "INT. TOWER DUNGEON\n\n Wallace stands in medieval restraints worthy of Hannibal \n Lecter. Before him are six scarlet-robed royal magistrates.", "Grim magistrates prod Wallace and he climbs the execution \n platform. On the platform are a noose, a dissection table", "Wallace and his friends are starting to panic. The blood \n beats in their ears, their breath scalds their lungs. And we \n MOVE IN on Wallace's eyes. He stops, gasping.", "WALLACE. He looks like a human buzzard, his face craggy, \n permanently furious.", "Wallace's eyes flutter, and clear. He fights through the \n pain, struggles for one last deep breath, and screams...\n\n WALLACE\n FREEEEE-DOMMMMMM!", "Then, riding into the mob of men, comes Wallace, followed by \n his friends. He's striking, charismatic, his powerful arms", "Wallace shakes his head. The executioners cut off his clothes, \n take hot irons from a fire box. The crowd grows silent; we", "Wallace draws his broadsword. The burning debris inside the \n gate collapses, leaving a tunnel through the fire. Wallace \n screams, and leads the charge through the burning barrier.", "The Magistrate, abandoned, runs too. Wallace pursues.\n\n Not far along a twisting lane, the bulky Magistrate falters.", "WALLACE\n Now! Charge! Charge them!\n\n Mornay tugs his reins and leads his cavalry away.\n\n AT THE ENGLISH COMMAND", "Bruce faces him. The eyes of BOTH MEN meet, saying everything. \n Wallace steps into the room. He sees something flicker onto" ], [ "EDWARD\n Wallace's? For treason there is no \n trial. Tomorrow he will be charged, \n then executed.", "He emphasizes \"mercy\" by pointing to the axe. Wallace is \n pale, and trebles -- but he shakes his head. The CROWD grows \n noisier as they put the noose around Wallace's neck...", "The executioners slam Wallace onto his back on the table, \n spread his arms and legs, and tie each to a crank. Goaded by", "Wallace shakes his head. The executioners cut off his clothes, \n take hot irons from a fire box. The crowd grows silent; we", "He turns to fight, and Wallace slashes away his sword.\n\n MAGISTRATE\n No! I beg you... mercy!\n\n IN THE TOWN SQUARE", "Grim magistrates prod Wallace and he climbs the execution \n platform. On the platform are a noose, a dissection table", "a signal. They cut the ropes, drag Wallace over and put his \n head on the block. The executioner lifts his huge axe -- and \n Wallace looks toward the crowd.", "see them, not Wallace, as the irons are touched to his body, \n but we hear the burning of flesh. Then the Magistrate signals; \n Wallace wants to say something.", "too far, he prolongs the moment; then the Magistrate nods \n and the executioner cuts the rope. Wallace slams to the \n platform; the Magistrate leans to him.", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "INT. TOWER DUNGEON\n\n Wallace stands in medieval restraints worthy of Hannibal \n Lecter. Before him are six scarlet-robed royal magistrates.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "We PUSH IN on the iron mask that binds his face. We can only \n see his eyes -- but they are bright.\n\n WALLACE\n Treason. Against whom?", "They bind Wallace hand and foot. He stares at Robert the \n Bruce, who averts his eyes. The soldiers hurry Wallace out \n the back, where others are bringing up horses. Robert grabs \n the English Captain of the soldiers.", "Out in the corridor, the guards gather; they have Wallace \n trapped. He covers the horse's eyes with a cloth and spurs \n his flanks. The blind animal runs through the window!", "The crowd can't hear the magistrate but they know the \n procedure, and they goad Wallace, chanting...\n\n CROWD\n Mer-cy! Mer-cy! Mer-cy!", "ROYAL MAGISTRATE\n William Wallace! You stand in taint \n of high treason.", "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed.", "Wallace's eyes capture the soldier, and hold him, piercing \n his soul. The soldier looks away in shame, even as the rest \n of the crowd jeers more.", "Wallace's eyes flutter, and clear. He fights through the \n pain, struggles for one last deep breath, and screams...\n\n WALLACE\n FREEEEE-DOMMMMMM!" ], [ "cruel pagan known as Edward the \n Longshanks, claimed the throne for \n himself. Scotland’s nobles fought", "EDWARD\n So I did! And what was so important \n about it?\n\n PRINCESS\n Scotland. He intends --", "shocked even more. Robert the Bruce, king of Scotland, spurs \n his horse into full gallop toward the English, and the \n Highlanders hurl their bodies down the hill, ready to run", "EDWARD\n The Scots will fight for us?\n\n LONGSHANKS\n What choice do they have? Now they \n must serve us or starve.", "EDWARD\n Wallace has sacked York!\n\n LONGSHANKS\n Impossible.\n (to messenger)\n How dare you bring a panicky lie.", "Prince Edward is in his garden, playing the medieval version \n of croquet with his friend. The Princess, ignored, sits \n watching. Longshanks marches through the game, furious.", "BALLIOL\n With this new success, the result of \n all of Scotland's efforts, now is \n the time to declare a king!", "WALLACE'S VOICE\n In the year of our Lord 1314, patriots \n of Scotland, starving and outnumbered,", "uncovering its contents. Prince Edward is closest; he looks \n in, then staggers back, stunned. Longshanks moves to the", "LONGSHANKS\n What news of the north?\n\n EDWARD\n Nothing new, Majesty. We have sent \n riders to speed any word.", "The chant builds to a frenzy; it shakes the earth. The \n Scottish nobles can scarcely believe it; the English are", "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "NICOLETTE\n When the king returns he will bury \n them in those new clothes. Scotland \n is in chaos. Your husband is secretly \n sending an army north.", "So does a dog. But you must understand \n this: Edward Longshanks is the most \n ruthless king ever to sit on the", "The English try to form up; but the Scottish horsemen, fording \n the river high upstream, come crashing into the English flank \n and ride over the surprised English infantry.", "Prince Edward and Phillip, his fencing friend and lover, \n hear a contingent of horsemen clatter into the courtyard \n below; they look out the window and see the arrival of \n Longshanks.", "VOICE OVER\n Twelve years later, Longshanks \n supervised the wedding of his eldest \n son, also named Edward, who would \n succeed him to the throne.", "will recognize you as king of \n Scotland. Our nobles have agreed to \n this as well.", "EDWARD\n You let Wallace escape your whole \n army. You cannot blame me for this.\n\n Longshanks glowers at his son; the Princess arrives.", "WALLACE\n A thousand.\n (beat)\n You have made me Guardian of Scotland. \n So I tell you this is what we face." ], [ "Longshanks glares at him, but takes the point. The wheels \n grind in his brain; his dark eyes falling on the Princess, \n he is inspired.", "cruel pagan known as Edward the \n Longshanks, claimed the throne for \n himself. Scotland’s nobles fought", "LONGSHANKS, King of England, stands in the jeweled light of \n the ancient Abbey. Known as Longshanks because of the spindly", "Longshanks is being listened to by his advisors, all in the \n outrageous splendor of royal military dress, and all deathly \n afraid of him.", "Longshanks slaps his son, knocking him down among the colored \n balls and wickets. Everyone gasps, stunned.\n\n LONGSHANKS\n You weak little coward! Stand up!", "Longshanks bangs the door open and stalks in angrily. First \n he glares at Phillip with obvious loathing, then turns his \n piercing stare to his own son.", "CRAIG\n Longshanks knows his son will scarcely \n be able to rule England, much less", "Longshanks jerks him to his feet.", "So does a dog. But you must understand \n this: Edward Longshanks is the most \n ruthless king ever to sit on the", "Longshanks grabs his son by the throat.\n\n LONGSHANKS\n And turn yourself into a man.", "Longshanks and our nobles. Pay it, \n and you will be our king. And we \n will have peace.", "Edward is a bloody mess; Longshanks coughs up a bit of blood.\n\n He ignores it and his son's wreckage, and goes back to the \n discussion, as if this fight was normal business.", "uncovering its contents. Prince Edward is closest; he looks \n in, then staggers back, stunned. Longshanks moves to the", "LONGSHANKS\n Now we kill two birds at one stroke. \n We recruit from Scotland for our \n armies in France.", "Prince Edward is in his garden, playing the medieval version \n of croquet with his friend. The Princess, ignored, sits \n watching. Longshanks marches through the game, furious.", "to Longshanks, so softly that even Edward can't hear...", "LONGSHANKS\n If he wants his queen to rule, then \n you stay and learn how! I will deal \n with him.", "Prince Edward and Phillip, his fencing friend and lover, \n hear a contingent of horsemen clatter into the courtyard \n below; they look out the window and see the arrival of \n Longshanks.", "PRINCESS\n Your pardon, M'lord, he asked me to \n come in his stead.\n\n Longshanks' eyes expand in fury; it is frightening to see.", "EDWARD\n Wallace has sacked York!\n\n LONGSHANKS\n Impossible.\n (to messenger)\n How dare you bring a panicky lie." ], [ "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "But Wallace's gaze has locked onto Robert the Bruce, who \n stares back, the two young lions instantly recognizing the \n leadership power of each other.", "WALLACE\n You are Robert the Bruce.\n\n ROBERT THE BRUCE\n I am.", "Wallace has gathered the nobles, among them Robert the Bruce, \n Mornay, and old Craig, for a demonstration. Hamish and Stephen", "The Princess is mesmerized by Wallace's passion.\n\n PRINCESS\n I understand you have suffered. I \n know... about your woman.", "She trots her horse the rest of the way, while the French \n guards stay back. Hamish helps her from her horse. She moves \n to Wallace, and opens the heavy folds of her heavy riding \n cape.", "Wallace mounts up and rides out with the Scottish nobles to \n meet the English contingent.\n\n OUT ON THE FIELD, THE TWO GROUPS OF RIDERS", "WALLACE'S VOICE\n In the year of our Lord 1314, patriots \n of Scotland, starving and outnumbered,", "WALLACE\n That's my friend, Irishman. And the \n answer's yes. You fight for me, you \n kill the English.", "Wallace hugs them, first Stephen, then Hamish. Tears roll \n down Hamish's cheeks. With one last look at his friends, \n Wallace rides away.", "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed.", "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "They return to the Scottish lines. Wallace dismounts where \n his men are breaking out new 14-foot spears. Hamish, eyebrows \n raised, looks expectantly at Wallace; Wallace nods.", "And as they draw nearer, Wallace hears a haunting noise. He \n sees the bowmen more clearly, and the English infantry. Some \n are wearing kilts and marching to bagpipes.", "Wallace stands alone, looking at the moon and stars. Hamish \n moves up and sits down beside him.\n\n HAMISH\n You know it's a trap.", "Wallace is sitting alone nearby, staring at nothing. Hamish \n moves over and puts a hand on his shoulder. Wallace looks at \n his friend, and looks away; killing the Magistrate did not \n bring Marion back.", "unsettled as she notices that one of the soldiers, a \n particularly nasty looking brute with a scarred face, is \n leering at her. William Wallace sees this too.", "FATHER\n Murderin' English bastards.\n\n CUT TO:\n\n EXT. WALLACE FARMHOUSE - NIGHT", "CAMPBELL\n Wallace is right! We fight 'em!\n\n MACCLANNOUGH\n Every nobleman who had any will to \n fight was at that meeting." ], [ "unsettled as she notices that one of the soldiers, a \n particularly nasty looking brute with a scarred face, is \n leering at her. William Wallace sees this too.", "Hamish hands the shrouded body up to William and bounds into \n the saddle of his own horse. They spur the horses and ride \n away, William clutching Marion's shrouded body to his chest.", "She trots her horse the rest of the way, while the French \n guards stay back. Hamish helps her from her horse. She moves \n to Wallace, and opens the heavy folds of her heavy riding \n cape.", "EDWARD\n The Scots will fight for us?\n\n LONGSHANKS\n What choice do they have? Now they \n must serve us or starve.", "A commotion; the nobles, their heads hooded, are led in on \n horseback by guerrillas from the village. The nobles stop, \n feel their hoods pulled off, and see Wallace.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "PRINCESS\n I have come to beg for the life of \n William Wallace.\n\n EDWARD\n You fancy him.", "Longshanks glares at him, but takes the point. The wheels \n grind in his brain; his dark eyes falling on the Princess, \n he is inspired.", "EDWARD\n You let Wallace escape your whole \n army. You cannot blame me for this.\n\n Longshanks glowers at his son; the Princess arrives.", "WALLACE\n No! They will not!\n\n He dismounts, and draws his sword.\n\n WALLACE\n And I will.", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek.", "A procession of heavily armed English soldiers winds its way \n toward London, Wallace strapped to an unsaddled horse, his \n head bare to the sun. Country people come out to jeer...", "They bind Wallace hand and foot. He stares at Robert the \n Bruce, who averts his eyes. The soldiers hurry Wallace out \n the back, where others are bringing up horses. Robert grabs \n the English Captain of the soldiers.", "Tell your king that William Wallace \n will not be ruled. Nor will any Scot, \n while I live.", "Robert the Bruce is in bed with a young Nordic beauty with \n vacant blue eyes. She drowses; but the lovemaking has not", "ROBERT (V.O.)\n It did not have the effect that \n Longshanks planned.", "Prince Edward is in his garden, playing the medieval version \n of croquet with his friend. The Princess, ignored, sits \n watching. Longshanks marches through the game, furious.", "-- Hamish and Stephen, disguised as peasants among the crowd, \n helpless too, but there, as if to shoulder some of the pain.\n\n -- Longshanks, rattling, coughing blood, as Edward watches.", "They are loading to fire again when Wallace runs in -- on \n foot! -- and cuts down two soldiers! The other Scots charge!\n\n The startled soldiers break and run in every direction.", "PRINCESS\n You see? Death comes to us all. And \n it comes to William Wallace. But" ], [ "Hamish hands the shrouded body up to William and bounds into \n the saddle of his own horse. They spur the horses and ride \n away, William clutching Marion's shrouded body to his chest.", "unsettled as she notices that one of the soldiers, a \n particularly nasty looking brute with a scarred face, is \n leering at her. William Wallace sees this too.", "ROBERT (V.O.)\n After the beheading, William Wallace's \n body was torn to pieces. His head", "They bind Wallace hand and foot. He stares at Robert the \n Bruce, who averts his eyes. The soldiers hurry Wallace out \n the back, where others are bringing up horses. Robert grabs \n the English Captain of the soldiers.", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek.", "The Princess hurries up to her husband as he leaves the king's \n bedroom, and follows him down the hall to his own.\n\n PRINCESS\n Is it true? Wallace is captured?", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "A commotion; the nobles, their heads hooded, are led in on \n horseback by guerrillas from the village. The nobles stop, \n feel their hoods pulled off, and see Wallace.", "Finally his father and brother reach William and hug him \n tight. There in the barn, among the swinging bodies of the \n hanged nobles, Malcolm Wallace grips his sons.", "She trots her horse the rest of the way, while the French \n guards stay back. Hamish helps her from her horse. She moves \n to Wallace, and opens the heavy folds of her heavy riding \n cape.", "A procession of heavily armed English soldiers winds its way \n toward London, Wallace strapped to an unsaddled horse, his \n head bare to the sun. Country people come out to jeer...", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "All around, the battle has decayed; the Scots are being \n slaughtered. Another bolt glances off Wallace's helmet; a \n third rips into his thigh plate, making his legs collapse.", "The crowd is festive; hawkers sell roast chickens, and beer \n from barrels. Royal horsemen arrive, dragging Wallace strapped", "The noble and his escorts ride away, and as they do it begins \n to rain. The celebration destroyed, the Scots gather the", "gave to Marion, now stained with her blood. He lifts it, \n crushes it in his hand, as the Highlanders chant for war.", "Marion is thrown into a chair and her arms are bound with an \n oak staff behind her elbows. She and two dozen soldiers are \n in the tavern the English have commandeered.", "ROBERT\n In Lanark village, the king's soldiers \n killed a girl. Her lover fought his \n way through the soldiers and killed \n the magistrate.", "They are loading to fire again when Wallace runs in -- on \n foot! -- and cuts down two soldiers! The other Scots charge!\n\n The startled soldiers break and run in every direction.", "Hamish is weeping. When he looks up again, his father has \n died. We PULL BACK from them in tableaux, with the army, the \n people of Scotland, the whole gray world in defeat." ], [ "Longshanks bangs the door open and stalks in angrily. First \n he glares at Phillip with obvious loathing, then turns his \n piercing stare to his own son.", "Longshanks grabs his son by the throat.\n\n LONGSHANKS\n And turn yourself into a man.", "Longshanks slaps his son, knocking him down among the colored \n balls and wickets. Everyone gasps, stunned.\n\n LONGSHANKS\n You weak little coward! Stand up!", "CRAIG\n Longshanks knows his son will scarcely \n be able to rule England, much less", "Edward is a bloody mess; Longshanks coughs up a bit of blood.\n\n He ignores it and his son's wreckage, and goes back to the \n discussion, as if this fight was normal business.", "EDWARD\n You let Wallace escape your whole \n army. You cannot blame me for this.\n\n Longshanks glowers at his son; the Princess arrives.", "Longshanks glares at him, but takes the point. The wheels \n grind in his brain; his dark eyes falling on the Princess, \n he is inspired.", "VOICE OVER\n Twelve years later, Longshanks \n supervised the wedding of his eldest \n son, also named Edward, who would \n succeed him to the throne.", "uncovering its contents. Prince Edward is closest; he looks \n in, then staggers back, stunned. Longshanks moves to the", "Prince Edward is in his garden, playing the medieval version \n of croquet with his friend. The Princess, ignored, sits \n watching. Longshanks marches through the game, furious.", "Longshanks shakes his head.\n\n PRINCESS\n Even now, you are incapable of mercy?\n\n The king can't speak. But hatred still glows in his eyes.", "INT. EDWARD'S PALACE - DAY\n\n The doors open; the Princess enters Longshanks' war council; \n Prince Edward is there, among a dozen others.", "Prince Edward and Phillip, his fencing friend and lover, \n hear a contingent of horsemen clatter into the courtyard \n below; they look out the window and see the arrival of \n Longshanks.", "He punches the map, then sees the Princess enter softly.\n\n LONGSHANKS\n Where is my son?", "floor; then Longshanks kicks his son, again and again. He \n exhausts his fury on him.", "just showing the first signs of her pregnancy. Longshanks \n and his son seem to hear; the cry STILL ECHOES as if the \n wind could carry it through the ends of Scotland; and Robert", "cruel pagan known as Edward the \n Longshanks, claimed the throne for \n himself. Scotland’s nobles fought", "Then Longshanks unleashes his own hateful fury; he grapples \n with Edward, knocking the dagger away and hurling him to the", "Then Longshanks grabs him and throws him out the window, the \n same one Edward and Phillip were looking out, six stories \n above the courtyard. We hear Phillip's SCREAM as he falls.", "Longshanks is being listened to by his advisors, all in the \n outrageous splendor of royal military dress, and all deathly \n afraid of him." ], [ "ROBERT (V.O.)\n After the beheading, William Wallace's \n body was torn to pieces. His head", "a signal. They cut the ropes, drag Wallace over and put his \n head on the block. The executioner lifts his huge axe -- and \n Wallace looks toward the crowd.", "He emphasizes \"mercy\" by pointing to the axe. Wallace is \n pale, and trebles -- but he shakes his head. The CROWD grows \n noisier as they put the noose around Wallace's neck...", "Wallace rides at the head of his army, moving through the \n countryside of northern England. It is autumn, the foliage \n is beautiful, the wheat fields gold with harvest.", "WALLACE\n She was my wife. We married in secret \n because I would not share her with \n an English lord. They killed her to \n get to me. And she was pregnant.", "Wallace shakes his head. The executioners cut off his clothes, \n take hot irons from a fire box. The crowd grows silent; we", "WALLACE\n From his king? Absolutely. Here are \n Scotland's terms. Lower your flags", "Wallace, still bloody and in his battered armor, removes the \n chain of office from beneath his breastplate, lays it onto", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "(beat)\n His arms and legs were sent to the \n four corners of Britain as warning.", "A commotion; the nobles, their heads hooded, are led in on \n horseback by guerrillas from the village. The nobles stop, \n feel their hoods pulled off, and see Wallace.", "Wallace looks around at the aftermath of the battle: bodies \n on the field; soldiers lying impaled; stacks of bodies on \n the bridge; the bridge slick with blood.", "But Wallace's gaze has locked onto Robert the Bruce, who \n stares back, the two young lions instantly recognizing the \n leadership power of each other.", "Wallace slings out his broadsword and moves down the length \n of the table, bashing the succession documents into the laps \n of the nobles.", "barrier of slashing blades. Still Cheltham keeps coming; \n Wallace hits him with a vertical slash that parts his helmet, \n his hair, and his brain.", "We see a former English soldier, one of those who fled in \n terror at the battle of Stirling, lift a stone from the street \n and hurl it; it cracks against Wallace's cheek.", "see them, not Wallace, as the irons are touched to his body, \n but we hear the burning of flesh. Then the Magistrate signals; \n Wallace wants to say something.", "They bind Wallace hand and foot. He stares at Robert the \n Bruce, who averts his eyes. The soldiers hurry Wallace out \n the back, where others are bringing up horses. Robert grabs \n the English Captain of the soldiers.", "WALLACE\n Then tell me what a king is! Is he a \n man who believes only what others", "The nobles rise; court attendants hurry to Wallace and drape \n a golden chain of office around his neck. Wallace takes the" ], [ "Shoving groups of men in different directions, Wallace then \n takes off. His group is about a dozen; they race through the \n woods, dodging trees, running aimlessly. They stop and listen. \n The BARKS are getting closer.", "Wallace and his friends are starting to panic. The blood \n beats in their ears, their breath scalds their lungs. And we \n MOVE IN on Wallace's eyes. He stops, gasping.", "He reluctantly obeys. Seeing that she wants the exchange to \n be private, Wallace turns and nods for his men to leave.", "They look to see a half dozen new volunteers being led in, \n blindfolded. When the guides remove the blindfolds, the new \n recruits see Wallace and rush to him, bowing.", "Wallace gallops on; his farmer neighbors, and people from \n the village, follow in his wake.\n\n EXT. IN THE VILLAGE - DAY", "WALLACE\n No matter how we go, they follow. \n They have our scent. My scent.\n\n FAUDRON\n Run! You must not be caught!", "They stare at this in mute shock. Wallace is frozen, his \n eyes reflecting his boyhood reaction. His men rush forward.", "At a landing, Wallace cuts down a guard, and gallops higher.\n\n IN HIS BED, MORNAY", "Wallace and others pause, hear the dogs, and run again, in a \n new direction. The hounds are relentless. Wallace's group is \n down to Hamish, Stephen, and Faudron.", "Then, riding into the mob of men, comes Wallace, followed by \n his friends. He's striking, charismatic, his powerful arms", "Out in the corridor, the guards gather; they have Wallace \n trapped. He covers the horse's eyes with a cloth and spurs \n his flanks. The blind animal runs through the window!", "Wallace hugs them, first Stephen, then Hamish. Tears roll \n down Hamish's cheeks. With one last look at his friends, \n Wallace rides away.", "Wallace's eyes capture the soldier, and hold him, piercing \n his soul. The soldier looks away in shame, even as the rest \n of the crowd jeers more.", "He stares at the approach of his countrymen. Wallace appears \n beside him. Stephen sees him, and is ashamed.", "EXT. LARGE ESTATE HOUSE - SUNSET\n\n The house looks quiet as Wallace rides toward it.\n\n INT. ESTATE HOUSE - DAY", "Wallace walks; Robert catches up and speaks to him in an \n urgent half whisper, so that no one else can hear.", "Wallace -- suddenly looms up behind them, galloping and \n swirling fire! He hurls burning torches into the clustered \n soldiers, setting some of them on fire!", "The Magistrate, abandoned, runs too. Wallace pursues.\n\n Not far along a twisting lane, the bulky Magistrate falters.", "Wallace's eyes flutter, and clear. He fights through the \n pain, struggles for one last deep breath, and screams...\n\n WALLACE\n FREEEEE-DOMMMMMM!", "-- Wallace's house burns, as soldiers dig up the graves of \n his father and brother, and scatter their bones to dogs.\n\n -- The English search through the woods, finding nothing." ], [ "Longshanks glares at him, but takes the point. The wheels \n grind in his brain; his dark eyes falling on the Princess, \n he is inspired.", "Then Longshanks unleashes his own hateful fury; he grapples \n with Edward, knocking the dagger away and hurling him to the", "He stabs at Longshanks; the old king smiles at the attack, \n parrying, letting his arms be cut.\n\n LONGSHANKS\n You fight back at last!", "Prince Edward is in his garden, playing the medieval version \n of croquet with his friend. The Princess, ignored, sits \n watching. Longshanks marches through the game, furious.", "Longshanks shakes his head.\n\n PRINCESS\n Even now, you are incapable of mercy?\n\n The king can't speak. But hatred still glows in his eyes.", "EDWARD\n You let Wallace escape your whole \n army. You cannot blame me for this.\n\n Longshanks glowers at his son; the Princess arrives.", "Longshanks and our nobles. Pay it, \n and you will be our king. And we \n will have peace.", "Then Longshanks grabs him and throws him out the window, the \n same one Edward and Phillip were looking out, six stories \n above the courtyard. We hear Phillip's SCREAM as he falls.", "PRINCESS\n Your pardon, M'lord, he asked me to \n come in his stead.\n\n Longshanks' eyes expand in fury; it is frightening to see.", "Edward is a bloody mess; Longshanks coughs up a bit of blood.\n\n He ignores it and his son's wreckage, and goes back to the \n discussion, as if this fight was normal business.", "HAMISH\n There is... one thing, William. \n Longshanks is offering a truce. He", "-- Hamish and Stephen, disguised as peasants among the crowd, \n helpless too, but there, as if to shoulder some of the pain.\n\n -- Longshanks, rattling, coughing blood, as Edward watches.", "Longshanks bangs the door open and stalks in angrily. First \n he glares at Phillip with obvious loathing, then turns his \n piercing stare to his own son.", "Longshanks slaps his son, knocking him down among the colored \n balls and wickets. Everyone gasps, stunned.\n\n LONGSHANKS\n You weak little coward! Stand up!", "Longshanks smiles. No one notices that the Princess is deadly \n pale.\n\n EXT. WALLACE ARMY CAMP - DAY", "CRAIG\n You are surprised he would lie? \n Balliol was murdered in a church \n yesterday. You are Longshanks' new \n designate. You will be king.", "EDWARD\n The Scots will fight for us?\n\n LONGSHANKS\n What choice do they have? Now they \n must serve us or starve.", "CLOSE - A MAP OF THE BRITISH ISLES\n\n Longshanks' narrow finger jabs Scotland.\n\n LONGSHANKS\n Scotland! Scot-land!", "They return to the Scottish lines. Wallace dismounts where \n his men are breaking out new 14-foot spears. Hamish, eyebrows \n raised, looks expectantly at Wallace; Wallace nods.", "So does a dog. But you must understand \n this: Edward Longshanks is the most \n ruthless king ever to sit on the" ], [ "Wallace and his friends are starting to panic. The blood \n beats in their ears, their breath scalds their lungs. And we \n MOVE IN on Wallace's eyes. He stops, gasping.", "Wallace's eyes flutter, and clear. He fights through the \n pain, struggles for one last deep breath, and screams...\n\n WALLACE\n FREEEEE-DOMMMMMM!", "too far, he prolongs the moment; then the Magistrate nods \n and the executioner cuts the rope. Wallace slams to the \n platform; the Magistrate leans to him.", "Grim magistrates prod Wallace and he climbs the execution \n platform. On the platform are a noose, a dissection table", "Wallace shakes his head. The executioners cut off his clothes, \n take hot irons from a fire box. The crowd grows silent; we", "And Wallace sees that Hamish is holding his father, fallen \n in battle. Wallace has no time to react; he cuts down and", "WALLACE\n We all end up dead. It's only a \n question of how. And why.", "The executioners slam Wallace onto his back on the table, \n spread his arms and legs, and tie each to a crank. Goaded by", "They stare at this in mute shock. Wallace is frozen, his \n eyes reflecting his boyhood reaction. His men rush forward.", "WALLACE\n My dreams of Marion are gone. I killed \n them myself. If I knew I could live \n with her on the other side of death, \n I'd welcome it.", "Bruce is horrified at the sight of Wallace this way. He \n batters at Wallace's sword, as if its use would give him \n absolution.", "a signal. They cut the ropes, drag Wallace over and put his \n head on the block. The executioner lifts his huge axe -- and \n Wallace looks toward the crowd.", "sits up gawking as the door explodes inward and Wallace rides \n through! Mornay is frozen. Wallace slashes him down.", "see them, not Wallace, as the irons are touched to his body, \n but we hear the burning of flesh. Then the Magistrate signals; \n Wallace wants to say something.", "WALLACE\n Yes. Fight and you may die. Run and \n you will live, at least awhile. And", "Wallace looks around at the aftermath of the battle: bodies \n on the field; soldiers lying impaled; stacks of bodies on \n the bridge; the bridge slick with blood.", "ROBERT\n Fight me! Fight me!\n\n But Wallace can only stagger back. Bruce's voice grows ragged \n as he screams.", "He emphasizes \"mercy\" by pointing to the axe. Wallace is \n pale, and trebles -- but he shakes his head. The CROWD grows \n noisier as they put the noose around Wallace's neck...", "EXT. LARGE ESTATE HOUSE - SUNSET\n\n The house looks quiet as Wallace rides toward it.\n\n INT. ESTATE HOUSE - DAY", "At a landing, Wallace cuts down a guard, and gallops higher.\n\n IN HIS BED, MORNAY" ] ]

[ "Who does Wallace fall in love with when he returns to Scotland?", "What becomes of Murron when the English soldiers capture her?", "Wallace destroys the city of York and sends who's severed head to the king?", "Who did Wallace seek the assistance of?", "Who warned Wallace that an invasion was coming?", "How long did Wallace's guerrilla war last against the English?", "How did Isabella get revenge on Longshanks when he was terminally ill?", "When the magistrate offers Wallace a quick death if he would just utter the word \"mercy\", what does Wallace shout?", "What did Robert do that stunned the English troops on the fields of Bannockburn?", "Where was William Wallace educated?", "Why was Isabella sent to negotiate with Wallace?", "Who lead the English Army?", "What event lead to guerilla warfare?", "What two characters died at the same time?", "Who does Wallace envision seeing in the crowd?", "What was Wallace's charge that lead to his death?", "How did Wallace die?", "Who became the new leader that lead the Scots to freedom?", "In what year did King Edward invade and conquer Scotland?", "Who is responsible for the death of Murron?", "How did Wallace know Murron?", "What gift does Longshank receive from Wallace?", "Who does the king send to make negotiations with Wallace?", "How does Isabella feel about Wallace after meeting with him in person?", "Which noblemen betray Wallace in the battle at Falkirk?", "What punishment does Lochlan and Mornay receive in response to betraying Wallace?", "What charge does Wallace face?", "What punishment does Wallace receive for high treason?", "What year does King Edward invade Scotland?", "Where does Longshanks get his education?", "How does Wallace know Murron MacClannough?", "Why did Murron need to be rescued?", "What happened after Murron was captured? ", "Who is Longshanks son?", "Who's head did Wallace send to the King?", "Before Wallace gets captured, who takes him to safety?", "How does Isabella get revenge on Longshanks?", "What does Wallace have to do to get a quick death?" ]

[ [ "his childhood friend Murron MacClannough", "Murron MacClannough" ], [ "She is publicly executed.", "they kill her" ], [ "Longshanks' nephew", "his nephew" ], [ "Robert the Bruce, the son of nobleman Robert the Elder", "Robert the Bruce" ], [ "Isabella, the wife of Longshank's son", "Isabella" ], [ "seven years", "Seven years." ], [ "She told him she was pregnant with Wallace's child", "She tells him she is pregnant with Wallace's child." ], [ "Freedom!", "Freedom." ], [ "He invoked Wallace's memory and led his men into battle against the English, winning the Scots their freedom.", "He invokes the memory of Wallace and gets his men to fight." ], [ "Europe", "Europe" ], [ "To help avoid a rebellion.", "Longshanks is worried that Wallace will lead a Scottish rebellion." ], [ "Longshanks", "Wallace" ], [ "Wallace killing Lochlan and Mornay for betrayal.", "Wallace loses battle against English" ], [ "Wallace and Longshanks", "Murron and Longshanks" ], [ "Mornay", "Murron" ], [ "High treason", "High treason." ], [ "Public torture and beheading", "torture and beheading" ], [ "Robert", "robert" ], [ "1280", "1280" ], [ "English Soldiers", "English soldiers" ], [ "She was a childhood friend of his", "friend from childhood" ], [ "The severed head of his nephew", "The severed head of Longshanks' nephew." ], [ "Isabella", "Isabella of France." ], [ "She deeply admires him.", "enamored" ], [ "Lochlan and Mornay", "lochlan and mornay" ], [ "death", "Death" ], [ "High Treason", "public torture" ], [ "Public torture and beheading", "public torture" ], [ "1280.", "1280." ], [ "Europe.", "Europe" ], [ "They were childhood friends.", "they were childhood friends, and years later married in secret" ], [ "Because English soldiers were trying to rape her.", "English soldiers were trying to rape her." ], [ "She was executed.", "She was killed." ], [ "Prince Edward.", "Prince Edward" ], [ "Longshank's nephews.", "his nephew" ], [ "Robert.", "Robert the Bruce" ], [ "Telling him she is going to have Wallace's baby.", "Telling him that she is pregnant with Wallace's child." ], [ "He has to say, Mercy.", "only to speak the word \"Mercy\"" ] ]

[ [ "So Jack, with thorough-going blade,\n Stood aiming at the Giant's head.", "A Giant high lives here hard by;\n The monster I've the pleasure to know:\n Three heads he's got, and would send to pot", "At last the champion cried, \"Here goes\n Struck, and cut off the monster's--nose.\n Like a thousand bulls all roaring mad,\n Was the furious Giant's shout,", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV.", "Five hundred men!\" The Prince said, \"Oh!\"\n \"My lord,\" Jack said, \"I 'll pledge my head\n To manage the matter completely right.", "In and out,\n Round about,\n Jack dodges the Giant apace,\n Round the castle wall,\n That the guests may all\n Enjoy the stirring chase.", "When lo! the portal open flew,\n And a monster came out,\n Enormously stout\n And of stature tremendous, with heads for two.", "By the side of the moat Jack, standing safe,\n Begins the Giant thus to chafe;--\n \"Just now, old chap, I thought you said\n You'd grind my bones to make your bread.\"", "To be a conjuror, 'tis said,\n In sooth a man requires a head;\n So Jack, by this decapitation,\n Dissolved, of course, the conjuration.", "Jack's feet the Giant did n't scan,\n Because he was a Pagan man;\n And knew no more than a mining lad\n What kind of a foot Apollyon had;", "\"Only me,\" whispered Jack. Cried the Giant, \"Who's _me?_\"\n Pitching his voice in a treble key.", "\"Your poor cousin Jack,\" said the hero. \"Eh!\"\n Said the Giant, \"what news, cousin Jack, to-day?\"", "By the mouth of the cave on a chopping-block sitting,\n Grinding his teeth and his shaggy brows knitting,\n Was the Giant;--and rolling his terrible eyes", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "The Giant heard the note of scorn,\n And woke and cried \"Hallo!\"\n He popped out his head with his night-cap on,", "No other meed I ask than those,\n So _may_ I have the sword and clothes? \"\n \"Jack,\" said the Giant, \"yes, you may,", "Like a fern owl he flits through the forest trees,\n And, as he expected, a Giant he sees,\n Dragging a couple along by the hair--" ], [ "A Giant high lives here hard by;\n The monster I've the pleasure to know:\n Three heads he's got, and would send to pot", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "No other meed I ask than those,\n So _may_ I have the sword and clothes? \"\n \"Jack,\" said the Giant, \"yes, you may,", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV.", "At last the champion cried, \"Here goes\n Struck, and cut off the monster's--nose.\n Like a thousand bulls all roaring mad,\n Was the furious Giant's shout,", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "You might have strapped it on your back\n So thought, but said not, cunning Jack,\n Thanked his three-headed relative,", "So Jack, with thorough-going blade,\n Stood aiming at the Giant's head.", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "His uncle's gift,\n Jack canters off like air:\n Like air as fleet, and as viewless too,\n Intent on doing \"deeds of do.\"", "\"Only me,\" whispered Jack. Cried the Giant, \"Who's _me?_\"\n Pitching his voice in a treble key.", "Jack laughed this bootless brag to hear,\n And thus he sang in the Giant's ear:-", "\"Bad,\" answered Jack, \"as bad can be.\"\n \"Pooh!\" responded the Giant; \"fiddle-de-dee!", "By the side of the moat Jack, standing safe,\n Begins the Giant thus to chafe;--\n \"Just now, old chap, I thought you said\n You'd grind my bones to make your bread.\"", "\"Thank you,\" said Jack; \"the Giants twain\n Have _had_ their bellyful of me;\n To prove I do not boast in vain,", "\"Your poor cousin Jack,\" said the hero. \"Eh!\"\n Said the Giant, \"what news, cousin Jack, to-day?\"", "The Giants slain, the Cornish man\n Despatched their gory heads by van\n To great King Arthur;--gifts more queer", "The morning shone brightly, all nature was gay;\n And the Giant at breakfast was pegging away:\n On pantomime rolls all so fiercely fed he,\n And he ate hasty-pudding along with his tea." ], [ "So, to the soul of stout Sir Jack, Adventure's summon spoke,\n And from her dream of luxury his martial spirit woke.\n Before King Arthur's royal throne he knelt upon his knee,", "Loud shouts of joy the welkin crack,\n And Arthur dubs our hero Jack,\n Knight of the Table Round.", "But none among King Arthur's court,\n For style, and grace, and air,\n And noble mien, and knightly port,\n Could with Sir Jack compare.\n\n\n XXXVI.", "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son", "Said Jack, \"My lord, my trusty sword\n And self at your princely feet I lay;\n 'T is my desire to be your squire:\"\n His Royal Highness replied \"You may.\"", "\"Rise up,\" the noble Arthur said,\n \"Sir Jack, a Baron bold;\"\n And he placed upon the champion's head\n A coronet of gold.", "\"Success to gallant Jack!\" they shout,\n And follow, straight, the champion stout.\n The knight's retainers he summons, all hands,\n And thus with hasty speech commands:-", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "The very next day\n The rest went away,\n To their dear little wives and their daughters,\n But Jack to the knight's\n Repairs with delights\n To recruit himself after his slaughters.", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "In and out,\n Round about,\n Jack dodges the Giant apace,\n Round the castle wall,\n That the guests may all\n Enjoy the stirring chase.", "XXXIV.\n\n He now before King Arthur's throne,\n Knelt with obeisance grave;\n A thousand bright eyes on him shone,\n As they shine upon the brave.", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "Now, as Jack was a lion, and hero of rhymes,\n His exploit very soon made a noise in the \"Times;\"\n All over the west", "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "No other meed I ask than those,\n So _may_ I have the sword and clothes? \"\n \"Jack,\" said the Giant, \"yes, you may,", "His uncle's gift,\n Jack canters off like air:\n Like air as fleet, and as viewless too,\n Intent on doing \"deeds of do.\"", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "\"Here's a gentleman's mansion,\" thought Jack, \"all right.\"\n He knocked at the wicket,\n Crying, \"That's the ticket!\"", "Safe and sound o'er leagues of ground\n Jack so merrily capers away,\n Till Arthur's son (he had but one)\n He runs against at the close of day." ], [ "So Jack, with thorough-going blade,\n Stood aiming at the Giant's head.", "At last the champion cried, \"Here goes\n Struck, and cut off the monster's--nose.\n Like a thousand bulls all roaring mad,\n Was the furious Giant's shout,", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV.", "No other meed I ask than those,\n So _may_ I have the sword and clothes? \"\n \"Jack,\" said the Giant, \"yes, you may,", "By the side of the moat Jack, standing safe,\n Begins the Giant thus to chafe;--\n \"Just now, old chap, I thought you said\n You'd grind my bones to make your bread.\"", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "\"Only me,\" whispered Jack. Cried the Giant, \"Who's _me?_\"\n Pitching his voice in a treble key.", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "In and out,\n Round about,\n Jack dodges the Giant apace,\n Round the castle wall,\n That the guests may all\n Enjoy the stirring chase.", "\"Your poor cousin Jack,\" said the hero. \"Eh!\"\n Said the Giant, \"what news, cousin Jack, to-day?\"", "Jack approached the Giant nigh,\n But the monster was so deucedly high,\n He could n't reach to his philabeg;", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "Jack laughed this bootless brag to hear,\n And thus he sang in the Giant's ear:-", "\"Ha! say you so,\"\n Thought Jack; \"oh, oh! \"\n And, getting out of bed,\n He found a log;--\n \"Whack that, old Gog!\n He whispered, \"in my stead.\"", "By the mouth of the cave on a chopping-block sitting,\n Grinding his teeth and his shaggy brows knitting,\n Was the Giant;--and rolling his terrible eyes", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "Like a fern owl he flits through the forest trees,\n And, as he expected, a Giant he sees,\n Dragging a couple along by the hair--", "The Giant heard the note of scorn,\n And woke and cried \"Hallo!\"\n He popped out his head with his night-cap on,", "JACK THE GIANT KILLER.\n\nBy Percival Leigh\n\nThe Author Of \"The Comic Latin Grammar.\"" ], [ "The cry of the crowd without they hear,\n \"Mac Thundel is coming, oh dear! oh dear!\"\n \"And who the deuce is this Mac Thundel,\n That I,\" Sir Jack replied, \"should bundle?\"", "Mac Thundel plunged from side to side,\n But he could n't get out although he tried;\n Sooth to say, he was thoroughly done--\n \"Now,\" said Jack, \"we 'll end the fun.", "O'er the drawbridge he courses, mid shouts of laughter\n Mac Thundel heavily flounders after,\n Whirling his mace around his head:--", "Disclosing his form to Mac Thundel's sight,\n Who foamed at the mouth with fury outright.", "\"Mac Thundel, Sir Knight, is a two-headed beggar,\n You have slain his two kinsmen, the Giants Mac Gregor:", "Stumping, thumping, blundering, lo!\n Comes the Giant Scot in sight;\n All the people screaming \"Oh!\"\n Fly before him in affright.", "Eyes, twice five hundred, staring wide--\n \"Mac Thundel's coming, bent to kill\n You, valiant champion--hide, sir, hide!\"", "Roared out like thunder, \"I say, who's there!\"", "Their Worships, the Justices of the Peace,\n Called the death of the monster a \"happy release:\"\n Sent for the champion who had drubbed him,", "Like the legs of a Brobdignag spider so black;\n Ready, the thickest skull to crack\n That ever county member wore,\n His iron club beside him lay.", "Said Jack--he quoted Mrs. Glass;\n And he scampers away in his nimble shoes:\n Like a walking Ben Lomond, Mac Thundel pursues.", "And he drew him to land,\n While all the spectators cried, \"That's the rig!\"\n His falchion gleams aloft in air,", "Look, he snorts and sniffs, as though\n His nose had ken'd an unseen foe;\n And hearken what he thunders forth,\n In gutteral accent of the north!", "The lady fair, and the gentle knight,\n Scarcely could believe their sight,\n When they beheld the Giant \"kick;\"", "And he fetches the bed some tremendous knocks\n With his great big mace,\n I' th' identical place\n Where Jack's wooden substitute quietly lay;", "So, to the soul of stout Sir Jack, Adventure's summon spoke,\n And from her dream of luxury his martial spirit woke.\n Before King Arthur's royal throne he knelt upon his knee,", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "The Giant answered with such a roar,\n It was like the Atlantic at war with its shore;\n A thousand times worse than the hullaballoo", "That thundering crash?\n Awake!--oh, no,\n It is no go!\"\n So sang a little woodland fairy;", "Sudden night overspread the sky;\n Pale blue lightnings glimmered by;\n Roared the thunder, yawned the earth;" ], [ "They served a duke's fair daughter so,\n Whom they transmuted to a doe;\n Hither they brought the maid forlorn,", "Elegantly dressed in white,\n Approaches now the fair ladye,\n And gives him the handkerchief, you see;", "So up he jumps, and on they jog.\n They soon have gained the secret bower,\n Where, spell-bound by the warlock's power,", "So he jumps off his prad,\n And unto an oak the animal ties:\n So Hampshire Squire, when, at the din,", "Jack knelt and kissed the snow-white hands\n Of the lovely ladies three;\n Oh! who these matters that understands", "Of hare entrapped in poacher's gin,\n His gentle pity melts;\n Dismounts him from his gallant steed,", "When the banquet was ended the lady arose,\n And her cherry lips wiped, and her lily white nose;", "His uncle's gift,\n Jack canters off like air:\n Like air as fleet, and as viewless too,\n Intent on doing \"deeds of do.\"", "Who each, as Jack, you know, had heard,\n The warlock had changed to beast and bird;\n And who straight had recovered their pristine condition\n When Old Nick flew away with the wicked magician.", "Their Worships, the Justices of the Peace,\n Called the death of the monster a \"happy release:\"\n Sent for the champion who had drubbed him,", "And soon finds out,\n That the lady was forced to go out in the dark\n Every night,\n By the pale moon light,", "\"Ha! say you so,\"\n Thought Jack; \"oh, oh! \"\n And, getting out of bed,\n He found a log;--\n \"Whack that, old Gog!\n He whispered, \"in my stead.\"", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "Their lily white hands were behind them bound:\n They were dangling in the air,\n Strung up to a hook by their dear \"back hair.\"", "When he saw Catawampus fall and die,\n He knew that the end of his course was nigh.", "Safe and sound o'er leagues of ground\n Jack so merrily capers away,\n Till Arthur's son (he had but one)\n He runs against at the close of day.", "But not a single soul espied;\n To the right and left he grimly grinned,\n Till the trunks of the very trees were skinned.", "The damsel fair, bewitched no more,\n Becomes bewitching as before;\n Restored to virtue's blooming grace,", "At length appears the warlock, dight\n In dressing gown of gramarye;\n And, like a spirit of the night,", "In and out,\n Round about,\n Jack dodges the Giant apace,\n Round the castle wall,\n That the guests may all\n Enjoy the stirring chase." ], [ "So Jack, with thorough-going blade,\n Stood aiming at the Giant's head.", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "At last the champion cried, \"Here goes\n Struck, and cut off the monster's--nose.\n Like a thousand bulls all roaring mad,\n Was the furious Giant's shout,", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "I sing the deeds of famous Jack,\n The doughty Giant Killer hight;\n How he did various monsters \"whack,\"\n And so became a gallant knight.", "HOW JACK SLEW THE GIANT CORMORAN.---\n\n\n I.", "The monstrous Yankee thus laid low,\n Jack settled his hash with another blow;\n So he gave up the ghost, and his dying groan\n Had a \"touch of the earthquake\" in its tone.", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "And he fetched him a blow with all his might;\n The ham-strings gave, the monster fell.", "No other meed I ask than those,\n So _may_ I have the sword and clothes? \"\n \"Jack,\" said the Giant, \"yes, you may,", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV.", "JACK THE GIANT KILLER.\n\nBy Percival Leigh\n\nThe Author Of \"The Comic Latin Grammar.\"", "Jack laughed this bootless brag to hear,\n And thus he sang in the Giant's ear:-", "GUTENBERG EBOOK JACK THE GIANT KILLER ***\n\n\n\n\nProduced by David Widger from images generously provided\nby The Internet Archive", "The morning shone brightly, all nature was gay;\n And the Giant at breakfast was pegging away:\n On pantomime rolls all so fiercely fed he,\n And he ate hasty-pudding along with his tea.", "\"Only me,\" whispered Jack. Cried the Giant, \"Who's _me?_\"\n Pitching his voice in a treble key.", "\"Now!\" 'cried courageous Jack, \"or never!\n Die, catiff, die! \"\n (And he lets fly)\n \"Thus from its trunk thy head I sever.\"", "By the side of the moat Jack, standing safe,\n Begins the Giant thus to chafe;--\n \"Just now, old chap, I thought you said\n You'd grind my bones to make your bread.\"" ], [ "Together with a beauteous mate\n The King gave Jack a great estate:\n In bliss the hero, with his wife,\n Lived the remainder of his life.", "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "The very next day\n The rest went away,\n To their dear little wives and their daughters,\n But Jack to the knight's\n Repairs with delights\n To recruit himself after his slaughters.", "Jack answered gaily, \"To be sure; \"\n And swore that when the morning came,\n He 'd lose his life or free the dame.\n\n\n XXI.", "Said Jack--he quoted Mrs. Glass;\n And he scampers away in his nimble shoes:\n Like a walking Ben Lomond, Mac Thundel pursues.", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "Now Night o'er earth her pall had spread,\n And dauntless Jack repaired to bed.", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "Jack dons, meanwhile,\n His \"knowing tile,\"--\n How ripe he looked for a regular \"lark;\"\n He asks about,", "We must finish the game,\" quoth Jack;\n So he vaulted upon the chopping-block,\n And ran him through the back.", "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son", "\"My eye!\" said Jack, a little serious;\n \"Upon my word, that _was_ mysterious!\"\n\n But cheers and joyous gratulations\n Cut short the hero's meditations;", "In ghastly moans and sounds of wail,\n The castle's cells replied;\n Jack, whose high spirits ne'er could quail,", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV.", "\"Jack,\" said the Prince, for fun agog,\n \"Get up behind, you jolly dog!\"", "And he then led the way,\n All smiling and gay,\n To the couch where his guest might rest his head;\n And he bade him good night, politely quite,\n Jack answered--\"I wish you a very good night.\"", "\"Ha! say you so,\"\n Thought Jack; \"oh, oh! \"\n And, getting out of bed,\n He found a log;--\n \"Whack that, old Gog!\n He whispered, \"in my stead.\"", "\"Here's a gentleman's mansion,\" thought Jack, \"all right.\"\n He knocked at the wicket,\n Crying, \"That's the ticket!\"", "He had pounced upon Jack,\n In his cosy bivouack,\n And so he made off with him over his back.\n\n{013}\n\n\n V.", "And toddled, whistling \"Jack's Alive.\"" ], [ "\"Why,\" said the King, \"your plan's romantic\n And yet't is true those rogues gigantic\n Have wrought my subjects much annoy:--", "So, to the soul of stout Sir Jack, Adventure's summon spoke,\n And from her dream of luxury his martial spirit woke.\n Before King Arthur's royal throne he knelt upon his knee,", "Together with a beauteous mate\n The King gave Jack a great estate:\n In bliss the hero, with his wife,\n Lived the remainder of his life.", "Had scarce o'ertopped the monster dread;\n The brim of his hat, so considerate,\n Was half as big round as the King's Round Table;", "Through the King's gate he took his way\n (He had come by sea to Hampton town,\n Where he called, just \"How d' ye do?\" to say,\n On Bevis, knight of high renown).", "XXXIV.\n\n He now before King Arthur's throne,\n Knelt with obeisance grave;\n A thousand bright eyes on him shone,\n As they shine upon the brave.", "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son", "The happy pair, the nuptials o'er,\n Start in a handsome coach-and-four\n For good King Arthur's court;", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "The Prince, you know, was going to blow\n A conjuror's castle about his ears,\n Who bullied there a lady fair,\n And I don't know how many worthy peers.", "The morning comes; the small birds sing;\n The sun shines out like--anything;\n Jack speeds the son of Britain's King,", "Safe and sound o'er leagues of ground\n Jack so merrily capers away,\n Till Arthur's son (he had but one)\n He runs against at the close of day.", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "But he cut him a little about the leg.\n The Giant, swearing, roared, \"This is\n A twinge of that beastly 'rheumatis.'", "A crown he wore,\n And a mace he bore\n That was knobbed and spiked with adamant;", "\"Ha! say you so,\"\n Thought Jack; \"oh, oh! \"\n And, getting out of bed,\n He found a log;--\n \"Whack that, old Gog!\n He whispered, \"in my stead.\"", "\"Rise up,\" the noble Arthur said,\n \"Sir Jack, a Baron bold;\"\n And he placed upon the champion's head\n A coronet of gold.", "And he fetches the bed some tremendous knocks\n With his great big mace,\n I' th' identical place\n Where Jack's wooden substitute quietly lay;", "Their Worships, the Justices of the Peace,\n Called the death of the monster a \"happy release:\"\n Sent for the champion who had drubbed him,", "\"In story shall he live for aye\n Such is the say of Merlin, sage;\n And by Saint George! fair England's stay," ], [ "\"In story shall he live for aye\n Such is the say of Merlin, sage;\n And by Saint George! fair England's stay,", "Their Worships, the Justices of the Peace,\n Called the death of the monster a \"happy release:\"\n Sent for the champion who had drubbed him,", "The Prince, you know, was going to blow\n A conjuror's castle about his ears,\n Who bullied there a lady fair,\n And I don't know how many worthy peers.", "In Arthur's days of splendid fun\n (His Queen was Guenever the Pliant),--\n Ere Britain's sorrows had begun;\n When every cave contained its giant;", "A lady, \"tin,\" and lots of thanks;--\n Relate, oh Muse! his wondrous story.", "A crown he wore,\n And a mace he bore\n That was knobbed and spiked with adamant;", "So, to the soul of stout Sir Jack, Adventure's summon spoke,\n And from her dream of luxury his martial spirit woke.\n Before King Arthur's royal throne he knelt upon his knee,", "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "Through the King's gate he took his way\n (He had come by sea to Hampton town,\n Where he called, just \"How d' ye do?\" to say,\n On Bevis, knight of high renown).", "\"Why,\" said the King, \"your plan's romantic\n And yet't is true those rogues gigantic\n Have wrought my subjects much annoy:--", "Of \"boning\" people's \"grub.\"\n There was screaming and crying \"Oh dear!\" and \"Oh law\n When the terrified maids the monster saw;", "XXXIV.\n\n He now before King Arthur's throne,\n Knelt with obeisance grave;\n A thousand bright eyes on him shone,\n As they shine upon the brave.", "And e'en the grand display\n When, to our Prince to give a name,\n His Majesty of Prussia came\n To England t' other day.\n\n\n XII.", "And he drew him to land,\n While all the spectators cried, \"That's the rig!\"\n His falchion gleams aloft in air,", "Now, as Jack was a lion, and hero of rhymes,\n His exploit very soon made a noise in the \"Times;\"\n All over the west", "She poured out a bumper, and drank it up half,\n And gave the bold Prince the remainder to quaff;\n Wherewith through the \"back-flat\" her exit she made,\n And left the young gentleman rather afraid.", "\"Rise up,\" the noble Arthur said,\n \"Sir Jack, a Baron bold;\"\n And he placed upon the champion's head\n A coronet of gold.", "The holy wedding mass was sung,\n And the cathedral's bells were rung;\n A banquet was made in the royal hall,\n And after that there was a ball.", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -" ], [ "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "JACK'S BIRTH, PARENTAGE, EDUCATION, AND EARLY PURSUITS.", "Of a right noble race was Jack,\n For kith and kin he did not lack,\n Whom tuneful bards have puffed;", "Jack dons, meanwhile,\n His \"knowing tile,\"--\n How ripe he looked for a regular \"lark;\"\n He asks about,", "His sire was a farmer hearty and free;\n He dwelt where the Land's End frowns on the sea,\n And the sea at the Land's End roars again,\n Tit for tat, land and main.", "And toddled, whistling \"Jack's Alive.\"", "His uncle's gift,\n Jack canters off like air:\n Like air as fleet, and as viewless too,\n Intent on doing \"deeds of do.\"", "\"Here's a gentleman's mansion,\" thought Jack, \"all right.\"\n He knocked at the wicket,\n Crying, \"That's the ticket!\"", "\"Ha! say you so,\"\n Thought Jack; \"oh, oh! \"\n And, getting out of bed,\n He found a log;--\n \"Whack that, old Gog!\n He whispered, \"in my stead.\"", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "\"A pretty business this!\" quoth Jack,\n When he was left alone;\n \"Old Paddy Whack,\n I say! come back--\n I wonder where he's gone?\"", "Jack lightly recked of sport or play\n Wherein young gentlemen delight,\n But he would wrestle any day,\n Box, or at backsword fight.", "Now Night o'er earth her pall had spread,\n And dauntless Jack repaired to bed.", "\"Bad,\" answered Jack, \"as bad can be.\"\n \"Pooh!\" responded the Giant; \"fiddle-de-dee!", "Now, as Jack was a lion, and hero of rhymes,\n His exploit very soon made a noise in the \"Times;\"\n All over the west", "And he fetches the bed some tremendous knocks\n With his great big mace,\n I' th' identical place\n Where Jack's wooden substitute quietly lay;", "My father whopp'd--my father, I:--\n Absquotilate, and cut your lucky!\"\n Catawampus looked on every side,", "At length he came to a forest vast,\n Through which his journey led;\n When shrieks arose upon the blast,--\n \"Hallo,\" said Jack, \"who's dead? \"", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "Jack flies by night,\n In the moonlight,\n No \"four-year-old\" could have come nigh him." ], [ "When he saw Catawampus fall and die,\n He knew that the end of his course was nigh.", "Old Cormoran dead,\n Jack cut off his head,\n And hired a boat to transport it home.", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "HOW JACK SLEW THE GIANT CORMORAN.---\n\n\n I.", "And much I fear he soon will swamp us,\n Unless that arm--\" Cried Jack \"Enow;\n He dies!\" The hermit said, \"Allow", "The monstrous Yankee thus laid low,\n Jack settled his hash with another blow;\n So he gave up the ghost, and his dying groan\n Had a \"touch of the earthquake\" in its tone.", "Two! Ha! the plain beneath him crashes:\n Down he goes, full fathoms three.", "Mac Thundel plunged from side to side,\n But he could n't get out although he tried;\n Sooth to say, he was thoroughly done--\n \"Now,\" said Jack, \"we 'll end the fun.", "And he drew him to land,\n While all the spectators cried, \"That's the rig!\"\n His falchion gleams aloft in air,", "He roars, rolls, splashes, and behaves\n Much like some monster of the waves,\n When \"sleeping on the Norway foam,\"\n The barbéd harpoon strikes him home.", "His name was Ap Morgan,\n He had a large organ\n Of \"secretiveness,\" wherefore he killed in the dark.\n \"He was sorry that Jack was benighted,\" he said,", "Their Worships, the Justices of the Peace,\n Called the death of the monster a \"happy release:\"\n Sent for the champion who had drubbed him,", "Ere he gave up the ghost was, \"Och, murder, I'm kilt!\"", "We must finish the game,\" quoth Jack;\n So he vaulted upon the chopping-block,\n And ran him through the back.", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "With the iron club, which I said he had,\n Oh! how he laid about!\n \"Oho! if that's your way, old cock,", "Though he may n't the comer see?\n No; like rogue by streamlet poaching,\n Creeps Jack near him stealthily.", "\"Now!\" 'cried courageous Jack, \"or never!\n Die, catiff, die! \"\n (And he lets fly)\n \"Thus from its trunk thy head I sever.\"", "And he fetched him a blow with all his might;\n The ham-strings gave, the monster fell.", "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son" ], [ "Through iron grate, the board beside,\n Pale captive wretches he descried;\n Who, when they saw the hero, cried,", "The dungeons are burst and the captives freed;\n Three princesses were among them found--\n Very beautiful indeed;", "The Prince, you know, was going to blow\n A conjuror's castle about his ears,\n Who bullied there a lady fair,\n And I don't know how many worthy peers.", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "In the hearts of the monsters up to the hilt;\n So he settled them each:\n O'Blunderbore's speech,", "So up he jumps, and on they jog.\n They soon have gained the secret bower,\n Where, spell-bound by the warlock's power,", "O'Blunderbore and his brother O.", "On car by fiery dragons borne;\n To free her, champions not a few\n Have tried, but found it would n't do;", "They gained the Giant's castle hall,\n Which seemed a sort of Guy's museum;\n With skulls and bones 'twas crowded all--\n You would have blessed yourself to see 'em.", "Freed the captive, and succoured the damsel distrest\n Till Jack would exclaim--\n \"If I don't do the same,\n An' I live to become a man,--_I'm blest!_\"", "In ghastly moans and sounds of wail,\n The castle's cells replied;\n Jack, whose high spirits ne'er could quail,", "A blast he blew,-\n Asunder flew\n The portals with a brazen clang:\n Windows were smashed,\n And chains were clashed,\n While a thousand gongs in discord rang.", "Of \"boning\" people's \"grub.\"\n There was screaming and crying \"Oh dear!\" and \"Oh law\n When the terrified maids the monster saw;", "VI.\n\n Whither was the hero bound,\n Napping by the Ogre caught?\n Unto Cambrian Taffy's ground\n Where adventures fresh he sought.", "With shouts of joy the castle rang,\n And they hied them again to the festal cheer\n Long life to brave Sir Jack they sang,\n And they drank his health in floods of beer.", "\"Alas!\" Jack whimpered, \"uncle dear,\n The Prince of Wales is coming here,\n Yourself to kill, and your castle to sack,--\n Two thousand knights are at his back.", "Stumping, thumping, blundering, lo!\n Comes the Giant Scot in sight;\n All the people screaming \"Oh!\"\n Fly before him in affright.", "Like a fern owl he flits through the forest trees,\n And, as he expected, a Giant he sees,\n Dragging a couple along by the hair--", "'T was O'Blunderbore coming\n And the blackguard was humming\n The tune of \"Paddy Carey.\"", "Their Worships, the Justices of the Peace,\n Called the death of the monster a \"happy release:\"\n Sent for the champion who had drubbed him," ], [ "Who each, as Jack, you know, had heard,\n The warlock had changed to beast and bird;\n And who straight had recovered their pristine condition\n When Old Nick flew away with the wicked magician.", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "Though he may n't the comer see?\n No; like rogue by streamlet poaching,\n Creeps Jack near him stealthily.", "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son", "Jack dons, meanwhile,\n His \"knowing tile,\"--\n How ripe he looked for a regular \"lark;\"\n He asks about,", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "So, to the soul of stout Sir Jack, Adventure's summon spoke,\n And from her dream of luxury his martial spirit woke.\n Before King Arthur's royal throne he knelt upon his knee,", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "The very next day\n The rest went away,\n To their dear little wives and their daughters,\n But Jack to the knight's\n Repairs with delights\n To recruit himself after his slaughters.", "He had pounced upon Jack,\n In his cosy bivouack,\n And so he made off with him over his back.\n\n{013}\n\n\n V.", "Now, as Jack was a lion, and hero of rhymes,\n His exploit very soon made a noise in the \"Times;\"\n All over the west", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "\"Only me,\" whispered Jack. Cried the Giant, \"Who's _me?_\"\n Pitching his voice in a treble key.", "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "And much I fear he soon will swamp us,\n Unless that arm--\" Cried Jack \"Enow;\n He dies!\" The hermit said, \"Allow", "Now Jack the darksome den explores,\n And through its turns and windings pores,\n 'Till to a spacious hall he comes,", "His uncle's gift,\n Jack canters off like air:\n Like air as fleet, and as viewless too,\n Intent on doing \"deeds of do.\"", "By the side of the moat Jack, standing safe,\n Begins the Giant thus to chafe;--\n \"Just now, old chap, I thought you said\n You'd grind my bones to make your bread.\"", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV." ], [ "Their Worships, the Justices of the Peace,\n Called the death of the monster a \"happy release:\"\n Sent for the champion who had drubbed him,", "So, to the soul of stout Sir Jack, Adventure's summon spoke,\n And from her dream of luxury his martial spirit woke.\n Before King Arthur's royal throne he knelt upon his knee,", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "\"My eye!\" said Jack, a little serious;\n \"Upon my word, that _was_ mysterious!\"\n\n But cheers and joyous gratulations\n Cut short the hero's meditations;", "The very next day\n The rest went away,\n To their dear little wives and their daughters,\n But Jack to the knight's\n Repairs with delights\n To recruit himself after his slaughters.", "Jack answered gaily, \"To be sure; \"\n And swore that when the morning came,\n He 'd lose his life or free the dame.\n\n\n XXI.", "We must finish the game,\" quoth Jack;\n So he vaulted upon the chopping-block,\n And ran him through the back.", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "The monstrous Yankee thus laid low,\n Jack settled his hash with another blow;\n So he gave up the ghost, and his dying groan\n Had a \"touch of the earthquake\" in its tone.", "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "\"Thank you,\" said Jack; \"the Giants twain\n Have _had_ their bellyful of me;\n To prove I do not boast in vain,", "No other meed I ask than those,\n So _may_ I have the sword and clothes? \"\n \"Jack,\" said the Giant, \"yes, you may,", "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son", "Now, as Jack was a lion, and hero of rhymes,\n His exploit very soon made a noise in the \"Times;\"\n All over the west", "Jack lightly recked of sport or play\n Wherein young gentlemen delight,\n But he would wrestle any day,\n Box, or at backsword fight.", "Said Jack, \"My lord, my trusty sword\n And self at your princely feet I lay;\n 'T is my desire to be your squire:\"\n His Royal Highness replied \"You may.\"", "Together with a beauteous mate\n The King gave Jack a great estate:\n In bliss the hero, with his wife,\n Lived the remainder of his life.", "Now Night o'er earth her pall had spread,\n And dauntless Jack repaired to bed." ], [ "At last the champion cried, \"Here goes\n Struck, and cut off the monster's--nose.\n Like a thousand bulls all roaring mad,\n Was the furious Giant's shout,", "And he fetched him a blow with all his might;\n The ham-strings gave, the monster fell.", "Stumping, thumping, blundering, lo!\n Comes the Giant Scot in sight;\n All the people screaming \"Oh!\"\n Fly before him in affright.", "The Giant answered with such a roar,\n It was like the Atlantic at war with its shore;\n A thousand times worse than the hullaballoo", "\"Mac Thundel, Sir Knight, is a two-headed beggar,\n You have slain his two kinsmen, the Giants Mac Gregor:", "The lady fair, and the gentle knight,\n Scarcely could believe their sight,\n When they beheld the Giant \"kick;\"", "The Giant howled; the rocks around\n Thrilled with his demon squall,\n Then flat he fell upon the ground,\n As the Monument might fall.\n\n\n XI.", "The monstrous Yankee thus laid low,\n Jack settled his hash with another blow;\n So he gave up the ghost, and his dying groan\n Had a \"touch of the earthquake\" in its tone.", "HOW JACK SLEW THE GIANT CORMORAN.---\n\n\n I.", "Mac Thundel plunged from side to side,\n But he could n't get out although he tried;\n Sooth to say, he was thoroughly done--\n \"Now,\" said Jack, \"we 'll end the fun.", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "But he cut him a little about the leg.\n The Giant, swearing, roared, \"This is\n A twinge of that beastly 'rheumatis.'", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "Their Worships, the Justices of the Peace,\n Called the death of the monster a \"happy release:\"\n Sent for the champion who had drubbed him,", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "So Jack, with thorough-going blade,\n Stood aiming at the Giant's head.", "By the mouth of the cave on a chopping-block sitting,\n Grinding his teeth and his shaggy brows knitting,\n Was the Giant;--and rolling his terrible eyes", "The morning shone brightly, all nature was gay;\n And the Giant at breakfast was pegging away:\n On pantomime rolls all so fiercely fed he,\n And he ate hasty-pudding along with his tea." ], [ "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "Like a fern owl he flits through the forest trees,\n And, as he expected, a Giant he sees,\n Dragging a couple along by the hair--", "By the mouth of the cave on a chopping-block sitting,\n Grinding his teeth and his shaggy brows knitting,\n Was the Giant;--and rolling his terrible eyes", "A Giant was, I should premise,\n A hulking lout of monstrous size;\n He mostly stood--I know you 'll laugh--\n About as high as a giraffe.", "\"Your poor cousin Jack,\" said the hero. \"Eh!\"\n Said the Giant, \"what news, cousin Jack, to-day?\"", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "The lady fair, and the gentle knight,\n Scarcely could believe their sight,\n When they beheld the Giant \"kick;\"", "Now this Giant, you know, was a Welshman, _and so_,\n 'T was by stealth he indulged in each mischievous \"lark", "At last the champion cried, \"Here goes\n Struck, and cut off the monster's--nose.\n Like a thousand bulls all roaring mad,\n Was the furious Giant's shout,", "His cap of wit, the Giant's gift,\n Informed him where the Prince to find;", "Through iron grate, the board beside,\n Pale captive wretches he descried;\n Who, when they saw the hero, cried,", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "The Giant was pleased as Punch might be,\n And he capered about with clumsy glee\n (It was a comical sight to see),--", "The morning shone brightly, all nature was gay;\n And the Giant at breakfast was pegging away:\n On pantomime rolls all so fiercely fed he,\n And he ate hasty-pudding along with his tea.", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "Where good Saint Michael's craggy mount\n Rose Venus-like from out the sea,\n A giant dwelt; a mighty- Count", "The Giant howled; the rocks around\n Thrilled with his demon squall,\n Then flat he fell upon the ground,\n As the Monument might fall.\n\n\n XI.", "Stumping, thumping, blundering, lo!\n Comes the Giant Scot in sight;\n All the people screaming \"Oh!\"\n Fly before him in affright.", "But he cut him a little about the leg.\n The Giant, swearing, roared, \"This is\n A twinge of that beastly 'rheumatis.'", "They served a duke's fair daughter so,\n Whom they transmuted to a doe;\n Hither they brought the maid forlorn," ], [ "They served a duke's fair daughter so,\n Whom they transmuted to a doe;\n Hither they brought the maid forlorn,", "She poured out a bumper, and drank it up half,\n And gave the bold Prince the remainder to quaff;\n Wherewith through the \"back-flat\" her exit she made,\n And left the young gentleman rather afraid.", "Who each, as Jack, you know, had heard,\n The warlock had changed to beast and bird;\n And who straight had recovered their pristine condition\n When Old Nick flew away with the wicked magician.", "Of \"boning\" people's \"grub.\"\n There was screaming and crying \"Oh dear!\" and \"Oh law\n When the terrified maids the monster saw;", "The damsel fair, bewitched no more,\n Becomes bewitching as before;\n Restored to virtue's blooming grace,", "The Prince, you know, was going to blow\n A conjuror's castle about his ears,\n Who bullied there a lady fair,\n And I don't know how many worthy peers.", "The dungeons are burst and the captives freed;\n Three princesses were among them found--\n Very beautiful indeed;", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "Slockdollagos turned green and blue,\n But Catawampus in fury flew,\n And brandished at random his maple stick,", "The lady fair, and the gentle knight,\n Scarcely could believe their sight,\n When they beheld the Giant \"kick;\"", "(They term them 'notion's'), play their tricks;\n Bold knights (to use their slang) they 'fix,'\n Transforming them, at treacherous feasts,", "The very next day\n The rest went away,\n To their dear little wives and their daughters,\n But Jack to the knight's\n Repairs with delights\n To recruit himself after his slaughters.", "So up he jumps, and on they jog.\n They soon have gained the secret bower,\n Where, spell-bound by the warlock's power,", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "This odd-looking \"bird\"\n Was a Richard the Third,\n Four times taller and five as wide;\n Or a clumsy Punch,\n With his cudgel and hunch,\n Into a monster magnified!", "Through iron grate, the board beside,\n Pale captive wretches he descried;\n Who, when they saw the hero, cried,", "Who larruped the Giants out-and-out;\n When, lo! all their mirth was changed to gloom,\n For a herald, all whey-faced, rushed into the room.", "At last the champion cried, \"Here goes\n Struck, and cut off the monster's--nose.\n Like a thousand bulls all roaring mad,\n Was the furious Giant's shout,", "And soon finds out,\n That the lady was forced to go out in the dark\n Every night,\n By the pale moon light,", "When lo! the portal open flew,\n And a monster came out,\n Enormously stout\n And of stature tremendous, with heads for two." ], [ "Together with a beauteous mate\n The King gave Jack a great estate:\n In bliss the hero, with his wife,\n Lived the remainder of his life.", "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "The very next day\n The rest went away,\n To their dear little wives and their daughters,\n But Jack to the knight's\n Repairs with delights\n To recruit himself after his slaughters.", "Jack answered gaily, \"To be sure; \"\n And swore that when the morning came,\n He 'd lose his life or free the dame.\n\n\n XXI.", "Now Night o'er earth her pall had spread,\n And dauntless Jack repaired to bed.", "Said Jack--he quoted Mrs. Glass;\n And he scampers away in his nimble shoes:\n Like a walking Ben Lomond, Mac Thundel pursues.", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV.", "Jack dons, meanwhile,\n His \"knowing tile,\"--\n How ripe he looked for a regular \"lark;\"\n He asks about,", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son", "\"Jack,\" said the Prince, for fun agog,\n \"Get up behind, you jolly dog!\"", "We must finish the game,\" quoth Jack;\n So he vaulted upon the chopping-block,\n And ran him through the back.", "In ghastly moans and sounds of wail,\n The castle's cells replied;\n Jack, whose high spirits ne'er could quail,", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "In and out,\n Round about,\n Jack dodges the Giant apace,\n Round the castle wall,\n That the guests may all\n Enjoy the stirring chase.", "\"My eye!\" said Jack, a little serious;\n \"Upon my word, that _was_ mysterious!\"\n\n But cheers and joyous gratulations\n Cut short the hero's meditations;", "And he then led the way,\n All smiling and gay,\n To the couch where his guest might rest his head;\n And he bade him good night, politely quite,\n Jack answered--\"I wish you a very good night.\"", "He had pounced upon Jack,\n In his cosy bivouack,\n And so he made off with him over his back.\n\n{013}\n\n\n V.", "\"Ha! say you so,\"\n Thought Jack; \"oh, oh! \"\n And, getting out of bed,\n He found a log;--\n \"Whack that, old Gog!\n He whispered, \"in my stead.\"" ], [ "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "Of a right noble race was Jack,\n For kith and kin he did not lack,\n Whom tuneful bards have puffed;", "Jack dons, meanwhile,\n His \"knowing tile,\"--\n How ripe he looked for a regular \"lark;\"\n He asks about,", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "His uncle's gift,\n Jack canters off like air:\n Like air as fleet, and as viewless too,\n Intent on doing \"deeds of do.\"", "\"Here's a gentleman's mansion,\" thought Jack, \"all right.\"\n He knocked at the wicket,\n Crying, \"That's the ticket!\"", "JACK'S BIRTH, PARENTAGE, EDUCATION, AND EARLY PURSUITS.", "Now, as Jack was a lion, and hero of rhymes,\n His exploit very soon made a noise in the \"Times;\"\n All over the west", "\"Ha! say you so,\"\n Thought Jack; \"oh, oh! \"\n And, getting out of bed,\n He found a log;--\n \"Whack that, old Gog!\n He whispered, \"in my stead.\"", "Said Jack to himself; \"but _I_ do n't care!\"\n The Giant within,\n Alarmed at the din,", "\"Your poor cousin Jack,\" said the hero. \"Eh!\"\n Said the Giant, \"what news, cousin Jack, to-day?\"", "\"A pretty business this!\" quoth Jack,\n When he was left alone;\n \"Old Paddy Whack,\n I say! come back--\n I wonder where he's gone?\"", "Said Jack--he quoted Mrs. Glass;\n And he scampers away in his nimble shoes:\n Like a walking Ben Lomond, Mac Thundel pursues.", "And toddled, whistling \"Jack's Alive.\"", "Jack, the monsters having \"licked,\"\n Had, of course, their pockets picked,\n And their keys and eke their riches\n Had abstracted from their breeches.", "In and out,\n Round about,\n Jack dodges the Giant apace,\n Round the castle wall,\n That the guests may all\n Enjoy the stirring chase.", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "Though he may n't the comer see?\n No; like rogue by streamlet poaching,\n Creeps Jack near him stealthily.", "But joy illumes their wondering mien,\n When, doffing his coat of \"invisible green,\"\n Sir Jack appears before their eyes.", "[Illustration: 028]\n\n\n\n\nJACK SUPRISED ONCE IN THE WAY\n\n I." ], [ "XXXIV.\n\n He now before King Arthur's throne,\n Knelt with obeisance grave;\n A thousand bright eyes on him shone,\n As they shine upon the brave.", "\"Why,\" said the King, \"your plan's romantic\n And yet't is true those rogues gigantic\n Have wrought my subjects much annoy:--", "So, to the soul of stout Sir Jack, Adventure's summon spoke,\n And from her dream of luxury his martial spirit woke.\n Before King Arthur's royal throne he knelt upon his knee,", "Through the King's gate he took his way\n (He had come by sea to Hampton town,\n Where he called, just \"How d' ye do?\" to say,\n On Bevis, knight of high renown).", "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son", "The happy pair, the nuptials o'er,\n Start in a handsome coach-and-four\n For good King Arthur's court;", "\"In story shall he live for aye\n Such is the say of Merlin, sage;\n And by Saint George! fair England's stay,", "Together with a beauteous mate\n The King gave Jack a great estate:\n In bliss the hero, with his wife,\n Lived the remainder of his life.", "A crown he wore,\n And a mace he bore\n That was knobbed and spiked with adamant;", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "In Arthur's days of splendid fun\n (His Queen was Guenever the Pliant),--\n Ere Britain's sorrows had begun;\n When every cave contained its giant;", "The morning comes; the small birds sing;\n The sun shines out like--anything;\n Jack speeds the son of Britain's King,", "Had scarce o'ertopped the monster dread;\n The brim of his hat, so considerate,\n Was half as big round as the King's Round Table;", "Safe and sound o'er leagues of ground\n Jack so merrily capers away,\n Till Arthur's son (he had but one)\n He runs against at the close of day.", "The Prince, you know, was going to blow\n A conjuror's castle about his ears,\n Who bullied there a lady fair,\n And I don't know how many worthy peers.", "\"Alas!\" Jack whimpered, \"uncle dear,\n The Prince of Wales is coming here,\n Yourself to kill, and your castle to sack,--\n Two thousand knights are at his back.", "Awhile the hero now reposes,\n In knightly hall an honoured guest;\n His brow by beauty crowned with roses,\n And filled his belly with the best.", "\"Rise up,\" the noble Arthur said,\n \"Sir Jack, a Baron bold;\"\n And he placed upon the champion's head\n A coronet of gold.", "\"Illustrious Arthur, King of Trumps,\n My duty bids me stir my stumps;", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--" ], [ "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV.", "\"So ho! Sir Giant,\" said Jack, with a bow,\n \"Of breakfast art thou fain?\n For a tit-bit wilt thou broil me now,", "\"Your poor cousin Jack,\" said the hero. \"Eh!\"\n Said the Giant, \"what news, cousin Jack, to-day?\"", "HOW JACK SLEW THE GIANT CORMORAN.---\n\n\n I.", "By the side of the moat Jack, standing safe,\n Begins the Giant thus to chafe;--\n \"Just now, old chap, I thought you said\n You'd grind my bones to make your bread.\"", "The morning shone brightly, all nature was gay;\n And the Giant at breakfast was pegging away:\n On pantomime rolls all so fiercely fed he,\n And he ate hasty-pudding along with his tea.", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "By the mouth of the cave on a chopping-block sitting,\n Grinding his teeth and his shaggy brows knitting,\n Was the Giant;--and rolling his terrible eyes", "So Jack, with thorough-going blade,\n Stood aiming at the Giant's head.", "Jack's feet the Giant did n't scan,\n Because he was a Pagan man;\n And knew no more than a mining lad\n What kind of a foot Apollyon had;", "In and out,\n Round about,\n Jack dodges the Giant apace,\n Round the castle wall,\n That the guests may all\n Enjoy the stirring chase.", "\"Only me,\" whispered Jack. Cried the Giant, \"Who's _me?_\"\n Pitching his voice in a treble key.", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "\"Bad,\" answered Jack, \"as bad can be.\"\n \"Pooh!\" responded the Giant; \"fiddle-de-dee!", "At last the champion cried, \"Here goes\n Struck, and cut off the monster's--nose.\n Like a thousand bulls all roaring mad,\n Was the furious Giant's shout,", "Like a fern owl he flits through the forest trees,\n And, as he expected, a Giant he sees,\n Dragging a couple along by the hair--", "JACK THE GIANT KILLER.\n\nBy Percival Leigh\n\nThe Author Of \"The Comic Latin Grammar.\"" ], [ "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "No other meed I ask than those,\n So _may_ I have the sword and clothes? \"\n \"Jack,\" said the Giant, \"yes, you may,", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV.", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "So Jack, with thorough-going blade,\n Stood aiming at the Giant's head.", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "By the side of the moat Jack, standing safe,\n Begins the Giant thus to chafe;--\n \"Just now, old chap, I thought you said\n You'd grind my bones to make your bread.\"", "I sing the deeds of famous Jack,\n The doughty Giant Killer hight;\n How he did various monsters \"whack,\"\n And so became a gallant knight.", "At last the champion cried, \"Here goes\n Struck, and cut off the monster's--nose.\n Like a thousand bulls all roaring mad,\n Was the furious Giant's shout,", "Together with a beauteous mate\n The King gave Jack a great estate:\n In bliss the hero, with his wife,\n Lived the remainder of his life.", "Jack laughed this bootless brag to hear,\n And thus he sang in the Giant's ear:-", "\"Your poor cousin Jack,\" said the hero. \"Eh!\"\n Said the Giant, \"what news, cousin Jack, to-day?\"", "The monstrous Yankee thus laid low,\n Jack settled his hash with another blow;\n So he gave up the ghost, and his dying groan\n Had a \"touch of the earthquake\" in its tone.", "In and out,\n Round about,\n Jack dodges the Giant apace,\n Round the castle wall,\n That the guests may all\n Enjoy the stirring chase.", "HOW JACK SLEW THE GIANT CORMORAN.---\n\n\n I.", "The morning shone brightly, all nature was gay;\n And the Giant at breakfast was pegging away:\n On pantomime rolls all so fiercely fed he,\n And he ate hasty-pudding along with his tea.", "Jack's feet the Giant did n't scan,\n Because he was a Pagan man;\n And knew no more than a mining lad\n What kind of a foot Apollyon had;", "\"So ho! Sir Giant,\" said Jack, with a bow,\n \"Of breakfast art thou fain?\n For a tit-bit wilt thou broil me now," ], [ "The Prince, you know, was going to blow\n A conjuror's castle about his ears,\n Who bullied there a lady fair,\n And I don't know how many worthy peers.", "The dungeons are burst and the captives freed;\n Three princesses were among them found--\n Very beautiful indeed;", "Through iron grate, the board beside,\n Pale captive wretches he descried;\n Who, when they saw the hero, cried,", "Of \"boning\" people's \"grub.\"\n There was screaming and crying \"Oh dear!\" and \"Oh law\n When the terrified maids the monster saw;", "On car by fiery dragons borne;\n To free her, champions not a few\n Have tried, but found it would n't do;", "In the hearts of the monsters up to the hilt;\n So he settled them each:\n O'Blunderbore's speech,", "So up he jumps, and on they jog.\n They soon have gained the secret bower,\n Where, spell-bound by the warlock's power,", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "In ghastly moans and sounds of wail,\n The castle's cells replied;\n Jack, whose high spirits ne'er could quail,", "Was kept in \"quod\" that lady bright:\n She was remarkably polite,\n Displayed before them such a spread!\n Oh! gracious goodness, how they fed!", "They gained the Giant's castle hall,\n Which seemed a sort of Guy's museum;\n With skulls and bones 'twas crowded all--\n You would have blessed yourself to see 'em.", "\"Alas!\" Jack whimpered, \"uncle dear,\n The Prince of Wales is coming here,\n Yourself to kill, and your castle to sack,--\n Two thousand knights are at his back.", "VI.\n\n Whither was the hero bound,\n Napping by the Ogre caught?\n Unto Cambrian Taffy's ground\n Where adventures fresh he sought.", "She poured out a bumper, and drank it up half,\n And gave the bold Prince the remainder to quaff;\n Wherewith through the \"back-flat\" her exit she made,\n And left the young gentleman rather afraid.", "A blast he blew,-\n Asunder flew\n The portals with a brazen clang:\n Windows were smashed,\n And chains were clashed,\n While a thousand gongs in discord rang.", "In Arthur's days of splendid fun\n (His Queen was Guenever the Pliant),--\n Ere Britain's sorrows had begun;\n When every cave contained its giant;", "Stumping, thumping, blundering, lo!\n Comes the Giant Scot in sight;\n All the people screaming \"Oh!\"\n Fly before him in affright.", "The form of the hero dissolves in air,\n And the ladies exclaim and the gentlemen stare.\n\n\n\n XV.\n\n\n[Illustration: 076]", "With shouts of joy the castle rang,\n And they hied them again to the festal cheer\n Long life to brave Sir Jack they sang,\n And they drank his health in floods of beer.", "Freed the captive, and succoured the damsel distrest\n Till Jack would exclaim--\n \"If I don't do the same,\n An' I live to become a man,--_I'm blest!_\"" ], [ "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son", "Said Jack, \"My lord, my trusty sword\n And self at your princely feet I lay;\n 'T is my desire to be your squire:\"\n His Royal Highness replied \"You may.\"", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "So, to the soul of stout Sir Jack, Adventure's summon spoke,\n And from her dream of luxury his martial spirit woke.\n Before King Arthur's royal throne he knelt upon his knee,", "Off scampers Jack, the Prince aback\n With his palfrey waits beneath a rock;\n At the castle-gate, at a footman's rate,\n Jack hammers and raps with a stylish knock.", "The very next day\n The rest went away,\n To their dear little wives and their daughters,\n But Jack to the knight's\n Repairs with delights\n To recruit himself after his slaughters.", "\"Jack,\" said the Prince, for fun agog,\n \"Get up behind, you jolly dog!\"", "Though he may n't the comer see?\n No; like rogue by streamlet poaching,\n Creeps Jack near him stealthily.", "\"Pless us!\" he cried, \"it can't be;--no! \"\n \"'Tis I,\" said Jack, \"old fellow, though.\"", "\"Oh, barbarous wretch!\n I'm Jack--Jack Ketch;\n I am come for thy crimes to serve thee out;\n Take this, and this,", "\"Here's a gentleman's mansion,\" thought Jack, \"all right.\"\n He knocked at the wicket,\n Crying, \"That's the ticket!\"", "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "In ghastly moans and sounds of wail,\n The castle's cells replied;\n Jack, whose high spirits ne'er could quail,", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "Jack dons, meanwhile,\n His \"knowing tile,\"--\n How ripe he looked for a regular \"lark;\"\n He asks about,", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "Who each, as Jack, you know, had heard,\n The warlock had changed to beast and bird;\n And who straight had recovered their pristine condition\n When Old Nick flew away with the wicked magician.", "\"Ha! say you so,\"\n Thought Jack; \"oh, oh! \"\n And, getting out of bed,\n He found a log;--\n \"Whack that, old Gog!\n He whispered, \"in my stead.\"", "Now Night o'er earth her pall had spread,\n And dauntless Jack repaired to bed.", "He had pounced upon Jack,\n In his cosy bivouack,\n And so he made off with him over his back.\n\n{013}\n\n\n V." ], [ "A Giant high lives here hard by;\n The monster I've the pleasure to know:\n Three heads he's got, and would send to pot", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "No other meed I ask than those,\n So _may_ I have the sword and clothes? \"\n \"Jack,\" said the Giant, \"yes, you may,", "\"Thank you,\" said Jack; \"the Giants twain\n Have _had_ their bellyful of me;\n To prove I do not boast in vain,", "You might have strapped it on your back\n So thought, but said not, cunning Jack,\n Thanked his three-headed relative,", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV.", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "At last the champion cried, \"Here goes\n Struck, and cut off the monster's--nose.\n Like a thousand bulls all roaring mad,\n Was the furious Giant's shout,", "So Jack, with thorough-going blade,\n Stood aiming at the Giant's head.", "And \"Jack the Giant Killer\" dubbed him;\n And they gave him a sword, and a baldric, whereon\n For all who could read them, these versicles shone:--", "\"So ho! Sir Giant,\" said Jack, with a bow,\n \"Of breakfast art thou fain?\n For a tit-bit wilt thou broil me now,", "By the side of the moat Jack, standing safe,\n Begins the Giant thus to chafe;--\n \"Just now, old chap, I thought you said\n You'd grind my bones to make your bread.\"", "The morning shone brightly, all nature was gay;\n And the Giant at breakfast was pegging away:\n On pantomime rolls all so fiercely fed he,\n And he ate hasty-pudding along with his tea.", "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "Jack laughed this bootless brag to hear,\n And thus he sang in the Giant's ear:-", "His uncle's gift,\n Jack canters off like air:\n Like air as fleet, and as viewless too,\n Intent on doing \"deeds of do.\"", "But joy illumes their wondering mien,\n When, doffing his coat of \"invisible green,\"\n Sir Jack appears before their eyes.", "By the mouth of the cave on a chopping-block sitting,\n Grinding his teeth and his shaggy brows knitting,\n Was the Giant;--and rolling his terrible eyes" ], [ "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "\"My eye!\" said Jack, a little serious;\n \"Upon my word, that _was_ mysterious!\"\n\n But cheers and joyous gratulations\n Cut short the hero's meditations;", "The useful-knowledge-mongering sect,--\n Jack, famous Jack, shall live for ever!", "Jack dons, meanwhile,\n His \"knowing tile,\"--\n How ripe he looked for a regular \"lark;\"\n He asks about,", "\"Success to gallant Jack!\" they shout,\n And follow, straight, the champion stout.\n The knight's retainers he summons, all hands,\n And thus with hasty speech commands:-", "\"Here's a gentleman's mansion,\" thought Jack, \"all right.\"\n He knocked at the wicket,\n Crying, \"That's the ticket!\"", "The very next day\n The rest went away,\n To their dear little wives and their daughters,\n But Jack to the knight's\n Repairs with delights\n To recruit himself after his slaughters.", "But joy illumes their wondering mien,\n When, doffing his coat of \"invisible green,\"\n Sir Jack appears before their eyes.", "Freed the captive, and succoured the damsel distrest\n Till Jack would exclaim--\n \"If I don't do the same,\n An' I live to become a man,--_I'm blest!_\"", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "Now, as Jack was a lion, and hero of rhymes,\n His exploit very soon made a noise in the \"Times;\"\n All over the west", "Said Jack, \"My lord, my trusty sword\n And self at your princely feet I lay;\n 'T is my desire to be your squire:\"\n His Royal Highness replied \"You may.\"", "Loud shouts of joy the welkin crack,\n And Arthur dubs our hero Jack,\n Knight of the Table Round.", "\"Jack,\" said the Prince, for fun agog,\n \"Get up behind, you jolly dog!\"", "So, to the soul of stout Sir Jack, Adventure's summon spoke,\n And from her dream of luxury his martial spirit woke.\n Before King Arthur's royal throne he knelt upon his knee,", "His uncle's gift,\n Jack canters off like air:\n Like air as fleet, and as viewless too,\n Intent on doing \"deeds of do.\"", "\"Pless us!\" he cried, \"it can't be;--no! \"\n \"'Tis I,\" said Jack, \"old fellow, though.\"", "We must finish the game,\" quoth Jack;\n So he vaulted upon the chopping-block,\n And ran him through the back.", "Jack was rather alarmed,\n But the Giant was charmed,\n He declared with both tongues, the young hero to see:" ], [ "They served a duke's fair daughter so,\n Whom they transmuted to a doe;\n Hither they brought the maid forlorn,", "Who each, as Jack, you know, had heard,\n The warlock had changed to beast and bird;\n And who straight had recovered their pristine condition\n When Old Nick flew away with the wicked magician.", "The damsel fair, bewitched no more,\n Becomes bewitching as before;\n Restored to virtue's blooming grace,", "She poured out a bumper, and drank it up half,\n And gave the bold Prince the remainder to quaff;\n Wherewith through the \"back-flat\" her exit she made,\n And left the young gentleman rather afraid.", "The Prince, you know, was going to blow\n A conjuror's castle about his ears,\n Who bullied there a lady fair,\n And I don't know how many worthy peers.", "So up he jumps, and on they jog.\n They soon have gained the secret bower,\n Where, spell-bound by the warlock's power,", "This odd-looking \"bird\"\n Was a Richard the Third,\n Four times taller and five as wide;\n Or a clumsy Punch,\n With his cudgel and hunch,\n Into a monster magnified!", "Of \"boning\" people's \"grub.\"\n There was screaming and crying \"Oh dear!\" and \"Oh law\n When the terrified maids the monster saw;", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "Me to remark--you wo n't be daunted--\n But know his castle is enchanted;\n Him aids a sorcerer of might", "So he jumps off his prad,\n And unto an oak the animal ties:\n So Hampshire Squire, when, at the din,", "The form of the hero dissolves in air,\n And the ladies exclaim and the gentlemen stare.\n\n\n\n XV.\n\n\n[Illustration: 076]", "To be a conjuror, 'tis said,\n In sooth a man requires a head;\n So Jack, by this decapitation,\n Dissolved, of course, the conjuration.", "Of frightful shapes from Pluto's regions;\n And, the sorceror shrieking with frantic dismay,\n On the wings of a whilwind they bore him away.", "At length appears the warlock, dight\n In dressing gown of gramarye;\n And, like a spirit of the night,", "The \"deformed transformed\" round him press,\n Knights and ladies numberless;", "Short was our hero's marvelling;\n For, deeming him in slumber locked,\n The monstrous oaf began to sing:", "(They term them 'notion's'), play their tricks;\n Bold knights (to use their slang) they 'fix,'\n Transforming them, at treacherous feasts,", "Was ever seen in such a coat;\n For when you put it on your shoulders\n You vanish, straight, from all beholders!\"", "Like a fern owl he flits through the forest trees,\n And, as he expected, a Giant he sees,\n Dragging a couple along by the hair--" ], [ "Together with a beauteous mate\n The King gave Jack a great estate:\n In bliss the hero, with his wife,\n Lived the remainder of his life.", "Hurrah! Jack's labours now are done,\n He hath slain the Giants all, save one;\n I mean his great uncle; and he's bound o'er\n To keep the peace for evermore.", "We must finish the game,\" quoth Jack;\n So he vaulted upon the chopping-block,\n And ran him through the back.", "The heart of Jack,\n No way slack,\n Was melted by their tears and cries;\n Benevolent lad!", "The very next day\n The rest went away,\n To their dear little wives and their daughters,\n But Jack to the knight's\n Repairs with delights\n To recruit himself after his slaughters.", "Jack answered, \"I will;\n Only keep yourself still.\"\n Said the Giant, \"Of that, my boy, be sure.\"\n\n\n IV.", "\"Here's a gentleman's mansion,\" thought Jack, \"all right.\"\n He knocked at the wicket,\n Crying, \"That's the ticket!\"", "Jack answered gaily, \"To be sure; \"\n And swore that when the morning came,\n He 'd lose his life or free the dame.\n\n\n XXI.", "\"Ha! say you so,\"\n Thought Jack; \"oh, oh! \"\n And, getting out of bed,\n He found a log;--\n \"Whack that, old Gog!\n He whispered, \"in my stead.\"", "\"My eye!\" said Jack, a little serious;\n \"Upon my word, that _was_ mysterious!\"\n\n But cheers and joyous gratulations\n Cut short the hero's meditations;", "Now Night o'er earth her pall had spread,\n And dauntless Jack repaired to bed.", "And he then led the way,\n All smiling and gay,\n To the couch where his guest might rest his head;\n And he bade him good night, politely quite,\n Jack answered--\"I wish you a very good night.\"", "While the stupid old Giant, locked up with the beer,\n Lies shivering and shaking in bodily fear,\n Young Jack and young Arthur -", "Said Jack so free, \"Leave that to me,\n Your Royal Highness's faithful 'sub.'\"\n Now night came on, and Arthur's son", "The monstrous Yankee thus laid low,\n Jack settled his hash with another blow;\n So he gave up the ghost, and his dying groan\n Had a \"touch of the earthquake\" in its tone.", "Said Jack to himself; \"but _I_ do n't care!\"\n The Giant within,\n Alarmed at the din,", "Said Jack--he quoted Mrs. Glass;\n And he scampers away in his nimble shoes:\n Like a walking Ben Lomond, Mac Thundel pursues.", "When Jack had eaten all he could,\n Bespoke him thus the hermit good,-\n \"My son, I think I 'twig' the man\n Who 'slew the Giant Cormoran.'", "[Illustration: 028]\n\n\n\n\nJACK SUPRISED ONCE IN THE WAY\n\n I.", "Jack dons, meanwhile,\n His \"knowing tile,\"--\n How ripe he looked for a regular \"lark;\"\n He asks about," ] ]

[ "How many heads does the giant Jack and the Price stay with have?", "How many gifts does the three headed giant give Jack?", "Why is Jack given a spot at the Round Table?", "Where does Jack find the giant whose nose he cuts off?", "Who is Thunderdel?", "Who is the white doe?", "How does Jack kill the giant Galigantus?", "Who does Jack marry?", "Who is the King in the story?", "Who's reign was the story set?", "What did Jacks father do for an occupation?", "How does cormoran die?", "Who were captive in blunderbore's castle?", "Who does jack become serpent to?", "What was Jacks reward after defeating Lucien?", "What was involved in defeating the giant Thunderdel?", "What giant held the dukes daughter captive?", "What was the Dukes daughter turned into?", "Who does jack marry?", "What does Jack's family do for a living?", "Who is King at the time of story?", "What is the cattle-eating giant that Jack encounters called?", "Besides the giant's wealth, what else does Jack receive for killing the beast?", "How many ladies were being held captive in Blunderbore's castle?", "Who's servant does Jack become?", "What are the four objects the three-headed giant gives Jack as a show of gratitude?", "Jack is rewarded with membership into what group?", "The sorcerer has transformed the Duke's daughter into what animal?", "Who does Jack marry at the end of the story?" ]

[ [ "Three", "Two." ], [ "Four", "Four." ], [ "For breaking the spell the Lady the Prince marries is under", "By behaeding Lucifer." ], [ "A cave", "Inside of a cave." ], [ "A two headed giant", "A two-headed giant." ], [ "The Dukes daughter", "The dukes Daughter" ], [ "Beheading", "Jack beheads the giant Galigantus." ], [ "The Dukes daughter", "the dukes Daughter" ], [ "King Arthur ", "Arthur" ], [ "King Arthur", "At the time of King Arthur's reign." ], [ "A farmer", "Farm." ], [ "In a pit trap", "Jack lures him to his death in a trap." ], [ " 3 ladies", "Three ladies." ], [ "The prince", "king arthur's son" ], [ "A round table membership", "Jack was rewarded with membership in the Round the table." ], [ "A mote and drawbridge", "A drawbridge and a moat." ], [ "Galigantus", "Galigantus." ], [ "A White doe", "a white doe" ], [ "The Dukes daughter", "Jack marries the duke's daughter." ], [ "Farm", "They are farmers." ], [ "King Arthur", "Arthur" ], [ "Cormoran", "Cormoran." ], [ "A commemorative sword and belt", "a sword and belt" ], [ "Three", "A total of three ladies were held captive in Blunderbore's castle." ], [ "King Arthur's son.", "King Arthur's son." ], [ "Magic sword, Cap of Knowledge, Cloak of Invisibility, Shoes of Swiftness ", "cap of knowledge, shoes of swiftness, magic sword, and invisibility cloak." ], [ "The Round Table", "He is awarded with membership onto King Arthur's knights." ], [ "White Doe", "A white doe." ], [ "The Duke's daughter", "The Duke's daughter." ] ]

[ [ "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "of the wine-casks. Some were already snoring drunkenly on the grass,\nwhile others had staggered into the ruins. Of Conan she saw nothing. She", "The southern night swept down quickly, littering the dark blue sky with\ngreat white stars, and Conan entered the shadowy ruins, drawing the", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Olivia helplessly acquiesced, and they descended the cliffs, crossed the\nplateau and once more approached the gloomy, age-haunted ruins. By this", "ruins, and at last they reached the foot of the crags, which rose stark\nand gloomily majestic above them. There Conan halted in some", "In spite of his burden, the Cimmerian crossed the plateau swiftly, and\nOlivia, opening her eyes, saw that they were passing under the shadow of\nthe cliffs.", "Conan had brought a great armful of tender branches, well leafed. These\nhe heaped to make a couch for her, and she lay upon it, with a curious\nsensation as of one lying down to sleep in a serpent's lair.", "Conan, poised like a bronze statue on the cliffs, pointed northward.\nStraining her eyes, Olivia saw a white fleck that seemed to hang\nsuspended in the aching haze.\n\n'What is it?'", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for", "Olivia glanced timidly about the great silent hall. Only the ivy-grown\nstones, the tendril-clasped pillars, with the dark figures brooding", "Once within, Conan grunted in surprize, and Olivia stifled a scream.\n\n'Look! Oh, look!'", "Whatever doors had once guarded its portals had long rotted away. Conan\nand his companion stood in the broad entrance and stared inside.", "But no sleep came to Olivia, and she lay watching the distant ruins and\nthe wooded rim until the stars paled, the east whitened, and dawn in\nrose and gold struck fire from the dew on the grass-blades.", "'But we were not pursued,' muttered Conan, glancing toward the brooding\nruins. 'You might have dreamed they moved. I am of a mind to return and\nsee.'", "about. Conan slept against his pillar, his head fallen upon his massive\nbreast. The silvery radiance of the late moon crept through the gaping", "'A strange stone to find on an uninhabited island,' growled Conan." ], [ "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "Her breath came in gasps; Conan's wrists were free, but his elbows and\nlegs were still bound fast. She glanced fleetingly at the figures along", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "Conan. They propped him against the wall, still evidently bound fast,\nand there ensued a long discussion, with much brandishing of weapons. At", "the bonds that held her mute and motionless. At her shriek Conan shot\nerect, teeth gleaming, sword lifted.", "joy rose to her lips as she saw Conan. The Cimmerian was wide awake,\nbound upright to a pillar, his eyes gleaming in the faint reflection of\nthe waning fire outside.", "Etched against the whitening sky they saw Conan the Cimmerian standing\nin the bows, sword in hand, his black mane tossing in the dawn wind.", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "Dawn was in her eyes when she awakened, aware of a ravenous hunger. It\nwas a change in the motion of the boat that had roused her; Conan was", "were civilized men. And from them she had had only suffering. She had\nnever encountered any civilized man who treated her with kindness unless\nthere was an ulterior motive behind his actions. Conan had shielded her,", "Conan rose and limped over to the corpse. The Cimmerian breathed\nheavily, and walked like a man whose joints and muscles have been", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "'The first man who tries to climb over the side, I'll split his skull,'\npromised Conan.", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "'Let us come aboard, good Conan,' whined a red-sashed Zamorian, glancing\nfearfully over his shoulder at the silent woods. 'We have been so" ], [ "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Olivia awoke, starting up on her couch of branches, a cold sweat beading\nher skin. Her heart pounded loud in the silence. She glanced wildly", "reluctant Olivia after him. She shivered at the sight of those tense\nblack shadows in their niches along the walls. In the darkness that the", "But no sleep came to Olivia, and she lay watching the distant ruins and\nthe wooded rim until the stars paled, the east whitened, and dawn in\nrose and gold struck fire from the dew on the grass-blades.", "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "'No, you will not drown, Olivia, daughter of confusion, for the marge is\ntoo shallow, and I can catch you before you can reach the deeps. You", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming", "Olivia stared after it, feeling the cold hand of nameless foreboding\ntouch her supple spine.\n\n'What did it say?' she whispered." ], [ "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Conan, poised like a bronze statue on the cliffs, pointed northward.\nStraining her eyes, Olivia saw a white fleck that seemed to hang\nsuspended in the aching haze.\n\n'What is it?'", "In spite of his burden, the Cimmerian crossed the plateau swiftly, and\nOlivia, opening her eyes, saw that they were passing under the shadow of\nthe cliffs.", "Whipping out his sword, Conan bounded across the glade and plunged into\nthe thicket. Silence ensued, while Olivia crouched on the sward,", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "Once within, Conan grunted in surprize, and Olivia stifled a scream.\n\n'Look! Oh, look!'", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for", "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "from limb! Oh, Conan, let us go into our boat and flee this awful\nisland! Surely the Hyrkanian ship has passed us now! Let us go!'", "and Conan, bounding aside and carrying the girl with him, narrowly saved\nthem from something that rushed through the air and struck a tree-trunk\nwith a thunderous impact.", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "Dawn was in her eyes when she awakened, aware of a ravenous hunger. It\nwas a change in the motion of the boat that had roused her; Conan was", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away." ], [ "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "How long she lay there, she did not know. Across the plateau she saw the\npirates reach the ruins and enter, dragging their captive. She saw them", "unmanned me. I am at home in the high lands. As for pirates--' He\ngrinned enigmatically, and bent to the oars.", "cautiously, she looked out across the plateau. She saw the pirates\nclustered about a great fire outside the ruins, and her heart leaped as\na group emerged from the interior dragging some object she knew was", "The pirates, clambering over the rail, gasped in amazement.\n\n'To sail a road of blood and slaughter?' he questioned. 'This keel will\nstain the blue waves crimson wherever it plows.'", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "She dropped to the sward and wriggled along on her belly until, from\nbehind a small tree that had escaped the axes of the pirates, she", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "In an instant the pirates had formed a circle about the rivals, their\neyes blazing, their breath sucking between their teeth in bloodthirsty", "visit them. Besides, they generally hug the shores in their galleys, and\nwe have come a long way. Before sunset we were out of sight of the\nmainland.'", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'", "'Let us come aboard!' croaked a hairy rogue fingering a bloody stump of\near. 'We'd be gone from this devil's island.'", "'No, else the pirates had been attacked when they went through the\nwoods. The gray ape is wary, for all his strength, as shown by his", "called, like an eery echo: '_Yagkoolan yok tha, xuthalla!_' So they came\nto the tree-fringed water's edge and saw the galley lying at anchor,", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "figment of nightmare. Were Conan slain or carried away captive, her only\nchoice would lie between giving herself up to the human wolves of the\nsea, or remaining alone on that devil-haunted island.", "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many", "'Then if I am one of the Brotherhood,' he grunted, 'the laws of the\nTrade apply to me; and since I killed your chief in fair fight, then I\nam your captain!'", "came back across the plateau and vanished among the trees on the western\nrim, dragging the body of Sergius after them, presumably to cast into\nthe sea. About the ruins the others were cutting down trees and securing", "There was silence for some time, the girl crouching in the bows, the man\ntugging at the oars. She watched him with timorous fascination. It was" ], [ "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "'We should have brought fruit for food,' muttered Conan; 'but doubtless\nwe'll find other islands. As well leave now as later; it's but a few\nhours till dawn--'", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Conan, poised like a bronze statue on the cliffs, pointed northward.\nStraining her eyes, Olivia saw a white fleck that seemed to hang\nsuspended in the aching haze.\n\n'What is it?'", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for", "were civilized men. And from them she had had only suffering. She had\nnever encountered any civilized man who treated her with kindness unless\nthere was an ulterior motive behind his actions. Conan had shielded her,", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "In spite of his burden, the Cimmerian crossed the plateau swiftly, and\nOlivia, opening her eyes, saw that they were passing under the shadow of\nthe cliffs.", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "Whipping out his sword, Conan bounded across the glade and plunged into\nthe thicket. Silence ensued, while Olivia crouched on the sward,", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "rocky cliffs, the highest point of the island. Thither Conan took his\nway, suiting his long stride to his companion's gait. From time to time" ], [ "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "In spite of his burden, the Cimmerian crossed the plateau swiftly, and\nOlivia, opening her eyes, saw that they were passing under the shadow of\nthe cliffs.", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "'This is one of the many islands that dot this inland sea,' said Conan.\n'They are supposed to be uninhabited. I've heard the Hyrkanians seldom", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Conan, poised like a bronze statue on the cliffs, pointed northward.\nStraining her eyes, Olivia saw a white fleck that seemed to hang\nsuspended in the aching haze.\n\n'What is it?'", "Once within, Conan grunted in surprize, and Olivia stifled a scream.\n\n'Look! Oh, look!'", "from limb! Oh, Conan, let us go into our boat and flee this awful\nisland! Surely the Hyrkanian ship has passed us now! Let us go!'", "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "figment of nightmare. Were Conan slain or carried away captive, her only\nchoice would lie between giving herself up to the human wolves of the\nsea, or remaining alone on that devil-haunted island.", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like", "Dawn was in her eyes when she awakened, aware of a ravenous hunger. It\nwas a change in the motion of the boat that had roused her; Conan was", "Whipping out his sword, Conan bounded across the glade and plunged into\nthe thicket. Silence ensued, while Olivia crouched on the sward,", "'We should have brought fruit for food,' muttered Conan; 'but doubtless\nwe'll find other islands. As well leave now as later; it's but a few\nhours till dawn--'", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for", "Olivia helplessly acquiesced, and they descended the cliffs, crossed the\nplateau and once more approached the gloomy, age-haunted ruins. By this" ], [ "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like", "Once within, Conan grunted in surprize, and Olivia stifled a scream.\n\n'Look! Oh, look!'", "Whipping out his sword, Conan bounded across the glade and plunged into\nthe thicket. Silence ensued, while Olivia crouched on the sward,", "In spite of his burden, the Cimmerian crossed the plateau swiftly, and\nOlivia, opening her eyes, saw that they were passing under the shadow of\nthe cliffs.", "Conan, poised like a bronze statue on the cliffs, pointed northward.\nStraining her eyes, Olivia saw a white fleck that seemed to hang\nsuspended in the aching haze.\n\n'What is it?'", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "He turned and lifted Olivia to her feet, from where she had crouched\nshielded by the gunwales.\n\n'And what of me, sir?' she asked.", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away." ], [ "cautiously, she looked out across the plateau. She saw the pirates\nclustered about a great fire outside the ruins, and her heart leaped as\na group emerged from the interior dragging some object she knew was", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "The pirates, clambering over the rail, gasped in amazement.\n\n'To sail a road of blood and slaughter?' he questioned. 'This keel will\nstain the blue waves crimson wherever it plows.'", "'Aye!' put in another corsair. 'They were the demons of the isle, which\ntook the forms of molten images, to befool us. Ishtar! We lay down to", "In an instant the pirates had formed a circle about the rivals, their\neyes blazing, their breath sucking between their teeth in bloodthirsty", "How long she lay there, she did not know. Across the plateau she saw the\npirates reach the ruins and enter, dragging their captive. She saw them", "Doubtless they'll pass the island tonight, and at dawn we can go on our\nway.'", "visit them. Besides, they generally hug the shores in their galleys, and\nwe have come a long way. Before sunset we were out of sight of the\nmainland.'", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "unmanned me. I am at home in the high lands. As for pirates--' He\ngrinned enigmatically, and bent to the oars.", "She dropped to the sward and wriggled along on her belly until, from\nbehind a small tree that had escaped the axes of the pirates, she", "called, like an eery echo: '_Yagkoolan yok tha, xuthalla!_' So they came\nto the tree-fringed water's edge and saw the galley lying at anchor,", "'This is one of the many islands that dot this inland sea,' said Conan.\n'They are supposed to be uninhabited. I've heard the Hyrkanians seldom", "They gazed in wonder. No legends named such a building on any island of\nVilayet. They approached it warily, seeing that moss and lichen crawled", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'", "'No, else the pirates had been attacked when they went through the\nwoods. The gray ape is wary, for all his strength, as shown by his", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "'Let us come aboard!' croaked a hairy rogue fingering a bloody stump of\near. 'We'd be gone from this devil's island.'" ], [ "She reached him and clung to him an instant. He felt the quick beating\nof her heart against his breast. Through a broad crevice in the wall", "'So I did!' she shivered. 'But the reality was more grisly than the\ndream. Listen!' And she narrated all that she had dreamed and thought\nto see.", "toward the ceiling and the skies beyond, he cried out a name in an awful\nvoice. A dagger in an ebon hand cut short his cry, and the golden head\nrolled on the ivory breast.", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "protected her, and--so far--demanded nothing in return. Laying her head\nin her rounded arms she wept, until distant shouts of ribald revelry\nroused her to her own danger.", "She opened her eyes, to see the stranger turning away from a gory\ntravesty that only vaguely resembled a human being. The man's breast", "far behind him. They will find his corpse--they will find me near\nit--oh!' She moaned in her terror and wrung her white hands.", "Then she rose. It was time to make her attempt. But first she stole back\nto the northern edge of the cliffs, and looked down into the woods that", "He shook his head. 'It didn't fall from above. It came from yonder\nthicket. See how the twigs are broken? It was thrown as a man might\nthrow a pebble. But who? What? Come!'", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "that she felt as if she were being carried rather than guided. Neither\nspoke. The only sound was the girl's quick nervous panting, the rustle", "'Quarter!' he gasped.\n\n'Quarter?' There was a quiver of frenzy in the stranger's voice.\n'Quarter such as you gave us, you swine!'", "With a gasp she rose and hurried toward the ruins. Her flesh crawled as\nshe tiptoed among the drunken shapes that sprawled beside the gaping", "He halted suddenly, an image of bronze in the moonlight. With a quick\ngesture he tossed the girl lightly to one side and behind him. Rising to\nher knees on the soft sward, she screamed at what she saw.", "He wheeled and stared at her. There was a difference in his bearing. His\nbloodshot eyes were sane. It was as if the blood he had just shed had\nquenched the fire of his frenzy.", "There was silence for some time, the girl crouching in the bows, the man\ntugging at the oars. She watched him with timorous fascination. It was", "'All but me, damn you!' cried the other. 'Oh, I've dreamed of such a\nmeeting as this, while I crawled on my belly through the brambles, or", "trickled down the ivory thighs to spatter on the polished floor. The\nscreams of the victim echoed through the hall; then lifting his head", "in triumph, and a great fete was made to honor him. In the drunkenness\nand rejoicing, I found an opportunity to steal out of the city on a", "With this in mind she ventured to creep from her refuge to pluck and eat\nnuts which grew sparsely near at hand. She had not eaten since the day" ], [ "to Akif of the purple gardens. Then--' She shuddered and hid her face in\nher hands.", "doubt if any escaped. The steppes were covered with horsemen riding down\nthe fugitives. I broke for the east, and finally reached the edge of the\nmarshes that border this part of Vilayet.", "'But come--let us return to Akif, where the people are still feting the\nconqueror of the miserable _kozaki_; while he, the conqueror, is engaged", "In spite of the terror of his wild appearance, Olivia looked to see him\nfall at the first crossing of the blades. Madman or savage, what could\nhe do, naked, against the mailed chief of Akif?", "tugged at her lips. Turning, she fled down the southern slope.", "'Ha!' It was like the bark of a timber wolf. 'Shah Amurath, the great\nLord of Akif! Oh, damn you, how I love the sight of you--you, who fed my", "protected her, and--so far--demanded nothing in return. Laying her head\nin her rounded arms she wept, until distant shouts of ribald revelry\nroused her to her own danger.", "'Yes, I fear you,' she replied, too distracted to dissemble. 'My flesh\ncrawls at the horror of your aspect. But I fear the Hyrkanians more. Oh,", "There were forty-four of them, and they were a cowed and demoralized\nband. With panting haste they plunged into the water and began to wade", "that burned like the red heart of night. Behind her, as she fled, she\nheard a shower of stones rattle down the steep slope, and the sound lent", "He started and wheeled back toward the way they had come. The night had\nbeen split by an awful scream. It came from the ruins.", "some weeks agone he rode out with his hosts to do battle with a band of\ninvaders who were ravaging the borders of Turan. Yesterday he returned", "'_Kozak!_' ejaculated Shah Amurath, recoiling. 'I did not know a dog of\nyou escaped! I thought you all lay stiff on the steppe, by Ilbars\nRiver.'", "came back across the plateau and vanished among the trees on the western\nrim, dragging the body of Sergius after them, presumably to cast into\nthe sea. About the ruins the others were cutting down trees and securing", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "'Slut! I should drag you back to Akif at my horse's tail, but I will be\nmerciful and carry you on my saddle-bow, for which favor you shall\nhumbly thank me, while--'", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "Amurath deserved no mercy or pity from any living creature, yet she\nclosed her eyes and pressed her hands over her ears, to shut out the\nsight of that dripping sword that rose and fell with the sound of a", "Koth, most of us, and when he made peace with his cursed sovereign, we\nwere out of employment; so we took to plundering the outlying dominions", "Strenuous physical action dissipated her blind terror somewhat and\nbefore she had reached the ruin, her mind was clear, her reasoning\nfaculties alert, though her limbs trembled from her efforts." ], [ "'Quarter!' he gasped.\n\n'Quarter?' There was a quiver of frenzy in the stranger's voice.\n'Quarter such as you gave us, you swine!'", "He wheeled and stared at her. There was a difference in his bearing. His\nbloodshot eyes were sane. It was as if the blood he had just shed had\nquenched the fire of his frenzy.", "far behind him. They will find his corpse--they will find me near\nit--oh!' She moaned in her terror and wrung her white hands.", "He shook his head. 'It didn't fall from above. It came from yonder\nthicket. See how the twigs are broken? It was thrown as a man might\nthrow a pebble. But who? What? Come!'", "The stranger's bloodthirsty joy was terrible to behold. His jaws champed\nspasmodically, froth appeared on his blackened lips.\n\n'Keep back!' ordered Shah Amurath, watching him narrowly.", "She lay watching them, her nerves taut with the strain of waiting, the\nflesh crawling between her shoulders at the thought of what might be", "before. It was while so occupied that she was troubled by a sensation of\nbeing watched. She scanned the rocks nervously, then, with a shuddering", "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "'Nothing entered,' a laugh of hysteria escaped her. 'It was something\nthere already. Ah, Mitra, we lay down to sleep among them, like sheep\nmaking their bed in the shambles!'", "on the iron-thewed barbarian. But this thought was but one in a\nfluttering maelstrom of dizzy fright.", "protected her, and--so far--demanded nothing in return. Laying her head\nin her rounded arms she wept, until distant shouts of ribald revelry\nroused her to her own danger.", "He started and wheeled back toward the way they had come. The night had\nbeen split by an awful scream. It came from the ruins.", "With a gasp she rose and hurried toward the ruins. Her flesh crawled as\nshe tiptoed among the drunken shapes that sprawled beside the gaping", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "terrified and bewildered. Presently Conan emerged, a puzzled scowl on\nhis face.", "Strenuous physical action dissipated her blind terror somewhat and\nbefore she had reached the ruin, her mind was clear, her reasoning\nfaculties alert, though her limbs trembled from her efforts.", "'What in Crom's name, girl? Did you have a nightmare?' His voice sounded\nstrange and far away. With a sobbing gasp she threw her arms about his", "She opened her eyes, to see the stranger turning away from a gory\ntravesty that only vaguely resembled a human being. The man's breast", "In spite of the terror of his wild appearance, Olivia looked to see him\nfall at the first crossing of the blades. Madman or savage, what could\nhe do, naked, against the mailed chief of Akif?" ], [ "'Then we must spend the night here?' she shivered.\n\n'It's safest.'\n\n'Then let us sleep here, on the crags,' she urged.", "protected her, and--so far--demanded nothing in return. Laying her head\nin her rounded arms she wept, until distant shouts of ribald revelry\nroused her to her own danger.", "Stealing back to her rocky eyrie, she lay watching the distant ruins\nuntil the dusk of night masked them, and she marked their position by\nthe flickering flames about which black figures leaped and cavorted\ngroggily.", "Picking her way among the sleepers, she approached him. Lightly as she\nhad come, he had heard her; had seen her when first framed in the\nportal. A faint grin touched his hard lips.", "Doubtless they'll pass the island tonight, and at dawn we can go on our\nway.'", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "She sat up, still clinging to him, and looked fearfully about. Her blind\nflight had carried her to the southern edge of the plateau. Just below", "He took the girl's hand and they went down the slope and plunged into\nthe dense woods, where the leaves whispered, and nameless night-birds", "He started and wheeled back toward the way they had come. The night had\nbeen split by an awful scream. It came from the ruins.", "Then she rose. It was time to make her attempt. But first she stole back\nto the northern edge of the cliffs, and looked down into the woods that", "So they passed out of the dusky hall into the clear blaze of the summer\nsun. She was surprized to note its position in the sky; they had spent\nmore time in the ruins than she had guessed.", "Conan had brought a great armful of tender branches, well leafed. These\nhe heaped to make a couch for her, and she lay upon it, with a curious\nsensation as of one lying down to sleep in a serpent's lair.", "With a gasp she rose and hurried toward the ruins. Her flesh crawled as\nshe tiptoed among the drunken shapes that sprawled beside the gaping", "They stood in a great hall, whose floor was of polished stone, littered\nwith dust and broken stones, which had fallen from the ceiling. Vines,", "'Nothing entered,' a laugh of hysteria escaped her. 'It was something\nthere already. Ah, Mitra, we lay down to sleep among them, like sheep\nmaking their bed in the shambles!'", "visit them. Besides, they generally hug the shores in their galleys, and\nwe have come a long way. Before sunset we were out of sight of the\nmainland.'", "Whatever her forebodings, Conan did not share them. The Cimmerian sat\ndown near her, his back against a pillar, his sword across his knees.\nHis eyes gleamed like a panther's in the dusk.", "Without comment, he indicated with a gesture that they should continue\ntheir explorations, and rising, she followed him out of the trees and", "She reached him and clung to him an instant. He felt the quick beating\nof her heart against his breast. Through a broad crevice in the wall", "The southern night swept down quickly, littering the dark blue sky with\ngreat white stars, and Conan entered the shadowy ruins, drawing the" ], [ "So frantic was her pleading that Conan was impressed. His curiosity in\nregard to the images was balanced by his superstition. Foes of flesh and", "Whatever her forebodings, Conan did not share them. The Cimmerian sat\ndown near her, his back against a pillar, his sword across his knees.\nHis eyes gleamed like a panther's in the dusk.", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "terrified and bewildered. Presently Conan emerged, a puzzled scowl on\nhis face.", "'But we were not pursued,' muttered Conan, glancing toward the brooding\nruins. 'You might have dreamed they moved. I am of a mind to return and\nsee.'", "were civilized men. And from them she had had only suffering. She had\nnever encountered any civilized man who treated her with kindness unless\nthere was an ulterior motive behind his actions. Conan had shielded her,", "'What are we to do, Conan?' she whispered.\n\nHe looked at the ruins, stared again into the woods below.", "Conan listened attentively. The natural skepticism of the sophisticated\nman was not his. His mythology contained ghouls, goblins, and", "murmured drowsily. Under the trees the shadows clustered thick, and\nConan swerved to avoid the denser patches. His eyes roved continuously", "Conan rose and limped over to the corpse. The Cimmerian breathed\nheavily, and walked like a man whose joints and muscles have been", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "and Conan, bounding aside and carrying the girl with him, narrowly saved\nthem from something that rushed through the air and struck a tree-trunk\nwith a thunderous impact.", "Conan had brought a great armful of tender branches, well leafed. These\nhe heaped to make a couch for her, and she lay upon it, with a curious\nsensation as of one lying down to sleep in a serpent's lair.", "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "Conan. They propped him against the wall, still evidently bound fast,\nand there ensued a long discussion, with much brandishing of weapons. At", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like", "Her breath came in gasps; Conan's wrists were free, but his elbows and\nlegs were still bound fast. She glanced fleetingly at the figures along", "'The first man who tries to climb over the side, I'll split his skull,'\npromised Conan." ], [ "visit them. Besides, they generally hug the shores in their galleys, and\nwe have come a long way. Before sunset we were out of sight of the\nmainland.'", "this island, I can't say. Maybe he floated here on driftwood, blown out\nfrom the mainland in a storm.'", "Doubtless they'll pass the island tonight, and at dawn we can go on our\nway.'", "called, like an eery echo: '_Yagkoolan yok tha, xuthalla!_' So they came\nto the tree-fringed water's edge and saw the galley lying at anchor,", "'Just before dawn I heard the creak of timbers and the rasp and clack of\ncordage and oars. A ship has put in and anchored at the beach not far", "A distant medley of voices reached their ears, and creeping to the\nsouthern edge of the cliffs, they saw a motley horde emerge from the", "They gazed in wonder. No legends named such a building on any island of\nVilayet. They approached it warily, seeing that moss and lichen crawled", "'Aye, let us come aboard!' clamored a lean Shemite. 'Let us come in\npeace, or we must come sword in hand, and though we be so weary you will", "'This is one of the many islands that dot this inland sea,' said Conan.\n'They are supposed to be uninhabited. I've heard the Hyrkanians seldom", "hundred feet to a narrow tangle of woodlands bordering the beach.\nLooking southward they saw the whole island lying like a great oval", "echoing among the trees. Presently they came back into sight, bearing\ncasks of liquor and leathern sacks of food. They headed for the ruins,\ncursing lustily under their burdens.", "'A sail.'\n\n'Hyrkanians?'\n\n'Who can tell, at this distance?'\n\n'They will anchor here--search the island for us!' she cried in quick\npanic.", "away--probably the ship whose sail we saw yesterday. We'll go up the\ncliffs and spy on her.'", "which had appeared so suddenly from the rocks. There were some seventy\nof them, a wild horde made up of men from many nations: Kothians,", "'Come, then.' He drew aside, and she stepped quickly into the boat,\nshrinking from contact with him. She seated herself in the bow, and he", "'Aye.' His dark face grew somber. 'I haven't done with them yet. Be at\nease, girl. Storms are rare on Vilayet at this time of year. If we make", "came back across the plateau and vanished among the trees on the western\nrim, dragging the body of Sergius after them, presumably to cast into\nthe sea. About the ruins the others were cutting down trees and securing", "into open water. Then he set to work with both oars, rowing with great,\nsmooth, even strokes, the heavy muscles of arms and shoulders and back\nrippling in rhythm to his exertions.", "There was silence for some time, the girl crouching in the bows, the man\ntugging at the oars. She watched him with timorous fascination. It was", "rocky cliffs, the highest point of the island. Thither Conan took his\nway, suiting his long stride to his companion's gait. From time to time" ], [ "As if in answer to that desperate cry, there was a rolling thunder as of\ncelestial chariot-wheels, and a figure stood before the slayers, as if", "She glanced from the dark ruins about which the fantastic figures, small\nin the distance, weaved and staggered, to the dusky depths of the green", "Far below her something moved. It was as if a black shadow detached\nitself from the gulf of shadows below her. It moved slowly up the sheer", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "his tranquil gaze swept again over the silent rows of ebony figures, and\nhe pointed to the moon, which gleamed in through the casements. And they\nunderstood, those tense, waiting statues that had been men....", "'What is it? What do you see?'\n\n'Nothing,' he answered guardedly, not halting his wary retreat.\n\n'But what is it, then? What lurks in this thicket?'", "The blacks shrank back before him, their eyes slits of fire. Lifting a\nhand, he spoke, and his tones echoed through the silent halls in deep", "He halted suddenly, an image of bronze in the moonlight. With a quick\ngesture he tossed the girl lightly to one side and behind him. Rising to\nher knees on the soft sward, she screamed at what she saw.", "'And following his instinct, he lurked in the shadow of the cliff,\ninstead of following you out across the plateau. His kind are creatures\nof darkness and the silent places, haters of sun and moon.'", "They were statues, apparently of iron, black and shining as if\ncontinually polished. They were life-sized, depicting tall, lithely", "He shook his head. 'It didn't fall from above. It came from yonder\nthicket. See how the twigs are broken? It was thrown as a man might\nthrow a pebble. But who? What? Come!'", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "toward the ceiling and the skies beyond, he cried out a name in an awful\nvoice. A dagger in an ebon hand cut short his cry, and the golden head\nrolled on the ivory breast.", "In general outline it was not unlike a man. But its face, limned in the\nbright moonlight, was bestial, with close-set ears, flaring nostrils,", "Picking her way among the sleepers, she approached him. Lightly as she\nhad come, he had heard her; had seen her when first framed in the\nportal. A faint grin touched his hard lips.", "Stealing back to her rocky eyrie, she lay watching the distant ruins\nuntil the dusk of night masked them, and she marked their position by\nthe flickering flames about which black figures leaped and cavorted\ngroggily.", "He started and wheeled back toward the way they had come. The night had\nbeen split by an awful scream. It came from the ruins.", "'I see,' he answered. 'Nothing to fear. They are statues.'\n\n'But how life-like--and how evil!' she whispered, drawing close to him.", "Out of the shadows of the cliffs moved a monstrous shambling bulk--an\nanthropomorphic horror, a grotesque travesty of creation.", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her." ], [ "He started and wheeled back toward the way they had come. The night had\nbeen split by an awful scream. It came from the ruins.", "Stealing back to her rocky eyrie, she lay watching the distant ruins\nuntil the dusk of night masked them, and she marked their position by\nthe flickering flames about which black figures leaped and cavorted\ngroggily.", "With a gasp she rose and hurried toward the ruins. Her flesh crawled as\nshe tiptoed among the drunken shapes that sprawled beside the gaping", "came back across the plateau and vanished among the trees on the western\nrim, dragging the body of Sergius after them, presumably to cast into\nthe sea. About the ruins the others were cutting down trees and securing", "echoing among the trees. Presently they came back into sight, bearing\ncasks of liquor and leathern sacks of food. They headed for the ruins,\ncursing lustily under their burdens.", "Strenuous physical action dissipated her blind terror somewhat and\nbefore she had reached the ruin, her mind was clear, her reasoning\nfaculties alert, though her limbs trembled from her efforts.", "'But we were not pursued,' muttered Conan, glancing toward the brooding\nruins. 'You might have dreamed they moved. I am of a mind to return and\nsee.'", "cautiously, she looked out across the plateau. She saw the pirates\nclustered about a great fire outside the ruins, and her heart leaped as\na group emerged from the interior dragging some object she knew was", "She glanced from the dark ruins about which the fantastic figures, small\nin the distance, weaved and staggered, to the dusky depths of the green", "of the wine-casks. Some were already snoring drunkenly on the grass,\nwhile others had staggered into the ruins. Of Conan she saw nothing. She", "Olivia helplessly acquiesced, and they descended the cliffs, crossed the\nplateau and once more approached the gloomy, age-haunted ruins. By this", "'What are we to do, Conan?' she whispered.\n\nHe looked at the ruins, stared again into the woods below.", "How long she lay there, she did not know. Across the plateau she saw the\npirates reach the ruins and enter, dragging their captive. She saw them", "them was the slope, its foot masked in the thick shadows of the woods.\nBehind them she saw the ruins looming in the high-swinging moon.", "Then she rose. It was time to make her attempt. But first she stole back\nto the northern edge of the cliffs, and looked down into the woods that", "were only a few about the fire; most of them had gone into the ruins to\nsleep.", "His voice trailed away. The painter was still made fast to the looping\nroot. But at the other end was only a smashed and shattered ruin, half\nsubmerged in the shallow water.", "'Here are too many trees. We'll sleep in the ruins.'\n\nShe cried out in protest.", "So they passed out of the dusky hall into the clear blaze of the summer\nsun. She was surprized to note its position in the sky; they had spent\nmore time in the ruins than she had guessed.", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away." ], [ "Doubtless they'll pass the island tonight, and at dawn we can go on our\nway.'", "called, like an eery echo: '_Yagkoolan yok tha, xuthalla!_' So they came\nto the tree-fringed water's edge and saw the galley lying at anchor,", "They gazed in wonder. No legends named such a building on any island of\nVilayet. They approached it warily, seeing that moss and lichen crawled", "this island, I can't say. Maybe he floated here on driftwood, blown out\nfrom the mainland in a storm.'", "hundred feet to a narrow tangle of woodlands bordering the beach.\nLooking southward they saw the whole island lying like a great oval", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "visit them. Besides, they generally hug the shores in their galleys, and\nwe have come a long way. Before sunset we were out of sight of the\nmainland.'", "'This is one of the many islands that dot this inland sea,' said Conan.\n'They are supposed to be uninhabited. I've heard the Hyrkanians seldom", "'A strange stone to find on an uninhabited island,' growled Conan.", "'Aye!' put in another corsair. 'They were the demons of the isle, which\ntook the forms of molten images, to befool us. Ishtar! We lay down to", "rocky cliffs, the highest point of the island. Thither Conan took his\nway, suiting his long stride to his companion's gait. From time to time", "came back across the plateau and vanished among the trees on the western\nrim, dragging the body of Sergius after them, presumably to cast into\nthe sea. About the ruins the others were cutting down trees and securing", "protected her, and--so far--demanded nothing in return. Laying her head\nin her rounded arms she wept, until distant shouts of ribald revelry\nroused her to her own danger.", "A distant medley of voices reached their ears, and creeping to the\nsouthern edge of the cliffs, they saw a motley horde emerge from the", "There was silence for some time, the girl crouching in the bows, the man\ntugging at the oars. She watched him with timorous fascination. It was", "'Let us take to the boat again,' she suggested. 'I am afraid here. It is\na strange evil place. We do not know when we may be attacked by whatever\ncast the rock.'", "away--probably the ship whose sail we saw yesterday. We'll go up the\ncliffs and spy on her.'", "'We should have brought fruit for food,' muttered Conan; 'but doubtless\nwe'll find other islands. As well leave now as later; it's but a few\nhours till dawn--'", "At last they stood on the ultimate pinnacle, their hair stirring in the\nsea wind. From their feet the cliffs fell away sheerly three or four", "She sat up, still clinging to him, and looked fearfully about. Her blind\nflight had carried her to the southern edge of the plateau. Just below" ], [ "'I'll make you Queen of the Blue Sea! Cast off there, dogs! We'll scorch\nKing Yildiz's pantaloons yet, by Crom!'", "'Aye, to sail with you on blue seas or red,' she answered passionately.\n'You are a barbarian, and I am an outcast, denied by my people. We are", "protected her, and--so far--demanded nothing in return. Laying her head\nin her rounded arms she wept, until distant shouts of ribald revelry\nroused her to her own danger.", "So saying, he laid aside his sword, and wading out shoulder-deep into\nthe blue water, went about his ablutions. When he emerged, his clean-cut", "Then she rose. It was time to make her attempt. But first she stole back\nto the northern edge of the cliffs, and looked down into the woods that", "'The sea is still,' sighed Olivia. 'Why should we not take up our\njourney again?'", "She dropped to the sward and wriggled along on her belly until, from\nbehind a small tree that had escaped the axes of the pirates, she", "'Come, then.' He drew aside, and she stepped quickly into the boat,\nshrinking from contact with him. She seated herself in the bow, and he", "'I am a daughter of the King of Ophir,' she said. 'My father sold me to\na Shemite chief, because I would not marry a prince of Koth.'\n\nThe Cimmerian grunted in surprize.", "At last they stood on the ultimate pinnacle, their hair stirring in the\nsea wind. From their feet the cliffs fell away sheerly three or four", "toward the ceiling and the skies beyond, he cried out a name in an awful\nvoice. A dagger in an ebon hand cut short his cry, and the golden head\nrolled on the ivory breast.", "The pirates, clambering over the rail, gasped in amazement.\n\n'To sail a road of blood and slaughter?' he questioned. 'This keel will\nstain the blue waves crimson wherever it plows.'", "No word passed between them. Lifting her in his arms he set off swiftly\nacross the moon-bathed sward. Her arms about his iron neck, the Ophirean", "The descent seemed endless, but at last her feet struck the grassy\nlevels, and in a very frenzy of eagerness she sped away toward the fire", "She knew vaguely that the land he named lay far to the northwest, beyond\nthe farthest boundaries of the different kingdoms of her race.", "He halted suddenly, an image of bronze in the moonlight. With a quick\ngesture he tossed the girl lightly to one side and behind him. Rising to\nher knees on the soft sward, she screamed at what she saw.", "Dawn was in her eyes when she awakened, aware of a ravenous hunger. It\nwas a change in the motion of the boat that had roused her; Conan was", "She reached him and clung to him an instant. He felt the quick beating\nof her heart against his breast. Through a broad crevice in the wall", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "bordered the beach. And as she strained her eyes in the dim starlight,\nshe stiffened, and an icy hand touched her heart." ], [ "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "Olivia awoke, starting up on her couch of branches, a cold sweat beading\nher skin. Her heart pounded loud in the silence. She glanced wildly", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming", "reluctant Olivia after him. She shivered at the sight of those tense\nblack shadows in their niches along the walls. In the darkness that the", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "breeze; that was all. He shook his mane with an angry growl. Olivia\ncrept to his feet like a frightened child. Her eyes looked up at him,\ndark wells of horror.", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "face of the cliff--a vague bulk, shapeless in the semi-darkness. Panic\ncaught Olivia by the throat, and she struggled with the scream that", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden" ], [ "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "In spite of the terror of his wild appearance, Olivia looked to see him\nfall at the first crossing of the blades. Madman or savage, what could\nhe do, naked, against the mailed chief of Akif?", "The moonlight scene swam, to Olivia's sight. This, then, was the end of\nthe trail--for what human being could withstand the fury of that hairy", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "breeze; that was all. He shook his mane with an angry growl. Olivia\ncrept to his feet like a frightened child. Her eyes looked up at him,\ndark wells of horror.", "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "He wheeled and stared at her. There was a difference in his bearing. His\nbloodshot eyes were sane. It was as if the blood he had just shed had\nquenched the fire of his frenzy.", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "stranger. 'You are strangely virile, Olivia. I wonder if I shall ever\nweary of you, as I have always wearied of women before. You are ever", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "saber and descended terrifically on Shah Amurath's shoulder. Olivia\ncried out at the fury of that stroke. Above the crunch of the rending", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like" ], [ "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "In spite of his burden, the Cimmerian crossed the plateau swiftly, and\nOlivia, opening her eyes, saw that they were passing under the shadow of\nthe cliffs.", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Once within, Conan grunted in surprize, and Olivia stifled a scream.\n\n'Look! Oh, look!'", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "Whipping out his sword, Conan bounded across the glade and plunged into\nthe thicket. Silence ensued, while Olivia crouched on the sward,", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "Conan had brought a great armful of tender branches, well leafed. These\nhe heaped to make a couch for her, and she lay upon it, with a curious\nsensation as of one lying down to sleep in a serpent's lair.", "Olivia helplessly acquiesced, and they descended the cliffs, crossed the\nplateau and once more approached the gloomy, age-haunted ruins. By this", "Conan, poised like a bronze statue on the cliffs, pointed northward.\nStraining her eyes, Olivia saw a white fleck that seemed to hang\nsuspended in the aching haze.\n\n'What is it?'", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "Whatever her forebodings, Conan did not share them. The Cimmerian sat\ndown near her, his back against a pillar, his sword across his knees.\nHis eyes gleamed like a panther's in the dusk.", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "of the wine-casks. Some were already snoring drunkenly on the grass,\nwhile others had staggered into the ruins. Of Conan she saw nothing. She", "and Conan, bounding aside and carrying the girl with him, narrowly saved\nthem from something that rushed through the air and struck a tree-trunk\nwith a thunderous impact.", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and" ], [ "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "Once within, Conan grunted in surprize, and Olivia stifled a scream.\n\n'Look! Oh, look!'", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming", "of the wine-casks. Some were already snoring drunkenly on the grass,\nwhile others had staggered into the ruins. Of Conan she saw nothing. She", "The southern night swept down quickly, littering the dark blue sky with\ngreat white stars, and Conan entered the shadowy ruins, drawing the", "Whatever her forebodings, Conan did not share them. The Cimmerian sat\ndown near her, his back against a pillar, his sword across his knees.\nHis eyes gleamed like a panther's in the dusk.", "Olivia glanced timidly about the great silent hall. Only the ivy-grown\nstones, the tendril-clasped pillars, with the dark figures brooding", "Conan had brought a great armful of tender branches, well leafed. These\nhe heaped to make a couch for her, and she lay upon it, with a curious\nsensation as of one lying down to sleep in a serpent's lair.", "In spite of his burden, the Cimmerian crossed the plateau swiftly, and\nOlivia, opening her eyes, saw that they were passing under the shadow of\nthe cliffs.", "groan in their sleep. The moonlight crept down the hall, touching the\nblack feet. The cords fell from Conan's arms, and taking the dagger", "Olivia helplessly acquiesced, and they descended the cliffs, crossed the\nplateau and once more approached the gloomy, age-haunted ruins. By this", "Whipping out his sword, Conan bounded across the glade and plunged into\nthe thicket. Silence ensued, while Olivia crouched on the sward,", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail" ], [ "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many", "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "Etched against the whitening sky they saw Conan the Cimmerian standing\nin the bows, sword in hand, his black mane tossing in the dawn wind.", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "Conan. They propped him against the wall, still evidently bound fast,\nand there ensued a long discussion, with much brandishing of weapons. At", "'The first man who tries to climb over the side, I'll split his skull,'\npromised Conan.", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "Conan rose and limped over to the corpse. The Cimmerian breathed\nheavily, and walked like a man whose joints and muscles have been", "joy rose to her lips as she saw Conan. The Cimmerian was wide awake,\nbound upright to a pillar, his eyes gleaming in the faint reflection of\nthe waning fire outside.", "The southern night swept down quickly, littering the dark blue sky with\ngreat white stars, and Conan entered the shadowy ruins, drawing the", "Dawn was in her eyes when she awakened, aware of a ravenous hunger. It\nwas a change in the motion of the boat that had roused her; Conan was", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'", "Conan moved with the abruptness of a jungle cat. Catching up his sword\nfrom where it lay in a stack of weapons near by, he lifted Olivia", "the bonds that held her mute and motionless. At her shriek Conan shot\nerect, teeth gleaming, sword lifted.", "Whatever her forebodings, Conan did not share them. The Cimmerian sat\ndown near her, his back against a pillar, his sword across his knees.\nHis eyes gleamed like a panther's in the dusk.", "Her breath came in gasps; Conan's wrists were free, but his elbows and\nlegs were still bound fast. She glanced fleetingly at the figures along" ], [ "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many", "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "Conan. They propped him against the wall, still evidently bound fast,\nand there ensued a long discussion, with much brandishing of weapons. At", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "Her breath came in gasps; Conan's wrists were free, but his elbows and\nlegs were still bound fast. She glanced fleetingly at the figures along", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "'The first man who tries to climb over the side, I'll split his skull,'\npromised Conan.", "the bonds that held her mute and motionless. At her shriek Conan shot\nerect, teeth gleaming, sword lifted.", "joy rose to her lips as she saw Conan. The Cimmerian was wide awake,\nbound upright to a pillar, his eyes gleaming in the faint reflection of\nthe waning fire outside.", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'", "The ape maintained his grasp in Conan's hair, dragging him toward the\ntusks that glistened in the moonlight. The Cimmerian resisted this", "How long she lay there, she did not know. Across the plateau she saw the\npirates reach the ruins and enter, dragging their captive. She saw them", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "Conan rose and limped over to the corpse. The Cimmerian breathed\nheavily, and walked like a man whose joints and muscles have been", "Etched against the whitening sky they saw Conan the Cimmerian standing\nin the bows, sword in hand, his black mane tossing in the dawn wind.", "'Nay, nay!' they cried eagerly. 'Friends--friends, Conan. We are thy\ncomrades! We be all lusty rogues together. We hate the king of Turan,\nnot each other.'" ], [ "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many", "Her breath came in gasps; Conan's wrists were free, but his elbows and\nlegs were still bound fast. She glanced fleetingly at the figures along", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "Conan. They propped him against the wall, still evidently bound fast,\nand there ensued a long discussion, with much brandishing of weapons. At", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "the bonds that held her mute and motionless. At her shriek Conan shot\nerect, teeth gleaming, sword lifted.", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "joy rose to her lips as she saw Conan. The Cimmerian was wide awake,\nbound upright to a pillar, his eyes gleaming in the faint reflection of\nthe waning fire outside.", "Etched against the whitening sky they saw Conan the Cimmerian standing\nin the bows, sword in hand, his black mane tossing in the dawn wind.", "were civilized men. And from them she had had only suffering. She had\nnever encountered any civilized man who treated her with kindness unless\nthere was an ulterior motive behind his actions. Conan had shielded her,", "'Nay, nay!' they cried eagerly. 'Friends--friends, Conan. We are thy\ncomrades! We be all lusty rogues together. We hate the king of Turan,\nnot each other.'", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "'The first man who tries to climb over the side, I'll split his skull,'\npromised Conan.", "'Let us come aboard, good Conan,' whined a red-sashed Zamorian, glancing\nfearfully over his shoulder at the silent woods. 'We have been so", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'" ], [ "Olivia helplessly acquiesced, and they descended the cliffs, crossed the\nplateau and once more approached the gloomy, age-haunted ruins. By this", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "With a gasp she rose and hurried toward the ruins. Her flesh crawled as\nshe tiptoed among the drunken shapes that sprawled beside the gaping", "breeze whispered through the leaves, and set them to murmuring. Olivia\nfound herself listening intently for something, she knew not what. What\nmight be lurking amid those nameless woodlands?", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "He started and wheeled back toward the way they had come. The night had\nbeen split by an awful scream. It came from the ruins.", "But no sleep came to Olivia, and she lay watching the distant ruins and\nthe wooded rim until the stars paled, the east whitened, and dawn in\nrose and gold struck fire from the dew on the grass-blades.", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "Olivia awoke, starting up on her couch of branches, a cold sweat beading\nher skin. Her heart pounded loud in the silence. She glanced wildly", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "reluctant Olivia after him. She shivered at the sight of those tense\nblack shadows in their niches along the walls. In the darkness that the", "The moonlight scene swam, to Olivia's sight. This, then, was the end of\nthe trail--for what human being could withstand the fury of that hairy", "In spite of his burden, the Cimmerian crossed the plateau swiftly, and\nOlivia, opening her eyes, saw that they were passing under the shadow of\nthe cliffs.", "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not" ], [ "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for", "In spite of his burden, the Cimmerian crossed the plateau swiftly, and\nOlivia, opening her eyes, saw that they were passing under the shadow of\nthe cliffs.", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "Once within, Conan grunted in surprize, and Olivia stifled a scream.\n\n'Look! Oh, look!'", "The ape maintained his grasp in Conan's hair, dragging him toward the\ntusks that glistened in the moonlight. The Cimmerian resisted this", "Olivia helplessly acquiesced, and they descended the cliffs, crossed the\nplateau and once more approached the gloomy, age-haunted ruins. By this", "Whipping out his sword, Conan bounded across the glade and plunged into\nthe thicket. Silence ensued, while Olivia crouched on the sward,", "and Conan, bounding aside and carrying the girl with him, narrowly saved\nthem from something that rushed through the air and struck a tree-trunk\nwith a thunderous impact.", "The moonlight scene swam, to Olivia's sight. This, then, was the end of\nthe trail--for what human being could withstand the fury of that hairy", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "breeze; that was all. He shook his mane with an angry growl. Olivia\ncrept to his feet like a frightened child. Her eyes looked up at him,\ndark wells of horror.", "last they dragged him back into the hall, and took up anew the business\nof ale-guzzling. Olivia sighed; at least she knew that the Cimmerian", "Conan, poised like a bronze statue on the cliffs, pointed northward.\nStraining her eyes, Olivia saw a white fleck that seemed to hang\nsuspended in the aching haze.\n\n'What is it?'" ], [ "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "Etched against the whitening sky they saw Conan the Cimmerian standing\nin the bows, sword in hand, his black mane tossing in the dawn wind.", "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "Conan. They propped him against the wall, still evidently bound fast,\nand there ensued a long discussion, with much brandishing of weapons. At", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "Conan rose and limped over to the corpse. The Cimmerian breathed\nheavily, and walked like a man whose joints and muscles have been", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "'The first man who tries to climb over the side, I'll split his skull,'\npromised Conan.", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "'Nay, nay!' they cried eagerly. 'Friends--friends, Conan. We are thy\ncomrades! We be all lusty rogues together. We hate the king of Turan,\nnot each other.'", "'Swear by the hilt,' Conan demanded.\n\nForty-four sword-hilts were lifted toward him, and forty-four voices\nblended in the corsair's oath of allegiance.", "'Let us come aboard, good Conan,' whined a red-sashed Zamorian, glancing\nfearfully over his shoulder at the silent woods. 'We have been so", "joy rose to her lips as she saw Conan. The Cimmerian was wide awake,\nbound upright to a pillar, his eyes gleaming in the faint reflection of\nthe waning fire outside." ], [ "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "reluctant Olivia after him. She shivered at the sight of those tense\nblack shadows in their niches along the walls. In the darkness that the", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "Olivia glanced timidly about the great silent hall. Only the ivy-grown\nstones, the tendril-clasped pillars, with the dark figures brooding", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "He turned and lifted Olivia to her feet, from where she had crouched\nshielded by the gunwales.\n\n'And what of me, sir?' she asked.", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "Olivia helplessly acquiesced, and they descended the cliffs, crossed the\nplateau and once more approached the gloomy, age-haunted ruins. By this", "Olivia awoke, starting up on her couch of branches, a cold sweat beading\nher skin. Her heart pounded loud in the silence. She glanced wildly" ], [ "'No, you will not drown, Olivia, daughter of confusion, for the marge is\ntoo shallow, and I can catch you before you can reach the deeps. You", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "The moonlight scene swam, to Olivia's sight. This, then, was the end of\nthe trail--for what human being could withstand the fury of that hairy", "But no sleep came to Olivia, and she lay watching the distant ruins and\nthe wooded rim until the stars paled, the east whitened, and dawn in\nrose and gold struck fire from the dew on the grass-blades.", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "Olivia glanced timidly about the great silent hall. Only the ivy-grown\nstones, the tendril-clasped pillars, with the dark figures brooding", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "He turned and lifted Olivia to her feet, from where she had crouched\nshielded by the gunwales.\n\n'And what of me, sir?' she asked.", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "'The sea is still,' sighed Olivia. 'Why should we not take up our\njourney again?'", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Olivia's lovely eyes dilated in wonder. The stone was a symmetrical\nblock, indisputably cut and shaped by human hands. And it was" ], [ "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "Olivia glanced timidly about the great silent hall. Only the ivy-grown\nstones, the tendril-clasped pillars, with the dark figures brooding", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "He turned and lifted Olivia to her feet, from where she had crouched\nshielded by the gunwales.\n\n'And what of me, sir?' she asked.", "Olivia's lovely eyes dilated in wonder. The stone was a symmetrical\nblock, indisputably cut and shaped by human hands. And it was", "Olivia stared after it, feeling the cold hand of nameless foreboding\ntouch her supple spine.\n\n'What did it say?' she whispered.", "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "Once within, Conan grunted in surprize, and Olivia stifled a scream.\n\n'Look! Oh, look!'", "reluctant Olivia after him. She shivered at the sight of those tense\nblack shadows in their niches along the walls. In the darkness that the", "Olivia awoke, starting up on her couch of branches, a cold sweat beading\nher skin. Her heart pounded loud in the silence. She glanced wildly", "Olivia hesitated--then was galvanized by a distant glow rising through\nthe trees. The moon was rising!", "breeze whispered through the leaves, and set them to murmuring. Olivia\nfound herself listening intently for something, she knew not what. What\nmight be lurking amid those nameless woodlands?", "breeze; that was all. He shook his mane with an angry growl. Olivia\ncrept to his feet like a frightened child. Her eyes looked up at him,\ndark wells of horror.", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the" ], [ "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "saber and descended terrifically on Shah Amurath's shoulder. Olivia\ncried out at the fury of that stroke. Above the crunch of the rending", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "In spite of his burden, the Cimmerian crossed the plateau swiftly, and\nOlivia, opening her eyes, saw that they were passing under the shadow of\nthe cliffs.", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "Once within, Conan grunted in surprize, and Olivia stifled a scream.\n\n'Look! Oh, look!'", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "Conan, poised like a bronze statue on the cliffs, pointed northward.\nStraining her eyes, Olivia saw a white fleck that seemed to hang\nsuspended in the aching haze.\n\n'What is it?'", "Whipping out his sword, Conan bounded across the glade and plunged into\nthe thicket. Silence ensued, while Olivia crouched on the sward,", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "Amurath deserved no mercy or pity from any living creature, yet she\nclosed her eyes and pressed her hands over her ears, to shut out the\nsight of that dripping sword that rose and fell with the sound of a", "and Conan, bounding aside and carrying the girl with him, narrowly saved\nthem from something that rushed through the air and struck a tree-trunk\nwith a thunderous impact.", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for" ], [ "Olivia hesitated--then was galvanized by a distant glow rising through\nthe trees. The moon was rising!", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "The moonlight scene swam, to Olivia's sight. This, then, was the end of\nthe trail--for what human being could withstand the fury of that hairy", "Olivia glanced timidly about the great silent hall. Only the ivy-grown\nstones, the tendril-clasped pillars, with the dark figures brooding", "went swiftly toward the rim of the plateau, with its fringe of\nmoon-limned trees. Olivia's legs were trembling so that she could not", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming", "Olivia's lovely eyes dilated in wonder. The stone was a symmetrical\nblock, indisputably cut and shaped by human hands. And it was", "stole a beam of moonlight, and the air was instantly supercharged with\nsubtle tension. Conan felt it and stiffened. Olivia felt it and gasped.", "reluctant Olivia after him. She shivered at the sight of those tense\nblack shadows in their niches along the walls. In the darkness that the", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "But no sleep came to Olivia, and she lay watching the distant ruins and\nthe wooded rim until the stars paled, the east whitened, and dawn in\nrose and gold struck fire from the dew on the grass-blades.", "He halted suddenly, an image of bronze in the moonlight. With a quick\ngesture he tossed the girl lightly to one side and behind him. Rising to\nher knees on the soft sward, she screamed at what she saw.", "his tranquil gaze swept again over the silent rows of ebony figures, and\nhe pointed to the moon, which gleamed in through the casements. And they\nunderstood, those tense, waiting statues that had been men....", "'Let us go into the sunlight,' urged Olivia, and he nodded, with a\nbaffled glance at the brooding shapes along the walls.", "'I see,' he answered. 'Nothing to fear. They are statues.'\n\n'But how life-like--and how evil!' she whispered, drawing close to him.", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "'Did you not see them?--The statues, moving, lifting their hands, their\neyes glaring in the shadows?'", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "breeze whispered through the leaves, and set them to murmuring. Olivia\nfound herself listening intently for something, she knew not what. What\nmight be lurking amid those nameless woodlands?", "They were statues, apparently of iron, black and shining as if\ncontinually polished. They were life-sized, depicting tall, lithely" ], [ "this island, I can't say. Maybe he floated here on driftwood, blown out\nfrom the mainland in a storm.'", "Doubtless they'll pass the island tonight, and at dawn we can go on our\nway.'", "called, like an eery echo: '_Yagkoolan yok tha, xuthalla!_' So they came\nto the tree-fringed water's edge and saw the galley lying at anchor,", "A distant medley of voices reached their ears, and creeping to the\nsouthern edge of the cliffs, they saw a motley horde emerge from the", "They gazed in wonder. No legends named such a building on any island of\nVilayet. They approached it warily, seeing that moss and lichen crawled", "which had appeared so suddenly from the rocks. There were some seventy\nof them, a wild horde made up of men from many nations: Kothians,", "'This is one of the many islands that dot this inland sea,' said Conan.\n'They are supposed to be uninhabited. I've heard the Hyrkanians seldom", "visit them. Besides, they generally hug the shores in their galleys, and\nwe have come a long way. Before sunset we were out of sight of the\nmainland.'", "'A strange stone to find on an uninhabited island,' growled Conan.", "As if in answer to that desperate cry, there was a rolling thunder as of\ncelestial chariot-wheels, and a figure stood before the slayers, as if", "'Something climbed the cliffs,' she whispered. 'I heard it scrambling\nbehind me as I came down.'\n\n'We'll have to chance it,' he grunted.", "With a gasp she rose and hurried toward the ruins. Her flesh crawled as\nshe tiptoed among the drunken shapes that sprawled beside the gaping", "echoing among the trees. Presently they came back into sight, bearing\ncasks of liquor and leathern sacks of food. They headed for the ruins,\ncursing lustily under their burdens.", "came back across the plateau and vanished among the trees on the western\nrim, dragging the body of Sergius after them, presumably to cast into\nthe sea. About the ruins the others were cutting down trees and securing", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "hundred feet to a narrow tangle of woodlands bordering the beach.\nLooking southward they saw the whole island lying like a great oval", "cautiously, she looked out across the plateau. She saw the pirates\nclustered about a great fire outside the ruins, and her heart leaped as\na group emerged from the interior dragging some object she knew was", "Far below her something moved. It was as if a black shadow detached\nitself from the gulf of shadows below her. It moved slowly up the sheer", "At last they stood on the ultimate pinnacle, their hair stirring in the\nsea wind. From their feet the cliffs fell away sheerly three or four", "before. It was while so occupied that she was troubled by a sensation of\nbeing watched. She scanned the rocks nervously, then, with a shuddering" ], [ "But no sleep came to Olivia, and she lay watching the distant ruins and\nthe wooded rim until the stars paled, the east whitened, and dawn in\nrose and gold struck fire from the dew on the grass-blades.", "Olivia helplessly acquiesced, and they descended the cliffs, crossed the\nplateau and once more approached the gloomy, age-haunted ruins. By this", "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "With a gasp she rose and hurried toward the ruins. Her flesh crawled as\nshe tiptoed among the drunken shapes that sprawled beside the gaping", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "Olivia glanced timidly about the great silent hall. Only the ivy-grown\nstones, the tendril-clasped pillars, with the dark figures brooding", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "reluctant Olivia after him. She shivered at the sight of those tense\nblack shadows in their niches along the walls. In the darkness that the", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "Strenuous physical action dissipated her blind terror somewhat and\nbefore she had reached the ruin, her mind was clear, her reasoning\nfaculties alert, though her limbs trembled from her efforts.", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming", "went swiftly toward the rim of the plateau, with its fringe of\nmoon-limned trees. Olivia's legs were trembling so that she could not", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "Olivia hesitated--then was galvanized by a distant glow rising through\nthe trees. The moon was rising!" ], [ "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "cautiously, she looked out across the plateau. She saw the pirates\nclustered about a great fire outside the ruins, and her heart leaped as\na group emerged from the interior dragging some object she knew was", "How long she lay there, she did not know. Across the plateau she saw the\npirates reach the ruins and enter, dragging their captive. She saw them", "The pirates, clambering over the rail, gasped in amazement.\n\n'To sail a road of blood and slaughter?' he questioned. 'This keel will\nstain the blue waves crimson wherever it plows.'", "Doubtless they'll pass the island tonight, and at dawn we can go on our\nway.'", "'Aye!' put in another corsair. 'They were the demons of the isle, which\ntook the forms of molten images, to befool us. Ishtar! We lay down to", "visit them. Besides, they generally hug the shores in their galleys, and\nwe have come a long way. Before sunset we were out of sight of the\nmainland.'", "unmanned me. I am at home in the high lands. As for pirates--' He\ngrinned enigmatically, and bent to the oars.", "In an instant the pirates had formed a circle about the rivals, their\neyes blazing, their breath sucking between their teeth in bloodthirsty", "'This is one of the many islands that dot this inland sea,' said Conan.\n'They are supposed to be uninhabited. I've heard the Hyrkanians seldom", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "She dropped to the sward and wriggled along on her belly until, from\nbehind a small tree that had escaped the axes of the pirates, she", "They gazed in wonder. No legends named such a building on any island of\nVilayet. They approached it warily, seeing that moss and lichen crawled", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "hide as best we can. But I believe it's either pirate, or an Hyrkanian\ngalley returning from some northern raid. In the latter case they are", "called, like an eery echo: '_Yagkoolan yok tha, xuthalla!_' So they came\nto the tree-fringed water's edge and saw the galley lying at anchor,", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "this island, I can't say. Maybe he floated here on driftwood, blown out\nfrom the mainland in a storm.'", "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many" ], [ "Etched against the whitening sky they saw Conan the Cimmerian standing\nin the bows, sword in hand, his black mane tossing in the dawn wind.", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "Conan. They propped him against the wall, still evidently bound fast,\nand there ensued a long discussion, with much brandishing of weapons. At", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "were civilized men. And from them she had had only suffering. She had\nnever encountered any civilized man who treated her with kindness unless\nthere was an ulterior motive behind his actions. Conan had shielded her,", "'The first man who tries to climb over the side, I'll split his skull,'\npromised Conan.", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "'Swear by the hilt,' Conan demanded.\n\nForty-four sword-hilts were lifted toward him, and forty-four voices\nblended in the corsair's oath of allegiance.", "'Conan the Cimmerian!' His voice was like the deep challenge of a lion.\n'One of the Free Companions. I mean to try my luck with the Red\nBrotherhood. Who's your chief?'", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "Dawn was in her eyes when she awakened, aware of a ravenous hunger. It\nwas a change in the motion of the boat that had roused her; Conan was", "morning as Conan's sword plunged through their captain's massive body.\nThe point quivered an instant from between Sergius's shoulders, a hand's", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "'Then if I am one of the Brotherhood,' he grunted, 'the laws of the\nTrade apply to me; and since I killed your chief in fair fight, then I\nam your captain!'", "Conan rose and limped over to the corpse. The Cimmerian breathed\nheavily, and walked like a man whose joints and muscles have been", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'" ], [ "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Once within, Conan grunted in surprize, and Olivia stifled a scream.\n\n'Look! Oh, look!'", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "Whipping out his sword, Conan bounded across the glade and plunged into\nthe thicket. Silence ensued, while Olivia crouched on the sward,", "'Lie down and sleep if you can, Olivia,' he said. 'I'll keep watch.'", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "Conan, poised like a bronze statue on the cliffs, pointed northward.\nStraining her eyes, Olivia saw a white fleck that seemed to hang\nsuspended in the aching haze.\n\n'What is it?'", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "'The first man who tries to climb over the side, I'll split his skull,'\npromised Conan.", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away." ], [ "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "Olivia awoke, starting up on her couch of branches, a cold sweat beading\nher skin. Her heart pounded loud in the silence. She glanced wildly", "reluctant Olivia after him. She shivered at the sight of those tense\nblack shadows in their niches along the walls. In the darkness that the", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Olivia glanced timidly about the great silent hall. Only the ivy-grown\nstones, the tendril-clasped pillars, with the dark figures brooding", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "But no sleep came to Olivia, and she lay watching the distant ruins and\nthe wooded rim until the stars paled, the east whitened, and dawn in\nrose and gold struck fire from the dew on the grass-blades.", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming" ], [ "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "reluctant Olivia after him. She shivered at the sight of those tense\nblack shadows in their niches along the walls. In the darkness that the", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming", "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "The moonlight scene swam, to Olivia's sight. This, then, was the end of\nthe trail--for what human being could withstand the fury of that hairy", "Then rising, sword in hand, he began to back away, thrusting Olivia\nbehind him.\n\n'Out of here, quick!' he urged in a whisper that congealed the girl's\nblood.", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "breeze; that was all. He shook his mane with an angry growl. Olivia\ncrept to his feet like a frightened child. Her eyes looked up at him,\ndark wells of horror.", "face of the cliff--a vague bulk, shapeless in the semi-darkness. Panic\ncaught Olivia by the throat, and she struggled with the scream that", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "Olivia awoke, starting up on her couch of branches, a cold sweat beading\nher skin. Her heart pounded loud in the silence. She glanced wildly", "went swiftly toward the rim of the plateau, with its fringe of\nmoon-limned trees. Olivia's legs were trembling so that she could not" ], [ "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "Olivia awoke, starting up on her couch of branches, a cold sweat beading\nher skin. Her heart pounded loud in the silence. She glanced wildly", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "material for a fire. Olivia heard their shouts, unintelligible in the\ndistance, and she heard the voices of those who had gone into the woods,", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away.", "breeze whispered through the leaves, and set them to murmuring. Olivia\nfound herself listening intently for something, she knew not what. What\nmight be lurking amid those nameless woodlands?", "He shook his head. 'It didn't fall from above. It came from yonder\nthicket. See how the twigs are broken? It was thrown as a man might\nthrow a pebble. But who? What? Come!'", "The moonlight scene swam, to Olivia's sight. This, then, was the end of\nthe trail--for what human being could withstand the fury of that hairy", "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming", "Quick as a great cat Conan caught up Olivia and ran. Through the shadows\nhe raced like a phantom, while somewhere above and behind them sounded a", "Olivia hesitated--then was galvanized by a distant glow rising through\nthe trees. The moon was rising!", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than" ], [ "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "groan in their sleep. The moonlight crept down the hall, touching the\nblack feet. The cords fell from Conan's arms, and taking the dagger", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "Conan. They propped him against the wall, still evidently bound fast,\nand there ensued a long discussion, with much brandishing of weapons. At", "She rose stiffly, her mind reverting to all the happenings of the night.\nIn the morning light some of its terrors seemed like figments of an\noverwrought imagination. Conan strode over to her, and his words\nelectrified her.", "The southern night swept down quickly, littering the dark blue sky with\ngreat white stars, and Conan entered the shadowy ruins, drawing the", "Conan rose and limped over to the corpse. The Cimmerian breathed\nheavily, and walked like a man whose joints and muscles have been", "the bonds that held her mute and motionless. At her shriek Conan shot\nerect, teeth gleaming, sword lifted.", "and Conan, bounding aside and carrying the girl with him, narrowly saved\nthem from something that rushed through the air and struck a tree-trunk\nwith a thunderous impact.", "of the wine-casks. Some were already snoring drunkenly on the grass,\nwhile others had staggered into the ruins. Of Conan she saw nothing. She", "the stone to its mark, and Conan reeled and fell as a tall tree falls to\nthe woodsman's ax. Up on the cliff Olivia caught at the boulders for", "So frantic was her pleading that Conan was impressed. His curiosity in\nregard to the images was balanced by his superstition. Foes of flesh and", "Conan entered, with the slouching gait of a hunting panther, sunken head\nand noiseless feet. Olivia tiptoed after him.", "terrified and bewildered. Presently Conan emerged, a puzzled scowl on\nhis face.", "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many", "Her breath came in gasps; Conan's wrists were free, but his elbows and\nlegs were still bound fast. She glanced fleetingly at the figures along", "murmured drowsily. Under the trees the shadows clustered thick, and\nConan swerved to avoid the denser patches. His eyes roved continuously", "Whatever her forebodings, Conan did not share them. The Cimmerian sat\ndown near her, his back against a pillar, his sword across his knees.\nHis eyes gleamed like a panther's in the dusk.", "Conan's action was a blur of speed Olivia's eye could not follow. She\nonly saw that he evaded that deadly grasp, and his sword, flashing like" ], [ "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many", "Her breath came in gasps; Conan's wrists were free, but his elbows and\nlegs were still bound fast. She glanced fleetingly at the figures along", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "Conan. They propped him against the wall, still evidently bound fast,\nand there ensued a long discussion, with much brandishing of weapons. At", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "the bonds that held her mute and motionless. At her shriek Conan shot\nerect, teeth gleaming, sword lifted.", "Conan stood frozen, the girl clinging to him in a frenzy of terror. The\nclamor rose to a crescendo of madness, and then the Cimmerian turned and", "joy rose to her lips as she saw Conan. The Cimmerian was wide awake,\nbound upright to a pillar, his eyes gleaming in the faint reflection of\nthe waning fire outside.", "Etched against the whitening sky they saw Conan the Cimmerian standing\nin the bows, sword in hand, his black mane tossing in the dawn wind.", "were civilized men. And from them she had had only suffering. She had\nnever encountered any civilized man who treated her with kindness unless\nthere was an ulterior motive behind his actions. Conan had shielded her,", "'Nay, nay!' they cried eagerly. 'Friends--friends, Conan. We are thy\ncomrades! We be all lusty rogues together. We hate the king of Turan,\nnot each other.'", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "'The first man who tries to climb over the side, I'll split his skull,'\npromised Conan.", "'Let us come aboard, good Conan,' whined a red-sashed Zamorian, glancing\nfearfully over his shoulder at the silent woods. 'We have been so", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'" ], [ "cautiously, she looked out across the plateau. She saw the pirates\nclustered about a great fire outside the ruins, and her heart leaped as\na group emerged from the interior dragging some object she knew was", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "The pirates, clambering over the rail, gasped in amazement.\n\n'To sail a road of blood and slaughter?' he questioned. 'This keel will\nstain the blue waves crimson wherever it plows.'", "'Aye!' put in another corsair. 'They were the demons of the isle, which\ntook the forms of molten images, to befool us. Ishtar! We lay down to", "visit them. Besides, they generally hug the shores in their galleys, and\nwe have come a long way. Before sunset we were out of sight of the\nmainland.'", "In an instant the pirates had formed a circle about the rivals, their\neyes blazing, their breath sucking between their teeth in bloodthirsty", "Doubtless they'll pass the island tonight, and at dawn we can go on our\nway.'", "She dropped to the sward and wriggled along on her belly until, from\nbehind a small tree that had escaped the axes of the pirates, she", "How long she lay there, she did not know. Across the plateau she saw the\npirates reach the ruins and enter, dragging their captive. She saw them", "unmanned me. I am at home in the high lands. As for pirates--' He\ngrinned enigmatically, and bent to the oars.", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "called, like an eery echo: '_Yagkoolan yok tha, xuthalla!_' So they came\nto the tree-fringed water's edge and saw the galley lying at anchor,", "'This is one of the many islands that dot this inland sea,' said Conan.\n'They are supposed to be uninhabited. I've heard the Hyrkanians seldom", "They gazed in wonder. No legends named such a building on any island of\nVilayet. They approached it warily, seeing that moss and lichen crawled", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'", "'No, else the pirates had been attacked when they went through the\nwoods. The gray ape is wary, for all his strength, as shown by his", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "'Let us come aboard!' croaked a hairy rogue fingering a bloody stump of\near. 'We'd be gone from this devil's island.'", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'" ], [ "'Then if I am one of the Brotherhood,' he grunted, 'the laws of the\nTrade apply to me; and since I killed your chief in fair fight, then I\nam your captain!'", "The pirates, clambering over the rail, gasped in amazement.\n\n'To sail a road of blood and slaughter?' he questioned. 'This keel will\nstain the blue waves crimson wherever it plows.'", "How long she lay there, she did not know. Across the plateau she saw the\npirates reach the ruins and enter, dragging their captive. She saw them", "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "captain, as would have been the case had one of us killed him.'", "In an instant the pirates had formed a circle about the rivals, their\neyes blazing, their breath sucking between their teeth in bloodthirsty", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "cautiously, she looked out across the plateau. She saw the pirates\nclustered about a great fire outside the ruins, and her heart leaped as\na group emerged from the interior dragging some object she knew was", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar.", "She dropped to the sward and wriggled along on her belly until, from\nbehind a small tree that had escaped the axes of the pirates, she", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'", "unmanned me. I am at home in the high lands. As for pirates--' He\ngrinned enigmatically, and bent to the oars.", "toward the ceiling and the skies beyond, he cried out a name in an awful\nvoice. A dagger in an ebon hand cut short his cry, and the golden head\nrolled on the ivory breast.", "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many", "The sleepers snored on. Bending quickly, she drew a dagger from its\nsenseless owner's belt, and set to work on Conan's bonds. They were sail", "'I'll make you Queen of the Blue Sea! Cast off there, dogs! We'll scorch\nKing Yildiz's pantaloons yet, by Crom!'", "He wheeled and stared at her. There was a difference in his bearing. His\nbloodshot eyes were sane. It was as if the blood he had just shed had\nquenched the fire of his frenzy.", "'Dogs! Must I aid my enemies? Shall I let you come aboard and cut out my\nheart?'", "'No, else the pirates had been attacked when they went through the\nwoods. The gray ape is wary, for all his strength, as shown by his" ], [ "'Aye, by Mitra!' The pirate, sensing the trend of feeling, was eager to\ningratiate himself with the Cimmerian. 'He is right, lads; he is our\nlawful captain!'", "'Then if I am one of the Brotherhood,' he grunted, 'the laws of the\nTrade apply to me; and since I killed your chief in fair fight, then I\nam your captain!'", "The pirates, clambering over the rail, gasped in amazement.\n\n'To sail a road of blood and slaughter?' he questioned. 'This keel will\nstain the blue waves crimson wherever it plows.'", "How long she lay there, she did not know. Across the plateau she saw the\npirates reach the ruins and enter, dragging their captive. She saw them", "There was no dissent. The pirates were too cowed and battered to have\nany thought except a desire to get away from that island of fear.\nConan's gaze sought out the blood-stained figure of the Corinthian.", "In an instant the pirates had formed a circle about the rivals, their\neyes blazing, their breath sucking between their teeth in bloodthirsty", "Conan grinned and sheathed his sword. 'Come aboard, my bold\nswashbucklers, and take the oars.'", "'I'll make you Queen of the Blue Sea! Cast off there, dogs! We'll scorch\nKing Yildiz's pantaloons yet, by Crom!'", "cautiously, she looked out across the plateau. She saw the pirates\nclustered about a great fire outside the ruins, and her heart leaped as\na group emerged from the interior dragging some object she knew was", "Conan wheeled toward the gaping corsairs.\n\n'Well, you dogs!' he roared. 'I've sent your chief to hell. What says\nthe law of the Red Brotherhood?'", "She dropped to the sward and wriggled along on her belly until, from\nbehind a small tree that had escaped the axes of the pirates, she", "The Cimmerian, who was beginning to regain consciousness, was bound with\nleather girdles, and then four pirates lifted him, and with many", "'Let us come aboard!' croaked a hairy rogue fingering a bloody stump of\near. 'We'd be gone from this devil's island.'", "'I am sorry.' She bowed her shapely dark head. 'Pirates, storms,\nstarvation--they are all kinder than the people of Turan.'", "'Some folk don't think so,' grinned Conan grimly; 'notably the slaves\nthat have escaped from galleys and become pirates.'\n\n'But what are your plans?'", "unmanned me. I am at home in the high lands. As for pirates--' He\ngrinned enigmatically, and bent to the oars.", "'Aye, to sail with you on blue seas or red,' she answered passionately.\n'You are a barbarian, and I am an outcast, denied by my people. We are", "'Pirates!' whispered Conan, a grim smile on his thin lips. 'It's an\nHyrkanian galley they've captured. Here--crawl among these rocks.", "captain, as would have been the case had one of us killed him.'", "'Then I'll knock a hole in the planks and sink her,' answered Conan\ngrimly. A frantic chorus of expostulation rose, which Conan silenced\nwith a lion-like roar." ], [ "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "Olivia was too busy to reply. The sharp edge of the Cimmerian's hunger\nblunted, he began to gaze at his fair companion with more interest than", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "culminated the sufferings of battle, massacre, torture, and fear-ridden,\nthirst-maddened, hunger-haunted flight. Though Olivia knew that Shah", "The moonlight scene swam, to Olivia's sight. This, then, was the end of\nthe trail--for what human being could withstand the fury of that hairy", "stranger. 'You are strangely virile, Olivia. I wonder if I shall ever\nweary of you, as I have always wearied of women before. You are ever", "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "Olivia awoke, starting up on her couch of branches, a cold sweat beading\nher skin. Her heart pounded loud in the silence. She glanced wildly", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "breeze; that was all. He shook his mane with an angry growl. Olivia\ncrept to his feet like a frightened child. Her eyes looked up at him,\ndark wells of horror.", "'I am called Olivia. I was _his_ captive. I ran away. He followed me.\nThat's why he came here. Oh, do not leave me here! His warriors are not", "He turned and lifted Olivia to her feet, from where she had crouched\nshielded by the gunwales.\n\n'And what of me, sir?' she asked.", "'No, you will not drown, Olivia, daughter of confusion, for the marge is\ntoo shallow, and I can catch you before you can reach the deeps. You", "Olivia's lovely eyes dilated in wonder. The stone was a symmetrical\nblock, indisputably cut and shaped by human hands. And it was", "Olivia glanced timidly about the great silent hall. Only the ivy-grown\nstones, the tendril-clasped pillars, with the dark figures brooding", "At the crest Conan laid Olivia down, and turned to glare back at the\ngulf of shadows they had just quitted. The leaves shook in a sudden", "Up among the rocks, Olivia lay stunned by the disaster. She was\nincapable of speech or action, and could only lie there and stare with\nhorrified eyes as the brutal horde dragged her protector away." ], [ "Olivia dreamed, and through her dreams crawled a suggestion of lurking\nevil, like a black serpent writhing through flower gardens. Her dreams", "Olivia closed her eyes. This was no longer battle, but butchery,\nfrantic, bloody, impelled by an hysteria of fury and hate, in which", "Olivia did not reply. From her bed of leaves she watched the immobile\nfigure, indistinct in the soft darkness. How strange, to move in", "Olivia awoke, starting up on her couch of branches, a cold sweat beading\nher skin. Her heart pounded loud in the silence. She glanced wildly", "Olivia, half fainting, saw the ape heaving, thrashing and writhing,\ngripping, man-like, the hilt that jutted from its body. A sickening", "But no sleep came to Olivia, and she lay watching the distant ruins and\nthe wooded rim until the stars paled, the east whitened, and dawn in\nrose and gold struck fire from the dew on the grass-blades.", "Of all this Olivia was but mechanically cognizant. Her overwrought brain\nwas almost ready to collapse. Left alone and unprotected, she realized", "Olivia, staring up from the ground, saw what she took to be either a\nsavage or a madman advancing on Shah Amurath in an attitude of deadly", "The moonlight scene swam, to Olivia's sight. This, then, was the end of\nthe trail--for what human being could withstand the fury of that hairy", "The sun was hanging low when Olivia regained her senses. A faint wind\nwafted to her ears distant shouts and snatches of ribald song. Rising", "A stifled cry escaped Olivia. Conan wheeled and faced the dense shadows,\na crouching image of menace. The noise of the night-birds was suddenly", "reluctant Olivia after him. She shivered at the sight of those tense\nblack shadows in their niches along the walls. In the darkness that the", "Olivia glanced timidly about the great silent hall. Only the ivy-grown\nstones, the tendril-clasped pillars, with the dark figures brooding", "'So I did!' she shivered. 'But the reality was more grisly than the\ndream. Listen!' And she narrated all that she had dreamed and thought\nto see.", "Olivia's lovely eyes dilated in wonder. The stone was a symmetrical\nblock, indisputably cut and shaped by human hands. And it was", "Looking fearfully from her eyrie, Olivia saw the band had neared the\nfoot of the cliffs. Even as she looked, Conan stepped out from among the", "Every step of the way across that moon-haunted plateau was a sweating\nterror for Olivia, but no black shapes stole subtly from the looming", "Stepping ashore, he reached out a hand to help Olivia. She took it,\nwincing slightly at the bloodstains upon it, feeling a hint of the", "breeze; that was all. He shook his mane with an angry growl. Olivia\ncrept to his feet like a frightened child. Her eyes looked up at him,\ndark wells of horror.", "Olivia stared after it, feeling the cold hand of nameless foreboding\ntouch her supple spine.\n\n'What did it say?' she whispered." ] ]

[ "What were the ancient ruins decorated with on the deserted island where Conan and Olivia slept?", "Who frees Conan from the pirates who knocked him unconscious?", "What is the name of the city Olivia is escaping from?", "What do Conan and Olivia use to flee the deserted island?", "What happens to the Captain of the pirate ship that docks on the deserted island?", "As they leave the island, what does Conan say he will make Olivia?", "Who else is on the the ship as Conan and Olivia depart the deserted island?", "Where was Conan hiding out when he found Olivia?", "What do the pirates nickname the island?", "What was the title of the story?", "Who Fled the city of Akif?", "Why was the newcomer nearly mad?", "Where did they stay the first night?", "What was Conan more concerned about?", "What comes into port on the island?", "Who was the dark figure?", "What was happening back at the ruins?", "What was the island called?", "Who was made \"Queen of the Blue Sea\"?", "At the start of story, what is Olivia escaping?", "Who does the mad man who defeats Olivia's pursuer turn out to be? ", "Where do Conan and Olivia seek refuge to take a rest?", "When Conan and Olivia spend the night in the ancient ruins, what is Olivia concerned about?", "What does Conan do before he is captured by pirates?", "What do the pirates do with Conan after they tie him up?", "Who frees Conan from the pirates?", "What followed Olivia through the jungle and back to the ruins?", "After the man-ape is defeated, where do Olivia and Conan go?", "What happens when Conan is confronted by the pirates at the end of the story?", "Where was Olivia held captive at?", "What body of water is Olivia corned in a marsh near?", "What is the newcomers' name that Olivia meets?", "Where does Olivia and Conan hide after fleeing Shuh Amurath?", "What does Olivia think of the statues in the moonlight?", "What shows up at the deserted island?", "What does Olivia escape away from when going to the ruins?", "According to the pirates, what is the name of the island?", "Who made Conan a captain?", "What did Conan say he will do to Olivia?", "What city has Olivia fled from?", "Who is chasing and pursuing olivia?", "What is being lobbed at Olivia from the jungle?", "What knocks Conan unconscious?", "Who frees Conan from the pirates?", "What nickname do the pirates give the island?", "Who kills the captain of the pirate ship?", "Who becomes the new captain of the pirate ship?", "What kind of queen does Olivia become?", "What does Olivia see in her dream?" ]

[ [ "Statues", "Lifelike statues." ], [ "Olivia", "Olivia" ], [ "Akif", "Akif" ], [ "Pirate ship", "They use the pirates own ship." ], [ "Conan slays him.", "Conan challenges and kills him" ], [ "Queen of the Blue Sea", "Queen of the Blue Sea" ], [ "pirates from the ship", "A giant man ape was aboard the ship." ], [ "Marshes", "In the reeds" ], [ "\"Devil Island\"", "the Devil Island" ], [ "Shadows in the Moonlight", "shadows in the moonlight" ], [ "Olivia", "Olivia" ], [ "He hidden in the reeds for so long", "He was hiding in the reeds for so long" ], [ "In ancient ruins with lifelike statues", "In some ruins" ], [ "Something lurking in the jungle", "What lurked in the jungle" ], [ "A pirate ship", "A pirate ship" ], [ "A giant man ape", "Man-ape." ], [ "a horrific slaughter", "Conan is held captive by drunk pirates" ], [ "Devil Island", "Devil Island" ], [ "Olivia", "olivia " ], [ "Life in the city of Akif, under her former master, Shah Amurath.", "She is running from Shah Amurath, a sadistic rogue." ], [ "Conan the Cimmerian.", "Conan" ], [ "In ancient ruins on a deserted island.", "Ancient ruins" ], [ "That the statues were once men, and they will come to life and attack them. ", "Statues coming to life " ], [ "Kill the pirate captain.", "Kills the pirate captain" ], [ "They talk about what to do with him, drink too much, and fall asleep.", "take him to ruins" ], [ "Olivia.", "Olivia" ], [ "A giant man-ape.", "a giant man-ape" ], [ "To take over the pirate ship.", "back to pirate ship" ], [ "The pirates make him their captain.", "He challenges them, and they accept him as captain" ], [ "Akif", "Akif" ], [ "Vilayet Sea", "Vilayet sea" ], [ "Conan", "Conan the Cimmerian " ], [ "Boat", "In a boat" ], [ "That they will come to life", "That they will come to life. " ], [ "Pirate ship", "A man-ape" ], [ "Dark Figure", "captivity" ], [ "Devil Island", "Devil Island." ], [ "Pirates", "Beating the prior captain" ], [ "Make her \"Queen of the Blue Sea\"", "Make her the queen of the blue sea" ], [ "Olivia has fled from Akif.", "Akif" ], [ "Shah Amurath is chasing Olivia.", "Shah" ], [ "Giant boulders are being lobbed at Olivia.", "boulders" ], [ "A stone from a ling knocks him unconscious.", "a stone" ], [ "Olivia frees Conan from the pirates.", "Olivia frees Conan from the pirates." ], [ "Devil Island.", "devil island" ], [ "Conan kills the captain.", "Conan" ], [ "Conan becomes the new captain.", "Conan becomes the new captain of the pirate ship." ], [ "Queen of the Blue Sea.", "Queen of the Blue Sea." ], [ "A band of men turned into statues.", "A band of men turned into statues" ] ]

[ [ "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "\"Captain Singleton\" was published in 1720, a year after \"Robinson\nCrusoe,\" when Defoe was fifty-nine. Twenty years before had seen \"The", "The consequence of this, however, was, that several English men-of-war\nwere sent to the West Indies, and were particularly instructed to cruise", "the East Indies. I had heard some flaming stories of Captain Avery,\nand the fine things he had done in the Indies, which were doubled and", "From hence we sailed to the Canaries, and from thence onward to the\nWest Indies, where we committed some depredation upon the Spaniards for", "on page 189 which describe the sale of the negroes to the planters; to\nthe description of the awakening of the conscience of Captain Singleton", "long ago had an account that he was murdered by the pirates in the West\nIndies, entreats him to let her know what circumstances he was in; tells", "space here to dwell upon the scores of passages of similar deep insight\nwhich make \"Captain Singleton\" a most true and vivid commentary on the\nlife of Defoe's times, but we may call special attention to the passage", "and some sugar, and a great bag of tobacco, and invited Captain William\non shore again; that, after this, they grew from one kindness to\nanother; that they began to talk about trading for some negroes; and", "Ceylon, that is certain.\" \"But,\" says William, \"the men have done thee\nno injury at all; thou hast taken a great treasure from them; what canst", "which was bound to Goa, in the East Indies; and immediately having\ngotten his commission, put me on board to look after his cabin, in\nwhich he had stored himself with abundance of liquors, succades, sugar,", "that they must go up to the northward as far as Jamaica, or sell there\nupon the coast. This was a very plausible tale, and was easily believed;", "Barbados. He was a surgeon, and they called him doctor; but he was not\nemployed in the sloop as a surgeon, but was going to Barbados to get a", "left, in a sloop, one of those which the planters used to send on board\nfor the negroes. With this sloop Captain William, as we then called him,", "critic might believe it. But let us glance at a few passages in \"Captain\nSingleton,\" which may show us why Defoe excels as a realist, and why", "afterwards executed in England for a pirate; and this was the end of the\nman who first brought me into this unhappy trade.", "New England and New York, laden with flour, peas, and barrelled beef and\npork, going for Jamaica and Barbados; and for more beef we went on", "We made our way for the East Indies, by the coast of Brazil; not that it\nis in the course of sailing the way thither, but our captain, either" ], [ "William,\" says I, \"the first of the two, to be sure.\" \"Why, then,\" says\nhe, \"what great gain hast thou made of the prize thou hast taken now,", "Well, I found William had his measures in his head all laid beforehand,\nand was not at a loss what to do at all; so I told him he should be", "By this method, and being true to one another, William passed for what\nhe was--I mean, for a very honest fellow; and by the assistance of one", "We were considering what to do with her, when William came to me. \"Hark\nthee, friend,\" says he, \"thou hast made a fine piece of work of it", "At last, our old, never-failing friend, William, helped us out again, as\nhe had often done at a dead lift. His proposal was this, that he should", "In short, William was a most agreeable companion; but he had the better\nof us in this part, that if we were taken we were sure to be hanged, and", "I could see by his countenance that William was thoroughly pleased with\nthe offer; and if he had tears in-his eyes before, he had more now; but\nit was from quite a different passion; for he was so swallowed up with\njoy he could not speak.", "William was quite stunned at my discourse, and held his peace; and I\nsaid to him, \"Go on, William; what hast thou to say farther? for I hear", "of eight, and some diamonds, which, though William did not pretend to\nmuch skill in, yet he made shift to act so as not to be imposed upon,", "England, and was an excellent mimic; these two William dressed up like\ntwo Quakers, and made them talk like such. The old pilot he made go", "\"Certainly, friend,\" says William, very gravely, \"there is something\nbeyond it;\" and lifting up his hands, he seemed very much affected, and", "he was, called to me, \"William's right again,\" says he; \"as good here\nas a league farther.\" So he gives a word of command, \"Haul up the", "root of it in two more. But William was for another way, which proved\nmuch better than all this; for he was for silent work, that, if", "William said nothing in general, but that his opinion was otherwise, and\nthat he desired the wound might be searched, and that he would then\ntell them further. Accordingly he went to work with the leg; and, as", "their due, fought very briskly, believing at first they were sure of\ntheir game, and trusting to their superiority; but there was William, as", "\"Why, then,\" says William, \"he is a dead man; for if it were to save his\nlife, and the lives of all the crowd that is with him, he shall never", "\"Well, William,\" says I, \"I thank you; and I am not so senseless of\nthese things, perhaps, as I make myself seem to be. But come, let me\nhear your proposal.\"", "I had a great deal of satisfaction in William's discourse, and it\nquieted me very much; but William was very anxious ever after about my", "\"Indeed, William,\" said I, \"you mistake me; but it presently occurred to\nme that you should venture, for what have you done that you may not be", "\"Very well, William,\" says I; \"then I shall make an excellent pirate.\"\nHowever, William was in the right, and I apprehended what he meant" ], [ "\"Captain Singleton\" was published in 1720, a year after \"Robinson\nCrusoe,\" when Defoe was fifty-nine. Twenty years before had seen \"The", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "of it, he made the proper motion of throwing it into the sea; by which\nI understood, as I did afterwards, that they had thrown all the", "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "done, though I was not above twelve years old, he carried me to sea with\nhim on a voyage to Newfoundland.", "space here to dwell upon the scores of passages of similar deep insight\nwhich make \"Captain Singleton\" a most true and vivid commentary on the\nlife of Defoe's times, but we may call special attention to the passage", "by wild beasts. It was a great while ere the captain took any notice\n of them, but when he did, he ordered the boatswain to be seized, and", "critic might believe it. But let us glance at a few passages in \"Captain\nSingleton,\" which may show us why Defoe excels as a realist, and why", "all the white men, and thrown them into the sea; and I had no sooner\ntold my mind to the men, but the thought so enraged them that I had much", "CAPTAIN SINGLETON\n\n\nBy Daniel Defoe", "The same negro told us that they threw all the powder and shot they\ncould find into the sea, and they would have thrown the great guns into", "GUTENBERG EBOOK CAPTAIN SINGLETON ***\n\n\n\n\nProduced by Tom Allen, Charles Franks and the Online\nDistributed Proofreading Team", "sea. In a word, we soon lost sight of it, for we were in no condition\nto chase anything, and we never saw it again; but, by all that we could", "negroes, was got up before us, cried out, \"The sea! the sea!\" and fell\na-dancing and jumping, as signs of joy.", "on page 189 which describe the sale of the negroes to the planters; to\nthe description of the awakening of the conscience of Captain Singleton", "for he had children of his own. I went three or four voyages with him,\nand grew a great sturdy boy, when, coming home again from the banks of", "ship's company offering to be bound for him for his good behaviour, the\ncaptain at last yielded, and he was taken up, but almost dead with his\nbeing so long in the water.", "He was a middle-aged man, not above thirty-seven or thirty-eight, though\nhis beard was grown exceedingly long, and the hair of his head and", "In short, nothing could persuade him, but he would go into the Red Sea\nwith the sloop, and where the children of Israel passed through the sea" ], [ "on page 189 which describe the sale of the negroes to the planters; to\nthe description of the awakening of the conscience of Captain Singleton", "\"Captain Singleton\" was published in 1720, a year after \"Robinson\nCrusoe,\" when Defoe was fifty-nine. Twenty years before had seen \"The", "up into the country, separated from one another, and never heard of\nafterwards, except the captain's son, who miraculously made his escape,\nafter twenty years' slavery.", "master pleased, he would sell it him. The boy told his master, who bade\nhim go and see what book it was. The boy having served the English", "In these parts Mr Knox met his black boy, whom he had turned away divers\nyears before. He had now got a wife and children, and was very poor;", "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "known to be only a poor boy taken up in charity, as you have heard,\nand used like a slave, and in the worst manner of a slave, by my cruel\nmaster the pilot.", "William, pretending it was to do him service, consented to sell him\nthirty negroes for his private use in his plantation, for which he gave", "hellish trade in those days, and chiefly practised where they found\nlittle children very well dressed, or for bigger children, to sell them\nto the plantations.", "weeks William sold all his negroes, and at last sold the ship itself,\nand shipped himself and his twenty men, with two negro boys whom he had", "Then he told us that the white men used them barbarously; that they beat\nthem unmercifully; that one of the negro men had a wife and two negro", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "children, one a daughter, about sixteen years old; that a white man\nabused the negro man's wife, and afterwards his daughter, which, as he", "with him, and used me tolerably well, though I fared hard enough; and I\nlived with him about two years, during which time he was soliciting his", "They had not been half a quarter of an hour, but a negro came running to\nme, and told me the white man was Inglese, as he called him; upon which", "I lived well enough, and pleased my master so well that he called me his\nown boy; and I would have called him father, but he would not allow it,", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "and some sugar, and a great bag of tobacco, and invited Captain William\non shore again; that, after this, they grew from one kindness to\nanother; that they began to talk about trading for some negroes; and", "left, in a sloop, one of those which the planters used to send on board\nfor the negroes. With this sloop Captain William, as we then called him,", "From this time, it seems, I was disposed of to a beggar woman that\nwanted a pretty little child to set out her case; and after that, to" ], [ "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "These men, too, had all along had a great mind to a voyage for the\nmainland of Africa, where they said we should have a fair cast for our", "the world. Secondly, if we had adventured to have sailed on along the\ncoast of Mozambique, and the desolate shores of Africa to the north,", "along the Nile, where, perhaps, we might find some way or other over to\nthe west sea; for sure all Africa was not a desert.", "runs out so far towards the coast of Africa, as would have shortened our\nrun almost 100 leagues. But when we had sailed about thirty leagues, we", "or else to put for the mainland of Africa, and either travel by land,\nor sail along the coast towards the Red Sea, where we should, first or", "would venture over to the shore of Africa, it must be from hence, for\nthat if we went further, the breadth of the sea still increased, and to\nwhat breadth it might increase we knew not.", "over the sea of Zanguebar, as the Portuguese call it, and to land, if\npossible, upon the continent of Africa.", "certainly hang him for a pirate. I gave him an account of the voyage\nI had made from this very place to the continent of Africa, and what a\njourney it was to travel on foot.", "We were now landed upon the continent of Africa, the most desolate,\ndesert, and inhospitable country in the world, even Greenland and Nova", "They could give me no account whereabouts this was, whether near the\ncoast of Africa, or far off, or how long it was before the ship fell", "and, if you observe the manner of the negroes' sailing, and what\nhappened in their voyage, was every word of it true.", "understand; they no know what the sails do;\" that was, they did not so\nmuch as know that it was the sails that made the ship go, or understand", "Accordingly we put to sea, and cruised away to the northward, for the\nArabian coast. It was a long run, but as the winds generally blow trade", "and from the North Pole.'\" This, indeed, was amazing to us all, and more\nso to those seamen among us who knew anything of the infinite attempts", "We had by this time measured half the length of the island, and were\ncome to that part where the shore tending away to the north-west,\npromised fair to make our passage over to the mainland of Africa much", "in a Malabar sloop, and he knew this, that if we went into the Red Sea,\nwe should either be killed by the wild Arabs, or taken and made slaves", "of the island, where, at least at one point, the land stretching a great\nway to the north-west, the distance is not extraordinary great from the\nisland to the coast of Africa.", "hand, he assured us, and showed us a map of it, that, if we went\nnorthward, the western shore of Africa went out into the sea above", "When we asked them if any one had ever travelled that way, they told\nus yes, some had gone to where the sun sleeps, meaning to the west, but" ], [ "We had one very merry fellow here, a Quaker, whose name was William\nWalters, whom we took out of a sloop bound from Pennsylvania to", "At last, our old, never-failing friend, William, helped us out again, as\nhe had often done at a dead lift. His proposal was this, that he should", "In short, William was a most agreeable companion; but he had the better\nof us in this part, that if we were taken we were sure to be hanged, and", "\"Why, then,\" says William, \"he is a dead man; for if it were to save his\nlife, and the lives of all the crowd that is with him, he shall never", "We were considering what to do with her, when William came to me. \"Hark\nthee, friend,\" says he, \"thou hast made a fine piece of work of it", "William did not care at first to go near him, but the man continuing to\nmake signals to him to come, at last William went; and the Dutchman told", "In a little time they came quite up to us; and I saw friend William\nstand up in the boat and make signs to us; so they came on board; but", "William looked very affectionately upon me. \"Nay,\" says he, \"we have\nembarked together so long, and come together so far, I am resolved I", "three separate occasions we find William saving unfortunate natives\nor defenceless prisoners from the cruel and wicked barbarity of\nthe sailors. At page 183, for example, the reader will find a most", "William said nothing in general, but that his opinion was otherwise, and\nthat he desired the wound might be searched, and that he would then\ntell them further. Accordingly he went to work with the leg; and, as", "Thus they went away, and William came on board, and gave us a full\naccount of his parley with the old Dutchman, which was very diverting,", "your own company, as it is very probable you may. Pray, what gain is\nin it? and what account can you give the captain for his lost men?\" In\nshort, William argued so effectually, that he convinced them that it", "foolishly enough that they would die, William cheerfully went to work\nwith them, and cured them all but one, who rather died by drinking some\narrack punch than of his wound; the excess of drinking throwing him into", "restore him to both, so, at length, he, with one Stephen Rutland, who\nhad lived with him two years before, resolved to make their escape, and,", "and the richness of the cargo was such that they would not leave it by\nany means; so poor William, much to his mortification, was obliged to", "But our friend William gave us better counsel, for he came to me,\n\"Friend,\" says he, \"I understand the captain is for sailing back to the", "Here William and I, and the other two, our faithful comrades, debated\nwhat we should do; and here William and I resolved to separate from the", "have one of us in his power. But I'll tell thee,\" said William, \"how\nthou shalt cheat him, and gain thy own liberty too, if thou hast any", "This frighted me, I must confess, and allayed a great deal of the\ntrouble of mind I was in. But William, after he had done jesting with", "\"Do with it!\" says William. \"Why, thou needest not shoot thyself; I\nshall be obliged to do it for thee. Why, thou wilt destroy us all.\"" ], [ "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "said I, \"why not? You see they will not give any account of what is\nbecome of the white men.\" \"Nay,\" says William, \"do not say so; I suppose", "he had starved the men, and used them like dogs, and that, if the rest\nof the men knew they should be admitted, he was satisfied two-thirds", "it himself, none of his men would go with him. They told him they would\ngo anywhere with him to serve him, but that this was running himself and\nthem into certain destruction, without any possibility of avoiding it,", "I made signs again to tell him, that if he would make his men carry\nthem, we would not let him carry anything. We had secured all the", "not deny to be just. I let them know also the cruel, bloody measures\nof our men, but that I had resolved to save them, if possible; and\ntherefore I told them I would set them on shore at some English factory", "Ceylon, that is certain.\" \"But,\" says William, \"the men have done thee\nno injury at all; thou hast taken a great treasure from them; what canst", "your own company, as it is very probable you may. Pray, what gain is\nin it? and what account can you give the captain for his lost men?\" In\nshort, William argued so effectually, that he convinced them that it", "we did. However, William said before we went he would have this\nsatisfaction of them, viz., to burn down the tree and stop up the\nentrance into the cave. And while doing this the gunner told him he", "murdering some of them, to make them tell. What if they had told? He did\nnot understand one word of it; but he would not be persuaded but that", "\"Nay,\" says William, \"thou art in the right there; we must never talk of\nrepenting while we continue pirates.\"", "fault, not mine; that I did not forbid him to go, nor had I offered\nto persuade any of the men not to go with him, though it was to their\napparent destruction.", "William said nothing in general, but that his opinion was otherwise, and\nthat he desired the wound might be searched, and that he would then\ntell them further. Accordingly he went to work with the leg; and, as", "them, as from robbers. We seemed very angry at them, and made the prince\nask them if they had not killed any of the women or children, making", "killed between sixty and seventy men, and wounded a great many more; but\nthey had nothing, and our people got nothing by it, but the loss of one\nman's life, and the wounding sixteen more, as above.", "otherwise have been. But as to my being one of them that was to kill\nthe captain, that I was wronged in, for I was not the person, but it was", "and that they would deliver them all to us, which was done. The fellow\nthat came up to me told me how they had been used by their captain, how", "\"Nay,\" says William, \"the answer to it is short. To quit what we have,\nand do it here, is to throw it away to those who have no claim to it,", "\"Anything!\" says William; \"what have we to do with him? Let him go about\nhis business, and carry his men out of gunshot, can't he?\"", "them believe that, if they had killed anybody, we would make them kill\nthemselves too; but they protested their innocence, so we excused them." ], [ "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "Singleton\" has remained unread and almost forgotten. But the explanation\nis simple. Defoe's plain and homely realism soon grew to be thought", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "critic might believe it. But let us glance at a few passages in \"Captain\nSingleton,\" which may show us why Defoe excels as a realist, and why", "space here to dwell upon the scores of passages of similar deep insight\nwhich make \"Captain Singleton\" a most true and vivid commentary on the\nlife of Defoe's times, but we may call special attention to the passage", "\"Why, then,\" says William, \"he is a dead man; for if it were to save his\nlife, and the lives of all the crowd that is with him, he shall never", "He had no leisure in his thoughts to ask us whence we came, whither we\nwere going, or who we were; but would have it always as an answer to", "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "\"Thought on!\" says I; \"what signifies thinking of it? To think of death\nis to die, and to be always thinking of it is to be all one's life long", "I should be able to know nothing of what was said but from him\nat second-hand, which might be done as well afterwards. All the\ninstructions I pretended to give William was, if possible, to get the", "them what it signified. They immediately answered, \"Si, Seignior,\" and\nclapped their hands, looking up to the sun, which, the prince signified", "He smiled, and said they would signify nothing to us, for it was\nimpossible for us to pretend to preserve our lives among such a populous", "\"Captain Singleton\" was published in 1720, a year after \"Robinson\nCrusoe,\" when Defoe was fifty-nine. Twenty years before had seen \"The", "\"Nay,\" says William, \"the answer to it is short. To quit what we have,\nand do it here, is to throw it away to those who have no claim to it,", "Now here, in a single sentence, Defoe catches for us the whole soul\nand character of the situation. It _seems_ very simple, but it sums up", "\"I need not answer thee to that,\" says William; \"it is not my place to\nreprove thee, who art commander over me here; but I would rather thou\nwouldst talk otherwise of death; it is a coarse thing.\"", "made a long speech to them, and we could understand by it that he told\nthem, if they were willing, they must say, \"Si, Seignior,\" telling", "The man made a long oration to us, as we could see by his gestures; and\nwe sometimes heard his voice, but knew not one word he said. William,", "This last reason he made so plain to us that we began to be sensible of\nit ourselves, so that we agreed to lay that thought aside, and proceed", "on page 189 which describe the sale of the negroes to the planters; to\nthe description of the awakening of the conscience of Captain Singleton" ], [ "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "However, this did not prove a difficulty long with them, for the next\nday they brought two more merchants, English also, into their bargain,", "business. They answered they were Englishmen, and desired to come on\nboard. We told them they might lay the ship on board, but ordered they\nshould let only one man enter the ship till the captain knew their", "master pleased, he would sell it him. The boy told his master, who bade\nhim go and see what book it was. The boy having served the English", "your own company, as it is very probable you may. Pray, what gain is\nin it? and what account can you give the captain for his lost men?\" In\nshort, William argued so effectually, that he convinced them that it", "the English merchants of Surat. William was for going ourselves, which,\nby the way, was from the good, frugal, merchant-like temper of the man,", "This suited very well with our purpose; so I resolved now that we would\nleave off being pirates and turn merchants; so we told them what goods", "him they were Englishmen, and not to stay above twenty or thirty days,\nand desired permission to trade in his Majesty's port. His answer was,\nthat the king was glad to hear the English were come into his country,", "Accordingly William sent her a very kind letter, with a bill upon a\nmerchant in London for a hundred and sixty pounds, and bid her comfort", "and, as William could perceive by their discourse, they resolved, if\nthey bought them, to carry them to the Gulf of Persia upon their\nown accounts. William took the hint, and, as he told me afterwards,", "I could see the letter brought tears out of his eyes as he read it; and,\nindeed, when he showed it to me, and the little bill for five pounds,\nupon an English merchant in Venice, it brought tears out of my eyes too.", "same merchants. The main business was to consider how to get off that\ncircumstance that had exposed them to the English merchants, namely that", "Englishmen, who, though they lived there, and perhaps were the company's\nservants at first, yet appeared then to be traders for themselves, in\nwhatever coast business especially came in their way; and the doctor was", "Englishman had ever been before. The enjoyment of this mercy was a great\ncomfort to him in captivity, and though he wanted no bodily convenience\nthat the country did afford; for the king, immediately after his", "he knew very well how to manage; and here we all parted after the most\nfriendly manner possible. Our Englishman remained in the Dutch factory\nsome time, and, as I heard afterwards, died there of grief; for he", "and some sugar, and a great bag of tobacco, and invited Captain William\non shore again; that, after this, they grew from one kindness to\nanother; that they began to talk about trading for some negroes; and", "We had one very merry fellow here, a Quaker, whose name was William\nWalters, whom we took out of a sloop bound from Pennsylvania to", "Upon this, and his humble submission, the captain received him, and, in\na word, the importunity of this man (who for some time petitioned to be", "afterwards executed in England for a pirate; and this was the end of the\nman who first brought me into this unhappy trade.", "was agreed should be exchanged. This was concluded on, and William the\nQuaker ventured to go along with them, which, upon my word, I should not" ], [ "We had one very merry fellow here, a Quaker, whose name was William\nWalters, whom we took out of a sloop bound from Pennsylvania to", "of, only to note, that when it came to Captain Bob (for so they called\nme ever since I had taken state upon me before one of their great", "Accordingly, on the day appointed, his correspondent in the other ship,\nwhose name was Wilmot, began the work, and, having seized the captain's", "to me, \"Now, Captain Bob,\" says he, \"where is your prince?\" So I called\nhim out. \"Now,\" says he, \"tell your men not to be afraid; tell them they", "gunner, who spoke good English, \"you shall be called Captain Bob;\" and\nso they gave me my title ever after.", "\"What the devil is friend William a-doing yonder?\" says the captain;\n\"has he any business upon, deck?\" I stepped forward, and there was", "Captain Wilmot (for so we are now to call him) being thus possessed of a\nship, and in the manner as you have heard, it may be easily concluded", "your own company, as it is very probable you may. Pray, what gain is\nin it? and what account can you give the captain for his lost men?\" In\nshort, William argued so effectually, that he convinced them that it", "\"Why, William, it is true,\" said I, \"and I'll go tell the captain what\nyour opinion is, and bring you word what he says.\" Accordingly in I went", "him in the same, must we not? or else how shall he understand us?\" \"Very\nwell, William,\" says I, \"we understand you.\" And the captain, as ill as", "to the captain and told him William's reasons; and the captain was of\nhis mind, that our business was indeed fighting when we could not help", "But our friend William gave us better counsel, for he came to me,\n\"Friend,\" says he, \"I understand the captain is for sailing back to the", "immediately; and Captain Wilmot, who lay very sick in his cabin,\noverhearing us, understood him as well as I, and called out to me that", "The doctor had his employment all this while, as well as William and\nthe old captain, for he went on shore several times a day in the Indian", "and some sugar, and a great bag of tobacco, and invited Captain William\non shore again; that, after this, they grew from one kindness to\nanother; that they began to talk about trading for some negroes; and", "Thus they went away, and William came on board, and gave us a full\naccount of his parley with the old Dutchman, which was very diverting,", "In a little time they came quite up to us; and I saw friend William\nstand up in the boat and make signs to us; so they came on board; but", "prisoners for our march, and for carrying our baggage, turns to me\nbefore them all. \"Captain Bob,\" says he, \"I think you must be our", "been. But the case, in short, was this: Captain ---- (I forbear his\nname at present, for a particular reason), captain of an East India", "very good company. However, at last Captain Wilmot and I met, and talked\nover the matter very seriously, and I offered him the sloop to go where" ], [ "England, and was an excellent mimic; these two William dressed up like\ntwo Quakers, and made them talk like such. The old pilot he made go", "other, as would promise us not to desire or offer to go on shore, or to\nenter into any talk or conversation with any that might come on board;\nand, to finish the disguise to our mind, William documented two of our", "And now, having so plainly told you that I am come to England, after I\nhave so boldly owned what life I have led abroad, it is time to leave", "business. They answered they were Englishmen, and desired to come on\nboard. We told them they might lay the ship on board, but ordered they\nshould let only one man enter the ship till the captain knew their", "restore him to both, so, at length, he, with one Stephen Rutland, who\nhad lived with him two years before, resolved to make their escape, and,", "We had one very merry fellow here, a Quaker, whose name was William\nWalters, whom we took out of a sloop bound from Pennsylvania to", "When they had thus acquainted one another with their fortunes, the poor\noverjoyed men were in haste to go back to communicate their joy to their", "I ran back, eagerly enough, you may be sure, with him, and found, as\nhe said, that he was an Englishman; upon which he embraced me very", "may pass for Grecians and foreigners; thirdly, that we shall never speak\nEnglish in public before anybody, your sister excepted; fourthly, that\nwe will always live together and pass for brothers.\"", "We stood undiscovered, as above, it being the dusk of the evening, and\nsaw the Turk deliver the letter, and in three minutes we saw all the men", "country afforded, and had little on board now but money in pieces of\neight, which, by the way, was just what we wanted; and the three English", "they were very kind to them and left them to their business, and so they\ngot safe to Anuradhapoora. Their pretence was dried flesh, though they", "Thus they went away, and William came on board, and gave us a full\naccount of his parley with the old Dutchman, which was very diverting,", "not discern that ever anybody had been there, nothing being to be seen\nbut woods; and so they were in great hopes that they were past all\ndanger, being beyond all inhabitants; but they were mistaken, for the", "he began to think now that he must never see England any more, and\nthat indeed he did not much concern himself about it; but seeing we had\ngained so great wealth, and he had some poor relations in England, if", "We kept ourselves here _incognito_ for a great while, passing for two\nArmenian merchants still, as we had done before; and by this time we had", "These two fellows had not been gone out above three or four hours, but\none of them came running to us without his bow and arrows, hallooing and", "It is not easy to describe the surprise, or joy and satisfaction, that\nappeared on both sides, to see not only white men, but Englishmen, in", "\"Why, first,\" says I, \"you shall not disclose yourself to any of your\nrelations in England but your sister--no, not one; secondly, we will", "whom the king had clapped up, yet they feared they might wonder to see\nwhite men here, and so send them back again; but God so ordered it that" ], [ "\"Captain Singleton\" was published in 1720, a year after \"Robinson\nCrusoe,\" when Defoe was fifty-nine. Twenty years before had seen \"The", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "for he had children of his own. I went three or four voyages with him,\nand grew a great sturdy boy, when, coming home again from the banks of", "year, and must have stayed till April or May before we had gone to sea.\nAt length, as we had the wind at S.E. and E.S.E., and fine promising", "done, though I was not above twelve years old, he carried me to sea with\nhim on a voyage to Newfoundland.", "space here to dwell upon the scores of passages of similar deep insight\nwhich make \"Captain Singleton\" a most true and vivid commentary on the\nlife of Defoe's times, but we may call special attention to the passage", "critic might believe it. But let us glance at a few passages in \"Captain\nSingleton,\" which may show us why Defoe excels as a realist, and why", "CAPTAIN SINGLETON\n\n\nBy Daniel Defoe", "GUTENBERG EBOOK CAPTAIN SINGLETON ***\n\n\n\n\nProduced by Tom Allen, Charles Franks and the Online\nDistributed Proofreading Team", "on page 189 which describe the sale of the negroes to the planters; to\nthe description of the awakening of the conscience of Captain Singleton", "It was as odd a voyage as ever man went; we were a little fleet of three\nships, and an army of between twenty and thirty as dangerous fellows as", "which was bound to Goa, in the East Indies; and immediately having\ngotten his commission, put me on board to look after his cabin, in\nwhich he had stored himself with abundance of liquors, succades, sugar,", "Accordingly, we put out to sea the 12th of August, and passing the line\non the 17th, we stood away due south, leaving the Straits of Sunda and", "I come now back to my own history, which grows near a conclusion, as to\nthe travels I took in this part of the world. We were now at sea, and we", "Accordingly, to gratify our fancy, we went one day all out to sea in her\ntogether, and we were in a very fair way to have had enough of it;", "It was not long before we saw a sail, and immediately gave her chase;\nbut she proved an excellent sailer, and, standing out to sea, we saw", "\"Memoirs of a Cavalier,\" 1720. \"Life of Captain Singleton,\" 1720.\n\"Serious Reflections during the Life and Surprising Adventures of", "This might be called, indeed, the only trading voyage we had made; and\nnow we were really very rich, and it came now naturally before us to" ], [ "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "certainly hang him for a pirate. I gave him an account of the voyage\nI had made from this very place to the continent of Africa, and what a\njourney it was to travel on foot.", "We were now landed upon the continent of Africa, the most desolate,\ndesert, and inhospitable country in the world, even Greenland and Nova", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "his own, but had a mind to travel into Europe; and the other a Dutch\nsailor, whom he had picked up by his fancy, and reposed a great trust in\nhim, and a very honest fellow he was.", "It was as odd a voyage as ever man went; we were a little fleet of three\nships, and an army of between twenty and thirty as dangerous fellows as", "We had been eight or nine days under sail, with a fair wind, when, to\nour great joy, one of our men cried out \"Land!\" We had great reason to", "merchant-ship, bound afterwards for China, had found some reason to be\nvery severe with his men, and had handled some of them very roughly at\nSt Helena; insomuch, that they threatened among themselves to leave the", "the world. Secondly, if we had adventured to have sailed on along the\ncoast of Mozambique, and the desolate shores of Africa to the north,", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "or else to put for the mainland of Africa, and either travel by land,\nor sail along the coast towards the Red Sea, where we should, first or", "from the W.S.W., which held us six days and nights a great way to the\neastward, and after that, standing afore the wind for several days more,", "with the business of sailing, opposed it, and some of his reasons, I\nremember, were such as these:--First, the length of the way, which both", "We continued our voyage south for many weeks, though with several\nintervals of going on shore to get provisions and water. At length,\ncoming round a point of land which lay about a league further than", "We thought our voyaging was at a full stop now; but three of us, with\na couple of our negroes, mounting the hills another way, to view the", "Being thus resolved, we left the ship, which both William and I, and\nthe surgeon, never intended to see any more. We steered directly for the", "I come now back to my own history, which grows near a conclusion, as to\nthe travels I took in this part of the world. We were now at sea, and we", "When we asked them if any one had ever travelled that way, they told\nus yes, some had gone to where the sun sleeps, meaning to the west, but", "had had any company to go with him, he had often contrived to make his\nescape by. The one was to travel full west, which, though it was farther", "proceeded on their journey. When they had travelled three or four hours\nwith difficulty, because the moon gave but little light among the thick\ntrees, they found an elephant in their way before them, and because they" ], [ "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "along the Nile, where, perhaps, we might find some way or other over to\nthe west sea; for sure all Africa was not a desert.", "the world. Secondly, if we had adventured to have sailed on along the\ncoast of Mozambique, and the desolate shores of Africa to the north,", "Africa than we did, only that there was a country of lions, as they call\nit, that way.", "certainly hang him for a pirate. I gave him an account of the voyage\nI had made from this very place to the continent of Africa, and what a\njourney it was to travel on foot.", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "or else to put for the mainland of Africa, and either travel by land,\nor sail along the coast towards the Red Sea, where we should, first or", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "I asked him if ever he had been on the coast of Congo. He said, yes, he\nhad, but was never on shore there. Then I asked him how we should get", "the river Congo, but we were put to another full stop, by entering a\ncountry so desolate, so frightful, and so wild, that we knew not what to", "kept the offer of peace made by that signal very sacredly; and I gave\nhim several examples of it in the history of my African travels, which\nI have here gone through in the beginning of this work, and that I could", "It was very remarkable that we had now travelled 1000 miles without\nmeeting with any people in the heart of the whole continent of Africa,", "on page 189 which describe the sale of the negroes to the planters; to\nthe description of the awakening of the conscience of Captain Singleton", "a little troop to go with him, for safety, that they might see the\ncountry. I was mightily against it for many reasons; but particularly\nI told him he knew the natives were but savages, and they were very", "third part of the way to the coast of Angola, where we should meet the\nwestern ocean, and find ways enough for our escape home. On the other", "lie that way; for what should she do at the coast of Africa in this\nlatitude, which should be as far south as Congo or Angola? But as soon", "We were now landed upon the continent of Africa, the most desolate,\ndesert, and inhospitable country in the world, even Greenland and Nova", "to the south, and that in time we should meet with the great river\nCongo, from whence the coast is called Congo, being a little north of\nAngola, where we intended at first to go.", "\"Captain Singleton\" was published in 1720, a year after \"Robinson\nCrusoe,\" when Defoe was fifty-nine. Twenty years before had seen \"The", "These men, too, had all along had a great mind to a voyage for the\nmainland of Africa, where they said we should have a fair cast for our" ], [ "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "foolishly enough that they would die, William cheerfully went to work\nwith them, and cured them all but one, who rather died by drinking some\narrack punch than of his wound; the excess of drinking throwing him into", "three separate occasions we find William saving unfortunate natives\nor defenceless prisoners from the cruel and wicked barbarity of\nthe sailors. At page 183, for example, the reader will find a most", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "kept the offer of peace made by that signal very sacredly; and I gave\nhim several examples of it in the history of my African travels, which\nI have here gone through in the beginning of this work, and that I could", "almost beat himself to death with struggling all night, and we found\nthat this was the wounded soldier that had roared so loud and given us\nso much disturbance. Our surgeon, looking at him, smiled. \"Now,\" says", "Among the negroes that were killed in this battle there was one who had\na little thin bit or plate of gold, about as big as a sixpence, which", "a little troop to go with him, for safety, that they might see the\ncountry. I was mightily against it for many reasons; but particularly\nI told him he knew the natives were but savages, and they were very", "they did not kill him, he found means to escape from them at that time,\nand fled to another nation of the natives, who, being enemies to the", "\"Why, then,\" says William, \"he is a dead man; for if it were to save his\nlife, and the lives of all the crowd that is with him, he shall never", "They had not been half a quarter of an hour, but a negro came running to\nme, and told me the white man was Inglese, as he called him; upon which", "and some sugar, and a great bag of tobacco, and invited Captain William\non shore again; that, after this, they grew from one kindness to\nanother; that they began to talk about trading for some negroes; and", "and that, as he was entirely at the mercy of the negroes, they had much\nthe more confidence in him, seeing he had no weapons to hurt them. As", "killed and wounded men; these we ordered them to pick up, and they\nwere very useful to us afterwards. After the fight, and our negroes had", "for \"murdering the negroes to make them tell,\" when he could not make\nthem even understand what he wanted, is worthy of Tolstoy. We have not", "on page 189 which describe the sale of the negroes to the planters; to\nthe description of the awakening of the conscience of Captain Singleton", "Then he told us that the white men used them barbarously; that they beat\nthem unmercifully; that one of the negro men had a wife and two negro", "wounded, and some killed; but that they broke into the round-house after\na long dispute, where they killed two of the white men, but owned that\nthe two white men killed eleven of their men before they could break", "killed between sixty and seventy men, and wounded a great many more; but\nthey had nothing, and our people got nothing by it, but the loss of one\nman's life, and the wounding sixteen more, as above." ], [ "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "These men, too, had all along had a great mind to a voyage for the\nmainland of Africa, where they said we should have a fair cast for our", "certainly hang him for a pirate. I gave him an account of the voyage\nI had made from this very place to the continent of Africa, and what a\njourney it was to travel on foot.", "We thought our voyaging was at a full stop now; but three of us, with\na couple of our negroes, mounting the hills another way, to view the", "journey. The negro prince we made perfectly free, clothed him out of our\ncommon stock, and gave him a pound and a half of gold for himself, which", "management and by the help of our negroes, gather every man a hundred\npounds weight of gold, and get together perhaps two hundred ton of\nteeth; whereas, if once we pushed on to the coast and separated, we", "They made signs to the natives for some food, and they went and fetched\nseveral herbs and roots, and some milk; but it was evident they did not", "\"I think we may begin to work;\" so he divided our negroes into couples\nand set them to work, to search and wash the sand and ooze in the bottom\nof the water where it was not deep.", "supposing it might pass by them. When they were about a quarter of a\nmile, they halted to see what it might be. One of the negroes, a nimbler", "obliged often to seek out for food. The first place we came to on the\nriver, that gave us any stop, was a little negro town, containing about", "along the Nile, where, perhaps, we might find some way or other over to\nthe west sea; for sure all Africa was not a desert.", "understood it by. At last one of the negroes, by his order, laid forty\nlittle stones one by another, to show us how many days we should travel,\nand find provisions sufficient.", "and to the places where those belonging to the ship had hung. One of\nthe negroes understood me presently, and beckoned to me to come upon the", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "proceeded on their journey. When they had travelled three or four hours\nwith difficulty, because the moon gave but little light among the thick\ntrees, they found an elephant in their way before them, and because they", "As soon as we were settled, and our camp fixed, we fell to the old\ntrade of fishing for gold in the rivers mentioned above, and our English\ngentleman so well knew how to direct our search, that we scarce ever\nlost our labour.", "the world. Secondly, if we had adventured to have sailed on along the\ncoast of Mozambique, and the desolate shores of Africa to the north,", "We had been eight or nine days under sail, with a fair wind, when, to\nour great joy, one of our men cried out \"Land!\" We had great reason to", "or else to put for the mainland of Africa, and either travel by land,\nor sail along the coast towards the Red Sea, where we should, first or" ], [ "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "At last, on a sudden their arrows stopped, and the old Dutchman came\nrunning down to the water-side all alone, with his white flag, as", "but being acquainted with these quarters, he not only took directions\nof him, but agreed with him, for a good reward, to conduct him and\nhis companions to the Dutch. He gladly undertook it, and a time was", "other goods. We were bid money here for our cloves, but the Dutchman\nadvised us not to part with them, and told us we should get a better", "knew there was none to be had; but their real business was to search the\nway down to the Dutch, which they stayed three days to do; but finding", "master pleased, he would sell it him. The boy told his master, who bade\nhim go and see what book it was. The boy having served the English", "and some sugar, and a great bag of tobacco, and invited Captain William\non shore again; that, after this, they grew from one kindness to\nanother; that they began to talk about trading for some negroes; and", "he knew very well how to manage; and here we all parted after the most\nfriendly manner possible. Our Englishman remained in the Dutch factory\nsome time, and, as I heard afterwards, died there of grief; for he", "However, the Dutchman supplied all this for us; and as we had resolved\nto keep ourselves as retired as we could, though there were several", "settlements on the Gold Coast, where we arrived in perfect health, and\nto our great satisfaction. As for our cargo of teeth, we sold it to the\nDutch factory, and received clothes and other necessaries for ourselves,", "turn that the Dutch at Batavia should have any knowledge of thy being in\nthese seas.\" \"Well, then,\" says I to him, \"I know no remedy but to throw", "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "hands, and manned by Dutchmen, who were bound from the Gulf of Persia\nto Batavia, to fetch spices and other goods from thence. The sloop's men", "In short, we traded upon the high seas with these men, and indeed we\nmade a very good market, and yet sold thieves' pennyworths too. We sold", "on page 189 which describe the sale of the negroes to the planters; to\nthe description of the awakening of the conscience of Captain Singleton", "\"Captain Singleton\" was published in 1720, a year after \"Robinson\nCrusoe,\" when Defoe was fifty-nine. Twenty years before had seen \"The", "other two, they resolving to go with the Dutchman into Holland, by the\nmeans of some Dutch ship which lay then in the road. William and I told", "to sell him some hogs, pretending at first he only stood in upon the\ncoast to take in fresh water and buy some provisions; and the man not", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "that they must go up to the northward as far as Jamaica, or sell there\nupon the coast. This was a very plausible tale, and was easily believed;" ], [ "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "afterwards executed in England for a pirate; and this was the end of the\nman who first brought me into this unhappy trade.", "\"Captain Singleton\" was published in 1720, a year after \"Robinson\nCrusoe,\" when Defoe was fifty-nine. Twenty years before had seen \"The", "which was bound to Goa, in the East Indies; and immediately having\ngotten his commission, put me on board to look after his cabin, in\nwhich he had stored himself with abundance of liquors, succades, sugar,", "The consequence of this, however, was, that several English men-of-war\nwere sent to the West Indies, and were particularly instructed to cruise", "From hence we sailed to the Canaries, and from thence onward to the\nWest Indies, where we committed some depredation upon the Spaniards for", "space here to dwell upon the scores of passages of similar deep insight\nwhich make \"Captain Singleton\" a most true and vivid commentary on the\nlife of Defoe's times, but we may call special attention to the passage", "the East Indies. I had heard some flaming stories of Captain Avery,\nand the fine things he had done in the Indies, which were doubled and", "an English man-of-war, and being laid in irons, died of mere grief\nand anger before he came to England. His lieutenant, I have heard, was", "England, and was an excellent mimic; these two William dressed up like\ntwo Quakers, and made them talk like such. The old pilot he made go", "and some sugar, and a great bag of tobacco, and invited Captain William\non shore again; that, after this, they grew from one kindness to\nanother; that they began to talk about trading for some negroes; and", "merchant-ship, bound afterwards for China, had found some reason to be\nvery severe with his men, and had handled some of them very roughly at\nSt Helena; insomuch, that they threatened among themselves to leave the", "as a passenger, the doctor and William acting as the supercargoes, by a\nformal procuration from one Captain Singleton, and all things ordered in\nform.", "he knew very well how to manage; and here we all parted after the most\nfriendly manner possible. Our Englishman remained in the Dutch factory\nsome time, and, as I heard afterwards, died there of grief; for he", "We made our way for the East Indies, by the coast of Brazil; not that it\nis in the course of sailing the way thither, but our captain, either", "your own company, as it is very probable you may. Pray, what gain is\nin it? and what account can you give the captain for his lost men?\" In\nshort, William argued so effectually, that he convinced them that it", "he began to think now that he must never see England any more, and\nthat indeed he did not much concern himself about it; but seeing we had\ngained so great wealth, and he had some poor relations in England, if", "And now, having so plainly told you that I am come to England, after I\nhave so boldly owned what life I have led abroad, it is time to leave" ], [ "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "\"Captain Singleton\" was published in 1720, a year after \"Robinson\nCrusoe,\" when Defoe was fifty-nine. Twenty years before had seen \"The", "woman, who told her how she came by me, and told her that my name was\nBob Singleton, not Robert, but plain Bob; for it seems they never knew\nby what name I was christened.", "otherwise, meets with a fellow, her sweetheart, as I suppose; he carries\nher into a public-house, to give her a pot and a cake; and while they", "Singleton\" has remained unread and almost forgotten. But the explanation\nis simple. Defoe's plain and homely realism soon grew to be thought", "CAPTAIN SINGLETON\n\n\nBy Daniel Defoe", "In these parts Mr Knox met his black boy, whom he had turned away divers\nyears before. He had now got a wife and children, and was very poor;", "GUTENBERG EBOOK CAPTAIN SINGLETON ***\n\n\n\n\nProduced by Tom Allen, Charles Franks and the Online\nDistributed Proofreading Team", "critic might believe it. But let us glance at a few passages in \"Captain\nSingleton,\" which may show us why Defoe excels as a realist, and why", "space here to dwell upon the scores of passages of similar deep insight\nwhich make \"Captain Singleton\" a most true and vivid commentary on the\nlife of Defoe's times, but we may call special attention to the passage", "So, in short, we made this poor woman's family rich; and yet, when it\ncame to the point, my heart failed me, and I durst not venture; and for", "on page 189 which describe the sale of the negroes to the planters; to\nthe description of the awakening of the conscience of Captain Singleton", "\"My proposal,\" says William, \"is for thy good as well as my own. We may\nput an end to this kind of life, and repent; and I think the fairest", "board his ship, and, in return for his kindness, gave him a negro girl\nfor his wife.", "At this he startled a little, and returned, \"At the gallows I have\n[known] one before, and I hope thou wilt be the second.\"\n\nHe spoke this very affectionately, with an appearance of concern for me.", "he knew very well how to manage; and here we all parted after the most\nfriendly manner possible. Our Englishman remained in the Dutch factory\nsome time, and, as I heard afterwards, died there of grief; for he", "Accordingly William sent her a very kind letter, with a bill upon a\nmerchant in London for a hundred and sixty pounds, and bid her comfort", "as a passenger, the doctor and William acting as the supercargoes, by a\nformal procuration from one Captain Singleton, and all things ordered in\nform." ], [ "We were now landed upon the continent of Africa, the most desolate,\ndesert, and inhospitable country in the world, even Greenland and Nova", "proceeded on their journey. When they had travelled three or four hours\nwith difficulty, because the moon gave but little light among the thick\ntrees, they found an elephant in their way before them, and because they", "When we asked them if any one had ever travelled that way, they told\nus yes, some had gone to where the sun sleeps, meaning to the west, but", "It was very remarkable that we had now travelled 1000 miles without\nmeeting with any people in the heart of the whole continent of Africa,", "These men, too, had all along had a great mind to a voyage for the\nmainland of Africa, where they said we should have a fair cast for our", "there would be trees and grass; where trees and grass there would\nbe cattle; and where cattle, some kind of inhabitants. At last, in\nconsequence of this speculative philosophy, we entered this waste,", "certainly hang him for a pirate. I gave him an account of the voyage\nI had made from this very place to the continent of Africa, and what a\njourney it was to travel on foot.", "Thus they travelled from morning till night several days, through bushes\nand thorns, which made their arms and shoulders, which were naked,", "and about three days' journey from their dwelling. They were very\nthankful to Providence that they had passed all difficulties so far,\nbut yet they durst not go any farther, because they had no wares left to", "We travelled two days towards those hills, and still they seemed as\nfar off as they did at first, and it was the fifth day before we got to", "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "desperate resolutions that ever was taken by man, or any number of men,\nin the world; this was, to travel overland through the heart of the", "We had by this time measured half the length of the island, and were\ncome to that part where the shore tending away to the north-west,\npromised fair to make our passage over to the mainland of Africa much", "Before us was nothing but horror, as above; so we resolved, seeing the\nridge of the hills we were upon had some appearance of fruitfulness,\nand that they seemed to lead away to the northward a great way, to keep", "us all three days and a half, and was just spent; and we were on the\npoint of killing another when we saw before us a country that promised\nbetter, having high trees and a large river in the middle of it.", "We thought our voyaging was at a full stop now; but three of us, with\na couple of our negroes, mounting the hills another way, to view the", "It was as odd a voyage as ever man went; we were a little fleet of three\nships, and an army of between twenty and thirty as dangerous fellows as", "crept into a hollow tree, and sat there in mud and wet till it began to\ngrow dark, and then betaking themselves to their legs, travelled till\nthe darkness of night stopped them. They heard voices behind them, and", "from thence to the coast where the European ships came, seeing, if the\nland trended away west for 1500 miles, we must have all that shore to\ntraverse before we could double the west point of it.", "his own, but had a mind to travel into Europe; and the other a Dutch\nsailor, whom he had picked up by his fancy, and reposed a great trust in\nhim, and a very honest fellow he was." ], [ "First, we were perfectly destitute of means to work about our own\ndeliverance any other way; we were on shore in a place perfectly remote", "However, we afterwards found occasion to remove our station, as you\nshall hear presently. We had now nothing to do but go on shore, and", "ours, let us take one of them.\" First, indeed, all our aim was to get,\nif possible, a boat with a deck and a sail; for then we might have saved\nour provisions, which otherwise we could not.", "creatures as were there, and who, they supposed, were desperate by their\ncircumstances? And as but one man at a time could go up, they began to", "Being thus resolved, we left the ship, which both William and I, and\nthe surgeon, never intended to see any more. We steered directly for the", "The first adventure we made here had like to have been fatal to us all,\nfor the sloop, being ahead, made the signal to us for seeing a sail, and", "On the other hand, we were as miserable as nature could well make us to\nbe, for we were upon a voyage and no voyage, we were bound somewhere and", "S.E. by E., they came to the northward of the isle, and being after that\nseparated by a furious tempest from the N.W., they were forced into the", "This voyage, however, held us eleven days in all; and at length, having\nspent most of our provisions, and every drop of water we had, we spied", "After having with great difficulty got over this river, we came into a\nstrange wild country that began a little to affright us; for though the", "We thought our voyaging was at a full stop now; but three of us, with\na couple of our negroes, mounting the hills another way, to view the", "We could see nothing to be gotten out of the wreck that was worth our\nwhile; but we resolved to go on shore, and stay some time thereabouts,", "of their own ships, they seemed to be in some confusion when they found\ntheir mistake, so they immediately hauled upon a wind on the other tack,\nand stood edging in for the shore, towards the easternmost part of the", "not discern that ever anybody had been there, nothing being to be seen\nbut woods; and so they were in great hopes that they were past all\ndanger, being beyond all inhabitants; but they were mistaken, for the", "This was indeed at first a monstrous voyage in its appearance, and the\nwant of provisions threatened us. William told us in so many words, that", "as we had there. This was much the best way, and accordingly he and the\ncaptain went on shore by themselves, and having made such a bargain", "It was as odd a voyage as ever man went; we were a little fleet of three\nships, and an army of between twenty and thirty as dangerous fellows as", "were with him, out of the great cabin. When they were all thus embarked,\nthey resolved to lay the ship aboard again, and try to recover it. That", "and about twenty leagues from the island. Here we lay thirteen days, and\nbegan to be very uneasy for my friend William, for they had promised", "most places. We thought it very strange that in all this part of the\ncountry we yet met with no inhabitants; but the principal reason, as we\nfound afterwards, was, that we, having kept a western course first," ], [ "gunner, who spoke good English, \"you shall be called Captain Bob;\" and\nso they gave me my title ever after.", "But our friend William gave us better counsel, for he came to me,\n\"Friend,\" says he, \"I understand the captain is for sailing back to the", "I ran back, eagerly enough, you may be sure, with him, and found, as\nhe said, that he was an Englishman; upon which he embraced me very", "he knew very well how to manage; and here we all parted after the most\nfriendly manner possible. Our Englishman remained in the Dutch factory\nsome time, and, as I heard afterwards, died there of grief; for he", "him, he would persuade the captain to return with him. The general was\nfool enough to give him orders to go, and charged him not to come back\nwithout the captain; which he readily promised, and very honestly might.", "of, only to note, that when it came to Captain Bob (for so they called\nme ever since I had taken state upon me before one of their great", "England, and was an excellent mimic; these two William dressed up like\ntwo Quakers, and made them talk like such. The old pilot he made go", "his own, but had a mind to travel into Europe; and the other a Dutch\nsailor, whom he had picked up by his fancy, and reposed a great trust in\nhim, and a very honest fellow he was.", "to me, \"Now, Captain Bob,\" says he, \"where is your prince?\" So I called\nhim out. \"Now,\" says he, \"tell your men not to be afraid; tell them they", "as we had there. This was much the best way, and accordingly he and the\ncaptain went on shore by themselves, and having made such a bargain", "Their new chaps were so eager, that they would have bargained with the\nold captain beforehand. \"Nay, friend,\" said he, \"I will not trade with", "an English man-of-war, and being laid in irons, died of mere grief\nand anger before he came to England. His lieutenant, I have heard, was", "been. But the case, in short, was this: Captain ---- (I forbear his\nname at present, for a particular reason), captain of an East India", "very good company. However, at last Captain Wilmot and I met, and talked\nover the matter very seriously, and I offered him the sloop to go where", "\"Come, come, friend Bob,\" says he, \"I'll put an end to it all, if you\nwill take my advice.\"\n\n\"How's that?\" said I.", "and some sugar, and a great bag of tobacco, and invited Captain William\non shore again; that, after this, they grew from one kindness to\nanother; that they began to talk about trading for some negroes; and", "he began to think now that he must never see England any more, and\nthat indeed he did not much concern himself about it; but seeing we had\ngained so great wealth, and he had some poor relations in England, if", "William looked very affectionately upon me. \"Nay,\" says he, \"we have\nembarked together so long, and come together so far, I am resolved I", "afterwards executed in England for a pirate; and this was the end of the\nman who first brought me into this unhappy trade.", "Upon this, and his humble submission, the captain received him, and, in\na word, the importunity of this man (who for some time petitioned to be" ], [ "I desire thee to tell me what thou art, for by thy speech thou art an\nEuropean.\" He answered presently, he was a Dutchman. \"That I know well,\"", "might light on in European ships, which we must fight for; and though we\nwere able to fight, and wanted no courage, even to desperation, yet we", "can be but one thing more to guess at, besides witchcraft and dealing\nwith the devil, which I believe not one word of,\" says he; \"and that", "This Dutchman was very glad of an acquaintance, because he soon found\nthat we directed our thoughts to Europe also; and as he found we were", "of so many innocent people, nay, I might say nations, and not call us to\nan account for it before we can get to Europe, where we pretend to enjoy\nit?\"", "the Europeans on the coast, or with other negro nations that had traded\nand been concerned with them, they were the less ignorant and the\nless fearful, and consequently nothing was to be had from them but by", "But, on the other hand, as we did not resolve to fall upon the European\ntraders, who were generally ships of force and well manned, and where", "his own, but had a mind to travel into Europe; and the other a Dutch\nsailor, whom he had picked up by his fancy, and reposed a great trust in\nhim, and a very honest fellow he was.", "He told me it was ten to one but we should hear of some European ships\nto take us in, for that they often visited the coast of Congo and", "\"I am,\" says he, \"a Christian.\" And so they went on, in a short\ndialogue, as follows:--", "or what to do with it if I had it. I thought I had enough already, and\nall the thoughts I had about disposing of it, if I came to Europe, was", "stood up in the stern of the pinnace, and told him, that as to that, he,\nthat was an European, by his language and voice, might easily know what", "which had been made from Europe, as well by the English as the Dutch,\nto discover a passage that way into those parts of the world; and as\nWilliam pressed as earnestly to go on to the north to rescue those poor", "ordinary into the sea, we were agreeably surprised with a sight which,\nno doubt, had been as disagreeable to those concerned, as it was\npleasant to us. This was the wreck of an European ship, which had been", "gotten a prodigious deal of money, though not one-half of what was said\nof it in Europe.", "trade; for that then all the nations of Europe, and indeed of that part\nof the world, would be engaged to root us out; but if we resolved to", "We knew very well they must have been taken on board the ship as slaves,\nand that it must be by some European people too. We could easily see", "_D_. How can I answer that? How can I tell what he intends?\n\n_W_. Thou canst tell what thou believest.", "especially those who had seen and trafficked with the Europeans, such as\nDutch, English, Portuguese, Spaniards, etc., they had most of them been", "might see the hazard the Europeans run with ships and men, and at great\nexpense, to fetch a little gold, and that we, that were in the centre" ], [ "him they were Englishmen, and not to stay above twenty or thirty days,\nand desired permission to trade in his Majesty's port. His answer was,\nthat the king was glad to hear the English were come into his country,", "However, this did not prove a difficulty long with them, for the next\nday they brought two more merchants, English also, into their bargain,", "and told me he really thought the merchants looked like fair men, that\nmeant honestly. \"And besides,\" says William, \"it is their interest to be", "business. They answered they were Englishmen, and desired to come on\nboard. We told them they might lay the ship on board, but ordered they\nshould let only one man enter the ship till the captain knew their", "This suited very well with our purpose; so I resolved now that we would\nleave off being pirates and turn merchants; so we told them what goods", "your own company, as it is very probable you may. Pray, what gain is\nin it? and what account can you give the captain for his lost men?\" In\nshort, William argued so effectually, that he convinced them that it", "the English merchants of Surat. William was for going ourselves, which,\nby the way, was from the good, frugal, merchant-like temper of the man,", "master pleased, he would sell it him. The boy told his master, who bade\nhim go and see what book it was. The boy having served the English", "Their new chaps were so eager, that they would have bargained with the\nold captain beforehand. \"Nay, friend,\" said he, \"I will not trade with", "and about three days' journey from their dwelling. They were very\nthankful to Providence that they had passed all difficulties so far,\nbut yet they durst not go any farther, because they had no wares left to", "Englishman had ever been before. The enjoyment of this mercy was a great\ncomfort to him in captivity, and though he wanted no bodily convenience\nthat the country did afford; for the king, immediately after his", "This was so forcible, and so well argued, that it appeared in all our\nfaces we were prevailed upon; so we told him we would all stay: for", "who spoke some words of English to him; and, being very inquisitive to\nknow how he came to learn any of those words, he told him that there\nwas in his country thirteen Englishmen; he called them Englishmen", "same merchants. The main business was to consider how to get off that\ncircumstance that had exposed them to the English merchants, namely that", "but being acquainted with these quarters, he not only took directions\nof him, but agreed with him, for a good reward, to conduct him and\nhis companions to the Dutch. He gladly undertook it, and a time was", "I ran back, eagerly enough, you may be sure, with him, and found, as\nhe said, that he was an Englishman; upon which he embraced me very", "They had not been half a quarter of an hour, but a negro came running to\nme, and told me the white man was Inglese, as he called him; upon which", "and, as William could perceive by their discourse, they resolved, if\nthey bought them, to carry them to the Gulf of Persia upon their\nown accounts. William took the hint, and, as he told me afterwards,", "English merchants upon the place, yet we never acquainted ourselves with\none of them, or exchanged a word with them; by which means we prevented", "Then another of our men showed them another knife, but they had nothing\ngood enough for that, whereupon one of them made signs that he would\ngo and fetch something; so our men stayed three hours for their return," ], [ "he began to think now that he must never see England any more, and\nthat indeed he did not much concern himself about it; but seeing we had\ngained so great wealth, and he had some poor relations in England, if", "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "having sent a thousand pounds sterling over to England, by the way of\nHolland, for his refuge at his return to his friends, the ship was taken\nby the French and the effects all lost.", "And now, having so plainly told you that I am come to England, after I\nhave so boldly owned what life I have led abroad, it is time to leave", "he knew very well how to manage; and here we all parted after the most\nfriendly manner possible. Our Englishman remained in the Dutch factory\nsome time, and, as I heard afterwards, died there of grief; for he", "The fellow ran as if he was mad, and held it till he was quite out of\nsight, by which I supposed he had a great way to go. The next morning,", "\"Now,\" says William, \"I perceive by it that you have some thoughts of\nventuring into England.\"", "\"Captain Singleton\" was published in 1720, a year after \"Robinson\nCrusoe,\" when Defoe was fifty-nine. Twenty years before had seen \"The", "We eased him of his gold, and did him no other harm, and having no\nintention to stay long here, we stood away for China.", "thousand pounds, and I'll venture to England with you, to this woman's\nhouse, whenever you will.\"", "fortune, and see what he could discover in the country, assuring us\nwhatever he got should be for the public stock. We all gave him our", "his own, but had a mind to travel into Europe; and the other a Dutch\nsailor, whom he had picked up by his fancy, and reposed a great trust in\nhim, and a very honest fellow he was.", "had had any company to go with him, he had often contrived to make his\nescape by. The one was to travel full west, which, though it was farther", "restore him to both, so, at length, he, with one Stephen Rutland, who\nhad lived with him two years before, resolved to make their escape, and,", "space here to dwell upon the scores of passages of similar deep insight\nwhich make \"Captain Singleton\" a most true and vivid commentary on the\nlife of Defoe's times, but we may call special attention to the passage", "which had been made from Europe, as well by the English as the Dutch,\nto discover a passage that way into those parts of the world; and as\nWilliam pressed as earnestly to go on to the north to rescue those poor", "Away he runs, as if he had a glad message to carry, and tells the\ngeneral that William had promised, if he would go on board the ship with", "England, and was an excellent mimic; these two William dressed up like\ntwo Quakers, and made them talk like such. The old pilot he made go" ], [ "\"Captain Singleton,\" of the crossing of Africa by a body of marooned\nsailors from the coast of Mozambique to the Gold Coast, that one would", "The infinite number of islands which lie in these seas embarrassed\nus strangely, and it was with great difficulty that we worked our way\nthrough them; then we steered for the north side of the Philippines,", "southward; and not only to keep without the Philippine Islands, that is\nto say, to the eastward of them, but to keep on to the southward, and", "As we passed into these seas, steering due north, so we soon crossed the\nline to the north side, and so sailed on towards Mindanao and Manilla,", "We were just gotten clear of the Philippines, and we purposed to go to\nthe isle of Formosa, but the wind blew so fresh at N.N.E. that there was", "\"Friend Singleton,\" says he, \"dost thee know what we are a-doing?\" Says\nI, \"Yes; why, we are chasing yon ship, are we not?\" \"And how dost thou", "They had, it seems, got intelligence of us when they came to the south\npart of the island, and had been a-roving as far as the Gulf of Bengal,", "killed, and others howling over them: but our men had enough of making\ndiscoveries; so they did not trouble themselves to look farther, but\nresolved to take this opportunity to retreat. But the worst of", "the chief of the Philippine Islands, without meeting with any purchase\ntill we came to the northward of Manilla, and then our trade began;\nfor here we took three Japanese vessels, though at some distance from", "But I undertook to remedy this evil, and therefore desired them not\nto be uneasy at that, for I knew that we might supply ourselves at\nMindanao, the most southerly island of the Philippines.", "and the most ambitious minds in the world, but it did indeed satisfy\nus, and our men declared they did not desire any more. The next motion,\ntherefore, was about going back, and the way by which we should perform", "When we asked them if any one had ever travelled that way, they told\nus yes, some had gone to where the sun sleeps, meaning to the west, but", "ports on the coast of Malacca. We did not inquire to what place in\nparticular; but we let the vessels go, having none but Indians on board.", "and races between them, that we were obliged to give it over, and\nresolved to go back again to Banda, and see what we could get among the\nother islands thereabouts.", "Manilla, and when the China junks would sail; and by this intelligence\nwe ordered our matters so well, that three days after we set sail we", "found they intended for Japan; but that was all one, for by this means\nthey saved at least eight months' voyage. Upon these foundations,\nWilliam said he was satisfied we might trust them; \"for,\" says William,", "We eased him of his gold, and did him no other harm, and having no\nintention to stay long here, we stood away for China.", "264). Finally, if the reader wishes to taste Defoe's flavour in its\nperfection let him examine carefully those passages in the concluding\ntwenty pages of the book, wherein Captain Singleton is shown as", "and, as William could perceive by their discourse, they resolved, if\nthey bought them, to carry them to the Gulf of Persia upon their\nown accounts. William took the hint, and, as he told me afterwards,", "It was as odd a voyage as ever man went; we were a little fleet of three\nships, and an army of between twenty and thirty as dangerous fellows as" ], [ "We were considering what to do with her, when William came to me. \"Hark\nthee, friend,\" says he, \"thou hast made a fine piece of work of it", "\"What the devil is friend William a-doing yonder?\" says the captain;\n\"has he any business upon, deck?\" I stepped forward, and there was", "\"Well, friend,\" says William very gravely, \"if thou wilt go I cannot\nhelp it; I shall only desire to take my last leave of thee at parting,", "\"Certainly, friend,\" says William, very gravely, \"there is something\nbeyond it;\" and lifting up his hands, he seemed very much affected, and", "But now I had heard what the men said, and how they thought we were very\nwell, I let them know by friend William, that I intended only to sail", "William,\" says I, \"the first of the two, to be sure.\" \"Why, then,\" says\nhe, \"what great gain hast thou made of the prize thou hast taken now,", "one begins to be a little touched, I turned short with him. \"Why then,\nfriend William,\" said I, \"what would you have us do? You see what", "\"Truly, William,\" said I, \"for aught I know, that may be true; what,\nthen, shall we do next?\" Says he, \"Thou hast but two things to do:", "\"Why, William,\" said I, \"what was that?\"\n\n\"It was repentance,\" says he.\n\n\"Why,\" says I, \"did you ever know a pirate repent?\"", "At last, our old, never-failing friend, William, helped us out again, as\nhe had often done at a dead lift. His proposal was this, that he should", "_William_. Well, friend, what dost thou say to us now?\n\n_Dutchman_. I come of the same mild errand as I did yesterday.", "\"What do you mean, William?\" said I.", "Says William, \"Let me know what they are.\"", "be the better for that?\" says William. They could then say nothing to\nthat. \"Then,\" says William, \"if I mistake not, your business is money;", "began to guess it was friend William, but wondered what was the meaning\nof his being in a sloop, whereas we sent him away in a ship of near 300", "\"Friend,\" says he, \"what does yon ship follow us for?\" \"Why,\" says I,\n\"to fight us, you may be sure.\" \"Well,\" says he, \"and will he come up", "However, it pleased God to make William the Quaker everything to me.\nUpon this occasion, I took him out one evening, as usual, and hurried", "William was quite stunned at my discourse, and held his peace; and I\nsaid to him, \"Go on, William; what hast thou to say farther? for I hear", "\"Well, William,\" says I, \"I thank you; and I am not so senseless of\nthese things, perhaps, as I make myself seem to be. But come, let me\nhear your proposal.\"", "with but poor William. He was my ghostly father or confessor, and he was\nall the comfort I had. As for my knowledge of religion, you have heard" ], [ "Thus they went away, and William came on board, and gave us a full\naccount of his parley with the old Dutchman, which was very diverting,", "William made no difficulty of selling this cargo also, and in about\ntwenty days returned again, freighted with all necessary provisions for", "and, as William could perceive by their discourse, they resolved, if\nthey bought them, to carry them to the Gulf of Persia upon their\nown accounts. William took the hint, and, as he told me afterwards,", "and some sugar, and a great bag of tobacco, and invited Captain William\non shore again; that, after this, they grew from one kindness to\nanother; that they began to talk about trading for some negroes; and", "found they intended for Japan; but that was all one, for by this means\nthey saved at least eight months' voyage. Upon these foundations,\nWilliam said he was satisfied we might trust them; \"for,\" says William,", "At last, our old, never-failing friend, William, helped us out again, as\nhe had often done at a dead lift. His proposal was this, that he should", "be the better for that?\" says William. They could then say nothing to\nthat. \"Then,\" says William, \"if I mistake not, your business is money;", "William did not care at first to go near him, but the man continuing to\nmake signals to him to come, at last William went; and the Dutchman told", "Accordingly William sent her a very kind letter, with a bill upon a\nmerchant in London for a hundred and sixty pounds, and bid her comfort", "In short, William was a most agreeable companion; but he had the better\nof us in this part, that if we were taken we were sure to be hanged, and", "and when I came to talk with them, and set friend William to talk with\nthem, we put such further golden hopes into their heads that we soon\nprevailed with them to let us go on.", "was agreed should be exchanged. This was concluded on, and William the\nQuaker ventured to go along with them, which, upon my word, I should not", "\"Well, William,\" says I, \"I thank you; and I am not so senseless of\nthese things, perhaps, as I make myself seem to be. But come, let me\nhear your proposal.\"", "had left, and sharing them with another planter, that other planter\nchaffered with William for ship and all, giving him in exchange a very", "your own company, as it is very probable you may. Pray, what gain is\nin it? and what account can you give the captain for his lost men?\" In\nshort, William argued so effectually, that he convinced them that it", "\"But,\" says William, \"I'll tell thee how thou shalt come with his\nconsent. Go to him, and tell him I have offered to carry you on board,", "William,\" says I, \"the first of the two, to be sure.\" \"Why, then,\" says\nhe, \"what great gain hast thou made of the prize thou hast taken now,", "By this method, and being true to one another, William passed for what\nhe was--I mean, for a very honest fellow; and by the assistance of one", "\"Well, then,\" says William, \"I would ask whether, if thou hast gotten\nenough, thou hast any thought of leaving off this trade; for most people", "William, pretending it was to do him service, consented to sell him\nthirty negroes for his private use in his plantation, for which he gave" ], [ "\"Shoot yourself!\" says William; \"why, what will that do for you?\"\n\n\"Why,\" says I, \"it will put an end to a miserable life.\"", "\"Why, then,\" says William, \"he is a dead man; for if it were to save his\nlife, and the lives of all the crowd that is with him, he shall never", "\"Very well,\" says William; \"but it seems there is some bearing a worse\ncondition; and so you will shoot yourself, that you may be past remedy?\"\n\n\"I am past remedy already,\" says I.", "\"Why, William,\" said I, \"what was that?\"\n\n\"It was repentance,\" says he.\n\n\"Why,\" says I, \"did you ever know a pirate repent?\"", "\"Do with it!\" says William. \"Why, thou needest not shoot thyself; I\nshall be obliged to do it for thee. Why, thou wilt destroy us all.\"", "Says William very seriously, \"I must tell thee, friend, I am sorry to\nhear thee talk so. They that never think of dying, often die without\nthinking of it.\"", "\"Well,\" says he, \"but you are not sure; so you will shoot yourself to\nmake it certain; for though on this side death you cannot be sure you", "\"Well, William,\" says I, \"I thank you; and I am not so senseless of\nthese things, perhaps, as I make myself seem to be. But come, let me\nhear your proposal.\"", "Says William (tears running down his face), \"It is because men live\nas if they were never to die, that so many die before they know how", "\"I need not answer thee to that,\" says William; \"it is not my place to\nreprove thee, who art commander over me here; but I would rather thou\nwouldst talk otherwise of death; it is a coarse thing.\"", "\"Come, William,\" says I, \"thou showest me plain enough thou hast an\nhonest meaning; dost thou think it practicable for us to put an end to\nour unhappy way of living here, and get off?\"", "\"My proposal,\" says William, \"is for thy good as well as my own. We may\nput an end to this kind of life, and repent; and I think the fairest", "\"William, pray why not?\" \"Nay,\" says he, \"thou mayest do so if thou\nwilt.\" \"Well, I know that too, William,\" said I, \"but the captain is a", "\"But hark ye, William,\" says I, \"the nature of repentance, as you have\nhinted once to me, included reformation; and we can never reform; how,\nthen, can we repent?\"", "\"Why, William,\" says I, smiling, \"do you think that if there is a God\nabove, as you have so long been telling me there is, and that we must", "At last, our old, never-failing friend, William, helped us out again, as\nhe had often done at a dead lift. His proposal was this, that he should", "been undone. The thought of shooting myself forsook me from that time;\nand I turned to William, \"You disorder me extremely, William,\" said I;", "your own company, as it is very probable you may. Pray, what gain is\nin it? and what account can you give the captain for his lost men?\" In\nshort, William argued so effectually, that he convinced them that it", "\"Nay,\" says William, \"the answer to it is short. To quit what we have,\nand do it here, is to throw it away to those who have no claim to it,", "We were considering what to do with her, when William came to me. \"Hark\nthee, friend,\" says he, \"thou hast made a fine piece of work of it" ] ]

[ "What activity does Singleton engage in the West Indies?", "How does William display great ability?", "What age is Singleton when he is thrown into the sea?", "Who was Singleton sold to as a young boy?", "How are the sailors able to sail through Africa?", "Who did William Walters rescue?", "What does Singleton deny he and his men have done?", "What must be ignored according to Singleton?", "What did an English merchant convince Singleton to do?", "What is William Walters relationship to Captain Bob?", "What are Walters and Bob disguised as when returning to England?", "At what age does Singleton first go to sea?", "What continent does Singleton travel through on foot with other Sailors?", "What part of Africa does Singleton travel through?", "Why does Singleton spare the life of a wounded African native?", "What do Singleton and the sailors stop to dig for while journeying through Africa?", "What does Singleton sell to the Dutch?", "After returning to England and then setting sail for the West Indes, what does Singleton become?", "Who does Singleton marry?", "Which Continent do the characters trek across?", "Where do the characters become stranded first?", "Who is Captain Bob's close friend that returns to England with him?", "What is the European belief in rather than Magic?", "What does the Englis merchant who the marchers meet persuade them to stop for?", "Where does Singleton set out for after he spends his fortune in England?", "After Singleton and his men go as far as the Philippines, where to they trace their way back to?", "What is Friend William?", "Who does William succeed in trade negotiations with?", "How does William explain Suicide to Singleton?" ]

[ [ "Piracy.", "Piracy." ], [ "By winning in trade deals with English merchants.", "resourcefulness by succeeding in trading" ], [ "Twelve.", "12" ], [ "To a gypsy.", "Gypsy" ], [ "By rebuilding an abandoned boat they had found.", "They find and rebuild a boat" ], [ "A young Dutch woman.", "Singleton" ], [ "Cruel activities.", "Commited certain atrocities" ], [ "Taking one's own life.", "Suicide." ], [ "To dig for gold.", "dig for gold" ], [ "Walters is Bob's close friend", "They're good friends " ], [ "As Armenians", "Armenians " ], [ "Twelve", "12" ], [ "Africa", "Madagascar " ], [ "Madagascar", "Madacascar" ], [ "Singleton believes the native will be useful", "He might be of use" ], [ "Gold", "Gold" ], [ "Gold and elephant tusks", "Gold" ], [ "A pirate", "A pirate" ], [ "William's sister", "William's sister." ], [ "Africa", "Africa" ], [ "Madagascar", "Madagascar." ], [ "William Walters", "William Walters." ], [ "Reason", "reason" ], [ "To dig for gold", "Dig for gold. " ], [ "West Indies", "West Indies" ], [ "Indian Ocean and Ceylon", "The Indian Ocean and Ceylon" ], [ "Quaker Surgeon", "A Quaker surgeon" ], [ "English Merchants", "English merchants" ], [ "Devil's Notion", "The devil's plan" ] ]

[ [ "But, slowly, Larsen begins to move. He sits up and looks at Billy.\n\nBilly is crying and smiling at the same time. We get to understand\nshe must be in love with Larsen.", "Billy answers in sign language. We understand that Billy cannot\nspeak, but she isn't deaf.\n\n BILLY (in sign language)\n For me ? No.", "Billy drops down on the floor of the cabin. The front door of the\ncabin is wide open showing the well lit store room in front of the", "Close shot on Billy, enabling us to read her words on her lips.\n\n BILLY (in sign language)\n He's lying !\n LYOSHA (voice over)\n Sorry, Billy.", "Billy hits Larsen violently on his private parts. Larsen moans.\nBilly takes the handcuffs out of the glove compartment and ties\nLarsen's hand on the steering-wheel.", "works, and he nods. Billy fixes something inside his shirt and he\nreacts when Billy touches his stomach.", "Billy, still looking in the cabinet, sees the handle spinning. She\nrushes to the door and spins the handle back into the lock\nposition. A knife blade comes through the door a few inches from", "Billy picks up the toilet brush (the handle of which is a Donald\nDuck), and hits Arkadi's hand with it. But the door starts falling", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Billy is walking in the middle of the street, and Larsen's car is\ncoming toward her. Billy starts running. Larsen's car turns around\nto face Billy and starts again, driving forward.", "He gets out of the car and closes the door. He goes around the car\nto open Billy's door. As he is doing it, he sees car headlights\ncoming his way.", "Billy is still moving restlessly.\n\n KAREN\n I'm here now and an ambulance is on its way.", "Billy explains something in sign language.\n\n KAREN\n Okay. Okay. Don't forget tonight.\n\nShe opens the door of her car. Andy turns around to face Billy.", "Billy slowly comes out of the bags. She takes the key. Then she\nslowly stands up, puts the key in the pocket of her sleeveless", "Billy keeps on talking in sign language. Karen translates.\n\n KAREN\n It happened so fast she couldn't see the knife clearly.", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Behind Billy, who is still kneeling in front of the trunk, we see\nLyosha walking around. He looks at Billy, who feels she is being", "Billy tries to open the door, but it is locked. She bangs on it\nwith her hand. Then she shakes it violently. She looks up, on the\nverge of tears. She sighs. Then she hears some steps.", "Billy answers her sister in sign language.\n\n KAREN\n You're not on one of your «I'll show her how independent I\n am» kicks, are you ?", "Lyosha's hand is restraining Billy's arm.\n LYOSHA\n Danger she'll never walk again if she move." ], [ "Billy is walking in the middle of the street, and Larsen's car is\ncoming toward her. Billy starts running. Larsen's car turns around\nto face Billy and starts again, driving forward.", "Billy is still tapping on the microphone of the telephone.\n\n ANDY (voice over from the telephone)\n Hello ?", "works, and he nods. Billy fixes something inside his shirt and he\nreacts when Billy touches his stomach.", "In the background, spotlights are switched on above a scenery :\napparently, someone is shooting a film. Billy walks noiselessly\nacross the empty part of the set. As Billy comes closer to the lit", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Billy looks slightly embarrassed by what she sees.\n\nClose shot on the face of the camera operator, looking into the\nviewfinder of his camera. He is Lyosha, the young man who was\ncourting Billy.", "Billy drops down on the floor of the cabin. The front door of the\ncabin is wide open showing the well lit store room in front of the", "At ground level, we see Billy coming down the stairs leading to\nthe gallery. Billy runs across the film set, which seems not to\nhave been used recently.", "But, slowly, Larsen begins to move. He sits up and looks at Billy.\n\nBilly is crying and smiling at the same time. We get to understand\nshe must be in love with Larsen.", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Shot on the window, with a zoom on another window across the\nstreet. Behind that window, we see the figure of a man looking at\nBilly with binoculars.", "Billy sits down on the roof of the cabin to rest a little. Through\nthe chicken wire that covers the roof of the cabin, she sees the", "slightly down. The camera comes to Billy, seated behind a desk and\ndialing on a telephone set. She puts the handset to her ear, but", "BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT\n\nBilly starts typing again.", "Billy looks at the two men, then she moves silently away from\nthem. She reaches the door of the elevator, which is supposed to", "Billy is still moving restlessly.\n\n KAREN\n I'm here now and an ambulance is on its way.", "The sky is darker. The night is coming soon. Billy looks through\nthe window.\nOn the parking lot, seen trough the bars of the window, the\njanitor is crossing the yard with his dog.", "Billy slowly comes out of the bags. She takes the key. Then she\nslowly stands up, puts the key in the pocket of her sleeveless", "Through the windshield, we see Billy who has stopped on the\nsidewalk. She starts crossing the street, and the camera moves to", "Billy has stopped near her building door and is looking at Karen\nand Andy's verbal fight.\n\n KAREN\n It's the weekend. They're closed." ], [ "Billy looks at her sister.", "Billy looks slightly embarrassed by what she sees.\n\nClose shot on the face of the camera operator, looking into the\nviewfinder of his camera. He is Lyosha, the young man who was\ncourting Billy.", "Billy is moving nervously, trying to get her arm free to talk to\nher sister.\n\n LYOSHA\n Go !\n\n KAREN\n Yeah, okay.", "But, slowly, Larsen begins to move. He sits up and looks at Billy.\n\nBilly is crying and smiling at the same time. We get to understand\nshe must be in love with Larsen.", "Billy opens the back door and walks out of the car. Karen opens\nthe driver's door and walks out. Both sisters close their doors.\nBilly starts walking toward her building and Karen follows her.", "He smiles. Billy squeezes a small bag full of fake blood. She has\njust taken that bag from the inside of the man's shirt. The actor", "Billy is seated between Karen and Andy. She has a disoriented look\non her face, and a blanket is wrapped around her shoulders. Karen\nis tenderly stroking Billy's shoulder. We hear some laughing and\npeople talking in Russian.", "glance toward her, and then turns his head away. Billy looks back\nat him, smiles and kisses him on the cheek.", "The camera moves to the right and shows the face of Billy Hughes,\nKaren's sister and FX make-up artist.", "KAREN\n You go. I'll stay here with her.\n\nBilly is trying to say something to her sister.\n\n KAREN\n Let go of her.", "KAREN (yelling)\n Billy !\n\nLarsen pulls the bolt open. Billy is very surprised to see her\nsister. Larsen points his gun at her and yells something in\nRussian.", "Lyosha screams. He raises his knife to bring it down on Billy.\nBilly is waiting for the worse to happen. She hears the noise of", "Billy answers her sister in sign language.\n\n KAREN\n You're not on one of your «I'll show her how independent I\n am» kicks, are you ?", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Billy smiles, hearing her sister's voice. She start typing on the\nkeyboard of the answering machine. The she sends the text to the\ndigital voice translating system.", "Billy looks at the men in front of her with a frightened face. She\nturns around to look at Larsen pointing his gun at her. Then she", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Billy spits in Larsen's face. Then she yells silently, because\nWartschuk is squeezing her a little tighter. Larsen wipes the spit", "Behind Billy, who is still kneeling in front of the trunk, we see\nLyosha walking around. He looks at Billy, who feels she is being", "Billy tries to move her hand away from Lyosha and bangs on a film\nbox.\n\n KAREN (yelling in voice over)\n Andy !\n\nShe bends over Billy." ], [ "Billy looks at her sister.", "Billy is moving nervously, trying to get her arm free to talk to\nher sister.\n\n LYOSHA\n Go !\n\n KAREN\n Yeah, okay.", "KAREN\n You go. I'll stay here with her.\n\nBilly is trying to say something to her sister.\n\n KAREN\n Let go of her.", "Billy answers her sister in sign language.\n\n KAREN\n You're not on one of your «I'll show her how independent I\n am» kicks, are you ?", "Billy smiles, hearing her sister's voice. She start typing on the\nkeyboard of the answering machine. The she sends the text to the\ndigital voice translating system.", "Billy opens the back door and walks out of the car. Karen opens\nthe driver's door and walks out. Both sisters close their doors.\nBilly starts walking toward her building and Karen follows her.", "The camera moves to the right and shows the face of Billy Hughes,\nKaren's sister and FX make-up artist.", "her sister for her to come. Karen joins Billy, who explains to the\nactor what he has to do, and Karen translates Billy's sign\nlanguage.", "BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT\n\nBilly is listening to her sister.\n KAREN (voice over from the telephone)\n That's good. Right ?", "Karen, looking at Billy, seems to understand what's going on\ninside her sister's head, because she says to Andy :\n\n KAREN\n Shut up.", "Billy looks slightly embarrassed by what she sees.\n\nClose shot on the face of the camera operator, looking into the\nviewfinder of his camera. He is Lyosha, the young man who was\ncourting Billy.", "KAREN (yelling)\n Billy !\n\nLarsen pulls the bolt open. Billy is very surprised to see her\nsister. Larsen points his gun at her and yells something in\nRussian.", "Billy tries to open the door, but it is locked. She bangs on it\nwith her hand. Then she shakes it violently. She looks up, on the\nverge of tears. She sighs. Then she hears some steps.", "Billy slowly comes out of the bags. She takes the key. Then she\nslowly stands up, puts the key in the pocket of her sleeveless", "Behind Billy, who is still kneeling in front of the trunk, we see\nLyosha walking around. He looks at Billy, who feels she is being", "But, slowly, Larsen begins to move. He sits up and looks at Billy.\n\nBilly is crying and smiling at the same time. We get to understand\nshe must be in love with Larsen.", "He waves to Billy, who waves back to him. She blows a kiss to her\nsister, who blows one back, and enters her building.", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Billy, still looking in the cabinet, sees the handle spinning. She\nrushes to the door and spins the handle back into the lock\nposition. A knife blade comes through the door a few inches from", "Billy keeps on talking in sign language. Karen translates.\n\n KAREN\n It happened so fast she couldn't see the knife clearly." ], [ "Karen screams.\nArkadi stabs Andy in the stomach with his knife. Andy screams. He\nhas blood on his cheek. Arkadi keeps on stabbing Andy.\n\nThe first policeman takes his gun out of his belt.", "backward on the bed. The man raises his knife above the woman's\nbody. The woman screams. The man stabs repeatedly the woman with\nhis knife, and then moves away from the bed.", "Billy rushes into the kitchen. She takes various knives hanging\nfrom the wall and throws them at Arkadi, as he tries to enter the", "Billy looks more and more frightened. She has tears in her eyes.\nShe is crying silently with her fist in her mouth.\nThe man start stabbing the woman. Her blood is splashing on the", "The woman walks back until she reaches the bed. The man, covered\nwith blood, has his knife raised above his head. The woman falls", "Arkadi tries to open the door of the elevator. But it is locked.\nThe blood on his hand proves that Arkadi was actually the poor\nactress' murderer. Through the small window, he looks around in\nthe shaft.", "Back to the actress playing the part of the stabbed woman. She\nholds the corner of a chest of drawer, and makes everything on top\nof that piece of furniture fall on the floor, including several\nbottles of alcohol.", "Billy starts walking away from the window and across the set.\n\nThe woman doesn't seem to move anymore, but the man is still\nstabbing her.", "The actress tries to understand what Andy tells her through\nNatasha.\n ANDY\n You get stabbed. You die.\n\nNatasha translates", "kitchen. One knife gets stuck into a painting on the other side of\nthe corridor. Arkadi almost catches Billy, but she jumps through a\nsort of window set between the kitchen and the living-room.", "The door is been violently pushed open by Lyosha. With Lyosha's\nviolent push, Billy falls backward, above the balcony of the\ngallery and down on the yard below.", "The two men, the one who stabbed the girl and Arkadi, the one who\nlit the other man's cigarette, they both look at the woman and\nlaugh.", "murder the actress. Then another one of the naked actress lying on\nthe bed. Then another one of the blood splattering the wall. Then\nanother one of Arkadi stabbing the girl.", "More short flash-backs of the murder, and a close-up shot on\nBilly's face. She seems very disturbed.\n\nCINEMA STUDIO - BASEMENT - INTERIOR NIGHT", "The man sits himself on a table, and searches the breast pocket of\nhis shirt for a cigarette.\n\nThe woman crawls on the floor toward the dining room. She is\nholding her stabbed stomach.\nThe man rolls a cigarette.", "coming out through the front, making red bloody spots on her white\nsweater. Billy falls down on her stomach, and remains motionless\non the ground with her arms spread apart.", "Close up shot of a knife hitting a beefsteak. The directors's idea\nwas, of course, to give us the impression that it was Arkadi's\nknife hitting the poor janitor !", "Billy is waving her knife around her, to prevent Arakadi from\ncoming closer to her. She throws the knife at him. Arkadi bends\nhis head and the knife hits the piano.", "up the gun and points it at Larsen. Larsen pushes Karen away from\nhim. Karen takes the legs of a statue and hits Larsen with it.\nThen she grabs Larsen by the ears and throws him on the metal", "LARSEN\n The girl had it when she went into the studio. Then she was\n murdered, and it was gone. Where is it ? Think. You were\n the only person there." ], [ "Lyosha and Arkadi are talking to an uniformed Russian policeman,\nwho seems to be in charge of the inquiry. Consequently, he will\nbe, from now on, mentioned as «First Policeman»", "LARSEN\n What is the name of the witness ? What is it ?\n\nHe snaps his fingers.\n\n FIRST POLICEMAN\n Billy Hughes, sir.", "LARSEN\n My name is Alexander Larsen. I'm a policeman. Take your\n clothes. We must get out of here.\n\nLarsen goes to the window and peeks through the drapes.", "Close up shot on the table, and a business card lying on it. It is\nthe first policeman's card. It says : «Police Inspector Vladimir\nPekar - Precinct 22» and underneath an address and a telephone\nnumber.", "The two fake policemen cross the room.\n\n KAREN (voice over)\n Come here! Andy! Come here!", "The second policeman raises the lid of a container, while the\nfirst policeman looks inside. Arkadi takes a bag out of another\ncontainer and drops it on the ground. The second policeman looks", "She writes «Why ?» on the notepad.\n\n LARSEN\n You know, I work undercover. The Reaper thinks I work for\n him. Trust me. Trust me.", "Both policemen grab Arkadi from behind. They pull him away from\nAndy. They have both drown their guns.\n\nKaren rushes toward Andy, whose shirt is covered with blood.", "He points at Arkadi.\n\nBilly, seated again, points at Arkadi.\n\nLyosha looks at Arkadi.\n\nThe first policeman resumes the reading of his paper.", "Andy and Karen are kneeling on the floor, with their hands joined\nbehind their heads. One of the fake policeman is searching the\nroom, throwing everything off the shelves on the floor, while the", "Wartschuk is answering the fake policeman on his own walkie-\ntalkie. Next to him, his passenger is screwing a silencer on his\ngun.", "The other policeman (who shall be mentioned as «Second Policeman»)\nis kneeling down, looking at something on the floor, and the\njanitor is standing in a corner with his dog on a leash.", "FIRST POLICEMAN\n But you say here : «He wore a stocking pulled over his\n head.»\n\nBilly looks very angry and keeps on pointing at Arkadi.", "Karen screams.\nArkadi stabs Andy in the stomach with his knife. Andy screams. He\nhas blood on his cheek. Arkadi keeps on stabbing Andy.\n\nThe first policeman takes his gun out of his belt.", "inside the bag with his flashlight. There seems to be a head\ninside the bag. The policeman pours the content of the bag on the\nground. Actually the head was just a mask !", "The policeman answers «Da», then listen to Wartschuk speaking in\nRussian. He says «Da» again and a few more words. Karen and Andy", "The other policeman walks near Andy and Karen, raising his gun.\n\n ANDY\n This is all a big misunderstanding and... Excuse me, but\n this is...", "Karen hits Andy with her elbow. The policeman puts the diskette\ninto a small white plastic bag he is carrying around. He puts\nanother diskette in the bag. The other policeman is speaking in\nRussian in a walkie-talkie.", "ARKADI\n ...a real murder and panic.\nBilly taps on Karen's arm. Karen looks up at Arkadi.\n\nThe first policeman looks at the paper he is holding in his hand.", "The two policemen enters behind them. Larsen shows a seat to\nLovett. The projection room looks like a small cinema theatre,\nwith rows of red seats." ], [ "The man reaches Larsen's car just as it drives away. The man\nremains on the sidewalk with a mean look on his face. The black\nlimousine stops near him and he climbs inside.", "The Reaper's car is still surrounded by all the guards in arms.\n\nWe see only the shadow of The Reaper inside his car.\n\n THE REAPER\n Where is she, Larsen ?", "A man is sitting in the back of the limousine, his face hidden in\nthe dark. He is called «The Reaper» and he is the famous «Big", "KAREN (voice over)\n Hello!\nThe corner of the building. A shadow is moving hidden by the\nbuilding.\n\n KAREN (voice over)\n Hello ?", "Wartschuk is answering the fake policeman on his own walkie-\ntalkie. Next to him, his passenger is screwing a silencer on his\ngun.", "LARSEN\n What is the name of the witness ? What is it ?\n\nHe snaps his fingers.\n\n FIRST POLICEMAN\n Billy Hughes, sir.", "The door of the projection room opens and Lovett enters, followed\nby Larsen.\n\n LARSEN\n We've been tracking gangsters in Moscow running an\n international pornography and prostitution racket.", "The woman tries to get the man away from her. She grabs his mask\nand throws it away. Underneath the mask, the man has another black", "inside the bag with his flashlight. There seems to be a head\ninside the bag. The policeman pours the content of the bag on the\nground. Actually the head was just a mask !", "A big black limousine, with two men inside, starts and follows\nLarsen's car, which has just started. The driver is Wartschuk,", "LYOSHA\n You mean ?...\n THE REAPER\n I think we understand each other, Mr. Hausmann.\n\nThe Reaper winds his car window up. Then he sits back in his seat.", "very close-fitting fabric mask hiding his face, which could be a\nblack stocking. He grabs both her hands with one of his hands, and\nholds them above her head. Then he takes a black strong ribbon", "Boss» of the whole criminal organization, and consequently of\nArkadi and Lyosha.", "LARSEN (voice over from the loudspeaker)\n The victims are illegal immigrants exploited as prostitutes\n by a gang headed by one man.\n\nThe technician is feeding the film into the projector.", "The man, who was hiding between the two buildings, comes out of\nhis hiding nook and runs toward Larsen's car. Larsen stops and\nstarts driving backward again.", "Arkadi tries to open the door of the elevator. But it is locked.\nThe blood on his hand proves that Arkadi was actually the poor\nactress' murderer. Through the small window, he looks around in\nthe shaft.", "ladder, climbs on something we don't see, and catches the\nwatcher's foot through the steps of the ladder. The man falls and\nrolls all the way down the ladder. He is unconscious and Andy ties", "LARSEN\n ...her boyfriend stole a diskette full of information.\n Money, names, connections, everything. He blackmailed The\n Reaper. Very dangerous. And now he thinks that you have the\n diskette.", "murderer, and who offered him a light for his cigarette. He speaks\nin Russian with a queer smile on his face.", "Finally, Larsen succeeds in putting his prisoner in the back of\nhis car, where another prisoner, also gagged, is already waiting\n(certainly the man that Andy had handcuffed earlier on the\nemergency ladder)." ], [ "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Billy hits Larsen violently on his private parts. Larsen moans.\nBilly takes the handcuffs out of the glove compartment and ties\nLarsen's hand on the steering-wheel.", "He smiles. Billy squeezes a small bag full of fake blood. She has\njust taken that bag from the inside of the man's shirt. The actor", "The couple was eventually asleep, but with what is happening now\nin Billy's apartment, they wake up. The man switches the light on.\nWe hear Andy yelling.\n\n ANDY (voice over)\n Find the key !", "Billy looks at the men in front of her with a frightened face. She\nturns around to look at Larsen pointing his gun at her. Then she", "They come out of the apartment and start running along the\ncorridor on Billy's landing. They reach the staircase. Billy drops", "Larsen gets the diskette out of its hiding place. Billy picks it\nup. Behind her, Wartschuk has got his gun out. Billy stands up", "glass. He looks inside the emergency box. His finger comes out of\nthe box, with the tip covered with Billy's blood. He tries to open\nthe emergency door, which is locked.", "Arkadi tears the telephone cord off the telephone handset. He\ntries to get near Billy, but she is still pointing her knife at\nhim. He pulls the drapes back on the window.", "Billy, still looking in the cabinet, sees the handle spinning. She\nrushes to the door and spins the handle back into the lock\nposition. A knife blade comes through the door a few inches from", "Larsen is making nervous movements with his hands.\n LARSEN\n I'm surprised his men gave up the film so easily. If it is\n what I think it is, our witness, Billy Hughes, is in great\n danger.", "We see the elevator cabin at the bottom the shaft, and Billy in\nthe foreground, trying to climb back up. There is some light in", "Billy runs out of the building. An army of men, armed with\nmachine-guns, is waiting for her. The cars' drivers all switched", "Billy has got the key back between her teeth. We hear the two men\ntalking in Russian.\n\nArkadi's face moves away from the window. Some lights are switched\noff, making the window slightly darker.", "Billy walks to her trunk and notices that the padlock on the lid\nhas been broken. She opens the trunk. She takes the fake blood can\nout of the trunk : it is almost empty.", "A man yells some orders in Russian. Billy walks to the actor\nplaying the murderer, sitting on a prop. She checks his blood", "Karen looks at Billy.\n\n KAREN\n Murder weapon ? Where ?\n\nArkadi grabs Andy and pushes him against the wall.", "Billy slowly comes out of the bags. She takes the key. Then she\nslowly stands up, puts the key in the pocket of her sleeveless", "the cabin. We hear some strange noise in the shaft. Billy looks\ndown at where the noise is coming from.\nClose shot on the key, seen through the chicken wire roof of the", "Billy, still holding the cables, starts going slowly down. She\nmisses a step but holds on the cables. She keeps on going down the\nshaft. She eventually reaches the roof of the cabin. We hear\nmuffled voices talking in Russian." ], [ "whom we have seen before with The Reaper, and who is The Reaper's\nfirst assistant.", "LYOSHA\n You mean ?...\n THE REAPER\n I think we understand each other, Mr. Hausmann.\n\nThe Reaper winds his car window up. Then he sits back in his seat.", "The Reaper, still in his car, bends down to look at her. He takes\nhis walkie-talkie.\n\n THE REAPER\n Kill her, Larsen.", "A man is sitting in the back of the limousine, his face hidden in\nthe dark. He is called «The Reaper» and he is the famous «Big", "All the men go back inside their cars. The engines start. And the\ncars start driving out, The Reaper's car being the first one to\ngo.", "The Reaper bends slightly, so his face appears in the light.\n\n THE REAPER\n Did it go smoothly, Mr. Hausmann ?", "THE REAPER\n Come closer, Mr. Hausmann. I won't bite.\n\nLyosha starts walking slowly toward the car.\n THE REAPER (voice over)\n Did it go smoothly ?", "LARSEN\n You know why we call him The Reaper ? You see his face, you\n die.", "The Reaper's car is still surrounded by all the guards in arms.\n\nWe see only the shadow of The Reaper inside his car.\n\n THE REAPER\n Where is she, Larsen ?", "The Reaper's car is driving toward the building, with all the men,\nequipped with machine guns, watching his arrival.\nCINEMA STUDIO - CORRIDOR - INTERIOR NIGHT", "LYOSHA\n About the money...\n\n THE REAPER\n Did it go smoothly ?\n\n LYOSHA\n Yes, of course. No problem.", "turns back to the men in front of her, and especially The Reaper,\nlooking at her from his car. Behind her, Larsen aims his gun at\nher.", "The Reaper's black limousine is entering the parking lot.\n\nKaren, who has started to go up the steps of the ladder, looks at\nthe limousine.", "LYOSHA\n American girl say something, but nobody believe her.\n\n THE REAPER\n As long as there are witnesses, there's no money.", "Through the half-open door, Larsen shows The Reaper the diskette\nhe has found on the set.\n\nThe Reaper smiles. The big metal door closes as Larsen goes back\ninside.", "THE REAPER (voice over from the talkie)\n Larsen, are you reading me ?\n\n KAREN (whispering)\n Somebody's coming.", "LYOSHA\n We did our job. The condition was...\n\n THE REAPER\n The condition was that everything would go smoothly.", "LYOSHA\n Yes. Yes, and we have your diskette.\n\n THE REAPER\n And who informed the police ?", "She writes «Why ?» on the notepad.\n\n LARSEN\n You know, I work undercover. The Reaper thinks I work for\n him. Trust me. Trust me.", "LARSEN (answering The Reaper)\n I'm bringing her out now.\n\nOn the gallery, Andy is still trying to work his gun." ], [ "Billy answers in sign language. We understand that Billy cannot\nspeak, but she isn't deaf.\n\n BILLY (in sign language)\n For me ? No.", "Karen pushes Lyosha's hand away.\n KAREN\n Let go of her. She's trying to say something.\n\nLyosha stands up. Billy talks to Karen with her hand.", "After Larsen's answer, there is a slight embarrassed silence\nbetween the two men. Fortunately for them, a door opens and a man", "Billy keeps on talking in sign language. Karen translates.\n\n KAREN\n It happened so fast she couldn't see the knife clearly.", "Billy spits in Larsen's face. Then she yells silently, because\nWartschuk is squeezing her a little tighter. Larsen wipes the spit", "Andy looks and listens at him and then turns toward his Russian\nassistant, trying to speak, but is cut off twice by the angry\nvoice of the man.", "The janitor looks around him.\n\n JANITOR\n Buka !\n\nHe is apparently calling his dog, but he gets no answer. He starts\nlooking around.", "He points at Arkadi.\n\nBilly, seated again, points at Arkadi.\n\nLyosha looks at Arkadi.\n\nThe first policeman resumes the reading of his paper.", "with a head inside. Billy looks up at the bag. She screams\nnoiselessly. Suddenly she turns around, because she has seen\nsomething else.", "over her head to try not to hear the noise. The man stands up and\nthrows one of his slippers to the ceiling. Then he sits back,\nwhile his wife stares at him.", "Arkadi drops his knife, and it remains attached to his wrist by a\nplastic tube. Actually, it was a fake prop knife.\n\nAndy stutters, trying to explain something to Karen.", "Close shot on Billy, enabling us to read her words on her lips.\n\n BILLY (in sign language)\n He's lying !\n LYOSHA (voice over)\n Sorry, Billy.", "Arkadi stops yelling. Lyosha speaks to him. Arkadi pushes him\naway.\n\n ARKADI\n We make test for you.", "Arkadi yells something in Russian. Lyosha also says something in\nRussian, but with a quieter voice.\n ANDY\n Guys ! Guys ! English, please.", "Karadi, still restrained by the two policemen, is yelling in\nRussian.\n\n LYOSHA (voice over)\n Stop. Stop. Stop!", "look at him, with a worried look on their face. Wartschuk answers\nhim. Apparently, Andy understood a few words, because he says :", "The actress tries to understand what Andy tells her through\nNatasha.\n ANDY\n You get stabbed. You die.\n\nNatasha translates", "On the parking lot, seen through the bars of the window, the\njanitor keeps on walking around with his dog, apparently not\nhearing the noise made by Billy. Then he closes the main door of\nthe studio parking lot.", "Billy tries to open the door, but it is locked. She bangs on it\nwith her hand. Then she shakes it violently. She looks up, on the\nverge of tears. She sighs. Then she hears some steps.", "ANDY\n Please, Billy, take some of mine. You'll feel better.\n\nBilly explain silently that she is not hungry. Andy takes his\nplate back.\n\n ANDY\n Okay." ], [ "Billy is still tapping on the microphone of the telephone.\n\n ANDY (voice over from the telephone)\n Hello ?", "The sky is darker. The night is coming soon. Billy looks through\nthe window.\nOn the parking lot, seen trough the bars of the window, the\njanitor is crossing the yard with his dog.", "Billy drops down on the floor of the cabin. The front door of the\ncabin is wide open showing the well lit store room in front of the", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Billy is still moving restlessly.\n\n KAREN\n I'm here now and an ambulance is on its way.", "But, slowly, Larsen begins to move. He sits up and looks at Billy.\n\nBilly is crying and smiling at the same time. We get to understand\nshe must be in love with Larsen.", "Billy looks slightly embarrassed by what she sees.\n\nClose shot on the face of the camera operator, looking into the\nviewfinder of his camera. He is Lyosha, the young man who was\ncourting Billy.", "Billy slowly comes out of the bags. She takes the key. Then she\nslowly stands up, puts the key in the pocket of her sleeveless", "Billy sits down on the roof of the cabin to rest a little. Through\nthe chicken wire that covers the roof of the cabin, she sees the", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Billy is walking in the middle of the street, and Larsen's car is\ncoming toward her. Billy starts running. Larsen's car turns around\nto face Billy and starts again, driving forward.", "works, and he nods. Billy fixes something inside his shirt and he\nreacts when Billy touches his stomach.", "Billy, lying on the roof of the cabin, is looking through the\nchicken wire.\n\nArkadi is walking toward the elevator, carrying a bag on his\nshoulder, and pulling another one on the floor.", "In the background, spotlights are switched on above a scenery :\napparently, someone is shooting a film. Billy walks noiselessly\nacross the empty part of the set. As Billy comes closer to the lit", "Billy, kneeling on the floor, puts everything back into the purse.\nThen she stands up, puts the hatstand back on its legs and walks", "Billy is still hidden behind the vending machine. Lyosha is coming\ntoward her. Billy moves slowly along the wall, keeping her back as", "He gets out of the car and closes the door. He goes around the car\nto open Billy's door. As he is doing it, he sees car headlights\ncoming his way.", "Billy looks at the two men, then she moves silently away from\nthem. She reaches the door of the elevator, which is supposed to", "loud noise. Billy, startled by the noise, stands up.\nLyosha is looking through the gap at the bottom of the shaft. He\nturns around and talks in Russian to Arkadi.", "slightly down. The camera comes to Billy, seated behind a desk and\ndialing on a telephone set. She puts the handset to her ear, but" ], [ "Billy is running around on the set, trying to avoid the lights.\nShe reaches the scenery and jumps out of one of the scenery\nwindows.", "Billy looks slightly embarrassed by what she sees.\n\nClose shot on the face of the camera operator, looking into the\nviewfinder of his camera. He is Lyosha, the young man who was\ncourting Billy.", "With Billy in the background, we see a camera with an operator\nbehind it.", "At ground level, we see Billy coming down the stairs leading to\nthe gallery. Billy runs across the film set, which seems not to\nhave been used recently.", "In the background, spotlights are switched on above a scenery :\napparently, someone is shooting a film. Billy walks noiselessly\nacross the empty part of the set. As Billy comes closer to the lit", "Billy is walking in the middle of the street, and Larsen's car is\ncoming toward her. Billy starts running. Larsen's car turns around\nto face Billy and starts again, driving forward.", "slightly down. The camera comes to Billy, seated behind a desk and\ndialing on a telephone set. She puts the handset to her ear, but", "Billy tries to move her hand away from Lyosha and bangs on a film\nbox.\n\n KAREN (yelling in voice over)\n Andy !\n\nShe bends over Billy.", "Billy is still tapping on the microphone of the telephone.\n\n ANDY (voice over from the telephone)\n Hello ?", "Andy and Billy are crossing the parking lot. Cars are driving\naround them : the film crew members are leaving the studio. Andy\nwaves his hand at one of them.", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "A man yells some orders in Russian. Billy walks to the actor\nplaying the murderer, sitting on a prop. She checks his blood", "ANDY (whispering)\n I'm waiting.\n\nDown below, on the set itself, Billy is walking, with Larsen\nbehind her, pointing a gun in her back.", "Back to Karen and Billy. Billy represses a laughter behind her\nhand.\n\nClose shot on Lyosha, a young assistant camera operator, looking\nat Billy and smiling. Then close shot on Billy's face.", "Billy explains something in sign language.\n\n KAREN\n Okay. Okay. Don't forget tonight.\n\nShe opens the door of her car. Andy turns around to face Billy.", "Shot on the window, with a zoom on another window across the\nstreet. Behind that window, we see the figure of a man looking at\nBilly with binoculars.", "Billy falls on her back on a huge pile of used film metal boxes.\n\nLyosha bends over the balcony and looks down at Billy.\n\nBilly is lying among the boxes and moves her head.", "Karen just saw Billy's last expression and seems worried.\n\nBilly is trying to articulate some words.\nKaren runs back toward Billy. She reaches the pile of film boxes\nand bend over Billy. She looks at Lyosha.", "The door of the set opens and Billy walks in. She walks slowly\nthrough the set, looking around her. Suddenly, the big spotlights\nare switched on one by one.", "The entrance of a film set. We hear some giggles. The door opens,\nBilly enters and closes the door behind her." ], [ "Billy answers in sign language. We understand that Billy cannot\nspeak, but she isn't deaf.\n\n BILLY (in sign language)\n For me ? No.", "Billy is still tapping on the microphone of the telephone.\n\n ANDY (voice over from the telephone)\n Hello ?", "Billy tries to open the door, but it is locked. She bangs on it\nwith her hand. Then she shakes it violently. She looks up, on the\nverge of tears. She sighs. Then she hears some steps.", "Billy answers in sign language.\n\n ANDY (to Billy)\n Okay ?\n (to the actress)\n Okay ?", "Billy explains something in sign language.\n\n KAREN\n Okay. Okay. Don't forget tonight.\n\nShe opens the door of her car. Andy turns around to face Billy.", "They seem to understand what he says. Billy shows two finger to\nhim. The janitor says something in Russian and walks away.", "Billy smiles, hearing her sister's voice. She start typing on the\nkeyboard of the answering machine. The she sends the text to the\ndigital voice translating system.", "Billy smiles.\n\n KAREN\n Just a thought.\n\nBilly makes several language signs.\n\n KAREN\n Billy, that's what Mom would say.", "Close shot on Billy, enabling us to read her words on her lips.\n\n BILLY (in sign language)\n He's lying !\n LYOSHA (voice over)\n Sorry, Billy.", "Billy chooses a pre-recorded message, and sends it.\n\n DIGITAL VOICE\n Hello, my name is Billy Hughes. My address is apartment\n 923...", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "LYOSHA\n Hello ?\n\nLyosha keeps on walking slowly toward Billy.\n\n LYOSHA\n Is anyone there ?", "Billy is still moving restlessly.\n\n KAREN\n I'm here now and an ambulance is on its way.", "Billy is moving nervously, trying to get her arm free to talk to\nher sister.\n\n LYOSHA\n Go !\n\n KAREN\n Yeah, okay.", "with a head inside. Billy looks up at the bag. She screams\nnoiselessly. Suddenly she turns around, because she has seen\nsomething else.", "NATASHA (voice over)\n Oh, I'm sorry.\n\n BILLY (in sign language)\n It's okay.", "Billy is listening to Lyosha, apparently trying to lip-read and\nunderstand what he says. Lyosha turns toward her.", "Close up on the screen. Billy is typing a message.\n\n TELEPHONE OPERATOR\n Hello ?\n\n DIGITAL VOICE\n Help. Intruder.", "slightly down. The camera comes to Billy, seated behind a desk and\ndialing on a telephone set. She puts the handset to her ear, but", "Behind Billy, who is still kneeling in front of the trunk, we see\nLyosha walking around. He looks at Billy, who feels she is being" ], [ "FIRST POLICEMAN\n Where did you see the murder from ?\n\nBilly stands up and, pointing her finger, shows where she was\nduring the murder.", "He eyes closed, Billy has her daydreams flashbacks again. She sees\nthe actress' blood spurting on the wall of the scenery. She sees\nher being stabbed. She sees herself running away from Lyosha in\nthe long dark corridor.", "Billy looks more and more frightened. She has tears in her eyes.\nShe is crying silently with her fist in her mouth.\nThe man start stabbing the woman. Her blood is splashing on the", "More short flash-backs of the murder, and a close-up shot on\nBilly's face. She seems very disturbed.\n\nCINEMA STUDIO - BASEMENT - INTERIOR NIGHT", "Billy closes her eyes, disgusted by what she sees. We hear the\nwoman being hit and screaming.", "Billy, still looking in the peephole, moves her head from right to\nleft, trying to see further on the landing. She slowly moves away\nfrom the door to a small table by the door.", "Billy looks at the two men, then she moves silently away from\nthem. She reaches the door of the elevator, which is supposed to", "with a head inside. Billy looks up at the bag. She screams\nnoiselessly. Suddenly she turns around, because she has seen\nsomething else.", "Billy, still looking in the cabinet, sees the handle spinning. She\nrushes to the door and spins the handle back into the lock\nposition. A knife blade comes through the door a few inches from", "the one who was playing with a spotlight on Billy's face. He is\nbare-chested, which makes us believe he was the poor actress'\nmurderer. He reaches the landing and stops.", "Billy looks at the men in front of her with a frightened face. She\nturns around to look at Larsen pointing his gun at her. Then she", "Another very short flash-back. We understand those short flash-\nbacks come from Billy's mind reliving what she saw a couple of\nhours before.", "Billy starts walking away from the window and across the set.\n\nThe woman doesn't seem to move anymore, but the man is still\nstabbing her.", "coming out through the front, making red bloody spots on her white\nsweater. Billy falls down on her stomach, and remains motionless\non the ground with her arms spread apart.", "Billy looks at the room and is suddenly frightened by something.\nShe stands up and looks up at the roof of the cabin. She climbs\nback toward the roof. We see Lyosha in the room, walking toward", "Through the windshield, we see Billy who has stopped on the\nsidewalk. She starts crossing the street, and the camera moves to", "Billy keeps on talking in sign language. Karen translates.\n\n KAREN\n It happened so fast she couldn't see the knife clearly.", "Behind Billy, who is still kneeling in front of the trunk, we see\nLyosha walking around. He looks at Billy, who feels she is being", "Billy tries to open the door, but it is locked. She bangs on it\nwith her hand. Then she shakes it violently. She looks up, on the\nverge of tears. She sighs. Then she hears some steps.", "We see Billy's living room window from the outside. Billy is\npulling the drapes wide open. Then she starts waving her arms to\nattract the attention of the peeping-Tom and his binoculars." ], [ "On the parking lot, seen through the bars of the window, the\njanitor keeps on walking around with his dog, apparently not\nhearing the noise made by Billy. Then he closes the main door of\nthe studio parking lot.", "Billy, still looking in the cabinet, sees the handle spinning. She\nrushes to the door and spins the handle back into the lock\nposition. A knife blade comes through the door a few inches from", "Billy tries to open the door, but it is locked. She bangs on it\nwith her hand. Then she shakes it violently. She looks up, on the\nverge of tears. She sighs. Then she hears some steps.", "CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHT\n\nBilly keeps on tapping on the microphone.", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Billy pulls the big bolt that locks the door from the inside. Then\nLarsen puts a padlock on the bolt.\n\n LARSEN\n I will block the other entrances.", "Zoom on the emergency door, coming closer to us.\n\nBilly is running toward the door.\n\nBilly puts the key in the keyhole. She opens the emergency door\nand shuts it behind her.", "Billy reaches a heavy metal door and tries to open it... without\nany success. She kicks it.\n\nCINEMA STUDIO - ANOTHER ROOM - INTERIOR NIGHT", "The couple was eventually asleep, but with what is happening now\nin Billy's apartment, they wake up. The man switches the light on.\nWe hear Andy yelling.\n\n ANDY (voice over)\n Find the key !", "Billy drops down on the floor of the cabin. The front door of the\ncabin is wide open showing the well lit store room in front of the", "Billy, still holding the cables, starts going slowly down. She\nmisses a step but holds on the cables. She keeps on going down the\nshaft. She eventually reaches the roof of the cabin. We hear\nmuffled voices talking in Russian.", "More short flash-backs of the murder, and a close-up shot on\nBilly's face. She seems very disturbed.\n\nCINEMA STUDIO - BASEMENT - INTERIOR NIGHT", "In the background, spotlights are switched on above a scenery :\napparently, someone is shooting a film. Billy walks noiselessly\nacross the empty part of the set. As Billy comes closer to the lit", "They come out of the apartment and start running along the\ncorridor on Billy's landing. They reach the staircase. Billy drops", "Billy shows him the handcuffs key. Then she slams the door. Larsen\nmoves his hand nervously, but, of course, can't get it out of the\nhandcuff.", "Billy starts writing. Then she shows the note pad to Larsen, who\nreads it.\n\n LARSEN\n Studio. Where in the studio ?\nBilly makes a «No» with her finger.", "At ground level, we see Billy coming down the stairs leading to\nthe gallery. Billy runs across the film set, which seems not to\nhave been used recently.", "Billy is running around on the set, trying to avoid the lights.\nShe reaches the scenery and jumps out of one of the scenery\nwindows.", "We see the elevator cabin at the bottom the shaft, and Billy in\nthe foreground, trying to climb back up. There is some light in", "The door of the set opens and Billy walks in. She walks slowly\nthrough the set, looking around her. Suddenly, the big spotlights\nare switched on one by one." ], [ "Close shot on the face of the «lover». He is wearing the mask\nBilly has been looking for. In the background behind the man, we\nsee Billy, looking from behind an open window in the scenery.", "the one who was playing with a spotlight on Billy's face. He is\nbare-chested, which makes us believe he was the poor actress'\nmurderer. He reaches the landing and stops.", "He smiles. Billy squeezes a small bag full of fake blood. She has\njust taken that bag from the inside of the man's shirt. The actor", "with a head inside. Billy looks up at the bag. She screams\nnoiselessly. Suddenly she turns around, because she has seen\nsomething else.", "KAREN (voice over on the telephone)\n Do you have the mask ?\n\nBilly taps again.", "Billy looks at the men in front of her with a frightened face. She\nturns around to look at Larsen pointing his gun at her. Then she", "The woman tries to get the man away from her. She grabs his mask\nand throws it away. Underneath the mask, the man has another black", "Billy hits Larsen violently on his private parts. Larsen moans.\nBilly takes the handcuffs out of the glove compartment and ties\nLarsen's hand on the steering-wheel.", "works, and he nods. Billy fixes something inside his shirt and he\nreacts when Billy touches his stomach.", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Close shot of Billy's face, hidden among the bags. The light moves\nnear Billy's face, then moves to a transparent bag, near Billy,", "Billy looks more and more frightened. She has tears in her eyes.\nShe is crying silently with her fist in her mouth.\nThe man start stabbing the woman. Her blood is splashing on the", "ANDY\n Hey, we need that.\n\nHe picks up the mask from the rubbish. He wipes it with his hand.\nThe first policeman gives his card to both Billy and Karen.", "Close up shot on a green hideous mask held with both hands by\nBilly.", "Billy spits in Larsen's face. Then she yells silently, because\nWartschuk is squeezing her a little tighter. Larsen wipes the spit", "The two policemen both turn around to look at the place Billy is\nshowing. The second policeman moves away and the first one looks\nat his paper.\n\n FIRST POLICEMAN\n And it was this man ?", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Billy looks at the two men, then she moves silently away from\nthem. She reaches the door of the elevator, which is supposed to", "He gets out of the car and closes the door. He goes around the car\nto open Billy's door. As he is doing it, he sees car headlights\ncoming his way.", "glance toward her, and then turns his head away. Billy looks back\nat him, smiles and kisses him on the cheek." ], [ "KAREN\n That it's her knife. They broke into her box and used all\n the blood.\n FIRST POLICEMAN\n So now she say it was a trick.", "The policemen taste the fake blood.\n\n FIRST POLICEMAN\n Tastes sweet.\n\n ANDY\n It's for the actors. They put the stuff in their mouths.", "ANDY\n It's fake blood.\n KAREN\n They could have soaked the sheets in fake blood afterwards.\n\n FIRST POLICEMAN\n But... where is the body ? Huh ?", "LYOSHA\n Excuse me. It's true. We just fake murder. If we really\n want to murder...\n\nThe two uniformed policemen are listening to Lyosha.", "inside the bag with his flashlight. There seems to be a head\ninside the bag. The policeman pours the content of the bag on the\nground. Actually the head was just a mask !", "Lyosha and Arkadi are talking to an uniformed Russian policeman,\nwho seems to be in charge of the inquiry. Consequently, he will\nbe, from now on, mentioned as «First Policeman»", "The two fake policemen cross the room.\n\n KAREN (voice over)\n Come here! Andy! Come here!", "FIRST POLICEMAN\n Where did you see the murder from ?\n\nBilly stands up and, pointing her finger, shows where she was\nduring the murder.", "KAREN\n What ?\n\n ANDY\n What ? What ?\n\n FIRST POLICEMAN\n Sweet. It is fake blood.", "They drive along a police station, but Larsen doesn't stop. Billy\nlooks a bit worried all of sudden.\n\n LARSEN\n Quick, write.", "The two policemen enters behind them. Larsen shows a seat to\nLovett. The projection room looks like a small cinema theatre,\nwith rows of red seats.", "Wartschuk is answering the fake policeman on his own walkie-\ntalkie. Next to him, his passenger is screwing a silencer on his\ngun.", "Andy and Karen are kneeling on the floor, with their hands joined\nbehind their heads. One of the fake policeman is searching the\nroom, throwing everything off the shelves on the floor, while the", "LARSEN\n Victims believe they are making a sex film, but they are\n murdered in front of the camera.\n\nLarsen turn toward the two policemen.", "Karadi shows the knife to the policemen. He makes the retractable\nblade work, to prove it is harmless.", "Karen picks up the telephone handset, with its cut cord hanging\nfrom it. She rushes to the first policeman, and starts hitting him\non the head with the handset. Andy stands up.", "Lyosha, Arkadi and the first policeman are still talking together.\nThey slowly walk toward the rest of the group. The second\npoliceman, who was still kneeling down, stands up.", "FIRST POLICEMAN (voice over)\n You're right.\n\nThe first policeman looks at the two men, and speaks in Russian to\nthem.", "LARSEN\n What is the name of the witness ? What is it ?\n\nHe snaps his fingers.\n\n FIRST POLICEMAN\n Billy Hughes, sir.", "KAREN\n Police ?\n\nBilly keeps on signing.\n\n KAREN\n Murder ?\n\nShe looks up at Lyosha." ], [ "LARSEN\n What is the name of the witness ? What is it ?\n\nHe snaps his fingers.\n\n FIRST POLICEMAN\n Billy Hughes, sir.", "Boss» of the whole criminal organization, and consequently of\nArkadi and Lyosha.", "LARSEN (voice over from the loudspeaker)\n The victims are illegal immigrants exploited as prostitutes\n by a gang headed by one man.\n\nThe technician is feeding the film into the projector.", "inside the bag with his flashlight. There seems to be a head\ninside the bag. The policeman pours the content of the bag on the\nground. Actually the head was just a mask !", "The man reaches Larsen's car just as it drives away. The man\nremains on the sidewalk with a mean look on his face. The black\nlimousine stops near him and he climbs inside.", "Wartschuk is answering the fake policeman on his own walkie-\ntalkie. Next to him, his passenger is screwing a silencer on his\ngun.", "Finally, Larsen succeeds in putting his prisoner in the back of\nhis car, where another prisoner, also gagged, is already waiting\n(certainly the man that Andy had handcuffed earlier on the\nemergency ladder).", "A man is sitting in the back of the limousine, his face hidden in\nthe dark. He is called «The Reaper» and he is the famous «Big", "Lyosha and Arkadi are talking to an uniformed Russian policeman,\nwho seems to be in charge of the inquiry. Consequently, he will\nbe, from now on, mentioned as «First Policeman»", "LARSEN\n You know why we call him The Reaper ? You see his face, you\n die.", "murderer, and who offered him a light for his cigarette. He speaks\nin Russian with a queer smile on his face.", "FIRST POLICEMAN\n But you say here : «He wore a stocking pulled over his\n head.»\n\nBilly looks very angry and keeps on pointing at Arkadi.", "Billy hits Larsen violently on his private parts. Larsen moans.\nBilly takes the handcuffs out of the glove compartment and ties\nLarsen's hand on the steering-wheel.", "The door of the projection room opens and Lovett enters, followed\nby Larsen.\n\n LARSEN\n We've been tracking gangsters in Moscow running an\n international pornography and prostitution racket.", "Arkadi tries to open the door of the elevator. But it is locked.\nThe blood on his hand proves that Arkadi was actually the poor\nactress' murderer. Through the small window, he looks around in\nthe shaft.", "Andy and Karen are kneeling on the floor, with their hands joined\nbehind their heads. One of the fake policeman is searching the\nroom, throwing everything off the shelves on the floor, while the", "The two policemen enters behind them. Larsen shows a seat to\nLovett. The projection room looks like a small cinema theatre,\nwith rows of red seats.", "In the background, we hear the noises of the girl who keeps on\nfalling down and breaking the furniture.\nClose up on a dial. A needle is moving on the dial, on which,", "Watching Billy and Andy, Larsen has suddenly a worried look on his\nface. He is beginning to understand that something is wrong. He\ngets out of his car, walks a few steps, and then his car explodes\nand he falls on the ground.", "Larsen is making nervous movements with his hands.\n LARSEN\n I'm surprised his men gave up the film so easily. If it is\n what I think it is, our witness, Billy Hughes, is in great\n danger." ], [ "The Reaper, still in his car, bends down to look at her. He takes\nhis walkie-talkie.\n\n THE REAPER\n Kill her, Larsen.", "The Reaper's car is still surrounded by all the guards in arms.\n\nWe see only the shadow of The Reaper inside his car.\n\n THE REAPER\n Where is she, Larsen ?", "She writes «Why ?» on the notepad.\n\n LARSEN\n You know, I work undercover. The Reaper thinks I work for\n him. Trust me. Trust me.", "LYOSHA\n Yes. Yes, and we have your diskette.\n\n THE REAPER\n And who informed the police ?", "A man is sitting in the back of the limousine, his face hidden in\nthe dark. He is called «The Reaper» and he is the famous «Big", "LYOSHA\n You mean ?...\n THE REAPER\n I think we understand each other, Mr. Hausmann.\n\nThe Reaper winds his car window up. Then he sits back in his seat.", "All the men go back inside their cars. The engines start. And the\ncars start driving out, The Reaper's car being the first one to\ngo.", "THE REAPER\n Come closer, Mr. Hausmann. I won't bite.\n\nLyosha starts walking slowly toward the car.\n THE REAPER (voice over)\n Did it go smoothly ?", "The Reaper's car is driving toward the building, with all the men,\nequipped with machine guns, watching his arrival.\nCINEMA STUDIO - CORRIDOR - INTERIOR NIGHT", "turns back to the men in front of her, and especially The Reaper,\nlooking at her from his car. Behind her, Larsen aims his gun at\nher.", "whom we have seen before with The Reaper, and who is The Reaper's\nfirst assistant.", "Lyosha and Arkadi are talking to an uniformed Russian policeman,\nwho seems to be in charge of the inquiry. Consequently, he will\nbe, from now on, mentioned as «First Policeman»", "The Reaper bends slightly, so his face appears in the light.\n\n THE REAPER\n Did it go smoothly, Mr. Hausmann ?", "LARSEN\n ...her boyfriend stole a diskette full of information.\n Money, names, connections, everything. He blackmailed The\n Reaper. Very dangerous. And now he thinks that you have the\n diskette.", "LARSEN\n You know why we call him The Reaper ? You see his face, you\n die.", "THE REAPER (voice over from the talkie)\n Larsen, are you reading me ?\n\n KAREN (whispering)\n Somebody's coming.", "Larsen puts discreetly the diskette in Wartschuk's pocket.\n WARTSCHUK\n The Reaper wants to meet the woman who has kept him up all\n night and witnessed a live snuff.", "The Reaper's black limousine is entering the parking lot.\n\nKaren, who has started to go up the steps of the ladder, looks at\nthe limousine.", "Karen screams.\nArkadi stabs Andy in the stomach with his knife. Andy screams. He\nhas blood on his cheek. Arkadi keeps on stabbing Andy.\n\nThe first policeman takes his gun out of his belt.", "Wartschuk is answering the fake policeman on his own walkie-\ntalkie. Next to him, his passenger is screwing a silencer on his\ngun." ], [ "Billy is still tapping on the microphone of the telephone.\n\n ANDY (voice over from the telephone)\n Hello ?", "Billy drops down on the floor of the cabin. The front door of the\ncabin is wide open showing the well lit store room in front of the", "Billy nods in approval.", "Billy looks slightly embarrassed by what she sees.\n\nClose shot on the face of the camera operator, looking into the\nviewfinder of his camera. He is Lyosha, the young man who was\ncourting Billy.", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Billy is walking in the middle of the street, and Larsen's car is\ncoming toward her. Billy starts running. Larsen's car turns around\nto face Billy and starts again, driving forward.", "But, slowly, Larsen begins to move. He sits up and looks at Billy.\n\nBilly is crying and smiling at the same time. We get to understand\nshe must be in love with Larsen.", "Billy is still moving restlessly.\n\n KAREN\n I'm here now and an ambulance is on its way.", "Billy is running around on the set, trying to avoid the lights.\nShe reaches the scenery and jumps out of one of the scenery\nwindows.", "The sky is darker. The night is coming soon. Billy looks through\nthe window.\nOn the parking lot, seen trough the bars of the window, the\njanitor is crossing the yard with his dog.", "In the background, spotlights are switched on above a scenery :\napparently, someone is shooting a film. Billy walks noiselessly\nacross the empty part of the set. As Billy comes closer to the lit", "At ground level, we see Billy coming down the stairs leading to\nthe gallery. Billy runs across the film set, which seems not to\nhave been used recently.", "He gets out of the car and closes the door. He goes around the car\nto open Billy's door. As he is doing it, he sees car headlights\ncoming his way.", "With Billy in the background, we see a camera with an operator\nbehind it.", "works, and he nods. Billy fixes something inside his shirt and he\nreacts when Billy touches his stomach.", "Billy sits down on the roof of the cabin to rest a little. Through\nthe chicken wire that covers the roof of the cabin, she sees the", "LYOSHA\n Hello ?\n\nLyosha keeps on walking slowly toward Billy.\n\n LYOSHA\n Is anyone there ?", "BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT\n\nBilly, who has understood the situation very well, is hitting the\nfloor with a stick.", "Billy slowly comes out of the bags. She takes the key. Then she\nslowly stands up, puts the key in the pocket of her sleeveless", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3»." ], [ "But, slowly, Larsen begins to move. He sits up and looks at Billy.\n\nBilly is crying and smiling at the same time. We get to understand\nshe must be in love with Larsen.", "Billy is still moving restlessly.\n\n KAREN\n I'm here now and an ambulance is on its way.", "Billy is walking in the middle of the street, and Larsen's car is\ncoming toward her. Billy starts running. Larsen's car turns around\nto face Billy and starts again, driving forward.", "Billy hits Larsen violently on his private parts. Larsen moans.\nBilly takes the handcuffs out of the glove compartment and ties\nLarsen's hand on the steering-wheel.", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Billy answers in sign language. We understand that Billy cannot\nspeak, but she isn't deaf.\n\n BILLY (in sign language)\n For me ? No.", "Close shot on Billy, enabling us to read her words on her lips.\n\n BILLY (in sign language)\n He's lying !\n LYOSHA (voice over)\n Sorry, Billy.", "Billy drops down on the floor of the cabin. The front door of the\ncabin is wide open showing the well lit store room in front of the", "Billy picks up the toilet brush (the handle of which is a Donald\nDuck), and hits Arkadi's hand with it. But the door starts falling", "Billy, still looking in the cabinet, sees the handle spinning. She\nrushes to the door and spins the handle back into the lock\nposition. A knife blade comes through the door a few inches from", "works, and he nods. Billy fixes something inside his shirt and he\nreacts when Billy touches his stomach.", "Billy keeps on talking in sign language. Karen translates.\n\n KAREN\n It happened so fast she couldn't see the knife clearly.", "Billy slowly comes out of the bags. She takes the key. Then she\nslowly stands up, puts the key in the pocket of her sleeveless", "Billy explains something in sign language.\n\n KAREN\n Okay. Okay. Don't forget tonight.\n\nShe opens the door of her car. Andy turns around to face Billy.", "He gets out of the car and closes the door. He goes around the car\nto open Billy's door. As he is doing it, he sees car headlights\ncoming his way.", "Billy is still tapping on the microphone of the telephone.\n\n ANDY (voice over from the telephone)\n Hello ?", "Billy looks slightly embarrassed by what she sees.\n\nClose shot on the face of the camera operator, looking into the\nviewfinder of his camera. He is Lyosha, the young man who was\ncourting Billy.", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Billy is running around on the set, trying to avoid the lights.\nShe reaches the scenery and jumps out of one of the scenery\nwindows.", "Lyosha's hand is restraining Billy's arm.\n LYOSHA\n Danger she'll never walk again if she move." ], [ "Close up shot on the paper. It shows Billy's address and telephone\nnumber.\n\nA STREET IN MOSCOW - EXTERIOR NIGHT", "A STREET IN MOSCOW - EXTERIOR NIGHT\n\nBilly is running away from Larsen's car toward the other car.", "A STREET IN MOSCOW - EXTERIOR NIGHT\nThe man stands up and starts running after Larsen's car, driving\nbackward again. The car reaches Billy, standing on the sidewalk.", "A man yells some orders in Russian. Billy walks to the actor\nplaying the murderer, sitting on a prop. She checks his blood", "Lyosha walks slowly toward Billy. He tries to open a door, but it\nis locked. We hear him talking in Russian.\n\nBilly is still hidden behind the red vending machine.", "A strong light starts playing on Billy's face, and we hear a\nRussian voice who seems to come from a loudspeaker.", "Billy has got the key back between her teeth. We hear the two men\ntalking in Russian.\n\nArkadi's face moves away from the window. Some lights are switched\noff, making the window slightly darker.", "He walks a couple of steps and stops. He turns around and says a\nfew words in Russian.\nBilly is hiding behind a big red vending machine at the far end of", "Lyosha is coming toward Billy's hiding. He stops to listen for a\nmeaningful noise. He opens a door to look into a room. Billy peeks", "Billy is seated between Karen and Andy. She has a disoriented look\non her face, and a blanket is wrapped around her shoulders. Karen\nis tenderly stroking Billy's shoulder. We hear some laughing and\npeople talking in Russian.", "Billy is still hiding in a dark corner. She sees Arkadi coming on\nthe landing.\n\n ARKADI\n Lyosha !\nLyosha is coming to meet Arkadi. They speak in Russian.", "He says a few words in Russian.\n\nA gallery near the ceiling of the set. Billy is running along the\ngallery.", "Billy is still hidden behind the vending machine. Lyosha is coming\ntoward her. Billy moves slowly along the wall, keeping her back as", "LYOSHA\n Hello ?\n\nLyosha keeps on walking slowly toward Billy.\n\n LYOSHA\n Is anyone there ?", "KAREN\n So, he's kind of cute.\n\nBilly is pouring a bag of sugar in the bottle.\n\n KAREN\n Three months in Moscow, cold winter nights...", "Wartschuk has reached the balcony where the man is watching the\nyard. They whisper in Russian. Then Wartschuk goes inside,\nactually through that same emergency door through which Billy", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Close shot on Billy, enabling us to read her words on her lips.\n\n BILLY (in sign language)\n He's lying !\n LYOSHA (voice over)\n Sorry, Billy.", "In the bedroom just underneath Billy's apartment, a Russian couple\nis trying to get some sleep, which, with all the noise in Billy's\napartment, is not very easy.", "He points at Arkadi.\n\nBilly, seated again, points at Arkadi.\n\nLyosha looks at Arkadi.\n\nThe first policeman resumes the reading of his paper." ], [ "Billy tries to open the door, but it is locked. She bangs on it\nwith her hand. Then she shakes it violently. She looks up, on the\nverge of tears. She sighs. Then she hears some steps.", "Billy, still looking in the cabinet, sees the handle spinning. She\nrushes to the door and spins the handle back into the lock\nposition. A knife blade comes through the door a few inches from", "Billy shows him the handcuffs key. Then she slams the door. Larsen\nmoves his hand nervously, but, of course, can't get it out of the\nhandcuff.", "On the parking lot, seen through the bars of the window, the\njanitor keeps on walking around with his dog, apparently not\nhearing the noise made by Billy. Then he closes the main door of\nthe studio parking lot.", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Billy pulls the big bolt that locks the door from the inside. Then\nLarsen puts a padlock on the bolt.\n\n LARSEN\n I will block the other entrances.", "This is the unused set, where Billy went, at the beginning of the\nstory, when she found herself locked in. It has metal doors\nopening directly on the parking lot.", "Down below, Larsen brings Billy near the big metal door opening on\nthe outside. He unlocks the padlock that he had put earlier on the\nbolt of the door.\n\nKaren rushes toward them.", "Billy runs back toward the vending machine, behind which she hides\nagain.\n\nLyosha walks out of the room, leaving the door open, and looks at\nthe far end of the corridor.", "Billy drops down on the floor of the cabin. The front door of the\ncabin is wide open showing the well lit store room in front of the", "glass. He looks inside the emergency box. His finger comes out of\nthe box, with the tip covered with Billy's blood. He tries to open\nthe emergency door, which is locked.", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Billy is still standing near the door. She puts the safety chain\non. And then she slowly opens the door. Arkadi appears behind the\ndoor. Billy tries to shut the door, but he puts his foot between\nthe door and the wall.", "Billy hits Larsen violently on his private parts. Larsen moans.\nBilly takes the handcuffs out of the glove compartment and ties\nLarsen's hand on the steering-wheel.", "in the corridor. Just before Lyosha enters the corridor, in the\nbackground, we see Billy hiding in a nook, a small partition, in\nthe corridor.", "Zoom on the emergency door, coming closer to us.\n\nBilly is running toward the door.\n\nBilly puts the key in the keyhole. She opens the emergency door\nand shuts it behind her.", "They come out of the apartment and start running along the\ncorridor on Billy's landing. They reach the staircase. Billy drops", "Billy enters the bathroom, and locks the door behind her.\n\nBILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT\nArkadi stands up slowly and walks into the corridor.", "We see the elevator cabin at the bottom the shaft, and Billy in\nthe foreground, trying to climb back up. There is some light in", "Billy looks at the room and is suddenly frightened by something.\nShe stands up and looks up at the roof of the cabin. She climbs\nback toward the roof. We see Lyosha in the room, walking toward" ], [ "By now, we've started to understand that what we have seen up till\nnow is not real, but is part of the shooting of a film, a strange,\na bit gory film, but still a film.", "The upper part of the film set. Three big spotlights on a rack. An\nelectrician is playing with one of them.\n\nBilly puts her hand above her eyes to try to locate who is sending\nthat strong light on her face.", "Larsen and Lovett turn around, and Larsen makes a sign to tell the\ntechnician to start the film. Then he takes a cigarette from the\npack he left on his former seat. The room becomes dark and the", "In the background, spotlights are switched on above a scenery :\napparently, someone is shooting a film. Billy walks noiselessly\nacross the empty part of the set. As Billy comes closer to the lit", "clapperboard and walks away. We hear a loud noise, and most of the\nspotlights are suddenly switched off. Andy looks up at the\nspotlight racks.", "Andy looks thunderstruck by what he sees on the set.\n\nClose up shot on the camera. A button just switched off, showing\nthat there is no more film inside the camera.", "and puts them down on the floor. Then she gives her a little piece\nof white cotton to wipe the lipstick out of her lips. The actress\ntakes it and starts wiping her lips. Then Billy takes some make-up", "Larsen is making nervous movements with his hands.\n LARSEN\n I'm surprised his men gave up the film so easily. If it is\n what I think it is, our witness, Billy Hughes, is in great\n danger.", "In the background, we hear the noises of the girl who keeps on\nfalling down and breaking the furniture.\nClose up on a dial. A needle is moving on the dial, on which,", "The technician is also watching the film through the window\nbetween the two rooms. When he sees Larsen looking at him, he\nshrugs to tell him that he is not responsible for what is shown on\nthe screen.", "Lyosha looks back into his viewfinder.\n\nWe hear the woman, moaning again. Billy walks around the set.", "A blurred dark picture with lights dancing around. It is what\nBilly's eyes are seeing when she tries to focus after her fall.\nShe sees the blurred picture of Lyosha running down the emergency\nladder along the wall of the building.", "There are no light, and the room is completely dark. We hardly see\na huge bear and a bat. The camera pans on the right, tilting", "Larsen puts discreetly the diskette in Wartschuk's pocket.\n WARTSCHUK\n The Reaper wants to meet the woman who has kept him up all\n night and witnessed a live snuff.", "Andy falls down heavily on the ground.\n\nOn a balcony on a near building, a man is watching the yard with a\nflashlight. This is the balcony which Billy fell from.", "Underneath, she is equipped with the special effect system she\nuses to pretend people are being shot. Little bags, full of fake\nblood, explode one by one, tearing the piece of clothing in front", "Close shot of the inside of the incinerator. Among the flames, a\nhuman skull is burning.\n\nThe janitor walks backward with a terrified look on his face. He\ntrips on something and falls down.", "The camera moves to the right of the shot, and the title of the\nfilm appears in white letters on a dark screen. The camera keeps\non moving from one face to another, apparently the faces of the\nmembers of the film crew. And on those faces, we see :", "A searchlight, controlled by Lyosha. The searchlight is following\nBilly.\nBilly tries to avoid the searchlight. She runs away toward the\nexit of the set. She meets Arkadi coming back on the set, but she\nkeeps on running.", "Apparently, the woman is not dead and she walks to the desk.\n\nFILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)\n\nThe man crosses the room." ], [ "Billy looks slightly embarrassed by what she sees.\n\nClose shot on the face of the camera operator, looking into the\nviewfinder of his camera. He is Lyosha, the young man who was\ncourting Billy.", "The blonde naked woman is moaning. She is a slightly plump woman\nwith hair too blonde to be true. She could be in her forties.\nBilly, still looking slightly embarrassed, is also smiling.", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Billy starts walking away from the window and across the set.\n\nThe woman doesn't seem to move anymore, but the man is still\nstabbing her.", "The woman's «lover» slaps her gently on the face, but keeps on\nhaving sex with her. The man slaps her again but much harder this\ntime. She screams.\n\nBilly looks surprised by what she sees.", "Lyosha looks back into his viewfinder.\n\nWe hear the woman, moaning again. Billy walks around the set.", "Billy looks more and more frightened. She has tears in her eyes.\nShe is crying silently with her fist in her mouth.\nThe man start stabbing the woman. Her blood is splashing on the", "Billy closes her eyes, disgusted by what she sees. We hear the\nwoman being hit and screaming.", "Back to Karen and Billy. Billy represses a laughter behind her\nhand.\n\nClose shot on Lyosha, a young assistant camera operator, looking\nat Billy and smiling. Then close shot on Billy's face.", "ANDY\n Come on !\n\nThey both walk away.\n\nKaren bends over Billy.\n\n KAREN\n It's all right, sweetie.", "Billy tries to move her hand away from Lyosha and bangs on a film\nbox.\n\n KAREN (yelling in voice over)\n Andy !\n\nShe bends over Billy.", "He smiles. Billy squeezes a small bag full of fake blood. She has\njust taken that bag from the inside of the man's shirt. The actor", "Billy walks behind Karen's back to the other side of Karen. Karen\nlooks at her, and then looks in the direction into which Billy is\nlooking.\nLyosha keeps on smiling.", "At ground level, we see Billy coming down the stairs leading to\nthe gallery. Billy runs across the film set, which seems not to\nhave been used recently.", "Karen just saw Billy's last expression and seems worried.\n\nBilly is trying to articulate some words.\nKaren runs back toward Billy. She reaches the pile of film boxes\nand bend over Billy. She looks at Lyosha.", "But, slowly, Larsen begins to move. He sits up and looks at Billy.\n\nBilly is crying and smiling at the same time. We get to understand\nshe must be in love with Larsen.", "Billy is running around on the set, trying to avoid the lights.\nShe reaches the scenery and jumps out of one of the scenery\nwindows.", "Billy keeps on talking in sign language. Karen translates.\n\n KAREN\n It happened so fast she couldn't see the knife clearly.", "slightly down. The camera comes to Billy, seated behind a desk and\ndialing on a telephone set. She puts the handset to her ear, but", "We see Billy's living room window from the outside. Billy is\npulling the drapes wide open. Then she starts waving her arms to\nattract the attention of the peeping-Tom and his binoculars." ], [ "Billy drops the spear on the floor and runs away from the window.\n\nCINEMA STUDIO - CORRIDOR - INTERIOR NIGHT", "Billy is running around on the set, trying to avoid the lights.\nShe reaches the scenery and jumps out of one of the scenery\nwindows.", "Billy runs away. She trips on something and makes a little noise.\nShe stops.\n\nArkadi, coming out of the elevator, looks in Billy's direction.\n\nBilly opens a door and walks out.", "They come out of the apartment and start running along the\ncorridor on Billy's landing. They reach the staircase. Billy drops", "Billy looks at the two men, then she moves silently away from\nthem. She reaches the door of the elevator, which is supposed to", "remains motionless. Billy grabs a bunch of clothes and rushes out\nof the bathroom.", "At ground level, we see Billy coming down the stairs leading to\nthe gallery. Billy runs across the film set, which seems not to\nhave been used recently.", "Billy runs out of the building. An army of men, armed with\nmachine-guns, is waiting for her. The cars' drivers all switched", "Billy runs back toward the vending machine, behind which she hides\nagain.\n\nLyosha walks out of the room, leaving the door open, and looks at\nthe far end of the corridor.", "On the parking lot, seen through the bars of the window, the\njanitor keeps on walking around with his dog, apparently not\nhearing the noise made by Billy. Then he closes the main door of\nthe studio parking lot.", "Arkadi opens the door of the elevator.\n\nCINEMA STUDIO - ELEVATOR - INTERIOR NIGHT\n\nBilly looks very frightened.", "CINEMA STUDIO - STAIRCASE - INTERIOR NIGHT\n\nBilly is running downstairs.\n\nCINEMA STUDIO - A FILM SET - INTERIOR NIGHT", "Billy looks at the room and is suddenly frightened by something.\nShe stands up and looks up at the roof of the cabin. She climbs\nback toward the roof. We see Lyosha in the room, walking toward", "Lyosha runs out of the electricians' control cabin and on the\ngallery.\n\nBilly runs down a few steps and outside the room. From the other\nside of the gallery, Lyosha comes running after her.", "The long corridor. The lights are still on. Billy walks out of her\nworkshop and closes the door. She starts running along the\ncorridor toward the emergency exit. She suddenly stops, when she", "A large corridor. A door opens and Billy rushes out. She opens a\ndoor at the end of the corridor and runs out.", "Karen starts moving away from Billy\n\n KAREN\n Andy !\n\nBilly moves nervously, raises from the film boxes and looks\ndesperately at Karen.", "entering the corridor, he switches the lights on. With the lights\non, we can see Billy running away to the far end of the corridor.\nLyosha runs after her.", "More short flash-backs of the murder, and a close-up shot on\nBilly's face. She seems very disturbed.\n\nCINEMA STUDIO - BASEMENT - INTERIOR NIGHT", "He eyes closed, Billy has her daydreams flashbacks again. She sees\nthe actress' blood spurting on the wall of the scenery. She sees\nher being stabbed. She sees herself running away from Lyosha in\nthe long dark corridor." ], [ "Billy is moving nervously, trying to get her arm free to talk to\nher sister.\n\n LYOSHA\n Go !\n\n KAREN\n Yeah, okay.", "Billy looks at her sister.", "her sister for her to come. Karen joins Billy, who explains to the\nactor what he has to do, and Karen translates Billy's sign\nlanguage.", "KAREN\n You go. I'll stay here with her.\n\nBilly is trying to say something to her sister.\n\n KAREN\n Let go of her.", "Billy smiles, hearing her sister's voice. She start typing on the\nkeyboard of the answering machine. The she sends the text to the\ndigital voice translating system.", "Billy answers her sister in sign language.\n\n KAREN\n You're not on one of your «I'll show her how independent I\n am» kicks, are you ?", "Billy keeps on talking in sign language. Karen translates.\n\n KAREN\n It happened so fast she couldn't see the knife clearly.", "Billy tries to open the door, but it is locked. She bangs on it\nwith her hand. Then she shakes it violently. She looks up, on the\nverge of tears. She sighs. Then she hears some steps.", "Billy opens the back door and walks out of the car. Karen opens\nthe driver's door and walks out. Both sisters close their doors.\nBilly starts walking toward her building and Karen follows her.", "Karen, looking at Billy, seems to understand what's going on\ninside her sister's head, because she says to Andy :\n\n KAREN\n Shut up.", "But, slowly, Larsen begins to move. He sits up and looks at Billy.\n\nBilly is crying and smiling at the same time. We get to understand\nshe must be in love with Larsen.", "Billy closes her eyes, disgusted by what she sees. We hear the\nwoman being hit and screaming.", "Billy slowly comes out of the bags. She takes the key. Then she\nslowly stands up, puts the key in the pocket of her sleeveless", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Behind Billy, who is still kneeling in front of the trunk, we see\nLyosha walking around. He looks at Billy, who feels she is being", "Another very short flash-back. We understand those short flash-\nbacks come from Billy's mind reliving what she saw a couple of\nhours before.", "Billy looks at the two men, then she moves silently away from\nthem. She reaches the door of the elevator, which is supposed to", "Billy looks slightly embarrassed by what she sees.\n\nClose shot on the face of the camera operator, looking into the\nviewfinder of his camera. He is Lyosha, the young man who was\ncourting Billy.", "BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT\n\nBilly is listening to her sister.\n KAREN (voice over from the telephone)\n That's good. Right ?", "with a head inside. Billy looks up at the bag. She screams\nnoiselessly. Suddenly she turns around, because she has seen\nsomething else." ], [ "Lyosha and Arkadi are talking to an uniformed Russian policeman,\nwho seems to be in charge of the inquiry. Consequently, he will\nbe, from now on, mentioned as «First Policeman»", "He points at Arkadi.\n\nBilly, seated again, points at Arkadi.\n\nLyosha looks at Arkadi.\n\nThe first policeman resumes the reading of his paper.", "The second policeman raises the lid of a container, while the\nfirst policeman looks inside. Arkadi takes a bag out of another\ncontainer and drops it on the ground. The second policeman looks", "The two fake policemen cross the room.\n\n KAREN (voice over)\n Come here! Andy! Come here!", "She writes «Why ?» on the notepad.\n\n LARSEN\n You know, I work undercover. The Reaper thinks I work for\n him. Trust me. Trust me.", "Wartschuk is answering the fake policeman on his own walkie-\ntalkie. Next to him, his passenger is screwing a silencer on his\ngun.", "Both policemen grab Arkadi from behind. They pull him away from\nAndy. They have both drown their guns.\n\nKaren rushes toward Andy, whose shirt is covered with blood.", "Andy and Karen are kneeling on the floor, with their hands joined\nbehind their heads. One of the fake policeman is searching the\nroom, throwing everything off the shelves on the floor, while the", "LARSEN\n What is the name of the witness ? What is it ?\n\nHe snaps his fingers.\n\n FIRST POLICEMAN\n Billy Hughes, sir.", "Close up shot on the table, and a business card lying on it. It is\nthe first policeman's card. It says : «Police Inspector Vladimir\nPekar - Precinct 22» and underneath an address and a telephone\nnumber.", "FIRST POLICEMAN\n But you say here : «He wore a stocking pulled over his\n head.»\n\nBilly looks very angry and keeps on pointing at Arkadi.", "The other policeman (who shall be mentioned as «Second Policeman»)\nis kneeling down, looking at something on the floor, and the\njanitor is standing in a corner with his dog on a leash.", "inside the bag with his flashlight. There seems to be a head\ninside the bag. The policeman pours the content of the bag on the\nground. Actually the head was just a mask !", "LARSEN\n My name is Alexander Larsen. I'm a policeman. Take your\n clothes. We must get out of here.\n\nLarsen goes to the window and peeks through the drapes.", "The two policemen enters behind them. Larsen shows a seat to\nLovett. The projection room looks like a small cinema theatre,\nwith rows of red seats.", "Karen hits Andy with her elbow. The policeman puts the diskette\ninto a small white plastic bag he is carrying around. He puts\nanother diskette in the bag. The other policeman is speaking in\nRussian in a walkie-talkie.", "Lyosha, Arkadi and the first policeman are still talking together.\nThey slowly walk toward the rest of the group. The second\npoliceman, who was still kneeling down, stands up.", "Karen screams.\nArkadi stabs Andy in the stomach with his knife. Andy screams. He\nhas blood on his cheek. Arkadi keeps on stabbing Andy.\n\nThe first policeman takes his gun out of his belt.", "One of the men is Mr. Larsen, a high-rank police officer, the\nother one is Mr Lovett, the US ambassador's secretary.", "The policeman answers «Da», then listen to Wartschuk speaking in\nRussian. He says «Da» again and a few more words. Karen and Andy" ], [ "Lyosha screams. He raises his knife to bring it down on Billy.\nBilly is waiting for the worse to happen. She hears the noise of", "Watching Billy and Andy, Larsen has suddenly a worried look on his\nface. He is beginning to understand that something is wrong. He\ngets out of his car, walks a few steps, and then his car explodes\nand he falls on the ground.", "Billy is trying to push the door shut. Arkadi has a big wire-\ncutter in his hand. He brings the cutter near the chain. Billy", "Billy spits in Larsen's face. Then she yells silently, because\nWartschuk is squeezing her a little tighter. Larsen wipes the spit", "Billy looks at the men in front of her with a frightened face. She\nturns around to look at Larsen pointing his gun at her. Then she", "Close shot on Billy, enabling us to read her words on her lips.\n\n BILLY (in sign language)\n He's lying !\n LYOSHA (voice over)\n Sorry, Billy.", "Billy keeps on talking in sign language. Karen translates.\n\n KAREN\n It happened so fast she couldn't see the knife clearly.", "A man yells some orders in Russian. Billy walks to the actor\nplaying the murderer, sitting on a prop. She checks his blood", "He smiles. Billy squeezes a small bag full of fake blood. She has\njust taken that bag from the inside of the man's shirt. The actor", "Billy is moving nervously, trying to get her arm free to talk to\nher sister.\n\n LYOSHA\n Go !\n\n KAREN\n Yeah, okay.", "Billy hits Larsen violently on his private parts. Larsen moans.\nBilly takes the handcuffs out of the glove compartment and ties\nLarsen's hand on the steering-wheel.", "Billy rushes in the room, with the knife in her hand. The\nanswering machine keeps on speaking.\n\n DIGITAL VOICE\n Billy Hughes speaking.", "Billy looks more and more frightened. She has tears in her eyes.\nShe is crying silently with her fist in her mouth.\nThe man start stabbing the woman. Her blood is splashing on the", "Billy runs out of the building. An army of men, armed with\nmachine-guns, is waiting for her. The cars' drivers all switched", "Billy is still moving restlessly.\n\n KAREN\n I'm here now and an ambulance is on its way.", "KAREN\n Police ?\n\nBilly keeps on signing.\n\n KAREN\n Murder ?\n\nShe looks up at Lyosha.", "He looks down at Billy, who is still putting her panties on. He\ntakes the rest of Billy's clothes in his hands, and presses the\nbutton number «3».", "Billy is trying to force Larsen to stop the car.\n\n LARSEN\n Crazy !\n\nTHE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT", "Larsen closes one eye before shooting. He shoots seven times. We\nsee the bullets going through Billy's body from the back, and", "Billy, still looking in the cabinet, sees the handle spinning. She\nrushes to the door and spins the handle back into the lock\nposition. A knife blade comes through the door a few inches from" ] ]

[ "What physical disability does Billy have?", "What city does Billy work in?", "Who is Billy's sisters boyfriend?", "What is Billy's sister's same?", "Who gets stabbed in the studio?", "What is the name of the undercover detective?", "What is the alias of the shadowy criminal mastermind?", "What are the criminals trying to retrieve from Billy?", "What is the Reaper a financier of?", "Who cannot speak?", "What country is Billy working in at the beginning of the story?", "Who is the director that Billy is working for?", "Who can Billy communicate with?", "Where was Billy when she sees the murder?", "What was the crew doing while Billy is locked in the Studio?", "What does the masked man do that cases Billy to react?", "What did the crew convince the police that the homoside was?", "What was the criminal mastermind called?", "Who is the undercover detective tracking the Reaper?", "What is Billy's profession?", "What is Billy's physical disability?", "What is Billy doing in Moscow?", "Where did Billy get locked in at?", "What kind of flick was the being made after hours?", "Why was Billy not amused watching them make the porno flick anymore?", "Why does Billy flee the studio?", "Who else besides her sister does Billy tell her story too?", "Who is the undercover detective?", "Who says that Billy must be killed?" ]

[ [ "He is mute", "She cannot speak." ], [ "Moscow", "Moscow." ], [ "Andy", "Andy" ], [ "Karen", "Karen" ], [ "An actress", "An adult film actress." ], [ "Larsen", "Larsen" ], [ "The Reaper", "\"The Reaper\"" ], [ "A computer disk", "computer disc" ], [ "International snuff ring", "A snuff ring" ], [ "Billy", "Billy." ], [ "Moscow", "Russia. " ], [ "Her sister's boyfriend, Andy", "Andy" ], [ "Her sister", "Her sister" ], [ "The Studio", "In the studio" ], [ "Shooting cheep porno", "Shooting a cheap porno." ], [ "He stabs the woman.", "He stabs the actress." ], [ "Special effects", "special effect" ], [ "The Reaper", "\"The Reaper\"" ], [ "Larson", "Larson" ], [ "She's a makeup artist.", "Make-up artist" ], [ "She can't talk.", "He cannot speak. " ], [ "She's working on a flick.", "Working on a slasher film" ], [ "The studio.", "studio" ], [ "A porno flick.", "A porno. " ], [ "Because it became sadistic.", "The actress was stabbed" ], [ "Because the crew sees her.", "She witness' a murder, and is being chased by the film crew that committed the crime." ], [ "The police.", "The police" ], [ "Larsen.", "Larsen. " ], [ "The Reaper.", "The Reaper" ] ]

[ [ "Jonson-- carrying the manuscript-- runs up the street\n toward a large circular theater.\n\n He frantically opens the wooden door to the theater--", "Ben Jonson walks with a manuscript in his hands. He\n stops for a moment when he sees the new Globe theater.\n Workers are still painting the walls.", "He points to a chair by the bed. When Jonson sits down\nhe notices a big pile of manuscripts by the side of the\nbed.", "Jonson leaves the stall, and continues down the street.\nShakespeare hesitates, then gives the girl a dazzling\nsmile. She smiles back, then Shakespeare runs after\nJonson.", "Jonson leaves Oxford's room, visibly shaken. The\n manuscripts are under his arm.\n\n Anne, Oxford's wife is still there, surround by\n doctors.", "POLE\n Jonson! Jonson!! Show yourself!\n\n The soldiers immediately spread out into different\n parts of the theater. Jonson's gone. Because--", "9 INT. THE ROSE THEATER - CONTINUOUS 9\n\n Jonson hurries backstage, and disappears from our view\n just as--", "After the two men have exchanged couple of words,\n Francesco gives Jonson a leather folder containing a\n manuscript and a purse jingling with coin. Jonson\n takes them and leaves.", "trough the rain, we see a form of a man... Ben\nJonson... running. Then we make out the shapes of\nhouses... a street. We're not on a stage anymore. We", "The actor who will play \"Ben JONSON\" (mid 30's) appears\nin the wings, bearded, ready to go on stage, holding a", "Jonson, slightly drunk, walks down a street, a whore\n under his arm, and notices a commotion up ahead: people\n talking by an alley near the Mermaid's tavern.", "Jonson gets up, furious, and exits, quite drunk. The\n actors don't even notice him.", "Jonson exits the building and walks away. He reads the\n dedication on the first page of the manuscript as he\n walks.", "Jonson (now 25 and clean-shaven) is watching the\nperformance from behind a curtain, silently speaking\nthe lines with the actors.\n\nIN THE RAISED SEATING", "11 EXT. THE ROSE THEATER - NIGHT 11\n\n Jonson, his hands tied behind him, is pushed through\n the door, Pole following.", "Oxford studies him, believes him. Then he opens a\n cabinet.\n\n In it, manuscript after manuscript are stacked. Jonson\n looks behind him, stunned by the number.", "And Jonson-- still struggling to reach Francesco-- is\n carried along with the mob.\n\n\n132 EXT. OUTSIDE THE GLOBE THEATER - DAY 132", "-- the SOUND of fireworks EXPLODING makes Jonson turn\n and see:\n\n THE THEATER\n\n Timbers CRASH and fireworks EXPLODE over the theater.", "Jonson-- only semi conscious-- is carried by the actors\n and dumped into the street. They leave him there. He\n wallows in the mud for a beat. Then--", "PROLOGUE (CONT'D)\n Ben Jonson succeeded in his desire to be\n the most celebrated playwright of his" ], [ "The fire reaches the fireworks below the theater's\n stage, and--\n\n BACK TO SCENE", "A small crowd of actors, whores, etc., watch the\n theater burn. The guards have to push their way\n through them.\n\n INSERT", "48 INT. THE ROSE THEATER - DAY 48\n\n The battle rages on stage.", "-- the SOUND of fireworks EXPLODING makes Jonson turn\n and see:\n\n THE THEATER\n\n Timbers CRASH and fireworks EXPLODE over the theater.", "7 INT. THE ROSE THEATER - NIGHT 7\n\n --and he quickly bolts it behind him, turns, and\n desperately looks for a place to hide. He runs towards\n the stage as--", "Complete panic erupts as dozens of The Queen's Guard\nSTORM into the theater. Everyone tries to get out as\nquickly as possible, including the other actors, Henry", "44 INT. THE ROSE THEATER - DAY 44\n\n It is later in the play.", "The huge crowd has stayed in front of the Globe. It\n seems they are waiting for something. We hear hissing\n and booing from the crowd inside the theater.", "Jonson-- carrying the manuscript-- runs up the street\n toward a large circular theater.\n\n He frantically opens the wooden door to the theater--", "with a feathered hat gets up in fury, and exits the\ntheater, his lady with him. The Audience LAUGHS at him\nas he goes.\n\nON STAGE", "by a few comrades-- and it quickly becomes a madhouse;\n half play, half real fight, as more audience members\n join the \"battle\". The play quickly degenerates into a", "A small, open air theater where a chained bear is being\n led around the theater. A set of mastiffs are being\n led on the opposite side of the theater.", "POLE\n Jonson! Jonson!! Show yourself!\n\n The soldiers immediately spread out into different\n parts of the theater. Jonson's gone. Because--", "He tosses the fireworks out of the box-- and then\nplaces the bound manuscripts in their place, then\ncloses the box. Then-- he grabs a nearby rapier as--\n\nFLAMES", "The theater is full to the last seat. The people are\n crammed together like sardines.", "THE \"HUT\"\n\n which is a round tower on top of the stage, contains\n several small cannons manned by stagehands. They shoot\n BLANK CANNON SHOTS.", "14 INT. THE ROSE THEATER - DAY 14\n\n And it is nine years earlier. The faces come from an\n audience watching a play. They find the performance\n hysterical.", "He is interrupted by SCREAMS. Not from actors on\nstage, but by the audience.\n\nIN THE THEATER", "11 EXT. THE ROSE THEATER - NIGHT 11\n\n Jonson, his hands tied behind him, is pushed through\n the door, Pole following.", "Nothing. A beat, then--\n\n POLE (CONT'D)\n (to a soldier)\n Torch it.\n\nThe soldier hesitates." ], [ "Queen... A statue. Bloodless.\n (beat)\n \"Thou wast begot; to beget is thy\n duty.", "Oxford watches from behind a curtain, carefully\nobserving the Queen's reaction. Somehow we feel that\nseeing her again after so many years stirs up some deep\nemotion in him.\n\nON STAGE", "She is crushed.\n\n WILLIAM CECIL (CONT'D)\n Majesty, there is more. The lady is\n pregnant.", "Essex rears his horse, looks around at the many windows\n that surround them from above.\n\n ESSEX\n To the Queen! To the Queen!", "MAN\n To Essex! And then to the Queen!\n (joins in the chanting)\n Ess-ex! Ess-ex!", "BESSIE (CONT'D)\n The Queen. She had your child.\n\n\n85 EXT. CECIL HOUSE - EARLY MORNING 85", "Doors fly open and Oxford appears before Elizabeth, who\n is on her throne, regal and all in white, surrounded\n by courtiers, including Robert Cecil. But she looks\n very old, very ill.", "BESSIE\n My lord. Her majesty went riding with\n the Earl of Oxford.\n\n The Ladies-in-waiting share knowing smiles.", "you wished to become a great man of\n State. Both the Queen and I hope to\n make that so.\n (MORE)", "Chairs have been brought out and put in rows in the\n grass. Elizabeth is watching center front row (of\n course). She loves it, SQUEALING in delight like a\n young woman. Essex is next to her.", "WILLIAM CECIL\n Because the Queen has bade it so.\n (to Young Oxford)\n My lord, when we first met, you said", "WILLIAM CECIL\n The Queen does not ask for my advice\n about matters of the heart, Edward.\n If she had, she hardly would have\n chosen you for her pleasure.", "Twenty seven years earlier. Young Elizabeth is pacing,\n terribly agitated. Bessie, the lady-in-waiting we have\n seen constantly at her side is the only other person\n present.", "WILLIAM CECIL (CONT'D)\n The Queen has decided to release you.\n It seems time does indeed heal all", "Much of the Court is watching this. They can tell\nthere are sparks between them.\n\nAll the dancers change partners, including Elizabeth\nand Oxford. A few dance moves, and Oxford once again\nfinds himself with Elizabeth.", "Young Elizabeth gently pushes Young Oxford towards her\n throne... She kisses him. Then begin to make love.\n On the throne.\n\n DISSOLVE TO:\n\n LATER", "People start to exit. But not Robert Cecil.\n\n ROBERT CECIL\n Majesty, I--\n\n ELIZABETH\n Leave us!", "DEKKER\n Wants to have an audience with the Queen.\n As if Cecil would ever let Essex near her\n now.", "ESSEX\n Majesty, I, I...\n\n She stares at him, horrified to be seen in such a\n manner. The she regains her composure and--", "ELIZABETH\n Cecil? He has kept me my throne!\n (beat)\n Mary, Queen of Scots... Philip, King" ], [ "TWO MEN\n\n walk towards the theater. Edward de Vere (47), the\n Earl of OXFORD, an intensely handsome man. His clothes\n have seen better days.", "Boy Oxford bows deeply.\n\n YOUNG ELIZABETH (CONT'D)\n (to Boy Oxford)\n Your father tells me you wrote this\n evening's play yourself.", "OXFORD\n Wait!\n (beat)\n How much?\n\nShakespeare looks at Francesco, then Oxford.\n\n SHAKESPEARE\n Four hundred pounds. A year.", "OXFORD\n I am Edward, Earl of Oxford.\n\n SOUTHAMPTON\n Edward! Edward! Thank god you're\n here.", "DEKKER\n It wasn't all in verse.\n\n NASHE\n Ha! See! Even easier!\n\n Shakespeare enters and makes a bee line for them.", "Before they reach him he glances at his wife ANNE De\n Vere (40's) who sits in the distance knitting with one\n of their daughter's, BRIDGET (17).", "87\n pg. 88\n\n\nShakespeare is uncomfortable. He wasn't expecting\nOxford himself. Then he just goes for it.", "A simple, cold space, like William Cecil himself.\n William Cecil is alone in prayer. A few beats, then he\n senses he is not alone. He turns and sees Young Oxford\n (still 20).", "INTERROGATOR\n We are not interested in your plays,\n Jonson. We are interested in the\n plays given to you by Edward de Vere,\n Earl of Oxford.", "YOUNG OXFORD\n (smiles)\n Puck?\n\n YOUNG ELIZABETH\n Yes, Puck!\n\nShe's only teasing.", "YOUNG ELIZABETH\n You sport with me.\n (smiling)\n Compose something.\n\n BOY OXFORD\n Now?", "Thirty-eight years earlier. And YOUNG ELIZABETH watches\n an earlier, slightly less sophisticated staging of \"A\n Midsummer Night's Dream\" (the costumes and sets are a\n bit more thrown together).", "She smiles, claps.\n\n YOUNG ELIZABETH\n (to John de Vere)\n My lord of Oxford. It seems you have\n added a poet to your family's long\n line of warriors.", "YOUNG OXFORD\n They tell me one day you're to be an\n Earl as well.\n\n BOY\n I shall be the Earl of Southampton.", "Shakespeare enters the tavern carrying a rolled up\n parchment. He passes various actors drinking, then\n hurries over to Jonson, Nashe and Dekker, who are deep\n in drink.", "Cecil exits, obviously worried. When they are alone:\n\n ELIZABETH (CONT'D)\n You look old...\n\n Oxford smiles sadly.", "Twenty-seven years later. Jonson, Marlowe, Dekker and\n Nashe sit silently at a table, mugs of ale in hand.", "Shakespeare smiles triumphantly.\n\n\n\n 13\n pg. 14", "YOUNG ELIZABETH (O.S.)\n Ah! There he is.\n\n Young Elizabeth and her senior Court, including William\n Cecil and John De Vere, have entered.", "But through your carelessness I must\n now deal not only with Essex, but\n Edward as well. For whether in shadow\n or in person, Edward has returned to" ], [ "WILLIAM CECIL (CONT'D)\n You must have known her eye would move\n elsewhere, Edward. It always has.\n You are neither the first, nor the\n last, of her lovers.", "WILLIAM CECIL\n The Queen does not ask for my advice\n about matters of the heart, Edward.\n If she had, she hardly would have\n chosen you for her pleasure.", "William Cecil looks startled.\n\n WILLIAM CECIL\n Marry him, your grace? He is already\n married.", "WILLIAM CECIL\n Because the Queen has bade it so.\n (to Young Oxford)\n My lord, when we first met, you said", "WILLIAM CECIL (CONT'D)\n My daughter is young, impressionable.\n She has feelings for you, Edward. It\n is to be expected, living in such\n close quarters...", "WILLIAM CECIL (CONT'D)\n Go back to my daughter, Edward. She\n will accept you with open arms, as she", "William Cecil looks directly at John de Vere resulting\n in an uncomfortable silence.\n\n Elizabeth notices.", "WILLIAM CECIL\n Would you risk your throne for him?\n Would you risk England for him?\n\nHe knows the answer to that.", "ELIZABETH (CONT'D)\n I am your Queen! Now who is my son!!?\n\n ROBERT CECIL\n His grace, the Earl of... Southampton,\n your majesty.", "BESSIE\n Two cycles have passed, my lord.\n\nWilliam Cecil thinks.\n\n YOUNG ELIZABETH\n I wish to marry him...", "She is crushed.\n\n WILLIAM CECIL (CONT'D)\n Majesty, there is more. The lady is\n pregnant.", "An actor playing \"POLONIUS\" does an obvious caricature\n of William Cecil, dressed in black with an exaggerated\n rendition of Cecil's beard.", "YOUNG ELIZABETH\n And Edward?\n\n WILLIAM CECIL\n He must never know.", "WILLIAM CECIL\n So! I am gone for three days, and you\n somehow manage to let her spend all of\n them solely in the company of the Earl\n of Essex...", "WILLIAM CECIL (CONT'D)\n This is how kings are made, Robert.\n So it was with Elizabeth, and so it", "ELIZABETH (CONT'D)\n He was well placed? A nobleman?\n\n ROBERT CECIL\n (hesitates)\n Yes... your majesty.", "WILLIAM CECIL (CONT'D)\n Like Essex, Edward must be removed.\n\n ROBERT CECIL\n (confused)\n Edward?", "WILLIAM CECIL (CONT'D)\n The Queen has decided to release you.\n It seems time does indeed heal all", "WILLIAM CECIL (CONT'D)\n (realizing, to himself)\n Edward...\n (to Robert Cecil)\n Have you any idea what you have-- No,\n how could you...", "WILLIAM CECIL\n Of course he did.\n (concerned)\n But what was it about?" ], [ "TWO MEN\n\n walk towards the theater. Edward de Vere (47), the\n Earl of OXFORD, an intensely handsome man. His clothes\n have seen better days.", "ELIZABETH (CONT'D)\n I am your Queen! Now who is my son!!?\n\n ROBERT CECIL\n His grace, the Earl of... Southampton,\n your majesty.", "OXFORD\n I am Edward, Earl of Oxford.\n\n SOUTHAMPTON\n Edward! Edward! Thank god you're\n here.", "ELIZABETH\n You cannot have him.\n\n OXFORD\n He is our son.\n\n ELIZABETH\n Who did commit High Treason!", "OXFORD\n He wanted his grandson to be an Earl.\n\n ROBERT CECIL\n No, Edward. He wanted his grandson to\n be a king.", "SOUTHAMPTON\n It's Robert Cecil. He failed to kill\n you, now he tries to kill your name.\n\n Essex heads for the flap of the tent.", "OXFORD\n I would have you deny him.\n\n SOUTHAMPTON\n The son of the Queen?", "INTERROGATOR\n We are not interested in your plays,\n Jonson. We are interested in the\n plays given to you by Edward de Vere,\n Earl of Oxford.", "She doesn't have to say which one. Robert Cecil sees a\ncopy of \"Venus and Adonis\" on a table. He NODS.", "YOUNG OXFORD\n They tell me one day you're to be an\n Earl as well.\n\n BOY\n I shall be the Earl of Southampton.", "WILLIAM CECIL (CONT'D)\n You must have known her eye would move\n elsewhere, Edward. It always has.\n You are neither the first, nor the\n last, of her lovers.", "He gets up. Oxford does not, seemingly interested in\nthe real drama below as everyone hurries from the\ntheater.\n\n SOUTHAMPTON (CONT'D)\n Edward?", "Except my father, of course. And when\n her first child was born, a male, my\n father took it, and hid it. The\n grandson of Henry VIII, the foundling", "William Cecil turns.\n\n YOUNG OXFORD (CONT'D)\n I will go back to your daughter if...\n You tell me the name of the child.", "Boy Oxford bows deeply.\n\n YOUNG ELIZABETH (CONT'D)\n (to Boy Oxford)\n Your father tells me you wrote this\n evening's play yourself.", "WILLIAM CECIL\n Sir Robert Cecil.\n\n ELIZABETH\n Your son?", "WILLIAM CECIL (CONT'D)\n (realizing, to himself)\n Edward...\n (to Robert Cecil)\n Have you any idea what you have-- No,\n how could you...", "William Cecil enters.\n\n WILLIAM CECIL\n Your whore gave birth last week.", "ROBERT CECIL\n What? Slept with her son?\n (beat)\n I don't think she ever knew, to tell", "OXFORD\n Wait!\n (beat)\n How much?\n\nShakespeare looks at Francesco, then Oxford.\n\n SHAKESPEARE\n Four hundred pounds. A year." ], [ "CECIL\n Majesty... You are not having doubts\n about James of Scotland succeeding\n you, are you?\n\nElizabeth goes into a rage.", "WILLIAM CECIL (CONT'D)\n From King James of Scotland.\n\n Robert Cecil looks surprised.", "ELIZABETH\n James?! He is the son of Mary! She\n plotted and schemed to steal the\n throne from under me! No son of hers\n will rule while a yet Tudor lives!", "shall ever be. There were many rival\n claims to her throne, but none\n survived to make their claim. James\n must know that you will do the same", "is watching James. His face betrays his proud\n feelings. All of Robert Cecil's desires have come true.\n\n Oxford's wife Anne is there, but Oxford is nowhere to\n be seen.", "JAMES I\n We had seen some of this Shakespeare's\n plays in Edinburgh, Sir Robert. I\n must tell you, we enjoyed them", "Henry... Some of my men have...\n intercepted... some of William Cecil's\n recent correspondence with King James\n of Scotland...", "ELIZABETH\n Cecil? He has kept me my throne!\n (beat)\n Mary, Queen of Scots... Philip, King", "reflection. Everyone thinks he's her\n son, everyone! And I for one would\n rather bow to a Tudor, bastard though\n he may be, than a Scotsman!", "Except my father, of course. And when\n her first child was born, a male, my\n father took it, and hid it. The\n grandson of Henry VIII, the foundling", "JAMES I (late 30's) is being crowned by the Archbishop.\n All the lords and ladies of the land are standing in\n attendance.\n\n ROBERT CECIL", "She is crushed.\n\n WILLIAM CECIL (CONT'D)\n Majesty, there is more. The lady is\n pregnant.", "PROLOGUE\n Let us, ciphers to this great accompt,\n on your imaginary forces work.\n\n King James' watches enthusiastically, Robert Cecil\n right next to him.", "sixteen for the first. Bloody Mary\n was still Queen, and our future\n Gloriana was out of favor. No one\n thought her very important at all.", "ESSEX (CONT'D)\n Think, Henry, if James owes Cecil his\n throne, Cecil will have more influence", "Set for a Court performance of a play. Courtiers bow\n as King James I enters the chamber, Robert Cecil two\n steps behind him. James takes his seat right in front\n of the stage, as Elizabeth used to.", "WILLIAM CECIL\n James knows of the Queen's affection\n for Essex... and the rumors of his", "ESSEX (CONT'D)\n Cecil's all but promising him the\n throne...\n\n SOUTHAMPTON\n To James? Elizabeth would never agree\n to-", "OXFORD\n But only after my death! Only then!\n When all is complete. After James is\n crowned king, his crown safe, only", "SOUTHAMPTON\n But a Scotsman? On the Tudor throne?" ], [ "WILLIAM CECIL (O.S.)\n Murdered!\n\n CUT TO:", "Shakespeare is on stage, supervising a rehearsal of\n \"Much Ado About Nothing\". He doesn't look pleased.", "Shakespeare, standing next to a small table of props,\nquickly dips his fingers in an inkwell to make them\nstained. He grabs a large feathered quill and tucks a\npiece of parchment under his arm, then hurries--", "SHAKESPEARE\n The line won't get a laugh that way.\n You must accent the word sirrah--\n\n JONSON (O.S.)\n Will! Will Shakespeare!", "Bankside is talking of it.\n (beat)\n The History of King Richard the Third.\n By William Shakespeare.", "Shakespeare enters the tavern carrying a rolled up\n parchment. He passes various actors drinking, then\n hurries over to Jonson, Nashe and Dekker, who are deep\n in drink.", "Shakespeare shows no reaction.\n\n JONSON\n I know he went to see you last night,\n Will. And I know he was planning to\n expose you if you didn't agree to his\n terms.", "Shakespeare smiles triumphantly.\n\n\n\n 13\n pg. 14", "85\n pg. 86\n\n\nShakespeare gives him a look to kill.", "ELIZABETH\n You caused this! Your play, your\n words, caused my people to mob against", "brother; be he ne'er so vile, this day\n shall gentle his condition: and\n gentlemen in England now a-bed shall\n think themselves accursed they were", "POLE\n (looks up)\n Are you certain of this?\n (almost confused)\n William Cecil was murdered?", "Oxford smiles at the thought of it. Then--\n\n OXFORD\n Promise me... promise me, Jonson, that\n you will keep our secret safe. That\n you won't expose Shakespeare...", "PROLOGUE\n Let us, ciphers to this great accompt,\n on your imaginary forces work.\n\n King James' watches enthusiastically, Robert Cecil\n right next to him.", "knows drama. I tell you, not even the\n Greeks compare!\n (toasting)\n To Shakespeare! And villainy!", "SHAKESPEARE\n And you say he's a nobleman?\n\n Jonson doesn't answer.", "SHAKESPEARE (CONT'D)\n Jonson! Wonderful dialogue!\n Wonderful. I hope your next--\n\n HENSLOWE (O.C.)\n Will! Will Shakespeare!", "from becoming ever more popular. William\n Shakespeare, however, spent the remaining\n years of his life not in the playhouses\n of London, but in the small town of his", "An actor playing \"POLONIUS\" does an obvious caricature\n of William Cecil, dressed in black with an exaggerated\n rendition of Cecil's beard.", "Oxford is silent. Francesco goes to physically eject\nShakespeare from the room.\n\n FRANCESCO\n Out. Get out! How dare you insult my\n master in--" ], [ "TWO MEN\n\n walk towards the theater. Edward de Vere (47), the\n Earl of OXFORD, an intensely handsome man. His clothes\n have seen better days.", "OXFORD\n He wanted his grandson to be an Earl.\n\n ROBERT CECIL\n No, Edward. He wanted his grandson to\n be a king.", "WILLIAM CECIL\n I am dying, Robert--\n (before Robert can\n protest)\n We both know this to be true. And I\n will not witness the next coronation.", "Doors fly open and Oxford appears before Elizabeth, who\n is on her throne, regal and all in white, surrounded\n by courtiers, including Robert Cecil. But she looks\n very old, very ill.", "ELIZABETH (CONT'D)\n I am your Queen! Now who is my son!!?\n\n ROBERT CECIL\n His grace, the Earl of... Southampton,\n your majesty.", "OXFORD\n I am Edward, Earl of Oxford.\n\n SOUTHAMPTON\n Edward! Edward! Thank god you're\n here.", "INTERROGATOR\n We are not interested in your plays,\n Jonson. We are interested in the\n plays given to you by Edward de Vere,\n Earl of Oxford.", "WILLIAM CECIL (CONT'D)\n You must have known her eye would move\n elsewhere, Edward. It always has.\n You are neither the first, nor the\n last, of her lovers.", "OXFORD\n Wait!\n (beat)\n How much?\n\nShakespeare looks at Francesco, then Oxford.\n\n SHAKESPEARE\n Four hundred pounds. A year.", "from becoming ever more popular. William\n Shakespeare, however, spent the remaining\n years of his life not in the playhouses\n of London, but in the small town of his", "A few hours later. Oxford has died in his bed. Anne\n watches as a doctor covers his face with a sheet.", "The funeral over, Elizabeth exits the portal of\n Westminster Abbey and heads to her carriage. A huge\n crowd of mourners has assembled.\n\n Robert Cecil steps into place right behind her.", "Jonson takes a long time before answering. Will he\nbetray Oxford?\n\n JONSON\n They were destroyed... burned... by\n your own men...", "All the lords and ladies of the land. All wear\n elaborate black clothing.\n\n First is Robert Cecil. Proudly. Not far walks Oxford.", "People start to exit. But not Robert Cecil.\n\n ROBERT CECIL\n Majesty, I--\n\n ELIZABETH\n Leave us!", "She doesn't have to say which one. Robert Cecil sees a\ncopy of \"Venus and Adonis\" on a table. He NODS.", "WILLIAM CECIL\n The Queen does not ask for my advice\n about matters of the heart, Edward.\n If she had, she hardly would have\n chosen you for her pleasure.", "WILLIAM CECIL\n Edward seeks what we seek. To choose\n the next King.\n\n Off Robert Cecil's surprised face we hear:", "PROLOGUE\n Robert Cecil remained the most powerful\n man in the Court of King James, though he\n could not prevent the public theaters", "The Boy Oxford looks at William Cecil, perplexed by\n such a thing.\n\n WILLIAM CECIL\n That is God's decision, your majesty.\n Not mine." ], [ "Jonson-- carrying the manuscript-- runs up the street\n toward a large circular theater.\n\n He frantically opens the wooden door to the theater--", "trough the rain, we see a form of a man... Ben\nJonson... running. Then we make out the shapes of\nhouses... a street. We're not on a stage anymore. We", "All of London is on its feet. They all are on their way\n to Bankside.\n\n The London Bridge is crammed one way. The River Thames\n is full of many small boats of theatergoers.", "Jonson leaves the stall, and continues down the street.\nShakespeare hesitates, then gives the girl a dazzling\nsmile. She smiles back, then Shakespeare runs after\nJonson.", "7 INT. THE ROSE THEATER - NIGHT 7\n\n --and he quickly bolts it behind him, turns, and\n desperately looks for a place to hide. He runs towards\n the stage as--", "Ben Jonson walks with a manuscript in his hands. He\n stops for a moment when he sees the new Globe theater.\n Workers are still painting the walls.", "SHAKESPEARE\n I'm going to build my own theater, Ben,\n one that fits the scale of my work--\n\nJonson suddenly turns to him.", "Jonson, slightly drunk, walks down a street, a whore\n under his arm, and notices a commotion up ahead: people\n talking by an alley near the Mermaid's tavern.", "9 INT. THE ROSE THEATER - CONTINUOUS 9\n\n Jonson hurries backstage, and disappears from our view\n just as--", "Oxford is becoming intrigued by the theater, almost\ndespite himself.", "The huge crowd has stayed in front of the Globe. It\n seems they are waiting for something. We hear hissing\n and booing from the crowd inside the theater.", "He pauses when he sees a poster in front advertising a\n performance of \"Richard III\" on Monday next.\n\n\n110A INT. THE GLOBE THEATER - DAY 110A", "15 EXT. ROSE THEATER/BANKSIDE LONDON - CONTINUOUS 15", "The Rose towers above the nearby buildings \"Bankside\"\n (the part of London that houses the theaters,\n whorehouses, etc.).", "11 EXT. THE ROSE THEATER - NIGHT 11\n\n Jonson, his hands tied behind him, is pushed through\n the door, Pole following.", "Complete panic erupts as dozens of The Queen's Guard\nSTORM into the theater. Everyone tries to get out as\nquickly as possible, including the other actors, Henry", "And Shakespeare goes back on stage.\n\n\n37 EXT. BANKSIDE LONDON - DAY 37", "Shakespeare and Jonson are walking along London Bridge--\n the only bridge that spanned the Thames at the time, it\n is a street lined with multi-storied buildings-- almost\n like a mall.", "And Jonson-- still struggling to reach Francesco-- is\n carried along with the mob.\n\n\n132 EXT. OUTSIDE THE GLOBE THEATER - DAY 132", "The actors on stage are all watching, nervous.\n\n SHAKESPEARE\n Ben, please..." ], [ "Twenty-seven years later. Jonson is alone, trying to\n write at a small table, though it's obvious from his\n fits and starts and crossing outs that he is having\n difficulty.", "Twenty-eight years earlier. A dance is taking place.\n\n YOUNG OXFORD-- now 20 is dancing with Young Anne. But\n his eyes are on:", "A few hours later. Oxford has died in his bed. Anne\n watches as a doctor covers his face with a sheet.", "Oxford is sitting in a chair, watching the river\n Thames, alone. Snow is falling and Oxford is covered\n in a thick blanket. He looks ill.\n\n Anne walks up behind him.", "story. A darker story... Of quills\n and swords. Of power and betrayal.\n Of a stage conquered, and a throne\n lost!", "Twenty-five years earlier. Young Oxford (now 25 and\n with a beard) is making love to someone. We can't tell", "And with that he slams the door shut.\n\n Robert Cecil walks over to a nearby window. Visibly\n upset he starts to stare out of the window and\n remembers...", "Young Oxford (now 26) is looking out a window at the\n river beyond. He has been imprisoned for some months.\n His beard has become ragged, his clothes have seen\n better days.", "Robert, Earl of ESSEX (28), is playing tennis against\n Southampton. He's handsome, red-headed, and, we will\n learn, very ambitious.", "He passes ANNE, Oxford's wife (now 40's), who is on her\n way to the study with their eldest daughter, BRIDGET\n (17).", "Much of the Court is watching this. They can tell\nthere are sparks between them.\n\nAll the dancers change partners, including Elizabeth\nand Oxford. A few dance moves, and Oxford once again\nfinds himself with Elizabeth.", "Oxford almost stumbles out of the building onto the now\n empty courtyard. The remains of the battle are still\n visible. Wounded, screaming horses struggle to\n stand...", "Oxford holds up a finger to prevent her from speaking\n while he finishes writing a thought. It's a long\n thought. Anne is obviously annoyed, and interrupts\n him.", "But then he HEARS footsteps coming. Panicked, he looks\n for someplace to hide-- a tapestry half covers a door--\n he runs to it-- the door is locked!", "Thirty-three years later.\n\n Shakespeare is on stage, taking a bow. The audience is\n APPLAUDING and SCREAMING their approval of a\n performance that has just ended. He steps backwards--", "PROLOGUE (CONT'D)\n He died at the age of 56, and was\n survived by his wife and two daughters", "14 INT. THE ROSE THEATER - DAY 14\n\n And it is nine years earlier. The faces come from an\n audience watching a play. They find the performance\n hysterical.", "FRANCESCO\n A year?\n\n OXFORD\n Pay him.\n\n 88\n pg. 89", "AT THE ALTAR\n\n Young Anne looks at her young husband, lovingly. Young\n Oxford is a bit overwhelmed and unsure of it all. And\n then we HEAR a trumpet BLARING, which takes us to:", "Cecil stares into his eyes for a long moment, searching\nfor the truth. Then he smiles.\n\n CECIL\n Let him go! He tells the truth." ], [ "TWO MEN\n\n walk towards the theater. Edward de Vere (47), the\n Earl of OXFORD, an intensely handsome man. His clothes\n have seen better days.", "Before they reach him he glances at his wife ANNE De\n Vere (40's) who sits in the distance knitting with one\n of their daughter's, BRIDGET (17).", "is watching James. His face betrays his proud\n feelings. All of Robert Cecil's desires have come true.\n\n Oxford's wife Anne is there, but Oxford is nowhere to\n be seen.", "WILLIAM CECIL (CONT'D)\n You must have known her eye would move\n elsewhere, Edward. It always has.\n You are neither the first, nor the\n last, of her lovers.", "William Cecil looks directly at John de Vere resulting\n in an uncomfortable silence.\n\n Elizabeth notices.", "Young Anne de Vere holds her sleeping daughter in her\n arms.\n\n\n86 INT. CECIL HOUSE - HALLWAY - EARLY MORNING 86", "WILLIAM CECIL\n The Queen does not ask for my advice\n about matters of the heart, Edward.\n If she had, she hardly would have\n chosen you for her pleasure.", "Jonson leaves Oxford's room, visibly shaken. The\n manuscripts are under his arm.\n\n Anne, Oxford's wife is still there, surround by\n doctors.", "WILLIAM CECIL (CONT'D)\n Go back to my daughter, Edward. She\n will accept you with open arms, as she", "She smiles, claps.\n\n YOUNG ELIZABETH\n (to John de Vere)\n My lord of Oxford. It seems you have\n added a poet to your family's long\n line of warriors.", "ELIZABETH (CONT'D)\n I am your Queen! Now who is my son!!?\n\n ROBERT CECIL\n His grace, the Earl of... Southampton,\n your majesty.", "William Cecil looks startled.\n\n WILLIAM CECIL\n Marry him, your grace? He is already\n married.", "Boy Robert Cecil watches as his father turns to his\nmother and sister.\n\n WILLIAM CECIL (CONT'D)\n May I present my wife, Lady Cecil, and\n my daughter, Anne.", "She is crushed.\n\n WILLIAM CECIL (CONT'D)\n Majesty, there is more. The lady is\n pregnant.", "YOUNG ELIZABETH (O.S.)\n Ah! There he is.\n\n Young Elizabeth and her senior Court, including William\n Cecil and John De Vere, have entered.", "OXFORD\n I am Edward, Earl of Oxford.\n\n SOUTHAMPTON\n Edward! Edward! Thank god you're\n here.", "ROBERT CECIL (CONT'D)\n He hated you, Edward, how he hated\n you. And yet he married his only\n daughter to you. I never knew why,\n until I read his last letter to me.", "And then he goes back to writing.\n\n ANNE\n For god's sake, who cares Edward?\n When your own daughter can't even have\n a suitable dowry?", "She doesn't have to say which one. Robert Cecil sees a\ncopy of \"Venus and Adonis\" on a table. He NODS.", "WILLIAM CECIL (CONT'D)\n My daughter is young, impressionable.\n She has feelings for you, Edward. It\n is to be expected, living in such\n close quarters..." ], [ "TWO MEN\n\n walk towards the theater. Edward de Vere (47), the\n Earl of OXFORD, an intensely handsome man. His clothes\n have seen better days.", "William Cecil looks directly at John de Vere resulting\n in an uncomfortable silence.\n\n Elizabeth notices.", "ELIZABETH\n You cannot have him.\n\n OXFORD\n He is our son.\n\n ELIZABETH\n Who did commit High Treason!", "of course had to be reared a nobleman.\n John De Vere, the previous Earl of\n Oxford, agreed to accept the task.", "OXFORD\n I would have you deny him.\n\n SOUTHAMPTON\n The son of the Queen?", "DEKKER\n Wants to have an audience with the Queen.\n As if Cecil would ever let Essex near her\n now.", "Before they reach him he glances at his wife ANNE De\n Vere (40's) who sits in the distance knitting with one\n of their daughter's, BRIDGET (17).", "ELIZABETH\n Impossible. He cannot be spared. We\n feel his counsel is of greater import\n with each passing day.\n\nNot what William Cecil wanted to hear.", "OXFORD\n No. I will go to Elizabeth, myself,\n alone--\n\n ESSEX\n How? Cecil won't let her see a letter\n without reading it first.", "WILLIAM CECIL\n Because the Queen has bade it so.\n (to Young Oxford)\n My lord, when we first met, you said", "WILLIAM CECIL\n Would you risk your throne for him?\n Would you risk England for him?\n\nHe knows the answer to that.", "She stares at him.\n\n ANNE (CONT'D)\n My god, you're writing again, aren't\n you? After you agreed-- after my\n father expressly forbade it!", "People start to exit. But not Robert Cecil.\n\n ROBERT CECIL\n Majesty, I--\n\n ELIZABETH\n Leave us!", "Robert Cecil smiles at Jonson, who can only stare at\nhim. Finally:\n\n JONSON\n (sotto)\n I am afraid that this is not possible,\n my lord.", "Cecil exits, obviously worried. When they are alone:\n\n ELIZABETH (CONT'D)\n You look old...\n\n Oxford smiles sadly.", "YOUNG ELIZABETH (O.S.)\n Ah! There he is.\n\n Young Elizabeth and her senior Court, including William\n Cecil and John De Vere, have entered.", "Young Oxford looks up at him like a bucket of cold\n water has hit him.\n\n William Cecil stops. He looks at Oxford with a stern\n face.", "Much of the Court is watching this. They can tell\nthere are sparks between them.\n\nAll the dancers change partners, including Elizabeth\nand Oxford. A few dance moves, and Oxford once again\nfinds himself with Elizabeth.", "WILLIAM CECIL\n The Queen does not ask for my advice\n about matters of the heart, Edward.\n If she had, she hardly would have\n chosen you for her pleasure.", "The Boy Oxford looks at William Cecil, perplexed by\n such a thing.\n\n WILLIAM CECIL\n That is God's decision, your majesty.\n Not mine." ], [ "TWO MEN\n\n walk towards the theater. Edward de Vere (47), the\n Earl of OXFORD, an intensely handsome man. His clothes\n have seen better days.", "INTERROGATOR\n We are not interested in your plays,\n Jonson. We are interested in the\n plays given to you by Edward de Vere,\n Earl of Oxford.", "Boy Oxford bows deeply.\n\n YOUNG ELIZABETH (CONT'D)\n (to Boy Oxford)\n Your father tells me you wrote this\n evening's play yourself.", "OXFORD\n Wait!\n (beat)\n How much?\n\nShakespeare looks at Francesco, then Oxford.\n\n SHAKESPEARE\n Four hundred pounds. A year.", "Oxford smiles at the thought of it. Then--\n\n OXFORD\n Promise me... promise me, Jonson, that\n you will keep our secret safe. That\n you won't expose Shakespeare...", "87\n pg. 88\n\n\nShakespeare is uncomfortable. He wasn't expecting\nOxford himself. Then he just goes for it.", "Shakespeare enters the tavern carrying a rolled up\n parchment. He passes various actors drinking, then\n hurries over to Jonson, Nashe and Dekker, who are deep\n in drink.", "MARLOWE\n (smiles)\n So who did write it? You? No. You'd\n take credit for it. No...\n (MORE)", "Shakespeare, standing next to a small table of props,\nquickly dips his fingers in an inkwell to make them\nstained. He grabs a large feathered quill and tucks a\npiece of parchment under his arm, then hurries--", "PROLOGUE\n Let us, ciphers to this great accompt,\n on your imaginary forces work.\n\n King James' watches enthusiastically, Robert Cecil\n right next to him.", "Jonson takes a long time before answering. Will he\nbetray Oxford?\n\n JONSON\n They were destroyed... burned... by\n your own men...", "DEKKER\n It wasn't all in verse.\n\n NASHE\n Ha! See! Even easier!\n\n Shakespeare enters and makes a bee line for them.", "No. I have a... reputation to\n protect. In my world, one does not\n write plays, Jonson. People like you\n do.", "She does so as Oxford walks over to Shakespeare. He\n tosses the manuscript to him. Shakespeare starts to\n look at it. The whore is partially dressed, so--", "She doesn't have to say which one. Robert Cecil sees a\ncopy of \"Venus and Adonis\" on a table. He NODS.", "And as each play is seen, Jonson and the rest of the\n Wits seem more and more depressed.\n\n And after each performance, Shakespeare seems to be\n greeted with more and more adulation.", "ELIZABETH (CONT'D)\n I am your Queen! Now who is my son!!?\n\n ROBERT CECIL\n His grace, the Earl of... Southampton,\n your majesty.", "Nashe and Dekker look at each other, slightly\n embarrassed. Jonson finds a quill deep in his pants.\n He thrusts it at Will, who ignores it.", "And then the door OPENS. Francesco enters, and Oxford\n follows, holding a manuscript. Shakespeare looks\n shocked. She starts to SCREAM and yell as she pulls a\n sheet to cover herself.", "She smiles, claps.\n\n YOUNG ELIZABETH\n (to John de Vere)\n My lord of Oxford. It seems you have\n added a poet to your family's long\n line of warriors." ], [ "ESSEX\n ...and how do the Cecils spend their\n time and energy? Shutting a theater!\n A theater, for god's sake? It's\n madness! No wonder the mob hates them\n so!", "WILLIAM CECIL\n Now tell me about the play.\n\n Robert Cecil looks surprised for an instant that he\n knows about that as well.", "ROBERT CECIL\n Majesty! You must away! Essex is in\n armed revolt! He's come to usurp you!", "PROLOGUE\n Let us, ciphers to this great accompt,\n on your imaginary forces work.\n\n King James' watches enthusiastically, Robert Cecil\n right next to him.", "People start to exit. But not Robert Cecil.\n\n ROBERT CECIL\n Majesty, I--\n\n ELIZABETH\n Leave us!", "SOUTHAMPTON\n It's Robert Cecil. He failed to kill\n you, now he tries to kill your name.\n\n Essex heads for the flap of the tent.", "WILLIAM CECIL\n No, Robert, think. If he is really as\n popular as you say, we would only\n anger the mob. No. We must strike at\n Edward directly.", "POLE\n This play has been declared seditious\n and illegal by Lord William Cecil!\n\nThe audience begins to BOO at the mention of Cecil.", "ROBERT CECIL\n You, you are the sun, majesty. The\n glory of--\n\n ELIZABETH\n Liar!", "Robert Cecil limping out of the dark towards him.\n Robert Cecil leans down, and very close to his ear,\n whispers:", "ELIZABETH\n Heard what?\n\n ROBERT CECIL\n Essex is in negotiations with Philip\n of Spain...", "The actor Condell is on stage, rehearsing the character\n of \"Gloucester\". He walks on stage with a limp, and\n has a large hump on his back. He is a caricature of\n Robert Cecil.", "ROBERT CECIL\n My lord of Southampton.\n (looking around)\n Have you seen Essex?", "Robert Cecil, on the other hand, looks horrified.\n\n ELIZABETH\n Are you this gift, my precious little\n man?", "William Cecil slowly-- and shakily-- bends down from\n his chair as--\n\n ROBERT CECIL\n But we cannot maintain our authority\n if the mob thinks us laughing stocks--", "ROBERT CECIL\n (to the Dwarf)\n Plays are the work of the devil, born", "ROBERT CECIL\n Father... It was just a play...", "Set for a Court performance of a play. Courtiers bow\n as King James I enters the chamber, Robert Cecil two\n steps behind him. James takes his seat right in front\n of the stage, as Elizabeth used to.", "An actor playing \"POLONIUS\" does an obvious caricature\n of William Cecil, dressed in black with an exaggerated\n rendition of Cecil's beard.", "The servant tightens the last strap of Robert Cecil's\n armor. He smiles at himself in the mirror.\n\n \"GLOUCESTER\" (O.S.)\n Plots have I laid!" ], [ "The actor Condell is on stage, rehearsing the character\n of \"Gloucester\". He walks on stage with a limp, and\n has a large hump on his back. He is a caricature of\n Robert Cecil.", "Robert Cecil limping out of the dark towards him.\n Robert Cecil leans down, and very close to his ear,\n whispers:", "She doesn't have to say which one. Robert Cecil sees a\ncopy of \"Venus and Adonis\" on a table. He NODS.", "ROBERT CECIL\n You, you are the sun, majesty. The\n glory of--\n\n ELIZABETH\n Liar!", "ELIZABETH (CONT'D)\n He was well placed? A nobleman?\n\n ROBERT CECIL\n (hesitates)\n Yes... your majesty.", "She says no more, the audience over. Robert Cecil\nhesitates, and then she glares at him... He bows and\nexits, the fury on his face plain.", "Robert Cecil, on the other hand, looks horrified.\n\n ELIZABETH\n Are you this gift, my precious little\n man?", "People start to exit. But not Robert Cecil.\n\n ROBERT CECIL\n Majesty, I--\n\n ELIZABETH\n Leave us!", "Cecil exits, obviously worried. When they are alone:\n\n ELIZABETH (CONT'D)\n You look old...\n\n Oxford smiles sadly.", "\"GLOUCESTER\", the future Richard III, enters. He is\n hunch-backed, and looks as much like Robert Cecil as", "PROLOGUE\n Let us, ciphers to this great accompt,\n on your imaginary forces work.\n\n King James' watches enthusiastically, Robert Cecil\n right next to him.", "ELIZABETH\n Heard what?\n\n ROBERT CECIL\n Essex is in negotiations with Philip\n of Spain...", "OXFORD (CONT'D)\n Neither they nor I ever conspired\n against you. Cecil alone was our aim.\n He has corrupted your--", "SOUTHAMPTON\n It's Robert Cecil. He failed to kill\n you, now he tries to kill your name.\n\n Essex heads for the flap of the tent.", "WILLIAM CECIL\n Now tell me about the play.\n\n Robert Cecil looks surprised for an instant that he\n knows about that as well.", "Elizabeth is looking out the window. It's raining\n outside. She is NOT wearing her wig, not much make-up,\n and looks quite... odd.\n\n Robert Cecil enters.", "(beat)\n Only the Cecils could I trust!\n Commoners! They could never claim my\n throne. Never! Their wealth, their", "ROBERT CECIL (CONT'D)\n --Make certain the secretaries refer\n to it as Richard the Second. There\n will be no mention of hunchbacks in\n the official record...", "An actor playing \"POLONIUS\" does an obvious caricature\n of William Cecil, dressed in black with an exaggerated\n rendition of Cecil's beard.", "WILLIAM CECIL\n I am dying, Robert--\n (before Robert can\n protest)\n We both know this to be true. And I\n will not witness the next coronation." ], [ "And Shakespeare goes back on stage.\n\n\n37 EXT. BANKSIDE LONDON - DAY 37", "Shakespeare backs off. Jonson pulls out a piece of\n parchment from his shirt.", "JONSON (CONT'D)\n So! Off to the palace are you?\n\n Shakespeare immediately sees Jonson's condition.", "Shakespeare exits the Print Shop, continuing to read\n the book, now out-loud.", "Thirty-three years later.\n\n Shakespeare is on stage, taking a bow. The audience is\n APPLAUDING and SCREAMING their approval of a\n performance that has just ended. He steps backwards--", "Shakespeare is on stage, supervising a rehearsal of\n \"Much Ado About Nothing\". He doesn't look pleased.", "Shakespeare doesn't want to discuss this with the\nothers present.\n\n SHAKESPEARE\n (smiles)\n Ben. Ben! Let me buy you a--", "ESSEX\n (to the valets)\n Leave us.\n (they exit)", "Cecil exits, obviously worried. When they are alone:\n\n ELIZABETH (CONT'D)\n You look old...\n\n Oxford smiles sadly.", "Shakespeare enters the tavern carrying a rolled up\n parchment. He passes various actors drinking, then\n hurries over to Jonson, Nashe and Dekker, who are deep\n in drink.", "Jonson leaves the stall, and continues down the street.\nShakespeare hesitates, then gives the girl a dazzling\nsmile. She smiles back, then Shakespeare runs after\nJonson.", "BACKSTAGE\n\nShakespeare turns to Burbage.\n\n SHAKESPEARE\n We must close the play. Now!!", "Oxford is silent. Francesco goes to physically eject\nShakespeare from the room.\n\n FRANCESCO\n Out. Get out! How dare you insult my\n master in--", "Everyone goes silent as Oxford approaches Elizabeth.\n Oxford makes no notice of them. He bows deeply in\n front of her.\n\n ELIZABETH\n Leave us. All of you.", "And \"Gloucester\" heads backstage.", "Shakespeare bows, then--", "Shakespeare laughs at him.", "Shakespeare is in a small boat following Francesco, who\n is in Oxford's boat. They head towards Oxford Stone.\n\n\n EXT. OXFORD STONE - DUSK", "And the characters of \"Oberon\" and \"Titania\" exit. Boy\n Oxford hurries--\n\n ON STAGE", "And then the door OPENS. Francesco enters, and Oxford\n follows, holding a manuscript. Shakespeare looks\n shocked. She starts to SCREAM and yell as she pulls a\n sheet to cover herself." ], [ "Jonson is thrown into a chair, a guard on either side\n of him. It's dark-- the only light coming from a few\n torches in the walls, and a large fire pit at the far\n side of the room.", "Twenty-seven years later. Jonson is alone, trying to\n write at a small table, though it's obvious from his\n fits and starts and crossing outs that he is having\n difficulty.", "Jonson leaves Oxford's room, visibly shaken. The\n manuscripts are under his arm.\n\n Anne, Oxford's wife is still there, surround by\n doctors.", "He points to a chair by the bed. When Jonson sits down\nhe notices a big pile of manuscripts by the side of the\nbed.", "Young Oxford (now 26) is looking out a window at the\n river beyond. He has been imprisoned for some months.\n His beard has become ragged, his clothes have seen\n better days.", "Jonson exits the building and walks away. He reads the\n dedication on the first page of the manuscript as he\n walks.", "Jonson looks around-- the cell is filled with a dozen\n or so other prisoners.", "17 INT. A JAIL CELL - DAY 17\n\n Jonson is THROWN into the cell, the door SLAMMED behind\n him.", "JONSON (CONT'D)\n So! Off to the palace are you?\n\n Shakespeare immediately sees Jonson's condition.", "BACK IN THE CELL\n\nJonson blinks, trying to stay conscious. His mouth is\nripped, bleeding. So is his nose.\n\n 7\n pg. 8", "Jonson sits in the same spot where Marlowe was sitting\n earlier. And he hates himself for it. Rain drips down\n the windows.\n\n Pole looks up from some papers.", "A few hours later. Oxford has died in his bed. Anne\n watches as a doctor covers his face with a sheet.", "The other prisoners make way as the guard approaches\n Jonson. The guard tosses a wax-sealed piece of\n parchment onto Jonson's lap.", "But then he HEARS footsteps coming. Panicked, he looks\n for someplace to hide-- a tapestry half covers a door--\n he runs to it-- the door is locked!", "ANNE (CONT'D)\n (to Jonson)\n You will leave at once. My husband is\n quite ill--", "William Cecil is pale and sweaty-- he is deathly ill,\n and sits in a wooden chair with small spoked wheels\n attached to the legs-- sort of an Elizabethan\n wheelchair.", "Jonson, slightly drunk, walks down a street, a whore\n under his arm, and notices a commotion up ahead: people\n talking by an alley near the Mermaid's tavern.", "Jonson waves her off. He looks up and sees:\n\n FROM HIS POV:\n\n The Tower of London. He makes a decision.", "And with that he slams the door shut.\n\n Robert Cecil walks over to a nearby window. Visibly\n upset he starts to stare out of the window and\n remembers...", "A SECOND DOCTOR exits the sick man's room.\n\n SECOND DOCTOR\n Are you Jonson?\n\n Jonson nods." ], [ "Essex mounts his horse, Southampton at his side. Their\n sixty or so men behind them ready for the march to\n Elizabeth.", "They're soon surrounded... And Essex, knowing all is\n lost, raises his sword in defeat.\n\n Southampton sees this, and does the same.", "ESSEX (CONT'D)\n To the Queen!\n\n Southampton has no choice, and follows. So do the 60\n or so men behind them.", "Essex and his men ROAR past the token guards at the\n front gate, and gallop into the--\n\n MAIN COURTYARD", "A group of horsemen gallop into Essex's camp. A\n MESSENGER jumps off his horse and heads for Essex's\n tent.", "ESSEX\n Spread out!\n\n But before his men can obey--\n\n IN THE COLONNADE\n\n Pole orders--", "It looks like an armed camp, with part of Essex's army\n encamped in the front courtyard. The soldiers are all\n tense.", "ESSEX\n Edward knows what he is doing... Does\n he not?\n\n SOUTHAMPTON\n He promised us a mob. They'll be\n here.", "Essex is having a Council of War with his generals and\n senior officers, including Southampton. They all stand\n around a table, consulting a map of Ireland.", "INT. ESSEX'S TENT - CONTINUOUS", "Essex and Southampton look tense. They expected a mob\n here by now.\n\n SOUTHAMPTON\n They should be here by now...\n\n Essex frowns.", "Men fall all around Essex and Southampton.\n\n\n141A EXT. WHITEHALL PALACE - COURTYARD - DAY 141A", "Essex looks unsure.\n\n ESSEX\n And the mob? How will I--\n\n OXFORD\n Leave that to me.", "SOUTHAMPTON\n It's Robert Cecil. He failed to kill\n you, now he tries to kill your name.\n\n Essex heads for the flap of the tent.", "Essex smiles at him warmly. They both HEAR something\n shuffle behind them. They turn, and see:\n\n WHERE OXFORD WAS STANDING", "20 EXT. ESSEX HOUSE - DAY 20\n\n Moments later, Oxford and Southampton are exiting the\n elaborate building that serves as Essex's London\n residence.", "ESSEX\n So what would you have me do? Spend\n the entire spring encamped? I am sent\n to Ireland to end this infernal\n rebellion, not idle my days with--", "Southampton and Essex are on horseback, followed by\n several dozen armed retainers, GALLOPING towards the\n city of London.", "Essex and Southampton jump off their horses.\n\n\n97 INT. WHITEHALL PALACE - HALLWAY - DAY 97", "plague of Philip.\n (clears his throat)\n Though, Essex would not,\n unfortunately, be able to remain in" ], [ "OXFORD\n He wanted his grandson to be an Earl.\n\n ROBERT CECIL\n No, Edward. He wanted his grandson to\n be a king.", "\"SALISBURY\"\n My sovereign lord, bestow yourself\n with speed. The French are bravely in\n their battles set and will with all\n expedience charge on us.", "Robert Cecil limping out of the dark towards him.\n Robert Cecil leans down, and very close to his ear,\n whispers:", "He remembers when he spies his daughter.\n\n ANNE\n She cannot go into marriage without a\n dowry that is becoming to the daughter\n of the Earl Oxford.", "People start to exit. But not Robert Cecil.\n\n ROBERT CECIL\n Majesty, I--\n\n ELIZABETH\n Leave us!", "WILLIAM CECIL\n Of course he did.\n (concerned)\n But what was it about?", "All the lords and ladies of the land. All wear\n elaborate black clothing.\n\n First is Robert Cecil. Proudly. Not far walks Oxford.", "WILLIAM CECIL\n Edward seeks what we seek. To choose\n the next King.\n\n Off Robert Cecil's surprised face we hear:", "Robert Cecil nods.\n\n\n 107\n pg. 108", "SOUTHAMPTON\n It's Robert Cecil. He failed to kill\n you, now he tries to kill your name.\n\n Essex heads for the flap of the tent.", "of course had to be reared a nobleman.\n John De Vere, the previous Earl of\n Oxford, agreed to accept the task.", "YOUNG OXFORD\n They tell me one day you're to be an\n Earl as well.\n\n BOY\n I shall be the Earl of Southampton.", "Cecil exits, obviously worried. When they are alone:\n\n ELIZABETH (CONT'D)\n You look old...\n\n Oxford smiles sadly.", "Robert, Earl of ESSEX (28), is playing tennis against\n Southampton. He's handsome, red-headed, and, we will\n learn, very ambitious.", "Young Oxford motions to go, then picks up the black\n king, and tosses it to Boy Robert Cecil, who can't\n catch it because of his deformity. It CLANGS on the\n floor.", "I inherited my Earldom as one of the\n wealthiest men ever to breathe English\n air... and at last breath, I shall be\n one of the poorest.", "Robert Cecil is furious, pacing back and forth in front\n of William Cecil, who sits behind a large wooden desk.", "The funeral over, Elizabeth exits the portal of\n Westminster Abbey and heads to her carriage. A huge\n crowd of mourners has assembled.\n\n Robert Cecil steps into place right behind her.", "ROBERT CECIL\n A wise decision, your majesty. If\n nothing else, it will give him an\n opportunity to respond to all these\n rumors.\n\n Still walking, she turns to him sharply.", "looking completely stricken, approaches the coffin,\n holding Cecil's white cane. She places it at his side.\n\n In the background we hear the Archbishop of Canterbury\n reading from the bible." ], [ "ELIZABETH (CONT'D)\n I am your Queen! Now who is my son!!?\n\n ROBERT CECIL\n His grace, the Earl of... Southampton,\n your majesty.", "TWO MEN\n\n walk towards the theater. Edward de Vere (47), the\n Earl of OXFORD, an intensely handsome man. His clothes\n have seen better days.", "ELIZABETH\n You cannot have him.\n\n OXFORD\n He is our son.\n\n ELIZABETH\n Who did commit High Treason!", "OXFORD\n I would have you deny him.\n\n SOUTHAMPTON\n The son of the Queen?", "ELIZABETH\n James?! He is the son of Mary! She\n plotted and schemed to steal the\n throne from under me! No son of hers\n will rule while a yet Tudor lives!", "is watching James. His face betrays his proud\n feelings. All of Robert Cecil's desires have come true.\n\n Oxford's wife Anne is there, but Oxford is nowhere to\n be seen.", "SOUTHAMPTON\n (smiles)\n With your father in London dealing\n with all the troubles in Ireland, who\n else should the Queen turn to but\n Essex?", "Before they reach him he glances at his wife ANNE De\n Vere (40's) who sits in the distance knitting with one\n of their daughter's, BRIDGET (17).", "DEKKER\n Wants to have an audience with the Queen.\n As if Cecil would ever let Essex near her\n now.", "ESSEX (CONT'D)\n Cecil's all but promising him the\n throne...\n\n SOUTHAMPTON\n To James? Elizabeth would never agree\n to-", "SOUTHAMPTON\n It's Robert Cecil. He failed to kill\n you, now he tries to kill your name.\n\n Essex heads for the flap of the tent.", "WILLIAM CECIL\n Because the Queen has bade it so.\n (to Young Oxford)\n My lord, when we first met, you said", "William Cecil enters.\n\n WILLIAM CECIL\n Your whore gave birth last week.", "WILLIAM CECIL\n Sir Robert Cecil.\n\n ELIZABETH\n Your son?", "ROBERT CECIL\n What? Slept with her son?\n (beat)\n I don't think she ever knew, to tell", "William Cecil looks directly at John de Vere resulting\n in an uncomfortable silence.\n\n Elizabeth notices.", "She is crushed.\n\n WILLIAM CECIL (CONT'D)\n Majesty, there is more. The lady is\n pregnant.", "Doors fly open and Oxford appears before Elizabeth, who\n is on her throne, regal and all in white, surrounded\n by courtiers, including Robert Cecil. But she looks\n very old, very ill.", "Next to Young Elizabeth, JOHN DE VERE, Oxford's father,\n also watches, his face beaming with pride.", "YOUNG ELIZABETH (CONT'D)\n (to Boy Oxford,\n conspiratorially)" ], [ "ESSEX (CONT'D)\n Think, Henry, if James owes Cecil his\n throne, Cecil will have more influence", "WILLIAM CECIL\n Would you risk your throne for him?\n Would you risk England for him?\n\nHe knows the answer to that.", "WILLIAM CECIL\n Of course he did.\n (concerned)\n But what was it about?", "OXFORD (CONT'D)\n (warning)\n Henry... The Cecils brook no rivals.\n\n Southampton pauses, confused for an instant, then--", "WILLIAM CECIL\n Because the Queen has bade it so.\n (to Young Oxford)\n My lord, when we first met, you said", "WILLIAM CECIL (CONT'D)\n Most of the Catholic princes of Europe\n wish to topple you and end your", "SOUTHAMPTON\n It's Robert Cecil. He failed to kill\n you, now he tries to kill your name.\n\n Essex heads for the flap of the tent.", "WILLIAM CECIL\n No, Robert, think. If he is really as\n popular as you say, we would only\n anger the mob. No. We must strike at\n Edward directly.", "ESSEX\n ...and how do the Cecils spend their\n time and energy? Shutting a theater!\n A theater, for god's sake? It's\n madness! No wonder the mob hates them\n so!", "Robert Cecil is furious, pacing back and forth in front\n of William Cecil, who sits behind a large wooden desk.", "WILLIAM CECIL\n So! I am gone for three days, and you\n somehow manage to let her spend all of\n them solely in the company of the Earl\n of Essex...", "WILLIAM CECIL (CONT'D)\n The Queen has decided to release you.\n It seems time does indeed heal all", "WILLIAM CECIL\n Essex's martial abilities are, in my\n opinion, the only antidote to the", "ELIZABETH (CONT'D)\n He was well placed? A nobleman?\n\n ROBERT CECIL\n (hesitates)\n Yes... your majesty.", "Robert Cecil limping out of the dark towards him.\n Robert Cecil leans down, and very close to his ear,\n whispers:", "Henry... Some of my men have...\n intercepted... some of William Cecil's\n recent correspondence with King James\n of Scotland...", "WILLIAM CECIL (CONT'D)\n To that end, I have the honor of\n introducing you to your tutors.", "ROBERT CECIL (CONT'D)\n Essex will be convicted and executed\n for treason.\n (beat)\n As will your son.\n\n Oxford looks shocked.", "People start to exit. But not Robert Cecil.\n\n ROBERT CECIL\n Majesty, I--\n\n ELIZABETH\n Leave us!", "WILLIAM CECIL\n Make even a hint of this to the child,\n or anyone else, and this agreement is" ], [ "POLE\n This play has been declared seditious\n and illegal by Lord William Cecil!\n\nThe audience begins to BOO at the mention of Cecil.", "Complete panic erupts as dozens of The Queen's Guard\nSTORM into the theater. Everyone tries to get out as\nquickly as possible, including the other actors, Henry", "by a few comrades-- and it quickly becomes a madhouse;\n half play, half real fight, as more audience members\n join the \"battle\". The play quickly degenerates into a", "She says no more, the audience over. Robert Cecil\nhesitates, and then she glares at him... He bows and\nexits, the fury on his face plain.", "People start to exit. But not Robert Cecil.\n\n ROBERT CECIL\n Majesty, I--\n\n ELIZABETH\n Leave us!", "POLE (CONT'D)\n All are herewith ordered to disperse\n immediately!\n\n A GROUNDLING\n Why don't you disperse William Cecil's\n arse!", "ELIZABETH\n You caused this! Your play, your\n words, caused my people to mob against", "POLE\n Jonson! Jonson!! Show yourself!\n\n The soldiers immediately spread out into different\n parts of the theater. Jonson's gone. Because--", "The huge crowd has stayed in front of the Globe. It\n seems they are waiting for something. We hear hissing\n and booing from the crowd inside the theater.", "The actor playing \"Henry\" kneels at the front of the\n stage. He speaks to the groundlings as though they are\n his troops.", "DWARF\n No, no, my most majestic majesty. I\n am a free man. My gift is a play,\n majesty.\n\n ELIZABETH\n A play?", "Set for a Court performance of a play. Courtiers bow\n as King James I enters the chamber, Robert Cecil two\n steps behind him. James takes his seat right in front\n of the stage, as Elizabeth used to.", "The play now over, Young Elizabeth applauds with\n delight, as do the small group of courtiers all around\n her.\n\n YOUNG ELIZABETH\n Lovely. Lovely!", "Young Oxford motions to go, then picks up the black\n king, and tosses it to Boy Robert Cecil, who can't\n catch it because of his deformity. It CLANGS on the\n floor.", "PROLOGUE\n Let us, ciphers to this great accompt,\n on your imaginary forces work.\n\n King James' watches enthusiastically, Robert Cecil\n right next to him.", "The audience-- soaked, pelted with rain-- watches\n immobile.\n\n And then a again a loud thunder clap takes us to the\n end of the play...", "FRANCESCO\n Down with Cecil!\n\n The actor playing \"Gloucester\" hesitates. The audience\n is getting unruly.", "The hissing and booing has swelled so strong that the\n actor stops for a moment. But then he finds the courage\n again to continue.", "As soon as it is away, Robert Cecil turns and some in\n the crowd of commoners begin to BOO at him.\n\n CUT TO:\n\n HORSE HOOVES", "They're soon surrounded... And Essex, knowing all is\n lost, raises his sword in defeat.\n\n Southampton sees this, and does the same." ], [ "Jonson is thrown into a chair, a guard on either side\n of him. It's dark-- the only light coming from a few\n torches in the walls, and a large fire pit at the far\n side of the room.", "He points to a chair by the bed. When Jonson sits down\nhe notices a big pile of manuscripts by the side of the\nbed.", "Twenty-seven years later. Jonson is alone, trying to\n write at a small table, though it's obvious from his\n fits and starts and crossing outs that he is having\n difficulty.", "Jonson is in a nobleman's longboat (for the first time\n in his life). Across from him sits FRANCESCO--", "Jonson, slightly drunk, walks down a street, a whore\n under his arm, and notices a commotion up ahead: people\n talking by an alley near the Mermaid's tavern.", "But Jonson is gone.\n\n 80\n pg. 81", "Jonson-- only semi conscious-- is carried by the actors\n and dumped into the street. They leave him there. He\n wallows in the mud for a beat. Then--", "OXFORD (CONT'D)\n Come over here, Jonson...", "Jonson looks around-- the cell is filled with a dozen\n or so other prisoners.", "Jonson is waiting not far from him by a stand and\n drinks an ale.\n\n Then Oxford's servant, Francesco, appears.", "JONSON (CONT'D)\n So! Off to the palace are you?\n\n Shakespeare immediately sees Jonson's condition.", "Jonson is stunned.", "Jonson-- carrying the manuscript-- runs up the street\n toward a large circular theater.\n\n He frantically opens the wooden door to the theater--", "PROLOGUE (CONT'D)\n Ben Jonson succeeded in his desire to be\n the most celebrated playwright of his", "The other prisoners make way as the guard approaches\n Jonson. The guard tosses a wax-sealed piece of\n parchment onto Jonson's lap.", "Jonson (now 25 and clean-shaven) is watching the\nperformance from behind a curtain, silently speaking\nthe lines with the actors.\n\nIN THE RAISED SEATING", "Oxford looks over to his wife who watches them\nsuspiciously. He begins to walk away forcing Jonson and\nFrancesco to follow.", "Jonson takes a swig of ale, then--", "Jonson looks stricken.\n\n JONSON\n I am not worthy of this charge, my\n lord. I... I betrayed you... I told\n them of your--", "Jonson exits the building and walks away. He reads the\n dedication on the first page of the manuscript as he\n walks." ], [ "MARLOWE\n (smiles)\n So who did write it? You? No. You'd\n take credit for it. No...\n (MORE)", "Jonson sits next to Marlowe.\n\n MARLOWE (CONT'D)\n Hmm? Ben? Waiting to see how it's\n received before you lay claim??", "Jonson tries not to be offended.\n\n JONSON\n Yes. My lord. You wrote an entire\n play, my lord. I know how difficult--", "To answer is not an easy task for Jonson's ego. He\nhesitates.\n\n\n\n\n 135\n pg. 136", "PROLOGUE (CONT'D)\n Ben Jonson succeeded in his desire to be\n the most celebrated playwright of his", "Oxford smiles at the thought of it. Then--\n\n OXFORD\n Promise me... promise me, Jonson, that\n you will keep our secret safe. That\n you won't expose Shakespeare...", "SHAKESPEARE (CONT'D)\n Jonson! Wonderful dialogue!\n Wonderful. I hope your next--\n\n HENSLOWE (O.C.)\n Will! Will Shakespeare!", "JONSON\n And you want... me to apply my name to\n this play?\n\n OXFORD\n No. I mean you to put your name to\n all of them.", "Shakespeare returns backstage and takes a deep swig\nfrom his tankard. He's actually drunk, though his\nperformance didn't show it at all. He spots Jonson,\nand grabs him.", "MARLOWE (CONT'D)\n A nobleman.\n\n Jonson looks up. Marlowe smiles, knowing he is closer\n to the truth.", "Jonson takes a long time before answering. Will he\nbetray Oxford?\n\n JONSON\n They were destroyed... burned... by\n your own men...", "Shakespeare enters the tavern carrying a rolled up\n parchment. He passes various actors drinking, then\n hurries over to Jonson, Nashe and Dekker, who are deep\n in drink.", "JONSON (CONT'D)\n So! Off to the palace are you?\n\n Shakespeare immediately sees Jonson's condition.", "Jonson still doesn't answer, which is answer enough.\n\n SHAKESPEARE (CONT'D)\n Ohhhh, you have to do it then, don't\n you?", "He points to a chair by the bed. When Jonson sits down\nhe notices a big pile of manuscripts by the side of the\nbed.", "And as each play is seen, Jonson and the rest of the\n Wits seem more and more depressed.\n\n And after each performance, Shakespeare seems to be\n greeted with more and more adulation.", "POLE\n Oi, is that right, is it? And you\n know this because?\n\n JONSON\n Because I wrote the bloody thing! And-\n -", "Oxford studies him, believes him. Then he opens a\n cabinet.\n\n In it, manuscript after manuscript are stacked. Jonson\n looks behind him, stunned by the number.", "Oxford turns to him, distracted, and nods.\n\nON STAGE\n\nJonson pushes his way on stage.", "JONSON\n (grins)\n My best so far. I guarantee more than\n one performance. Though I'll not pay\n for the tickets myself.\n (winks)\n No need to." ], [ "Oxford smiles at the thought of it. Then--\n\n OXFORD\n Promise me... promise me, Jonson, that\n you will keep our secret safe. That\n you won't expose Shakespeare...", "And then the door OPENS. Francesco enters, and Oxford\n follows, holding a manuscript. Shakespeare looks\n shocked. She starts to SCREAM and yell as she pulls a\n sheet to cover herself.", "Shakespeare shows no reaction.\n\n JONSON\n I know he went to see you last night,\n Will. And I know he was planning to\n expose you if you didn't agree to his\n terms.", "A few hours later. Oxford has died in his bed. Anne\n watches as a doctor covers his face with a sheet.", "Jonson takes a long time before answering. Will he\nbetray Oxford?\n\n JONSON\n They were destroyed... burned... by\n your own men...", "Oxford is silent. Francesco goes to physically eject\nShakespeare from the room.\n\n FRANCESCO\n Out. Get out! How dare you insult my\n master in--", "Shakespeare enters the tavern carrying a rolled up\n parchment. He passes various actors drinking, then\n hurries over to Jonson, Nashe and Dekker, who are deep\n in drink.", "TWO MEN\n\n walk towards the theater. Edward de Vere (47), the\n Earl of OXFORD, an intensely handsome man. His clothes\n have seen better days.", "They stare at each other and then Shakespeare SHOVES\n him off. Jonson falls to the ground.\n\n CUT TO:", "Jonson leaves Oxford's room, visibly shaken. The\n manuscripts are under his arm.\n\n Anne, Oxford's wife is still there, surround by\n doctors.", "Shakespeare returns backstage and takes a deep swig\nfrom his tankard. He's actually drunk, though his\nperformance didn't show it at all. He spots Jonson,\nand grabs him.", "And as each play is seen, Jonson and the rest of the\n Wits seem more and more depressed.\n\n And after each performance, Shakespeare seems to be\n greeted with more and more adulation.", "OXFORD\n Wait!\n (beat)\n How much?\n\nShakespeare looks at Francesco, then Oxford.\n\n SHAKESPEARE\n Four hundred pounds. A year.", "Oxford tries to understand Southampton, but then\n notices Shakespeare on stage. His mouth opens in\n shock, and he turns to look across the theater at--\n\n JONSON", "Jonson looks on in horror as Francesco is KILLED by a\n soldier wielding a pike.", "NASHE\n I for one wish to see this anonymous\n colleague of ours.\n (stands)\n Playwright! Playwright!!\n\nMarlowe and others join in. And--", "Shakespeare doesn't want to discuss this with the\nothers present.\n\n SHAKESPEARE\n (smiles)\n Ben. Ben! Let me buy you a--", "Elizabeth is still scratching her chest, but more\n vigorously as some of the members of court give\n uncomfortable glances at each other over the death of\n William Cecil-- er \"Polonius\" onstage.", "Cecil's face goes to stone.\n\n WILLIAM CECIL\n The other one?\n (realizing)\n Who told you?", "Jonson leaves the stall, and continues down the street.\nShakespeare hesitates, then gives the girl a dazzling\nsmile. She smiles back, then Shakespeare runs after\nJonson." ], [ "WILLIAM CECIL\n Of course he did.\n (concerned)\n But what was it about?", "WILLIAM CECIL\n Would you risk your throne for him?\n Would you risk England for him?\n\nHe knows the answer to that.", "WILLIAM CECIL (CONT'D)\n The Queen has decided to release you.\n It seems time does indeed heal all", "WILLIAM CECIL\n Because the Queen has bade it so.\n (to Young Oxford)\n My lord, when we first met, you said", "William Cecil looks directly at John de Vere resulting\n in an uncomfortable silence.\n\n Elizabeth notices.", "WILLIAM CECIL (CONT'D)\n My daughter is young, impressionable.\n She has feelings for you, Edward. It\n is to be expected, living in such\n close quarters...", "WILLIAM CECIL\n\nFollows his daughter's look. He doesn't like what he\nsees any more than Young Anne does.", "WILLIAM CECIL (CONT'D)\n To that end, I have the honor of\n introducing you to your tutors.", "ELIZABETH (CONT'D)\n He was well placed? A nobleman?\n\n ROBERT CECIL\n (hesitates)\n Yes... your majesty.", "WILLIAM CECIL (CONT'D)\n You must have known her eye would move\n elsewhere, Edward. It always has.\n You are neither the first, nor the\n last, of her lovers.", "WILLIAM CECIL (CONT'D)\n Go back to my daughter, Edward. She\n will accept you with open arms, as she", "She doesn't have to say which one. Robert Cecil sees a\ncopy of \"Venus and Adonis\" on a table. He NODS.", "WILLIAM CECIL\n Make even a hint of this to the child,\n or anyone else, and this agreement is", "WILLIAM CECIL\n James knows of the Queen's affection\n for Essex... and the rumors of his", "WILLIAM CECIL\n The Queen does not ask for my advice\n about matters of the heart, Edward.\n If she had, she hardly would have\n chosen you for her pleasure.", "Boy Robert Cecil watches as his father turns to his\nmother and sister.\n\n WILLIAM CECIL (CONT'D)\n May I present my wife, Lady Cecil, and\n my daughter, Anne.", "WILLIAM CECIL\n I don't know if the whore has even\n delivered the--\n\n YOUNG OXFORD\n No. The other one.", "45\n pg. 46\n\n\n William Cecil doesn't answer. Instead he thinks,\n remembers, as we hear his younger voice...", "WILLIAM CECIL\n So! I am gone for three days, and you\n somehow manage to let her spend all of\n them solely in the company of the Earl\n of Essex...", "WILLIAM CECIL (CONT'D)\n (realizing, to himself)\n Edward...\n (to Robert Cecil)\n Have you any idea what you have-- No,\n how could you..." ], [ "WILLIAM CECIL (CONT'D)\n From King James of Scotland.\n\n Robert Cecil looks surprised.", "CECIL\n Majesty... You are not having doubts\n about James of Scotland succeeding\n you, are you?\n\nElizabeth goes into a rage.", "ESSEX (CONT'D)\n Think, Henry, if James owes Cecil his\n throne, Cecil will have more influence", "Henry... Some of my men have...\n intercepted... some of William Cecil's\n recent correspondence with King James\n of Scotland...", "WILLIAM CECIL\n Would you risk your throne for him?\n Would you risk England for him?\n\nHe knows the answer to that.", "ESSEX (CONT'D)\n Cecil's all but promising him the\n throne...\n\n SOUTHAMPTON\n To James? Elizabeth would never agree\n to-", "PROLOGUE\n Robert Cecil remained the most powerful\n man in the Court of King James, though he\n could not prevent the public theaters", "PROLOGUE\n Let us, ciphers to this great accompt,\n on your imaginary forces work.\n\n King James' watches enthusiastically, Robert Cecil\n right next to him.", "Set for a Court performance of a play. Courtiers bow\n as King James I enters the chamber, Robert Cecil two\n steps behind him. James takes his seat right in front\n of the stage, as Elizabeth used to.", "ROBERT CECIL\n You must flee! Quickly! Majesty! He\n means to kill you and take your throne\n for himself!", "People start to exit. But not Robert Cecil.\n\n ROBERT CECIL\n Majesty, I--\n\n ELIZABETH\n Leave us!", "Doors fly open and Oxford appears before Elizabeth, who\n is on her throne, regal and all in white, surrounded\n by courtiers, including Robert Cecil. But she looks\n very old, very ill.", "WILLIAM CECIL\n Edward seeks what we seek. To choose\n the next King.\n\n Off Robert Cecil's surprised face we hear:", "WILLIAM CECIL\n James knows of the Queen's affection\n for Essex... and the rumors of his", "ROBERT CECIL\n No. Unfortunately for us, your\n majesty, he is quite sane. He simply\n believes he is your royal equal.", "WILLIAM CECIL\n No, Robert, think. If he is really as\n popular as you say, we would only\n anger the mob. No. We must strike at\n Edward directly.", "is watching James. His face betrays his proud\n feelings. All of Robert Cecil's desires have come true.\n\n Oxford's wife Anne is there, but Oxford is nowhere to\n be seen.", "ELIZABETH\n Heard what?\n\n ROBERT CECIL\n Essex is in negotiations with Philip\n of Spain...", "Robert Cecil limping out of the dark towards him.\n Robert Cecil leans down, and very close to his ear,\n whispers:", "ROBERT CECIL\n Majesty! You must away! Essex is in\n armed revolt! He's come to usurp you!" ], [ "Several actors are mid-scene in \"A Midsummer Night's\nDream\" (Act 3, Scene 1), their make-up quite elaborate", "commoner, \"Puck\", played by the dwarf who is now\ndressed like a cupid, and \"Titania\", Queen of the\nfairies, who is presently asleep in a bed of fur. Puck", "Postcoital, the fire still lit. Young Elizabeth is\n half asleep, half awake, nestled in furs in front of\n the fireplace... much like Titania in \"Midsummer\n Night's Dream\"...", "\"PROLOGUE\"\n Oh, for a muse of fire, that would\n ascend the brightest heaven of\n invention. A kingdom for a stage,", "Shakespeare, standing next to a small table of props,\nquickly dips his fingers in an inkwell to make them\nstained. He grabs a large feathered quill and tucks a\npiece of parchment under his arm, then hurries--", "SHAKESPEARE\n I am addressing the writer of\n Hamlet... of Juliet and her Romeo. Am\n I not?", "Jonson leaves the stall, and continues down the street.\nShakespeare hesitates, then gives the girl a dazzling\nsmile. She smiles back, then Shakespeare runs after\nJonson.", "SHAKESPEARE (CONT'D)\n He sleeps with a musk-cat every night,\n and walks all day hang'd in perfumed\n chains for penance.", "Shakespeare smiles triumphantly.\n\n\n\n 13\n pg. 14", "Shakespeare is on stage, supervising a rehearsal of\n \"Much Ado About Nothing\". He doesn't look pleased.", "Titania awakens in her nest-like bed of fur.\n\n \"TITANIA\"\n What angel wakes me from my flow'ry\n bed?\n\nELIZABETH", "\"OBERON\" (O.S.)\n ...and the owner of it blest ever\n shall in safety rest. Trip away; make\n no stay;\n meet me all by break of day.", "Shakespeare enters the tavern carrying a rolled up\n parchment. He passes various actors drinking, then\n hurries over to Jonson, Nashe and Dekker, who are deep\n in drink.", "\"PUCK\" (CONT'D)\n So, good night unto you all. Give me\n your hands, if we be friends, and\n Robin shall restore amends.", "CUT TO:\n\n 86\n pg. 87\n\n\n SHAKESPEARE", "SHAKESPEARE (CONT'D)\n Jonson! Wonderful dialogue!\n Wonderful. I hope your next--\n\n HENSLOWE (O.C.)\n Will! Will Shakespeare!", "YOUNG OXFORD\n (smiles)\n Puck?\n\n YOUNG ELIZABETH\n Yes, Puck!\n\nShe's only teasing.", "Boy Oxford bows deeply.\n\n YOUNG ELIZABETH (CONT'D)\n (to Boy Oxford)\n Your father tells me you wrote this\n evening's play yourself.", "\"PUCK\" (CONT'D)\n ...And this weak and idle theme, No\n more yielding but a dream, gentles, do\n not reprehend; if you pardon, we will\n mend.", "And the characters of \"Oberon\" and \"Titania\" exit. Boy\n Oxford hurries--\n\n ON STAGE" ] ]

[ "What is the name of the theater Ben Johnson flees to with the manuscripts?", "Who sets the theater on fire?", "Who is the Queen?", "Edward De Vere is what age when he writes Midsummer Nights Dream?", "Whom does William Cecil blackmail Edward De Vere into marrying?", "What is the name of Edward De Vere's unknown illegtimate son?", "Whom is the mother of James VI of Scotland?", "William Shakespeare is accused of murder by whom?", "In what year did Edward De Vere die?", "What is the name of the theater Ben runs to in London?", "In what year does the main story take place?", "Who is Edward de Vere's wife? ", "What is de Vere forbidden to do?", "Who pretends to write de Vere's plays?", "What play is supposed to start a mob against Robert Cecil?", "Who betrays the intentions behind preforming \"Richard III\" to Robert Cecil?", "Where does Shakespeare retire to?", "Where was Johnson confined to?", "Where are Essex and his men ambushed?", "What does the Earl of Salisburg initiate a search to find?", "What is the name of de Vere's son with the Queen?", "Why does Henry Wriosthesley threaten Cecil's plans for crowning James VI as king?", "Why does the royal militia stop the play?", "Where was Jonson confined?", "Who does Jonson allow to take credit for writing Henry V?", "Who is killed after discovering Shakespeare's plays are written by another person?", "What does William Cecil use to blackmail de Vere into marrying his daughter?", "What threatens Cecil's plans to have James VI crowned king?", "Who wrote a Midsummer Night's Dream?" ]

[ [ "The Rose", "The Rose" ], [ "The solders", "Cecil" ], [ "Queen Elizabeth I", "Elizabeth I" ], [ "8 or 9", "eight or nine" ], [ "Anne Cecil", "His daughter Anne. " ], [ "Henry Wriothesly ", "Henry Wriothesley" ], [ "Mary, Queen of Scots", "Mary Queen of Scots" ], [ "Ben Johnson", "Ben Jonson" ], [ "1604", "1604" ], [ "The Rose", "The Rose" ], [ "1598", "1598" ], [ "Anne Cecil", "Anne Cecil" ], [ "Write plays. ", "Write plays, and later, reveal that he is the author of Shakespeare's works." ], [ "William Shakespeare. ", "William Shakespeare" ], [ "Richard III.", "Richard III" ], [ "Johnson", "Ben Jonson" ], [ "Stratford", "Stratford" ], [ "The Tower of London. ", "the Tower of London" ], [ "the Palace courtyard", "The palace courtyard. " ], [ "Manuscripts", "trove of manuscripts" ], [ "Henry Wriosthesley", "Henry Wriothesley " ], [ "He is of pure Tudor lineage and an alternative to the contender for the throne.", "He is the queens true son" ], [ "Its seditious content.", "because it was believed to be seditious, meant to incite rebellion against the government" ], [ "The Tower of London", "Tower of London" ], [ "William Shakespeare", "William Shakespeare" ], [ "Christopher Marlowe", "Christopher Marlowe" ], [ "He uses the fact that de Vere murdered a servant.", "The fact that he murdered a servant lurking behind a curtain." ], [ "The existence of the Queen and de Vere's child.", "The illegitimate child of de Vere and the queen, since he is also a successor." ], [ "Edward de Vere", "Edward de Vere" ] ]

[ [ "Hobbes steps back to watch. Tears spring into his eyes. He \n picks up another scalpel and perfunctorily sticks it into", "Rollo searches through Hobbes's notes to find the relevant \n quotes. As he does so, he drops a few crumbs of knish on the", "Dr. Emil Hobbes, a huge, florid, bearded man, is strangling \n Annabelle Horsefield. Despite the difference in their sizes --", "school clothes in a heap on the floor. Hobbes takes a scalpel \n from the top of the radiator where he has laid out his \n surgical instruments. He feels Annabelle's stomach until he", "his neck. Blood spurts into his mask and soaks through to \n the other side. Hobbes sinks to his knees before the blazing", "St. Luc is reading a section of one of Hobbes's medical papers \n in preparation for examining Tudor later on. The section we", "smell of burned flesh attacks Tudor's nostrils. He is on his \n way to the bedroom when he sees Hobbes's foot around the \n corner of the dining room.", "Rollo puts his jacket on, picks up his doctor's bag and a \n manila envelope jammed solid with Hobbes's notes, and leaves \n his lab, turning off the lights and locking the door behind \n him.", "Annabelle fights back fiercely; Hobbes has tears in his eyes. \n The struggle takes them all over her apartment, which,", "In his lab, Rollo sits at the gynecological table abandoned \n by Hobbes. Rollo is using it as an auxiliary desk.", "although sparsely furnished, presents enough objects in their \n way to cause a lot of crashing around. At one point Annabelle \n breaks loose and Hobbes has to chase her.", "Anyway, I've been going through his \n papers, and what they add up to is \n this: Hobbes was shafting us all,", "quickly and with tremendous, crazy energy. Blood oozes from \n her mouth. Hobbes places his hand over her mouth as though \n trying to prevent her from speaking, or to prevent something", "again)\n All Hobbes ever did was run around \n getting money and phone me in the \n middle of the night. He wanted you", "The detective now turns to St. Luc, who is crouched on the \n floor examining the chalk outline around where Hobbes's body \n had lain.", "ST. LUC\n Been glancing at some of your \n publications on your work with Hobbes.\n\n INT. ROLLO'S LAB -- NIGHT", "Annabelle's corpse is still smoking where it lies on the \n dining-room table. Hobbes's body is twisted into the fetal", "it was we were working on. Hobbes \n gave us each a few crumbs, but he \n was the only one who knew what the", "ROLLO\n (shuffling papers)\n Listen, Rog. I knew Hobbes was funny,", "INT. ST. LUC'S OFFICE -- NIGHT\n\n St. Luc watches as Forsythe rolls her stockings down. He \n shuffles through Hobbes's publications." ], [ "Hobbes steps back to watch. Tears spring into his eyes. He \n picks up another scalpel and perfunctorily sticks it into", "quickly and with tremendous, crazy energy. Blood oozes from \n her mouth. Hobbes places his hand over her mouth as though \n trying to prevent her from speaking, or to prevent something", "Dr. Emil Hobbes, a huge, florid, bearded man, is strangling \n Annabelle Horsefield. Despite the difference in their sizes --", "Annabelle fights back fiercely; Hobbes has tears in his eyes. \n The struggle takes them all over her apartment, which,", "his neck. Blood spurts into his mask and soaks through to \n the other side. Hobbes sinks to his knees before the blazing", "She turns and walks angrily out of the room, slamming the \n door behind her.\n\n Tudor rolls over slowly on to his back, eyes wide and shining, \n smiling again.", "berserk. I dunno what she did, but \n Hobbes wasn't ready for it. He had \n to kill her. And he wasn't trying to", "Rollo sighs heavily. St. Luc gently shoves all the papers \n aside.\n\n ST. LUC\n Rollo, how come Hobbes killed himself?", "She suddenly stumbles across the body of the man St. Luc has \n killed. She actually has to break her fall with her hands, \n which slip in the man's blood. Horrified, she gets up and \n backs away.", "Annabelle's corpse is still smoking where it lies on the \n dining-room table. Hobbes's body is twisted into the fetal", "smell of burned flesh attacks Tudor's nostrils. He is on his \n way to the bedroom when he sees Hobbes's foot around the \n corner of the dining room.", "She climbs on to the bed and settles down. She puts her face \n very close to Tudor's. For the moment, his face is \n expressionless, but his neck is swollen just under the jaw.", "ROLLO\n It was women did it to Hobbes. \n Couldn't handle them. That girl, \n that Annabelle -- talk about crazy \n projects.", "Tudor pulls her back to him, and finally she is forced to \n batter him away with her fists and slip off the edge of the \n bed. Tudor glares after her.", "school clothes in a heap on the floor. Hobbes takes a scalpel \n from the top of the radiator where he has laid out his \n surgical instruments. He feels Annabelle's stomach until he", "She looks up at Tudor's face with a mixture of horror and \n wonder in her eyes. Tudor is confused; he doesn't want the \n caresses to stop.", "St. Luc is reading a section of one of Hobbes's medical papers \n in preparation for examining Tudor later on. The section we", "Rollo searches through Hobbes's notes to find the relevant \n quotes. As he does so, he drops a few crumbs of knish on the", "In his lab, Rollo sits at the gynecological table abandoned \n by Hobbes. Rollo is using it as an auxiliary desk.", "Her companion extends a hand to help the first lady keep her \n balance, then gives a slightly more startled cry when she \n sees the blood." ], [ "St. Luc hugs Forsythe for a moment, then holds her away from \n him so that he can get some information out of her.", "While she talks, Forsythe gradually slips her arms around \n St. Luc's neck and brings her lips closer and closer to his.", "Forsythe puts her arm around St. Luc's neck as though wanting \n support. Instead, she draws him down toward her and begins \n to babble in a strange, casual, dreamy way.", "St. Luc is examining a very pretty young girl who sits on \n the examination table in a hospital tunic.", "Dr. Roger St. Luc, tall, thin, dark, not bad-looking, stands \n over the table staring at the corpse of Annabelle. As he", "St. Luc rushes at the woman, knocking her over. She rolls on \n the floor, hugging herself and crooning.\n\n Once out the door, St. Luc makes for the nearest exit.", "St. Luc watches Forsythe, who is halfway through getting her \n street clothes on. He toys with the Velakofsky file, which", "St. Luc races through the garage, trying to find Forsythe. \n He finally sees her car in the middle of the exit ramp and \n runs over to it.", "He kneels beside Forsythe, who seems to be only just regaining \n consciousness. St. Luc strokes her face, pushes strands of \n hair matted with blood out of her eyes.", "He starts to run down like a spring-wound toy at the end of \n its run. He glances at a picture of Annabelle stuck in a \n corner, which St. Luc just notices for the first time.", "St. Luc is absorbed in his papers and doesn't respond. \n Forsythe prods his shoulder. He looks up at her.\n\n FORSYTHE\n Kiss, kiss?", "The girl starts to get dressed. St. Luc scribbles something \n in her file and then takes it with him into the adjoining \n office, closing the door behind him.", "Three or four people sit waiting to see St. Luc, among them \n the aging but sprightly Mr. Parkins and Janine Tudor. Parkins,", "Suddenly Forsythe bursts in, out of breath, semi-hysterical, \n tearful.\n\n St. Luc rises from his chair and Forsythe throws herself on \n him, sobbing.", "St. Luc has made his way to the main doors and stands talking \n to the rental agent, Merrick, who is leaning against the \n intercom board with the doorman's pocketbook romance in one \n hand.", "ST. LUC\n Was her name Annabelle Horsefield?\n\n PARKINS\n That's the one.", "She suddenly stumbles across the body of the man St. Luc has \n killed. She actually has to break her fall with her hands, \n which slip in the man's blood. Horrified, she gets up and \n backs away.", "ST. LUC\n Uh, OK. Sure.\n\n They kiss, St. Luc making sure that it doesn't get too heavy.", "As they kiss, Janine's hands hold St. Luc's head fiercely. \n Betts assists her by pinning St. Luc's arms behind him.", "St. Luc, mesmerized by the hypnotic drone of her words, is \n about to kiss her. Suddenly her mouth snaps open wide with \n mechanical precision, her head tilts back, her eyes flick \n closed." ], [ "St. Luc leaps to his feet and begins kicking the man in the \n head. After a furious moment or two, he suddenly stops, drops \n the poker, and stares at the body in horrified disbelief.", "The doorman's face is covered with blood and drool. Repulsed \n and terrified, St. Luc fires the gun into the doorman's upper", "St. Luc grips the gun and staggers over to the car. He pulls \n the doorman off Forsythe, who is completely soaked with blood.", "As St. Luc begins to ascend the stairs, we can see tiny black \n hooks tearing through Forsythe's gag. Blood begins to soak \n through from the inside.", "She suddenly stumbles across the body of the man St. Luc has \n killed. She actually has to break her fall with her hands, \n which slip in the man's blood. Horrified, she gets up and \n backs away.", "The man grabs St. Luc again, trying to kiss him on the mouth. \n They struggle. St. Luc is thrown to the concrete floor. The", "The man stands up unsteadily. St. Luc cracks him on the ankle \n with the poker and he comes crashing down. The parasite corpse", "St. Luc's cheeks bulge wide and blood dribbles from his nose \n and mouth. His throat swells monstrously. Janine releases", "St. Luc continues to poke around inside the incinerator with \n the poker. Finally his flashlight beam reveals the tattered \n corpse of Spergazzi's parasite.", "St. Luc curses under his breath and makes a move toward the \n door. Merrick smiles and pulls it open for him. St. Luc \n disappears down the stairs leading to the incinerator.", "St. Luc slowly backs away from the man's body, which is very \n still and quietly oozes blood on to the damp concrete floor.", "St. Luc bounds down the incinerator room stairs looking for \n Forsythe. He sees immediately that she is not there, but \n also notices handprints in blood on the door leading to the \n garage.", "St. Luc drags Forsythe out of the car, throws her over his \n shoulder, and carries her down the ramp toward the door \n leading to the incinerator.", "The man slips his arms up under St. Luc's arms and kisses \n him passionately on the neck. As soon as St. Luc realizes", "The doorman pounds St. Luc in the temple with his fist and \n lifts himself partially off Forsythe, half turning toward \n St. Luc, who is staggered by the blow.", "He kneels beside Forsythe, who seems to be only just regaining \n consciousness. St. Luc strokes her face, pushes strands of \n hair matted with blood out of her eyes.", "The doorman is still on top of Forsythe in the front seat of \n the car. St. Luc pulls the doorman's gun out of its holster \n and begins smashing away at the doorman with it.", "St. Luc rises, throws Forsythe over his shoulder and begins \n to step toward the door of the gym.", "St. Luc rushes at the woman, knocking her over. She rolls on \n the floor, hugging herself and crooning.\n\n Once out the door, St. Luc makes for the nearest exit.", "The steel door at the top of a concrete flight of stairs \n swings open and St. Luc appears. He quickly negotiates the \n steps and opens the steel door at the bottom which leads to \n the incinerator room." ], [ "St. Luc continues to poke around inside the incinerator with \n the poker. Finally his flashlight beam reveals the tattered \n corpse of Spergazzi's parasite.", "As St. Luc begins to ascend the stairs, we can see tiny black \n hooks tearing through Forsythe's gag. Blood begins to soak \n through from the inside.", "St. Luc's cheeks bulge wide and blood dribbles from his nose \n and mouth. His throat swells monstrously. Janine releases", "He starts to paw Rollo, feebly trying to prevent him from \n further mutilating the parasites. He reaches over St. Luc's \n shoulder and grabs a large chunk of one of the parasites.", "The man stands up unsteadily. St. Luc cracks him on the ankle \n with the poker and he comes crashing down. The parasite corpse", "St. Luc curses under his breath and makes a move toward the \n door. Merrick smiles and pulls it open for him. St. Luc \n disappears down the stairs leading to the incinerator.", "The steel door at the top of a concrete flight of stairs \n swings open and St. Luc appears. He quickly negotiates the \n steps and opens the steel door at the bottom which leads to \n the incinerator room.", "St. Luc bounds down the incinerator room stairs looking for \n Forsythe. He sees immediately that she is not there, but \n also notices handprints in blood on the door leading to the \n garage.", "He kneels beside Forsythe, who seems to be only just regaining \n consciousness. St. Luc strokes her face, pushes strands of \n hair matted with blood out of her eyes.", "St. Luc slowly backs away from the man's body, which is very \n still and quietly oozes blood on to the damp concrete floor.", "She suddenly stumbles across the body of the man St. Luc has \n killed. She actually has to break her fall with her hands, \n which slip in the man's blood. Horrified, she gets up and \n backs away.", "man tries to pin him down. St. Luc, on the verge of being \n overpowered, smashes the man in the chest with the poker, \n parasite still hooked into its tip.", "The man grabs St. Luc again, trying to kiss him on the mouth. \n They struggle. St. Luc is thrown to the concrete floor. The", "We catch glimpses of people of all kinds and ages locked \n together on floors, chairs, etc. St. Luc finds an open exit \n door and plunges through it, taking Forsythe with him.", "St. Luc reels with disgust and disbelief. He turns and runs.\n\n INT. SWIMMING POOL -- NIGHT", "St. Luc leaps to his feet and begins kicking the man in the \n head. After a furious moment or two, he suddenly stops, drops \n the poker, and stares at the body in horrified disbelief.", "As St. Luc examines the creature, which is still impaled on \n the hook of the poker, the door to the incinerator room opens", "St. Luc lets go of Forsythe and she sinks to the floor. The \n residents are swarming all over them. St. Luc abandons \n Forsythe and begins to fight his way up the stairs.", "superintendent's flashlight stuck up on top of a heating \n pipe. St. Luc takes down the flashlight, switches it on, and \n continues his search for the dead parasite.", "St. Luc holds the thing up to the naked light bulb above the \n incinerator. The light seems to go right through the parasite, \n illuminating the twisted vascular system, reproductive organs, \n etc." ], [ "He starts to paw Rollo, feebly trying to prevent him from \n further mutilating the parasites. He reaches over St. Luc's \n shoulder and grabs a large chunk of one of the parasites.", "cheeks now swell as the parasite enters his mouth. His eyes \n jolt open in terror and he manages to pull away slightly, \n revealing the tentacles joining her mouth to his like", "The parasite which has been lurking in the washer suddenly \n springs from the opening on to the old woman's face, suckering", "As he writhes on the carpeted floor, two more parasites appear \n crawling toward him from under the bed, covered with dust", "the thread -- a hook used to hang on inside the body -- is \n attached. The tentacle of the blood parasite probes its way \n from between Tudor's lips.", "Spergazzi shows St. Luc his wife's forearm, which has been \n badly burned by the parasite's animal-tissue solvent. As", "And what he came up with to help our \n guts along was a human parasite that \n is... lemme find it here... 'a", "Hobbes steps back to watch. Tears spring into his eyes. He \n picks up another scalpel and perfunctorily sticks it into", "corners as he goes down, the chunk of parasite still in his \n mouth as he finally comes to rest, twitching, on the floor. \n Rollo drops the pliers on the floor.", "In the depths of Forsythe's mouth two parasite tentacles \n probe about, seeking a firm hold for their suckers so that \n they can pull the parasite's body out of her narrow esophagus.", "Beyond the parasite is a basement window through which is \n visible a large laundry room complete with washers and dryers. \n The window has been propped open a couple of inches by a bar \n of laundry soap.", "around)\n Look. You got men, you got parasites \n that live in, on, and around men. \n Now. Why not breed a parasite that", "St. Luc continues to poke around inside the incinerator with \n the poker. Finally his flashlight beam reveals the tattered \n corpse of Spergazzi's parasite.", "guinea pig. He implanted her with \n the thing. I figure that once the \n parasites took, Annabelle went", "The girl hesitates for a second. Suddenly the parasite \n twitches around to the front of the jug. The girl, startled, \n slams the box door shut.", "The boy takes a look. Inside the box a third parasite can \n just be seen clinging to a three-quart white plastic milk", "The creature, the second parasite to emerge from Tudor's \n body, lies in the grass, away from the bright cones of light", "The parasite is now half out of her mouth, hanging through \n the slit it has torn in her gag.", "quickly and with tremendous, crazy energy. Blood oozes from \n her mouth. Hobbes places his hand over her mouth as though \n trying to prevent her from speaking, or to prevent something", "She puts the jug back in the milk chute. She notices the \n blood smeared on it just a second before the parasite in the \n chute fastens itself to her wrist with its suckers." ], [ "St. Luc's cheeks bulge wide and blood dribbles from his nose \n and mouth. His throat swells monstrously. Janine releases", "St. Luc is reading a section of one of Hobbes's medical papers \n in preparation for examining Tudor later on. The section we", "ST. LUC\n I knew the man, Emil Hobbes, a doctor \n and a professor at university. I saw", "He is now in full flight. He leans over St. Luc and begins \n to demonstrate what he says by drawing things on St. Luc's \n stomach with his fingers. St. Luc can't hide his amusement.", "INT. ST. LUC'S EXAMINATION ROOM -- NIGHT\n\n St. Luc is examining Mr. Parkins. Parkins sits on the \n examination table with the hospital tunic on.", "Three or four people sit waiting to see St. Luc, among them \n the aging but sprightly Mr. Parkins and Janine Tudor. Parkins,", "Dr. St. Luc has told you that there's \n nothing wrong with Nick that a \n vacation won't cure, and if Nick", "He kneels beside Forsythe, who seems to be only just regaining \n consciousness. St. Luc strokes her face, pushes strands of \n hair matted with blood out of her eyes.", "Dr. Roger St. Luc, tall, thin, dark, not bad-looking, stands \n over the table staring at the corpse of Annabelle. As he", "SUPER\n Yeah, that's Dr. St. Luc. He's the \n head of our little medical clinic \n here.", "St. Luc slowly backs away from the man's body, which is very \n still and quietly oozes blood on to the damp concrete floor.", "ST. LUC\n (a bit uncomfortable \n being put on the \n spot)\n Rollo, you know me. Once a GP, always \n a GP.", "The driver of this first car is St. Luc, sleek and exuberant, \n a raised collar and a scarf hiding most of his scars. He \n glances into his rear-view mirror.", "St. Luc is examining a very pretty young girl who sits on \n the examination table in a hospital tunic.", "St. Luc sits down at the counter beneath the medicine cabinet \n and begins to write in Parkins' file.", "ST. LUC\n (obviously a bit dazed \n by what he has been \n seeing)\n Sure.", "St. Luc hugs Forsythe for a moment, then holds her away from \n him so that he can get some information out of her.", "St. Luc stops pressing and takes up his stethoscope. He begins \n to percuss the old man's abdomen.\n\n PARKINS\n Want me to breathe deeply?", "St. Luc half drags, half carries Forsythe along hallways \n whose doors are wide open. From the apartments issues the", "The man slips his arms up under St. Luc's arms and kisses \n him passionately on the neck. As soon as St. Luc realizes" ], [ "door for them. The doorman, like most security guards, does \n not look capable of handling a serious crisis. He is about \n fifty, of average height but slightly built, wears thick", "The doorman's face is covered with blood and drool. Repulsed \n and terrified, St. Luc fires the gun into the doorman's upper", "St. Luc rushes at the woman, knocking her over. She rolls on \n the floor, hugging herself and crooning.\n\n Once out the door, St. Luc makes for the nearest exit.", "He turns to leave the room. As he turns, Mr. Spergazzi appears \n out of the shadows behind him. Using his four-pronged aluminum", "in and closes the door. He lays Forsythe down on a gym mat \n and then barricades the door with a box horse and a weight-\n lifting table.", "St. Luc leaps to his feet and begins kicking the man in the \n head. After a furious moment or two, he suddenly stops, drops \n the poker, and stares at the body in horrified disbelief.", "The doorman, drooling and twitching, locks the exit doors at \n the end of one hallway. In one hand he holds an enormous \n pair of cable cutters.", "The night watchman stands near the garage doors. Smiling \n broadly, he stamps on the cable which activates the sliding \n doors.\n\n EXT. STARLINER TOWERS -- NIGHT", "on to the tiles of the bathroom floor. The glass shatters. \n After a moment or two of further silent struggle, Betts arches", "The doorman is still on top of Forsythe in the front seat of \n the car. St. Luc pulls the doorman's gun out of its holster \n and begins smashing away at the doorman with it.", "We catch glimpses of people of all kinds and ages locked \n together on floors, chairs, etc. St. Luc finds an open exit \n door and plunges through it, taking Forsythe with him.", "The doorman presses a button on the intercom board. As he \n turns back to the Svibens, he catches his holster on the \n board.", "The woman suddenly lunges at the doorman and tries to pull \n him down. Kurt detaches himself from the girl and joins her.", "St. Luc grips the gun and staggers over to the car. He pulls \n the doorman off Forsythe, who is completely soaked with blood.", "St. Luc continues to poke around inside the incinerator with \n the poker. Finally his flashlight beam reveals the tattered \n corpse of Spergazzi's parasite.", "The doors spring open. Kurt stands at the back of the \n elevator, one arm around the young girl, who hugs him tightly.", "the floor. He rolls on to the floor, eyes staring out of his \n head, mouth opening and closing like that of a fish out of \n water, tendons in his neck bulging with tension.", "The man stands up unsteadily. St. Luc cracks him on the ankle \n with the poker and he comes crashing down. The parasite corpse", "St. Luc lets go of Forsythe and she sinks to the floor. The \n residents are swarming all over them. St. Luc abandons \n Forsythe and begins to fight his way up the stairs.", "Nobody says another word until the doors spring open and \n Merrick, after a wink at Tudor, hustles the Svibens out of \n the elevator." ], [ "Hobbes steps back to watch. Tears spring into his eyes. He \n picks up another scalpel and perfunctorily sticks it into", "Rollo sighs heavily. St. Luc gently shoves all the papers \n aside.\n\n ST. LUC\n Rollo, how come Hobbes killed himself?", "his neck. Blood spurts into his mask and soaks through to \n the other side. Hobbes sinks to his knees before the blazing", "Dr. Emil Hobbes, a huge, florid, bearded man, is strangling \n Annabelle Horsefield. Despite the difference in their sizes --", "Rollo searches through Hobbes's notes to find the relevant \n quotes. As he does so, he drops a few crumbs of knish on the", "quickly and with tremendous, crazy energy. Blood oozes from \n her mouth. Hobbes places his hand over her mouth as though \n trying to prevent her from speaking, or to prevent something", "Anyway, I've been going through his \n papers, and what they add up to is \n this: Hobbes was shafting us all,", "St. Luc is reading a section of one of Hobbes's medical papers \n in preparation for examining Tudor later on. The section we", "smell of burned flesh attacks Tudor's nostrils. He is on his \n way to the bedroom when he sees Hobbes's foot around the \n corner of the dining room.", "Annabelle fights back fiercely; Hobbes has tears in his eyes. \n The struggle takes them all over her apartment, which,", "Annabelle's corpse is still smoking where it lies on the \n dining-room table. Hobbes's body is twisted into the fetal", "again)\n All Hobbes ever did was run around \n getting money and phone me in the \n middle of the night. He wanted you", "Tudor does not answer, does not move. He lies stiffly on the \n bed on his back, mouth insanely agape, eyes shut, covers \n half on the floor.", "St. Luc leaps to his feet and begins kicking the man in the \n head. After a furious moment or two, he suddenly stops, drops \n the poker, and stares at the body in horrified disbelief.", "Rollo puts his jacket on, picks up his doctor's bag and a \n manila envelope jammed solid with Hobbes's notes, and leaves \n his lab, turning off the lights and locking the door behind \n him.", "school clothes in a heap on the floor. Hobbes takes a scalpel \n from the top of the radiator where he has laid out his \n surgical instruments. He feels Annabelle's stomach until he", "berserk. I dunno what she did, but \n Hobbes wasn't ready for it. He had \n to kill her. And he wasn't trying to", "The detective now turns to St. Luc, who is crouched on the \n floor examining the chalk outline around where Hobbes's body \n had lain.", "it was we were working on. Hobbes \n gave us each a few crumbs, but he \n was the only one who knew what the", "Hanging over the railing of the balcony like an ocean traveler \n in a rough sea, Tudor finally gives up the struggle and hangs" ], [ "Hobbes steps back to watch. Tears spring into his eyes. He \n picks up another scalpel and perfunctorily sticks it into", "He starts to paw Rollo, feebly trying to prevent him from \n further mutilating the parasites. He reaches over St. Luc's \n shoulder and grabs a large chunk of one of the parasites.", "the thread -- a hook used to hang on inside the body -- is \n attached. The tentacle of the blood parasite probes its way \n from between Tudor's lips.", "guinea pig. He implanted her with \n the thing. I figure that once the \n parasites took, Annabelle went", "cheeks now swell as the parasite enters his mouth. His eyes \n jolt open in terror and he manages to pull away slightly, \n revealing the tentacles joining her mouth to his like", "As he writhes on the carpeted floor, two more parasites appear \n crawling toward him from under the bed, covered with dust", "In the depths of Forsythe's mouth two parasite tentacles \n probe about, seeking a firm hold for their suckers so that \n they can pull the parasite's body out of her narrow esophagus.", "Spergazzi shows St. Luc his wife's forearm, which has been \n badly burned by the parasite's animal-tissue solvent. As", "The parasite which has been lurking in the washer suddenly \n springs from the opening on to the old woman's face, suckering", "his neck. Blood spurts into his mask and soaks through to \n the other side. Hobbes sinks to his knees before the blazing", "around)\n Look. You got men, you got parasites \n that live in, on, and around men. \n Now. Why not breed a parasite that", "She puts the jug back in the milk chute. She notices the \n blood smeared on it just a second before the parasite in the \n chute fastens itself to her wrist with its suckers.", "Betts tries to scream but can't. The parasite suckers its \n way between Betts' thighs. She screams a silent scream in", "Dr. Emil Hobbes, a huge, florid, bearded man, is strangling \n Annabelle Horsefield. Despite the difference in their sizes --", "quickly and with tremendous, crazy energy. Blood oozes from \n her mouth. Hobbes places his hand over her mouth as though \n trying to prevent her from speaking, or to prevent something", "The girl hesitates for a second. Suddenly the parasite \n twitches around to the front of the jug. The girl, startled, \n slams the box door shut.", "The man stands up unsteadily. St. Luc cracks him on the ankle \n with the poker and he comes crashing down. The parasite corpse", "The boy takes a look. Inside the box a third parasite can \n just be seen clinging to a three-quart white plastic milk", "corners as he goes down, the chunk of parasite still in his \n mouth as he finally comes to rest, twitching, on the floor. \n Rollo drops the pliers on the floor.", "extended, groping like a blind man, the three parasites still \n locked on to his face. They try to pull his lips apart, but" ], [ "Anyway, I've been going through his \n papers, and what they add up to is \n this: Hobbes was shafting us all,", "Rollo searches through Hobbes's notes to find the relevant \n quotes. As he does so, he drops a few crumbs of knish on the", "it was we were working on. Hobbes \n gave us each a few crumbs, but he \n was the only one who knew what the", "St. Luc is reading a section of one of Hobbes's medical papers \n in preparation for examining Tudor later on. The section we", "Hobbes steps back to watch. Tears spring into his eyes. He \n picks up another scalpel and perfunctorily sticks it into", "ST. LUC\n Been glancing at some of your \n publications on your work with Hobbes.\n\n INT. ROLLO'S LAB -- NIGHT", "on the screen long enough to be completely read. Hobbes's \n notes are there more to convince the viewer that they exist \n and to provide flavor than to transfer information.", "Rollo sighs heavily. St. Luc gently shoves all the papers \n aside.\n\n ST. LUC\n Rollo, how come Hobbes killed himself?", "again)\n All Hobbes ever did was run around \n getting money and phone me in the \n middle of the night. He wanted you", "ROLLO\n You know and I know that Hobbes was \n a lousy teacher, eh? Lousy. Dry,", "In his lab, Rollo sits at the gynecological table abandoned \n by Hobbes. Rollo is using it as an auxiliary desk.", "don't see the rest of this caution. \n 'Satyr's Tongue' was Hobbes's code \n name for our project. What we were", "ROLLO\n (shuffling papers)\n Listen, Rog. I knew Hobbes was funny,", "watching Forsythe get undressed and then dressed; and Hobbes's \n notes and scribblings, which do not necessarily have to be", "quickly and with tremendous, crazy energy. Blood oozes from \n her mouth. Hobbes places his hand over her mouth as though \n trying to prevent her from speaking, or to prevent something", "shoeboxes, some still tied with string, some opened and \n overflowing with papers of all kinds: Hobbes's private notes.", "his neck. Blood spurts into his mask and soaks through to \n the other side. Hobbes sinks to his knees before the blazing", "Rollo puts his jacket on, picks up his doctor's bag and a \n manila envelope jammed solid with Hobbes's notes, and leaves \n his lab, turning off the lights and locking the door behind \n him.", "wanted. Files on Horsefield, Tudor, \n Swinburne, and Velakofsky. Papers \n published by Hobbes, Linsky, and", "ROLLO\n It was women did it to Hobbes. \n Couldn't handle them. That girl, \n that Annabelle -- talk about crazy \n projects." ], [ "ST. LUC\n (to Spergazzi)\n This is Nurse Forsythe. She's a nurse, \n you understand me?", "Suddenly Forsythe bursts in, out of breath, semi-hysterical, \n tearful.\n\n St. Luc rises from his chair and Forsythe throws herself on \n him, sobbing.", "He kneels beside Forsythe, who seems to be only just regaining \n consciousness. St. Luc strokes her face, pushes strands of \n hair matted with blood out of her eyes.", "The door to one of the examination rooms opens and Forsythe \n pops her head around the corner.\n\n FORSYTHE\n Mrs. Ementhal's ready and waiting, \n Doctor.", "Forsythe nods and manages to sit up with St. Luc's help. \n Once she seems able to stay propped up without St. Luc's", "St. Luc hugs Forsythe for a moment, then holds her away from \n him so that he can get some information out of her.", "INT. GYM -- NIGHT\n\n Forsythe finally opens her eyes. She smiles at St. Luc, who \n hovers anxiously over her as she lies on the gym mat.", "Forsythe picks up the book, then opens one of the pots to \n check something. She is obviously taking a lot of care with", "INT. RECEPTION AREA -- LATE AFTERNOON\n\n Forsythe comes out to the reception area from an examination \n room, checks out the patient list, and beckons to Mr. Parkins.", "INT. EXAMINATION ROOM -- LATE AFTERNOON\n\n Once inside the examination room, Forsythe closes the door \n and hands Parkins a hospital tunic.", "in and closes the door. He lays Forsythe down on a gym mat \n and then barricades the door with a box horse and a weight-\n lifting table.", "He opens the garage door. Forsythe's screams come echoing \n through the garage.\n\n INT. GARAGE -- NIGHT", "While she talks, Forsythe gradually slips her arms around \n St. Luc's neck and brings her lips closer and closer to his.", "Forsythe puts her arm around St. Luc's neck as though wanting \n support. Instead, she draws him down toward her and begins \n to babble in a strange, casual, dreamy way.", "ST. LUC\n Forsythe, Forsythe! What's wrong? \n What's happened?", "Forsythe breaks away and runs toward the bathroom, intending \n to lock herself in. Kresimir throws himself at her legs,", "St. Luc watches Forsythe, who is halfway through getting her \n street clothes on. He toys with the Velakofsky file, which", "Mrs. Spergazzi comes out of the kitchen. She has heard the \n noises. She and Forsythe look at each other for a moment,", "door and grabs Forsythe by the back of the head, trying to \n kiss her and drooling.", "Forsythe paces back and forth, checks her watch, paces some \n more. Finally, after a particularly noisy outburst by Mrs." ], [ "An old man and his wife, the Spergazzis, are taking their \n late-night constitutional through the halls of the South \n Tower.", "We catch glimpses of people of all kinds and ages locked \n together on floors, chairs, etc. St. Luc finds an open exit \n door and plunges through it, taking Forsythe with him.", "see the Spergazzis coming toward them, the old lady hobbling \n and hysterical, the old man helping her walk as best he can, \n trying to maintain some kind of calm.", "The first lady makes a move to find the injured creature, \n but her companion tightens her grip on the old lady's arm.\n\n COMPANION\n Come along, Olive.", "A group of residents suddenly appear at the next landing \n above St. Luc and, noticing them, begin to walk down the \n steps, moaning and crooning and making vaguely sexual gestures \n toward the pair.", "The young couple turn to look at him. Suddenly, three more \n residents, two women and a man, all of them half naked, jump", "St. Luc lets go of Forsythe and she sinks to the floor. The \n residents are swarming all over them. St. Luc abandons \n Forsythe and begins to fight his way up the stairs.", "Three or four people sit waiting to see St. Luc, among them \n the aging but sprightly Mr. Parkins and Janine Tudor. Parkins,", "Kurt keeps on moving. He is now just passing her door. The \n old woman edges out from behind the door a bit more.\n\n OLD WOMAN\n I'm hungry!", "four-pronged canes to help them walk. The Svibens watch the \n old couple as they enter and then glance at each other", "The old woman is short, dumpy, puffy-faced, in her late \n sixties. Her hair is carelessly tied in a bun on top of her \n head.", "who are too old or too young to go into the night looking \n for new hosts for their parasites, content to remain \n incubators for the time being.", "Two elderly women, Vi and Olive, are taking a leisurely \n evening stroll at the base of Tudor's tower. They both hold", "St. Luc rushes at the woman, knocking her over. She rolls on \n the floor, hugging herself and crooning.\n\n Once out the door, St. Luc makes for the nearest exit.", "In the stairwell several flights below, Forsythe lies \n surrounded by milling residents, legs spread as though about", "The doorman leaves the Svibens to open the door for the \n Spergazzis, an elderly Italian couple who both use aluminum,", "St. Luc curses under his breath and makes a move toward the \n door. Merrick smiles and pulls it open for him. St. Luc \n disappears down the stairs leading to the incinerator.", "KRESIMIR\n (shouting)\n Nobody should be alone! Nobody should \n be alone tonight!\n\n The rest of the residents pick up the cry and chant together.", "He runs higher and higher, up flight after flight of stairs, \n until he is free of the slow-moving residents. He leans back \n against a wall, panting.", "A moment after she's gone and closed the door, two children \n about ten years old appear around a corner, giggling and \n jostling each other. They approach Tudor's apartment." ], [ "A group of residents suddenly appear at the next landing \n above St. Luc and, noticing them, begin to walk down the \n steps, moaning and crooning and making vaguely sexual gestures \n toward the pair.", "The young couple turn to look at him. Suddenly, three more \n residents, two women and a man, all of them half naked, jump", "KRESIMIR\n (shouting)\n Nobody should be alone! Nobody should \n be alone tonight!\n\n The rest of the residents pick up the cry and chant together.", "The residents are full of bubbly anticipation in their cars. \n Kresimir leans out of his car and shouts to no one in \n particular.", "RESIDENTS\n (together)\n Nobody alone! Nobody alone!", "VARIOUS RESIDENTS\n (voices echoing in \n unison)\n A kiss, a kiss, a kiss!", "As he hits the residents on the stairs, they try to kiss \n him, caress him, pull his clothes off. They finally manage", "From inside the apartment we hear several muffled voices, at \n first angry and indignant, then pleading and terrified. \n Screams and crashes follow.", "residents touch her, stroke her, caress her, as though \n offering her a strange kind of comfort.", "Another car full of residents suddenly careens in front of \n the door and screeches to a halt, blocking St. Luc, who in", "As we prowl amongst the cars we find many of the residents \n we already know, now dressed to the teeth in their seductive \n best.", "St. Luc lets go of Forsythe and she sinks to the floor. The \n residents are swarming all over them. St. Luc abandons \n Forsythe and begins to fight his way up the stairs.", "One of these residents is the superintendent, who is opening \n the door with one of his set of master keys. The residents,", "swerving to avoid them smashes his fender into a concrete \n post. He picks up the gun from the console between the seats \n and, opening the car door, empties the gun at the residents,", "In the stairwell several flights below, Forsythe lies \n surrounded by milling residents, legs spread as though about", "down on them from the tops of large filing cabinets. The \n residents begin to kiss and paw the couple. Merrick wipes \n his mouth with the back of his hand and then throws himself", "Rollo enters and closes the door behind him, deliberately \n slamming it. He walks into the center of the living room and \n bellows.", "A moment after she's gone and closed the door, two children \n about ten years old appear around a corner, giggling and \n jostling each other. They approach Tudor's apartment.", "The first lady makes a move to find the injured creature, \n but her companion tightens her grip on the old lady's arm.\n\n COMPANION\n Come along, Olive.", "She turns and walks angrily out of the room, slamming the \n door behind her.\n\n Tudor rolls over slowly on to his back, eyes wide and shining, \n smiling again." ], [ "Hobbes steps back to watch. Tears spring into his eyes. He \n picks up another scalpel and perfunctorily sticks it into", "quickly and with tremendous, crazy energy. Blood oozes from \n her mouth. Hobbes places his hand over her mouth as though \n trying to prevent her from speaking, or to prevent something", "St. Luc is reading a section of one of Hobbes's medical papers \n in preparation for examining Tudor later on. The section we", "his neck. Blood spurts into his mask and soaks through to \n the other side. Hobbes sinks to his knees before the blazing", "Dr. Emil Hobbes, a huge, florid, bearded man, is strangling \n Annabelle Horsefield. Despite the difference in their sizes --", "Rollo puts his jacket on, picks up his doctor's bag and a \n manila envelope jammed solid with Hobbes's notes, and leaves \n his lab, turning off the lights and locking the door behind \n him.", "school clothes in a heap on the floor. Hobbes takes a scalpel \n from the top of the radiator where he has laid out his \n surgical instruments. He feels Annabelle's stomach until he", "He is propped up in bed, sweating profusely, half-dressed. \n He looks weak and drained, but still manages to smile with \n maniacal intensity, his eyes wide and bright.", "anything, but, I mean, the way Hobbes \n designed them, they're supposed to \n get out of hand real quick, so you", "Anyway, I've been going through his \n papers, and what they add up to is \n this: Hobbes was shafting us all,", "Rollo searches through Hobbes's notes to find the relevant \n quotes. As he does so, he drops a few crumbs of knish on the", "again)\n All Hobbes ever did was run around \n getting money and phone me in the \n middle of the night. He wanted you", "it was we were working on. Hobbes \n gave us each a few crumbs, but he \n was the only one who knew what the", "INT. ANNABELLE'S APARTMENT -- MORNING\n\n Hobbes ties a green surgical mask over his mouth and nose, \n snaps on rubber gloves.", "As he writhes on the carpeted floor, two more parasites appear \n crawling toward him from under the bed, covered with dust", "around)\n Look. You got men, you got parasites \n that live in, on, and around men. \n Now. Why not breed a parasite that", "Rollo sighs heavily. St. Luc gently shoves all the papers \n aside.\n\n ST. LUC\n Rollo, how come Hobbes killed himself?", "Annabelle's corpse is still smoking where it lies on the \n dining-room table. Hobbes's body is twisted into the fetal", "corners as he goes down, the chunk of parasite still in his \n mouth as he finally comes to rest, twitching, on the floor. \n Rollo drops the pliers on the floor.", "medical to me here at the lab. I'm \n Hobbes's partner, right?\n (laughs sardonically)" ], [ "Hobbes steps back to watch. Tears spring into his eyes. He \n picks up another scalpel and perfunctorily sticks it into", "draw itself out of his body. His throat bulges, his cheeks \n swell as the tentacles contract. His lips are gradually forced \n apart as the quivering, moist shape emerges. His mouth is", "St. Luc holds the thing up to the naked light bulb above the \n incinerator. The light seems to go right through the parasite, \n illuminating the twisted vascular system, reproductive organs, \n etc.", "his neck. Blood spurts into his mask and soaks through to \n the other side. Hobbes sinks to his knees before the blazing", "Dr. Emil Hobbes, a huge, florid, bearded man, is strangling \n Annabelle Horsefield. Despite the difference in their sizes --", "quickly and with tremendous, crazy energy. Blood oozes from \n her mouth. Hobbes places his hand over her mouth as though \n trying to prevent her from speaking, or to prevent something", "St. Luc continues to poke around inside the incinerator with \n the poker. Finally his flashlight beam reveals the tattered \n corpse of Spergazzi's parasite.", "As the thing hits Rollo's face it locks on to his head by \n entangling its stubby tentacles in his hair and attaching \n its suckers to his cheeks and chin.", "school clothes in a heap on the floor. Hobbes takes a scalpel \n from the top of the radiator where he has laid out his \n surgical instruments. He feels Annabelle's stomach until he", "In his lab, Rollo sits at the gynecological table abandoned \n by Hobbes. Rollo is using it as an auxiliary desk.", "on to her flesh with its stubby tentacles. She shrieks and \n grabs at the creature with both hands, trying to pull it \n off.", "She puts the jug back in the milk chute. She notices the \n blood smeared on it just a second before the parasite in the \n chute fastens itself to her wrist with its suckers.", "The lump returns again. Gently, Tudor begins stroking it. \n The lump seems to respond by pulsing slightly, the rhythm \n strangely masturbatory.", "cheeks now swell as the parasite enters his mouth. His eyes \n jolt open in terror and he manages to pull away slightly, \n revealing the tentacles joining her mouth to his like", "The creature, the second parasite to emerge from Tudor's \n body, lies in the grass, away from the bright cones of light", "corners as he goes down, the chunk of parasite still in his \n mouth as he finally comes to rest, twitching, on the floor. \n Rollo drops the pliers on the floor.", "And what he came up with to help our \n guts along was a human parasite that \n is... lemme find it here... 'a", "The girl hesitates for a second. Suddenly the parasite \n twitches around to the front of the jug. The girl, startled, \n slams the box door shut.", "around)\n Look. You got men, you got parasites \n that live in, on, and around men. \n Now. Why not breed a parasite that", "is the love of two alien kinds of \n creatures for each other, that dying \n is an act of eroticism, that even" ], [ "From inside the apartment we hear several muffled voices, at \n first angry and indignant, then pleading and terrified. \n Screams and crashes follow.", "A moment after she's gone and closed the door, two children \n about ten years old appear around a corner, giggling and \n jostling each other. They approach Tudor's apartment.", "As soon as he is inside the apartment, Tudor knows that \n something is seriously wrong. Smoke hangs in the air and the", "MAN\n Apartment 307? Visiting my sister.\n\n Merrick smiles and opens the door for the man, who goes in \n and takes the stairway up, preferring to walk.", "As the Spergazzis make their way shakily toward the elevators, \n Mr. Merrick, the rental agent, appears from around a corner.", "INT. A HALLWAY -- MORNING\n\n Tudor leaves his apartment, closing the door behind him (we \n see the number clearly).", "In the elevator are Merrick, the rental agent, and the \n Svibens.\n\n MERRICK\n We're going up.", "St. Luc has made his way to the main doors and stands talking \n to the rental agent, Merrick, who is leaning against the \n intercom board with the doorman's pocketbook romance in one \n hand.", "KRESIMIR\n Yes, please. I... er, we... are \n looking for the rental agent here. \n We have an appointment.", "Still no answer. Rollo is puzzled. He snoops around the \n apartment until he finds the bedroom with its door half \n closed. He pushes gently on the door and opens it gradually.", "The doorman is nonplussed. He hesitates, then makes a move \n toward the elevator, intending to help the woman to her feet.", "The doorman watches as the numbers show that the elevator is \n finally coming down. He stands by, waiting to see who or", "Nobody answers. He knocks once more, then looks around \n shiftily before turning the knob and walking right in.\n\n INT. TUDOR'S APARTMENT -- NIGHT", "Kurt keeps on moving. He is now just passing her door. The \n old woman edges out from behind the door a bit more.\n\n OLD WOMAN\n I'm hungry!", "In the stairwell several flights below, Forsythe lies \n surrounded by milling residents, legs spread as though about", "stagger from the apartment, having at least enough presence \n of mind to take his attaché case, which he left by the door, \n and to close the door behind him.", "St. Luc half drags, half carries Forsythe along hallways \n whose doors are wide open. From the apartments issues the", "The Spergazzi apartment is very heavily decorated in the \n Mediterranean European Catholic style, featuring lots of \n plastic and plaster Madonnas, calendars with Christ exposing \n his bleeding heart, etc.", "The young couple enter the rental office, Merrick following \n close behind. Once they are all in, Merrick closes the door. \n He rests against the door and drools copiously, then giggles.", "MERRICK (V.O.)\n Notice how the entranceways to all \n the apartments are recessed and" ], [ "St. Luc races through the garage, trying to find Forsythe. \n He finally sees her car in the middle of the exit ramp and \n runs over to it.", "St. Luc hugs Forsythe for a moment, then holds her away from \n him so that he can get some information out of her.", "St. Luc drags Forsythe out of the car, throws her over his \n shoulder, and carries her down the ramp toward the door \n leading to the incinerator.", "Suddenly Forsythe bursts in, out of breath, semi-hysterical, \n tearful.\n\n St. Luc rises from his chair and Forsythe throws herself on \n him, sobbing.", "St. Luc bounds down the incinerator room stairs looking for \n Forsythe. He sees immediately that she is not there, but \n also notices handprints in blood on the door leading to the \n garage.", "The doorman pounds St. Luc in the temple with his fist and \n lifts himself partially off Forsythe, half turning toward \n St. Luc, who is staggered by the blow.", "St. Luc watches Forsythe, who is halfway through getting her \n street clothes on. He toys with the Velakofsky file, which", "St. Luc half drags, half carries Forsythe along hallways \n whose doors are wide open. From the apartments issues the", "St. Luc grips the gun and staggers over to the car. He pulls \n the doorman off Forsythe, who is completely soaked with blood.", "Forsythe nods and manages to sit up with St. Luc's help. \n Once she seems able to stay propped up without St. Luc's", "St. Luc rises, throws Forsythe over his shoulder and begins \n to step toward the door of the gym.", "He opens the garage door. Forsythe's screams come echoing \n through the garage.\n\n INT. GARAGE -- NIGHT", "Another car full of residents suddenly careens in front of \n the door and screeches to a halt, blocking St. Luc, who in", "Forsythe runs down the steps which lead to the incinerator \n and pulls open the steel door at the bottom. She begins to \n look around for St. Luc.", "St. Luc lets go of Forsythe and she sinks to the floor. The \n residents are swarming all over them. St. Luc abandons \n Forsythe and begins to fight his way up the stairs.", "INT. ST. LUC'S OFFICE -- NIGHT\n\n Forsythe has finished dressing and is waiting for St. Luc to \n get off the phone.", "He kneels beside Forsythe, who seems to be only just regaining \n consciousness. St. Luc strokes her face, pushes strands of \n hair matted with blood out of her eyes.", "The doorman is still on top of Forsythe in the front seat of \n the car. St. Luc pulls the doorman's gun out of its holster \n and begins smashing away at the doorman with it.", "We catch glimpses of people of all kinds and ages locked \n together on floors, chairs, etc. St. Luc finds an open exit \n door and plunges through it, taking Forsythe with him.", "As St. Luc begins to ascend the stairs, we can see tiny black \n hooks tearing through Forsythe's gag. Blood begins to soak \n through from the inside." ], [ "St. Luc continues to poke around inside the incinerator with \n the poker. Finally his flashlight beam reveals the tattered \n corpse of Spergazzi's parasite.", "Spergazzi shows St. Luc his wife's forearm, which has been \n badly burned by the parasite's animal-tissue solvent. As", "He starts to paw Rollo, feebly trying to prevent him from \n further mutilating the parasites. He reaches over St. Luc's \n shoulder and grabs a large chunk of one of the parasites.", "St. Luc holds the thing up to the naked light bulb above the \n incinerator. The light seems to go right through the parasite, \n illuminating the twisted vascular system, reproductive organs, \n etc.", "man tries to pin him down. St. Luc, on the verge of being \n overpowered, smashes the man in the chest with the poker, \n parasite still hooked into its tip.", "St. Luc slowly backs away from the man's body, which is very \n still and quietly oozes blood on to the damp concrete floor.", "The man stands up unsteadily. St. Luc cracks him on the ankle \n with the poker and he comes crashing down. The parasite corpse", "The man grabs St. Luc again, trying to kiss him on the mouth. \n They struggle. St. Luc is thrown to the concrete floor. The", "She suddenly stumbles across the body of the man St. Luc has \n killed. She actually has to break her fall with her hands, \n which slip in the man's blood. Horrified, she gets up and \n backs away.", "St. Luc's cheeks bulge wide and blood dribbles from his nose \n and mouth. His throat swells monstrously. Janine releases", "The man slips his arms up under St. Luc's arms and kisses \n him passionately on the neck. As soon as St. Luc realizes", "As St. Luc begins to ascend the stairs, we can see tiny black \n hooks tearing through Forsythe's gag. Blood begins to soak \n through from the inside.", "superintendent's flashlight stuck up on top of a heating \n pipe. St. Luc takes down the flashlight, switches it on, and \n continues his search for the dead parasite.", "Deftly manipulating the hook on the poker's tip, St. Luc \n manages to pull the parasite out into the light. Garbage", "ST. LUC\n But you gave up your private practice. \n Suddenly you're into pure research \n and you... you're what, a \n parasitologist?", "St. Luc hugs Forsythe for a moment, then holds her away from \n him so that he can get some information out of her.", "ST. LUC\n Uh, OK. Sure.\n\n They kiss, St. Luc making sure that it doesn't get too heavy.", "Dr. Roger St. Luc, tall, thin, dark, not bad-looking, stands \n over the table staring at the corpse of Annabelle. As he", "INT. ST. LUC'S EXAMINATION ROOM -- NIGHT\n\n St. Luc is examining Mr. Parkins. Parkins sits on the \n examination table with the hospital tunic on.", "St. Luc is reading a section of one of Hobbes's medical papers \n in preparation for examining Tudor later on. The section we" ], [ "cheeks now swell as the parasite enters his mouth. His eyes \n jolt open in terror and he manages to pull away slightly, \n revealing the tentacles joining her mouth to his like", "One of the parasite's stubby tentacles slowly appears, probing \n out of the drain hole. Then another appears, then another.", "In the depths of Forsythe's mouth two parasite tentacles \n probe about, seeking a firm hold for their suckers so that \n they can pull the parasite's body out of her narrow esophagus.", "And what he came up with to help our \n guts along was a human parasite that \n is... lemme find it here... 'a", "the thread -- a hook used to hang on inside the body -- is \n attached. The tentacle of the blood parasite probes its way \n from between Tudor's lips.", "corners as he goes down, the chunk of parasite still in his \n mouth as he finally comes to rest, twitching, on the floor. \n Rollo drops the pliers on the floor.", "Betts tries to scream but can't. The parasite suckers its \n way between Betts' thighs. She screams a silent scream in", "The parasite is now half out of her mouth, hanging through \n the slit it has torn in her gag.", "Beyond the parasite is a basement window through which is \n visible a large laundry room complete with washers and dryers. \n The window has been propped open a couple of inches by a bar \n of laundry soap.", "The parasite which has been lurking in the washer suddenly \n springs from the opening on to the old woman's face, suckering", "St. Luc holds the thing up to the naked light bulb above the \n incinerator. The light seems to go right through the parasite, \n illuminating the twisted vascular system, reproductive organs, \n etc.", "around)\n Look. You got men, you got parasites \n that live in, on, and around men. \n Now. Why not breed a parasite that", "parasite where you used to have a \n rotten kidney. I know what you're \n gonna say. You're gonna say it's", "Dr. Emil Hobbes, a huge, florid, bearded man, is strangling \n Annabelle Horsefield. Despite the difference in their sizes --", "Spergazzi shows St. Luc his wife's forearm, which has been \n badly burned by the parasite's animal-tissue solvent. As", "rushes up her throat toward Janine's open mouth. The parasite \n begins to force its way into Janine's mouth and down her", "He starts to paw Rollo, feebly trying to prevent him from \n further mutilating the parasites. He reaches over St. Luc's \n shoulder and grabs a large chunk of one of the parasites.", "The creature, the second parasite to emerge from Tudor's \n body, lies in the grass, away from the bright cones of light", "She puts the jug back in the milk chute. She notices the \n blood smeared on it just a second before the parasite in the \n chute fastens itself to her wrist with its suckers.", "The girl hesitates for a second. Suddenly the parasite \n twitches around to the front of the jug. The girl, startled, \n slams the box door shut." ], [ "The mother sits slumped in the opposite corner, her coat \n open, her dress torn, bruises on her face. She struggles to \n her feet. Kurt and the girl are ignoring her.", "In the stairwell several flights below, Forsythe lies \n surrounded by milling residents, legs spread as though about", "From inside the apartment we hear several muffled voices, at \n first angry and indignant, then pleading and terrified. \n Screams and crashes follow.", "The super, a small, unshaven, harassed little man with a lot \n of energy, is talking to a large beefy detective who writes \n everything down in a notebook.", "In her dining room, Betts mixes herself a drink and checks \n her watch. She takes a sip, then goes into the bathroom and \n bends over the bathtub, having balanced her drink on the \n edge of the tub.", "Beyond the parasite is a basement window through which is \n visible a large laundry room complete with washers and dryers. \n The window has been propped open a couple of inches by a bar \n of laundry soap.", "Her small cubicle of an office is appended to Tudor's only \n slightly larger office in a huge downtown office building. \n The door leading to Tudor's office is closed.", "The three disappear around a corner.\n\n The doorman pulls a Harlequin Nurse Romance out of his jacket \n and sits down to continue reading it.", "St. Luc leaps to his feet and begins kicking the man in the \n head. After a furious moment or two, he suddenly stops, drops \n the poker, and stares at the body in horrified disbelief.", "Inside are her street clothes. She begins to take off her \n nurse's uniform in full view of St. Luc, not being obvious", "She turns and walks angrily out of the room, slamming the \n door behind her.\n\n Tudor rolls over slowly on to his back, eyes wide and shining, \n smiling again.", "Then, as though listening to himself and suddenly \n understanding what he is saying, he rises to his feet shakily \n and walks to the kitchen. He stops at the kitchen door.", "The driver of this first car is St. Luc, sleek and exuberant, \n a raised collar and a scarf hiding most of his scars. He \n glances into his rear-view mirror.", "He starts to run down like a spring-wound toy at the end of \n its run. He glances at a picture of Annabelle stuck in a \n corner, which St. Luc just notices for the first time.", "She picks up the bag she has almost emptied and shuffles in \n her ragged slippers to the next washer. She stops in front \n of it and puts down the bag.", "St. Luc rushes at the woman, knocking her over. She rolls on \n the floor, hugging herself and crooning.\n\n Once out the door, St. Luc makes for the nearest exit.", "There is a bit of black something, a thread, in the corner \n of Tudor's mouth. Janine moves closer to it. The black thing, \n like the tip of an insect's leg, twitches.", "He runs higher and higher, up flight after flight of stairs, \n until he is free of the slow-moving residents. He leans back \n against a wall, panting.", "She suddenly stumbles across the body of the man St. Luc has \n killed. She actually has to break her fall with her hands, \n which slip in the man's blood. Horrified, she gets up and \n backs away.", "The cab carrying Tudor pulls up at the main doors of the \n Towers. Tudor, still a bit unsteady, signs a chit for the \n driver and gets out of the car." ], [ "Hobbes steps back to watch. Tears spring into his eyes. He \n picks up another scalpel and perfunctorily sticks it into", "his neck. Blood spurts into his mask and soaks through to \n the other side. Hobbes sinks to his knees before the blazing", "Dr. Emil Hobbes, a huge, florid, bearded man, is strangling \n Annabelle Horsefield. Despite the difference in their sizes --", "She suddenly stumbles across the body of the man St. Luc has \n killed. She actually has to break her fall with her hands, \n which slip in the man's blood. Horrified, she gets up and \n backs away.", "quickly and with tremendous, crazy energy. Blood oozes from \n her mouth. Hobbes places his hand over her mouth as though \n trying to prevent her from speaking, or to prevent something", "Rollo sighs heavily. St. Luc gently shoves all the papers \n aside.\n\n ST. LUC\n Rollo, how come Hobbes killed himself?", "Annabelle fights back fiercely; Hobbes has tears in his eyes. \n The struggle takes them all over her apartment, which,", "smell of burned flesh attacks Tudor's nostrils. He is on his \n way to the bedroom when he sees Hobbes's foot around the \n corner of the dining room.", "She turns and walks angrily out of the room, slamming the \n door behind her.\n\n Tudor rolls over slowly on to his back, eyes wide and shining, \n smiling again.", "school clothes in a heap on the floor. Hobbes takes a scalpel \n from the top of the radiator where he has laid out his \n surgical instruments. He feels Annabelle's stomach until he", "He turns to Annabelle's corpse on the dining-room table, \n legs hanging over the edge, now naked -- the private girls'", "berserk. I dunno what she did, but \n Hobbes wasn't ready for it. He had \n to kill her. And he wasn't trying to", "St. Luc leaps to his feet and begins kicking the man in the \n head. After a furious moment or two, he suddenly stops, drops \n the poker, and stares at the body in horrified disbelief.", "again)\n All Hobbes ever did was run around \n getting money and phone me in the \n middle of the night. He wanted you", "Tudor pulls her back to him, and finally she is forced to \n batter him away with her fists and slip off the edge of the \n bed. Tudor glares after her.", "Annabelle's corpse is still smoking where it lies on the \n dining-room table. Hobbes's body is twisted into the fetal", "In his lab, Rollo sits at the gynecological table abandoned \n by Hobbes. Rollo is using it as an auxiliary desk.", "Tudor lies outstretched on the bed in the darkness. His lips \n move silently, spasmically, as though in sleep, twitching in", "Anyway, I've been going through his \n papers, and what they add up to is \n this: Hobbes was shafting us all,", "Rollo searches through Hobbes's notes to find the relevant \n quotes. As he does so, he drops a few crumbs of knish on the" ], [ "Dr. Roger St. Luc, tall, thin, dark, not bad-looking, stands \n over the table staring at the corpse of Annabelle. As he", "The driver of this first car is St. Luc, sleek and exuberant, \n a raised collar and a scarf hiding most of his scars. He \n glances into his rear-view mirror.", "The detective walks over to St. Luc and the super follows. \n St. Luc rises to meet him. He is wearing very informal summer \n clothes, a bit rumpled.", "The man grabs St. Luc again, trying to kiss him on the mouth. \n They struggle. St. Luc is thrown to the concrete floor. The", "They shake hands. St. Luc has to open the door himself -- \n Rollo is really preoccupied. Finally he looks St. Luc in the \n eye.", "St. Luc has made his way to the main doors and stands talking \n to the rental agent, Merrick, who is leaning against the \n intercom board with the doorman's pocketbook romance in one \n hand.", "St. Luc sifts through the papers and glances at the specimen.\n\n As St. Luc looks at the papers, Rollo breathes heavily down \n his neck and points out things of interest.", "ST. LUC\n Uh, OK. Sure.\n\n They kiss, St. Luc making sure that it doesn't get too heavy.", "St. Luc hugs Forsythe for a moment, then holds her away from \n him so that he can get some information out of her.", "St. Luc curses under his breath and makes a move toward the \n door. Merrick smiles and pulls it open for him. St. Luc \n disappears down the stairs leading to the incinerator.", "The steel door at the top of a concrete flight of stairs \n swings open and St. Luc appears. He quickly negotiates the \n steps and opens the steel door at the bottom which leads to \n the incinerator room.", "Three or four people sit waiting to see St. Luc, among them \n the aging but sprightly Mr. Parkins and Janine Tudor. Parkins,", "St. Luc smiles politely, his mind obviously elsewhere.\n\n INT. LAUNDRY ROOM -- NIGHT", "As St. Luc's car turns on to the street, car after car follows \n him. We rise higher and higher above the Starliner Towers", "St. Luc slowly backs away from the man's body, which is very \n still and quietly oozes blood on to the damp concrete floor.", "The man slips his arms up under St. Luc's arms and kisses \n him passionately on the neck. As soon as St. Luc realizes", "INT. ST. LUC'S OFFICE -- NIGHT\n\n Forsythe has finished dressing and is waiting for St. Luc to \n get off the phone.", "He is now in full flight. He leans over St. Luc and begins \n to demonstrate what he says by drawing things on St. Luc's \n stomach with his fingers. St. Luc can't hide his amusement.", "The doorman pounds St. Luc in the temple with his fist and \n lifts himself partially off Forsythe, half turning toward \n St. Luc, who is staggered by the blow.", "INT. ST. LUC'S OFFICE -- NIGHT" ], [ "St. Luc leaps to his feet and begins kicking the man in the \n head. After a furious moment or two, he suddenly stops, drops \n the poker, and stares at the body in horrified disbelief.", "The doorman pounds St. Luc in the temple with his fist and \n lifts himself partially off Forsythe, half turning toward \n St. Luc, who is staggered by the blow.", "The man grabs St. Luc again, trying to kiss him on the mouth. \n They struggle. St. Luc is thrown to the concrete floor. The", "St. Luc lets go of Forsythe and she sinks to the floor. The \n residents are swarming all over them. St. Luc abandons \n Forsythe and begins to fight his way up the stairs.", "As St. Luc begins to ascend the stairs, we can see tiny black \n hooks tearing through Forsythe's gag. Blood begins to soak \n through from the inside.", "St. Luc curses under his breath and makes a move toward the \n door. Merrick smiles and pulls it open for him. St. Luc \n disappears down the stairs leading to the incinerator.", "The man stands up unsteadily. St. Luc cracks him on the ankle \n with the poker and he comes crashing down. The parasite corpse", "St. Luc grips the gun and staggers over to the car. He pulls \n the doorman off Forsythe, who is completely soaked with blood.", "St. Luc rushes at the woman, knocking her over. She rolls on \n the floor, hugging herself and crooning.\n\n Once out the door, St. Luc makes for the nearest exit.", "man tries to pin him down. St. Luc, on the verge of being \n overpowered, smashes the man in the chest with the poker, \n parasite still hooked into its tip.", "St. Luc rises, throws Forsythe over his shoulder and begins \n to step toward the door of the gym.", "St. Luc continues to poke around inside the incinerator with \n the poker. Finally his flashlight beam reveals the tattered \n corpse of Spergazzi's parasite.", "The man slips his arms up under St. Luc's arms and kisses \n him passionately on the neck. As soon as St. Luc realizes", "The doorman's face is covered with blood and drool. Repulsed \n and terrified, St. Luc fires the gun into the doorman's upper", "St. Luc slowly backs away from the man's body, which is very \n still and quietly oozes blood on to the damp concrete floor.", "The steel door at the top of a concrete flight of stairs \n swings open and St. Luc appears. He quickly negotiates the \n steps and opens the steel door at the bottom which leads to \n the incinerator room.", "St. Luc's cheeks bulge wide and blood dribbles from his nose \n and mouth. His throat swells monstrously. Janine releases", "The doorman is still on top of Forsythe in the front seat of \n the car. St. Luc pulls the doorman's gun out of its holster \n and begins smashing away at the doorman with it.", "Once inside, St. Luc grabs the poker hanging from an iron \n hook sunk into the wall of the incinerator, slides open the \n bolt on the door and opens it.", "St. Luc bounds down the incinerator room stairs looking for \n Forsythe. He sees immediately that she is not there, but \n also notices handprints in blood on the door leading to the \n garage." ], [ "St. Luc reels with disgust and disbelief. He turns and runs.\n\n INT. SWIMMING POOL -- NIGHT", "St. Luc watches them for a moment, enjoying the apparent \n normalcy of the scene. Then he staggers forward, calling out \n to the swimmers.", "The man grabs St. Luc again, trying to kiss him on the mouth. \n They struggle. St. Luc is thrown to the concrete floor. The", "cane, he pushes St. Luc backwards into the pool, chuckling \n playfully.", "Spergazzi looks around for approval as St. Luc begins to \n thrash about wildly.\n\n Betts swims up beside St. Luc, grabs him, and holds him under.", "Between the two towers lies the swimming pool. St. Luc manages \n to reach the door leading from the South Tower into the pool.", "The man slips his arms up under St. Luc's arms and kisses \n him passionately on the neck. As soon as St. Luc realizes", "St. Luc's cheeks bulge wide and blood dribbles from his nose \n and mouth. His throat swells monstrously. Janine releases", "St. Luc slowly backs away from the man's body, which is very \n still and quietly oozes blood on to the damp concrete floor.", "She suddenly stumbles across the body of the man St. Luc has \n killed. She actually has to break her fall with her hands, \n which slip in the man's blood. Horrified, she gets up and \n backs away.", "St. Luc grips the gun and staggers over to the car. He pulls \n the doorman off Forsythe, who is completely soaked with blood.", "St. Luc leaps to his feet and begins kicking the man in the \n head. After a furious moment or two, he suddenly stops, drops \n the poker, and stares at the body in horrified disbelief.", "St. Luc curses under his breath and makes a move toward the \n door. Merrick smiles and pulls it open for him. St. Luc \n disappears down the stairs leading to the incinerator.", "The doorman pounds St. Luc in the temple with his fist and \n lifts himself partially off Forsythe, half turning toward \n St. Luc, who is staggered by the blow.", "St. Luc shakes his head slowly, backing away from the pool.", "St. Luc stares at her in horror as her throat begins to swell.", "The swimmers both flick playfully beneath the water's surface. \n St. Luc approaches the water's edge, waiting for them to", "St. Luc lets go of Forsythe and she sinks to the floor. The \n residents are swarming all over them. St. Luc abandons \n Forsythe and begins to fight his way up the stairs.", "As St. Luc begins to ascend the stairs, we can see tiny black \n hooks tearing through Forsythe's gag. Blood begins to soak \n through from the inside.", "ST. LUC\n Uh, OK. Sure.\n\n They kiss, St. Luc making sure that it doesn't get too heavy." ], [ "around)\n Look. You got men, you got parasites \n that live in, on, and around men. \n Now. Why not breed a parasite that", "Dr. Emil Hobbes, a huge, florid, bearded man, is strangling \n Annabelle Horsefield. Despite the difference in their sizes --", "And what he came up with to help our \n guts along was a human parasite that \n is... lemme find it here... 'a", "Hobbes steps back to watch. Tears spring into his eyes. He \n picks up another scalpel and perfunctorily sticks it into", "One of the parasite's stubby tentacles slowly appears, probing \n out of the drain hole. Then another appears, then another.", "St. Luc continues to poke around inside the incinerator with \n the poker. Finally his flashlight beam reveals the tattered \n corpse of Spergazzi's parasite.", "St. Luc holds the thing up to the naked light bulb above the \n incinerator. The light seems to go right through the parasite, \n illuminating the twisted vascular system, reproductive organs, \n etc.", "Beyond the parasite is a basement window through which is \n visible a large laundry room complete with washers and dryers. \n The window has been propped open a couple of inches by a bar \n of laundry soap.", "He starts to paw Rollo, feebly trying to prevent him from \n further mutilating the parasites. He reaches over St. Luc's \n shoulder and grabs a large chunk of one of the parasites.", "The girl hesitates for a second. Suddenly the parasite \n twitches around to the front of the jug. The girl, startled, \n slams the box door shut.", "the thread -- a hook used to hang on inside the body -- is \n attached. The tentacle of the blood parasite probes its way \n from between Tudor's lips.", "In the depths of Forsythe's mouth two parasite tentacles \n probe about, seeking a firm hold for their suckers so that \n they can pull the parasite's body out of her narrow esophagus.", "Spergazzi shows St. Luc his wife's forearm, which has been \n badly burned by the parasite's animal-tissue solvent. As", "corners as he goes down, the chunk of parasite still in his \n mouth as he finally comes to rest, twitching, on the floor. \n Rollo drops the pliers on the floor.", "parasite where you used to have a \n rotten kidney. I know what you're \n gonna say. You're gonna say it's", "cheeks now swell as the parasite enters his mouth. His eyes \n jolt open in terror and he manages to pull away slightly, \n revealing the tentacles joining her mouth to his like", "She puts the jug back in the milk chute. She notices the \n blood smeared on it just a second before the parasite in the \n chute fastens itself to her wrist with its suckers.", "The creature, the second parasite to emerge from Tudor's \n body, lies in the grass, away from the bright cones of light", "does something useful? Eh? Why not \n breed a parasite capable of taking \n over the function of any one of a", "The boy takes a look. Inside the box a third parasite can \n just be seen clinging to a three-quart white plastic milk" ], [ "From inside the apartment we hear several muffled voices, at \n first angry and indignant, then pleading and terrified. \n Screams and crashes follow.", "A group of residents suddenly appear at the next landing \n above St. Luc and, noticing them, begin to walk down the \n steps, moaning and crooning and making vaguely sexual gestures \n toward the pair.", "A moment after she's gone and closed the door, two children \n about ten years old appear around a corner, giggling and \n jostling each other. They approach Tudor's apartment.", "The young couple turn to look at him. Suddenly, three more \n residents, two women and a man, all of them half naked, jump", "As he hits the residents on the stairs, they try to kiss \n him, caress him, pull his clothes off. They finally manage", "KRESIMIR\n (shouting)\n Nobody should be alone! Nobody should \n be alone tonight!\n\n The rest of the residents pick up the cry and chant together.", "The children run off down the hallway together. After a few \n seconds, the box door is nudged open again from the inside.\n\n INT. TUDOR'S APARTMENT -- NIGHT", "INT. HALLWAY -- NIGHT\n\n In the hallway outside the Spergazzi apartment, a group of \n giggling, drooling residents stand around a door.", "down on them from the tops of large filing cabinets. The \n residents begin to kiss and paw the couple. Merrick wipes \n his mouth with the back of his hand and then throws himself", "In the stairwell several flights below, Forsythe lies \n surrounded by milling residents, legs spread as though about", "One of these residents is the superintendent, who is opening \n the door with one of his set of master keys. The residents,", "We catch glimpses of people of all kinds and ages locked \n together on floors, chairs, etc. St. Luc finds an open exit \n door and plunges through it, taking Forsythe with him.", "As soon as he is inside the apartment, Tudor knows that \n something is seriously wrong. Smoke hangs in the air and the", "An old man and his wife, the Spergazzis, are taking their \n late-night constitutional through the halls of the South \n Tower.", "Annabelle fights back fiercely; Hobbes has tears in his eyes. \n The struggle takes them all over her apartment, which,", "stagger from the apartment, having at least enough presence \n of mind to take his attaché case, which he left by the door, \n and to close the door behind him.", "The couple turn, grumbling, and walk toward Merrick's office. \n Merrick follows, wiping his mouth with the back of his hand.\n\n INT. RENTAL OFFICE -- NIGHT", "VARIOUS RESIDENTS\n (voices echoing in \n unison)\n A kiss, a kiss, a kiss!", "Kurt keeps on moving. He is now just passing her door. The \n old woman edges out from behind the door a bit more.\n\n OLD WOMAN\n I'm hungry!", "As the stairway doors close, the elevators slide open and a \n young couple come out heading for the main doors, dressed to \n go out to a late party." ], [ "In the depths of Forsythe's mouth two parasite tentacles \n probe about, seeking a firm hold for their suckers so that \n they can pull the parasite's body out of her narrow esophagus.", "Kresimir begins to climb up her body. Forsythe, terrified \n and gasping for breath, plunges the long, curved prongs of", "He opens the garage door. Forsythe's screams come echoing \n through the garage.\n\n INT. GARAGE -- NIGHT", "in and closes the door. He lays Forsythe down on a gym mat \n and then barricades the door with a box horse and a weight-\n lifting table.", "He kneels beside Forsythe, who seems to be only just regaining \n consciousness. St. Luc strokes her face, pushes strands of \n hair matted with blood out of her eyes.", "Suddenly Forsythe bursts in, out of breath, semi-hysterical, \n tearful.\n\n St. Luc rises from his chair and Forsythe throws herself on \n him, sobbing.", "corners as he goes down, the chunk of parasite still in his \n mouth as he finally comes to rest, twitching, on the floor. \n Rollo drops the pliers on the floor.", "In the stairwell several flights below, Forsythe lies \n surrounded by milling residents, legs spread as though about", "Without warning, he lunges for Forsythe, who vainly tries to \n slam the door in his face. Kresimir pushes his way past the", "Blood is now pouring from Forsythe's mouth and tentacles are \n groping for leverage at her cheeks and chin.", "Betts tries to scream but can't. The parasite suckers its \n way between Betts' thighs. She screams a silent scream in", "St. Luc continues to poke around inside the incinerator with \n the poker. Finally his flashlight beam reveals the tattered \n corpse of Spergazzi's parasite.", "the thread -- a hook used to hang on inside the body -- is \n attached. The tentacle of the blood parasite probes its way \n from between Tudor's lips.", "door and grabs Forsythe by the back of the head, trying to \n kiss her and drooling.", "Forsythe breaks away and runs toward the bathroom, intending \n to lock herself in. Kresimir throws himself at her legs,", "Spergazzi shows St. Luc his wife's forearm, which has been \n badly burned by the parasite's animal-tissue solvent. As", "He starts to paw Rollo, feebly trying to prevent him from \n further mutilating the parasites. He reaches over St. Luc's \n shoulder and grabs a large chunk of one of the parasites.", "Kresimir doesn't answer. He begins to drool, his mouth working \n as though in anticipation of a meal. Forsythe gets a little \n nervous.", "cheeks now swell as the parasite enters his mouth. His eyes \n jolt open in terror and he manages to pull away slightly, \n revealing the tentacles joining her mouth to his like", "She puts the jug back in the milk chute. She notices the \n blood smeared on it just a second before the parasite in the \n chute fastens itself to her wrist with its suckers." ] ]

[ "What city does Hobbes live?", "How does Hobbes Mistress die?", "Who is Roger St Luke's girlfriend?", "How does St. Luke kill the caretaker?", "Where is St. Luke trapped before he is infected?", "Who does Hobbes first infest with the parasite?", "What is St. Luke's profession?", "What happens to the security guard?", "How does Hobbes die?", "Who is the first person Hobbes implants the parasites in?", "Who uncovers the work that Hobbes was working on?", "Who is Nurse Forsythe?", "Where are the elderly people moved to?", "Why are the residents acting ou?", "Why would the story suggest that Hobbes plan to infect the world is underway?", "What is the alien organism made of that Hobbes develops?", "Why is the auctioneer showing the apartment?", "What keeps St. Luc and Nurse Forsythe from crashing through the gate to the parking garage?", "Where was St. Luc when he was infected by the parasite?", "What effect does Dr. Hobbes' parasite have on a human host?", "In what city does the story take place?", "What does Hobbes do after he kills his mistress?", "What is Roger St-Luc's job?", "How does St Luc defeat the caretaker who attacks him in the basement?", "What happens to St Luc in the swimming pool?", "Why does Dr Hobbes develop the parasite in the first place?", "What is the last thing the apartment residents do?", "Where is Forsythe when he is infected by the parasite?" ]

[ [ "Montreal.", "Montreal" ], [ "He kills her?", "He kills her " ], [ "Nurse Forsythe", "Nurse Forsythe" ], [ "By bashing them over the skull.", "bashing in his skull." ], [ "Swimming pool.", "Swimming pool." ], [ "His mistress.", "his mistress" ], [ "He is the community resident physician.", "Doctor." ], [ "They are infected.", "He gets infected" ], [ "He commits suicide.", "he commits suicide" ], [ "His teenage mistress", "His girlfriend." ], [ "Roger St. Luc uncovers the work Hobbes was working on.", "Roger St. Luc" ], [ "She is St. Luc assistant and girlfriend.", "St. Luc's assistant and girlfriend" ], [ "They were moved to St. Luc and Nurse Forsythe room.", "their rooms." ], [ "They have been infected by the parasite.", "attacked by parasites" ], [ "Residents are happily exiting the residential block in their cars.", "Doing experiments." ], [ "It is a combination of aphrodisiac and venereal disease.", "aphrodisiac and venereal disease" ], [ "To slowly entrap more unsuspecting guest.", "It is vacant " ], [ "Another car rams them.", "They get rammed by a car" ], [ "He was in the swimming pool.", "in the swimming pool" ], [ "It creates uncontrollable sexual desire.", "It causes uncontrollable sexual desire " ], [ "Montreal, Canada ", "Montreal" ], [ "He commits suicide.", "He commits suicide " ], [ "Resident Physician ", "physician" ], [ "He breaks his skull", "He bashes his head in" ], [ "He is infected by the parasite.", "He is attacked and infected." ], [ "Because he believes that mankind has become overly rational and alienated from their physical bodies ", "People have lost contact with its flesh and instincts" ], [ "They get in their cars and drive away ", "They leave in their cars " ], [ "In the parking garage ", "parking garage" ] ]

[ [ "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "\"Rowland,\" he said as he drew near; \"I hear you've walked the\nquarter-deck.\"", "\"Go on deck, now, Rowland,\" he said; \"I will talk with you again before\nwe reach soundings. Meanwhile, I request--not require, but request--that\nyou hold no useless conversation with your shipmates in regard to this\nmatter.\"", "\"Thank you, captain,\" said Rowland, as he took the other's hand and then\nglanced at his empty sleeve; \"but my going to sea is ended. Even a mate\nneeds two hands.\"", "\"All right--that'll do. Enter Rowland in the crow's-nest,\nquartermaster,\" said the officer; then, making a funnel of his hands, he\nroared out: \"Crow's-nest, there.\"", "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "CHAPTER VI\n\n\"Rowland,\" said the big boatswain, as the watch mustered on deck; \"take\nthe starboard bridge lookout.\"", "Rowland, surprised at his sudden transfer from the disagreeable\nscrubbing to a \"soldier's job\" of painting life-buoys in the warm", "attention to the story at all, Rowland recited the events prior to and\nsucceeding the shipwreck. Beginning with the finding of the whisky in", "There was a fight in the port forecastle--to which Rowland belonged--at\nsupper-time, which need not be described beyond mention of the fact that", "\"I am aware of more than that,\" answered Rowland, excitedly. \"I know of\nthe power vested in you as captain. I know that you can order me into", "the arrest of John Rowland, but merely directed that, for the time, he\nshould be kept at work by day in the 'tween-deck, out of sight of the\npassengers.", "Rowland glanced after the retreating officer with a cynical smile. \"I\nwonder,\" he said to himself, \"why he comes down here talking navigation", "\"I stand by Rowland,\" said the captain, grimly. \"I don't remember what\nwas said, anyhow; got a blamed bad memory. Get away from that door.\"", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "\"It is not my trick, boats'n,\" said Rowland, in surprise.\n\n\"Orders from the bridge. Get up there.\"", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "\"Was it the _Royal Age_?\" asked Rowland. \"I sailed in her one voyage.\nYes, certainly.\"", "\"A result to be hoped for, Rowland,\" said the former, pausing before\nhim, \"but beyond your power or mine to accomplish. Is the amount I named\nlarge enough? Could you fill a position on my bridge?\"" ], [ "THE WRECK OF THE TITAN\n\n\nCHAPTER I", "_Titan_ struck the iceberg, Captain Bryce and Mr. Austen have, as part\nowners, committed an act which nullifies the insurance on that ship.\"", "\"Ice,\" yelled the lookout; \"ice ahead. Iceberg. Right under the bows.\"\nThe first officer ran amidships, and the captain, who had remained", "Seventy-five thousand tons--dead-weight--rushing through the fog at the\nrate of fifty feet a second, had hurled itself at an iceberg. Had the", "\"What shipwreck was this--where was it?\" asked the puzzled magistrate of\nnobody in particular.\n\n\"The _Titan_,\" called out half a dozen newspaper men across the room.", "there, sprang to the engine-room telegraph, and this time the lever was\nturned. But in five seconds the bow of the _Titan_ began to lift, and", "\"It is very sad, Mr. Selfridge; you have my deepest sympathy. I pelieve\nyou are der largest holder of _Titan_ stock--about one hundred thousand,\nis it not?\"\n\n\"About that.\"", "\"Vell, vwhat of it,\" said Mr. Meyer, painfully and stupidly: \"dere is a\ncollision clause in der _Titan's_ policy; I merely bay the money to der", "On a certain morning, about two months after the announcement of the\nloss of the _Titan_, Mr. Meyer sat at his desk in the Rooms, busily", "THE WRECK OF THE\n TITAN\n\n OR, FUTILITY\n\n\n BY\n\n MORGAN ROBERTSON", "The shapes were swallowed in the blackness astern; the cries were hushed\nby the clamor of the gale, and the steamship _Titan_ swung back to her", "In the first tumultuous riot of inquiry, when underwriters had climbed\nover desks and each other to hear again of the wreck of the _Titan_,", "_Titan_ had full headway, and the brunt of the damage would be borne by\nthe other. Second, that if the _Titan_ was the aggressor she would", "collision with an iceberg--the only thing afloat that she could not\nconquer--her bows would be crushed in but a few feet further at full\nthan at half speed, and at the most three compartments would be", "There was hardly a crash. A slight jar shook the forward end of the\n_Titan_ and sliding down her fore-topmast-stay and rattling on deck came", "other witnesses among the _Titan's_ crew, and in interviewing Captain\nBarry, to the end of improving his memory. A few stormy meetings with\nthis huge obstructionist convinced them of the futility of further", "So, it was confidently expected that when her engines had limbered\nthemselves, the steamship _Titan_ would land her passengers three", "the great _Titan_ was destroyed, and the papers of Europe and America\nwere issuing extras giving the meager details of the arrival at New York\nof one boat-load of her people, this office had been crowded with", "\"Then, Mr. Meyer, it remains for me to tell you that the insurance on\nthe _Titan_ will be paid, as well as any liabilities included in and", "\"Whether this story is true or false, it certainly has no bearing on the\nvalidity of the policy. If this happened, it was after the policy\nattached and before the wreck of the _Titan_.\"" ], [ "She snatched the child from Rowland's shoulder, hugged it, kissed it,\ncried, and screamed over it; then, oblivious to the crowd that", "The officer who had arrested Rowland was sworn, and testified that he\nhad stopped the prisoner on Broadway while making off with the child,", "\"Whose kid ye got?\" he demanded.\n\n\"I believe it is the daughter of Mrs. Colonel Selfridge,\" answered\nRowland, haughtily--too haughtily, by far.", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "maternity overcame her. With cheeks flushed, and eyes blazing scorn and\nanger, she pointed at Rowland and all but screamed: \"And he has", "Here her testimony ended in a breakdown of hysterics, between sobs of\nwhich were frequent admonitions to the child not to say that bad word;\nfor Myra had caught sight of Rowland and was calling his nickname.", "\"You scoundrel!\" he exclaimed, as he flourished his cane over Rowland's\nhead with his free arm. \"We've caught you. Officer, take that man to the", "\"What is her name?\"\n\n\"Her first name is Myra,\" answered Rowland. \"She remembers that; but I\nhave not learned her last name, though I knew her mother years\nago--before her marriage.\"", "a little scream of fright, and at that instant a young woman appeared\naround the corner. She sprang toward Rowland like a tigress, snatched\nthe child, stared at him for a moment with dilated eyes, and then", "\"Very well, officer; I can prove possession.\" They started back, the\nofficer with his hand on Rowland's collar, and were met at the door by a", "her, of course, that Rowland had hailed from the berg as she lay\nunconscious, and that if he still had the child, it was with him\nthere--deserted.", "excitement of the moment--when we were accused of such an infamous\ncrime. I say now, that John Rowland, whatever may have been his", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "Myra shouted profanely for Rowland, who had fallen into the hands of the\nreporters. They would have entertained him after the manner of the", "that her child was safe in the care of John Rowland, a brave and trusty\nsailor, who was certainly in the other boat with it. He did not tell", "\"That's it,\" answered Rowland, weakly, as he leaned back on the cushion,\nfaint from the excitement of the last few moments. \"And as for the right", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "\"Not at all,\" said Rowland. \"Her lights were burning--look to the old\ngentleman,\" he exclaimed. \"Look out for him. Catch him!\"", "\"I stand by Rowland,\" said the captain, grimly. \"I don't remember what\nwas said, anyhow; got a blamed bad memory. Get away from that door.\"", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had" ], [ "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "She snatched the child from Rowland's shoulder, hugged it, kissed it,\ncried, and screamed over it; then, oblivious to the crowd that", "\"Whose kid ye got?\" he demanded.\n\n\"I believe it is the daughter of Mrs. Colonel Selfridge,\" answered\nRowland, haughtily--too haughtily, by far.", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "\"And they talk,\" went on Rowland, as the three watched and listened; \"of\nthe wonderful love and care of a merciful God, who controls all", "maternity overcame her. With cheeks flushed, and eyes blazing scorn and\nanger, she pointed at Rowland and all but screamed: \"And he has", "Here her testimony ended in a breakdown of hysterics, between sobs of\nwhich were frequent admonitions to the child not to say that bad word;\nfor Myra had caught sight of Rowland and was calling his nickname.", "\"Not at all,\" said Rowland. \"Her lights were burning--look to the old\ngentleman,\" he exclaimed. \"Look out for him. Catch him!\"", "\"You scoundrel!\" he exclaimed, as he flourished his cane over Rowland's\nhead with his free arm. \"We've caught you. Officer, take that man to the", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "and talked to her after the manner of grandfathers the world over, and\nRowland, first looking steadily into the faces of the two men he had\ncome to expose, and whose presence he had thus far ignored, told, while", "\"Oh, George--no,\" she answered in agitated tones. \"John Rowland is\nhere--Lieutenant Rowland. I've just seen him--he is so changed--he tried\nto speak to me.\"", "Rowland's head sank and he hid his face for a moment in his arm, on the\ntable at which he sat. It had been a face as old, and worn, and weary as", "\"I think I understand the game, Rowland,\" he said, as they started; \"you\ndon't want to break this child.\"", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "a little scream of fright, and at that instant a young woman appeared\naround the corner. She sprang toward Rowland like a tigress, snatched\nthe child, stared at him for a moment with dilated eyes, and then", "\"That's it,\" answered Rowland, weakly, as he leaned back on the cushion,\nfaint from the excitement of the last few moments. \"And as for the right", "radius, crouched Rowland, bleeding from a cut in his head, and still\nholding to his breast the little girl--now too frightened to cry.", "\"Thank you,\" said Rowland, dryly, to the first officer; then, looking\ninto the appealing face of Mr. Meyer, he said:", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a" ], [ "Rowland, surprised at his sudden transfer from the disagreeable\nscrubbing to a \"soldier's job\" of painting life-buoys in the warm", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "Rowland's head sank and he hid his face for a moment in his arm, on the\ntable at which he sat. It had been a face as old, and worn, and weary as", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "\"They seem plausible,\" said Rowland, unconsciously dropping the \"sir\";\n\"but I think that in most particulars he has been proven wrong.\"", "\"Now here's something else, Rowland,\" he continued, producing an\nenvelope. \"In consideration of the fact that you lost all your clothes", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "\"Rowland,\" he said as he drew near; \"I hear you've walked the\nquarter-deck.\"", "\"What have we here, Rowland?\" said a voice. Instantly, the whirling\npoints were blotted out; the universe of gray changed to the fog; the", "Rowland glanced after the retreating officer with a cynical smile. \"I\nwonder,\" he said to himself, \"why he comes down here talking navigation", "Before Mr. Meyer's oily smile had indicated to the flustered captain\nthat he had said too much, the door opened and admitted Rowland, pale,", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "her, of course, that Rowland had hailed from the berg as she lay\nunconscious, and that if he still had the child, it was with him\nthere--deserted.", "The bear rose to his haunches, sank down, and charged; and Rowland felt\nthe bones of his left arm crushing under the bite of the big,", "\"Thank you, captain,\" said Rowland, as he took the other's hand and then\nglanced at his empty sleeve; \"but my going to sea is ended. Even a mate\nneeds two hands.\"", "\"All right--that'll do. Enter Rowland in the crow's-nest,\nquartermaster,\" said the officer; then, making a funnel of his hands, he\nroared out: \"Crow's-nest, there.\"", "only struck him for your wages. You're entitled to a month's pay. Here\nit is--American money--about seventeen.\" He gave Rowland a roll of\nbills.", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a", "\"Very well, officer; I can prove possession.\" They started back, the\nofficer with his hand on Rowland's collar, and were met at the door by a" ], [ "\"They seem plausible,\" said Rowland, unconsciously dropping the \"sir\";\n\"but I think that in most particulars he has been proven wrong.\"", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a", "Rowland, surprised at his sudden transfer from the disagreeable\nscrubbing to a \"soldier's job\" of painting life-buoys in the warm", "\"That's it,\" answered Rowland, weakly, as he leaned back on the cushion,\nfaint from the excitement of the last few moments. \"And as for the right", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "impressing those whom he met with the fact that he was a gentleman. Two\nyears from the time of his examination he was appointed to a lucrative\nposition under the Government, and as he seated himself at the desk in", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "only struck him for your wages. You're entitled to a month's pay. Here\nit is--American money--about seventeen.\" He gave Rowland a roll of\nbills.", "\"All right--that'll do. Enter Rowland in the crow's-nest,\nquartermaster,\" said the officer; then, making a funnel of his hands, he\nroared out: \"Crow's-nest, there.\"", "\"You scoundrel!\" he exclaimed, as he flourished his cane over Rowland's\nhead with his free arm. \"We've caught you. Officer, take that man to the", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "\"Now here's something else, Rowland,\" he continued, producing an\nenvelope. \"In consideration of the fact that you lost all your clothes", "\"Very well, officer; I can prove possession.\" They started back, the\nofficer with his hand on Rowland's collar, and were met at the door by a", "\"A result to be hoped for, Rowland,\" said the former, pausing before\nhim, \"but beyond your power or mine to accomplish. Is the amount I named\nlarge enough? Could you fill a position on my bridge?\"", "\"I will drink with you, Rowland,\" he said; \"here is to our better\nunderstanding.\" He tossed off the liquor; then Rowland, who had waited,", "for a Civil Service examination. The favor was granted, the examination\neasily passed, and he addressed envelopes while he waited. Meanwhile he\nbought new and better clothing and seemed to have no difficulty in", "\"What have we here, Rowland?\" said a voice. Instantly, the whirling\npoints were blotted out; the universe of gray changed to the fog; the" ], [ "\"They seem plausible,\" said Rowland, unconsciously dropping the \"sir\";\n\"but I think that in most particulars he has been proven wrong.\"", "\"Never again,\" said Rowland, rising. \"I've a future now, as well as a\npast.\"\n\n\nCHAPTER XIV", "Rowland's head sank and he hid his face for a moment in his arm, on the\ntable at which he sat. It had been a face as old, and worn, and weary as", "his office, could have been heard to remark: \"Now John Rowland, your\nfuture is your own. You have merely suffered in the past from a mistaken\nestimate of the importance of women and whisky.\"", "Before Mr. Meyer's oily smile had indicated to the flustered captain\nthat he had said too much, the door opened and admitted Rowland, pale,", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "Here her testimony ended in a breakdown of hysterics, between sobs of\nwhich were frequent admonitions to the child not to say that bad word;\nfor Myra had caught sight of Rowland and was calling his nickname.", "\"Rowland,\" he said as he drew near; \"I hear you've walked the\nquarter-deck.\"", "\"That's it,\" answered Rowland, weakly, as he leaned back on the cushion,\nfaint from the excitement of the last few moments. \"And as for the right", "\"What have we here, Rowland?\" said a voice. Instantly, the whirling\npoints were blotted out; the universe of gray changed to the fog; the", "\"And they talk,\" went on Rowland, as the three watched and listened; \"of\nthe wonderful love and care of a merciful God, who controls all", "\"I cannot imagine how you learned it, sir,\" replied Rowland; \"I am not\nin the habit of referring to it.\"", "\"Vwhat-a-t?\"\n\nMr. Meyer grasped the back of a chair and, leaning over it, stared at\nRowland.\n\n\"You will not testify? Vwhat you mean?\"", "Ten minutes later, the captain, in his office, was listening to a\ncomplaint from a very excited man and woman.\n\n\"And you say, colonel,\" said the captain, \"that this man Rowland is an\nold enemy?\"", "\"Heart failure,\" said Rowland, as he knelt by his side. \"Send for a\ndoctor.\"", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "only struck him for your wages. You're entitled to a month's pay. Here\nit is--American money--about seventeen.\" He gave Rowland a roll of\nbills.", "\"I stand by Rowland,\" said the captain, grimly. \"I don't remember what\nwas said, anyhow; got a blamed bad memory. Get away from that door.\"" ], [ "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "\"Never again,\" said Rowland, rising. \"I've a future now, as well as a\npast.\"\n\n\nCHAPTER XIV", "\"That's it,\" answered Rowland, weakly, as he leaned back on the cushion,\nfaint from the excitement of the last few moments. \"And as for the right", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "\"Now here's something else, Rowland,\" he continued, producing an\nenvelope. \"In consideration of the fact that you lost all your clothes", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "An incident occurred that morning which drew Rowland's thoughts far from\nthe happenings of the night. A few hours of bright sunshine had brought", "\"I will drink with you, Rowland,\" he said; \"here is to our better\nunderstanding.\" He tossed off the liquor; then Rowland, who had waited,", "\"Oh, George--no,\" she answered in agitated tones. \"John Rowland is\nhere--Lieutenant Rowland. I've just seen him--he is so changed--he tried\nto speak to me.\"", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "The bear rose to his haunches, sank down, and charged; and Rowland felt\nthe bones of his left arm crushing under the bite of the big,", "\"What have we here, Rowland?\" said a voice. Instantly, the whirling\npoints were blotted out; the universe of gray changed to the fog; the", "Rowland, surprised at his sudden transfer from the disagreeable\nscrubbing to a \"soldier's job\" of painting life-buoys in the warm", "attention to the story at all, Rowland recited the events prior to and\nsucceeding the shipwreck. Beginning with the finding of the whisky in", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "Rowland's head sank and he hid his face for a moment in his arm, on the\ntable at which he sat. It had been a face as old, and worn, and weary as", "Before Mr. Meyer's oily smile had indicated to the flustered captain\nthat he had said too much, the door opened and admitted Rowland, pale,", "\"And they talk,\" went on Rowland, as the three watched and listened; \"of\nthe wonderful love and care of a merciful God, who controls all", "\"They seem plausible,\" said Rowland, unconsciously dropping the \"sir\";\n\"but I think that in most particulars he has been proven wrong.\"", "\"Rowland,\" he said as he drew near; \"I hear you've walked the\nquarter-deck.\"" ], [ "\"They seem plausible,\" said Rowland, unconsciously dropping the \"sir\";\n\"but I think that in most particulars he has been proven wrong.\"", "Rowland's head sank and he hid his face for a moment in his arm, on the\ntable at which he sat. It had been a face as old, and worn, and weary as", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "Here her testimony ended in a breakdown of hysterics, between sobs of\nwhich were frequent admonitions to the child not to say that bad word;\nfor Myra had caught sight of Rowland and was calling his nickname.", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "An incident occurred that morning which drew Rowland's thoughts far from\nthe happenings of the night. A few hours of bright sunshine had brought", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "The bear rose to his haunches, sank down, and charged; and Rowland felt\nthe bones of his left arm crushing under the bite of the big,", "Before Mr. Meyer's oily smile had indicated to the flustered captain\nthat he had said too much, the door opened and admitted Rowland, pale,", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "\"Rowland,\" he said as he drew near; \"I hear you've walked the\nquarter-deck.\"", "\"Vwhat-a-t?\"\n\nMr. Meyer grasped the back of a chair and, leaning over it, stared at\nRowland.\n\n\"You will not testify? Vwhat you mean?\"", "\"Never again,\" said Rowland, rising. \"I've a future now, as well as a\npast.\"\n\n\nCHAPTER XIV", "\"What have we here, Rowland?\" said a voice. Instantly, the whirling\npoints were blotted out; the universe of gray changed to the fog; the", "unspeakable hunger of a love that had failed. Yet it seemed that he was\nnot John Rowland, but some one, or something else; for presently he saw", "\"What is her name?\"\n\n\"Her first name is Myra,\" answered Rowland. \"She remembers that; but I\nhave not learned her last name, though I knew her mother years\nago--before her marriage.\"", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"" ], [ "He patted her on the head and went on, leaving her staring, open-eyed\nand tearful. She was the child of a neighbor; he had mended her dolls,", "\"Come out and show me this reprobate,\" said the husband, rising. They\nwent to the door and the young woman peered out. \"He is the last man", "and will be given here. This person was the only one he met before\nreaching home--a very small person, about thirteen years old, with big\ngray eyes and long dark ringlets, who ran across the street to look at", "\"Never mind, Florrie. He'll tell the news, and you'll soon know who he\nis.\"\n\nHe walked on, but the child headed him and faced him. There were tears\nin the gray eyes.", "\"This man, your Honor,\" he began, excitedly, \"was once a gentleman and a\nfrequent guest at my house. He asked for the hand of my daughter, and as", "\"I cannot see you,\" she answered, faintly. \"I do not know where I am,\nnor what will happen to me. But I am in need of attention. One man was\nkind to me, but he has not returned. Who are you--you men?\"", "dock. As a consequence, he was surrounded on the dock by enthusiastic\nreporters, who spoke of the story and asked for details. He refused to\ntalk, escaped them, and gaining the side streets, soon found himself in", "On the morning of the next day, a one-armed dock lounger found an old\nfish-hook and some pieces of string which he knotted together; then he", "Then, while an approving crowd applauded, the man who had fought and\nconquered a hungry polar bear was dragged through the streets like a\nsick animal by a New York policeman. For such is the stultifying effect\nof a civilized environment.", "There is hardly need of describing in detail the fist fight that\nfollowed. It was like all such, where one man is slightly the superior\nof the other in skill, strength, and agility.", "\"Where's my bag?\" he demanded, generally. \"I want dry clothes.\"\n\nHe groped his way to the bunk he had occupied, found his clothes bag,\nand drew out a complete change of garments.", "She turned her back to him, and he went down. In five minutes he was\nasleep. And, as he slipped off into unconsciousness, there came to his", "Myra--our baby.\" She strained the smiling child to her breast and went\non. \"I liked him at first, until I found out that he was an", "\"It is her child,\" he groaned. \"That was the mother-look. She is\nmarried--married.\" He resumed his work, with a face as near the color of", "\"He never seemed the same to me after that,\" she resumed; \"I felt as\nthough in the presence of something unclean. Yet I thought how glorious", "\"I have always been poor,\" she said, looking him frankly in the face.\n\"But, John, that is not it. I am afraid. He--Mr. Foster, threatened", "\"Florrie,\" he said, in a half whisper. \"Florrie, are you awake?\"\n\nThere was no answer for a moment; then he saw a shadow move across the\ndoor.", "\"I'll see you go first!\" he shrieked. He fired again and again as he\ncame; then, realizing that he had but one bullet left in his pistol, he", "And so it continued until about midnight, when he heard the rasping of\nthe companion hood, then saw Florrie's face peering out. He sprang to\nthe companion.", "distinctly--while his limbs ceased their flapping--and the first thing\nhe saw was the girl standing over him, her face white as the whites of" ], [ "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "\"Oh, George--no,\" she answered in agitated tones. \"John Rowland is\nhere--Lieutenant Rowland. I've just seen him--he is so changed--he tried\nto speak to me.\"", "unspeakable hunger of a love that had failed. Yet it seemed that he was\nnot John Rowland, but some one, or something else; for presently he saw", "the arrest of John Rowland, but merely directed that, for the time, he\nshould be kept at work by day in the 'tween-deck, out of sight of the\npassengers.", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "Rowland, surprised at his sudden transfer from the disagreeable\nscrubbing to a \"soldier's job\" of painting life-buoys in the warm", "New York, with the name of the steamer in which John Rowland had sailed\n(for his movements had been traced in the search for evidence), where it", "that her child was safe in the care of John Rowland, a brave and trusty\nsailor, who was certainly in the other boat with it. He did not tell", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "excitement of the moment--when we were accused of such an infamous\ncrime. I say now, that John Rowland, whatever may have been his", "Before Mr. Meyer's oily smile had indicated to the flustered captain\nthat he had said too much, the door opened and admitted Rowland, pale,", "\"All right--that'll do. Enter Rowland in the crow's-nest,\nquartermaster,\" said the officer; then, making a funnel of his hands, he\nroared out: \"Crow's-nest, there.\"", "When Rowland turned out to breakfast at seven bells that morning, he\nfound a pint flask in the pocket of his pea-jacket, which he felt of but\ndid not pull out in sight of his watchmates.", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a", "Rowland's head sank and he hid his face for a moment in his arm, on the\ntable at which he sat. It had been a face as old, and worn, and weary as", "\"Never again,\" said Rowland, rising. \"I've a future now, as well as a\npast.\"\n\n\nCHAPTER XIV", "only struck him for your wages. You're entitled to a month's pay. Here\nit is--American money--about seventeen.\" He gave Rowland a roll of\nbills." ], [ "\"What shipwreck was this--where was it?\" asked the puzzled magistrate of\nnobody in particular.\n\n\"The _Titan_,\" called out half a dozen newspaper men across the room.", "THE WRECK OF THE TITAN\n\n\nCHAPTER I", "She was the largest craft afloat and the greatest of the works of men.\nIn her construction and maintenance were involved every science,\nprofession, and trade known to civilization. On her bridge were", "There was hardly a crash. A slight jar shook the forward end of the\n_Titan_ and sliding down her fore-topmast-stay and rattling on deck came", "\"The _Titan_,\" repeated the magistrate. \"Then this offense was committed\non the high seas under the English flag. I cannot imagine why it is\nbrought into this court. Prisoner, have you anything to say?\"", "\"Poor devil--poor damn fool of an Israelite,\" said one observer to\nanother. \"He covered the whole of the _Royal Age_, and the biggest chunk\nof the _Titan_. It'll take his wife's diamonds to settle.\"", "THE WRECK OF THE\n TITAN\n\n OR, FUTILITY\n\n\n BY\n\n MORGAN ROBERTSON", "_Titan_ had full headway, and the brunt of the damage would be borne by\nthe other. Second, that if the _Titan_ was the aggressor she would", "yourself stupid like a good Christian. I've got a thousand on the\n_Titan_, and if I'm to pay it I want to know why. You've got the", "was complete; that the invincible _Titan_, with nearly all of her\npeople, unable to climb vertical floors and ceilings, was beneath the\nsurface of the sea.", "other witnesses among the _Titan's_ crew, and in interviewing Captain\nBarry, to the end of improving his memory. A few stormy meetings with\nthis huge obstructionist convinced them of the futility of further", "The shapes were swallowed in the blackness astern; the cries were hushed\nby the clamor of the gale, and the steamship _Titan_ swung back to her", "\"Well?\" she said, inquiringly.\n\n\"Did you ever hear of the _Gigantia_?\"\n\n\"Why, of course--you mean the new liner?\"", "owner of der _Titan_, and responsible as such.\"", "The big _Gigantia_ had disappeared in the haze that hid the whole\nhorizon; but up in the western sky was a portent--a black silhouette of\nirregular out-line, that grew larger as he looked.", "the great _Titan_ was destroyed, and the papers of Europe and America\nwere issuing extras giving the meager details of the arrival at New York\nof one boat-load of her people, this office had been crowded with", "following suit with the binoculars, saw what he was looking at--a huge\nbulk coming out of the haze carrying one short mast and five funnels.\nThen he remembered the descriptions he had read of the mighty", "By asking questions of various craft, and by diligent use of a\ntelescope, Metcalf found his quarry three days later--a log-like object\non the horizon, with the slim white pole amidships and the excrescence\nnear its base.", "So, it was confidently expected that when her engines had limbered\nthemselves, the steamship _Titan_ would land her passengers three", "darkness and fog ahead resolved itself into the square sails of a\ndeep-laden ship, crossing the _Titan's_ bow, not half her length away." ], [ "\"What shipwreck was this--where was it?\" asked the puzzled magistrate of\nnobody in particular.\n\n\"The _Titan_,\" called out half a dozen newspaper men across the room.", "There was hardly a crash. A slight jar shook the forward end of the\n_Titan_ and sliding down her fore-topmast-stay and rattling on deck came", "The boat circled around, headed northwest, and went on at full speed\nuntil, not only the tanker, but every other craft in view, had sunk\nbeneath the horizon. Then the engines were stopped, and the signal yard\nsent down.", "crushed and riven starboard side, expelled it, the _Titan_ moved slowly\nbackward and launched herself into the sea, where she floated low on her", "was complete; that the invincible _Titan_, with nearly all of her\npeople, unable to climb vertical floors and ceilings, was beneath the\nsurface of the sea.", "THE WRECK OF THE TITAN\n\n\nCHAPTER I", "_Titan_ had full headway, and the brunt of the damage would be borne by\nthe other. Second, that if the _Titan_ was the aggressor she would", "The shapes were swallowed in the blackness astern; the cries were hushed\nby the clamor of the gale, and the steamship _Titan_ swung back to her", "\"Poor devil--poor damn fool of an Israelite,\" said one observer to\nanother. \"He covered the whole of the _Royal Age_, and the biggest chunk\nof the _Titan_. It'll take his wife's diamonds to settle.\"", "the great _Titan_ was destroyed, and the papers of Europe and America\nwere issuing extras giving the meager details of the arrival at New York\nof one boat-load of her people, this office had been crowded with", "Hand in hand they leaped into the sea; and Denman, towing the girl by\nthe becket of her life-buoy, paid no attention to the sinking hull until\nsatisfied that they were safe from the suction.", "It ended soon with Hawkes, Davis, and Daniels writhing on the deck, and\nForsythe hiding, uninjured, behind the forward funnel; while Riley,", "\"Yes, your Honor. Failing in this, he stole, or enticed the little one\nfrom its bed, and in less than five minutes the ship was wrecked, and he\nmust have escaped with the child in--\"", "THE WRECK OF THE\n TITAN\n\n OR, FUTILITY\n\n\n BY\n\n MORGAN ROBERTSON", "\"The _Titan_,\" repeated the magistrate. \"Then this offense was committed\non the high seas under the English flag. I cannot imagine why it is\nbrought into this court. Prisoner, have you anything to say?\"", "The big ship seemed to grow in size visibly as her speed, plus the\ndestroyer's, brought them together. In a few moments Denman made out", "effort in his direction, and, after finding at the end of a week that\nevery surviving member of the _Titan's_ port watch, as well as a few of", "other witnesses among the _Titan's_ crew, and in interviewing Captain\nBarry, to the end of improving his memory. A few stormy meetings with\nthis huge obstructionist convinced them of the futility of further", "When he looked, the bow was under water, the stern rising in the air,\nhigher and higher, until a third of the after body was exposed; then it", "finished the voyage at reduced speed, to rebuild on insurance money, and\nbenefit, largely, in the end, by the consequent advertising of her\nindestructibility. But a low beach, possibly formed by the recent" ], [ "Rowland, with some misgivings, drank a small quantity of the liquor, and\nwrapping the still sleeping child in the coat, stepped out on the ice.", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "\"Open that door,\" said Rowland, quietly.\n\n\"Yes, open it,\" repeated Captain Barry, his puzzled face clearing at the\nprospect of action on his part. \"Open it or I'll kick it down.\"", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "\"All right--that'll do. Enter Rowland in the crow's-nest,\nquartermaster,\" said the officer; then, making a funnel of his hands, he\nroared out: \"Crow's-nest, there.\"", "Rowland glanced after the retreating officer with a cynical smile. \"I\nwonder,\" he said to himself, \"why he comes down here talking navigation", "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "pride. As he rose to his feet, the flying-jib of a bark appeared around\nthe corner of ice to the right of the beach, and a moment later the", "The bear rose to his haunches, sank down, and charged; and Rowland felt\nthe bones of his left arm crushing under the bite of the big,", "\"Go on deck, now, Rowland,\" he said; \"I will talk with you again before\nwe reach soundings. Meanwhile, I request--not require, but request--that\nyou hold no useless conversation with your shipmates in regard to this\nmatter.\"", "Rowland, surprised at his sudden transfer from the disagreeable\nscrubbing to a \"soldier's job\" of painting life-buoys in the warm", "\"Ice,\" yelled the lookout; \"ice ahead. Iceberg. Right under the bows.\"\nThe first officer ran amidships, and the captain, who had remained", "\"I stand by Rowland,\" said the captain, grimly. \"I don't remember what\nwas said, anyhow; got a blamed bad memory. Get away from that door.\"", "She snatched the child from Rowland's shoulder, hugged it, kissed it,\ncried, and screamed over it; then, oblivious to the crowd that", "When Rowland turned out to breakfast at seven bells that morning, he\nfound a pint flask in the pocket of his pea-jacket, which he felt of but\ndid not pull out in sight of his watchmates.", "\"I will drink with you, Rowland,\" he said; \"here is to our better\nunderstanding.\" He tossed off the liquor; then Rowland, who had waited,", "attention to the story at all, Rowland recited the events prior to and\nsucceeding the shipwreck. Beginning with the finding of the whisky in", "Captain Barry beckoned to Rowland, who, slightly flushed, was standing\nby the still figure on the couch and watching the face of Mr. Meyer, on\nwhich annoyance, jubilation, and simulated shock could be seen in turn.", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "crackling beneath and around him--the voice of the iceberg--overcame him\nfinally, and he slept, to waken at daylight with limbs stiffened and\nnumb--almost frozen." ], [ "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "She snatched the child from Rowland's shoulder, hugged it, kissed it,\ncried, and screamed over it; then, oblivious to the crowd that", "radius, crouched Rowland, bleeding from a cut in his head, and still\nholding to his breast the little girl--now too frightened to cry.", "\"Not at all,\" said Rowland. \"Her lights were burning--look to the old\ngentleman,\" he exclaimed. \"Look out for him. Catch him!\"", "a little scream of fright, and at that instant a young woman appeared\naround the corner. She sprang toward Rowland like a tigress, snatched\nthe child, stared at him for a moment with dilated eyes, and then", "\"Open that door,\" said Rowland, quietly.\n\n\"Yes, open it,\" repeated Captain Barry, his puzzled face clearing at the\nprospect of action on his part. \"Open it or I'll kick it down.\"", "Hand in hand they leaped into the sea; and Denman, towing the girl by\nthe becket of her life-buoy, paid no attention to the sinking hull until\nsatisfied that they were safe from the suction.", "\"Whose kid ye got?\" he demanded.\n\n\"I believe it is the daughter of Mrs. Colonel Selfridge,\" answered\nRowland, haughtily--too haughtily, by far.", "\"That's it,\" answered Rowland, weakly, as he leaned back on the cushion,\nfaint from the excitement of the last few moments. \"And as for the right", "\"What have we here, Rowland?\" said a voice. Instantly, the whirling\npoints were blotted out; the universe of gray changed to the fog; the", "We must hear from one John Rowland, who, with a little child, was\nrescued from der berg and taken to Christiansand. He has been too sick", "Rowland, with some misgivings, drank a small quantity of the liquor, and\nwrapping the still sleeping child in the coat, stepped out on the ice.", "\"My good friend,\" said the underwriter, advancing with outstretched\nhands to Rowland, who backed away, and taking Myra by the hand, moved", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "stopped its crying for a while, and Rowland lay down with it in the warm\nboat. Before the day had passed the whisky was gone and he was delirious\nwith fever, while the child was but little better.", "\"Never again,\" said Rowland, rising. \"I've a future now, as well as a\npast.\"\n\n\nCHAPTER XIV", "\"And they talk,\" went on Rowland, as the three watched and listened; \"of\nthe wonderful love and care of a merciful God, who controls all", "\"Don't be frightened,\" he said, as a sea climbed on board and washed\naft, nearly flooding their rubber boots and eliciting a little scream\nfrom the girl. \"We're safe, and the wind will blow out in a few hours.\"" ], [ "She snatched the child from Rowland's shoulder, hugged it, kissed it,\ncried, and screamed over it; then, oblivious to the crowd that", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "a little scream of fright, and at that instant a young woman appeared\naround the corner. She sprang toward Rowland like a tigress, snatched\nthe child, stared at him for a moment with dilated eyes, and then", "\"Whose kid ye got?\" he demanded.\n\n\"I believe it is the daughter of Mrs. Colonel Selfridge,\" answered\nRowland, haughtily--too haughtily, by far.", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "\"What is her name?\"\n\n\"Her first name is Myra,\" answered Rowland. \"She remembers that; but I\nhave not learned her last name, though I knew her mother years\nago--before her marriage.\"", "maternity overcame her. With cheeks flushed, and eyes blazing scorn and\nanger, she pointed at Rowland and all but screamed: \"And he has", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "\"Not at all,\" said Rowland. \"Her lights were burning--look to the old\ngentleman,\" he exclaimed. \"Look out for him. Catch him!\"", "in the exciting noise and life of the street than in the clothing she\nwore. In the store, Rowland asked for, and was directed to the\nchildren's department, where a young woman waited on him.", "\"That's it,\" answered Rowland, weakly, as he leaned back on the cushion,\nfaint from the excitement of the last few moments. \"And as for the right", "\"My good friend,\" said the underwriter, advancing with outstretched\nhands to Rowland, who backed away, and taking Myra by the hand, moved", "\"Thank you,\" said Rowland, dryly, to the first officer; then, looking\ninto the appealing face of Mr. Meyer, he said:", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "\"Now here's something else, Rowland,\" he continued, producing an\nenvelope. \"In consideration of the fact that you lost all your clothes", "Drying his wet hands on his trousers, Rowland lifted the tot and said,\ntenderly: \"Well, little one, you must run back to mamma. You're in bad", "radius, crouched Rowland, bleeding from a cut in his head, and still\nholding to his breast the little girl--now too frightened to cry.", "Here her testimony ended in a breakdown of hysterics, between sobs of\nwhich were frequent admonitions to the child not to say that bad word;\nfor Myra had caught sight of Rowland and was calling his nickname.", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a", "that her child was safe in the care of John Rowland, a brave and trusty\nsailor, who was certainly in the other boat with it. He did not tell" ], [ "\"Whose kid ye got?\" he demanded.\n\n\"I believe it is the daughter of Mrs. Colonel Selfridge,\" answered\nRowland, haughtily--too haughtily, by far.", "\"What is her name?\"\n\n\"Her first name is Myra,\" answered Rowland. \"She remembers that; but I\nhave not learned her last name, though I knew her mother years\nago--before her marriage.\"", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "She snatched the child from Rowland's shoulder, hugged it, kissed it,\ncried, and screamed over it; then, oblivious to the crowd that", "her, of course, that Rowland had hailed from the berg as she lay\nunconscious, and that if he still had the child, it was with him\nthere--deserted.", "Here her testimony ended in a breakdown of hysterics, between sobs of\nwhich were frequent admonitions to the child not to say that bad word;\nfor Myra had caught sight of Rowland and was calling his nickname.", "a little scream of fright, and at that instant a young woman appeared\naround the corner. She sprang toward Rowland like a tigress, snatched\nthe child, stared at him for a moment with dilated eyes, and then", "maternity overcame her. With cheeks flushed, and eyes blazing scorn and\nanger, she pointed at Rowland and all but screamed: \"And he has", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "\"I think I understand the game, Rowland,\" he said, as they started; \"you\ndon't want to break this child.\"", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "in the exciting noise and life of the street than in the clothing she\nwore. In the store, Rowland asked for, and was directed to the\nchildren's department, where a young woman waited on him.", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a", "\"Not at all,\" said Rowland. \"Her lights were burning--look to the old\ngentleman,\" he exclaimed. \"Look out for him. Catch him!\"", "\"My good friend,\" said the underwriter, advancing with outstretched\nhands to Rowland, who backed away, and taking Myra by the hand, moved", "\"Oh, George--no,\" she answered in agitated tones. \"John Rowland is\nhere--Lieutenant Rowland. I've just seen him--he is so changed--he tried\nto speak to me.\"", "radius, crouched Rowland, bleeding from a cut in his head, and still\nholding to his breast the little girl--now too frightened to cry.", "\"Rowland,\" he said as he drew near; \"I hear you've walked the\nquarter-deck.\"", "Mr. Selfridge had arisen and was also staring, not at Rowland, but at\nthe child, who, seated in the lap of the big Captain Barry, was looking", "\"Never again,\" said Rowland, rising. \"I've a future now, as well as a\npast.\"\n\n\nCHAPTER XIV" ], [ "\"They seem plausible,\" said Rowland, unconsciously dropping the \"sir\";\n\"but I think that in most particulars he has been proven wrong.\"", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "only struck him for your wages. You're entitled to a month's pay. Here\nit is--American money--about seventeen.\" He gave Rowland a roll of\nbills.", "Rowland, surprised at his sudden transfer from the disagreeable\nscrubbing to a \"soldier's job\" of painting life-buoys in the warm", "\"Now here's something else, Rowland,\" he continued, producing an\nenvelope. \"In consideration of the fact that you lost all your clothes", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "\"What have we here, Rowland?\" said a voice. Instantly, the whirling\npoints were blotted out; the universe of gray changed to the fog; the", "Rowland glanced after the retreating officer with a cynical smile. \"I\nwonder,\" he said to himself, \"why he comes down here talking navigation", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "sit you down in mine office and call you Mr. Rowland. Haf I not been one\nshentleman?\"", "\"I am aware of more than that,\" answered Rowland, excitedly. \"I know of\nthe power vested in you as captain. I know that you can order me into", "\"Rowland,\" he said as he drew near; \"I hear you've walked the\nquarter-deck.\"", "\"Very well, officer; I can prove possession.\" They started back, the\nofficer with his hand on Rowland's collar, and were met at the door by a", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "\"You scoundrel!\" he exclaimed, as he flourished his cane over Rowland's\nhead with his free arm. \"We've caught you. Officer, take that man to the", "Rowland's head sank and he hid his face for a moment in his arm, on the\ntable at which he sat. It had been a face as old, and worn, and weary as" ], [ "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "Rowland glanced after the retreating officer with a cynical smile. \"I\nwonder,\" he said to himself, \"why he comes down here talking navigation", "\"Thank you, captain,\" said Rowland, as he took the other's hand and then\nglanced at his empty sleeve; \"but my going to sea is ended. Even a mate\nneeds two hands.\"", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "\"Rowland,\" he said as he drew near; \"I hear you've walked the\nquarter-deck.\"", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "\"They seem plausible,\" said Rowland, unconsciously dropping the \"sir\";\n\"but I think that in most particulars he has been proven wrong.\"", "\"Now here's something else, Rowland,\" he continued, producing an\nenvelope. \"In consideration of the fact that you lost all your clothes", "Ten minutes later, the captain, in his office, was listening to a\ncomplaint from a very excited man and woman.\n\n\"And you say, colonel,\" said the captain, \"that this man Rowland is an\nold enemy?\"", "Rowland, surprised at his sudden transfer from the disagreeable\nscrubbing to a \"soldier's job\" of painting life-buoys in the warm", "\"All right--that'll do. Enter Rowland in the crow's-nest,\nquartermaster,\" said the officer; then, making a funnel of his hands, he\nroared out: \"Crow's-nest, there.\"", "\"Are you aware, Rowland,\" he asked, quietly, \"that you will stand\nalone--that you will be discredited, lose your berth, and make enemies?\"", "\"I stand by Rowland,\" said the captain, grimly. \"I don't remember what\nwas said, anyhow; got a blamed bad memory. Get away from that door.\"", "There was a fight in the port forecastle--to which Rowland belonged--at\nsupper-time, which need not be described beyond mention of the fact that", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "\"What have we here, Rowland?\" said a voice. Instantly, the whirling\npoints were blotted out; the universe of gray changed to the fog; the", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "\"I am aware of more than that,\" answered Rowland, excitedly. \"I know of\nthe power vested in you as captain. I know that you can order me into", "\"Who says so--how do you know it?\" blustered the captain. \"You have only\nthat bulletin statement of the man Rowland--an irresponsible drunkard.\"" ], [ "\"Oh, George--no,\" she answered in agitated tones. \"John Rowland is\nhere--Lieutenant Rowland. I've just seen him--he is so changed--he tried\nto speak to me.\"", "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "unspeakable hunger of a love that had failed. Yet it seemed that he was\nnot John Rowland, but some one, or something else; for presently he saw", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "\"They seem plausible,\" said Rowland, unconsciously dropping the \"sir\";\n\"but I think that in most particulars he has been proven wrong.\"", "Ten minutes later, the captain, in his office, was listening to a\ncomplaint from a very excited man and woman.\n\n\"And you say, colonel,\" said the captain, \"that this man Rowland is an\nold enemy?\"", "New York, with the name of the steamer in which John Rowland had sailed\n(for his movements had been traced in the search for evidence), where it", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a", "excitement of the moment--when we were accused of such an infamous\ncrime. I say now, that John Rowland, whatever may have been his", "that her child was safe in the care of John Rowland, a brave and trusty\nsailor, who was certainly in the other boat with it. He did not tell", "Before Mr. Meyer's oily smile had indicated to the flustered captain\nthat he had said too much, the door opened and admitted Rowland, pale,", "Rowland's head sank and he hid his face for a moment in his arm, on the\ntable at which he sat. It had been a face as old, and worn, and weary as", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "\"Very well, officer; I can prove possession.\" They started back, the\nofficer with his hand on Rowland's collar, and were met at the door by a", "\"Thank you, captain,\" said Rowland, as he took the other's hand and then\nglanced at his empty sleeve; \"but my going to sea is ended. Even a mate\nneeds two hands.\"", "\"Rowland,\" he said as he drew near; \"I hear you've walked the\nquarter-deck.\"", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"" ], [ "\"Oh, George--no,\" she answered in agitated tones. \"John Rowland is\nhere--Lieutenant Rowland. I've just seen him--he is so changed--he tried\nto speak to me.\"", "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "\"They seem plausible,\" said Rowland, unconsciously dropping the \"sir\";\n\"but I think that in most particulars he has been proven wrong.\"", "unspeakable hunger of a love that had failed. Yet it seemed that he was\nnot John Rowland, but some one, or something else; for presently he saw", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "New York, with the name of the steamer in which John Rowland had sailed\n(for his movements had been traced in the search for evidence), where it", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "the arrest of John Rowland, but merely directed that, for the time, he\nshould be kept at work by day in the 'tween-deck, out of sight of the\npassengers.", "that her child was safe in the care of John Rowland, a brave and trusty\nsailor, who was certainly in the other boat with it. He did not tell", "Ten minutes later, the captain, in his office, was listening to a\ncomplaint from a very excited man and woman.\n\n\"And you say, colonel,\" said the captain, \"that this man Rowland is an\nold enemy?\"", "excitement of the moment--when we were accused of such an infamous\ncrime. I say now, that John Rowland, whatever may have been his", "Rowland merely bowed, slightly, but Mr. Meyer muttered to himself:\n\"Vealth and influence. Berhaps not. Now, gentlemen,\" he added, in a", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "\"Never again,\" said Rowland, rising. \"I've a future now, as well as a\npast.\"\n\n\nCHAPTER XIV", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "Rowland's head sank and he hid his face for a moment in his arm, on the\ntable at which he sat. It had been a face as old, and worn, and weary as", "\"Rowland,\" he said as he drew near; \"I hear you've walked the\nquarter-deck.\"", "We must hear from one John Rowland, who, with a little child, was\nrescued from der berg and taken to Christiansand. He has been too sick", "\"Very well, officer; I can prove possession.\" They started back, the\nofficer with his hand on Rowland's collar, and were met at the door by a" ], [ "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "New York, with the name of the steamer in which John Rowland had sailed\n(for his movements had been traced in the search for evidence), where it", "the arrest of John Rowland, but merely directed that, for the time, he\nshould be kept at work by day in the 'tween-deck, out of sight of the\npassengers.", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "that her child was safe in the care of John Rowland, a brave and trusty\nsailor, who was certainly in the other boat with it. He did not tell", "\"All right--that'll do. Enter Rowland in the crow's-nest,\nquartermaster,\" said the officer; then, making a funnel of his hands, he\nroared out: \"Crow's-nest, there.\"", "\"Oh, George--no,\" she answered in agitated tones. \"John Rowland is\nhere--Lieutenant Rowland. I've just seen him--he is so changed--he tried\nto speak to me.\"", "\"I am aware of more than that,\" answered Rowland, excitedly. \"I know of\nthe power vested in you as captain. I know that you can order me into", "Rowland glanced after the retreating officer with a cynical smile. \"I\nwonder,\" he said to himself, \"why he comes down here talking navigation", "attention to the story at all, Rowland recited the events prior to and\nsucceeding the shipwreck. Beginning with the finding of the whisky in", "Ten minutes later, the captain, in his office, was listening to a\ncomplaint from a very excited man and woman.\n\n\"And you say, colonel,\" said the captain, \"that this man Rowland is an\nold enemy?\"", "\"Go on deck, now, Rowland,\" he said; \"I will talk with you again before\nwe reach soundings. Meanwhile, I request--not require, but request--that\nyou hold no useless conversation with your shipmates in regard to this\nmatter.\"", "could find. The boat sails in the morning and the night train leaves in\ntwo hours. Think of that mother, Rowland. Why, man, I'd travel round the", "\"Thank you, captain,\" said Rowland, as he took the other's hand and then\nglanced at his empty sleeve; \"but my going to sea is ended. Even a mate\nneeds two hands.\"", "When Rowland turned out to breakfast at seven bells that morning, he\nfound a pint flask in the pocket of his pea-jacket, which he felt of but\ndid not pull out in sight of his watchmates.", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "There was a fight in the port forecastle--to which Rowland belonged--at\nsupper-time, which need not be described beyond mention of the fact that", "\"I stand by Rowland,\" said the captain, grimly. \"I don't remember what\nwas said, anyhow; got a blamed bad memory. Get away from that door.\"", "\"John Rowland, sailor of the _Titan_, with child passenger, name\n unknown, on board _Peerless_, Bath, at Christiansand, Norway. Both" ], [ "THE WRECK OF THE TITAN\n\n\nCHAPTER I", "\"What shipwreck was this--where was it?\" asked the puzzled magistrate of\nnobody in particular.\n\n\"The _Titan_,\" called out half a dozen newspaper men across the room.", "the great _Titan_ was destroyed, and the papers of Europe and America\nwere issuing extras giving the meager details of the arrival at New York\nof one boat-load of her people, this office had been crowded with", "There was hardly a crash. A slight jar shook the forward end of the\n_Titan_ and sliding down her fore-topmast-stay and rattling on deck came", "The shapes were swallowed in the blackness astern; the cries were hushed\nby the clamor of the gale, and the steamship _Titan_ swung back to her", "\"Poor devil--poor damn fool of an Israelite,\" said one observer to\nanother. \"He covered the whole of the _Royal Age_, and the biggest chunk\nof the _Titan_. It'll take his wife's diamonds to settle.\"", "crushed and riven starboard side, expelled it, the _Titan_ moved slowly\nbackward and launched herself into the sea, where she floated low on her", "was complete; that the invincible _Titan_, with nearly all of her\npeople, unable to climb vertical floors and ceilings, was beneath the\nsurface of the sea.", "The boat circled around, headed northwest, and went on at full speed\nuntil, not only the tanker, but every other craft in view, had sunk\nbeneath the horizon. Then the engines were stopped, and the signal yard\nsent down.", "condition on the preceding night, was a sober and competent lookout at\nthe time of the wreck of the _Titan_.\"", "And so they passed the night, until, just as a lighter gray shone in the\neast, he noticed that one of the red lamps at the signal yard had gone", "THE WRECK OF THE\n TITAN\n\n OR, FUTILITY\n\n\n BY\n\n MORGAN ROBERTSON", "In the first tumultuous riot of inquiry, when underwriters had climbed\nover desks and each other to hear again of the wreck of the _Titan_,", "It was somewhat discouraging; but, as darkness closed down, they once\nmore headed their course, and all night they charged along at forty", "On a certain morning, about two months after the announcement of the\nloss of the _Titan_, Mr. Meyer sat at his desk in the Rooms, busily", "out. As the lights were still necessary, he went forward to lower them;\nbut, just as he was about to mount the bridge stairs, a crashing blow", "And so it continued until about midnight, when he heard the rasping of\nthe companion hood, then saw Florrie's face peering out. He sprang to\nthe companion.", "He waited until the leading flag-ship was within half a mile of being\nabreast; then, turning on a hanging electric bulb, he held it close to", "ruined man. He was der heaviest stockholder in der _Titan_. One hundred\nthousand pounds, he owned, of der stock, all of which this poor, dear", "Two bells were struck and answered; then three, and the boatswain and\nhis men were lighting up for a final smoke, when there rang out overhead\na startling cry from the crow's-nest:" ], [ "Rowland, with some misgivings, drank a small quantity of the liquor, and\nwrapping the still sleeping child in the coat, stepped out on the ice.", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "Hand in hand they leaped into the sea; and Denman, towing the girl by\nthe becket of her life-buoy, paid no attention to the sinking hull until\nsatisfied that they were safe from the suction.", "radius, crouched Rowland, bleeding from a cut in his head, and still\nholding to his breast the little girl--now too frightened to cry.", "We must hear from one John Rowland, who, with a little child, was\nrescued from der berg and taken to Christiansand. He has been too sick", "She snatched the child from Rowland's shoulder, hugged it, kissed it,\ncried, and screamed over it; then, oblivious to the crowd that", "her, of course, that Rowland had hailed from the berg as she lay\nunconscious, and that if he still had the child, it was with him\nthere--deserted.", "attention to the story at all, Rowland recited the events prior to and\nsucceeding the shipwreck. Beginning with the finding of the whisky in", "a little scream of fright, and at that instant a young woman appeared\naround the corner. She sprang toward Rowland like a tigress, snatched\nthe child, stared at him for a moment with dilated eyes, and then", "\"You are the man who was rescued from an iceberg, are you not?\" The\nprisoner bowed his head.", "\"Open that door,\" said Rowland, quietly.\n\n\"Yes, open it,\" repeated Captain Barry, his puzzled face clearing at the\nprospect of action on his part. \"Open it or I'll kick it down.\"", "\"Whose kid ye got?\" he demanded.\n\n\"I believe it is the daughter of Mrs. Colonel Selfridge,\" answered\nRowland, haughtily--too haughtily, by far.", "\"Ice,\" yelled the lookout; \"ice ahead. Iceberg. Right under the bows.\"\nThe first officer ran amidships, and the captain, who had remained", "stopped its crying for a while, and Rowland lay down with it in the warm\nboat. Before the day had passed the whisky was gone and he was delirious\nwith fever, while the child was but little better.", "\"Now here's something else, Rowland,\" he continued, producing an\nenvelope. \"In consideration of the fact that you lost all your clothes", "\"Not at all,\" said Rowland. \"Her lights were burning--look to the old\ngentleman,\" he exclaimed. \"Look out for him. Catch him!\"", "\"What have we here, Rowland?\" said a voice. Instantly, the whirling\npoints were blotted out; the universe of gray changed to the fog; the", "crackling beneath and around him--the voice of the iceberg--overcame him\nfinally, and he slept, to waken at daylight with limbs stiffened and\nnumb--almost frozen.", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"" ], [ "\"Oh, George--no,\" she answered in agitated tones. \"John Rowland is\nhere--Lieutenant Rowland. I've just seen him--he is so changed--he tried\nto speak to me.\"", "unspeakable hunger of a love that had failed. Yet it seemed that he was\nnot John Rowland, but some one, or something else; for presently he saw", "\"Never again,\" said Rowland, rising. \"I've a future now, as well as a\npast.\"\n\n\nCHAPTER XIV", "excitement of the moment--when we were accused of such an infamous\ncrime. I say now, that John Rowland, whatever may have been his", "his office, could have been heard to remark: \"Now John Rowland, your\nfuture is your own. You have merely suffered in the past from a mistaken\nestimate of the importance of women and whisky.\"", "Before Mr. Meyer's oily smile had indicated to the flustered captain\nthat he had said too much, the door opened and admitted Rowland, pale,", "Rowland's head sank and he hid his face for a moment in his arm, on the\ntable at which he sat. It had been a face as old, and worn, and weary as", "Here her testimony ended in a breakdown of hysterics, between sobs of\nwhich were frequent admonitions to the child not to say that bad word;\nfor Myra had caught sight of Rowland and was calling his nickname.", "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "\"They seem plausible,\" said Rowland, unconsciously dropping the \"sir\";\n\"but I think that in most particulars he has been proven wrong.\"", "Rowland, who was not a participant, had his pot of tea dashed from his\nhand before he had taken three swallows. He procured a fresh supply and", "\"It is my nickname,\" said Rowland, smiling in spite of himself. \"She has\ncoined the word,\" he explained to the agitated Mr. Selfridge, who had", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "\"Heart failure,\" said Rowland, as he knelt by his side. \"Send for a\ndoctor.\"", "\"That's it,\" answered Rowland, weakly, as he leaned back on the cushion,\nfaint from the excitement of the last few moments. \"And as for the right", "Ten minutes later, the captain, in his office, was listening to a\ncomplaint from a very excited man and woman.\n\n\"And you say, colonel,\" said the captain, \"that this man Rowland is an\nold enemy?\"", "The phantasmagoria faded to a blank wall of gray fog, and Rowland found\nsanity to mutter, \"They've drugged me\"; but in an instant he stood in", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "\"Thank you, captain,\" said Rowland, as he took the other's hand and then\nglanced at his empty sleeve; \"but my going to sea is ended. Even a mate\nneeds two hands.\"" ], [ "Hand in hand they leaped into the sea; and Denman, towing the girl by\nthe becket of her life-buoy, paid no attention to the sinking hull until\nsatisfied that they were safe from the suction.", "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "that her child was safe in the care of John Rowland, a brave and trusty\nsailor, who was certainly in the other boat with it. He did not tell", "\"Irene,\" he shouted, joyously, \"we're rising. We'll be afloat before\nlong, and they'll rescue us. Even though we can't pump, they'll see our", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "\"John Rowland, sailor of the _Titan_, with child passenger, name\n unknown, on board _Peerless_, Bath, at Christiansand, Norway. Both", "He looked, and sprang for a life-buoy, which he slipped over Florrie's\nhead. The bow of the boat was flush with the water, which was lapping at", "We must hear from one John Rowland, who, with a little child, was\nrescued from der berg and taken to Christiansand. He has been too sick", "\"She's afire and her boats are burned. There's a woman aboard. I tell\nyou we're not going to let 'em drown. Over with that boat, or I'll", "attention to the story at all, Rowland recited the events prior to and\nsucceeding the shipwreck. Beginning with the finding of the whisky in", "She snatched the child from Rowland's shoulder, hugged it, kissed it,\ncried, and screamed over it; then, oblivious to the crowd that", "\"Open that door,\" said Rowland, quietly.\n\n\"Yes, open it,\" repeated Captain Barry, his puzzled face clearing at the\nprospect of action on his part. \"Open it or I'll kick it down.\"", "\"Don't be frightened,\" he said, as a sea climbed on board and washed\naft, nearly flooding their rubber boots and eliciting a little scream\nfrom the girl. \"We're safe, and the wind will blow out in a few hours.\"", "radius, crouched Rowland, bleeding from a cut in his head, and still\nholding to his breast the little girl--now too frightened to cry.", "\"What shipwreck was this--where was it?\" asked the puzzled magistrate of\nnobody in particular.\n\n\"The _Titan_,\" called out half a dozen newspaper men across the room.", "\"I did,\" answered Denman, returning his stare.\n\n\"Why didn't you sing out? If we're sunk, you drown, too, don't you?\"", "\"All right--that'll do. Enter Rowland in the crow's-nest,\nquartermaster,\" said the officer; then, making a funnel of his hands, he\nroared out: \"Crow's-nest, there.\"", "the girl, who still remained forward, Ross went aft to connect up the\npump. But as he went, he noticed that the deck inclined more and more\nwith each passing moment." ], [ "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "\"Oh, George--no,\" she answered in agitated tones. \"John Rowland is\nhere--Lieutenant Rowland. I've just seen him--he is so changed--he tried\nto speak to me.\"", "attention to the story at all, Rowland recited the events prior to and\nsucceeding the shipwreck. Beginning with the finding of the whisky in", "that her child was safe in the care of John Rowland, a brave and trusty\nsailor, who was certainly in the other boat with it. He did not tell", "\"Rowland, you say?\" bawled the officer above the howling of the wind.\n\"Is he the man who was lifted aboard, drunk, yesterday?\"\n\n\"Yes, sir.\"", "We must hear from one John Rowland, who, with a little child, was\nrescued from der berg and taken to Christiansand. He has been too sick", "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "\"Thank you,\" said Rowland, weakly, as he seated himself; \"they cut my\narm off at Christiansand, and I still live. That is my escape.\"", "\"Thank you, captain,\" said Rowland, as he took the other's hand and then\nglanced at his empty sleeve; \"but my going to sea is ended. Even a mate\nneeds two hands.\"", "unspeakable hunger of a love that had failed. Yet it seemed that he was\nnot John Rowland, but some one, or something else; for presently he saw", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "\"Never again,\" said Rowland, rising. \"I've a future now, as well as a\npast.\"\n\n\nCHAPTER XIV", "the arrest of John Rowland, but merely directed that, for the time, he\nshould be kept at work by day in the 'tween-deck, out of sight of the\npassengers.", "\"What shipwreck was this--where was it?\" asked the puzzled magistrate of\nnobody in particular.\n\n\"The _Titan_,\" called out half a dozen newspaper men across the room.", "\"John Rowland, sailor of the _Titan_, with child passenger, name\n unknown, on board _Peerless_, Bath, at Christiansand, Norway. Both", "New York, with the name of the steamer in which John Rowland had sailed\n(for his movements had been traced in the search for evidence), where it", "stopped its crying for a while, and Rowland lay down with it in the warm\nboat. Before the day had passed the whisky was gone and he was delirious\nwith fever, while the child was but little better.", "Rowland grumbled, as sailors may when aggrieved, and obeyed. The man he\nrelieved reported his name, and disappeared; the first officer sauntered", "When Rowland turned out to breakfast at seven bells that morning, he\nfound a pint flask in the pocket of his pea-jacket, which he felt of but\ndid not pull out in sight of his watchmates.", "\"Now here's something else, Rowland,\" he continued, producing an\nenvelope. \"In consideration of the fact that you lost all your clothes" ], [ "Little Myra, unhurt but badly frightened, began to cry and call for\nRowland in her own way, to the wonder, and somewhat to the scandal of\nthe gentle old man who was endeavoring to soothe her.", "\"Whose kid ye got?\" he demanded.\n\n\"I believe it is the daughter of Mrs. Colonel Selfridge,\" answered\nRowland, haughtily--too haughtily, by far.", "The officer who had arrested Rowland was sworn, and testified that he\nhad stopped the prisoner on Broadway while making off with the child,", "She snatched the child from Rowland's shoulder, hugged it, kissed it,\ncried, and screamed over it; then, oblivious to the crowd that", "excitement of the moment--when we were accused of such an infamous\ncrime. I say now, that John Rowland, whatever may have been his", "that her child was safe in the care of John Rowland, a brave and trusty\nsailor, who was certainly in the other boat with it. He did not tell", "Mr. Rowland--and this is der little child. Sit down, my friend. I\ncongratulate you on your escape.\"", "\"John Rowland,\" he answered. The captain wrote it down.\n\n\"I understand,\" he said, \"that you were in the crow's-nest when this\nunfortunate collision occurred.\"", "\"Very well, officer; I can prove possession.\" They started back, the\nofficer with his hand on Rowland's collar, and were met at the door by a", "\"Not at all,\" said Rowland. \"Her lights were burning--look to the old\ngentleman,\" he exclaimed. \"Look out for him. Catch him!\"", "We must hear from one John Rowland, who, with a little child, was\nrescued from der berg and taken to Christiansand. He has been too sick", "New York, with the name of the steamer in which John Rowland had sailed\n(for his movements had been traced in the search for evidence), where it", "the arrest of John Rowland, but merely directed that, for the time, he\nshould be kept at work by day in the 'tween-deck, out of sight of the\npassengers.", "\"I stand by Rowland,\" said the captain, grimly. \"I don't remember what\nwas said, anyhow; got a blamed bad memory. Get away from that door.\"", "\"Oh, George--no,\" she answered in agitated tones. \"John Rowland is\nhere--Lieutenant Rowland. I've just seen him--he is so changed--he tried\nto speak to me.\"", "Here her testimony ended in a breakdown of hysterics, between sobs of\nwhich were frequent admonitions to the child not to say that bad word;\nfor Myra had caught sight of Rowland and was calling his nickname.", "a little scream of fright, and at that instant a young woman appeared\naround the corner. She sprang toward Rowland like a tigress, snatched\nthe child, stared at him for a moment with dilated eyes, and then", "\"You scoundrel!\" he exclaimed, as he flourished his cane over Rowland's\nhead with his free arm. \"We've caught you. Officer, take that man to the", "\"I think I understand the game, Rowland,\" he said, as they started; \"you\ndon't want to break this child.\"", "\"That's it,\" answered Rowland, weakly, as he leaned back on the cushion,\nfaint from the excitement of the last few moments. \"And as for the right" ] ]

[ "Rowland later became a deckhand upon waht ship? ", "When did the Titan strike an iceberg? ", "As a reward for resuing her daughter. her mother had Rowland arrested for what crime?", "Who is the man that takes pitty on Rowland and rebukes the mother of the girl he rescued? ", "Before getting a desk job, Rowland was a?", "How did Rowland finally get a lucrative Government job?", "From what mistaken estimate was Rowland said to have suffered in the past?", "After recovering to a renewed life, what news does Rowland recieve?", "What is one of the things that plagued Rowland in his early years? ", "Who is the protagonist of the story?", "What job did John Rowland have at the beginning of the novel?", "What is the Titan?", "What happens to the Titan?", "Why does Rowland jump on the iceberg?", "How are Rowland and the young girl rescued?", "How does the young girl's mother reward Rowland for saving her daughter?", "What relationship did Rowland have with the young girl's mother?", "How does Rowland make a living before working for the government?", "What happened to Rowland after he was fired from the Navy?", "What is John Rowland's former profession?", "What is John Rowland's current profession?", "What is the name of the ship where John Rowland works?", "What happens to the Titan one April night?", "What do Rowland and the young girl he rescues find on the iceberg?", "What does John Rowland later say he suffered from in the past?", "How are John Rowland and the girl rescued after the Titan sinks?", "What happens to John Rowland after he is rescued after the wreck of the Titan?", "What is the verdict after John Rowland is accused of kidnapping the young girl?" ]

[ [ "The Titan", "the Titan" ], [ "One April night", "One april night" ], [ "kidnapping", "Kidnapping" ], [ "a magistrate", "Magistrate" ], [ "a homeless fisherman", "He was a homeless fisherman." ], [ "He took the civil service exam", "After passing his civil service exam" ], [ "The importance of whiskey and women", "The importance of women and whiskey." ], [ "The mothers recognition and the daughter begging for him", "a letter from his former lover, congratulating him and pleading for him to visit her and her daughter" ], [ "Alcoholism", "alcohol" ], [ "John Rowland.", "John Rowland" ], [ "He worked in the US Navy.", "Deckhand" ], [ "A ship that Rowland works on.", "A ship" ], [ "It hits an iceberg and begins to sink.", "It hits an iceberg and sinks." ], [ "To save a young girl from dying.", "To save his ex-lover's daughter." ], [ "A passing ship sees them in a lifeboat.", "By a passing ship" ], [ "She has him arrested for kidnapping.", "She doesn't" ], [ "They were lovers.", "Former lover" ], [ "As a fisherman.", "He was a Navy Officer and, later, a deckhand." ], [ "He became an alcoholic.", "He works as deckhand on the Titan." ], [ "He was a US Navy Officer.", "US Navy officer" ], [ "A deckhand.", "A lucrative position under the Government" ], [ "The Titan.", "Titan" ], [ "The ship hits and iceberg and sinks.", "it hits an iceberg and sinks" ], [ "A washed-up lifeboat.", "a lifeboat" ], [ "Mistaking the importance of women and whiskey.", "Giving women and whiskey more importance than he should have." ], [ "The are rescued by a passing ship.", "By the girls mother" ], [ "He is arrested after being accused of kidnapping the girl he saved.", "He is arrested for kidknapping." ], [ "Rowland is discharged by a migistrate.", "Not guilty" ] ]

[ [ "Sir Upward was never after seen or heard of, but Mr. Raven continued to\nshow himself at uncertain intervals in the library. There were some who", "Mr. Raven resumed:", "and Mr. Raven came back to his seat.", "forbidden, and evil books; and in so doing, Mr. Raven, who was probably\nthe devil himself, encouraged him. Suddenly they both disappeared, and", "An ancient woman in the village had told him a legend concerning a Mr.\nRaven, long time librarian to \"that Sir Upward whose portrait hangs", "\"What right have you to treat me so, Mr. Raven?\" I said with deep\noffence. \"Am I, or am I not, a free agent?\"", "\"That I cannot tell,\" returned Mr. Raven; \"--back, perhaps, to where\nthey came from first. They now belong, I fancy, to a sense not yet\ndeveloped in us.\"", "CHAPTER III. THE RAVEN", "\"Here is Mr. Vane, wife!\" said the raven.\n\n\"He is welcome,\" she answered, in a low, rich, gentle voice. Treasures\nof immortal sound seemed to be buried in it.", "In the middle of it stood an unpainted inclosure of rough planks, the\ndoor of which was ajar. Thinking Mr. Raven might be there, I pushed the\ndoor, and entered.", "At these words such a howling, such a prolonged yell of agony burst from\nthe cat, that we both stopped our ears. When it ceased, Mr. Raven walked", "\"You knew I was not a raven!\" he said with a smile.\n\n\"I knew you were Mr. Raven,\" I replied; \"but somehow I thought you a\nbird too!\"", "Then at last I understood that Mr. Raven was indeed Adam, the old and\nthe new man; and that his wife, ministering in the house of the dead,\nwas Eve, the mother of us all, the lady of the New Jerusalem.", "made the house tremble. I sprang to my feet. I do not think Mr. Raven\nstarted even with his eyelids.", "A strange, repulsive feline wail arose somewhere in the room. I started\nup on my elbow and stared about me, but could see nothing.\n\nMr. Raven turned several leaves, and went on:--", "He had never heard that Mr. Raven meddled with anything in the house,\nbut he might perhaps consider himself privileged in regard to the books.", "\"You would have me then understand, Mr. Raven,\" I said, \"that you go\nthrough my house into another world, heedless of disparting space?\"", "\"You did me no wrong,\" he returned. \"Calling me a raven, or thinking me\none, you allowed me existence, which is the sum of what one can", "\"You are tired, are you not, Mr. Vane?\" said the raven, alighting on a\nstone. \"You must make acquaintance with the horse that will carry you in\nthe morning!\"", "\"Mr. Vane,\" croaked the raven, \"think what you are doing! Twice already\nhas evil befallen you--once from fear, and once from heedlessness:\nbreach of word is far worse; it is a crime.\"" ], [ "\"You would have me then understand, Mr. Raven,\" I said, \"that you go\nthrough my house into another world, heedless of disparting space?\"", "\"That is because we have travelled so fast,\" answered the raven. \"In\nyour world you cannot pull up the plumb-line you call gravitation, and", "\"You are tired, are you not, Mr. Vane?\" said the raven, alighting on a\nstone. \"You must make acquaintance with the horse that will carry you in\nthe morning!\"", "\"Here is Mr. Vane, wife!\" said the raven.\n\n\"He is welcome,\" she answered, in a low, rich, gentle voice. Treasures\nof immortal sound seemed to be buried in it.", "We ran, and reached the wooden chamber breathless. Mr. Raven seized the\nchains and adjusted the hood. Then he set the mirrors in their proper", "\"Mr. Vane,\" croaked the raven, \"think what you are doing! Twice already\nhas evil befallen you--once from fear, and once from heedlessness:\nbreach of word is far worse; it is a crime.\"", "forbidden, and evil books; and in so doing, Mr. Raven, who was probably\nthe devil himself, encouraged him. Suddenly they both disappeared, and", "Then at last I understood that Mr. Raven was indeed Adam, the old and\nthe new man; and that his wife, ministering in the house of the dead,\nwas Eve, the mother of us all, the lady of the New Jerusalem.", "\"We have never gone so far from our trees before,\" they said. \"Now mind\nyou watch how you go, that you may see inside your eyes how to come back\nto us.\"", "In the middle of it stood an unpainted inclosure of rough planks, the\ndoor of which was ajar. Thinking Mr. Raven might be there, I pushed the\ndoor, and entered.", "\"May I not mount him at once, Mr. Raven?\" I cried.\n\n\"By all means!\" he answered. \"Mount, and ride him home.\"", "and I longed even after those inhabitants of this alien world whom the\nraven had so vaguely described as nearest my sort. With heavy yet hoping\nheart, and mind haunted by a doubt whether I was going in any direction", "A flash came with the words, and in about half a minute the thunder.\nThen the rain ceased.\n\n\"Now we should be going!\" said the raven, and stepped to the front of\nthe porch.", "Through the dark I heard the wings of the raven. Five quick flaps I\nheard, and he perched on the horse's head. The horse checked himself\ninstantly, ploughing up the ground with his feet.", "\"Perhaps it may comfort you,\" said the raven, \"to be told that you have\nnot yet left your house, neither has your house left you. At the same\ntime it cannot contain you, or you inhabit it!\"", "\"There is no hurry,\" said the raven, who stood regarding me; \"we do not\ngo much by the clock here. Still, the sooner one begins to do what has\nto be done, the better! I will take you to my wife.\"", "Before me was a rectangular vacancy--the ghost of a doorway without a\ndoor: I stepped through it, and found myself in an open space like a", "\"That I cannot tell,\" returned Mr. Raven; \"--back, perhaps, to where\nthey came from first. They now belong, I fancy, to a sense not yet\ndeveloped in us.\"", "He was again a raven, walking, with something stately in his step,\ntoward the house, the door of which stood open.", "\"You forget,\" said the raven, \"that, when I brought you and you declined\nmy hospitality, you reached what you call home in safety: now you are\ncome of yourself! Good night.\"" ], [ "\"If you would have the rest of this house, you must not trouble yourself\nabout waking. You must go to sleep heartily, altogether and outright.\"\nMy soul sank within me.", "\"Yes, it is cold,\" answered our host; \"but you will not be cold in your\nsleep.\"\n\n\"Where are our nests?\" asked more than one, looking round and seeing no\ncouch unoccupied.", "\"By accepting it to the full,\" he answered.\n\n\"I do not understand.\"\n\n\"In this house no one wakes of himself.\"\n\n\"Why?\"", "\"You will not find him; but you will hardly miss the wood. It is the\nplace where those who will not sleep, wake up at night, to kill their\ndead and bury them.\"\n\n\"I cannot understand you!\"", "\"Would they have me make of a charnel-house my bed-chamber?\" I cried\naloud. \"I will not. I will lie abroad on the heath; it cannot be colder\nthere!\"", "\"No one sleeps in my house two nights together!\" she answered.\n\n\"I thank you, then, for your hospitality, and bid you farewell!\" I said,\nand turned to go.", "\"I have told you that years are of no consequence in this house,\"\nanswered Adam; \"we do not heed them. Your father will wake when his\nmorning comes. Your mother, next to whom you are lying,----\"", "kill them sleeping. Thereupon she concluded that the only way to stop\nthe destruction was to give them ground for believing that they had\nabandoned the place. The Little Ones must remove into the forest--beyond", "night some rise and go. But I will not say more, for I find my words\nonly mislead you!--This is the couch that has been waiting for you,\" he\nended, pointing to one of the three.", "the false will never present itself. At this moment, believe me, you are\non your bed in the house of death.\"", "\"I do. I live there alone, except when I have visitors. It is a poor\nplace, but I do what I can for my guests, and sometimes their sleep is\nsweet to them.\"", "\"Every creature must one night yield himself and lie down,\" answered\nAdam: \"he was made for liberty, and must not be left a slave!\"\n\n\"It will be late, I fear, ere all have lain down!\" I said.", "\"He has not yet learned that the day begins with sleep!\" said the\nwoman, turning to her husband. \"Tell him he must rest before he can do\nanything!\"", "Yes; they would build sleep-houses in the trees, where no giant would\nsee them, for never by any chance did one throw back his dull head to", "\"At the top of that stair,\" she answered, \"you will find a bed--on which\nsome have slept better than they expected, and some have waked all the", "death, and its air will not be wholesome for the sleepers until thou art\ngone from it!\"", "\"It is of no use,\" he answered. \"Your night was not come then, or you\nwould not have left us. It is not come now, and I cannot show you the", "\"You mistake, my son,\" he answered, in a voice whose very breath was\nconsolation. \"You are still in the chamber of death, still upon your\ncouch, asleep and dreaming, with the dead around you.\"", "narrow ways, every couch stood by itself, and on each slept a lonely\nsleeper. I thought at first their sleep was death, but I soon saw it was\nsomething deeper still--a something I did not know.", "\"The Little Ones are in frightful peril, and I brought it upon them!\" I\ncried. \"--But indeed I will not break my word to you. I will return, and\nspend in your house what nights--what days--what years you please.\"" ], [ "CHAPTER XIII. THE LITTLE ONES", "that she hated the Little Ones, and would like to kill them, only she\ncould not find them. I asked how they knew that; Lona answered that she", "I had been at work but a few moments, when I heard small voices near me,\nand presently the Little Ones, as I soon found they called themselves,", "Lona and I, who walked below, heard at last a great shout overhead, and\nin a moment or two the Little Ones began to come dropping down from the", "By this time the Little Ones were coming back, and with much noise, for\nthey had no care to keep quiet now that they were at open war with the", "undone, and I was in the arms, seemingly innumerable, of the Little\nOnes. For some time I saw no more of the giants.", "became in consequence more hostile to them. Sometimes the Little\nOnes would see them trampling furiously, perceiving or imagining some\nindication of their presence, while they indeed stood beside, and", "the Little Ones. The sight awoke in her an over-mastering terror: she\nhad failed in her endeavour to destroy them, and they were upon her! The\nprophecy was about to be fulfilled!", "were soon quieted, and went on. Some of the Little Ones shivered, and\nall were still as death. The three girls held closer the infants they", "and freed my right arm. That instant, however, a commotion arose in the\nstreet behind me; the crowd broke; and through it came the Little Ones I", "kill them sleeping. Thereupon she concluded that the only way to stop\nthe destruction was to give them ground for believing that they had\nabandoned the place. The Little Ones must remove into the forest--beyond", "I tried to sit up. A pile of small bodies instantly heaped itself at my\nback. Then I struggled to my feet, with much pushing and pulling from\nthe Little Ones, who were wonderfully strong for their size.", "to see and welcome them: perhaps they knew all about the Little Ones,\nfor they had themselves long been on their way back to childhood!\nAnyhow, their innocent gambols must, I thought, bring refreshment to", "\"What can come of it?\" I said to myself. \"These are too wretched for any\nworld, and this cannot be hell, for the Little Ones are in it, and", "\"My debt to the Little Ones appears, I confess, a greater thing than my\nbond to you.\"\n\n\"Yield to the temptation and you will bring mischief upon them--and on\nyourself also.\"", "moment to play about the Little Ones in front of us. Blinding darkness\nfollowed, but through it we heard their voices, low with delight.", "Little Ones were already on the floor, composing themselves to sleep.", "have been raging among the Little Ones, had she dared again cross the\nstream. But there was yet a way to the blessed little colony through the", "\"The Little Ones are in frightful peril, and I brought it upon them!\" I\ncried. \"--But indeed I will not break my word to you. I will return, and\nspend in your house what nights--what days--what years you please.\"", "\"Mother,\" I said, although I did not see her, \"we come to you many, but\nmost of us are Little Ones. Will you be able to receive us all?\"" ], [ "Lona asked me whether I had not observed that many of the children were\ngrown. I answered I had not, but could readily believe it. She assured", "\"They call it growing-up in my world!\" I said to myself. \"If only she\nwould teach me to grow the other way, and become a Little One!--Shall I\never be able to laugh like them?\"", "\"Yes, they will have grown; yet I think too they will not have grown.\nIt is possible to grow and not to grow, to grow less and to grow bigger,\nboth at once--yes, even to grow by means of not growing!\"", "I thought what a lovely woman she would grow. But what became of them\nwhen they grew up? Where did they go? That brought me again to the\nquestion--where did they come from first?", "\"And will you grow bigger?\"\n\n\"I don't think so. I hope not. I am the biggest. It frightens me\nsometimes.\"\n\n\"Why should it frighten you?\"", "But the little people were constantly doing and saying things that\npleased, often things that surprised me. Every day I grew more loath", "\"Indeed I have gone far, and got nowhere, for I have not found my work!\nI left the children to learn how to serve them, and have only learned\nthe danger they are in.\"", "\"What makes it frightful?\"\n\nShe was silent for a moment, then answered,\n\n\"We fear they may be beginning to grow giants.\"\n\n\"Why should you fear that?\"", "I rose on my elbow and stared. Above and about and below me stood a\nmultitude of children, apparently of all ages, some just able to run", "\"The giants were not made always,\" she resumed. \"If a Little One doesn't\ncare, he grows greedy, and then lazy, and then big, and then stupid, and", "Were they growing at all? I doubted it. Of time they had scarcely the\nidea; of their own age they knew nothing! Lona herself thought she had", "She stared a little, as if looking in vain for some sense in the\nquestion, then replied,\n\n\"They are giants; there are no little ones.\"\n\n\"Have they never any children?\" I asked.", "and what are they? and how do they come to be there? Those children are\nthe greatest wonder I have found in this world of wonders.\"", "changed to one of consternation. In spite of their fear, however, when\nthey saw that their invaders were almost all children, the women came\nrunning into the streets, and the men followed. But for a time all of", "\"He will be very miserable when he finds himself a giant!\"\n\n\"Oh, no; he will like it well enough! That is the worst of it.\"\n\n\"Will he hate the Little Ones?\"", "and four, until I counted over a hundred of them. The children were\nstill asleep, and to call them would draw the attention of the giants: I", "would be ahead of you--out of sight ahead! but you saw they were not\ngrowing--or growing so slowly that they had not yet developed the\nidea of growing! they were even afraid of growing!--You had never seen", "\"He will wake one morning and find himself a giant--not like you, good\ngiant, but like any other bad giant. You will hardly know him, but I", "\"He is for ever eating those apples now!\" she said. \"That is what comes\nof Little Ones that WON'T be little!\"", "region she claims as her own, has appeared a colony of children, to\nwhich that daughter is heart and head and sheltering wings. My Eve\nlonged after the child, and would have been to her as a mother to her" ], [ "CHAPTER XIII. THE LITTLE ONES", "that she hated the Little Ones, and would like to kill them, only she\ncould not find them. I asked how they knew that; Lona answered that she", "By this time the Little Ones were coming back, and with much noise, for\nthey had no care to keep quiet now that they were at open war with the", "Lona and I, who walked below, heard at last a great shout overhead, and\nin a moment or two the Little Ones began to come dropping down from the", "youngest. Three of the bigger girls were her nurses, but they shared\ntheir treasure with all the rest. Among the Little Ones, dolls were", "were soon quieted, and went on. Some of the Little Ones shivered, and\nall were still as death. The three girls held closer the infants they", "I had been at work but a few moments, when I heard small voices near me,\nand presently the Little Ones, as I soon found they called themselves,", "of the three Little Ones, grouped on the other side of her couch. \"How\nbeautiful she is grown!\" said one of them.", "became in consequence more hostile to them. Sometimes the Little\nOnes would see them trampling furiously, perceiving or imagining some\nindication of their presence, while they indeed stood beside, and", "undone, and I was in the arms, seemingly innumerable, of the Little\nOnes. For some time I saw no more of the giants.", "and freed my right arm. That instant, however, a commotion arose in the\nstreet behind me; the crowd broke; and through it came the Little Ones I", "I tried to sit up. A pile of small bodies instantly heaped itself at my\nback. Then I struggled to my feet, with much pushing and pulling from\nthe Little Ones, who were wonderfully strong for their size.", "Each of the Little Ones had by this time, except three of the boys,\nfound at least an unobjecting bedfellow, and lay still and white beside", "the Little Ones. The sight awoke in her an over-mastering terror: she\nhad failed in her endeavour to destroy them, and they were upon her! The\nprophecy was about to be fulfilled!", "We came to a third Little One; it was Luva. She stood on tiptoe, leaning\nover the edge of a couch.\n\n\"My own mother wouldn't have me,\" she said softly: \"will you?\"", "the growth of the Little Ones WAS arrested! something interfered with\nit: what was it? Lona seemed the eldest of them, yet not more than", "still, save that her eyes rolled in their ghastly sockets. The two other\nLittle Ones rode behind her on Lona's horse. Every now and then the wise", "Chapter XXXV. THE LITTLE ONES IN BULIKA", "smallest, and the rest went trooping after her. With her own gentle\nhands, they told me, she put them to bed on the floor of the garret.", "kill them sleeping. Thereupon she concluded that the only way to stop\nthe destruction was to give them ground for believing that they had\nabandoned the place. The Little Ones must remove into the forest--beyond" ], [ "By this time the Little Ones were coming back, and with much noise, for\nthey had no care to keep quiet now that they were at open war with the", "\"Let me go to the Little Ones!\" I cried.\n\n\"Beware of that, Mr. Vane. Go to my wife, and do as she tells you.\"", "became in consequence more hostile to them. Sometimes the Little\nOnes would see them trampling furiously, perceiving or imagining some\nindication of their presence, while they indeed stood beside, and", "\"Mr. Vane,\" she said, \"and you, Little Ones, I thank you! This woman\nwould not yield to gentler measures; harder must have their turn. I must\ndo what I can to make her repent!\"", "Lona and I, who walked below, heard at last a great shout overhead, and\nin a moment or two the Little Ones began to come dropping down from the", "kill them sleeping. Thereupon she concluded that the only way to stop\nthe destruction was to give them ground for believing that they had\nabandoned the place. The Little Ones must remove into the forest--beyond", "laughed at their foolish rage. By and by, however, their animosity\nassumed a more practical shape: they began to destroy the trees on\nwhose fruit the Little Ones lived. This drove the mother of them all to", "CHAPTER XIII. THE LITTLE ONES", "and freed my right arm. That instant, however, a commotion arose in the\nstreet behind me; the crowd broke; and through it came the Little Ones I", "that she hated the Little Ones, and would like to kill them, only she\ncould not find them. I asked how they knew that; Lona answered that she", "I tried to sit up. A pile of small bodies instantly heaped itself at my\nback. Then I struggled to my feet, with much pushing and pulling from\nthe Little Ones, who were wonderfully strong for their size.", "undone, and I was in the arms, seemingly innumerable, of the Little\nOnes. For some time I saw no more of the giants.", "The city was taken; the inhabitants were cowering in terror; the Little\nOnes and their strange cavalry were encamped in the square; the sun", "have been raging among the Little Ones, had she dared again cross the\nstream. But there was yet a way to the blessed little colony through the", "were soon quieted, and went on. Some of the Little Ones shivered, and\nall were still as death. The three girls held closer the infants they", "The next morning, as we started, we spied, a little way from us, two\nskeletons moving about in a thicket. The Little Ones broke their ranks,", "the Little Ones. The sight awoke in her an over-mastering terror: she\nhad failed in her endeavour to destroy them, and they were upon her! The\nprophecy was about to be fulfilled!", "I had been at work but a few moments, when I heard small voices near me,\nand presently the Little Ones, as I soon found they called themselves,", "I reached the square: the little army was gone! Its emptiness roused me.\nWhere were the Little Ones, HER Little Ones? I had lost her children!", "\"My debt to the Little Ones appears, I confess, a greater thing than my\nbond to you.\"\n\n\"Yield to the temptation and you will bring mischief upon them--and on\nyourself also.\"" ], [ "Lona? I love you!\" But its lips gave no answer. I kissed them, not quite\ncold, laid the body down again, and appointing a guard over it, rose to", "that she hated the Little Ones, and would like to kill them, only she\ncould not find them. I asked how they knew that; Lona answered that she", "had just killed the little captive! It consoled Lona, however, to learn\nwhich he was, for she had been expecting him to grow a bad giant, from", "The hour of our departure was at hand. Lona went to the couch of the\nmother who had slain her, and kissed her tenderly--then laid herself in\nher father's arms.", "Recovering her wits, she recognised in her assailants the children whose\nhospitality she sought, and at once yielded the baby. Lona appeared, and\ncarried it away in her bosom.", "She seemed quite dead, but I did not think she was. I laid myself a\nlittle way from her, with the body of Lona by my other side, thus", "I forgot the Little Ones, forgot the murdering princess, forgot the\nbody in my arms, and wandered away, looking for my Lona. The doors and", "\"I think we shall meet you two again before long,\" he said, looking\nfirst at Lona, then at me.\n\n\"Have we to die again?\" I asked.", "It opened a little way, and a face came into the opening. It was Lona's.\nIts eyes were closed, but the face itself was upon me, and seemed to see", "The rumour at length reached my ears that Blunty had vanished. I saw a\nfew grave faces among the bigger ones, but he did not seem to be much\nmissed.\n\nThe next morning Lona came to me and whispered,", "\"She has come to take care of you, and show you the way,\" said Lona.", "boy was dashed against it, and fell senseless. Before I could reach him,\nLona had him in her arms, and as soon as he came to himself, set him on", "I fell a wondering where Lona was gone, and dropping on the grass, took\nthe dead thing in my lap, and whispered in its ear, \"Where are you,", "I dropped on my knees beside Lona, raised her from the stones, and\npressed her to my bosom. With indignant hate I glanced at the princess;", "Suddenly spying Lona, they came running, radiant with bliss, to embrace\nher. Odu, catching sight of the leopardess on the feet of the princess,", "Lona and I, who walked below, heard at last a great shout overhead, and\nin a moment or two the Little Ones began to come dropping down from the", "She turned and laid her hand in mine.\n\nI kneeled and humbly thanked the three for helping me to die. Lona knelt\nbeside me, and they all breathed upon us.", "ready, for the sake of my Lona, to strike her pitilessly on the closed\nhand! I knew she was doomed: most likely it was decreed that her doom\nshould now be brought to pass through us!", "away. Last to leave me, Lona held up the baby to be kissed, gazed in\nmy eyes, whispered, \"The Cat-woman will not hurt YOU,\" and went without", "\"I fear that child,\" she said, pointing to Lona: \"she will rise and\nterrify me!\"\n\n\"She is dreaming love to you.\"" ], [ "\"Lilith,\" said Mara, \"you will not sleep, if you lie there a thousand\nyears, until you have opened your hand, and yielded that which is not\nyours to give or to withhold.\"", "go to sleep young and willing!--My husband is even now preparing her\ncouch for Lilith. She is neither young nor quite willing, but it is well\nindeed that she is come.\"", "blood, and he laid the severed hand in Mara's lap. Lilith had given one\nmoan, and was already fast asleep. Mara covered the arm with the sheet,\nand the three turned away.", "\"I have the sword,\" said Adam. \"The angel gave it me when he left the\ngate.\"\n\n\"Bring it, Adam,\" pleaded Lilith, \"and cut me off this hand that I may\nsleep.\"", "It flowed and flowed about Lilith, rippling the unknown, upwaking sea of\nher life eternal; rippling and to ripple it, until at length she who had", "Eve set Lilith down beside it. Adam pointed to the vacant couch on\nLona's right hand, and said,\n\n\"There, Lilith, is the bed I have prepared for you!\"", "Lilith lay and wept. The Lady of Sorrow went to the door and opened it.", "\"At last!\" she said. \"Lilith's hour has been long on the way, but it\nis come! Everything comes. Thousands of years have I waited--and not in\nvain!\"", "But Lilith would not taste of it.\n\n\"If thou wilt nor eat nor drink, Lilith,\" said Adam, \"come and see the\nplace where thou shalt lie in peace.\"", "Like her mother, in whom lay the motherhood of all the world, Mara put\nher arms around Lilith, and kissed her on the forehead. The fiery-cold", "She came to me, took my treasure from my arms, carried it into the\nhouse, and returning, took the princess. Lilith shuddered, but made no", "\"Thy beauty slays me! It is death I would have, not food!\" said Lilith,\nand turned from her.\n\n\"This food will help thee to die,\" answered Eve.", "\"We have long waited for thee, Lilith!\" he said.\n\nShe returned him no answer.\n\nEve and her daughter came to the door.", "tentacles innumerable, went out after Lilith. She lay in an agony of\nfear, nor dared stir a finger. Whether the hideous things even saw the", "But with God all things are possible: He can save even the rich!\n\nWithout change of look, without sign of purpose, Lilith walked toward\nMara. She felt her coming, and rose to meet her.", "We heard a childish voice behind us, and turned again. The candle in\nEve's hand shone on the sleeping face of Lilith, and the waking faces", "\"Are the children in the house?\" asked Lilith, and at the word the heart\nof Eve began to love her.", "\"Lilith,\" said Adam, and his tone had changed to a tender beseeching,\n\"hear me, and repent, and He who made thee will cleanse thee!\"", "kill them sleeping. Thereupon she concluded that the only way to stop\nthe destruction was to give them ground for believing that they had\nabandoned the place. The Little Ones must remove into the forest--beyond", "a bat-like wing, torn and hooked. Came a cold wind with a burning\nsting--and Lilith was upon me. Her hands were still bound, but with her" ], [ "He turned to walk away, and again I saw the librarian. He did not appear\nto have changed, only to have taken up his shadow. I know this seems\nnonsense, but I cannot help it.", "Once more arose the bestial wail.\n\n\"I thought some foul thing was in the room!\" said the librarian, casting\na glance around him; but instantly he turned a leaf or two, and again\nread:--", "the vapour around her! Then first I was startled at what I saw: the old\nlibrarian walked up to her, and stood for a moment regarding her; she", "I saw no raven, but the librarian--the same slender elderly man, in a\nrusty black coat, large in the body and long in the tails. I had seen", "\"So I am. It is much the same profession. Except you are a true sexton,\nbooks are but dead bodies to you, and a library nothing but a catacomb!\"\n\n\"You bewilder me!\"", "Sir Upward was never after seen or heard of, but Mr. Raven continued to\nshow himself at uncertain intervals in the library. There were some who", "An ancient woman in the village had told him a legend concerning a Mr.\nRaven, long time librarian to \"that Sir Upward whose portrait hangs", "The librarian walked on in silence, and I walked silent as he. Time and\nspace glided past us. The sun set; it began to grow dark, and I felt in", "As I entered, the librarian came from the closet. I threw myself on a\ncouch. Mr. Raven drew a chair to my side and sat down. For a minute or\ntwo neither spoke. I was the first to break the silence.", "\"We shall see!\" returned the librarian. \"I know a little about cats of\nseveral sorts, and there is that in the room which will unmask this one,\nor I am mistaken in her.\"", "A wild blast fell roaring on the roof, and died away in a moan. She\nstood ghastly with terror.\n\n\"It is he!\" said her voiceless lips: I read their motion.", "A strange, repulsive feline wail arose somewhere in the room. I started\nup on my elbow and stared about me, but could see nothing.\n\nMr. Raven turned several leaves, and went on:--", "\"As a mirror,\" said the librarian, \"it has grown dingy with age; but\nthat is no matter: its clearness depends on the light.\"\n\n\"Light!\" I rejoined; \"there is no light here!\"", "stood there, the thin old man of the library, with long nose and long\ncoat.", "I rose, and listlessly sought the library. On the way I met no one; the\nhouse seemed dead. I sat down with a book to await the noontide: not", "What a long way I found it back through the dead! At first I was too\nangry to be afraid, but as I grew calm, the still shapes grew terrible.", "thought the librarian threw the manuscript between her and the hearth.\nShe crouched instantly, her eyes fixed on the book. But his voice went", "Something did move in the chamber of the dead! There came from it what\nwas LIKE a dim, far-off sound, yet was not what I knew as sound. My soul", "\"The place was haunted by an old gentleman, was it?\" I said.", "was, cowering in a corner. Apparently she was in mortal terror of what\nshe might see. A lamp stood on the high chimney-piece, and sometimes" ], [ "\"Here is Mr. Vane, wife!\" said the raven.\n\n\"He is welcome,\" she answered, in a low, rich, gentle voice. Treasures\nof immortal sound seemed to be buried in it.", "\"You would have me then understand, Mr. Raven,\" I said, \"that you go\nthrough my house into another world, heedless of disparting space?\"", "\"Mr. Vane,\" croaked the raven, \"think what you are doing! Twice already\nhas evil befallen you--once from fear, and once from heedlessness:\nbreach of word is far worse; it is a crime.\"", "\"You are tired, are you not, Mr. Vane?\" said the raven, alighting on a\nstone. \"You must make acquaintance with the horse that will carry you in\nthe morning!\"", "\"Finding myself in your vicinity, Mr. Vane, I have given myself the\npleasure of calling,\" he said, in a peculiar but not disagreeable", "In the middle of it stood an unpainted inclosure of rough planks, the\ndoor of which was ajar. Thinking Mr. Raven might be there, I pushed the\ndoor, and entered.", "\"You are very welcome, Mr. Vane!\" she said, calling me by the name I had\nforgotten. \"Your entertainment will be scanty, but, as the night is not", "Mr. Vane. Turn your back on fear, and your face to whatever may come.\nGive yourself up to the night, and you will rest indeed. Harm will not\ncome to you, but a good you cannot foreknow.\"", "forbidden, and evil books; and in so doing, Mr. Raven, who was probably\nthe devil himself, encouraged him. Suddenly they both disappeared, and", "Sir Upward was never after seen or heard of, but Mr. Raven continued to\nshow himself at uncertain intervals in the library. There were some who", "At these words such a howling, such a prolonged yell of agony burst from\nthe cat, that we both stopped our ears. When it ceased, Mr. Raven walked", "\"Mr. Vane,\" he said, \"do you not know why you have not yet done anything\nworth doing?\"\n\n\"Because I have been a fool,\" I answered.\n\n\"Wherein?\"", "As I entered, the librarian came from the closet. I threw myself on a\ncouch. Mr. Raven drew a chair to my side and sat down. For a minute or\ntwo neither spoke. I was the first to break the silence.", "A strange, repulsive feline wail arose somewhere in the room. I started\nup on my elbow and stared about me, but could see nothing.\n\nMr. Raven turned several leaves, and went on:--", "\"What right have you to treat me so, Mr. Raven?\" I said with deep\noffence. \"Am I, or am I not, a free agent?\"", "made the house tremble. I sprang to my feet. I do not think Mr. Raven\nstarted even with his eyelids.", "CHAPTER IX. I REPENT\n\nI laid the manuscript down, consoled to find that my father had had a\npeep into that mysterious world, and that he knew Mr. Raven.", "Then at last I understood that Mr. Raven was indeed Adam, the old and\nthe new man; and that his wife, ministering in the house of the dead,\nwas Eve, the mother of us all, the lady of the New Jerusalem.", "\"Tell me one thing, I beg of you, Mr. Raven: is my father with you? Have\nyou seen him since he left the world?\"", "\"May I not mount him at once, Mr. Raven?\" I cried.\n\n\"By all means!\" he answered. \"Mount, and ride him home.\"" ], [ "Mr. Vane. Turn your back on fear, and your face to whatever may come.\nGive yourself up to the night, and you will rest indeed. Harm will not\ncome to you, but a good you cannot foreknow.\"", "both are up and away long ago. Your great-grandfather has been with us\nfor many a year; I think he will soon begin to stir. You saw him last\nnight, though of course you did not know him.\"", "\"Would they have me make of a charnel-house my bed-chamber?\" I cried\naloud. \"I will not. I will lie abroad on the heath; it cannot be colder\nthere!\"", "\"Yes, it is cold,\" answered our host; \"but you will not be cold in your\nsleep.\"\n\n\"Where are our nests?\" asked more than one, looking round and seeing no\ncouch unoccupied.", "\"I doubt it. Had you been ready to lie down, you would have known\nhim!--Old Sir Up'ard,\" he went on, \"and your twice great-grandfather,", "A strange, repulsive feline wail arose somewhere in the room. I started\nup on my elbow and stared about me, but could see nothing.\n\nMr. Raven turned several leaves, and went on:--", "\"You are very welcome, Mr. Vane!\" she said, calling me by the name I had\nforgotten. \"Your entertainment will be scanty, but, as the night is not", "\"Mr. Vane,\" he said, \"do you not know why you have not yet done anything\nworth doing?\"\n\n\"Because I have been a fool,\" I answered.\n\n\"Wherein?\"", "\"If you would have the rest of this house, you must not trouble yourself\nabout waking. You must go to sleep heartily, altogether and outright.\"\nMy soul sank within me.", "\"Let me go to the Little Ones!\" I cried.\n\n\"Beware of that, Mr. Vane. Go to my wife, and do as she tells you.\"", "He had never seen him, he said, although he had been in the house from\nthe day my father was eight years old. My grandfather would never hear", "\"Finding myself in your vicinity, Mr. Vane, I have given myself the\npleasure of calling,\" he said, in a peculiar but not disagreeable", "Close under the sloping roof stood a narrow bed, the sight of which with\nits white coverlet made me shiver, so vividly it recalled the couches in", "night some rise and go. But I will not say more, for I find my words\nonly mislead you!--This is the couch that has been waiting for you,\" he\nended, pointing to one of the three.", "There could be no better place in which to pass the night! I gathered\na quantity of withered leaves, laid them in a corner, and threw myself", "\"Mr. Vane,\" croaked the raven, \"think what you are doing! Twice already\nhas evil befallen you--once from fear, and once from heedlessness:\nbreach of word is far worse; it is a crime.\"", "\"You turned away, and would not understand!\" I held my peace.--But if I\ndid not say something, he would go!\n\n\"And my grandfather--is he also with you?\" I asked.", "\"No one sleeps in my house two nights together!\" she answered.\n\n\"I thank you, then, for your hospitality, and bid you farewell!\" I said,\nand turned to go.", "\"You mistake, my son,\" he answered, in a voice whose very breath was\nconsolation. \"You are still in the chamber of death, still upon your\ncouch, asleep and dreaming, with the dead around you.\"", "\"Mr. Vane,\" she said, \"and you, Little Ones, I thank you! This woman\nwould not yield to gentler measures; harder must have their turn. I must\ndo what I can to make her repent!\"" ], [ "both are up and away long ago. Your great-grandfather has been with us\nfor many a year; I think he will soon begin to stir. You saw him last\nnight, though of course you did not know him.\"", "Mr. Vane. Turn your back on fear, and your face to whatever may come.\nGive yourself up to the night, and you will rest indeed. Harm will not\ncome to you, but a good you cannot foreknow.\"", "\"Mr. Vane,\" he said, \"do you not know why you have not yet done anything\nworth doing?\"\n\n\"Because I have been a fool,\" I answered.\n\n\"Wherein?\"", "\"Mr. Vane,\" croaked the raven, \"think what you are doing! Twice already\nhas evil befallen you--once from fear, and once from heedlessness:\nbreach of word is far worse; it is a crime.\"", "\"Finding myself in your vicinity, Mr. Vane, I have given myself the\npleasure of calling,\" he said, in a peculiar but not disagreeable", "\"Mr. Vane,\" she said, \"and you, Little Ones, I thank you! This woman\nwould not yield to gentler measures; harder must have their turn. I must\ndo what I can to make her repent!\"", "\"You turned away, and would not understand!\" I held my peace.--But if I\ndid not say something, he would go!\n\n\"And my grandfather--is he also with you?\" I asked.", "\"Here is Mr. Vane, wife!\" said the raven.\n\n\"He is welcome,\" she answered, in a low, rich, gentle voice. Treasures\nof immortal sound seemed to be buried in it.", "\"You are very welcome, Mr. Vane!\" she said, calling me by the name I had\nforgotten. \"Your entertainment will be scanty, but, as the night is not", "\"Let me go to the Little Ones!\" I cried.\n\n\"Beware of that, Mr. Vane. Go to my wife, and do as she tells you.\"", "\"I doubt it. Had you been ready to lie down, you would have known\nhim!--Old Sir Up'ard,\" he went on, \"and your twice great-grandfather,", "added, pointing to the portrait,--\"old Sir Up'ard, his people called\nhim,--was in his day a friend of mine yet more intimate than ever your\ngrandfather became.\"", "\"It is time to mount, Mr. Vane,\" said our hostess.\n\n\"Tell me, please,\" I said, \"is there not a way by which to avoid the\nchannels and the den of monsters?\"", "\"You are tired, are you not, Mr. Vane?\" said the raven, alighting on a\nstone. \"You must make acquaintance with the horse that will carry you in\nthe morning!\"", "\"Yes,\" he answered; \"and you will be dead, so long as you refuse to\ndie.\"\n\n\"Back to the old riddling!\" I returned scornfully.", "\"I have been widening your horizon longer than that, Mr. Vane; but never\nmind!\"\n\n\"You mean you have been making a fool of me!\" I said, turning from him.", "him but his eyes, yet I knew him--and so knew his colour and bigness. A\nterrific battle followed, whose tale alone came to me through the night.", "\"No doubt you would--the aim of all stupid philanthropists! Why, Mr.\nVane, but for the weeping in it, your world would never have become", "voice. \"Your honoured grandfather treated me--I may say it without\npresumption--as a friend, having known me from childhood as his father's\nlibrarian.\"", "\"I see a gnarled old man, with a great white head,\" I answered.\n\n\"Look again,\" he rejoined: \"it is a hawthorn.\"" ], [ "everywhere, merry and loud, like thousands and thousands of happy\nchildren. Oh, how glad they will make you, Little Ones! You have never\nseen any, and do not know how lovely is the water!\"", "Lona asked me whether I had not observed that many of the children were\ngrown. I answered I had not, but could readily believe it. She assured", "\"They call it growing-up in my world!\" I said to myself. \"If only she\nwould teach me to grow the other way, and become a Little One!--Shall I\never be able to laugh like them?\"", "Lona and I, who walked below, heard at last a great shout overhead, and\nin a moment or two the Little Ones began to come dropping down from the", "CHAPTER XIII. THE LITTLE ONES", "\"He never dared touch a child,\" she said. \"Nor have you either ever hurt\na child. Your own daughter you have but sent into the loveliest sleep,", "She stared a little, as if looking in vain for some sense in the\nquestion, then replied,\n\n\"They are giants; there are no little ones.\"\n\n\"Have they never any children?\" I asked.", "and four, until I counted over a hundred of them. The children were\nstill asleep, and to call them would draw the attention of the giants: I", "weary souls who, their present taken from them and their future dark,\nhad no life save the shadow of their vanished past. Many a merry but\nnever a rude prank did the children play; and if they did at times cause", "\"He is for ever eating those apples now!\" she said. \"That is what comes\nof Little Ones that WON'T be little!\"", "\"How is it,\" I said one day to Lona, as she sat with the baby in her\narms at the foot of my tree, \"that I never see any children among the\ngiants?\"", "Were they growing at all? I doubted it. Of time they had scarcely the\nidea; of their own age they knew nothing! Lona herself thought she had", "in her awoke. One by one she has found many children since, and that\nheart is not yet full. Her family is her absorbing charge, and never\nchildren were better mothered. Her authority over them is without", "\"You are welcome every one,\" she answered. \"Sooner or later all will be\nlittle ones, for all must sleep in my house! It is well with those that", "region she claims as her own, has appeared a colony of children, to\nwhich that daughter is heart and head and sheltering wings. My Eve\nlonged after the child, and would have been to her as a mother to her", "I had been at work but a few moments, when I heard small voices near me,\nand presently the Little Ones, as I soon found they called themselves,", "\"Yes, they will have grown; yet I think too they will not have grown.\nIt is possible to grow and not to grow, to grow less and to grow bigger,\nboth at once--yes, even to grow by means of not growing!\"", "to see and welcome them: perhaps they knew all about the Little Ones,\nfor they had themselves long been on their way back to childhood!\nAnyhow, their innocent gambols must, I thought, bring refreshment to", "never again to wake. Many were the beautiful that there lay very\nstill--some of them mere children; but I did not see one infant. The\nmost beautiful of all was a lady whose white hair, and that alone,", "The darkness, the cold, the silence, the still air, the faces of the\nlovely dead, made the hearts of the children beat softly, but their\nlittle tongues would talk--with low, hushed voices." ], [ "\"Mr. Vane,\" she said, \"and you, Little Ones, I thank you! This woman\nwould not yield to gentler measures; harder must have their turn. I must\ndo what I can to make her repent!\"", "Mr. Vane. Turn your back on fear, and your face to whatever may come.\nGive yourself up to the night, and you will rest indeed. Harm will not\ncome to you, but a good you cannot foreknow.\"", "\"Let me go to the Little Ones!\" I cried.\n\n\"Beware of that, Mr. Vane. Go to my wife, and do as she tells you.\"", "\"You are very welcome, Mr. Vane!\" she said, calling me by the name I had\nforgotten. \"Your entertainment will be scanty, but, as the night is not", "kill them sleeping. Thereupon she concluded that the only way to stop\nthe destruction was to give them ground for believing that they had\nabandoned the place. The Little Ones must remove into the forest--beyond", "\"My heart is with the children,\" I replied. \"But if you insist----\"\n\n\"I do insist. You can otherwise effect nothing.--I will go with you as\nfar as the mirror, and see you off.\"", "\"If you would have the rest of this house, you must not trouble yourself\nabout waking. You must go to sleep heartily, altogether and outright.\"\nMy soul sank within me.", "\"She has slept herself cold!\" he said to Mara, with an upcast look of\nappealing consternation.\n\n\"She is waiting for the princess to wake, my child,\" said Mara.", "\"Poor princess!\" said another; \"I will sleep with her. She will not bite\nany more!\"\n\nAs he spoke he climbed into her bed, and was immediately fast asleep.\nEve covered him with the sheet.", "\"You are welcome every one,\" she answered. \"Sooner or later all will be\nlittle ones, for all must sleep in my house! It is well with those that", "\"Mr. Vane,\" he said, \"do you not know why you have not yet done anything\nworth doing?\"\n\n\"Because I have been a fool,\" I answered.\n\n\"Wherein?\"", "\"The Little Ones are in frightful peril, and I brought it upon them!\" I\ncried. \"--But indeed I will not break my word to you. I will return, and\nspend in your house what nights--what days--what years you please.\"", "\"He has not yet learned that the day begins with sleep!\" said the\nwoman, turning to her husband. \"Tell him he must rest before he can do\nanything!\"", "smallest, and the rest went trooping after her. With her own gentle\nhands, they told me, she put them to bed on the floor of the garret.", "\"Mr. Vane,\" croaked the raven, \"think what you are doing! Twice already\nhas evil befallen you--once from fear, and once from heedlessness:\nbreach of word is far worse; it is a crime.\"", "\"What matters it for me? I love them; and love works no evil. I will\ngo.\"\n\nBut the truth was, I forgot the children, infatuate with the horse.", "\"I have struggled in vain; I can do no more. I am very weary, and sleep\nlies heavy upon my lids.\"\n\n\"The moment you open your hand, you will sleep. Open it, and make an\nend.\"", "\"I do. I live there alone, except when I have visitors. It is a poor\nplace, but I do what I can for my guests, and sometimes their sleep is\nsweet to them.\"", "\"Oh,\" cried one, \"here is such a beautiful lady!--may I sleep beside\nher? I will creep in quietly, and not wake her.\"", "\"Doubtless we must,\" he answered. \"But my wife has warned Mara, and she\nwill do her part; you must sleep first: you have given me your word!\"" ], [ "Then at last I understood that Mr. Raven was indeed Adam, the old and\nthe new man; and that his wife, ministering in the house of the dead,\nwas Eve, the mother of us all, the lady of the New Jerusalem.", "\"We have long waited for thee, Lilith!\" he said.\n\nShe returned him no answer.\n\nEve and her daughter came to the door.", "Eve set Lilith down beside it. Adam pointed to the vacant couch on\nLona's right hand, and said,\n\n\"There, Lilith, is the bed I have prepared for you!\"", "CHAPTER III. THE RAVEN", "forbidden, and evil books; and in so doing, Mr. Raven, who was probably\nthe devil himself, encouraged him. Suddenly they both disappeared, and", "Lilith lay and wept. The Lady of Sorrow went to the door and opened it.", "Like her mother, in whom lay the motherhood of all the world, Mara put\nher arms around Lilith, and kissed her on the forehead. The fiery-cold", "\"Are the children in the house?\" asked Lilith, and at the word the heart\nof Eve began to love her.", "a bat-like wing, torn and hooked. Came a cold wind with a burning\nsting--and Lilith was upon me. Her hands were still bound, but with her", "It flowed and flowed about Lilith, rippling the unknown, upwaking sea of\nher life eternal; rippling and to ripple it, until at length she who had", "\"At last!\" she said. \"Lilith's hour has been long on the way, but it\nis come! Everything comes. Thousands of years have I waited--and not in\nvain!\"", "\"You did me no wrong,\" he returned. \"Calling me a raven, or thinking me\none, you allowed me existence, which is the sum of what one can", "\"Lilith,\" said Adam, and his tone had changed to a tender beseeching,\n\"hear me, and repent, and He who made thee will cleanse thee!\"", "\"I do not know Him!\" murmured Lilith, in a voice of fear and doubt.\n\n\"Therefore it is that thou art miserable,\" said Adam.", "\"What right have you to treat me so, Mr. Raven?\" I said with deep\noffence. \"Am I, or am I not, a free agent?\"", "But Lilith would not taste of it.\n\n\"If thou wilt nor eat nor drink, Lilith,\" said Adam, \"come and see the\nplace where thou shalt lie in peace.\"", "The words drew my eyes from the woman to the raven.", "\"Lilith,\" said Mara, \"you will not sleep, if you lie there a thousand\nyears, until you have opened your hand, and yielded that which is not\nyours to give or to withhold.\"", "\"What is that flapping of wings I hear?\" I asked.\n\n\"The Shadow is hovering,\" replied Adam: \"there is one here whom he\ncounts his own! But ours once, never more can she be his!\"", "told me; but in Lona the dazzling beauty of Lilith was softened by\nchildlikeness, and deepened by the sense of motherhood. \"She is" ], [ "\"There is a city in that grassy land,\" she replied, \"where a woman is\nprincess. The city is called Bulika. But certainly the princess is not", "Here I must supplement, partly from conjecture, what Lona told me about\nthe woman. With the rest of the inhabitants of Bulika, she was aware", "\"Yes, I am going to Bulika,\" I said, \"--to see the princess.\"\n\n\"Have a care; you had better not go!--But perhaps you are--! The\nprincess is a very good, kind woman!\"", "\"That is true, and such words HAVE to be understood. It were well for\nthe princess of Bulika if she heard what the very silence of the land\nis shouting in her ears all day long! But she is far too clever to\nunderstand anything.\"", "Still without hint of the relation in which she stood to the princess,\nI stated the case to Lona as it appeared to me. At once she agreed to\naccompany me to the palace.", "Bulika when they were so small that they could not now remember it; that\nthe wicked princess there was so afraid of babies, and so determined to\ndestroy them, that their mothers had to carry them away and leave them", "\"Mother! mother!\" cried Lona again, as she leaped on the daïs, and flung\nher arms around the princess.", "its princess, of the cowardice of its inhabitants. In a few days the\nchildren chattered of nothing but Bulika, although indeed they had not\nthe least notion of what a city was. Then first I became aware of the", "where no water is, no rain falls; and where no rain falls, no springs\nrise. Ever since then, the princess has lived in Bulika, holding the", "mounted Lona's horse; Mara brought her body, and gave it me in my arms.\nWhen she came out again with the princess, a cry of delight arose from", "\"I know by your speech that you are not of the people of Bulika,\" she\nreplied; \"I will trust you!--I am not of them, either, else I should not", "I had met on my way to Bulika. They took her for a giantess that had\nstolen one of their babies, for they regarded all babies as their", "\"Because it is a disgrace to work,\" she answered. \"Everybody in Bulika\nknows that!\"", "prevails much with the Prince of the Power of the Air. The people of\nBulika were formerly simple folk, tilling the ground and pasturing\nsheep. She came among them, and they received her hospitably. She taught", "where she could not find them; and that now we were going to Bulika, to\nfind their mothers, and deliver them from the bad giantess.", "\"In Bulika you may, perhaps, get some light on those matters. There is\nan ancient poem in the library of the palace, I am told, which of course", "\"She has come to take care of you, and show you the way,\" said Lona.", "I forgot the Little Ones, forgot the murdering princess, forgot the\nbody in my arms, and wandered away, looking for my Lona. The doors and", "\"No strange people will dare; they are all horribly afraid of our\nprincess. She it is who keeps us safe and free and rich!\"\n\nEvery now and then as she spoke, she would stop and look behind her.", "I dropped on my knees beside Lona, raised her from the stones, and\npressed her to my bosom. With indignant hate I glanced at the princess;" ], [ "Lona? I love you!\" But its lips gave no answer. I kissed them, not quite\ncold, laid the body down again, and appointing a guard over it, rose to", "that she hated the Little Ones, and would like to kill them, only she\ncould not find them. I asked how they knew that; Lona answered that she", "had just killed the little captive! It consoled Lona, however, to learn\nwhich he was, for she had been expecting him to grow a bad giant, from", "The hour of our departure was at hand. Lona went to the couch of the\nmother who had slain her, and kissed her tenderly--then laid herself in\nher father's arms.", "Recovering her wits, she recognised in her assailants the children whose\nhospitality she sought, and at once yielded the baby. Lona appeared, and\ncarried it away in her bosom.", "She seemed quite dead, but I did not think she was. I laid myself a\nlittle way from her, with the body of Lona by my other side, thus", "I forgot the Little Ones, forgot the murdering princess, forgot the\nbody in my arms, and wandered away, looking for my Lona. The doors and", "\"I think we shall meet you two again before long,\" he said, looking\nfirst at Lona, then at me.\n\n\"Have we to die again?\" I asked.", "It opened a little way, and a face came into the opening. It was Lona's.\nIts eyes were closed, but the face itself was upon me, and seemed to see", "The rumour at length reached my ears that Blunty had vanished. I saw a\nfew grave faces among the bigger ones, but he did not seem to be much\nmissed.\n\nThe next morning Lona came to me and whispered,", "\"She has come to take care of you, and show you the way,\" said Lona.", "boy was dashed against it, and fell senseless. Before I could reach him,\nLona had him in her arms, and as soon as he came to himself, set him on", "I fell a wondering where Lona was gone, and dropping on the grass, took\nthe dead thing in my lap, and whispered in its ear, \"Where are you,", "I dropped on my knees beside Lona, raised her from the stones, and\npressed her to my bosom. With indignant hate I glanced at the princess;", "Suddenly spying Lona, they came running, radiant with bliss, to embrace\nher. Odu, catching sight of the leopardess on the feet of the princess,", "Lona and I, who walked below, heard at last a great shout overhead, and\nin a moment or two the Little Ones began to come dropping down from the", "She turned and laid her hand in mine.\n\nI kneeled and humbly thanked the three for helping me to die. Lona knelt\nbeside me, and they all breathed upon us.", "ready, for the sake of my Lona, to strike her pitilessly on the closed\nhand! I knew she was doomed: most likely it was decreed that her doom\nshould now be brought to pass through us!", "away. Last to leave me, Lona held up the baby to be kissed, gazed in\nmy eyes, whispered, \"The Cat-woman will not hurt YOU,\" and went without", "\"I fear that child,\" she said, pointing to Lona: \"she will rise and\nterrify me!\"\n\n\"She is dreaming love to you.\"" ], [ "Sir Upward was never after seen or heard of, but Mr. Raven continued to\nshow himself at uncertain intervals in the library. There were some who", "Once more arose the bestial wail.\n\n\"I thought some foul thing was in the room!\" said the librarian, casting\na glance around him; but instantly he turned a leaf or two, and again\nread:--", "\"You are very welcome, Mr. Vane!\" she said, calling me by the name I had\nforgotten. \"Your entertainment will be scanty, but, as the night is not", "An ancient woman in the village had told him a legend concerning a Mr.\nRaven, long time librarian to \"that Sir Upward whose portrait hangs", "A strange, repulsive feline wail arose somewhere in the room. I started\nup on my elbow and stared about me, but could see nothing.\n\nMr. Raven turned several leaves, and went on:--", "Mr. Vane. Turn your back on fear, and your face to whatever may come.\nGive yourself up to the night, and you will rest indeed. Harm will not\ncome to you, but a good you cannot foreknow.\"", "\"Finding myself in your vicinity, Mr. Vane, I have given myself the\npleasure of calling,\" he said, in a peculiar but not disagreeable", "\"Here is Mr. Vane, wife!\" said the raven.\n\n\"He is welcome,\" she answered, in a low, rich, gentle voice. Treasures\nof immortal sound seemed to be buried in it.", "\"Let me go to the Little Ones!\" I cried.\n\n\"Beware of that, Mr. Vane. Go to my wife, and do as she tells you.\"", "\"Mr. Vane,\" he said, \"do you not know why you have not yet done anything\nworth doing?\"\n\n\"Because I have been a fool,\" I answered.\n\n\"Wherein?\"", "I rose, and listlessly sought the library. On the way I met no one; the\nhouse seemed dead. I sat down with a book to await the noontide: not", "\"Mr. Vane,\" croaked the raven, \"think what you are doing! Twice already\nhas evil befallen you--once from fear, and once from heedlessness:\nbreach of word is far worse; it is a crime.\"", "there among the books.\" Sir Upward was a great reader, she said--not\nof such books only as were wholesome for men to read, but of strange,", "the vapour around her! Then first I was startled at what I saw: the old\nlibrarian walked up to her, and stood for a moment regarding her; she", "\"So I am. It is much the same profession. Except you are a true sexton,\nbooks are but dead bodies to you, and a library nothing but a catacomb!\"\n\n\"You bewilder me!\"", "At once I followed him: I might be following a shadow, but I never\ndoubted I was following something. He went out of the library into the", "A wild blast fell roaring on the roof, and died away in a moan. She\nstood ghastly with terror.\n\n\"It is he!\" said her voiceless lips: I read their motion.", "was, cowering in a corner. Apparently she was in mortal terror of what\nshe might see. A lamp stood on the high chimney-piece, and sometimes", "made the house tremble. I sprang to my feet. I do not think Mr. Raven\nstarted even with his eyelids.", "Shortly after my father's death, I was seated one morning in the\nlibrary. I had been, somewhat listlessly, regarding the portrait that" ], [ "\"Mr. Vane,\" croaked the raven, \"think what you are doing! Twice already\nhas evil befallen you--once from fear, and once from heedlessness:\nbreach of word is far worse; it is a crime.\"", "\"You would have me then understand, Mr. Raven,\" I said, \"that you go\nthrough my house into another world, heedless of disparting space?\"", "\"Here is Mr. Vane, wife!\" said the raven.\n\n\"He is welcome,\" she answered, in a low, rich, gentle voice. Treasures\nof immortal sound seemed to be buried in it.", "\"You are tired, are you not, Mr. Vane?\" said the raven, alighting on a\nstone. \"You must make acquaintance with the horse that will carry you in\nthe morning!\"", "forbidden, and evil books; and in so doing, Mr. Raven, who was probably\nthe devil himself, encouraged him. Suddenly they both disappeared, and", "I took the way Mr. Raven had gone, and went slowly after him. Presently\nI saw a wood of tall slender pine-trees, and turned toward it. The odour", "and I longed even after those inhabitants of this alien world whom the\nraven had so vaguely described as nearest my sort. With heavy yet hoping\nheart, and mind haunted by a doubt whether I was going in any direction", "\"Tell me one thing, I beg of you, Mr. Raven: is my father with you? Have\nyou seen him since he left the world?\"", "Sir Upward was never after seen or heard of, but Mr. Raven continued to\nshow himself at uncertain intervals in the library. There were some who", "I was helpless! In this world of the dead, the raven and his wife were\nthe only living I had yet seen: whither should I turn for help? I was", "\"You did me no wrong,\" he returned. \"Calling me a raven, or thinking me\none, you allowed me existence, which is the sum of what one can", "The old man seemed to sink to the ground, and immediately I saw the\nraven several yards from me, flying low and fast.\n\n\n\n\nCHAPTER XVIII. DEAD OR ALIVE?", "Then at last I understood that Mr. Raven was indeed Adam, the old and\nthe new man; and that his wife, ministering in the house of the dead,\nwas Eve, the mother of us all, the lady of the New Jerusalem.", "Through the dark I heard the wings of the raven. Five quick flaps I\nheard, and he perched on the horse's head. The horse checked himself\ninstantly, ploughing up the ground with his feet.", "thin, and wearing a long black tail-coat. Again he turned, and I saw him\na raven.", "A flash came with the words, and in about half a minute the thunder.\nThen the rain ceased.\n\n\"Now we should be going!\" said the raven, and stepped to the front of\nthe porch.", "Mr. Vane. Turn your back on fear, and your face to whatever may come.\nGive yourself up to the night, and you will rest indeed. Harm will not\ncome to you, but a good you cannot foreknow.\"", "\"That is because we have travelled so fast,\" answered the raven. \"In\nyour world you cannot pull up the plumb-line you call gravitation, and", "CHAPTER III. THE RAVEN", "\"What right have you to treat me so, Mr. Raven?\" I said with deep\noffence. \"Am I, or am I not, a free agent?\"" ], [ "Eve set Lilith down beside it. Adam pointed to the vacant couch on\nLona's right hand, and said,\n\n\"There, Lilith, is the bed I have prepared for you!\"", "\"Lilith,\" said Adam, and his tone had changed to a tender beseeching,\n\"hear me, and repent, and He who made thee will cleanse thee!\"", "\"I do not know Him!\" murmured Lilith, in a voice of fear and doubt.\n\n\"Therefore it is that thou art miserable,\" said Adam.", "It flowed and flowed about Lilith, rippling the unknown, upwaking sea of\nher life eternal; rippling and to ripple it, until at length she who had", "\"We have long waited for thee, Lilith!\" he said.\n\nShe returned him no answer.\n\nEve and her daughter came to the door.", "End of the Project Gutenberg EBook of Lilith, by George MacDonald", "GUTENBERG EBOOK LILITH ***\n\n\n\n\nProduced by John Bechard\n\n\n\n\n\nLILITH", "\"At last!\" she said. \"Lilith's hour has been long on the way, but it\nis come! Everything comes. Thousands of years have I waited--and not in\nvain!\"", "Lilith lay and wept. The Lady of Sorrow went to the door and opened it.", "The strife of thought, accusing and excusing, began afresh, and\ngathered fierceness. The soul of Lilith lay naked to the torture of pure", "But Lilith would not taste of it.\n\n\"If thou wilt nor eat nor drink, Lilith,\" said Adam, \"come and see the\nplace where thou shalt lie in peace.\"", "\"Lilith,\" said Mara, \"you will not sleep, if you lie there a thousand\nyears, until you have opened your hand, and yielded that which is not\nyours to give or to withhold.\"", "a bat-like wing, torn and hooked. Came a cold wind with a burning\nsting--and Lilith was upon me. Her hands were still bound, but with her", "tentacles innumerable, went out after Lilith. She lay in an agony of\nfear, nor dared stir a finger. Whether the hideous things even saw the", "Like her mother, in whom lay the motherhood of all the world, Mara put\nher arms around Lilith, and kissed her on the forehead. The fiery-cold", "\"The evil thou meditatest,\" Adam resumed, \"thou shalt never compass,\nLilith, for Good and not Evil is the Universe. The battle between them", "\"Thy beauty slays me! It is death I would have, not food!\" said Lilith,\nand turned from her.\n\n\"This food will help thee to die,\" answered Eve.", "told me; but in Lona the dazzling beauty of Lilith was softened by\nchildlikeness, and deepened by the sense of motherhood. \"She is", "\"Lilith, when you came here on the way to your evil will, you little\nthought into whose hands you were delivering yourself!--Mr. Vane, when", "\"Are the children in the house?\" asked Lilith, and at the word the heart\nof Eve began to love her." ], [ "\"Yes, it is cold,\" answered our host; \"but you will not be cold in your\nsleep.\"\n\n\"Where are our nests?\" asked more than one, looking round and seeing no\ncouch unoccupied.", "\"I do. I live there alone, except when I have visitors. It is a poor\nplace, but I do what I can for my guests, and sometimes their sleep is\nsweet to them.\"", "Each of the Little Ones had by this time, except three of the boys,\nfound at least an unobjecting bedfellow, and lay still and white beside", "\"If you would have the rest of this house, you must not trouble yourself\nabout waking. You must go to sleep heartily, altogether and outright.\"\nMy soul sank within me.", "\"I have told you that years are of no consequence in this house,\"\nanswered Adam; \"we do not heed them. Your father will wake when his\nmorning comes. Your mother, next to whom you are lying,----\"", "\"By accepting it to the full,\" he answered.\n\n\"I do not understand.\"\n\n\"In this house no one wakes of himself.\"\n\n\"Why?\"", "\"In one of their houses,\" continued Lona, \"sits the biggest and fattest\nof them--so proud that nobody can see him; and the giants go to his", "\"Oh,\" cried one, \"here is such a beautiful lady!--may I sleep beside\nher? I will creep in quietly, and not wake her.\"", "\"Do these find it so?\" he returned. \"They sleep well--or will soon. Of\ncold they feel not a breath: it heals their wounds.--Do not be a coward,", "night some rise and go. But I will not say more, for I find my words\nonly mislead you!--This is the couch that has been waiting for you,\" he\nended, pointing to one of the three.", "\"You are welcome every one,\" she answered. \"Sooner or later all will be\nlittle ones, for all must sleep in my house! It is well with those that", "Close under the sloping roof stood a narrow bed, the sight of which with\nits white coverlet made me shiver, so vividly it recalled the couches in", "narrow ways, every couch stood by itself, and on each slept a lonely\nsleeper. I thought at first their sleep was death, but I soon saw it was\nsomething deeper still--a something I did not know.", "\"At the top of that stair,\" she answered, \"you will find a bed--on which\nsome have slept better than they expected, and some have waked all the", "Yes; they would build sleep-houses in the trees, where no giant would\nsee them, for never by any chance did one throw back his dull head to", "and sleep till they were called. In one moment they were down, and\nin another lapt in the music of their sleep, a sound as of water over\ngrass, or a soft wind among leaves. Their animals slept more lightly,", "There could be no better place in which to pass the night! I gathered\na quantity of withered leaves, laid them in a corner, and threw myself", "\"Poor princess!\" said another; \"I will sleep with her. She will not bite\nany more!\"\n\nAs he spoke he climbed into her bed, and was immediately fast asleep.\nEve covered him with the sheet.", "smallest, and the rest went trooping after her. With her own gentle\nhands, they told me, she put them to bed on the floor of the garret.", "\"No one sleeps in my house two nights together!\" she answered.\n\n\"I thank you, then, for your hospitality, and bid you farewell!\" I said,\nand turned to go." ], [ "\"You are not in hell,\" it resumed. \"Neither am I in hell. But those\nskeletons are in hell!\"", "The next morning, as we started, we spied, a little way from us, two\nskeletons moving about in a thicket. The Little Ones broke their ranks,", "heaped; grinding and crunching them under foot fought the skeletons.\nEverywhere charged the bone-gaunt white steeds; everywhere on foot or", "phantoms fought in maddest confusion. Swords swept through the phantoms:\nthey only shivered. Maces crashed on the skeletons, shattering them", "\"No; he is still in the Evil Wood, fighting the dead.\"\n\n\"Where is the Evil Wood, that I may find him?\"", "filled the hands the skeletons held out to receive them. Then they bid\nthem goodbye, promising to come and see them again, and resumed their\njourney, saying to each other they had not known there were such nice", "shrivelled reins to the hand of the skeleton-coachman seated on his\ntattered hammer-cloth; both doors had fallen away; within sat two\nskeletons, each leaning back in its corner.", "Even as I looked, they started awake, and with a cracking rattle of\nbones, each leaped from the door next it. One fell and lay; the other", "\"You mistake, my son,\" he answered, in a voice whose very breath was\nconsolation. \"You are still in the chamber of death, still upon your\ncouch, asleep and dreaming, with the dead around you.\"", "\"Now you will have to wear splints always!\" she said; \"such dry bones\nnever mend!\"\n\n\"You devil!\" he cried.", "hated either to hurt or to suffer. Still, they were easily influenced,\nand could certainly be taught any exercise within their strength!--At\nonce she set some of the smaller ones throwing stones at a mark; and", "only his back before; now for the first time I saw his face. It was\nso thin that it showed the shape of the bones under it, suggesting the\nskulls his last-claimed profession must have made him familiar with. But", "\"You will soon begin to find comfort in the cold,\" answered Adam.\n\n\"Promises to the dying are easy!\" she said.\n\n\"But I know it: I too have slept. I am dead!\"", "kill them; indeed, their skulls are so thick that I do not think we\ncould!--not that killing would do them much harm; they are so little\nalive! If one were killed, his giantess would not remember him beyond", "of moles and squirrels, and when he beat you, they tried to kill him. He\nsaid you were a wizard, and they must knock you, or they would have no\npeace.\"", "\"You meant then to leave me in that horrible sepulchre! Do you not yet\nunderstand that where I please to be, there I am? Take my hand: I am\nalive as you!\"", "both are up and away long ago. Your great-grandfather has been with us\nfor many a year; I think he will soon begin to stir. You saw him last\nnight, though of course you did not know him.\"", "\"Dead things, I live!\" said her scornful glance. Then, at once, like\nleaves in which an instant wind awakes, they turned each to another, and", "\"Disgusting!\" he muttered, and laid hold of her upper arm-bone.\n\n\"You will break it!\" she said, looking up from her knees.", "\"That also you will know when you wake.\"\n\n\"But these are all dead, and I am alive!\" I objected, shuddering." ], [ "The next morning, as we started, we spied, a little way from us, two\nskeletons moving about in a thicket. The Little Ones broke their ranks,", "phantoms fought in maddest confusion. Swords swept through the phantoms:\nthey only shivered. Maces crashed on the skeletons, shattering them", "\"You are not in hell,\" it resumed. \"Neither am I in hell. But those\nskeletons are in hell!\"", "heaped; grinding and crunching them under foot fought the skeletons.\nEverywhere charged the bone-gaunt white steeds; everywhere on foot or", "\"No; he is still in the Evil Wood, fighting the dead.\"\n\n\"Where is the Evil Wood, that I may find him?\"", "filled the hands the skeletons held out to receive them. Then they bid\nthem goodbye, promising to come and see them again, and resumed their\njourney, saying to each other they had not known there were such nice", "shrivelled reins to the hand of the skeleton-coachman seated on his\ntattered hammer-cloth; both doors had fallen away; within sat two\nskeletons, each leaning back in its corner.", "Even as I looked, they started awake, and with a cracking rattle of\nbones, each leaped from the door next it. One fell and lay; the other", "out with it for the cave. It was so light that now and then as I went\nI almost feared lest, when I laid it down, I should find it a skeleton", "mouldering carriage of ancient form, ruinous but still upright on its\nheavy wheels. On each side of the pole, still in its place, lay the\nskeleton of a horse; from their two grim white heads ascended the", "which they seemed so long to have lain! Fearfuller yet, the eye-sockets\nwere not empty; in each was a lidless living eye! In those wrecks of", "it was, however, and no skeleton, though as nearly one as body could\nwell be. It lay on its side, and was very cold--not cold like a stone,", "CHAPTER VII. THE CEMETERY", "abroad and slay! The moon seemed to regard him with awe; in her scary\nlight he looked a very skeleton, loosely roped together. Terrifically", "\"Describe it, then, and I will direct you. The stupid Bags know nothing,\nand the careless little Lovers forget almost everything.\"\n\n\"Where do those live?\"\n\n\"You are just come from them!\"", "the foliage, it suggested, as I drew nearer, a human body. \"Another\nskeleton!\" I said to myself, kneeling and laying my hand upon it. A body", "skeleton horse; now one now another of the hideous burrowing phantasms.\nI could trace no order and little relation in the mingling and crossing", "attack, but found nothing. At a third monster she darted with like fury,\nand like failure--then sullenly ceased to heed the phantom-horde. But I", "I call them faces? They were skull fronts!--hard, gleaming bone, bare\njaws, truncated noses, lipless teeth which could no more take part in", "kill them; indeed, their skulls are so thick that I do not think we\ncould!--not that killing would do them much harm; they are so little\nalive! If one were killed, his giantess would not remember him beyond" ], [ "Mr. Vane. Turn your back on fear, and your face to whatever may come.\nGive yourself up to the night, and you will rest indeed. Harm will not\ncome to you, but a good you cannot foreknow.\"", "\"Mr. Vane,\" he said, \"do you not know why you have not yet done anything\nworth doing?\"\n\n\"Because I have been a fool,\" I answered.\n\n\"Wherein?\"", "\"You are very welcome, Mr. Vane!\" she said, calling me by the name I had\nforgotten. \"Your entertainment will be scanty, but, as the night is not", "\"Mr. Vane,\" croaked the raven, \"think what you are doing! Twice already\nhas evil befallen you--once from fear, and once from heedlessness:\nbreach of word is far worse; it is a crime.\"", "\"Finding myself in your vicinity, Mr. Vane, I have given myself the\npleasure of calling,\" he said, in a peculiar but not disagreeable", "\"Let me go to the Little Ones!\" I cried.\n\n\"Beware of that, Mr. Vane. Go to my wife, and do as she tells you.\"", "\"Here is Mr. Vane, wife!\" said the raven.\n\n\"He is welcome,\" she answered, in a low, rich, gentle voice. Treasures\nof immortal sound seemed to be buried in it.", "\"No doubt you would--the aim of all stupid philanthropists! Why, Mr.\nVane, but for the weeping in it, your world would never have become", "valley, and tying my feet, with a long rope, to a tree, put a flat stone\nwith a saw-like edge in my left hand. I shifted it to the right; they", "\"The Little Ones are in frightful peril, and I brought it upon them!\" I\ncried. \"--But indeed I will not break my word to you. I will return, and\nspend in your house what nights--what days--what years you please.\"", "\"That you see nobody is where the danger lies. But you see that large\ntree to your left, about thirty yards away?\"\n\n\"Of course I do: why should I not?\" I answered testily.", "\"Going where?\" I asked.\n\n\"Going where we have to go,\" he answered. \"You did not surely think you\nhad got home? I told you there was no going out and in at pleasure until\nyou were at home!\"", "\"If the brute come here, I will lay hold of it,\" I said, \"and you must\nrun.\"\n\n\"Thank you!\" she murmured.\n\n\"Have you ever seen it before?\" I asked.", "\"It is time to mount, Mr. Vane,\" said our hostess.\n\n\"Tell me, please,\" I said, \"is there not a way by which to avoid the\nchannels and the den of monsters?\"", "\"They are too blind to see us,\" they said, and laughed like a multitude\nof sheep-bells.\n\n\"Do you like that rope about your ankles?\" asked one.", "\"Yes; he is with us, fast asleep. That was he you saw with his arm on\nthe coverlet, his hand half closed.\"\n\n\"Why did you not tell me? That I should have been so near him, and not\nknow!\"", "\"A book,\" he said louder, \"is a door in, and therefore a door out.--I\nsee old Sir Up'ard,\" he went on, closing his eyes, \"and my heart swells\nwith love to him:--what world is he in?\"", "solemn gait, and utter disregard of the falling deluge. Suspecting who\nhe was, I congratulated myself that I was safe on the ground-floor. At", "wife would understand one thing, and you would imagine another.--This is\nbut one of my treasure vaults,\" he went on, \"and all my guests are not", "At these words such a howling, such a prolonged yell of agony burst from\nthe cat, that we both stopped our ears. When it ceased, Mr. Raven walked" ], [ "CHAPTER XIII. THE LITTLE ONES", "that she hated the Little Ones, and would like to kill them, only she\ncould not find them. I asked how they knew that; Lona answered that she", "I had been at work but a few moments, when I heard small voices near me,\nand presently the Little Ones, as I soon found they called themselves,", "Lona and I, who walked below, heard at last a great shout overhead, and\nin a moment or two the Little Ones began to come dropping down from the", "undone, and I was in the arms, seemingly innumerable, of the Little\nOnes. For some time I saw no more of the giants.", "By this time the Little Ones were coming back, and with much noise, for\nthey had no care to keep quiet now that they were at open war with the", "became in consequence more hostile to them. Sometimes the Little\nOnes would see them trampling furiously, perceiving or imagining some\nindication of their presence, while they indeed stood beside, and", "the Little Ones. The sight awoke in her an over-mastering terror: she\nhad failed in her endeavour to destroy them, and they were upon her! The\nprophecy was about to be fulfilled!", "were soon quieted, and went on. Some of the Little Ones shivered, and\nall were still as death. The three girls held closer the infants they", "and freed my right arm. That instant, however, a commotion arose in the\nstreet behind me; the crowd broke; and through it came the Little Ones I", "\"What can come of it?\" I said to myself. \"These are too wretched for any\nworld, and this cannot be hell, for the Little Ones are in it, and", "\"The Little Ones are in frightful peril, and I brought it upon them!\" I\ncried. \"--But indeed I will not break my word to you. I will return, and\nspend in your house what nights--what days--what years you please.\"", "\"Let me go to the Little Ones!\" I cried.\n\n\"Beware of that, Mr. Vane. Go to my wife, and do as she tells you.\"", "\"My debt to the Little Ones appears, I confess, a greater thing than my\nbond to you.\"\n\n\"Yield to the temptation and you will bring mischief upon them--and on\nyourself also.\"", "I tried to sit up. A pile of small bodies instantly heaped itself at my\nback. Then I struggled to my feet, with much pushing and pulling from\nthe Little Ones, who were wonderfully strong for their size.", "kill them sleeping. Thereupon she concluded that the only way to stop\nthe destruction was to give them ground for believing that they had\nabandoned the place. The Little Ones must remove into the forest--beyond", "\"Do you mean, sir, I could have done something for the Little Ones by\nstaying with them?\"\n\n\"Could you teach them anything by leaving them?\"", "\"Mother,\" I said, although I did not see her, \"we come to you many, but\nmost of us are Little Ones. Will you be able to receive us all?\"", "\"I did want to do something for the children--the precious Little Ones,\nI mean.\"\n\n\"I know you did--and started the wrong way!\"\n\n\"I did not know the right way.\"", "At his AMEN--like doves arising on wings of silver from among the\npotsherds, up sprang the Little Ones to their knees on their beds,\ncalling aloud," ], [ "\"There is a city in that grassy land,\" she replied, \"where a woman is\nprincess. The city is called Bulika. But certainly the princess is not", "\"Yes, I am going to Bulika,\" I said, \"--to see the princess.\"\n\n\"Have a care; you had better not go!--But perhaps you are--! The\nprincess is a very good, kind woman!\"", "\"That is true, and such words HAVE to be understood. It were well for\nthe princess of Bulika if she heard what the very silence of the land\nis shouting in her ears all day long! But she is far too clever to\nunderstand anything.\"", "Bulika when they were so small that they could not now remember it; that\nthe wicked princess there was so afraid of babies, and so determined to\ndestroy them, that their mothers had to carry them away and leave them", "its princess, of the cowardice of its inhabitants. In a few days the\nchildren chattered of nothing but Bulika, although indeed they had not\nthe least notion of what a city was. Then first I became aware of the", "where no water is, no rain falls; and where no rain falls, no springs\nrise. Ever since then, the princess has lived in Bulika, holding the", "\"In Bulika you may, perhaps, get some light on those matters. There is\nan ancient poem in the library of the palace, I am told, which of course", "I had met on my way to Bulika. They took her for a giantess that had\nstolen one of their babies, for they regarded all babies as their", "CHAPTER XXIII. A WOMAN OF BULIKA", "prevails much with the Prince of the Power of the Air. The people of\nBulika were formerly simple folk, tilling the ground and pasturing\nsheep. She came among them, and they received her hospitably. She taught", "\"Because it is a disgrace to work,\" she answered. \"Everybody in Bulika\nknows that!\"", "Here I must supplement, partly from conjecture, what Lona told me about\nthe woman. With the rest of the inhabitants of Bulika, she was aware", "\"I know by your speech that you are not of the people of Bulika,\" she\nreplied; \"I will trust you!--I am not of them, either, else I should not", "where she could not find them; and that now we were going to Bulika, to\nfind their mothers, and deliver them from the bad giantess.", "Bulika. She then told me to go up the bank of the river-bed until it\ndisappeared; then verge to the right until I came to a forest--in which", "the blood of any child she can lay hold of. Happily there are not many\nmothers in Bulika!\"", "The undertaking did indeed at times appear to me a foolhardy one,\nbut the confidence of the woman of Bulika, real or simulated, always", "Victory thus gained, the woman of Bulika began to speak about the city,\nand talked much of its defenceless condition, of the wickedness of", "Odu looked at the princess, and saw beside her, still asleep, two of his\ncompanions. He flew at them.\n\n\"Wake up! wake up!\" he cried, and pushed and pulled, now this one, now\nthat.", "\"No strange people will dare; they are all horribly afraid of our\nprincess. She it is who keeps us safe and free and rich!\"\n\nEvery now and then as she spoke, she would stop and look behind her." ], [ "Lona? I love you!\" But its lips gave no answer. I kissed them, not quite\ncold, laid the body down again, and appointing a guard over it, rose to", "that she hated the Little Ones, and would like to kill them, only she\ncould not find them. I asked how they knew that; Lona answered that she", "The hour of our departure was at hand. Lona went to the couch of the\nmother who had slain her, and kissed her tenderly--then laid herself in\nher father's arms.", "had just killed the little captive! It consoled Lona, however, to learn\nwhich he was, for she had been expecting him to grow a bad giant, from", "Recovering her wits, she recognised in her assailants the children whose\nhospitality she sought, and at once yielded the baby. Lona appeared, and\ncarried it away in her bosom.", "I forgot the Little Ones, forgot the murdering princess, forgot the\nbody in my arms, and wandered away, looking for my Lona. The doors and", "She seemed quite dead, but I did not think she was. I laid myself a\nlittle way from her, with the body of Lona by my other side, thus", "\"I think we shall meet you two again before long,\" he said, looking\nfirst at Lona, then at me.\n\n\"Have we to die again?\" I asked.", "It opened a little way, and a face came into the opening. It was Lona's.\nIts eyes were closed, but the face itself was upon me, and seemed to see", "boy was dashed against it, and fell senseless. Before I could reach him,\nLona had him in her arms, and as soon as he came to himself, set him on", "The rumour at length reached my ears that Blunty had vanished. I saw a\nfew grave faces among the bigger ones, but he did not seem to be much\nmissed.\n\nThe next morning Lona came to me and whispered,", "\"She has come to take care of you, and show you the way,\" said Lona.", "ready, for the sake of my Lona, to strike her pitilessly on the closed\nhand! I knew she was doomed: most likely it was decreed that her doom\nshould now be brought to pass through us!", "I dropped on my knees beside Lona, raised her from the stones, and\npressed her to my bosom. With indignant hate I glanced at the princess;", "Suddenly spying Lona, they came running, radiant with bliss, to embrace\nher. Odu, catching sight of the leopardess on the feet of the princess,", "I fell a wondering where Lona was gone, and dropping on the grass, took\nthe dead thing in my lap, and whispered in its ear, \"Where are you,", "Lona and I, who walked below, heard at last a great shout overhead, and\nin a moment or two the Little Ones began to come dropping down from the", "followed Lona with him, like a cat with a great rat in her jaws.", "She turned and laid her hand in mine.\n\nI kneeled and humbly thanked the three for helping me to die. Lona knelt\nbeside me, and they all breathed upon us.", "\"I fear that child,\" she said, pointing to Lona: \"she will rise and\nterrify me!\"\n\n\"She is dreaming love to you.\"" ] ]

[ "From where does Mr. Raven come from?", "What does Raven and Vane use to transport into the new universe?", "What is the punishment for not sleeping in the house of beds?", "Who are the Little Ones?", "What do children who DO grow up turn into?", "Who is the eldest of the Little Ones?", "Who does Vane lead the Little Ones in a battle against?", "Who kills Lona?", "What does Lilith give up to join the sleepers?", "What does the librarian's ghost ressemble?", "How does Mr. Vane enter Raven's world?", "Where did Mr. Vane's grandfather refuse to sleep?", "Who must Vane's grandfather battle?", "What are the children called who never grow up?", "Who must Vane sleep with in order to help the children?", "What is Lilith's relationship to Raven?", "What is Lona's relationship to the Princess of Bulika?", "Who kills Lona?", "Who is thought to haunt Mr. Vane's library?", "How does Vane follow the Raven into the world?", "Who is the protagonist of Lilith?", "Who sleeps in the house of beds?", "Who is forced to do battles with skeletons?", "Where are the battles with skeletons? ", "What is the only thing to keep Mr. Vane safe in the valley?", "What are the \"Little Ones\"?", "Who is the princess of Bulika? ", "Who kills lona?" ]

[ [ "A parallel universe.", " A parallel universe." ], [ "A mirror", "A mirror." ], [ "Fighting skeletons in a haunted wood.", "Battling skeletons in a forest." ], [ "Children who never grew up.", "children who never grow up" ], [ "\"Bags\", or bad giants.", "bad giants" ], [ "Lona.", "Lona" ], [ "Bulika.", "Bulika" ], [ "Lilith, her mother.", "Lilith" ], [ "Water for the Little Ones.", "Lilith needs to give up the water the Little Ones need to grow." ], [ "A raven", "A raven" ], [ "Through a mirror", "Through a mirror." ], [ "The House of Beds", "a house of beds" ], [ "Skeletons", "Skeletons in the woods" ], [ "The Little Ones", "Little Ones." ], [ "The Dreamers", "The dreamers." ], [ "Lilith is Adam's wife", "Lilith's is the Ravens wife." ], [ "Lona is Bulika's daughter", "Lona is Princess of Bulika's daughter." ], [ "Lilith ", "Her mother Lilith." ], [ "the old librarian ", "A former librarian who looks like a raven haunts Mr. Vane's library." ], [ "Through a mirror", "through a mirror" ], [ "Mr. Vane", "Mr. Vane" ], [ "dreamers", "The dreamers sleep in the house of beds." ], [ "Mr. Vane's grandfather", "Vane's grandfather." ], [ "a haunted woods", "A haunted wood." ], [ "The moon", "The moon." ], [ "Children who never grow up", "children who never grow up" ], [ "Lilith ", "Adam's first wife, Lilith " ], [ "Lilith, her mother", "her mother" ] ]

[ [ "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "KOSICH runs in panting.\n\nKOSICH. Is Ivanoff at home? How do you do? [He shakes hands quickly all\nround] Is he at home?", "A PLAY\n\nBy Anton Checkov\n\n\n\n\nCHARACTERS\n\nNICHOLAS IVANOFF, perpetual member of the Council of Peasant Affairs", "BORKIN, in top-boots and carrying a gun, comes in from the rear of the\ngarden. He is a little tipsy. As he sees IVANOFF he comes toward him on", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF\n\n\n\n\nACT I", "BORKIN and SHABELSKI laugh and catch her by the arms. They kiss her\ncheeks and lead her out through the door on the right. IVANOFF and SASHA\nrun in from the garden.", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "IVANOFF. I beg your pardon. [He goes out into the garden.]", "IVANOFF. I am lost!\n\nSASHA. Don't talk so loud; our guests will hear you!", "Enter IVANOFF, dressed in a long coat, with gloves on.\n\nLEBEDIEFF This is the finishing touch! What do you want?\n\nSHABELSKI. Why are you here?", "IVANOFF. Where shall we go? Wait a moment. I shall soon put an end to\nthe whole thing. My youth is awake in me again; the former Ivanoff is\nhere once more.\n\n[He takes out a revolver.]", "IVANOFF. My head aches, little Sasha, and then I feel bored.\n\nSASHA. Come into the sitting-room with me.", "THE GIRLS. [Clapping their hands] The fireworks! The fireworks! [They\nrun into the garden.]\n\nSASHA. [ To IVANOFF] What makes you so depressed today?", "IVANOFF stops near the table and stands with his head bowed.\n\nANNA. [After a pause] What did she come here for? What did she come here\nfor, I ask you?", "SASHA goes out into the garden.\n\nIVANOFF. [To ZINAIDA] Zinaida, may I ask you a favour?\n\nZINAIDA. What is it?", "Enter IVANOFF, in hat and coat, ANNA and SHABELSKI", "She gets up and goes to the door and back, evidently much preoccupied.\nSASHA sits down in her former place. IVANOFF silently shakes hands with\nevery one.", "LEBEDIEFF. I understand, I understand! [He glances at his watch] Yes, I\nunderstand. [He kisses IVANOFF] Good-bye, I must go to the blessing" ], [ "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "IVANOFF. I know that my wife is dying; I know that I have sinned\nirreparably; I know that you are an honest man. What more can you tell\nme?", "IVANOFF. My wife is offended already, and almost dying, and now you come\nhere; Sasha, Sasha, this is thoughtless and unkind of you.", "LVOFF. Very well, let us admit that. Now to proceed. The best cure for\nconsumption is absolute peace of mind, and your wife has none whatever.", "LVOFF. Yes, she has. [A pause.]\n\nBORKIN. Look here, doctor, is Anna really so ill that she absolutely\nmust go to the Crimea?", "LVOFF. [Looking toward the window] Yes, she has consumption.\n\nBORKIN. Whew! How sad! I have seen in her face for some time that she\ncould not last much longer.", "SHABELSKI. [Angrily] Why does he tell such lies? Consumption! No hope!\nShe is dying! It is nonsense, I can't abide him!", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "IVANOFF. If we are going to have an explanation every day, doctor, we\nshall neither of us have the strength to stand it.\n\nLVOFF. Will you be good enough to hear me?", "IVANOFF. If this old baby should die on my hands the blame would be\nmine, not yours. Now, what do you want? [A pause.]", "LVOFF. It is about your wife. She refuses to go to the Crimea alone, but\nshe would go with you.", "IVANOFF. No, I am not well. I am a torment to myself, and every one\ntorments me without end. I can't stand it! And now you come here. How", "saying that first Sarah died, and then suddenly Ivanoff wanted to marry\nyou. [Quickly] But, no, I am like an old woman; I am gossiping like a", "and promised to love her forever, and now after five years she loves me\nstill and I--[He waves his hand] Now, when you tell me she is dying, I", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "IVANOFF. [Clutches his head with both hands] Oh, how guilty I am--how\nguilty! [He sobs.]\n\nThe curtain falls.", "\"Doctor, doctor, save, oh, save me,\n I am scared to death of dying!\"\n\nLVOFF. Hasn't Ivanoff come home yet?", "IVANOFF. As you insist on knowing, I shall have to tell you. It is a\nlittle cruel, but you had best understand. When this melancholy fit is", "IVANOFF. Good Lord, Annie! If I must suffer like this, I must have the\npatience to bear it. [He begins to weep.]" ], [ "LEBEDIEFF. [To IVANOFF] Why don't you send that Judas away?\n\nZINAIDA. [Startled] Why, that is quite true! I never thought of it.", "IVANOFF. Why do you want eighty-two roubles?\n\nBORKIN. To pay the workmen to-morrow.\n\nIVANOFF. I haven't the money.", "LEBEDIEFF. You might go to Mulbach and get some money from him; doesn't\nhe owe you sixty thousand roubles?\n\nIVANOFF makes a despairing gesture.", "IVANOFF. I haven't forgotten it. I am going over to see Lebedieff today\nand shall ask him to wait.\n\n[He looks at his watch.]", "Wait, now! Be quiet! That is only the beginning. The best is yet\nto come. We have allotted you fifteen thousand roubles, but in\nconsideration of the fact that Nicholas owes your mother nine thousand,", "LEBEDIEFF. I understand, I understand! [He glances at his watch] Yes, I\nunderstand. [He kisses IVANOFF] Good-bye, I must go to the blessing", "LEBEDIEFF. [Embarrassed] My dear boy, I haven't a penny. All\nright though. That is to say, I can't promise anything, but you", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "IVANOFF. All that is nothing to me; my head is aching.\n\nLEBEDIEFF. Because you think so much.\n\nIVANOFF. I never think.", "LEBEDIEFF. When you are married we mean to give you fifteen thousand\nroubles. Please don't let us have any discussion about it afterward.", "should! [A pause] There is the money, one hundred thousand roubles. Take\nit; go to her y ourself and say: \"Take the money, Zinaida, and may you", "LEBEDIEFF. I know what is the matter with you, old man: you got out of\nbed on the wrong side this morning.\n\nIVANOFF. That is stupid, Paul, and stale. Go away!", "with Lebedieff would be a hopeless task. Shall I make a scandal, and\nchallenge Ivanoff to a duel? I am as excited as a child, and have", "LEBEDIEFF. I can't understand a word of what you are saying. What\ngenerosity?\n\nIVANOFF. This marriage is not going to take place.", "LEBEDIEFF. My wife has sent me to you; do me a favour, be a friend to\nme, pay her the interest on the money you owe her. Believe me, she has", "ZINAIDA. Yes, that is the sum that my dear Paul has undertaken to lend\nhim. He never knows to whom it is safe to lend money and to whom it is", "IVANOFF. What does this mean, Annie? You know I am not going for\npleasure. I must see Lebedieff about the money I owe him.", "ZINAIDA. The Count did not finish his tea, and all that sugar has been\nwasted. [Goes out through the door on the left.]\n\nLEBEDIEFF. Bah! [Goes out into the garden.]", "BORKIN. There is nothing to explain, it is so simple. [Coming back]\nNicholas, give me a rouble.\n\nIVANOFF silently hands him the money", "ZINAIDA. Oh, Ivanoff, how could I do such a thing? Would it be\nbusiness-like? No, no, don't ask it, don't torment an unfortunate old\nwoman." ], [ "walk up and down] Anna is a splendid, an exceptional woman. She has left\nher faith, her parents and her fortune for my sake. If I should demand", "ANNA. I have lived with you five years now, and I am tired and ill, but\nI have always loved you and have never left you for a moment. You", "ANNA. And what else?\n\nSHABELSKI. I would go and sit on my wife's grave for days and days and\nthink. I would sit there until I died. My wife is buried in Paris. [A\npause.]", "ANNA. Yes, sir!\n\nLVOFF. What do you mean by \"Yes, sir\"? I am speaking seriously.\n\nANNA. But I don't want to be serious. [She coughs.]", "ANNA. It is all clear to me now. You married me because you expected my\nmother and father to forgive me and give you my money; that is what you\nexpected.", "LVOFF. Yes, she has. [A pause.]\n\nBORKIN. Look here, doctor, is Anna really so ill that she absolutely\nmust go to the Crimea?", "ANNA. You dishonest, degraded man! You owe money to Lebedieff, and now,\nto escape paying your debts, you are trying to turn the head of his", "ANNA. Nicholas can. I am beginning to be surprised, too, at the\ninjustice of people. Why do they return hatred for love, and answer", "ANNA. [laughing] That is what he used to say, long ago, oh, exactly!\nOnly his eyes are larger than yours, and when he was excited they used\nto shine like coals--go on, go on!", "ANNA. Be quiet! When you found that I wasn't bringing you any money,\nyou tried another game. Now I remember and understand everything. [She\nbegins to cry] You have never loved me or been faithful to me--never!", "SASHA. [Running to her father] Father! He has rushed over here like a\nmadman, and is torturing me! He insists that I should refuse to marry", "ANNA. [Laughing] You can't even repeat the simplest saying without\nill-nature. You are a most malicious old man. [Seriously] Seriously,", "ANNA. You say that Nicholas is not what he should be, that his faults\nare so and so. How can you possibly understand him? How can you learn", "ANNA. To him. I am going. Have the horses harnessed. [She runs into the\nhouse.]", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF. Good Lord, Annie! If I must suffer like this, I must have the\npatience to bear it. [He begins to weep.]", "ZINAIDA. How could he be otherwise, poor boy! [She sighs] He made such\na bad mistake. When he married that Jewess of his he thought of course", "SHABELSKI. [With a Jewish accent] Vy do you laugh?\n\nANNA. I was thinking of something you said at dinner, do you remember?\nHow was it--a forgiven thief, a doctored horse.", "ANNA. We have lived under this same roof now for five years, and I\nhave never heard you speak kindly of people, or without bitterness and" ], [ "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "BORKIN and SHABELSKI laugh and catch her by the arms. They kiss her\ncheeks and lead her out through the door on the right. IVANOFF and SASHA\nrun in from the garden.", "SASHA. [Shrieking] Nicholas! For God's sake hold him!\n\nIVANOFF. Let go! [He rushes aside, and shoots himself.]\n\nThe curtain falls.", "IVANOFF. Where shall we go? Wait a moment. I shall soon put an end to\nthe whole thing. My youth is awake in me again; the former Ivanoff is\nhere once more.\n\n[He takes out a revolver.]", "IVANOFF. You ridiculous girl!\n\nSASHA. Splendid! So we are smiling at last! Be kind, do me the favour of\nsmiling once more!", "IVANOFF\n\n\n\n\nACT I", "IVANOFF. [Clutches his head with both hands] Oh, how guilty I am--how\nguilty! [He sobs.]\n\nThe curtain falls.", "IVANOFF stops near the table and stands with his head bowed.\n\nANNA. [After a pause] What did she come here for? What did she come here\nfor, I ask you?", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "BORKIN gets up and drops his cigarette.\n\nIVANOFF. Go at once!\n\nBORKIN. Nicholas, what do you mean? Why are you so angry?", "BORKIN, in top-boots and carrying a gun, comes in from the rear of the\ngarden. He is a little tipsy. As he sees IVANOFF he comes toward him on", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "IVANOFF. No, this is not melancholy. It is ridiculous, is it? Yes, I am\nlaughing, and if it were possible for me to laugh at myself a thousand", "LEBEDIEFF. I understand, I understand! [He glances at his watch] Yes, I\nunderstand. [He kisses IVANOFF] Good-bye, I must go to the blessing", "IVANOFF. My wife is offended already, and almost dying, and now you come\nhere; Sasha, Sasha, this is thoughtless and unkind of you." ], [ "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "LEBEDIEFF. Let me explain exactly what I mean. Everything displeases me.\nAs for your marriage, I simply can't abide it. [He goes up to SASHA and", "speaks caressingly] Forgive me, little Sasha, this marriage may be a\nwise one; it may be honest and not misguided, nevertheless, there is", "IVANOFF. You who are so clever, you think that nothing in the world is\neasier than to understand me, do you? I married Annie for her money, did", "IVANOFF. Why, why do you say that? What do you mean? Little Sasha, don't\nsay it!", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "SHABELSKI. No, I shall certainly marry her; upon my word, I shall!\n\nEnter IVANOFF and LVOFF.\n\nLVOFF. Will you please spare me five minutes of your time?", "SASHA. [To LVOFF] Now, think it over! Do you see what sort of a man you\nare, or not? Oh, the stupid, heartless people! [Takes IVANOFF by the", "SASHA. It is going to take place. Papa, tell him that it is going to\ntake place.\n\nLEBEDIEFF. Wait! Wait! What objection have you to the marriage?", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "SASHA. Thank you.\n\nLEBEDIEFF. [Laughing loudly, to IVANOFF] Why don't you send this Judas\npacking?", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "IVANOFF. My wife is offended already, and almost dying, and now you come\nhere; Sasha, Sasha, this is thoughtless and unkind of you.", "SASHA. [Shrieking] Nicholas! For God's sake hold him!\n\nIVANOFF. Let go! [He rushes aside, and shoots himself.]\n\nThe curtain falls.", "IVANOFF. You ridiculous girl!\n\nSASHA. Splendid! So we are smiling at last! Be kind, do me the favour of\nsmiling once more!", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "SASHA. [Losing her temper] How can you speak to me like this? I won't\nhave it.\n\nIVANOFF. But I am speaking, and will continue to speak.", "SASHA goes out into the garden.\n\nIVANOFF. [To ZINAIDA] Zinaida, may I ask you a favour?\n\nZINAIDA. What is it?", "LVOFF. Miss Sasha, I have not insulted him without cause. I came here\nas a man of honour, to open your eyes, and I beg you to listen to what I\nhave to tell you.", "SASHA. That is no answer. Every sinner should know what he is guilty of.\nPerhaps you have been forging money?\n\nIVANOFF. That is stupid." ], [ "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "IVANOFF. Annie, don't say what isn't so. I have made mistakes, but I\nhave never told a lie in my life. You dare not accuse me of that!", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "IVANOFF. I have never lied to you, Annie.", "IVANOFF. I don't know.\n\nANNA. And why don't you want me to go driving with you in the evening?", "IVANOFF. I know that my wife is dying; I know that I have sinned\nirreparably; I know that you are an honest man. What more can you tell\nme?", "ANNA. Yes, sir!\n\nLVOFF. What do you mean by \"Yes, sir\"? I am speaking seriously.\n\nANNA. But I don't want to be serious. [She coughs.]", "ANNA. You dishonest, degraded man! You owe money to Lebedieff, and now,\nto escape paying your debts, you are trying to turn the head of his", "IVANOFF. Don't ask me, Annie. [A pause] I am terribly guilty. Think\nof any punishment you want to inflict on me; I can stand anything, but\ndon't, oh, don't ask questions!", "IVANOFF. Sarah! That is a lie! Say what you want, but don't insult me\nwith a lie!", "IVANOFF stops near the table and stands with his head bowed.\n\nANNA. [After a pause] What did she come here for? What did she come here\nfor, I ask you?", "ANNA. Be quiet! When you found that I wasn't bringing you any money,\nyou tried another game. Now I remember and understand everything. [She\nbegins to cry] You have never loved me or been faithful to me--never!", "IVANOFF. Good Lord, Annie! If I must suffer like this, I must have the\npatience to bear it. [He begins to weep.]", "IVANOFF. You who are so clever, you think that nothing in the world is\neasier than to understand me, do you? I married Annie for her money, did", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "IVANOFF. Heaven help me, do you mean to say that you understand\nyourself? [He drinks some water] Now go away; I am guilty a thousand", "ANNA. I am not the only one whom you have basely deceived. You have\nalways blamed Borkin for all your dishonest tricks, but now I know whose\nthey are." ], [ "IVANOFF. Where shall we go? Wait a moment. I shall soon put an end to\nthe whole thing. My youth is awake in me again; the former Ivanoff is\nhere once more.\n\n[He takes out a revolver.]", "SASHA. [Shrieking] Nicholas! For God's sake hold him!\n\nIVANOFF. Let go! [He rushes aside, and shoots himself.]\n\nThe curtain falls.", "BORKIN, in top-boots and carrying a gun, comes in from the rear of the\ngarden. He is a little tipsy. As he sees IVANOFF he comes toward him on", "IVANOFF. [Clutches his head with both hands] Oh, how guilty I am--how\nguilty! [He sobs.]\n\nThe curtain falls.", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "BORKIN and SHABELSKI laugh and catch her by the arms. They kiss her\ncheeks and lead her out through the door on the right. IVANOFF and SASHA\nrun in from the garden.", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "IVANOFF\n\n\n\n\nACT I", "LEBEDIEFF. I understand, I understand! [He glances at his watch] Yes, I\nunderstand. [He kisses IVANOFF] Good-bye, I must go to the blessing", "IVANOFF. You ridiculous girl!\n\nSASHA. Splendid! So we are smiling at last! Be kind, do me the favour of\nsmiling once more!", "Enter IVANOFF, dressed in a long coat, with gloves on.\n\nLEBEDIEFF This is the finishing touch! What do you want?\n\nSHABELSKI. Why are you here?", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "SHABELSKI. No, I shall certainly marry her; upon my word, I shall!\n\nEnter IVANOFF and LVOFF.\n\nLVOFF. Will you please spare me five minutes of your time?", "BORKIN gets up and drops his cigarette.\n\nIVANOFF. Go at once!\n\nBORKIN. Nicholas, what do you mean? Why are you so angry?", "IVANOFF. No, this is not melancholy. It is ridiculous, is it? Yes, I am\nlaughing, and if it were possible for me to laugh at myself a thousand", "IVANOFF. Heaven help me, do you mean to say that you understand\nyourself? [He drinks some water] Now go away; I am guilty a thousand" ], [ "LVOFF. Yes, she has. [A pause.]\n\nBORKIN. Look here, doctor, is Anna really so ill that she absolutely\nmust go to the Crimea?", "ANNA. Oh, how lonely it is! The coachman and the cook are having a\nlittle ball in there by themselves, and I--I am, as it were, abandoned.\nWhy are you walking about, Doctor? Come and sit down here.", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "LVOFF. [Looks toward the window] Exactly what I said this morning: she\nmust go to the Crimea at once. [Walks up and down.]", "ANNA. I can't stand it, Doctor, I must go.\n\nLVOFF. Where?", "ANNA. To him. I am going. Have the horses harnessed. [She runs into the\nhouse.]", "ANNA. And what else?\n\nSHABELSKI. I would go and sit on my wife's grave for days and days and\nthink. I would sit there until I died. My wife is buried in Paris. [A\npause.]", "SASHA. Yes, it is time to go. Good-bye. I am afraid that that honest\ndoctor of yours will have told Anna out of a sense of duty that I am", "ANNA. I have lived with you five years now, and I am tired and ill, but\nI have always loved you and have never left you for a moment. You", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "ANNA. Yes, go, go--[Sits down at the table.]", "ANNA. I have begun to think, Doctor, that fate has cheated me. Other\npeople who, perhaps, are no better than I am are happy and have not had", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF. How can a sick woman like you go anywhere? You know you have a\ncough and must not go out after sunset. Ask the doctor here. You are no", "LVOFF. Very well, let us admit that. Now to proceed. The best cure for\nconsumption is absolute peace of mind, and your wife has none whatever.", "ANNA. Yes, sir!\n\nLVOFF. What do you mean by \"Yes, sir\"? I am speaking seriously.\n\nANNA. But I don't want to be serious. [She coughs.]", "ANNA. You dishonest, degraded man! You owe money to Lebedieff, and now,\nto escape paying your debts, you are trying to turn the head of his", "They go out through the door on the left. Enter ANNA and LVOFF through\nthe door on the right.\n\nANNA. No, they will be glad to see us. Is no one here? Then they must be\nin the garden.", "ANNA. [Laughing] The flowers return with every spring, but lost\nhappiness never returns. I wonder who taught me that? I think it was\nNicholas himself. [Listens] The owl is hooting again.", "ANNA. [Laughing] You can't even repeat the simplest saying without\nill-nature. You are a most malicious old man. [Seriously] Seriously," ], [ "BORKIN gets up and drops his cigarette.\n\nIVANOFF. Go at once!\n\nBORKIN. Nicholas, what do you mean? Why are you so angry?", "Wait, now! Be quiet! That is only the beginning. The best is yet\nto come. We have allotted you fifteen thousand roubles, but in\nconsideration of the fact that Nicholas owes your mother nine thousand,", "LEBEDIEFF. Let me explain exactly what I mean. Everything displeases me.\nAs for your marriage, I simply can't abide it. [He goes up to SASHA and", "LEBEDIEFF. The fact is, Nicholas--I really don't know how I can put\nit to make it seem less brutal--Nicholas, I am ashamed of myself, I am", "LEBEDIEFF. I beg your pardon, Nicholas. Please forgive me. I have\nsomething very important to speak to you about.\n\nBORKIN. So have I.", "LEBEDIEFF. Come, Nicholas, snap your fingers at the whole thing, and\ndrive over to visit us. Sasha loves and understands you. She is a sweet,", "SASHA. [Shrieking] Nicholas! For God's sake hold him!\n\nIVANOFF. Let go! [He rushes aside, and shoots himself.]\n\nThe curtain falls.", "BORKIN. There is nothing to explain, it is so simple. [Coming back]\nNicholas, give me a rouble.\n\nIVANOFF silently hands him the money", "SASHA. I can understand your trouble, Nicholas. You are unhappy because\nyou are lonely. You need some one at your side whom you can love,\nsomeone who understands you.", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "LEBEDIEFF. Listen to me, Nicholas, I know you will be angry, but you\nmust forgive an old drunkard like me. This is between friends; remember", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "LEBEDIEFF. Listen to me, Nicholas; from your point of view what you are\ndoing is quite right and proper, according to the rules of psychology,", "LEBEDIEFF. Sit down, Sasha, there--[He sits down and looks about him]\nListen to me attentively and with proper respect. The fact is, your", "LEBEDIEFF. Don't explain it to her, but to me, and explain it so that I\nmay understand. God forgive you, Nicholas, you have brought a great deal", "SHABELSKI. Where is Nicholas? Is the carriage here yet? [Goes quickly\nto ANNA and kisses her hand] Good-night, my darling! [Makes a face and", "SASHA. Nicholas, come to your senses. How can you say you are lost? What\ndo you mean by such cynicism? No, I won't listen to you or talk with\nyou. Go to the church!", "IVANOFF. Where shall we go? Wait a moment. I shall soon put an end to\nthe whole thing. My youth is awake in me again; the former Ivanoff is\nhere once more.\n\n[He takes out a revolver.]", "LEBEDIEFF. It is stupid, certainly. I see that myself now. I am going at\nonce. [LEBEDIEFF goes out.]", "SHABELSKI. Look here, Nicholas, this is simply barbarous You go away\nevery evening and leave us here alone, and we get so bored that we have" ], [ "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "LVOFF. Yes, she has. [A pause.]\n\nBORKIN. Look here, doctor, is Anna really so ill that she absolutely\nmust go to the Crimea?", "ANNA. I have lived with you five years now, and I am tired and ill, but\nI have always loved you and have never left you for a moment. You", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "ANNA. And what else?\n\nSHABELSKI. I would go and sit on my wife's grave for days and days and\nthink. I would sit there until I died. My wife is buried in Paris. [A\npause.]", "ANNA. I have begun to think, Doctor, that fate has cheated me. Other\npeople who, perhaps, are no better than I am are happy and have not had", "before she dies. They know that she is dying and that she loves them\nstill, but with diabolical cruelty, as if to flaunt their religious", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "and promised to love her forever, and now after five years she loves me\nstill and I--[He waves his hand] Now, when you tell me she is dying, I", "ANNA. You dishonest, degraded man! You owe money to Lebedieff, and now,\nto escape paying your debts, you are trying to turn the head of his", "SHABELSKI. [Angrily] Why does he tell such lies? Consumption! No hope!\nShe is dying! It is nonsense, I can't abide him!", "ANNA. Yes, sir!\n\nLVOFF. What do you mean by \"Yes, sir\"? I am speaking seriously.\n\nANNA. But I don't want to be serious. [She coughs.]", "LVOFF. [Looking toward the window] Yes, she has consumption.\n\nBORKIN. Whew! How sad! I have seen in her face for some time that she\ncould not last much longer.", "ANNA. Oh, how lonely it is! The coachman and the cook are having a\nlittle ball in there by themselves, and I--I am, as it were, abandoned.\nWhy are you walking about, Doctor? Come and sit down here.", "ANNA. To him. I am going. Have the horses harnessed. [She runs into the\nhouse.]", "ANNA. Be quiet! When you found that I wasn't bringing you any money,\nyou tried another game. Now I remember and understand everything. [She\nbegins to cry] You have never loved me or been faithful to me--never!", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "ANNA. [Angrily] So that is the sort of man you are? Now I understand\nyou, and can see how degraded, how dishonourable you are! Do you", "ANNA. Yes, go, go--[Sits down at the table.]", "ANNA. It is all clear to me now. You married me because you expected my\nmother and father to forgive me and give you my money; that is what you\nexpected." ], [ "LEBEDIEFF. The fact is, Nicholas--I really don't know how I can put\nit to make it seem less brutal--Nicholas, I am ashamed of myself, I am", "Barabanoff is a demon at cards. [In a tearful voice] Just listen to\nthis: I had a heart and he [He turns to BORKIN, who jumps away from him]", "ANNA. You say that Nicholas is not what he should be, that his faults\nare so and so. How can you possibly understand him? How can you learn", "SHABELSKI. Look here, Nicholas, this is simply barbarous You go away\nevery evening and leave us here alone, and we get so bored that we have", "SASHA. [To LVOFF] Now, think it over! Do you see what sort of a man you\nare, or not? Oh, the stupid, heartless people! [Takes IVANOFF by the", "SASHA. [Shrieking] Nicholas! For God's sake hold him!\n\nIVANOFF. Let go! [He rushes aside, and shoots himself.]\n\nThe curtain falls.", "LEBEDIEFF. Let me explain exactly what I mean. Everything displeases me.\nAs for your marriage, I simply can't abide it. [He goes up to SASHA and", "SHABELSKI. [Angrily] Why does he tell such lies? Consumption! No hope!\nShe is dying! It is nonsense, I can't abide him!", "BORKIN. There is nothing to explain, it is so simple. [Coming back]\nNicholas, give me a rouble.\n\nIVANOFF silently hands him the money", "BORKIN gets up and drops his cigarette.\n\nIVANOFF. Go at once!\n\nBORKIN. Nicholas, what do you mean? Why are you so angry?", "SHABELSKI. Where is Nicholas? Is the carriage here yet? [Goes quickly\nto ANNA and kisses her hand] Good-night, my darling! [Makes a face and", "LEBEDIEFF. Come, Nicholas, snap your fingers at the whole thing, and\ndrive over to visit us. Sasha loves and understands you. She is a sweet,", "KOSICH. He's no good at all. He plays cards like a lunatic. This is what\nhappened last year during Lent: I, the Count, Borkin and he, sat down to\na game of cards. I led a----", "SASHA. Nicholas, come to your senses. How can you say you are lost? What\ndo you mean by such cynicism? No, I won't listen to you or talk with\nyou. Go to the church!", "LEBEDIEFF. Yes, the truth is--[He sighs] This is a time of sorrow and\npain for you. A man, brother, is like a samovar; he cannot always stand", "LEBEDIEFF. Listen to me, Nicholas; from your point of view what you are\ndoing is quite right and proper, according to the rules of psychology,", "SASHA. I can understand your trouble, Nicholas. You are unhappy because\nyou are lonely. You need some one at your side whom you can love,\nsomeone who understands you.", "LEBEDIEFF. Listen to me, Nicholas, I know you will be angry, but you\nmust forgive an old drunkard like me. This is between friends; remember", "Wait, now! Be quiet! That is only the beginning. The best is yet\nto come. We have allotted you fifteen thousand roubles, but in\nconsideration of the fact that Nicholas owes your mother nine thousand,", "SHABELSKI. [Tearfully] Nicholas, my dear boy, do please take me with\nyou. I might possibly be amused a little by the sight of all the fools" ], [ "They go out through the door on the right. All the guests go into the\ngarden and ZINAIDA and LEBEDIEFF are left alone.", "LEBEDIEFF. It is stupid, certainly. I see that myself now. I am going at\nonce. [LEBEDIEFF goes out.]", "LEBEDIEFF. Not yet. I have been waiting for him myself for over an hour.\n\nLVOFF walks impatiently up and down.\n\nLEBEDIEFF. How is Anna to-day?", "IVANOFF. I haven't forgotten it. I am going over to see Lebedieff today\nand shall ask him to wait.\n\n[He looks at his watch.]", "LEBEDIEFF shrugs his shoulders. LEBEDIEFF, ZINAIDA, SHABELSKI, and\nMARTHA go out.\n\nSASHA. [Sternly] What do you want?", "LEBEDIEFF. I understand, I understand! [He glances at his watch] Yes, I\nunderstand. [He kisses IVANOFF] Good-bye, I must go to the blessing", "A sitting-room in LEBEDIEFF'S house. In the middle of the wall at the\nback of the room is an arch dividing the sitting-room from the ballroom.", "old life as one snips the withered leaves from a plant. But things are\ndifferent now. Now he goes to the Lebedieff's to amuse himself with", "ZINAIDA. The Count did not finish his tea, and all that sugar has been\nwasted. [Goes out through the door on the left.]\n\nLEBEDIEFF. Bah! [Goes out into the garden.]", "They go out through the door on the left. Enter ANNA and LVOFF through\nthe door on the right.\n\nANNA. No, they will be glad to see us. Is no one here? Then they must be\nin the garden.", "LEBEDIEFF. Come, Nicholas, snap your fingers at the whole thing, and\ndrive over to visit us. Sasha loves and understands you. She is a sweet,", "LEBEDIEFF. Let me explain exactly what I mean. Everything displeases me.\nAs for your marriage, I simply can't abide it. [He goes up to SASHA and", "LEBEDIEFF. We can have our talk here. [To LVOFF and KOSICH] Go into the\nball-room, you two old fogies, and talk to the girls. Sasha and I want\nto talk alone here.", "LEBEDIEFF. The bridegroom must not come to see the bride before the\nwedding. It is time for you to go to the church.\n\nIVANOFF. Paul, I implore you.", "The drawing-room of LEBEDIEFFÕS house. In the centre is a door leading\ninto a garden. Doors open out of the room to the right and left. The", "LEBEDIEFF. She is a lovely, charming woman. [Sighing] The day she\nfainted at our house, on Sasha's birthday, I saw that she had not much", "She gets up and goes to the door and back, evidently much preoccupied.\nSASHA sits down in her former place. IVANOFF silently shakes hands with\nevery one.", "LEBEDIEFF. What, are you crying too? Stop, Sasha! Dear me, they are both\nhowling now, and I--and I--Do go away; the guests will see you!", "LEBEDIEFF. You are talking nonsense, Count. You and I must fix our\nthoughts on dying now; we have left Martha's money far behind us; our\nday is over.", "LEBEDIEFF. Sit down, Sasha, there--[He sits down and looks about him]\nListen to me attentively and with proper respect. The fact is, your" ], [ "LEBEDIEFF. Let me explain exactly what I mean. Everything displeases me.\nAs for your marriage, I simply can't abide it. [He goes up to SASHA and", "ANNA. It is all clear to me now. You married me because you expected my\nmother and father to forgive me and give you my money; that is what you\nexpected.", "ANNA. You say that Nicholas is not what he should be, that his faults\nare so and so. How can you possibly understand him? How can you learn", "ANNA. You dishonest, degraded man! You owe money to Lebedieff, and now,\nto escape paying your debts, you are trying to turn the head of his", "SASHA. It is going to take place. Papa, tell him that it is going to\ntake place.\n\nLEBEDIEFF. Wait! Wait! What objection have you to the marriage?", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "LEBEDIEFF. I can't understand a word of what you are saying. What\ngenerosity?\n\nIVANOFF. This marriage is not going to take place.", "SHABELSKI. Where is Nicholas? Is the carriage here yet? [Goes quickly\nto ANNA and kisses her hand] Good-night, my darling! [Makes a face and", "ZINAIDA. How could he be otherwise, poor boy! [She sighs] He made such\na bad mistake. When he married that Jewess of his he thought of course", "ANNA. Be quiet! When you found that I wasn't bringing you any money,\nyou tried another game. Now I remember and understand everything. [She\nbegins to cry] You have never loved me or been faithful to me--never!", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "BORKIN gets up and drops his cigarette.\n\nIVANOFF. Go at once!\n\nBORKIN. Nicholas, what do you mean? Why are you so angry?", "IVANOFF. You who are so clever, you think that nothing in the world is\neasier than to understand me, do you? I married Annie for her money, did", "ANNA. Oh, you are sad, are you? I can understand that! Nicholas, let\nme tell you something: won't you try to sing and laugh and scold as you", "ANNA. [Angrily] So that is the sort of man you are? Now I understand\nyou, and can see how degraded, how dishonourable you are! Do you", "BORKIN. Anybody who had anything to do with your Nicholas would stamp up\nand down.\n\nANNA. Listen, Misha! Please have some hay carried onto the croquet lawn.", "for doing it. Are Russian girls so scarce? No, he made a mistake, poor\nfellow, a sad mistake. [Excitedly] And what on earth can he do with her", "ANNA. Yes, sir!\n\nLVOFF. What do you mean by \"Yes, sir\"? I am speaking seriously.\n\nANNA. But I don't want to be serious. [She coughs.]", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go." ], [ "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "ANNA and LVOFF go out. Enter AVDOTIA and FIRST GUEST through the door on\nthe left.", "They go out through the door on the left. Enter ANNA and LVOFF through\nthe door on the right.\n\nANNA. No, they will be glad to see us. Is no one here? Then they must be\nin the garden.", "IVANOFF stops near the table and stands with his head bowed.\n\nANNA. [After a pause] What did she come here for? What did she come here\nfor, I ask you?", "ANNA. To him. I am going. Have the horses harnessed. [She runs into the\nhouse.]", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "ANNA. Oh, how lonely it is! The coachman and the cook are having a\nlittle ball in there by themselves, and I--I am, as it were, abandoned.\nWhy are you walking about, Doctor? Come and sit down here.", "ANNA. [laughing] That is what he used to say, long ago, oh, exactly!\nOnly his eyes are larger than yours, and when he was excited they used\nto shine like coals--go on, go on!", "ANNA appears at the open window.\n\nANNA. Whose voice did I hear just now? Was it yours, Misha? Why are you\nstamping up and down?", "Enter IVANOFF, in hat and coat, ANNA and SHABELSKI", "ANNA. Yes, go, go--[Sits down at the table.]", "ANNA. [Quietly] Screaming again.\n\nSHABELSKI. Who is screaming?\n\nANNA. The owl. It screams every evening.", "She gets up and goes to the door and back, evidently much preoccupied.\nSASHA sits down in her former place. IVANOFF silently shakes hands with\nevery one.", "LVOFF. Yes, she has. [A pause.]\n\nBORKIN. Look here, doctor, is Anna really so ill that she absolutely\nmust go to the Crimea?", "ANNA. And what else?\n\nSHABELSKI. I would go and sit on my wife's grave for days and days and\nthink. I would sit there until I died. My wife is buried in Paris. [A\npause.]", "BORKIN and SHABELSKI laugh and catch her by the arms. They kiss her\ncheeks and lead her out through the door on the right. IVANOFF and SASHA\nrun in from the garden.", "SHABELSKI. Where is Nicholas? Is the carriage here yet? [Goes quickly\nto ANNA and kisses her hand] Good-night, my darling! [Makes a face and", "LVOFF. I can't sit down.\n\n[A pause.]\n\nANNA. They are playing \"The Sparrow\" in the kitchen. [She sings]", "BORKIN. Anybody who had anything to do with your Nicholas would stamp up\nand down.\n\nANNA. Listen, Misha! Please have some hay carried onto the croquet lawn." ], [ "SASHA. [Shrieking] Nicholas! For God's sake hold him!\n\nIVANOFF. Let go! [He rushes aside, and shoots himself.]\n\nThe curtain falls.", "LEBEDIEFF. Let me explain exactly what I mean. Everything displeases me.\nAs for your marriage, I simply can't abide it. [He goes up to SASHA and", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "LEBEDIEFF. [To IVANOFF] Why don't you send that Judas away?\n\nZINAIDA. [Startled] Why, that is quite true! I never thought of it.", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "ANNA. Be quiet! When you found that I wasn't bringing you any money,\nyou tried another game. Now I remember and understand everything. [She\nbegins to cry] You have never loved me or been faithful to me--never!", "BORKIN gets up and drops his cigarette.\n\nIVANOFF. Go at once!\n\nBORKIN. Nicholas, what do you mean? Why are you so angry?", "SHABELSKI. [Angrily] Why does he tell such lies? Consumption! No hope!\nShe is dying! It is nonsense, I can't abide him!", "LEBEDIEFF. I beg your pardon, Nicholas. Please forgive me. I have\nsomething very important to speak to you about.\n\nBORKIN. So have I.", "LEBEDIEFF. Listen to me, Nicholas, I know you will be angry, but you\nmust forgive an old drunkard like me. This is between friends; remember", "SHABELSKI. Where is Nicholas? Is the carriage here yet? [Goes quickly\nto ANNA and kisses her hand] Good-night, my darling! [Makes a face and", "IVANOFF. I know that my wife is dying; I know that I have sinned\nirreparably; I know that you are an honest man. What more can you tell\nme?", "IVANOFF. [Clutches his head with both hands] Oh, how guilty I am--how\nguilty! [He sobs.]\n\nThe curtain falls.", "LEBEDIEFF. The fact is, Nicholas--I really don't know how I can put\nit to make it seem less brutal--Nicholas, I am ashamed of myself, I am", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "SHABELSKI. No, I shall certainly marry her; upon my word, I shall!\n\nEnter IVANOFF and LVOFF.\n\nLVOFF. Will you please spare me five minutes of your time?", "IVANOFF. Heaven help me, do you mean to say that you understand\nyourself? [He drinks some water] Now go away; I am guilty a thousand" ], [ "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "ANNA. And what else?\n\nSHABELSKI. I would go and sit on my wife's grave for days and days and\nthink. I would sit there until I died. My wife is buried in Paris. [A\npause.]", "ANNA. Be quiet! When you found that I wasn't bringing you any money,\nyou tried another game. Now I remember and understand everything. [She\nbegins to cry] You have never loved me or been faithful to me--never!", "ANNA. I have begun to think, Doctor, that fate has cheated me. Other\npeople who, perhaps, are no better than I am are happy and have not had", "ANNA. You dishonest, degraded man! You owe money to Lebedieff, and now,\nto escape paying your debts, you are trying to turn the head of his", "LVOFF. Yes, she has. [A pause.]\n\nBORKIN. Look here, doctor, is Anna really so ill that she absolutely\nmust go to the Crimea?", "ANNA. I have lived with you five years now, and I am tired and ill, but\nI have always loved you and have never left you for a moment. You", "ANNA. Yes, sir!\n\nLVOFF. What do you mean by \"Yes, sir\"? I am speaking seriously.\n\nANNA. But I don't want to be serious. [She coughs.]", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "ANNA. To him. I am going. Have the horses harnessed. [She runs into the\nhouse.]", "ANNA. Yes, go, go--[Sits down at the table.]", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "SASHA. Yes, it is time to go. Good-bye. I am afraid that that honest\ndoctor of yours will have told Anna out of a sense of duty that I am", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "ANNA. It is all clear to me now. You married me because you expected my\nmother and father to forgive me and give you my money; that is what you\nexpected.", "LVOFF. No.\n\nANNA sobs.\n\nLVOFF. What is it? What is the matter?", "ANNA. I am not the only one whom you have basely deceived. You have\nalways blamed Borkin for all your dishonest tricks, but now I know whose\nthey are.", "ANNA. [Angrily] So that is the sort of man you are? Now I understand\nyou, and can see how degraded, how dishonourable you are! Do you", "ANNA. [laughing] That is what he used to say, long ago, oh, exactly!\nOnly his eyes are larger than yours, and when he was excited they used\nto shine like coals--go on, go on!", "ANNA. Oh, how lonely it is! The coachman and the cook are having a\nlittle ball in there by themselves, and I--I am, as it were, abandoned.\nWhy are you walking about, Doctor? Come and sit down here." ], [ "LEBEDIEFF. Let me explain exactly what I mean. Everything displeases me.\nAs for your marriage, I simply can't abide it. [He goes up to SASHA and", "SASHA. [Running to her father] Father! He has rushed over here like a\nmadman, and is torturing me! He insists that I should refuse to marry", "SASHA. It is going to take place. Papa, tell him that it is going to\ntake place.\n\nLEBEDIEFF. Wait! Wait! What objection have you to the marriage?", "speaks caressingly] Forgive me, little Sasha, this marriage may be a\nwise one; it may be honest and not misguided, nevertheless, there is", "SASHA. Papa, I feel myself that there is something wrong about my\nmarriage. Something wrong, yes, wrong! Oh, if you only knew how heavy", "LEBEDIEFF. Come, Nicholas, snap your fingers at the whole thing, and\ndrive over to visit us. Sasha loves and understands you. She is a sweet,", "SASHA. [Shrieking] Nicholas! For God's sake hold him!\n\nIVANOFF. Let go! [He rushes aside, and shoots himself.]\n\nThe curtain falls.", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "LEBEDIEFF. My darling, my only child, do as your old father advises you;\ngive him up!\n\nSASHA. [Frightened] Oh! How can you say that?", "LEBEDIEFF. Come, enough of that! Don't give us any mo re philosophy; I\ndon't like it!\n\nEnter SASHA. She goes up to her father.", "SASHA. Oh, Nicholas! If you only knew how you are torturing me; what\nagony I have to endure for your sake! Good thoughtful friend, judge for", "SASHA. I can understand your trouble, Nicholas. You are unhappy because\nyou are lonely. You need some one at your side whom you can love,\nsomeone who understands you.", "Wait, now! Be quiet! That is only the beginning. The best is yet\nto come. We have allotted you fifteen thousand roubles, but in\nconsideration of the fact that Nicholas owes your mother nine thousand,", "SASHA. That is no answer. Every sinner should know what he is guilty of.\nPerhaps you have been forging money?\n\nIVANOFF. That is stupid.", "LEBEDIEFF. I know, I know, but what can I do? She won't wait. If she\nshould sue you for the money, how could Sasha and I ever look you in the\nface again?", "LEBEDIEFF. Sit down, Sasha, there--[He sits down and looks about him]\nListen to me attentively and with proper respect. The fact is, your", "SASHA. But, father, you know that isn't true!\n\nLEBEDIEFF. What if it isn't, Sasha? Let them spin yarns if it amuses\nthem. [He calls] Gabriel!", "SASHA. Nicholas, come to your senses. How can you say you are lost? What\ndo you mean by such cynicism? No, I won't listen to you or talk with\nyou. Go to the church!", "MARTHA. How can you say it is not true, Sasha, when we all know it to be\na fact? Why did he have to marry a Jewess? He must have had some reason", "SASHA. [Losing her temper] How can you speak to me like this? I won't\nhave it.\n\nIVANOFF. But I am speaking, and will continue to speak." ], [ "LEBEDIEFF. Let me explain exactly what I mean. Everything displeases me.\nAs for your marriage, I simply can't abide it. [He goes up to SASHA and", "speaks caressingly] Forgive me, little Sasha, this marriage may be a\nwise one; it may be honest and not misguided, nevertheless, there is", "SASHA. It is going to take place. Papa, tell him that it is going to\ntake place.\n\nLEBEDIEFF. Wait! Wait! What objection have you to the marriage?", "SASHA. That is no answer. Every sinner should know what he is guilty of.\nPerhaps you have been forging money?\n\nIVANOFF. That is stupid.", "SASHA. [Running to her father] Father! He has rushed over here like a\nmadman, and is torturing me! He insists that I should refuse to marry", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "SASHA. [Shrieking] Nicholas! For God's sake hold him!\n\nIVANOFF. Let go! [He rushes aside, and shoots himself.]\n\nThe curtain falls.", "LEBEDIEFF. Come, Nicholas, snap your fingers at the whole thing, and\ndrive over to visit us. Sasha loves and understands you. She is a sweet,", "KOSICH. No, it is the money. She doesn't like this affair anyway. He is\nmarrying her daughter, and that means he won't pay his debts for a long", "LEBEDIEFF. I know, I know, but what can I do? She won't wait. If she\nshould sue you for the money, how could Sasha and I ever look you in the\nface again?", "SASHA. Thank you.\n\nLEBEDIEFF. [Laughing loudly, to IVANOFF] Why don't you send this Judas\npacking?", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "LEBEDIEFF. My darling, my only child, do as your old father advises you;\ngive him up!\n\nSASHA. [Frightened] Oh! How can you say that?", "LEBEDIEFF. Sit down, Sasha, there--[He sits down and looks about him]\nListen to me attentively and with proper respect. The fact is, your", "SASHA. Oh, Nicholas! If you only knew how you are torturing me; what\nagony I have to endure for your sake! Good thoughtful friend, judge for", "SASHA. But, father, you know that isn't true!\n\nLEBEDIEFF. What if it isn't, Sasha? Let them spin yarns if it amuses\nthem. [He calls] Gabriel!", "SASHA. [Losing her temper] How can you speak to me like this? I won't\nhave it.\n\nIVANOFF. But I am speaking, and will continue to speak.", "MARTHA. How can you say it is not true, Sasha, when we all know it to be\na fact? Why did he have to marry a Jewess? He must have had some reason", "SASHA. Nicholas, come to your senses. How can you say you are lost? What\ndo you mean by such cynicism? No, I won't listen to you or talk with\nyou. Go to the church!", "Wait, now! Be quiet! That is only the beginning. The best is yet\nto come. We have allotted you fifteen thousand roubles, but in\nconsideration of the fact that Nicholas owes your mother nine thousand," ], [ "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "saying that first Sarah died, and then suddenly Ivanoff wanted to marry\nyou. [Quickly] But, no, I am like an old woman; I am gossiping like a", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "IVANOFF. You who are so clever, you think that nothing in the world is\neasier than to understand me, do you? I married Annie for her money, did", "SHABELSKI. No, I shall certainly marry her; upon my word, I shall!\n\nEnter IVANOFF and LVOFF.\n\nLVOFF. Will you please spare me five minutes of your time?", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "ANNA. And what else?\n\nSHABELSKI. I would go and sit on my wife's grave for days and days and\nthink. I would sit there until I died. My wife is buried in Paris. [A\npause.]", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "IVANOFF stops near the table and stands with his head bowed.\n\nANNA. [After a pause] What did she come here for? What did she come here\nfor, I ask you?", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "IVANOFF. I know that my wife is dying; I know that I have sinned\nirreparably; I know that you are an honest man. What more can you tell\nme?", "IVANOFF. I don't know.\n\nANNA. And why don't you want me to go driving with you in the evening?", "IVANOFF. Good Lord, Annie! If I must suffer like this, I must have the\npatience to bear it. [He begins to weep.]", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "IVANOFF. You ridiculous girl!\n\nSASHA. Splendid! So we are smiling at last! Be kind, do me the favour of\nsmiling once more!", "[A pause] He will live to a fine old age in the seventh heaven of\nhappiness, and will die with a clear conscience. No, Ivanoff, it shall", "IVANOFF. [Clutches his head with both hands] Oh, how guilty I am--how\nguilty! [He sobs.]\n\nThe curtain falls.", "IVANOFF. My wife is offended already, and almost dying, and now you come\nhere; Sasha, Sasha, this is thoughtless and unkind of you." ], [ "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "IVANOFF stops near the table and stands with his head bowed.\n\nANNA. [After a pause] What did she come here for? What did she come here\nfor, I ask you?", "IVANOFF. I don't know.\n\nANNA. And why don't you want me to go driving with you in the evening?", "ANNA. Yes, sir!\n\nLVOFF. What do you mean by \"Yes, sir\"? I am speaking seriously.\n\nANNA. But I don't want to be serious. [She coughs.]", "Enter IVANOFF, in hat and coat, ANNA and SHABELSKI", "IVANOFF. Good Lord, Annie! If I must suffer like this, I must have the\npatience to bear it. [He begins to weep.]", "IVANOFF. You ridiculous girl!\n\nSASHA. Splendid! So we are smiling at last! Be kind, do me the favour of\nsmiling once more!", "SASHA. [Losing her temper] How can you speak to me like this? I won't\nhave it.\n\nIVANOFF. But I am speaking, and will continue to speak.", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "LEBEDIEFF. Let me explain exactly what I mean. Everything displeases me.\nAs for your marriage, I simply can't abide it. [He goes up to SASHA and", "IVANOFF. Pray for me, Annie! [He goes; then stops and thinks for a\nmoment] No, I can't do it. [IVANOFF goes out.]", "IVANOFF. My wife is offended already, and almost dying, and now you come\nhere; Sasha, Sasha, this is thoughtless and unkind of you.", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "IVANOFF. Heaven help me, do you mean to say that you understand\nyourself? [He drinks some water] Now go away; I am guilty a thousand", "IVANOFF. [After a pause] Useless people, useless talk, and the necessity\nof answering stupid questions, have wearied me so, doctor, that I am", "IVANOFF. Don't ask me, Annie. [A pause] I am terribly guilty. Think\nof any punishment you want to inflict on me; I can stand anything, but\ndon't, oh, don't ask questions!" ], [ "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "LVOFF. Yes, she has. [A pause.]\n\nBORKIN. Look here, doctor, is Anna really so ill that she absolutely\nmust go to the Crimea?", "ANNA. I have lived with you five years now, and I am tired and ill, but\nI have always loved you and have never left you for a moment. You", "ANNA. And what else?\n\nSHABELSKI. I would go and sit on my wife's grave for days and days and\nthink. I would sit there until I died. My wife is buried in Paris. [A\npause.]", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "ANNA. I have begun to think, Doctor, that fate has cheated me. Other\npeople who, perhaps, are no better than I am are happy and have not had", "before she dies. They know that she is dying and that she loves them\nstill, but with diabolical cruelty, as if to flaunt their religious", "and promised to love her forever, and now after five years she loves me\nstill and I--[He waves his hand] Now, when you tell me she is dying, I", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "ANNA. You dishonest, degraded man! You owe money to Lebedieff, and now,\nto escape paying your debts, you are trying to turn the head of his", "LVOFF. [Looking toward the window] Yes, she has consumption.\n\nBORKIN. Whew! How sad! I have seen in her face for some time that she\ncould not last much longer.", "SHABELSKI. [Angrily] Why does he tell such lies? Consumption! No hope!\nShe is dying! It is nonsense, I can't abide him!", "ANNA. Yes, sir!\n\nLVOFF. What do you mean by \"Yes, sir\"? I am speaking seriously.\n\nANNA. But I don't want to be serious. [She coughs.]", "ANNA. Oh, how lonely it is! The coachman and the cook are having a\nlittle ball in there by themselves, and I--I am, as it were, abandoned.\nWhy are you walking about, Doctor? Come and sit down here.", "LVOFF. No.\n\nANNA sobs.\n\nLVOFF. What is it? What is the matter?", "ANNA. [laughing] That is what he used to say, long ago, oh, exactly!\nOnly his eyes are larger than yours, and when he was excited they used\nto shine like coals--go on, go on!", "ANNA. Be quiet! When you found that I wasn't bringing you any money,\nyou tried another game. Now I remember and understand everything. [She\nbegins to cry] You have never loved me or been faithful to me--never!", "ANNA. To him. I am going. Have the horses harnessed. [She runs into the\nhouse.]", "ANNA. [Angrily] So that is the sort of man you are? Now I understand\nyou, and can see how degraded, how dishonourable you are! Do you", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go." ], [ "IVANOFF. Why do you want eighty-two roubles?\n\nBORKIN. To pay the workmen to-morrow.\n\nIVANOFF. I haven't the money.", "Wait, now! Be quiet! That is only the beginning. The best is yet\nto come. We have allotted you fifteen thousand roubles, but in\nconsideration of the fact that Nicholas owes your mother nine thousand,", "should! [A pause] There is the money, one hundred thousand roubles. Take\nit; go to her y ourself and say: \"Take the money, Zinaida, and may you", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "LEBEDIEFF. [To IVANOFF] Why don't you send that Judas away?\n\nZINAIDA. [Startled] Why, that is quite true! I never thought of it.", "ZINAIDA. Yes, that is the sum that my dear Paul has undertaken to lend\nhim. He never knows to whom it is safe to lend money and to whom it is", "ZINAIDA. Oh, Ivanoff, how could I do such a thing? Would it be\nbusiness-like? No, no, don't ask it, don't torment an unfortunate old\nwoman.", "LEBEDIEFF. You might go to Mulbach and get some money from him; doesn't\nhe owe you sixty thousand roubles?\n\nIVANOFF makes a despairing gesture.", "BORKIN. There is nothing to explain, it is so simple. [Coming back]\nNicholas, give me a rouble.\n\nIVANOFF silently hands him the money", "SASHA goes out into the garden.\n\nIVANOFF. [To ZINAIDA] Zinaida, may I ask you a favour?\n\nZINAIDA. What is it?", "ZINAIDA. That is what I like to see! A young man like Misha comes into\nthe room and in a minute he has everybody laughing. [She puts out the", "IVANOFF. I haven't forgotten it. I am going over to see Lebedieff today\nand shall ask him to wait.\n\n[He looks at his watch.]", "Schopenhauer and all that, it is all folly. I have one hundred thousand\nroubles in the bank. [Looking around him] Not a soul in the house knows", "ZINAIDA. His misfortunes have almost ruined him, poor man. His affairs\nare in a frightful condition. If Borkin did not take such good charge", "Enter ZINAIDA through the door on the right with a jar of jam.\n\nIVANOFF. Excuse me, Sasha, I shall join you in a minute.", "ZINAIDA. The Count did not finish his tea, and all that sugar has been\nwasted. [Goes out through the door on the left.]\n\nLEBEDIEFF. Bah! [Goes out into the garden.]", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "suffered. Do you realise, my dear, that for three years he has owed us\nnine thousand roubles?", "SHABELSKI. No, I shall certainly marry her; upon my word, I shall!\n\nEnter IVANOFF and LVOFF.\n\nLVOFF. Will you please spare me five minutes of your time?", "IVANOFF\n\n\n\n\nACT I" ], [ "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "IVANOFF. You who are so clever, you think that nothing in the world is\neasier than to understand me, do you? I married Annie for her money, did", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "IVANOFF stops near the table and stands with his head bowed.\n\nANNA. [After a pause] What did she come here for? What did she come here\nfor, I ask you?", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "IVANOFF. I don't know.\n\nANNA. And why don't you want me to go driving with you in the evening?", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "ANNA. Yes, sir!\n\nLVOFF. What do you mean by \"Yes, sir\"? I am speaking seriously.\n\nANNA. But I don't want to be serious. [She coughs.]", "ANNA. It is all clear to me now. You married me because you expected my\nmother and father to forgive me and give you my money; that is what you\nexpected.", "SHABELSKI. No, I shall certainly marry her; upon my word, I shall!\n\nEnter IVANOFF and LVOFF.\n\nLVOFF. Will you please spare me five minutes of your time?", "saying that first Sarah died, and then suddenly Ivanoff wanted to marry\nyou. [Quickly] But, no, I am like an old woman; I am gossiping like a", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "IVANOFF. Good Lord, Annie! If I must suffer like this, I must have the\npatience to bear it. [He begins to weep.]", "IVANOFF. Don't ask me, Annie. [A pause] I am terribly guilty. Think\nof any punishment you want to inflict on me; I can stand anything, but\ndon't, oh, don't ask questions!", "LVOFF. Yes, she has. [A pause.]\n\nBORKIN. Look here, doctor, is Anna really so ill that she absolutely\nmust go to the Crimea?", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "ANNA. And what else?\n\nSHABELSKI. I would go and sit on my wife's grave for days and days and\nthink. I would sit there until I died. My wife is buried in Paris. [A\npause.]", "IVANOFF. I know that my wife is dying; I know that I have sinned\nirreparably; I know that you are an honest man. What more can you tell\nme?" ], [ "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "IVANOFF stops near the table and stands with his head bowed.\n\nANNA. [After a pause] What did she come here for? What did she come here\nfor, I ask you?", "IVANOFF. Pray for me, Annie! [He goes; then stops and thinks for a\nmoment] No, I can't do it. [IVANOFF goes out.]", "IVANOFF. My head aches, little Sasha, and then I feel bored.\n\nSASHA. Come into the sitting-room with me.", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "IVANOFF. How tired I am of you all! But no, what am I saying? Annie, my\nmanner to you is insufferable, and it never used to be. Well, good-bye,\nAnnie. I shall be back by one.", "She gets up and goes to the door and back, evidently much preoccupied.\nSASHA sits down in her former place. IVANOFF silently shakes hands with\nevery one.", "IVANOFF. I don't know.\n\nANNA. And why don't you want me to go driving with you in the evening?", "Enter IVANOFF, in hat and coat, ANNA and SHABELSKI", "IVANOFF. Good Lord, Annie! If I must suffer like this, I must have the\npatience to bear it. [He begins to weep.]", "IVANOFF. I haven't forgotten it. I am going over to see Lebedieff today\nand shall ask him to wait.\n\n[He looks at his watch.]", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "IVANOFF. I beg your pardon. [He goes out into the garden.]", "IVANOFF\n\n\n\n\nACT I", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "IVANOFF. No, this is not melancholy. It is ridiculous, is it? Yes, I am\nlaughing, and if it were possible for me to laugh at myself a thousand", "IVANOFF. [After a pause] Useless people, useless talk, and the necessity\nof answering stupid questions, have wearied me so, doctor, that I am" ], [ "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "IVANOFF stops near the table and stands with his head bowed.\n\nANNA. [After a pause] What did she come here for? What did she come here\nfor, I ask you?", "IVANOFF. Don't ask me, Annie. [A pause] I am terribly guilty. Think\nof any punishment you want to inflict on me; I can stand anything, but\ndon't, oh, don't ask questions!", "IVANOFF. I don't know.\n\nANNA. And why don't you want me to go driving with you in the evening?", "ANNA. You dishonest, degraded man! You owe money to Lebedieff, and now,\nto escape paying your debts, you are trying to turn the head of his", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF. You who are so clever, you think that nothing in the world is\neasier than to understand me, do you? I married Annie for her money, did", "IVANOFF. You blackguard, you! The disgraceful rumours that you have been\nspreading about me have made me disreputable in the eyes of the whole", "IVANOFF. Good Lord, Annie! If I must suffer like this, I must have the\npatience to bear it. [He begins to weep.]", "IVANOFF. Heaven help me, do you mean to say that you understand\nyourself? [He drinks some water] Now go away; I am guilty a thousand", "IVANOFF. Annie, don't say what isn't so. I have made mistakes, but I\nhave never told a lie in my life. You dare not accuse me of that!", "ANNA. I am not the only one whom you have basely deceived. You have\nalways blamed Borkin for all your dishonest tricks, but now I know whose\nthey are.", "IVANOFF. My wife is offended already, and almost dying, and now you come\nhere; Sasha, Sasha, this is thoughtless and unkind of you.", "IVANOFF. How tired I am of you all! But no, what am I saying? Annie, my\nmanner to you is insufferable, and it never used to be. Well, good-bye,\nAnnie. I shall be back by one.", "IVANOFF. No, I am not well. I am a torment to myself, and every one\ntorments me without end. I can't stand it! And now you come here. How", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "ANNA. Yes, sir!\n\nLVOFF. What do you mean by \"Yes, sir\"? I am speaking seriously.\n\nANNA. But I don't want to be serious. [She coughs.]" ], [ "SASHA. [Shrieking] Nicholas! For God's sake hold him!\n\nIVANOFF. Let go! [He rushes aside, and shoots himself.]\n\nThe curtain falls.", "IVANOFF. Where shall we go? Wait a moment. I shall soon put an end to\nthe whole thing. My youth is awake in me again; the former Ivanoff is\nhere once more.\n\n[He takes out a revolver.]", "BORKIN, in top-boots and carrying a gun, comes in from the rear of the\ngarden. He is a little tipsy. As he sees IVANOFF he comes toward him on", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "IVANOFF. [Clutches his head with both hands] Oh, how guilty I am--how\nguilty! [He sobs.]\n\nThe curtain falls.", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "SASHA. [To IVANOFF] I must go, Nicholas, I must go. [She goes out.]\n\nBORKIN. What a beautiful apparition! I came expecting prose and found\npoetry instead. [Sings]", "IVANOFF. You ridiculous girl!\n\nSASHA. Splendid! So we are smiling at last! Be kind, do me the favour of\nsmiling once more!", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "BORKIN and SHABELSKI laugh and catch her by the arms. They kiss her\ncheeks and lead her out through the door on the right. IVANOFF and SASHA\nrun in from the garden.", "IVANOFF\n\n\n\n\nACT I", "SHABELSKI. No, I shall certainly marry her; upon my word, I shall!\n\nEnter IVANOFF and LVOFF.\n\nLVOFF. Will you please spare me five minutes of your time?", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "IVANOFF. Heaven help me, do you mean to say that you understand\nyourself? [He drinks some water] Now go away; I am guilty a thousand", "LEBEDIEFF. I understand, I understand! [He glances at his watch] Yes, I\nunderstand. [He kisses IVANOFF] Good-bye, I must go to the blessing", "BORKIN gets up and drops his cigarette.\n\nIVANOFF. Go at once!\n\nBORKIN. Nicholas, what do you mean? Why are you so angry?", "IVANOFF. If this old baby should die on my hands the blame would be\nmine, not yours. Now, what do you want? [A pause.]" ], [ "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "IVANOFF. She is very ill. The doctor said to-day that she certainly had\nconsumption.\n\nZINAIDA. Really? Oh, how sad! [She sighs] And we are all so fond of her!", "IVANOFF. I know that my wife is dying; I know that I have sinned\nirreparably; I know that you are an honest man. What more can you tell\nme?", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "IVANOFF. My wife is offended already, and almost dying, and now you come\nhere; Sasha, Sasha, this is thoughtless and unkind of you.", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "IVANOFF. As you insist on knowing, I shall have to tell you. It is a\nlittle cruel, but you had best understand. When this melancholy fit is", "Enter ANNA from the garden. She sees her husband and SASHA, and stops as\nif petrified.\n\nIVANOFF. Oh, then I shall live once more? And work?", "IVANOFF. No, I am not well. I am a torment to myself, and every one\ntorments me without end. I can't stand it! And now you come here. How", "IVANOFF stops near the table and stands with his head bowed.\n\nANNA. [After a pause] What did she come here for? What did she come here\nfor, I ask you?", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "IVANOFF. My head aches, little Sasha, and then I feel bored.\n\nSASHA. Come into the sitting-room with me.", "KOSICH runs in panting.\n\nKOSICH. Is Ivanoff at home? How do you do? [He shakes hands quickly all\nround] Is he at home?", "IVANOFF. [Clutches his head with both hands] Oh, how guilty I am--how\nguilty! [He sobs.]\n\nThe curtain falls.", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "saying that first Sarah died, and then suddenly Ivanoff wanted to marry\nyou. [Quickly] But, no, I am like an old woman; I am gossiping like a", "LEBEDIEFF. I understand, I understand! [He glances at his watch] Yes, I\nunderstand. [He kisses IVANOFF] Good-bye, I must go to the blessing", "IVANOFF. No, this is not melancholy. It is ridiculous, is it? Yes, I am\nlaughing, and if it were possible for me to laugh at myself a thousand", "IVANOFF. I haven't forgotten it. I am going over to see Lebedieff today\nand shall ask him to wait.\n\n[He looks at his watch.]", "IVANOFF. [Excitedly] Darling, sweetheart, my dear, unhappy one, I\nimplore you to let me leave home in the evenings. I know it is cruel and" ], [ "Enter LVOFF.\n\nLVOFF. [To IVANOFF] Ah! So you are here? [Loudly] Nicholas Ivanoff, I\ndenounce you to the world as a scoundrel!", "IVANOFF and SASHA kiss each other. After the kiss they look around and\nsee ANNA.\n\nIVANOFF. [With horror] Sarah!\n\nThe curtain falls.", "IVANOFF\n\n\n\n\nACT I", "LVOFF. May I have a word with you?\n\nIVANOFF. [Pointing to LEBEDIEFF] He wants to speak to me; wait a minute.\n[To LEBEDIEFF] Well, what is it?", "IVANOFF. What did I tell you? [Shuddering] Are you making fun of me?\n\nEnter ANNA.\n\nBORKIN. There now, there comes Anna! I shall go.", "IVANOFF. [Clutches his head with both hands] Oh, how guilty I am--how\nguilty! [He sobs.]\n\nThe curtain falls.", "IVANOFF. So you won't be quiet? [He struggles with himself] Go, for\nheaven's sake!\n\nANNA. Go now, and betray Sasha!", "IVANOFF. Where shall we go? Wait a moment. I shall soon put an end to\nthe whole thing. My youth is awake in me again; the former Ivanoff is\nhere once more.\n\n[He takes out a revolver.]", "IVANOFF. [Shaking with wild laughter] What is this? Is it the beginning\nfor me of a new life? Is it, Sasha? Oh, my happiness, my joy! [He draws\nher to him] My freshness, my youth!", "IVANOFF. You blackguard, you! The disgraceful rumours that you have been\nspreading about me have made me disreputable in the eyes of the whole", "LVOFF. [Excitedly] Ivanoff, I have heard all you have to say and--and--I\nam going to speak frankly. You have shown me in your voice and manner,", "IVANOFF. No, this is not melancholy. It is ridiculous, is it? Yes, I am\nlaughing, and if it were possible for me to laugh at myself a thousand", "IVANOFF. [Stifled with rage] For heaven's sake, be quiet! I can't answer\nfor what I may do! I am choking with rage and I--I might insult you!", "BORKIN gets up and drops his cigarette.\n\nIVANOFF. Go at once!\n\nBORKIN. Nicholas, what do you mean? Why are you so angry?", "IVANOFF. Know then that you--are dying! The doctor told me that you are\ndying.\n\nANNA. [Sits down and speaks in a low voice] When did he", "IVANOFF. I haven't forgotten it. I am going over to see Lebedieff today\nand shall ask him to wait.\n\n[He looks at his watch.]", "IVANOFF. I am lost!\n\nSASHA. Don't talk so loud; our guests will hear you!", "BORKIN. This is dreadful! Where is he? [To IVANOFF] They have been\nwaiting for you for a long time in the church, and here you are talking", "THE GIRLS. [Clapping their hands] The fireworks! The fireworks! [They\nrun into the garden.]\n\nSASHA. [ To IVANOFF] What makes you so depressed today?", "LVOFF. [Looks toward the window] Exactly what I said this morning: she\nmust go to the Crimea at once. [Walks up and down.]" ] ]

[ "Who runs Ivanov's estate?", "What does Dr Lvov tell Ivanov that his wife is dying from?", "How many roubles does Ivanov owe to Zenaida Lebedev?", "What religion was Anna forced to convert to?", "Who throws themself at Ivanov?", "What does Lvov think Ivanov is marrying Sasha for?", "What does Ivanov tell Anna after she accuses him of lying and cheating on her?", "Who shoots Ivanov?", "Where does Anna need to go in order to recover from her illness?", "What is Nikolai's motivation at the beginning?", "What is Anna dying from?", "Why is Nikolai considered heartless?", "Who leaves to see the Lebedevs?", "Why did Nikolai's marriage plans to Anna get ruined?", "What does Anna witness as she arrives?", "Who confronts Nikolai about his faithless behavior in Act III?", "What happens to Anna?", "Who accuses Nikolai of only marrying Sasha for her dowry?", "How does Nikolai respond to the accusation he is only marrying Sasha for her money?", "Who does Ivanov marry after Anna dies?", "Who confronts Ivanov over the way he treats Anna?", "What is Anna dying of?", "How many roubles does Ivanov owe Zinaida?", "What did Anna do when she married Ivanov?", "Who does Ivanov spend time with instead of with Anna?", "What does Anna accuse Ivanov of?", "Who does Ivanov shoot?", "Who informs Ivanov of his wife's illness?", "What event is happening as Lvov makes his accusations of Ivanov public?" ]

[ [ "Mikhail Borkin", "Mikhail Borkin" ], [ "Tuberculosis", "Tuberculosis" ], [ "9000", "9000" ], [ "Russian Orthodox", "Russian Orthodox." ], [ "Sasha", "Sasha" ], [ "The dowry", "the dowry" ], [ "That she is dying", "That he is dying. " ], [ "He shoots himself", "he shoots himself" ], [ "The Crimea", "Crimea" ], [ "He wants to regain his former glory.", "A large Dowry " ], [ "Tuberculosis", "Tuberculosis." ], [ "Because he refuses to pay for his wife's treatment.", "Because he has lied and cheated" ], [ "Nikolai, followed closely by Anna and Lvov", "Ivanov" ], [ "She had to change religions, which invalidated her dowry Nikolai was expecting to receive", "He ends up killing himself" ], [ "Her husband, Nikolai, kissing another woman, Sasha", "Sasha and Ivanov kissing." ], [ "Lvov and then Anna", "Lvov" ], [ "She dies.", "she dies" ], [ "Lvov", "Lvov" ], [ "By running away and shooting himself", "He shoots himself" ], [ "Sasha.", "Sasha" ], [ "Lvov.", "Lvov" ], [ "Tuberculosis.", "Tuberculosis" ], [ "9000.", "9000" ], [ "Converted from Judaism to Russian Orthodox.", "converted from Judaism to Russian Orthodox" ], [ "The Lebedevs'.", "Sasha" ], [ "Cheating on her the entire marriage.", "Sasha's visit" ], [ "Himself.", "Himself." ], [ "Lvov.", "Lvov." ], [ "Ivanov and Sasha's wedding.", "As the wedding is about to begin " ] ]

[ [ "Zed and Oh are dragged onto the platform in shackles and leg\n irons.\n They see Cain riding off on a donkey. He holds up a bag of\n coins and waves goodbye.", "OH\n (scared, points at Zed)\n Seize him!\n The guards arrest Oh as Cain steps up and takes hold of Zed.\n\n CAIN", "STOP!\n Abraham and Isaac both turn to see Zed and Oh step out from\n behind the rocks. Their clothes are tattered and they are", "ZED\n Look, first of all, we're not\n actually brothers---\n\n CAIN\n Just like Abel. I oughta just bash\n your head in--", "CAIN\n Wait! I know these guys!\n\n ZED AND OH\n Cain?", "ZED AND OH\n (a beat late)\n --mumble mumble mumble loving\n kindness.\n Abraham looks at them.", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "Zed and Oh are hiking uphill, the lush, dense verdure of the\n forest now thinning to evergreens and mountain heather.\n\n CUT TO:", "ZED\n (to Cain)\n I'll try to put in a good word for\n you.\n Cain fumes as Zed and Oh head off with Maya.\n\n CUT TO:", "ZED AND OH\n\n (UNEASILY)\n Right.\n\n CAIN", "Oh comes running up as the cow bucks and sends Zed flying.\n Lying on the ground, Zed looks up and sees TWO SURPRISED", "Zed is following a trail downhill through the forest on the\n other side of the mountains. Oh is limping along behind him,\n bitten, clawed, cut, scraped and bruised.", "ZED\n Me? Cool.\n (then, motioning to Oh)\n We're kind of a package deal. Can\n he come with?", "ABRAHAM\n (getting up)\n Accompany me.\n Abraham sweeps out of the tent. Zed and Oh jump to their\n feet and follow. Isaac tags along.", "ABRAHAM\n Friends, whence comest thou?\n Zed and Oh look at each other blankly.\n\n ISAAC", "ZED\n Did I say that?\n\n CAIN\n It was an accident!\n (to Oh)\n Right?", "OH\n What are you doing?\n Zed makes a minimal gesture with his head. Oh looks up.", "Zed sees him, finishes the last of the guards, and starts\n slowly moving toward the High Priest who starts backing away\n until he sees Oh moving toward him from the other side. He", "ZED\n Nothing!\n Cain stares at Abel, still inert on the ground.\n\n CAIN\n He's all right. Probably just\n\n RESTING--", "ABRAHAM\n No. So it shall be written, so it\n shall be done.\n (to Isaac)\n Get my big knife.\n Zed and Oh both reflexively cover their crotches." ], [ "OH\n (scared, points at Zed)\n Seize him!\n The guards arrest Oh as Cain steps up and takes hold of Zed.\n\n CAIN", "ZED\n Did I say that?\n\n CAIN\n It was an accident!\n (to Oh)\n Right?", "CAIN\n (urgently, to Zed and Oh)\n They're gaining on us!\n Zed and Oh look back.", "Zed and Oh are dragged onto the platform in shackles and leg\n irons.\n They see Cain riding off on a donkey. He holds up a bag of\n coins and waves goodbye.", "ZED\n (to Cain)\n I'll try to put in a good word for\n you.\n Cain fumes as Zed and Oh head off with Maya.\n\n CUT TO:", "CAIN\n (to Zed and Oh)\n Anything to say before the sentence\n is carried out?\n\n ZED\n (to the crowd)\n I just want to say this is really\n messed up--", "CAIN\n Wait! I know these guys!\n\n ZED AND OH\n Cain?", "CAIN\n wait a second. Do I detect a tone\n here?\n\n ZED\n All right, honestly? You did sell\n us into slavery.", "ZED\n Because I honestly thought he'd go\n for me. I thought I was doing you\n a favor. Apparently not\n appreciated.\n\n OH\n Yeah, big favor.", "ZED AND OH\n\n (UNEASILY)\n Right.\n\n CAIN", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "ZED\n No, next to him!\n He points at a BOY, about nine years old and not very big.\n\n CAIN\n He's just a kid!", "ZED\n Me? Cool.\n (then, motioning to Oh)\n We're kind of a package deal. Can\n he come with?", "CAIN\n (louder, mock sincerity)\n I said good luck. I'm really\n worried about him.\n He turns aside and makes a goofy sarcastic face for Oh's\n benefit.", "Zed sees him, finishes the last of the guards, and starts\n slowly moving toward the High Priest who starts backing away\n until he sees Oh moving toward him from the other side. He", "(HEDGING)\n I want to trust you.\n\n ZED\n Fair enough.\n She gives him an encouraging hug, then Zed and Oh cross to\n Cain and the slave trader.", "ZED\n We didn't know you were going to\n kill him--\n\n CAIN\n You calling me a murderer?\n (he clutches the rock)", "ZED\n Nothing!\n Cain stares at Abel, still inert on the ground.\n\n CAIN\n He's all right. Probably just\n\n RESTING--", "CAIN\n Hail, Father.\n Cain stops the cart and dismounts with Zed and Oh.\n CAIN (cont'd)\n Can these guys stay for supper?\n (off Adam's questioning", "OH\n Can we talk about this later?\n Oh pulls Zed to his feet, and they sneak off into the deep\n woods.\n\n DISSOLVE TO:" ], [ "Zed and Oh are hiking uphill, the lush, dense verdure of the\n forest now thinning to evergreens and mountain heather.\n\n CUT TO:", "12 THE MOUNTAINS - LATER 12\n Zed and Oh climbing higher now. Finally, they reach the top\n and look out at the vista.", "Zed is following a trail downhill through the forest on the\n other side of the mountains. Oh is limping along behind him,\n bitten, clawed, cut, scraped and bruised.", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "Zed sees him, finishes the last of the guards, and starts\n slowly moving toward the High Priest who starts backing away\n until he sees Oh moving toward him from the other side. He", "Oh comes running up as the cow bucks and sends Zed flying.\n Lying on the ground, Zed looks up and sees TWO SURPRISED", "OH\n Can we talk about this later?\n Oh pulls Zed to his feet, and they sneak off into the deep\n woods.\n\n DISSOLVE TO:", "OH\n What are you doing?\n Zed makes a minimal gesture with his head. Oh looks up.", "Zed is holding a stick over the fire, cooking what looks like\n a squirrel or a muskrat.\n Oh comes out of the forest carrying a huge armload of sticks", "(SHOUTING)\n Hey! Anybody there? Hello?\n Suddenly Zed and Oh are yanked off their feet from behind and\n slammed into the wall by helmeted sentries. Isaac quickly\n runs away.", "OH\n (turns to Zed)\n Come back to the village sometime.", "ZED\n Me? Cool.\n (then, motioning to Oh)\n We're kind of a package deal. Can\n he come with?", "9 EXT. A FOREST PATH - LATER THAT NIGHT 9\n\n CRICKETS. Zed and Oh walk through the moonlit forest.", "ZED\n We've got to keep moving.\n (hauls Oh to his feet)\n I've got you, buddy-- just like\n always.\n He puts Oh over his shoulder and stumbles on.", "ZED\n This is nice, out here, the two of\n us.\n\n OH\n\n (SULLEN)\n Yeah, it's great.", "Zed sits up and smiles gratefully at Oh.", "OH\n (calling to Zed)\n Hold on! I'm coming!", "ZED AND OH\n (a beat late)\n --mumble mumble mumble loving\n kindness.\n Abraham looks at them.", "CAIN\n (urgently, to Zed and Oh)\n They're gaining on us!\n Zed and Oh look back.", "Zed and Oh are dragged onto the platform in shackles and leg\n irons.\n They see Cain riding off on a donkey. He holds up a bag of\n coins and waves goodbye." ], [ "He starts prodding, poking and squeezing Maya's arm like he's\n buying fruit. Oh takes the opportunity to fondle Eema's\n breasts. She punches him.", "(PANICKED)\n That's Eema! And Maya! I know\n them!\n\n EDOMITE SLAVE", "HIGH PRIESTESS. Maya and Eema are among them, their hands\n tied. They look like they've been drugged.\n Oh spots Eema and Maya among the virgins.", "ZED\n (amazed to see them)\n Eema! Maya!\n The women embrace him with relief and excitement.\n\n OH", "MAYA\n (to Oh)\n This is Zaftig the Eunuch. You go\n with him.\n Oh is led away by the Eunuch as she takes Zed off in the\n opposite direction.", "OH\n (to Eema)\n What an amazing coincidence--\n running into you and Maya and them.", "Eema and Oh)\n Stay out of trouble. I'll be back.\n He exits with Maya.", "MAYA\n Good luck.\n\n ZED\n\n MAYA--\n She leaves him. A haze of heavily scented incense hangs in\n the air.", "ZED\n That's what I've been trying to\n tell you.\n Zed and Maya, Oh and Eema stand there basking in the\n gratitude of the people as Inanna looks on.", "MAYA\n She sees him and starts to revive.\n\n MAYA\n Zed!", "MAYA\n I'll get my things.\n She gestures off and he sees a small train of camels and", "MAYA\n Some fruit.\n\n ZED\n (frustrated, but hanging", "THE MAN\n Mmrrunm, they really are .\n When she turns away he spits them out in disgust.\n Maya smiles and puts her face very close to his, their lips\n almost touching.", "MAYA\n (not buying it)\n Forget it.\n Maya sees A GUARD watching them and reverts to her slave", "(SQUINTING)\n It's Maya!\n\n CUT TO:", "MAYA\n (eyes downcast)\n The Princess wishes to see you.\n\n CAIN\n (staring at her cleavage)\n Her wish is my command.", "OH\n (suddenly shy again)\n Hello, Eema.\n\n EEMA\n (still a little dazed)\n Oh?\n He stares at her full red lips and big blue eyes.", "MAYA\n Not you. Him.\n (points at Zed)", "MAYA\n Well, after the fire--\n (she shoots him an\n accusing look))", "MAYA\n Nope.\n\n ZED\n (he doesn't even like her\n\n ANYMORE)\n Okay, I give up. Which fruit do\n you want?" ], [ "SERGEANT\n (to Zed and Oh)\n Welcome to Sodom.\n As he takes a big backswing, Zed and Oh shut their eyes and\n prepare for the worst.", "THEIR POV\n Shining in the moonlight, the magnificent city of Sodom set\n atop a broad hill surrounded by high walls.\n\n ZED\n I knew it was right around here.", "Zed perks up at the mention of Sodom, recalling the\n destination of the soldiers who took Maya and the others.", "ISAAC\n You're going to Sodom, right?\n\n ZED\n No. Your dad specifically said\n Sodom and Gomorrah were evil.", "Okay, you win. Take us to Sodom.\n Isaac takes a couple of steps to the top of a rise and points\n off in the distance.", "ZED\n Sodom and Gomorrah? Never been\n there. But I've heard of them.\n\n OH\n Are they nice?", "OH\n (he's sold)\n And where exactly are those cities?\n\n ZED\n (off Abraham's stern look)\n We just want to know so we can\n avoid them.", "ABRAHAM\n (getting up)\n Accompany me.\n Abraham sweeps out of the tent. Zed and Oh jump to their\n feet and follow. Isaac tags along.", "Zed and Oh are dragged onto the platform in shackles and leg\n irons.\n They see Cain riding off on a donkey. He holds up a bag of\n coins and waves goodbye.", "father I came with you to Sodom.\n So long, suckers!\n He takes off running.", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "ZED\n (to Cain)\n I'll try to put in a good word for\n you.\n Cain fumes as Zed and Oh head off with Maya.\n\n CUT TO:", "OH\n You have any idea where we're\n going?\n\n ZED\n To the city. I have to find Maya.", "OH\n The city! He said God's going to\n smite them with holy fire!\n\n ZED\n And you're going to listen to him?\n You think he's more chosen than me?", "OH\n (scared, points at Zed)\n Seize him!\n The guards arrest Oh as Cain steps up and takes hold of Zed.\n\n CAIN", "ZED\n We've got to keep moving.\n (hauls Oh to his feet)\n I've got you, buddy-- just like\n always.\n He puts Oh over his shoulder and stumbles on.", "ZED\n (miserable with pain)\n Do me a favor. Just kill me.\n\n OH\n Why did you eat that fruit? It's\n forbidden. Everybody knows that.", "STOP!\n Abraham and Isaac both turn to see Zed and Oh step out from\n behind the rocks. Their clothes are tattered and they are", "ZED AND OH\n watching curiously.\n\n ZED\n What do they want a virgin for?\n\n GUY\n To throw into the fire.", "ZED AND OH\n (a beat late)\n --mumble mumble mumble loving\n kindness.\n Abraham looks at them." ], [ "INANNA\n So they say, but the only one who\n ever goes in is the High Priest.\n They say it's instant death for\n anyone else to enter.", "QUEEN\n Well, you can't keep starving\n yourself.\n\n INANNA\n Why not? Everybody else is\n starving-- present company\n excluded.", "(to Sargon)\n Burn her.-\n Sargon and Cain seize Inanna, but she shrugs them off and\n rises with dignity.", "INANNA\n Come.\n She takes his hand and leads him away.\n A SHADOWY FIGURE watches them from behind a curtain.\n\n CUT TO:", "KING\n (warning her)\n For the good of everyone who enjoys\n the favor of the throne.\n\n INANNA\n Whatever. I'm just so incredibly\n bored.", "KING\n The Princess isn't eating?\n\n INANNA\n I find it hard to eat when so many\n are hungry.", "INANNA (O.S.)\n Come to me.\n Zed turns and sees the Princess standing on the terrace.", "INANNA\n Isn't that the idiot who was\n standing up in the street?\n Maya sees him, too, and starts fuming.\n The High Priest continues.", "INANNA\n (gets very, very close)\n I know why. To bring you here-- to\n this place-- to me.\n\n ZED", "The King looks grimly at his ministers, all of whom have lean\n and hungry looks.\n Princess Inanna smiles contemptuously at him.", "INANNA\n\n (POINTS)\n That's the Holy of Holies-- you\n have to go in there and talk to the\n Gods.", "INANNA\n Good. See that he's bathed and\n dressed, then bring him to me.\n Maya frowns and exits.", "SARGON\n All is in readiness, Majesty.\n\n INANNA\n (glares at the King)\n What now? More virgins to\n sacrifice?", "ZED\n He makes his way to a position just below the royal pavilion\n and stares up at the Princess Inanna.\n She sees him looking at her but pretends not to notice.", "INANNA\n This is what you've been chosen\n for! To speak to the Gods and\n plead with them not to destroy the\n city. Then come back out and tell\n me what it's like inside.", "BIG GUARD\n That's far enough, slave.\n Oh stops right there, frustrated and frightened.\n\n THE TEMPLE\n Inanna is led out last, now also having been drugged.", "KING (cont'd)\n (to Inanna)\n How long did you think I'd tolerate\n your insolence?", "INANNA\n Yes, finally a man who has the\n courage to question the order of\n things--- a man chosen by the Gods\n to do something great.\n\n ZED", "INANNA\n I don't know. I just find you--\n interesting. They say it's the\n will of the gods that some men", "INANNA\n I didn't intend for this to happen.\n\n THE SQUARE\n The people move in and surround the platform on all sides,\n baseball-size rocks in their hands." ], [ "ZED\n He makes his way to a position just below the royal pavilion\n and stares up at the Princess Inanna.\n She sees him looking at her but pretends not to notice.", "INANNA\n (toying with him)\n And what do you think? Am I evil?\n\n ZED\n I don't really know you. But you\n don't look evil.", "INANNA\n Yes, finally a man who has the\n courage to question the order of\n things--- a man chosen by the Gods\n to do something great.\n\n ZED", "INANNA\n (gets very, very close)\n I know why. To bring you here-- to\n this place-- to me.\n\n ZED", "Zed sees the Princess and is instantly taken with her beauty.\n Princess Inanna glances his way and can't help but notice\n he's the only person in the square still standing. She gives", "INANNA (O.S.)\n Come to me.\n Zed turns and sees the Princess standing on the terrace.", "PRINCESS INANNA\n She glances at Zed again, but this time a slight smile\n crosses her lips.", "ZED\n (looking around nervously)\n What are we doing here?\n\n INANNA\n I want you to enter the Holy of\n Holies.", "ZED\n I was just looking for the\n bathroom.\n\n INANNA\n\n (INNOCENTLY)\n I told him not to go in.", "ZED\n That's what I've been trying to\n tell you.\n Zed and Maya, Oh and Eema stand there basking in the\n gratitude of the people as Inanna looks on.", "ZED\n (mulling it over)\n Right-- right. Then again, if the\n rules say--\n\n INANNA\n Do you always follow the rules?", "ZED\n Then why am I going in?\n\n INANNA", "INANNA\n Isn't that the idiot who was\n standing up in the street?\n Maya sees him, too, and starts fuming.\n The High Priest continues.", "MAYA\n She sees him and starts to revive.\n\n MAYA\n Zed!", "Zed. He doesn't recognize her, but we do. It's Maya, now\n elaborately costumed and made-up.", "Zed grins back at her.\n The Princess whispers something to her handmaiden Maya and\n subtly points Zed out to her. Maya nods obediently, glaring", "ZED\n Because I honestly thought he'd go\n for me. I thought I was doing you\n a favor. Apparently not\n appreciated.\n\n OH\n Yeah, big favor.", "INANNA\n Come.\n She takes his hand and leads him away.\n A SHADOWY FIGURE watches them from behind a curtain.\n\n CUT TO:", "ZED\n (a beat)\n I don't even know what that means.\n What does that mean?\n\n LILITH\n I like to have sex with other\n women.", "MAYA\n Not you. Him.\n (points at Zed)" ], [ "He starts prodding, poking and squeezing Maya's arm like he's\n buying fruit. Oh takes the opportunity to fondle Eema's\n breasts. She punches him.", "SARGON\n All is in readiness, Majesty.\n\n INANNA\n (glares at the King)\n What now? More virgins to\n sacrifice?", "INANNA\n Isn't that the idiot who was\n standing up in the street?\n Maya sees him, too, and starts fuming.\n The High Priest continues.", "ZED\n That's what I've been trying to\n tell you.\n Zed and Maya, Oh and Eema stand there basking in the\n gratitude of the people as Inanna looks on.", "HIGH PRIEST\n Burn them! Now!\n He grabs Maya and starts dragging her toward the gaping mouth", "MAYA\n (to Oh)\n This is Zaftig the Eunuch. You go\n with him.\n Oh is led away by the Eunuch as she takes Zed off in the\n opposite direction.", "HIGH PRIESTESS. Maya and Eema are among them, their hands\n tied. They look like they've been drugged.\n Oh spots Eema and Maya among the virgins.", "MAYA\n (eyes downcast)\n The Princess wishes to see you.\n\n CAIN\n (staring at her cleavage)\n Her wish is my command.", "KING\n (warning her)\n For the good of everyone who enjoys\n the favor of the throne.\n\n INANNA\n Whatever. I'm just so incredibly\n bored.", "(to Sargon)\n Burn her.-\n Sargon and Cain seize Inanna, but she shrugs them off and\n rises with dignity.", "Zed grins back at her.\n The Princess whispers something to her handmaiden Maya and\n subtly points Zed out to her. Maya nods obediently, glaring", "INANNA\n (toying with him)\n And what do you think? Am I evil?\n\n ZED\n I don't really know you. But you\n don't look evil.", "KING (cont'd)\n (to Inanna)\n For the good of the people.", "INANNA (O.S.)\n Come to me.\n Zed turns and sees the Princess standing on the terrace.", "INANNA\n Come.\n She takes his hand and leads him away.\n A SHADOWY FIGURE watches them from behind a curtain.\n\n CUT TO:", "KING (cont'd)\n (to Inanna)\n How long did you think I'd tolerate\n your insolence?", "Zed perks up at the mention of Sodom, recalling the\n destination of the soldiers who took Maya and the others.", "The King looks grimly at his ministers, all of whom have lean\n and hungry looks.\n Princess Inanna smiles contemptuously at him.", "INANNA\n Good. See that he's bathed and\n dressed, then bring him to me.\n Maya frowns and exits.", "Maya leads Zed and Oh through the gate and into a beautiful\n atrium where they are met by a fat bald EUNUCH wearing the\n royal livery." ], [ "Okay, you win. Take us to Sodom.\n Isaac takes a couple of steps to the top of a rise and points\n off in the distance.", "baal and the city of Sodom--\n The King nods graciously.\n HIGH PRIEST (cont'd)", "father I came with you to Sodom.\n So long, suckers!\n He takes off running.", "THEIR POV\n Shining in the moonlight, the magnificent city of Sodom set\n atop a broad hill surrounded by high walls.\n\n ZED\n I knew it was right around here.", "Zed perks up at the mention of Sodom, recalling the\n destination of the soldiers who took Maya and the others.", "SARGON\n Tend to the slaves. We leave for\n Sodom before daybreak.\n\n GUARD\n Yes, sir.\n\n 30", "SERGEANT\n (to Zed and Oh)\n Welcome to Sodom.\n As he takes a big backswing, Zed and Oh shut their eyes and\n prepare for the worst.", "CAIN\n You're gonna love Sodom. Trust me.\n It's crazy. This morning, I almost\n got a handie behind that pita\n stand.", "Abraham who occupies the place of honor.\n Zed and oh, now also wearing robes and skullcaps, are sitting\n right beside him eating and drinking everything in sight.", "On the balcony, the King shifts uncomfortably, intimidated by\n the power of the mob. He nods to Sargon who signals to Cain.", "(FIERCELY)\n Walk not the path of Sodom! For\n surely will the Lord send his holy\n fire to destroy the city and all", "ISAAC\n You're going to Sodom, right?\n\n ZED\n No. Your dad specifically said\n Sodom and Gomorrah were evil.", "ON THE BALCONY\n The King grabs Sargon.\n\n KING\n (re Cain)\n What is that idiot doing?", "ZED (cont'd)\n (jumping in quickly)\n People! Friends! Sodomites!\n Okay, that was a little confusing,", "(to Sargon)\n Burn her.-\n Sargon and Cain seize Inanna, but she shrugs them off and\n rises with dignity.", "KING\n\n (SCORNFUL)\n How did you become High Priest?\n\n HIGH PRIEST\n Because I'm your brother?", "The square is filling up with people. The ROYAL PROCESSION\n is moving to the seats of honor to watch the sacrifice.\n Cain is now among the Royal Guard having been promoted for", "ABRAHAM\n The men of the city are weak and\n soft, fat with rich food,\n intoxicated by strong drink.", "OH\n (to the Edomite slave)\n I know him, too.\n Oh springs into action, attacking the big guard in front of", "SARGON\n (shouts an order)\n Take the slaves!\n Marlak starts for Zed but two soldiers ride up and throw a" ], [ "ZED\n\n (SHOUTS)\n I said, 'I don't think so!'", "ZED (cont'd)\n Okay, that might mean something.\n The hunter Marlak walks by and stops. He's clearly half a", "The man, ZED, grabs a handful of berries and they squat there\n noshing like Adam and Eve.", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "ZED\n Yeah, there you go.\n (he exits)\n Oh looks at Seth.", "ZED\n (greets them)\n Hey! Boys! Long time no see.\n They glance up, but ignore him.", "ZED\n Okay! But I should tell you, this\n isn't really my area. I'm just on\n a break from the mud department--\n The Guard draws his short sword and raises it over Zed.", "ZED (cont'd)", "ZED (cont'd)", "ZED\n (ignores him)\n Yes! There!\n He drops to one knee and examines something in the bushes.\n Zed (cont'd)\n They stopped here to poop. Look.", "ZED (cont'd)\n Right. Enough said.\n The sergeant rips open Zed's shirt exposing his back, then", "ZED\n Me? Cool.\n (then, motioning to Oh)\n We're kind of a package deal. Can\n he come with?", "ZED\n (instantly annoyed)\n No, you just made it harder on\n myself!\n (to Marlak)\n Okay, fine, you got me.\n (gingerly moves the spear", "Zed steps into the chamber and immediately prostrates\n himself, face down on the floor, arms outstretched in\n supplication. He lies there with his eyes tightly shut,", "(pulls his knife)\n I'm going to gut you like a pig.\n He is about to plunge his knife into Zed when suddenly he is", "ZED\n (through clenched teeth)\n Oh!", "ZED\n Not much to tell, is there? Just\n an average guy who saw his destiny\n and had the courage to defy a", "4 ZED'S HUT\n Zed is lying on a pad of animal hides in front of his hut,", "ZED\n He makes his way to a position just below the royal pavilion\n and stares up at the Princess Inanna.\n She sees him looking at her but pretends not to notice.", "ZED\n\n (MUFFLED)\n Ecchhh!\n Oh is vaguely aware of the fight going on but can't move." ], [ "fills the door frame.\n SERGEANT (cont'd)\n Who the hell screamed?\n They all point at Oh.", "and branches. One of Oh's sticks falls, and as he carefully\n reaches down to grab it, the rest spill out on the ground.\n Oh sighs. His body is covered with long claw marks.", "He lumbers over and gets his face very close to Oh's.\n SERGEANT (cont'd)\n You don't look like a woman, but", "mouth. Then, out of the corner of his eye, Oh sees a guard\n rushing at him. Oh whirls and falls off the platform,\n accidentally cutting the guards legs out from under him.", "OH\n What are you doing?\n Zed makes a minimal gesture with his head. Oh looks up.", "The sergeant grabs Oh by the throat and practically lifts him\n off the ground.\n SERGEANT (cont'd)", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "OH\n\n (SCOWLS)\n You're a pile of sticks and dung.\n Suddenly, Zed stops and stands perfectly still.", "OH\n Yeah, that's probably it.\n (another long beat)\n So you're saying we can't go in?", "OH\n Meaner than this?\n The sentry grabs Oh's nipple and twists. Oh SCREAMS loudly.", "OH\n (suddenly shy again)\n Hello, Eema.\n\n EEMA\n (still a little dazed)\n Oh?\n He stares at her full red lips and big blue eyes.", "OH\n I guess I'm with you.\n\n ZED\n Was it my speech?\n\n OH\n No, the fire. I lost everything.", "If Zed is over-confident and reckless, Oh is his polar\n opposite, nervous and risk-averse, the kind of guy who would", "OH\n (practically delirious)\n He was a small man.\n Oh collapses face down in the sand.\n Pull back to reveal that they are surrounded by hungry\n jackals, vultures and hyenas.", "In the yard behind the house, Oh is helping Cain as he chops\n firewood with a metal axe. Oh now wears a tunic like the\n farmers.", "OH\n (covering for himself)\n He's a hunter. I'm more of a\n \"maker.\" I made this loincloth, I\n do arrows-- I made a shelf unit for\n my hut--", "OH (U.S.)\n Then how about this?\n The High Priest turns to Oh.", "OH\n (looks up at the sky)\n No.", "OH\n (to the Merchant)\n Can I have one of those?\n He reaches for a loaf but the MERCHANT strikes his hand with", "Oh is up to his knees in a mud pit, trampling straw into the\n thick mud. A Guard cracks a bullwhip which flicks painfully\n across his shoulders." ], [ "The doors to the Holy of Holies opens and Zed comes backing\n out, still bowing and muttering. Then he turns and his face\n falls.", "Marlak throws his spear and misses as Zed takes off running\n into the forest with the hunters right behind him and the\n whole village ablaze.", "ZED\n Did I say that?\n\n CAIN\n It was an accident!\n (to Oh)\n Right?", "Zed steps into the chamber and immediately prostrates\n himself, face down on the floor, arms outstretched in\n supplication. He lies there with his eyes tightly shut,", "ZED\n Shit!\n He leaps to his feet, looks around desperately, and sees\n nothing but a vast wasteland in every direction.", "The man, ZED, grabs a handful of berries and they squat there\n noshing like Adam and Eve.", "Zed is following a trail downhill through the forest on the\n other side of the mountains. Oh is limping along behind him,\n bitten, clawed, cut, scraped and bruised.", "ZED\n (instantly annoyed)\n No, you just made it harder on\n myself!\n (to Marlak)\n Okay, fine, you got me.\n (gingerly moves the spear", "Zed dodges as the arrows zip around him. He veers left, then\n right, then trips and tumbles down a muddy embankment.", "KING\n Observe, my dear. It seems the\n least you could do, since it was\n you who lured him to his death.\n She reluctantly turns and looks at Zed.", "ZED\n\n (SHOUTS)\n I said, 'I don't think so!'", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "ZED\n (miserable with pain)\n Do me a favor. Just kill me.\n\n OH\n Why did you eat that fruit? It's\n forbidden. Everybody knows that.", "The Shaman shouts and points at the now blazing roof.\n ZED (cont'd)\n Oops!", "ZED (cont'd)\n (rolls his eyes; \"these\n guys are hopeless\")\n Anyways, I'm going away, not", "Oh comes running up as the cow bucks and sends Zed flying.\n Lying on the ground, Zed looks up and sees TWO SURPRISED", "Oh can't look at him.\n Zed shakes his head, failing to notice that the torch he's\n holding has ignited the roof of the hut next to him.", "Marlak kicks gravel and dirt in Zed's face. Zed just lies\n there and takes it, feeling like he's failed everyone.", "ZED\n Are you kidding? Go! Jackal\n Dance!\n Oh summons his courage, gets up and crosses to where the", "ZED (cont'd)\n So this is it? We're not friends\n anymore? After all I've done for\n you?" ], [ "SARGON\n (shouts an order)\n Take the slaves!\n Marlak starts for Zed but two soldiers ride up and throw a", "Enmebaragesi among the chained-up slaves waiting to be sold.\n Zed and Oh push their way through the crowd and go to them.", "They see a crowd at the center of the market gathered around\n a raised platform.\n SLAVES IN SHACKLES are lined up on the raised wooden platform", "OH\n (to the Edomite slave)\n I know him, too.\n Oh springs into action, attacking the big guard in front of", "household slave. She stops to serve some rowdy OFFICERS who\n take the opportunity to tease and fondle her. She tries to\n pull away but Sargon, the general, grabs her arm.", "BIG GUARD\n That's far enough, slave.\n Oh stops right there, frustrated and frightened.\n\n THE TEMPLE\n Inanna is led out last, now also having been drugged.", "--the hill tribes raided the\n village. The men fought them but\n they were too many. They took us\n captive, marched us to the sea,", "(SHRUGS)\n Just a little.\n Zed and Oh look at her curiously.\n The SLAVE TRADER sees them talking to Eema and approaches.", "THE OTHER SLAVES\n Ow! Hey! Cut that out!\n Zed tries to turn his head to see who's behind him.\n\n ZED (CONT'D)", "ZED\n You! Slave girl!\n (he pulls her away from\n\n SARGON)\n I told you to fetch me more wine!\n Apologize to this officer--- now!", "AT THE ALTAR\n A great cheer goes up as a girl is chosen. She swoons as the\n priestesses slip off her vestment and two priests escort her\n to the fiery mouth of the furnace.", "SLAVE TRADER\n (to the crowd)\n All right! Next up is a twofer--\n I'm selling them as a pair-- I know", "him. The other slaves see that and start fighting with their\n guards, a genuine slave revolt.", "Oh and the slaves are confined behind a barrier, watched by a\n squad of guards, waiting for the ceremony to start.", "PURCHASED SLAVES have been crammed, jammed together like\n sardines.\n Zed and Oh are in the middle of the body pile, literally", "The door flies open and the slaves tumble, jump and stumble\n out onto the ground.\n Zed and Oh look around, gawking at the massacre taking place.", "horses loaded with a ton of her personal possessions.\n MAYA (cont'd)\n The Princess gave me a few gifts\n when she freed us.", "there, as well as a great number of freed slaves and Hebrews.\n Isaac is checking out Maya's breasts.", "cheek by jowl with the other slaves, barely able to move. I\n Eema is right next to Oh, her body pressed tight against his.\n Oh shifts around, repositioning his arms and body trying to", "THE OTHER SLAVES\n Hey! Watch it, jerk!" ], [ "Enmebaragesi among the chained-up slaves waiting to be sold.\n Zed and Oh push their way through the crowd and go to them.", "Zed and Oh are dragged onto the platform in shackles and leg\n irons.\n They see Cain riding off on a donkey. He holds up a bag of\n coins and waves goodbye.", "OH\n (scared, points at Zed)\n Seize him!\n The guards arrest Oh as Cain steps up and takes hold of Zed.\n\n CAIN", "OH\n (to the Edomite slave)\n I know him, too.\n Oh springs into action, attacking the big guard in front of", "PURCHASED SLAVES have been crammed, jammed together like\n sardines.\n Zed and Oh are in the middle of the body pile, literally", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "MAYA\n (to Oh)\n This is Zaftig the Eunuch. You go\n with him.\n Oh is led away by the Eunuch as she takes Zed off in the\n opposite direction.", "The door flies open and the slaves tumble, jump and stumble\n out onto the ground.\n Zed and Oh look around, gawking at the massacre taking place.", "ZED\n Me? Cool.\n (then, motioning to Oh)\n We're kind of a package deal. Can\n he come with?", "Zed sees him, finishes the last of the guards, and starts\n slowly moving toward the High Priest who starts backing away\n until he sees Oh moving toward him from the other side. He", "SARGON\n (shouts an order)\n Take the slaves!\n Marlak starts for Zed but two soldiers ride up and throw a", "(SHRUGS)\n Just a little.\n Zed and Oh look at her curiously.\n The SLAVE TRADER sees them talking to Eema and approaches.", "OFFICER\n\n (ROARS)\n Line up!\n Zed and Oh hustle into line, orders are shouted and the troop\n marches off.", "ZED\n (to Oh)\n I kinda get why his dad wanted to\n kill him.\n The sentries drag them through a small door cut into a corner\n of the city gates.\n\n CUT TO:", "SLAVE TRADER\n Yes! Sold to Sheikh Hassan for 30\n gold minas!\n (to Zed and Oh)\n Have a good time in the salt mines,\n boys.", "OH\n Can we talk about this later?\n Oh pulls Zed to his feet, and they sneak off into the deep\n woods.\n\n DISSOLVE TO:", "OH\n (calling to Zed)\n Hold on! I'm coming!", "ZED\n We've got to keep moving.\n (hauls Oh to his feet)\n I've got you, buddy-- just like\n always.\n He puts Oh over his shoulder and stumbles on.", "(SHOUTING)\n Hey! Anybody there? Hello?\n Suddenly Zed and Oh are yanked off their feet from behind and\n slammed into the wall by helmeted sentries. Isaac quickly\n runs away.", "Zed is following a trail downhill through the forest on the\n other side of the mountains. Oh is limping along behind him,\n bitten, clawed, cut, scraped and bruised." ], [ "ZED\n (to Cain)\n I'll try to put in a good word for\n you.\n Cain fumes as Zed and Oh head off with Maya.\n\n CUT TO:", "CAIN\n (urgently, to Zed and Oh)\n They're gaining on us!\n Zed and Oh look back.", "OH\n (scared, points at Zed)\n Seize him!\n The guards arrest Oh as Cain steps up and takes hold of Zed.\n\n CAIN", "CAIN\n (to Zed and Oh)\n Anything to say before the sentence\n is carried out?\n\n ZED\n (to the crowd)\n I just want to say this is really\n messed up--", "OH\n\n (SARCASTIC)\n Yeah, thanks for saving us. What\n are you going to do to us now?\n Cain stops and looks at them.", "ZED\n Did I say that?\n\n CAIN\n It was an accident!\n (to Oh)\n Right?", "CAIN\n Hail, Father.\n Cain stops the cart and dismounts with Zed and Oh.\n CAIN (cont'd)\n Can these guys stay for supper?\n (off Adam's questioning", "CAIN\n Wait! I know these guys!\n\n ZED AND OH\n Cain?", "ZED\n Can I make a suggestion?\n\n CAIN\n\n (IRKED)\n What?", "Cain finishes loading bushels of grain onto an oxcart while\n Zed and Oh closely inspect the big, heavy, solid wooden\n wheels on the cart.\n\n ZED\n What are the big round things for?", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "Zed and Oh are dragged onto the platform in shackles and leg\n irons.\n They see Cain riding off on a donkey. He holds up a bag of\n coins and waves goodbye.", "ZED\n Me? Cool.\n (then, motioning to Oh)\n We're kind of a package deal. Can\n he come with?", "ZED\n Nothing!\n Cain stares at Abel, still inert on the ground.\n\n CAIN\n He's all right. Probably just\n\n RESTING--", "CAIN\n (louder, mock sincerity)\n I said good luck. I'm really\n worried about him.\n He turns aside and makes a goofy sarcastic face for Oh's\n benefit.", "SERGEANT\n (to Zed and Oh)\n Welcome to Sodom.\n As he takes a big backswing, Zed and Oh shut their eyes and\n prepare for the worst.", "ZED\n We didn't know you were going to\n kill him--\n\n CAIN\n You calling me a murderer?\n (he clutches the rock)", "ZED\n We pick him!\n Cain points at a BIG GUY, heavily muscled, eagerly waving his\n hand.\n\n CAIN\n Him?", "ZED\n No, next to him!\n He points at a BOY, about nine years old and not very big.\n\n CAIN\n He's just a kid!", "ZED AND OH\n\n (UNEASILY)\n Right.\n\n CAIN" ], [ "ZED\n He makes his way to a position just below the royal pavilion\n and stares up at the Princess Inanna.\n She sees him looking at her but pretends not to notice.", "Zed grins back at her.\n The Princess whispers something to her handmaiden Maya and\n subtly points Zed out to her. Maya nods obediently, glaring", "53 INT. PRINCESS'S CHAMBER - NIGHT - MINUTES LATER 53\n\n Maya ushers Zed into the dimly lit room.", "Zed steps out onto the moonlit terrace. He crosses to the\n balustrade and stands beside the Princess, gazing out over\n the twinkling cityscape.", "57 INT. TEMPLE - MOMENTS LATER\n\n Zed and Princess Inanna stealthily enter the temple.", "ZED\n Hey, there she is!\n He starts edging toward the royal pavilion.\n\n 45", "INANNA (O.S.)\n Come to me.\n Zed turns and sees the Princess standing on the terrace.", "at Zed, and starts fanning the princess a little too\n vigorously.", "PRINCESS INANNA\n She glances at Zed again, but this time a slight smile\n crosses her lips.", "Zed steps into the chamber and immediately prostrates\n himself, face down on the floor, arms outstretched in\n supplication. He lies there with his eyes tightly shut,", "Zed sees the Princess and is instantly taken with her beauty.\n Princess Inanna glances his way and can't help but notice\n he's the only person in the square still standing. She gives", "Zed gawks at the Princess, then suddenly a ROYAL GUARD knocks\n him to the ground and stands on his neck as the rest of the\n entourage passes.", "ZED\n (looking around nervously)\n What are we doing here?\n\n INANNA\n I want you to enter the Holy of\n Holies.", "PRINCESS\n Do you find me attractive?\n\n ZED\n Well, yeah. I think you're--\n incredible.", "the MINISTERS and other NOBLES. Maya stands behind the\n Princess and continues fanning her.\n Zed spots the Princess on the pavilion.", "Maya leads Zed and Oh through the gate and into a beautiful\n atrium where they are met by a fat bald EUNUCH wearing the\n royal livery.", "ZED\n Yes! Finally. Now you're talking!\n Should I enter it right here or\n should we go back to your bedroom?\n Does the Holy of Holies like to be\n entered from behind or--?", "Maya leads Zed down a grand hallway. Zed is now wearing a\n long flowing robe of silk brocade, fine sandals, and jewelry.", "She pulls him close.\n ZED (cont'd)\n Can I ask you one thing? What\n would a girl like you want with a", "KING\n Observe, my dear. It seems the\n least you could do, since it was\n you who lured him to his death.\n She reluctantly turns and looks at Zed." ], [ "ZED AND OH\n watching curiously.\n\n ZED\n What do they want a virgin for?\n\n GUY\n To throw into the fire.", "ZED\n Your woman? I'm not sure dragging\n her into the bushes kicking and\n screaming means you have an actual\n \"thing\" going.\n Marlak cuffs him hard on the side of the head.", "ZED\n Okay! But I should tell you, this\n isn't really my area. I'm just on\n a break from the mud department--\n The Guard draws his short sword and raises it over Zed.", "(pulls his knife)\n I'm going to gut you like a pig.\n He is about to plunge his knife into Zed when suddenly he is", "ZED\n I'm going in.\n He enters the Holy of Holies. A FIGURE darts between the\n columns and hides in the shadows. A beam of moonlight\n reveals the mark of Cain on his forehead.", "ZED (cont'd)\n Right. Enough said.\n The sergeant rips open Zed's shirt exposing his back, then", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "ZED\n (ignores him)\n Yes! There!\n He drops to one knee and examines something in the bushes.\n Zed (cont'd)\n They stopped here to poop. Look.", "ZED\n Whatever that last thing you said\n was.\n\n HIGH PRIEST\n\n (THINKS)\n I forgot.", "ZED\n Seems like a waste of a perfectly\n good virgin to me.", "ZED\n Yes! Finally. Now you're talking!\n Should I enter it right here or\n should we go back to your bedroom?\n Does the Holy of Holies like to be\n entered from behind or--?", "SERGEANT\n (to Zed and Oh)\n Welcome to Sodom.\n As he takes a big backswing, Zed and Oh shut their eyes and\n prepare for the worst.", "ZED\n (instantly annoyed)\n No, you just made it harder on\n myself!\n (to Marlak)\n Okay, fine, you got me.\n (gingerly moves the spear", "ZED\n\n (SHOUTS)\n I said, 'I don't think so!'", "ZED\n Me? Cool.\n (then, motioning to Oh)\n We're kind of a package deal. Can\n he come with?", "ZED\n (a beat)\n I don't even know what that means.\n What does that mean?\n\n LILITH\n I like to have sex with other\n women.", "ZED\n I wouldn't read too much into that.\n She kisses, then tongues the spear tip.", "ZED\n (moving closer)\n Maybe you just haven't met the\n right one.\n\n LILITH\n I like girls.\n\n ZED", "ZED\n (to Cain)\n I'll try to put in a good word for\n you.\n Cain fumes as Zed and Oh head off with Maya.\n\n CUT TO:", "ZED\n So? You got something against\n kids?\n Zed plays the crowd which starts booing in disapproval.\n ZED (cont'd)\n This guy hates kids!" ], [ "ZED\n Not much to tell, is there? Just\n an average guy who saw his destiny\n and had the courage to defy a", "Zed steps into the chamber and immediately prostrates\n himself, face down on the floor, arms outstretched in\n supplication. He lies there with his eyes tightly shut,", "PEOPLE IN THE CROWD\n He is chosen! He is the Chosen\n One. The Chosen One!\n Zed gives Oh a look: \"See? I told you.\"", "ZED\n I'm the, uh, Chosen One, I guess,\n and on behalf of, well, the whole", "Official White 45.\n\n ZED\n A chosen doesn't need to be strong.\n I'm big this way.\n (points to his temples)", "ZED (cont'd)\n (rolls his eyes; \"these\n guys are hopeless\")\n Anyways, I'm going away, not", "(pulls his knife)\n I'm going to gut you like a pig.\n He is about to plunge his knife into Zed when suddenly he is", "ZED\n Don't you get what I'm saying?\n What if we've been chosen?\n\n MAYA\n You think we've been chosen by God?", "ZED\n Well, no offense, but it's possible\n that I was chosen and you all just\n happened to be there.", "MAYA\n Not you. Him.\n (points at Zed)", "The man, ZED, grabs a handful of berries and they squat there\n noshing like Adam and Eve.", "ZED\n (ignores him)\n Yes! There!\n He drops to one knee and examines something in the bushes.\n Zed (cont'd)\n They stopped here to poop. Look.", "ZED\n We pick him!\n Cain points at a BIG GUY, heavily muscled, eagerly waving his\n hand.\n\n CAIN\n Him?", "(IMPATIENT)\n Because you were chosen? If the\n Gods wanted you dead they would\n have killed you already.\n\n ZED\n\n RIGHT--", "ZED\n Yeah, there you go.\n (he exits)\n Oh looks at Seth.", "ZED\n No, next to him!\n He points at a BOY, about nine years old and not very big.\n\n CAIN\n He's just a kid!", "ZED\n You still think it's all just a\n coincidence? All of us here right\n now, at this particular place, at\n this particular time?\n\n OH", "take a chance and start thinking\n for himself, but I guess I was\n wrong.\n She glares defiantly at Zed, then starts to walk away. It's", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "ZED\n Why don't you just pick one person\n to throw?\n The crowd thinks that's not a bad idea and murmurs agreement." ], [ "and branches. One of Oh's sticks falls, and as he carefully\n reaches down to grab it, the rest spill out on the ground.\n Oh sighs. His body is covered with long claw marks.", "mouth. Then, out of the corner of his eye, Oh sees a guard\n rushing at him. Oh whirls and falls off the platform,\n accidentally cutting the guards legs out from under him.", "fills the door frame.\n SERGEANT (cont'd)\n Who the hell screamed?\n They all point at Oh.", "OH\n (practically delirious)\n He was a small man.\n Oh collapses face down in the sand.\n Pull back to reveal that they are surrounded by hungry\n jackals, vultures and hyenas.", "OH\n Meaner than this?\n The sentry grabs Oh's nipple and twists. Oh SCREAMS loudly.", "In the yard behind the house, Oh is helping Cain as he chops\n firewood with a metal axe. Oh now wears a tunic like the\n farmers.", "OH\n I guess I'm with you.\n\n ZED\n Was it my speech?\n\n OH\n No, the fire. I lost everything.", "OH\n I don't know. So much has\n happened. Sometimes I think--\n She walks away.\n OH (cont'd)\n (wistfully, to himself)\n I love you.", "struck from behind by a heavy tree branch. He falls heavily,\n knocked senseless by Oh who is standing over him with the\n makeshift club.", "He lumbers over and gets his face very close to Oh's.\n SERGEANT (cont'd)\n You don't look like a woman, but", "OH\n (suddenly shy again)\n Hello, Eema.\n\n EEMA\n (still a little dazed)\n Oh?\n He stares at her full red lips and big blue eyes.", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "OH\n (looks up at the sky)\n No.", "OH\n\n (SCOWLS)\n You're a pile of sticks and dung.\n Suddenly, Zed stops and stands perfectly still.", "He starts clapping, then Oh starts clapping, and soon all the\n people in the square are applauding.\n At that moment a single drop of rain falls and hits Zed in", "OH\n You always get like this when you\n smoke.\n Oh takes a big toke on the pipe, chokes, and starts coughing\n uncontrollably.", "OH\n What are you doing?\n Zed makes a minimal gesture with his head. Oh looks up.", "OH (U.S.)\n Then how about this?\n The High Priest turns to Oh.", "At the sound of the trumpets EVERYONE IN THE CROWDED SQUARE\n falls to the ground and prostrates himself. Cain pulls Oh to", "OH\n Can we talk about this later?\n Oh pulls Zed to his feet, and they sneak off into the deep\n woods.\n\n DISSOLVE TO:" ], [ "his feet.\n ZED (cont'd)\n Okay, is that supposed to be funny?\n He stands up and we see that the whole tribe is standing", "Marlak throws his spear and misses as Zed takes off running\n into the forest with the hunters right behind him and the\n whole village ablaze.", "ZED\n Because we don't! It's a rule!\n That's the Tree of the Knowledge of\n Good and Evil. You don't eat from\n that one. Nobody ever has.", "ZED\n (miserable with pain)\n Do me a favor. Just kill me.\n\n OH\n Why did you eat that fruit? It's\n forbidden. Everybody knows that.", "The man, ZED, grabs a handful of berries and they squat there\n noshing like Adam and Eve.", "Marlak and Maya cross to Zed who is loading a packhorse.\n Marlak looks at him for a long moment then punches him hard\n on the shoulder.", "The doors to the Holy of Holies opens and Zed comes backing\n out, still bowing and muttering. Then he turns and his face\n falls.", "MARLAK\n (standing over Zed)\n Your father was a great hunter, but\n you're like-- a girl.\n The hunters laugh.", "Zed is following a trail downhill through the forest on the\n other side of the mountains. Oh is limping along behind him,\n bitten, clawed, cut, scraped and bruised.", "4 ZED'S HUT\n Zed is lying on a pad of animal hides in front of his hut,", "ZED (cont'd)\n Okay, that might mean something.\n The hunter Marlak walks by and stops. He's clearly half a", "Zed steps into the chamber and immediately prostrates\n himself, face down on the floor, arms outstretched in\n supplication. He lies there with his eyes tightly shut,", "SHAMAN\n You're cursed, man, and if you stay\n here then we'll all be cursed. You\n have to leave.\n\n ZED\n Where am I supposed to go?", "ZED\n Are you kidding? Go! Jackal\n Dance!\n Oh summons his courage, gets up and crosses to where the", "MAYA\n Not you. Him.\n (points at Zed)", "Marlak kicks gravel and dirt in Zed's face. Zed just lies\n there and takes it, feeling like he's failed everyone.", "SHAMAN\n (to Zed)\n You'd better get moving.\n Zed looks around at his fellow villagers, trying to summon\n what dignity he has left.\n\n ZED", "(pulls his knife)\n I'm going to gut you like a pig.\n He is about to plunge his knife into Zed when suddenly he is", "MARLAK\n Now I kill you.\n He's about to spear Zed when suddenly the Shaman screams and", "MARLAK\n (raises his spear, to Zed)\n Now you die." ], [ "He starts prodding, poking and squeezing Maya's arm like he's\n buying fruit. Oh takes the opportunity to fondle Eema's\n breasts. She punches him.", "HIGH PRIESTESS. Maya and Eema are among them, their hands\n tied. They look like they've been drugged.\n Oh spots Eema and Maya among the virgins.", "MAYA\n (to Oh)\n This is Zaftig the Eunuch. You go\n with him.\n Oh is led away by the Eunuch as she takes Zed off in the\n opposite direction.", "ZED\n Where? Back to the penis-cutter?\n Besides, Eema and Maya might be in\n there. You want to get them out", "HIGH PRIEST\n Burn them! Now!\n He grabs Maya and starts dragging her toward the gaping mouth", "ZED\n (amazed to see them)\n Eema! Maya!\n The women embrace him with relief and excitement.\n\n OH", "80 THE HIGH PRIEST 80\n While Zed is busy with the guards, the High Priest pulls Maya\n toward the fire.", "(WATCHFUL)\n Now we just need to figure out a\n way to rescue Maya and Eema.\n\n OH\n How are we going to rescue anybody?\n They're killers!", "(PANICKED)\n That's Eema! And Maya! I know\n them!\n\n EDOMITE SLAVE", "cheek by jowl with the other slaves, barely able to move. I\n Eema is right next to Oh, her body pressed tight against his.\n Oh shifts around, repositioning his arms and body trying to", "OH\n (to Eema)\n Are you all right? Did they-- rape\n you?\n\n EEMA", "a PRIEST who is trying to drag Eema away. He fights with\n very little skill but tremendous energy, finally overwhelming\n the guard and grabbing Eema.", "Maya leads Zed down a grand hallway. Zed is now wearing a\n long flowing robe of silk brocade, fine sandals, and jewelry.", "holds the helpless Maya close to the flames.", "MAYA\n She sees him and starts to revive.\n\n MAYA\n Zed!", "from head to toe. As the oil hits the High Priest, Zed\n dashes across and snatches Maya from his grasp.\n The High Priest spins around in a rage, his long robes wrap", "MAYA\n Well, after the fire--\n (she shoots him an\n accusing look))", "MAYA\n Some fruit.\n\n ZED\n (frustrated, but hanging", "Zed perks up at the mention of Sodom, recalling the\n destination of the soldiers who took Maya and the others.", "EEMA\n We were sold to the palace. But I\n won't serve these people! I'd\n rather die!\n\n ZED\n Keep that up and you will." ], [ "The hunters stop at the top of the embankment. Marlak\n listens for sounds of movement in the forest below, then\n silently signals for the hunters to fan out.", "Eema turns, sees it's him and gives him a perfunctory wave,\n then turns back to the hunters and says something about Oh\n that makes them laugh.", "OH\n (covering for himself)\n He's a hunter. I'm more of a\n \"maker.\" I made this loincloth, I\n do arrows-- I made a shelf unit for\n my hut--", "on a pole, their faces marked with boar's blood, ritual signs\n in honor of the kill.\n The lead hunter MARLAK, is a hulking thug with a bony,", "6 THE FIRE PIT - MINUTES LATER\n A hunter is slicing off hunks of boar meat for the other", "ZED (cont'd)\n Okay, that might mean something.\n The hunter Marlak walks by and stops. He's clearly half a", "MARLAK\n (standing over Zed)\n Your father was a great hunter, but\n you're like-- a girl.\n The hunters laugh.", "(WHISPERS)\n This one's mine.\n He takes his bow, pulls an arrow from his quiver, and slowly", "his guts still aching. His best friend OH sits next to him\n sewing skins together, watching the hunters with envy,\n jealous of the attention they're getting from the women.", "ENMEBARAGESI\n Good one, Marlak.\n\n ANOTHER HUNTER\n Zing.", "(GRUMBLING)\n Look at them. Hunters think\n they're so cool. They don't think\n gathering is dangerous? There are", "ZED\n Excuse me, hunter coming through.\n\n VILLAGERS\n Hey! Wait your turn! There's a\n line here, buddy!", "(DEFIANT)\n Okay, but before I go I just want\n to say something. I know I'm not\n the greatest hunter--", "SHAMAN\n (to Zed, re the hunters)\n You should probably get going now.\n You better take this knife.", "draws the bow, taking deadly aim at one of the cows. He\n shoots.\n The blunt, pointless arrow hits the cow in the side and", "OH\n\n (SIGHS)\n No. She only likes hunters-- not\n gatherers.\n They look over at Eema, who is now slowly stroking the shaft\n of a hunter's spear.", "FEET)\n Yeah, well-- we're hunters.", "Zed runs for his life through the dense forest.\n The hunters chase him, shooting arrows at him on a dead run.", "bottom and sees something in the moonlight.\n It's Zed lying on the ground, badly camouflaged with sticks\n and leaves, thinking he can't be seen, but the shape of his", "Kinda hard to concentrate with that\n rhythmic drumming, fellas.\n The Hunters keep the insistent beat, their gaze fixed on Zed." ], [ "KING\n The Princess isn't eating?\n\n INANNA\n I find it hard to eat when so many\n are hungry.", "INANNA (O.S.)\n Come to me.\n Zed turns and sees the Princess standing on the terrace.", "The King looks grimly at his ministers, all of whom have lean\n and hungry looks.\n Princess Inanna smiles contemptuously at him.", "QUEEN\n Well, you can't keep starving\n yourself.\n\n INANNA\n Why not? Everybody else is\n starving-- present company\n excluded.", "ZED\n He makes his way to a position just below the royal pavilion\n and stares up at the Princess Inanna.\n She sees him looking at her but pretends not to notice.", "KING\n (warning her)\n For the good of everyone who enjoys\n the favor of the throne.\n\n INANNA\n Whatever. I'm just so incredibly\n bored.", "INANNA\n So they say, but the only one who\n ever goes in is the High Priest.\n They say it's instant death for\n anyone else to enter.", "(to Sargon)\n Burn her.-\n Sargon and Cain seize Inanna, but she shrugs them off and\n rises with dignity.", "ornately decorated litter shaded with a silk canopy. On it\n is the PRINCESS INANNA, a stunning young woman, richly", "SARGON\n All is in readiness, Majesty.\n\n INANNA\n (glares at the King)\n What now? More virgins to\n sacrifice?", "PRINCESS INANNA\n She glances at Zed again, but this time a slight smile\n crosses her lips.", "Zed sees the Princess and is instantly taken with her beauty.\n Princess Inanna glances his way and can't help but notice\n he's the only person in the square still standing. She gives", "humble sacrifice to the sacred\n temple fire-- our own step-\n daughter, the Princess Inanna!\n The crowd gasps.", "INANNA\n Come.\n She takes his hand and leads him away.\n A SHADOWY FIGURE watches them from behind a curtain.\n\n CUT TO:", "CAIN\n The Princess Inanna. She's totally\n hot, but don't even think about it.", "INANNA\n (gets very, very close)\n I know why. To bring you here-- to\n this place-- to me.\n\n ZED", "INANNA\n Isn't that the idiot who was\n standing up in the street?\n Maya sees him, too, and starts fuming.\n The High Priest continues.", "INANNA\n This is what you've been chosen\n for! To speak to the Gods and\n plead with them not to destroy the\n city. Then come back out and tell\n me what it's like inside.", "INANNA\n Good. See that he's bathed and\n dressed, then bring him to me.\n Maya frowns and exits.", "BIG GUARD\n That's far enough, slave.\n Oh stops right there, frustrated and frightened.\n\n THE TEMPLE\n Inanna is led out last, now also having been drugged." ], [ "ZED\n He makes his way to a position just below the royal pavilion\n and stares up at the Princess Inanna.\n She sees him looking at her but pretends not to notice.", "PRINCESS INANNA\n She glances at Zed again, but this time a slight smile\n crosses her lips.", "Zed sees the Princess and is instantly taken with her beauty.\n Princess Inanna glances his way and can't help but notice\n he's the only person in the square still standing. She gives", "INANNA (O.S.)\n Come to me.\n Zed turns and sees the Princess standing on the terrace.", "INANNA\n (toying with him)\n And what do you think? Am I evil?\n\n ZED\n I don't really know you. But you\n don't look evil.", "INANNA\n Yes, finally a man who has the\n courage to question the order of\n things--- a man chosen by the Gods\n to do something great.\n\n ZED", "Zed grins back at her.\n The Princess whispers something to her handmaiden Maya and\n subtly points Zed out to her. Maya nods obediently, glaring", "INANNA\n (gets very, very close)\n I know why. To bring you here-- to\n this place-- to me.\n\n ZED", "ZED\n (looking around nervously)\n What are we doing here?\n\n INANNA\n I want you to enter the Holy of\n Holies.", "ZED\n I was just looking for the\n bathroom.\n\n INANNA\n\n (INNOCENTLY)\n I told him not to go in.", "ZED\n That's what I've been trying to\n tell you.\n Zed and Maya, Oh and Eema stand there basking in the\n gratitude of the people as Inanna looks on.", "ZED\n (mulling it over)\n Right-- right. Then again, if the\n rules say--\n\n INANNA\n Do you always follow the rules?", "57 INT. TEMPLE - MOMENTS LATER\n\n Zed and Princess Inanna stealthily enter the temple.", "ZED\n Then why am I going in?\n\n INANNA", "INANNA\n Isn't that the idiot who was\n standing up in the street?\n Maya sees him, too, and starts fuming.\n The High Priest continues.", "CAIN\n The Princess Inanna. She's totally\n hot, but don't even think about it.", "INANNA\n Come.\n She takes his hand and leads him away.\n A SHADOWY FIGURE watches them from behind a curtain.\n\n CUT TO:", "ZED\n You! Slave girl!\n (he pulls her away from\n\n SARGON)\n I told you to fetch me more wine!\n Apologize to this officer--- now!", "Zed. He doesn't recognize her, but we do. It's Maya, now\n elaborately costumed and made-up.", "KING\n (warning her)\n For the good of everyone who enjoys\n the favor of the throne.\n\n INANNA\n Whatever. I'm just so incredibly\n bored." ], [ "ABRAHAM\n Death to the idolators!\n Abraham's small army of HEBREWS reveal themselves, draw their", "ABRAHAM\n (getting up)\n Accompany me.\n Abraham sweeps out of the tent. Zed and Oh jump to their\n feet and follow. Isaac tags along.", "weapons and attack the reinforcements.\n The last Hebrew to unrobe is Isaac, who just stands there\n observing the growing chaos.", "Abraham who occupies the place of honor.\n Zed and oh, now also wearing robes and skullcaps, are sitting\n right beside him eating and drinking everything in sight.", "ABRAHAM\n Their women are whores; their\n shameless lust knows no bounds.\n They flaunt their flesh without\n shame and any man may have\n knowledge of them.", "there, as well as a great number of freed slaves and Hebrews.\n Isaac is checking out Maya's breasts.", "FIRST GUARD\n What's this now?\n\n SENTRY\n They were banging on the gate.\n Hebrews, from the look of them.", "ABRAHAM\n The men of the city are weak and\n soft, fat with rich food,\n intoxicated by strong drink.", "clean up my tent, you can stop now.\n I get it.\n Then Abraham pulls a long slaughtering knife from beneath his\n robe.", "Isaac sits beside them.\n ABRAHAM claps his hands for attention. Zed and Oh look up as\n the music stops.", "ABRAHAM\n (nods sagely)\n Verily, thou wast sent to stay my\n hand by the Eternal one, blessed be\n He.\n\n ZED", "MARLAK\n All hail the Chosen One!\n With that the crowd explodes into rousing cheers.\n In the midst of the crowd, Abraham looks around and scowls.", "ABRAHAM\n (scowls at him)\n I and my kinsmen have vanquished\n our enemies by the mighty hand of", "ABRAHAM\n No, I was going to sacrifice him.\n There's a difference.", "ABRAHAM\n (to the assembly)\n My brothers, let us give thanks\n unto God for staying my hand on the\n mountain this day.", "ABRAHAM\n (to Zed)\n I am Abraham, son of Terah of the\n house of Nahor.", "ABRAHAM\n Therefore, to signify my Covenant\n with the One True God, on this\n night will I circumcise the flesh\n of my foreskin, and of you and\n every male who dwells hereby.", "STOP!\n Abraham and Isaac both turn to see Zed and Oh step out from\n behind the rocks. Their clothes are tattered and they are", "ABRAHAM\n They bow down before false Gods and\n worship graven images.", "ABRAHAM\n No. So it shall be written, so it\n shall be done.\n (to Isaac)\n Get my big knife.\n Zed and Oh both reflexively cover their crotches." ], [ "ZED\n We didn't know you were going to\n kill him--\n\n CAIN\n You calling me a murderer?\n (he clutches the rock)", "CAIN\n Because when they find him and his\n head is all bashed in, they're\n going to start pointing fingers,", "with all his might. Abel falls heavily to the ground and\n lies there, not moving. Cain stands over him, breathing\n hard.", "ADAM\n Cain!\n\n CAIN\n Yeah, hey-- where's everybody\n going?\n\n ADAM\n To look for Abel.", "Cain uses the distraction to sneak-punch Abel and the fight\n is on. They start throwing wild punches, then clinch and\n wrestle each other to the ground.", "in his mouth. The child starts crying, Cain kicks her in the\n ass and she runs away.", "ZED\n Nothing!\n Cain stares at Abel, still inert on the ground.\n\n CAIN\n He's all right. Probably just\n\n RESTING--", "CAIN\n (to Abel)\n You think you're so superior to\n everyone else.\n\n ABEL\n Superior-er than you.", "pursuers.\n Suddenly a bolt of lightning splits the bright blue sky and\n strikes Cain right on the forehead, knocking him back into", "CAIN (cont'd)\n (nose bleeding, stunned)\n Nice move!\n He passes out and goes down.", "ADAM\n (to Cain)\n Your sister Lilith said she saw him\n in the field with you.\n\n CAIN\n I think that was yesterday.", "CAIN\n Really? Let's see how good you are\n at getting your ass kicked.\n (shoves him)\n\n ABEL\n Yeah? Bring it!\n (shoves him back)", "(SHOCKED)\n I guess that settles it.\n\n CAIN\n (turns on him sharply,\n still holding the bloody\n\n ROCK)\n What?!", "CAIN\n\n (MUTTERS)\n Good luck.\n\n ADAM\n What did you say?", "CAIN\n wait a second. Do I detect a tone\n here?\n\n ZED\n All right, honestly? You did sell\n us into slavery.", "Cain leads them through the narrow crowded streets. People\n avoid Cain's gaze and part like the Red Sea to allow him\n through.", "CAIN\n (badly overplaying)\n Abel? Haven't seen him. I thought\n he was with you.", "CAIN\n The three of us are inseparable.\n We're like brothers.\n Cain squeezes both their shoulders and gives Maya an\n artificial smile.", "(BITTERLY)\n\n CAIN--\n (to the others)\n After him!\n The farmers shout and race back to the hamlet.\n\n CUT TO:", "ZED\n No, next to him!\n He points at a BOY, about nine years old and not very big.\n\n CAIN\n He's just a kid!" ], [ "Zed perks up at the mention of Sodom, recalling the\n destination of the soldiers who took Maya and the others.", "father I came with you to Sodom.\n So long, suckers!\n He takes off running.", "SERGEANT\n (to Zed and Oh)\n Welcome to Sodom.\n As he takes a big backswing, Zed and Oh shut their eyes and\n prepare for the worst.", "Okay, you win. Take us to Sodom.\n Isaac takes a couple of steps to the top of a rise and points\n off in the distance.", "CAIN\n You know, you guys are lucky that\n sergeant is a friend of mine. I\n let him sodomize me once right\n after I got here and he's been real\n nice to me ever since.", "Oh is up to his knees in a mud pit, trampling straw into the\n thick mud. A Guard cracks a bullwhip which flicks painfully\n across his shoulders.", "ZED (cont'd)\n (jumping in quickly)\n People! Friends! Sodomites!\n Okay, that was a little confusing,", "OH\n (to the Edomite slave)\n I know him, too.\n Oh springs into action, attacking the big guard in front of", "SARGON\n Tend to the slaves. We leave for\n Sodom before daybreak.\n\n GUARD\n Yes, sir.\n\n 30", "SARGON\n (shouts an order)\n Take the slaves!\n Marlak starts for Zed but two soldiers ride up and throw a", "A SOLDIER\n Sir, shall I pursue them?\n\n SARGON\n No. Let the desert have them.\n They won't get far.\n\n CUT TO:", "CAIN\n You're gonna love Sodom. Trust me.\n It's crazy. This morning, I almost\n got a handie behind that pita\n stand.", "THEIR POV\n Shining in the moonlight, the magnificent city of Sodom set\n atop a broad hill surrounded by high walls.\n\n ZED\n I knew it was right around here.", "baal and the city of Sodom--\n The King nods graciously.\n HIGH PRIEST (cont'd)", "SENTRY\n (shouts at him)\n Halt!\n Isaac stops a safe distance away and turns back to taunt the\n guards.", "The High Priest dismisses the young men, then stands and lets\n his rich outer robe fall to the floor. His chest, back and\n shoulders are incredibly hairy.", "household slave. She stops to serve some rowdy OFFICERS who\n take the opportunity to tease and fondle her. She tries to\n pull away but Sargon, the general, grabs her arm.", "The square is filling up with people. The ROYAL PROCESSION\n is moving to the seats of honor to watch the sacrifice.\n Cain is now among the Royal Guard having been promoted for", "weapons and attack the reinforcements.\n The last Hebrew to unrobe is Isaac, who just stands there\n observing the growing chaos.", "On the balcony, the King shifts uncomfortably, intimidated by\n the power of the mob. He nods to Sargon who signals to Cain." ], [ "Isaac sits beside them.\n ABRAHAM claps his hands for attention. Zed and Oh look up as\n the music stops.", "ISAAC (cont'd)", "ISAAC\n Hey, Dad? We making a burnt\n offering?\n\n ABRAHAM\n Yes, Isaac. As God has commanded\n me.", "ISAAC\n (humoring him)\n Best dad in all the land, everyone!\n\n THE KINSMEN\n (a ritual response, in", "ABRAHAM\n No. So it shall be written, so it\n shall be done.\n (to Isaac)\n Get my big knife.\n Zed and Oh both reflexively cover their crotches.", "Abraham leads Isaac, Zed and Oh past the colorful tents of\n his people. The camp is alive with activity.\n\n 35 INT. ABRAHAM'S TENT - NIGHT 35", "ABRAHAM\n No, I was going to sacrifice him.\n There's a difference.", "ABRAHAM\n (getting up)\n Accompany me.\n Abraham sweeps out of the tent. Zed and Oh jump to their\n feet and follow. Isaac tags along.", "ABRAHAM\n (to Zed)\n I am Abraham, son of Terah of the\n house of Nahor.", "there, as well as a great number of freed slaves and Hebrews.\n Isaac is checking out Maya's breasts.", "(CONFUSED)\n I don't see the sheep.\n\n ABRAHAM\n The Lord will provide the sheep.\n Abraham takes a cord and starts tying Isaac's hands together.", "ZED\n (indicating Isaac)\n Not to him, I'm guessing.\n Isaac nods gratefully.", "weapons and attack the reinforcements.\n The last Hebrew to unrobe is Isaac, who just stands there\n observing the growing chaos.", "clean up my tent, you can stop now.\n I get it.\n Then Abraham pulls a long slaughtering knife from beneath his\n robe.", "ISAAC\n You're going to Sodom, right?\n\n ZED\n No. Your dad specifically said\n Sodom and Gomorrah were evil.", "(NERVOUSLY)\n Uh-- is this like a magic trick?\n Without another word Abraham takes strong hold of Isaac and", "STOP!\n Abraham and Isaac both turn to see Zed and Oh step out from\n behind the rocks. Their clothes are tattered and they are", "ISAAC (cont'd)\n I'm telling mom!\n The knife flashes in the sun as it descends toward the boy.", "ABRAHAM\n By what right do you interfere?\n Art thou an angel of the Lord?\n\n ZED\n (good question)\n What do you think?", "ABRAHAM\n (nods sagely)\n Verily, thou wast sent to stay my\n hand by the Eternal one, blessed be\n He.\n\n ZED" ], [ "ZED AND OH\n (a beat late)\n --mumble mumble mumble loving\n kindness.\n Abraham looks at them.", "ABRAHAM\n (getting up)\n Accompany me.\n Abraham sweeps out of the tent. Zed and Oh jump to their\n feet and follow. Isaac tags along.", "Isaac sits beside them.\n ABRAHAM claps his hands for attention. Zed and Oh look up as\n the music stops.", "ABRAHAM\n Friends, whence comest thou?\n Zed and Oh look at each other blankly.\n\n ISAAC", "Zed sees him, finishes the last of the guards, and starts\n slowly moving toward the High Priest who starts backing away\n until he sees Oh moving toward him from the other side. He", "STOP!\n Abraham and Isaac both turn to see Zed and Oh step out from\n behind the rocks. Their clothes are tattered and they are", "(SHOUTING)\n Hey! Anybody there? Hello?\n Suddenly Zed and Oh are yanked off their feet from behind and\n slammed into the wall by helmeted sentries. Isaac quickly\n runs away.", "ZED AND OH\n They look at each other. Someone has to say something.\n Finally, Zed clears his throat.", "ABRAHAM\n No. So it shall be written, so it\n shall be done.\n (to Isaac)\n Get my big knife.\n Zed and Oh both reflexively cover their crotches.", "OH\n (scared, points at Zed)\n Seize him!\n The guards arrest Oh as Cain steps up and takes hold of Zed.\n\n CAIN", "Oh comes running up as the cow bucks and sends Zed flying.\n Lying on the ground, Zed looks up and sees TWO SURPRISED", "OH\n What are you doing?\n Zed makes a minimal gesture with his head. Oh looks up.", "OH\n Can we talk about this later?\n Oh pulls Zed to his feet, and they sneak off into the deep\n woods.\n\n DISSOLVE TO:", "Abraham leads Isaac, Zed and Oh past the colorful tents of\n his people. The camp is alive with activity.\n\n 35 INT. ABRAHAM'S TENT - NIGHT 35", "Zed and Oh are hiking uphill, the lush, dense verdure of the\n forest now thinning to evergreens and mountain heather.\n\n CUT TO:", "Zed and Oh are dragged onto the platform in shackles and leg\n irons.\n They see Cain riding off on a donkey. He holds up a bag of\n coins and waves goodbye.", "Abraham who occupies the place of honor.\n Zed and oh, now also wearing robes and skullcaps, are sitting\n right beside him eating and drinking everything in sight.", "The rude dwelling has a stark, somber, almost Amish feeling\n to it. Zed and Oh sit at the table sharing a simple meal youngest\n with Adam, Cain and his", "OH\n (he's sold)\n And where exactly are those cities?\n\n ZED\n (off Abraham's stern look)\n We just want to know so we can\n avoid them.", "ZED\n We've got to keep moving.\n (hauls Oh to his feet)\n I've got you, buddy-- just like\n always.\n He puts Oh over his shoulder and stumbles on." ] ]

[ "What biblical pair of brothers do Zed and Oh encounter?", "How does Cain betray Zed and Oh?", "Who do Zed and Oh encounter on the mountain?", "Who are Maya and Eema?", "Why do Zed and Oh travel to Sodom?", "Why is Inanna fasting?", "Who does Inanna think Zed is?", "What does the king intend to do with Inanna,Maya and Eema?", "Who became the ruler of Sodom?", "What profession is Zed?", "What profession is Oh?", "What did Zed accidentally do after he was banished?", "What are the names of the girls who are captured for slavery?", "Who sells Oh and Zed into slavery?", "What job does Cain offer to Zed and Oh after he saves them in Sodom?", "What place does the princess ask Zed to enter?", "What does Zed claim to be in order to save the two virgins from sacrifice?", "Rather than becoming the chose one, what does Zed choose to become instead?", "What does Oh become at the end of the story?", "Why is Zed banished from the tribe?", "What is happening to Maya and Eema after they are captured?", "Who is the hunter in this story?", "Why is Princess Inanna fasting?", "Who does Princess Inanna think Zed is?", "Abraham and the Hebrews arrived to do what?", "Who killed Cain?", "Who becomes a Sodomite soldier?", "What relation is Isaac to Abraham?", "Where do Zed and Oh find Abraham?" ]

[ [ "Cain and Abel.", "Cain and Abel" ], [ "He sells them into slavery.", "He sells them into slavery" ], [ "Abraham and Isaac", "ABRAHAM AND ISAAC" ], [ "Zed and Oh's love interests", "girls Zed and Oh wanted to lay with" ], [ "To rescue Maya and Eema.", "save slaves " ], [ "She feels guilty that most of the village is starving.", "GUILTY FOR MOST OF THE CITY STARVING" ], [ "The Chosen One.", "The Chosen One" ], [ "Sacrifice them as a gift to the gods.", "SACRIFICING" ], [ "Inanna.", "Inanna" ], [ "A hunter", "Hunter. " ], [ "A gatherer", "GATHERER " ], [ "Burned down his village", "burns down the village" ], [ "Maya and Eema", "Maya and Eema" ], [ "Cain", "Cain." ], [ "Guard", "Gaurds" ], [ "The Holy of Holies", "holy of holies" ], [ "The Chosen One", "the Chosen One" ], [ "An explorer", "an explorer" ], [ "Leader of his original village", "leader of the village " ], [ "He ate from the Tree of Knowledge of Good and Evil.", "EATING FROM THE TREE OF KNOWLEDGE GOOD AND EVIL" ], [ "They are being sold into slavery.", "They are sold into slavery. " ], [ "Zed is the hunter.", "Zed" ], [ "She feels guilty that the rest of city is starving.", "because her people are starving and she feels bad " ], [ "She thinks he is the \"Chosen One\"", "She thinks that he is the chosen one." ], [ "Overthrow the king.", "To overthrow the King." ], [ "Abel killed him.", "Abel. " ], [ "Cain.", "Cain." ], [ "His son.", "son" ], [ "On a mountain.", "The mountain." ] ]

[ [ "Japan. Nico now in his teens, studying with real masters,\n being dumped on his butt, posing smiling beside Japanese\n martial artists, then himself as an instructor. Now: a", "and the savviest fighter. He throws three consecu-\n tive vicious blows at Nico's head; Nico drops to one", "his attackers. A coffee stand goes flying. A body sails\n into a makeup display. One fool is lucky enough to land\n a blow that bloodies Nico's nose; he pays with a shattered", "B) Gun and Machete Man are side by side. As Machete Man\n starts to move, Nico spins in beside him, seizes his", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --", "Nico raises his fist to strike.", "Nico is shaking with rage and fear. He takes several steps\n away from the hooch, then draws up abruptly. Nico pulls his", "NICO\n It's a start.\n Nico sits down beside Watanabe.\n DISSOLVE TO:", "Nico's gun from his own pocket, but Nico bats it a-\n way. Machete Man scrambles to his feet, in terror,\n bolts.", "(as Nico fights his\n own emotion)\n Pride. It's what you have inside.\n You don't live the way other people", "Nico comes storming out. A Maid and a bodyguard follow\n after him screaming. The door slams. We see it is\n missing a panel.", "Nico winces as the doctor finishes applying a bandage. In\n the background we hear a COMMOTION.\n336 INT. BASEMENT STAIRWAY - NIGHT", "Nico moves swiftly through the convention center floor\n (which is packed for thousands of square feet with sales\n booths, each manned by technicians and pitchmen, all", "terrifying quickness, cocking the blade to slash at Nico.\n Before Zagon's blow even starts, Nico slams him with a\n ferocious elbow shot right under the jaw. Zagon literally", "Long enough to finish you.\n Sweating, half-spitting, Zagon slashes at Nico like an\n animal -- Nico traps the knife, and enters, smashes Zagon", "wearing a Wyatt Earp T-shirt, in a communion suit. Then:\n in his first qi, a youngster studying the martial arts; he", "Nico at the wheel has just pulled away from the bakery.\n Jackson, in the passenger seat, studies her partner for a\n few moments, shaking her head at the contradictions in this", "Nico is on him like a cat, tearing the poor boy from behind\n the wheel, leaping in --", "Larusso studies Nico a long moment. Then takes Nico's elbow. *\n *\n347 OMITTED *", "Nico starts for the altar where the damage is worst." ], [ "Nico gives a last look, turns and takes off down the jungle\n trail. Fox seems abandoned. The DISTANT BOMBING CONTINUES.\n Nico disappears into the darkness.", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "Nico winces as the doctor finishes applying a bandage. In\n the background we hear a COMMOTION.\n336 INT. BASEMENT STAIRWAY - NIGHT", "his attackers. A coffee stand goes flying. A body sails\n into a makeup display. One fool is lucky enough to land\n a blow that bloodies Nico's nose; he pays with a shattered", "CUT TO:\n12 EXT. JUNGLE - NIGHT\n\n The sky glows from nearby bomb attacks.\n13 NICO", "NICO\n I was so sure that you and I were on\n opposite sides of the fence... and\n that you and your people were\n destroying this country --\n Nico pauses, glances away across the grounds.", "Nico moves swiftly through the convention center floor\n (which is packed for thousands of square feet with sales\n booths, each manned by technicians and pitchmen, all", "Nico looks toward the priest and the front of the church.\n He notices a woman in a black shawl rise from the front\n of the church and turn, heading down one of the side", "NICO\n (presses closer)\n We've wiped out entire fucking\n countries. And not one agent --", "Nico's gun from his own pocket, but Nico bats it a-\n way. Machete Man scrambles to his feet, in terror,\n bolts.", "We realize Nico, Jackson and Lukich are wired, with mikes\n out of sight under their coats. Nico glances to the pick-", "Nico pulls on a jacket. He looks like he could kill. He\n restrains himself for his family's sake.\n AGENT HALLORAN\n (to cops)", "Nico at the wheel has just pulled away from the bakery.\n Jackson, in the passenger seat, studies her partner for a\n few moments, shaking her head at the contradictions in this", "NICO\n Watch your step.\n\n260 EXT. DESERTED LAKEFRONT - DAY\n Nico drives off, leaving the FBI man miles from nowhere.", "B) Gun and Machete Man are side by side. As Machete Man\n starts to move, Nico spins in beside him, seizes his", "NICO\n (to refugees)\n I was there... in the church.\n They tried to kill my family, too.", "Nico takes a step toward Zagon.\n NICO\n What the fuck does this have to do\n with military intelligence?", "FIRE THUNDERS around him. Nico dives headlong behind a\n concrete column, which is instantly chewed to shreds by", "few military uniforms enter the picture, we see security\n clearance documents with Nico's picture and name on them.\n Then Nico near draft age with an American friend NELSON", "Nico.\n O.S. behind Nico: the unmistakable sound of a .45 SAFETY\n being CLICKED OFF. Nico freezes, his back to the voice. He" ], [ "One of the CIT men yanks the prisoner's leg forward, clamping\nit to the ground with his hands. The prisoner still hasn't\nflinched. He seems as locked into this dance of death as", "close as a lover, displaying the blade in the lamplight.\n ZAGON\n (to second prisoner)\n I'm gonna start carving at your ankles.", "20 TWO ASIAN PRISONERS\n are on their knees, shirtless, handcuffed with heavy nylon\n tape to a stake driven into the ground in the center of the", "appears in the torturer's hand. It slashes Nico, right a-\n cross his already wounded ribs! Nico cries in agony --", "of our shit --\n The prisoner tries to speak, but he's in such torment all\n that comes out is a blood-curdling wail --", "25 SECOND PRISONER\n watches with eyes like flint. He is in his mid-forties,\n scarred, missing several fingers. Probably a colonel or", "Salvano and Chi Chi look on, revulsed. Whatever is happening\n to Father Tomassino is enough to make even cruel men ill.\n ZAGON (O.S.)", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "The first prisoner is plainly in a death spasm.", "(from the side)\n What the hell's wrong?\n ZAGON\n (throws the prisoner\n down)", "on his face. A doctor and several nurses are pulling the\n plugs on the terribly mutilated body of Father Genarro.\n A nun is crying; a fellow priest is blessing the Father.", "He is in a chair, his wrists strapped to the chair arms. He\n is sweating, fearful but clinging to his courage.\n289 ANOTHER ANGLE", "punches the prisoner full in the face, holding the knife\n handle in his fist to double the force of the blow and to\n terrify him with the proximity of the blade. The prisoner", "17 NICO'S POV - HOOCH\n Two Asian prisoners, stripped to the waist, babbling in-\n coherently, are dragged out the back by a pair of Cambodian", "He moves close to the first prisoner.\n ZAGON\n (to first prisoner)\n Where is it, Charley? You got six tons", "hooch. One of the subordinate CIT men moves in, grabs the\n first prisoner by the shoulders. Zagon injects the first\n prisoner. Instantly the man begins shivering, convulsing.", "customer. The second prisoner meets Zagon's eyes, as if\n daring him to use the drugs on him, too. Zagon eyes the\n prisoner with barely contained hatred. The prisoner doesn't", "back in the chair, gagging, choked by the noose. Nico\n looks like the Viet prisoner -- the one we saw in the\n opening sequence. Like the prisoner, Nico takes his", "guards and hustled off into the darkness. VOICES can be\n heard inside the hooch. A single lantern glowing inside\n gives the hut a creepy, frightening aspect.", "has moved as close to Zagon and the first prisoner as a fight\n referee to two boxers. The prisoner is convulsing wildly." ], [ "Nico at the wheel has just pulled away from the bakery.\n Jackson, in the passenger seat, studies her partner for a\n few moments, shaking her head at the contradictions in this", "next to a tall black hooker. MOVE IN ON the black hooker.\n It's Nico's partner, Jackson, dolled up like a street-", "I couldn't tell, it looked like\n her ass --\n Nico rages like a beast.\n NICO", "Nico is on him like a cat, tearing the poor boy from behind\n the wheel, leaping in --", "NICO\n Watch your step.\n\n260 EXT. DESERTED LAKEFRONT - DAY\n Nico drives off, leaving the FBI man miles from nowhere.", "Nico comes storming out. A Maid and a bodyguard follow\n after him screaming. The door slams. We see it is\n missing a panel.", "Nico has the girl in the red dress and lizard shoes\n (CARLA DECARLO) out in the hallway adjacent to the lock-", "Nico gives a last look, turns and takes off down the jungle\n trail. Fox seems abandoned. The DISTANT BOMBING CONTINUES.\n Nico disappears into the darkness.", "Nico grabs him by the hair.\n NICO\n You didn't come after me for a\n piece of ass.\n (twists the youth's\n neck)\n Who paid you?", "Nico indicates a briefcase he is carrying.\n NICO\n It's all here.\n Nico turns to his uncle. Regards him with affection.", "Nico grabs the Pimp by the scruff of the neck, lifting him\n bodily. Lucy starts wailing in horror. Nico smashes the\n Pimp's face down into a mirror with white powder on the\n table --", "81.\n\n297 EXT. TENEMENT - NIGHT\n Nico and Lukich exit the vehicle. Nico indicates an adjacent\n building; he and Lukich start for it.", "Nico.\n O.S. behind Nico: the unmistakable sound of a .45 SAFETY\n being CLICKED OFF. Nico freezes, his back to the voice. He", "93 BACK TO NICO AND JACKSON", "B) Gun and Machete Man are side by side. As Machete Man\n starts to move, Nico spins in beside him, seizes his", "Nico and Jackson come out. Nico has made a decision.\n NICO\n You're outa this, Jax. Go home.", "doubles over, gasping. The flower girls shriek even\nlouder. Nico turns to the girls with a ferocious glare.\n NICO", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "NICO\n It's a start.\n Nico sits down beside Watanabe.\n DISSOLVE TO:", "Nico looks toward the priest and the front of the church.\n He notices a woman in a black shawl rise from the front\n of the church and turn, heading down one of the side" ], [ "Salvano couldn't answer if he wanted to. The other cops\n look at Nico with awe. Lukich whips the van door open,\n yanks a tarp off the cargo.", "Nico storms through toward the restaurant rear. The\n employees are getting ready for the evening crowd. He\n flashes his badge, checks the kitchen, Salvano's\n office. The man is gone.", "87 INT. UNMARKED CAR - MOVING\n Nico and Jackson exchange a glance.\n\n JACKSON\n Salvano?\n NICO\n Jackpot.", "Nico is slamming a fresh clip in, Lukich is stumbling away\n toward the stairwell. Salvano and Chi Chi appear in the", "Nico dumps him on the ground and walks away. Instantly\nMachete Man changes his tune.\n MACHETE MAN\n Salvano! Bautista Salvano!", "Zagon and Salvano OPEN FIRE from the apartment full-tilt.\n BULLETS RIP through the WALL, BLASTING WOOD and PLASTER\n everywhere. Nico shoves Lukich toward the stairwell --", "89 INT. SALVANO'S RESTAURANT - NIGHT\n Nico and Jackson enter the main dining room, which we\n recognize from the scene with Nardo the busboy.", "the FBI agents who authorized the release of Salvano. He\n lowers his gun, opens the door. The cops surge in.\n NICO\n (to one of cops)", "Nico's eyes never leave Chi Chi.\n92 REAR DINING ROOM\n From the back hallway Salvano emerges -- in his tux,", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "FOX\n And a ton a week of coke from other\n places.\n NICO\n Which he funnels here through Salvano.\n With the Company getting its cut.\n FOX\n Legal tender.", "Nico floors it in reverse, slamming into Salvano, lifting\n him off his feet, smashing him with the car into a metal *\n grate wall. *", "From the restaurant door, Salvano and Chi Chi emerge.\n They get into a black Cadillac and pull out. *\n NICO (O.S.)\n And now for some dessert.", "Chi. Nico interrogates the shop boss, several workers.\n All shake their head, gesture emphatically. Salvano\n not here.", "Two agents enter the room carrying Nico's confiscated\n papers and tapes and begin rummaging through dressers,\n jewelry boxes and closets. Rosa crosses swiftly to calm\n Sara. *", "the doorway, through the walls. Salvano clutches his hench-\n man, using his dead body as a shield; Nico's BULLETS blow Chi", "Salvano glowers at Nardo like he's about to punch him.\n Instead he reaches over, playfully chokes the busboy --", "hands it to Salvano.\n NICO (O.S.)\n You'll have your engine block\n next Tuesday, boss.", "tail on Salvano, is stoped by Nico. He wants to stay and\n look around.", "117 CLOSEUP - NICO'S HAND\n Salvano's face is bashed. Nico's huge hand grabs Salvano's\n throat; he won't let go." ], [ "The refugees' faces confirm this.\n NICO\n (understands)\n It was Father Tomassino they were\n trying to kill.", "careful.\" Nico glances to Branca, who motions subtly to\n hurry.", "What's going on, Nico? What\n happened?\n NICO\n I got a call last night. An old", "The fourth obeys. Nico moves to the pay phone on the\n wall, covering the men with his .45. He grabs the re- *", "NICO\n (into phone)\n This better be good, Jax.\n\n MAN (V.O.)\n (filtered)\n It's bad, Nico.", "JACKSON\n (to Lukich)\n You call Nico's goddamn Uncle and\n find out if he's heard anything.", "Nico's gun from his own pocket, but Nico bats it a-\n way. Machete Man scrambles to his feet, in terror,\n bolts.", "LOUD POUNDING comes O.S. from the front door. Nico jumps\n out of bed. His gun appears in his hand, as if from nowhere,", "Nico pulls on a jacket. He looks like he could kill. He\n restrains himself for his family's sake.\n AGENT HALLORAN\n (to cops)", "Nico glances to Sara. The voice on the phone is not\n Jackson. Nico is chilled. He glances to Sara, finger to", "Nico is shaking with rage and fear. He takes several steps\n away from the hooch, then draws up abruptly. Nico pulls his", "(referring to the cops)\n These are friends.\n (to Nico)\n This is Father Tomassino.", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "Nico leans to kiss her, but is cut off by the HARSH RING\n of a PHONE. Sara starts at the sound. She and Nico\n glance at each other --", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --", "face, about to pull the trigger. Nico sidesteps, grabbing\n the man's wrist. The SHOTGUN GOES OFF, missing Nico by", "Nico comes storming out. A Maid and a bodyguard follow\n after him screaming. The door slams. We see it is\n missing a panel.", "NICO\n That's how Fox knew.\n JACKSON\n What?\n\nNico turns to Lukich, dead earnest.", "NICO\n Father Genarro.\n The priest seizes Nico's hand warmly, smiles at Jackson.", "be there. Tell mama not to worry.\n Jackson and Lukich are waiting by Nico's car. They see\n Nico emerge from the phone booth." ], [ "The drugs have taken hold. The priest's brain is an open\n memory bank for Zagon to probe.", "389 ZAGON\n scampers free. Nico gets to his feet, bleeding. Nico is\n between Zagon and Zagon's machine gun on the ground. Zagon", "Nico takes a step toward Zagon.\n NICO\n What the fuck does this have to do\n with military intelligence?", "one arm. He begins to now do to Zagon's neck what he did\n to his arm. We hear a terminal CRACK. Zagon's body", "clusters, clawing and scrambling over each other for safety.\n ZAGON\n (to first agent,\n advancing)", "Zagon sets the syringe down, slips on a heavy, weighted\n glove.\n ZAGON\n (to agents)", "23 NICO\n enters at this point. He takes in the scene quickly, moves\n to a spot beside the entrance. Zagon doesn't look at Nico,", "Zagon grabs him fiercely by the hair.\n ZAGON\n Don't you die on me, fucker --\n FOX", "customer. The second prisoner meets Zagon's eyes, as if\n daring him to use the drugs on him, too. Zagon eyes the\n prisoner with barely contained hatred. The prisoner doesn't", "ZAGON\n (close to priest)\n -- Can we kill him? If you told anyone,\n about our plans to kill the senator,", "ZAGON\n Your orders are 'assist and observe'\n cherry --\nZagon turns to face Nico --", "aging since SE Asia. His face is even scarier than when he\n performed similar atrocities in those days. Zagon prepares\n a syringe, tests it, shooting a clear liquid skyward.", "listening hard -- and even sniffing the air -- glances back\n at Zagon, who stands impatiently, drawing on a cigarette.\n ZAGON\n What are you looking at, hotshot?", "FOX\n (to Nico)\n Back off, partner --\nZagon turns from Nico. He moves close to the second prisoner,", "first agent directly in Zagon's line of fire. Zagon doesn't\n hesitate; he OPENS UP on Nico, cutting down his own man --", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --", "Nico's eyes stay on the approaching \"cowboy,\" KURT ZAGON,\n for whom he plainly feels an instant animosity.\n NICO\n These assholes are agency?", "in the face with one lightning blow. We see Zagon's nose\n and face completely cave in. Nico comes under Zagon's\n elbow, the arm that still holds the knife clamping it in", "NICO\n Well... well. What a team we have\n here.\n ZAGON", "399 EXT. ALLEY - REAR OF HOTEL - NIGHT\n Zagon races down the darkest of alleys, rounds a corner --" ], [ "Nico looks toward the priest and the front of the church.\n He notices a woman in a black shawl rise from the front\n of the church and turn, heading down one of the side", "FATHER TOMASSINO\n How do you do?\n Nico shakes the young priest's hand. There is a moment", "176 INT. CHURCH\n Nico on his feet, plainly the leader in this moment of\n terror. Worshippers, shattered and bleeding, pour past", "BARREL BLAST blows the chair into powder. Almost instan-\n taneously Nico sees the priest -- just as Zagon slashes the", "and his congregation. Fragments of plaster, wood, and\n marble come blasting past Nico and his family! Churchgoers\n in the first rows are blown off their feet by the shock", "The refugees' faces confirm this.\n NICO\n (understands)\n It was Father Tomassino they were\n trying to kill.", "Nico turns to see Father Genarro, perspiring in a baggy\n sweatshirt, a handball glove on his hand. The courtyard\n alongside the church is marked off as an athletic area.", "180 INT. CHURCH\n Nico appears through the backlit smoke and kneels over\n the bloodied body of Father Genarro. He desperately tries\n to maintain the priest's life.\n CUT TO:", "177 EXT. FRONT OF CHURCH - MORNING\n The congregation streams out in terror-stricken disarray.\n We see Nico's family -- they're all right.", "-- watching a 60-ish priest, FATHER GENARRO, finish the\n final ritual on Nico's infant son Julian. The priest", "Another priest emerges from a door, nods, passes. Nico\n and Jackson glance in through the door as they walk.\n They reach a door with a broken handle. It looks like a", "178 NICO\n appears from the church, carrying a young choir girl. He\n hands the child over to two older women, races back into\n the church.", "Nico and Lukich enter, start down the steps.\n NICO\n They killed the wrong priest.\n Lukich doesn't understand.", "priest's throat! Salvano SHOOTS Lukich point blank, in the\n shoulder, sending Lukich's gun sailing. Nico, FIRING, grabs", "Nico stops. He's speechless with rage. His finger points\n toward Halloran like a loaded gun.", "NICO\n There was a second priest... from\n Costa Rica... hiding at the church.\n He was the one they meant to kill.", "to show you something. Please.\n The priest begins leading Nico and Jackson. Jackson keeps\n glancing back out the alley to see Salvano's car slowly\n driving by.", "been moved from church basement to a back room in the day\n care center. Nico kneels, facing them. Jackson in the\n background. A nun (SISTER BONIFACIA) and a priest (whom", "on his face. A doctor and several nurses are pulling the\n plugs on the terribly mutilated body of Father Genarro.\n A nun is crying; a fellow priest is blessing the Father.", "his attackers. A coffee stand goes flying. A body sails\n into a makeup display. One fool is lucky enough to land\n a blow that bloodies Nico's nose; he pays with a shattered" ], [ "Nico takes a step toward Zagon.\n NICO\n What the fuck does this have to do\n with military intelligence?", "389 ZAGON\n scampers free. Nico gets to his feet, bleeding. Nico is\n between Zagon and Zagon's machine gun on the ground. Zagon", "Nico's eyes stay on the approaching \"cowboy,\" KURT ZAGON,\n for whom he plainly feels an instant animosity.\n NICO\n These assholes are agency?", "The drugs have taken hold. The priest's brain is an open\n memory bank for Zagon to probe.", "Zagon grabs him fiercely by the hair.\n ZAGON\n Don't you die on me, fucker --\n FOX", "Zagon sets the syringe down, slips on a heavy, weighted\n glove.\n ZAGON\n (to agents)", "one arm. He begins to now do to Zagon's neck what he did\n to his arm. We hear a terminal CRACK. Zagon's body", "first agent directly in Zagon's line of fire. Zagon doesn't\n hesitate; he OPENS UP on Nico, cutting down his own man --", "clusters, clawing and scrambling over each other for safety.\n ZAGON\n (to first agent,\n advancing)", "aging since SE Asia. His face is even scarier than when he\n performed similar atrocities in those days. Zagon prepares\n a syringe, tests it, shooting a clear liquid skyward.", "ZAGON\n Hold him up!\n Pistol agent and Bad Dude lift Nico. Zagon slams him", "self, but the agents' powerful arms hold him.\n ZAGON\n That's it. Fight it, cherry.\n Fight it, so it speeds faster on", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --", "ZAGON\n (close to priest)\n -- Can we kill him? If you told anyone,\n about our plans to kill the senator,", "23 NICO\n enters at this point. He takes in the scene quickly, moves\n to a spot beside the entrance. Zagon doesn't look at Nico,", "Shotgun Agent raises his weapon to fire --\n ZAGON\n No! I want him! I want him alive!", "customer. The second prisoner meets Zagon's eyes, as if\n daring him to use the drugs on him, too. Zagon eyes the\n prisoner with barely contained hatred. The prisoner doesn't", "399 EXT. ALLEY - REAR OF HOTEL - NIGHT\n Zagon races down the darkest of alleys, rounds a corner --", "cable from his grip) -- grabbing Zagon with his taped\n hands by the throat, lifting him bodily, slamming him\n ferociously into the wall! Zagon drops to the floor,", "FOX\n (to Nico)\n Back off, partner --\nZagon turns from Nico. He moves close to the second prisoner," ], [ "F.B.I., Toscani. Open up.\n Nico pulls aside a curtained glass panel; he recognizes\n two uniformed police officers, plus Neeley and Halloran, *", "JACKSON\n You're one crazy bastard, Toscani.\n Nico opens the rear door, helps Jackson ease Lucy in.", "Nico storms through toward the restaurant rear. The\n employees are getting ready for the evening crowd. He\n flashes his badge, checks the kitchen, Salvano's\n office. The man is gone.", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "PHOTOGRAPHIC STILLS show us NICOLA TOSCANI as a city boy in\n various growing-up SHOTS, circa 1950's -- with street chums", "would have caught it. But how many\n Nicola Toscani's are there?\n NICO\n You got it off the arrest sheet.", "Chi. Nico interrogates the shop boss, several workers.\n All shake their head, gesture emphatically. Salvano\n not here.", "Toscani -- martial arts hero, chop\n suey crap. Well I'll tell you\n something: you're not bullet-\n proof. You're not even a good", "344 NICO'S POV - ACROSS ROOM\n A steel door opens on the far side. Out steps a small\n Italian man in his seventies, wearing the faded denim of\n an inmate.", "BRANCA\n Take care of yourself, Nicola.\n CUT TO:\n\n355 SERIES OF SHOTS", "(referring to the cops)\n These are friends.\n (to Nico)\n This is Father Tomassino.", "LIEUTENANT STROZAH *\n You're officially suspended, Toscani.\n I want your tin... and your iron.", "Nico is slamming a fresh clip in, Lukich is stumbling away\n toward the stairwell. Salvano and Chi Chi appear in the", "Nico pulls on a jacket. He looks like he could kill. He\n restrains himself for his family's sake.\n AGENT HALLORAN\n (to cops)", "Nico moves swiftly through the convention center floor\n (which is packed for thousands of square feet with sales\n booths, each manned by technicians and pitchmen, all", "Bad-looking hombres on stoops, street corners.\n NICO (O.S.)\n I promised the Lieutenant, I'm", "(indicates Nico\n across the patio)\n Toscani holds the record... for havin'\n more relatives under federal indictment", "NICO\n Five agents from Central American desk.\n All trained assassins. All arrived in", "LOUD POUNDING comes O.S. from the front door. Nico jumps\n out of bed. His gun appears in his hand, as if from nowhere,", "What the hell is it, Toscani?\n Without warning, Nico grabs Neeley by both lapels, slams *\n him furiously into the wall!" ], [ "Nico doesn't answer.\n SARA *\n (very concerned)\n Why is the C.I.A. calling you at", "NICO\n Five agents from Central American desk.\n All trained assassins. All arrived in", "Nico grabs him by the hair.\n NICO\n You didn't come after me for a\n piece of ass.\n (twists the youth's\n neck)\n Who paid you?", "NICO\n You let Salvano walk.\n AGENT NEELEY *\n Salvano?! Are you crazy?", "Nico's eyes stay on the approaching \"cowboy,\" KURT ZAGON,\n for whom he plainly feels an instant animosity.\n NICO\n These assholes are agency?", "NICO\n That's how Fox knew.\n JACKSON\n What?\n\nNico turns to Lukich, dead earnest.", "Nico takes a step toward Zagon.\n NICO\n What the fuck does this have to do\n with military intelligence?", "Across the room, Nico turns over the tapes.\n AGENT HALLORAN\n He bad?\n\n JACKSON\n Bad bad.", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "NICO\n It's a start.\n Nico sits down beside Watanabe.\n DISSOLVE TO:", "Nico pulls on a jacket. He looks like he could kill. He\n restrains himself for his family's sake.\n AGENT HALLORAN\n (to cops)", "NICO\n (presses closer)\n We've wiped out entire fucking\n countries. And not one agent --", "NICO\n (into phone)\n This better be good, Jax.\n\n MAN (V.O.)\n (filtered)\n It's bad, Nico.", "NICO\n You. That's what the hell it is!\n AGENT NEELEY *\n Get your goddam hands off me!", "NICO\n The motherfuckas got Jackson.\n BRANCA\n Lukich called. She's not dead.", "The two others snicker, then so does the rest of the bar.\n Nico holds out a photo of a young girl (Lucy).\n NICO\n You seen this girl?", "Two agents enter the room carrying Nico's confiscated\n papers and tapes and begin rummaging through dressers,\n jewelry boxes and closets. Rosa crosses swiftly to calm\n Sara. *", "Nico starts menacingly toward the hood, breathing hard\nfrom the chase.\n\n NICO\n Who put up the money?\n MACHETE MAN\n What money?", "the congregation are in the hallway, mourning. Nico, with\n his family, takes several steps toward the exit. Suddenly,\n Nico stops. He sees Agent Neeley entering (the FBI man who *", "9 BACK TO FOX AND NICO\n FOX\n We're all C.I.A. But these guys are" ], [ "Nico gives a last look, turns and takes off down the jungle\n trail. Fox seems abandoned. The DISTANT BOMBING CONTINUES.\n Nico disappears into the darkness.", "back in the chair, gagging, choked by the noose. Nico\n looks like the Viet prisoner -- the one we saw in the\n opening sequence. Like the prisoner, Nico takes his", "Nico winces as the doctor finishes applying a bandage. In\n the background we hear a COMMOTION.\n336 INT. BASEMENT STAIRWAY - NIGHT", "Nico is shaking with rage and fear. He takes several steps\n away from the hooch, then draws up abruptly. Nico pulls his", "NICO\n I was so sure that you and I were on\n opposite sides of the fence... and\n that you and your people were\n destroying this country --\n Nico pauses, glances away across the grounds.", "his attackers. A coffee stand goes flying. A body sails\n into a makeup display. One fool is lucky enough to land\n a blow that bloodies Nico's nose; he pays with a shattered", "Nico's gun from his own pocket, but Nico bats it a-\n way. Machete Man scrambles to his feet, in terror,\n bolts.", "Nico is slamming a fresh clip in, Lukich is stumbling away\n toward the stairwell. Salvano and Chi Chi appear in the", "Nico dumps him on the ground and walks away. Instantly\nMachete Man changes his tune.\n MACHETE MAN\n Salvano! Bautista Salvano!", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "NICO\n Watch your step.\n\n260 EXT. DESERTED LAKEFRONT - DAY\n Nico drives off, leaving the FBI man miles from nowhere.", "Nico and Jackson come out. Nico has made a decision.\n NICO\n You're outa this, Jax. Go home.", "CUT TO:\n12 EXT. JUNGLE - NIGHT\n\n The sky glows from nearby bomb attacks.\n13 NICO", "Slowly, the struggle goes out of Nico. His muscles go\n limp; he slumps -- drooling, babbling incoherently.", "Nico comes storming out. A Maid and a bodyguard follow\n after him screaming. The door slams. We see it is\n missing a panel.", "NICO\n (to refugees)\n I was there... in the church.\n They tried to kill my family, too.", "412A JACKSON\n is the first to spot Nico. She runs up to him as he\n collapses.", "NICO\n Just stay with my family\n Nico replaces the piece of foundation, starts back up the\n steps.", "few military uniforms enter the picture, we see security\n clearance documents with Nico's picture and name on them.\n Then Nico near draft age with an American friend NELSON", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --" ], [ "Nico at the wheel has just pulled away from the bakery.\n Jackson, in the passenger seat, studies her partner for a\n few moments, shaking her head at the contradictions in this", "next to a tall black hooker. MOVE IN ON the black hooker.\n It's Nico's partner, Jackson, dolled up like a street-", "B) Gun and Machete Man are side by side. As Machete Man\n starts to move, Nico spins in beside him, seizes his", "NICO\n It's a start.\n Nico sits down beside Watanabe.\n DISSOLVE TO:", "Nico comes storming out. A Maid and a bodyguard follow\n after him screaming. The door slams. We see it is\n missing a panel.", "Nico is slamming a fresh clip in, Lukich is stumbling away\n toward the stairwell. Salvano and Chi Chi appear in the", "Nico is on him like a cat, tearing the poor boy from behind\n the wheel, leaping in --", "Nico moves swiftly through the convention center floor\n (which is packed for thousands of square feet with sales\n booths, each manned by technicians and pitchmen, all", "Nico's gun from his own pocket, but Nico bats it a-\n way. Machete Man scrambles to his feet, in terror,\n bolts.", "Jackson waits for him, glancing at her watch.\n48 INT. UNMARKED CAR - MOVING\n Nico is driving. Jackson checks in on the radio.", "his attackers. A coffee stand goes flying. A body sails\n into a makeup display. One fool is lucky enough to land\n a blow that bloodies Nico's nose; he pays with a shattered", "Nico has the girl in the red dress and lizard shoes\n (CARLA DECARLO) out in the hallway adjacent to the lock-", "Nico indicates a briefcase he is carrying.\n NICO\n It's all here.\n Nico turns to his uncle. Regards him with affection.", "Nico admires his partner's guts, but he's worried.\n JACKSON\n I'm not a rookie, Toscani. Now,", "indifferent, almost frustrated; Nico keenly senses something.\n CUT TO:", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "Nico and Jackson come out. Nico has made a decision.\n NICO\n You're outa this, Jax. Go home.", "Jackson has been waiting, sipping some coffee. Nico\n emerges from the bank, signaling to his partner to follow", "NICO\n (to Pimp)\n This ain't your day, kid.\n\nNico comes in, eyes taking in everything.", "Nico regards his old mate across the gun barrel.\n NICO\n You're looking fit, Nelson." ], [ "Two agents enter the room carrying Nico's confiscated\n papers and tapes and begin rummaging through dressers,\n jewelry boxes and closets. Rosa crosses swiftly to calm\n Sara. *", "An unmarked police car pulls up. DOLORES JACKSON (\"Jax\"),\n another undercover cop, tall, black, and elegant, enters\n the driveway leading to Nico's back yard --", "Nico grabs the Pimp by the scruff of the neck, lifting him\n bodily. Lucy starts wailing in horror. Nico smashes the\n Pimp's face down into a mirror with white powder on the\n table --", "From the restaurant door, Salvano and Chi Chi emerge.\n They get into a black Cadillac and pull out. *\n NICO (O.S.)\n And now for some dessert.", "Total confusion. Guests staring everywhere. From a side\n office, a man with a medical bag comes running. The senator\n sees the group around Nico.\n\n FADE OUT.\n FADE IN ON:", "Nico and Jackson come out. Nico has made a decision.\n NICO\n You're outa this, Jax. Go home.", "The cops cross to frisk Nico. Sara, still holding the baby, *\n starts slapping at them.", "Nico dumps him on the ground and walks away. Instantly\nMachete Man changes his tune.\n MACHETE MAN\n Salvano! Bautista Salvano!", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "212 EXT. NICO'S HOUSE - LATE NIGHT\n\n The neighbors are now on their porches. Nico is led to a\n waiting unmarked car.", "It's all a mistake, Sara -- It's *\n gonna be all right.\n The cops steer Nico toward the door.", "A car pulls up. Nico, his wrists tied, is dragged into the\n basement of the hotel. Zagon follows.\n CUT TO:", "buries her face against her husband's chest. Nico's arm\n goes around her. He holds her tight.\n CUT TO:", "Bad-looking hombres on stoops, street corners.\n NICO (O.S.)\n I promised the Lieutenant, I'm", "NICO\n That's two years.\n He jerks the Pimp back, rips open a drawer. More pills", "Nico is slamming a fresh clip in, Lukich is stumbling away\n toward the stairwell. Salvano and Chi Chi appear in the", "Nico has the girl in the red dress and lizard shoes\n (CARLA DECARLO) out in the hallway adjacent to the lock-", "The two others snicker, then so does the rest of the bar.\n Nico holds out a photo of a young girl (Lucy).\n NICO\n You seen this girl?", "From the front seat of Nico's car emerges a tearful Lucy,\n in fresh clothes and looking miserably contrite. Nico\n walks her inside.", "the FBI agents who authorized the release of Salvano. He\n lowers his gun, opens the door. The cops surge in.\n NICO\n (to one of cops)" ], [ "ZAGON\n (close to priest)\n -- Can we kill him? If you told anyone,\n about our plans to kill the senator,", "389 ZAGON\n scampers free. Nico gets to his feet, bleeding. Nico is\n between Zagon and Zagon's machine gun on the ground. Zagon", "Zagon grabs him fiercely by the hair.\n ZAGON\n Don't you die on me, fucker --\n FOX", "one arm. He begins to now do to Zagon's neck what he did\n to his arm. We hear a terminal CRACK. Zagon's body", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --", "first agent directly in Zagon's line of fire. Zagon doesn't\n hesitate; he OPENS UP on Nico, cutting down his own man --", "in the face with one lightning blow. We see Zagon's nose\n and face completely cave in. Nico comes under Zagon's\n elbow, the arm that still holds the knife clamping it in", "have hit Nico full force now. He's weakening, his eyes\n are starting to roll. Zagon tries one last surge of\n strength to save himself; it almost seems he'll wriggle", "Long enough to finish you.\n Sweating, half-spitting, Zagon slashes at Nico like an\n animal -- Nico traps the knife, and enters, smashes Zagon", "Zagon turns to Nico.\n NICO\n How are you gonna do him, Zagon?\n In a motorcade? Or passing", "Zagon spins, rips both guards with a FIERCE BURST! The\n Guards drop. Zagon turns to --\n387 NICO - OUT OF CAR", "Zagon starts for the prisoner. Here comes the blade.\n Suddenly -- Nico grabs Zagon's shoulder. Zagon spins with", "Zagon waves Nico and Fox toward his car. Zagon and *\n Salvano start forward. Fox glances, torn, to Nico, who\n has backed away another half-step. Will Nico attack?\n Run for it?", "cable from his grip) -- grabbing Zagon with his taped\n hands by the throat, lifting him bodily, slamming him\n ferociously into the wall! Zagon drops to the floor,", "The drugs have taken hold. The priest's brain is an open\n memory bank for Zagon to probe.", "Shotgun Agent raises his weapon to fire --\n ZAGON\n No! I want him! I want him alive!", "on his feet, charging straight at Zagon. Nico grabs him,\n slams Zagon with incredible force into a concrete column.", "Nico takes a step toward Zagon.\n NICO\n What the fuck does this have to do\n with military intelligence?", "FREDERICO LARUSSO\n -- As long as this Zagon lives, nothing\n I can do will guarantee your family's", "23 NICO\n enters at this point. He takes in the scene quickly, moves\n to a spot beside the entrance. Zagon doesn't look at Nico," ], [ "99.\n\n NICO\n Doing what -- processing heroin?", "NICO\n That's two years.\n He jerks the Pimp back, rips open a drawer. More pills", "Nico grabs the Pimp by the scruff of the neck, lifting him\n bodily. Lucy starts wailing in horror. Nico smashes the\n Pimp's face down into a mirror with white powder on the\n table --", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "Nico is slamming a fresh clip in, Lukich is stumbling away\n toward the stairwell. Salvano and Chi Chi appear in the", "Bad-looking hombres on stoops, street corners.\n NICO (O.S.)\n I promised the Lieutenant, I'm", "Across the room, Nico turns over the tapes.\n AGENT HALLORAN\n He bad?\n\n JACKSON\n Bad bad.", "his attackers. A coffee stand goes flying. A body sails\n into a makeup display. One fool is lucky enough to land\n a blow that bloodies Nico's nose; he pays with a shattered", "NICO\n That's how Fox knew.\n JACKSON\n What?\n\nNico turns to Lukich, dead earnest.", "Nico's gun from his own pocket, but Nico bats it a-\n way. Machete Man scrambles to his feet, in terror,\n bolts.", "Nico dumps him on the ground and walks away. Instantly\nMachete Man changes his tune.\n MACHETE MAN\n Salvano! Bautista Salvano!", "Two agents enter the room carrying Nico's confiscated\n papers and tapes and begin rummaging through dressers,\n jewelry boxes and closets. Rosa crosses swiftly to calm\n Sara. *", "Nico pulls on a jacket. He looks like he could kill. He\n restrains himself for his family's sake.\n AGENT HALLORAN\n (to cops)", "NICO\n (into phone)\n This better be good, Jax.\n\n MAN (V.O.)\n (filtered)\n It's bad, Nico.", "NICO\n Maybe we can bust him for that.\n Jackson spots something, gestures subtly out window --\n\n ABOVE THE LAW - Rev. 4/17/87 22.", "Nico in the alley, grilling several tough guys we saw be-\n fore when he raided this bar. The answers are all zero;", "Salvano couldn't answer if he wanted to. The other cops\n look at Nico with awe. Lukich whips the van door open,\n yanks a tarp off the cargo.", "We realize Nico, Jackson and Lukich are wired, with mikes\n out of sight under their coats. Nico glances to the pick-", "(referring to the cops)\n These are friends.\n (to Nico)\n This is Father Tomassino.", "17 NICO'S POV - HOOCH\n Two Asian prisoners, stripped to the waist, babbling in-\n coherently, are dragged out the back by a pair of Cambodian" ], [ "The husband sees. So do the other guests. Salvano sees\n their alarm; he swings his jacket open, revealing a snub\n machine gun. Someone SCREAMS --", "from behind the column, DRILLS the agent broadside behind\n the ear, blowing the whole side of his head off! Guests and\n valets are shrieking in terror, hitting the deck in", "The refugees' faces confirm this.\n NICO\n (understands)\n It was Father Tomassino they were\n trying to kill.", "BARREL BLAST blows the chair into powder. Almost instan-\n taneously Nico sees the priest -- just as Zagon slashes the", "and his congregation. Fragments of plaster, wood, and\n marble come blasting past Nico and his family! Churchgoers\n in the first rows are blown off their feet by the shock", "The aftermath of the blast. Doctors and nurses have the\n scene more of less under control, but there's still plenty\n of pain and misery.", "NICO\n But the bomb... The bomb was\n planted to destroy the pulpit.\n SISTER BONIFACIA", "Nico comes storming out. A Maid and a bodyguard follow\n after him screaming. The door slams. We see it is\n missing a panel.", "Total confusion. Guests staring everywhere. From a side\n office, a man with a medical bag comes running. The senator\n sees the group around Nico.\n\n FADE OUT.\n FADE IN ON:", "171 PULPIT\n has been blown to oblivion. Where Father Genarro had\n been standing is now nothing but smoke and rubble.", "Another swing wipes out Pistol agent. Bad Dude, now with\n a clear shot, aims his M-16. Nico blows him away with a", "FIRE THUNDERS around him. Nico dives headlong behind a\n concrete column, which is instantly chewed to shreds by", "Salvano can't believe it. He screams something in\n Spanish. He FIRES again, this time through the roof.\n115 EXT. LINCOLN - ROOF - DAY", "in the face with one lightning blow. We see Zagon's nose\n and face completely cave in. Nico comes under Zagon's\n elbow, the arm that still holds the knife clamping it in", "on his face. A doctor and several nurses are pulling the\n plugs on the terribly mutilated body of Father Genarro.\n A nun is crying; a fellow priest is blessing the Father.", "also OPEN UP. One of the van men is hit between the eyes.\n MACHINE GUN FIRE rakes the DEA truck; it spins out of", "Zagon and Salvano OPEN FIRE from the apartment full-tilt.\n BULLETS RIP through the WALL, BLASTING WOOD and PLASTER\n everywhere. Nico shoves Lukich toward the stairwell --", "Branca, a bodyguard next to him, grimly puts down the phone.\n He looks devastated.", "187 CLOSEUP OF DEAD MAN'S EFFECTS\n as Jackson's flash pops. We see clearly a U.S. Senate", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --" ], [ "Nico's gun from his own pocket, but Nico bats it a-\n way. Machete Man scrambles to his feet, in terror,\n bolts.", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --", "A car pulls up. Nico, his wrists tied, is dragged into the\n basement of the hotel. Zagon follows.\n CUT TO:", "The blade moves to Nico's throat. Suddenly: Nico springs\n to life (catching Noose man by surprise and jerking the", "Take his arms.\n Pistol agent and Bad Dude move in, one on each side, *\n seizing Nico's forearms. Shotgun agent holds his weapon", "tight around Nico's throat. Shotgun agent holds his\n weapon on him, its twin muzzles inches from Nico's skull.\n406 ZAGON", "face, about to pull the trigger. Nico sidesteps, grabbing\n the man's wrist. The SHOTGUN GOES OFF, missing Nico by", "Nico drags the Dude from behind the bar. Holding him,\n Nico turns, glowering, to all.\n NICO", "B) Gun and Machete Man are side by side. As Machete Man\n starts to move, Nico spins in beside him, seizes his", "Nico grabs the Pimp by the scruff of the neck, lifting him\n bodily. Lucy starts wailing in horror. Nico smashes the\n Pimp's face down into a mirror with white powder on the\n table --", "Nico is shaking with rage and fear. He takes several steps\n away from the hooch, then draws up abruptly. Nico pulls his", "his attackers. A coffee stand goes flying. A body sails\n into a makeup display. One fool is lucky enough to land\n a blow that bloodies Nico's nose; he pays with a shattered", "One of the men grabs Nico's gun; Nico swings one of the\n freezer doors -- Wham! -- smack into the man's face. The", "ZAGON\n Hold him up!\n Pistol agent and Bad Dude lift Nico. Zagon slams him", "Nico winces as the doctor finishes applying a bandage. In\n the background we hear a COMMOTION.\n336 INT. BASEMENT STAIRWAY - NIGHT", "330 EXT. BRANCA'S SAFE HOUSE - NIGHT\n Branca and a bodyguard come forward, grabbing Nico as Nico\n almost collapses.", "Nico stops. He's speechless with rage. His finger points\n toward Halloran like a loaded gun.", "Zagon starts for the prisoner. Here comes the blade.\n Suddenly -- Nico grabs Zagon's shoulder. Zagon spins with", "(who has Nico's gun in his pocket) sending him crash-\n ing, half-unconscious.\n C) Instantly, Pipe Man aims a home run shot at Nico's" ], [ "Nico and Jackson come out. Nico has made a decision.\n NICO\n You're outa this, Jax. Go home.", "the others enter the room. TV SOUND DOWN. Harrison stops\n before Nico, taking a moment to look with respect and ad-\n miration at the man propped up on the pillows.", "Jackson waits for him, glancing at her watch.\n48 INT. UNMARKED CAR - MOVING\n Nico is driving. Jackson checks in on the radio.", "That's right. Harrison. Foreign\n relations committee. The guy who's\n been crawling all over the Central\n American drug connections.\n NICO", "414 NICO\n passes out in Jackson's arms. Behind them we see a banner,\n announcing Senator Harrison's address. From the ballroom we", "Nico dumps him on the ground and walks away. Instantly\nMachete Man changes his tune.\n MACHETE MAN\n Salvano! Bautista Salvano!", "Nico stops. He's speechless with rage. His finger points\n toward Halloran like a loaded gun.", "NICO\n It's a start.\n Nico sits down beside Watanabe.\n DISSOLVE TO:", "Lukich shakes his head; Nico is devastated. Jackson takes\n it all in.\n\n CUT TO:", "NICO\n Just stay with my family\n Nico replaces the piece of foundation, starts back up the\n steps.", "NICO\n I was so sure that you and I were on\n opposite sides of the fence... and\n that you and your people were\n destroying this country --\n Nico pauses, glances away across the grounds.", "Nico admires his partner's guts, but he's worried.\n JACKSON\n I'm not a rookie, Toscani. Now,", "Nico indicates a briefcase he is carrying.\n NICO\n It's all here.\n Nico turns to his uncle. Regards him with affection.", "NICO\n That's how Fox knew.\n JACKSON\n What?\n\nNico turns to Lukich, dead earnest.", "Nico is shaking with rage and fear. He takes several steps\n away from the hooch, then draws up abruptly. Nico pulls his", "Everything Harrison's been working on.\n It's all at my place.\n CUT TO:", "Nico's gun from his own pocket, but Nico bats it a-\n way. Machete Man scrambles to his feet, in terror,\n bolts.", "Nico pulls on a jacket. He looks like he could kill. He\n restrains himself for his family's sake.\n AGENT HALLORAN\n (to cops)", "93 BACK TO NICO AND JACKSON", "indifferent, almost frustrated; Nico keenly senses something.\n CUT TO:" ], [ "Japan. Nico now in his teens, studying with real masters,\n being dumped on his butt, posing smiling beside Japanese\n martial artists, then himself as an instructor. Now: a", "NICO\n It's a start.\n Nico sits down beside Watanabe.\n DISSOLVE TO:", "Nico gives a last look, turns and takes off down the jungle\n trail. Fox seems abandoned. The DISTANT BOMBING CONTINUES.\n Nico disappears into the darkness.", "NICO\n Thanks, Wat. You finally may have\n done some good for your country.\n WATANABE\n Where are you going?\n NICO\n To find a priest.", "Nico moves swiftly through the convention center floor\n (which is packed for thousands of square feet with sales\n booths, each manned by technicians and pitchmen, all", "(as Nico fights his\n own emotion)\n Pride. It's what you have inside.\n You don't live the way other people", "NICO\n Watanabe! Say hey, Doc.", "Nico and Jackson come out. Nico has made a decision.\n NICO\n You're outa this, Jax. Go home.", "Nico is shaking with rage and fear. He takes several steps\n away from the hooch, then draws up abruptly. Nico pulls his", "NICO\n Watch your step.\n\n260 EXT. DESERTED LAKEFRONT - DAY\n Nico drives off, leaving the FBI man miles from nowhere.", "Nico at the wheel has just pulled away from the bakery.\n Jackson, in the passenger seat, studies her partner for a\n few moments, shaking her head at the contradictions in this", "93 BACK TO NICO AND JACKSON", "NICO\n Just stay with my family\n Nico replaces the piece of foundation, starts back up the\n steps.", "Nico's gun from his own pocket, but Nico bats it a-\n way. Machete Man scrambles to his feet, in terror,\n bolts.", "Nico's disgusted, worn out, frustrated. He starts out\n the alley -- At the edge of the street, a battered van pulls", "Nico comes storming out. A Maid and a bodyguard follow\n after him screaming. The door slams. We see it is\n missing a panel.", "Nico winces as the doctor finishes applying a bandage. In\n the background we hear a COMMOTION.\n336 INT. BASEMENT STAIRWAY - NIGHT", "his attackers. A coffee stand goes flying. A body sails\n into a makeup display. One fool is lucky enough to land\n a blow that bloodies Nico's nose; he pays with a shattered", "Nico takes a step away, as if moving on to the next\nstool. From behind the bar, the bartender swings a *", "45 INT. NICO'S HOUSE - UPSTAIRS - DAY\n Nico comes out of the bedroom, adjusting his shoulder" ], [ "NICO\n I was so sure that you and I were on\n opposite sides of the fence... and\n that you and your people were\n destroying this country --\n Nico pauses, glances away across the grounds.", "NICO\n Watch your step.\n\n260 EXT. DESERTED LAKEFRONT - DAY\n Nico drives off, leaving the FBI man miles from nowhere.", "Nico gives a last look, turns and takes off down the jungle\n trail. Fox seems abandoned. The DISTANT BOMBING CONTINUES.\n Nico disappears into the darkness.", "I couldn't tell, it looked like\n her ass --\n Nico rages like a beast.\n NICO", "NICO\n (to refugees)\n I was there... in the church.\n They tried to kill my family, too.", "Nico looks toward the priest and the front of the church.\n He notices a woman in a black shawl rise from the front\n of the church and turn, heading down one of the side", "(as Nico fights his\n own emotion)\n Pride. It's what you have inside.\n You don't live the way other people", "Nico is on him like a cat, tearing the poor boy from behind\n the wheel, leaping in --", "Nico at the wheel has just pulled away from the bakery.\n Jackson, in the passenger seat, studies her partner for a\n few moments, shaking her head at the contradictions in this", "Nico comes storming out. A Maid and a bodyguard follow\n after him screaming. The door slams. We see it is\n missing a panel.", "The two others snicker, then so does the rest of the bar.\n Nico holds out a photo of a young girl (Lucy).\n NICO\n You seen this girl?", "Nico winces as the doctor finishes applying a bandage. In\n the background we hear a COMMOTION.\n336 INT. BASEMENT STAIRWAY - NIGHT", "Nico.\n O.S. behind Nico: the unmistakable sound of a .45 SAFETY\n being CLICKED OFF. Nico freezes, his back to the voice. He", "Nico moves swiftly through the convention center floor\n (which is packed for thousands of square feet with sales\n booths, each manned by technicians and pitchmen, all", "NICO\n It's a start.\n Nico sits down beside Watanabe.\n DISSOLVE TO:", "Nico grabs him by the hair.\n NICO\n You didn't come after me for a\n piece of ass.\n (twists the youth's\n neck)\n Who paid you?", "NICO\n Thanks, Wat. You finally may have\n done some good for your country.\n WATANABE\n Where are you going?\n NICO\n To find a priest.", "Nico starts for the altar where the damage is worst.", "NICO\n Mrs. Z.\n (tries to be light)\n Is this a way to act on the day of\n my son's baptism?\n The poor woman can't meet Nico's eyes.", "back in the chair, gagging, choked by the noose. Nico\n looks like the Viet prisoner -- the one we saw in the\n opening sequence. Like the prisoner, Nico takes his" ], [ "Nico doesn't answer.\n SARA *\n (very concerned)\n Why is the C.I.A. calling you at", "NICO\n (presses closer)\n We've wiped out entire fucking\n countries. And not one agent --", "Nico gives a last look, turns and takes off down the jungle\n trail. Fox seems abandoned. The DISTANT BOMBING CONTINUES.\n Nico disappears into the darkness.", "NICO\n Five agents from Central American desk.\n All trained assassins. All arrived in", "NICO\n I was so sure that you and I were on\n opposite sides of the fence... and\n that you and your people were\n destroying this country --\n Nico pauses, glances away across the grounds.", "Nico takes a step toward Zagon.\n NICO\n What the fuck does this have to do\n with military intelligence?", "Nico pulls on a jacket. He looks like he could kill. He\n restrains himself for his family's sake.\n AGENT HALLORAN\n (to cops)", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "Nico grabs him by the hair.\n NICO\n You didn't come after me for a\n piece of ass.\n (twists the youth's\n neck)\n Who paid you?", "back in the chair, gagging, choked by the noose. Nico\n looks like the Viet prisoner -- the one we saw in the\n opening sequence. Like the prisoner, Nico takes his", "NICO\n (to refugees)\n I was there... in the church.\n They tried to kill my family, too.", "Nico.\n O.S. behind Nico: the unmistakable sound of a .45 SAFETY\n being CLICKED OFF. Nico freezes, his back to the voice. He", "NICO\n You let Salvano walk.\n AGENT NEELEY *\n Salvano?! Are you crazy?", "NICO\n It's a start.\n Nico sits down beside Watanabe.\n DISSOLVE TO:", "Nico's eyes stay on the approaching \"cowboy,\" KURT ZAGON,\n for whom he plainly feels an instant animosity.\n NICO\n These assholes are agency?", "Nico winces as the doctor finishes applying a bandage. In\n the background we hear a COMMOTION.\n336 INT. BASEMENT STAIRWAY - NIGHT", "few military uniforms enter the picture, we see security\n clearance documents with Nico's picture and name on them.\n Then Nico near draft age with an American friend NELSON", "NICO\n (doesn't stop)\n -- not one C.I.A. agent has ever been", "Nico moves swiftly through the convention center floor\n (which is packed for thousands of square feet with sales\n booths, each manned by technicians and pitchmen, all", "Nico indicates a briefcase he is carrying.\n NICO\n It's all here.\n Nico turns to his uncle. Regards him with affection." ], [ "Nico and Jackson come out. Nico has made a decision.\n NICO\n You're outa this, Jax. Go home.", "Jackson waits for him, glancing at her watch.\n48 INT. UNMARKED CAR - MOVING\n Nico is driving. Jackson checks in on the radio.", "93 BACK TO NICO AND JACKSON", "Jackson watches Nico trying to keep his good humor. This\n is serious stuff, despite the light tone. Branca's eyes\n meet Nico's.", "412A JACKSON\n is the first to spot Nico. She runs up to him as he\n collapses.", "Jackson and Nico are eating some fast good. Nico reaches\n to his jacket pocket; takes out a cassette.", "Nico pulls on a jacket. He looks like he could kill. He\n restrains himself for his family's sake.\n AGENT HALLORAN\n (to cops)", "Jackson has been waiting, sipping some coffee. Nico\n emerges from the bank, signaling to his partner to follow", "We realize Nico, Jackson and Lukich are wired, with mikes\n out of sight under their coats. Nico glances to the pick-", "Jackson's unmarked car whips into the curb. Aboard: *\n Jackson and Lukich. Nico steps from the shadows, ducks\n into the back seat. The car takes off.", "Nico admires his partner's guts, but he's worried.\n JACKSON\n I'm not a rookie, Toscani. Now,", "Nico and Jackson emerge into a courtyard which reveals a\n day care center and a rectory. They head toward the front\n of the building. Jackson, planning on picking up their", "Nico and Jackson in the shadows down the street from the\n body shop. Nico wears earphones, a small tape recorder\n on the seat beside him. Jackson does not look happy.", "NICO\n That's how Fox knew.\n JACKSON\n What?\n\nNico turns to Lukich, dead earnest.", "next to a tall black hooker. MOVE IN ON the black hooker.\n It's Nico's partner, Jackson, dolled up like a street-", "B) Gun and Machete Man are side by side. As Machete Man\n starts to move, Nico spins in beside him, seizes his", "The place is packed with fashionable people of all races.\n A band plays salsa; couples dance. Nico and Jackson pass\n easily as a hip \"uptown\" couple. A pretty Latin HOSTESS\n approaches them.", "JACKSON\n Except against us.\n NICO\n I don't give a shit how we do it.\n I just wanna get there.\n Jackson gives Nico a dirty look, but stifles her protest.", "Try this on.\n Jackson watches Luke slip Nico a clip. *\n CUT TO:", "D) EXT. BODY AND FENDER SHOP - LATE AFTERNOON\n The same place where Nico and Jackson wire-tapped Chi" ], [ "Nico gives a last look, turns and takes off down the jungle\n trail. Fox seems abandoned. The DISTANT BOMBING CONTINUES.\n Nico disappears into the darkness.", "pointing at Nico. The soldiers start toward Nico, as if to\n seize him. Fox, too, starts yelling to the troops in dialect,\n apparently countermanding the orders of the CIT men. The", "FOX\n (to Nico)\n Back off, partner --\nZagon turns from Nico. He moves close to the second prisoner,", "FOX\n You can turn now. Slowly. Slooowly...\n Nico turns. We see Fox clearly now. His boyish features", "FOX\n Are you crazy?!!\n (as Nico jerks free)\n What the fuck's the matter with you?!!!", "FOX\n Uh uh. Uhhh-uh...\n (motions Nico back)", "Fox looks shaky, unnerved: Nico's words have hit too close\n to home. Now Nico backs away a step, ready for anything.\n One of Zagon's agents holds their car's rear door open. *", "NICO\n That's how Fox knew.\n JACKSON\n What?\n\nNico turns to Lukich, dead earnest.", "Zagon waves Nico and Fox toward his car. Zagon and *\n Salvano start forward. Fox glances, torn, to Nico, who\n has backed away another half-step. Will Nico attack?\n Run for it?", "NICO\n You've gone a long way.\n Fox motions for Nico to dump his gun; Nico complies, dropping", "As the party moves out, Fox flashes Nico a look as if to say,\n \"Don't fuck with these guys.\"\n\n14 EXT. CAMBODIAN BASE CAMP - NIGHT", "feet! Pandemonium. Fox, dying, slings his .45 to Nico, who\n snatches it from the ground just as a HAIL of MACHINE GUN", "Fox wrestles Nico away from the hooch --", "Nico walks, hands behind his head. Fox is catty-corner be- *\n hind him, carrying the briefcase, .45 leveled at Nico's back. *", "He takes a step toward Fox. Fox's hand tightens on his gun.\n NICO\n (emotion rising)\n -- but you and I know a couple guys", "Fox maintains a slight distance behind Nico as they cross to-\n ward some escalators under a sign: \"TO PARKING LEVEL 8.\"", "Nico in the point, leading Fox and the three CIT (Chemical\n Interrogation Team) men down an unmarked, twisting trail.", "Fox doesn't like the look Nico gives him.", "Fox hands his ticket to the cashier, motions Nico to the\n side, away from the guests, still keeping his distance --\n should Nico try to make a move.", "FOX\n That's my job, Nico.\n They arrive at an elevator.\n FOX" ], [ "A car pulls up. Nico, his wrists tied, is dragged into the\n basement of the hotel. Zagon follows.\n CUT TO:", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "Nico winces as the doctor finishes applying a bandage. In\n the background we hear a COMMOTION.\n336 INT. BASEMENT STAIRWAY - NIGHT", "Nico is shaking with rage and fear. He takes several steps\n away from the hooch, then draws up abruptly. Nico pulls his", "Take his arms.\n Pistol agent and Bad Dude move in, one on each side, *\n seizing Nico's forearms. Shotgun agent holds his weapon", "Nico starts toward the rear basement door. Lukich falls\n in with him.\n247 INT. BASEMENT - DAY", "212 EXT. NICO'S HOUSE - LATE NIGHT\n\n The neighbors are now on their porches. Nico is led to a\n waiting unmarked car.", "Machete Man reaches the far side. A fire escape is ad-\n jacent; he grabs for it, starts up. Nico catches him by", "The blade moves to Nico's throat. Suddenly: Nico springs\n to life (catching Noose man by surprise and jerking the", "Nico drags the Dude from behind the bar. Holding him,\n Nico turns, glowering, to all.\n NICO", "As the joint hangs, dangling grotesquely, Nico reaches up\n around Zagon's neck, still holding the dangling limb with", "Nico and Lukich creep down the stairs from the roof. Nico\n opens the door leading to the top (third) floor.\n301 INT. APARTMENT", "Nico comes storming out. A Maid and a bodyguard follow\n after him screaming. The door slams. We see it is\n missing a panel.", "Nico is on him like a cat, tearing the poor boy from behind\n the wheel, leaping in --", "182 INT. HOSPITAL ROOM - AFTERNOON\n Nico stands, his back to the wall -- a scary, blank look", "didn't know, but the new kid on the block is catching on fast.\n Nico has difficulty containing his emotion. Zagon stands\n over the prisoner, as if daring him to get back up.", "330 EXT. BRANCA'S SAFE HOUSE - NIGHT\n Branca and a bodyguard come forward, grabbing Nico as Nico\n almost collapses.", "ZAGON\n Hold him up!\n Pistol agent and Bad Dude lift Nico. Zagon slams him", "his attackers. A coffee stand goes flying. A body sails\n into a makeup display. One fool is lucky enough to land\n a blow that bloodies Nico's nose; he pays with a shattered", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --" ], [ "412A JACKSON\n is the first to spot Nico. She runs up to him as he\n collapses.", "93 BACK TO NICO AND JACKSON", "Nico and Jackson come out. Nico has made a decision.\n NICO\n You're outa this, Jax. Go home.", "Jackson waits for him, glancing at her watch.\n48 INT. UNMARKED CAR - MOVING\n Nico is driving. Jackson checks in on the radio.", "Nico pulls on a jacket. He looks like he could kill. He\n restrains himself for his family's sake.\n AGENT HALLORAN\n (to cops)", "Jackson watches Nico trying to keep his good humor. This\n is serious stuff, despite the light tone. Branca's eyes\n meet Nico's.", "Nico and Jackson in the shadows down the street from the\n body shop. Nico wears earphones, a small tape recorder\n on the seat beside him. Jackson does not look happy.", "NICO\n That's how Fox knew.\n JACKSON\n What?\n\nNico turns to Lukich, dead earnest.", "JACKSON\n (to Nico)\n Why can't you sons-a-bitches ever\n treat someone with a little", "183 JACKSON\n arrives. Nico talks to her, aside.\n NICO\n I want a list of everyone that's", "Nico admires his partner's guts, but he's worried.\n JACKSON\n I'm not a rookie, Toscani. Now,", "NICO\n Father Genarro.\n The priest seizes Nico's hand warmly, smiles at Jackson.", "Nico at the wheel has just pulled away from the bakery.\n Jackson, in the passenger seat, studies her partner for a\n few moments, shaking her head at the contradictions in this", "next to a tall black hooker. MOVE IN ON the black hooker.\n It's Nico's partner, Jackson, dolled up like a street-", "JACKSON\n You're one crazy bastard, Toscani.\n Nico opens the rear door, helps Jackson ease Lucy in.", "JACKSON\n (to Lukich)\n You call Nico's goddamn Uncle and\n find out if he's heard anything.", "Jackson's unmarked car whips into the curb. Aboard: *\n Jackson and Lukich. Nico steps from the shadows, ducks\n into the back seat. The car takes off.", "67 INT. CAR - DAY\n Jackson checks her makeup in the rearview mirror. Nico\n sits behind the wheel. The two are on some kind of", "in. A jacketed LATINO MAN leans against it, an unlit ciga-\n rette in his mouth. As Nico approaches, turning toward\n his car --", "60 EXT. STREET OUTSIDE BAR - DAY\n Jackson looks up from the car to see Nico -- wild-haired," ], [ "389 ZAGON\n scampers free. Nico gets to his feet, bleeding. Nico is\n between Zagon and Zagon's machine gun on the ground. Zagon", "Nico takes a step toward Zagon.\n NICO\n What the fuck does this have to do\n with military intelligence?", "first agent directly in Zagon's line of fire. Zagon doesn't\n hesitate; he OPENS UP on Nico, cutting down his own man --", "Nico's eyes stay on the approaching \"cowboy,\" KURT ZAGON,\n for whom he plainly feels an instant animosity.\n NICO\n These assholes are agency?", "have hit Nico full force now. He's weakening, his eyes\n are starting to roll. Zagon tries one last surge of\n strength to save himself; it almost seems he'll wriggle", "As the joint hangs, dangling grotesquely, Nico reaches up\n around Zagon's neck, still holding the dangling limb with", "in the face with one lightning blow. We see Zagon's nose\n and face completely cave in. Nico comes under Zagon's\n elbow, the arm that still holds the knife clamping it in", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --", "didn't know, but the new kid on the block is catching on fast.\n Nico has difficulty containing his emotion. Zagon stands\n over the prisoner, as if daring him to get back up.", "on his feet, charging straight at Zagon. Nico grabs him,\n slams Zagon with incredible force into a concrete column.", "385 ZAGON\n Reloaded, turning his gun toward Nico, when --", "again. Again. Nico's cheekbone is broken; blood drains\n from his nose. Zagon aims a two-handed blow; backhands", "23 NICO\n enters at this point. He takes in the scene quickly, moves\n to a spot beside the entrance. Zagon doesn't look at Nico,", "Nico's disgusted, worn out, frustrated. He starts out\n the alley -- At the edge of the street, a battered van pulls", "ZAGON\n Hold him up!\n Pistol agent and Bad Dude lift Nico. Zagon slams him", "comes off the ground, Nico's blow is so terrific. Zagon drops\n in an unconscious heap. In a flash the two other CIT men", "Nico, crushing the other side of his face! Zagon backs\n off, chest heaving. Pistol agent and Bad Dude plop Nico", "Fox looks shaky, unnerved: Nico's words have hit too close\n to home. Now Nico backs away a step, ready for anything.\n One of Zagon's agents holds their car's rear door open. *", "Zagon.\n NICO\n (can't take\n much more)\n Fox --\n FOX", "Nico stops. He's speechless with rage. His finger points\n toward Halloran like a loaded gun." ], [ "in the face with one lightning blow. We see Zagon's nose\n and face completely cave in. Nico comes under Zagon's\n elbow, the arm that still holds the knife clamping it in", "389 ZAGON\n scampers free. Nico gets to his feet, bleeding. Nico is\n between Zagon and Zagon's machine gun on the ground. Zagon", "one arm. He begins to now do to Zagon's neck what he did\n to his arm. We hear a terminal CRACK. Zagon's body", "Zagon's gun goes flying, but miraculously he spins away.\n Nico dives for him, gets his neck in a grip that is certain\n to snap it in half a second. But --", "Zagon grabs him fiercely by the hair.\n ZAGON\n Don't you die on me, fucker --\n FOX", "Long enough to finish you.\n Sweating, half-spitting, Zagon slashes at Nico like an\n animal -- Nico traps the knife, and enters, smashes Zagon", "Zagon spins, rips both guards with a FIERCE BURST! The\n Guards drop. Zagon turns to --\n387 NICO - OUT OF CAR", "first agent directly in Zagon's line of fire. Zagon doesn't\n hesitate; he OPENS UP on Nico, cutting down his own man --", "have hit Nico full force now. He's weakening, his eyes\n are starting to roll. Zagon tries one last surge of\n strength to save himself; it almost seems he'll wriggle", "cable from his grip) -- grabbing Zagon with his taped\n hands by the throat, lifting him bodily, slamming him\n ferociously into the wall! Zagon drops to the floor,", "on his feet, charging straight at Zagon. Nico grabs him,\n slams Zagon with incredible force into a concrete column.", "ZAGON\n (close to priest)\n -- Can we kill him? If you told anyone,\n about our plans to kill the senator,", "comes off the ground, Nico's blow is so terrific. Zagon drops\n in an unconscious heap. In a flash the two other CIT men", "Zagon starts for the prisoner. Here comes the blade.\n Suddenly -- Nico grabs Zagon's shoulder. Zagon spins with", "all around him with GUNFIRE from the floor below! He dives\n sideways, rolling to avoid the fire -- He recovers his\n footing in time to see Salvano and Zagon burst onto the roof", "ZAGON\n Hold him up!\n Pistol agent and Bad Dude lift Nico. Zagon slams him", "23 NICO\n enters at this point. He takes in the scene quickly, moves\n to a spot beside the entrance. Zagon doesn't look at Nico,", "again. Again. Nico's cheekbone is broken; blood drains\n from his nose. Zagon aims a two-handed blow; backhands", "As the joint hangs, dangling grotesquely, Nico reaches up\n around Zagon's neck, still holding the dangling limb with", "ABOVE THE LAW - Rev. 4/17/87 83.\n\n ZAGON\n (in Spanish, from\n apartment)\n Get him! Finish him!" ], [ "An unmarked police car pulls up. DOLORES JACKSON (\"Jax\"),\n another undercover cop, tall, black, and elegant, enters\n the driveway leading to Nico's back yard --", "We are outside of a cop breakfast hangout. Several police\n cars are parked in the lot. Nico is on the phone.\n NICO\n Sara, I'm okay. I love you. *", "Nico pulls on a jacket. He looks like he could kill. He\n restrains himself for his family's sake.\n AGENT HALLORAN\n (to cops)", "(referring to the cops)\n These are friends.\n (to Nico)\n This is Father Tomassino.", "desk as Nico and Neeley come up to the counter. We see a *\n sign: \"EVIDENCE HOLDING DEPOT -- You MUST Have Your Requi-", "The cops cross to frisk Nico. Sara, still holding the baby, *\n starts slapping at them.", "Jackson waits for him, glancing at her watch.\n48 INT. UNMARKED CAR - MOVING\n Nico is driving. Jackson checks in on the radio.", "F.B.I., Toscani. Open up.\n Nico pulls aside a curtained glass panel; he recognizes\n two uniformed police officers, plus Neeley and Halloran, *", "Nico storms through toward the restaurant rear. The\n employees are getting ready for the evening crowd. He\n flashes his badge, checks the kitchen, Salvano's\n office. The man is gone.", "137 INT. PRECINCT HOUSE - STAIRWAY - DAY\n Nico and Jackson come down the stairs. Jackson has had\n ample excitement for her last week on the force.", "The doctor tends Nico. Bloody bandages and antiseptic\n bottles litter a coffee table. Two guards stand by. Branca\n is showing Nico an 8-by-11 photograph.", "Salvano couldn't answer if he wanted to. The other cops\n look at Nico with awe. Lukich whips the van door open,\n yanks a tarp off the cargo.", "He turns a corner.\n NICO\n That's why I'm a shitheel cop.", "The two others snicker, then so does the rest of the bar.\n Nico holds out a photo of a young girl (Lucy).\n NICO\n You seen this girl?", "his attackers. A coffee stand goes flying. A body sails\n into a makeup display. One fool is lucky enough to land\n a blow that bloodies Nico's nose; he pays with a shattered", "Nico moves swiftly through the convention center floor\n (which is packed for thousands of square feet with sales\n booths, each manned by technicians and pitchmen, all", "238 NICO\n Wild-eyed and bloody, sees the cop cars whipping into the\n corner. He spins to see his .45 on the floor -- too far", "NICO\n It's a start.\n Nico sits down beside Watanabe.\n DISSOLVE TO:", "212 EXT. NICO'S HOUSE - LATE NIGHT\n\n The neighbors are now on their porches. Nico is led to a\n waiting unmarked car.", "45 INT. NICO'S HOUSE - UPSTAIRS - DAY\n Nico comes out of the bedroom, adjusting his shoulder" ] ]

[ "Where did Nico study martial art?", "During which war did Nico participate in covert operations?", "Who tortured the prisoners?", "Who was Nico's partner?", "What does Nico find when they bust Tony Salvano?", "Who calls Nico to warn him that he and his father are in danger?", "Who is investigating Zagon's group?", "What happens to Nico's parish priest during mass?", "Which agency does Zagon work for?", "Where does Sergeant Nicolo Toscani work?", "Who recruited Nico to the CIA?", "What happens to Nico during the Vietnam War?", "Who is Nico's partner?", "What happens to the drug dealers Nico and Delores arrest?", "Who is Zagon plotting to kill?", "What does Nico find out about the drug dealers he prreviously busted?", "Who is killed in an explosion?", "What happens when Nico is held hostage?", "What decision does Nico reach after talking with Harrison?", "Why did Nico move to Japan?", "In what country was Nico born?", "Nico worked for the CIA during which war?", "What are Jacks and Nico working together to do?", "What happens to Fox when Nico is captured?", "Where is Nico held when he is captured?", "Who is Jacks in relation to Nico?", "Why was Nico disgusted with Zagon?", "Who kills Zagon?", "What police department does Nico work for?" ]

[ [ "Japan", "Japan" ], [ "Vietnam War", "Vietnam War" ], [ "Kurt Zagon", "Kurt Zagon" ], [ "Delores \"Jacks\" Jackson", "Jacks" ], [ "C4", "c4 explosives" ], [ "Special Agent Nelson Fox", "fox" ], [ "Senator Ernest Harrison", "Senator Ernest Harrison. " ], [ "He is killed in an explosion", "He is killed by an explosion." ], [ "The CIA", "The CIA " ], [ "He works in the Chicago Police Department vice squad.", "Chicago Police Department vice squad. " ], [ "Special Agent Nelson Fox", "Special Agent Nelson Fox" ], [ "Nico stops a torture session led by Kurt Zagon.", "he left the CIA" ], [ "Detective Delores Jackson.", "Delores Jackson" ], [ "They are released after the Feds step in.", "They are released " ], [ "Senator Ernest Harrison.", "Harrison" ], [ "They are working for Zagon.", "They are linked to Zagon " ], [ "A priest in Nico's parish durinng Mass.", "Nico's parish priest. " ], [ "He breaks free and kills Zagon and his men.", "Nico breaks free and kills zagon" ], [ "That he will testify on the covert operations of the CIA.", "He is willing to testify " ], [ "to study martial arts", "To study Martial Arts." ], [ "Italy", "Italy " ], [ "Vietnam War", "Vietnam War" ], [ "Investigate a drug ring", "Bust a drug ring " ], [ "He is killed", "he's killed" ], [ "In the kitchen of a hotel", "in a hotel kitchen" ], [ "His partner", "They are work partners. " ], [ "He tortured prisoners", "because Zagon tortured prisoners" ], [ "Nico", "Nicolo Toscani" ], [ "Chicago", "chicago" ] ]

[ [ "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "For one horrible moment, Kawakita is frozen. Then he leaps forward,\n shoves the barrel of his gun behind D'Agosta, right in the beast's", "Then the beast turns and backs up, groaning, as if cornered. Margo\n sees now that one limb is dragging, leaving a trail of blood. The", "FROCK\n I'm not sure. As you know, the\n Kothoga lived outside civilization", "As the flashlight beam hits it, MBWUN roars and looks up. Now we see\n it clearly for the first time. The monster is MASSIVE, putrid, rank.", "She struggles not to turn away in revulsion. His enormous jaws are\n right near her throat. Everything is very still. And then...", "them! The claw closes on D'Agosta and his shot gun goes off. D'Agosta\n screams as the beast lifts him towards its mouth!", "MBWUN\n\n Savage God of the Kothoga, also\n known as \"HE WHO WALKS ON ALL\n FOURS\".", "They hear SPLASHING in the water. Lauren SCREAMS, tries to run back.\n Kawakita grabs her. There's more thrashing water and then silence.", "The statue is terrifyingly life-like. Margo stares at The Beast. Mbwun\n is covered in scales and stiff hair, with glittering green eyes and", "Kawakita tears up the dark stairs. He turns a corner and something\n JUMPS OUT at him. He almost screams. It's a DRUNK.", "A strange noise comes out of the monster. A low, confused growl. He\n doesn't loosen his grip on Margo, but he leans down to look at her\n closer with one green, unblinking eye.", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "Pendergast and Margo run down the long dark room, passing an enormous\n hollowed-out canoe. As they exit the far end, the dark shape of Mbwun\n emerges. It leaps forward, closing in fast.", "the monster drops D'Agosta and retreats in the dark. D'Agosta grabs\n Kawakita.", "ON JONATHAN... frozen in the doorway, Kawakita by his side. Both of\n them are rigid with horror. Disbelief in their eyes. The BEAST leaps", "\"monster species\". It made no sense.\n But he felt he had evidence that\n Mbwun was such a monster, living in", "past making a sound. From the monster comes a faint crunching and\n slobbering. Jonathan rises, comes to D'Agosta. So does Frank. They", "Jonathan and Hobbes take cover behind one of the dinosaurs and hide.\n Mbwun sees Jonathan, lifts both claws, SWINGS at the skeleton, sending", "Cuthbert SCREAMS in a high pitch whine at the sight of the beast. The\n dog barks wildly at Mbwun! Jonathan lifts his shot gun. But the" ], [ "cabinet! In a split second Margo hauls it out, throws a switch and\n gets a BLAST OF WATER. She turns it on the beast as it grabs for", "MARGO\n That thing could kill ten people in\n a matter of minutes.\n\n PENDERGAST\n But what can we do? Our guns are\n useless --", "MARGO\n No. Wait! Let me talk to him first!\n\n IPPOLITO\n (screaming)\n Kill that thing! Kill it now!", "Then the beast turns and backs up, groaning, as if cornered. Margo\n sees now that one limb is dragging, leaving a trail of blood. The", "MARGO\n That would fit. It's nocturnal.\n Quick. Come inside.\n\n EXT. MUSEUM - NIGHT", "Margo points her light in the distance and illuminates the beast! It's\n descending like a freight train. One split second of sheer amazement,\n then...", "INT. HALL OF NORTH AMERICAN MAMMALS - NIGHT\n\n Margo and Pendergast run. Margo carries the crate carefully wrapped in\n Pendergast's jacket.", "MARGO\n Several problems with that theory.\n For one thing, this egg is intact.\n For another, according to", "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "MARGO\n No, Dr. Frock. You can't.\n\n PENDERGAST\n You'd slow us down and put Margo in\n danger.", "MARGO\n Oh Jesus. John?\n\n The name is a knife through the monster's heart!\n\n MARGO\n No. It's not possible!", "MARGO\n It's not supernatural. Mbwun is an\n animal. Part lizard, part human, a", "MARGO\n My God. You understand.\n\n As they stare, amazed, imperceptibly, the beast appears to narrow its\n eyes in response! Margo controls her voice, keeps it even.", "Margo presses back in the stall, bracing as the beast gets closer.\n It's just outside. It sniffs the air once and suddenly turns, rears", "Suddenly there's a CRASH and the door BENDS like cardboard. TWO HUGE\n SETS OF CLAWS lash through! Margo screams as the claws pass inches", "Margo stands stock still, her eyes on the shadow. She lets out a small\n gasp of shock. She can't believe her eyes. It defies reason. Slowly,", "Margo shoves Frock behind her, slams the door shut. Seconds later, the\n beast throws itself against the storage door. They hear it outside,", "PENDERGAST\n Whatever that thing is, we have to\n kill it!\n\n Margo tries to stop him, but he shrugs her off.", "MARGO\n John? If it is you... I can help.\n\n The monster shakes its head no and releases her. As she watches he\n moves away, quickly limps out the door.", "MARGO\n Help someone!\n\n PENDERGAST\n Oh God! Help!" ], [ "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "Margo points her light in the distance and illuminates the beast! It's\n descending like a freight train. One split second of sheer amazement,\n then...", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "Then the beast turns and backs up, groaning, as if cornered. Margo\n sees now that one limb is dragging, leaving a trail of blood. The", "MARGO\n My God. You understand.\n\n As they stare, amazed, imperceptibly, the beast appears to narrow its\n eyes in response! Margo controls her voice, keeps it even.", "cabinet! In a split second Margo hauls it out, throws a switch and\n gets a BLAST OF WATER. She turns it on the beast as it grabs for", "her! TWO GLOWING SLIT GREEN EYES in the dark! Margo SCREAMS as the\n thing leaps forward, hitting one of the totem poles. Margo sinks to", "Margo shoves Frock behind her, slams the door shut. Seconds later, the\n beast throws itself against the storage door. They hear it outside,", "MARGO\n My God. Then it was an animal.", "ON MARGO... Can it be possible? She stares at the thing... \n\n MARGO\n John's necklace! You killed him!", "MARGO\n Oh Jesus. John?\n\n The name is a knife through the monster's heart!\n\n MARGO\n No. It's not possible!", "MARGO\n No. Wait! Let me talk to him first!\n\n IPPOLITO\n (screaming)\n Kill that thing! Kill it now!", "MARGO\n That thing could kill ten people in\n a matter of minutes.\n\n PENDERGAST\n But what can we do? Our guns are\n useless --", "PENDERGAST\n Whatever that thing is, we have to\n kill it!\n\n Margo tries to stop him, but he shrugs her off.", "Suddenly there's a CRASH and the door BENDS like cardboard. TWO HUGE\n SETS OF CLAWS lash through! Margo screams as the claws pass inches", "Margo stands stock still, her eyes on the shadow. She lets out a small\n gasp of shock. She can't believe her eyes. It defies reason. Slowly,", "up, furious and crashes through the bathroom door. Margo screams and\n the thing grabs her! It holds Margo up before it and roars. It closes", "MARGO\n It's okay, I'm all right. I remember\n now... It was an animal. Something", "The statue is terrifyingly life-like. Margo stares at The Beast. Mbwun\n is covered in scales and stiff hair, with glittering green eyes and", "MARGO\n John? If it is you... I can help.\n\n The monster shakes its head no and releases her. As she watches he\n moves away, quickly limps out the door." ], [ "They all enter. Nothing has been disturbed. The crates sit in the\n middle of the small room, untouched. Pendergast kneels by the only one\n that's been opened.", "THE CRATES. Whittlesley's eyes lock onto them and he inches towards\n them, drawn inexorably closer... closer... \n\n WHITTLESLEY\n No... no...", "flora and fauna line the walls. Cardboard boxes cover the floor.\n Seated in a wheelchair is a white-haired man in a tweed jacket and a", "The crates had been broken into and\n the contents were strewn about. But\n nothing was missing. It was\n downright weird. We joked that it", "Whittlesley stares wide-eyed into the blackness of the hold. The goats\n start BLEATING in blind panic. A shaft of moonlight comes through a\n porthole as the boat turns. The moonlight falls on", "THE WHITTLESLEY CRATES. The same ones last seen in the hold of the\n ill-fated Santa Lucia. They are scattered about in disarray. One in", "Pendergast's handkerchief and wraps her hand. She quickly sprinkles\n some of the fibers inside the door to room 1012. Before Dr. Frock", "Frock now opens the door on a humid closet adjacent to the main room.\n Inside on a stainless steel table lies the corpse of a fox. It's", "Pendergast, the crates were shipped\n here on a boat. Everyone on board\n was killed like Beauregard. If the", "knew. There's something unspeakable\n inside. If your boat leaves harbor\n with those crates on board, I can't", "A series of boxes labeled \"PROFESSOR FROCK\" sit on the loading dock. A\n small moving van, partially loaded with the contents of Frock's", "nostrils, enormous teeth and red rimmed eyes. Suddenly Cuthbert sees a\n DROP OF BLOOD on his hand! He's been CUT!", "Jonathan and Pendergast enter quickly from the hidden rear door.\n Pendergast shines his beam on dusty shelves filled with specimens. All", "I.D., everything. I have to make\n sure no one else dies. The crates,\n the crates were sent out before we", "She leaves the crate behind as Pendergast dives inside with her. Margo\n shoves the door shut hard as Mbwun, still blinded, leaps into the", "A STACK OF CRATES... clearly labeled NATURAL HISTORY MUSEUM. Move in on\n these as... The CRATES VIBRATE. The boat has started to move!", "Cuthbert feels gently through the packing material, lets out a sigh of\n relief as he pulls out a figurine. It is a small, beautifully carved\n statue of A MONSTER crouched on all fours.", "Cripes, Margo, what did you give me?\n Is this an animal or one funky\n shrub?\"\n (to Kawakita)", "was right. I mean, what if? And he\n sent back an egg of his monster in\n the crates. When it got to the", "moves past him, into the darkness of the hold. We hear Whittlesley\n mumbling between low, ragged breaths. At the back of the boat the\n camera finds..." ], [ "Everyone pours out of the exhibit, running for the door leading to the\n Rotunda. People are getting trampled. It's a terrible crush. Screams!", "McNitt is staring in horror at the remote camera images showing the\n chaos in the exhibition, the faces registering blind fear. Alarms\n start going off all over the place. McNitt calls out... panicked...", "The crowd starts to murmur. One man yells.\n\n MAN\n We're trapped! And there's a killer\n in here!", "D'AGOSTA\n There's a dead body in the exhibit!\n People are panicking, trampling each\n other trying to get out.\n\n Ippolito runs over to join them.", "UTTER PANDEMONIUM breaks loose! The close space ECHOES with screams\n and shouts. People claw at each other, stumbling desperately trying to", "an orderly fashion. It's falling fast. Below are crowds of people, all\n pushing to get out! Officer Bailey, near the door, sees it.", "Everyone laughs, applauds again as Cuthbert and the Mayor lead the way\n inside. Kawakita is making his way over to D'Agosta. The crush at the\n entrance is incredible.", "As hundreds of the guests emerge into the pounding rain... crying,\n terrified, unclear what exactly happened. These are the lucky ones.", "Tables over-turned everywhere. Food scatters to the floor. D'AGOSTA\n pushes his way out of the exhibit, crosses to Kawakita, who is", "The remaining crowd begins to whimper. The Mayor rises.\n\n MAYOR\n Everyone quiet. The Lieutenant's in\n charge.", "All three fire. There's a loud report. The kickback knocks Kawakita\n backwards. Screams erupt from the huddled group. Hobbes abruptly shuts", "The children are now far from the other tourists and their class.\n Larry is frightened. The hall takes a sharp dog-leg, ending in a", "Signs announce that the Superstition Exhibit opens tonight. The museum\n is back in business, but not many people are going in. A crowd lingers", "But the two deputies are terrified. They cling to the wall, inching\n backwards, sheer horror in their eyes.", "Overcome by a blind panic, Margo turns and runs. She passes through a\n display on mythical creatures, disappears down another winding dark\n hall.\n\n Behind her comes...", "No answer. Doyle pauses. His hand goes to his gun for reassurance as\n he hears a footstep and a muffled thump. He moves to the door of the\n exhibit, opens it and takes a step inside.", "But now she freezes. At last she's truly scared. A shadow, black\n against black, is gliding stealthily towards her, moving over the\n display cases and grinning artifacts!", "School tours, old ladies, parents and children, foreign tourists with\n cameras snake through the displays. In the room with the Relic,\n there's a tremendous crowd.", "INT. GUARD STATION - NIGHT\n\n A number of museum security personnel are milling in confusion.", "Frock wheels his chair as fast as he can. Margo runs beside him\n carrying the crate with the fibers inside. A peel of thunder ends and\n distant screaming is heard. Margo stops, appalled." ], [ "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "FROCK\n I'm not sure. As you know, the\n Kothoga lived outside civilization", "He goes on hands and knees, sniffs the ground.\n\n LARRY\n It had a long tongue, teeth this big\n and yellow eyes.", "Jonathan and Hobbes take cover behind one of the dinosaurs and hide.\n Mbwun sees Jonathan, lifts both claws, SWINGS at the skeleton, sending", "MBWUN\n\n Savage God of the Kothoga, also\n known as \"HE WHO WALKS ON ALL\n FOURS\".", "\"monster species\". It made no sense.\n But he felt he had evidence that\n Mbwun was such a monster, living in", "PENDERGAST\n Tell me about the last expedition.\n What was he looking for?\n\n MARGO\n A legendary monster called Mbwun.", "crates were put in secure storage,\n they were out of reach. The killer\n couldn't get them, so it got the\n next best thing.", "KAWAKITA\n And they smell delicious.\n\n Kawakita TAKES a NIBBLE.\n\n KAWAKITA\n Taste great.", "MARGO\n We have the fibers. Don't you see?\n The creature is hungry. It wants the", "animal lopes to the spot where we last saw D'Agosta and his group,\n sniffs the ground. It looks up and, with a curiously human gesture,\n cocks its massive head.", "They move forward into the darkness eagerly, towards the ladder which\n leads up to a manhole. But as they pass the bed of twigs, something\n loud CRUNCHES underfoot.", "The silence is broken by VOICES! They're in the distance and muffled,\n but definitely there. The monster crouches eagerly, lopes forward with", "beast seems to realize this, SNORTS and moves off. As he goes he\n passes behind a", "The statue is terrifyingly life-like. Margo stares at The Beast. Mbwun\n is covered in scales and stiff hair, with glittering green eyes and", "an incredible find. I enclose a\n representation of Mbwun. Note the\n exaggerated claws, the reptilian", "On all sides are glowing displays of stuffed buffalo, gazelle, wild\n horses, wolves, giant elk, sabre tooth tigers. Mbwun moves close to", "Then the beast turns and backs up, groaning, as if cornered. Margo\n sees now that one limb is dragging, leaving a trail of blood. The", "KAWAKITA\n I can handle that for you while\n we're waiting on the G.S.E.\n\n Kawakita rises and exits with some of the plant.", "Pendergast looks over and sees the monster. His eyes show disbelief.\n Mbwun looks back at both of them briefly, then it disappears up the\n stairs." ], [ "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "As the flashlight beam hits it, MBWUN roars and looks up. Now we see\n it clearly for the first time. The monster is MASSIVE, putrid, rank.", "\"monster species\". It made no sense.\n But he felt he had evidence that\n Mbwun was such a monster, living in", "Cuthbert SCREAMS in a high pitch whine at the sight of the beast. The\n dog barks wildly at Mbwun! Jonathan lifts his shot gun. But the", "PENDERGAST\n I don't think so. I think we were\n meant to think it was Mbwun. Did\n Whittlesley's monster have claws?", "They hear SPLASHING in the water. Lauren SCREAMS, tries to run back.\n Kawakita grabs her. There's more thrashing water and then silence.", "For one horrible moment, Kawakita is frozen. Then he leaps forward,\n shoves the barrel of his gun behind D'Agosta, right in the beast's", "John. Reptile genes, sixty five\n million years old. Those genes\n remade him! It's not his fault!", "She struggles not to turn away in revulsion. His enormous jaws are\n right near her throat. Everything is very still. And then...", "A strange noise comes out of the monster. A low, confused growl. He\n doesn't loosen his grip on Margo, but he leans down to look at her\n closer with one green, unblinking eye.", "them! The claw closes on D'Agosta and his shot gun goes off. D'Agosta\n screams as the beast lifts him towards its mouth!", "FROCK\n I'm not sure. As you know, the\n Kothoga lived outside civilization", "KAWAKITA\n (looks up, shocked)\n Dr. John Whittlesley.\n\n D'AGOSTA\n What's that doing here?", "genetic freak of some kind, like the\n half-goat, half-sheep they found\n last year in the jungles of Vietnam.", "He goes on hands and knees, sniffs the ground.\n\n LARRY\n It had a long tongue, teeth this big\n and yellow eyes.", "PENDERGAST\n What if Whittlesley arrived on the\n tepui and no monster was there? Was\n he desperate enough to create one?", "ON JONATHAN... frozen in the doorway, Kawakita by his side. Both of\n them are rigid with horror. Disbelief in their eyes. The BEAST leaps", "PENDERGAST\n But this isn't the jungle! This is\n New York. How did it get here? A\n thing like that crossed two\n continents. It makes no sense!", "Then the beast turns and backs up, groaning, as if cornered. Margo\n sees now that one limb is dragging, leaving a trail of blood. The" ], [ "Pendergast nods. The cops all fall back in revulsion. They watch from\n a safe distance as Pendergast approaches the ghost ship. His shiny", "Chairs are overturned. A DEAD GOAT, eviscerated, lies in the bow. A\n lifeboat hangs half off the stern. Pendergast moves aft. The COPS", "D'AGOSTA\n Night watchman who found the body.\n Sweet old man. Been tossing his\n cookies for over an hour. Not a\n likely suspect.", "all. A member of our security force\n has been found murdered. The police\n have just informed me it was Daniel\n Beauregard.", "In a moment they arrive at the site of Beauregard's murder. The area\n at the bottom of the spiral stairway is still littered with chalk,", "Lieutenant D'Agosta. Pendergast surveys some paintings on the wall.", "Pendergast, the crates were shipped\n here on a boat. Everyone on board\n was killed like Beauregard. If the", "The yellow crime scene tape is torn and flapping in a light rain. Most\n of the emergency vehicles have left. The police have released the", "D'Agosta and Pendergast thread their way down a hall lined with bodies\n on gurneys. It's dark and quiet. They go into the autopsy room.", "D'AGOSTA\n (incredulous)\n Saliva test? You mean, you think\n someone ate part of the brain?\n\n PENDERGAST\n Correct.", "Lieutenant D'Agosta stayed with us.\n He is in charge. There is a monster.\n I saw it. Cut through those doors", "The ocean is still, the air stifling and close. A hot sun beats down\n on the deck of the SANTA LUCIA. The boat lists at a crazy angle where", "PENDERGAST\n Yes. That's my case. Now it's yours.\n All the corpses were badly mutilated", "KAWAKITA\n Someone's been murdered. Not shot,\n strangled or stabbed, either. Torn", "D'AGOSTA\n Hi. I'm Lieutenant D'Agosta. You can\n call me Vince. This is Special Agent", "The cop is intimidated both by Pendergast and the morning's events. He\n sweats heavily as he brings Pendergast up to date.", "D'AGOSTA\n You've been holding out on me\n Pendergast. You have a suspect\n capable of this?\n\n Pendergast looks over, nods quietly.", "PENDERGAST gets out along with the others. All of the cops immediately\n cover their faces, gagging violently at the smell. Pendergast sniffs", "The two men shake hands. They couldn't be more different. Pendergast\n is an elegant intellectual... D'Agosta a working class spark plug who", "PENDERGAST\n Not at all. I think we may be\n working on the same case. If so, I\n could use your help." ], [ "The sailors laugh. But with an almost super-human strength born of\n desperation, Whittlesley throws them off. He pulls out his wallet.", "No answer. Doyle pauses. His hand goes to his gun for reassurance as\n he hears a footstep and a muffled thump. He moves to the door of the\n exhibit, opens it and takes a step inside.", "D'AGOSTA\n (screams)\n Somebody tell me! Where is it now?\n\n MAYOR\n (quiet)\n Lieutenant. In the south corner.", "In a moment they arrive at the site of Beauregard's murder. The area\n at the bottom of the spiral stairway is still littered with chalk,", "The yellow crime scene tape is torn and flapping in a light rain. Most\n of the emergency vehicles have left. The police have released the", "The cop is intimidated both by Pendergast and the morning's events. He\n sweats heavily as he brings Pendergast up to date.", "As he runs up, D'Agosta grabs for his walkie talkie. The holster IS\n EMPTY, the walkie talkie gone! Without missing a beat he registers", "They all enter. Nothing has been disturbed. The crates sit in the\n middle of the small room, untouched. Pendergast kneels by the only one\n that's been opened.", "JONATHAN\n Forget it!\n\n CUTHBERT\n Calm down. I found it!", "Frock now opens the door on a humid closet adjacent to the main room.\n Inside on a stainless steel table lies the corpse of a fox. It's", "steadies himself, breathing fast and low. His heart pounds. But\n nothing more happens. The silence is heavy. The eye is gone. And\n suddenly Pendergast understands.", "CUTHBERT\n I got it after I was mugged in the\n subway last spring.\n\n JONATHAN\n Where's the walk-in safe?", "lopes off. Pendergast watches, unimaginably relieved. Realizing what\n just happened, his knees start to buckle. He catches himself, wipes", "watch, and the cuff of a blue shirt protrude over the edge of the\n case. A small icicle of blood hangs from the middle finger. And\n another drop FALLS.", "PENDERGAST gets out along with the others. All of the cops immediately\n cover their faces, gagging violently at the smell. Pendergast sniffs", "ON MARGO... she starts, then remembers Pendergast.\n\n MARGO\n Mr. Pendergast! I found it.", "Pendergast takes Frock's keys and opens the door. It swings wide on\n oiled hinges. D'Agosta turns on a light.\n\n INT. STORAGE ROOM - NIGHT", "moves past him, into the darkness of the hold. We hear Whittlesley\n mumbling between low, ragged breaths. At the back of the boat the\n camera finds...", "Officer MCNITT enters from a side corridor, zipping up his fly. The\n hall is still. McNitt checks his watch, sees Doyle's walkie talkie and\n turns it on.", "Squad cars roar down the back roads, sirens flashing. In the center of\n the column is an unmarked car.\n\n INT. UNMARKED CAR - DAY" ], [ "MARGO\n That thing is John Whittlesley. I\n should have seen it before! The", "WHITTLESLEY\n Yes. Thank Christ somebody speaks\n English. I'm Dr. John Whittlesley.", "KAWAKITA\n (looks up, shocked)\n Dr. John Whittlesley.\n\n D'AGOSTA\n What's that doing here?", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "on the tepui amid the plants. Behind is a painting of John Whittlesley\n as he once was. He wears the necklace with the two arrows, of silver", "several people with their arms slung around each other. At the end is\n a younger MARGO holding hands with JOHN WHITTLESLEY. They appear to be\n more than friends.", "PENDERGAST\n You said John Whittlesley made a\n study of your blueprints of the\n museum.\n\n FROCK\n Yes.", "In the back seat is WHITTLESLEY. Early 40's, the wreck of a once", "PENDERGAST\n No.\n (a moment)\n I came to talk about Dr. John\n Whittlesley.", "moves past him, into the darkness of the hold. We hear Whittlesley\n mumbling between low, ragged breaths. At the back of the boat the\n camera finds...", "The sailors laugh. But with an almost super-human strength born of\n desperation, Whittlesley throws them off. He pulls out his wallet.", "WHITTLESLEY\n Cash. Cash, you see? American money.", "Whittlesley gets out, sees the boat still at dock. His face floods\n with relief.\n\n WHITTLESLEY\n Thank God.", "Whittlesley ducks between cages of goats, boxes of farm equipment, his\n movements jerky with panic. As he continues searching, the camera", "Whittlesley stands bolt upright, realizing what's going on.", "Jonathan moves. D'Agosta sweeps his light across the room but already\n the shape is gone. Cuthbert hides behind the Mayor, calls out in a\n terrified squeal.", "At this moment a NOISE comes from the adjoining room. McNitt's head\n SWIVELS. It's a LOUD THUMP.", "Margo pales.\n\n MARGO\n John couldn't have anything to do\n with a horrible thing like that. He\n was a fine man despite his\n problems --", "the harbor, Whittlesley leans over the front seat. (Italics indicate\n Portuguese to be subtitled)", "John Whittlesley led an expedition\n that found the only known\n representation of Mbwun. The statue\n is said to carry a curse." ], [ "WHITTLESLEY\n <i>I need to speak to the captain!\n Where is he?</i>\n\n The sailors hold Whittlesley back.", "moves past him, into the darkness of the hold. We hear Whittlesley\n mumbling between low, ragged breaths. At the back of the boat the\n camera finds...", "Whittlesley gets out, sees the boat still at dock. His face floods\n with relief.\n\n WHITTLESLEY\n Thank God.", "Whittlesley stares wide-eyed into the blackness of the hold. The goats\n start BLEATING in blind panic. A shaft of moonlight comes through a\n porthole as the boat turns. The moonlight falls on", "The sailors laugh. But with an almost super-human strength born of\n desperation, Whittlesley throws them off. He pulls out his wallet.", "Franco barks an order and several sailors grab Whittlesley by the\n arms. They start to lead him back to shore.", "Whittlesley throws the money down on the deck. The breeze scatters the\n bills across the bow and all the men, including Captain Franco,", "Too late. He turns to run back on deck but then stops, sniffs the air.\n A look of desperation fills his eyes. With one hand he pulls out THE", "WHITTLESLEY\n Yes. Thank Christ somebody speaks\n English. I'm Dr. John Whittlesley.", "WHITTLESLEY\n <i>Faster! We won't make it.</i>\n\n DRIVER\n <i>You want to die?</i>", "scramble for the money, chattering in Portuguese. While they are\n occupied, Whittlesley slips by unnoticed and disappears below deck.", "his shotgun. He's scared out of his mind. He turns to Jonathan,\n whispers.", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "Several crew members murmur the word \"loco\". Hearing the commotion, a\n squat man wearing a billed hat and smoking a cigar approaches. CAPTAIN\n FRANCO.", "the harbor, Whittlesley leans over the front seat. (Italics indicate\n Portuguese to be subtitled)", "The ocean is still, the air stifling and close. A hot sun beats down\n on the deck of the SANTA LUCIA. The boat lists at a crazy angle where", "FRANCO\n You have I.D.?\n\n Whittlesley runs a trembling hand through his hair, trying to keep\n control and appear reasonable.", "Pendergast nods. The cops all fall back in revulsion. They watch from\n a safe distance as Pendergast approaches the ghost ship. His shiny", "rest of his expedition disappeared.\n A taxi driver drove him to the\n harbor where he boarded a cargo\n boat. That boat washed up in my", "Chairs are overturned. A DEAD GOAT, eviscerated, lies in the bow. A\n lifeboat hangs half off the stern. Pendergast moves aft. The COPS" ], [ "The ocean is still, the air stifling and close. A hot sun beats down\n on the deck of the SANTA LUCIA. The boat lists at a crazy angle where", "Pendergast nods. The cops all fall back in revulsion. They watch from\n a safe distance as Pendergast approaches the ghost ship. His shiny", "rest of his expedition disappeared.\n A taxi driver drove him to the\n harbor where he boarded a cargo\n boat. That boat washed up in my", "moves past him, into the darkness of the hold. We hear Whittlesley\n mumbling between low, ragged breaths. At the back of the boat the\n camera finds...", "Whittlesley stares wide-eyed into the blackness of the hold. The goats\n start BLEATING in blind panic. A shaft of moonlight comes through a\n porthole as the boat turns. The moonlight falls on", "Whittlesley gets out, sees the boat still at dock. His face floods\n with relief.\n\n WHITTLESLEY\n Thank God.", "Margo enters. The huge hall is taken up by an enormous boat carved\n from the trunk of a single tree. Inside it are mannequins of Northwest", "EXT. DOCKS - NIGHT\n\n The crew tends to business and the Santa Lucia points out of the\n harbor, disappears into the night.", "it has been washed up on the shore. At first glance, it appears to be\n deserted. A barrel rolls back and forth as the boat is rocked by each", "Franco barks an order and several sailors grab Whittlesley by the\n arms. They start to lead him back to shore.", "Too late. He turns to run back on deck but then stops, sniffs the air.\n A look of desperation fills his eyes. With one hand he pulls out THE", "shoves past the dock hands as the last load goes onto the Santa Lucia.\n The boat's engines churn to life.", "Chairs are overturned. A DEAD GOAT, eviscerated, lies in the bow. A\n lifeboat hangs half off the stern. Pendergast moves aft. The COPS", "Pendergast, the crates were shipped\n here on a boat. Everyone on board\n was killed like Beauregard. If the", "Whittlesley throws the money down on the deck. The breeze scatters the\n bills across the bow and all the men, including Captain Franco,", "Several crew members murmur the word \"loco\". Hearing the commotion, a\n squat man wearing a billed hat and smoking a cigar approaches. CAPTAIN\n FRANCO.", "The taxi swerves around a corner, nearly crashing into a fruit cart,\n flies out of sight.\n\n EXT. HARBOR - BELEM - NIGHT", "The sailors laugh. But with an almost super-human strength born of\n desperation, Whittlesley throws them off. He pulls out his wallet.", "In a moment they arrive at the site of Beauregard's murder. The area\n at the bottom of the spiral stairway is still littered with chalk,", "Cuthbert flips on a light to see a tall, narrow space. Stacks of metal\n shelves reach up into the gloom. Everywhere we see spears, shields," ], [ "MARGO\n Dr. Frock?\n\n FROCK\n Look who's here, Margo.", "MARGO\n Dr. Frock! Quick!", "Margo heads down the hall to the Director's office. She walks through\n the new double oak doors to find DR. FROCK seated at Cuthbert's old\n desk.", "MARGO\n Dr. Frock, I just saw a man back\n there who'd been wading in blood.\n\n As Greg Kawakita sits in the chair next to Margo...", "MARGO\n Dr. Frock. Did you hear that?\n\n FROCK\n Don't stop now.", "This is DR. FROCK, and he's in the middle of packing. He looks up,\n smiles apologetically.\n\n DR. FROCK\n Hello, Margo. Sorry about the mess.", "ON MARGO", "Margo frowns, suddenly uneasy. She and Dr. Frock exchange a look.", "Margo is already out the door.\n\n INT. CORRIDORS/STAIRWELL - MUSEUM - DAY", "ON MARGO...", "MARGO\n No!\n\n MBWUN... turns and sees Margo. She speaks desperately.", "INT. MARGO'S LAB - NIGHT\n\n Margo and Frock enter and huddle over a sheaf of papers that the\n printer has spit out.", "KAWAKITA\n Margo Green. Have you seen her?\n\n PENDERGAST\n She's over here.", "MARGO\n Osteo prep, Karl.\n\n The doors creak closed. They are now inside... \n\n INT. FREIGHT ELEVATOR - DAY", "CUT TO:\n\n INT. MARGO'S APARTMENT - NIGHT", "MARGO\n No, Dr. Frock. You can't.\n\n PENDERGAST\n You'd slow us down and put Margo in\n danger.", "Pendergast nods. As Margo rises he tries to help her but she waves him\n off, collecting her thoughts.", "MARGO\n My God. You understand.\n\n As they stare, amazed, imperceptibly, the beast appears to narrow its\n eyes in response! Margo controls her voice, keeps it even.", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "GUARD\n Morning, Dr. Green.\n\n MARGO\n Morning Joe. Beautiful day." ], [ "Margo, Kawakita and Frock are studying the contents of the crate.", "She leaves the crate behind as Pendergast dives inside with her. Margo\n shoves the door shut hard as Mbwun, still blinded, leaps into the", "Frock wheels his chair as fast as he can. Margo runs beside him\n carrying the crate with the fibers inside. A peel of thunder ends and\n distant screaming is heard. Margo stops, appalled.", "INT. HALL OF NORTH AMERICAN MAMMALS - NIGHT\n\n Margo and Pendergast run. Margo carries the crate carefully wrapped in\n Pendergast's jacket.", "Margo and Frock quickly come out. Margo holds the crate. Frock tries\n to follow in his wheelchair.\n\n FROCK\n I'm coming with you.", "particular has been broken open, its contents spread on the floor.\n Cuthbert mutters in surprise and dismay, kneels by the crate.", "Margo stands stock still, her eyes on the shadow. She lets out a small\n gasp of shock. She can't believe her eyes. It defies reason. Slowly,", "MBWUN crashes in. Margo looks through a crack in the door to see...", "CUT TO:\n\n INT. MARGO'S APARTMENT - NIGHT", "Pendergast and Margo are at the top of the long, narrow shaft.\n Pendergast's flashlight sends a circle of light onto a sheet of black,", "Margo enters. The huge hall is taken up by an enormous boat carved\n from the trunk of a single tree. Inside it are mannequins of Northwest", "Are MARGO AND FROCK... Frock holds the keys to secure storage area 1012\n in his hand. Margo has the flashlight and the crate with the fibers.\n They can hear the sound of thundering movement.", "MARGO\n My God. You understand.\n\n As they stare, amazed, imperceptibly, the beast appears to narrow its\n eyes in response! Margo controls her voice, keeps it even.", "Frock goes back to his work packing to hide his emotion and Margo\n moves to his side. She pulls Frock's books back out of the box,\n returns them to his desk.", "INT. MARGO'S LAB - NIGHT\n\n Margo and Frock enter and huddle over a sheaf of papers that the\n printer has spit out.", "it out. He slides into Margo's chair, fascinated. Then...", "Margo presses back in the stall, bracing as the beast gets closer.\n It's just outside. It sniffs the air once and suddenly turns, rears", "Margo points her light in the distance and illuminates the beast! It's\n descending like a freight train. One split second of sheer amazement,\n then...", "MARGO\n I think so.\n\n She gets one from a cupboard.", "INT. MARGO'S LAB - NIGHT\n\n Margo and Frock stand in the darkness. Through a high window we can\n see lightning flash." ], [ "Cuthbert enters from the lower stairwell. He is now in one of the\n hundreds of areas of the museum that are closed to the the general", "IPPOLITO\n It's fool proof, basically. I\n designed this whole thing myself.\n Every valuable object in the Museum", "museum has been secured.", "Hobbes barks and whines in terror. Jonathan takes the leash and drags\n the animal out.\n\n INT. MUSEUM HALLWAYS - NIGHT", "Police cars are pulling up outside the museum. Sirens wail. Torrents\n of rain limit the number of onlookers. Crowds of people are scattered", "We go to a wide shot of the museum as we slowly pull back... \n\n DISSOLVE TO:", "Yellow crime tape encircles the museum. Dead leaves swirl in clusters\n and the sky is overcast. Overnight, fall turned to winter. The front", "Pendergast and Margo walk together though various exhibits and halls.\n They pass dioramas of ferocious wild animals that have been tamed and\n stuffed behind glass.", "DISSOLVE TO:\n\n EXT. MUSEUM - NIGHT\n\n All is quiet.", "INT. MUSEUM ROTUNDA/STAIRWELL - DAY", "Happy visitors pour into the museum as Margo takes the imposing wide\n stone steps two at a time. We hear SCREAMS of pleasure and release,", "D'AGOSTA\n You're kidding.\n\n PENDERGAST\n Unfortunately, no.\n\n INT. MUSEUM CLASSROOM - DAY", "INT. SECURITY COMMAND CENTER - MUSEUM - NIGHT", "INT. MUSEUM HALLS - NIGHT", "DISSOLVE TO:\n\n EXT. MUSEUM - DAY", "INT. SECURITY COMMAND CENTER - MUSEUM - DAY", "Christmas decorations are up. A light snow is falling. There is a very\n long line.\n\n INT. NATURAL HISTORY MUSEUM - GIFT SHOP - DAY", "Henry drops on the other side of the scaffolding and Larry follows. In\n a moment both disappear from sight.\n\n INT. MUSEUM HALL OF BIRDS - DAY", "INT. MUSEUM BASEMENT - DAY", "INT. MUSEUM HALLWAYS - NIGHT" ], [ "Margo shoves Frock behind her, slams the door shut. Seconds later, the\n beast throws itself against the storage door. They hear it outside,", "Margo and Frock exchange a look. Holy shit. Margo swallows and keeps\n reading.", "growling in fury, claws lashing out. Margo and Frock press back in the\n darkness, terror in their eyes.", "Frock wheels his chair as fast as he can. Margo runs beside him\n carrying the crate with the fibers inside. A peel of thunder ends and\n distant screaming is heard. Margo stops, appalled.", "FROCK\n It's one of the fire doors. Good\n Lord, Margo. We're trapped!\n\n INT. BASEMENT - NIGHT", "Frock, immobilized in his wheel chair, stares at the monster, like a\n trapped rabbit looking at a descending hawk. Margo grabs his keys from", "Frock goes back to his work packing to hide his emotion and Margo\n moves to his side. She pulls Frock's books back out of the box,\n returns them to his desk.", "INT. MARGO'S LAB - NIGHT\n\n Margo and Frock stand in the darkness. Through a high window we can\n see lightning flash.", "MARGO\n Dr. Frock?\n\n FROCK\n Look who's here, Margo.", "FROCK\n Come back and get me.\n\n MARGO\n We will.", "FROCK\n Margo, this is too dangerous. You\n always think you can solve\n everything. This time you don't have", "INT. MARGO'S LAB - NIGHT\n\n Margo and Frock enter and huddle over a sheaf of papers that the\n printer has spit out.", "Margo frowns, suddenly uneasy. She and Dr. Frock exchange a look.", "Frock rolls back down the hall the way Margo just came. Margo is\n beside him, downcast. She's not used to defeat.", "FROCK\n (a long moment)\n Margo, what you've just described is\n a killing machine.", "Margo and Frock quickly come out. Margo holds the crate. Frock tries\n to follow in his wheelchair.\n\n FROCK\n I'm coming with you.", "She starts for the door and Frock wheels into her path. Now for the\n first time she sees what he's been carefully hiding... the deep pain in\n his eyes.", "FOOT. Frock goes over to speak to him, followed by Margo and Greg.", "FROCK\n Margo, these aren't seed pods.\n\n MARGO\n What are they?\n\n FROCK\n They're eggs.", "MARGO\n Dr. Frock! Quick!" ], [ "MARGO\n That thing could kill ten people in\n a matter of minutes.\n\n PENDERGAST\n But what can we do? Our guns are\n useless --", "PENDERGAST\n Whatever that thing is, we have to\n kill it!\n\n Margo tries to stop him, but he shrugs her off.", "MARGO\n No. Wait! Let me talk to him first!\n\n IPPOLITO\n (screaming)\n Kill that thing! Kill it now!", "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "Margo points her light in the distance and illuminates the beast! It's\n descending like a freight train. One split second of sheer amazement,\n then...", "MARGO\n My God. You understand.\n\n As they stare, amazed, imperceptibly, the beast appears to narrow its\n eyes in response! Margo controls her voice, keeps it even.", "MARGO\n Oh Jesus. John?\n\n The name is a knife through the monster's heart!\n\n MARGO\n No. It's not possible!", "MARGO is frantically crawling away in the dark! The beast makes a low\n sound of pleasure and reaches out one claw, easily pins her down.\n Pendergast looks frantically for any kind of weapon!", "Then the beast turns and backs up, groaning, as if cornered. Margo\n sees now that one limb is dragging, leaving a trail of blood. The", "MARGO\n John? If it is you... I can help.\n\n The monster shakes its head no and releases her. As she watches he\n moves away, quickly limps out the door.", "MARGO\n That would fit. It's nocturnal.\n Quick. Come inside.\n\n EXT. MUSEUM - NIGHT", "Margo presses back in the stall, bracing as the beast gets closer.\n It's just outside. It sniffs the air once and suddenly turns, rears", "Margo shoves Frock behind her, slams the door shut. Seconds later, the\n beast throws itself against the storage door. They hear it outside,", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "MARGO\n Unlock one of the other storage\n rooms. We're going upstairs. We'll\n leave a trail back to 1012 and try\n to trap the monster in here.", "cabinet! In a split second Margo hauls it out, throws a switch and\n gets a BLAST OF WATER. She turns it on the beast as it grabs for", "Pendergast and Margo run down the long dark room, passing an enormous\n hollowed-out canoe. As they exit the far end, the dark shape of Mbwun\n emerges. It leaps forward, closing in fast.", "up, furious and crashes through the bathroom door. Margo screams and\n the thing grabs her! It holds Margo up before it and roars. It closes", "MARGO\n The answer's right in front of us.\n\n She points to one of the dioramas. It shows a bird being stalked by a\n fox.", "Suddenly there's a CRASH and the door BENDS like cardboard. TWO HUGE\n SETS OF CLAWS lash through! Margo screams as the claws pass inches" ], [ "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "FROCK\n I'm not sure. As you know, the\n Kothoga lived outside civilization", "MBWUN\n\n Savage God of the Kothoga, also\n known as \"HE WHO WALKS ON ALL\n FOURS\".", "MARGO\n Warrior deity of the Kothoga, an\n extinct South American tribe. Dr.", "PENDERGAST\n Tell me about the last expedition.\n What was he looking for?\n\n MARGO\n A legendary monster called Mbwun.", "As the flashlight beam hits it, MBWUN roars and looks up. Now we see\n it clearly for the first time. The monster is MASSIVE, putrid, rank.", "For one horrible moment, Kawakita is frozen. Then he leaps forward,\n shoves the barrel of his gun behind D'Agosta, right in the beast's", "\"monster species\". It made no sense.\n But he felt he had evidence that\n Mbwun was such a monster, living in", "The statue is terrifyingly life-like. Margo stares at The Beast. Mbwun\n is covered in scales and stiff hair, with glittering green eyes and", "KAWAKITA\n What kind of egg is it?\n\n MARGO\n It's reptilian.", "Pendergast and Margo run down the long dark room, passing an enormous\n hollowed-out canoe. As they exit the far end, the dark shape of Mbwun\n emerges. It leaps forward, closing in fast.", "the monster drops D'Agosta and retreats in the dark. D'Agosta grabs\n Kawakita.", "They hear SPLASHING in the water. Lauren SCREAMS, tries to run back.\n Kawakita grabs her. There's more thrashing water and then silence.", "He goes on hands and knees, sniffs the ground.\n\n LARRY\n It had a long tongue, teeth this big\n and yellow eyes.", "A strange noise comes out of the monster. A low, confused growl. He\n doesn't loosen his grip on Margo, but he leans down to look at her\n closer with one green, unblinking eye.", "Kawakita tears up the dark stairs. He turns a corner and something\n JUMPS OUT at him. He almost screams. It's a DRUNK.", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "Jonathan and Hobbes take cover behind one of the dinosaurs and hide.\n Mbwun sees Jonathan, lifts both claws, SWINGS at the skeleton, sending", "KAWAKITA\n It's still back there!\n\n D'AGOSTA\n I know.\n\n Now a voice is heard in the distance.", "She struggles not to turn away in revulsion. His enormous jaws are\n right near her throat. Everything is very still. And then..." ], [ "Margo stands stock still, her eyes on the shadow. She lets out a small\n gasp of shock. She can't believe her eyes. It defies reason. Slowly,", "MARGO\n My God. You understand.\n\n As they stare, amazed, imperceptibly, the beast appears to narrow its\n eyes in response! Margo controls her voice, keeps it even.", "Margo presses back in the stall, bracing as the beast gets closer.\n It's just outside. It sniffs the air once and suddenly turns, rears", "A strange noise comes out of the monster. A low, confused growl. He\n doesn't loosen his grip on Margo, but he leans down to look at her\n closer with one green, unblinking eye.", "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "Then the beast turns and backs up, groaning, as if cornered. Margo\n sees now that one limb is dragging, leaving a trail of blood. The", "MARGO\n John? If it is you... I can help.\n\n The monster shakes its head no and releases her. As she watches he\n moves away, quickly limps out the door.", "MARGO\n No. Wait! Let me talk to him first!\n\n IPPOLITO\n (screaming)\n Kill that thing! Kill it now!", "Margo shoves Frock behind her, slams the door shut. Seconds later, the\n beast throws itself against the storage door. They hear it outside,", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "Suddenly there's a CRASH and the door BENDS like cardboard. TWO HUGE\n SETS OF CLAWS lash through! Margo screams as the claws pass inches", "The statue is terrifyingly life-like. Margo stares at The Beast. Mbwun\n is covered in scales and stiff hair, with glittering green eyes and", "up, furious and crashes through the bathroom door. Margo screams and\n the thing grabs her! It holds Margo up before it and roars. It closes", "MARGO\n We have the fibers. Don't you see?\n The creature is hungry. It wants the", "MARGO\n Oh Jesus. John?\n\n The name is a knife through the monster's heart!\n\n MARGO\n No. It's not possible!", "MARGO\n That would fit. It's nocturnal.\n Quick. Come inside.\n\n EXT. MUSEUM - NIGHT", "MARGO is frantically crawling away in the dark! The beast makes a low\n sound of pleasure and reaches out one claw, easily pins her down.\n Pendergast looks frantically for any kind of weapon!", "Oddly enough, the beast pauses for once. Talking to the damn thing is\n the one tactic no one has tried! The claw halts in mid-air. The beast", "Margo points her light in the distance and illuminates the beast! It's\n descending like a freight train. One split second of sheer amazement,\n then...", "her! TWO GLOWING SLIT GREEN EYES in the dark! Margo SCREAMS as the\n thing leaps forward, hitting one of the totem poles. Margo sinks to" ], [ "MARGO\n That thing is John Whittlesley. I\n should have seen it before! The", "WHITTLESLEY\n Yes. Thank Christ somebody speaks\n English. I'm Dr. John Whittlesley.", "KAWAKITA\n (looks up, shocked)\n Dr. John Whittlesley.\n\n D'AGOSTA\n What's that doing here?", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "PENDERGAST\n You said John Whittlesley made a\n study of your blueprints of the\n museum.\n\n FROCK\n Yes.", "on the tepui amid the plants. Behind is a painting of John Whittlesley\n as he once was. He wears the necklace with the two arrows, of silver", "several people with their arms slung around each other. At the end is\n a younger MARGO holding hands with JOHN WHITTLESLEY. They appear to be\n more than friends.", "PENDERGAST\n No.\n (a moment)\n I came to talk about Dr. John\n Whittlesley.", "John Whittlesley led an expedition\n that found the only known\n representation of Mbwun. The statue\n is said to carry a curse.", "WHITTLESLEY\n Cash. Cash, you see? American money.", "In the back seat is WHITTLESLEY. Early 40's, the wreck of a once", "moves past him, into the darkness of the hold. We hear Whittlesley\n mumbling between low, ragged breaths. At the back of the boat the\n camera finds...", "The sailors laugh. But with an almost super-human strength born of\n desperation, Whittlesley throws them off. He pulls out his wallet.", "A huge room several stories high. A WHALE hangs suspended from the\n ceiling. Dioramas of fish line all the walls. Mbwun pauses next to a", "Whittlesley ducks between cages of goats, boxes of farm equipment, his\n movements jerky with panic. As he continues searching, the camera", "Whittlesley gets out, sees the boat still at dock. His face floods\n with relief.\n\n WHITTLESLEY\n Thank God.", "At this moment a NOISE comes from the adjoining room. McNitt's head\n SWIVELS. It's a LOUD THUMP.", "flora and fauna line the walls. Cardboard boxes cover the floor.\n Seated in a wheelchair is a white-haired man in a tweed jacket and a", "Margo pales.\n\n MARGO\n John couldn't have anything to do\n with a horrible thing like that. He\n was a fine man despite his\n problems --", "Whittlesley stands bolt upright, realizing what's going on." ], [ "MARGO\n That thing is John Whittlesley. I\n should have seen it before! The", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "Margo pales.\n\n MARGO\n John couldn't have anything to do\n with a horrible thing like that. He\n was a fine man despite his\n problems --", "WHITTLESLEY\n Yes. Thank Christ somebody speaks\n English. I'm Dr. John Whittlesley.", "D'AGOSTA\n This place is a maze.\n\n FROCK\n I'm one of the few who know every\n inch it, now that John is gone.", "down again. He seems to be struggling with himself. He glances over\n his shoulder to make sure he's alone. Quickly he moves to a locked", "MARGO\n (a moment, taken aback)\n Yes. Once. We met at Columbia. John", "MARGO\n No! Don't kill him! Pendergast, you\n were right. It's John!\n\n PENDERGAST\n What?", "Jonathan starts. Now the man gently snores. Jonathan moves to him,\n shakes the drunk's shoulder.", "From above comes the beating of a distant HELICOPTER and then the\n sound of breaking glass. Hobbes pulls Jonathan back to the staircase.\n Jonathan grins, follows behind with the drunk.", "FROCK\n Yes. John made quite a study of the\n whole museum. He had a copy of my\n original plans.", "MARGO\n That was two years ago. John was\n still in love with me.\n (she looks down)\n He wouldn't leave me alone.", "MARGO\n Just like John. He won't listen.\n\n PENDERGAST\n I have to shoot.", "Cuthbert stands by the window of his palatial office, looking out at\n the scene below. His face is pinched with worry. Slumped in a chair is", "MARGO\n Oh Jesus. John?\n\n The name is a knife through the monster's heart!\n\n MARGO\n No. It's not possible!", "Jonathan moves. D'Agosta sweeps his light across the room but already\n the shape is gone. Cuthbert hides behind the Mayor, calls out in a\n terrified squeal.", "of something huge. Let's consider\n the possibility, just the three of\n us, alone in this room. What if John", "PENDERGAST\n No.\n (a moment)\n I came to talk about Dr. John\n Whittlesley.", "MARGO\n No. I'm all right. I won't let this\n affect me anymore. John wouldn't get", "Frock goes back to his work packing to hide his emotion and Margo\n moves to his side. She pulls Frock's books back out of the box,\n returns them to his desk." ], [ "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "FROCK\n I'm not sure. As you know, the\n Kothoga lived outside civilization", "MBWUN\n\n Savage God of the Kothoga, also\n known as \"HE WHO WALKS ON ALL\n FOURS\".", "MARGO\n Warrior deity of the Kothoga, an\n extinct South American tribe. Dr.", "PENDERGAST\n Tell me about the last expedition.\n What was he looking for?\n\n MARGO\n A legendary monster called Mbwun.", "\"monster species\". It made no sense.\n But he felt he had evidence that\n Mbwun was such a monster, living in", "For one horrible moment, Kawakita is frozen. Then he leaps forward,\n shoves the barrel of his gun behind D'Agosta, right in the beast's", "As the flashlight beam hits it, MBWUN roars and looks up. Now we see\n it clearly for the first time. The monster is MASSIVE, putrid, rank.", "The statue is terrifyingly life-like. Margo stares at The Beast. Mbwun\n is covered in scales and stiff hair, with glittering green eyes and", "Pendergast and Margo run down the long dark room, passing an enormous\n hollowed-out canoe. As they exit the far end, the dark shape of Mbwun\n emerges. It leaps forward, closing in fast.", "They hear SPLASHING in the water. Lauren SCREAMS, tries to run back.\n Kawakita grabs her. There's more thrashing water and then silence.", "KAWAKITA\n What kind of egg is it?\n\n MARGO\n It's reptilian.", "the monster drops D'Agosta and retreats in the dark. D'Agosta grabs\n Kawakita.", "She struggles not to turn away in revulsion. His enormous jaws are\n right near her throat. Everything is very still. And then...", "The silence is broken by VOICES! They're in the distance and muffled,\n but definitely there. The monster crouches eagerly, lopes forward with", "He goes on hands and knees, sniffs the ground.\n\n LARRY\n It had a long tongue, teeth this big\n and yellow eyes.", "Cuthbert feels gently through the packing material, lets out a sigh of\n relief as he pulls out a figurine. It is a small, beautifully carved\n statue of A MONSTER crouched on all fours.", "KAWAKITA\n Holy shit.\n\n INT. HALL OF THE AFRICAN MAMMALS - NIGHT", "Cuthbert SCREAMS in a high pitch whine at the sight of the beast. The\n dog barks wildly at Mbwun! Jonathan lifts his shot gun. But the", "Then the beast turns and backs up, groaning, as if cornered. Margo\n sees now that one limb is dragging, leaving a trail of blood. The" ], [ "Frock now opens the door on a humid closet adjacent to the main room.\n Inside on a stainless steel table lies the corpse of a fox. It's", "fibers are infected with a virus.\n You eat them, and the virus alters\n your DNA! He became addicted to them\n in South America, followed the", "As the flashlight beam hits it, MBWUN roars and looks up. Now we see\n it clearly for the first time. The monster is MASSIVE, putrid, rank.", "It looks more like a bizarre industrial kitchen than anything else.\n Deep stainless steel tanks line one wall. On the ceiling near the", "and rounded like a cave. From the ceiling hang huge cobwebs. There's a\n large pile of sticks in one corner fashioned rather like a bed. On a", "Cripes, Margo, what did you give me?\n Is this an animal or one funky\n shrub?\"\n (to Kawakita)", "hormones in these plants. It would\n take hundreds of human brains to\n supply what's in these fibers. We're", "Frock looks into a large maceration tank with Pendergast and D'Agosta.\n A zebra carcass can be seen under the muddy surface, its flesh and\n soft tissues falling off.", "MARGO\n This is it. This is what he, or\n it... is after! The plant has high\n concentrations of the same hormones\n found in minute quantities in the\n human brain!", "sections, a disembodied monkey head. One rectangular glass container\n holds a skinned human foot.", "in the abdomen. This is a massive\n wound, two feet long and a foot\n wide. The head has suffered severe", "MARGO\n Yes. Whatever killed Beauregard may\n have lived on this plant. When the", "Cuthbert feels gently through the packing material, lets out a sigh of\n relief as he pulls out a figurine. It is a small, beautifully carved\n statue of A MONSTER crouched on all fours.", "steadies the revolver and levels it at the door. The hideous pickled\n specimens seem to hover all around him. The smell is overwhelming and\n the snuffling is louder now.", "An explosive sneeze rattles the beakers and dislodges the plant\n specimens. Margo interrupts her work at the computer to hand Greg a\n tissue as Frock looks on.", "They move forward into the darkness eagerly, towards the ladder which\n leads up to a manhole. But as they pass the bed of twigs, something\n loud CRUNCHES underfoot.", "pops it into his mouth. He closes his eyes in ecstasy and savors the\n taste. Then he cuts one more infinitesimal sliver, leaves it on the", "The words go unanswered. From the hall comes a loud REPORT. It's the\n shotguns, blasting desperately. Something flies up all around them as\n the sound echoes. BATS!", "with the foul, enormous monster! It regards him evenly, blinks once.\n Then the tongue slides out, licks its lips eagerly and...", "crawling with BLACK BEETLES which are devouring it. D'Agosta and\n Pendergast watch the grizzly scene, properly impressed." ], [ "John. Reptile genes, sixty five\n million years old. Those genes\n remade him! It's not his fault!", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "MARGO\n No! Don't kill him! Pendergast, you\n were right. It's John!\n\n PENDERGAST\n What?", "MARGO\n Oh Jesus. John?\n\n The name is a knife through the monster's heart!\n\n MARGO\n No. It's not possible!", "Cuthbert SCREAMS in a high pitch whine at the sight of the beast. The\n dog barks wildly at Mbwun! Jonathan lifts his shot gun. But the", "Margo pales.\n\n MARGO\n John couldn't have anything to do\n with a horrible thing like that. He\n was a fine man despite his\n problems --", "Jonathan moves. D'Agosta sweeps his light across the room but already\n the shape is gone. Cuthbert hides behind the Mayor, calls out in a\n terrified squeal.", "MARGO\n John? If it is you... I can help.\n\n The monster shakes its head no and releases her. As she watches he\n moves away, quickly limps out the door.", "of something huge. Let's consider\n the possibility, just the three of\n us, alone in this room. What if John", "MARGO\n That thing is John Whittlesley. I\n should have seen it before! The", "She struggles not to turn away in revulsion. His enormous jaws are\n right near her throat. Everything is very still. And then...", "MARGO\n Just like John. He won't listen.\n\n PENDERGAST\n I have to shoot.", "past making a sound. From the monster comes a faint crunching and\n slobbering. Jonathan rises, comes to D'Agosta. So does Frank. They", "As the flashlight beam hits it, MBWUN roars and looks up. Now we see\n it clearly for the first time. The monster is MASSIVE, putrid, rank.", "steadies himself, breathing fast and low. His heart pounds. But\n nothing more happens. The silence is heavy. The eye is gone. And\n suddenly Pendergast understands.", "bellows like a lamb being led to the slaughter. He opens his hand and\n the rabbit's foot drops! The last Jonathan sees of Cuthbert is his", "down again. He seems to be struggling with himself. He glances over\n his shoulder to make sure he's alone. Quickly he moves to a locked", "With these words, the dog GROWLS. Jonathan freezes and sniffs the air.\n\n JONATHAN\n Oh no. I smell it.", "\"monster species\". It made no sense.\n But he felt he had evidence that\n Mbwun was such a monster, living in", "MARGO\n Somehow, when all this happened... I\n knew it would come back to John. Is\n he really dead?\n\n PENDERGAST\n Maybe not." ], [ "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "For one horrible moment, Kawakita is frozen. Then he leaps forward,\n shoves the barrel of his gun behind D'Agosta, right in the beast's", "As the flashlight beam hits it, MBWUN roars and looks up. Now we see\n it clearly for the first time. The monster is MASSIVE, putrid, rank.", "Margo points her light in the distance and illuminates the beast! It's\n descending like a freight train. One split second of sheer amazement,\n then...", "FROCK\n I'm not sure. As you know, the\n Kothoga lived outside civilization", "The flashlight continues to shine like a high beam right into the\n beast's eyes. Angry and blinded, the creature turns and in a moment,", "Kawakita covers his eyes, unable to watch as the lights flicker a\n third and last time. The room is plunged into darkness. And over the", "All three fire. There's a loud report. The kickback knocks Kawakita\n backwards. Screams erupt from the huddled group. Hobbes abruptly shuts", "They hear SPLASHING in the water. Lauren SCREAMS, tries to run back.\n Kawakita grabs her. There's more thrashing water and then silence.", "Pendergast and Margo run down the long dark room, passing an enormous\n hollowed-out canoe. As they exit the far end, the dark shape of Mbwun\n emerges. It leaps forward, closing in fast.", "Jonathan and Hobbes take cover behind one of the dinosaurs and hide.\n Mbwun sees Jonathan, lifts both claws, SWINGS at the skeleton, sending", "MBWUN\n\n Savage God of the Kothoga, also\n known as \"HE WHO WALKS ON ALL\n FOURS\".", "the monster drops D'Agosta and retreats in the dark. D'Agosta grabs\n Kawakita.", "Pendergast FLICKS on his high powered FLASHLIGHT, shining it at close\n range right in the beast's eyes! Then carefully, with total calm he", "Cuthbert SCREAMS in a high pitch whine at the sight of the beast. The\n dog barks wildly at Mbwun! Jonathan lifts his shot gun. But the", "his neck at a crazy angle. It snaps like a twig. The other men drop\n back. Mbwun follows, tearing through the men, cutting a deathly swath!", "squeezes the trigger hard. The gun echoes in the hall. A split second\n and a white streak moves right up the beast's cranium. A direct hit.", "them! The claw closes on D'Agosta and his shot gun goes off. D'Agosta\n screams as the beast lifts him towards its mouth!", "ON JONATHAN... frozen in the doorway, Kawakita by his side. Both of\n them are rigid with horror. Disbelief in their eyes. The BEAST leaps", "A BARRAGE OF FIRE breaks out! The S.W.A.T. team is in the doorway,\n laying down everything they've got. The creature ROARS as if betrayed," ], [ "D'AGOSTA\n Both of you. Get back here.\n\n POUND\n But he's still alive --", "D'Agosta keeps firing until he's pumping an empty chamber. Plaster is\n falling all around. SCREAMS resound in the Hall of the Heavens as\n D'Agosta stumbles up the stairs.", "them! The claw closes on D'Agosta and his shot gun goes off. D'Agosta\n screams as the beast lifts him towards its mouth!", "D'Agosta, Frank and Kawakita aim their guns at the door and shoot\n repeatedly. The shots echo wildly. The sound is terrifyingly loud. The", "up. The men fire and fire until there's nothing left. D'Agosta reaches\n for more shells, comes up empty.", "D'Agosta runs across the room to a set of double industrial doors.\n There's a noise in the darkness beyond and he just manages to slam", "Tables are overturned, food lies on the ground, people cower in the\n darkness. D'Agosta crouches in some broken glass with his walkie", "D'AGOSTA\n All right. You guard these people\n and your daughter.\n\n D'Agosta gives Frank his service revolver.", "D'AGOSTA is lost in the swirl of people. And he likes it like that. He\n rests against a large stone lion, pulls out a cheap cigar in", "D'Agosta points to a lump the size of a bowling ball that's in the\n corner.\n\n D'AGOSTA\n Careful. That mess on the ground is\n brains.", "small glass window shatters. Then the men lean heavily on the door. It\n still won't budge. D'Agosta looks through the window.", "D'Agosta heads down the stairs in the lead, with Bailey close behind.\n The stairwell is windowless and dark. D'Agosta shines his light and it", "the monster drops D'Agosta and retreats in the dark. D'Agosta grabs\n Kawakita.", "D'Agosta nods. Frank expertly reloads. D'Agosta holsters the walkie\n talkie and they plunge down the left hand passage. Kawakita takes", "D'AGOSTA\n (totally confused)\n Oh.\n\n INT. NEW YORK CITY MORGUE - EVENING", "past making a sound. From the monster comes a faint crunching and\n slobbering. Jonathan rises, comes to D'Agosta. So does Frank. They", "D'Agosta pumps two shells in the shotgun. Screams can be heard from\n the people crouched together at the edge of the room. Hobbes is", "signals for him to wait. The flashlight flares into a glass door one\n flight down. D'Agosta raises his hand.", "Lieutenant D'Agosta stayed with us.\n He is in charge. There is a monster.\n I saw it. Cut through those doors", "Lieutenant D'Agosta. Pendergast surveys some paintings on the wall." ], [ "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "All three fire. There's a loud report. The kickback knocks Kawakita\n backwards. Screams erupt from the huddled group. Hobbes abruptly shuts", "For one horrible moment, Kawakita is frozen. Then he leaps forward,\n shoves the barrel of his gun behind D'Agosta, right in the beast's", "D'AGOSTA levels his shotgun at the monster and fires, with no apparent\n effect. When the shots stop echoing we hear SCREAMS and FRANTIC\n BARKING from the hall.", "FROCK\n I'm not sure. As you know, the\n Kothoga lived outside civilization", "now rushes half way up their thighs. Kawakita's teeth start to\n chatter. He bites them shut, steadies his gun.", "Cuthbert SCREAMS in a high pitch whine at the sight of the beast. The\n dog barks wildly at Mbwun! Jonathan lifts his shot gun. But the", "They hear SPLASHING in the water. Lauren SCREAMS, tries to run back.\n Kawakita grabs her. There's more thrashing water and then silence.", "Everyone stops. Bailey pumps his shotgun. So does Jonathan. Kawakita\n fumbles to do like the others. They wait. D'Agosta moves alone down", "Kawakita nods. Behind them in the tunnel is total blackness. Ahead is\n equally dark. The noise of their friends gets ever fainter. The water", "The flashlight continues to shine like a high beam right into the\n beast's eyes. Angry and blinded, the creature turns and in a moment,", "Pendergast and Jonathan shield themselves from the flurry of beating\n wings. Finally the animals settle and Pendergast and Jonathan exchange", "Kawakita and D'Agosta move past the shivering people who are strung\n out along the sides of the tunnel. D'Agosta touches each person as he\n passes.", "D'Agosta, Frank and Kawakita aim their guns at the door and shoot\n repeatedly. The shots echo wildly. The sound is terrifyingly loud. The", "Pendergast FLICKS on his high powered FLASHLIGHT, shining it at close\n range right in the beast's eyes! Then carefully, with total calm he", "Jonathan and Hobbes take cover behind one of the dinosaurs and hide.\n Mbwun sees Jonathan, lifts both claws, SWINGS at the skeleton, sending", "As the flashlight beam hits it, MBWUN roars and looks up. Now we see\n it clearly for the first time. The monster is MASSIVE, putrid, rank.", "A strange noise comes out of the monster. A low, confused growl. He\n doesn't loosen his grip on Margo, but he leans down to look at her\n closer with one green, unblinking eye.", "Cuthbert laughs right on cue. They pass a Congo power figure with its\n bulging eye sockets and torso riddled with sharp nails. Several people", "Pendergast and Margo run down the long dark room, passing an enormous\n hollowed-out canoe. As they exit the far end, the dark shape of Mbwun\n emerges. It leaps forward, closing in fast." ], [ "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "The last piece of the puzzle falls. The monster is John Whittlesley!\n Margo, still desperately frightened, tries to keep control.", "As the flashlight beam hits it, MBWUN roars and looks up. Now we see\n it clearly for the first time. The monster is MASSIVE, putrid, rank.", "For one horrible moment, Kawakita is frozen. Then he leaps forward,\n shoves the barrel of his gun behind D'Agosta, right in the beast's", "Kawakita tears up the dark stairs. He turns a corner and something\n JUMPS OUT at him. He almost screams. It's a DRUNK.", "They hear SPLASHING in the water. Lauren SCREAMS, tries to run back.\n Kawakita grabs her. There's more thrashing water and then silence.", "Pendergast and Margo run down the long dark room, passing an enormous\n hollowed-out canoe. As they exit the far end, the dark shape of Mbwun\n emerges. It leaps forward, closing in fast.", "FROCK\n I'm not sure. As you know, the\n Kothoga lived outside civilization", "them! The claw closes on D'Agosta and his shot gun goes off. D'Agosta\n screams as the beast lifts him towards its mouth!", "PENDERGAST\n Tell me about the last expedition.\n What was he looking for?\n\n MARGO\n A legendary monster called Mbwun.", "MBWUN\n\n Savage God of the Kothoga, also\n known as \"HE WHO WALKS ON ALL\n FOURS\".", "The statue is terrifyingly life-like. Margo stares at The Beast. Mbwun\n is covered in scales and stiff hair, with glittering green eyes and", "MARGO\n No! Don't kill him! Pendergast, you\n were right. It's John!\n\n PENDERGAST\n What?", "Jonathan and Hobbes take cover behind one of the dinosaurs and hide.\n Mbwun sees Jonathan, lifts both claws, SWINGS at the skeleton, sending", "past making a sound. From the monster comes a faint crunching and\n slobbering. Jonathan rises, comes to D'Agosta. So does Frank. They", "the monster drops D'Agosta and retreats in the dark. D'Agosta grabs\n Kawakita.", "Then the beast turns and backs up, groaning, as if cornered. Margo\n sees now that one limb is dragging, leaving a trail of blood. The", "She struggles not to turn away in revulsion. His enormous jaws are\n right near her throat. Everything is very still. And then...", "ON JONATHAN... frozen in the doorway, Kawakita by his side. Both of\n them are rigid with horror. Disbelief in their eyes. The BEAST leaps", "A strange noise comes out of the monster. A low, confused growl. He\n doesn't loosen his grip on Margo, but he leans down to look at her\n closer with one green, unblinking eye." ], [ "KAWAKITA\n Lizard DNA and human DNA on the same\n strand? Impossible. The sample must\n be contaminated.", "FROCK\n I'm not sure. As you know, the\n Kothoga lived outside civilization", "D'Agosta examines the huge centrifuges, autoclaves, electrophoresis\n apparati, monitors, computers etc. as Margo and Greg Kawakita look at\n the claw.", "PENDERGAST\n What happened?\n\n MARGO\n No one knows. The Kothoga who live\n on the tepui are cannibals.", "PENDERGAST\n That would jive with what we got\n from the preliminary DNA read-out.\n Here, have a look.", "MARGO\n I have the species identification on\n these teeth. We can extract DNA and\n start running tests on the", "MARGO\n I don't know.\n (she has a thought)\n Mr. Pendergast. Do me a favor. Get\n me a DNA readout on that claw.", "given species from a reading of its\n DNA. I call it the Genetic Sequence\n Extrapolator.", "MARGO\n There's another possibility. A lot\n of repeated base pairs could suggest\n a high level of genetic damage.\n\n PENDERGAST\n Genetic damage?", "MARGO\n Listen to me, Pendergast. Mbwun's\n DNA is part homo sapien. In", "KAWAKITA\n What kind of egg is it?\n\n MARGO\n It's reptilian.", "MARGO\n According to this, twenty-five\n percent of the claw DNA is\n unidentifiable, about a third is", "genetic freak of some kind, like the\n half-goat, half-sheep they found\n last year in the jungles of Vietnam.", "Kawakita pulls a heavy book from the shelf. The Encyclopedia of\n Biochemistry, thumbs to a page and reads.", "MBWUN\n\n Savage God of the Kothoga, also\n known as \"HE WHO WALKS ON ALL\n FOURS\".", "For one horrible moment, Kawakita is frozen. Then he leaps forward,\n shoves the barrel of his gun behind D'Agosta, right in the beast's", "claw DNA. Greg, you go find\n Pendergast and Lieutenant D'Agosta\n now.", "MARGO\n With a DNA analysis from a fossil\n you can use this program to tell the\n species and sex of the animal,", "MARGO\n You have to! Listen! All viruses\n pass on their own DNA. Instruct the", "MARGO\n It's not mammalian, that's for sure.\n I think it's reptilian." ] ]

[ "Which character turned into the Kothoga?", "Why did Margo suggest using liquid nitrogen to kill the Kothoga?", "How did Margo kill the Kothoga?", "What was found on the leaf fungus in Whitney's crates?", "What caused the exhibition crowd to panic?", "What substitute was the Kothoga looking for when the leaves went missing?", "Why did Whitney mutate into the Kothoga?", "Who was the homicide detective that investigated the ship's murders?", "Where did police find Ford's missing wallet?", "What is John Whitney's occupation?", "What does Whitney ask of the Ship's Captain?", "Where does the ship arrive?", "Who is Dr Margo?", "What does Margo notice on the crate?", "Why is the Museum locked down?", "What attacks Margo and Frock?", "What does Margo suggest to kill the Kothoga?", "What is the identity of the Kothoga?", "Why does the Kothoga hesitate to attack Margo?", "What is John Whitney's career?", "Where does John work?", "What is Kothoga?", "What does the fungus contain?", "What mutates John?", "How is the Kothoga destroyed?", "How does D'Agosta survive?", "What has no effect on the Kothoga?", "Who is discovered to be the Kothoga?", "What type of DNA does the Kothoga have?" ]

[ [ "John Whitney", "Whitney." ], [ "The Kothoga is part reptilian and likely cold-blooded.", "it is part reptilian and cold blooded. " ], [ "Margo started an explosive fire that killed the Kothoga.", "Fire. " ], [ "Concentrated hormones found in several animal species.", "a concentrated hormone that is found in evry animal. " ], [ "The headless body of a murdered policeman fell into the crowd.", "A decapitated policeman." ], [ "Human hypothalami", "part of the human brain. " ], [ "He drank the tribesmen's soup.", "He ate the soup that the tribe made" ], [ "Vincent D'Agosta", "D'Agosta" ], [ "On the body of a mentally-ill, homeless ex-convict.", "A homeless man in the museum basement" ], [ "Antrhopologist ", "anthropologist" ], [ "Remove the cargo", "Asks him to remove cargo being sent to Chicago." ], [ "Illinois River", "Illinios River" ], [ "Biologist ", "An evolutionary biologist" ], [ "Fungus", "a bed of leaves & a stone statue of the kothoga" ], [ "Killer could be in museum", "The creature kills a police officer. " ], [ "A Kothoga", "Kothoga." ], [ "Liquid Nitrogen", "liquid nitrogen" ], [ "Whitney", "A mythical forest monster." ], [ "It was whitney who recognized her.", "He recognizes her. " ], [ "Anthropologist?", "He is an anthropologist." ], [ "Museum of natural history in Chicago", "Museum of Natural History in Chigago" ], [ "Mythical statue", "A mythical forest monster." ], [ "Animal hormones", "Concentrated hormones found in some animal species. " ], [ "Tribal soup", "the tribemans soup." ], [ "Fire", "explosive fire. " ], [ "Hides in maceration tank", "Being locked outside" ], [ "liguid nitrogen", "Liquid Nitrogen." ], [ "John", "Whitney" ], [ "human", "Whitney's DNA." ] ]

[ [ "PAUL\n Well, business aren't easy--\n JULES\n Actually, I'm in the process of\n starting a new business.", "JULES\n Mine.\n NIC\n Yours?\n\n JULES\n For the business.", "JULES\n When they got a little older, I\n started a Balinese furniture import\n business...\n 38.\n\n PAUL\n Right on.", "NIC\n What are you talking about? I just\n helped you start another business!\n JULES", "Jules punches his arm, mock hurt. They start rough-housing.\n Then kissing. Then the phone rings.", "JULES\n Because if I'm starting this\n business I need something to haul\n my equipment in.", "Jules tries to bring it down. She yells in hushed tones.\n JULES\n No. He's not!", "Jules walks up to intervene.", "Nic looks at Jules and smiles in full overcompensation mode.\n NIC\n What a good idea. We should try\n that. Right, honey?", "JULES\n Yeah.\n The observation strikes Paul. Suddenly, he's feeling a kind\n of fast-tracked intimacy with Jules he hadn't expected.", "Jules and Paul walk through Paul's backyard, evaluating.\n JULES\n ...We could do a kind of a Secret", "Nic's comment hits a nerve in Jules.\n JULES\n What are you trying to say?\n\n NIC\n What do you mean, what am I trying\n to say?", "Jules wants Luis to leave her alone. But he's not going.\n LUIS\n Same time tomorrow?\n\n JULES\n Yes! Same time!", "JULES\n Yes, and I think it's disgusting.\n The two separate, go down separate isles. When they rejoin,\n Nic is contrite.", "Luis stares at his employer. She looks totally disheveled.\n Jules starts feeling her hair, smoothing it into shape.", "JULES\n Paul?\n\nJules walks further into the house. She looks anxious. Paul\nopens his office door and sees Jules in the hall.", "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "Jules looks away. We HEAR a knock from the back.\n LUIS (O.S.)\n Excuse me, Senora? Hello?", "In Nic's mind, Jules is drowning in verbiage. So she jumps\nin to save her.", "They stare at each other, unsure how to act.\n JULES\n And look, I just want you to know," ], [ "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "JULES\n I'm married...\n PAUL\n ...and the kids...\n\n JULES\n Yeah, and I love Nic.", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "Nic looks down, overwhelmed by it all.\n JULES (CONT'D)\n Anyway, I just wanted to say how", "JULES\n I know...\n\n NIC\n (devolving into baby talk)\n Big girl. You're a big girl...\n JONI\n Mom...", "Nic looks at Jules and smiles in full overcompensation mode.\n NIC\n What a good idea. We should try\n that. Right, honey?", "Nic looks at Jules and smiles. Everyone nods. They\n recognize this is a big step for Nic.", "JULES\n What's going on?\n NIC\n Oh, nothing. Paul's just giving me\n child-rearing lessons.", "NIC\n You're sleeping with him, aren't\n you.\n JULES\n (freaked)\n What?\n\n Nic turns to her, eyes red with anger.", "Nic's comment hits a nerve in Jules.\n JULES\n What are you trying to say?\n\n NIC\n What do you mean, what am I trying\n to say?", "Nic reaches for Jules' hand and holds it tight. Nic and\nJules look at each other, and then away.", "NIC\n Paul! It is so great to meet you.\n I'm Nic. This is Jules.\n\n Paul shakes their hands.", "Nic starts to get up. Jules grabs her hand.\n JULES\n No, don't stop...", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "The family drives home. Jules is at the wheel. Nic's in the\n passenger seat, eyes red and puffy. Laser's in the back.", "In Nic's mind, Jules is drowning in verbiage. So she jumps\nin to save her.", "Nic and Jules stuff the last of Joni's things in the back of\n their station wagon. Laser and Joni bring the last of the\n boxes out of the house.", "Jules doesn't look at Nic. She keeps her eyes on the T.V.\n NIC (CONT'D)\n Wanna watch a movie?", "JULES\n Yes, and I think it's disgusting.\n The two separate, go down separate isles. When they rejoin,\n Nic is contrite.", "JULES\n No, I know...I just...\n (beat)\n Sometimes Nic can be a little\n critical, you know. She's a\n perfectionist." ], [ "PAUL (CONT'D)\n I don't know, I guess I thought,\n you know, if I can help somebody in\n need, somebody who wants a baby...", "He studies them for a beat, sees them looking around.\n Figures they must be \"his kids.\" They look in his direction,\n spot him. He raises his hand, stands. They walk over.", "WENDY\n I just need to confirm that you\n donated sperm with us between 1991\n and 1993.\n At the mention of the word sperm, Paul goes pale.", "drawer. She rummages though with clear intention.\n She pulls out a FOLDER and studies the cover. We see the\n words: \"Pacific Cryo Clinic: Bringing your dreams to life.\"", "WENDY (O.S.)\n Well we've been contacted by a\n young woman conceived using your\n semen, and she's asked if you'd be\n open to having contact with her.", "JONI\n Yeah. Well, technically my half-\n brother. Each of my moms had a\n kid, you know, with your sperm...\n PAUL\n No. I didn't know.", "He's not just a client, Jules.\n ,\n He's our sperm donor! Have you\n ever heard the phrase \"Don't Shit", "NIC\n Yeah, I get it. He's their\n biological father and all that crap\n but it still feels really shitty.\n Like we're not enough or something,\n you know?", "NIC\n If you want a family so much, go\n out and make one of your own!\n Nic heads back inside and slams the door behind her.", "PAUL\n Sweet. They were really good kids.\n The boy's kind of a sensitive jock\n and the girl's kind of innocent but\n whip-smart and super cute.", "Okay. I'm just saying he\n might be weird. I mean, he donated\n sperm...\n LASER", "SASHA\n Okay, I'm sorry but your donor\n daddy is giving me the sex vibe.\n JONI\n No he's not. He wouldn't do that.", "She loves it. She pulls his hair back harder. He yelps.\n She pulls down his underwear. Her eyes widen. It's been\n decades since she's seen a hard cock in the flesh.", "Jules is staring at Paul.\n\n PAUL (CONT'D)\n What?\n\n JULES\n Sorry, I just keep seeing my kids\n in your expressions...", "NIC\n No, you hold on! Let me tell you\n something, you really hurt my kids!\n PAUL\n Well, they're kinda my...", "PAUL (CONT'D)\n So, Wendy at the Cryobank said you\n call--\nJoni cuts in, nervous and businesslike.\n 15.", "JULES\n Nothing.\n Paul flips her on her hands and knees and they go at it some\n more.", "Nic and Jules feel their daughter letting go. They hold her\n tight to comfort her.\n They keep holding her until a calm sets in.", "was on my way to becoming one. But\n I quit before the kids were born.\n PAUL\n Well, that happens...", "WOMAN'S VOICE\n My name is Wendy Minter. I'm\n calling from The Pacific Cryobank.\n PAUL\n Okay. What can I do for you?" ], [ "JONI\n Sorry, Laser. I just don't want\n to, okay? I'm leaving soon and I", "JONI\n Yeah...Definitely...\n\n Excited, Joni turns to Laser. He seems uninterested.", "JONI (CONT'D)\n (to Laser)\n Yeah. I was gonna tell you.", "LASER\n Yeah.\n\n Joni gives a quick wave to Paul. She turns to go and Laser\n follows. Paul watches them walk away. He looks stirred up\n by the meeting.", "JONI\n What?\n Laser looks nervous.\n 7.", "JONI\n You guess?\n\n LASER\n Yeah...\n JONI\n God, Laser! You're the one that\n wanted to meet him so bad!", "LASER\n Have you thought any more about,\n you know, making that call...?\n JONI\n Yeah. I don't want to.", "Laser doesn't quite buy Paul's altruism. He looks over at\n him, then away.\n\n INT. JONI'S ROOM - DAY\n56 56", "Joni looks at Laser. They knew this would happen.\n\n INT. NIC AND JULES' BATHROOM - NIGHT\n43 43", "Laser walks out of the room. Joni feels horrible.\n\n INT. NIC AND JULES BEDROOM - THAT NIGHT\n12 12", "LASER\n It's okay. I can handle it.\n Laser backs up. Then the moms both come up and hug Joni,\n tears streaming down their faces.\n 97.", "Laser chuckles at Paul's joke, then reigns it in. Joni tries\nto insert herself in the conversation.", "INT. JONI'S BEDROOM - LATER THAT NIGHT\n11 11\n As Joni cranks out thank-you notes, Laser enters.", "LASER\n Yeah, I like teams.\n\nWe can tell Laser is growing frustrated at his inability to\nconnect with Paul. Joni jumps in.\n JONI\n So this is your place?", "Laser taps his fingers incessantly on the table.\n JONI\n Laser! Knock it off!", "LASER\n Okay...I was just wondering if you\n changed your mind.\n\n JONI\n I haven't.", "INT. JONI'S CAR - DAY\n31 31\n\n Joni and Laser head back home.", "Laser and Joni share a look.\n PAUL\n So Nic, I know you're a doctor.\n How `bout you, Jules? What do you\n do?\nJules never likes this question.", "LASER\n I know.\n\n JONI\n Well what did you think of him?\n LASER\n I don't know. He seemed kind of\n into himself.", "Joni tries to detach from the hug. But her moms won't let\n go. They keep holding her and crying.\n\n Slowly, their tears begin to break Joni down." ], [ "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "Nic looks at Jules and smiles. Everyone nods. They\n recognize this is a big step for Nic.", "Jules tours Nic around the backyard, looking a little freaked\n out as she shows her the work she's been doing.", "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "Nic looks at Jules and smiles in full overcompensation mode.\n NIC\n What a good idea. We should try\n that. Right, honey?", "NIC\n Paul! It is so great to meet you.\n I'm Nic. This is Jules.\n\n Paul shakes their hands.", "Jules and Paul walk through Paul's backyard, evaluating.\n JULES\n ...We could do a kind of a Secret", "Nic looks down, overwhelmed by it all.\n JULES (CONT'D)\n Anyway, I just wanted to say how", "Nic looks at Paul. Stunned. Then looks at Jules and points\nto Paul.", "Jules, disarmed and slightly smiling, reaches over and puts\nher hand on Nic's leg. She gives it a gentle squeeze and\ndoesn't let go. Nic looks over to Jules, finally disarmed.", "Nic caresses Jules' arm, wanting to make it better.\n NIC (CONT'D)\n Hey...", "In Nic's mind, Jules is drowning in verbiage. So she jumps\nin to save her.", "JULES\n Yeah.\n The observation strikes Paul. Suddenly, he's feeling a kind\n of fast-tracked intimacy with Jules he hadn't expected.", "JULES\n (taken aback by Nic's\n cheerfulness)\n Mmm-hmmm.\n\n NIC\n And it's done to perfection.", "Nic starts to get up. Jules grabs her hand.\n JULES\n No, don't stop...", "Nic's comment hits a nerve in Jules.\n JULES\n What are you trying to say?\n\n NIC\n What do you mean, what am I trying\n to say?", "JULES\n Yes, and I think it's disgusting.\n The two separate, go down separate isles. When they rejoin,\n Nic is contrite.", "Nic reaches for Jules' hand and holds it tight. Nic and\nJules look at each other, and then away.", "JULES\n I'm married...\n PAUL\n ...and the kids...\n\n JULES\n Yeah, and I love Nic." ], [ "does, he starts kissing her back with equal fervor, pushing\nher up against the wall, wedging his hand between her legs.\n JULES\n Paul, I can't!", "PAUL (CONT'D)\n No. Honestly. I didn't even\n notice...\n\n Jules throws on her clothes and starts to leave.", "Paul finally stops what he's doing.\n\n PAUL\n Yeah, it's been a while.\n\n TANYA\n You want to meet up later?", "JULES\n Nothing.\n Paul flips her on her hands and knees and they go at it some\n more.", "From his house, Paul watches Jules working on her knees in\n the garden.\n CLOSE ON Jules' thong peaking out of her jeans. Luis walks\n across Paul's field of vision, interrupting his reverie.", "Jules grabs Paul and starts smothering him with kisses.\nIt takes a second for Paul to get his bearings, but when he", "Paul grabs a handful of Jules' ass. Jules throws her leg\n over Paul and climbs up for another round. Suddenly, Joni's\n voice echoes through the machine.", "Paul pulls his hand away from Sasha's and walks off with\nTanya. Sasha turns to Joni.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "JULES\n You gotta be fucking kidding me!\n She dislodges from Paul and starts dressing furiously.", "TANYA\n (welling up)\n Oh.\n\n Paul knows enough to say nothing. Tanya gets up and walks\n off.\n TANYA (CONT'D)\n Fuck you.", "Fucking again in his bedroom. Jules writhes beneath him, her\n eyes closed. Paul seems to be in some kind of zone. He\n stares at her, enthralled.\n\n CUT TO:", "Overcome with lust, Jules wraps her legs around his waist and\n Paul walks her into...\n\n\n HIS BEDROOM\n75 75", "Joni runs to the door. Opens it. It's not Sasha. It's Paul.\n JONI (CONT'D)\n (shocked)", "Jules drives slowly up the hill looking for Paul's address.\n She sees the house and pulls in the driveway next to an old\n truck and a motorcycle.", "Paul hesitates. He doesn't know how to say no.\n\n PAUL\n Tanya, you're so sexy and\n beautiful, but I don't think we\n should do that anymore.", "anywhere.\n Paul just looks at her. Tanya gets it.", "Paul takes some of her load and together they transport the\n sod to the other side of the yard. Neither know what to say.\n\n Paul stares at her, waiting for her lead.", "PAUL\n I know...\n They stare at each other and we cut to...", "PAUL\n What happened?\n JULES\n Nic saw my hair in your bathroom.\n\n PAUL\n The other night." ], [ "CUT TO\n Nic pulling pillows off Paul's bed. Her look tells us she's\n found hair here as well.", "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "Nic throws the clump of hair in the trash.\n\n INT. NIC AND JULES BEDROOM - MOMENTS LATER\n44 44", "PAUL\n What happened?\n JULES\n Nic saw my hair in your bathroom.\n\n PAUL\n The other night.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "CUT TO\n Nic on her knees in Paul's shower, pulling a clump of tell-\n tale red hair from the drain.", "Joni and Laser leave the room. Nic pours herself the last of\nPaul's Petit Syrah. Jules smiles, covering her anxiety.", "Nic starts to get up. Jules grabs her hand.\n JULES\n No, don't stop...", "NIC\n You're sleeping with him, aren't\n you.\n JULES\n (freaked)\n What?\n\n Nic turns to her, eyes red with anger.", "Nic washes her hands at the sink. Something catches her eye.\n She lifts Paul's hairbrush from the shelf in front of her and\n examines it. She reaches into the bristles and pulls out...", "Nic's in bed reading a magazine. Jules gets in bed,\n paranoid. Nic puts her magazine down.\n NIC\n So how'd it go with Paul?", "Jules doesn't look at Nic. She keeps her eyes on the T.V.\n NIC (CONT'D)\n Wanna watch a movie?", "INT. PAUL'S BATHROOM - LATER\n90 90\n Jules takes a shower, washing off the evidence. She looks\n nauseated by her lack of willpower.", "When Jules leaves the room Nic pulls a clump of long, wet red\n hair out of the sink.\n NIC\n Jesus, Jules! The plumber was just\n here!", "CUT TO\n Nic skulks out of the bathroom. She looks out and b-lines\n for the bedroom.", "NIC (CONT'D)\n Don't move...\n\n Nic exits. Jules sinks back, wishing Nic had stayed.", "The hug breaks apart. Nic pushes the hair from Joni's face.\n Joni gives her moms one last smile.", "NIC\n Paul! It is so great to meet you.\n I'm Nic. This is Jules.\n\n Paul shakes their hands.", "Jules walks in to find Nic in sexy satin man-PJ's, sitting at\n the rim of a RUNNING BATH. There are candles burning." ], [ "Jules wakes up looking crusty from a rough night on the\n couch. She looks like she hasn't slept at all.\n 83.", "Nic and Jules are cuddled up affectionately on the couch\n watching cable. They see Laser on his way out of the house.", "Jules lies on her side. Nic shuffles to get to close to her.\n Jules moves away, still pissed at her. Nic realizes she\n needs to make amends.", "INT. ALLGOOD LIVING ROOM - MORNING\n113 113\n Jules wakes up on the couch. Sits up. Rubs her aching back.", "The boys keep wrestling, wired from the pills. Again, they\n knock into the couch. Clay's dad spins around, pissed.", "NIC\n You're sleeping with him, aren't\n you.\n JULES\n (freaked)\n What?\n\n Nic turns to her, eyes red with anger.", "Jules punches his arm, mock hurt. They start rough-housing.\n Then kissing. Then the phone rings.", "We now only see Nic. Jules has slipped under the blanket,\n and is now between Nic's legs. We see Nic trying to get into\n it, but having a hard time.", "Tanya walks over to Paul who's on his computer. She flops on\n the couch next to him. He doesn't look up.", "CUT TO\n Nic pulling pillows off Paul's bed. Her look tells us she's\n found hair here as well.", "Joni stands among her bags and boxes looking around. She\n goes into her suitcase and pulls out her linens. She starts\n making her bed but suddenly stops mid way. She stares out\n toward the hallway.", "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "JULES\n Just getting another pillow. The\n couch is kind of saggy.", "Jules wrestles with the blankets. Wants them out of her way.\n\n NIC\n (pulling them back up)\n I'm cold, honey.", "Joni heads for her room.\n JONI (CONT'D)\n I'm so sick of both of you!", "The Dad grabs Clay, pulls him off of Laser and over the\n couch. He gets his son in a headlock, forcing the boy's face", "Nic and Jules lay in bed watching TV, unwinding from the day.\n NIC\n I just don't understand why you\n bought the truck now.\n 8.", "Jules drinks coffee at the table. Nic walks in, dressed for\n work. Jules looks at her, wanting to \"process.\" But Nic", "Guess not.\n Suddenly they hear bumping and loud footsteps downstairs.\n 89.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)" ], [ "As they drive past buildings and dorms, Joni sees STUDENTS\n swarming the campus. She takes it all in, nervous, excited.\n Nic and Jules steal looks back at Joni, feeling her", "Joni packs for college. The room is littered with half-\n filled packing boxes. She picks up a pile of clothes from\n the corner and sees the farmer's hat Paul gave her. She puts", "Finally she moves to the doorway and looks out. She realizes\n her family isn't there.\n\n EXT. DORM BUILDING - DAY\n129 129", "Luis leaves. Jules turns back to Paul, laughs nervously.\n\n JULES (CONT'D)\n Okay. I'm gonna take off too...", "Joni exits, looking around to find her family. The station\n wagon is gone. She looks panicked. Her pace quickens as she\n makes her way down a hill toward the road.\n Finally Joni sees the Volvo heading towards her.", "Joni wakes up. She looks around her room. There's nothing\n on the walls. The floor is covered with boxes taped and\n labeled. It's time to go.\n 95.", "Jules pats her son and leaves.\n\n INT. JONI'S BEDROOM - DAWN\n101 101", "Nic and Jules stuff the last of Joni's things in the back of\n their station wagon. Laser and Joni bring the last of the\n boxes out of the house.", "The family drives home. Jules is at the wheel. Nic's in the\n passenger seat, eyes red and puffy. Laser's in the back.", "Joni heads for her room.\n JONI (CONT'D)\n I'm so sick of both of you!", "Jules' face drops; she turns and leaves.\n\n OMITTED.\n59 59", "Paul pulls his hand away from Sasha's and walks off with\nTanya. Sasha turns to Joni.", "Laser, Jules and Nic get back in the car. Joni stands\n watching as they drive off and her new life begins.", "INT. ALLGOOD HOUSE - NIGHT\n116 116\n\n The family has their last supper - before Joni leaves.", "JONI\n You dropped out of college?\n PAUL\n Yeah, it wasn't my thing.\n\n NIC\n (squinching)\n No? Why's that?", "the window. Their eyes lock and Paul give Laser a contrite\n smile. That's the final straw for Laser. He grabs his plate\n and walks out of view.", "Joni and Laser leave the room. Nic pours herself the last of\nPaul's Petit Syrah. Jules smiles, covering her anxiety.", "INT. VOLVO STATION WAGON - DAY\n122 122\n The Allgoods are on the road, heading to college.", "Joni shoots up out of her chair and starts leaving the room\nto get some privacy away from her mom.\n PAUL\n Is this a good time to talk?", "Nic and Jules get the hint. They move back and Joni enters\n the room alone. Nic and Jules quietly turn and leave.\n 96." ], [ "He studies them for a beat, sees them looking around.\n Figures they must be \"his kids.\" They look in his direction,\n spot him. He raises his hand, stands. They walk over.", "PAUL\n Sweet. They were really good kids.\n The boy's kind of a sensitive jock\n and the girl's kind of innocent but\n whip-smart and super cute.", "Nic and Jules feel their daughter letting go. They hold her\n tight to comfort her.\n They keep holding her until a calm sets in.", "Jules is staring at Paul.\n\n PAUL (CONT'D)\n What?\n\n JULES\n Sorry, I just keep seeing my kids\n in your expressions...", "Jules punches his arm, mock hurt. They start rough-housing.\n Then kissing. Then the phone rings.", "NIC\n No, you hold on! Let me tell you\n something, you really hurt my kids!\n PAUL\n Well, they're kinda my...", "JULES\n I know...\n\n NIC\n (devolving into baby talk)\n Big girl. You're a big girl...\n JONI\n Mom...", "Jules, Paul and the kids watch, open-mouthed as Nic soldiers\non, skipping ahead to another verse.", "They all sit eating. Paul can't help but study their faces.\n PAUL\n Listen, feel free and ask me\n anything you want, okay?", "Paul rings the bell. Waits. The door opens and Nic and\n Jules are there smiling with \"kill him with kindness\" faces.", "JULES\n What's going on?\n NIC\n Oh, nothing. Paul's just giving me\n child-rearing lessons.", "The family drives home. Jules is at the wheel. Nic's in the\n passenger seat, eyes red and puffy. Laser's in the back.", "On a quiet, tree-lined street we pick up two young athletic-\n looking boys riding bikes. LASER ALLGOOD (15) and his\n friend, CLAY (15).", "As they drive past buildings and dorms, Joni sees STUDENTS\n swarming the campus. She takes it all in, nervous, excited.\n Nic and Jules steal looks back at Joni, feeling her", "Nic and Jules stuff the last of Joni's things in the back of\n their station wagon. Laser and Joni bring the last of the\n boxes out of the house.", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "Guess not.\n Suddenly they hear bumping and loud footsteps downstairs.\n 89.", "JULES\n I'm married...\n PAUL\n ...and the kids...\n\n JULES\n Yeah, and I love Nic.", "Joni exits, looking around to find her family. The station\n wagon is gone. She looks panicked. Her pace quickens as she\n makes her way down a hill toward the road.\n Finally Joni sees the Volvo heading towards her.", "Jules drives slowly up the hill looking for Paul's address.\n She sees the house and pulls in the driveway next to an old\n truck and a motorcycle." ], [ "Suddenly, Laser gets it. His friend is the tool. He grabs\nthe dog and smacks him to get him to run away.\n LASER\n Go! Run! Get out of here!", "LASER\n Yeah.\n\n Joni gives a quick wave to Paul. She turns to go and Laser\n follows. Paul watches them walk away. He looks stirred up\n by the meeting.", "PAUL\n I'm sorry. Laser.\n (beat)\n So tell me about you, Laser. What\n are you into?", "JONI\n What?\n Laser looks nervous.\n 7.", "LASER\n Yeah, I like teams.\n\nWe can tell Laser is growing frustrated at his inability to\nconnect with Paul. Joni jumps in.\n JONI\n So this is your place?", "Laser and Clay sit on the bed. They look at each other.\n Then Laser hits play.\n\n ON SCREEN", "JULES\n Laser, is there anything you want\n to talk about?\n LASER\n Like what?\n NIC\n Anything. Anything on your mind.", "Laser taps his fingers incessantly on the table.\n JONI\n Laser! Knock it off!", "He starts to leave, but her answer bugs him. He turns back.\n LASER\n How can you not even be curious?", "Laser, Jules and Nic get back in the car. Joni stands\n watching as they drive off and her new life begins.", "LASER\n Dude, put it back!!\n Laughing, Clay throws the dildo back in the drawer. Then he\n grabs one of the DVDs and spins back around.", "LASER\n Hey buddy. Good boy.\n\nLaser sees the dog has no tags. He looks around for an\nowner. The dog nuzzles Laser for affection.", "Laser sighs, then holds up the camera. Paul looks at Laser,\n wondering why he puts up with this guy.", "JONI\n You guess?\n\n LASER\n Yeah...\n JONI\n God, Laser! You're the one that\n wanted to meet him so bad!", "Laser does a trick behind the back lay-up. Nails it. Then\n tosses the ball to Paul.\n PAUL (CONT'D)\n Nobody likes a show-off.", "LASER\n Whatever, I have other plans\n anyway.\n\n NIC\n What other plans?\n (off his silence)\n I'm asking you a quest--", "JONI\n Yeah...Definitely...\n\n Excited, Joni turns to Laser. He seems uninterested.", "Paul and Laser shoot hoop. There's a tense-ness to their\n patter. Laser takes the ball and steps to the top of the key\n and shoots. Drains it.", "Laser's not really buying that.\n LASER\n So you did it to help people?\n 46.\n\n PAUL\n It was a long time ago...", "PAUL\n Anything you want to ask me, Laser?\n LASER\n I...uh...I didn't really have any" ], [ "LASER\n Why'd you donate sperm?\n PAUL\n Well, it's a lot more fun then", "LASER\n Our sperm donor.\n Jules and Nic go white.\n\n LASER (CONT'D)\n Wait, did you guys think I was\n gay?!", "Okay. I'm just saying he\n might be weird. I mean, he donated\n sperm...\n LASER", "Dad, your pits smell like burnt\n ass! Get off me!\n As Laser observes this male-bonding between father and son,", "LASER\n Yeah.\n\n Joni gives a quick wave to Paul. She turns to go and Laser\n follows. Paul watches them walk away. He looks stirred up\n by the meeting.", "WENDY\n I just need to confirm that you\n donated sperm with us between 1991\n and 1993.\n At the mention of the word sperm, Paul goes pale.", "JONI\n You guess?\n\n LASER\n Yeah...\n JONI\n God, Laser! You're the one that\n wanted to meet him so bad!", "Laser leaves. Nic hits mute on the TV, looks at Jules.\n NIC\n Ugh. Maybe we should just sit him\n down and ask him already.", "Laser looks down at Jules' thumb on his arm.\n JULES\n Do you feel like he's the kind of", "LASER\n Whatever.\n CLAY\n He's kind of a fag, dude. Tryin'\n to act all like your dad and shit.", "SASHA\n Okay, I'm sorry but your donor\n daddy is giving me the sex vibe.\n JONI\n No he's not. He wouldn't do that.", "Laser watches his moms holding hands from the back seat.\nTheir small gesture is what he needed. He smiles to himself,\ngrateful for a sign.\n\nFADE OUT\nTHE END", "PAUL\n I'm sorry. Laser.\n (beat)\n So tell me about you, Laser. What\n are you into?", "Laser and Clay wrestle on the floor while Clay's DAD watches\n a baseball game on TV. They bump into the couch. Clay's dad\n looks back, menacing.", "LASER\n I just met him once.\n\n Nic and Jules share a worried look.\n\n NIC\n What do you mean once?", "LASER\n Dude, put it back!!\n Laughing, Clay throws the dildo back in the drawer. Then he\n grabs one of the DVDs and spins back around.", "He's not just a client, Jules.\n ,\n He's our sperm donor! Have you\n ever heard the phrase \"Don't Shit", "The Dad grabs Clay, pulls him off of Laser and over the\n couch. He gets his son in a headlock, forcing the boy's face", "He starts to leave, but her answer bugs him. He turns back.\n LASER\n How can you not even be curious?", "PAUL\n Anything you want to ask me, Laser?\n LASER\n I...uh...I didn't really have any" ], [ "PAUL\n What happened?\n JONI\n With my mom?!\n\n PAUL\n Listen, can I just come and talk\n with you--", "does, he starts kissing her back with equal fervor, pushing\nher up against the wall, wedging his hand between her legs.\n JULES\n Paul, I can't!", "Jules drives slowly up the hill looking for Paul's address.\n She sees the house and pulls in the driveway next to an old\n truck and a motorcycle.", "From his house, Paul watches Jules working on her knees in\n the garden.\n CLOSE ON Jules' thong peaking out of her jeans. Luis walks\n across Paul's field of vision, interrupting his reverie.", "Paul takes some of her load and together they transport the\n sod to the other side of the yard. Neither know what to say.\n\n Paul stares at her, waiting for her lead.", "Paul pulls his hand away from Sasha's and walks off with\nTanya. Sasha turns to Joni.", "PAUL\n My social life?\n NIC\n You know, are you married,\n divorced, seeing anyone?\n\n JONI\n Mom!", "Joni shoots up out of her chair and starts leaving the room\nto get some privacy away from her mom.\n PAUL\n Is this a good time to talk?", "JONI\n My mom, Nic. She's making me\n insane.\n PAUL\n Why? What's she doing?", "Paul grabs a handful of Jules' ass. Jules throws her leg\n over Paul and climbs up for another round. Suddenly, Joni's\n voice echoes through the machine.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "Paul sees that his little rant may be alienating the moms.", "PAUL (CONT'D)\n No. Honestly. I didn't even\n notice...\n\n Jules throws on her clothes and starts to leave.", "Jules grabs Paul and starts smothering him with kisses.\nIt takes a second for Paul to get his bearings, but when he", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "Jules pales. She mouths: \"What are you doing?!\" Paul\n gesticulates: \"I'm sorry!\"", "Joni runs to the door. Opens it. It's not Sasha. It's Paul.\n JONI (CONT'D)\n (shocked)", "JULES\n Paul?\n\nJules walks further into the house. She looks anxious. Paul\nopens his office door and sees Jules in the hall.", "CUT TO\n Nic pulling pillows off Paul's bed. Her look tells us she's\n found hair here as well.", "JULES\n You gotta be fucking kidding me!\n She dislodges from Paul and starts dressing furiously." ], [ "JULES\n Yeah.\n The observation strikes Paul. Suddenly, he's feeling a kind\n of fast-tracked intimacy with Jules he hadn't expected.", "does, he starts kissing her back with equal fervor, pushing\nher up against the wall, wedging his hand between her legs.\n JULES\n Paul, I can't!", "Jules pales. She mouths: \"What are you doing?!\" Paul\n gesticulates: \"I'm sorry!\"", "Jules grabs Paul and starts smothering him with kisses.\nIt takes a second for Paul to get his bearings, but when he", "From his house, Paul watches Jules working on her knees in\n the garden.\n CLOSE ON Jules' thong peaking out of her jeans. Luis walks\n across Paul's field of vision, interrupting his reverie.", "JULES\n Nothing.\n Paul flips her on her hands and knees and they go at it some\n more.", "JULES\n I'm married...\n PAUL\n ...and the kids...\n\n JULES\n Yeah, and I love Nic.", "Jules drives slowly up the hill looking for Paul's address.\n She sees the house and pulls in the driveway next to an old\n truck and a motorcycle.", "Fucking again in his bedroom. Jules writhes beneath him, her\n eyes closed. Paul seems to be in some kind of zone. He\n stares at her, enthralled.\n\n CUT TO:", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "PAUL (CONT'D)\n No. Honestly. I didn't even\n notice...\n\n Jules throws on her clothes and starts to leave.", "Paul grabs a handful of Jules' ass. Jules throws her leg\n over Paul and climbs up for another round. Suddenly, Joni's\n voice echoes through the machine.", "JULES\n Well, sweetie, human sexuality is\n complicated. And sometimes,\n people's desires can be...counter-", "JULES\n (eye rolling)\n Jesus, Paul! I'm gay!\n\n Jules tosses the phone away from her.", "JULES\n That wasn't messy. That was fucked\n up. I'm totally fucked up...\n 73.\n\n PAUL\n I think I'm really falling for you.", "Jules grabs the pie and gives him a kiss on the mouth, almost\n as a mistake. Before they know it, they're making out.", "JULES\n You gotta be fucking kidding me!\n She dislodges from Paul and starts dressing furiously.", "Overcome with lust, Jules wraps her legs around his waist and\n Paul walks her into...\n\n\n HIS BEDROOM\n75 75", "Jules visibly recoils.\n PAUL (CONT'D)\n Listen, don't worry about your\n friend." ], [ "Nic throws the clump of hair in the trash.\n\n INT. NIC AND JULES BEDROOM - MOMENTS LATER\n44 44", "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "CUT TO\n Nic pulling pillows off Paul's bed. Her look tells us she's\n found hair here as well.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "Jules, disarmed and slightly smiling, reaches over and puts\nher hand on Nic's leg. She gives it a gentle squeeze and\ndoesn't let go. Nic looks over to Jules, finally disarmed.", "Nic starts to get up. Jules grabs her hand.\n JULES\n No, don't stop...", "NIC\n I found your hair in his drain!\n JULES\n (scrambling)", "NIC\n You're sleeping with him, aren't\n you.\n JULES\n (freaked)\n What?\n\n Nic turns to her, eyes red with anger.", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "PAUL\n What happened?\n JULES\n Nic saw my hair in your bathroom.\n\n PAUL\n The other night.", "Nic looks down, overwhelmed by it all.\n JULES (CONT'D)\n Anyway, I just wanted to say how", "Nic reaches for Jules' hand and holds it tight. Nic and\nJules look at each other, and then away.", "Nic looks at Paul. Stunned. Then looks at Jules and points\nto Paul.", "We now only see Nic. Jules has slipped under the blanket,\n and is now between Nic's legs. We see Nic trying to get into\n it, but having a hard time.", "When Jules leaves the room Nic pulls a clump of long, wet red\n hair out of the sink.\n NIC\n Jesus, Jules! The plumber was just\n here!", "In Nic's mind, Jules is drowning in verbiage. So she jumps\nin to save her.", "INT. NIC AND JULES BEDROOM - NIGHT\n110 110\n\n Jules walks in to find Nic, awake, in bed.", "Jules lies on her side. Nic shuffles to get to close to her.\n Jules moves away, still pissed at her. Nic realizes she\n needs to make amends.", "Jules doesn't look at Nic. She keeps her eyes on the T.V.\n NIC (CONT'D)\n Wanna watch a movie?", "NIC (CONT'D)\n Get in.\n\nCUT TO - JULES" ], [ "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "NIC\n You're sleeping with him, aren't\n you.\n JULES\n (freaked)\n What?\n\n Nic turns to her, eyes red with anger.", "Jules lies on her side. Nic shuffles to get to close to her.\n Jules moves away, still pissed at her. Nic realizes she\n needs to make amends.", "We now only see Nic. Jules has slipped under the blanket,\n and is now between Nic's legs. We see Nic trying to get into\n it, but having a hard time.", "Jules, disarmed and slightly smiling, reaches over and puts\nher hand on Nic's leg. She gives it a gentle squeeze and\ndoesn't let go. Nic looks over to Jules, finally disarmed.", "Nic starts to get up. Jules grabs her hand.\n JULES\n No, don't stop...", "INT. NIC AND JULES BEDROOM - NIGHT\n110 110\n\n Jules walks in to find Nic, awake, in bed.", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "Jules doesn't look at Nic. She keeps her eyes on the T.V.\n NIC (CONT'D)\n Wanna watch a movie?", "INT. DORM ROOM - MOMENTS LATER\n Nic and Jules follow Joni to the door. They all jam up at\n the threshold.", "Nic looks down, overwhelmed by it all.\n JULES (CONT'D)\n Anyway, I just wanted to say how", "JULES\n Yes, and I think it's disgusting.\n The two separate, go down separate isles. When they rejoin,\n Nic is contrite.", "In Nic's mind, Jules is drowning in verbiage. So she jumps\nin to save her.", "Nic's comment hits a nerve in Jules.\n JULES\n What are you trying to say?\n\n NIC\n What do you mean, what am I trying\n to say?", "Nic's in bed reading a magazine. Jules gets in bed,\n paranoid. Nic puts her magazine down.\n NIC\n So how'd it go with Paul?", "Nic throws the clump of hair in the trash.\n\n INT. NIC AND JULES BEDROOM - MOMENTS LATER\n44 44", "Nic looks at Jules and smiles in full overcompensation mode.\n NIC\n What a good idea. We should try\n that. Right, honey?", "NIC (CONT'D)\n Don't move...\n\n Nic exits. Jules sinks back, wishing Nic had stayed.", "Jules wrestles with the blankets. Wants them out of her way.\n\n NIC\n (pulling them back up)\n I'm cold, honey." ], [ "Somehow, deep down, Jai can sense her moving towards him\n which exhilarates and freaks the shit out of him at the same\n time. To the point where he lets slip...", "He studies them for a beat, sees them looking around.\n Figures they must be \"his kids.\" They look in his direction,\n spot him. He raises his hand, stands. They walk over.", "Nic looks at Jules and smiles in full overcompensation mode.\n NIC\n What a good idea. We should try\n that. Right, honey?", "Jules perks up. Nic immediately regrets her suggestion.\n JULES\n A movie-movie?\n\n NIC\n Yeah. We haven't done that in a\n while.", "Paul takes some of her load and together they transport the\n sod to the other side of the yard. Neither know what to say.\n\n Paul stares at her, waiting for her lead.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "JULES\n I know...\n\n NIC\n (devolving into baby talk)\n Big girl. You're a big girl...\n JONI\n Mom...", "JULES\n I'm married...\n PAUL\n ...and the kids...\n\n JULES\n Yeah, and I love Nic.", "Paul finally stops what he's doing.\n\n PAUL\n Yeah, it's been a while.\n\n TANYA\n You want to meet up later?", "PAUL\n Sweet. They were really good kids.\n The boy's kind of a sensitive jock\n and the girl's kind of innocent but\n whip-smart and super cute.", "Paul nods, smiling at her nervousness.\n PAUL\n Okay.", "NIC\n If you want a family so much, go\n out and make one of your own!\n Nic heads back inside and slams the door behind her.", "She takes a step toward him, feverish.\n JULES\n I just wanted to clear the air.", "Jules punches his arm, mock hurt. They start rough-housing.\n Then kissing. Then the phone rings.", "They stare at each other, unsure how to act.\n JULES\n And look, I just want you to know,", "NIC\n And we've been glued at the hip\n ever since.\n\n PAUL\n That's a great story.\n JULES\n (beaming)\n We like it.", "JULES\n What's going on?\n NIC\n Oh, nothing. Paul's just giving me\n child-rearing lessons.", "Jules lies on her side. Nic shuffles to get to close to her.\n Jules moves away, still pissed at her. Nic realizes she\n needs to make amends.", "Jules and Nic share a look. Jules starts making maternal\nwindshield wiper strokes with her thumb on Laser's arm.\n JULES", "Jules is staring at Paul.\n\n PAUL (CONT'D)\n What?\n\n JULES\n Sorry, I just keep seeing my kids\n in your expressions..." ], [ "the window. Their eyes lock and Paul give Laser a contrite\n smile. That's the final straw for Laser. He grabs his plate\n and walks out of view.", "PAUL\n I didn't mean to hurt anyone...\n Paul and Jules share a look as Nic deals the coup de grace.", "JULES\n You gotta be fucking kidding me!\n She dislodges from Paul and starts dressing furiously.", "Reeling, Paul heads for his motorcycle. He gets on the bike,\n helmet in hand. Turns on the ignition. He picks up the", "Nic takes a breath. Just as Paul's about to say something,\nNic resumes her unfortunate solo.", "PAUL (CONT'D)\n No. Honestly. I didn't even\n notice...\n\n Jules throws on her clothes and starts to leave.", "PAUL\n I'm sorry. Laser.\n (beat)\n So tell me about you, Laser. What\n are you into?", "Nic looks at Paul. Stunned. Then looks at Jules and points\nto Paul.", "TANYA\n (welling up)\n Oh.\n\n Paul knows enough to say nothing. Tanya gets up and walks\n off.\n TANYA (CONT'D)\n Fuck you.", "Paul sits there, feeling like an asshole.\n\n EXT. ALLGOOD HOUSE - MAGIC HOUR\n91 91", "Time to say goodbye. Again, no one knows the protocol here.\n After an awkward beat, Paul holds out his arms for hugs.\n PAUL (CONT'D)\n Well it was great to meet you guys.", "PAUL\n (to Laser)\n He's not gonna make it.\n (calling to Clay)\n Clay, you're not gonna make it!", "JULES\n Yeah.\n PAUL\n Fuck...\n\n JULES\n Yeah.\n Beat.", "Jules punches his arm, mock hurt. They start rough-housing.\n Then kissing. Then the phone rings.", "Paul pulls his hand away from Sasha's and walks off with\nTanya. Sasha turns to Joni.", "PAUL\n I know...\n They stare at each other and we cut to...", "Paul holds up his hand at her. This girl symbolizes every\n bad choice he's ever made.\n\n He gives her the universal, \"Leave Me Alone\" gesture. Brooke\n looks embarrassed.", "Jules pales. She mouths: \"What are you doing?!\" Paul\n gesticulates: \"I'm sorry!\"", "Paul stand alone, spinning. After a moment he spontaneously\n looks back into the house. Laser is staring at him through", "Jules visibly recoils.\n PAUL (CONT'D)\n Listen, don't worry about your\n friend." ], [ "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "Nic reaches for Jules' hand and holds it tight. Nic and\nJules look at each other, and then away.", "Jules, disarmed and slightly smiling, reaches over and puts\nher hand on Nic's leg. She gives it a gentle squeeze and\ndoesn't let go. Nic looks over to Jules, finally disarmed.", "Nic starts to get up. Jules grabs her hand.\n JULES\n No, don't stop...", "The family drives home. Jules is at the wheel. Nic's in the\n passenger seat, eyes red and puffy. Laser's in the back.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "Nic looks at Paul. Stunned. Then looks at Jules and points\nto Paul.", "NIC (CONT'D)\n Don't move...\n\n Nic exits. Jules sinks back, wishing Nic had stayed.", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "Nic looks down, overwhelmed by it all.\n JULES (CONT'D)\n Anyway, I just wanted to say how", "NIC\n You're sleeping with him, aren't\n you.\n JULES\n (freaked)\n What?\n\n Nic turns to her, eyes red with anger.", "JULES\n Yes, and I think it's disgusting.\n The two separate, go down separate isles. When they rejoin,\n Nic is contrite.", "Nic looks at Jules and smiles. Everyone nods. They\n recognize this is a big step for Nic.", "In Nic's mind, Jules is drowning in verbiage. So she jumps\nin to save her.", "Laser, Jules and Nic get back in the car. Joni stands\n watching as they drive off and her new life begins.", "Nic and Jules stuff the last of Joni's things in the back of\n their station wagon. Laser and Joni bring the last of the\n boxes out of the house.", "We now only see Nic. Jules has slipped under the blanket,\n and is now between Nic's legs. We see Nic trying to get into\n it, but having a hard time.", "Nic's comment hits a nerve in Jules.\n JULES\n What are you trying to say?\n\n NIC\n What do you mean, what am I trying\n to say?", "And, without further ado, Jules hands the remote back to\n Laser and departs the field. Everyone's silenced by Jules'\n rambling apologia, especially Nic.", "JULES\n I'm married...\n PAUL\n ...and the kids...\n\n JULES\n Yeah, and I love Nic." ], [ "He studies them for a beat, sees them looking around.\n Figures they must be \"his kids.\" They look in his direction,\n spot him. He raises his hand, stands. They walk over.", "On a quiet, tree-lined street we pick up two young athletic-\n looking boys riding bikes. LASER ALLGOOD (15) and his\n friend, CLAY (15).", "Jules punches his arm, mock hurt. They start rough-housing.\n Then kissing. Then the phone rings.", "We see that boy, 35 years later, carrying a box of tomatoes\n and putting them in the back of a truck. This is PAUL, Joni\n and Laser's biological father.", "PAUL\n Sweet. They were really good kids.\n The boy's kind of a sensitive jock\n and the girl's kind of innocent but\n whip-smart and super cute.", "Suddenly, Laser gets it. His friend is the tool. He grabs\nthe dog and smacks him to get him to run away.\n LASER\n Go! Run! Get out of here!", "Jules pats her son and leaves.\n\n INT. JONI'S BEDROOM - DAWN\n101 101", "Guess not.\n Suddenly they hear bumping and loud footsteps downstairs.\n 89.", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "Joni exits, looking around to find her family. The station\n wagon is gone. She looks panicked. Her pace quickens as she\n makes her way down a hill toward the road.\n Finally Joni sees the Volvo heading towards her.", "She loves it. She pulls his hair back harder. He yelps.\n She pulls down his underwear. Her eyes widen. It's been\n decades since she's seen a hard cock in the flesh.", "Jules looks at her son, fed up.\n JULES\n I wish you were gay. You'd be so\n much more sensitive.", "They all sit eating. Paul can't help but study their faces.\n PAUL\n Listen, feel free and ask me\n anything you want, okay?", "into his big fat sweaty armpit. Both Dad and Clay enjoy the\n brutal play. Clay laughs manically.", "Laser watches his moms holding hands from the back seat.\nTheir small gesture is what he needed. He smiles to himself,\ngrateful for a sign.\n\nFADE OUT\nTHE END", "Jules looks away. We HEAR a knock from the back.\n LUIS (O.S.)\n Excuse me, Senora? Hello?", "Somehow, deep down, Jai can sense her moving towards him\n which exhilarates and freaks the shit out of him at the same\n time. To the point where he lets slip...", "INT. LASER'S ROOM - DAWN\n100 100\n\n Jules enters and walks over to her sleeping son. She gently\n nudges him awake.", "Both Nic and Jules crack smiles. Their son's rudeness is\n unsurpassed. But then his words have an unexpected gravity.\n 98.\n\n NIC\n Thanks, Laser.", "The Dad grabs Clay, pulls him off of Laser and over the\n couch. He gets his son in a headlock, forcing the boy's face" ], [ "CUT TO\n Nic pulling pillows off Paul's bed. Her look tells us she's\n found hair here as well.", "Nic washes her hands at the sink. Something catches her eye.\n She lifts Paul's hairbrush from the shelf in front of her and\n examines it. She reaches into the bristles and pulls out...", "INT. PAUL'S BATHROOM - CONTINUOUS\n95 95", "PAUL\n What happened?\n JULES\n Nic saw my hair in your bathroom.\n\n PAUL\n The other night.", "PAUL\n I think it's cool.\n NIC\n (getting up)\n Hey Paul. Where's your bathroom?\n\n PAUL\n Just around there.", "CUT TO\n Nic on her knees in Paul's shower, pulling a clump of tell-\n tale red hair from the drain.", "INT. PAUL'S BATHROOM - LATER\n90 90\n Jules takes a shower, washing off the evidence. She looks\n nauseated by her lack of willpower.", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "PAUL\n Uh-huh.\n Paul heads to the back of the kitchen, searching for privacy.", "INT. PAUL'S BEDROOM - LATER\n89 89\n Paul and Jules lie in bed. Jules looks nauseated. Paul\n offers her a pack of smokes.", "INT. NIC AND JULES' BATHROOM - THAT NIGHT\n97 97", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "INT. PAUL'S HOUSE - DINING ROOM - LATER\n93 93\n\n Nic flips through Paul's album collection, including Joni\n Mitchell's Blue.", "Fucking again in his bedroom. Jules writhes beneath him, her\n eyes closed. Paul seems to be in some kind of zone. He\n stares at her, enthralled.\n\n CUT TO:", "Paul and Joni look up at each other when the door suddenly\n flings open. Nic is there, fuming.\n 93.\n\n NIC\n You've got some balls, mister!", "Jules drives slowly up the hill looking for Paul's address.\n She sees the house and pulls in the driveway next to an old\n truck and a motorcycle.", "Paul rings the bell. Waits. The door opens and Nic and\n Jules are there smiling with \"kill him with kindness\" faces.", "CUT TO\n Nic skulks out of the bathroom. She looks out and b-lines\n for the bedroom.", "Nic looks at Paul. Stunned. Then looks at Jules and points\nto Paul." ], [ "As they drive past buildings and dorms, Joni sees STUDENTS\n swarming the campus. She takes it all in, nervous, excited.\n Nic and Jules steal looks back at Joni, feeling her", "Joni exits, looking around to find her family. The station\n wagon is gone. She looks panicked. Her pace quickens as she\n makes her way down a hill toward the road.\n Finally Joni sees the Volvo heading towards her.", "Joni tries to detach from the hug. But her moms won't let\n go. They keep holding her and crying.\n\n Slowly, their tears begin to break Joni down.", "Joni nods gravely, answers.\n JONI\n (cold)\n Hello.\n 85.", "Joni's cell rings. She looks. Rolls her eyes.\n\n JONI (CONT'D)\n Ugh. Ignore.", "JAI\n Joni...Joni...\n\n JONI\n What?", "PAUL\n Hi, I'm looking for Joni Allgood.\n\n JONI\n This is she...", "The hug breaks apart. Nic pushes the hair from Joni's face.\n Joni gives her moms one last smile.", "Joni packs for college. The room is littered with half-\n filled packing boxes. She picks up a pile of clothes from\n the corner and sees the farmer's hat Paul gave her. She puts", "Joni runs to the door. Opens it. It's not Sasha. It's Paul.\n JONI (CONT'D)\n (shocked)", "Joni doesn't answer. She just walks out to her backyard.\n\n PAUL\n So...\n (doesn't know what to say)\n How are you?", "JONI\n Yeah, I'm fine...\n Joni pulls free and escapes, leaving a confused Jai in her\n wake.", "Joni turns back to the file on the desk. She flips though\n some pages of documents and stops. CLOSE ON a PHOTO of a 4", "JONI\n Yeah, it is. It's really sad.\n Jai's sabotaged the mood and they both know it.", "Joni's best guy friend, JAI (18) sits across from her,\n calculating his next Scrabble move.", "Jules enters and touches Joni's shoulder.\n JULES\n Joni?\n 84.\n\n JONI\n I don't want to talk to you.", "Joni wakes up. She looks around her room. There's nothing\n on the walls. The floor is covered with boxes taped and\n labeled. It's time to go.\n 95.", "INT. JONI'S BEDROOM - LATER THAT NIGHT\n11 11\n As Joni cranks out thank-you notes, Laser enters.", "Joni looks pained, embarrassed. Jai keeps holding her hands.\n JAI\n Are you okay?", "about you guys. What about you,\n Joni? What are you up to?\n JONI\n Uh, well, I just graduated high" ], [ "JULES\n I know...\n\n NIC\n (devolving into baby talk)\n Big girl. You're a big girl...\n JONI\n Mom...", "Nic and Jules feel their daughter letting go. They hold her\n tight to comfort her.\n They keep holding her until a calm sets in.", "Laser freezes. So his sister jumps in.", "Jules drives slowly up the hill looking for Paul's address.\n She sees the house and pulls in the driveway next to an old\n truck and a motorcycle.", "Joni heads for her room.\n JONI (CONT'D)\n I'm so sick of both of you!", "She loves it. She pulls his hair back harder. He yelps.\n She pulls down his underwear. Her eyes widen. It's been\n decades since she's seen a hard cock in the flesh.", "She keeps laughing. Paul goes harder to make her stop. The\n paces grows quicker. They're getting closer. And then...", "As they drive past buildings and dorms, Joni sees STUDENTS\n swarming the campus. She takes it all in, nervous, excited.\n Nic and Jules steal looks back at Joni, feeling her", "PAUL\n Sweet. They were really good kids.\n The boy's kind of a sensitive jock\n and the girl's kind of innocent but\n whip-smart and super cute.", "Luis stares at his employer. She looks totally disheveled.\n Jules starts feeling her hair, smoothing it into shape.", "Paul takes some of her load and together they transport the\n sod to the other side of the yard. Neither know what to say.\n\n Paul stares at her, waiting for her lead.", "Joni exits, looking around to find her family. The station\n wagon is gone. She looks panicked. Her pace quickens as she\n makes her way down a hill toward the road.\n Finally Joni sees the Volvo heading towards her.", "The family drives home. Jules is at the wheel. Nic's in the\n passenger seat, eyes red and puffy. Laser's in the back.", "Joni tries to detach from the hug. But her moms won't let\n go. They keep holding her and crying.\n\n Slowly, their tears begin to break Joni down.", "This outburst stuns Nic into silence. Her daughter has never\nspoken to her like this. Laser stands up.", "Somehow, deep down, Jai can sense her moving towards him\n which exhilarates and freaks the shit out of him at the same\n time. To the point where he lets slip...", "He studies them for a beat, sees them looking around.\n Figures they must be \"his kids.\" They look in his direction,\n spot him. He raises his hand, stands. They walk over.", "Joni and Laser leave the room. Nic pours herself the last of\nPaul's Petit Syrah. Jules smiles, covering her anxiety.", "Guess not.\n Suddenly they hear bumping and loud footsteps downstairs.\n 89.", "Paul pulls his hand away from Sasha's and walks off with\nTanya. Sasha turns to Joni." ], [ "JULES\n Yeah, he was working the whole\n \"alternative\" thing pretty hard.", "Luis stares at his employer. She looks totally disheveled.\n Jules starts feeling her hair, smoothing it into shape.", "Jules punches his arm, mock hurt. They start rough-housing.\n Then kissing. Then the phone rings.", "Joni and Sasha are at a table eating dinner. Tanya has\n temporarily joined them. Sasha checks out Tanya's oversized\n African bead necklace. Joni watches Paul charm customers.", "But then the kiss starts to morph as Joni's energy turns\n manic, intense, less romantic than emotionally needy. We see", "Jules wakes up looking crusty from a rough night on the\n couch. She looks like she hasn't slept at all.\n 83.", "PAUL\n Well, I always liked food.\n NIC\n No, I was asking because I remember", "JONI\n You dropped out of college?\n PAUL\n Yeah, it wasn't my thing.\n\n NIC\n (squinching)\n No? Why's that?", "They all sit eating. Paul can't help but study their faces.\n PAUL\n Listen, feel free and ask me\n anything you want, okay?", "TANYA\n Pretty good night. That table had\n like 5 bottles of wine.\n PAUL\n Wow. Yeah. Good night.", "From his house, Paul watches Jules working on her knees in\n the garden.\n CLOSE ON Jules' thong peaking out of her jeans. Luis walks\n across Paul's field of vision, interrupting his reverie.", "Joni packs for college. The room is littered with half-\n filled packing boxes. She picks up a pile of clothes from\n the corner and sees the farmer's hat Paul gave her. She puts", "She loves it. She pulls his hair back harder. He yelps.\n She pulls down his underwear. Her eyes widen. It's been\n decades since she's seen a hard cock in the flesh.", "JONI\n I just never pictured him that way.\n I just...I don't know...He was so", "famously. Apparently Paul can do\n no wrong...\n Nic grabs a passing waiter by the arm.\n 65.", "LASER\n I know.\n\n JONI\n Well what did you think of him?\n LASER\n I don't know. He seemed kind of\n into himself.", "Part Oxford reading room, part teenage girl's lair. Leaning\n against the bed we see JONI ALLGOOD (18). It's her room.", "JULES\n Oh, I had to fire him.\n\n NIC\n (surprised)\n Really?!\n JULES\n Yeah, he had a drug problem.", "Sweating and dirty, Joni and Paul pull radishes from the\n ground. They're in a zone together. Paul takes off his sun-\n hat and put it on Joni's head.", "Somehow, deep down, Jai can sense her moving towards him\n which exhilarates and freaks the shit out of him at the same\n time. To the point where he lets slip..." ], [ "JULES\n Yeah.\n The observation strikes Paul. Suddenly, he's feeling a kind\n of fast-tracked intimacy with Jules he hadn't expected.", "Jules pales. She mouths: \"What are you doing?!\" Paul\n gesticulates: \"I'm sorry!\"", "Jules grabs Paul and starts smothering him with kisses.\nIt takes a second for Paul to get his bearings, but when he", "does, he starts kissing her back with equal fervor, pushing\nher up against the wall, wedging his hand between her legs.\n JULES\n Paul, I can't!", "Jules visibly recoils.\n PAUL (CONT'D)\n Listen, don't worry about your\n friend.", "Jules punches his arm, mock hurt. They start rough-housing.\n Then kissing. Then the phone rings.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "JULES\n Thank you. That's really sweet.\n Why don't you think about it.\n PAUL", "JULES\n That wasn't messy. That was fucked\n up. I'm totally fucked up...\n 73.\n\n PAUL\n I think I'm really falling for you.", "JULES\n Yeah.\n PAUL\n Fuck...\n\n JULES\n Yeah.\n Beat.", "PAUL\n You don't want to?!\n\n JULES\n No, I do! It's just...\n (urgent whisper)\n I have a guy outside!", "JULES\n You gotta be fucking kidding me!\n She dislodges from Paul and starts dressing furiously.", "JULES\n Nothing.\n Paul flips her on her hands and knees and they go at it some\n more.", "JULES\n I'm married...\n PAUL\n ...and the kids...\n\n JULES\n Yeah, and I love Nic.", "JULES\n You want to get that?\n PAUL\n No. I want to get this...\n 69.", "Fucking again in his bedroom. Jules writhes beneath him, her\n eyes closed. Paul seems to be in some kind of zone. He\n stares at her, enthralled.\n\n CUT TO:", "JULES\n (eye rolling)\n Jesus, Paul! I'm gay!\n\n Jules tosses the phone away from her.", "JULES\n We can't be doing this...\n\n PAUL\n I know...", "PAUL (CONT'D)\n No. Honestly. I didn't even\n notice...\n\n Jules throws on her clothes and starts to leave.", "JULES\n What's going on?\n NIC\n Oh, nothing. Paul's just giving me\n child-rearing lessons." ], [ "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "JULES\n I'm married...\n PAUL\n ...and the kids...\n\n JULES\n Yeah, and I love Nic.", "NIC\n You're sleeping with him, aren't\n you.\n JULES\n (freaked)\n What?\n\n Nic turns to her, eyes red with anger.", "Jules smiles, embarrassed. Nic jumps in.\n NIC\n We met at UCLA. I was a resident", "Nic looks at Jules and smiles in full overcompensation mode.\n NIC\n What a good idea. We should try\n that. Right, honey?", "JULES\n I know...\n\n NIC\n (devolving into baby talk)\n Big girl. You're a big girl...\n JONI\n Mom...", "JULES\n What's going on?\n NIC\n Oh, nothing. Paul's just giving me\n child-rearing lessons.", "Nic's comment hits a nerve in Jules.\n JULES\n What are you trying to say?\n\n NIC\n What do you mean, what am I trying\n to say?", "NIC\n Paul! It is so great to meet you.\n I'm Nic. This is Jules.\n\n Paul shakes their hands.", "We now only see Nic. Jules has slipped under the blanket,\n and is now between Nic's legs. We see Nic trying to get into\n it, but having a hard time.", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "Nic reaches for Jules' hand and holds it tight. Nic and\nJules look at each other, and then away.", "In Nic's mind, Jules is drowning in verbiage. So she jumps\nin to save her.", "Nic looks at Jules and smiles. Everyone nods. They\n recognize this is a big step for Nic.", "Jules, disarmed and slightly smiling, reaches over and puts\nher hand on Nic's leg. She gives it a gentle squeeze and\ndoesn't let go. Nic looks over to Jules, finally disarmed.", "JULES\n Yes, and I think it's disgusting.\n The two separate, go down separate isles. When they rejoin,\n Nic is contrite.", "Jules doesn't look at Nic. She keeps her eyes on the T.V.\n NIC (CONT'D)\n Wanna watch a movie?", "Nic looks down, overwhelmed by it all.\n JULES (CONT'D)\n Anyway, I just wanted to say how", "Nic starts to get up. Jules grabs her hand.\n JULES\n No, don't stop..." ], [ "The hug breaks apart. Nic pushes the hair from Joni's face.\n Joni gives her moms one last smile.", "Nic reaches for Jules' hand and holds it tight. Nic and\nJules look at each other, and then away.", "INT. DORM ROOM - MOMENTS LATER\n Nic and Jules follow Joni to the door. They all jam up at\n the threshold.", "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "Jules, disarmed and slightly smiling, reaches over and puts\nher hand on Nic's leg. She gives it a gentle squeeze and\ndoesn't let go. Nic looks over to Jules, finally disarmed.", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "Nic and Jules are cuddled up affectionately on the couch\n watching cable. They see Laser on his way out of the house.", "Nic and Jules stuff the last of Joni's things in the back of\n their station wagon. Laser and Joni bring the last of the\n boxes out of the house.", "Nic looks at Jules and smiles in full overcompensation mode.\n NIC\n What a good idea. We should try\n that. Right, honey?", "Nic starts to get up. Jules grabs her hand.\n JULES\n No, don't stop...", "Nic looks at Jules and smiles. Everyone nods. They\n recognize this is a big step for Nic.", "JONI\n I'm going to bed.\n\n Joni starts to leave. Nic grabs her.", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33.", "Joni and Laser leave the room. Nic pours herself the last of\nPaul's Petit Syrah. Jules smiles, covering her anxiety.", "He and Joni hug.\n PAUL (CONT'D)\n I hope this was okay.\n\n JONI\n Yeah...totally...thank you.", "Nic caresses Jules' arm, wanting to make it better.\n NIC (CONT'D)\n Hey...", "Nic and Jules get the hint. They move back and Joni enters\n the room alone. Nic and Jules quietly turn and leave.\n 96.", "We now only see Nic. Jules has slipped under the blanket,\n and is now between Nic's legs. We see Nic trying to get into\n it, but having a hard time.", "NIC\n You've been really patient with me.\n I just want you to know that hasn't\n gone unrecognized.\n\nNic gives her a long, sweet kiss. Jules is warming up.", "Jai start to pull away. But Joni keeps holding him, wanting\n more. Finally, Jai breaks off the kiss." ], [ "Jules pauses a second too long. The jig is up.\n\n INT. NIC AND JULES' BEDROOM - MINUTES LATER\n98 98", "We now only see Nic. Jules has slipped under the blanket,\n and is now between Nic's legs. We see Nic trying to get into\n it, but having a hard time.", "NIC\n You're sleeping with him, aren't\n you.\n JULES\n (freaked)\n What?\n\n Nic turns to her, eyes red with anger.", "JULES\n No!\n NIC\n What, are you straight now?!", "Nic looks at Jules and smiles in full overcompensation mode.\n NIC\n What a good idea. We should try\n that. Right, honey?", "Nic reaches for Jules' hand and holds it tight. Nic and\nJules look at each other, and then away.", "Nic's comment hits a nerve in Jules.\n JULES\n What are you trying to say?\n\n NIC\n What do you mean, what am I trying\n to say?", "Nic kisses Jules spontaneously. Jules looks nauseous again.\n They head back up the stairs, toward Paul's house.\n NIC (CONT'D)", "JULES\n I'm married...\n PAUL\n ...and the kids...\n\n JULES\n Yeah, and I love Nic.", "JULES\n Yes, and I think it's disgusting.\n The two separate, go down separate isles. When they rejoin,\n Nic is contrite.", "NIC\n Paul! It is so great to meet you.\n I'm Nic. This is Jules.\n\n Paul shakes their hands.", "LASER\n Why do you guys watch gay man-porn?\nNic and Jules look at each other, thrown.", "JULES\n I just needed...\n NIC\n What? To be fucked?\n\n JULES\n No, appreciated!", "Jules smiles, embarrassed. Nic jumps in.\n NIC\n We met at UCLA. I was a resident", "Jules, disarmed and slightly smiling, reaches over and puts\nher hand on Nic's leg. She gives it a gentle squeeze and\ndoesn't let go. Nic looks over to Jules, finally disarmed.", "Nic smiles. She loves when Jules shows confidence.\n NIC\n I love you, chicken.", "Jules doesn't look at Nic. She keeps her eyes on the T.V.\n NIC (CONT'D)\n Wanna watch a movie?", "Jules walks in to find Nic in sexy satin man-PJ's, sitting at\n the rim of a RUNNING BATH. There are candles burning.", "JULES\n (eye rolling)\n Jesus, Paul! I'm gay!\n\n Jules tosses the phone away from her.", "Nic leaves Paul by the stairs with Jules. Little silence.\n Jules steals a look at him, unable to contain her curiosity.\n 33." ] ]

[ "What type of business is Jules' trying to start?", "How many children do Nic and Jules have total?", "What did the couple have to use in order to have these children?", "Why does Joni want Laser to refrain from telling his mother about finding his father?", "How does Nic feel about Jules agreeing to help Paul transform his backyard?", "Who does Paul end up having an affair with?", "What does Nic do after she finds traces of Jules' hair in Pauls bedroom and bathroom?", "Who is forced to sleep on the couch?", "Who leaves home to go to college?", "What are the children's names?", "What does Laser want at the beginning of the story?", "Who does Laser go and ask to find his sperm donor father?", "Which of the mothers starts an affair with Paul?", "Why does Jules feel attracted to Paul, even though she's a married lesbian?", "Where does Nic find Jules' hair?", "Where does Jules have to sleep after Nic confronts her?", "Who suggests to who about moving in and raising the children together?", "What hurts Paul the most during his last confrontation?", "What happens to Jules and Nic at the end?", "What is the name of the boy in the story?", "What did Nick find in Paul's bathroom and bedroom?", "What grade is Joni in?", "What is the name of the older sister in the story?", "Who had a Bohemian lifestyle?", "What does Paul want Jules to do when he thinks he is in love?", "How did Nic and Jules have kids?", "While hugging Joni goodbye what did Nic and Jules do?", "What sexual preference are Jules and Nic?" ]

[ [ "A landscape design business", "Landscape designing" ], [ "Two", "2" ], [ "A sperm doner", "Sperm donor" ], [ "She doesnt want to upset their mothers", "Didn't want to upset the mothers. " ], [ "She doesn't like it", "He doesn't like it" ], [ "Jules", "Jules" ], [ "She confronts her", "confronts jules" ], [ "Jules", "Jules" ], [ "Joni", "Joni" ], [ "Joni and Laser", "Laser and Joni" ], [ "To find his sperm donor father", "to find his father" ], [ "Joni because they have the same father", "his sister Joni" ], [ "Jules", "Jules" ], [ "Jules feels that Paul appreciates her work unlike her partner, Nic.", "He shows attention to her career" ], [ "In Paul's bedroom", "the bathroom" ], [ "On the couch", "On the couch. " ], [ "Paul asks Jules", "Paul" ], [ "Being ignored by Laser", "laser ignoring him" ], [ "They make up and stay together", "They are smiling and holding hands" ], [ "Laser", "Laser" ], [ "Jules' hair", "Jules Hair" ], [ "College", "12" ], [ "Joni", "Joni" ], [ "Paul", "paul" ], [ "Her and the kids to leave Nic", "Leave Jules and take the kids to live with him" ], [ "Artificial insemination", "Sperm donor" ], [ "Touched affectionately", "Touch each other. " ], [ "Lesbian", "lesbian" ] ]

[ [ "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war.", "JOHANNA (interrupts him, regarding him with dignity).\nBastard of Orleans, thou wilt tempt thy God!\nThis place abandon, which becomes thee not!\nTo this more mighty one the maid is sent.", "JOHANNA.\nThe heavens spoke, and therefore I was silent.\n\nRAIMOND.\nThou with one word couldst clear thyself, and hast\nIn this unhappy error left the world?", "CHARLES.\nShe comes! Dunois, now occupy my place!\nWe will make trial of this wondrous maid.\nIs she indeed inspired and sent by God\nShe will be able to discern the king.", "THIBAUT.\n Yes, her miserable father,\nWho did beget her, and whom God impels\nNow to accuse his daughter.\n\nBURGUNDY.\n Ha! What's this?", "[Pointing to JOHANNA.\n\nSOREL.\nJohanna! God! she's dying!", "CHARLES.\n Do so, maid!\nDetermine thou, for peace, or bloody war.\n\nJOHANNA (to the HERALD).\nWho sendeth thee? Who speaketh through thy mouth?", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "LOUISON.\nTill I have seen her, I can scarce believe\nThat she, whom men the Maid of Orleans name,\nThe mighty warrior, is indeed Johanna,\nOur sister whom we lost!", "DUNOIS.\nWhy do the people fear, the princes tremble?\nI'll stake my honor on her innocence!\nHere on the ground I throw my knightly gage;\nWho now will venture to maintain her guilt?", "LA HIRE.\nHere is the banner. Take it, noble maiden\nThou'rt stayed for by the princes and the people.\n\nJOHANNA.\nI march before him? I the banner bear?", "JOHANNA.\nComing from him, methought it came from God;\nAnd fatherly the chastisement will prove.\n\nRAIMOND.\nThe heavens themselves bore witness to thy guilt!", "[She places herself in the midst and separates the parties.\n\nJOHANNA.\nFall back, Dunois! Stand where thou art, La Hire!\nSomewhat I have to say to Burgundy.", "JOHANNA.\nMost reverend father, I am named Johanna,\nI am a shepherd's lowly daughter, born", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "ARCHBISHOP (to JOHANNA).\nI ask thee in God's name. Art thou thus silent\nFrom consciousness of innocence or guilt?\nIf in thy favor the dread thunder speaks,\nTouch with thy hand this cross, and give a sign!", "SOLDIER.\n The French and the Burgundians fly;\nThe field is covered o'er with fugitives.\n\nJOHANNA.\nMy God! Thou wilt not thus abandon me!", "JOHANNA (as if inspired).\nSpeak not of treaty! Speak not of surrender!\nThe savior comes, he arms him for the fight.", "BOY.\n Oh, mother! mother!\nWhom do you entertain? This is the witch\nOf Orleans!\n\nCHARCOAL-BURNER (and his WIFE).\n God be gracious to our souls!" ], [ "By God commissioned? On a cursed spot\nIt was conceived; beneath the Druid tree\nWhere evil spirits have from olden time\nTheir Sabbath held. There her immortal soul", "She a magician? Her sole magic lies\nIn your delusion and your cowardice!\nShe is a fool who sacrificed herself\nTo save her king, and reapeth for her pains", "[A general silence; all eyes are fixed upon her;\n she remains motionless.\n\nSOREL.\nGod! she is dumb!", "Shall I accuse my own beloved child?\nI can do naught but warn and pray for her.\nYet warn I must. Oh, shun the Druid tree!", "SOREL.\nAlas, she raveth! Maiden, be composed!\nCollect thyself! Thou seest nothing real!\nThat is her pictured image; she herself\nWanders above, amid the angelic choir!", "She comes! 'tis she! She rushes from the church.\nHer troubled conscience drives her from the fane!\n'Tis visibly the judgment of her God!", "The Lord appoints thee to another task!\"\nAnd when the third night she revealed herself,\nWrathful she seemed, and chiding spake these words:", "RAIMOND.\nShe is not, sir, a wicked sorceress!\nTo God and all his saints I make appeal.", "She bartered with the enemy of man\nFor transient, worldly glory. Let her bare\nHer arm, and ye will see impressed thereon\nThe fatal marks of hell!", "RAIMOND (in astonishment).\nAnd thou wert really then no sorceress?\n\nJOHANNA.\nA sorceress!", "Who serveth here, is glorified above!\"\nWhile thus she spake, she let her shepherd garb\nFail from her, and as Queen of Heaven stood forth", "CHARLES.\n'Tis strange, by heaven! most wonderful and strange!\n\nSOREL.\nA maiden worked this miracle, you say?\nWhence did she come? Who is she?", "Bore evidence against her! We were stunned,\nOur hearts were crushed beneath the sudden blow.\n--Who in that hour of dread could weigh the proofs?\nOur calmer judgment now returns to us,", "Doth she work miracles with credulous fools,\nAnd lose her influence when she meets a man?", "[JOHANNA gazing upon it with horror.\n\n'Tis she herself! so she appeared to me.\nSee, how she looks at me and knits her brow,\nAnd anger flashes from her threatening eye!", "KING.\nSupported by thy friend, and by thy king.\n\nJOHANNA (after looking at him fixedly for some time).\nNo! I am not a sorceress! Indeed\nI am not one.", "[They press the banner upon her; she seizes it with\n evident emotion, and retires; the others follow.\n\n [The scene changes to an open place before the Cathedral.", "She, like the solitary bird, creeps forth,\nAnd in the fearful spirit-realm of night,\nTo yon crossway repairs, and there alone", "Arrayed in armor, riding through the camp;\nWith poisonous words of irony she fires\nThe hostile troops to fury 'gainst her son,", "Neither exalts her merit nor my love.\nHere in my sovereign's presence, and before\nThis holy bishop, maid, I tender thee" ], [ "SOLDIER.\n The French and the Burgundians fly;\nThe field is covered o'er with fugitives.\n\nJOHANNA.\nMy God! Thou wilt not thus abandon me!", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "JOHANNA.\nThat's Count Dunois! on, gallant warrior!\nConquest goes with thee.\n\nSOLDIER.\n The Burgundian duke\nAttacks the bridge.", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "And Baudricourt, a knight of Vaucouleurs,\nWas our commander. Having gained the heights\nBy Vermanton, we wound our downward way", "JOHANNA (to the soldiers).\nYe English, suffer not that I escape\nAlive out of your hands! Revenge yourselves!", "LOUISON.\nTill I have seen her, I can scarce believe\nThat she, whom men the Maid of Orleans name,\nThe mighty warrior, is indeed Johanna,\nOur sister whom we lost!", "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war.", "Our troops are pressing on in full career,\nThey near him, reach him--they surround him now.\n\nJOHANNA.\nOh, have the heavens above no angels more!", "LA HIRE.\nStill greater wonders thou wilt soon believe.\nHere cometh the archbishop. To thine arms\nHe leadeth back Dunois.", "For ere thou canst attain the British camp\nAnd do thine errand, is the maiden there,\nTo plant the sign of victory at Orleans.", "JOHANNA.\nFrance I will lay submissive at thy feet!\n\nCHARLES.\nAnd Orleans, say'st thou, will not be surrendered?", "RAIMOND.\n If God hath turned your hearts,\nOh hasten, I entreat you--rescue her\nShe is a prisoner in the English camp.\n\nDUNOIS.\nA prisoner say you?", "Our foes are stationed in the heart of France,\nFar as the river Loire our lands are theirs--\nNow their whole force they have combined, and lay\nClose siege to Orleans.", "[She places herself in the midst and separates the parties.\n\nJOHANNA.\nFall back, Dunois! Stand where thou art, La Hire!\nSomewhat I have to say to Burgundy.", "DUNOIS.\nLet him escape! Maiden, the righteous cause\nHath triumphed now. Rheims opens wide its gates;\nThe joyous crowds pour forth to meet their king.", "The birds of prey which rend her fatherland.\nShe shall o'erthrow this haughty Burgundy,\nBetrayer of the kingdom; Talbot, too,", "As that of Poictiers and of Agincourt.\nDo you remain with the fortress, queen,\nAnd guard the maiden till the fight is o'er.", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "Soldiers with flying banners occupy the background. Before them the\n KING and the DUKE OF BURGUNDY appear, bearing JOHANNA in their arms;" ], [ "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war.", "JOHANNA (inspired).\nBattle and tumult! Now my soul is free.\nArm, warriors, arm! while I prepare the troops.\n\n [She goes out.", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "For ere thou canst attain the British camp\nAnd do thine errand, is the maiden there,\nTo plant the sign of victory at Orleans.", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "[Her sword and banner fall; she hastens to him with\n outstretched arms, and embraces him in great agitation.\n LA HIRE and DUNOIS throw down their swords, and hasten\n also to embrace him.", "JOHANNA (as if inspired).\nSpeak not of treaty! Speak not of surrender!\nThe savior comes, he arms him for the fight.", "Hushed is the din of arms, war's storms subside,\nGlad songs and dance succeed the bloody fray,\nThrough all the streets joy echoes far and wide,", "JOHANNA.\nMy friends will win the fight and I shall die!\nThe gallant heroes need my arm no more.", "BLACK KNIGHT.\n Johanna D'Arc!\nBorne on the wings of conquest, thou hast reached\nThe gates of Rheims. Let thy achieved renown", "JOHANNA.\nCourage, my people! 'Tis the final struggle--\nAnother victory, and the foe lies low!\n\nISABEL.\nWhat see'st thou?", "DUNOIS.\nLet him escape! Maiden, the righteous cause\nHath triumphed now. Rheims opens wide its gates;\nThe joyous crowds pour forth to meet their king.", "JOHANNA (to the knights who surround her while the\n procession continues above).\nThe wall is scaled and we are in the camp!", "LOUISON.\nTill I have seen her, I can scarce believe\nThat she, whom men the Maid of Orleans name,\nThe mighty warrior, is indeed Johanna,\nOur sister whom we lost!", "As that of Poictiers and of Agincourt.\nDo you remain with the fortress, queen,\nAnd guard the maiden till the fight is o'er.", "[Her banner falls and she sinks lifeless on the ground.\n All remain for some time in speechless sorrow. Upon a", "Are trampled down beneath her chargers' hoofs;\nParis hath yielded to her conquering arms,\nAnd with the ancient crown of Dagobert", "JOHANNA.\nThat's Count Dunois! on, gallant warrior!\nConquest goes with thee.\n\nSOLDIER.\n The Burgundian duke\nAttacks the bridge.", "JOHANNA (with enthusiasm).\nMy people come this way! Proud England now\nForth in the field! now boldly must you fight!" ], [ "That France and Burgundy are reconciled.", "Should France and Burgundy be reconciled.", "BURGUNDY.\n Dost tremble for thy lover? Thus\nBefore thine eyes he shall----\n\n [He makes a thrust at DUNOIS.", "BURGUNDY.\n Consider well----\n\nLIONEL.\nYour pardon! Here is nothing to consider\nWhat we have lost we must at once retrieve,\nOr look to be eternally disgraced.", "And bear this message to my faithful town;\nI do absolve my subjects from their oath,\nTheir own best interests let them now consult,\nAnd yield them to the Duke of Burgundy;", "For Burgundy, the mighty potentate,\nConducts his motley host; the Hennegarians,\nThe men of Liege and of Luxemburg,", "BURGUNDY.\nTrust me, it was not with a joyous spirit\nThat I bore arms against you. Did you know?\nOh, wherefore sent you not this messenger?\n\n [Pointing to SOREL.", "BURGUNDY.\nYet much you stood in need of our alliance;\nThe regent purchased it at heavy cost.", "ARCHBISHOP (leading DUNOIS to the KING, and joining their hands).\nPrinces, embrace! Let rage and discord cease,\nSince Heaven itself hath for our cause declared.", "LA HIRE.\nStill greater wonders thou wilt soon believe.\nHere cometh the archbishop. To thine arms\nHe leadeth back Dunois.", "DUCHATEL.\nSire, with the Duke of Burgundy make peace!\n'Tis the sole outlet from destruction left!", "[She places herself in the midst and separates the parties.\n\nJOHANNA.\nFall back, Dunois! Stand where thou art, La Hire!\nSomewhat I have to say to Burgundy.", "What wouldst thou, Burgundy? Who is the foe\nWhom eagerly thy murderous glances seek?\nThis prince is, like thyself, a son of France,--", "To yield them to the Duke of Burgundy.\nThus we avoid the foreign yoke, and still\nContinue by our ancient royal line;\nAy, to the ancient crown we may fall back", "SCENE VII.\n\n CHARLES, BURGUNDY, DUNOIS, DUCHATEL, and Soldiers.", "BURGUNDY.\nThe heresy inflicteth on itself\nThe heaviest penalty. 'Tis well for you,\nFrom your own heart, my king, you learned betimes\nWhat a wild life hath late revealed to me.", "The birds of prey which rend her fatherland.\nShe shall o'erthrow this haughty Burgundy,\nBetrayer of the kingdom; Talbot, too,", "BURGUNDY.\nFar is my thought from treaty with the Dauphin;\nBut the contempt and insolent demeanor\nOf haughty England I will not endure.", "ARCHBISHOP (steps between them).\nYe are united, princes! France doth rise\nA renovated phoenix from its ashes.", "BURGUNDY.\nDiscreet the counsel offered by the queen!\nMy just wrath yieldeth to necessity." ], [ "JOHANNA.\nThe heavens spoke, and therefore I was silent.\n\nRAIMOND.\nThou with one word couldst clear thyself, and hast\nIn this unhappy error left the world?", "JOHANNA.\nThou hold'st me guilty of this heavy sin?\n\nRAIMOND.\nNeeds must I--thou didst silently confess----", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "JOHANNA.\nComing from him, methought it came from God;\nAnd fatherly the chastisement will prove.\n\nRAIMOND.\nThe heavens themselves bore witness to thy guilt!", "THIBAUT.\n Yes, her miserable father,\nWho did beget her, and whom God impels\nNow to accuse his daughter.\n\nBURGUNDY.\n Ha! What's this?", "TALBOT.\nThe maiden knew the weakness of our camp;\nShe rightly judged where fear was to be found.\n\nBURGUNDY.\nHow? Shall the blame of our disaster rest\nWith Burgundy?", "[JOHANNA gazing upon it with horror.\n\n'Tis she herself! so she appeared to me.\nSee, how she looks at me and knits her brow,\nAnd anger flashes from her threatening eye!", "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war.", "JOHANNA (interrupts him, regarding him with dignity).\nBastard of Orleans, thou wilt tempt thy God!\nThis place abandon, which becomes thee not!\nTo this more mighty one the maid is sent.", "[Pointing to JOHANNA.\n\nSOREL.\nJohanna! God! she's dying!", "[She places herself in the midst and separates the parties.\n\nJOHANNA.\nFall back, Dunois! Stand where thou art, La Hire!\nSomewhat I have to say to Burgundy.", "JOHANNA (in the greatest anxiety).\n What have I done?\nAlas! I've broke my vow!\n\n [She wrings her hands in despair.", "She a magician? Her sole magic lies\nIn your delusion and your cowardice!\nShe is a fool who sacrificed herself\nTo save her king, and reapeth for her pains", "JOHANNA.\n Suffer, what thou soughtest!\nThe Virgin sacrifices thee through me!", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "LOUISON.\nTill I have seen her, I can scarce believe\nThat she, whom men the Maid of Orleans name,\nThe mighty warrior, is indeed Johanna,\nOur sister whom we lost!", "ARCHBISHOP (to JOHANNA).\nI ask thee in God's name. Art thou thus silent\nFrom consciousness of innocence or guilt?\nIf in thy favor the dread thunder speaks,\nTouch with thy hand this cross, and give a sign!", "JOHANNA (throws herself upon her knees, and prays with passionate\n violence).\nHear me, O God, in my extremity!", "CHARLES.\nShe comes! Dunois, now occupy my place!\nWe will make trial of this wondrous maid.\nIs she indeed inspired and sent by God\nShe will be able to discern the king.", "JOHANNA.\nMost reverend father, I am named Johanna,\nI am a shepherd's lowly daughter, born" ], [ "JOHANNA.\nThe heavens spoke, and therefore I was silent.\n\nRAIMOND.\nThou with one word couldst clear thyself, and hast\nIn this unhappy error left the world?", "DUNOIS.\nWhy do the people fear, the princes tremble?\nI'll stake my honor on her innocence!\nHere on the ground I throw my knightly gage;\nWho now will venture to maintain her guilt?", "JOHANNA.\nThou hold'st me guilty of this heavy sin?\n\nRAIMOND.\nNeeds must I--thou didst silently confess----", "CHARLES.\nShe comes! Dunois, now occupy my place!\nWe will make trial of this wondrous maid.\nIs she indeed inspired and sent by God\nShe will be able to discern the king.", "ARCHBISHOP (to JOHANNA).\nI ask thee in God's name. Art thou thus silent\nFrom consciousness of innocence or guilt?\nIf in thy favor the dread thunder speaks,\nTouch with thy hand this cross, and give a sign!", "JOHANNA.\nComing from him, methought it came from God;\nAnd fatherly the chastisement will prove.\n\nRAIMOND.\nThe heavens themselves bore witness to thy guilt!", "JOHANNA (interrupts him, regarding him with dignity).\nBastard of Orleans, thou wilt tempt thy God!\nThis place abandon, which becomes thee not!\nTo this more mighty one the maid is sent.", "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war.", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "THIBAUT.\n Yes, her miserable father,\nWho did beget her, and whom God impels\nNow to accuse his daughter.\n\nBURGUNDY.\n Ha! What's this?", "CHARLES.\n Do so, maid!\nDetermine thou, for peace, or bloody war.\n\nJOHANNA (to the HERALD).\nWho sendeth thee? Who speaketh through thy mouth?", "LOUISON.\nTill I have seen her, I can scarce believe\nThat she, whom men the Maid of Orleans name,\nThe mighty warrior, is indeed Johanna,\nOur sister whom we lost!", "LA HIRE.\nHere is the banner. Take it, noble maiden\nThou'rt stayed for by the princes and the people.\n\nJOHANNA.\nI march before him? I the banner bear?", "[A general silence; all eyes are fixed upon her;\n she remains motionless.\n\nSOREL.\nGod! she is dumb!", "TALBOT.\nThe maiden knew the weakness of our camp;\nShe rightly judged where fear was to be found.\n\nBURGUNDY.\nHow? Shall the blame of our disaster rest\nWith Burgundy?", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "[She rises: a PAGE enters.\n\nPAGE.\nA herald from the English generals.\n\nJOHANNA.\nLet him appear, for he is sent by God!", "JOHANNA.\n To Lionel?\nSlay me at once, ere send me unto him.\n\nISABEL (to the soldiers).\nObey your orders, soldiers! Bear her hence.", "SOLDIER.\n The French and the Burgundians fly;\nThe field is covered o'er with fugitives.\n\nJOHANNA.\nMy God! Thou wilt not thus abandon me!" ], [ "She cannot, as of yore, before you bear\nHer banner--she is bound with heavy chains;\nBut freely from her prison soars her soul,", "[JOHANNA gazing upon it with horror.\n\n'Tis she herself! so she appeared to me.\nSee, how she looks at me and knits her brow,\nAnd anger flashes from her threatening eye!", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war.", "LOUISON.\nTill I have seen her, I can scarce believe\nThat she, whom men the Maid of Orleans name,\nThe mighty warrior, is indeed Johanna,\nOur sister whom we lost!", "JOHANNA.\n Thee I saw\nWhen none beside, save God in heaven, beheld thee.\n\n [She approaches the KING, and speaks mysteriously.", "RAIMOND.\n If God hath turned your hearts,\nOh hasten, I entreat you--rescue her\nShe is a prisoner in the English camp.\n\nDUNOIS.\nA prisoner say you?", "She comes! 'tis she! She rushes from the church.\nHer troubled conscience drives her from the fane!\n'Tis visibly the judgment of her God!", "[JOHANNA rushes out of the church, without her banner.\n The people press around her, worship her, and kiss her\n garments. She is detained in the background by the crowd.", "JOHANNA (throws herself upon her knees, and prays with passionate\n violence).\nHear me, O God, in my extremity!", "[She seizes her chains violently with both hands, and\n breaks them asunder. At the same moment rushing upon the\n nearest soldier, she seizes his sword and hurries out.\n All gaze after her, transfixed with astonishment.", "JOHANNA (as if inspired).\nSpeak not of treaty! Speak not of surrender!\nThe savior comes, he arms him for the fight.", "SOLDIER.\n It proudly floats.\n\nJOHANNA.\nCould I look through the loopholes of the wall,\nI with my lance the battle would control.", "[Pointing to JOHANNA.\n\nSOREL.\nJohanna! God! she's dying!", "Johanna sitting on the throne at Rheims,\nA sparkling diadem of seven stars\nUpon her brow, the sceptre in her hand,", "JOHANNA.\nWhen thou didst quit the British army he lived.\nThis morn, while gazing from Le Tournelle's tower,", "[On perceiving him, she gives the first sign of consciousness.\n She gazes on him fixedly, and looks up to heaven; then taking\n his hand she retires.", "He bore the bitter scorn of his proud foes.\nTrusting in thee, he seized with mighty power\nThe pillars of his prison, bowed himself," ], [ "JOHANNA.\n To Lionel?\nSlay me at once, ere send me unto him.\n\nISABEL (to the soldiers).\nObey your orders, soldiers! Bear her hence.", "SOLDIER.\n The French and the Burgundians fly;\nThe field is covered o'er with fugitives.\n\nJOHANNA.\nMy God! Thou wilt not thus abandon me!", "[She rises: a PAGE enters.\n\nPAGE.\nA herald from the English generals.\n\nJOHANNA.\nLet him appear, for he is sent by God!", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "LIONEL (approaching her).\n 'Tis said\nThou killest all the English whom thy sword\nSubdues in battle--why spare me alone?", "JOHANNA.\nWhat, now unarm myself? Midst battle's roar\nI'll bare my bosom to the stroke of death!\nNot now! Would that a sevenfold wall of brass\nCould hide me from your revels, from myself!", "JOHANNA.\n Dunois, forbear!\nPart them, La Hire! no blood of France must flow:\nNot hostile weapons must this strife decide,", "JOHANNA (to the soldiers).\nYe English, suffer not that I escape\nAlive out of your hands! Revenge yourselves!", "JOHANNA.\nIt must be done; 'tis useless to delay.\nNever, oh never, will this land endure\nThe English yoke; sooner will France become", "[She goes out.\n\nLA HIRE.\nCome, let us follow after her, Dunois,\nAnd let our valiant bosoms be her shield!\n\n [Exit.", "ARCHBISHOP (to JOHANNA).\nI ask thee in God's name. Art thou thus silent\nFrom consciousness of innocence or guilt?\nIf in thy favor the dread thunder speaks,\nTouch with thy hand this cross, and give a sign!", "CHARLES.\n Do so, maid!\nDetermine thou, for peace, or bloody war.\n\nJOHANNA (to the HERALD).\nWho sendeth thee? Who speaketh through thy mouth?", "JOHANNA (in the greatest anxiety).\n What have I done?\nAlas! I've broke my vow!\n\n [She wrings her hands in despair.", "JOHANNA.\nThat's Count Dunois! on, gallant warrior!\nConquest goes with thee.\n\nSOLDIER.\n The Burgundian duke\nAttacks the bridge.", "SCENE XI.\n\n JOHANNA, DUNOIS, LA HIRE.\n\nLA HIRE.\n It is she! The maiden lives!", "JOHANNA.\n Madman, hold!\nThou darest?\n\nLIONEL.\nNow I yield to force--again\nI'll see thee!\n [He retires.", "RAIMOND (to JOHANNA).\nPut off your helmet and your coat-of-mail,\nThey will not now protect you, but betray.\n\n [JOHANNA shakes her head.", "LIONEL.\n I'll defend thee, maid.\n\nJOHANNA.\nI die if thou shouldst perish by their hands!", "[To the MAIDEN.\n\nWhy didst thou leave the army? Where's Dunois,\nThy knight and thy protector.\n\nJOHANNA.\n I am banished.", "SOLDIER.\nAlas! What do I see? Our general's\nSurrounded by the foe!\n\nISABEL (points the dagger at JOHANNA).\n Die, wretch!" ], [ "I am her son, from her derive my name,\nAnd in her kingdom lies my heritage.\nThe Prince of Orleans was my sire, and while\nNo woman's heart was proof against his love,", "Is true as gold. 'Tis he, himself, my king,\nWho loves thee, and hath often bled for thee.\nDunois, confess, the heat of noble wrath", "LIONEL.\nWhy linger, why withhold the stroke of death?\nMy glory thou hast taken--take my life!\nI want no mercy, I am in thy power.", "HERALD.\nThe Earl of Salisbury; the British chief.\n\nJOHANNA.\nHerald, 'tis false! The earl speaks not through thee.\nOnly the living speak, the dead are silent.", "The hero, or participate his doom.\nAnd wouldst thou know who brings thee glory now,\nWhether he live or die,--I'm Lionel,", "Of Valois--there preside the avenging powers,\nTo whom a mother's crime unbarred the way.\nFor thirty years my sire in madness raved;", "THIBAUT.\n Yes, her miserable father,\nWho did beget her, and whom God impels\nNow to accuse his daughter.\n\nBURGUNDY.\n Ha! What's this?", "Who slew, in fight, their fathers and their sons;\nThe moment swallows up the whole of life!\nBe tranquil, Sorel. E'en thy passionate joy", "SOREL.\nBelieve him not! Full many a time he hath\nPerilled his life for thee, and now, forsooth,", "JOHANNA.\n Yes, thou sayest truly!\nTo friends 'tis gracious! but to enemies\nIt causeth horror!\n\n [The Coronation march is heard.", "Thou hast destroyed the bravest of our host\nThe noble Talbot hath his mighty soul\nBreathed forth upon my bosom. I'll avenge", "BURGUNDY.\n Most horrible!\nYet we must needs believe a father's words\nWho 'gainst his daughter gives his evidence.", "In answer to the lords who sent thee here.\nMonarch of England, and ye haughty dukes,\nBedford and Gloucester, regents of this realm!", "By God commissioned? On a cursed spot\nIt was conceived; beneath the Druid tree\nWhere evil spirits have from olden time\nTheir Sabbath held. There her immortal soul", "[He seizes his sword and shield, and rushes upon her;\n martial music is heard in the distance. After a short\n conflict MONTGOMERY falls.\n\n\n\nSCENE VIII.", "Thy own mean spirit hurls thee from the throne.\nBorn heroes ever were the kings of France;\nThou wert a craven, even from thy birth.", "Why was she silent when the gentle youth\nFrom Wales entreated thee to spare his life?\nOh, cunning heart! Thou liest before high heaven!", "CHARLES.\nShe comes! Dunois, now occupy my place!\nWe will make trial of this wondrous maid.\nIs she indeed inspired and sent by God\nShe will be able to discern the king.", "LIONEL (looks at her with sympathy and approaches her).\n Unhappy maid!\nI pity thee! Thy sorrow touches me;", "Who never showed compassion, who poured forth\nTorrents of English blood, who from your sons\nSnatched the sweet pleasure of returning home!\nTake now a bloody vengeance! Murder me!" ], [ "SOLDIER.\nHis horse is restive, plunges, rears and falls--\nHe struggles hard to extricate himself.\n\n [JOHANNA accompanies these words with passionate movements.", "LOUISON.\nMy father!\n\nCLAUDE MARIE.\n My Louison!\n\nLOUISON (embracing JOHANNA).\n My dear sister!", "LA HIRE.\nWhat ails thee, maiden? She grows pale--she sinks!\n\n [JOHANNA grows dizzy, and is about to fall.", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "JOHANNA (raises her sword with a rapid movement as if to strike him,\n but lets it fall quickly when she gazes on his face).\nOh, Holy Virgin!", "SOREL.\nThou'rt loved by Count Dunois. His noble heart,\nWhich virtue and renown alone inspire,\nWith pure and holy passion glows for thee.", "[Her sword and banner fall; she hastens to him with\n outstretched arms, and embraces him in great agitation.\n LA HIRE and DUNOIS throw down their swords, and hasten\n also to embrace him.", "JOHANNA.\nNo! never!\n\nLIONEL.\n Thus this sword I seize in pledge\nThat I again behold thee!\n\n [He snatches her sword.", "JOHANNA.\nYour love hath led you to me here so far!\nSo very far! You are not wroth with her\nWho left her home without one parting word!", "LOUISON.\nTill I have seen her, I can scarce believe\nThat she, whom men the Maid of Orleans name,\nThe mighty warrior, is indeed Johanna,\nOur sister whom we lost!", "JOHANNA (in the greatest anxiety).\n What have I done?\nAlas! I've broke my vow!\n\n [She wrings her hands in despair.", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "JOHANNA.\n Thee I saw\nWhen none beside, save God in heaven, beheld thee.\n\n [She approaches the KING, and speaks mysteriously.", "DUNOIS.\n You love the wondrous maid,\nAnd well I know the purpose of your heart.\nYou think without delay to seek the king,", "JOHANNA (quickly).\nCome, let us fly! I will return with you\nBack to our village, to our father's bosom.\n\nLOUISON.\nOh, come! Return with us!", "JOHANNA.\nOh, thou art happy! thou art blessed indeed!\nThou lovest, where all love. Thou may'st, unblamed", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "LIONEL.\n I'll defend thee, maid.\n\nJOHANNA.\nI die if thou shouldst perish by their hands!", "[Pointing to JOHANNA.\n\nSOREL.\nJohanna! God! she's dying!", "LIONEL.\nAm I then dear to thee?\n\nJOHANNA.\n Ye heavenly powers!\n\nLIONEL.\nShall I again behold thee--hear from thee?" ], [ "A noble! I, thy monarch, from the dust\nOf thy mean birth exalt thee. In the grave\nThy fathers I ennoble--thou shalt bear", "The hero, or participate his doom.\nAnd wouldst thou know who brings thee glory now,\nWhether he live or die,--I'm Lionel,", "I am her son, from her derive my name,\nAnd in her kingdom lies my heritage.\nThe Prince of Orleans was my sire, and while\nNo woman's heart was proof against his love,", "A ball from Orleans struck him to the ground.\nSmilest thou that I discern what is remote?\nNot to my words give credence; but believe\nThe witness of thine eyes! his funeral train", "LIONEL (looks at her with sympathy and approaches her).\n Unhappy maid!\nI pity thee! Thy sorrow touches me;", "Who never showed compassion, who poured forth\nTorrents of English blood, who from your sons\nSnatched the sweet pleasure of returning home!\nTake now a bloody vengeance! Murder me!", "TALBOT (tearing off his bandages).\nThen freely flow, ye currents of my blood,\nFor Talbot now is weary of the sun!", "One syllable from thee, one single word\nShall be sufficient. Speak! annihilate\nThis horrid accusation. But declare", "LIONEL.\nWhy linger, why withhold the stroke of death?\nMy glory thou hast taken--take my life!\nI want no mercy, I am in thy power.", "By God commissioned? On a cursed spot\nIt was conceived; beneath the Druid tree\nWhere evil spirits have from olden time\nTheir Sabbath held. There her immortal soul", "BURGUNDY.\nHow dreadful was the maiden in the fight!\nHow lovely circled by the beams of peace!\nMy word, Johanna, have I now fulfilled?\nArt thou contented? Have I thine applause?", "LIONEL.\n Thy friends have cast thee off.\nTo thy ungrateful country then dost owe\nDuty and faith no longer. The false cowards", "An irresistible desire impels me.\nWho art thou? Raise thy visor. I had said\nThat thou wert Talbot had I not myself", "Collect thyself, Johanna! innocence\nHath a triumphant look, whose lightning flash\nStrikes slander to the earth! In noble wrath\nArise! look up, and punish this base doubt,\nAn insult to thy holy innocence.", "To-day have seen the backs of Englishmen.\nOh, Orleans! Orleans! Grave of England's glory!\nOur honor lies upon thy fatal plains", "The hero on the shield he would not quit.\nWell, peace be with his ashes! Bear him hence!", "Thou scornest to refute so base a charge.\nStill scorn it, maiden, but confide in me;\nI never doubted of thine innocence.", "LA HIRE.\nSummon them back! Thy fortune is reversed.\nA battle has been fought, and thou hast conquered.\n\nSOREL.\nConquered! Oh, heavenly music of that word!", "Who slew, in fight, their fathers and their sons;\nThe moment swallows up the whole of life!\nBe tranquil, Sorel. E'en thy passionate joy", "To yield them to the Duke of Burgundy.\nThus we avoid the foreign yoke, and still\nContinue by our ancient royal line;\nAy, to the ancient crown we may fall back" ], [ "JOHANNA (interrupts him, regarding him with dignity).\nBastard of Orleans, thou wilt tempt thy God!\nThis place abandon, which becomes thee not!\nTo this more mighty one the maid is sent.", "[Pointing to JOHANNA.\n\nSOREL.\nJohanna! God! she's dying!", "RAIMOND (in astonishment).\nAnd thou wert really then no sorceress?\n\nJOHANNA.\nA sorceress!", "By God commissioned? On a cursed spot\nIt was conceived; beneath the Druid tree\nWhere evil spirits have from olden time\nTheir Sabbath held. There her immortal soul", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war.", "CHARCOAL-BURNER.\nBecause they now no longer fear the king,\nSince that the maid turned out to be a witch\nAt Rheims, the devil aideth us no longer,\nAnd things have gone against us.", "CHARLES.\nShe comes! Dunois, now occupy my place!\nWe will make trial of this wondrous maid.\nIs she indeed inspired and sent by God\nShe will be able to discern the king.", "KING.\nSupported by thy friend, and by thy king.\n\nJOHANNA (after looking at him fixedly for some time).\nNo! I am not a sorceress! Indeed\nI am not one.", "[A general silence; all eyes are fixed upon her;\n she remains motionless.\n\nSOREL.\nGod! she is dumb!", "JOHANNA.\nThe heavens spoke, and therefore I was silent.\n\nRAIMOND.\nThou with one word couldst clear thyself, and hast\nIn this unhappy error left the world?", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "BOY.\n Oh, mother! mother!\nWhom do you entertain? This is the witch\nOf Orleans!\n\nCHARCOAL-BURNER (and his WIFE).\n God be gracious to our souls!", "SOREL (to JOHANNA).\nOh, maiden, speak! this fatal silence break!\nWe firmly trust thee! we believe in thee!", "A crowd was gathered in the market-place,\nFor fugitives were just arrived in haste\nFrom Orleans, bringing most disastrous news.\nIn tumult all the town together flocked,", "[They press the banner upon her; she seizes it with\n evident emotion, and retires; the others follow.\n\n [The scene changes to an open place before the Cathedral.", "JOHANNA.\n Thee I saw\nWhen none beside, save God in heaven, beheld thee.\n\n [She approaches the KING, and speaks mysteriously.", "JOHANNA (standing up, and looking round).\n Where am I?\n\nBURGUNDY.\nWith thine own people, maiden--with thy friends!", "[JOHANNA gazing upon it with horror.\n\n'Tis she herself! so she appeared to me.\nSee, how she looks at me and knits her brow,\nAnd anger flashes from her threatening eye!", "JOHANNA.\nYou call me an enchantress, and accuse\nOf hellish arts. Is it the work of hell\nTo heal dissension and to foster peace?" ], [ "To-day have seen the backs of Englishmen.\nOh, Orleans! Orleans! Grave of England's glory!\nOur honor lies upon thy fatal plains", "SOLDIER.\n The French and the Burgundians fly;\nThe field is covered o'er with fugitives.\n\nJOHANNA.\nMy God! Thou wilt not thus abandon me!", "JOHANNA.\nWhen thou didst quit the British army he lived.\nThis morn, while gazing from Le Tournelle's tower,", "Our foes are stationed in the heart of France,\nFar as the river Loire our lands are theirs--\nNow their whole force they have combined, and lay\nClose siege to Orleans.", "Now there--I see her everywhere at once!\n--She separates the troops--all yield to her:\nThe scattered French collect--they form anew!", "For ere thou canst attain the British camp\nAnd do thine errand, is the maiden there,\nTo plant the sign of victory at Orleans.", "The English tents are level with the ground,\nAnd all the field is covered with your slain.\nHark! the war-trumpets of the French resound;", "A crowd was gathered in the market-place,\nFor fugitives were just arrived in haste\nFrom Orleans, bringing most disastrous news.\nIn tumult all the town together flocked,", "JOHANNA.\nFrance I will lay submissive at thy feet!\n\nCHARLES.\nAnd Orleans, say'st thou, will not be surrendered?", "As that of Poictiers and of Agincourt.\nDo you remain with the fortress, queen,\nAnd guard the maiden till the fight is o'er.", "SCENE VI.\n\n The prospect opens. The English camp is seen in flames.\n Drums, flight, and pursuit. After a while MONTGOMERY enters.", "LOUISON.\nTill I have seen her, I can scarce believe\nThat she, whom men the Maid of Orleans name,\nThe mighty warrior, is indeed Johanna,\nOur sister whom we lost!", "Never to rise again. Rheims now is lost,\nHasten to succor Paris!", "\"Why be dismayed, brave Frenchmen? On the foe!\nWere they more numerous than the ocean sands,\nGod and the holy maiden lead you on!\"", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "[Her banner falls and she sinks lifeless on the ground.\n All remain for some time in speechless sorrow. Upon a", "LIONEL.\nDefeat! My general, do not speak that word.\nIt stings me to the quick to think the French", "DUNOIS.\nHave we been routed? Is it lawful, sire,\nTo leave the English masters of the field,", "And Baudricourt, a knight of Vaucouleurs,\nWas our commander. Having gained the heights\nBy Vermanton, we wound our downward way" ], [ "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "JOHANNA (to the soldiers).\nYe English, suffer not that I escape\nAlive out of your hands! Revenge yourselves!", "[He wrestles with her. JOHANNA seizes him by the crest\n and tears open his helmet; his face is thus exposed;\n at the same time she draws her sword with her right hand.", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "JOHANNA (to the knights who surround her while the\n procession continues above).\nThe wall is scaled and we are in the camp!", "JOHANNA.\nThat's Count Dunois! on, gallant warrior!\nConquest goes with thee.\n\nSOLDIER.\n The Burgundian duke\nAttacks the bridge.", "SCENE XI.\n\n JOHANNA, DUNOIS, LA HIRE.\n\nLA HIRE.\n It is she! The maiden lives!", "[He seizes her arm.\n\nJOHANNA.\nThe Bastard comes! 'Tis they! They seek for me!\nIf they should find thee----", "JOHANNA.\nHo! torches here. Hurl fire into the tents!\nLet the devouring flames augment the horror,\nWhile threatening death doth compass them around!", "[JOHANNA rushes out of the church, without her banner.\n The people press around her, worship her, and kiss her\n garments. She is detained in the background by the crowd.", "JOHANNA.\n To Lionel?\nSlay me at once, ere send me unto him.\n\nISABEL (to the soldiers).\nObey your orders, soldiers! Bear her hence.", "JOHANNA.\nFrance I will lay submissive at thy feet!\n\nCHARLES.\nAnd Orleans, say'st thou, will not be surrendered?", "[Pointing to JOHANNA.\n\nSOREL.\nJohanna! God! she's dying!", "SOLDIER.\n The French and the Burgundians fly;\nThe field is covered o'er with fugitives.\n\nJOHANNA.\nMy God! Thou wilt not thus abandon me!", "Our troops are pressing on in full career,\nThey near him, reach him--they surround him now.\n\nJOHANNA.\nOh, have the heavens above no angels more!", "[She rises: a PAGE enters.\n\nPAGE.\nA herald from the English generals.\n\nJOHANNA.\nLet him appear, for he is sent by God!", "JOHANNA (interrupts him, regarding him with dignity).\nBastard of Orleans, thou wilt tempt thy God!\nThis place abandon, which becomes thee not!\nTo this more mighty one the maid is sent.", "DUNOIS.\nLet him escape! Maiden, the righteous cause\nHath triumphed now. Rheims opens wide its gates;\nThe joyous crowds pour forth to meet their king.", "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war." ], [ "How many victims have been doomed to fall\nEre we could meet in peace and reconcilement!\nBut every storm at length suspends its rage,\nDay follows on the murkiest night; and still", "[BURGUNDY and TALBOT embrace.\n\nLIONEL (contemplating the group aside).\nHail to an union by the furies planned!", "LIONEL.\nParis is with the Dauphin reconciled;\nA courier even now has brought the news.", "Come, Lionel, aid me to reconcile\nThese haughty spirits and establish peace.", "That France and Burgundy are reconciled.", "And leaves his brow, while mercy's golden beams\nBreak from his eyes and gently promise peace.\nAway with arms, now clasp him to your hearts,", "[Her sword and banner fall; she hastens to him with\n outstretched arms, and embraces him in great agitation.\n LA HIRE and DUNOIS throw down their swords, and hasten\n also to embrace him.", "ARCHBISHOP (leading DUNOIS to the KING, and joining their hands).\nPrinces, embrace! Let rage and discord cease,\nSince Heaven itself hath for our cause declared.", "Hushed is the din of arms, war's storms subside,\nGlad songs and dance succeed the bloody fray,\nThrough all the streets joy echoes far and wide,", "Let those who fought for us receive our thanks;\nOur pardon, those who joined the hostile ranks,\nFor God hath shown us mercy in our need,", "Whom bloody hatred did erewhile divide.\nAll who themselves of Gallic race confess\nThe name of Frenchman own with conscious pride,\nFrance sees the splendor of her ancient crown,", "[She opens the door and leads in DUCHATEL,\n who remains standing at a distance.\n\nThe duke is reconciled to all his foes,\nAnd he is so to thee.", "CHARLES.\nReceive this present; 'tis a twofold pledge\nOf reconcilement and of fairest love.", "Well, now our strife is over; what was lost\nWill in due season all be found again.\nEven your jewels have returned to you.\nAgainst me to make war they were designed;", "Rolls toward these vales, which yet repose in peace.\nTherefore, good neighbors, I have now resolved,\nWhile God still grants us safety, to provide", "[At the same moment the three Burgundian knights hasten to DUNOIS,\n LA HIRE, and the ARCHBISHOP. They embrace each other. The two", "ARCHBISHOP (steps between them).\nYe are united, princes! France doth rise\nA renovated phoenix from its ashes.", "Made thee forget thyself; and oh, do thou\nForgive a faithful friend's o'erhasty speech!\nCome, let me quickly reconcile your hearts,", "A wise and prudent word the queen hath spoken;\nCome, let my hand with friendly pressure heal\nThe wound inflicted by my angry tongue.", "--Duchatel, I forgive thee--come, embrace me!\nShade of my sire! oh, not with wrathful eye\nBehold me clasp the hand that shed thy blood." ], [ "[She goes out.\n\n\n\n\nACT I.\n\nSCENE I.", "ACT IV.\n\n A hall adorned as for a festival; the columns are hung\n with garlands; behind the scene flutes and hautboys.\n\n\n\nSCENE I.", "ACT V.\n\n A wild wood: charcoal-burners' huts in the distance.\n It is quite dark; violent thunder and lightning;\n firing heard at intervals.", "SCENE III.", "[She retires. In the midst of a general movement,\n the curtain falls.\n\n\n\n\nACT II.\n\n Landscape, bounded by rocks.", "SCENE I.", "[They cross themselves and fly.\n\n\n\nSCENE IV.\n\n RAIMOND, JOHANNA.", "[He comes down.\n\nISABEL (drawing her sword).\nThen fight, ye cowards!\n\n\n\nSCENE IV.", "ALL (exclaim aloud, amidst the loud clang of arms).\nGod and the maiden!\n [Drums and trumpets.", "[They all retire except the maiden.\n\n\n\nSCENE IV.\n\nJOHANNA (alone).", "[Another clap of thunder, louder than the first;\n the people fly on all sides.\n\nBURGUNDY.\nGod guard and save us! What appalling signs!", "SCENE IV.", "SCENE IV.", "The day of vengeance is at length arrived;\nNot living shall ye measure back the sea,\nThe sacred sea--the boundary set by God\nBetwixt our hostile nations--and the which", "See, they come!\n\n\n\nSCENE VI.", "[He seizes his sword and shield, and rushes upon her;\n martial music is heard in the distance. After a short\n conflict MONTGOMERY falls.\n\n\n\nSCENE VIII.", "FASTOLFE.\n Oh, woful day!\n [LIONEL enters.\nBehold what sign awaits you, Lionel!\nHere lies our general wounded unto death.", "LIONEL (looks at her with sympathy and approaches her).\n Unhappy maid!\nI pity thee! Thy sorrow touches me;", "LA HIRE.\nHere comes the king!\n\n\n\nSCENE II.", "KNIGHT (raises his visor).\nI'm he, vile creature, tremble and despair!\nThe arts of hell shall not protect thee more.\nThou hast till now weak dastards overcome;\nNow thou dost meet a man." ], [ "In this barbaric, rude reality.\nYet noble--ay, right royal is his aim!\nHe will again restore the golden age,\nWhen gentle manners reigned, when faithful love", "CHARLES.\nIt is a sportive festival, a jest,\nWherein he giveth to his fancy play,\nTo found a world all innocent and pure", "And to attach their fair and goodly realm,\nLike a small boat, to your proud English bark!\nYe fools! The royal arms of France are hung", "If evil spirits borrow this disguise,\nThey copy innocence triumphantly.\nI'll hear no more. To arms, Dunois! to arms!", "AGNES (embracing him).\nI do not weep, I do not tremble for thee;\nMy faith, unshaken, cleaveth unto God!", "CHARLES (returning his sword).\n Not so! Rude war\nRespects each pious office; you are free\nTo render the last honors to the dead,", "The hero on the shield he would not quit.\nWell, peace be with his ashes! Bear him hence!", "The crown and the palladium are at stake!\nOur honor is in pledge! risk blood and life!\nShe must be rescued ere the day is done!", "And bear this message to my faithful town;\nI do absolve my subjects from their oath,\nTheir own best interests let them now consult,\nAnd yield them to the Duke of Burgundy;", "To Rheims, to crown him with the royal crown.\nWhat I ne'er dreamed to see is realized!\nThe coronation march will soon set forth;", "LIONEL.\nNow, God forbid! My noble lord, arise!\nNo moment this to falter and to sink.\nYield not to death. By your all-powerful will\nCommand your ebbing spirit still to live.", "Rolls toward these vales, which yet repose in peace.\nTherefore, good neighbors, I have now resolved,\nWhile God still grants us safety, to provide", "JOHANNA.\n Yes, thou sayest truly!\nTo friends 'tis gracious! but to enemies\nIt causeth horror!\n\n [The Coronation march is heard.", "Our troops are pressing on in full career,\nThey near him, reach him--they surround him now.\n\nJOHANNA.\nOh, have the heavens above no angels more!", "LIONEL.\nGod speed you there! Never did Britain's fame\nMore brightly shine than when she stood alone,\nConfiding solely in her own good sword.", "As it commenced, so let it spend its fury.\nIt is the law of destiny that nations\nShould for their monarchs immolate themselves.\nWe Frenchmen recognize this sacred law,", "LIONEL.\n Thy friends have cast thee off.\nTo thy ungrateful country then dost owe\nDuty and faith no longer. The false cowards", "The claims of justice and humanity,\nFor thy deliverer from the fold was called.\nBeneath thy royal sceptre thou shalt gather\nThe realm entire of France. Thou shalt become", "For his opinion's sake, his hate and love,\nSets property and life upon a cast;\nWhen civil war hangs out her bloody flag,\nEach private end is drowned in party zeal.", "He hath established hence a court of love\nWhere valiant knights may dwell, and homage yield\nTo noble women, who are there enthroned," ], [ "Who slew, in fight, their fathers and their sons;\nThe moment swallows up the whole of life!\nBe tranquil, Sorel. E'en thy passionate joy", "In Dom Remi, a village of my king.\nIncluded in the diocese of Toul,\nAnd from a child I kept my father's sheep.\nAnd much and frequently I heard them tell", "For fickle fortune aye revolves her wheel.\nBut to be baffled by such juggling arts!\nDeserved our earnest and laborious life\nNot a more earnest issue?", "BERTRAND.\n Who would sit at home\nWhen great events are stirring in the land!\nIt hath cost plenty, both of sweat and blood,", "The hero, or participate his doom.\nAnd wouldst thou know who brings thee glory now,\nWhether he live or die,--I'm Lionel,", "PROLOGUE.\n\nA rural District. To the right, a Chapel with an Image of the Virgin; to\nthe left, an ancient Oak.", "[Her banner falls and she sinks lifeless on the ground.\n All remain for some time in speechless sorrow. Upon a", "SOREL.\nBelieve him not! Full many a time he hath\nPerilled his life for thee, and now, forsooth,", "Of sweetest music floated through the air.\nAnd thus on three successive nights appeared\nThe Holy One, and cried,--\"Arise, Johanna!", "And held together amid toil and death.\nLet not the love of woman rend the bond\nWhich hath resisted every stroke of fate.", "LIONEL.\nWhy linger, why withhold the stroke of death?\nMy glory thou hast taken--take my life!\nI want no mercy, I am in thy power.", "Of all these battles, kings, and deeds of war,--\nThey were but shadows which before me passed;\nFor dreams are always vivid 'neath that tree.", "[On perceiving him, she gives the first sign of consciousness.\n She gazes on him fixedly, and looks up to heaven; then taking\n his hand she retires.", "Rolls toward these vales, which yet repose in peace.\nTherefore, good neighbors, I have now resolved,\nWhile God still grants us safety, to provide", "Myself shall perish, and fulfil my doom.\nNow thine fulfil. Arise! resume thy sword,\nAnd let us fight for the sweet prize of life.", "I am her son, from her derive my name,\nAnd in her kingdom lies my heritage.\nThe Prince of Orleans was my sire, and while\nNo woman's heart was proof against his love,", "Invested with the round of sovereignty.\nNo hostile power can rob me of my life,\nTill I've accomplished the commands of God.", "Of Valois--there preside the avenging powers,\nTo whom a mother's crime unbarred the way.\nFor thirty years my sire in madness raved;", "The life I gave I will again take back\nFrom him who doth, with ruthless violence,\nThe bosom rend which bore and nourished him.", "JOHANNA.\nMost reverend father, I am named Johanna,\nI am a shepherd's lowly daughter, born" ], [ "JOHANNA (raises her sword with a rapid movement as if to strike him,\n but lets it fall quickly when she gazes on his face).\nOh, Holy Virgin!", "LIONEL (approaching her).\n 'Tis said\nThou killest all the English whom thy sword\nSubdues in battle--why spare me alone?", "JOHANNA.\nWhere halts the knight? Pray tell me, if you know.\n\nBERTRAND.\nAbout a one day's march from Vaucouleurs.", "JOHANNA.\n Dunois, forbear!\nPart them, La Hire! no blood of France must flow:\nNot hostile weapons must this strife decide,", "[The BLACK KNIGHT is about to depart, she steps in his way.\n\nNo, thou shalt speak, or perish by my hand!\n\n [She endeavors to strike him.", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "JOHANNA (as if inspired).\nSpeak not of treaty! Speak not of surrender!\nThe savior comes, he arms him for the fight.", "LIONEL.\n I'll defend thee, maid.\n\nJOHANNA.\nI die if thou shouldst perish by their hands!", "BLACK KNIGHT.\n Johanna D'Arc!\nBorne on the wings of conquest, thou hast reached\nThe gates of Rheims. Let thy achieved renown", "[To the MAIDEN.\n\nWhy didst thou leave the army? Where's Dunois,\nThy knight and thy protector.\n\nJOHANNA.\n I am banished.", "KNIGHT (raises his visor).\nI'm he, vile creature, tremble and despair!\nThe arts of hell shall not protect thee more.\nThou hast till now weak dastards overcome;\nNow thou dost meet a man.", "JOHANNA.\n To Lionel?\nSlay me at once, ere send me unto him.\n\nISABEL (to the soldiers).\nObey your orders, soldiers! Bear her hence.", "JOHANNA.\n Slay me, then,\nAnd fly!\n\nLIONEL.\n Ha! What is this?", "JOHANNA (interrupts him, regarding him with dignity).\nBastard of Orleans, thou wilt tempt thy God!\nThis place abandon, which becomes thee not!\nTo this more mighty one the maid is sent.", "Why was she silent when the gentle youth\nFrom Wales entreated thee to spare his life?\nOh, cunning heart! Thou liest before high heaven!", "SCENE IX.\n\n A KNIGHT with closed visor, JOHANNA.", "KNIGHT.\nAccursed one! thy hour of death has come!\nLong have I sought thee on the battle-field,\nFatal delusion! get thee back to hell,\nWhence thou didst issue forth.", "[He wrestles with her. JOHANNA seizes him by the crest\n and tears open his helmet; his face is thus exposed;\n at the same time she draws her sword with her right hand.", "[Her sword and banner fall; she hastens to him with\n outstretched arms, and embraces him in great agitation.\n LA HIRE and DUNOIS throw down their swords, and hasten\n also to embrace him.", "RAIMOND (to JOHANNA).\nPut off your helmet and your coat-of-mail,\nThey will not now protect you, but betray.\n\n [JOHANNA shakes her head." ], [ "JOHANNA.\nThe Loire shall sooner roll its waters back.\n\nCHARLES.\nShall I in triumph enter into Rheims?", "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war.", "Johanna sitting on the throne at Rheims,\nA sparkling diadem of seven stars\nUpon her brow, the sceptre in her hand,", "JOHANNA (interrupts him, regarding him with dignity).\nBastard of Orleans, thou wilt tempt thy God!\nThis place abandon, which becomes thee not!\nTo this more mighty one the maid is sent.", "JOHANNA.\nThe heavens spoke, and therefore I was silent.\n\nRAIMOND.\nThou with one word couldst clear thyself, and hast\nIn this unhappy error left the world?", "And usher her in triumph into Rheims!", "CHARLES.\nShe comes! Dunois, now occupy my place!\nWe will make trial of this wondrous maid.\nIs she indeed inspired and sent by God\nShe will be able to discern the king.", "THIBAUT.\n Yes, her miserable father,\nWho did beget her, and whom God impels\nNow to accuse his daughter.\n\nBURGUNDY.\n Ha! What's this?", "JOHANNA.\nComing from him, methought it came from God;\nAnd fatherly the chastisement will prove.\n\nRAIMOND.\nThe heavens themselves bore witness to thy guilt!", "[Pointing to JOHANNA.\n\nSOREL.\nJohanna! God! she's dying!", "Are trampled down beneath her chargers' hoofs;\nParis hath yielded to her conquering arms,\nAnd with the ancient crown of Dagobert", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "CHARCOAL-BURNER.\nBecause they now no longer fear the king,\nSince that the maid turned out to be a witch\nAt Rheims, the devil aideth us no longer,\nAnd things have gone against us.", "DUNOIS.\nLet him escape! Maiden, the righteous cause\nHath triumphed now. Rheims opens wide its gates;\nThe joyous crowds pour forth to meet their king.", "How did you come to Rheims? How came I here?\nNo, I have never quitted Dom Remi!\nConfess it to me, and rejoice my heart.", "DUNOIS.\nWhy do the people fear, the princes tremble?\nI'll stake my honor on her innocence!\nHere on the ground I throw my knightly gage;\nWho now will venture to maintain her guilt?", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "LA HIRE.\nHere is the banner. Take it, noble maiden\nThou'rt stayed for by the princes and the people.\n\nJOHANNA.\nI march before him? I the banner bear?", "RAIMOND.\n And all these miracles\nThou hast accomplished through the power of God\nAnd of his holy saints?\n\nJOHANNA.\n Through whom besides?", "For ere thou canst attain the British camp\nAnd do thine errand, is the maiden there,\nTo plant the sign of victory at Orleans." ], [ "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war.", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "[JOHANNA rushes out of the church, without her banner.\n The people press around her, worship her, and kiss her\n garments. She is detained in the background by the crowd.", "DUNOIS.\nWhy do the people fear, the princes tremble?\nI'll stake my honor on her innocence!\nHere on the ground I throw my knightly gage;\nWho now will venture to maintain her guilt?", "JOHANNA.\nIt must be done; 'tis useless to delay.\nNever, oh never, will this land endure\nThe English yoke; sooner will France become", "JOHANNA.\nCourage, my people! 'Tis the final struggle--\nAnother victory, and the foe lies low!\n\nISABEL.\nWhat see'st thou?", "LOUISON.\nTill I have seen her, I can scarce believe\nThat she, whom men the Maid of Orleans name,\nThe mighty warrior, is indeed Johanna,\nOur sister whom we lost!", "JOHANNA (standing up, and looking round).\n Where am I?\n\nBURGUNDY.\nWith thine own people, maiden--with thy friends!", "JOHANNA (with enthusiasm).\nMy people come this way! Proud England now\nForth in the field! now boldly must you fight!", "JOHANNA (as if inspired).\nSpeak not of treaty! Speak not of surrender!\nThe savior comes, he arms him for the fight.", "JOHANNA (in the greatest anxiety).\n What have I done?\nAlas! I've broke my vow!\n\n [She wrings her hands in despair.", "LA HIRE.\nHere is the banner. Take it, noble maiden\nThou'rt stayed for by the princes and the people.\n\nJOHANNA.\nI march before him? I the banner bear?", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "[She rises: a PAGE enters.\n\nPAGE.\nA herald from the English generals.\n\nJOHANNA.\nLet him appear, for he is sent by God!", "[Her sword and banner fall; she hastens to him with\n outstretched arms, and embraces him in great agitation.\n LA HIRE and DUNOIS throw down their swords, and hasten\n also to embrace him.", "SCENE XI.\n\n JOHANNA, DUNOIS, LA HIRE.\n\nLA HIRE.\n It is she! The maiden lives!", "For ere thou canst attain the British camp\nAnd do thine errand, is the maiden there,\nTo plant the sign of victory at Orleans.", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "[She places herself in the midst and separates the parties.\n\nJOHANNA.\nFall back, Dunois! Stand where thou art, La Hire!\nSomewhat I have to say to Burgundy.", "DUCHATEL (returning).\nJohanna d'Arc! uninjured from the town\nThe king permits you to depart. The gates" ], [ "LIONEL (approaching her).\n 'Tis said\nThou killest all the English whom thy sword\nSubdues in battle--why spare me alone?", "[She rises: a PAGE enters.\n\nPAGE.\nA herald from the English generals.\n\nJOHANNA.\nLet him appear, for he is sent by God!", "JOHANNA (to the soldiers).\nYe English, suffer not that I escape\nAlive out of your hands! Revenge yourselves!", "JOHANNA (raises her sword with a rapid movement as if to strike him,\n but lets it fall quickly when she gazes on his face).\nOh, Holy Virgin!", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "JOHANNA.\n Dunois, forbear!\nPart them, La Hire! no blood of France must flow:\nNot hostile weapons must this strife decide,", "RAIMOND.\n If God hath turned your hearts,\nOh hasten, I entreat you--rescue her\nShe is a prisoner in the English camp.\n\nDUNOIS.\nA prisoner say you?", "LIONEL.\n I'll defend thee, maid.\n\nJOHANNA.\nI die if thou shouldst perish by their hands!", "JOHANNA (as if inspired).\nSpeak not of treaty! Speak not of surrender!\nThe savior comes, he arms him for the fight.", "[Her sword and banner fall; she hastens to him with\n outstretched arms, and embraces him in great agitation.\n LA HIRE and DUNOIS throw down their swords, and hasten\n also to embrace him.", "JOHANNA.\n To Lionel?\nSlay me at once, ere send me unto him.\n\nISABEL (to the soldiers).\nObey your orders, soldiers! Bear her hence.", "As that of Poictiers and of Agincourt.\nDo you remain with the fortress, queen,\nAnd guard the maiden till the fight is o'er.", "JOHANNA.\nWhere halts the knight? Pray tell me, if you know.\n\nBERTRAND.\nAbout a one day's march from Vaucouleurs.", "SOLDIER.\n The French and the Burgundians fly;\nThe field is covered o'er with fugitives.\n\nJOHANNA.\nMy God! Thou wilt not thus abandon me!", "JOHANNA.\nIt must be done; 'tis useless to delay.\nNever, oh never, will this land endure\nThe English yoke; sooner will France become", "[To the MAIDEN.\n\nWhy didst thou leave the army? Where's Dunois,\nThy knight and thy protector.\n\nJOHANNA.\n I am banished.", "RAIMOND.\nThere in the forest as we sought for shelter,\nWe were encountered by Queen Isabel,\nWho seized and sent her to the English host.\nOh, from a cruel death deliver her\nWho hath full many a time delivered you!", "DUCHATEL (at the window).\nA knight e'en now dismounteth in the court.\n\nCHARLES.\nA welcome messenger! We soon shall learn\nWhether we're doomed to conquer or to yield.", "JOHANNA.\nI through ten thousand foes will lead you there.\n\n [The knights make a noise with their lances and shields,\n and evince signs of courage.", "[JOHANNA lays her hand upon her breast, recollects herself,\n and shrinks back.\n\nBERTRAND.\nOut of my hand thou didst receive this helm." ], [ "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "[JOHANNA gazing upon it with horror.\n\n'Tis she herself! so she appeared to me.\nSee, how she looks at me and knits her brow,\nAnd anger flashes from her threatening eye!", "JOHANNA.\nComing from him, methought it came from God;\nAnd fatherly the chastisement will prove.\n\nRAIMOND.\nThe heavens themselves bore witness to thy guilt!", "JOHANNA.\nThe heavens spoke, and therefore I was silent.\n\nRAIMOND.\nThou with one word couldst clear thyself, and hast\nIn this unhappy error left the world?", "[A general silence; all eyes are fixed upon her;\n she remains motionless.\n\nSOREL.\nGod! she is dumb!", "JOHANNA.\n Suffer, what thou soughtest!\nThe Virgin sacrifices thee through me!", "She comes! 'tis she! She rushes from the church.\nHer troubled conscience drives her from the fane!\n'Tis visibly the judgment of her God!", "JOHANNA (in the greatest anxiety).\n What have I done?\nAlas! I've broke my vow!\n\n [She wrings her hands in despair.", "[Pointing to JOHANNA.\n\nSOREL.\nJohanna! God! she's dying!", "JOHANNA (interrupts him, regarding him with dignity).\nBastard of Orleans, thou wilt tempt thy God!\nThis place abandon, which becomes thee not!\nTo this more mighty one the maid is sent.", "Bore evidence against her! We were stunned,\nOur hearts were crushed beneath the sudden blow.\n--Who in that hour of dread could weigh the proofs?\nOur calmer judgment now returns to us,", "JOHANNA.\nMust I be yet more wretched than I was!\nUnpitying Virgin! Heavy is thy hand", "JOHANNA.\n To Lionel?\nSlay me at once, ere send me unto him.\n\nISABEL (to the soldiers).\nObey your orders, soldiers! Bear her hence.", "JOHANNA.\nThou hold'st me guilty of this heavy sin?\n\nRAIMOND.\nNeeds must I--thou didst silently confess----", "JOHANNA (throws herself upon her knees, and prays with passionate\n violence).\nHear me, O God, in my extremity!", "[A general silence; every eye is fixed upon the MAIDEN.\n\nJOHANNA (with a sudden cry).\nGod! my father!\n\n\n\nSCENE XI.", "JOHANNA.\nHo! torches here. Hurl fire into the tents!\nLet the devouring flames augment the horror,\nWhile threatening death doth compass them around!", "THIBAUT.\n Yes, her miserable father,\nWho did beget her, and whom God impels\nNow to accuse his daughter.\n\nBURGUNDY.\n Ha! What's this?", "[JOHANNA rushes out of the church, without her banner.\n The people press around her, worship her, and kiss her\n garments. She is detained in the background by the crowd.", "The Lord appoints thee to another task!\"\nAnd when the third night she revealed herself,\nWrathful she seemed, and chiding spake these words:" ], [ "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "RAIMOND.\n If God hath turned your hearts,\nOh hasten, I entreat you--rescue her\nShe is a prisoner in the English camp.\n\nDUNOIS.\nA prisoner say you?", "JOHANNA (to the soldiers).\nYe English, suffer not that I escape\nAlive out of your hands! Revenge yourselves!", "JOHANNA.\n To Lionel?\nSlay me at once, ere send me unto him.\n\nISABEL (to the soldiers).\nObey your orders, soldiers! Bear her hence.", "[He seizes her arm.\n\nJOHANNA.\nThe Bastard comes! 'Tis they! They seek for me!\nIf they should find thee----", "JOHANNA (interrupts him, regarding him with dignity).\nBastard of Orleans, thou wilt tempt thy God!\nThis place abandon, which becomes thee not!\nTo this more mighty one the maid is sent.", "[JOHANNA rushes out of the church, without her banner.\n The people press around her, worship her, and kiss her\n garments. She is detained in the background by the crowd.", "JOHANNA (throws herself upon her knees, and prays with passionate\n violence).\nHear me, O God, in my extremity!", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "SCENE XI.\n\n JOHANNA, DUNOIS, LA HIRE.\n\nLA HIRE.\n It is she! The maiden lives!", "RAIMOND.\nThere in the forest as we sought for shelter,\nWe were encountered by Queen Isabel,\nWho seized and sent her to the English host.\nOh, from a cruel death deliver her\nWho hath full many a time delivered you!", "[He wrestles with her. JOHANNA seizes him by the crest\n and tears open his helmet; his face is thus exposed;\n at the same time she draws her sword with her right hand.", "ISABEL.\nBind her with triple chains. I pledged my life\nThat she shall not escape.\n\n [She is bound with heavy chains.", "LA HIRE.\nWhat ails thee, maiden? She grows pale--she sinks!\n\n [JOHANNA grows dizzy, and is about to fall.", "DUNOIS.\nJohanna, thee we seek. All is prepared;\nThe king hath sent us, 'tis his royal will", "JOHANNA.\nHo! torches here. Hurl fire into the tents!\nLet the devouring flames augment the horror,\nWhile threatening death doth compass them around!", "JOHANNA.\nIt must be done; 'tis useless to delay.\nNever, oh never, will this land endure\nThe English yoke; sooner will France become", "JOHANNA (in the greatest anxiety).\n What have I done?\nAlas! I've broke my vow!\n\n [She wrings her hands in despair.", "[Pointing to JOHANNA.\n\nSOREL.\nJohanna! God! she's dying!" ], [ "JOHANNA (to the soldiers).\nYe English, suffer not that I escape\nAlive out of your hands! Revenge yourselves!", "JOHANNA (with enthusiasm).\nMy people come this way! Proud England now\nForth in the field! now boldly must you fight!", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "As that of Poictiers and of Agincourt.\nDo you remain with the fortress, queen,\nAnd guard the maiden till the fight is o'er.", "JOHANNA (inspired).\nBattle and tumult! Now my soul is free.\nArm, warriors, arm! while I prepare the troops.\n\n [She goes out.", "SOLDIER.\n The French and the Burgundians fly;\nThe field is covered o'er with fugitives.\n\nJOHANNA.\nMy God! Thou wilt not thus abandon me!", "For ere thou canst attain the British camp\nAnd do thine errand, is the maiden there,\nTo plant the sign of victory at Orleans.", "JOHANNA.\nIt must be done; 'tis useless to delay.\nNever, oh never, will this land endure\nThe English yoke; sooner will France become", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "JOHANNA.\nMy friends will win the fight and I shall die!\nThe gallant heroes need my arm no more.", "[To the MAIDEN.\n\nWhy didst thou leave the army? Where's Dunois,\nThy knight and thy protector.\n\nJOHANNA.\n I am banished.", "Ordained by God, and promises to raise\nThe siege of Orleans ere the moon shall change.\nThe people credit her, and thirst for war.", "JOHANNA.\nThat's Count Dunois! on, gallant warrior!\nConquest goes with thee.\n\nSOLDIER.\n The Burgundian duke\nAttacks the bridge.", "Our troops are pressing on in full career,\nThey near him, reach him--they surround him now.\n\nJOHANNA.\nOh, have the heavens above no angels more!", "The English tents are level with the ground,\nAnd all the field is covered with your slain.\nHark! the war-trumpets of the French resound;", "JOHANNA.\nWhat, now unarm myself? Midst battle's roar\nI'll bare my bosom to the stroke of death!\nNot now! Would that a sevenfold wall of brass\nCould hide me from your revels, from myself!", "To-day have seen the backs of Englishmen.\nOh, Orleans! Orleans! Grave of England's glory!\nOur honor lies upon thy fatal plains", "JOHANNA (as if inspired).\nSpeak not of treaty! Speak not of surrender!\nThe savior comes, he arms him for the fight.", "JOHANNA.\n I am.\n\n [RAIMOND flies in despair.\n\nISABEL (to the soldiers).\n Lay her in chains!", "JOHANNA.\n Dunois, forbear!\nPart them, La Hire! no blood of France must flow:\nNot hostile weapons must this strife decide," ], [ "Our foes are stationed in the heart of France,\nFar as the river Loire our lands are theirs--\nNow their whole force they have combined, and lay\nClose siege to Orleans.", "SOLDIER.\n The French and the Burgundians fly;\nThe field is covered o'er with fugitives.\n\nJOHANNA.\nMy God! Thou wilt not thus abandon me!", "To-day have seen the backs of Englishmen.\nOh, Orleans! Orleans! Grave of England's glory!\nOur honor lies upon thy fatal plains", "For ere thou canst attain the British camp\nAnd do thine errand, is the maiden there,\nTo plant the sign of victory at Orleans.", "Now there--I see her everywhere at once!\n--She separates the troops--all yield to her:\nThe scattered French collect--they form anew!", "[To the MAIDEN.\n\nWhy didst thou leave the army? Where's Dunois,\nThy knight and thy protector.\n\nJOHANNA.\n I am banished.", "LOUISON.\nTill I have seen her, I can scarce believe\nThat she, whom men the Maid of Orleans name,\nThe mighty warrior, is indeed Johanna,\nOur sister whom we lost!", "SCENE IV.\n\n The same.\n JOHANNA enters. She is clad in armor, and wears\n a garland in her hair.", "JOHANNA.\nWhen thou didst quit the British army he lived.\nThis morn, while gazing from Le Tournelle's tower,", "The English tents are level with the ground,\nAnd all the field is covered with your slain.\nHark! the war-trumpets of the French resound;", "SCENE VI.\n\n The prospect opens. The English camp is seen in flames.\n Drums, flight, and pursuit. After a while MONTGOMERY enters.", "And Baudricourt, a knight of Vaucouleurs,\nWas our commander. Having gained the heights\nBy Vermanton, we wound our downward way", "A crowd was gathered in the market-place,\nFor fugitives were just arrived in haste\nFrom Orleans, bringing most disastrous news.\nIn tumult all the town together flocked,", "As that of Poictiers and of Agincourt.\nDo you remain with the fortress, queen,\nAnd guard the maiden till the fight is o'er.", "[She rises: a PAGE enters.\n\nPAGE.\nA herald from the English generals.\n\nJOHANNA.\nLet him appear, for he is sent by God!", "DUNOIS.\nHave we been routed? Is it lawful, sire,\nTo leave the English masters of the field,", "SOLDIER.\nThey loose his helmet--it is Count Dunois.\n\nJOHANNA (seizes her fetters with convulsive violence).\nAnd I am nothing but a fettered woman!", "\"Why be dismayed, brave Frenchmen? On the foe!\nWere they more numerous than the ocean sands,\nGod and the holy maiden lead you on!\"", "Tidings of Orleans' peril reach mine ear,\nHither I sped from distant Normandy,\nThinking, arrayed in panoply of war,", "Far off I sought her in the English camp;\nI strove to reconcile a mother's heart;\nHere stands the heroine--my guide to Rheims!" ] ]

[ "What is Joan of Arc accused of?", "Where is she accused of sorcery?", "Who is Joan of Arc captured by?", "As victory is won, what happens to Joan of Arc?", "In what year did the Armagnacs and the Burgundians reconcile?", "Why does Joan of Arc blame herself?", "Why is Joan of Arc assumed to be guilty?", "What does the Joan of Arc see from her prison cell?", "What does Joan of Arc decide to do when she's about to kill the English knight?", "Whose life is the play based on? ", "Who does Joan fall in love with? ", "Who wrote a novel based on a line from the play? ", "Where is Joan accused of sorcery? ", "From where does Joan witness the defeat of the French? ", "Who captures Joan? ", "Which two groups reconcile? ", "How many acts are in the play? ", "What ideals does the play embody? ", "Whose life do the events of this story revolve around?", "Why does Joan spare the knight that she was about to kill?", "What is Joan accused of when she goes to Reims?", "How does Joan eventually restore her honor in the eyes of her people?", "How does Joan feel about sparing the English knight?", "After her accusation, how is Joan punished?", "Who captures and imprisons Joan?", "What happens to Joan in her last battle against the English army?", "Where is Joan when she witnesses the French army being badly defeated by the English?" ]

[ [ "Sorcery", "Sorcery" ], [ "At Reims", "Reims" ], [ "The English", "the English" ], [ "She dies", "She dies. " ], [ "In 1430", "1435" ], [ "Because she believes that she betrayed the mission", "Because she betrayed her mission" ], [ "Because she will not defend herself", "she will not defend herself" ], [ "The battle between the French and English", "Battle in which the French is being defeated" ], [ "She spares his life", "falls in love and spares him. " ], [ "Joan of Arc", "Joan of Arc" ], [ "An English knight she was about to kill. ", "English Knight" ], [ "Isaac Asimov", "Isaac Asimov " ], [ "Reims", "Reims" ], [ "A prison cell. ", "from a prison cell" ], [ "The English. ", "The English" ], [ "The Armagnacs and the Burgundians. ", "Armagnacs and Burgundians" ], [ "Five. ", "Five" ], [ "Nationalism and Militarism. ", "the need to subject emotions to moral principle" ], [ "Joan of Arc", "Joan of Arc" ], [ "She falls in love with him at first sight", "She falls in love with him." ], [ "Sorcery", "sorcery" ], [ "She helps to defend the French army and lead them to victory", "She breaks out of her prison cell in England and helps the France defeat England" ], [ "She feels that she betrayed her mission", "She feels guilty" ], [ "She is dismissed from the French court and army", "She is imprisoned " ], [ "The English army", "The English" ], [ "She dies but regains her reputation", "She die" ], [ "A prison cell", "in her prison cell" ] ]

[ [ "He was red with anticipated shame, and his voice shook with indignation\nat the suggested martyrdom. Mrs. Peak dried a tear.\n\n'You would be so alone in London, Godwin.'", "discovery that irritated him against Peak? She knew he was disposed to\ncatch at anything that seemed to tell against Godwin's claims to\nrespectful treatment, and it surely must be a grave affair to hurry him", "it. The encouragement given by her husband to Godwin Peak in the\nlatter's social progress had always annoyed her, though she could not", "explanation. The detection of a harmful lie was decidedly congenial to\nhim--especially when he and his had been made its victims. He was now\nat liberty to indulge that antipathetic feeling towards Godwin Peak", "envelope threw her into so extreme an agitation that it was long before\nshe could subdue the anguish of disorder in all her senses. She had\ntried to believe that Godwin Peak was henceforth powerless to affect", "Thus, with perfect sincerity of argument, did Godwin Peak face the\nundertaking to which he was committed. Incidents might perturb him, but", "So it proved. Summoned to receive the inferior prize, Godwin Peak, his\ncountenance harsher than before, his eyes cast down, moved ungracefully", "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "Peak, shocked at such martyrdom, tended him with all motherly care; for\nonce, Godwin felt that it was good to have a home, however simple.", "her: however little he desired to keep her constantly in mind, Godwin\nPeak must of necessity do so after what had passed between them. Had\nbut her discovery remained her own secret, then the pleasure of", "Godwin Peak, sufficient to support a claim of kindred which at this\nmoment might have seemed improbable. At the summons of recognition\nGodwin stood transfixed; his arms fell straight, and his head drew back", "With the growth of his militant egoism, there had developed in Godwin\nPeak an excess of nervous sensibility which threatened to deprive his", "by any defection of that brilliant youth! Godwin Peak must make his own\ncareer, and that he would hardly do save by efforts greater than the\nordinary man can put forth. The ordinary man?--Was he in any respect", "Mrs. Peak had heard from Oliver of her brother-in-law's proposed\nundertaking. She had spoken of it with anxiety to Godwin, who merely", "It was the first time Mrs. Peak had uttered her sentiments so\nunreservedly.\n\n'Then, shall I see him in private,' said Godwin, 'and simply let him\nknow the truth?'", "That must indeed have been a circle of great intellects amid which\nGodwin Peak felt himself subordinate. He had never known that", "'Whom do you think I have met and brought home with me? Here is my old\nfriend, Godwin Peak.'\n\nUnder the two pairs of female eyes, Godwin kept a calm, if rather\nstern, face.", "Godwin Peak stood alone. On the bench where he had sat were heaped the\nprize volumes (eleven in all, some of them massive), and his wish was", "habits cherished by her own sex, and shrank from association with the\nother. Godwin Peak was the first man with whom she conversed in the\ntone of friendship, and it took a year or more before that point was" ], [ "It was the first time Mrs. Peak had uttered her sentiments so\nunreservedly.\n\n'Then, shall I see him in private,' said Godwin, 'and simply let him\nknow the truth?'", "Twybridge came to him just at the suitable time, and, on further\ninquiry, he decided to make proffer of this advantage to Godwin Peak.\nThe only condition was that arrangements should be made by the", "explanation. The detection of a harmful lie was decidedly congenial to\nhim--especially when he and his had been made its victims. He was now\nat liberty to indulge that antipathetic feeling towards Godwin Peak", "Godwin Peak, sufficient to support a claim of kindred which at this\nmoment might have seemed improbable. At the summons of recognition\nGodwin stood transfixed; his arms fell straight, and his head drew back", "presented himself. To the general astonishment, he seemed in excellent\nspirits, and ate more heartily than usual. Not a word was spoken of\nUncle Andrew, until Mrs. Peak and her elder son were left alone", "He was red with anticipated shame, and his voice shook with indignation\nat the suggested martyrdom. Mrs. Peak dried a tear.\n\n'You would be so alone in London, Godwin.'", "Mrs. Peak had heard from Oliver of her brother-in-law's proposed\nundertaking. She had spoken of it with anxiety to Godwin, who merely", "'Whom do you think I have met and brought home with me? Here is my old\nfriend, Godwin Peak.'\n\nUnder the two pairs of female eyes, Godwin kept a calm, if rather\nstern, face.", "What! That low fellow had been allowed to interfere with the progress\nof Godwin Peak's education, and not a protest uttered? He should have", "discovery that irritated him against Peak? She knew he was disposed to\ncatch at anything that seemed to tell against Godwin's claims to\nrespectful treatment, and it surely must be a grave affair to hurry him", "for which no one was prepared. As if to make reparation to his elder\nsister for the harshness with which he had behaved in the affair of\nGodwin Peak, he chose her for his first confidante.", "'Indeed?' said Godwin, coldly. 'What is my crime?'\n\n'I am told that you have won the confidence of my relatives by what\nlooks like a scheme of gross dishonesty.'", "Godwin's. Without difficulty she found Mr Peak's shop; behind the\ncounter stood Oliver himself, rubbing his hands. Was there indeed a\nfamily likeness between this fresh-looking young shopkeeper and the", "Godwin, dreading contact with friends of the family, strode upstairs.\nWhen the door was opened, there appeared the smiling countenance of\nAndrew Peak; he wore the costume of a traveller, and by his side stood", "by any defection of that brilliant youth! Godwin Peak must make his own\ncareer, and that he would hardly do save by efforts greater than the\nordinary man can put forth. The ordinary man?--Was he in any respect", "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "A slight change in his voice caused Sidwell to look at her father as he\nhanded her the letter. In the same moment she recognised the writing of\nthe address. It was Godwin Peak's, and undoubtedly her father knew it.", "Thus, with perfect sincerity of argument, did Godwin Peak face the\nundertaking to which he was committed. Incidents might perturb him, but", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "habits cherished by her own sex, and shrank from association with the\nother. Godwin Peak was the first man with whom she conversed in the\ntone of friendship, and it took a year or more before that point was" ], [ "Indulging a correspondent frankness, he might explain that Peak's\nposition was so distasteful to him that it disturbed the future with\nmany kinds of uncertainty. But this would be churlish. He must treat", "Peak answered with a warmth of acknowledgment which seemed to imply\nthat he did not often receive kindnesses. Before long he was free to\nleave the College, and at the exit he overtook Earwaker, who carried a\nbrown paper parcel.", "This summer Peak became a semi-graduate of London University. To avoid\nthe risk of a casual meeting with acquaintances, he did not go to", "whether it was true that Peak had gone away. 'It seems that private\ncircumstances have obliged him to give up his project of taking Orders.", "After one of these walks, he remarked to Mrs. Lilywhite:\n\n'It's my impression that Mr. Peak has somehow been misled in his choice\nof a vocation. I don't think he'll do as a churchman.'", "independence, and feeling sure that if she saw Peak it could only be to\ntake final leave of him, he had decided to say no more. To London he\nmust perforce return this afternoon, but he had done his duty", "'It's Peak's own fault,' he declared at length, with vexation.\n'Chilvers stuck to the subjects of his course. Peak has been taking up", "despised. But he was made uneasy by his ignorance of Peak's private\nlife during the years since their parting at College. He did not like\nto think of the possible establishment of intimacy between this man of", "For two years, that is to say until his age drew towards nineteen, Peak\npursued the Arts curriculum at Whitelaw. His mood on entering decided", "'Well, so do I,' muttered Peak. 'Do you know what?' he added, abruptly.\n'I shall be off to the Pacific. Yes, I shall go this next winter. My\nmind is made up.'", "faith, and accordingly preach with all manner of mental reserves and\nsymbolical interpretations. These are in reality politicians, not\npriests. But Peak belongs to neither class. He is an acute cynic, bent", "could be told, and what other people heard did not much matter. It was\nthe man himself that Peak could not endure. Dissembling had hitherto", "his prospects. The sense that life is an intolerable mummery can with\ndifficulty be controlled by certain minds, even when circumstances\noffer no keen incitement to rebellion. But Peak's position to-day", "It was impossible to believe that Peak had made love to her in cold\nblood, with none but sordid impulses. The thought was so humiliating", "Peak nodded, and moved away. Watching him, Sidwell was beset with\nconflicting impulses. His assurance had allayed her worst misgiving,", "Already several collegians had passed, giving Peak a nod and scanning\nhis companion; a moment's delay and Chilvers would be upon him. Without", "Peak lost no time in leaving Exeter. To lighten his baggage, and to get\nrid of possessions to which hateful memories attached, he sold all his", "Possibly he has had a talk with you?' The clergyman replied that Peak\nhad left Exeter. 'I have had a letter from him, explaining in general", "'I can't see that he's called upon to fight at all,' said Peak. 'He's\nin a false position; let him get out of it.'", "inquiry was made of him concerning Peak. The young man's disappearance\nexcited no curiosity in the good people who had come in contact with\nhim, and who were so far from suspecting what a notable figure had" ], [ "Godwin Peak stood alone. On the bench where he had sat were heaped the\nprize volumes (eleven in all, some of them massive), and his wish was", "to Godwin Peak: his books were to be sold for the benefit of the widow,\nwho would enjoy an annuity purchased out of her husband's savings. The", "'Peak is the author of it. It seems to have been written just about the\ntime when I met him and brought him here as a visitor, and it was\npublished after he had begun to edify you with his zeal for\nChristianity.'", "Yours ever, Godwin Peak.'", "review more admirable papers than those to which he had awarded the\nfirst prize. The name of the student called upon to come forward\nwas--Godwin Peak.", "It was the first time Mrs. Peak had uttered her sentiments so\nunreservedly.\n\n'Then, shall I see him in private,' said Godwin, 'and simply let him\nknow the truth?'", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "her: however little he desired to keep her constantly in mind, Godwin\nPeak must of necessity do so after what had passed between them. Had\nbut her discovery remained her own secret, then the pleasure of", "Mrs. Peak had heard from Oliver of her brother-in-law's proposed\nundertaking. She had spoken of it with anxiety to Godwin, who merely", "explanation. The detection of a harmful lie was decidedly congenial to\nhim--especially when he and his had been made its victims. He was now\nat liberty to indulge that antipathetic feeling towards Godwin Peak", "On the upper floor of one of these cottages, Godwin Peak had made his\nabode. Sitting-room and bedchamber, furnished with homely comfort,", "habits cherished by her own sex, and shrank from association with the\nother. Godwin Peak was the first man with whom she conversed in the\ntone of friendship, and it took a year or more before that point was", "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "discovery that irritated him against Peak? She knew he was disposed to\ncatch at anything that seemed to tell against Godwin's claims to\nrespectful treatment, and it surely must be a grave affair to hurry him", "With the growth of his militant egoism, there had developed in Godwin\nPeak an excess of nervous sensibility which threatened to deprive his", "He was red with anticipated shame, and his voice shook with indignation\nat the suggested martyrdom. Mrs. Peak dried a tear.\n\n'You would be so alone in London, Godwin.'", "by any defection of that brilliant youth! Godwin Peak must make his own\ncareer, and that he would hardly do save by efforts greater than the\nordinary man can put forth. The ordinary man?--Was he in any respect", "Thus, with perfect sincerity of argument, did Godwin Peak face the\nundertaking to which he was committed. Incidents might perturb him, but", "Towards eight, a letter was brought to her; it could only be from\nGodwin Peak. With eyes which endeavoured to take in all at once, and\ntherefore could at first distinguish nothing, she scanned what seemed\nto be hurriedly written lines.", "it. The encouragement given by her husband to Godwin Peak in the\nlatter's social progress had always annoyed her, though she could not" ], [ "sufficiently declared his knowledge of the unspeakable cause, a\nreflection which often made Godwin writhe. However, this difficulty was\novercome, and the two met very frequently. For several weeks Godwin", "own interest, so strictly confined to the views of his own class, as\nnever to have dreamt of the sensibilities he wounded. In fact, the\nshame excited by this prospect was artificial. Godwin had already felt", "for the prevalence of such a spirit of hypocrisy, Godwin Peak would\nnever have sinned against his honour. Why was it not declared in", "sufficiently declared her kindred with Godwin. She held her head higher\nthan formerly, spoke with habitual decision which bordered on\nsnappishness, and at times displayed the absentmindedness of one who in", "learn to think as he did, and her devotedness must lead her to pardon\nhis deliberate insincerities. Godwin had absolute faith in his power of", "explanation. The detection of a harmful lie was decidedly congenial to\nhim--especially when he and his had been made its victims. He was now\nat liberty to indulge that antipathetic feeling towards Godwin Peak", "'I understand you,' said Godwin, at length. 'You mean that this merely\nillustrates my own ambition. Well, you are right, I confess my\nshame--and there's an end of it.'", "Godwin knew it before the words were spoken. His heart leaped, and only\nthe dread of being observed enabled him to control his features. When\nhis tongue was released he said harshly:\n\n'Of course I can't accept it.'", "The question came unexpectedly, and Godwin could not help a momentary\nconfusion, but he covered it with the tone of self-reproach.\n\n'I am ashamed to say that I am only now taking it up seriously.'", "In the effort to repudiate such sentiment, Buckland distinctly betrayed\nits hold upon him. He imagined he was meeting Godwin on equal ground,", "'Indeed?' said Godwin, coldly. 'What is my crime?'\n\n'I am told that you have won the confidence of my relatives by what\nlooks like a scheme of gross dishonesty.'", "privilege de l'homme_.' This stood by way of motto on the title-page,\nand Godwin felt his nerves thrill in sympathetic response.", "'I am sure you had no wish to,' Godwin replied, in as unsentimental a\ntone as possible. And, he added after a moment's pause, 'Was this what\nyou were so anxious to tell me?'", "ideals with the state of things about him. A book frequently in his\nhands was Godwin's _Political Justice_, and when a son had been born to", "restrained himself, handed the book coldly back, and began to talk of\nsomething else. All this was highly significant to Godwin, who of\ncourse began the perusal of his prize in a suspicious mood. Nor was he", "happiness of identifying some ten years ago--a discovery now recognised\nand chronicled. Though his sympathy was genuine enough, Godwin\nstruggled against an uneasy sense of manifesting excessive", "Godwin's, she felt uncertain. That he would honestly endeavour to do\nso, there could be no doubt, especially since he must suspect that her\nown desire was to distinguish between the man and his fault. But a", "There it was! There spoke the civic voice, the social rule, the public\nsentiment! Godwin felt that the policeman had rebuked _him_, and in", "'To myself,' pursued Godwin, with the modulated, moving voice which\nalways expressed his genuine feeling, 'I seem anything but lovable. I", "Strangely, it was a relief to her to have heard this. The moral\nrepugnance which threatened to estrange her from Godwin, was now" ], [ "loved him. Godwin had suspected it, but in a vague, unemotional way,\nnever attaching importance to the matter. What he _had_ clearly\nunderstood was, that Christian wished to inspire him with interest in", "Christian for undue advances to one below his own station. The result\nof this surmise was of course a sudden coldness on Godwin's part,", "discovery that irritated him against Peak? She knew he was disposed to\ncatch at anything that seemed to tell against Godwin's claims to\nrespectful treatment, and it surely must be a grave affair to hurry him", "Christian looked about with a peculiar smile, and seemed on the point\nof indulging in further self-revelation; but Godwin of a sudden held\nout his hand for good-bye, and with friendly smiles they parted.", "explanation. The detection of a harmful lie was decidedly congenial to\nhim--especially when he and his had been made its victims. He was now\nat liberty to indulge that antipathetic feeling towards Godwin Peak", "envelope threw her into so extreme an agitation that it was long before\nshe could subdue the anguish of disorder in all her senses. She had\ntried to believe that Godwin Peak was henceforth powerless to affect", "That a figure such as Godwin Peak, a young man of vigorous intellect,\npreparing to devote his life to the old religion, should excite Mr.", "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "Mrs. Peak had heard from Oliver of her brother-in-law's proposed\nundertaking. She had spoken of it with anxiety to Godwin, who merely", "'My sister,' said Christian, glancing at Godwin. 'Marcella, you\nrecognise Mr. Peak.'\n\n'Oh yes,' the girl replied, as she came forward, and made a sudden\noffer of her hand.", "Godwin Peak, sufficient to support a claim of kindred which at this\nmoment might have seemed improbable. At the summons of recognition\nGodwin stood transfixed; his arms fell straight, and his head drew back", "With the growth of his militant egoism, there had developed in Godwin\nPeak an excess of nervous sensibility which threatened to deprive his", "'Well, there's no saying,' replied Christian. 'But of one thing I feel\npretty sure: we have seen the last of Peak. He'll never come back to\nus.'\n\n'Why not?'", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "habits cherished by her own sex, and shrank from association with the\nother. Godwin Peak was the first man with whom she conversed in the\ntone of friendship, and it took a year or more before that point was", "Thus, with perfect sincerity of argument, did Godwin Peak face the\nundertaking to which he was committed. Incidents might perturb him, but", "it. The encouragement given by her husband to Godwin Peak in the\nlatter's social progress had always annoyed her, though she could not", "'Wasted!' Christian exclaimed. 'Come, come, Peak; why _will_ you affect\nthis wretched cynicism? Is it waste of years to have lived with the", "He was red with anticipated shame, and his voice shook with indignation\nat the suggested martyrdom. Mrs. Peak dried a tear.\n\n'You would be so alone in London, Godwin.'", "incongruous feelings--a desire to compel Godwin's gratitude, and\ndisdain of the circumstances in which she had discovered him. There\nseemed to be little likelihood of Christian's learning from any other" ], [ "Sidwell breathed quickly. Nothing he could have urged for himself would\nhave affected her more deeply than this. To date back and extend the\nperiod of his love for her was a flattery more subtle than Peak\nimagined.", "Sidwell looked up.\n\n'I never quite understood, Mr. Peak, how you regard Radicalism. You\nthink it opposed to all true progress?'", "In his acceptance of Sidwell's reply, Peak did not care to ask himself\nwhether the delay of its arrival had any meaning one way or another.", "'Yes. Will you do me this kindness?'\n\n'Answer me a question, Sidwell. Have you any thought of seeing Peak?'", "Peak nodded, and moved away. Watching him, Sidwell was beset with\nconflicting impulses. His assurance had allayed her worst misgiving,", "'I see,' was Buckland's comment.\n\nIts tone troubled Sidwell.\n\n'Has your coming anything to do with Mr. Peak?'", "Sidwell was speaking:\n\n'Mr. Peak has developed what Canon Grayling only suggested.'\n\n'A brilliant effort of exegesis,' exclaimed Buckland, with a\ngood-natured laugh.", "'I have been hearing strange reports,' he began, gravely, but without\nshow of displeasure. 'Can you help me to understand the real facts of\nthe case, Sidwell?--What is your view of Peak's behaviour?'", "to visit his relatives. On the evening of his arrival, chancing to be\nalone with Sidwell, he asked her if Peak had been to the house lately.", "'Mother,' said Sidwell, gravely, 'I am obliged to see Mr. Peak, either\nthis evening or to-morrow morning.'\n\n'To--to _see_ him----? Sidwell! What can you mean?'", "Yes, and Mr. Warricombe could hardly forget the circumstance. He would\npress his investigation--knowing already, perhaps, of Peak's approaches\nto his sister Sidwell.", "A slight change in his voice caused Sidwell to look at her father as he\nhanded her the letter. In the same moment she recognised the writing of\nthe address. It was Godwin Peak's, and undoubtedly her father knew it.", "feeling. Sidwell continued to utter commonplaces, simply as a means of\ndisguising the thoughts that occupied her; she was saying to herself\nthat Peak's face had a purer outline than she had believed, and that", "Sidwell regarded him with quiet reflectiveness.\n\n'I feel,' she said, 'that I don't know him very well yet. He is\ncertainly interesting.'", "satisfactorily, and just in time. It was plain that things had gone far\nbetween Peak and Sidwell; the latter's behaviour avowed it. But danger", "'You remember that I told you to be on your guard against Peak?'\n\nSidwell smiled faintly, and glanced at him, but made no answer.", "Peak wore neither overcoat nor gloves, but otherwise was dressed in the\nusual way. As Sidwell fixed her eyes upon him, he threw his hat into a", "'Here it is!' exclaimed Sidwell, with quieter enjoyment. 'Take shelter\nfor a minute or two, Mr. Peak.'", "Peak heard this with a shock of surprise which thrilled in him\ndeliciously. He had the strongest desire to look again at Sidwell but\nrefrained. As no one spoke, he turned to Bertha Lilywhite and put a\ncommonplace question.", "Peak was about to reply, when Fanny and her friend reappeared. Bertha\napproached for the purpose of taking leave, and for a minute or two\nSidwell talked with her. The young girls withdrew again together." ], [ "review more admirable papers than those to which he had awarded the\nfirst prize. The name of the student called upon to come forward\nwas--Godwin Peak.", "Godwin Peak stood alone. On the bench where he had sat were heaped the\nprize volumes (eleven in all, some of them massive), and his wish was", "On the upper floor of one of these cottages, Godwin Peak had made his\nabode. Sitting-room and bedchamber, furnished with homely comfort,", "Yours ever, Godwin Peak.'", "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "That a figure such as Godwin Peak, a young man of vigorous intellect,\npreparing to devote his life to the old religion, should excite Mr.", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "by any defection of that brilliant youth! Godwin Peak must make his own\ncareer, and that he would hardly do save by efforts greater than the\nordinary man can put forth. The ordinary man?--Was he in any respect", "'Whom do you think I have met and brought home with me? Here is my old\nfriend, Godwin Peak.'\n\nUnder the two pairs of female eyes, Godwin kept a calm, if rather\nstern, face.", "Godwin Peak, sufficient to support a claim of kindred which at this\nmoment might have seemed improbable. At the summons of recognition\nGodwin stood transfixed; his arms fell straight, and his head drew back", "That must indeed have been a circle of great intellects amid which\nGodwin Peak felt himself subordinate. He had never known that", "first lost without the companionship of Godwin Peak; he forsook his\nstudies, and fell into a state of complete idleness which naturally", "Twybridge came to him just at the suitable time, and, on further\ninquiry, he decided to make proffer of this advantage to Godwin Peak.\nThe only condition was that arrangements should be made by the", "What! That low fellow had been allowed to interfere with the progress\nof Godwin Peak's education, and not a protest uttered? He should have", "would succeed in her quest was uncertain. Godwin Peak's mother still\ndwelt here, she knew, for less than a year ago she had asked the\nquestion of Godwin himself; but a woman in humble circumstances might", "contemplative impulse. Never yet had Godwin Peak uttered a word that\nwas worth listening to, or made a remark that declared his mental\npowers, save in most familiar colloquy. He was beginning to understand", "So it proved. Summoned to receive the inferior prize, Godwin Peak, his\ncountenance harsher than before, his eyes cast down, moved ungracefully", "A slight change in his voice caused Sidwell to look at her father as he\nhanded her the letter. In the same moment she recognised the writing of\nthe address. It was Godwin Peak's, and undoubtedly her father knew it.", "habits cherished by her own sex, and shrank from association with the\nother. Godwin Peak was the first man with whom she conversed in the\ntone of friendship, and it took a year or more before that point was", "With the growth of his militant egoism, there had developed in Godwin\nPeak an excess of nervous sensibility which threatened to deprive his" ], [ "as excuse for leave-taking he shook hands with much warmth. The two\nparted close by the shop, and Godwin, casting a glance at the now\nsilent College, walked hastily towards his lodgings.", "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "Godwin Peak stood alone. On the bench where he had sat were heaped the\nprize volumes (eleven in all, some of them massive), and his wish was", "first lost without the companionship of Godwin Peak; he forsook his\nstudies, and fell into a state of complete idleness which naturally", "Immediately upon his uncle's departure, Godwin disappeared; Mrs. Peak\ncaught only a glimpse of him as he went by the parlour window. In a", "by any defection of that brilliant youth! Godwin Peak must make his own\ncareer, and that he would hardly do save by efforts greater than the\nordinary man can put forth. The ordinary man?--Was he in any respect", "discovery that irritated him against Peak? She knew he was disposed to\ncatch at anything that seemed to tell against Godwin's claims to\nrespectful treatment, and it surely must be a grave affair to hurry him", "Possibly he has had a talk with you?' The clergyman replied that Peak\nhad left Exeter. 'I have had a letter from him, explaining in general", "'To go to College' was all very well (diplomacy had prompted this\npreface), but the words that followed fell so alarmingly on Godwin's\near that he looked up with a resentful expression, unable to reply\notherwise.", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "mention of Whitelaw, but on the other hand it was not impossible that\nhe knew nothing of the circumstances which tormented Godwin's memory.\nOn leaving the College perchance he had lost all connection with those", "whether it was true that Peak had gone away. 'It seems that private\ncircumstances have obliged him to give up his project of taking Orders.", "What! That low fellow had been allowed to interfere with the progress\nof Godwin Peak's education, and not a protest uttered? He should have", "were taken. Mr. Moxey, when it was made known to him, without\nexplanation, that Godwin was to be sent to Whitelaw College, behaved", "He was red with anticipated shame, and his voice shook with indignation\nat the suggested martyrdom. Mrs. Peak dried a tear.\n\n'You would be so alone in London, Godwin.'", "measure resented it. Godwin Peak was not a man to slip out of one's\nlife and leave no appreciable vacancy. Neither of these men admired", "That a figure such as Godwin Peak, a young man of vigorous intellect,\npreparing to devote his life to the old religion, should excite Mr.", "Peak answered with a warmth of acknowledgment which seemed to imply\nthat he did not often receive kindnesses. Before long he was free to\nleave the College, and at the exit he overtook Earwaker, who carried a\nbrown paper parcel.", "it. The encouragement given by her husband to Godwin Peak in the\nlatter's social progress had always annoyed her, though she could not", "habits cherished by her own sex, and shrank from association with the\nother. Godwin Peak was the first man with whom she conversed in the\ntone of friendship, and it took a year or more before that point was" ], [ "hoped he might hear that the removal to London had proved\n'advantageous'. This word sufficed to convert Godwin's irritation into", "north-east London, and positively urged a proposal (well-meant, beyond\ndoubt) that Godwin should be allowed to come to him and learn the", "sufficiently declared his knowledge of the unspeakable cause, a\nreflection which often made Godwin writhe. However, this difficulty was\novercome, and the two met very frequently. For several weeks Godwin", "'I know so little of them,' Godwin replied, truthfully. 'It must be\nseveral years since I saw a play.'\n\n'Then in that respect you have hardly become a Londoner.'", "works, where, though for a year or two his earnings must be small, he\nwould gain experience likely to be of substantial use to him. Godwin\ndid not find the proposal distasteful; it brought a change into his", "booksellers' in Twybridge, and probably nowhere else. To him, about\nthis time, Godwin began to resort, always sure of a welcome; and in the", "that project for making money, but would certainly never quit his dirty\nhaunts in London. Godwin asked himself angrily why he had submitted to\nthe fellow's companionship. This absurd delicacy must be corrected", "over the emotions of the moneyless! Lady Whitelaw wrote briefly and\nformally. Having considered Godwin's request, she had no reason for\ndoubting that he would make a good use of the proposed year at the", "of Godwin's idiosyncrasy the London poor were of necessity abominable,\nand it anguished him to be forced to live among them.", "which entailed the punishment of loneliness. Nor did his relations with\nSir Job Whitelaw tend to mitigate this feeling. In his first interview\nwith the Baronet, Godwin showed to little advantage. A deadly", "Godwin gave a brief but lucid description of the book, and Mr\nWarricombe listened gravely. When there had been silence for some", "business. Since then the Londoner had once again visited Twybridge,\ntowards the end of Godwin's last school-year. This time he spoke of", "The hours were not long, and it was understood that his theoretical\nstudies should continue in the evening. Godwin's home was a very small", "study. At bottom, Godwin had no little sympathy with Mr. Warricombe; he\ntoo, in spite of his militant instincts, dwelt by preference amid", "A result of the family's removal first from London to the farm, and\nthen into Twybridge, was that Godwin had no friends of old standing. At", "On the morrow Godwin was back in Bristol, and there he dwelt for\nanother six months, a period of mental and physical lassitude. Earwaker", "restrained himself, handed the book coldly back, and began to talk of\nsomething else. All this was highly significant to Godwin, who of\ncourse began the perusal of his prize in a suspicious mood. Nor was he", "There followed a vehement exhortation, now angry, now in strain of\nnatural kindliness. To this Oliver made only a few brief and muttered\nreplies; when it was all over, he fell asleep. But Godwin was wakeful\nfor hours.", "suffered indescribable distress. Godwin wrote--so she convinced herself\nafter repeated perusals--as if discharging a task; not a word suggested", "So that Godwin had no ties which bound him strongly to any district. He\ncould not call himself a Londoner; for, though born in Westminster, he" ], [ "sufficiently declared his knowledge of the unspeakable cause, a\nreflection which often made Godwin writhe. However, this difficulty was\novercome, and the two met very frequently. For several weeks Godwin", "works, where, though for a year or two his earnings must be small, he\nwould gain experience likely to be of substantial use to him. Godwin\ndid not find the proposal distasteful; it brought a change into his", "Godwin could not shut himself up over his books; he wandered far away\ninto the country, and let his thoughts have freedom.", "hoped he might hear that the removal to London had proved\n'advantageous'. This word sufficed to convert Godwin's irritation into", "booksellers' in Twybridge, and probably nowhere else. To him, about\nthis time, Godwin began to resort, always sure of a welcome; and in the", "as excuse for leave-taking he shook hands with much warmth. The two\nparted close by the shop, and Godwin, casting a glance at the now\nsilent College, walked hastily towards his lodgings.", "A result of the family's removal first from London to the farm, and\nthen into Twybridge, was that Godwin had no friends of old standing. At", "north-east London, and positively urged a proposal (well-meant, beyond\ndoubt) that Godwin should be allowed to come to him and learn the", "Godwin's disappearance sank her in profound melancholy. Through the\nblack weeks of January and February she scarcely left the house, and on", "richer in items. Godwin had, in fact, never felt so well. He extended\nhis walks in every direction, sometimes rambling up the valley to", "The hours were not long, and it was understood that his theoretical\nstudies should continue in the evening. Godwin's home was a very small", "Godwin gave a brief but lucid description of the book, and Mr\nWarricombe listened gravely. When there had been silence for some", "own interest, so strictly confined to the views of his own class, as\nnever to have dreamt of the sensibilities he wounded. In fact, the\nshame excited by this prospect was artificial. Godwin had already felt", "S. W.'\n\nGodwin laughed aloud as the paper dropped from his hand.", "and a new period of Godwin's life began.", "On the upper floor of one of these cottages, Godwin Peak had made his\nabode. Sitting-room and bedchamber, furnished with homely comfort,", "which entailed the punishment of loneliness. Nor did his relations with\nSir Job Whitelaw tend to mitigate this feeling. In his first interview\nwith the Baronet, Godwin showed to little advantage. A deadly", "study. At bottom, Godwin had no little sympathy with Mr. Warricombe; he\ntoo, in spite of his militant instincts, dwelt by preference amid", "The details of Godwin's private life were noteworthy. Accustomed\nhitherto to a domestic circle, at Kingsmill he found himself isolated,", "restrained himself, handed the book coldly back, and began to talk of\nsomething else. All this was highly significant to Godwin, who of\ncourse began the perusal of his prize in a suspicious mood. Nor was he" ], [ "In the effort to repudiate such sentiment, Buckland distinctly betrayed\nits hold upon him. He imagined he was meeting Godwin on equal ground,", "meet with Buckland would only revive the shame long ago outlived. After\nresting for a few minutes he turned back, passed the silent house\nagain, delighted himself with the wide view, and so into the city once", "sufficiently declared his knowledge of the unspeakable cause, a\nreflection which often made Godwin writhe. However, this difficulty was\novercome, and the two met very frequently. For several weeks Godwin", "But the way was not clear. Within the beautiful old porch sat Sidwell\nWarricombe and her friend of the striking countenance, whom Godwin now\nknew as Miss Moorhouse. Buckland addressed his sister in a tone of\nlively pleasure.", "'I agree with you,' Godwin replied.\n\nWith sudden change of mood, Buckland began to speak of an indifferent\ntopic of the day, and in a few minutes they sat down to dinner.", "Godwin gave a brief but lucid description of the book, and Mr\nWarricombe listened gravely. When there had been silence for some", "friend's speed. They began to talk about the surrounding country, a\ntheme which occupied them until the house was reached. With\nquick-beating heart, Godwin found himself at the gate by which he had", "'Whom do you think I have met and brought home with me? Here is my old\nfriend, Godwin Peak.'\n\nUnder the two pairs of female eyes, Godwin kept a calm, if rather\nstern, face.", "Godwin Peak, sufficient to support a claim of kindred which at this\nmoment might have seemed improbable. At the summons of recognition\nGodwin stood transfixed; his arms fell straight, and his head drew back", "deliberate movement, scarcely smiling. That Buckland made no offer of a\nfriendly hand did not surprise him. The name of his visitor had alarmed\nhim with a sudden presentiment. Hardening his features, he stood in", "which entailed the punishment of loneliness. Nor did his relations with\nSir Job Whitelaw tend to mitigate this feeling. In his first interview\nwith the Baronet, Godwin showed to little advantage. A deadly", "north-east London, and positively urged a proposal (well-meant, beyond\ndoubt) that Godwin should be allowed to come to him and learn the", "Godwin began with the same note of bluntness. But of a sudden he felt\nthe influence of Sidwell's smile. His voice sank into a murmur, his\nheart leapt, a thrill went through his veins.", "Godwin's. Without difficulty she found Mr Peak's shop; behind the\ncounter stood Oliver himself, rubbing his hands. Was there indeed a\nfamily likeness between this fresh-looking young shopkeeper and the", "booksellers' in Twybridge, and probably nowhere else. To him, about\nthis time, Godwin began to resort, always sure of a welcome; and in the", "Christian looked about with a peculiar smile, and seemed on the point\nof indulging in further self-revelation; but Godwin of a sudden held\nout his hand for good-bye, and with friendly smiles they parted.", "Godwin was surprised and embarrassed. His visitor had a very grave\nface, and was thinner, paler, than three years ago; he appeared to\nhesitate, but at length offered his hand.", "that Godwin should be sent to see him, and promised to do his best to\nbe of use. A talk with the boy strengthened his interest. He was", "There passed but a day or two before Godwin was brought face to face\nwith Mr. Cusse, who answered too well to the idea Charlotte's brother", "final farewell. In that case his departure from Exeter would, no doubt,\nspeedily follow, and there was little likelihood that she would ever\nagain see him. Were Godwin a vulgar schemer, he would not so readily" ], [ "Warricombes with singular accuracy. Precisely as she had imagined,\nBuckland Warricombe was going about on Peak's track, learning all he\ncould concerning the theological student, forming acquaintance with", "of his two or three student-friends, especially Earwaker and Buckland\nWarricombe. They, to be sure, would soon guess the reason of his", "Warricombes' house, made friendly overtures to him; the connection\nmight be a useful one, and Godwin made the most of it. Mr. Lilywhite", "Godwin gave a brief but lucid description of the book, and Mr\nWarricombe listened gravely. When there had been silence for some", "gentleman. To Buckland he had declared his position, and no shame\nattached to it. A man of scientific tastes, like Mr. Warricombe, must", "take leave of the few acquaintances to whom he was indebted for\nhospitality and other kindness. The question was: Had Buckland\nWarricombe already warned these people against him? Probably it had", "In the effort to repudiate such sentiment, Buckland distinctly betrayed\nits hold upon him. He imagined he was meeting Godwin on equal ground,", "impression, and in the Warricombe family was no one whom he could\nregard even as his equal. Buckland, doubtless, had some knowledge of", "Warricombe and the sister of Buckland. Here at last opened to his view\nthat sphere of female society which he had known as remotely existing,\nthe desperate aim of ambition.", "acquaintance. When, towards the end of his second year, he grew\nsufficiently intimate with Buckland Warricombe to walk out with him to", "approached. His greeting was that of a familiar friend; he addressed\nyoung Warricombe and his sister by their Christian names, and inquired\nafter certain younger members of the household. Mr Warricombe,", "'Mr. Warricombe can assure you that he has been living for a year at\nExeter.'\n\nBuckland, perceiving that he had at length come upon something\nimportant to his purposes, smiled genially.", "study. At bottom, Godwin had no little sympathy with Mr. Warricombe; he\ntoo, in spite of his militant instincts, dwelt by preference amid", "might revive in the thoughts of Mr. and Mrs. Warricombe. Yet\nBuckland--who had no lack of kindly feeling--would hardly have brought", "Martin Warricombe, after conversations with his wife and with Buckland,\nfelt it impossible not to seek for an understanding of Sidwell's share", "'No one, perhaps. But it will seem a very odd thing that he hid away\nfrom all his old friends. You remember, I betrayed that to Warricombe,\nbefore I knew that it mattered.'", "the circumstances which had led to Buckland Warricombe's discovery; she\nwished to defend herself against the suspicion of 'treachery'. He\nlaughed carelessly, and threw her note aside.", "The names are--Godwin Peak and Buckland Martin Warricombe.'", "But the way was not clear. Within the beautiful old porch sat Sidwell\nWarricombe and her friend of the striking countenance, whom Godwin now\nknew as Miss Moorhouse. Buckland addressed his sister in a tone of\nlively pleasure.", "Godwin, who had examined some of them at the British Museum, was filled\nwith the humaner kind of envy on seeing them in Mr. Warricombe's" ], [ "For a moment Marcella hesitated. Then, meeting his look, she answered\nwith nervous haste:\n\n'I shall not mention you to him.'", "once. After all, who would wish to interfere maliciously with him?\nWomen like to be in secrets, and probably Marcella would preserve his.", "'She, I take it, doesn't think you so,' Godwin muttered.\n\n'But how can she understand? I have tried to tell her everything, but\nshe refused to listen. Perhaps Marcella told her all she cared to know.'", "'How?' Marcella exclaimed, impatiently. 'Who need know that we were so\nintimate with him?'\n\n'Warricombe seems to know it.'", "Marcella told all that she knew, and without injunction of secrecy. The\naffair had passed out of her hands; destiny must fulfil itself. And\nagain the tremor that resembled an uneasy joy went through her frame.", "'But, why the deuce----? Why didn't you tell me, Marcella?'\n\n'He asked me not to speak of it. He didn't wish you to know that--that\nhe has decided to become a clergyman.'", "And he laughed heartily; Marcella seemed to join in his mirth.\n\n'Then it would surprise you,' said Buckland, in the same quiet tone as\nbefore, 'to hear that Peak is about to take Orders?'", "Marcella had to say to him? He could not go to the house, for it would\nbe disagreeable to encounter Moxey; but, if he wrote, Marcella would", "What could Marcella have to say to him? Nothing surely that he at all\ncared to hear. No doubt she imagined that he might be in ignorance of", "Marcella laughed down his excuses. She had suddenly become so mirthful\nthat Christian looked at her in surprise, imagining that she was unable\nto restrain her sense of the ridiculous in Malkin's demeanour.", "'But I want you to know,' said Marcella, 'that I had no willing part in\nit. I promised you not to speak even to my brother, and I should never", "Godwin was determined to draw Marcella aside. Seemingly she met his\nwish, for as all turned to regain the shelter of houses she fell behind\nher female companions, and stood close by him.", "Marcella kept silence. Then, without raising her eyes, she murmured:\n\n'You will tell me no more?'\n\n'There is nothing more to tell.'", "'I will engage to do that, Marcella.'\n\n'You will? But not to tell me the truth. You will not dare to tell the\ntruth.'", "Mr. Moxey himself felt that an explanation was desirable, but he\nlistened with his usual friendly air to Godwin's account of the\nmatter--which of course included no mention of Lady Whitelaw.", "to conceal one's opinions in conversation with her. Marcella happened\nto be spending the evening with these acquaintances whilst her brother\nwas having his chat at Staple Inn; on her return, she mentioned to", "Buckland rose from his seat, advanced to Marcella, and offered his\nhand. She said mechanically, 'Must you go?' but was incapable of", "'But surely there is no reason for keeping it secret. Why may I not\nspeak freely? Buckland told me that he had heard you spoken of at the\nhouse of people named Moxey.'", "Marcella moved so as to show her face; endeavouring to express an\nunemotional interest, she looked coldly scornful.\n\n'That ridiculous man can't be depended upon,' she said.", "Godwin was not so much surprised as disconcerted. He knew that\nMarcella's nature was of large mould, and that whether she acted for" ], [ "In the effort to repudiate such sentiment, Buckland distinctly betrayed\nits hold upon him. He imagined he was meeting Godwin on equal ground,", "'But surely there is no reason for keeping it secret. Why may I not\nspeak freely? Buckland told me that he had heard you spoken of at the\nhouse of people named Moxey.'", "It was the first time Mrs. Peak had uttered her sentiments so\nunreservedly.\n\n'Then, shall I see him in private,' said Godwin, 'and simply let him\nknow the truth?'", "And he laughed heartily; Marcella seemed to join in his mirth.\n\n'Then it would surprise you,' said Buckland, in the same quiet tone as\nbefore, 'to hear that Peak is about to take Orders?'", "Christian looked about with a peculiar smile, and seemed on the point\nof indulging in further self-revelation; but Godwin of a sudden held\nout his hand for good-bye, and with friendly smiles they parted.", "'I agree with you,' Godwin replied.\n\nWith sudden change of mood, Buckland began to speak of an indifferent\ntopic of the day, and in a few minutes they sat down to dinner.", "involved. Godwin had reasonably feared that his obligations to Sir Job\nWhitelaw must become known; impossible for such a matter to be kept\nsecret; all who took any interest in the young man had long been", "Mr. Moxey himself felt that an explanation was desirable, but he\nlistened with his usual friendly air to Godwin's account of the\nmatter--which of course included no mention of Lady Whitelaw.", "Godwin began with the same note of bluntness. But of a sudden he felt\nthe influence of Sidwell's smile. His voice sank into a murmur, his\nheart leapt, a thrill went through his veins.", "'Do you mean, Buckland,' asked his father, gravely, 'that you have been\nsetting secret police at work?'\n\n'Well, yes. I thought it the least objectionable way of getting\ninformation.'", "'I am sure you had no wish to,' Godwin replied, in as unsentimental a\ntone as possible. And, he added after a moment's pause, 'Was this what\nyou were so anxious to tell me?'", "sufficiently declared his knowledge of the unspeakable cause, a\nreflection which often made Godwin writhe. However, this difficulty was\novercome, and the two met very frequently. For several weeks Godwin", "Godwin gave a brief but lucid description of the book, and Mr\nWarricombe listened gravely. When there had been silence for some", "'Indeed?' said Godwin, coldly. 'What is my crime?'\n\n'I am told that you have won the confidence of my relatives by what\nlooks like a scheme of gross dishonesty.'", "But for some such relief of his feelings, Godwin could not have sat\nstill. There was a pleasure in uttering Walsh's name. Moreover, it\nwould serve as a test of Chilvers' disposition.", "restrained himself, handed the book coldly back, and began to talk of\nsomething else. All this was highly significant to Godwin, who of\ncourse began the perusal of his prize in a suspicious mood. Nor was he", "She knew so little of his life. If only it could all be laid bare to\nher, the secret of his position would be revealed. Buckland's violence", "'I see,' returned the other, with slow apprehension.\n\nThere followed several minutes of silence. Then Godwin sat up in bed,\nas had always been his wont when he talked with earnestness at night.", "'I understand you,' said Godwin, at length. 'You mean that this merely\nillustrates my own ambition. Well, you are right, I confess my\nshame--and there's an end of it.'", "Buckland was sitting alone in gloomy reverie. Mrs. Warricombe had told\nhim of Sidwell's incredible purpose. Recognising his sister's" ], [ "torment herself with interpretations of Marcella Moxey's behaviour, and\nview in detail the circumstances which enabled Godwin to urge a formal\nsuit. Among her various thoughts there recurred frequently a regret", "Godwin speculated on the meaning of this, and wondered, in connection\ntherewith, what were the characteristics which Marcella Moxey looked\nfor in a 'sympathetic companion'.", "end was reached Godwin signed his name with hasty contempt. What answer\ncould he expect to such an appeal? How vast an improbability that\nSidwell would consent to profit by the gift of Marcella Moxey!", "In different ways, Christian and Marcella Moxey had both been lonely\nsince their childhood. As a schoolgirl, Marcella seemed to her", "The next day he had no sight of Marcella. At luncheon the Moorhouses\nwere alone. Afterwards Godwin accepted a proposal of the mathematician", "Godwin was determined to draw Marcella aside. Seemingly she met his\nwish, for as all turned to regain the shelter of houses she fell behind\nher female companions, and stood close by him.", "Marcella had to say to him? He could not go to the house, for it would\nbe disagreeable to encounter Moxey; but, if he wrote, Marcella would", "Mr. Moxey himself felt that an explanation was desirable, but he\nlistened with his usual friendly air to Godwin's account of the\nmatter--which of course included no mention of Lady Whitelaw.", "'She, I take it, doesn't think you so,' Godwin muttered.\n\n'But how can she understand? I have tried to tell her everything, but\nshe refused to listen. Perhaps Marcella told her all she cared to know.'", "Godwin was not so much surprised as disconcerted. He knew that\nMarcella's nature was of large mould, and that whether she acted for", "'It belongs to no one but you,' said Moxey, with cold persistence. 'Her\nlast wish was to do you a kindness, and I, at all events, shall never", "'So he assured me,' was the reply. 'But I must learn to be independent,\nMiss Moxey.'\n\nWhereupon Godwin performed a salute, and marched forward.", "'A girl who was at school with me in London,' Sylvia replied, with an\nair of amused reminiscence. 'Marcella Moxey. Didn't I ever speak to you\nof her?'", "There passed over Mr. Moxey's countenance a curious shadow. Godwin\nnoticed it, and at once concluded that the manufacturer condemned", "They reached Mr. Moxey's house. In a garden chair on the lawn sat Miss\nJanet, occupied with a book. She rose to meet them, shook hands with\nGodwin, and said to her cousin:", "Of Marcella Moxey he could not think emotionally; indeed she emphasised\nby her personality the lack which caused his suffering. Sidwell\nWarricombe suggested, more completely than any woman he had yet", "'But why in the world,' she asked, 'should Marcella Moxey have left her\nmoney to Mr. Peak?'", "Marcella Moxey, he welcomed the possibility of this variation of the\ntype, but at the same time, in obedience to a new spirit that had\nstrange possession of him, recognised that such phenomena no longer", "'No.' The word fell from her, absently, despondently.\n\n'Miss Moxey, would anything be gained by our discussing my position? If\nyou think it a mystery, hadn't we better leave it so?'", "more, to keep it a secret until the issue should be known. It was\nneedful to obtain leave of absence from Mr. Moxey, and Godwin, when" ], [ "She hesitated, watching his face.\n\n'You think I have chosen well?' said Godwin, meeting her look.\n\nSidwell's eyes were at once averted.", "Godwin began with the same note of bluntness. But of a sudden he felt\nthe influence of Sidwell's smile. His voice sank into a murmur, his\nheart leapt, a thrill went through his veins.", "his unmistakable attentions, and, when her manner of meeting them began\nto trouble him with doubts, had cleared the air by making a formal\noffer of marriage. Sidwell's negative was absolute, much to her", "By the clock on the mantelpiece it was nearly six. Godwin did not\nresume his seat, though Sidwell had done so. He looked towards the\nwindow, and was all but lost in abstraction, when the soft voice again\naddressed him:", "for an instant before shaping her answer, which always, however\ntrifling the subject, seemed carefully worded. In these few moments of\ndialogue, Godwin reached the conclusion that Sidwell had not much sense", "In Sidwell Warricombe this ideal found an embodiment; but Godwin did\nnot thereupon come to the conclusion that Sidwell was the wife he", "her reading of Godwin's character that she understood--or at all events\nrecognised--the power Sidwell would possess over him. He did not care", "'Forgive the question, Sidwell--did he honour you with a proposal?'\n\n'Indeed, no!'\n\n'Some one told me it was imminent, not long ago.'", "Godwin exhibited surprise. He looked from the speaker to her sister,\nand Sidwell, as she smiled confirmation, bent very slightly towards him.", "other way committed himself. If Sidwell were ever to be his wife, the\nend could only be won by heroic caution and patience. Thus far he had\nachieved notable results; to rush upon his aim would be the most absurd", "end was reached Godwin signed his name with hasty contempt. What answer\ncould he expect to such an appeal? How vast an improbability that\nSidwell would consent to profit by the gift of Marcella Moxey!", "'Let Fanny go with me,' proposed Sidwell, just after breakfast. 'I can\nsee to everything perfectly well, mother.'\n\nBut Fanny hastened to decline. She was engaged for a dance on the\nmorrow.", "Sidwell was long silent.\n\n'I will go with you,' she said at last, in a low voice. 'I will ask him\nto grant me perfect liberty for a year.'", "'That's a sensible way of putting it. Let us say goodbye with\nfriendliness then.'\n\nSidwell gave her hand, and tried to smile. With a look of pained\naffection, Buckland went silently away.", "He took her hands, held them for a moment, and turned away. At the door\nhe looked round. Sidwell's head was bowed, and, on her raising it, he\nsaw that she was blinded with tears.", "'Sidwell, I am going to be married. Do you care to hear about it?'\n\n'Certainly I do.'", "It was Sidwell or death. Into what a void of hideous futility would his\nlife be cast, if this desire proved vain, and he were left to combat", "Sidwell's sympathies were altogether with the men of 'breadth'. The\ntime drew near when Sidwell must marry, if she ever meant to do so, and", "Tea-cup in hand, Godwin seated himself by Sidwell, who began by\ninquiring how the drive had pleased him. The fervour of his reply", "But the way was not clear. Within the beautiful old porch sat Sidwell\nWarricombe and her friend of the striking countenance, whom Godwin now\nknew as Miss Moorhouse. Buckland addressed his sister in a tone of\nlively pleasure." ], [ "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "it. The encouragement given by her husband to Godwin Peak in the\nlatter's social progress had always annoyed her, though she could not", "On the upper floor of one of these cottages, Godwin Peak had made his\nabode. Sitting-room and bedchamber, furnished with homely comfort,", "contemplative impulse. Never yet had Godwin Peak uttered a word that\nwas worth listening to, or made a remark that declared his mental\npowers, save in most familiar colloquy. He was beginning to understand", "by any defection of that brilliant youth! Godwin Peak must make his own\ncareer, and that he would hardly do save by efforts greater than the\nordinary man can put forth. The ordinary man?--Was he in any respect", "Godwin Peak stood alone. On the bench where he had sat were heaped the\nprize volumes (eleven in all, some of them massive), and his wish was", "That must indeed have been a circle of great intellects amid which\nGodwin Peak felt himself subordinate. He had never known that", "With the growth of his militant egoism, there had developed in Godwin\nPeak an excess of nervous sensibility which threatened to deprive his", "habits cherished by her own sex, and shrank from association with the\nother. Godwin Peak was the first man with whom she conversed in the\ntone of friendship, and it took a year or more before that point was", "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "That a figure such as Godwin Peak, a young man of vigorous intellect,\npreparing to devote his life to the old religion, should excite Mr.", "man of singularly complex personality, positive and analytic in a far\nhigher degree than Peak, yet with a vein of imaginative vigour which\nseemed to befit quite a different order of mind. Godwin was not", "Thus, with perfect sincerity of argument, did Godwin Peak face the\nundertaking to which he was committed. Incidents might perturb him, but", "low origin, uncertain career, boundless ambition, and the household of\nMartin Warricombe. There could be no doubt that Peak had decided to go\nto Exeter because of the social prospects recently opened to him. In", "At no great distance stood his competitor, Godwin Peak embarrassed, he\nalso, with wealth of spoils; but about this young man was no concourse", "no assurance of reciprocation, devotes exclusive ardour to an object\nonly approachable through declared obstacles. Godwin Peak was not\nframed for romantic languishment. In general, the more complex a man's", "Twybridge came to him just at the suitable time, and, on further\ninquiry, he decided to make proffer of this advantage to Godwin Peak.\nThe only condition was that arrangements should be made by the", "Yours ever, Godwin Peak.'", "Godwin Peak, sufficient to support a claim of kindred which at this\nmoment might have seemed improbable. At the summons of recognition\nGodwin stood transfixed; his arms fell straight, and his head drew back", "review more admirable papers than those to which he had awarded the\nfirst prize. The name of the student called upon to come forward\nwas--Godwin Peak." ], [ "'But why in the world,' she asked, 'should Marcella Moxey have left her\nmoney to Mr. Peak?'", "torment herself with interpretations of Marcella Moxey's behaviour, and\nview in detail the circumstances which enabled Godwin to urge a formal\nsuit. Among her various thoughts there recurred frequently a regret", "to Godwin Peak: his books were to be sold for the benefit of the widow,\nwho would enjoy an annuity purchased out of her husband's savings. The", "chance.\" I didn't know what she meant till afterwards. Peak, she has\nleft nearly all her money to you.'", "'It belongs to no one but you,' said Moxey, with cold persistence. 'Her\nlast wish was to do you a kindness, and I, at all events, shall never", "would succeed in her quest was uncertain. Godwin Peak's mother still\ndwelt here, she knew, for less than a year ago she had asked the\nquestion of Godwin himself; but a woman in humble circumstances might", "the last few years she had suffered severely from domestic discord, and\nwhen left at peace by bereavement she turned with a sense of liberation\nto the task of caring for her children's future. Godwin was just", "Godwin speculated on the meaning of this, and wondered, in connection\ntherewith, what were the characteristics which Marcella Moxey looked\nfor in a 'sympathetic companion'.", "Godwin Peak stood alone. On the bench where he had sat were heaped the\nprize volumes (eleven in all, some of them massive), and his wish was", "In different ways, Christian and Marcella Moxey had both been lonely\nsince their childhood. As a schoolgirl, Marcella seemed to her", "Godwin was determined to draw Marcella aside. Seemingly she met his\nwish, for as all turned to regain the shelter of houses she fell behind\nher female companions, and stood close by him.", "end was reached Godwin signed his name with hasty contempt. What answer\ncould he expect to such an appeal? How vast an improbability that\nSidwell would consent to profit by the gift of Marcella Moxey!", "'I have come to Twybridge,' began Marcella, gently and respectfully,\n'that is to say, I have stopped in passing--to ask for the address of\nMr. Godwin Peak. A letter has failed to reach him.", "The next day he had no sight of Marcella. At luncheon the Moorhouses\nwere alone. Afterwards Godwin accepted a proposal of the mathematician", "Silence followed, and Sidwell seemed to lose herself in distressful\nthought.\n\n'And now,' asked her friend, 'what has come to pass?'\n\n'Do you know that Miss Moxey is dead?'", "her: however little he desired to keep her constantly in mind, Godwin\nPeak must of necessity do so after what had passed between them. Had\nbut her discovery remained her own secret, then the pleasure of", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "'Ill again, and alone. If I die, act for me. Write to Mrs. Peak,\nTwybridge.'\n\nBeneath was added, 'J. E. Earwaker, Staple Inn, London.'", "a fulfilment of hopeless desires. By the death of Mrs Peak's brother,\nthey came into possession of a freehold house and about nine hundred\npounds. The property was situated some twelve miles from the Midland", "envelope threw her into so extreme an agitation that it was long before\nshe could subdue the anguish of disorder in all her senses. She had\ntried to believe that Godwin Peak was henceforth powerless to affect" ], [ "It was the first time Mrs. Peak had uttered her sentiments so\nunreservedly.\n\n'Then, shall I see him in private,' said Godwin, 'and simply let him\nknow the truth?'", "explanation. The detection of a harmful lie was decidedly congenial to\nhim--especially when he and his had been made its victims. He was now\nat liberty to indulge that antipathetic feeling towards Godwin Peak", "A slight change in his voice caused Sidwell to look at her father as he\nhanded her the letter. In the same moment she recognised the writing of\nthe address. It was Godwin Peak's, and undoubtedly her father knew it.", "for which no one was prepared. As if to make reparation to his elder\nsister for the harshness with which he had behaved in the affair of\nGodwin Peak, he chose her for his first confidante.", "Peak himself. But Lady Whitelaw's sisters were in the secret, and was\nit likely that they maintained absolute discretion in talking with\ntheir Twybridge friends? There seemed, in the first instance, to be a", "became aware of all that was involved in Godwin Peak's withdrawal from\namong his friends--if (as must follow) he imparted the discovery to his\nsister----", "her: however little he desired to keep her constantly in mind, Godwin\nPeak must of necessity do so after what had passed between them. Had\nbut her discovery remained her own secret, then the pleasure of", "Mrs. Peak had heard from Oliver of her brother-in-law's proposed\nundertaking. She had spoken of it with anxiety to Godwin, who merely", "discovery that irritated him against Peak? She knew he was disposed to\ncatch at anything that seemed to tell against Godwin's claims to\nrespectful treatment, and it surely must be a grave affair to hurry him", "Twybridge came to him just at the suitable time, and, on further\ninquiry, he decided to make proffer of this advantage to Godwin Peak.\nThe only condition was that arrangements should be made by the", "had been concealed from her. When Mrs. Peak, in confidence, apprised\nher of the disturbing cause, Miss Cadman's indignation knew no bounds.", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "habits cherished by her own sex, and shrank from association with the\nother. Godwin Peak was the first man with whom she conversed in the\ntone of friendship, and it took a year or more before that point was", "'Whom do you think I have met and brought home with me? Here is my old\nfriend, Godwin Peak.'\n\nUnder the two pairs of female eyes, Godwin kept a calm, if rather\nstern, face.", "He was red with anticipated shame, and his voice shook with indignation\nat the suggested martyrdom. Mrs. Peak dried a tear.\n\n'You would be so alone in London, Godwin.'", "could be told, and what other people heard did not much matter. It was\nthe man himself that Peak could not endure. Dissembling had hitherto", "envelope threw her into so extreme an agitation that it was long before\nshe could subdue the anguish of disorder in all her senses. She had\ntried to believe that Godwin Peak was henceforth powerless to affect", "came in, and somehow or other he began talking of Peak. I learned at\nonce precisely what I expected, that Peak was known to all these people", "Towards eight, a letter was brought to her; it could only be from\nGodwin Peak. With eyes which endeavoured to take in all at once, and\ntherefore could at first distinguish nothing, she scanned what seemed\nto be hurriedly written lines." ], [ "than ever, and kicked it so violently in the stomach that it fell. Even\nthen he wouldn't stop his brutality. Marcella tried to get between him", "perhaps half drunk; he stood there beating the horse unmercifully.\nMarcella couldn't endure that kind of thing--impossible for her to pass", "In different ways, Christian and Marcella Moxey had both been lonely\nsince their childhood. As a schoolgirl, Marcella seemed to her", "on and say nothing. She interfered, and tried to persuade the man to\nlighten his cart. He was insolent, attacked the horse more furiously", "Marcella had to say to him? He could not go to the house, for it would\nbe disagreeable to encounter Moxey; but, if he wrote, Marcella would", "the future, and still discussed with himself how he should behave this\nmoment. He noted that Marcella's face was bloodless; that her attempt\nto smile resulted in a very painful distortion of brow and lips. And he", "Marcella Moxey, he welcomed the possibility of this variation of the\ntype, but at the same time, in obedience to a new spirit that had\nstrange possession of him, recognised that such phenomena no longer", "torment herself with interpretations of Marcella Moxey's behaviour, and\nview in detail the circumstances which enabled Godwin to urge a formal\nsuit. Among her various thoughts there recurred frequently a regret", "and the animal--just as it lashed out with its heels. The poor girl was\nso badly injured that she lay by the roadside until another carter took", "Marcella laughed down his excuses. She had suddenly become so mirthful\nthat Christian looked at her in surprise, imagining that she was unable\nto restrain her sense of the ridiculous in Malkin's demeanour.", "'A girl who was at school with me in London,' Sylvia replied, with an\nair of amused reminiscence. 'Marcella Moxey. Didn't I ever speak to you\nof her?'", "Marcella kept silence. The event she had judged improbable had come to\npass. The chance of its doing so had of course increased since", "Marcella moved so as to show her face; endeavouring to express an\nunemotional interest, she looked coldly scornful.\n\n'That ridiculous man can't be depended upon,' she said.", "later she had bitterly repented this, and in some way or other she\nallowed Moxey to know it. Since then they have been Platonic", "Silence followed, and Sidwell seemed to lose herself in distressful\nthought.\n\n'And now,' asked her friend, 'what has come to pass?'\n\n'Do you know that Miss Moxey is dead?'", "Of Marcella Moxey he could not think emotionally; indeed she emphasised\nby her personality the lack which caused his suffering. Sidwell\nWarricombe suggested, more completely than any woman he had yet", "For several days after the scene in which Mr. Malkin unconsciously\nplayed an important part, Marcella seemed to be ill. She appeared at", "impossible not to offer some explanation. Mrs. Peak showed a slight\nsurprise. With the courage of cowardice, Marcella continued more\nrapidly:", "For that was the aim of Marcella's journey. On reaching the station,\nshe dropped a light veil over her face and set forth on foot to", "'It belongs to no one but you,' said Moxey, with cold persistence. 'Her\nlast wish was to do you a kindness, and I, at all events, shall never" ], [ "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "explanation. The detection of a harmful lie was decidedly congenial to\nhim--especially when he and his had been made its victims. He was now\nat liberty to indulge that antipathetic feeling towards Godwin Peak", "Godwin Peak, sufficient to support a claim of kindred which at this\nmoment might have seemed improbable. At the summons of recognition\nGodwin stood transfixed; his arms fell straight, and his head drew back", "Thus, with perfect sincerity of argument, did Godwin Peak face the\nundertaking to which he was committed. Incidents might perturb him, but", "Godwin Peak stood alone. On the bench where he had sat were heaped the\nprize volumes (eleven in all, some of them massive), and his wish was", "He was red with anticipated shame, and his voice shook with indignation\nat the suggested martyrdom. Mrs. Peak dried a tear.\n\n'You would be so alone in London, Godwin.'", "Peak, shocked at such martyrdom, tended him with all motherly care; for\nonce, Godwin felt that it was good to have a home, however simple.", "envelope threw her into so extreme an agitation that it was long before\nshe could subdue the anguish of disorder in all her senses. She had\ntried to believe that Godwin Peak was henceforth powerless to affect", "On the upper floor of one of these cottages, Godwin Peak had made his\nabode. Sitting-room and bedchamber, furnished with homely comfort,", "Martin had finally driven into the background those uneasy\nquestionings, which at one time it seemed likely that Godwin Peak would\nrather accentuate than silence. With Sidwell, he could never again", "Yours ever, Godwin Peak.'", "discovery that irritated him against Peak? She knew he was disposed to\ncatch at anything that seemed to tell against Godwin's claims to\nrespectful treatment, and it surely must be a grave affair to hurry him", "by any defection of that brilliant youth! Godwin Peak must make his own\ncareer, and that he would hardly do save by efforts greater than the\nordinary man can put forth. The ordinary man?--Was he in any respect", "measure resented it. Godwin Peak was not a man to slip out of one's\nlife and leave no appreciable vacancy. Neither of these men admired", "With the growth of his militant egoism, there had developed in Godwin\nPeak an excess of nervous sensibility which threatened to deprive his", "So it proved. Summoned to receive the inferior prize, Godwin Peak, his\ncountenance harsher than before, his eyes cast down, moved ungracefully", "her: however little he desired to keep her constantly in mind, Godwin\nPeak must of necessity do so after what had passed between them. Had\nbut her discovery remained her own secret, then the pleasure of", "It was the first time Mrs. Peak had uttered her sentiments so\nunreservedly.\n\n'Then, shall I see him in private,' said Godwin, 'and simply let him\nknow the truth?'", "the same time explained to his attendants. On the second day Mr. Peak\ndied. Among his effects were found circular notes, and a sum of loose" ], [ "Possibly he has had a talk with you?' The clergyman replied that Peak\nhad left Exeter. 'I have had a letter from him, explaining in general", "Peak lost no time in leaving Exeter. To lighten his baggage, and to get\nrid of possessions to which hateful memories attached, he sold all his", "low origin, uncertain career, boundless ambition, and the household of\nMartin Warricombe. There could be no doubt that Peak had decided to go\nto Exeter because of the social prospects recently opened to him. In", "final farewell. In that case his departure from Exeter would, no doubt,\nspeedily follow, and there was little likelihood that she would ever\nagain see him. Were Godwin a vulgar schemer, he would not so readily", "'We hear,' she wrote from London to Sylvia Moorhouse, 'that Mr. Peak\nhas left Exeter, and that he is not likely to carry out his intention", "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "Godwin's history prior to his settling at Exeter, and depicted the\nmood, the impulses, which, by his own confession, had led to that", "When he was alone again, he of a sudden determined to go to Exeter. He\ncould no longer endure uncertainty as to the contents of Marcella's", "as excuse for leave-taking he shook hands with much warmth. The two\nparted close by the shop, and Godwin, casting a glance at the now\nsilent College, walked hastily towards his lodgings.", "discovery that irritated him against Peak? She knew he was disposed to\ncatch at anything that seemed to tell against Godwin's claims to\nrespectful treatment, and it surely must be a grave affair to hurry him", "He was red with anticipated shame, and his voice shook with indignation\nat the suggested martyrdom. Mrs. Peak dried a tear.\n\n'You would be so alone in London, Godwin.'", "'Yes, you were directed rightly,' Mrs. Peak made quiet answer. 'I shall\nbe very glad to give you my son's address. He left London about last\nChristmas, and went to live at Exeter.'", "explanation. The detection of a harmful lie was decidedly congenial to\nhim--especially when he and his had been made its victims. He was now\nat liberty to indulge that antipathetic feeling towards Godwin Peak", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "Godwin Peak stood alone. On the bench where he had sat were heaped the\nprize volumes (eleven in all, some of them massive), and his wish was", "already oppressed him. No; if he quitted Exeter, it must be on a longer\njourney. He must resume his purpose of seeking some distant country,\nwhere new conditions of life would allow him to try his fortune at", "Immediately upon his uncle's departure, Godwin disappeared; Mrs. Peak\ncaught only a glimpse of him as he went by the parlour window. In a", "Peak was at a vast distance from the hour which saw him alight at\nExeter and begin his ramble about the city. He no longer felt himself", "When Godwin had taken a resolve, there was no domestic influence strong\nenough to prevent his acting upon it. Mrs. Peak's ignorance of the", "by any defection of that brilliant youth! Godwin Peak must make his own\ncareer, and that he would hardly do save by efforts greater than the\nordinary man can put forth. The ordinary man?--Was he in any respect" ], [ "Possibly he has had a talk with you?' The clergyman replied that Peak\nhad left Exeter. 'I have had a letter from him, explaining in general", "'I have come to Twybridge,' began Marcella, gently and respectfully,\n'that is to say, I have stopped in passing--to ask for the address of\nMr. Godwin Peak. A letter has failed to reach him.", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "'Yes, you were directed rightly,' Mrs. Peak made quiet answer. 'I shall\nbe very glad to give you my son's address. He left London about last\nChristmas, and went to live at Exeter.'", "'Whom do you think I have met and brought home with me? Here is my old\nfriend, Godwin Peak.'\n\nUnder the two pairs of female eyes, Godwin kept a calm, if rather\nstern, face.", "Twybridge came to him just at the suitable time, and, on further\ninquiry, he decided to make proffer of this advantage to Godwin Peak.\nThe only condition was that arrangements should be made by the", "Peak was at a vast distance from the hour which saw him alight at\nExeter and begin his ramble about the city. He no longer felt himself", "On the upper floor of one of these cottages, Godwin Peak had made his\nabode. Sitting-room and bedchamber, furnished with homely comfort,", "'Shall I see you at Exeter?' Godwin continued.\n\n'I'm not sure. I shall go over to-morrow, but it's uncertain whether I\nshall still be there when you return.'", "low origin, uncertain career, boundless ambition, and the household of\nMartin Warricombe. There could be no doubt that Peak had decided to go\nto Exeter because of the social prospects recently opened to him. In", "Peak lost no time in leaving Exeter. To lighten his baggage, and to get\nrid of possessions to which hateful memories attached, he sold all his", "'I shall stay first of all in Exeter,' Godwin replied, with\ndeliberation; 'one can get hold of books there.'\n\n'Yes, especially of the ecclesiastical colour.'", "Godwin Peak, sufficient to support a claim of kindred which at this\nmoment might have seemed improbable. At the summons of recognition\nGodwin stood transfixed; his arms fell straight, and his head drew back", "'My dear Peak, let us have none of these formalities. My parents have\ndistinctly invited you to go and see them whenever you are in the\nneighbourhood. I am quite sure they will help to make your stay in\nExeter a pleasant one.'", "Godwin's history prior to his settling at Exeter, and depicted the\nmood, the impulses, which, by his own confession, had led to that", "All had alighted, and for a minute or two there was silence. When Peak\nhad received such geographical instruction as was needful, Warricombe", "Godwin Peak stood alone. On the bench where he had sat were heaped the\nprize volumes (eleven in all, some of them massive), and his wish was", "Godwin, dreading contact with friends of the family, strode upstairs.\nWhen the door was opened, there appeared the smiling countenance of\nAndrew Peak; he wore the costume of a traveller, and by his side stood", "Godwin Peak read the motto beneath the clock in Exeter Cathedral, and\nbelieved it of Christian origin. Had he known that the words were found", "'We hear,' she wrote from London to Sylvia Moorhouse, 'that Mr. Peak\nhas left Exeter, and that he is not likely to carry out his intention" ], [ "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "Godwin speculated on the meaning of this, and wondered, in connection\ntherewith, what were the characteristics which Marcella Moxey looked\nfor in a 'sympathetic companion'.", "habits cherished by her own sex, and shrank from association with the\nother. Godwin Peak was the first man with whom she conversed in the\ntone of friendship, and it took a year or more before that point was", "'My sister,' said Christian, glancing at Godwin. 'Marcella, you\nrecognise Mr. Peak.'\n\n'Oh yes,' the girl replied, as she came forward, and made a sudden\noffer of her hand.", "Godwin was determined to draw Marcella aside. Seemingly she met his\nwish, for as all turned to regain the shelter of houses she fell behind\nher female companions, and stood close by him.", "torment herself with interpretations of Marcella Moxey's behaviour, and\nview in detail the circumstances which enabled Godwin to urge a formal\nsuit. Among her various thoughts there recurred frequently a regret", "He glanced at her, and Marcella's eyes fell; a moment after, there was\na suspicion of colour in her cheek.\n\n'What are you reading?' Peak asked abruptly, but in a voice of more\nconventional note.", "But Marcella had no charm for Godwin's imagination, notwithstanding\nthat he presently suspected a warmth of interest on her side which he", "Marcella did not change her position, but at the sound of Peak's name\nshe stirred, as if with an intention, at once checked, of bending\neagerly forward.\n\n'In America?' she asked, incredulously.", "He was red with anticipated shame, and his voice shook with indignation\nat the suggested martyrdom. Mrs. Peak dried a tear.\n\n'You would be so alone in London, Godwin.'", "her: however little he desired to keep her constantly in mind, Godwin\nPeak must of necessity do so after what had passed between them. Had\nbut her discovery remained her own secret, then the pleasure of", "'I have come to Twybridge,' began Marcella, gently and respectfully,\n'that is to say, I have stopped in passing--to ask for the address of\nMr. Godwin Peak. A letter has failed to reach him.", "It was impossible to believe that Peak had made love to her in cold\nblood, with none but sordid impulses. The thought was so humiliating", "generally remarked. Mrs. Peak naturally understood it as a significant\nresult of his intercourse with Miss Moxey, of whom, as it seemed to\nher, he spoke with singular reticence.", "Of Marcella Moxey he could not think emotionally; indeed she emphasised\nby her personality the lack which caused his suffering. Sidwell\nWarricombe suggested, more completely than any woman he had yet", "Still, for the moment she all but abandoned her undertaking. Was Godwin\nPeak in truth of so much account to her? Would not the shock of meeting", "at the same time. Sylvia had told her, however, of the acquaintance\nexisting between Miss Moxey and Peak, a point of much interest to her,\nthough it remained a mere unconnected fact. In her short conversation", "The next day he had no sight of Marcella. At luncheon the Moorhouses\nwere alone. Afterwards Godwin accepted a proposal of the mathematician", "In different ways, Christian and Marcella Moxey had both been lonely\nsince their childhood. As a schoolgirl, Marcella seemed to her", "'A girl who was at school with me in London,' Sylvia replied, with an\nair of amused reminiscence. 'Marcella Moxey. Didn't I ever speak to you\nof her?'" ], [ "'My sister,' said Christian, glancing at Godwin. 'Marcella, you\nrecognise Mr. Peak.'\n\n'Oh yes,' the girl replied, as she came forward, and made a sudden\noffer of her hand.", "Godwin speculated on the meaning of this, and wondered, in connection\ntherewith, what were the characteristics which Marcella Moxey looked\nfor in a 'sympathetic companion'.", "torment herself with interpretations of Marcella Moxey's behaviour, and\nview in detail the circumstances which enabled Godwin to urge a formal\nsuit. Among her various thoughts there recurred frequently a regret", "In different ways, Christian and Marcella Moxey had both been lonely\nsince their childhood. As a schoolgirl, Marcella seemed to her", "'I have come to Twybridge,' began Marcella, gently and respectfully,\n'that is to say, I have stopped in passing--to ask for the address of\nMr. Godwin Peak. A letter has failed to reach him.", "'A girl who was at school with me in London,' Sylvia replied, with an\nair of amused reminiscence. 'Marcella Moxey. Didn't I ever speak to you\nof her?'", "Godwin was determined to draw Marcella aside. Seemingly she met his\nwish, for as all turned to regain the shelter of houses she fell behind\nher female companions, and stood close by him.", "'But why in the world,' she asked, 'should Marcella Moxey have left her\nmoney to Mr. Peak?'", "The next day he had no sight of Marcella. At luncheon the Moorhouses\nwere alone. Afterwards Godwin accepted a proposal of the mathematician", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "He glanced at her, and Marcella's eyes fell; a moment after, there was\na suspicion of colour in her cheek.\n\n'What are you reading?' Peak asked abruptly, but in a voice of more\nconventional note.", "And he laughed heartily; Marcella seemed to join in his mirth.\n\n'Then it would surprise you,' said Buckland, in the same quiet tone as\nbefore, 'to hear that Peak is about to take Orders?'", "end was reached Godwin signed his name with hasty contempt. What answer\ncould he expect to such an appeal? How vast an improbability that\nSidwell would consent to profit by the gift of Marcella Moxey!", "generally remarked. Mrs. Peak naturally understood it as a significant\nresult of his intercourse with Miss Moxey, of whom, as it seemed to\nher, he spoke with singular reticence.", "Marcella did not change her position, but at the sound of Peak's name\nshe stirred, as if with an intention, at once checked, of bending\neagerly forward.\n\n'In America?' she asked, incredulously.", "Marcella had to say to him? He could not go to the house, for it would\nbe disagreeable to encounter Moxey; but, if he wrote, Marcella would", "at the same time. Sylvia had told her, however, of the acquaintance\nexisting between Miss Moxey and Peak, a point of much interest to her,\nthough it remained a mere unconnected fact. In her short conversation", "'But what an extraordinary idea!' cried Moxey. 'Why Peak is all but a\nwoman-hater!'\n\nThe journalist uttered croaking laughter.", "habits cherished by her own sex, and shrank from association with the\nother. Godwin Peak was the first man with whom she conversed in the\ntone of friendship, and it took a year or more before that point was", "Godwin was not so much surprised as disconcerted. He knew that\nMarcella's nature was of large mould, and that whether she acted for" ], [ "Godwin Peak's disappearance. Only a vein of obstinacy in his character\nhad kept him so long in a position he knew to be untenable. From the", "Yours ever, Godwin Peak.'", "'Whom do you think I have met and brought home with me? Here is my old\nfriend, Godwin Peak.'\n\nUnder the two pairs of female eyes, Godwin kept a calm, if rather\nstern, face.", "type, but this effort she had never made. And chiefly because of her\nacquaintance with Godwin Peak. In him she concentrated her interests;", "Godwin Peak, sufficient to support a claim of kindred which at this\nmoment might have seemed improbable. At the summons of recognition\nGodwin stood transfixed; his arms fell straight, and his head drew back", "Godwin Peak stood alone. On the bench where he had sat were heaped the\nprize volumes (eleven in all, some of them massive), and his wish was", "On the upper floor of one of these cottages, Godwin Peak had made his\nabode. Sitting-room and bedchamber, furnished with homely comfort,", "review more admirable papers than those to which he had awarded the\nfirst prize. The name of the student called upon to come forward\nwas--Godwin Peak.", "Twybridge came to him just at the suitable time, and, on further\ninquiry, he decided to make proffer of this advantage to Godwin Peak.\nThe only condition was that arrangements should be made by the", "A slight change in his voice caused Sidwell to look at her father as he\nhanded her the letter. In the same moment she recognised the writing of\nthe address. It was Godwin Peak's, and undoubtedly her father knew it.", "by any defection of that brilliant youth! Godwin Peak must make his own\ncareer, and that he would hardly do save by efforts greater than the\nordinary man can put forth. The ordinary man?--Was he in any respect", "Mrs. Peak had heard from Oliver of her brother-in-law's proposed\nundertaking. She had spoken of it with anxiety to Godwin, who merely", "'My sister,' said Christian, glancing at Godwin. 'Marcella, you\nrecognise Mr. Peak.'\n\n'Oh yes,' the girl replied, as she came forward, and made a sudden\noffer of her hand.", "Godwin, dreading contact with friends of the family, strode upstairs.\nWhen the door was opened, there appeared the smiling countenance of\nAndrew Peak; he wore the costume of a traveller, and by his side stood", "explanation. The detection of a harmful lie was decidedly congenial to\nhim--especially when he and his had been made its victims. He was now\nat liberty to indulge that antipathetic feeling towards Godwin Peak", "That a figure such as Godwin Peak, a young man of vigorous intellect,\npreparing to devote his life to the old religion, should excite Mr.", "would succeed in her quest was uncertain. Godwin Peak's mother still\ndwelt here, she knew, for less than a year ago she had asked the\nquestion of Godwin himself; but a woman in humble circumstances might", "Godwin's. Without difficulty she found Mr Peak's shop; behind the\ncounter stood Oliver himself, rubbing his hands. Was there indeed a\nfamily likeness between this fresh-looking young shopkeeper and the", "discovery that irritated him against Peak? She knew he was disposed to\ncatch at anything that seemed to tell against Godwin's claims to\nrespectful treatment, and it surely must be a grave affair to hurry him", "That must indeed have been a circle of great intellects amid which\nGodwin Peak felt himself subordinate. He had never known that" ] ]

[ "What mortifies Godwin Peak?", "How does Godwin Peak respond to his uncle's \"trade\"?", "What is Peak's decision to leave college indicative of?", "What does Godwin Peak pubish anonymously?", "What declaration does Godwin make that is hypocritical?", "Who is distrustrul of Godwin Peak after his declares himself to be Christian?", "What about Sidwell is Peak interested in?", "Where is Godwin Peak a student?", "Why does Godwin Peak leave the college?", "What does Godwin write while he is in London?", "Where does Godwin vacation after the article is published?", "Who does Godwin meet when his paths finally cross with Buckland?", "Why does Buckland Warricome track down Godwin's friends?", "Why doesn't Marcella stop Malkin from sharing Godwin's secret writing of the column to Buckland?", "What happens when Buckland shares Godwin's secret?", "What does Marcella Moxey leave Godwin?", "What happens when Godwin proposes to Sidwell?", "Beside social aspirations, what else is indicative of Godwin Peak's? ", "Once she dies, what does Marcella Moxey leave for Godwin Peak?", "Who divulged Godwin Peak's secret?", "What happens to Marcella Moxey as she tries to prevent a horse from being beaten? ", "How did Godwin Peak die? ", "Why did Godwin Peak decide to leave Exeter? ", "Upon stopping in Exeter, who does Godwin Peak meet? ", "Whom did Godwin Peak have a love interest in instead of Marcella Moxey?", "Who was Marcella Moxey to Godwin Peak? ", "Who is Godwin Peak? " ]

[ [ "His uncle wants to open an eating house adjacent to the college.", "Association with \"trade\"" ], [ "He leaves the college rather than face score from his fellow students?", "He is disgusted." ], [ "His social aspirations and snobbery.", "His social aspirations and snobbery." ], [ "A fierce critique of the Church of England and its views on Darwinism.", "In London." ], [ "Declares himself a Christian.", "that he is a Christian" ], [ "Buckland Warricomb", "Buckland" ], [ "Her beauty and social class.", "Her social position and her looks." ], [ "He is a student at Whitelaw College.", "Whitelaw College." ], [ "He does not want to be associated with trade or face scorn from his fellow classmates.", "Because he is ashamed of his uncle." ], [ "He writes an article against the Church of England and their view on Darwinism.", "A critical article" ], [ "He vacations in Exeter, where he meets with the Warricombe family.", "The West Country." ], [ "He meets Sidwell, a beautiful but religious women.", "Sidwell." ], [ "Because he distrusts Godwin's claims to be a Christian.", "Buckland tries to track down Godwin's friends from London to figure out Godwin's motives" ], [ "Because it would help her to disrupt Godwin's relationship with Sidwell.", "She wants to hamper Godwin and Sidwell's relationship." ], [ "Godwin is exposed as a hypocrite and fraud to Sidwell.", "He leaves" ], [ "She leaves her wealth to Godwin after she dies when preventing a horse from being beaten.", "Her money." ], [ "She rejects Godwin's hand in marriage.", "She turns him down out of loyalty to her family. " ], [ "Snobbery.", "Snobbery." ], [ "Her considerable wealth. ", "Her wealth. " ], [ "Buckland Warricomb.", "Malkin." ], [ "Marcella Moxey gets killed. ", "She is killed" ], [ " In Exile. ", "He catches malaria while touring Europe" ], [ "Because of his hypocrisy was exposure. ", "He was exposed as a hypocrite." ], [ "The Buckland Warricomb's family. ", "Buckland" ], [ "Sidwell Warricomb. ", "Sidwell Warricombe." ], [ "Marcella Moxey had a long standing romantic crush on Godwin Peak. ", "Marcella is Godwin's friend's sister" ], [ "A star student at Whitelaw College. ", "He is a student at Whitelaw college" ] ]

[ [ "Old woman:\n Who's there?\n I:\n Me!\n [The door opens cautiously and an old woman peers out inquiringly.]", "[Rather later, the pair are the only remaining customers. Raymond, wiping\ndown the bar, is clearly leggless.]", "hurricane. This place is uninhabitable.\n [They sit close to the fire, which is rather small.]", "over to withail]\n I:\n Hasn't heard a thing. They're still seeing people.\n Withnail:", "Danny's here. Head hunter to his friends. Head hunter to everybody. He\n doesn't have any friends. The only people he converses with are his", "The Street\n\n [They walk towards a rather rough looking pub: 'The Old Mother\n Blackcap'.]", "examine the view. It is quite magnificent. Later, he is dressed and\n walks down to the farm. The building is surrounded by an assortment of\n farmyard junk. He knocks at the door]", "Parkin:\n Ay, Adrian de la Touche. He hasn't been up year for couple of\n years. Last time I saw him, he were; he were with his son.", "I'll say one thing for Monte; he keeps a sensational cellar.\n [There is a knock at the door.]\n I:", "Withnail:\n We'll have tea and cake. [An elderly man comes across to their\n table. He is the proprietor] P: Did you hear her? She said she'd", "lights. As the light comes up the inside of the cottage becomes\n visible. It is rather spartan.]", "Monty:\n Oh hello. Come in.\n\n[They enter and go into the lounge.]\n\nMonty:\n Sit down do. Would you like a drink?", "mumers about wanting to be on his own. He drops him on the bed\n and dashes back to his own room to get his bedding. Before he can", "against the knob. There is a determined pushing at the door from\n the other side which dislodges the chair and Monty enters.]\n Monty:", "That's why he's rejecting me while you're here. On my life Monty,\n this is the first time in six years we havn't slept together. I", "[A few shafts of sunlight sneak through the curtains and illuminate a\nsitting room. There are empty bottles everywhere. 'I', who is smoking a", "they get there, they see Jake at the door. Monte looks at him\n through the binoculars]\n I:", "You'll have to see my son. He runs this farm.\n I:\n Where is you son?\n Old woman:", "[Monty moves to the sideboard and pours the drinks. Withnail lights up yet\nanother cigarette.]", "I suppose happiness is relative. I never thought it would be a\n polythene bag without the hole in it.\n[Parkin turns the tractor towards them, stops and runs towards them.]" ], [ "like a tide. Don't let it ruin your youth as I nearly did over\n Eric.\n I:\n I'm not homosexual Monty\n Monty:", "Monty:\n It is the most shattering experience of a young man's life when he\n awakes and quite reasonable says to himself: [He puts his hand on his", "couldn't cheat on him, it would kill him.\n Monty:\n Oh my dear boy, if I'd realised that I'd never have attempted to\n come between you.", "I don't care what he knows, you must leave Monty. [I gets out of\n bed and goes over to the door. Monty beats him to it.]\n Monty:", "I:\n I know that Monty, I respected you for your sensitivity, I thank\n you for it.\n Monty:\n You better go to him", "Monty you must listen! We're in an affair, we have been for\n years. But he's estranged, he won't allow himself to admit it.", "That's why he's rejecting me while you're here. On my life Monty,\n this is the first time in six years we havn't slept together. I", "There's no need to explain, he's told me everything.\n I:\n What! What's he told you?\n Monty:", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "get back though Monty has come up the stairs and just finished\n locking the door.]\n Monty:\n He doesn't want to sleep with you.", "Monty:\n Can't find the rosemary! I'm sure we could find it together. [He\n leans accross I in a rather comprimising fashion.]\n I:", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:", "Withnail:\n Christ almighty\n [I looks round a little more thouroughly. He notices a picture of\n Monty on the wall.]", "No I'm not asleep. What is it Monty, what do you want. [I lights\n a candle. Monty sits down on the side on the bed.]\n Monty:", "I:\n I beg your pardon Monte.\n Monty:\n You lead him astray. Oh don't pretend you don't understand, I", "it behind him.]\n Monty:\n Then we must choose our moment and have a word with him. I'm sure", "Well he's randy!\n I:\n Yeah, yeah. I know he is\n[Withnail has his cigarettes out and is lighting up.]", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "[Later they are leaving the house. Monty shows them to the door.]\n\nMonty:\n Good night my dears.\nWithnail:\n Good night Monty." ], [ "The cottage\n\n [They draw up in a yard and get out of the car. Withnail staggers\n around aimlessly as I gets the baggage from the boot.]", "I:\n Montegue Withnail, you must know him. Fat man, owns the cottage.\n Parkin:", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "various customers as he leaves, shutting his coat in the door.]\n -------------------------------------------------------------------------------\n The cottage [Withnail and I are sat inside. There is no sign of", "Withnail:\n We'll have tea and cake. [An elderly man comes across to their\n table. He is the proprietor] P: Did you hear her? She said she'd", "Old woman:\n What do you want?\n I:\n I'm a friend of Montague Withnail. He's lent us his cottage. I", "or I'm off.\n Withnail:\n Alright, alright [They stride off back to the cottage. Before", "Withnail. Lets all have a laugh. Good old Jake.\n Monty:\n He's going away. [They walk down to the cottage. There is a hare", "Withnail:\n You just wait. Just you wait. When I strike they won't know what\n hit them.\n [He hears a noise from outside.]", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "Withnail:\n If I don't get aspirin I shall die here on this fucking\n mountainside.\n [They enter the house. I lights a match and finds a lantern which he", "I:\n Here, changeover point.\n[Withnail slams the gate behind them but it doesn't fasten. They see Parkin\non his tractor.]", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "He can't, he'll go away. He's going away.\n Withnail:\n He's getting in thorough the window. He's sharpening the fucking\n knife", "Withnail:\n You want me to call what-his-name and ask him about his house?\n I:\n Why not?\n Withnail:", "[Withnail emerges from the back door with polythene bags tied around\n his feet. He walks into the garden and after a little unearths a\n potato.]", "Stop saying that Withnail, of course he's the fucking farmer. [To\n Parkin] We're friends of Montague Withnail, we desperately need\n fuel and wood.", "[Withnail enters with their lunch from the chippy]", "[Danny sniffs the sausage. Withnail enters from the kitchen gluing the\n sole back on his shoe. He is wearing a rather expensive looking suit.]", "[The door clatters open and a man in a thick coat walks in, leans over the\nbar and helps himself to a beer. I nudges Withnail. The man takes an eel" ], [ "I don't care what he knows, you must leave Monty. [I gets out of\n bed and goes over to the door. Monty beats him to it.]\n Monty:", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "get back though Monty has come up the stairs and just finished\n locking the door.]\n Monty:\n He doesn't want to sleep with you.", "like a tide. Don't let it ruin your youth as I nearly did over\n Eric.\n I:\n I'm not homosexual Monty\n Monty:", "That's why he's rejecting me while you're here. On my life Monty,\n this is the first time in six years we havn't slept together. I", "Monty:\n It is the most shattering experience of a young man's life when he\n awakes and quite reasonable says to himself: [He puts his hand on his", "he wants. offer him yourself! we mean no harm.\n Monty:\n oh my boys, my boys.\n I:", "couldn't cheat on him, it would kill him.\n Monty:\n Oh my dear boy, if I'd realised that I'd never have attempted to\n come between you.", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "Monty you must listen! We're in an affair, we have been for\n years. But he's estranged, he won't allow himself to admit it.", "[Later they are leaving the house. Monty shows them to the door.]\n\nMonty:\n Good night my dears.\nWithnail:\n Good night Monty.", "Monty:\n Get that damned little swine out of here. It's trying to get itself in\n with you. It's trying for even more advantage. It's obsessed with its", "against the knob. There is a determined pushing at the door from\n the other side which dislodges the chair and Monty enters.]\n Monty:", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "Withnail:\n Balls to Monty!? I've just spent an hour flattering the bugger.\n I:", "Sorry can't. I mean, I'd love to stay but he's more adament to\n get back than I am. [Monty slips the apron over I's head and ties", "Monty:\n Another hand? [Withnail looks up and slumps in his chair. He is\n totally plastered.]\n Monty:", "There's no need to explain, he's told me everything.\n I:\n What! What's he told you?\n Monty:", "[Monty moves to the sideboard and pours the drinks. Withnail lights up yet\nanother cigarette.]", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:" ], [ "roadside. Withnail pulls over, the van draws up in front on them\n and the officers approach the car. One knocks on the window and\n Withnail winds it down.] P1: Bit early in the morning for", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "Withnail:\n Hey, stop!\n I:\n Stop\n Withnail:\n Stop\n I:\n Stop please!\n [The tractor driver notices them and stops.]", "The car\n\n [They leave Camden in I's battered old Jag. Withnail, still in his\n suit, has a bottle and is clearly drunk. They pass some schoolgirls.]", "I'm making time.\n I:\n Pull over, you haven't got a license.\n Withnail:", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "Withnail:\n Stop please! Please stop!\n [They run up to the side of the tractor and address the driver, Mr\n Parkin.]", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "side of the car to his own but it refuses to come off. He gets\n back in the car and in shutting the door wakes Withnail, who\n looks considerably the worse for wear.]", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "Withnail:\n This is a device enabling the drunken driver to operate in\n absolute safety. You fill this with piss, take this pipe down the", "motorway. It becomes clear that the car has only one functioning\n headlight. Still later it is totally dark and raining heavily. I\n stops and attempts to transfer the single wiper from Withnail's", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "Withnail:\n Look at that, look at that. Accident black spot. These aren't\n accidents. They're throwing themselves into the road gladly.", "Penryth [Monty's car drives into Penryth and pulls up in the town\n centre. Withnail and I get out of the car. Compared to Monty and", "[He emerges from the phonebox.]\n Withnail:\n Bitch hung up on me.\n[I fishes around in his pocket and finds a shilling for Withnail who goes", "I:\n Here, changeover point.\n[Withnail slams the gate behind them but it doesn't fasten. They see Parkin\non his tractor.]", "car is hurtling down the motorway swerving between the other\n cars.]\n I:\n What's going on?\n Withnail:", "Withnail:\n I most certainly am P1: I'm placing you under arrest.\n Withnail:", "The cottage\n\n [They draw up in a yard and get out of the car. Withnail staggers\n around aimlessly as I gets the baggage from the boot.]" ], [ "Withnail:\n I most certainly am P1: I'm placing you under arrest.\n Withnail:", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "[He emerges from the phonebox.]\n Withnail:\n Bitch hung up on me.\n[I fishes around in his pocket and finds a shilling for Withnail who goes", "I:\n Withnail you bastard wake up.\n [He bangs on the ceiling and moves to the sink to wash.]", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "Withnail:\n Couple of blooms.\n I:\n One each. [He removes a fiver from Withnail's hand]\n Withnail:", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "The car\n\n [They leave Camden in I's battered old Jag. Withnail, still in his\n suit, has a bottle and is clearly drunk. They pass some schoolgirls.]", "side of the car to his own but it refuses to come off. He gets\n back in the car and in shutting the door wakes Withnail, who\n looks considerably the worse for wear.]", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:", "I:\n What's all this. The man's mad.\nWithnail:\n Eccentric.\nI:\n Eccentric? He's insane. Not only that he's a raving homosexual.", "I:\n What are you doing?\n Withnail:\n Sitting down to enjoy my holiday\n I:", "Withnail:\n What absolute twaddle.\nDanny:\n Has he just been busted?\nI:\n No.", "Withnail:\n This is a device enabling the drunken driver to operate in\n absolute safety. You fill this with piss, take this pipe down the", "Withnail:\n What fucker said that!?\n\n[The large Irish gentleman in the corner gets up and walks over to them.\nNow he is upright we see he is very large indeed and does not look\nfriendly.]", "[Withnail stands and moves over to Monte.]", "Withnail:\n Hey, stop!\n I:\n Stop\n Withnail:\n Stop\n I:\n Stop please!\n [The tractor driver notices them and stops.]" ], [ "[They walk back inside. I claps Withnail on the back. Back inside,\n Withnail removes his boots and places them in the oven attached to the\n fire.]", "Withnail:\n If I don't get aspirin I shall die here on this fucking\n mountainside.\n [They enter the house. I lights a match and finds a lantern which he", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "Withnail:\n You want me to call what-his-name and ask him about his house?\n I:\n Why not?\n Withnail:", "I:\n Montegue Withnail, you must know him. Fat man, owns the cottage.\n Parkin:", "---------------------------------------------------------------------------\n\nThe Flat\n\n[I stumbles up the barely lit stairs looking unwell. Withnail emerges from\nhis room holding a bottle and glass and follows him.]", "The cottage\n\n [They draw up in a yard and get out of the car. Withnail staggers\n around aimlessly as I gets the baggage from the boot.]", "[Withnail knocks on the door. Monte, a rather fat, effeminate, middle-aged\ngentleman, opens the door. He is holding a very large fluffy cat and a\nwatering can.]", "side of the car to his own but it refuses to come off. He gets\n back in the car and in shutting the door wakes Withnail, who\n looks considerably the worse for wear.]", "Withnail:\n We'll have tea and cake. [An elderly man comes across to their\n table. He is the proprietor] P: Did you hear her? She said she'd", "I:\n Here, changeover point.\n[Withnail slams the gate behind them but it doesn't fasten. They see Parkin\non his tractor.]", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "[Later they are leaving the house. Monty shows them to the door.]\n\nMonty:\n Good night my dears.\nWithnail:\n Good night Monty.", "Stop saying that Withnail, of course he's the fucking farmer. [To\n Parkin] We're friends of Montague Withnail, we desperately need\n fuel and wood.", "[Withnail enters with their lunch from the chippy]", "I:\n Monty!\n [He looks accross to Withnail who is sat dejectedly in a chair.]", "Why are we having lunch in here?\nWithnail:\n It's dinner and Danny's here.\nI:\n Danny!? How did he get in?", "Why don't you give him a call.\n Withnail:\n What for?\n I:\n Ask him about his house.", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little" ], [ "Withnail:\n You want me to call what-his-name and ask him about his house?\n I:\n Why not?\n Withnail:", "Withnail:\n That's what I want to know. what happened to my cigar commercial. What\nhappened to my agent? Bastard must have died.\nI:", "Monty:\n Indeed I remember my first agent. Raymond Duck. Dreadful little\n Israelite. Four floors up at the charring cross and never a job at the", "Why don't you give him a call.\n Withnail:\n What for?\n I:\n Ask him about his house.", "Withnail:\n Rather busy uncle. TV and stuff. My agent's trying to edge me towards\n the Royal Shakespeare again.\nMonty:", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:", "Withnail:\n I let him in this morning. He lost one of his clogs. He's come in\n because of the perpetual cold. I hope the buggers sales plummet.", "I:\n Ugh. What about what-his-name?\n Withnail:\n What about him?\n I:", "I don't care what he knows, you must leave Monty. [I gets out of\n bed and goes over to the door. Monty beats him to it.]\n Monty:", "He can't, he'll go away. He's going away.\n Withnail:\n He's getting in thorough the window. He's sharpening the fucking\n knife", "sincerely hope that you will find the happiness that has saddly\n always been denied me. Yours faithfully, Montegue H Withnail.'\n Poor old bastard.", "Very, very foolish words man.\nI:\n He's right Withnail. Look at him . His mechanisms gone. He's had more\n drugs than you've had hot dinners.", "Monty:\n It is the most shattering experience of a young man's life when he\n awakes and quite reasonable says to himself: [He puts his hand on his", "Oh splendid.\nWithnail:\n He's just had an audition for rep.\nMonty:", "There's no need to explain, he's told me everything.\n I:\n What! What's he told you?\n Monty:", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "Withnail:\n I have some extremely distressing news.\nI:", "Well he's randy!\n I:\n Yeah, yeah. I know he is\n[Withnail has his cigarettes out and is lighting up.]", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car." ], [ "Did you get the part man? [I takes a draw on the joint and\n splutters. He shakes his head]\n I:", "control. You have a rush. It will pass.\n I:\n Aren't you getting absurdly high? D: Precisely the reason I'm\n smoking it.", "Withnail:\n Well stop smilling at him.\n I:\n I can't help it, I'm so uptight with him.", "but as he hands it to withnail we see the true size. It is\n enormous.] D: These will tend to make you very high. [Withnail", "rizzlers at a prolific rate]\n Withnail:\n What are you going to do with those? D: The joint I am about to", "Warm up!? We may as well sit round a cigarette. This is\n ridiculous. We'll be found dead in here next spring.\n [He attemps half-heartedly to light a cigarette.]", "Withnail:\n Hey, stop!\n I:\n Stop\n Withnail:\n Stop\n I:\n Stop please!\n [The tractor driver notices them and stops.]", "takes a long draw] D: This grass is the most powerfull in the\n western hemisphere. It grows at exactly two thousand feet above", "Hold on, hold on. Don't let you imagination run away with you.\n [He light up and coughs up some phlem]\n I:", "I:\n What are you doing?\n Withnail:\n Sitting down to enjoy my holiday\n I:", "Jake:\n Ah, he know. Here, give us a wheeze on that fag.\n[He takes the cigarette from Withnail's mouth and takes a draw. I gives him", "fingers to the bone and all you do is sit in here drinking. Now,\n he's going to revitalize himself in here while you finish the\n vegtables.\n Withnail:", "[I goes into the kitchen which is by now full of steam and turns off the\nkettle. Withnail follows him around reading from a newspaper.]", "joint, gets up somewhat precariously and walks into a kitchen which is full\nof bottles and dirty washing up. He lights the gas on the stove and puts on\nthe kettle.]", "It's imposible to use 12 papers on one joint. D: It is impossible\n to roll a camberwell carrot with anything less.\n Withnail:", "You're full of scotch you silly tool. [The police van comes along\n side them and a policeman leans out pointing markedly to the", "[Monty moves to the sideboard and pours the drinks. Withnail lights up yet\nanother cigarette.]", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "Withnail:\n All right, this is the plan. We get in there and get wrecked.\n Then we'll eat a pork pie. Then we drop a couple of soamser", "Would you like a smoke?\n Withnail:\n Yes\n I:\n No thanks, I've got a call to make. [Danny starts pulling out" ], [ "The Street\n\n [They walk towards a rather rough looking pub: 'The Old Mother\n Blackcap'.]", "examine the view. It is quite magnificent. Later, he is dressed and\n walks down to the farm. The building is surrounded by an assortment of\n farmyard junk. He knocks at the door]", "Where is he. Utterly aresholed.\n I:\n We're early. [I looks accross to some tearooms]\n I:", "I [narrating]:\n If the Crow and Crown had ever had life it was dead now. It was", "edge. 'I' turns his attention to his paper. The story is about a\ntransexual, the headline 'Love made up my mind, I had to become a woman'.\nHe looks around at the other customers.]", "[He sits the chicken on the brick.]\n\n---------------------------------------------------------------------------\n\nA phonebox\n\n[I is smoking stood outside the phonebox waiting for Withnail.]", "hurricane. This place is uninhabitable.\n [They sit close to the fire, which is rather small.]", "What about this chicken?\n Parkin:\n 's on back\n [Back inside I has left the chicken on the table. It is alive and", "mumers about wanting to be on his own. He drops him on the bed\n and dashes back to his own room to get his bedding. Before he can", "[A few shafts of sunlight sneak through the curtains and illuminate a\nsitting room. There are empty bottles everywhere. 'I', who is smoking a", "moment of drunken sincerity. I'm in considerable danger in here.\n I must get out of here at once.\n [He walks back into the bar.]", "Old woman:\n Who's there?\n I:\n Me!\n [The door opens cautiously and an old woman peers out inquiringly.]", "Now, you get the wellingtons. I'm going to but some razors and\n shaving soap. I'll meet you here in half an hour. [Monty drives\n off]", "-------------------------------------------------------------------------------\n The hillside. [The are walking through thick bracken listening to\n Monte expound on Oxford.]\n Monty:", "Jake:\n I know where you are. You're at crow crag. I've been wathching\n you. Especially you, prancing like a tit. You want working on", "Withnail:\n Are we there?\n I:\n No, we're not we're here and we're in the middle of a fucking", "I:\n [to himself] Not the attitude I'd been given to expect from the H\n E Bates novel I'd read. I thought they'd all be out the back", "We're leaving in a minute. Alright here? Miss B: What do you\n want? [He sits down at the table and makes a rather perfunctory\n examination of the menu.]", "the bath is a large black man who looks at them inquiringly. I\n looks in his bedroom. The bed is occupied by Danny]\n I:", "-------------------------------------------------------------------------------\n The cottage. [They are playing poker with bottle tops and a few\n coins. An old gramaphone is plaing in the background. The game is" ], [ "fingers to the bone and all you do is sit in here drinking. Now,\n he's going to revitalize himself in here while you finish the\n vegtables.\n Withnail:", "[Monty moves to the sideboard and pours the drinks. Withnail lights up yet\nanother cigarette.]", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "[I shakes his head. Withnail presses forwards and I backs off.]", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "[Withnail stands infront of a mirror and brushes his long, greasy hair with\na comb. I sits on the settee and starts drinking the coffee from the bowl\nusing a spoon.]", "He can't, he'll go away. He's going away.\n Withnail:\n He's getting in thorough the window. He's sharpening the fucking\n knife", "[Withnail turns and reaches a bottle over from the sideboard. He takes a\nlong swig. ]", "I:\n Withnail you bastard wake up.\n [He bangs on the ceiling and moves to the sink to wash.]", "side of the car to his own but it refuses to come off. He gets\n back in the car and in shutting the door wakes Withnail, who\n looks considerably the worse for wear.]", "I:\n What's all this. The man's mad.\nWithnail:\n Eccentric.\nI:\n Eccentric? He's insane. Not only that he's a raving homosexual.", "Withnail:\n Well stop smilling at him.\n I:\n I can't help it, I'm so uptight with him.", "---------------------------------------------------------------------------\n\nThe Flat\n\n[I stumbles up the barely lit stairs looking unwell. Withnail emerges from\nhis room holding a bottle and glass and follows him.]", "Withnail:\n Grab its ring. Keep your bag up. Outvive him.\n Parkin:\n Hey, listen, show no fear! Just run at it", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "Withnail:\n If I don't get aspirin I shall die here on this fucking\n mountainside.\n [They enter the house. I lights a match and finds a lantern which he", "Withnail:\n You just wait. Just you wait. When I strike they won't know what\n hit them.\n [He hears a noise from outside.]", "Withnail:\n Don't be ridiculous, he's got a gun. Bastard's phycotic, you've\n only got to look at him.", "Withnail:\n I've got a blinding fucking headache. Got to have heat!\n [He stands and smashes a chair against the floor. A little later the\n fire is burning considerably higher.]", "[Later, I is washing his hands in the sink having finished getting the\nchickens guts out. Withnail enters with a shotgun and points it at I's\nhead.]" ], [ "Withnail:\n Balls to Monty!? I've just spent an hour flattering the bugger.\n I:", "I:\n I beg your pardon Monte.\n Monty:\n You lead him astray. Oh don't pretend you don't understand, I", "I don't care what he knows, you must leave Monty. [I gets out of\n bed and goes over to the door. Monty beats him to it.]\n Monty:", "it behind him.]\n Monty:\n Then we must choose our moment and have a word with him. I'm sure", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "Monty:\n Can't find the rosemary! I'm sure we could find it together. [He\n leans accross I in a rather comprimising fashion.]\n I:", "That's why he's rejecting me while you're here. On my life Monty,\n this is the first time in six years we havn't slept together. I", "get back though Monty has come up the stairs and just finished\n locking the door.]\n Monty:\n He doesn't want to sleep with you.", "he wants. offer him yourself! we mean no harm.\n Monty:\n oh my boys, my boys.\n I:", "Monty:\n Get that damned little swine out of here. It's trying to get itself in\n with you. It's trying for even more advantage. It's obsessed with its", "Monty you must listen! We're in an affair, we have been for\n years. But he's estranged, he won't allow himself to admit it.", "Monty:\n You beastly little parasite. How dare you? You little thug. How dare\n you? Ooohhhh. Beastly ungrateful little swine.", "Monty:\n It is the most shattering experience of a young man's life when he\n awakes and quite reasonable says to himself: [He puts his hand on his", "monty! monty monty!\n Withnail:\n monty you terrible cunt. what are you doing prowling round in the\n middle of the fucking night?", "couldn't cheat on him, it would kill him.\n Monty:\n Oh my dear boy, if I'd realised that I'd never have attempted to\n come between you.", "Monty:\n And you'll be marvelous. [He starts quoting from Hamlet] We do it\n wrong, being so majestical. To offer it the show of violence......", "Monty:\n Oh hello. Come in.\n\n[They enter and go into the lounge.]\n\nMonty:\n Sit down do. Would you like a drink?", "[Withnail knocks on the door. Monte, a rather fat, effeminate, middle-aged\ngentleman, opens the door. He is holding a very large fluffy cat and a\nwatering can.]", "Withnail:\n Could I have a word with you Monte?\nMonty:\n Oh forgive me dear boy, forgive me. I was allowing memories to have", "I:\n I know that Monty, I respected you for your sensitivity, I thank\n you for it.\n Monty:\n You better go to him" ], [ "I:\n I shall miss you Withnail.\n Withnail:\n I'll miss you too. [I departs. Withnail walks to the fence and", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "both bars on. But old now, there is no true beauty without decay.\n Withnail:\n Legium pro Britania\n Monty:", "or I'm off.\n Withnail:\n Alright, alright [They stride off back to the cottage. Before", "here with the express intention of wishing one on you. That said,\n I'm leaving for London.\n Withnail:", "I:\n You'll suffer for this Withnail. What you have done will have to\n be paid for.\n Withnail:", "Withnail:\n Monte, Monte.\nMonty:\n No dear boy you must leave, you must leave. Once again that oaf has", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "Find some old barn and fall asleep with the sweet perfume of hay\n on our lips.\n Withnail:\n Would it be in poor form to plagarise a toast?", "Withnail:\n If I don't get aspirin I shall die here on this fucking\n mountainside.\n [They enter the house. I lights a match and finds a lantern which he", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "leans against it.]\n Withnail:\n I have of late, but wherefore I know not, lost all my mirth and", "Withnail:\n What is it? What have you found?\nI:\n Matter.\nWithnail:", "Withnail:\n Could I have a word with you Monte?\nMonty:\n Oh forgive me dear boy, forgive me. I was allowing memories to have", "No, I got a different one. They want me to play the lead.\n Withnail:\n Congratulations. D: Where exactly have you two been?\n I:", "fingers to the bone and all you do is sit in here drinking. Now,\n he's going to revitalize himself in here while you finish the\n vegtables.\n Withnail:", "Monty:\n Another hand? [Withnail looks up and slumps in his chair. He is\n totally plastered.]\n Monty:", "He can't, he'll go away. He's going away.\n Withnail:\n He's getting in thorough the window. He's sharpening the fucking\n knife", "I:\n Eat it\nWithnail:\n Eat it!? Fucker's alive\nI:", "Withnail. Lets all have a laugh. Good old Jake.\n Monty:\n He's going away. [They walk down to the cottage. There is a hare" ], [ "---------------------------------------------------------------------------\n\nThe Flat\n\n[I stumbles up the barely lit stairs looking unwell. Withnail emerges from\nhis room holding a bottle and glass and follows him.]", "and urine splashes everywhere. Withnail grins sheepishly]\n -------------------------------------------------------------------------------\n The flat [Withnail and I enter their flat. They look through the\n post]", "I:\n Montegue Withnail, you must know him. Fat man, owns the cottage.\n Parkin:", "[They walk back inside. I claps Withnail on the back. Back inside,\n Withnail removes his boots and places them in the oven attached to the\n fire.]", "Withnail and I\n\nCamden Town, London. 1969\n\nThe Flat.", "The cottage\n\n [They draw up in a yard and get out of the car. Withnail staggers\n around aimlessly as I gets the baggage from the boot.]", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "various customers as he leaves, shutting his coat in the door.]\n -------------------------------------------------------------------------------\n The cottage [Withnail and I are sat inside. There is no sign of", "or I'm off.\n Withnail:\n Alright, alright [They stride off back to the cottage. Before", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "[Withnail knocks on the door. Monte, a rather fat, effeminate, middle-aged\ngentleman, opens the door. He is holding a very large fluffy cat and a\nwatering can.]", "side of the car to his own but it refuses to come off. He gets\n back in the car and in shutting the door wakes Withnail, who\n looks considerably the worse for wear.]", "Withnail:\n If I don't get aspirin I shall die here on this fucking\n mountainside.\n [They enter the house. I lights a match and finds a lantern which he", "Withnail:\n We'll have tea and cake. [An elderly man comes across to their\n table. He is the proprietor] P: Did you hear her? She said she'd", "I:\n Yeah, that's him.\n Withnail:\n Listen, we're bona fide. We're not from London. Could we have", "[Monty moves to the sideboard and pours the drinks. Withnail lights up yet\nanother cigarette.]", "Withnail. Lets all have a laugh. Good old Jake.\n Monty:\n He's going away. [They walk down to the cottage. There is a hare", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "[Withnail stands infront of a mirror and brushes his long, greasy hair with\na comb. I sits on the settee and starts drinking the coffee from the bowl\nusing a spoon.]", "[Withnail enters with their lunch from the chippy]" ], [ "Withnail:\n I most certainly am P1: I'm placing you under arrest.\n Withnail:", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "[He emerges from the phonebox.]\n Withnail:\n Bitch hung up on me.\n[I fishes around in his pocket and finds a shilling for Withnail who goes", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:", "Withnail:\n Couple of blooms.\n I:\n One each. [He removes a fiver from Withnail's hand]\n Withnail:", "I:\n Withnail you bastard wake up.\n [He bangs on the ceiling and moves to the sink to wash.]", "I:\n What are you doing?\n Withnail:\n Sitting down to enjoy my holiday\n I:", "I:\n What's all this. The man's mad.\nWithnail:\n Eccentric.\nI:\n Eccentric? He's insane. Not only that he's a raving homosexual.", "arm cutting of any opatunity of escape. Withnail enters with the\n wine and puts the bags on the table.]\n Withnail:", "He can't, he'll go away. He's going away.\n Withnail:\n He's getting in thorough the window. He's sharpening the fucking\n knife", "Withnail:\n What absolute twaddle.\nDanny:\n Has he just been busted?\nI:\n No.", "Withnail:\n What fucker said that!?\n\n[The large Irish gentleman in the corner gets up and walks over to them.\nNow he is upright we see he is very large indeed and does not look\nfriendly.]", "side of the car to his own but it refuses to come off. He gets\n back in the car and in shutting the door wakes Withnail, who\n looks considerably the worse for wear.]", "The car\n\n [They leave Camden in I's battered old Jag. Withnail, still in his\n suit, has a bottle and is clearly drunk. They pass some schoolgirls.]", "Withnail:\n Hey, stop!\n I:\n Stop\n Withnail:\n Stop\n I:\n Stop please!\n [The tractor driver notices them and stops.]" ], [ "[Later they are leaving the house. Monty shows them to the door.]\n\nMonty:\n Good night my dears.\nWithnail:\n Good night Monty.", "I don't care what he knows, you must leave Monty. [I gets out of\n bed and goes over to the door. Monty beats him to it.]\n Monty:", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "Withnail. Lets all have a laugh. Good old Jake.\n Monty:\n He's going away. [They walk down to the cottage. There is a hare", "Monty:\n Oh, wait for us dear boy, we'll all go.\n -------------------------------------------------------------------------------\n Outside the cottage [I is leaning on the wall. Withnail emerges", "[Monty closes the inner door to the porch behind them.]", "Now, you get the wellingtons. I'm going to but some razors and\n shaving soap. I'll meet you here in half an hour. [Monty drives\n off]", "I:\n Then get after it. That's the man.\n [They rush out of the cottage and pursue the tractor.]", "Withnail:\n Monte, Monte.\nMonty:\n No dear boy you must leave, you must leave. Once again that oaf has", "The cottage\n\n [They draw up in a yard and get out of the car. Withnail staggers\n around aimlessly as I gets the baggage from the boot.]", "various customers as he leaves, shutting his coat in the door.]\n -------------------------------------------------------------------------------\n The cottage [Withnail and I are sat inside. There is no sign of", "[Monty moves to the sideboard and pours the drinks. Withnail lights up yet\nanother cigarette.]", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:", "I:\n Montegue Withnail, you must know him. Fat man, owns the cottage.\n Parkin:", "or I'm off.\n Withnail:\n Alright, alright [They stride off back to the cottage. Before", "-------------------------------------------------------------------------------\n The cottage. [They are playing poker with bottle tops and a few\n coins. An old gramaphone is plaing in the background. The game is", "Sorry can't. I mean, I'd love to stay but he's more adament to\n get back than I am. [Monty slips the apron over I's head and ties", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "Alright, we'll get the dinner down then we'll leave. [In the\n kitchen Monty pulls the cork from the sherry and emerges with\n three different glasses.]" ], [ "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "The car\n\n [They leave Camden in I's battered old Jag. Withnail, still in his\n suit, has a bottle and is clearly drunk. They pass some schoolgirls.]", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "Withnail:\n What fucker said that!?\n\n[The large Irish gentleman in the corner gets up and walks over to them.\nNow he is upright we see he is very large indeed and does not look\nfriendly.]", "[Later they are leaving the house. Monty shows them to the door.]\n\nMonty:\n Good night my dears.\nWithnail:\n Good night Monty.", "Withnail:\n Sod your pheasants. You'll have to find us first.\n[They make to leave]", "Withnail:\n Imagine the size of his balls. Imagine getting into a fight with the\n fucker!\nI:", "[They push past the man and rush to the door.]\n\nWithnail:\n Ahhhh, out of my way.\n\n---------------------------------------------------------------------------\n\nThe Bathroom", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "Withnail:\n What!?\n I:\n Get you stuff together, we leave in half an hour.\n Withnail:", "Withnail:\n I've got a blinding fucking headache. Got to have heat!\n [He stands and smashes a chair against the floor. A little later the\n fire is burning considerably higher.]", "I:\n alright you've made your point. we pack up tomorrow and get out.\n Withnail:\n where are you going?\n I:", "or I'm off.\n Withnail:\n Alright, alright [They stride off back to the cottage. Before", "you frightened the piss out of me. move over\n I:\n will you get out\n Withnail:\n no\n I:", "Withnail:\n Monte, Monte.\nMonty:\n No dear boy you must leave, you must leave. Once again that oaf has", "proprietor. Now, will you leave?\n Withnail:\n Ah good, I'm glad you're the proprietor. I was going to have to", "Withnail:\n You just wait. Just you wait. When I strike they won't know what\n hit them.\n [He hears a noise from outside.]", "Withnail:\n If I don't get aspirin I shall die here on this fucking\n mountainside.\n [They enter the house. I lights a match and finds a lantern which he" ], [ "like a tide. Don't let it ruin your youth as I nearly did over\n Eric.\n I:\n I'm not homosexual Monty\n Monty:", "Monty:\n It is the most shattering experience of a young man's life when he\n awakes and quite reasonable says to himself: [He puts his hand on his", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "I:\n I know that Monty, I respected you for your sensitivity, I thank\n you for it.\n Monty:\n You better go to him", "couldn't cheat on him, it would kill him.\n Monty:\n Oh my dear boy, if I'd realised that I'd never have attempted to\n come between you.", "I don't care what he knows, you must leave Monty. [I gets out of\n bed and goes over to the door. Monty beats him to it.]\n Monty:", "Monty you must listen! We're in an affair, we have been for\n years. But he's estranged, he won't allow himself to admit it.", "That's why he's rejecting me while you're here. On my life Monty,\n this is the first time in six years we havn't slept together. I", "get back though Monty has come up the stairs and just finished\n locking the door.]\n Monty:\n He doesn't want to sleep with you.", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:", "Monty:\n Can't find the rosemary! I'm sure we could find it together. [He\n leans accross I in a rather comprimising fashion.]\n I:", "Withnail:\n Christ almighty\n [I looks round a little more thouroughly. He notices a picture of\n Monty on the wall.]", "it behind him.]\n Monty:\n Then we must choose our moment and have a word with him. I'm sure", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "There's no need to explain, he's told me everything.\n I:\n What! What's he told you?\n Monty:", "No I'm not asleep. What is it Monty, what do you want. [I lights\n a candle. Monty sits down on the side on the bed.]\n Monty:", "[Later they are leaving the house. Monty shows them to the door.]\n\nMonty:\n Good night my dears.\nWithnail:\n Good night Monty.", "monty! monty monty!\n Withnail:\n monty you terrible cunt. what are you doing prowling round in the\n middle of the fucking night?", "I:\n I beg your pardon Monte.\n Monty:\n You lead him astray. Oh don't pretend you don't understand, I" ], [ "I:\n I shall miss you Withnail.\n Withnail:\n I'll miss you too. [I departs. Withnail walks to the fence and", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "Withnail:\n Couple of blooms.\n I:\n One each. [He removes a fiver from Withnail's hand]\n Withnail:", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "I:\n What's all this. The man's mad.\nWithnail:\n Eccentric.\nI:\n Eccentric? He's insane. Not only that he's a raving homosexual.", "Withnail:\n If I don't get aspirin I shall die here on this fucking\n mountainside.\n [They enter the house. I lights a match and finds a lantern which he", "I:\n What are you doing?\n Withnail:\n Sitting down to enjoy my holiday\n I:", "Withnail:\n Could I have a word with you Monte?\nMonty:\n Oh forgive me dear boy, forgive me. I was allowing memories to have", "I:\n Ugh. What about what-his-name?\n Withnail:\n What about him?\n I:", "I:\n Yeah, that's him.\n Withnail:\n Listen, we're bona fide. We're not from London. Could we have", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "I:\n Withnail you bastard wake up.\n [He bangs on the ceiling and moves to the sink to wash.]", "Withnail:\n Come on old boy. What's in your hump?\n Jake:\n Those pheasants are for his pot. There eels are for my pot. Now", "Withnail:\n Monte used to act.\nMonty:\n I'd hardly say that. It's true I crept the boards in my youth but I", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "I:\n Stop laughing will you Withnail, this is serious. D: No it ain't.\n I looked into it. Studied the papers.\n I:", "---------------------------------------------------------------------------\n\nThe Flat\n\n[I stumbles up the barely lit stairs looking unwell. Withnail emerges from\nhis room holding a bottle and glass and follows him.]", "Withnail:\n You want me to call what-his-name and ask him about his house?\n I:\n Why not?\n Withnail:", "proprietor. Now, will you leave?\n Withnail:\n Ah good, I'm glad you're the proprietor. I was going to have to" ], [ "Withnail and I\n\nCamden Town, London. 1969\n\nThe Flat.", "Withnail:\n If I don't get aspirin I shall die here on this fucking\n mountainside.\n [They enter the house. I lights a match and finds a lantern which he", "and urine splashes everywhere. Withnail grins sheepishly]\n -------------------------------------------------------------------------------\n The flat [Withnail and I enter their flat. They look through the\n post]", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "The cottage\n\n [They draw up in a yard and get out of the car. Withnail staggers\n around aimlessly as I gets the baggage from the boot.]", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "Why don't you give him a call.\n Withnail:\n What for?\n I:\n Ask him about his house.", "I:\n Montegue Withnail, you must know him. Fat man, owns the cottage.\n Parkin:", "Withnail:\n Are we there?\n I:\n No, we're not we're here and we're in the middle of a fucking", "Withnail:\n You want me to call what-his-name and ask him about his house?\n I:\n Why not?\n Withnail:", "---------------------------------------------------------------------------\n\nThe Flat\n\n[I stumbles up the barely lit stairs looking unwell. Withnail emerges from\nhis room holding a bottle and glass and follows him.]", "I:\n What's that?\n Withnail:\n The fuel and wood situation. There's nothing out there except a", "The car\n\n [They leave Camden in I's battered old Jag. Withnail, still in his\n suit, has a bottle and is clearly drunk. They pass some schoolgirls.]", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "[They walk back inside. I claps Withnail on the back. Back inside,\n Withnail removes his boots and places them in the oven attached to the\n fire.]", "I:\n where's the matches?\n Withnail:\n in the kitchen.\n I:", "or I'm off.\n Withnail:\n Alright, alright [They stride off back to the cottage. Before", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "Withnail:\n How should i know where we are. I feel like a pig shat in my\n head.\n I:" ], [ "Monty:\n Oh hello. Come in.\n\n[They enter and go into the lounge.]\n\nMonty:\n Sit down do. Would you like a drink?", "Monty:\n You beastly little parasite. How dare you? You little thug. How dare\n you? Ooohhhh. Beastly ungrateful little swine.", "Monty:\n That's four. [I puts in four. Monty deals the last set of cards.]\n Monty:\n ?\n Withnail:", "He went to the other place Monte.\nMonty:\n Oh you went to Eton?\n [The cat reappears on I's chair.]", "against the knob. There is a determined pushing at the door from\n the other side which dislodges the chair and Monty enters.]\n Monty:", "Monty:\n It is the most shattering experience of a young man's life when he\n awakes and quite reasonable says to himself: [He puts his hand on his", "he wants. offer him yourself! we mean no harm.\n Monty:\n oh my boys, my boys.\n I:", "I don't care what he knows, you must leave Monty. [I gets out of\n bed and goes over to the door. Monty beats him to it.]\n Monty:", "it behind him.]\n Monty:\n Then we must choose our moment and have a word with him. I'm sure", "Now, you get the wellingtons. I'm going to but some razors and\n shaving soap. I'll meet you here in half an hour. [Monty drives\n off]", "There's no need to explain, he's told me everything.\n I:\n What! What's he told you?\n Monty:", "Monty!? He'd go to New York.\n Withnail:\n Calcualted risk.\n I:", "Monty:\n Indeed I remember my first agent. Raymond Duck. Dreadful little\n Israelite. Four floors up at the charring cross and never a job at the", "Monty? Uncle Monty?\n I:\n That's him. That's the one. Get the Jag fixed up. Spend the\n weekend in the country.", "Withnail:\n Balls to Monty!? I've just spent an hour flattering the bugger.\n I:", "Monty you must listen! We're in an affair, we have been for\n years. But he's estranged, he won't allow himself to admit it.", "monty! monty monty!\n Withnail:\n monty you terrible cunt. what are you doing prowling round in the\n middle of the fucking night?", "I tried not to come, oh how I tried not to.\n I:\n There's something I've got to tell you Monty.\n Monty:", "I:\n I know that Monty, I respected you for your sensitivity, I thank\n you for it.\n Monty:\n You better go to him", "Monty:\n i had a punctured tyre. i had to wait an eon for assistance. i'm\n sorry if i frightened you. i'll sleep in the other room if i may" ], [ "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "I:\n Yeah, that's him.\n Withnail:\n Listen, we're bona fide. We're not from London. Could we have", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "I:\n What are you doing?\n Withnail:\n Sitting down to enjoy my holiday\n I:", "Withnail:\n Monte used to act.\nMonty:\n I'd hardly say that. It's true I crept the boards in my youth but I", "Withnail:\n Hello. How are you? Very well. What! Why wouldn't they see me?\n This is ridiculous. I haven't been up in a job for three months.", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "Withnail:\n If I don't get aspirin I shall die here on this fucking\n mountainside.\n [They enter the house. I lights a match and finds a lantern which he", "Withnail:\n Couple of blooms.\n I:\n One each. [He removes a fiver from Withnail's hand]\n Withnail:", "I:\n What's all this. The man's mad.\nWithnail:\n Eccentric.\nI:\n Eccentric? He's insane. Not only that he's a raving homosexual.", "No, I got a different one. They want me to play the lead.\n Withnail:\n Congratulations. D: Where exactly have you two been?\n I:", "I:\n I shall miss you Withnail.\n Withnail:\n I'll miss you too. [I departs. Withnail walks to the fence and", "or I'm off.\n Withnail:\n Alright, alright [They stride off back to the cottage. Before", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "I:\n What's that?\n Withnail:\n The fuel and wood situation. There's nothing out there except a", "These shall be my pleasure. What are you doing up here then?\n Withnail:\n We're doing a feature for Country Life. Survey of rural types:", "Withnail:\n Come on old boy. What's in your hump?\n Jake:\n Those pheasants are for his pot. There eels are for my pot. Now", "Withnail:\n You want me to call what-his-name and ask him about his house?\n I:\n Why not?\n Withnail:", "multi-millionaries. we'll buy this place and fire you\n immediately.\n Withnail:\n Yeah, that's right, we'll buy this place and install a fucking" ], [ "There's no need to explain, he's told me everything.\n I:\n What! What's he told you?\n Monty:", "like a tide. Don't let it ruin your youth as I nearly did over\n Eric.\n I:\n I'm not homosexual Monty\n Monty:", "get back though Monty has come up the stairs and just finished\n locking the door.]\n Monty:\n He doesn't want to sleep with you.", "I don't care what he knows, you must leave Monty. [I gets out of\n bed and goes over to the door. Monty beats him to it.]\n Monty:", "Monty:\n It is the most shattering experience of a young man's life when he\n awakes and quite reasonable says to himself: [He puts his hand on his", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "Monty you must listen! We're in an affair, we have been for\n years. But he's estranged, he won't allow himself to admit it.", "it behind him.]\n Monty:\n Then we must choose our moment and have a word with him. I'm sure", "I:\n I know that Monty, I respected you for your sensitivity, I thank\n you for it.\n Monty:\n You better go to him", "couldn't cheat on him, it would kill him.\n Monty:\n Oh my dear boy, if I'd realised that I'd never have attempted to\n come between you.", "That's why he's rejecting me while you're here. On my life Monty,\n this is the first time in six years we havn't slept together. I", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:", "Monty:\n Can't find the rosemary! I'm sure we could find it together. [He\n leans accross I in a rather comprimising fashion.]\n I:", "He went to the other place Monte.\nMonty:\n Oh you went to Eton?\n [The cat reappears on I's chair.]", "Monty:\n You beastly little parasite. How dare you? You little thug. How dare\n you? Ooohhhh. Beastly ungrateful little swine.", "against the knob. There is a determined pushing at the door from\n the other side which dislodges the chair and Monty enters.]\n Monty:", "loyal. I'm terribly tired Monty, I need to get to bed.\n Monty:\n You must mustn't you. Off you go then. I'll sleep down here. It", "Sorry. Sherry's in there. [Monty exits to the kitchen armed with\n the sherry.]\n I:", "I:\n I beg your pardon Monte.\n Monty:\n You lead him astray. Oh don't pretend you don't understand, I", "Monty:\n Oh hello. Come in.\n\n[They enter and go into the lounge.]\n\nMonty:\n Sit down do. Would you like a drink?" ], [ "That's why he's rejecting me while you're here. On my life Monty,\n this is the first time in six years we havn't slept together. I", "get back though Monty has come up the stairs and just finished\n locking the door.]\n Monty:\n He doesn't want to sleep with you.", "I don't care what he knows, you must leave Monty. [I gets out of\n bed and goes over to the door. Monty beats him to it.]\n Monty:", "like a tide. Don't let it ruin your youth as I nearly did over\n Eric.\n I:\n I'm not homosexual Monty\n Monty:", "Monty you must listen! We're in an affair, we have been for\n years. But he's estranged, he won't allow himself to admit it.", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "couldn't cheat on him, it would kill him.\n Monty:\n Oh my dear boy, if I'd realised that I'd never have attempted to\n come between you.", "Monty:\n It is the most shattering experience of a young man's life when he\n awakes and quite reasonable says to himself: [He puts his hand on his", "Sorry can't. I mean, I'd love to stay but he's more adament to\n get back than I am. [Monty slips the apron over I's head and ties", "There's no need to explain, he's told me everything.\n I:\n What! What's he told you?\n Monty:", "I:\n I know that Monty, I respected you for your sensitivity, I thank\n you for it.\n Monty:\n You better go to him", "Withnail:\n Balls to Monty!? I've just spent an hour flattering the bugger.\n I:", "[Later they are leaving the house. Monty shows them to the door.]\n\nMonty:\n Good night my dears.\nWithnail:\n Good night Monty.", "Monty:\n Another hand? [Withnail looks up and slumps in his chair. He is\n totally plastered.]\n Monty:", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "Monty:\n Can't find the rosemary! I'm sure we could find it together. [He\n leans accross I in a rather comprimising fashion.]\n I:", "Monty!? He'd go to New York.\n Withnail:\n Calcualted risk.\n I:", "loyal. I'm terribly tired Monty, I need to get to bed.\n Monty:\n You must mustn't you. Off you go then. I'll sleep down here. It", "Monty:\n That's four. [I puts in four. Monty deals the last set of cards.]\n Monty:\n ?\n Withnail:", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:" ], [ "Withnail:\n I most certainly am P1: I'm placing you under arrest.\n Withnail:", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "[He emerges from the phonebox.]\n Withnail:\n Bitch hung up on me.\n[I fishes around in his pocket and finds a shilling for Withnail who goes", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "I:\n Withnail you bastard wake up.\n [He bangs on the ceiling and moves to the sink to wash.]", "Withnail:\n Couple of blooms.\n I:\n One each. [He removes a fiver from Withnail's hand]\n Withnail:", "I:\n What's all this. The man's mad.\nWithnail:\n Eccentric.\nI:\n Eccentric? He's insane. Not only that he's a raving homosexual.", "Withnail:\n What absolute twaddle.\nDanny:\n Has he just been busted?\nI:\n No.", "side of the car to his own but it refuses to come off. He gets\n back in the car and in shutting the door wakes Withnail, who\n looks considerably the worse for wear.]", "I:\n What are you doing?\n Withnail:\n Sitting down to enjoy my holiday\n I:", "arm cutting of any opatunity of escape. Withnail enters with the\n wine and puts the bags on the table.]\n Withnail:", "Withnail:\n This is a device enabling the drunken driver to operate in\n absolute safety. You fill this with piss, take this pipe down the", "I:\n You'll suffer for this Withnail. What you have done will have to\n be paid for.\n Withnail:", "The car\n\n [They leave Camden in I's battered old Jag. Withnail, still in his\n suit, has a bottle and is clearly drunk. They pass some schoolgirls.]", "Withnail:\n What fucker said that!?\n\n[The large Irish gentleman in the corner gets up and walks over to them.\nNow he is upright we see he is very large indeed and does not look\nfriendly.]" ], [ "and urine splashes everywhere. Withnail grins sheepishly]\n -------------------------------------------------------------------------------\n The flat [Withnail and I enter their flat. They look through the\n post]", "---------------------------------------------------------------------------\n\nThe Flat\n\n[I stumbles up the barely lit stairs looking unwell. Withnail emerges from\nhis room holding a bottle and glass and follows him.]", "Withnail:\n If I don't get aspirin I shall die here on this fucking\n mountainside.\n [They enter the house. I lights a match and finds a lantern which he", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "[They walk back inside. I claps Withnail on the back. Back inside,\n Withnail removes his boots and places them in the oven attached to the\n fire.]", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "tied to the door with a note attached. Withnail unfolds the note\n and hands it to Monte. Monty clearly has some difficulty in\n reading the note.]\n Monty:", "Withnail:\n I've got one!\n [Later, the potatoes are peeled and ready to be cooked. I sits reading", "[Withnail enters with their lunch from the chippy]", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "fingers to the bone and all you do is sit in here drinking. Now,\n he's going to revitalize himself in here while you finish the\n vegtables.\n Withnail:", "Withnail:\n What is it? What have you found?\nI:\n Matter.\nWithnail:", "I:\n Withnail you bastard wake up.\n [He bangs on the ceiling and moves to the sink to wash.]", "Withnail:\n Couple of blooms.\n I:\n One each. [He removes a fiver from Withnail's hand]\n Withnail:", "Withnail:\n You just wait. Just you wait. When I strike they won't know what\n hit them.\n [He hears a noise from outside.]", "Withnail:\n I've got a blinding fucking headache. Got to have heat!\n [He stands and smashes a chair against the floor. A little later the\n fire is burning considerably higher.]", "curtain to reveal that indeed their car has arrived, in the form\n on Monty in the Rolls. They get up and I staggers out the door]\n Withnail:", "I:\n What's that?\n Withnail:\n The fuel and wood situation. There's nothing out there except a", "The cottage\n\n [They draw up in a yard and get out of the car. Withnail staggers\n around aimlessly as I gets the baggage from the boot.]", "[Withnail knocks on the door. Monte, a rather fat, effeminate, middle-aged\ngentleman, opens the door. He is holding a very large fluffy cat and a\nwatering can.]" ], [ "---------------------------------------------------------------------------\n\nThe Park\n\n[Withnail and I walk along a path in the park.]", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "I:\n Here, changeover point.\n[Withnail slams the gate behind them but it doesn't fasten. They see Parkin\non his tractor.]", "Withnail:\n Stop please! Please stop!\n [They run up to the side of the tractor and address the driver, Mr\n Parkin.]", "Withnail:\n You want me to call what-his-name and ask him about his house?\n I:\n Why not?\n Withnail:", "Withnail:\n Grab its ring. Keep your bag up. Outvive him.\n Parkin:\n Hey, listen, show no fear! Just run at it", "here with the express intention of wishing one on you. That said,\n I'm leaving for London.\n Withnail:", "Stop saying that Withnail, of course he's the fucking farmer. [To\n Parkin] We're friends of Montague Withnail, we desperately need\n fuel and wood.", "The Park [It is pouring down with rain. Withnail offer the bottle\n to I]\n I:", "Parkin:\n Shut that gate and keep it shut.\n Withnail:\n I think an evening at the Crow!\n---------------------------------------------------------------------------\n\nThe fields", "I:\n I shall miss you Withnail.\n Withnail:\n I'll miss you too. [I departs. Withnail walks to the fence and", "I:\n Montegue Withnail, you must know him. Fat man, owns the cottage.\n Parkin:", "Withnail:\n Jesus, you're covered in shit.\n I:\n I tried to get fuel and wood, there's a miserable little", "Why don't you give him a call.\n Withnail:\n What for?\n I:\n Ask him about his house.", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "I:\n Oye! Oye! Parkin's been. There's the supper!\nWithnail:\n What are we supposed to do with that?", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "I:\n What's all this. The man's mad.\nWithnail:\n Eccentric.\nI:\n Eccentric? He's insane. Not only that he's a raving homosexual.", "I:\n alright you've made your point. we pack up tomorrow and get out.\n Withnail:\n where are you going?\n I:", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:" ], [ "---------------------------------------------------------------------------\n\nThe Park\n\n[Withnail and I walk along a path in the park.]", "and walks briskly over to him]\n Withnail:\n Look, I know what your thinking but I had no alternative. The old", "I:\n I shall miss you Withnail.\n Withnail:\n I'll miss you too. [I departs. Withnail walks to the fence and", "Withnail:\n Grab its ring. Keep your bag up. Outvive him.\n Parkin:\n Hey, listen, show no fear! Just run at it", "of the car. Please. Sir. [Withnail makes no move so he opens the\n door. Withnail virtually falls out then stands against the car.", "The Park [It is pouring down with rain. Withnail offer the bottle\n to I]\n I:", "I:\n Here, changeover point.\n[Withnail slams the gate behind them but it doesn't fasten. They see Parkin\non his tractor.]", "I:\n We'll I'll say good night then Monty.\n Withnail:\n I want to be alone. [I staggers up the stairs with Withnail who", "Withnail:\n Couple of blooms.\n I:\n One each. [He removes a fiver from Withnail's hand]\n Withnail:", "think, you look like a pair of farm-hands. Get away from the car.\n [He takes out his wallet and hands Withnail two fivers.]\n Monty:", "or I'm off.\n Withnail:\n Alright, alright [They stride off back to the cottage. Before", "[Withnail emerges from the back door with polythene bags tied around\n his feet. He walks into the garden and after a little unearths a\n potato.]", "The cottage\n\n [They draw up in a yard and get out of the car. Withnail staggers\n around aimlessly as I gets the baggage from the boot.]", "Withnail. Lets all have a laugh. Good old Jake.\n Monty:\n He's going away. [They walk down to the cottage. There is a hare", "The car\n\n [They leave Camden in I's battered old Jag. Withnail, still in his\n suit, has a bottle and is clearly drunk. They pass some schoolgirls.]", "[He emerges from the phonebox.]\n Withnail:\n Bitch hung up on me.\n[I fishes around in his pocket and finds a shilling for Withnail who goes", "I haven't the time.\n Withnail:\n Alright, I'll walk with you to the station. We can drink it", "---------------------------------------------------------------------------\n\nThe Flat\n\n[I stumbles up the barely lit stairs looking unwell. Withnail emerges from\nhis room holding a bottle and glass and follows him.]", "Withnail:\n Stop please! Please stop!\n [They run up to the side of the tractor and address the driver, Mr\n Parkin.]", "side of the car to his own but it refuses to come off. He gets\n back in the car and in shutting the door wakes Withnail, who\n looks considerably the worse for wear.]" ] ]

[ "Who is their only visitor?", "What does Marwood realize about Monty's sexuality?", "Who has broken into the cottage where Marwood and Withnail are staying? ", "How does Marwood eventually end Monty's sexual advances on him? ", "Why is Withnail pulled over by the police?", "What is Withnail arrested for? ", "When Withnail and Marwood arrive back home who is lodged at their house? ", "What does Marwood learn from his agent?", "Why does the celebration stop when the guys are smoking a joint?", "What is the setting of this story?", "What does Withnail do in response to his paranoia?", "Why is Monty flirting with Marwood?", "What play does Withnail quote at the end?", "Who is in the London flat when Marwood and Withnail returned from the cottage?", "Why is Withnail arrested?", "What does Monty leave behind when he leaves the cottage?", "Who do Marwood and Withnail get into a fight with before they leave for their trip?", "When does Marwood realize Monty is a homosexual?", "What was the relationship between Withnail and Marwood?", "Where did Withnail and Marwood lived?", "Who was Monty?", "What was Withnail and Marwood profession?", "Who told Monty that Marwood was closeted homosexual?", "Why did Monty stopped showing interest in Marwood?", "Why was Withnail arrested?", "What did Withnail and Marwood found at their flat when they got home?", "Why did Marwood told Withnail at the Regent's Park?", "What was Withnail was holding when he walked away at Regent's park?" ]

[ [ "Danny", "Local drug dealer Danny" ], [ "Marwood realizes that Monty is homosexual", "he's gay" ], [ "Monty", "monty" ], [ "He convinces Monty that he and Withnail are in a committed relationship together", "by saying he and Withnail are in a relationship" ], [ "Because he is speeding and driving recklessly", "for drunk driving" ], [ "Driving under the influence", "driving under the influence" ], [ "Danny and Presuming Ed", "Monty" ], [ "That he is up for a leading part in a play", "that he got a leading role in a play" ], [ "Because Marwood finds out about an eviction notice", "they get an eviction notice" ], [ "London during 1969", "London" ], [ "He climbs under the covers with Marwood.", "He climbs in bed with Marwood." ], [ "Withnail told Monty that Marwood was in the closet.", "homosexual closet" ], [ "He quotes Hamlet.", "Hamlet" ], [ "Danny and Presuming Ed are in the flat.", "Danny and Ed" ], [ "He is driving under the influence.", "driving under the influence" ], [ "A note of apology wishing Marwood and Withnail happiness together.", "an apology note" ], [ "An Irishman.", "an Irishman " ], [ "Marwood realizes Monty's orientation when visiting Monty's house in Chelsea.", "when he comes on to him " ], [ "They were friend.", "They are roommates and alcoholics." ], [ "Camden Town", "london" ], [ "Withnail Uncle?", "Withnail's uncle and a homosexual." ], [ "They were Actors", "Unemployed actors" ], [ "Withnail", "Monty" ], [ "Marwood told Monty his in relationship with withnail.", "Because he thinks Withnail and Marwood are together." ], [ "Withnail was arrested for drunk driving", "Withnail was arrested for driving under the influence." ], [ "They found Danny and Ed squatting at the flat", "local drug dealer Danny" ], [ "Marwood told Withnail he will miss him.", "to have one last drink" ], [ "Bottle of wine.", "A bottle of wine." ] ]

[ [ "The door was suddenly opened. Clean-shaved men appeared, bringing\nchests and carrying the furniture; then the door closed once more on\nthe servant who was removing packages of books.\n\nDes Esseintes sank into a chair.", "He put masons to work on the house he had acquired. Then, one day,\ninforming no one of his plans, he quickly disposed of his old\nfurniture, dismissed his servants, and left without giving the\nconcierge any address.", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "Formerly, during his Parisian days, his love for artificiality had led\nhim to abandon real flowers and to use in their place replicas\nfaithfully executed by means of the miracles performed with India", "More than two months passed before Des Esseintes could bury himself in\nthe silent repose of his Fontenay abode. He was obliged to go to Paris\nagain, to comb the city in his search for the things he wanted to buy.", "In the days when he had deemed it necessary to affect singularity, Des\nEsseintes had designed marvelously strange furnishings, dividing his", "Des Esseintes' sole response was to rub his hands and to sit down in\nfront of a book-case with glass doors. He examined the socks which had", "holdings, bought government bonds and in this way drew an annual\ninterest of fifty thousand francs; in addition, he reserved a sum of\nmoney which he meant to use in buying and furnishing the house where", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "Everything there, books, bric-a-brac and furniture, had an individual\ncharm for him. His bed seemed the softer by comparison with the hard", "Yet this domesticity was as stupid, as selfish, as vile as that of\nhouses of ill-fame. Its creatures drank without being thirsty, laughed", "filled with so many disgusts and fears, move past. What a life he had\nlived! He thought of the evenings spent in society, the horse races,\ncard parties, love affairs ordered in advance and served at the stroke", "Although he had surrendered to his servants the second story of his\nhouse, which he himself never used at all, the ground floor had\nrequired a number of pictures to fit the walls.\n\nIt was thus arranged:", "Thus he proceeded. To imitate the stone-color of ochre and clerical\nyellow, he had his walls covered with saffron silk; to stimulate the", "The cellar was filled with people. Leaning on his elbows on a corner\nof the table, Des Esseintes sat waiting for his glass of port ordered", "his wishes. There, in a shop window on the Palais Royal, lay a huge\ntortoise in a large basin. He had purchased it. Then he had sat a long", "What care he took, what meditations he surrendered himself to, before\nturning over his house to the upholsterers!", "himself to these things, intending later on to hang a few drawings or\npaintings on the panels which remained bare; to place shelves and book", "During the days following his return, Des Esseintes contemplated his\nbooks and experienced, at the thought that he might have been", "him. Helpless in his armchair, he had constantly in sight the books\nset awry on the shelves propped against each other or lying flat on\ntheir sides, like a tumbled pack of cards. This disorder offended him" ], [ "in evoking, and plunged in revery, he repeated to himself this\ningenious, sad and comforting composition he had formerly written upon\nreturning to Paris:", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "soul is pained by all things it thinks upon.\" But the words resounded\nin his mind like sounds deprived of sense; his ennui disintegrated,", "By examining the process of his reasoning, by seeking to unite its\nthreads and to discover its sources and causes, he concluded that his\nprevious mode of living was derived from the education he had", "He bit his nails while he studied a method of removing these discords\nand reconciling the determined opposition of the tones. He finally\ndiscovered that his first inspiration, which was to animate the fire", "the depths of the temperaments of these masters who revealed in them\nthe most mysterious transports of their being with a more sincere\nabandon; and they lifted him far above this trivial life which wearied", "piece of paper and fled, after paying two francs. Expectorating blood,\nin his turn, down the steps, he at length found himself in the street,\njoyous, feeling ten years younger, interested in every little", "that the reserve of his mind was more keenly developed and that he no\nlonger admitted aught but superfine sensations and catholic or sensual\ntorments. To enjoy a work which should combine, according to his", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "One morning, while contemplating his orange and blue walls,\nconsidering some ideal tapestries worked with stoles of the Greek", "That day, Des Esseintes took this incomparable book from his shelves\nand handled it devotedly, once more reading certain pieces which\nseemed to him, in this simple but inestimable frame, more than\nordinarily penetrating.", "Des Esseintes had acquired his two masterpieces and, at night, used to\nsink into revery before one of them--a representation of Salome,\nconceived in this fashion:", "Simultaneous with the refinement of his literary taste and his\npreoccupations with art, which permitted him to be content only in the", "In fact, when the period in which a man of talent is obliged to live\nis dull and stupid, the artist, though unconsciously, is haunted by a\nnostalgia of some past century.", "Formerly, during his Parisian days, his love for artificiality had led\nhim to abandon real flowers and to use in their place replicas\nfaithfully executed by means of the miracles performed with India", "During the days following his return, Des Esseintes contemplated his\nbooks and experienced, at the thought that he might have been", "flesh so fabulous and dazzling. Lost in contemplation, he sought to\ndiscover the origins of this great artist and mystic pagan, this\nvisionary who succeeded in removing himself from the world", "himself to reflecting surrounding objects with impersonal clearness.\nCertainly, Des Esseintes still loved the works of these two poets, as\nhe loved rare stones and precious objects, but none of the variations", "of sensations common to society, in this unnatural confinement in\nwhich he persisted, all the questionings forgotten during his stay in\nParis were revived as active irritants. The reading of his beloved", "Des Esseintes' sole response was to rub his hands and to sit down in\nfront of a book-case with glass doors. He examined the socks which had" ], [ "novels were pitiful. His language was vapid, when it was not engaged\nin a striking controversy. In repose, he changed, uttering banal\nlitanies and mumbling childish hymns.", "The Latin written in that era which professors still persist in\ncalling the Great Age, hardly stimulated Des Esseintes. With its", "of the most fervent Catholics. Her writings had filled him with\ninsufferably horrible boredom; they were more than merely wretched:", "This work of selection had slowly acted within him; not long ago he\nhad adored the great Balzac, but as his body weakened and his nerves\nbecame troublesome, his tastes modified and his admirations changed.", "literature than to the other with which he demanded a place that was\ndenied him. His language was the language of disheveled romanticism,\nfull of involved expressions, unfamiliar turns of speech, delighted", "Thus, after the masters, he betook himself to a few writers who\nattracted him all the more because of the disdain in which they were\nheld by the public incapable of understanding them.", "This, too, proved disappointing; he was revolted by their rancorous\nand petty judgments, their conversation as obvious as a church door,\ntheir dreary discussions in which they judged the value of a book by", "With the exception of the works of these poets and of Stephane\nMallarme, which his servant was told to place to one side so that he\nmight classify them separately, Des Esseintes was but slightly\nattracted towards the poets.", "So Des Esseintes, horror-stricken at such insipidities, entirely\nforsook this literature. But neither did he find atonement for his", "In no way did Des Esseintes derive even a fugitive distraction from\nhis boredom from this literature. The mass of books which he had once", "_Fleaurange_, puffed into reputation by the whole apostolic press.\nNever, no, never, had Des Esseintes imagined that any person could\nwrite such ridiculous nonsense. In the point of conception, these", "he felt inclined to read, all literature seemed to him dull after\nthese terrible American imported philtres. Then he betook himself to\nVilliers de L'Isle Adam in whose scattered works he noted seditious", "After a few visits with such relatives, he resolved never again to set\nfoot in their homes, regardless of invitations or reproaches.\n\nThen he began to seek out the young men of his own age and set.", "He found pasture neither among them nor among those writers who are\npeculiarly the delight of the spuriously literate: Sallust, who is", "With Zola, the nostalgia of the far-away was different. In him was no\nlonging for vanished ages, no aspiring toward worlds lost in the night", "diverting him, and the antipathy he felt against these farces was so\ngreat that he did not hesitate to liken them, in the point of art, to", "filled with so many disgusts and fears, move past. What a life he had\nlived! He thought of the evenings spent in society, the horse races,\ncard parties, love affairs ordered in advance and served at the stroke", "be born. He had now reached such a pass that he could no longer\ndiscover any writings to content his secret longings. And his\nadmiration even weaned itself from those volumes which had certainly", "In prose, he cared little for Voltaire and Rousseau, and was unmoved\neven by Diderot, whose so greatly praised _Salons_ he found strangely", "The servant brought him a new series of books. These oppressed him\nmore. They were books toward which his taste had gradually veered,\nbooks which diverted him by their very faults from the perfection of" ], [ "It was impossible, therefore, to find any solace in their society; but\na new phenomenon now occurred. The reading of the novels of Dickens,", "brain, he sought books that would soothe him and turned to the\nromances of Dickens, those charming novels which are so satisfying to\ninvalids and convalescents who might grow fatigued by works of a more", "of sensations common to society, in this unnatural confinement in\nwhich he persisted, all the questionings forgotten during his stay in\nParis were revived as active irritants. The reading of his beloved", "During the days following his return, Des Esseintes contemplated his\nbooks and experienced, at the thought that he might have been", "desolate and still. He obliged himself to take exercise. As a last\nresort, he temporarily abandoned his books and, corroded with ennui,", "guides he would take. Des Esseintes remained dumbfounded, then excused\nhimself, bought a Baedeker and departed. The dampness froze him to the", "He had satisfied the first of his desires. Unable to keep away, one\nfine day he had left Paris and visited the towns of the Low Lands, one\nby one.", "More than two months passed before Des Esseintes could bury himself in\nthe silent repose of his Fontenay abode. He was obliged to go to Paris\nagain, to comb the city in his search for the things he wanted to buy.", "Then the vision faded suddenly with a jolt of the _fiacre_ which made\nhim rebound in his seat. He gazed through the carriage windows. Night", "he felt inclined to read, all literature seemed to him dull after\nthese terrible American imported philtres. Then he betook himself to\nVilliers de L'Isle Adam in whose scattered works he noted seditious", "studied he had thrown into dim corners of his library shelves when he\nleft the Fathers' school. \"I should have left them in Paris,\" he told\nhimself, as he turned out some books which were particularly", "For several days, in fact, his soul had been strangely perturbed. At\nmoments, he felt himself veering towards religion. Then, at the\nslightest approach of reason, his faith would dissolve. Yet he\nremained deeply troubled.", "at a page of the Baedeker describing the London museums. He became\ninterested in the laconic and exact details of the guide books, but\nhis attention wandered away from the old English paintings to the", "thwarted his orders. What is the use of moving, when one can travel on\na chair so magnificently? Was he not even now in London, whose aromas\nand atmosphere and inhabitants, whose food and utensils surrounded", "themselves, he fell into a revery, evoking, before the purple port\nwhich filled the glasses, the creatures of Dickens that love this\ndrink so very much, imaginatively peopling the cellar with new", "separated from them for a long period, a satisfaction as complete as\nthat which comes after a protracted absence. Under the touch of this\nsentiment, these objects possessed a renewed novelty to his mind, and", "During the last month of his stay in Paris, when he was weary of\neverything, afflicted with hypochondria, the prey of melancholia, when", "Des Esseintes' sole response was to rub his hands and to sit down in\nfront of a book-case with glass doors. He examined the socks which had", "installed themselves in the _Bodega_, with their peculiar\ncharacteristics and their betraying gestures. His memories, brought to\nlife by his recent readings, attained a startling precision. The city", "be born. He had now reached such a pass that he could no longer\ndiscover any writings to content his secret longings. And his\nadmiration even weaned itself from those volumes which had certainly" ], [ "The choice of stones made him pause. The diamond has become\nnotoriously common since every tradesman has taken to wearing it on\nhis little finger. The oriental emeralds and rubies are less", "This is how he composed his bouquet of flowers: the leaves were set\nwith jewels of a pronounced, distinct green; the chrysoberyls of", "Diamonds scintillate against her glistening skin. Her bracelets, her\ngirdles, her rings flash. On her triumphal robe, seamed with pearls,", "At first Des Esseintes was enchanted with this effect. Then he\nreflected that this gigantic jewel was only in outline, that it would\nnot really be complete until it had been incrusted with rare stones.", "This done, he could now set the petals of his flowers with transparent\nstones which had morbid and vitreous sparks, feverish and sharp\nlights.", "The lapidary made a note of the places where the stones were to be\ninlaid. \"And the border of the shell?\" he asked Des Esseintes.", "A girdle encircles her hips, concealing the upper part of her thighs,\nagainst which beats a gigantic pendant streaming with carbuncles and\nemeralds.", "lights of these colors. As for topazes, whether sparkling or dim, they\nare cheap stones, precious only to women of the middle class who like\nto have jewel cases on their dressing-tables. And then, although the", "upon the star-like clusters of jewels constellating the orphrey robe\nfitting tightly over his breast.", "At first he had thought of some opals and hydrophanes; but these\nstones, interesting for their hesitating colors, for the evasions of", "flowered with silver and laminated with gold, the breastplate of\njewels, each link of which is a precious stone, flashes serpents of", "All the facets of the jewels kindle under the ardent shafts of light\nescaping from the head of the Baptist. The stones grow warm, outlining", "jeweler, he sketched a border to enclose this bouquet in an oval\nframe, and informed the amazed lapidary that every petal and every", "were perforated, like phosphorescent eyes of beasts, by the fiery rays\nof the stones set in the throne. Then the vapor rolled up, diffusing", "head, his garb figured with precious stones, Elagabalus worked, amid\nhis eunuchs, at womanish labor, calling himself the Empress and", "The tortoise, just returned by the lapidary, shone brilliantly,\nsoftening the tones of the rug and casting on it a gorgeous reflection\nwhich resembled the irradiations from the scales of a barbaric\nVisigoth shield.", "He finally decided on minerals whose reflections vary; for the\nCompostelle hyacinth, mahogany red; the beryl, glaucous green; the", "fancied by the poet and intoxicated his eyes with the rustlings of his\nfabrics, with the incandescence of his stones, with his exclusively", "astonishing and bizarre stones, and finally selected a number of real\nand artificial ones which, used together, should produce a fascinating\nand disconcerting harmony.", "been placed nearby for his inspection. For a moment he hesitated on\nthe color; then he quickly studied the melancholy day and earnestly\nbethought himself of the effect he desired. He chose a pair the color" ], [ "The tortoise, just returned by the lapidary, shone brilliantly,\nsoftening the tones of the rug and casting on it a gorgeous reflection\nwhich resembled the irradiations from the scales of a barbaric\nVisigoth shield.", "his wishes. There, in a shop window on the Palais Royal, lay a huge\ntortoise in a large basin. He had purchased it. Then he had sat a long", "leaf was to be designed with jewels and mounted on the scales of the\ntortoise.", "pale silver. Thus stated, the problem was easier to solve. He\ntherefore decided to glaze the shell of the tortoise with gold.", "This tortoise was a fancy which had seized Des Esseintes some time\nbefore his departure from Paris. Examining an Oriental rug, one day,", "The man bowed and deposited the buckler on the pinewood floor of the\ndining room. It oscillated and wavered, revealing the serpentine head\nof a tortoise which, suddenly terrified, retreated into its shell.", "After he had finished his tea, he returned to his study and had the\nservant carry in the tortoise which stubbornly refused to budge.", "\"Phew!\" he exclaimed, saddened by the assault of these memories. He\nrose to dissipate the horrible spell of this vision and, returning to\nreality, began to be concerned with the tortoise.", "Des Esseintes now watched the tortoise squatting in a corner of the\ndining room, shining in the shadow.", "Diamonds scintillate against her glistening skin. Her bracelets, her\ngirdles, her rings flash. On her triumphal robe, seamed with pearls,", "At first Des Esseintes was enchanted with this effect. Then he\nreflected that this gigantic jewel was only in outline, that it would\nnot really be complete until it had been incrusted with rare stones.", "It did not budge at all and he tapped it. The animal was dead.\nDoubtless accustomed to a sedentary existence, to a humble life spent", "And in the silence followed the marvelous dialogue of the Chimera and\nthe Sphinx; it was recited in deep guttural tones which were at first\nraucous, then turned shrill and unearthly.", "A girdle encircles her hips, concealing the upper part of her thighs,\nagainst which beats a gigantic pendant streaming with carbuncles and\nemeralds.", "were perforated, like phosphorescent eyes of beasts, by the fiery rays\nof the stones set in the throne. Then the vapor rolled up, diffusing", "The lapidary made a note of the places where the stones were to be\ninlaid. \"And the border of the shell?\" he asked Des Esseintes.", "But when he recovered his balance, he clearly distinguished the onions\nand cabbages, a garden bed of lettuce further off, and, in the\ndistance along the hedge, a row of white lillies recumbent in the\nheavy air.", "flowered with silver and laminated with gold, the breastplate of\njewels, each link of which is a precious stone, flashes serpents of", "To the great astonishment of the domestics, who no longer dared stir\nfrom the servants' quarters, their master recovered in a few days, and\nthey surprised him drumming against the window panes, gazing at the\nsky with a troubled look.", "All the facets of the jewels kindle under the ardent shafts of light\nescaping from the head of the Baptist. The stones grow warm, outlining" ], [ "During the last month of his stay in Paris, when he was weary of\neverything, afflicted with hypochondria, the prey of melancholia, when", "Then, in the dejection which overcame him, a sudden energy forced him\nin a sitting posture. He had strength to write a letter to his Paris\nphysician and to order the servant to depart instantly, seek and bring", "This work of selection had slowly acted within him; not long ago he\nhad adored the great Balzac, but as his body weakened and his nerves\nbecame troublesome, his tastes modified and his admirations changed.", "die, their end due to the change in their habits and to the nostalgia\nfor the Parisian excesses which destroyed them. Here, under an\nartificial climate, libertine memories will reappear, the languishing", "thinned the already impoverished blood of his race. In Paris, he had\nbeen compelled to submit to hydrotherapic treatments for his trembling", "through his heart. He did not have the courage to eat this bread, for\nthe unhealthy excitement of his stomach had ceased. A sensation of\nfrightful decay swept upon him. He was compelled to rise. The sun", "servant and the physician whom he accused of permitting him to die,\nvanished, and he ended by reproaching himself for having waited so\nlong before seeking aid, persuading himself that he would now be", "In short, since leaving Paris, Des Esseintes was removing himself\nfurther and further from reality, especially from the contemporary\nworld which he held in an ever growing detestation. This hatred had", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "This time, he arose and left, ordered the driver to bring him back to\nthe Sceaux station, and returned with his trunks, packages, valises,", "Little by little, these alternations of hope and alarms jostling in\nhis poor head, abated. The struggles ended by crushing him, and he", "numbing weakness stole from his brain through his limbs. Unable to\nendure it longer, he betook himself to the garden. It was the first\ntime he had done this since his arrival at Fontenay. There he found", "Parisian throngs from reaching him, and yet near enough to the capital\nto confirm him in his solitude. And he felt that in not entirely", "embraces of accomplished mistresses. But his health failed, his\nnervous system collapsed, the back of his neck grew sensitive, his\nhand, still firm when it seized a heavy object, trembled when it held", "More than two months passed before Des Esseintes could bury himself in\nthe silent repose of his Fontenay abode. He was obliged to go to Paris\nagain, to comb the city in his search for the things he wanted to buy.", "desolate and still. He obliged himself to take exercise. As a last\nresort, he temporarily abandoned his books and, corroded with ennui,", "from any neighbors. His dream was realized! In this country place so\nlittle violated by Parisians, he could be certain of seclusion. The\ndifficulty of reaching the place, due to an unreliable railroad", "Then the hoof beats paused. He was in the passage, behind a round\nskylight. More dead than alive, Des Esseintes turned about and through", "The afternoon was drawing to its close when a carriage halted in front\nof the Fontenay house. Since Des Esseintes received no visitors, and", "still prevented him from remaining in one spot; once more he walked up\nand down, trying every chair in the room in turn. Wearied of the\nstruggle, at last he fell against his bureau and leaning mechanically" ], [ "of sensations common to society, in this unnatural confinement in\nwhich he persisted, all the questionings forgotten during his stay in\nParis were revived as active irritants. The reading of his beloved", "\"Ah!\" he exclaimed, \"To think that all this is not a dream, to think\nthat I am going to return into the cowardly and servile crowd of this", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "and overturning his future plans. His beatitude was ended. He was\ncompelled to abandon this sheltering haven and return at full speed\ninto the stupidity which had once attacked him.", "separated from them for a long period, a satisfaction as complete as\nthat which comes after a protracted absence. Under the touch of this\nsentiment, these objects possessed a renewed novelty to his mind, and", "During the days following his return, Des Esseintes contemplated his\nbooks and experienced, at the thought that he might have been", "appeared as a compensation for the stupidities heard for years, now\nweighed on him with an unendurable burden. One morning he had\nawakened, as uneasy as a prisoner in his cell; his lips had sought to", "daily became increasingly rigorous and barren! Then, under pretext of\nliberty and progress, Society had discovered another means of\nincreasing man's miseries by tearing him from his home, forcing him to", "revived. He threw down his napkin, returned to his study, and paced\nthe floor. He felt as if he were under a pneumatic clock, and a", "returned to the ranks; but he was the _enfant terrible_, and was\nunrecognized by the party. In a literary way, he pursued women whom he", "yellow material and recalled it to a more serious tone. Then he could\neasily imagine himself living a hundred leagues removed from Paris,\nfar from society, in cloistral security.", "closing the way, there was a chance that he would not be assailed by a\nwish to return to society, seeing that it is only the impossible, the\nunachievable that arouses desire.", "Then, through a ventilator, he permitted these fragrant waves to\nescape, only preserving the field which he renewed, compelling it to\nreturn in his strophes like a ritornello.", "Saint-Germain quarters now in its dotage, scaling into the dust of\ndesuetude, buried in a new society like an empty husk. And what\ncontact could exist between him and that bourgeois class which had", "in evoking, and plunged in revery, he repeated to himself this\ningenious, sad and comforting composition he had formerly written upon\nreturning to Paris:", "piece of paper and fled, after paying two francs. Expectorating blood,\nin his turn, down the steps, he at length found himself in the street,\njoyous, feeling ten years younger, interested in every little", "soul is pained by all things it thinks upon.\" But the words resounded\nin his mind like sounds deprived of sense; his ennui disintegrated,", "This time, he arose and left, ordered the driver to bring him back to\nthe Sceaux station, and returned with his trunks, packages, valises,", "For several days, in fact, his soul had been strangely perturbed. At\nmoments, he felt himself veering towards religion. Then, at the\nslightest approach of reason, his faith would dissolve. Yet he\nremained deeply troubled.", "Like a hermit he was ripe for isolation, since life harassed him and\nhe no longer desired anything of it. Again like a monk, he was" ], [ "His mother, a tall, pale, taciturn woman, died of anaemia, and his\nfather of some uncertain malady. Des Esseintes was then seventeen\nyears of age.", "other old. Impelled by curiosity, idleness or politeness, Des\nEsseintes sometimes visited the Montchevrel family and spent some dull", "The Floressas Des Esseintes, to judge by the various portraits\npreserved in the Chateau de Lourps, had originally been a family of", "The afternoon was drawing to its close when a carriage halted in front\nof the Fontenay house. Since Des Esseintes received no visitors, and", "Des Esseintes nodded his head. But two small books remained on the\ntable. With a sigh, he dismissed the old man, and turned over the", "Des Esseintes had watched her attentively through many long evenings.\nAt first, she had seemed to him what she really was, a strong and", "\"Well, then, society, crash to ruin! Die, aged world!\" cried Des\nEsseintes, angered by the ignominy of the spectacle he had evoked.\nThis cry of hate broke the nightmare that oppressed him.", "An odor of alcohol assailed Des Esseintes upon taking a seat in this\nroom heavy with strong wines. He looked about him. Here, the tuns were", "More than two months passed before Des Esseintes could bury himself in\nthe silent repose of his Fontenay abode. He was obliged to go to Paris\nagain, to comb the city in his search for the things he wanted to buy.", "Des Esseintes had been fascinated. He lost no time in winning over the\nventriloquist, tempting her with large sums of money. She delighted", "The back of his shirt was saturated, his perinaeum was damp, his feet\nand arms moist, his brow overflowing with sweat that ran down his\ncheeks. Des Esseintes reclined, annihilated, on a chair.", "ended by finally leaving him cold. Too, after having long delighted in\nGautier, Des Esseintes reached the point where he no longer cared for", "Des Esseintes' sole response was to rub his hands and to sit down in\nfront of a book-case with glass doors. He examined the socks which had", "Des Esseintes found again in another poet, Theodore Hannon, a disciple\nof Baudelaire and Gautier, moved by a very unusual sense of the\nexquisite and the artificial.", "In searching for his antecedents, Des Esseintes discovered, under the\nhesitant strokes of the sketches, a talent already deeply affected by", "Ever since the night when he had evoked, for no apparent reason, a\nwhole train of melancholy memories, pictures of his past life returned\nto Des Esseintes and gave him no peace.", "There was only one living scion of this family which had once been so\nnumerous that it had occupied all the territories of the Ile-de-France", "In chapter 6, Des Esseintes is relaxing in a wing-chair in front of\nthe fire, remembering an event. One evening in the Rue de Rivoli he", "With the exception of the works of these poets and of Stephane\nMallarme, which his servant was told to place to one side so that he\nmight classify them separately, Des Esseintes was but slightly\nattracted towards the poets.", "Then the hoof beats paused. He was in the passage, behind a round\nskylight. More dead than alive, Des Esseintes turned about and through" ], [ "In short, since leaving Paris, Des Esseintes was removing himself\nfurther and further from reality, especially from the contemporary\nworld which he held in an ever growing detestation. This hatred had", "During the last month of his stay in Paris, when he was weary of\neverything, afflicted with hypochondria, the prey of melancholia, when", "This time, he arose and left, ordered the driver to bring him back to\nthe Sceaux station, and returned with his trunks, packages, valises,", "Parisian throngs from reaching him, and yet near enough to the capital\nto confirm him in his solitude. And he felt that in not entirely", "Then, in the dejection which overcame him, a sudden energy forced him\nin a sitting posture. He had strength to write a letter to his Paris\nphysician and to order the servant to depart instantly, seek and bring", "He had satisfied the first of his desires. Unable to keep away, one\nfine day he had left Paris and visited the towns of the Low Lands, one\nby one.", "He retained but a vague memory of his parents and felt neither\naffection nor gratitude for them. He hardly knew his father, who\nusually resided in Paris. He recalled his mother as she lay motionless", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "He was lost, utterly lost. What would become of him in this Paris\nwhere he had neither family nor friends? No bond united him to the", "of sensations common to society, in this unnatural confinement in\nwhich he persisted, all the questionings forgotten during his stay in\nParis were revived as active irritants. The reading of his beloved", "Then he left the Museum and, without quitting the town, strolled down\nthe streets, wandered through the rue du Sommerard and the boulevard", "studied he had thrown into dim corners of his library shelves when he\nleft the Fathers' school. \"I should have left them in Paris,\" he told\nhimself, as he turned out some books which were particularly", "More than two months passed before Des Esseintes could bury himself in\nthe silent repose of his Fontenay abode. He was obliged to go to Paris\nagain, to comb the city in his search for the things he wanted to buy.", "nervousness. A few, halting words would be exchanged between them in\nthe gloom and then the indifferent _duc_ would depart to meet the\nfirst train back to Paris.", "top, between Paris and Sceaux. His house was situated at a twenty\nminutes' walk from the Fontenay station, but the height on which it", "yellow material and recalled it to a more serious tone. Then he could\neasily imagine himself living a hundred leagues removed from Paris,\nfar from society, in cloistral security.", "from any neighbors. His dream was realized! In this country place so\nlittle violated by Parisians, he could be certain of seclusion. The\ndifficulty of reaching the place, due to an unreliable railroad", "One day, able to endure it no longer, he had instantly decided. Such\nwas his haste that he even took flight before the designated time, for", "piece of paper and fled, after paying two francs. Expectorating blood,\nin his turn, down the steps, he at length found himself in the street,\njoyous, feeling ten years younger, interested in every little", "He put masons to work on the house he had acquired. Then, one day,\ninforming no one of his plans, he quickly disposed of his old\nfurniture, dismissed his servants, and left without giving the\nconcierge any address." ], [ "The door was suddenly opened. Clean-shaved men appeared, bringing\nchests and carrying the furniture; then the door closed once more on\nthe servant who was removing packages of books.\n\nDes Esseintes sank into a chair.", "Yet this domesticity was as stupid, as selfish, as vile as that of\nhouses of ill-fame. Its creatures drank without being thirsty, laughed", "He put masons to work on the house he had acquired. Then, one day,\ninforming no one of his plans, he quickly disposed of his old\nfurniture, dismissed his servants, and left without giving the\nconcierge any address.", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "having unhesitatingly approved of the action of their colleague, he\nhad rented an apartment in a new house, had returned to Fontenay and,\nwhite with rage, had given orders to have his trunks packed.", "With his vaporizers, he injected an essence formed of ambrosia,\nlavender and sweet peas into this room; this formed an essence which,", "filled with so many disgusts and fears, move past. What a life he had\nlived! He thought of the evenings spent in society, the horse races,\ncard parties, love affairs ordered in advance and served at the stroke", "Half naked, he opened a window and received the air like a furnace\nblast in his face. The dining room, to which he fled, was fiery, and", "Then, through a ventilator, he permitted these fragrant waves to\nescape, only preserving the field which he renewed, compelling it to\nreturn in his strophes like a ritornello.", "A deep silence enveloped the cottage drooping in shadow.\n\nDes Esseintes fell into revery. The fireplace piled with logs gave\nforth a smell of burning wood. He opened the window slightly.", "What care he took, what meditations he surrendered himself to, before\nturning over his house to the upholsterers!", "At last, when he had sufficiently enjoyed this sight, he suddenly\nscattered the exotic perfumes, emptied his vaporizers, threw in his", "Formerly, during his Parisian days, his love for artificiality had led\nhim to abandon real flowers and to use in their place replicas\nfaithfully executed by means of the miracles performed with India", "house. He gave a sum of money which he thought would be necessary for\nthe upkeep of the house during his absence, and climbed into the\ncoach, leaving the old man astounded, arms waving and mouth gaping,", "technique, he decided to proceed with a fulminating phrase whose\nthunderous roar would annihilate the insidious odor of almond still\nhovering over his room.", "This time, he arose and left, ordered the driver to bring him back to\nthe Sceaux station, and returned with his trunks, packages, valises,", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "evenings in their Rue de la Chaise mansion where the ladies, old as\nantiquity itself, would gossip of quarterings of the noble arms,\nheraldic moons and anachronistic ceremonies.", "Des Esseintes locked himself up in his bedroom, closing his ears to\nthe sounds of hammers on packing cases. Each stroke rent his heart,", "the day when the master of the house had been found near the window,\noverwhelmed by the violence of perfumes. He put very few questions to\nthe patient whom he had known for many years. He felt his pulse and" ], [ "More than two months passed before Des Esseintes could bury himself in\nthe silent repose of his Fontenay abode. He was obliged to go to Paris\nagain, to comb the city in his search for the things he wanted to buy.", "Ever since the night when he had evoked, for no apparent reason, a\nwhole train of melancholy memories, pictures of his past life returned\nto Des Esseintes and gave him no peace.", "Des Esseintes' sole response was to rub his hands and to sit down in\nfront of a book-case with glass doors. He examined the socks which had", "The operation succeeded and Des Esseintes could not forbear to\ncongratulate himself on this event which in a manner crowned the\nexistence he had created. His penchant towards the artificial had now,\nthough involuntarily, reached the supreme goal.", "In short, since leaving Paris, Des Esseintes was removing himself\nfurther and further from reality, especially from the contemporary\nworld which he held in an ever growing detestation. This hatred had", "Des Esseintes nodded his head. But two small books remained on the\ntable. With a sigh, he dismissed the old man, and turned over the", "\"Well, then, society, crash to ruin! Die, aged world!\" cried Des\nEsseintes, angered by the ignominy of the spectacle he had evoked.\nThis cry of hate broke the nightmare that oppressed him.", "During the days following his return, Des Esseintes contemplated his\nbooks and experienced, at the thought that he might have been", "on horses and cards, and cultivated all the pleasures enchanting to\nbrainless fools. After a year's experience, Des Esseintes felt an", "Then the hoof beats paused. He was in the passage, behind a round\nskylight. More dead than alive, Des Esseintes turned about and through", "So Des Esseintes, horror-stricken at such insipidities, entirely\nforsook this literature. But neither did he find atonement for his", "An odor of alcohol assailed Des Esseintes upon taking a seat in this\nroom heavy with strong wines. He looked about him. Here, the tuns were", "The back of his shirt was saturated, his perinaeum was damp, his feet\nand arms moist, his brow overflowing with sweat that ran down his\ncheeks. Des Esseintes reclined, annihilated, on a chair.", "happened upon him. Des Esseintes' reflections have only the regret\nthat he did not pursue his scheme closely enough to ensure its\nsuccess.", "Then the play began. Clinging to the arms of his seat, Des Esseintes\nfelt a cold sensation in his cheek, and began to suffer unheard", "\"It is true,\" pursued Des Esseintes, returning to the course of\nreasoning he had momentarily abandoned, \"it is true that most often", "ended by finally leaving him cold. Too, after having long delighted in\nGautier, Des Esseintes reached the point where he no longer cared for", "Des Esseintes reflected in this wise while re-reading, here and there,\nseveral passages of the book and, comparing its nervous and changing", "Meanwhile the silvery sound of a clock that tolled the angelus\nannounced breakfast time to Des Esseintes. He abandoned his books,", "In chapter 6, Des Esseintes is relaxing in a wing-chair in front of\nthe fire, remembering an event. One evening in the Rue de Rivoli he" ], [ "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "literature than to the other with which he demanded a place that was\ndenied him. His language was the language of disheveled romanticism,\nfull of involved expressions, unfamiliar turns of speech, delighted", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "printed long ago in the _Revue du Monde-Nouveau_, could astonish by\nreason of its chemical whims, by its affected humor and by its coldly", "was diffuse and abject, but his articles, first printed in the\n_Correspondant_ and since collected into books, were mordant and\ndiscerning under the exaggerated politeness of their form. Conceived", "It became a concentrated literature, an essential unity, a sublimate\nof art. This style was at first employed with restraint in his earlier", "he felt inclined to read, all literature seemed to him dull after\nthese terrible American imported philtres. Then he betook himself to\nVilliers de L'Isle Adam in whose scattered works he noted seditious", "This section was divided into two groups, one of which included the\nordinary, secular literature, and the other the Catholic literature, a\nspecial but little known literature published by large publishing\nhouses and circulated to the four corners of the earth.", "A single volume remained on a shelf, within reach of his hand. It was\nthe _Homme_ of Ernest Hello. This writer was the absolute opposite of", "To Des Esseintes, the prose poem represented the concrete juice of\nliterature, the essential oil of art.", "Observing the facts of life, stating them in clear, definite form, he\nrevealed the petty existence of the people, their happenings, their\nbestialities, their passions.", "dispatched orders to England or to America for the execution of modern\nliterature and the works of the present century. Still again, he\napplied to a house in Lille, which for centuries had possessed a", "Des Esseintes had instantly betaken himself to Paris, had consulted\nother specialists, had impartially put the case before them. All", "Jean's life at the Jesuit school, where he was sent to study, was more\npleasant. At first the Fathers pampered the lad whose intelligence", "inscriptions and with strips of passe-partout framing newspaper\nclippings and telegrams, were two vast shop windows crammed with\nalbums and books. He drew near, attracted by the sight of these books", "Chardins and Violets, the Legrands and Piesses; then he separated the\nconstruction of their phrases, weighed the value of their words and\nthe arrangement of their periods.", "Of all the forms of literature, that of the prose poem was the form\nDes Esseintes preferred. Handled by an alchemist of genius, it", "So Des Esseintes, horror-stricken at such insipidities, entirely\nforsook this literature. But neither did he find atonement for his", "He found himself unable to understand a single word of the books he\nread. He could not even receive impressions through his eyes. It\nseemed to him that his mind, saturated with literature and art,\nrefused to absorb any more.", "One of them was Paul Verlaine who had begun with a volume of verse,\nthe _Poemes Saturniens_, a rather ineffectual book where imitations of" ], [ "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "His contempt for humanity deepened. He reached the conclusion that the\nworld, for the most part, was composed of scoundrels and imbeciles.", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "Irritated, ill at ease and offended by the poverty of ideas given and\nreceived, he became like those people described by Nicole--those who", "In short, since leaving Paris, Des Esseintes was removing himself\nfurther and further from reality, especially from the contemporary\nworld which he held in an ever growing detestation. This hatred had", "This, too, proved disappointing; he was revolted by their rancorous\nand petty judgments, their conversation as obvious as a church door,\ntheir dreary discussions in which they judged the value of a book by", "where he tarried long to recover his breath before continuing on his\nway and going even farther in the regions of human thought than the\nJansenist, whom he derided.", "He retained but a vague memory of his parents and felt neither\naffection nor gratitude for them. He hardly knew his father, who\nusually resided in Paris. He recalled his mother as she lay motionless", "A single passion, woman, might have curbed his contempt, but that,\ntoo, had palled on him. He had taken to carnal repasts with the", "Observing the facts of life, stating them in clear, definite form, he\nrevealed the petty existence of the people, their happenings, their\nbestialities, their passions.", "Des Esseintes had watched her attentively through many long evenings.\nAt first, she had seemed to him what she really was, a strong and", "of the most fervent Catholics. Her writings had filled him with\ninsufferably horrible boredom; they were more than merely wretched:", "filled with so many disgusts and fears, move past. What a life he had\nlived! He thought of the evenings spent in society, the horse races,\ncard parties, love affairs ordered in advance and served at the stroke", "But he was done with those extravagances in which he had once gloried.\nToday, he was filled with a contempt for those juvenile displays, the", "This profusion of impure mockeries and foul shames were marked in the\ncareer of the Marquis de Sade, who garnished his terrible pleasures\nwith outrageous sacrileges.", "Des Esseintes could not restrain a shrug of the shoulders before these\nstupid opinions, covered by a borrowed prose whose already worn\ntexture clung or became torn at each phrase.", "Montchevrel, his cousin and guardian, placed in his hands the title to\nhis wealth. There was no intimacy between them, for there was no\npossible point of contact between these two men, the one young, the", "his religious confederates. Almost isolated among the pious group\nterrified by his conduct, Ernest Hello had ended by abandoning the\nopen road that led from earth to heaven. Probably disgusted by the", "diverting him, and the antipathy he felt against these farces was so\ngreat that he did not hesitate to liken them, in the point of art, to", "alone of all the works of contemporary apostolic literature testified\nto this state of mind, at once impious and devout, toward which\nCatholicism often thrust Des Esseintes." ], [ "The Latin written in that era which professors still persist in\ncalling the Great Age, hardly stimulated Des Esseintes. With its", "Latin works, almost all of them written by bishops and monks, had\ndoubtless contributed to this crisis. Enveloped in a convent-like", "A portion of the shelves which lined the walls of his orange and blue\nstudy was devoted exclusively to those Latin works assigned to the\ngeneric period of \"The Decadence\" by those whose minds have absorbed\nthe deplorable teachings of the Sorbonne.", "His interest diminished with the end of those two centuries. Hardly\npleased with the cumbersome mass of Carlovingian Latinists, the", "studied he had thrown into dim corners of his library shelves when he\nleft the Fathers' school. \"I should have left them in Paris,\" he told\nhimself, as he turned out some books which were particularly", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "This phase had not lasted long. His memory gave him respite and he\nplunged again into his Latin studies, so as to efface the impressions\nof such recollections.", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "astonished them. But despite their efforts, they could not induce him\nto concentrate on studies requiring discipline. He nibbled at various\nbooks and was precociously brilliant in Latin. On the contrary, he was", "The ecclesiastical writers, on the contrary, confined within specific\nlimitations, restricted to ancient Church literature, knowing nothing\nof the literary progress of the centuries and determined if need be to", "approved only of the monastic music of the Middle Ages, that emaciated\nmusic which instinctively reacted on his nerves like certain pages of\nthe old Christian Latin. Then (he freely confessed it) he was", "He began by moving all his Latin books; then he arranged in a new\norder the special works of Archelaus, Albert le Grand, Lully and", "This, too, proved disappointing; he was revolted by their rancorous\nand petty judgments, their conversation as obvious as a church door,\ntheir dreary discussions in which they judged the value of a book by", "or barbaric colors to the character of the Latin or French books he\nloved. And he would seclude himself in turn in the particular recess\nwhose _decor_ seemed best to correspond with the very essence of the", "classical erotology of Forberg, and the diaconals used by confessors,\nwhich he dusted at rare intervals, his Latin library ended at the\nbeginning of the tenth century.", "be born. He had now reached such a pass that he could no longer\ndiscover any writings to content his secret longings. And his\nadmiration even weaned itself from those volumes which had certainly", "The decomposition of the French language had been effected suddenly.\nIn the Latin language, a long transition, a distance of four hundred\nyears existed between the spotted and superb epithet of Claudian and", "Jean's life at the Jesuit school, where he was sent to study, was more\npleasant. At first the Fathers pampered the lad whose intelligence", "This antithesis delighted him. Then the Latin language, arrived at its\nsupreme maturity under Petronius, commenced to decay; the Christian", "their sons and daughters to debauched testators. All pass across the\npages. They debate in the streets, rub elbows in the baths, beat each\nother unmercifully as in a pantomime." ], [ "Years hastened on. The Barbarian idioms began to be modulated, to\nleave their vein-stones and form real languages. Latin, saved in the", "The second half of the fifth century had arrived, the horrible epoch\nwhen frightful motions convulsed the earth. The Barbarians sacked", "escaped the crude barbarism of the philistines, come from the ancient\nFrench abbeys. And just as the Church had preserved philosophy and", "The Latin written in that era which professors still persist in\ncalling the Great Age, hardly stimulated Des Esseintes. With its", "history and letters from barbarism in the Middle Ages, so had she\nsaved the plastic arts, bringing to our own days those marvelous\nfabrics and jewelries which the makers of sacred objects spoil to the", "or barbaric colors to the character of the Latin or French books he\nloved. And he would seclude himself in turn in the particular recess\nwhose _decor_ seemed best to correspond with the very essence of the", "Latin works, almost all of them written by bishops and monks, had\ndoubtless contributed to this crisis. Enveloped in a convent-like", "That form which was now considered a decrepit and Gothic form of\nChristian liturgy, an archaeological curiosity, a relic of ancient", "His interest diminished with the end of those two centuries. Hardly\npleased with the cumbersome mass of Carlovingian Latinists, the", "approved only of the monastic music of the Middle Ages, that emaciated\nmusic which instinctively reacted on his nerves like certain pages of\nthe old Christian Latin. Then (he freely confessed it) he was", "The decomposition of the French language had been effected suddenly.\nIn the Latin language, a long transition, a distance of four hundred\nyears existed between the spotted and superb epithet of Claudian and", "Bible from which he emerged haggard and frenzied, his brain haunted by\nmonstrous subjects, his mouth twisted by the maledictions of the\nReformation and by its songs of terror and hate.", "This profusion of impure mockeries and foul shames were marked in the\ncareer of the Marquis de Sade, who garnished his terrible pleasures\nwith outrageous sacrileges.", "the perpetual menace of the Barbarians now pressing in hordes at the\nEmpire's yielding gates, he revives antiquity, sings of the abduction", "The ecclesiastical writers, on the contrary, confined within specific\nlimitations, restricted to ancient Church literature, knowing nothing\nof the literary progress of the centuries and determined if need be to", "of the centuries, succumbed to the thrusts of the barbarians.", "century was represented by Fortunatus, bishop of Poitiers, whose hymns\nand _Vexila regis_, carved out of the old carrion of the Latin", "literature than to the other with which he demanded a place that was\ndenied him. His language was the language of disheveled romanticism,\nfull of involved expressions, unfamiliar turns of speech, delighted", "They were then the masters of art. They filled the dying Empire with\ntheir cries; the Christian Ausonius with his _Centon Nuptial_, and his", "had been stirred by the enervation of his pious readings, then brought\nto a crisis by the English cant, came to the surface. His stimulated" ], [ "During the last month of his stay in Paris, when he was weary of\neverything, afflicted with hypochondria, the prey of melancholia, when", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "More than two months passed before Des Esseintes could bury himself in\nthe silent repose of his Fontenay abode. He was obliged to go to Paris\nagain, to comb the city in his search for the things he wanted to buy.", "bed he would have occupied in London. The silent, discreet\nministrations of his servants charmed him, exhausted as he was at the\nthought of the loud loquacity of hotel attendants. The methodical", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "Then, in the dejection which overcame him, a sudden energy forced him\nin a sitting posture. He had strength to write a letter to his Paris\nphysician and to order the servant to depart instantly, seek and bring", "thwarted his orders. What is the use of moving, when one can travel on\na chair so magnificently? Was he not even now in London, whose aromas\nand atmosphere and inhabitants, whose food and utensils surrounded", "Parisian throngs from reaching him, and yet near enough to the capital\nto confirm him in his solitude. And he felt that in not entirely", "He had satisfied the first of his desires. Unable to keep away, one\nfine day he had left Paris and visited the towns of the Low Lands, one\nby one.", "\"At once!\" he commanded. \"And when you reach the rue de Rivoli, stop\nin front of _Galignani's Messenger_.\" Before departing, he desired to\nbuy a Baedeker or Murray guide of London.", "Then the vision faded suddenly with a jolt of the _fiacre_ which made\nhim rebound in his seat. He gazed through the carriage windows. Night", "The memory of that disenchantment returned to him. Once more he\nglanced at his watch: ten minutes still separated him from the train's\ndeparture. \"It is about time to ask for the bill and leave,\" he told\nhimself.", "For several days, in fact, his soul had been strangely perturbed. At\nmoments, he felt himself veering towards religion. Then, at the\nslightest approach of reason, his faith would dissolve. Yet he\nremained deeply troubled.", "at a page of the Baedeker describing the London museums. He became\ninterested in the laconic and exact details of the guide books, but\nhis attention wandered away from the old English paintings to the", "One day, able to endure it no longer, he had instantly decided. Such\nwas his haste that he even took flight before the designated time, for", "from any neighbors. His dream was realized! In this country place so\nlittle violated by Parisians, he could be certain of seclusion. The\ndifficulty of reaching the place, due to an unreliable railroad", "of sensations common to society, in this unnatural confinement in\nwhich he persisted, all the questionings forgotten during his stay in\nParis were revived as active irritants. The reading of his beloved", "Twitchings of his stomach recalled him to reality. He regained his\ncarriage, gave the driver the address of the tavern in the rue", "any time; one had to make an appointment. He told himself that this\nwould never do, that he could not endure it. He decided to patronize", "repeated to himself once more, \"In fine, I have experienced and seen\nall I wished to experience and see. I have been filled with English\nlife since my departure. I would be mad indeed to go and, by an" ], [ "More than two months passed before Des Esseintes could bury himself in\nthe silent repose of his Fontenay abode. He was obliged to go to Paris\nagain, to comb the city in his search for the things he wanted to buy.", "This time, he arose and left, ordered the driver to bring him back to\nthe Sceaux station, and returned with his trunks, packages, valises,", "of sensations common to society, in this unnatural confinement in\nwhich he persisted, all the questionings forgotten during his stay in\nParis were revived as active irritants. The reading of his beloved", "Then, in the dejection which overcame him, a sudden energy forced him\nin a sitting posture. He had strength to write a letter to his Paris\nphysician and to order the servant to depart instantly, seek and bring", "During the last month of his stay in Paris, when he was weary of\neverything, afflicted with hypochondria, the prey of melancholia, when", "He retained but a vague memory of his parents and felt neither\naffection nor gratitude for them. He hardly knew his father, who\nusually resided in Paris. He recalled his mother as she lay motionless", "Parisian throngs from reaching him, and yet near enough to the capital\nto confirm him in his solitude. And he felt that in not entirely", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "He was lost, utterly lost. What would become of him in this Paris\nwhere he had neither family nor friends? No bond united him to the", "\"At once!\" he commanded. \"And when you reach the rue de Rivoli, stop\nin front of _Galignani's Messenger_.\" Before departing, he desired to\nbuy a Baedeker or Murray guide of London.", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "thinned the already impoverished blood of his race. In Paris, he had\nbeen compelled to submit to hydrotherapic treatments for his trembling", "Twitchings of his stomach recalled him to reality. He regained his\ncarriage, gave the driver the address of the tavern in the rue", "nervousness. A few, halting words would be exchanged between them in\nthe gloom and then the indifferent _duc_ would depart to meet the\nfirst train back to Paris.", "He had satisfied the first of his desires. Unable to keep away, one\nfine day he had left Paris and visited the towns of the Low Lands, one\nby one.", "in evoking, and plunged in revery, he repeated to himself this\ningenious, sad and comforting composition he had formerly written upon\nreturning to Paris:", "In short, since leaving Paris, Des Esseintes was removing himself\nfurther and further from reality, especially from the contemporary\nworld which he held in an ever growing detestation. This hatred had", "top, between Paris and Sceaux. His house was situated at a twenty\nminutes' walk from the Fontenay station, but the height on which it", "He dispatched his servant to Paris for this precious utensil, and\nfollowing the directions contained in the prospectus which the", "hydrotherapic treatment, impossible of execution at Fontenay, Des\nEsseintes must quit that solitude, return to Paris, and live an\nordinary mode of existence by amusing himself like others." ], [ "In short, since leaving Paris, Des Esseintes was removing himself\nfurther and further from reality, especially from the contemporary\nworld which he held in an ever growing detestation. This hatred had", "\"Well, then, society, crash to ruin! Die, aged world!\" cried Des\nEsseintes, angered by the ignominy of the spectacle he had evoked.\nThis cry of hate broke the nightmare that oppressed him.", "So Des Esseintes, horror-stricken at such insipidities, entirely\nforsook this literature. But neither did he find atonement for his", "None of these satisfied Des Esseintes at all. They were too civilized\nand familiar. He let trickle through his fingers still more", "Here, Des Esseintes was on firm ground. He was thoroughly satisfied\nwith this admission of social ordure, but he revolted against the", "Ever since the night when he had evoked, for no apparent reason, a\nwhole train of melancholy memories, pictures of his past life returned\nto Des Esseintes and gave him no peace.", "on horses and cards, and cultivated all the pleasures enchanting to\nbrainless fools. After a year's experience, Des Esseintes felt an", "An odor of alcohol assailed Des Esseintes upon taking a seat in this\nroom heavy with strong wines. He looked about him. Here, the tuns were", "filled with so many disgusts and fears, move past. What a life he had\nlived! He thought of the evenings spent in society, the horse races,\ncard parties, love affairs ordered in advance and served at the stroke", "apathy had issued a most eccentric volume entitled: _Les Amours\njaunes_. Des Esseintes who, in his hatred of the banal and\ncommonplace, would gladly have accepted the most affected folly and", "Des Esseintes inhaled the air. A perverse appetite seized him. This\ndirty slice made his mouth water. It seemed to him that his stomach,", "\"But the pleasures of others will not amuse me,\" Des Esseintes\nindignantly cried.", "\"I am really becoming stupid,\" thought Des Esseintes. \"The very fear\nof this malady will end by bringing it on, if this continues.\"", "Des Esseintes could not restrain a shrug of the shoulders before these\nstupid opinions, covered by a borrowed prose whose already worn\ntexture clung or became torn at each phrase.", "Then the play began. Clinging to the arms of his seat, Des Esseintes\nfelt a cold sensation in his cheek, and began to suffer unheard", "ended by finally leaving him cold. Too, after having long delighted in\nGautier, Des Esseintes reached the point where he no longer cared for", "Des Esseintes' sole response was to rub his hands and to sit down in\nfront of a book-case with glass doors. He examined the socks which had", "The back of his shirt was saturated, his perinaeum was damp, his feet\nand arms moist, his brow overflowing with sweat that ran down his\ncheeks. Des Esseintes reclined, annihilated, on a chair.", "Des Esseintes wondered if there had ever been such a time as ours. Our\nage invokes the causes of humanity, endeavors to perfect anaesthesia", "contained in its slender volume the strength of the novel whose\nanalytic developments and descriptive redundancies it suppressed.\nQuite often, Des Esseintes had meditated on that disquieting" ], [ "The dressing room was tapestried in deep red. On the walls, in ebony\nframes, hung the prints of Jan Luyken, an old Dutch engraver almost\nunknown in France.", "Formerly, during his Parisian days, his love for artificiality had led\nhim to abandon real flowers and to use in their place replicas\nfaithfully executed by means of the miracles performed with India", "In addition to this series of the works of Redon which adorned nearly\nevery panel of the passage, he had hung a disturbing sketch by El", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "inscriptions and with strips of passe-partout framing newspaper\nclippings and telegrams, were two vast shop windows crammed with\nalbums and books. He drew near, attracted by the sight of these books", "Among these were some executed by an artist whose genius allured and\nentranced him: Gustave Moreau.", "To while away the interminable hours, he had recourse to his\nportfolios of prints, and arranged his Goyas. The first impressions of", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "albums, reproducing humorous scenes from Du Maurier and John Leech, or\nthe delirious cavalcades of Caldecott, some French novels appeared,", "He possessed of the work of this artist, who was fantastic and\nmelancholy, vehement and wild, the series of his _Religious", "hue through its milky white. This edition, limited to one copy,\nprinted with a velvety black Chinese ink, had been covered outside and\nthen recovered within with a wonderful genuine sow skin, chosen among", "And in some of his books, _Bonne Chanson_, _Fetes Galantes_, _Romances\nsans paroles_, and his last volume, _Sagesse_, were poems where he\nhimself was revealed as an original and outstanding figure.", "With the exception of the works of these poets and of Stephane\nMallarme, which his servant was told to place to one side so that he\nmight classify them separately, Des Esseintes was but slightly\nattracted towards the poets.", "Formerly in Paris he had ordered made, for himself alone, certain\nvolumes which specially engaged mechanics printed from hand presses.", "printed long ago in the _Revue du Monde-Nouveau_, could astonish by\nreason of its chemical whims, by its affected humor and by its coldly", "slightly. And for years he had refused to frame them for fear that the\nfirst blundering fool who caught sight of them might deem it necessary\nto fly into banal and facile raptures before them.", "They were signed: Odilon Redon.", "Des Esseintes had acquired his two masterpieces and, at night, used to\nsink into revery before one of them--a representation of Salome,\nconceived in this fashion:", "Luyken's life, too, fascinated him, by explaining the hallucination of\nhis work. A fervent Calvinist, a stubborn sectarian, unbalanced by", "Sometimes, he applied to Perrin of Lyons, whose graceful, clear type\nwas suitable for archaic reprints of old books. At other times he" ], [ "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "he felt inclined to read, all literature seemed to him dull after\nthese terrible American imported philtres. Then he betook himself to\nVilliers de L'Isle Adam in whose scattered works he noted seditious", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "printed long ago in the _Revue du Monde-Nouveau_, could astonish by\nreason of its chemical whims, by its affected humor and by its coldly", "literature than to the other with which he demanded a place that was\ndenied him. His language was the language of disheveled romanticism,\nfull of involved expressions, unfamiliar turns of speech, delighted", "was diffuse and abject, but his articles, first printed in the\n_Correspondant_ and since collected into books, were mordant and\ndiscerning under the exaggerated politeness of their form. Conceived", "To Des Esseintes, the prose poem represented the concrete juice of\nliterature, the essential oil of art.", "_Fleaurange_, puffed into reputation by the whole apostolic press.\nNever, no, never, had Des Esseintes imagined that any person could\nwrite such ridiculous nonsense. In the point of conception, these", "A single volume remained on a shelf, within reach of his hand. It was\nthe _Homme_ of Ernest Hello. This writer was the absolute opposite of", "He found himself unable to understand a single word of the books he\nread. He could not even receive impressions through his eyes. It\nseemed to him that his mind, saturated with literature and art,\nrefused to absorb any more.", "inscriptions and with strips of passe-partout framing newspaper\nclippings and telegrams, were two vast shop windows crammed with\nalbums and books. He drew near, attracted by the sight of these books", "This section was divided into two groups, one of which included the\nordinary, secular literature, and the other the Catholic literature, a\nspecial but little known literature published by large publishing\nhouses and circulated to the four corners of the earth.", "Abbe Peyreyve, merited reading. He left sympathetic biographies of his\nmaster, wrote a few loveable letters, composed treatises in the\nsonorous language of formal discourse, and delivered panegyrics in", "But in this collection had been gathered certain poems resurrected\nfrom defunct reviews: _le Demon de l'analogie_, _la Pipe_, _le Pauvre", "novels were pitiful. His language was vapid, when it was not engaged\nin a striking controversy. In repose, he changed, uttering banal\nlitanies and mumbling childish hymns.", "In no way did Des Esseintes derive even a fugitive distraction from\nhis boredom from this literature. The mass of books which he had once", "This work of selection had slowly acted within him; not long ago he\nhad adored the great Balzac, but as his body weakened and his nerves\nbecame troublesome, his tastes modified and his admirations changed.", "With the exception of the works of these poets and of Stephane\nMallarme, which his servant was told to place to one side so that he\nmight classify them separately, Des Esseintes was but slightly\nattracted towards the poets.", "dispatched orders to England or to America for the execution of modern\nliterature and the works of the present century. Still again, he\napplied to a house in Lille, which for centuries had possessed a", "Compelled to live in a secular atmosphere, raised in the heart of the\nromantic school, constantly being in the current of modern literature\nand accustomed to reading contemporary publications, Barbey" ], [ "In short, since leaving Paris, Des Esseintes was removing himself\nfurther and further from reality, especially from the contemporary\nworld which he held in an ever growing detestation. This hatred had", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "This, too, proved disappointing; he was revolted by their rancorous\nand petty judgments, their conversation as obvious as a church door,\ntheir dreary discussions in which they judged the value of a book by", "Irritated, ill at ease and offended by the poverty of ideas given and\nreceived, he became like those people described by Nicole--those who", "With the sharpening of his desire to withdraw from a hated age, he\nfelt a despotic urge to shun pictures representing humanity striving\nin little holes or running to and fro in quest of money.", "alone of all the works of contemporary apostolic literature testified\nto this state of mind, at once impious and devout, toward which\nCatholicism often thrust Des Esseintes.", "His contempt for humanity deepened. He reached the conclusion that the\nworld, for the most part, was composed of scoundrels and imbeciles.", "diverting him, and the antipathy he felt against these farces was so\ngreat that he did not hesitate to liken them, in the point of art, to", "A single passion, woman, might have curbed his contempt, but that,\ntoo, had palled on him. He had taken to carnal repasts with the", "Observing the facts of life, stating them in clear, definite form, he\nrevealed the petty existence of the people, their happenings, their\nbestialities, their passions.", "art which does not remain indifferent to the spurious artists, which\nis not contested by fools, and which is not satisfied with awakening\nthe enthusiasm of the few, by this very fact becomes profaned, trite,", "He retained but a vague memory of his parents and felt neither\naffection nor gratitude for them. He hardly knew his father, who\nusually resided in Paris. He recalled his mother as she lay motionless", "holy man's works, although he had sung his disgust of the earth in the\n_Confessions_, and although his lamenting piety had essayed, in the", "filled with so many disgusts and fears, move past. What a life he had\nlived! He thought of the evenings spent in society, the horse races,\ncard parties, love affairs ordered in advance and served at the stroke", "of the most fervent Catholics. Her writings had filled him with\ninsufferably horrible boredom; they were more than merely wretched:", "In prose, he cared little for Voltaire and Rousseau, and was unmoved\neven by Diderot, whose so greatly praised _Salons_ he found strangely", "where he tarried long to recover his breath before continuing on his\nway and going even farther in the regions of human thought than the\nJansenist, whom he derided.", "Such an inveterate stupidity, such a scorn for literature and art,\nsuch a hatred for all the ideas he worshipped, were implanted and", "This profusion of impure mockeries and foul shames were marked in the\ncareer of the Marquis de Sade, who garnished his terrible pleasures\nwith outrageous sacrileges." ], [ "alone of all the works of contemporary apostolic literature testified\nto this state of mind, at once impious and devout, toward which\nCatholicism often thrust Des Esseintes.", "that the reserve of his mind was more keenly developed and that he no\nlonger admitted aught but superfine sensations and catholic or sensual\ntorments. To enjoy a work which should combine, according to his", "of the most fervent Catholics. Her writings had filled him with\ninsufferably horrible boredom; they were more than merely wretched:", "In these all but healthy volumes, Barbey d'Aurevilly constantly\nhesitated between those two pits which the Catholic religion succeeds\nin reconciling: mysticism and sadism.", "This section was divided into two groups, one of which included the\nordinary, secular literature, and the other the Catholic literature, a\nspecial but little known literature published by large publishing\nhouses and circulated to the four corners of the earth.", "Jean's life at the Jesuit school, where he was sent to study, was more\npleasant. At first the Fathers pampered the lad whose intelligence", "and fear. His artistic sense was conquered by the skillfully\ncalculated Catholic rituals. His nerves quivered at these memories.\nThen, in sudden rebellion, in a sudden reversion, monstrous ideas were", "These ideas, diametrically opposed to his own, made him smile. Then\nthe role played by Tertullian, in his Carthage bishopric, seemed to\nhim suggestive in pleasant reveries. More even than his works did the\nman attract him.", "This profusion of impure mockeries and foul shames were marked in the\ncareer of the Marquis de Sade, who garnished his terrible pleasures\nwith outrageous sacrileges.", "But to find writers of prose whose works justify close study, one was\nobliged to seek those who had not submitted to Ordination; to the\nsecular writers whom the interests of Catholicism engaged and devoted\nto its cause.", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "condemned by the Church. He grew excited. The impotence of his mind\nand body which he had supposed final, vanished. Solitude again acted\non his disordered nerves; he was once more obsessed, not by religion", "Luyken's life, too, fascinated him, by explaining the hallucination of\nhis work. A fervent Calvinist, a stubborn sectarian, unbalanced by", "dragged into the sanctuary. Nay, even that vast disdain was invoked,\nwith which Catholicism enshrouds talent to prevent excommunication\nfrom putting beyond the pale of the law a perplexing servant who,", "investigations of some of the infidel psychologists of the preceding\nand present century. In him was a sort of Catholic Duranty, but more\ndogmatic and penetrating, an experienced manipulation of the", "thoughts. He was entirely dominated by morbid abstractions. Despite\nhimself, he thought of the contradictory interpretations of the\ndogmas, of the lost apostasies of Father Labbe, recorded in the works", "points of contact in these two doctrines helped him to correlate them;\nand he could never forget that poignant and poetic Catholicism in\nwhich he had bathed, and whose essence he had long ago absorbed.", "A single volume remained on a shelf, within reach of his hand. It was\nthe _Homme_ of Ernest Hello. This writer was the absolute opposite of", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "In addition to the unclean scenes beloved by Malin, the nights\nsuccessively and lawfully consecrated to excessive sensual orgies and\ndevoted to the bestialities of passion, he once more discovered the" ], [ "\"I breathe!\" he exclaimed when the train moderated its waltz and\nstopped in the Sceaux station rotunda, panting while its wheels\nperformed its last pirouettes.", "\"But all this does not prevent me from seeing,\" he said, forced by\nweakness from his meditations, \"that I must be careful to mistrust", "Observing the facts of life, stating them in clear, definite form, he\nrevealed the petty existence of the people, their happenings, their\nbestialities, their passions.", "\"Ah!\" he exclaimed, \"To think that all this is not a dream, to think\nthat I am going to return into the cowardly and servile crowd of this", "truth from him any longer. But the servant declared that the doctor\nhad exhibited no uneasiness, and despite his suspicions, Des Esseintes", "\"It is true,\" pursued Des Esseintes, returning to the course of\nreasoning he had momentarily abandoned, \"it is true that most often", "doubt that he would never experience that moment of grace mentioned by\nLacordaire, \"when the last shaft of light penetrates the soul and\nunites the truths there lying dispersed.\" He never felt the need of", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "Suddenly he understood the meaning of the frightful vision. Before him\nwas the image of Syphilis.", "Then the vision faded suddenly with a jolt of the _fiacre_ which made\nhim rebound in his seat. He gazed through the carriage windows. Night", "soul is pained by all things it thinks upon.\" But the words resounded\nin his mind like sounds deprived of sense; his ennui disintegrated,", "This scene, already far removed, came to him suddenly, strangely and\nvividly. Pantin was there before him, animated and throbbing in this", "\"Since, nowadays, nothing genuine exists, since the wine one drinks\nand the liberty one boldly proclaims are laughable and a sham, since", "For several days, in fact, his soul had been strangely perturbed. At\nmoments, he felt himself veering towards religion. Then, at the\nslightest approach of reason, his faith would dissolve. Yet he\nremained deeply troubled.", "agonies. Then he beheld stars. He stamped his feet frantically and\nbleated like a sheep about to be slaughtered.", "Des Esseintes had watched her attentively through many long evenings.\nAt first, she had seemed to him what she really was, a strong and", "of light. And he beheld a sudden vision of humanity consumed through\nthe centuries by the virus of this disease. Since the world's\nbeginnings, every single creature had, from sire to son, transmitted", "with whom. Just wait, wait!\" Instantly, like a libertine stirred by\nfear of discovery in the open, he recovered his strength and hurled", "Luyken's life, too, fascinated him, by explaining the hallucination of\nhis work. A fervent Calvinist, a stubborn sectarian, unbalanced by" ], [ "The man bowed and deposited the buckler on the pinewood floor of the\ndining room. It oscillated and wavered, revealing the serpentine head\nof a tortoise which, suddenly terrified, retreated into its shell.", "This tortoise was a fancy which had seized Des Esseintes some time\nbefore his departure from Paris. Examining an Oriental rug, one day,", "Des Esseintes now watched the tortoise squatting in a corner of the\ndining room, shining in the shadow.", "pale silver. Thus stated, the problem was easier to solve. He\ntherefore decided to glaze the shell of the tortoise with gold.", "The tortoise, just returned by the lapidary, shone brilliantly,\nsoftening the tones of the rug and casting on it a gorgeous reflection\nwhich resembled the irradiations from the scales of a barbaric\nVisigoth shield.", "a thousand, the color of flesh, its surface spotted where the hairs\nhad been and adorned with black silk stamped in cold iron in\nmiraculous designs by a great artist.", "\"Phew!\" he exclaimed, saddened by the assault of these memories. He\nrose to dissipate the horrible spell of this vision and, returning to\nreality, began to be concerned with the tortoise.", "his wishes. There, in a shop window on the Palais Royal, lay a huge\ntortoise in a large basin. He had purchased it. Then he had sat a long", "After he had finished his tea, he returned to his study and had the\nservant carry in the tortoise which stubbornly refused to budge.", "The bed covers tormented him. He stifled under the sheets, his body\nsmarted and tingled as though stung by swarms of insects. These", "Then he observed the frightful irritation of the breasts and mouth,\ndiscovered spots of bister and copper on the skin of her body, and", "Then, Des Esseintes also experienced insidious delights in touching\nthis diminutive book whose cover of Japan vellum, as white as curdled", "He was concentrating his attention upon them when another younger,\nsorry little specimen appeared. He had hair like seaweed covered with", "It did not budge at all and he tapped it. The animal was dead.\nDoubtless accustomed to a sedentary existence, to a humble life spent", "had never seen before. She was emaciated and had flaxen hair, a\nbulldog face, freckles on her cheeks, crooked teeth projecting under a", "leaf was to be designed with jewels and mounted on the scales of the\ntortoise.", "embossed with wounds, covered with black mercurial hog lard, with\ngreen unguents of belladonna smeared with grains of dust and the\nyellow micas of iodoforme.", "the signboard. He rang the bell and then, terrified by the great red\nspittles which he noticed on the steps, he faced about, resolved to", "hue through its milky white. This edition, limited to one copy,\nprinted with a velvety black Chinese ink, had been covered outside and\nthen recovered within with a wonderful genuine sow skin, chosen among", "bellows. These two images he placed in a corner of the room. Then he\nextinguished the lamps, permitting the glowing embers to throw a dim\nlight around the room and to magnify the objects which were almost" ], [ "During the last month of his stay in Paris, when he was weary of\neverything, afflicted with hypochondria, the prey of melancholia, when", "Like all people tormented by nervousness, heat distracted him. And his\nanaemia, checked by cold weather, again became pronounced, weakening\nhis body which had been debilitated by copious perspiration.", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "embraces of accomplished mistresses. But his health failed, his\nnervous system collapsed, the back of his neck grew sensitive, his\nhand, still firm when it seized a heavy object, trembled when it held", "through his heart. He did not have the courage to eat this bread, for\nthe unhealthy excitement of his stomach had ceased. A sensation of\nfrightful decay swept upon him. He was compelled to rise. The sun", "thinned the already impoverished blood of his race. In Paris, he had\nbeen compelled to submit to hydrotherapic treatments for his trembling", "Without debating the matter, the doctor merely asserted that this\nradical change was, in his eyes, a question of life or death, a\nquestion of health or insanity possibly complicated in the near future\nby tuberculosis.", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "These reversions to religion, these intimations of faith tormented him\nparticularly since the changes that had lately taken place in his\nhealth. Their progress coincided with that of his recent nervous\ndisorders.", "The excesses of his youthful life, the exaggerated tension of his mind\nhad strangely aggravated his earliest nervous disorder, and had", "For several days, in fact, his soul had been strangely perturbed. At\nmoments, he felt himself veering towards religion. Then, at the\nslightest approach of reason, his faith would dissolve. Yet he\nremained deeply troubled.", "It had happened three years ago. Seized, in the middle of the night,\nwith an abominable toothache, he put his hand to his cheek, stumbled\nagainst the furniture, pacing up and down the room like a demented\nperson.", "This work of selection had slowly acted within him; not long ago he\nhad adored the great Balzac, but as his body weakened and his nerves\nbecame troublesome, his tastes modified and his admirations changed.", "\"I am really becoming stupid,\" thought Des Esseintes. \"The very fear\nof this malady will end by bringing it on, if this continues.\"", "And she continued in this fashion, without pause, until after Maurice\nde Guerin had died, after which his sister bewailed him in other", "In this representation of one of the most intimate friends of the Duc\nd'Epernon and the Marquis d'O, the ravages of a sluggish and\nimpoverished constitution were already noticeable.", "Des Esseintes had watched her attentively through many long evenings.\nAt first, she had seemed to him what she really was, a strong and", "Then, in the dejection which overcame him, a sudden energy forced him\nin a sitting posture. He had strength to write a letter to his Paris\nphysician and to order the servant to depart instantly, seek and bring", "Their liaison continued, but his spells of exhaustion soon became\nacute. His brain no longer sufficed to stimulate his benumbed body. No", "physician. Again he grew faint, passing instantly from the most\nunreasoning hopes to the most baseless fears, exaggerating the chances\nof a sudden recovery and his apprehensions of danger. The hours passed" ], [ "He had satisfied the first of his desires. Unable to keep away, one\nfine day he had left Paris and visited the towns of the Low Lands, one\nby one.", "Parisian throngs from reaching him, and yet near enough to the capital\nto confirm him in his solitude. And he felt that in not entirely", "and La Brie. The Duc Jean was a slender, nervous young man of thirty,\nwith hollow cheeks, cold, steel-blue eyes, a straight, thin nose and\ndelicate hands.", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "thwarted his orders. What is the use of moving, when one can travel on\na chair so magnificently? Was he not even now in London, whose aromas\nand atmosphere and inhabitants, whose food and utensils surrounded", "Then, in the dejection which overcame him, a sudden energy forced him\nin a sitting posture. He had strength to write a letter to his Paris\nphysician and to order the servant to depart instantly, seek and bring", "He retained but a vague memory of his parents and felt neither\naffection nor gratitude for them. He hardly knew his father, who\nusually resided in Paris. He recalled his mother as she lay motionless", "of sensations common to society, in this unnatural confinement in\nwhich he persisted, all the questionings forgotten during his stay in\nParis were revived as active irritants. The reading of his beloved", "bed he would have occupied in London. The silent, discreet\nministrations of his servants charmed him, exhausted as he was at the\nthought of the loud loquacity of hotel attendants. The methodical", "Seized with a desire to walk, to behold a human figure, to speak to\nsomeone, to mingle with life, he had proceeded to call his domestics,", "\"At once!\" he commanded. \"And when you reach the rue de Rivoli, stop\nin front of _Galignani's Messenger_.\" Before departing, he desired to\nbuy a Baedeker or Murray guide of London.", "at a page of the Baedeker describing the London museums. He became\ninterested in the laconic and exact details of the guide books, but\nhis attention wandered away from the old English paintings to the", "During the last month of his stay in Paris, when he was weary of\neverything, afflicted with hypochondria, the prey of melancholia, when", "imaginary London, happy to be sheltered, as he listened to the\nsinister shrieks of tugs plying up and down the Thames. His glass was", "Then the vision faded suddenly with a jolt of the _fiacre_ which made\nhim rebound in his seat. He gazed through the carriage windows. Night", "More than two months passed before Des Esseintes could bury himself in\nthe silent repose of his Fontenay abode. He was obliged to go to Paris\nagain, to comb the city in his search for the things he wanted to buy.", "from any neighbors. His dream was realized! In this country place so\nlittle violated by Parisians, he could be certain of seclusion. The\ndifficulty of reaching the place, due to an unreliable railroad", "had been stirred by the enervation of his pious readings, then brought\nto a crisis by the English cant, came to the surface. His stimulated", "piece of paper and fled, after paying two francs. Expectorating blood,\nin his turn, down the steps, he at length found himself in the street,\njoyous, feeling ten years younger, interested in every little", "contentment in not being out of tune in this environment, of being, in\nsome way, though superficially, a naturalized London citizen. Then he" ], [ "of sensations common to society, in this unnatural confinement in\nwhich he persisted, all the questionings forgotten during his stay in\nParis were revived as active irritants. The reading of his beloved", "\"Ah!\" he exclaimed, \"To think that all this is not a dream, to think\nthat I am going to return into the cowardly and servile crowd of this", "his vague, undeveloped ideas took on form. After each vacation, Jean\nreturned to his masters more reflective and headstrong. These changes\ndid not escape them. Subtle and observant, accustomed by their", "separated from them for a long period, a satisfaction as complete as\nthat which comes after a protracted absence. Under the touch of this\nsentiment, these objects possessed a renewed novelty to his mind, and", "and overturning his future plans. His beatitude was ended. He was\ncompelled to abandon this sheltering haven and return at full speed\ninto the stupidity which had once attacked him.", "During the days following his return, Des Esseintes contemplated his\nbooks and experienced, at the thought that he might have been", "appeared as a compensation for the stupidities heard for years, now\nweighed on him with an unendurable burden. One morning he had\nawakened, as uneasy as a prisoner in his cell; his lips had sought to", "returned to the ranks; but he was the _enfant terrible_, and was\nunrecognized by the party. In a literary way, he pursued women whom he", "yellow material and recalled it to a more serious tone. Then he could\neasily imagine himself living a hundred leagues removed from Paris,\nfar from society, in cloistral security.", "revived. He threw down his napkin, returned to his study, and paced\nthe floor. He felt as if he were under a pneumatic clock, and a", "closing the way, there was a chance that he would not be assailed by a\nwish to return to society, seeing that it is only the impossible, the\nunachievable that arouses desire.", "Then, through a ventilator, he permitted these fragrant waves to\nescape, only preserving the field which he renewed, compelling it to\nreturn in his strophes like a ritornello.", "in evoking, and plunged in revery, he repeated to himself this\ningenious, sad and comforting composition he had formerly written upon\nreturning to Paris:", "daily became increasingly rigorous and barren! Then, under pretext of\nliberty and progress, Society had discovered another means of\nincreasing man's miseries by tearing him from his home, forcing him to", "soul is pained by all things it thinks upon.\" But the words resounded\nin his mind like sounds deprived of sense; his ennui disintegrated,", "For several days, in fact, his soul had been strangely perturbed. At\nmoments, he felt himself veering towards religion. Then, at the\nslightest approach of reason, his faith would dissolve. Yet he\nremained deeply troubled.", "Saint-Germain quarters now in its dotage, scaling into the dust of\ndesuetude, buried in a new society like an empty husk. And what\ncontact could exist between him and that bourgeois class which had", "Like a hermit he was ripe for isolation, since life harassed him and\nhe no longer desired anything of it. Again like a monk, he was", "This time, he arose and left, ordered the driver to bring him back to\nthe Sceaux station, and returned with his trunks, packages, valises,", "These afflictions had gradually disappeared, thanks to a more\nregulated and sane mode of living. They now returned in another form," ] ]

[ "What does Jean fill his house with?", "What piece inspires Jean to live his life in intellectual and aesthetic contemplation?", "Which novelists of the Golden Age does he reject?", "Where does he decide to visit after reading the works of Dickens?", "Where does he put gemstones?", "What happens after the gemstones are placed on the tortoise's back?", "Because of his declining health, where does Jean go in the end?", "What does Jean compare his return to society as?", "Who is the last member of the Esseintes family?", "Why does Jean leave Paris?", "What does Jean fill the house with?", "How does Esseintes decide to spend the rest of his life?", "What type of literature does Jean survey at first?", "Who does Jean show contempt for ?", "Of what age are the Latin bookwriters Jean rejects?", "What was seen as the Barbarous product of the Dark Ages?", "When does Jean decide to visit london?", "What requires Jean to return to Paris?", "Why is Jean des Esseintes disgusted with society?", "Most of Jean's art is reprints by whom?", "What kind literature does Jean review?", "What kind of work does Jean show contempt for?", "What unorthodox Catholic work does Jean enjoy?", "Who does Jean exclaim has seen the truth?", "What covers the tortoises shell in the story?", "What takes a toll on Jean's health?", "What inspires jean to go to London?", "What does Jean compare his return to society to be like?" ]

[ [ "An eclectic art collection.", "His art collection." ], [ "Bouvard et Pecuchet", "Gustave Flaubert's book Bouvard et Pecuchet" ], [ "Virgil and Cicero", "Virgil and Cicero." ], [ "London.", "London, England." ], [ "On the shell of a tortoise.", "A tortoise's shell. " ], [ "It dies from the extra weight", "it died" ], [ "Paris", "Paris." ], [ "It's like a non-believer trying to embrace religion.", "unbeliever trying to grip religion" ], [ "Jean des Esseintes", "Jean des Esseintes" ], [ "He is disgusted with human society", "He was disenchanted with human society. " ], [ "His eclectic art collection", "His art collection." ], [ "In intellectual and aesthetic contemplation.", "He retreats to a house in the countryside." ], [ "French and Latin", "French and Latin" ], [ "The Romantics", "The Romantics." ], [ "The Golden Age", "Those approved by mainstream critics." ], [ "Christian Literature", "The style of early Christian literature. " ], [ "After he reads Dickens", "After he reads Dickens' works." ], [ "His late nights and idosyncratic diet", "His poor health." ], [ "He grew up very decadently in Paris.", "He lived a decadent life in Paris." ], [ "Gustave Moraeu", "Gustave Moreau" ], [ "French and Latin", "French and Latin." ], [ "the Romantics", "Romantic literature." ], [ "Auguste Villiers de l'Isle-Adam and Barbey d'Aurevilly", "Corrupt fiction" ], [ "Schopenhauer", "Schopenhauer" ], [ "Gemstones", "Gemstones covers the shell." ], [ "late nights and idiosyncratic diet", "Diet takes a toll on his health." ], [ "one of Dicken's books", "Reading stories by Dickens." ], [ "a non-believer embracing religion", "Like a non-believer returning to religion." ] ]

[ [ "McIntyre, sen., was pale and furtive-looking, with a thin straggling\nred beard shot with grey, and a sunken downcast face. Ill-fortune and", "there that might amuse you.\" He was on intimate terms with the McIntyres\nnow, and there were few days on which they did not see something of each\nother.", "There could be no doubt of it. Old McIntyre was sitting up now, and\nburst suddenly into a hoarse peal of laughter, rocking himself backwards", "Old McIntyre seemed to see him at almost the same moment, for he\nsnarled out an oath, and clutched still closer at his treasure, looking", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "Old McIntyre had sat in the corner most of the day biting his nails and\nglowering into the fire, with a brooding, malignant expression upon his", "Then for the first time it flashed into Robert McIntyre's head that his\nfather's chance words were correct, and that he was in the presence of", "That night Robert McIntyre had gone to bed, and was dozing off when a\nhand plucked at his shoulder, and he started up to find his sister in", "That night after supper Robert McIntyre poured forth all that he had\nseen to his father and to his sister. So full was he of the one subject", "\"Just you wait here,\" old McIntyre cried, plucking at his son's sleeve\nwith his thin bony hand. \"Wait here and see it pass. Then we will watch\nwhat becomes of it.\"", "His words had a very different effect upon his two listeners. Old\nMcIntyre leaned back in his chair with a bitter smile upon his lips, his", "McIntyre throw himself continually across the path of the millionaire,\nand impress upon him, by a thousand hints and innuendoes, the hard\nfortune which had been dealt him, and the ease with which his fallen", "Old McIntyre burst into a hoarse laugh.", "By this time his attentions towards Laura McIntyre had become so\nmarked that they could hardly be mistaken. He visibly brightened in", "\"What promise was that, then?\" cried old McIntyre suspiciously.\n\n\"Never you mind, papa. But if you forget it, Robert, I shall never\nforgive you as long as I live.\"", "it, McIntyre remaining uppermost. His other hand was on the alchemist's\nthroat, and it might have fared ill with him had Robert not climbed", "a change in him these last few weeks. He looked like a man who had\nsomething upon his mind. And how is Mr. Robert McIntyre?\"", "\"I have sometimes feared so.\" \"We may pass over old Mr. McIntyre. It\nwould hardly be just, perhaps, to mention him in this connection. But", "treasures up old scraps of wood and metal under the impression that they\nare all ingots of gold. Robert McIntyre is a moody and irritable man,", "Robert McIntyre's face must have expressed the utter astonishment which\nfilled his mind at this most unlooked-for announcement. For a moment he" ], [ "\"You were placed in a difficult position--very difficult,\" her brother\nanswered. \"But all will be right, and I have no doubt Hector will see it\nas you do. But does Mr. Spurling know of your engagement?\"", "be tempted to secure her assistance for ever. So runs the gossip of the\nvillage, and in small places such gossip is seldom wrong. As to Hector", "\"Not a word. He was here yesterday, and talked of Hector, but indeed I\ndid not know how to tell him. We are to be married by special licence in", "\"Oh, I cannot bear even to think of it. Poor Hector! And yet what could\nI do, Robert? You know that it was only a boy and girl affair. And how", "\"But it's Hector's last night,\" pleaded Laura. \"It would be dreadful if\nthey met and he noticed anything. That was why I wished him to go.\"", "\"But Laura, Laura, how about Hector?\" asked Robert in mild remonstrance.\n\n\"Oh, I have written to him,\" his sister answered carelessly. \"I wish you\nwould be good enough to post the letter.\"", "\"Dear Hector,\" she said--\"I am convinced that your father has\n never entirely approved of our engagement, otherwise he", "\"Next time be it, Hector.\"\n\n\"And nothing can part us?\"\n\n\"Nothing.\"\n\n\"In the whole world?\"\n\n\"Nothing.\"", "\"It is quite impossible, papa,\" his daughter answered coldly. \"It is not\nmy money. Hector asked me to be his banker. Those were his very words.", "anything about Hector. You won't, will you, Robert, for the sake of your\nlittle sister?\"", "beside him some shadow of Hector Spurling, the manly features, the\nclear, firm mouth, the frank manner. Now, in the very moment of her", "stranger who stood by the door. Hector blushed furiously, and made an\nawkward sailor bow, standing with Laura's cold and unresponsive hand\nstill clasped in his.", "\"Poor devil!\" said Hector, gazing in amazement after him. \"He seems hard\nhit anyhow. But what is the meaning of all this, Laura?\"\n\nHis face had darkened, and his mouth had set.", "\"Much better, Robert. Would it not be dreadful if Hector came back first\nand there was a scene? If I were once married I should not mind. Why", "Spurling, the elder son, two months Laura's senior, had been engaged to\nher for some years, and was, indeed, upon the point of marrying her when", "sister's business, not his; and as to Hector Spurling, he must take his\nchance as other men did. It was obviously best not to move one way or\nthe other in the matter.", "\"Come, then, Hector,\" cried Miss McIntyre with a challenge in her eyes.\n\"Something very queer happened to me also to-day. I'll bet a pair of", "kept you true to me, and that you would have done infinitely\n better had you never seen me. I cannot bear, Hector, to allow", "\"One word, sir,\" cried Raffles Haw in a quivering voice. \"Do I entirely\nunderstand you? Let me be sure that there is no mistake. You say that\nyou are engaged to be married to Miss McIntyre?\"", "His round, kindly face was beaming with good nature, and he took little\njumps as he walked, like a man who can hardly contain himself for\npleasure.\n\n\"Have you heard from Hector?\"" ], [ "\"It was this morning, Hector,\" she said. \"Oh, by the way, the story will\nmake you wild. I had forgotten that. However, you mustn't mind, because,\nreally, the poor fellow was perfectly mad.\"", "\"Oh, I cannot bear even to think of it. Poor Hector! And yet what could\nI do, Robert? You know that it was only a boy and girl affair. And how", "\"Poor devil!\" said Hector, gazing in amazement after him. \"He seems hard\nhit anyhow. But what is the meaning of all this, Laura?\"\n\nHis face had darkened, and his mouth had set.", "\"But it's Hector's last night,\" pleaded Laura. \"It would be dreadful if\nthey met and he noticed anything. That was why I wished him to go.\"", "\"But Laura, Laura, how about Hector?\" asked Robert in mild remonstrance.\n\n\"Oh, I have written to him,\" his sister answered carelessly. \"I wish you\nwould be good enough to post the letter.\"", "beside him some shadow of Hector Spurling, the manly features, the\nclear, firm mouth, the frank manner. Now, in the very moment of her", "anything about Hector. You won't, will you, Robert, for the sake of your\nlittle sister?\"", "be tempted to secure her assistance for ever. So runs the gossip of the\nvillage, and in small places such gossip is seldom wrong. As to Hector", "kept you true to me, and that you would have done infinitely\n better had you never seen me. I cannot bear, Hector, to allow", "it. Poor old Hector! It is from Madeira.\" She glanced rapidly over the\nfour pages of straggling writing in the young sailor's bold schoolboyish", "\"Not a word. He was here yesterday, and talked of Hector, but indeed I\ndid not know how to tell him. We are to be married by special licence in", "every way. It is possible that you may think it unkind of me\n to do this now, but I am quite sure, dear Hector, that when you", "Early as it was, his son could see from his excited, quarrelsome manner\nthat the old man had been drinking. The habit had grown upon him of\nlate, and it was seldom now that he was entirely sober.", "stranger who stood by the door. Hector blushed furiously, and made an\nawkward sailor bow, standing with Laura's cold and unresponsive hand\nstill clasped in his.", "\"Next time be it, Hector.\"\n\n\"And nothing can part us?\"\n\n\"Nothing.\"\n\n\"In the whole world?\"\n\n\"Nothing.\"", "His round, kindly face was beaming with good nature, and he took little\njumps as he walked, like a man who can hardly contain himself for\npleasure.\n\n\"Have you heard from Hector?\"", "sister's business, not his; and as to Hector Spurling, he must take his\nchance as other men did. It was obviously best not to move one way or\nthe other in the matter.", "Hector Spurling's profession was written in every line of his face.\nThe clean-shaven lip and chin, the little fringe of side whisker, the", "\"Why, where's Hector?\" asked Mr. McIntyre, blinking round from side to\nside.", "another word. But really, Hector, you need not look so black, for when\nI look back at it I can quite see from his tone and manner that he meant" ], [ "\"Is it not wonderful what money can do?\" Laura remarked, as they knocked\nthe snow from their shoes within the porch. \"There seems to be no wish\nwhich Mr. Haw could not at once gratify.\"", "\"The power there is immense,\" said Raffles Haw, superintending the\nprocess, with his watch upon the palm of his hand. \"It would reduce an", "Haw or anyone else the money without Hector's express command.\"", "\"Mr. Raffles Haw is the best judge,\" said Robert coldly. \"If he earns\nthe money, he has a right to spend it as he likes.\"", "\"It works very nicely,\" said Raffles Haw. \"It is quite a new thing--never\nbefore done, as far as I know. You see the names of the various wines", "Such were the deeds by which Raffles Haw made himself known throughout\nthe Midlands, and yet, in spite of all his open-handedness, he was not", "to have a laboratory where I could carry out my work on a much larger\nscale. As I said before, I can now state with all truth that the amount\nof my income is only limited by my desires.\"", "Whatever good Mr. Raffles Haw's wealth did to the world, there could be\nno doubt that there were cases where it did harm. The very contemplation", "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "arrived from city police and county constabulary to say that evil\nvisitors were known to have taken train to Tamfield. But if, as Raffles\nHaw held, there were few limits to the power of immense wealth, it", "\"You will follow me now when I repeat that none of the great schemes\nwhich I intend to simultaneously set in motion are at all likely to\nlanguish for want of funds. Now come into the laboratory with me and see\nhow it is done.\"", "of old gold, with a great blazing diamond bulging out of it. There was\nlittle talk about the matter, however, for it was Haw's wish that all", "ingots. So you see, my dear boy, that any broker who could get the\ncontents of this chamber for four million pounds would be doing a nice\nlittle stroke of business.\"", "\"And this is protyle,\" said Haw, passing his fingers through it. \"The\nchemist of the future may resolve it into further constituents, but to\nme it is the Ultima Thule.\"", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "\"Ah, Robert,\" cried Haw, leaning back in his chair, and sending up thick\nblue wreaths from his pipe. \"You have put your finger upon my", "\"I never knew but one Haw,\" said old McIntyre, drumming his fingers on\nthe table; \"he was a foreman in my pin-fire cartridge-case department.", "\"And you are very naturally curious as to how that wealth was obtained.\nWell, I can tell you one thing. The money is perfectly clean. I have", "you have transplanted me. But would you ease my mind, Mr. Haw, by\nshowing me how this thing is done?\"" ], [ "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "confided to his keeping. Then there had been his conversation with his\nfather in the afternoon, their disagreement, and the sudden intrusion\nof Raffles Haw. Finally the talk with his sister had excited his", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "\"Ah, Robert,\" cried Haw, leaning back in his chair, and sending up thick\nblue wreaths from his pipe. \"You have put your finger upon my", "The events of the day had been enough to shake a stronger man. There\nhad been the revelation of the morning, the strange sights which he\nhad witnessed in the laboratory, and the immense secret which had been", "\"Ha! There is a change in that young man. I observe an alteration in\nhim. You will forgive me, Mr. Raffles Haw, if I say a few serious words", "laboratory. Like a man in a dream he wandered about, marvelling at the\nuniversal destruction. A large broad-headed hammer lay upon the\nground, and with this Haw had apparently set himself to destroy all", "\"Ha!\" She raised her finger, and a smile of triumph played over her\nface, only to die away again into a blank look of disappointment. \"It is\nonly papa,\" she murmured.", "\"My dear father, I really cannot argue with you about it,\" said Robert.\n\"I have already told you more than once what I think. Mr. Haw's object", "\"Mr. Haw, I cannot understand it!\" Robert grasped the velvet edge of the\nsettee, and gazed wildly about him.", "Raffles Haw still stood cold and motionless. He was stunned, benumbed,\nby what he saw and heard. Laura drew away from Hector, and tried to free\nher hand from his grasp.", "Haw leaned against the glass table panting, with his hand to his side.\n\n\"You here, Robert?\" he gasped. \"Is it not horrible? How did you come?\"", "of old gold, with a great blazing diamond bulging out of it. There was\nlittle talk about the matter, however, for it was Haw's wish that all", "\"I could not do that,\" Haw answered earnestly. \"I have not been singled\nout to wield this immense power simply in order that I might lead", "\"It is a little box of a place this, Mr. Haw,\" said old McIntyre. \"I\nshould think you must feel quite stifled in it after your grand mansion,", "\"The poor burglars!\" cried Laura. \"It is no wonder that they look\nbewildered, for I suppose, Mr. Haw, that they neither know where they", "But to Robert himself, his work and his surroundings were becoming more\nand more irksome. His joy in his art had become less keen since he had", "\"It was to tell you that I released you. I love Raffles Haw, and I was\nto have been his wife. And now it is all gone. Oh, Hector, I hate you,", "\"It is only postponed. Louis,\" said brother Rupert despairingly, when\nthe last clerk had left the office, and when at last they could relax\nthe fixed smile upon their haggard faces." ], [ "And so Laura McIntyre became duly engaged to Raffles Haw, and old\nMcIntyre grew even more hungry-looking as he felt himself a step nearer", "\"One word, sir,\" cried Raffles Haw in a quivering voice. \"Do I entirely\nunderstand you? Let me be sure that there is no mistake. You say that\nyou are engaged to be married to Miss McIntyre?\"", "\"Four months!\" gasped Haw. \"Why, it is just four months since I came\nhere. And one last question, sir. Does Robert McIntyre know of your\nengagement?\"", "\"I await my family's congratulations,\" she said, with her head in the\nair. \"Mr. Raffles Haw has been here, and he has asked me to be his\nwife.\"", "\"I shall be delighted to come, Mr. Haw,\" cried Laura, with her sweetest\nsmile. \"A good deal of my time just now is taken up in looking after the", "\"I am very much honoured, Mr. Haw,\" she stammered, \"but this is so\nsudden. I have not had time to think. I do not know what to say.\"", "to the source of wealth, while Robert thought less of work than ever,\nand never gave as much as a thought to the great canvas which still\nstood, dust-covered, upon his easel. Haw gave Laura an engagement ring", "Spurling, the elder son, two months Laura's senior, had been engaged to\nher for some years, and was, indeed, upon the point of marrying her when", "\"Mr. Raffles Haw has done this out of kindness to me,\" she said,\nsweeping towards the door. \"I look upon it as a great attention on his\npart. I shall certainly go out and look at it.\"", "\"I would not intrude upon your secrets, Mr. Haw,\" said Robert, \"but\nof course I cannot deny that I should be very proud and pleased if you\ncared to confide them to me.\"", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "\"It was to tell you that I released you. I love Raffles Haw, and I was\nto have been his wife. And now it is all gone. Oh, Hector, I hate you,", "of old gold, with a great blazing diamond bulging out of it. There was\nlittle talk about the matter, however, for it was Haw's wish that all", "\"Is it not wonderful what money can do?\" Laura remarked, as they knocked\nthe snow from their shoes within the porch. \"There seems to be no wish\nwhich Mr. Haw could not at once gratify.\"", "Robert settled himself down in his chair and concentrated his attention\nupon his companion's words, while Haw bent forward his eager, earnest\nface, like a man who knows the value of the words which he is saying.", "\"And who are they, and how did they come there? Do tell us, Mr. Haw.\"\n\nLaura McIntyre had a pretty beseeching way with her, which went rather\npiquantly with her queenly style of beauty.", "While father and son were prying into his secrets, Raffles Haw had found\nhis way to Elmdene, where Laura sat reading the _Queen_ by the fire.", "Her talk was of almshouses and free libraries, of charities and of\nimprovements. He had never a scheme to which she could not add some\ndetail making it more complete and more effective. To Haw it seemed that", "\"You were placed in a difficult position--very difficult,\" her brother\nanswered. \"But all will be right, and I have no doubt Hector will see it\nas you do. But does Mr. Spurling know of your engagement?\"", "Mr. Spurling, the vicar, was up shortly after breakfast, some rumour of\nevil having come to his ears. It was good for Haw to talk with him, for" ], [ "\"Was it suicide, sir? Was it suicide?\" broke in the policeman as Robert\nput the note in his pocket.\n\n\"No,\" he answered; \"I think it was a broken heart.\"", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "\"Those shutters will never come down again,\" cried brother Louis, and\nthe two suddenly burst out sobbing in each other's arms, not for their\nown griefs, but for the miseries which they might bring upon those who\nhad trusted them.", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "breast of his coat, and with a shrill scream of rage flung himself upon\nthe alchemist. So sudden and so fierce was the movement that Haw had no", "confided to his keeping. Then there had been his conversation with his\nfather in the afternoon, their disagreement, and the sudden intrusion\nof Raffles Haw. Finally the talk with his sister had excited his", "\"It was to tell you that I released you. I love Raffles Haw, and I was\nto have been his wife. And now it is all gone. Oh, Hector, I hate you,", "Haw leaned against the glass table panting, with his hand to his side.\n\n\"You here, Robert?\" he gasped. \"Is it not horrible? How did you come?\"", "Robert, and may you never have as sad a heart as I have to-night.\n Yours very truly,\n RAFFLES HAW.\"", "\"Ah, Robert,\" cried Haw, leaning back in his chair, and sending up thick\nblue wreaths from his pipe. \"You have put your finger upon my", "Raffles Haw still stood cold and motionless. He was stunned, benumbed,\nby what he saw and heard. Laura drew away from Hector, and tried to free\nher hand from his grasp.", "\"I would not intrude upon your secrets, Mr. Haw,\" said Robert, \"but\nof course I cannot deny that I should be very proud and pleased if you\ncared to confide them to me.\"", "The events of the day had been enough to shake a stronger man. There\nhad been the revelation of the morning, the strange sights which he\nhad witnessed in the laboratory, and the immense secret which had been", "\"The poor burglars!\" cried Laura. \"It is no wonder that they look\nbewildered, for I suppose, Mr. Haw, that they neither know where they", "\"Ha!\" She raised her finger, and a smile of triumph played over her\nface, only to die away again into a blank look of disappointment. \"It is\nonly papa,\" she murmured.", "laboratory. Like a man in a dream he wandered about, marvelling at the\nuniversal destruction. A large broad-headed hammer lay upon the\nground, and with this Haw had apparently set himself to destroy all", "And so the great secret was out, and Robert walked home with his head in\na whirl, and the blood tingling in his veins. He had shivered as he", "He kept a rigid and unmoved face until his visitor had gone, and then\nretiring to his own little room, he threw himself upon the bed and burst", "of old gold, with a great blazing diamond bulging out of it. There was\nlittle talk about the matter, however, for it was Haw's wish that all" ], [ "He kept a rigid and unmoved face until his visitor had gone, and then\nretiring to his own little room, he threw himself upon the bed and burst", "Haw leaned against the glass table panting, with his hand to his side.\n\n\"You here, Robert?\" he gasped. \"Is it not horrible? How did you come?\"", "breast of his coat, and with a shrill scream of rage flung himself upon\nthe alchemist. So sudden and so fierce was the movement that Haw had no", "\"A note, sir.\"\n\nThe butler handed it in upon a silver salver. Haw broke the seal and ran\nhis eye over it.", "\"Those shutters will never come down again,\" cried brother Louis, and\nthe two suddenly burst out sobbing in each other's arms, not for their\nown griefs, but for the miseries which they might bring upon those who\nhad trusted them.", "\"I am very much honoured, Mr. Haw,\" she stammered, \"but this is so\nsudden. I have not had time to think. I do not know what to say.\"", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "\"Was it suicide, sir? Was it suicide?\" broke in the policeman as Robert\nput the note in his pocket.\n\n\"No,\" he answered; \"I think it was a broken heart.\"", "Robert settled himself down in his chair and concentrated his attention\nupon his companion's words, while Haw bent forward his eager, earnest\nface, like a man who knows the value of the words which he is saying.", "And so the great secret was out, and Robert walked home with his head in\na whirl, and the blood tingling in his veins. He had shivered as he", "confided to his keeping. Then there had been his conversation with his\nfather in the afternoon, their disagreement, and the sudden intrusion\nof Raffles Haw. Finally the talk with his sister had excited his", "\"Is it not wonderful what money can do?\" Laura remarked, as they knocked\nthe snow from their shoes within the porch. \"There seems to be no wish\nwhich Mr. Haw could not at once gratify.\"", "\"I am delighted to hear it,\" Haw replied with emphasis. \"That may be\nof great importance to us. It is very possible--indeed, almost", "She had not said a word, but had stood with a face like a mask looking\nblankly in front of her. Now she tore herself away from him, and,", "Mr. Spurling, the vicar, was up shortly after breakfast, some rumour of\nevil having come to his ears. It was good for Haw to talk with him, for", "disaster. The young artist's heart was heavy within him, and the shadow\nof some crowning trouble seemed to have fallen upon his soul.", "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "\"Ah, Robert,\" cried Haw, leaning back in his chair, and sending up thick\nblue wreaths from his pipe. \"You have put your finger upon my", "through the window and dragged his father off from him. With the aid\nof Haw, he pinned the old man down, and passed a long cravat around his", "disarmed, he was still dangerous. With a horrible silent energy he\npushed Haw back and back until, coming to a bench, they both fell over" ], [ "through the window and dragged his father off from him. With the aid\nof Haw, he pinned the old man down, and passed a long cravat around his", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "breast of his coat, and with a shrill scream of rage flung himself upon\nthe alchemist. So sudden and so fierce was the movement that Haw had no", "disarmed, he was still dangerous. With a horrible silent energy he\npushed Haw back and back until, coming to a bench, they both fell over", "\"What shall we do with him?\" asked Haw. \"We cannot take him back to\nElmdene. It would be a terrible shock to Laura.\"", "Haw leaned against the glass table panting, with his hand to his side.\n\n\"You here, Robert?\" he gasped. \"Is it not horrible? How did you come?\"", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "\"Ah, Robert,\" cried Haw, leaning back in his chair, and sending up thick\nblue wreaths from his pipe. \"You have put your finger upon my", "of old gold, with a great blazing diamond bulging out of it. There was\nlittle talk about the matter, however, for it was Haw's wish that all", "And so Laura McIntyre became duly engaged to Raffles Haw, and old\nMcIntyre grew even more hungry-looking as he felt himself a step nearer", "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "\"Ha! There is a change in that young man. I observe an alteration in\nhim. You will forgive me, Mr. Raffles Haw, if I say a few serious words", "Raffles Haw still stood cold and motionless. He was stunned, benumbed,\nby what he saw and heard. Laura drew away from Hector, and tried to free\nher hand from his grasp.", "\"No, no, father,\" cried Robert, catching him by the sleeve. \"You had\nbetter leave the matter alone. Mr. Haw is a very sensitive man. He would", "laboratory. Like a man in a dream he wandered about, marvelling at the\nuniversal destruction. A large broad-headed hammer lay upon the\nground, and with this Haw had apparently set himself to destroy all", "to see it, and I hope that you will tell Mr. Haw so if you see him,\nRobert.\"", "\"It is all right!\" gasped Haw, steadying himself against the edge of the\ndoor.", "\"The poor burglars!\" cried Laura. \"It is no wonder that they look\nbewildered, for I suppose, Mr. Haw, that they neither know where they", "Robert settled himself down in his chair and concentrated his attention\nupon his companion's words, while Haw bent forward his eager, earnest\nface, like a man who knows the value of the words which he is saying.", "\"I never knew but one Haw,\" said old McIntyre, drumming his fingers on\nthe table; \"he was a foreman in my pin-fire cartridge-case department." ], [ "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "\"I did not come to draw out, but to put in,\" said Raffles Haw in his\ndemure apologetic fashion. \"I have in my bag five thousand hundred-pound", "\"Oh dear me, it is surely worth very much more than that,\" cried Raffles\nHaw, laughing. \"Let me see. Suppose that we put it at three ten an", "\"I don't think there will be any difficulty,\" said the other, with a\nquiet smile. \"My name is Raffles Haw.\"", "Such were the deeds by which Raffles Haw made himself known throughout\nthe Midlands, and yet, in spite of all his open-handedness, he was not", "known Raffles Haw. It seemed so hard to toll and slave to earn such a\ntrifling sum, when money could really be had for the asking. It was true", "\"There is my raw material,\" said Raffles Haw carelessly, nodding at the\nheap. \"Every Saturday I have a waggon-load sent up, which serves me", "\"That can easily be set right,\" said Raffles Haw, with his quiet smile.\n\"Would you care to see one?\"\n\n\"Oh, immensely.\"", "his chair with his hands clasped upon his lap, and the easy pose of one\nwho rests after hard work safely carried through, sat Raffles Haw, the", "\"You will soon understand all about it,\" said Raffles Haw, throwing off\nhis coat, and pulling on a smoke-stained and dirty linen jacket. \"We", "\"Mr. Raffles Haw is the best judge,\" said Robert coldly. \"If he earns\nthe money, he has a right to spend it as he likes.\"", "\"Now, where would you like to smoke your cigar?\" said Raffles Haw, with\na twinkle in his demure eyes. \"Shall we go to India, or to Egypt, or to\nChina, or to--\"", "\"Ha! There is a change in that young man. I observe an alteration in\nhim. You will forgive me, Mr. Raffles Haw, if I say a few serious words", "Raffles Haw still stood cold and motionless. He was stunned, benumbed,\nby what he saw and heard. Laura drew away from Hector, and tried to free\nher hand from his grasp.", "\"And how much are these?\" asked Raffles Haw at last.\n\n\"I priced them at a hundred apiece when I sent them to London.\"", "\"I love your daughter,\" said Raffles Haw, \"and for her sake I will not\nexpose you. Your hideous and infamous secret shall be safe with me. No", "Raffles Haw said nothing, but a pained expression flashed over his face.\nWhen they reached the house he led the way through the museum. Two great\nmetal cases were lying on the floor.", "THE DOINGS OF RAFFLES HAW\n\nBy Arthur Conan Doyle\n\n\nCONTENTS\n\nCHAPTER", "\"It works very nicely,\" said Raffles Haw. \"It is quite a new thing--never\nbefore done, as far as I know. You see the names of the various wines", "troubles. Swift from the Vicarage went the message to the Hall, and\nearly next morning Mr. Raffles Haw, with a great black carpet-bag in his" ], [ "\"You are very right about not giving it to Mr. Raffles Haw,\" cried old\nMcIntyre, with many nods of approbation. \"I should certainly not let it\ngo out of the family.\"", "And so Laura McIntyre became duly engaged to Raffles Haw, and old\nMcIntyre grew even more hungry-looking as he felt himself a step nearer", "\"One word, sir,\" cried Raffles Haw in a quivering voice. \"Do I entirely\nunderstand you? Let me be sure that there is no mistake. You say that\nyou are engaged to be married to Miss McIntyre?\"", "The McIntyre family was seated at breakfast on the morning which\nfollowed the first visit of Raffles Haw, when they were surprised to", "\"I hope, Miss McIntyre,\" said Raffles Haw, when they had descended to\nthe sitting-room once more, \"that you will do me the honour of coming to", "\"Mr. Raffles Haw is the best judge,\" said Robert coldly. \"If he earns\nthe money, he has a right to spend it as he likes.\"", "\"I don't think there will be any difficulty,\" said the other, with a\nquiet smile. \"My name is Raffles Haw.\"", "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "the wonders which had been shown him, and ended with some pride by\ndescribing the request which Mr. Raffles Haw had made, and the complete\nconfidence which he had placed in him.", "\"It is a little box of a place this, Mr. Haw,\" said old McIntyre. \"I\nshould think you must feel quite stifled in it after your grand mansion,", "\"Ha! There is a change in that young man. I observe an alteration in\nhim. You will forgive me, Mr. Raffles Haw, if I say a few serious words", "\"I never knew but one Haw,\" said old McIntyre, drumming his fingers on\nthe table; \"he was a foreman in my pin-fire cartridge-case department.", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "\"I thank you very much for letting me know about it,\" answered Raffles\nHaw, as he shook the good old clergyman's hand. \"I shall certainly\nreconsider my conduct in that respect.\"", "confided to his keeping. Then there had been his conversation with his\nfather in the afternoon, their disagreement, and the sudden intrusion\nof Raffles Haw. Finally the talk with his sister had excited his", "\"Do you, indeed?\" said Raffles Haw, raising his eyebrows. \"I had no\nidea of that; it is very seldom that the artistic and the scientific\nfaculties go together.\"", "\"Surely not through the front door,\" he whispered, plucking his\ncompanion by the sleeve. \"Perhaps Mr. Raffles Haw might not like it.\"", "greatness might be restored. Raffles Haw listened politely, bowed,\nsmiled, but never showed the slightest inclination to restore the\nquerulous old gunmaker to his pedestal.", "Raffles Haw still stood cold and motionless. He was stunned, benumbed,\nby what he saw and heard. Laura drew away from Hector, and tried to free\nher hand from his grasp.", "\"Besides,\" said Robert, \"I have not the slightest doubt that Raffles\nHaw will see the necessity for giving us some sort of explanation before" ], [ "McIntyre, sen., was pale and furtive-looking, with a thin straggling\nred beard shot with grey, and a sunken downcast face. Ill-fortune and", "That night after supper Robert McIntyre poured forth all that he had\nseen to his father and to his sister. So full was he of the one subject", "Then for the first time it flashed into Robert McIntyre's head that his\nfather's chance words were correct, and that he was in the presence of", "there that might amuse you.\" He was on intimate terms with the McIntyres\nnow, and there were few days on which they did not see something of each\nother.", "McIntyre throw himself continually across the path of the millionaire,\nand impress upon him, by a thousand hints and innuendoes, the hard\nfortune which had been dealt him, and the ease with which his fallen", "Old McIntyre had sat in the corner most of the day biting his nails and\nglowering into the fire, with a brooding, malignant expression upon his", "There could be no doubt of it. Old McIntyre was sitting up now, and\nburst suddenly into a hoarse peal of laughter, rocking himself backwards", "His words had a very different effect upon his two listeners. Old\nMcIntyre leaned back in his chair with a bitter smile upon his lips, his", "\"Just you wait here,\" old McIntyre cried, plucking at his son's sleeve\nwith his thin bony hand. \"Wait here and see it pass. Then we will watch\nwhat becomes of it.\"", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "Old McIntyre burst into a hoarse laugh.", "Robert McIntyre had converted a large bare room in the upper storey of\nElmdene into a studio, and thither he retreated after lunch. It was", "That night Robert McIntyre had gone to bed, and was dozing off when a\nhand plucked at his shoulder, and he started up to find his sister in", "Old McIntyre seemed to see him at almost the same moment, for he\nsnarled out an oath, and clutched still closer at his treasure, looking", "\"I have sometimes feared so.\" \"We may pass over old Mr. McIntyre. It\nwould hardly be just, perhaps, to mention him in this connection. But", "a change in him these last few weeks. He looked like a man who had\nsomething upon his mind. And how is Mr. Robert McIntyre?\"", "\"Tut! Tut!\" said old McIntyre. \"How is this, Laura? I knew nothing of\nthis. What do women know of money or of business? Hand the note over to", "it, McIntyre remaining uppermost. His other hand was on the alchemist's\nthroat, and it might have fared ill with him had Robert not climbed", "By this time his attentions towards Laura McIntyre had become so\nmarked that they could hardly be mistaken. He visibly brightened in" ], [ "stranger who stood by the door. Hector blushed furiously, and made an\nawkward sailor bow, standing with Laura's cold and unresponsive hand\nstill clasped in his.", "\"But it's Hector's last night,\" pleaded Laura. \"It would be dreadful if\nthey met and he noticed anything. That was why I wished him to go.\"", "\"But Laura, Laura, how about Hector?\" asked Robert in mild remonstrance.\n\n\"Oh, I have written to him,\" his sister answered carelessly. \"I wish you\nwould be good enough to post the letter.\"", "Raffles Haw still stood cold and motionless. He was stunned, benumbed,\nby what he saw and heard. Laura drew away from Hector, and tried to free\nher hand from his grasp.", "\"Oh, I cannot bear even to think of it. Poor Hector! And yet what could\nI do, Robert? You know that it was only a boy and girl affair. And how", "\"Laura! Laura!\" He shook his head as one more in sorrow than in anger.\n\"You are no longer a girl, Laura; you are a woman, the manager of a", "\"I hardly think that, Laura. You leave it in my hands, and I will\narrange it all. And now I must get to work, for the light is so very\nshort on these winter days.\"", "\"Well, look here, Laura, you put it in your work-basket,\" cried Hector\nSpurling. \"You shall be my banker, and if the rightful owner turns up", "\"Poor devil!\" said Hector, gazing in amazement after him. \"He seems hard\nhit anyhow. But what is the meaning of all this, Laura?\"\n\nHis face had darkened, and his mouth had set.", "\"You were placed in a difficult position--very difficult,\" her brother\nanswered. \"But all will be right, and I have no doubt Hector will see it\nas you do. But does Mr. Spurling know of your engagement?\"", "\"What can be the matter that he does not come?\" she said. \"It is the\nfirst day since our engagement that I have not seen him.\"\n\nRobert looked out through the window.", "CHAPTER I. A DOUBLE ENIGMA.\n\n\n\"I'm afraid that he won't come,\" said Laura McIntyre, in a disconsolate\nvoice.", "sister's business, not his; and as to Hector Spurling, he must take his\nchance as other men did. It was obviously best not to move one way or\nthe other in the matter.", "\"Much better, Robert. Would it not be dreadful if Hector came back first\nand there was a scene? If I were once married I should not mind. Why", "\"I have shown you a tiger,\" he remarked to Laura, as he led them into\nthe dining-room. \"I will now show you something quite as dangerous,", "\"But who can he possibly be, Robert?\" cried Laura. \"Haw cannot be his\nreal name. He must be some disguised prince, or perhaps a king in exile.", "Do you think that Laura would ever have looked twice at him? You know as\nwell as I do that she is marrying him only for his money.\"", "beside him some shadow of Hector Spurling, the manly features, the\nclear, firm mouth, the frank manner. Now, in the very moment of her", "Laura was alone in the sitting-room at Elmdene, for Robert had gone out\nto make some final arrangements about his father. She sprang up as her\nlover entered, and ran forward with a pretty girlish gesture to greet\nhim.", "\"You wait a bit!\" sniggered his father. \"She is a good girl, is Laura,\nand she knows what she is about. She's not a girl to let her old dad go" ], [ "Mr. Spurling, the vicar, was up shortly after breakfast, some rumour of\nevil having come to his ears. It was good for Haw to talk with him, for", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "through the window and dragged his father off from him. With the aid\nof Haw, he pinned the old man down, and passed a long cravat around his", "\"And who are they, and how did they come there? Do tell us, Mr. Haw.\"\n\nLaura McIntyre had a pretty beseeching way with her, which went rather\npiquantly with her queenly style of beauty.", "\"I have the names of two hundred and seventy of them,\" Haw answered.\n\"You must run your eye over them some time, and see if you can suggest", "to see it, and I hope that you will tell Mr. Haw so if you see him,\nRobert.\"", "Her talk was of almshouses and free libraries, of charities and of\nimprovements. He had never a scheme to which she could not add some\ndetail making it more complete and more effective. To Haw it seemed that", "\"I shall be delighted to come, Mr. Haw,\" cried Laura, with her sweetest\nsmile. \"A good deal of my time just now is taken up in looking after the", "\"Surely in your hands, Mr. Haw, nothing but good can come of it,\" he\nsaid.", "\"Ah, Robert,\" cried Haw, leaning back in his chair, and sending up thick\nblue wreaths from his pipe. \"You have put your finger upon my", "Such were the deeds by which Raffles Haw made himself known throughout\nthe Midlands, and yet, in spite of all his open-handedness, he was not", "\"Is it not wonderful what money can do?\" Laura remarked, as they knocked\nthe snow from their shoes within the porch. \"There seems to be no wish\nwhich Mr. Haw could not at once gratify.\"", "Robert settled himself down in his chair and concentrated his attention\nupon his companion's words, while Haw bent forward his eager, earnest\nface, like a man who knows the value of the words which he is saying.", "about the country listening to tales of trouble, and returning like\na tweed-suited ministering angel to carry Raffles Haw's help to the", "troubles. Swift from the Vicarage went the message to the Hall, and\nearly next morning Mr. Raffles Haw, with a great black carpet-bag in his", "Haw leaned against the glass table panting, with his hand to his side.\n\n\"You here, Robert?\" he gasped. \"Is it not horrible? How did you come?\"", "\"I have a map of the world here,\" Haw answered, rising, and taking one\ndown from the paper-rack. \"You see the blue pencil marks. Those are the", "\"I could not do that,\" Haw answered earnestly. \"I have not been singled\nout to wield this immense power simply in order that I might lead", "\"I don't think there will be any difficulty,\" said the other, with a\nquiet smile. \"My name is Raffles Haw.\"", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and" ], [ "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "breast of his coat, and with a shrill scream of rage flung himself upon\nthe alchemist. So sudden and so fierce was the movement that Haw had no", "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "Mr. Spurling, the vicar, was up shortly after breakfast, some rumour of\nevil having come to his ears. It was good for Haw to talk with him, for", "\"The poor burglars!\" cried Laura. \"It is no wonder that they look\nbewildered, for I suppose, Mr. Haw, that they neither know where they", "\"Not for the world, Mr. Haw. Why, I should be a traitor to the whole\nvillage if I were to encourage such a scheme. The hill is the one thing", "\"No, no, father,\" cried Robert, catching him by the sleeve. \"You had\nbetter leave the matter alone. Mr. Haw is a very sensitive man. He would", "\"It is a little box of a place this, Mr. Haw,\" said old McIntyre. \"I\nshould think you must feel quite stifled in it after your grand mansion,", "Such were the deeds by which Raffles Haw made himself known throughout\nthe Midlands, and yet, in spite of all his open-handedness, he was not", "of old gold, with a great blazing diamond bulging out of it. There was\nlittle talk about the matter, however, for it was Haw's wish that all", "\"My dear father, I really cannot argue with you about it,\" said Robert.\n\"I have already told you more than once what I think. Mr. Haw's object", "\"Mr. Haw, I cannot understand it!\" Robert grasped the velvet edge of the\nsettee, and gazed wildly about him.", "confided to his keeping. Then there had been his conversation with his\nfather in the afternoon, their disagreement, and the sudden intrusion\nof Raffles Haw. Finally the talk with his sister had excited his", "\"What shall we do with him?\" asked Haw. \"We cannot take him back to\nElmdene. It would be a terrible shock to Laura.\"", "\"Ah, Robert,\" cried Haw, leaning back in his chair, and sending up thick\nblue wreaths from his pipe. \"You have put your finger upon my", "\"I will be even with him!\" cried the old man furiously, shaking his\nfist through the window at the dark slow-pacing figure. \"You just wait,\nRobert, and see if your old dad is a man to be played with.\"", "mind which all caught who were exposed to his influence. His charity,\nso well meant, so carefully bestowed, had yet poisoned the whole\ncountryside. And if in small things his results were so evil, how could", "\"I could not do that,\" Haw answered earnestly. \"I have not been singled\nout to wield this immense power simply in order that I might lead", "attraction upon another and much more dangerous class. Strange hard\nfaces were seen in the village street, prowling figures were marked at\nnight stealing about among the fir plantations, and warning messages" ], [ "stranger who stood by the door. Hector blushed furiously, and made an\nawkward sailor bow, standing with Laura's cold and unresponsive hand\nstill clasped in his.", "\"But it's Hector's last night,\" pleaded Laura. \"It would be dreadful if\nthey met and he noticed anything. That was why I wished him to go.\"", "His round, kindly face was beaming with good nature, and he took little\njumps as he walked, like a man who can hardly contain himself for\npleasure.\n\n\"Have you heard from Hector?\"", "it. Poor old Hector! It is from Madeira.\" She glanced rapidly over the\nfour pages of straggling writing in the young sailor's bold schoolboyish", "\"Poor Hector used to come, rain, snow, or fine. But, then, of course, he\nwas a sailor. It was nothing to him. I hope that Raffles is not ill.\"", "\"Poor devil!\" said Hector, gazing in amazement after him. \"He seems hard\nhit anyhow. But what is the meaning of all this, Laura?\"\n\nHis face had darkened, and his mouth had set.", "\"Much better, Robert. Would it not be dreadful if Hector came back first\nand there was a scene? If I were once married I should not mind. Why", "\"But Laura, Laura, how about Hector?\" asked Robert in mild remonstrance.\n\n\"Oh, I have written to him,\" his sister answered carelessly. \"I wish you\nwould be good enough to post the letter.\"", "\"Oh, I cannot bear even to think of it. Poor Hector! And yet what could\nI do, Robert? You know that it was only a boy and girl affair. And how", "\"Not a word. He was here yesterday, and talked of Hector, but indeed I\ndid not know how to tell him. We are to be married by special licence in", "\"Then, good-bye. I shall see the Dad, and go straight back to Plymouth.\"\nHe waited an instant, in hopes of an answer, and then walked sadly from\nthe room.", "the effect that he had been suddenly ordered on duty, and that he must\nrejoin his ship at Portsmouth by the next evening. He would look in,", "\"You were placed in a difficult position--very difficult,\" her brother\nanswered. \"But all will be right, and I have no doubt Hector will see it\nas you do. But does Mr. Spurling know of your engagement?\"", "beside him some shadow of Hector Spurling, the manly features, the\nclear, firm mouth, the frank manner. Now, in the very moment of her", "kept you true to me, and that you would have done infinitely\n better had you never seen me. I cannot bear, Hector, to allow", "\"It was this morning, Hector,\" she said. \"Oh, by the way, the story will\nmake you wild. I had forgotten that. However, you mustn't mind, because,\nreally, the poor fellow was perfectly mad.\"", "\"Of course I am. I've just come back from a four months' cruise, and I\nam going to be married before I drag my anchor again.\"", "\"Next time be it, Hector.\"\n\n\"And nothing can part us?\"\n\n\"Nothing.\"\n\n\"In the whole world?\"\n\n\"Nothing.\"", "\"I know he won't come,\" she repeated.\n\n\"Nonsense, Laura! Of course he'll come. A sailor and afraid of the\nweather!\"", "\"Yes, sir; for he came back this morning like a man demented, a-talkin'\nto himself, and with his eyes starin' so that it was dreadful to look at" ], [ "Raffles Haw still stood cold and motionless. He was stunned, benumbed,\nby what he saw and heard. Laura drew away from Hector, and tried to free\nher hand from his grasp.", "\"But it's Hector's last night,\" pleaded Laura. \"It would be dreadful if\nthey met and he noticed anything. That was why I wished him to go.\"", "And so Laura McIntyre became duly engaged to Raffles Haw, and old\nMcIntyre grew even more hungry-looking as he felt himself a step nearer", "stranger who stood by the door. Hector blushed furiously, and made an\nawkward sailor bow, standing with Laura's cold and unresponsive hand\nstill clasped in his.", "\"Poor devil!\" said Hector, gazing in amazement after him. \"He seems hard\nhit anyhow. But what is the meaning of all this, Laura?\"\n\nHis face had darkened, and his mouth had set.", "\"But Laura, Laura, how about Hector?\" asked Robert in mild remonstrance.\n\n\"Oh, I have written to him,\" his sister answered carelessly. \"I wish you\nwould be good enough to post the letter.\"", "\"For heaven's sake, be careful, Laura!\" cried Robert. \"It had not struck\nme before, but really it does look rather like it. You know how you\nstand. Raffles Haw is not a man to play with.\"", "\"You were placed in a difficult position--very difficult,\" her brother\nanswered. \"But all will be right, and I have no doubt Hector will see it\nas you do. But does Mr. Spurling know of your engagement?\"", "\"Is it not wonderful what money can do?\" Laura remarked, as they knocked\nthe snow from their shoes within the porch. \"There seems to be no wish\nwhich Mr. Haw could not at once gratify.\"", "\"I shall be delighted to come, Mr. Haw,\" cried Laura, with her sweetest\nsmile. \"A good deal of my time just now is taken up in looking after the", "\"What shall we do with him?\" asked Haw. \"We cannot take him back to\nElmdene. It would be a terrible shock to Laura.\"", "\"Your good opinion, Mr. Raffles Haw, is very dear to me,\" said Laura.\n\"I assure you that I was not frightened, and that there is no need to\napologise for what was really a compliment.\"", "\"One word, sir,\" cried Raffles Haw in a quivering voice. \"Do I entirely\nunderstand you? Let me be sure that there is no mistake. You say that\nyou are engaged to be married to Miss McIntyre?\"", "\"It was to tell you that I released you. I love Raffles Haw, and I was\nto have been his wife. And now it is all gone. Oh, Hector, I hate you,", "\"The poor burglars!\" cried Laura. \"It is no wonder that they look\nbewildered, for I suppose, Mr. Haw, that they neither know where they", "Do you think that Laura would ever have looked twice at him? You know as\nwell as I do that she is marrying him only for his money.\"", "\"Four months!\" gasped Haw. \"Why, it is just four months since I came\nhere. And one last question, sir. Does Robert McIntyre know of your\nengagement?\"", "Laura resumed her seat with a flush upon her cheeks and a quickening of\nthe breath. She turned her face away and gazed into the fire; but there\nwas a sparkle in her eyes which was not caught from the leaping flames.", "\"Laura! Laura!\" He shook his head as one more in sorrow than in anger.\n\"You are no longer a girl, Laura; you are a woman, the manager of a", "\"But who can he possibly be, Robert?\" cried Laura. \"Haw cannot be his\nreal name. He must be some disguised prince, or perhaps a king in exile." ], [ "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "through the window and dragged his father off from him. With the aid\nof Haw, he pinned the old man down, and passed a long cravat around his", "\"Ah, Robert,\" cried Haw, leaning back in his chair, and sending up thick\nblue wreaths from his pipe. \"You have put your finger upon my", "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "disarmed, he was still dangerous. With a horrible silent energy he\npushed Haw back and back until, coming to a bench, they both fell over", "\"What shall we do with him?\" asked Haw. \"We cannot take him back to\nElmdene. It would be a terrible shock to Laura.\"", "Haw leaned against the glass table panting, with his hand to his side.\n\n\"You here, Robert?\" he gasped. \"Is it not horrible? How did you come?\"", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "breast of his coat, and with a shrill scream of rage flung himself upon\nthe alchemist. So sudden and so fierce was the movement that Haw had no", "\"No, no, father,\" cried Robert, catching him by the sleeve. \"You had\nbetter leave the matter alone. Mr. Haw is a very sensitive man. He would", "\"Ha! There is a change in that young man. I observe an alteration in\nhim. You will forgive me, Mr. Raffles Haw, if I say a few serious words", "Raffles Haw. And his sister had the note, with instructions to return\nit to the owner, could he be found. He threw aside his palette, and", "\"Is it not wonderful what money can do?\" Laura remarked, as they knocked\nthe snow from their shoes within the porch. \"There seems to be no wish\nwhich Mr. Haw could not at once gratify.\"", "Robert thought suddenly of the razor-strop, and gasped with horror. What\nhad the old man been doing with that? He quickened his pace to a run,", "\"Mr. Raffles Haw has done this out of kindness to me,\" she said,\nsweeping towards the door. \"I look upon it as a great attention on his\npart. I shall certainly go out and look at it.\"", "of old gold, with a great blazing diamond bulging out of it. There was\nlittle talk about the matter, however, for it was Haw's wish that all", "Raffles Haw still stood cold and motionless. He was stunned, benumbed,\nby what he saw and heard. Laura drew away from Hector, and tried to free\nher hand from his grasp.", "\"That is the kitchen door,\" said Raffles Haw. \"I have my kitchen at the\ntop of the house. I cannot tolerate the smell of cooking. We have come", "\"It is all right!\" gasped Haw, steadying himself against the edge of the\ndoor.", "the wonders which had been shown him, and ended with some pride by\ndescribing the request which Mr. Raffles Haw had made, and the complete\nconfidence which he had placed in him." ], [ "Mr. Spurling, the vicar, was up shortly after breakfast, some rumour of\nevil having come to his ears. It was good for Haw to talk with him, for", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "of old gold, with a great blazing diamond bulging out of it. There was\nlittle talk about the matter, however, for it was Haw's wish that all", "\"Not for the world, Mr. Haw. Why, I should be a traitor to the whole\nvillage if I were to encourage such a scheme. The hill is the one thing", "\"I would not intrude upon your secrets, Mr. Haw,\" said Robert, \"but\nof course I cannot deny that I should be very proud and pleased if you\ncared to confide them to me.\"", "troubles. Swift from the Vicarage went the message to the Hall, and\nearly next morning Mr. Raffles Haw, with a great black carpet-bag in his", "\"Ha! There is a change in that young man. I observe an alteration in\nhim. You will forgive me, Mr. Raffles Haw, if I say a few serious words", "\"It is a little box of a place this, Mr. Haw,\" said old McIntyre. \"I\nshould think you must feel quite stifled in it after your grand mansion,", "\"I await my family's congratulations,\" she said, with her head in the\nair. \"Mr. Raffles Haw has been here, and he has asked me to be his\nwife.\"", "\"But who can he possibly be, Robert?\" cried Laura. \"Haw cannot be his\nreal name. He must be some disguised prince, or perhaps a king in exile.", "\"I do so hate having my affairs talked over, dear. If Mr. Raffles Haw\nsays anything to you about me, or asks any questions, please don't say", "Such were the deeds by which Raffles Haw made himself known throughout\nthe Midlands, and yet, in spite of all his open-handedness, he was not", "\"I never knew but one Haw,\" said old McIntyre, drumming his fingers on\nthe table; \"he was a foreman in my pin-fire cartridge-case department.", "attraction upon another and much more dangerous class. Strange hard\nfaces were seen in the village street, prowling figures were marked at\nnight stealing about among the fir plantations, and warning messages", "his wealth. He remembered the man as he had first met him, garrulous,\nfoolish, but with no obvious vices. He recalled the change which, week", "\"Four months!\" gasped Haw. \"Why, it is just four months since I came\nhere. And one last question, sir. Does Robert McIntyre know of your\nengagement?\"", "\"And who are they, and how did they come there? Do tell us, Mr. Haw.\"\n\nLaura McIntyre had a pretty beseeching way with her, which went rather\npiquantly with her queenly style of beauty.", "Coventry and Leamington on the other, there was gossip as to his untold\nriches, his extraordinary whims, and the remarkable life which he led.", "work to dwell upon his conversation with the vicar in the morning. His\nimagination was fascinated by the idea of this strange man living alone\namid a crowd, and yet wielding such a power that with one dash of his", "\"But it all happened before I was stirring. I knew nothing about it\nuntil breakfast-time. They must have gone up to the Hall very early.\"\n\n\"Yes, they did come up rather early.\"" ], [ "To Laura, however, Tamfield presented one attraction, which was now\nabout to be taken from her. Their choice of the little country hamlet as", "received from one of their uncles upon the mother's side who had amassed\na fortune in Australia. By combining their incomes, and by taking a\nhouse in the quiet country district of Tamfield, some fourteen miles", "to Tamfield had been removed. The chamber was a bare and bleak one,\nun-papered and un-carpeted, but a good fire sparkled in the grate, and", "Tamfield intolerably dull after the life and bustle of Edgbaston. Their\ndiscomfort was aggravated by the conduct of their father, whose life", "Mr. Spurling, the vicar, was up shortly after breakfast, some rumour of\nevil having come to his ears. It was good for Haw to talk with him, for", "in touch with the world, and yet would have quiet and leisure to mature\nthe schemes which were in my head. As it chanced, I chose Tamfield as my", "troubles. Swift from the Vicarage went the message to the Hall, and\nearly next morning Mr. Raffles Haw, with a great black carpet-bag in his", "\"It is a little box of a place this, Mr. Haw,\" said old McIntyre. \"I\nshould think you must feel quite stifled in it after your grand mansion,", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "which gives Tamfield the slightest individuality. It would be the\nheight of selfishness to sacrifice it in order to improve the view from\nElmdene.\"", "absorbed air of one who breathes his fill of Nature. Beneath him to\nthe north lay the village of Tamfield, red walls, grey roofs, and a", "through the window and dragged his father off from him. With the aid\nof Haw, he pinned the old man down, and passed a long cravat around his", "The McIntyre family was seated at breakfast on the morning which\nfollowed the first visit of Raffles Haw, when they were surprised to", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "While father and son were prying into his secrets, Raffles Haw had found\nhis way to Elmdene, where Laura sat reading the _Queen_ by the fire.", "\"I have a map of the world here,\" Haw answered, rising, and taking one\ndown from the paper-rack. \"You see the blue pencil marks. Those are the", "arrived from city police and county constabulary to say that evil\nvisitors were known to have taken train to Tamfield. But if, as Raffles\nHaw held, there were few limits to the power of immense wealth, it", "breast of his coat, and with a shrill scream of rage flung himself upon\nthe alchemist. So sudden and so fierce was the movement that Haw had no", "\"It came through by special express from Liverpool, sir, and the train\nis drawn up at the Tamfield siding all ready to take it back. If it 'ad", "outhouses. Fifty horses had passed through Tamfield the week before, so\nthat, large as were the preparations, they were not more than would\nbe needed. Who and what could this man be who spent his money with" ], [ "The McIntyre family was seated at breakfast on the morning which\nfollowed the first visit of Raffles Haw, when they were surprised to", "there that might amuse you.\" He was on intimate terms with the McIntyres\nnow, and there were few days on which they did not see something of each\nother.", "That night Robert McIntyre had gone to bed, and was dozing off when a\nhand plucked at his shoulder, and he started up to find his sister in", "That night after supper Robert McIntyre poured forth all that he had\nseen to his father and to his sister. So full was he of the one subject", "\"Just you wait here,\" old McIntyre cried, plucking at his son's sleeve\nwith his thin bony hand. \"Wait here and see it pass. Then we will watch\nwhat becomes of it.\"", "Then for the first time it flashed into Robert McIntyre's head that his\nfather's chance words were correct, and that he was in the presence of", "McIntyre, if you will consent to it. I know that money has no charms\nfor you, but still, as you said when I first met you, a man must live.", "\"Laura S. McIntyre.\"\n\nShe had hardly sealed her letter before her father and Robert returned.\nShe closed the door behind them, and made them a little curtsey.", "through which the McIntyres had seen the packages conveyed from the\nwaggon. On passing through it Robert found that they were not really\nwithin the building, but merely in a large bare ante-chamber, around", "CHAPTER I. A DOUBLE ENIGMA.\n\n\n\"I'm afraid that he won't come,\" said Laura McIntyre, in a disconsolate\nvoice.", "\"It is a little box of a place this, Mr. Haw,\" said old McIntyre. \"I\nshould think you must feel quite stifled in it after your grand mansion,", "By this time his attentions towards Laura McIntyre had become so\nmarked that they could hardly be mistaken. He visibly brightened in", "There could be no doubt of it. Old McIntyre was sitting up now, and\nburst suddenly into a hoarse peal of laughter, rocking himself backwards", "a change in him these last few weeks. He looked like a man who had\nsomething upon his mind. And how is Mr. Robert McIntyre?\"", "And so Laura McIntyre became duly engaged to Raffles Haw, and old\nMcIntyre grew even more hungry-looking as he felt himself a step nearer", "Old McIntyre had sat in the corner most of the day biting his nails and\nglowering into the fire, with a brooding, malignant expression upon his", "\"Four months!\" gasped Haw. \"Why, it is just four months since I came\nhere. And one last question, sir. Does Robert McIntyre know of your\nengagement?\"", "\"The key is half-turned,\" he said. \"I can't see nothing except just the\nlight.\"\n\n\"Here's Mr. McIntyre,\" cried half-a-dozen voices, as Robert came\nforward.", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "McIntyre, sen., was pale and furtive-looking, with a thin straggling\nred beard shot with grey, and a sunken downcast face. Ill-fortune and" ], [ "It may be that Laura did not look upon the removal of her father as an\nunmixed misfortune. Nothing was said to her as to the manner of the old", "\"He is a dear discontented old papa,\" cried Laura, throwing her arm\nround him in a caressing manner. He gave a sharp squeak and a grimace", "\"We are his equals, father,\" cried Laura with spirit. \"Would you put us\non the footing of beggars? He would think we cared for him only for his\nmoney. I wonder that you should think of such a thing.\"", "\"How can you even hint at such a thing, father?\" cried Laura\nindignantly. \"They have been as true as steel. What would they think if\nthey heard you.\"", "\"How can you be so coarse, papa?\" cried Laura, but her eyes flashed, and\nher teeth gleamed, as though the remark had not altogether displeased\nher.", "as well that he should have some little den of his own, for his father\nwould talk of little save of his ledgers and accounts, while Laura\nhad become peevish and querulous since the one tie which held her", "\"I cannot possibly, papa,\" said Laura, with decision. \"I should not\nthink of parting with it.\"", "Robert went on sketching stolidly in his folding book, but Laura looked\nup from her work.\n\n\"I'm afraid there is nothing in the house, father,\" she said.", "\"Is it not wonderful what money can do?\" Laura remarked, as they knocked\nthe snow from their shoes within the porch. \"There seems to be no wish\nwhich Mr. Haw could not at once gratify.\"", "\"Laura! Laura!\" He shook his head as one more in sorrow than in anger.\n\"You are no longer a girl, Laura; you are a woman, the manager of a", "\"Nothing of the sort, papa,\" said Laura, rising with dignity and\nwrapping a shawl about her shoulders. Her eyes were shining, her cheeks\nflushed, and she carried herself like a triumphant queen.", "\"You wait a bit!\" sniggered his father. \"She is a good girl, is Laura,\nand she knows what she is about. She's not a girl to let her old dad go", "To Laura, however, Tamfield presented one attraction, which was now\nabout to be taken from her. Their choice of the little country hamlet as", "By this time his attentions towards Laura McIntyre had become so\nmarked that they could hardly be mistaken. He visibly brightened in", "\"If this man were really fond of Laura he would show proper\nconsideration for Laura's father. It was only yesterday that I asked him", "\"But I'll have a voice in the matter, for all that. Secrets or no\nsecrets, you will find that Laura has a father, and that he is not a man", "Robert chuckled to himself.\n\n\"I know that dress pretty well,\" he said. \"It is my sister Laura whom\nyou describe.\"", "\"Laura S. McIntyre.\"\n\nShe had hardly sealed her letter before her father and Robert returned.\nShe closed the door behind them, and made them a little curtsey.", "\"I will accept him.\"\n\n\"You were always a good girl, Laura,\" said old McIntyre, standing on his\ntiptoes to kiss her.", "\"No wish of yours, you mean,\" broke in her father. \"It's different when\nhe is dealing with a wrinkled old man who has spent himself in working\nfor his children. A plainer case of love at first sight I never saw.\"" ], [ "Spurling, the elder son, two months Laura's senior, had been engaged to\nher for some years, and was, indeed, upon the point of marrying her when", "\"You were placed in a difficult position--very difficult,\" her brother\nanswered. \"But all will be right, and I have no doubt Hector will see it\nas you do. But does Mr. Spurling know of your engagement?\"", "Of late, however, she has devoted herself to charity, and has been of so\nmuch help to Mr. Spurling's new curate that it is thought that he may", "his power and of the goodness of his heart. Through the vicar, Robert,\nand others, he had learned much of the inner life of the parish, and\nmany were the times when the struggling man, harassed and driven to", "And so Laura McIntyre became duly engaged to Raffles Haw, and old\nMcIntyre grew even more hungry-looking as he felt himself a step nearer", "\"One word, sir,\" cried Raffles Haw in a quivering voice. \"Do I entirely\nunderstand you? Let me be sure that there is no mistake. You say that\nyou are engaged to be married to Miss McIntyre?\"", "Mr. Spurling, the vicar, was up shortly after breakfast, some rumour of\nevil having come to his ears. It was good for Haw to talk with him, for", "passage about making the heart of the widow sing for joy. He made my\nheart sing for joy, I can tell you. Are you coming up to the Vicarage?\"", "descending into the sitting-room he told Laura and his father of his\nmorning's interview with the vicar, and of his conviction that this was\nthe man of whom Hector was in quest.", "\"I await my family's congratulations,\" she said, with her head in the\nair. \"Mr. Raffles Haw has been here, and he has asked me to be his\nwife.\"", "Suddenly his eye caught a dark figure emerging from the Avenue gates and\nstriding up the winding road. A few minutes brought him near enough to\nshow a familiar face looking over the stiff collar and from under the\nsoft black hat of an English clergyman.", "While father and son were prying into his secrets, Raffles Haw had found\nhis way to Elmdene, where Laura sat reading the _Queen_ by the fire.", "Spurling, he is still in her Majesty's service, and seems inclined to\nabide by his father's wise advice, that he should not think of marrying", "\"What can be the matter that he does not come?\" she said. \"It is the\nfirst day since our engagement that I have not seen him.\"\n\nRobert looked out through the window.", "\"Four months!\" gasped Haw. \"Why, it is just four months since I came\nhere. And one last question, sir. Does Robert McIntyre know of your\nengagement?\"", "work to dwell upon his conversation with the vicar in the morning. His\nimagination was fascinated by the idea of this strange man living alone\namid a crowd, and yet wielding such a power that with one dash of his", "Laura was alone in the sitting-room at Elmdene, for Robert had gone out\nto make some final arrangements about his father. She sprang up as her\nlover entered, and ran forward with a pretty girlish gesture to greet\nhim.", "passed without his making his way from the Vicarage to Elmdene, where\nthe McIntyres resided. To-day, however, a note had reached them to", "\"And the poor vicar's house?\" Laura asked, laughing.", "\"You darling!\" he said; \"I knew that I would surprise you. I came right\nup from Plymouth by the night train. And I have long leave, and plenty\nof time to get married. Isn't it jolly, dear Laura?\"" ], [ "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "\"Is it not wonderful what money can do?\" Laura remarked, as they knocked\nthe snow from their shoes within the porch. \"There seems to be no wish\nwhich Mr. Haw could not at once gratify.\"", "\"Mr. Raffles Haw is the best judge,\" said Robert coldly. \"If he earns\nthe money, he has a right to spend it as he likes.\"", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "\"And you are very naturally curious as to how that wealth was obtained.\nWell, I can tell you one thing. The money is perfectly clean. I have", "Such were the deeds by which Raffles Haw made himself known throughout\nthe Midlands, and yet, in spite of all his open-handedness, he was not", "Haw or anyone else the money without Hector's express command.\"", "known Raffles Haw. It seemed so hard to toll and slave to earn such a\ntrifling sum, when money could really be had for the asking. It was true", "\"Ah, Robert,\" cried Haw, leaning back in his chair, and sending up thick\nblue wreaths from his pipe. \"You have put your finger upon my", "Whatever good Mr. Raffles Haw's wealth did to the world, there could be\nno doubt that there were cases where it did harm. The very contemplation", "it away. Was ever so much money earned in an honest fashion? I tell you\nthere never was. I tell you, also, that lumps of gold are no more to", "of old gold, with a great blazing diamond bulging out of it. There was\nlittle talk about the matter, however, for it was Haw's wish that all", "money first. We may be poor, but we are honest. I'll up to the Hall now,\nand have it out with him.\" He seized his hat and stick and made for the\ndoor.", "\"I never knew but one Haw,\" said old McIntyre, drumming his fingers on\nthe table; \"he was a foreman in my pin-fire cartridge-case department.", "to the source of wealth, while Robert thought less of work than ever,\nand never gave as much as a thought to the great canvas which still\nstood, dust-covered, upon his easel. Haw gave Laura an engagement ring", "troubles. Swift from the Vicarage went the message to the Hall, and\nearly next morning Mr. Raffles Haw, with a great black carpet-bag in his", "\"And who are they, and how did they come there? Do tell us, Mr. Haw.\"\n\nLaura McIntyre had a pretty beseeching way with her, which went rather\npiquantly with her queenly style of beauty.", "\"You will soon understand all about it,\" said Raffles Haw, throwing off\nhis coat, and pulling on a smoke-stained and dirty linen jacket. \"We", "\"It works very nicely,\" said Raffles Haw. \"It is quite a new thing--never\nbefore done, as far as I know. You see the names of the various wines" ], [ "But it was very different with Raffles Haw. The incident had shocked\nhim to his inmost soul. He had often feared lest his money should do", "\"Oh dear me, it is surely worth very much more than that,\" cried Raffles\nHaw, laughing. \"Let me see. Suppose that we put it at three ten an", "\"I thank you very much for letting me know about it,\" answered Raffles\nHaw, as he shook the good old clergyman's hand. \"I shall certainly\nreconsider my conduct in that respect.\"", "\"Surely not through the front door,\" he whispered, plucking his\ncompanion by the sleeve. \"Perhaps Mr. Raffles Haw might not like it.\"", "\"What is the matter with you, Raffles?\" cried Laura, looking up into his\nface. \"You look so sad and weary!\"", "afterwards. I am sure that Raffles will do it if I ask him. It is all\nvery well for him to say that he does not want any thanks or honours,", "Such were the deeds by which Raffles Haw made himself known throughout\nthe Midlands, and yet, in spite of all his open-handedness, he was not", "\"You are very right about not giving it to Mr. Raffles Haw,\" cried old\nMcIntyre, with many nods of approbation. \"I should certainly not let it\ngo out of the family.\"", "\"I did not come to draw out, but to put in,\" said Raffles Haw in his\ndemure apologetic fashion. \"I have in my bag five thousand hundred-pound", "\"People have been burned for less, have they not?\" cried Raffles Haw\nlaughing heartily. \"Have you had enough of the Amazon? What do you say\nto a spell of Egypt?\"", "Whatever good Mr. Raffles Haw's wealth did to the world, there could be\nno doubt that there were cases where it did harm. The very contemplation", "you look quite handsome. Raffles has been telling you something! What\nwas it? Oh, I know! He has been telling you how he made his money.\nHasn't he, now?\"", "\"Besides,\" said Robert, \"I have not the slightest doubt that Raffles\nHaw will see the necessity for giving us some sort of explanation before", "\"I don't think that you would do for a valuer of precious stones,\" said\nRaffles Haw, laughing. \"Why, the contents of that one little drawer", "\"I do so hate having my affairs talked over, dear. If Mr. Raffles Haw\nsays anything to you about me, or asks any questions, please don't say", "She took a step towards him, her hands advanced, love shining in her\nfeatures, when in an instant Raffles saw the colour struck from her", "\"For heaven's sake, be careful, Laura!\" cried Robert. \"It had not struck\nme before, but really it does look rather like it. You know how you\nstand. Raffles Haw is not a man to play with.\"", "\"Tut! tut!\" said Raffles Haw. \"If the run continues you must send me a\nwire, and I shall make a small addition to my account. You will send me", "\"I would rather speak with you alone,\" answered Raffles Haw quietly.\n\"Pray sit down, for I wanted to have a little chat with you.\"", "\"That can easily be set right,\" said Raffles Haw, with his quiet smile.\n\"Would you care to see one?\"\n\n\"Oh, immensely.\"" ], [ "Do you think that Laura would ever have looked twice at him? You know as\nwell as I do that she is marrying him only for his money.\"", "Spurling, the elder son, two months Laura's senior, had been engaged to\nher for some years, and was, indeed, upon the point of marrying her when", "And so Laura McIntyre became duly engaged to Raffles Haw, and old\nMcIntyre grew even more hungry-looking as he felt himself a step nearer", "\"I hardly think that, Laura. You leave it in my hands, and I will\narrange it all. And now I must get to work, for the light is so very\nshort on these winter days.\"", "become one of your family, to know all that I can tell you. Laura also\nhas trusted me, but I know well that she is content still to trust me.\"", "\"You dear old boy!\" said Laura, laying her hand upon his shoulder, \"what\ndo you know of such things? All you have to do is to go on with your\npainting, and to remember the promise you made the other night.\"", "\"Laura! Laura!\" He shook his head as one more in sorrow than in anger.\n\"You are no longer a girl, Laura; you are a woman, the manager of a", "\"We are his equals, father,\" cried Laura with spirit. \"Would you put us\non the footing of beggars? He would think we cared for him only for his\nmoney. I wonder that you should think of such a thing.\"", "consideration from your mind. Do you think from what you know of my\ncharacter that you could be happy as my wife, Laura?\"", "\"Is it not wonderful what money can do?\" Laura remarked, as they knocked\nthe snow from their shoes within the porch. \"There seems to be no wish\nwhich Mr. Haw could not at once gratify.\"", "\"Well, yes. He took me partly into his confidence. I congratulate you,\nLaura, with all my heart, for you will be a very wealthy woman.\"", "\"I will accept him.\"\n\n\"You were always a good girl, Laura,\" said old McIntyre, standing on his\ntiptoes to kiss her.", "\"And really, really, he is coming to see us!\" cried Laura, clapping her\nhands. \"Oh, when do you think he will come, Robert? Do give me warning.\nDo you think it will be to-morrow?\"", "By this time his attentions towards Laura McIntyre had become so\nmarked that they could hardly be mistaken. He visibly brightened in", "\"Nothing of the sort, papa,\" said Laura, rising with dignity and\nwrapping a shawl about her shoulders. Her eyes were shining, her cheeks\nflushed, and she carried herself like a triumphant queen.", "\"I shall be delighted to come, Mr. Haw,\" cried Laura, with her sweetest\nsmile. \"A good deal of my time just now is taken up in looking after the", "Laura was alone in the sitting-room at Elmdene, for Robert had gone out\nto make some final arrangements about his father. She sprang up as her\nlover entered, and ran forward with a pretty girlish gesture to greet\nhim.", "Laura looked up at him, at his stringy figure, his pale face, his keen,\nyet gentle eyes. Somehow as she looked there seemed to form itself", "\"Oh, is that all?\" said Laura, with a long sigh of relief. \"You must not\nthink of minding what Mr. Spurling says. Why, it is absurd on the face", "\"You darling!\" he said; \"I knew that I would surprise you. I came right\nup from Plymouth by the night train. And I have long leave, and plenty\nof time to get married. Isn't it jolly, dear Laura?\"" ], [ "laboratory. Like a man in a dream he wandered about, marvelling at the\nuniversal destruction. A large broad-headed hammer lay upon the\nground, and with this Haw had apparently set himself to destroy all", "The events of the day had been enough to shake a stronger man. There\nhad been the revelation of the morning, the strange sights which he\nhad witnessed in the laboratory, and the immense secret which had been", "disarmed, he was still dangerous. With a horrible silent energy he\npushed Haw back and back until, coming to a bench, they both fell over", "Twice and thrice they threw their united weights against it until at\nlast with a sharp snap the lock broke, and they crowded into the narrow\npassage. The inner door was ajar, and the laboratory lay before them.", "Raffles Haw said nothing, but a pained expression flashed over his face.\nWhen they reached the house he led the way through the museum. Two great\nmetal cases were lying on the floor.", "breast of his coat, and with a shrill scream of rage flung himself upon\nthe alchemist. So sudden and so fierce was the movement that Haw had no", "The blight which Haw's wealth cast around it seemed to last even after\nhis death. Old McIntyre still raves in the County Lunatic Asylum, and", "\"And it has really come to this!\" said Haw at last, taking a step\nforward. \"You have actually fallen so low, Mr. McIntyre, as to steal", "his apparatus, having first used his electrical machines to reduce\nto protyle all the stock of gold which he had accumulated. The\ntreasure-room which had so dazzled Robert consisted now of merely four", "\"The power there is immense,\" said Raffles Haw, superintending the\nprocess, with his watch upon the palm of his hand. \"It would reduce an", "And so the wonders of the New Hall were all dismantled, the carvings and\nthe gold, the books and the pictures, and many a struggling man or woman", "confided to his keeping. Then there had been his conversation with his\nfather in the afternoon, their disagreement, and the sudden intrusion\nof Raffles Haw. Finally the talk with his sister had excited his", "even Laura or Robert, should ever cross the threshold of that outlying\nbuilding. Day after day he vanished into it, to reappear hours\nafterwards pale and exhausted, while the whirr of machinery and the", "through the window and dragged his father off from him. With the aid\nof Haw, he pinned the old man down, and passed a long cravat around his", "He kept a rigid and unmoved face until his visitor had gone, and then\nretiring to his own little room, he threw himself upon the bed and burst", "present when Raffles Haw had shown them the precautions which he had\ntaken? But then a sudden thought struck Robert. There was one window\nwhich was left unguarded. Haw had been imprudent enough to tell them", "Haw leaned against the glass table panting, with his hand to his side.\n\n\"You here, Robert?\" he gasped. \"Is it not horrible? How did you come?\"", "Raffles Haw. And his sister had the note, with instructions to return\nit to the owner, could he be found. He threw aside his palette, and", "Raffles Haw led the way through the front door, and crossing over the\ngravelled drive pushed open the outer door of the laboratory--the same", "and even the glass table was shattered into three pieces. Strenuously\nearnest must have been the work which Raffles Haw had done that day." ], [ "\"It was this morning, Hector,\" she said. \"Oh, by the way, the story will\nmake you wild. I had forgotten that. However, you mustn't mind, because,\nreally, the poor fellow was perfectly mad.\"", "beside him some shadow of Hector Spurling, the manly features, the\nclear, firm mouth, the frank manner. Now, in the very moment of her", "\"Poor devil!\" said Hector, gazing in amazement after him. \"He seems hard\nhit anyhow. But what is the meaning of all this, Laura?\"\n\nHis face had darkened, and his mouth had set.", "\"Why, where's Hector?\" asked Mr. McIntyre, blinking round from side to\nside.", "\"But it's Hector's last night,\" pleaded Laura. \"It would be dreadful if\nthey met and he noticed anything. That was why I wished him to go.\"", "\"But Laura, Laura, how about Hector?\" asked Robert in mild remonstrance.\n\n\"Oh, I have written to him,\" his sister answered carelessly. \"I wish you\nwould be good enough to post the letter.\"", "stranger who stood by the door. Hector blushed furiously, and made an\nawkward sailor bow, standing with Laura's cold and unresponsive hand\nstill clasped in his.", "\"Oh, I cannot bear even to think of it. Poor Hector! And yet what could\nI do, Robert? You know that it was only a boy and girl affair. And how", "it. Poor old Hector! It is from Madeira.\" She glanced rapidly over the\nfour pages of straggling writing in the young sailor's bold schoolboyish", "His round, kindly face was beaming with good nature, and he took little\njumps as he walked, like a man who can hardly contain himself for\npleasure.\n\n\"Have you heard from Hector?\"", "Hector Spurling's profession was written in every line of his face.\nThe clean-shaven lip and chin, the little fringe of side whisker, the", "be tempted to secure her assistance for ever. So runs the gossip of the\nvillage, and in small places such gossip is seldom wrong. As to Hector", "\"Not a word. He was here yesterday, and talked of Hector, but indeed I\ndid not know how to tell him. We are to be married by special licence in", "sister's business, not his; and as to Hector Spurling, he must take his\nchance as other men did. It was obviously best not to move one way or\nthe other in the matter.", "descending into the sitting-room he told Laura and his father of his\nmorning's interview with the vicar, and of his conviction that this was\nthe man of whom Hector was in quest.", "anything about Hector. You won't, will you, Robert, for the sake of your\nlittle sister?\"", "\"Poor Hector used to come, rain, snow, or fine. But, then, of course, he\nwas a sailor. It was nothing to him. I hope that Raffles is not ill.\"", "\"Next time be it, Hector.\"\n\n\"And nothing can part us?\"\n\n\"Nothing.\"\n\n\"In the whole world?\"\n\n\"Nothing.\"", "Raffles Haw still stood cold and motionless. He was stunned, benumbed,\nby what he saw and heard. Laura drew away from Hector, and tried to free\nher hand from his grasp.", "\"But I can't take his money,\" said Hector Spurling, looking somewhat\nruefully at the note. \"A little prize-money is all very well in its way," ] ]

[ "What was it that senior McIntyre lost?", "To whom is Hector engaged?", "What happens to Hector early on in the story?", "What process allows Haw to have limitless funds?", "What is it that causes Haw's disillusionment?", "To whom does Haw become engaged?", "What causes Haw's heart to break?", "What is one thing Haw does immediately upon discovering the heartbreaking news?", "What happens to Haw?", "How does Raffles Haw become a millionaire?", "What does Raffles Haw think of McIntyre Senior?", "What happened to McIntyre Senior's business?", "Where is Laura's fiancĂŠ Hector at the beginning of the story?", "Who does Haw have help him to help the town residents?", "Why does Haw become upset with the town residents?", "What happens when Hector returns from Naval duty?", "How does Haw react to finding out Laura is still engaged to Hector?", "What does Haw do at the end of the story?", "Why do the townspeople gossip about Haw before he arrives in town?", "What happens before Haw moves to Tamfield?", "How many people are in the McIntyre family?", "What did Laura's father sell?", "Who is the vicar's son engaged to in the story?", "Where does Haw's money come from, according to the story?", "Why is Raffles discouraged from being generous?", "Which men did Laura agree to marry?", "When did Haw destroy the equipment in his lab?", "Where was Hector at the start of the story?" ]

[ [ "He lost his sanity.", "money and his sanity" ], [ "He is engaged to Laura McIntyre.", "Laura" ], [ "He is summoned to the Navy for duty.", "Hector is summoned for navel duty." ], [ "He is able to turn lead into gold.", "He discovered a process that can turn lead into gold" ], [ "His philanthropy has not helped the recipients become better citizens.", "His philanthropic activities have no effect." ], [ "He becomes engaged to Laura.", "Laura McIntyre" ], [ "He discovers Laura is still engaged to Hector.", "Laura and Hector's engagement causes Haw's heartbreak. " ], [ "He locks himself in his laboratory.", "He destroys his equipment." ], [ "Haw is found dead in his laboratory.", "He locks himself in his laboratory and is found dead" ], [ "He develops a process to turn lead into gold", "He discovered a process to change lead to gold." ], [ "Raffles Haw thinks McIntyre Senior is a greedy beggar", "He thinks McIntyre Senior is a beggar." ], [ "It went bankrupt", "It went bankrupt." ], [ "He is on Naval duty", "He is serving in the navy." ], [ "Robert and Laura McIntyre", "Mr. Spurling and the McIntyre siblings" ], [ "They don't improve themselves, preferring to beg ", "Most of the residents became reliant on his help instead of improving their situation" ], [ "Haw finds out Laura didn't end her engagement with Hector ", "He reunites with Laura. " ], [ "He is heartbroken", "poorly, he destroys his fortune and equipment" ], [ "He breaks the equipment to turn lead to gold, and locks himself in his lab where he dies", "He locks himself in his lab, destroys his experiments and dies" ], [ "He's spending a lot of money building his house. ", "his house is being built with no regard to cost" ], [ "he becomes the topic of gossip", "People gossip about him." ], [ "3", "Three people make up the McIntyre family. " ], [ "guns", "Laura's father sold guns." ], [ "Laura McIntyre", "Laura McIntyre" ], [ "he can turn lead into gold", "He has limitless funds due to discovering a process that turns lead into gold" ], [ "the people he gives money to don't seem to improve", "The people he helps become parasites" ], [ "Hector Spurling and Raffles Haw", "Hector and Raffles" ], [ "after learning that Laura was engage to Hector and him", "when his heart was broken" ], [ "on Naval duty", "He was summoned to naval duty." ] ]

[ [ "He stands up, aims it at Oscar's back. BLAM!!!", "Officer is conducting a search. Oscar's face is bruised under\n his left eye, and there is a small white bandage strip on the\n left side of his face. He turns around, bends over and", "Brandon, Carlos, Tim stare at Oscar is disbelief. \n\n CATO \n They shot Osc! They fuckin shot Osc\n bruh!", "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "Oscar takes a struggled breath in, coughs up some blood. He\n stiffly turns his body around to Ingram.\n\n OSCAR\n ..you shot me... you shot me. i got\n a daughter...", "coughs. He turns back around, and the officer hands him his\n Blue shirt and pants. Oscar puts them on and-", "We pull back with Wanda as she walks away, trying to hide her\n pain. Another Corrections Officer sprints past her towards\n Oscar, who we can still see in the distance.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "Caruso pulls out his taser and points it at Oscar's neck.\n\n CARUSO\n Come on. Let's go.\n\n Oscar immediately puts his hands up.", "Oscar stares at the Dog for a long beat, shaken up by this.\n He looks around, no one seems to have noticed.\n\n He bends down, closes the Dog's eyes, and heads for his car.", "We see Oscar, shirtless, arms behind his head, is looking\n through the glass window of the search room. A Corrections", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "off his shirt. They flip him over, revealing a large entry\n wound on his left shoulder blade. It bleeds profusely.\n Paramedic 1 walks over to Oscar and kneels down.", "Oscar's body jerks against the pavement. He lets out a\n sickening, hollow sound.\n\n Dead silence.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him.", "OSCAR (CONT'D)\n (to himself)\n Shit.\n (shouting)\n Somebody help! Somebody fucking\n Help!", "OSCAR\n What? That's fucking bad news too.\n\n CHANTAY\n No it's not. Double time and a\n half.", "OSCAR\n I'm complying, just take your\n fucking hands off of me! I'm\n fucking complying.\n\n Caruso backs up off of Oscar.", "OSCAR\n Alright, alright, Fuck. \n\n Oscar walks towards Caruso, who quickly grabs him by the back\n of the shirt and walks him out of the train car.", "OSCAR\n Hell naw, we still up here at\n Fruitvale. They holding us here and\n beatin on us for no reason." ], [ "WANDA\n My son is Oscar Julius Grant III.\n He's been shot, and they told me to\n come here-\n\n The Nurse sits at the computer.", "Oscar, Sophina, and Tatiana say their good-byes to Grandma\n Bonnie, and Uncle Daryl and Uncle Ceephus.\n\n Oscar walks up to Wanda.", "Oscar drives through Hayward in silence, turning his wheels.\n Tatiana watches out of the backseat passenger window with a\n solemn expression.", "SOPHINA\n We in Oakland, at Fruitvale BART.\n\n WANDA\n Did Oscar get arrested?", "OSCAR\n Aight. Imma meet you at the Hayward\n station, Okay?\n\n Sophina nods. Oscar turns to Jason", "Oscar gives her a kiss on the cheek. Sophina gives her a hug.\n The three take a seat at the kitchen table.", "Oscar, with Tatiana sitting on his shoulders, and a bag of\n crabs in his hand, walks up to the porch of a modest house.\n Sophina stands at his side holding a cake. Oscar uses his key\n to open the door.", "He rushes over and opens the door where we see TATIANA GRANT,\n a cute 4 year old girl, standing wearing footie pajamas.", "Sophina hangs up the phone and watches as the Ambulance\n speeds off down Fruitvale Blvd.", "Tatiana shakes her head, still not happy about Oscar leaving.\n\n OSCAR (CONT'D)\n I love you.\n\n He kisses her on the cheek.", "Oscar and Sophina sit in the front seat of the car. They both\n look tired. They look back at Tatiana who continues to\n lookout of the window.", "The crowd on the train is ROARING now. Yelling various things\n about the police.\n\n OSCAR\n I'm just tryna get home. I got a\n daughter at home bruh.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him.", "Tatiana looks down into her hand and we see that it is a\n small bag of fruit snacks. She looks up at Oscar with a\n bright eyed expression. But Oscar quickly places his finger\n over his lips.", "TATIANA\n Daddy.\n\n OSCAR\n Wussup, baby?", "Oscar watches her with a look of pity. Suddenly, an idea\n flashes before his eyes.\n\n He pulls out his cellphone, quickly dials a number, and holds\n it to his ear.", "OSCAR\n (to child)\n Hold on, T.\n\n Oscar jumps up and grabs the bag of weed off of the dresser\n and hides it in the closet.", "100 EXT. FRUITVALE BART STATION ENTRANCE- NIGHT- SIMULTANEOUS 100\n\n Sophina whips her head around towards the platform.", "It's a multi ethnic sardine can. Oscar holds on to the\n overhead rail, and Sophina holds on to him, her head resting\n on his chest.\n\n KEISHA\n West Oakland Station", "As Oscar pushes past him, Mr. Zafiratos gives Oscar an\n unwelcome look. He pulls his daughter away as to avoid Oscar" ], [ "by. Katie opens her eyes, and sees that the passenger is\n Oscar. Her face lights up.", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "Caruso turns back towards the train, and seemingly makes \n direct eye contact with Oscar. \n\n\n85 OMITTED 85", "The train starts to decelerate. Oscar looks around, looks at\n the other passengers on the train.\n\n They look at Oscar and his friends like lepers.", "The rest of the group passes up Oscar, following Cato. We see \n through the windows of the train that each car is full to the\n brim. Standing room only.", "Oscar and Sophina brace, as the train comes to a stop, almost\n loosing their balance. They laugh at this. The doors open and", "Oscar rebalances himself and punches back, with three quick\n shots to the head and chest. He moves like an experienced\n fighter, but both men struggle in the crowded train.", "Mrs. Zafiratos looks at Oscar.\n\n MRS. ZAFIRATOS \n Just get off the train, please. \n People have families on here.", "He looks around the crowd, and makes eye contact with Mrs. \n Zafiratos gives a subtle look over at Oscar.\n\n Caruso sees Oscar and makes his way towards him.", "The train begins to slow down, and a LONE COMMUTER, stands up\n and move towards the door. Sophina sees the open seat and\n quickly slides into it. Oscar remains standing uncomfortably.", "Oscar looks around and heads over to some standing room next\n to where DANAE a gorgeous Black woman in her late 20's sits\n wearing a ball gown and leather jacket.", "Oscar, Sophina and the other commuters are huddled around\n Donald, who is now standing up, watching the second hand tick\n on his watch, and waving his right finger like an orchestral\n conductor.", "Sophina who was watching and listening closely sees this. She\n breaks down, buries her face in Oscar's hoodie.", "Cato cuts through people to get close to the train entrance. \n\n Oscar grabs Sophina by the hand and follows closely behind\n Cato.", "OSCAR\n Alright, alright, Fuck. \n\n Oscar walks towards Caruso, who quickly grabs him by the back\n of the shirt and walks him out of the train car.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him.", "Oscar recognizes this voice, and he doesn't like it. He whips\n around to find, standing a few people away---", "OSCAR\n (shouting back)\n Yall niggas is Gay as Fuck!\n\n Everyone on the train laughs at this. Cato turns back to the \n girls.", "Oscar gives her a kiss on the cheek. Sophina gives her a hug.\n The three take a seat at the kitchen table.", "Oscar watches her with a look of pity. Suddenly, an idea\n flashes before his eyes.\n\n He pulls out his cellphone, quickly dials a number, and holds\n it to his ear." ], [ "SOPHINA\n We in Oakland, at Fruitvale BART.\n\n WANDA\n Did Oscar get arrested?", "Caruso pulls out his taser and points it at Oscar's neck.\n\n CARUSO\n Come on. Let's go.\n\n Oscar immediately puts his hands up.", "OSCAR\n Hell naw, we still up here at\n Fruitvale. They holding us here and\n beatin on us for no reason.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "Oscar has breaks free of Cale's hold and is being held back\n and secured by Kris and Cato. Cale and his group back up off", "Cale moves in and grabs Oscar, putting him into a headlock.\n Oscar grapples with him, holding his other arm to avoid being\n punched in the head.", "WANDA\n My son is Oscar Julius Grant III.\n He's been shot, and they told me to\n come here-\n\n The Nurse sits at the computer.", "The C.O. hits a button on his walkie, and motions to the\n other C.O.'s. They quickly move towards Oscar and attempt to\n grab him.", "The C.O.'s grab Oscar and lift him up off of the ground.\n\n OSCAR (CONT'D)\n Get off me! Ma! Ma!\n\n Wanda continues on.", "Oscar's friends go berserk they start screaming. Brandon \n tries to stand up, still handcuffed.", "OSCAR\n I'm complying, just take your\n fucking hands off of me! I'm\n fucking complying.\n\n Caruso backs up off of Oscar.", "Officer is conducting a search. Oscar's face is bruised under\n his left eye, and there is a small white bandage strip on the\n left side of his face. He turns around, bends over and", "We see Oscar, shirtless, arms behind his head, is looking\n through the glass window of the search room. A Corrections", "Ingram nods. He points his taser at Oscar and Brandon. Oscar \n takes a picture of Ingram pointing his taser at Brandon with \n his cellphone. His phone rings in his hand.", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "We pull back with Wanda as she walks away, trying to hide her\n pain. Another Corrections Officer sprints past her towards\n Oscar, who we can still see in the distance.", "Emi turns to head down the aisle, Oscar reaches out and grabs\n Emi by his sleeve. Emi stops and turns around.", "Cato cuts through people to get close to the train entrance. \n\n Oscar grabs Sophina by the hand and follows closely behind\n Cato.", "Oscar rebalances himself and punches back, with three quick\n shots to the head and chest. He moves like an experienced\n fighter, but both men struggle in the crowded train.", "111 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 111\n\n Oscar still lies on the ground, Caruso lies over him, holding\n his hand." ], [ "He stands up, aims it at Oscar's back. BLAM!!!", "Oscar rebalances himself and punches back, with three quick\n shots to the head and chest. He moves like an experienced\n fighter, but both men struggle in the crowded train.", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "OSCAR\n Alright, alright, Fuck. \n\n Oscar walks towards Caruso, who quickly grabs him by the back\n of the shirt and walks him out of the train car.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "Brandon, Carlos, Tim stare at Oscar is disbelief. \n\n CATO \n They shot Osc! They fuckin shot Osc\n bruh!", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "OSCAR\n Aight. Imma meet you at the Hayward\n station, Okay?\n\n Sophina nods. Oscar turns to Jason", "off his shirt. They flip him over, revealing a large entry\n wound on his left shoulder blade. It bleeds profusely.\n Paramedic 1 walks over to Oscar and kneels down.", "He takes a quick swig. Oscar gives Brandon a \"What the fuck \n are you talking about\" look. The group laughs at this, and\n follow Oscar's lead towards the station entrance.", "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "Oscar's body jerks against the pavement. He lets out a\n sickening, hollow sound.\n\n Dead silence.", "Oscar takes a struggled breath in, coughs up some blood. He\n stiffly turns his body around to Ingram.\n\n OSCAR\n ..you shot me... you shot me. i got\n a daughter...", "The train starts to decelerate. Oscar looks around, looks at\n the other passengers on the train.\n\n They look at Oscar and his friends like lepers.", "The rest of the group passes up Oscar, following Cato. We see \n through the windows of the train that each car is full to the\n brim. Standing room only.", "Officer is conducting a search. Oscar's face is bruised under\n his left eye, and there is a small white bandage strip on the\n left side of his face. He turns around, bends over and", "Oscar looks down the platform and sees Cato approaching. He \n looks over at the train, sees nothing but cell phones and\n video cameras.", "Oscar and Sophina brace, as the train comes to a stop, almost\n loosing their balance. They laugh at this. The doors open and", "He places the bullet into an empty beaker atop a cart. He\n turns back to Oscar and begins to stitch up the incision. The", "Cato cuts through people to get close to the train entrance. \n\n Oscar grabs Sophina by the hand and follows closely behind\n Cato." ], [ "OSCAR\n Your boyfriend.\n\n Katie blushes.", "by. Katie opens her eyes, and sees that the passenger is\n Oscar. Her face lights up.", "Oscar gives her a kiss on the cheek. Sophina gives her a hug.\n The three take a seat at the kitchen table.", "Sophina laughs, Oscar kisses her.\n\n SOPHINA\n Look at me.\n\n Oscar looks at her closely.", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him.", "Oscar gives her a hug, leaning across the table.", "Oscar watches her with a look of pity. Suddenly, an idea\n flashes before his eyes.\n\n He pulls out his cellphone, quickly dials a number, and holds\n it to his ear.", "Sophina who was watching and listening closely sees this. She\n breaks down, buries her face in Oscar's hoodie.", "Tatiana shakes her head, still not happy about Oscar leaving.\n\n OSCAR (CONT'D)\n I love you.\n\n He kisses her on the cheek.", "Oscar kisses her, moves in. Sophina scoots away from him.\n\n KNOCK KNOCK KNOCK. Oscar and Sophina look over at the door.", "Oscar looks around and heads over to some standing room next\n to where DANAE a gorgeous Black woman in her late 20's sits\n wearing a ball gown and leather jacket.", "Cato turns to Oscar, who is hugged up with Sophina.", "KATIE\n He's white. But he knows a lot of\n black people... He's not my\n boyfriend either...\n\n Oscar chuckles at this.", "Sophina turns around and looks at Oscar, senses something is\n eating at him. She puts the hoodie down, and walks over to\n him.", "Oscar, with Tatiana sitting on his shoulders, and a bag of\n crabs in his hand, walks up to the porch of a modest house.\n Sophina stands at his side holding a cake. Oscar uses his key\n to open the door.", "As Oscar enters, we see Sophina is in her bra and panties,\n talking into her cellphone. She lays several different\n outfits out on the bed. Oscar closes the bedroom door, leans\n on it.", "OSCAR\n Oscar.\n\n KATIE\n Oscar... like the Grouch!!\n\n Oscar shakes his head at this. Katie starts off towards the\n register.", "OSCAR\n Happy New Year baby.\n\n SOPHINA\n Happy New Year, Osc.\n\n They kiss.", "Oscar walks up to the heavily crowded store entrance. We see\n Sophina exiting holding a large cardboard cake box. Oscar\n takes it from her." ], [ "As Oscar enters, we see Sophina is in her bra and panties,\n talking into her cellphone. She lays several different\n outfits out on the bed. Oscar closes the bedroom door, leans\n on it.", "Sophina who was watching and listening closely sees this. She\n breaks down, buries her face in Oscar's hoodie.", "Oscar kisses her, moves in. Sophina scoots away from him.\n\n KNOCK KNOCK KNOCK. Oscar and Sophina look over at the door.", "Sophina laughs, Oscar kisses her.\n\n SOPHINA\n Look at me.\n\n Oscar looks at her closely.", "Sophina's not buying it.\n\n SOPHINA\n Osc. Wussup?\n\n Oscar looks at her for a beat. Cuts his eyes.", "Oscar doesn't say anything.\n\n SOPHINA (CONT'D)\n They doing cutbacks or some shit?\n\n OSCAR\n I got fired.", "SOPHINA (CONT'D)\n Bye.\n\n OSCAR\n (playfully)\n Love you too.", "Sophina turns around and looks at Oscar, senses something is\n eating at him. She puts the hoodie down, and walks over to\n him.", "A long beat.\n\n SOPHINA\n You threw it away?\n\n Oscar nods.", "Sophina nods. Oscar moves closer to her and kisses her on her\n neck. She kisses him back a bit, then scoots away. \n\n Oscar kisses her again. Puts his hand in her hair.", "OSCAR\n (to himself)\n Fuck it.\n (to Sophina)\n I lost my job.", "Sophina taps Oscar quickly.\n\n SOPHINA\n Baby, the boys already up here.\n\n Oscar stops dead in his tracks.", "Oscar gives her a kiss on the cheek. Sophina gives her a hug.\n The three take a seat at the kitchen table.", "Cato turns to Oscar, who is hugged up with Sophina.", "SOPHINA\n You know better than that T.\n (to Oscar)\n What time is it?\n\n Oscar picks up his phone and looks at it.", "SOPHINA (CONT'D)\n What you think?\n\n OSCAR\n (disinterested)\n It's cool.", "Sophina shoots Oscar a look.\n\n OSCAR (CONT'D)\n Go start the car up. You got your\n keys?", "Oscar shakes his head at this, sighs.\n\n SOPHINA (CONT'D)\n You know what? You right, go.", "Oscar sees this. He turns to Sophina and Vanessa who look as\n if they are both about to explode.\n\n Oscar goes into his pocket. He pulls out a $10 bill.", "SOPHINA\n Osc. Osc, hold up.\n\n Oscar stops. Sophina scoots away even further." ], [ "Oscar, with Tatiana sitting on his shoulders, and a bag of\n crabs in his hand, walks up to the porch of a modest house.\n Sophina stands at his side holding a cake. Oscar uses his key\n to open the door.", "SOPHINA\n We in Oakland, at Fruitvale BART.\n\n WANDA\n Did Oscar get arrested?", "It's a party on BART. The train starts to move, and everybody\n CHEERS.\n\n OSCAR\n Wait, how we gonna do the\n countdown?", "Oscar, Sophina, and Tatiana say their good-byes to Grandma\n Bonnie, and Uncle Daryl and Uncle Ceephus.\n\n Oscar walks up to Wanda.", "WANDA\n My son is Oscar Julius Grant III.\n He's been shot, and they told me to\n come here-\n\n The Nurse sits at the computer.", "Oscar walks up to the heavily crowded store entrance. We see\n Sophina exiting holding a large cardboard cake box. Oscar\n takes it from her.", "He presses a few buttons on his iPhone. It plays the MAC DRE\n song \"FEELIN MYSELF\" he turns it up. Oscar's friends nod\n their heads to the music.", "Oscar, Sophina and the other commuters are huddled around\n Donald, who is now standing up, watching the second hand tick\n on his watch, and waving his right finger like an orchestral\n conductor.", "Oscar gives her a kiss on the cheek. Sophina gives her a hug.\n The three take a seat at the kitchen table.", "OSCAR\n Alright we out, Birthday Girl. Love\n you.\n\n WANDA\n Love you too, son. And Happy New\n Year.", "OSCAR\n Frisco. Fireworks and the whole\n shit-\n\n Oscar sees something out of the corner of his eye. He motions\n his head for Cato to look. Cato turns and sees-", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "OSCAR\n Hell naw, we still up here at\n Fruitvale. They holding us here and\n beatin on us for no reason.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "OSCAR\n I told you. I aint missin no more\n parties.\n\n She looks at Oscar for a long beat, searching for the truth\n in his eyes. She finds it.", "OSCAR\n Aight. Imma meet you at the Hayward\n station, Okay?\n\n Sophina nods. Oscar turns to Jason", "OSCAR\n Grandma, Grandma, I'm off today.\n I'm just shopping for the party.", "Oscar smiles, takes it. Drinks a small shot, and hands it\n back to Brandon. Brandon lifts the bottle up at Oscar like a \n toast.", "The others immediately begin tending to Oscar. They check his\n vitals, and pull out a pair of large scissors and quickly cut" ], [ "SOPHINA\n We in Oakland, at Fruitvale BART.\n\n WANDA\n Did Oscar get arrested?", "OSCAR\n Hell naw, we still up here at\n Fruitvale. They holding us here and\n beatin on us for no reason.", "Oscar, Sophina and the other commuters are huddled around\n Donald, who is now standing up, watching the second hand tick\n on his watch, and waving his right finger like an orchestral\n conductor.", "KEISHA (V.O.)\n Fruitvale station. There's been an\n incident reported on the train.\n Everyone remain please remain calm.\n There will be a slight delay here.", "WANDA\n My son is Oscar Julius Grant III.\n He's been shot, and they told me to\n come here-\n\n The Nurse sits at the computer.", "SOPHINA\n You know better than that T.\n (to Oscar)\n What time is it?\n\n Oscar picks up his phone and looks at it.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "111 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 111\n\n Oscar still lies on the ground, Caruso lies over him, holding\n his hand.", "Oscar, now in the car by himself rides in the car listening\n to HIP HOP MUSIC. He comes to a red light.\n\n He looks at the car radio clock: 8:58 AM.", "100 EXT. FRUITVALE BART STATION ENTRANCE- NIGHT- SIMULTANEOUS 100\n\n Sophina whips her head around towards the platform.", "Caruso pulls out his taser and points it at Oscar's neck.\n\n CARUSO\n Come on. Let's go.\n\n Oscar immediately puts his hands up.", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "Ingram nods. He points his taser at Oscar and Brandon. Oscar \n takes a picture of Ingram pointing his taser at Brandon with \n his cellphone. His phone rings in his hand.", "It's a party on BART. The train starts to move, and everybody\n CHEERS.\n\n OSCAR\n Wait, how we gonna do the\n countdown?", "114 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- NIGHT- 114\n CONTINUOUS", "Oscar rebalances himself and punches back, with three quick\n shots to the head and chest. He moves like an experienced\n fighter, but both men struggle in the crowded train.", "Officer is conducting a search. Oscar's face is bruised under\n his left eye, and there is a small white bandage strip on the\n left side of his face. He turns around, bends over and", "112 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- CONTINUOUS 112", "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "Oscar's body jerks against the pavement. He lets out a\n sickening, hollow sound.\n\n Dead silence." ], [ "He stands up, aims it at Oscar's back. BLAM!!!", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "Oscar's body jerks against the pavement. He lets out a\n sickening, hollow sound.\n\n Dead silence.", "Oscar stares at the Dog for a long beat, shaken up by this.\n He looks around, no one seems to have noticed.\n\n He bends down, closes the Dog's eyes, and heads for his car.", "The MORTICIAN pulls back a white sheet, and we see Oscar's \n mangled Body lying on the slab.", "Oscar continues to pet his head. The dog starts to violently\n shake...\n\n He becomes unnaturally still.", "The others immediately begin tending to Oscar. They check his\n vitals, and pull out a pair of large scissors and quickly cut", "Brandon, Carlos, Tim stare at Oscar is disbelief. \n\n CATO \n They shot Osc! They fuckin shot Osc\n bruh!", "Caruso bends down, grabs Oscar's head, and puts his knee on\n it, driving his weight into the Oscar's ear. Oscar writhes in\n pain.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him.", "Oscar takes a struggled breath in, coughs up some blood. He\n stiffly turns his body around to Ingram.\n\n OSCAR\n ..you shot me... you shot me. i got\n a daughter...", "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "Oscar rebalances himself and punches back, with three quick\n shots to the head and chest. He moves like an experienced\n fighter, but both men struggle in the crowded train.", "BOOM! Cale punches Oscar in the right side of his face-hard.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "OSCAR (CONT'D)\n (to himself)\n Shit.\n (shouting)\n Somebody help! Somebody fucking\n Help!", "off his shirt. They flip him over, revealing a large entry\n wound on his left shoulder blade. It bleeds profusely.\n Paramedic 1 walks over to Oscar and kneels down.", "Oscar's body begins to violently shake.", "Oscar pets him on the head, we see its ears are a bit\n scarred, but it has beautiful brown eyes. He feels around the", "He pulls off his mask, frustrated, and walks out. Oscar's\n convulsions stop. A morbid, continuous beep echoes from the\n EKG." ], [ "SOPHINA\n We in Oakland, at Fruitvale BART.\n\n WANDA\n Did Oscar get arrested?", "114 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- NIGHT- 114\n CONTINUOUS", "112 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- CONTINUOUS 112", "111 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 111\n\n Oscar still lies on the ground, Caruso lies over him, holding\n his hand.", "116 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- CONTINUOUS 116", "100 EXT. FRUITVALE BART STATION ENTRANCE- NIGHT- SIMULTANEOUS 100\n\n Sophina whips her head around towards the platform.", "99 EXT. FRUITVALE BART STATION ENTRANCE- NIGHT- SIMULTANEOUS 99", "97 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 97", "KEISHA (V.O.)\n Fruitvale station. There's been an\n incident reported on the train.\n Everyone remain please remain calm.\n There will be a slight delay here.", "98 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 98", "88 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 88\n\n Caruso walks Oscar over to the wall.", "92 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 92", "95 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 95\n\n Cato sees the punch.", "The crowd on the train is ROARING now. Yelling various things\n about the police.\n\n OSCAR\n I'm just tryna get home. I got a\n daughter at home bruh.", "80 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 80", "89 OMITTED 89\n\n\n90 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 90", "Ingram nods. He points his taser at Oscar and Brandon. Oscar \n takes a picture of Ingram pointing his taser at Brandon with \n his cellphone. His phone rings in his hand.", "CARUSO (CONT'D)\n (into walkie)\n Yeah there's been a shooting. Here\n at the Fruitvale station--", "76 INT. BART TRAIN- CAR 1- MOMENTS LATER 76", "Sophina stands on the sidewalk of the BART station entrance.\n Vanessa and Kris stand behind her\n\n SOPHINA\n Osc, where you at? Are you on the\n train?" ], [ "84 INT. BART TRAIN- CAR 2- CONTINUOUS 84\n\n Oscar pushes his way onto the train and looks out of the \n door.", "SOPHINA\n We in Oakland, at Fruitvale BART.\n\n WANDA\n Did Oscar get arrested?", "We see Oscar, shirtless, arms behind his head, is looking\n through the glass window of the search room. A Corrections", "As the two share a moment, DANIEL CALE, a stocky white inmate\n in his early 30's walks past Oscar and Wanda's table. He has\n a large, square bandage under his left eye.", "CATO \n See?\n\n MALE BART TRAIN OPERATOR (V.O.)\n Now approaching... West Oakland\n Station.", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "OSCAR\n Aight. Imma meet you at the Hayward\n station, Okay?\n\n Sophina nods. Oscar turns to Jason", "Oscar looks down the platform and sees Cato approaching. He \n looks over at the train, sees nothing but cell phones and\n video cameras.", "The group starts walking towards the BART turnstiles. Talking\n as they walk. Jason leans in and whispers to Cato.", "Sophina stands on the sidewalk of the BART station entrance.\n Vanessa and Kris stand behind her\n\n SOPHINA\n Osc, where you at? Are you on the\n train?", "111 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 111\n\n Oscar still lies on the ground, Caruso lies over him, holding\n his hand.", "Oscar, Sophina and the other commuters are huddled around\n Donald, who is now standing up, watching the second hand tick\n on his watch, and waving his right finger like an orchestral\n conductor.", "51 INT. SOUTH HAYWARD BART STATION PLATFORM- CONTINUOUS 51\n\n The San Francisco bound train is docked and a few passengers\n are still getting on to it.", "He takes a quick swig. Oscar gives Brandon a \"What the fuck \n are you talking about\" look. The group laughs at this, and\n follow Oscar's lead towards the station entrance.", "76 INT. BART TRAIN- CAR 1- MOMENTS LATER 76", "The train starts to decelerate. Oscar looks around, looks at\n the other passengers on the train.\n\n They look at Oscar and his friends like lepers.", "The rest of the group passes up Oscar, following Cato. We see \n through the windows of the train that each car is full to the\n brim. Standing room only.", "Caruso turns back towards the train, and seemingly makes \n direct eye contact with Oscar. \n\n\n85 OMITTED 85", "He looks around the crowd, and makes eye contact with Mrs. \n Zafiratos gives a subtle look over at Oscar.\n\n Caruso sees Oscar and makes his way towards him.", "116 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- CONTINUOUS 116" ], [ "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "He stands up, aims it at Oscar's back. BLAM!!!", "Oscar's body jerks against the pavement. He lets out a\n sickening, hollow sound.\n\n Dead silence.", "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "Oscar stares at the Dog for a long beat, shaken up by this.\n He looks around, no one seems to have noticed.\n\n He bends down, closes the Dog's eyes, and heads for his car.", "Brandon, Carlos, Tim stare at Oscar is disbelief. \n\n CATO \n They shot Osc! They fuckin shot Osc\n bruh!", "Oscar rebalances himself and punches back, with three quick\n shots to the head and chest. He moves like an experienced\n fighter, but both men struggle in the crowded train.", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "Oscar takes a struggled breath in, coughs up some blood. He\n stiffly turns his body around to Ingram.\n\n OSCAR\n ..you shot me... you shot me. i got\n a daughter...", "The MORTICIAN pulls back a white sheet, and we see Oscar's \n mangled Body lying on the slab.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him.", "OSCAR\n Frisco. Fireworks and the whole\n shit-\n\n Oscar sees something out of the corner of his eye. He motions\n his head for Cato to look. Cato turns and sees-", "The others immediately begin tending to Oscar. They check his\n vitals, and pull out a pair of large scissors and quickly cut", "Oscar pets him on the head, we see its ears are a bit\n scarred, but it has beautiful brown eyes. He feels around the", "We are close on Oscar as he lies on his back, unconscious\n breathing tubes are attached to his mouth. His chest rises up\n and down slowly, struggled.", "He stops, turns around, and runs over to something lying in\n the street. It's the dog, and he's in bad shape. Oscar picks\n the dog up out of the street, and places him on the sidewalk.", "off his shirt. They flip him over, revealing a large entry\n wound on his left shoulder blade. It bleeds profusely.\n Paramedic 1 walks over to Oscar and kneels down.", "Caruso bends down, grabs Oscar's head, and puts his knee on\n it, driving his weight into the Oscar's ear. Oscar writhes in\n pain.", "OSCAR\n I aint nobody's Bitch nigga!\n\n CALE\n Fuck Palma Ceia!!!\n\n Cale moves towards Oscar." ], [ "OSCAR\n Frisco. Fireworks and the whole\n shit-\n\n Oscar sees something out of the corner of his eye. He motions\n his head for Cato to look. Cato turns and sees-", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "Oscar's eyes quickly scan the poem: he's read it before.\n Oscar opens the card, and looks inside for a beat. He looks\n up, moved by the words. He stares off into space.", "Oscar, with Tatiana sitting on his shoulders, and a bag of\n crabs in his hand, walks up to the porch of a modest house.\n Sophina stands at his side holding a cake. Oscar uses his key\n to open the door.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him.", "Oscar pets him on the head, we see its ears are a bit\n scarred, but it has beautiful brown eyes. He feels around the", "Oscar, Sophina and the other commuters are huddled around\n Donald, who is now standing up, watching the second hand tick\n on his watch, and waving his right finger like an orchestral\n conductor.", "Oscar quickly walks over to his closet and grabs the bag of\n weed. He neatens up the room a bit, and takes off.\n\n\n18 INT. HALLMARK STORE- DAY 18", "Oscar stares at the Dog for a long beat, shaken up by this.\n He looks around, no one seems to have noticed.\n\n He bends down, closes the Dog's eyes, and heads for his car.", "by. Katie opens her eyes, and sees that the passenger is\n Oscar. Her face lights up.", "Oscar walks up to the heavily crowded store entrance. We see\n Sophina exiting holding a large cardboard cake box. Oscar\n takes it from her.", "Oscar smiles, takes it. Drinks a small shot, and hands it\n back to Brandon. Brandon lifts the bottle up at Oscar like a \n toast.", "Oscar watches her with a look of pity. Suddenly, an idea\n flashes before his eyes.\n\n He pulls out his cellphone, quickly dials a number, and holds\n it to his ear.", "OSCAR\n Happy New Year baby.\n\n SOPHINA\n Happy New Year, Osc.\n\n They kiss.", "OSCAR\n Those are just firecrakers. You'll\n be safe inside.", "Caruso hears this, and quickly lets go of Jason, who is now \n sitting down. He rushes over to Oscar and-", "They slap hands, and Marcus gets out of the car. We hear him\n get into his car, and start his car up. Oscar waits for a\n beat. He then reaches under his seat and grabs something.", "The others immediately begin tending to Oscar. They check his\n vitals, and pull out a pair of large scissors and quickly cut", "Oscar still stares off into space, moved by this memory. He\n snaps out of it, heads towards the register with the cards in\n hand.", "Oscar puts his phone back into his pocket. He turns and\n begins to pump his gas. He sets the handle to automatically\n pump, and looks up and notices something." ], [ "OSCAR\n (to himself)\n Fuck it.\n (to Sophina)\n I lost my job.", "OSCAR\n Look, I was going through some\n shit, trying to get back on my\n feet. But I need this job man. I'll", "Oscar still stares off into space, moved by this memory. He\n snaps out of it, heads towards the register with the cards in\n hand.", "Oscar doesn't say anything.\n\n SOPHINA (CONT'D)\n They doing cutbacks or some shit?\n\n OSCAR\n I got fired.", "Oscar watches her with a look of pity. Suddenly, an idea\n flashes before his eyes.\n\n He pulls out his cellphone, quickly dials a number, and holds\n it to his ear.", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "Oscar pets him on the head, we see its ears are a bit\n scarred, but it has beautiful brown eyes. He feels around the", "Oscar stares at the Dog for a long beat, shaken up by this.\n He looks around, no one seems to have noticed.\n\n He bends down, closes the Dog's eyes, and heads for his car.", "Oscar looks from closed store to closed store, the group\n following closely behind him. He spots Sammy, Middle Eastern, \n Early 50's, closing the metal gates on his store.", "Oscar's eyes quickly scan the poem: he's read it before.\n Oscar opens the card, and looks inside for a beat. He looks\n up, moved by the words. He stares off into space.", "Oscar quickly walks over to his closet and grabs the bag of\n weed. He neatens up the room a bit, and takes off.\n\n\n18 INT. HALLMARK STORE- DAY 18", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "Oscar looks over and sees, EMI, a thirtysomething Hispanic\n man wearing a white collared shirt and a name tag. He checks\n the shelves with a barcode scanning device.\n\n Oscar slowly heads over.", "OSCAR\n Yup.\n\n CHANTAY\n Oh okay. I got good news and bad\n news.\n\n Oscar thinks for a bit.", "Oscar pumps his gas. He looks at a poster of Obama that reads\n CHANGE, posted on the gas pump. He looks across the lot and\n notices a Zales engagement ring poster.", "Caruso bends down, grabs Oscar's head, and puts his knee on\n it, driving his weight into the Oscar's ear. Oscar writhes in\n pain.", "Oscar laughs at this so hard he has to sit the bowl. He pulls\n out his phone and starts to text.", "Oscar laughs at this.", "Oscar's body jerks against the pavement. He lets out a\n sickening, hollow sound.\n\n Dead silence.", "Oscar points to the ground in front of the door.\n\n OSCAR (CONT'D)\n Cause they aint gonna piss on\n themselves bruh.\n\n Oscar holds out the money." ], [ "Oscar watches her with a look of pity. Suddenly, an idea\n flashes before his eyes.\n\n He pulls out his cellphone, quickly dials a number, and holds\n it to his ear.", "He checks it: \"Sophina Calling\". He answers it.\n\n OSCAR\n (into the phone)\n Phina?\n\n\n INTERCUT WITH", "Sophina doesn't answer. The phone rings again. Oscar's hand\n quickly picks it up and flips it open. We follow the phone to", "Sophina looks up at a flat screen television in the hospital,\n sees a report that showing Oscar's picture.\n\n She takes out her cellphone. Dials a number, puts it to her\n ear.", "We see Oscar's phone is on the ground ringing. The screen\n reads, \"Sophina Calling\".\n Green (7/5/2012) 105.", "Oscar holds out the phone for Katie. She reaches out\n apprehensively. He gives her a reassuring look. She takes it.", "OSCAR\n Well, yeah....\n\n GRANDMA BONNIE\n Boy you know better than to be\n talking on the phone while you're\n at work! Bye!", "As Oscar enters, we see Sophina is in her bra and panties,\n talking into her cellphone. She lays several different\n outfits out on the bed. Oscar closes the bedroom door, leans\n on it.", "Oscar hangs up his phone.\n Green (7/5/2012) 26.\n\n\n17 INT. OSCAR'S BEDROOM 17", "He stands up, aims it at Oscar's back. BLAM!!!", "CHANTAY\n Bye.\n\n Oscar closes his phone. Thinks to himself for a beat. He\n opens his phone back up and punches some numbers. Calling\n Marcus flashes across the screen.", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "Oscar's moves towards the cellphone.\n\n SOPHINA (O.S.)\n Osc.\n\n Oscar stops in his tracks.", "They slap hands, and Marcus gets out of the car. We hear him\n get into his car, and start his car up. Oscar waits for a\n beat. He then reaches under his seat and grabs something.", "Oscar takes a struggled breath in, coughs up some blood. He\n stiffly turns his body around to Ingram.\n\n OSCAR\n ..you shot me... you shot me. i got\n a daughter...", "Ingram nods. He points his taser at Oscar and Brandon. Oscar \n takes a picture of Ingram pointing his taser at Brandon with \n his cellphone. His phone rings in his hand.", "OSCAR (CONT'D)\n (to himself)\n Shit.\n (shouting)\n Somebody help! Somebody fucking\n Help!", "Brandon, Carlos, Tim stare at Oscar is disbelief. \n\n CATO \n They shot Osc! They fuckin shot Osc\n bruh!", "Oscar stares at the Dog for a long beat, shaken up by this.\n He looks around, no one seems to have noticed.\n\n He bends down, closes the Dog's eyes, and heads for his car.", "Oscar hangs up the phone. He sees Caruso walking over to him\n Oscar stands up against the wall.\n\n OSCAR (CONT'D)\n Are you in charge man? Look..." ], [ "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "Oscar stares at the Dog for a long beat, shaken up by this.\n He looks around, no one seems to have noticed.\n\n He bends down, closes the Dog's eyes, and heads for his car.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him.", "OSCAR (CONT'D)", "Oscar's eyes quickly scan the poem: he's read it before.\n Oscar opens the card, and looks inside for a beat. He looks\n up, moved by the words. He stares off into space.", "Oscar's body jerks against the pavement. He lets out a\n sickening, hollow sound.\n\n Dead silence.", "We are close on Oscar as he lies on his back, unconscious\n breathing tubes are attached to his mouth. His chest rises up\n and down slowly, struggled.", "OSCAR (CONT'D)\n (whispering)\n Come'on boy. Come on.\n\n The dog's breathing grows more struggled.", "Oscar continues to pet his head. The dog starts to violently\n shake...\n\n He becomes unnaturally still.", "Oscar laughs at this.", "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "The others immediately begin tending to Oscar. They check his\n vitals, and pull out a pair of large scissors and quickly cut", "Oscar pets him on the head, we see its ears are a bit\n scarred, but it has beautiful brown eyes. He feels around the", "The MORTICIAN pulls back a white sheet, and we see Oscar's \n mangled Body lying on the slab.", "Oscar takes a struggled breath in, coughs up some blood. He\n stiffly turns his body around to Ingram.\n\n OSCAR\n ..you shot me... you shot me. i got\n a daughter...", "Oscar watches her with a look of pity. Suddenly, an idea\n flashes before his eyes.\n\n He pulls out his cellphone, quickly dials a number, and holds\n it to his ear.", "Oscar, Sophina and the other commuters are huddled around\n Donald, who is now standing up, watching the second hand tick\n on his watch, and waving his right finger like an orchestral\n conductor.", "He stands up, aims it at Oscar's back. BLAM!!!", "Oscar, with Tatiana sitting on his shoulders, and a bag of\n crabs in his hand, walks up to the porch of a modest house.\n Sophina stands at his side holding a cake. Oscar uses his key\n to open the door.", "Oscar remains seated in his chair.\n\n OSCAR\n Ma, hold up. Let me get a hug." ], [ "by. Katie opens her eyes, and sees that the passenger is\n Oscar. Her face lights up.", "OSCAR (CONT'D)\n It's my day off.\n\n Katie smiles nervously. Looks at Cato who nods at Katie in \n approval.", "KATIE\n Thank you so much... Katie by the\n way.\n\n She extends her hand to shake with Oscar. Oscar smiles,\n shakes it.", "Oscar, Sophina and the other commuters are huddled around\n Donald, who is now standing up, watching the second hand tick\n on his watch, and waving his right finger like an orchestral\n conductor.", "Oscar holds out the phone for Katie. She reaches out\n apprehensively. He gives her a reassuring look. She takes it.", "KATIE (CONT'D)\n Take care.\n\n Oscar's nods. He walks back over to Cato, who is weighing \n fish for another CUSTOMER. He spots Oscar.", "Oscar's eyes quickly scan the poem: he's read it before.\n Oscar opens the card, and looks inside for a beat. He looks\n up, moved by the words. He stares off into space.", "Oscar waves and smiles at Mrs. Stacey, who waves back. He\n walks over to the sign out sheet and grabs a pen.", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "KATIE\n Oscar. Oscar!\n\n Oscar turns around a bit confused.", "Oscar laughs at this. Katie shakes her head.\n\n OSCAR\n Is he black?\n\n KATIE\n What? Who?", "Oscar, with Tatiana sitting on his shoulders, and a bag of\n crabs in his hand, walks up to the porch of a modest house.\n Sophina stands at his side holding a cake. Oscar uses his key\n to open the door.", "KATIE\n He's white. But he knows a lot of\n black people... He's not my\n boyfriend either...\n\n Oscar chuckles at this.", "She looks at the dashboard where there is a PICTURE of Oscar\n holding Tatiana tucked in the glass. The fuel gage sits\n almost under E, but the light still isn't on.", "Emi walks away. Oscar watches him.\n\n KATIE (O.S.)\n Hey!", "OSCAR\n Frisco. Fireworks and the whole\n shit-\n\n Oscar sees something out of the corner of his eye. He motions\n his head for Cato to look. Cato turns and sees-", "KATIE\n Ahh, yeah. Something like that.\n\n OSCAR\n It's cool. I work here.\n\n She looks at Oscar suspiciously.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him.", "KATIE\n Oh my god, Your grandmother is so\n sweet! I can't believe she was kind\n enough to do that.\n\n OSCAR\n Trust me. She's happy to help.", "Oscar stares at the Dog for a long beat, shaken up by this.\n He looks around, no one seems to have noticed.\n\n He bends down, closes the Dog's eyes, and heads for his car." ], [ "Oscar rebalances himself and punches back, with three quick\n shots to the head and chest. He moves like an experienced\n fighter, but both men struggle in the crowded train.", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "He takes a quick swig. Oscar gives Brandon a \"What the fuck \n are you talking about\" look. The group laughs at this, and\n follow Oscar's lead towards the station entrance.", "OSCAR\n Alright, alright, Fuck. \n\n Oscar walks towards Caruso, who quickly grabs him by the back\n of the shirt and walks him out of the train car.", "Cato cuts through people to get close to the train entrance. \n\n Oscar grabs Sophina by the hand and follows closely behind\n Cato.", "The rest of the group passes up Oscar, following Cato. We see \n through the windows of the train that each car is full to the\n brim. Standing room only.", "Oscar and Sophina brace, as the train comes to a stop, almost\n loosing their balance. They laugh at this. The doors open and", "Oscar looks down the platform and sees Cato approaching. He \n looks over at the train, sees nothing but cell phones and\n video cameras.", "The train starts to decelerate. Oscar looks around, looks at\n the other passengers on the train.\n\n They look at Oscar and his friends like lepers.", "Oscar, Sophina and the other commuters are huddled around\n Donald, who is now standing up, watching the second hand tick\n on his watch, and waving his right finger like an orchestral\n conductor.", "OSCAR\n Aight. Imma meet you at the Hayward\n station, Okay?\n\n Sophina nods. Oscar turns to Jason", "Cato blends into the crowd headed towards the far end of the \n platform. Jason quickly goes back to CAR 1, Oscar jumps onto \n the closest train, CAR 2.", "We stay outside of the train as we watch the doors close\n behind him, and the train takes off. The cars go by, picking\n up speed rapidly until we are left looking at a dark empty\n tunnel. We hold on this.", "Something isn't right here, the platform is completely empty.\n The group exits the train, lead by Sophina, Vanessa and Kris.\n Oscar follows behind them apprehensively.", "Caruso turns back towards the train, and seemingly makes \n direct eye contact with Oscar. \n\n\n85 OMITTED 85", "Oscar still stares off into space, moved by this memory. He\n snaps out of it, heads towards the register with the cards in\n hand.", "Oscar stares at the Dog for a long beat, shaken up by this.\n He looks around, no one seems to have noticed.\n\n He bends down, closes the Dog's eyes, and heads for his car.", "OSCAR\n (shouting back)\n Yall niggas is Gay as Fuck!\n\n Everyone on the train laughs at this. Cato turns back to the \n girls.", "bumping up against her. Oscar exchanges a look with him\n briefly, and continues to push towards the space.", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant." ], [ "Cato and Brandon push through to be in arm's reach of the \n fight, and start swinging on Cale and his friends. Cato hits \n Cale flush in the back of the head.", "Oscar cuts his eyes from Cale to Sophina.\n\n OSCAR\n (to Sophina)\n Get Cato and them niggas!", "CATO \n Fuck these niggas bruh!\n\n Brandon pushes past Mr. Zafiratos who is holding his \n daughter. And looking on at the fight.", "Cato looses it, he pushes past the police officers in front \n of him. He throws his cellphone at Ingram, just missing his", "OSCAR\n I aint nobody's Bitch nigga!\n\n CALE\n Fuck Palma Ceia!!!\n\n Cale moves towards Oscar.", "Cale moves in and grabs Oscar, putting him into a headlock.\n Oscar grapples with him, holding his other arm to avoid being\n punched in the head.", "CATO \n Get off of him!\n\n Brandon punches one of the large Hispanic men hard.", "He rushes over and opens the door where we see TATIANA GRANT,\n a cute 4 year old girl, standing wearing footie pajamas.", "know they were gonna hurt him. I\n didn't know. I should have just let\n him drive. I should have let him", "INGRAM\n Hey, back up! Get back!\n\n Ingram reaches for his taser, pulls it out. Cato keeps \n recording, but backs up.", "drive. I wanted him to be safe.\n Please please let me hug him.\n (MORE)", "128A CONTINUED: 128A\n WANDA (CONT'D)\n Please let me go hug him. He didn't", "CATO \n What the fuck?\n\n He walks closer to the scene. \n\n\n96 OMITTED 96", "DARYL\n I think he still would have had a\n shot.\n\n CEEPHUS\n But would he have won though?", "CALE\n Wussup with that shit you was\n hollerin?\n\n Cale turns to one of the Men.", "Rose's kids all jump up and growl back, mobbing Oscar, all\n smiles, clawing at his pants.\n\n ISSAC\n You gonna sleep over uncle Oscar?", "Cato, still in the back of the police car, is kicking the \n window with both feet. Brandon continues to scream from his \n car. The police cars pull off.", "Cato cuts through people to get close to the train entrance. \n\n Oscar grabs Sophina by the hand and follows closely behind\n Cato.", "She grabs his arm. Tears well up in her eyes.\n\n TATIANA (CONT'D)\n I'm scared.", "Oscar struggles for a bit, laughing, Tatiana jumps into the\n fray, helping her cousins tackle her Dad. Oscar, gives up,\n laughing, and falls to the carpet." ], [ "WANDA\n My son is Oscar Julius Grant III.\n He's been shot, and they told me to\n come here-\n\n The Nurse sits at the computer.", "SOPHINA\n We in Oakland, at Fruitvale BART.\n\n WANDA\n Did Oscar get arrested?", "Oscar rebalances himself and punches back, with three quick\n shots to the head and chest. He moves like an experienced\n fighter, but both men struggle in the crowded train.", "Oscar, Sophina, and Tatiana say their good-byes to Grandma\n Bonnie, and Uncle Daryl and Uncle Ceephus.\n\n Oscar walks up to Wanda.", "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "Oscar, Sophina and the other commuters are huddled around\n Donald, who is now standing up, watching the second hand tick\n on his watch, and waving his right finger like an orchestral\n conductor.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "Oscar, with Tatiana sitting on his shoulders, and a bag of\n crabs in his hand, walks up to the porch of a modest house.\n Sophina stands at his side holding a cake. Oscar uses his key\n to open the door.", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "Brandon, Carlos, Tim stare at Oscar is disbelief. \n\n CATO \n They shot Osc! They fuckin shot Osc\n bruh!", "111 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 111\n\n Oscar still lies on the ground, Caruso lies over him, holding\n his hand.", "OSCAR\n Hell naw, we still up here at\n Fruitvale. They holding us here and\n beatin on us for no reason.", "Oscar gives her a kiss on the cheek. Sophina gives her a hug.\n The three take a seat at the kitchen table.", "Oscar's body jerks against the pavement. He lets out a\n sickening, hollow sound.\n\n Dead silence.", "Cato cuts through people to get close to the train entrance. \n\n Oscar grabs Sophina by the hand and follows closely behind\n Cato.", "We are close on Oscar as he lies on his back, unconscious\n breathing tubes are attached to his mouth. His chest rises up\n and down slowly, struggled.", "Ingram nods. He points his taser at Oscar and Brandon. Oscar \n takes a picture of Ingram pointing his taser at Brandon with \n his cellphone. His phone rings in his hand.", "Oscar looks over and sees, EMI, a thirtysomething Hispanic\n man wearing a white collared shirt and a name tag. He checks\n the shelves with a barcode scanning device.\n\n Oscar slowly heads over.", "KEISHA (V.O.)\n Fruitvale station. There's been an\n incident reported on the train.\n Everyone remain please remain calm.\n There will be a slight delay here." ], [ "WANDA\n My son is Oscar Julius Grant III.\n He's been shot, and they told me to\n come here-\n\n The Nurse sits at the computer.", "SOPHINA\n We in Oakland, at Fruitvale BART.\n\n WANDA\n Did Oscar get arrested?", "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "Oscar rebalances himself and punches back, with three quick\n shots to the head and chest. He moves like an experienced\n fighter, but both men struggle in the crowded train.", "Oscar's body jerks against the pavement. He lets out a\n sickening, hollow sound.\n\n Dead silence.", "Brandon, Carlos, Tim stare at Oscar is disbelief. \n\n CATO \n They shot Osc! They fuckin shot Osc\n bruh!", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "We are close on Oscar as he lies on his back, unconscious\n breathing tubes are attached to his mouth. His chest rises up\n and down slowly, struggled.", "Oscar takes a struggled breath in, coughs up some blood. He\n stiffly turns his body around to Ingram.\n\n OSCAR\n ..you shot me... you shot me. i got\n a daughter...", "Oscar, Sophina, and Tatiana say their good-byes to Grandma\n Bonnie, and Uncle Daryl and Uncle Ceephus.\n\n Oscar walks up to Wanda.", "OSCAR\n Hell naw, we still up here at\n Fruitvale. They holding us here and\n beatin on us for no reason.", "Oscar. He rolls him over and we see Oscar's eyes are starting\n to grow distant.", "He stands up, aims it at Oscar's back. BLAM!!!", "KEISHA (V.O.)\n Fruitvale station. There's been an\n incident reported on the train.\n Everyone remain please remain calm.\n There will be a slight delay here.", "CARUSO (CONT'D)\n (into walkie)\n Yeah there's been a shooting. Here\n at the Fruitvale station--", "OSCAR\n (shouting back)\n Yall niggas is Gay as Fuck!\n\n Everyone on the train laughs at this. Cato turns back to the \n girls.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "Ingram nods. He points his taser at Oscar and Brandon. Oscar \n takes a picture of Ingram pointing his taser at Brandon with \n his cellphone. His phone rings in his hand.", "Oscar stares at the Dog for a long beat, shaken up by this.\n He looks around, no one seems to have noticed.\n\n He bends down, closes the Dog's eyes, and heads for his car.", "OSCAR\n Aight. Imma meet you at the Hayward\n station, Okay?\n\n Sophina nods. Oscar turns to Jason" ], [ "SOPHINA\n We in Oakland, at Fruitvale BART.\n\n WANDA\n Did Oscar get arrested?", "Officer is conducting a search. Oscar's face is bruised under\n his left eye, and there is a small white bandage strip on the\n left side of his face. He turns around, bends over and", "WANDA\n My son is Oscar Julius Grant III.\n He's been shot, and they told me to\n come here-\n\n The Nurse sits at the computer.", "We pull back with Wanda as she walks away, trying to hide her\n pain. Another Corrections Officer sprints past her towards\n Oscar, who we can still see in the distance.", "SOPHINA\n The police got Oscar and them and\n we heard something I don't know if\n it was a beanbag or a taser or\n what.", "Caruso pulls out his taser and points it at Oscar's neck.\n\n CARUSO\n Come on. Let's go.\n\n Oscar immediately puts his hands up.", "OSCAR\n The fuckin police. I'm about to get\n us up out of here though. Imma hit\n you back.", "coughs. He turns back around, and the officer hands him his\n Blue shirt and pants. Oscar puts them on and-", "He stands up, aims it at Oscar's back. BLAM!!!", "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "Ingram nods. He points his taser at Oscar and Brandon. Oscar \n takes a picture of Ingram pointing his taser at Brandon with \n his cellphone. His phone rings in his hand.", "The crowd on the train is ROARING now. Yelling various things\n about the police.\n\n OSCAR\n I'm just tryna get home. I got a\n daughter at home bruh.", "Brandon, Carlos, Tim stare at Oscar is disbelief. \n\n CATO \n They shot Osc! They fuckin shot Osc\n bruh!", "OSCAR\n Hell naw, we still up here at\n Fruitvale. They holding us here and\n beatin on us for no reason.", "off his shirt. They flip him over, revealing a large entry\n wound on his left shoulder blade. It bleeds profusely.\n Paramedic 1 walks over to Oscar and kneels down.", "BRANDON \n That's brutality you fucking toy\n cop!\n\n Oscar holds his face.", "CARUSO (CONT'D)\n (into walkie)\n Yeah there's been a shooting. Here\n at the Fruitvale station--", "He pulls off his mask, frustrated, and walks out. Oscar's\n convulsions stop. A morbid, continuous beep echoes from the\n EKG.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him." ], [ "It is a moderately sized grocery store, but several SHOPPERS\n move about the aisles. Oscar walks over to the seafood", "Oscar quickly walks over to his closet and grabs the bag of\n weed. He neatens up the room a bit, and takes off.\n\n\n18 INT. HALLMARK STORE- DAY 18", "Wanda and Grandma Bonnie begin to take the groceries out of\n the plastic bag. Wanda pulls out two massive crabs. Looks in\n the bag and sees the third.", "Oscar looks from closed store to closed store, the group\n following closely behind him. He spots Sammy, Middle Eastern, \n Early 50's, closing the metal gates on his store.", "Cato looks around at the surrounding aisles. No signs of him. \n\n OSCAR\n I came to get some crabs too.", "OSCAR\n Right on bruh. Happy New Year to\n you too. Thank you.\n\n He nods back at Oscar and walks into the store followed by\n the two girls.", "Oscar still stares off into space, moved by this memory. He\n snaps out of it, heads towards the register with the cards in\n hand.", "We see the entrance of Farmer Joe's, and shoppers coming in\n and out. Oscar looks around for a beat, and takes off his\n hoody, and puts it into his back pocket. We follow him into-", "Oscar walks up to the heavily crowded store entrance. We see\n Sophina exiting holding a large cardboard cake box. Oscar\n takes it from her.", "Cato sees Oscar and smiles brightly. He takes a pile of fish \n off the scale, bags it, ands it to an older BLACK WOMAN. He", "Now you can take this $10, and open\n the store up and let them use the\n bathroom. Or you could go home, and\n when you get here tomorrow, its", "The three girls, Sophina, Vanessa, and Steph make their way\n out of the Store laughing like best friends. Sammy follows \n them and closes the door.", "Emi turns and starts for the next aisle.\n\n OSCAR\n Emi, hold up man, I wanted to talk\n to you.", "He rushes over and opens the door where we see TATIANA GRANT,\n a cute 4 year old girl, standing wearing footie pajamas.", "He looks over both shoulders, to make sure no one is\n watching. He then goes into his waistband and pulls out the", "Oscar pounds on the glass door of the liquor store. Sammy \n walks out into view. He lifts his hands, \"What?\"\n\n Oscar points to Steph. Sammy opens up the door.", "TATIANA\n Go to the park?\n\n OSCAR\n Better.\n\n TATIANA\n \"Toys R Us?\"", "Oscar puts his phone back into his pocket. He turns and\n begins to pump his gas. He sets the handle to automatically\n pump, and looks up and notices something.", "KRIS\n This was a burnt ass mission. Let's\n get back to the house.\n\n The group nods, and they head back across the street walking\n briskly.", "TATIANA\n You had gumbo, too.\n\n Oscar looks back at Tatiana guiltily.\n\n CUT TO:" ], [ "TATIANA\n Love you too Daddy.\n\n Oscar and Sophina leave the room. We hear them say bye to\n Rose.", "Tatiana nods in agreement, trying to hold back a huge smile.\n She gives him a swift kiss on the cheek. He stands up and\n knocks on the front door.", "TATIANA\n I can't sleep...\n\n Before Tatiana can even finish, Oscar has her in his arms. He\n brings her over to the bed and places her next to Sophina.", "TATIANA\n Daddy.\n\n OSCAR\n Wussup, baby?", "Tatiana shakes her head, still not happy about Oscar leaving.\n\n OSCAR (CONT'D)\n I love you.\n\n He kisses her on the cheek.", "She grabs his arm. Tears well up in her eyes.\n\n TATIANA (CONT'D)\n I'm scared.", "Tatiana nods. Sophina sighs, pulls out her cell phone, and\n heads out of the kitchen. Mariana turns to Oscar.", "TATIANA (CONT'D)\n Where's Daddy?\n\n SOPHINA\n Come on T, we gotta take a shower.", "Oscar is beating Tatiana to the car by a mile. Tatiana\n follows him laughing loudly.\n\n TATIANA\n You cheated!", "SOPHINA\n Well, God needed another angel, so\n he took Daddy to come and live in\n heaven with him.\n\n Tatiana looks at Sophina for a long beat.", "TATIANA\n Bisabuella!\n\n MARIANA\n Hola Tatiana!\n\n Tatiana runs to Mariana and gives her a hug.", "TATIANA\n Good morning Mrs. Stacy.\n\n Tatiana heads into the house.", "TATIANA\n Daddy? Daddy? Time to go to \"Chuck\n E Cheese\"!\n\n Tatiana comes out of the bedroom looking confused.", "TATIANA\n I don't want to move to Livermore.\n\n Oscar and Sophina laugh at this.", "Tatiana looks down into her hand and we see that it is a\n small bag of fruit snacks. She looks up at Oscar with a\n bright eyed expression. But Oscar quickly places his finger\n over his lips.", "TATIANA\n We played \"Freeze Tag\" today.\n\n OSCAR\n Oh yeah?\n\n TATIANA\n They couldn't catch me.", "MARIANA (CONT'D)\n (to Tatiana)\n Quieres pasar la noche con sus\n primos?", "SOPHINA\n T, come on.\n\n Tatiana groggily wakes up. Sophina picks her up.", "We see that Sophina is adjusting her make up in the fold down\n mirror.\n\n Oscar turns to Tatiana. He then takes her hand, and places\n something inside of it.", "Tatiana cracks a gigantic smile.\n\n TATIANA\n Really?" ], [ "WANDA\n My son is Oscar Julius Grant III.\n He's been shot, and they told me to\n come here-\n\n The Nurse sits at the computer.", "SOPHINA\n We in Oakland, at Fruitvale BART.\n\n WANDA\n Did Oscar get arrested?", "CARUSO (CONT'D)\n (into walkie)\n Yeah there's been a shooting. Here\n at the Fruitvale station--", "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "111 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 111\n\n Oscar still lies on the ground, Caruso lies over him, holding\n his hand.", "KEISHA (V.O.)\n Fruitvale station. There's been an\n incident reported on the train.\n Everyone remain please remain calm.\n There will be a slight delay here.", "Oscar rebalances himself and punches back, with three quick\n shots to the head and chest. He moves like an experienced\n fighter, but both men struggle in the crowded train.", "OSCAR\n Hell naw, we still up here at\n Fruitvale. They holding us here and\n beatin on us for no reason.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "100 EXT. FRUITVALE BART STATION ENTRANCE- NIGHT- SIMULTANEOUS 100\n\n Sophina whips her head around towards the platform.", "Oscar boards, the doors close, and the train takes off. He\n looks around and sees the car is packed with COMMUTERS. He\n moves through the crowd to the back of the car he pulls open\n the doors and the group enters-", "112 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- CONTINUOUS 112", "116 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- CONTINUOUS 116", "Brandon, Carlos, Tim stare at Oscar is disbelief. \n\n CATO \n They shot Osc! They fuckin shot Osc\n bruh!", "He stands up, aims it at Oscar's back. BLAM!!!", "OSCAR\n Aight. Imma meet you at the Hayward\n station, Okay?\n\n Sophina nods. Oscar turns to Jason", "98 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 98", "97 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 97", "95 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 95\n\n Cato sees the punch.", "99 EXT. FRUITVALE BART STATION ENTRANCE- NIGHT- SIMULTANEOUS 99" ], [ "SOPHINA (CONT'D)\n (into phone)\n Imma call you back.\n\n Sophina hangs up the phone and runs towards the paramedics.", "SOPHINA (CONT'D)\n Bye.\n\n OSCAR\n (playfully)\n Love you too.", "SOPHINA (CONT'D)\n What happened?", "SOPHINA (CONT'D)\n Oh my God I could slap you right\n now.\n\n Sophina hugs him, he doesn't resist this time. Hugs her back.", "SOPHINA\n T, come on.\n\n Tatiana groggily wakes up. Sophina picks her up.", "SOPHINA (CONT'D)\n What you think?\n\n OSCAR\n (disinterested)\n It's cool.", "Sophina looks up at a flat screen television in the hospital,\n sees a report that showing Oscar's picture.\n\n She takes out her cellphone. Dials a number, puts it to her\n ear.", "Oscar kisses her, moves in. Sophina scoots away from him.\n\n KNOCK KNOCK KNOCK. Oscar and Sophina look over at the door.", "Sophina lets herself into the house. We see Rose in the\n bathroom sitting on the stool, grief-stricken. Sophina turns", "SOPHINA\n Well, God needed another angel, so\n he took Daddy to come and live in\n heaven with him.\n\n Tatiana looks at Sophina for a long beat.", "SOPHINA (CONT'D)\n Remember when I told you about\n God... and the angels?\n\n TATIANA\n Yeah.", "Sophina's not buying it.\n\n SOPHINA\n Osc. Wussup?\n\n Oscar looks at her for a beat. Cuts his eyes.", "SOPHINA (CONT'D)\n You better be. Don't make me have\n to do this shit alone, again. I\n don't know if I can.", "SOPHINA\n Osc. Osc, hold up.\n\n Oscar stops. Sophina scoots away even further.", "Sophina laughs, Oscar kisses her.\n\n SOPHINA\n Look at me.\n\n Oscar looks at her closely.", "Sophina nods. Oscar moves closer to her and kisses her on her\n neck. She kisses him back a bit, then scoots away. \n\n Oscar kisses her again. Puts his hand in her hair.", "SOPHINA (CONT'D)\n You really done with that shit?\n\n He nods.", "SOPHINA (CONT'D)\n What are you gonna do?", "SOPHINA\n No.\n\n Sophina tries to find her words. Lets the water run on her\n face for a bit, then rubs down the friz in Tatiana's hair.", "As Oscar enters, we see Sophina is in her bra and panties,\n talking into her cellphone. She lays several different\n outfits out on the bed. Oscar closes the bedroom door, leans\n on it." ], [ "SOPHINA\n They shot him. They shot Oscar!\n They say he alive, but he's\n bleeding and his eyes was closed.", "Oscar takes a struggled breath in, coughs up some blood. He\n stiffly turns his body around to Ingram.\n\n OSCAR\n ..you shot me... you shot me. i got\n a daughter...", "Lines of blood trickle from Oscar's eyes, nose, and mouth.\n The Lead is now in the room and has taken over commands.\n\n NURSE\n Loosing a pulse.", "Brandon, Carlos, Tim stare at Oscar is disbelief. \n\n CATO \n They shot Osc! They fuckin shot Osc\n bruh!", "He rushes over and opens the door where we see TATIANA GRANT,\n a cute 4 year old girl, standing wearing footie pajamas.", "Oscar gives her a big hug and kiss, then turns and leads his\n family out of the door. Wanda watches them, and shuts the\n door behind him.", "Oscar's body jerks against the pavement. He lets out a\n sickening, hollow sound.\n\n Dead silence.", "We stay outside of the train as we watch the doors close\n behind him, and the train takes off. The cars go by, picking\n up speed rapidly until we are left looking at a dark empty\n tunnel. We hold on this.", "WANDA\n My son is Oscar Julius Grant III.\n He's been shot, and they told me to\n come here-\n\n The Nurse sits at the computer.", "Oscar laughs at this. Katie shakes her head.\n\n OSCAR\n Is he black?\n\n KATIE\n What? Who?", "Cato, still in the back of the police car, is kicking the \n window with both feet. Brandon continues to scream from his \n car. The police cars pull off.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "GRANDMA BONNIE\n If somebody told me say twenty\n years ago, that I would live to see\n it happen, I'd have laughed in\n their face.", "off his shirt. They flip him over, revealing a large entry\n wound on his left shoulder blade. It bleeds profusely.\n Paramedic 1 walks over to Oscar and kneels down.", "The MORTICIAN pulls back a white sheet, and we see Oscar's \n mangled Body lying on the slab.", "KRIS\n This was a burnt ass mission. Let's\n get back to the house.\n\n The group nods, and they head back across the street walking\n briskly.", "He stands up, aims it at Oscar's back. BLAM!!!", "CORRECTIONS OFFICER 1\n Grant, back in your assigned\n visiting area.\n\n Oscar ignores him, and continues to follow his Mom.", "CATO \n What the fuck?\n\n He walks closer to the scene. \n\n\n96 OMITTED 96", "The others immediately begin tending to Oscar. They check his\n vitals, and pull out a pair of large scissors and quickly cut" ], [ "He rushes over and opens the door where we see TATIANA GRANT,\n a cute 4 year old girl, standing wearing footie pajamas.", "WANDA\n My son is Oscar Julius Grant III.\n He's been shot, and they told me to\n come here-\n\n The Nurse sits at the computer.", "CORRECTIONS OFFICER 1\n Grant, back in your assigned\n visiting area.\n\n Oscar ignores him, and continues to follow his Mom.", "Oscar laughs at this. Katie shakes her head.\n\n OSCAR\n Is he black?\n\n KATIE\n What? Who?", "RECEPTIONIST \n G-R-A-N-T?\n\n Wanda nods.", "Ceephus shakes his head at this.\n\n CEEPHUS\n But he's not one of us. He wasn't\n affected by slavery.", "Caruso lifts up off of Oscar. Ingram stands up a bit, keeping\n one knee in Oscar's back, reaches on the right side of his\n belt and pulls a black gun from the holster.", "We stay outside of the train as we watch the doors close\n behind him, and the train takes off. The cars go by, picking\n up speed rapidly until we are left looking at a dark empty\n tunnel. We hold on this.", "CATO \n Hell yeah he is. He was just over\n here...", "CATO \n See?\n\n MALE BART TRAIN OPERATOR (V.O.)\n Now approaching... West Oakland\n Station.", "Cato sees Oscar and smiles brightly. He takes a pile of fish \n off the scale, bags it, ands it to an older BLACK WOMAN. He", "Cato cuts through people to get close to the train entrance. \n\n Oscar grabs Sophina by the hand and follows closely behind\n Cato.", "on that thang. And I looked at all\n they faces. And it was all white\n dudes. At that point, I realized my\n teachers was lying to me.", "Cale, wearing an oversized white T shirt, and a multitude of\n tattoos on his forearms. With him are FOUR LARGE HISPANIC\n MEN, and his GIRLFRIEND.", "KATIE\n He's white. But he knows a lot of\n black people... He's not my\n boyfriend either...\n\n Oscar chuckles at this.", "Oscar recognizes this voice, and he doesn't like it. He whips\n around to find, standing a few people away---", "Wanda and Grandma Bonnie begin to take the groceries out of\n the plastic bag. Wanda pulls out two massive crabs. Looks in\n the bag and sees the third.", "Tatiana nods in agreement, trying to hold back a huge smile.\n She gives him a swift kiss on the cheek. He stands up and\n knocks on the front door.", "He looks around the crowd, and makes eye contact with Mrs. \n Zafiratos gives a subtle look over at Oscar.\n\n Caruso sees Oscar and makes his way towards him.", "Mr. Zafiratos holds his daughter while looking out the\n windows as if he'd just seen a ghost. Cale still blends into\n the crowd. The doors close." ] ]

[ "How much time did the officer who shot Oscar serve?", "What is the name of Oscar Grant's daughter?", "What is the name of the woman that recognized Oscar on the return train?", "Who detained Oscar grant?", "What was the name of the station Oscar was shot in?", "What is the name of Oscar's girlfriend?", "Why were Oscar and Sophia arguing?", "Who's birthday party did Oscar Grant attend?", "What time was Oscar Grant detained?", "How was Oscar killed?", "Why were the police called to the BART station the night Oscar was killed?", "When did the former prison inmate notice Oscar at the BART station?", "Where was Oscar coming from before he was killed?", "What had Oscar been celebrating before going to see fireworks?", "How did Oscar consider earning money after losing his job at the grocery store?", "Who did Oscar speak to on the phone before he was killed?", "How old was Oscar at the time of his death?", "Which holiday had Katie been celebrating when she saw Oscar at the station?", "Where was Oscar going when someone attempted to assault him in the station?", "Who wanted to fight with Grant?", "How old was Oscar Grant III?", "How did Oscar Grant III died?", "What happen to the police officer that killed Oscar Grant III?", "Why did Grant went to the grocery store?", "Who is Tatiana?", "Where was Oscar Grant III shot?", "Who was Sophina?", "What year was Grant killed?", "Where was Grant from?" ]

[ [ "11 months", "11 months" ], [ "Tatiana", "tatiana" ], [ "Katie", "Katie" ], [ "BART Police", "the BART police" ], [ "Fruitvale BART Station", "Fruitvale Bart Station" ], [ "Sophia", "Sophina." ], [ "Gran'ts infidelity", "His infidelity" ], [ "His mother's party", "His mother." ], [ "2:15am", "2:15 am." ], [ "he was shot", "He was shot by a BART police officer." ], [ "Oscar and a former fellow inmate were fighting", "a former inmate assaulted Oscar" ], [ "After a customer from his previous job called Oscar's name", "january 9, 2009 at 2:15am" ], [ "San Francisco", "New Year eve's fireworks" ], [ "his mother's birthday", "New Years " ], [ "selling marijuana", "Selling marijuana" ], [ "his girlfriend", "His girlfriend Sophina" ], [ "22", "Twenty-two years old." ], [ "New Year's Eve/Day", "New Years Eve" ], [ "home", "He was on the return train." ], [ "Former inmate", "A former inmate who Grant knew from prison" ], [ "25 years old.", "22" ], [ "He was shot by police.", "Shot in the back" ], [ "He served 11 month in jail.", "He was found guilty of involuntary manslaughter." ], [ "To get his job back.", "He was trying to get his job back" ], [ "Grant's daughter", "Grant's daughter." ], [ "Fruitvale Bart station.", "At the Fruitvale BART station." ], [ "Grant's girlfriend.", "oscar grant's girlfriend" ], [ "2009", "2009" ], [ "California.", "Hayward" ] ]

[ [ "fault? Like in your sub-conscience?\n \n Something struck a nerve with Tim. He chokes up.", "A look of profound anguish appears on Tim's face.\n \n TIM (CONT'D)\n Aw jeez. Oh my gosh. No...", "He puts out his hand. She laughs and hugs him instead. Tim\n closes his eyes. She feels so good. Smells so good.", "Dean leads Tim out of the bathroom. Tim sits on a desk chair.\n Dean sits on the edge of the desk. He looks fatherly.\n \n DEAN (CONT'D)", "the cramped, decidedly unimpressive office. Tim, seated at a\n desk, looks directly at the camera and stiffly addresses it.", "agreed on the Dells.\n \n He avoids eye contact. Millie takes Tim's chin in her hands,\n forcing him to look at her.", "the mirror. She smirks. He immediately looks at the floor. We\n stay on Tim, lifting weights, eyes to the ground. But we hear\n the treadmill stop. Finally, Tim looks up to find:", "- Tim practices the presentation in front of a mirror. He\n works late. He types. He Power Points. Krogstad critiques.", "You got it, bud.\n \n Tim shuts his eyes for a moment-- be strong. Be strong.", "Tim looks shell-shocked. What a long, long day it's been.\n \n DISSOLVE TO:", "- Tim puts birdseed in his backyard feeder. He looks at the\n barren trees as he considers his fate.", "Aw cripes, say you'll do it.\n \n Krogstad starts crying again. He hugs Tim, his bloody hand", "Tim has a window seat. He reads the safety card. He's sweaty,\n anxious. A vaguely swarthy MAN (Indian? Italian? Hard to", "infinitely better man than he was.\n \n This stops Tim in his tracks. Better than Roger Lemke. Wow.\n \n TIM", "Tim goes to the computer set up on stage for Power Point. He\n puts in his disc. His presentation appears on the screen.\n \n TIM", "Tim confers with the DJ. The DJ nods, cues up the song. Tim\n gives Joan a look of mock anger as he takes the mic.\n \n TIM", "Uncle Ken blinks a few times. Then he lets Tim get up.\n \n RONALD (CONT'D)\n Indeed.", "Tim discreetly looks at the checklist Krogstad gave him.\n Under AVOID, it says DEAN ZIEGLER.\n \n DEAN (CONT'D)", "ORIN\n To each his own, Tim.\n (gives Tim a kind wink)\n I'm teasing, of course. Well, I", "my Lord? Were you there when they\n crucified my Lord?\n \n Tim looks around nervously as the entire room joins in song." ], [ "after the Two Diamonds have been\n handed out to a legitimate winner.\n I'm really sorry about this, Orin,\n but the insurance industry deserves", "TIM\n Yeah. Not good. But after he died,\n our insurance agent fought like a\n tiger against the sawmill to make", "Deep subject. D'aar. Get it?\n (punches his arm)\n I told you you were a hero, Lippe.\n Insurance Man saves the day!", "Society of Mutual Insurers three\n years running. Because at Northlands\n Insurance, we insure your dreams.", "INT. NORTHLANDS INSURANCE - DAY\n \n The ad has been playing on a 13-inch TV in a small, wood-", "sure me and my mom were taken care\n of. And we were.\n (BEAT)\n The crazy thing-- our agent was", "basically treated us like the\n Brangelina of ASMI for a while\n there. It ended two years ago. He\n was getting into some pretty weird", "many considered to be the Michael\n Jordan of Mutual Insurance Agents.\n Roger Lemke.", "the prom. He showed me a little\n teat. I rewarded him with the Two\n Diamonds three years running. I'm\n prepared to do the same for you.", "The words, \"Ronald Wilkes Insurance: Working For You\" appear\n on screen. Ronald's face dissolves over the eagle.", "I know you can do it, Lippe. Go be\n my hero-- Insurance Man.\n 72.\n Cedar Rapids, 6-12-09", "largest Allstate agency in the\n Upper Midwest. The guy's a shark.\n \n Tim looks at Mike Pyle, the bland-looking man in the sweater", "TIM (V.O.) (CONT'D)\n That's the point of insurance-- so\n we can live and love life to the\n fullest.", "only real insurance in this life--\n is love.\n \n That did it. Now Tim is weeping. Bree notices.", "Tim admires Ronald's laptop. The screen saver is a photo of a\n billboard advertising Ronald Wilkes Insurance. A picture of a\n stoic-looking Ronald is the centerpiece of the billboard", "Kurt Gambsky, Tim Lippe-- your\n insurance agent. How's Pam and the\n girls?\n 106.", "TIM\n Insurance isn't just a business,\n Bill. Insurance is personal. I've\n got some savings. I could've gotten", "interested in insurance, actually.\n When I was six, my dad got killed\n in a sawmill accident.\n \n JOAN", "regional insurance convention.\n Whoever it is, I'm sure he'll be a\n straight shooter.\n \n CUT TO:", "RONALD\n Negative. I'm pretty well married\n to Ronald Wilkes Insurance. I also\n do quite a bit of work with the St." ], [ "TIM\n Oh jeez, oh jeez, oh jeez.\n \n BREE\n A butterscotch might help.", "TIM\n You are freaky.\n (laughs, then)\n No, it's kind of weird how I got", "that shit? The fucking Deanzie.\n That's who.\n \n Tim stares at Dean for an incredulous moment.", "BLACK MAN\n Are you Tim? Tim Lippe?\n \n Tim just smiles a wide, deer-in-headlights smile.", "TIM\n Hello Dean.\n \n DEAN\n It's Deanzie, c'mon.", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "Tim pulls Orin from the trunk. Orin's feet are tied together,\n so he has to hop as Tim leads him toward the hog farm.", "Ronimal, is that from what I can\n deduce, young Timbo Lippe here has\n led a-- shall I say-- sheltered\n existence. And I think we oughta", "Tim clicks off his phone, just stares at Ronald.\n \n RONALD\n You are Tim...?", "Ronald has undoubtedly been called a nerd more than once. To\n Tim, however, he is the embodiment of cool and hilarity.\n \n TIM", "Tim! Timmy Lippe! Didn't even know\n you were here. You see it, bud?\n \n TIM", "Orin gives Tim a hug. Tim juts his butt out so that their\n penises don't touch. A JANITOR enters the locker room, sees", "Uncle Ken blinks a few times. Then he lets Tim get up.\n \n RONALD (CONT'D)\n Indeed.", "Oh yeah baby. Shag-a-licious!\n \n They laugh. Tim stares ahead, wishing for invisibility.", "Tim shakes his head as he reads the names.\n \n ORIN\n Between you and me-- this was a", "TIM\n What?!\n \n ORIN\n I know. But let's be honest, one of", "He removes a few hard candies from his pocket. She takes one.\n \n TIM (CONT'D)\n Small world, huh?", "By Ziegler's name, Tim frantically writes, \"Poacher\" and\n \"Armbrüster--\" making sure not to forget the umlaut.", "TIM\n Uh-oh. Who is it then?\n \n RONALD\n You know what I mean. We've both", "(TO TIM)\n Bill Hernandez. I call him Taco\n Bill. Mexican.\n \n LATER --" ], [ "JOAN\n As good? Tim, Roger was a small-\n minded, egotistical jerk. You're an", "What? Whaddaya...? You and... You\n and Roger, you mean?\n \n JOAN\n It's so stupid-- but everyone", "TIM\n Um. Thanks. It was Roger Lemke's...\n \n JOAN", "Joan passes Tim the shot. He slams it. The room applauds as\n Tim nervously makes his way to the stage.", "JOAN\n (not missing a beat)\n Thanks. Thank you. That's nice.\n \n RONALD", "Joan smiles at him, and we:\n \n CUT TO:", "A few PEOPLE look curiously at Joan. Tim stands up a bit\n straighter. This is good. This is good.\n 56.", "The CROWD goes nuts, applauding wildly. Dean and Joan start a\n standing ovation. Ronald, though exhausted, beams on stage.", "Then Joan mauls Tim. She tackles him to her bed. He rolls on\n top of her. A primal, guttural howl erupts from Tim. Then:", "the core tenets of the Two Diamonds\n is Commitment to God. And the way\n Roger passed on... well, some folks\n are saying that type of activity", "Um, well, it's rough. Real rough.\n Like you said in your remarks,\n Roger wasn't just a great rep, he\n was a good father and...", "JOAN\n Here she is, Miss America.\n \n RONALD", "Tim rests his head on Joan's lap. His eyes are still on fire.\n \n JOAN (CONT'D)\n (SINGS QUIETLY)", "Tim confers with the DJ. The DJ nods, cues up the song. Tim\n gives Joan a look of mock anger as he takes the mic.\n \n TIM", "Orin hands Joan the gift card. Despite the anticlimax, Tim is\n overjoyed. He picks up Joan and spins her around. Everyone\n else just wanders away.", "(SUSPICIOUS)\n Uh, thanks. Thank you. It's...\n Roger was just a super great man.", "He shrugs. Joan fights her instinct to tease him.\n \n JOAN", "TIM\n Wow.\n \n Tim doesn't hide his shock well. Joan sees it.", "Tim sees that Joan's computer is open-- and his Two Diamond\n presentation is up on the screen.\n \n TIM (CONT'D)", "That was Joan saying hi.\n (beat, to Joan)\n Millie says hi.\n \n MILLIE (O.S. ON PHONE)" ], [ "JOAN (CONT'D)\n Come on, Lippe. It doesn't matter.\n You knew, didn't you?", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "Lippe, or I might have to take\n advantage of you.\n \n Joan squeezes Tim's thigh. Tim bolts off of his stool.", "LIPPE (pronounced Lippy), 34, wholesome and positive, though\n undercurrents of desperation lurk just behind his kind eyes.", "BLACK MAN\n Are you Tim? Tim Lippe?\n \n Tim just smiles a wide, deer-in-headlights smile.", "JOAN\n (stunned, mouth full)\n Oh my God, did you just make a dick\n joke, Lippe?", "You'll find another job, Lippe.\n Maybe even move to a new town.\n \n RONALD", "Tim! Timmy Lippe! Didn't even know\n you were here. You see it, bud?\n \n TIM", "(an ironic growl)\n Sometimes a gal just needs a\n vacation from who she really is--\n know what I mean, Lippe?", "to go fuck himself. Says I'm going\n with Tim Lippe. A man I can trust.\n (A WINK)", "farms and frozen lakes of northern Wisconsin recede. He\n instinctively turns to his neighbor.\n \n TIM\n Tim Lippe.", "You are a hero, Lippe.\n \n TIM\n Tss. I wish.\n 50.", "I know you can do it, Lippe. Go be\n my hero-- Insurance Man.\n 72.\n Cedar Rapids, 6-12-09", "called more than half of them\n already this morning...\n \n BILL KROGSTAD\n Watch yourself, Lippe...", "the bed. As she does, she sees the Clairol Nice `N' Easy hair\n dye box in the garbage. Joan smiles a what has become of my", "Deep subject. D'aar. Get it?\n (punches his arm)\n I told you you were a hero, Lippe.\n Insurance Man saves the day!", "He displays the Beanie Baby and the card. She takes them with\n a cold smile. Tim notices an identical stuffed rooster on an", "says she got Krogstad to lower her\n premium. Which is all the greasy\n twat wanted in the first place.\n \n TIM", "in the revolving door when he spots Joan Ostrowski-Fox\n outside having a cigarette. Rather than face her, Tim keeps\n going in the revolving door. But she sees him and waves.", "Deanzie sips from a mini-bar bottle of rum as Tim, now in a\n flannel bathrobe and slippers, enters the dingy stairwell." ], [ "Tim admires Ronald's laptop. The screen saver is a photo of a\n billboard advertising Ronald Wilkes Insurance. A picture of a\n stoic-looking Ronald is the centerpiece of the billboard", "TIM\n Yeah. Not good. But after he died,\n our insurance agent fought like a\n tiger against the sawmill to make", "your company's Two Diamond Awards.\n \n TIM\n I know. I heard.\n \n DEAN", "Wilkes.\n \n TIM\n Wait, we won?\n \n ORIN", "Tim Lippe. Down from Brown Valley,\n Wisconsin. Northlands Insurance?\n \n A flash of emotion-- maybe even anxiety-- on Orin's face.", "after the Two Diamonds have been\n handed out to a legitimate winner.\n I'm really sorry about this, Orin,\n but the insurance industry deserves", "TIM\n (WHEEZING)\n It's fully insured. 100 percent.\n (THEN)", "largest Allstate agency in the\n Upper Midwest. The guy's a shark.\n \n Tim looks at Mike Pyle, the bland-looking man in the sweater", "Two Diamond presenter. Tim Lip from\n Northlands Insurance. Tim?\n \n Joan, Dean and Ronald exchange worried looks. Dean stands.", "TIM\n Insurance isn't just a business,\n Bill. Insurance is personal. I've\n got some savings. I could've gotten", "with yet another INSURER. Dean watches the action.\n \n DEAN\n Timbo and the O-Fox! Wondered when", "The room busts up laughing. Tim takes notes.\n \n MIKE PYLE (CONT'D)\n So Property/Casualty Insurance, or", "only real insurance in this life--\n is love.\n \n That did it. Now Tim is weeping. Bree notices.", "Tim glances up and sees Bill Krogstad staring longingly at\n Northlands' three TWO DIAMOND Award plaques. A beat, then", "Orin hands Joan the gift card. Despite the anticlimax, Tim is\n overjoyed. He picks up Joan and spins her around. Everyone\n else just wanders away.", "Hey. Hey.\n \n With that, Tim is gone...", "Tim exhales. Millie exhales. That worked out well.\n \n \n INT. TIM'S REC ROOM - LATER THAT NIGHT", "TIM (V.O.) (CONT'D)\n That's the point of insurance-- so\n we can live and love life to the\n fullest.", "Tim looks shell-shocked. What a long, long day it's been.\n \n DISSOLVE TO:", "Tim sits on the toilet. His laptop sits on the counter, the\n Two Diamond presentation on the screen. He practices for the\n full-length mirror on back of the bathroom door." ], [ "Bill was real clear about that.\n You're buying his clients-- not his\n brand. You've done this before,\n Mike. The Northlands policies will", "your company's Two Diamond Awards.\n \n TIM\n I know. I heard.\n \n DEAN", "basically treated us like the\n Brangelina of ASMI for a while\n there. It ended two years ago. He\n was getting into some pretty weird", "clients-- Joyce Armbrüster? Smeared\n Roger's name and the Northlands'\n name. Frickin' poacher. Avoid", "I sent you to ASMI to restore our\n image, Tim. One day into the deal\n you're lousing the whole thing up!\n (TO DIONE)", "Your job, the office in Brown\n Valley-- all safe. What you need to\n worry about is getting down there\n and representing us the best you", "TIM\n Oh, no biggie...\n \n ROGER LEMKE\n Bummer they cut your little deal", "So hey, congratulations Pyle of\n Shit-- you just bought a company\n that's losing half its business.\n \n DEAN", "BILL KROGSTAD (CONT'D)\n You got the presentation, right?\n \n TIM\n Affirmative.", "BILL KROGSTAD\n (to the audience)\n Sorry, folks. Guess it's against\n the law now for a business owner to", "TIM\n Yeah. Not good. But after he died,\n our insurance agent fought like a\n tiger against the sawmill to make", "after the Two Diamonds have been\n handed out to a legitimate winner.\n I'm really sorry about this, Orin,\n but the insurance industry deserves", "BREE\n But he paid for it, Uncle Ken...\n \n UNCLE KEN", "agency. Dollars to donuts he wants\n to swoop in and pick up Northlands\n at a bargain basement price. And\n you know what else I think? I think", "TIM\n Bingo! Right here-- Planet X Family\n Fun Center. Let's go. Act natural.", "I do actually. I do know, Bill. And\n before the day is out, I'll have\n called all my clients. All of them.\n (to Mike Pyle)", "(leans in, conspiratorial)\n Cocksucker's buying your vote, pal.\n 37.\n Cedar Rapids, 6-12-09", "his company's in the crapper. 85-\n thousand is as low as I could\n possibly get him.\n \n MIKE PYLE", "Tim, Joan and the other teams bound through a huge, Martian-\n themed ball pit. They start digging through the balls. Perry", "Well Bree, it's nice to meet you.\n But let me give you a trade secret.\n (STAGE WHISPER)\n Keep smoking and your premiums will" ], [ "Well Bree, it's nice to meet you.\n But let me give you a trade secret.\n (STAGE WHISPER)\n Keep smoking and your premiums will", "LIPPE (pronounced Lippy), 34, wholesome and positive, though\n undercurrents of desperation lurk just behind his kind eyes.", "Ah, Bree. I'm Bree.\n \n They shake hands.\n \n TIM", "BREE (CONT'D)\n Oh baby, c'mere. C'mere.\n (HUGS TIM)\n You can fuck my ass if you want.", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "Lippe, or I might have to take\n advantage of you.\n \n Joan squeezes Tim's thigh. Tim bolts off of his stool.", "BREE (CONT'D)\n If you want to party, Tim, let me\n know. I'll be around.\n \n TIM", "A series of shots as Tim-- sweaty, high and extremely hyper--\n dances with Bree to the deafening death metal. The party is a", "BLACK MAN\n Are you Tim? Tim Lippe?\n \n Tim just smiles a wide, deer-in-headlights smile.", "BREE\n Totally. You wanna party?\n \n TIM", "woman in a short denim skirt, BREE, 22, approaches him.\n \n BREE\n Hey man, can I bum a heater?", "JOAN (CONT'D)\n Come on, Lippe. It doesn't matter.\n You knew, didn't you?", "A moment of recognition.\n \n TIM\n Bree?\n (off her confused look)", "BREE\n Well you're livin' now. Here.\n \n She offers Tim a line. He declines.", "guy Tim met in the bathroom with Bree, ogles Joan.\n \n GARY\n Nice tits.", "Bree coughs a hacking, phlegmy cough. She's very out of it.\n 90.\n Cedar Rapids, 6-12-09", "Tim! Timmy Lippe! Didn't even know\n you were here. You see it, bud?\n \n TIM", "It's Tim Lippe. From the ASMI\n convention. We met out in front of\n the Holidome across the street?", "farms and frozen lakes of northern Wisconsin recede. He\n instinctively turns to his neighbor.\n \n TIM\n Tim Lippe.", "Ronimal, is that from what I can\n deduce, young Timbo Lippe here has\n led a-- shall I say-- sheltered\n existence. And I think we oughta" ], [ "The room goes nuts. As Orin leaves the stage he spots Tim\n waiting in the wings. Tim gestures for Orin to come outside.\n 84.", "Tim pulls Orin from the trunk. Orin's feet are tied together,\n so he has to hop as Tim leads him toward the hog farm.", "ORIN\n Oh, Tim. Just a sec.\n \n Orin glances in the mirror, smooths his hair. He undoes the", "TIM\n What?!\n \n ORIN\n I know. But let's be honest, one of", "ORIN\n To each his own, Tim.\n (gives Tim a kind wink)\n I'm teasing, of course. Well, I", "Orin gives Tim a hug. Tim juts his butt out so that their\n penises don't touch. A JANITOR enters the locker room, sees", "With great difficulty, Tim picks up Orin. Then, he awkwardly\n hurls him over the barbed wire fence. Orin lands on his back", "looks, the way he did. And he says,\n \"Orin, with that newsletter going\n digital you're saving almost four\n grand a year in printing costs", "Wilkes.\n \n TIM\n Wait, we won?\n \n ORIN", "TIM\n Oh my gosh, really? Thank you.\n \n Orin sits next to Tim on the couch, closer than he needs to.", "Orin Helgesson, completely naked. Orin has just exited\n another shower. He smiles pleasantly at Tim, also naked.\n \n ORIN", "The embrace runs its course. Tim isn't sure where to look.\n \n ORIN\n Tim, I know Bill's looking to", "ORIN (CONT'D)\n Drink?\n \n TIM\n Ah, no. Thanks.", "after the Two Diamonds have been\n handed out to a legitimate winner.\n I'm really sorry about this, Orin,\n but the insurance industry deserves", "Tim shakes his head as he reads the names.\n \n ORIN\n Between you and me-- this was a", "Tim freezes, looks at Orin.\n \n TIM\n We didn't spoon, Orin...", "TIM (CONT'D)\n Careful. It's super slippery.\n \n Orin falls face first into the muddy ditch.", "year. He's just full of bluster.\n \n Tim looks deeply concerned. Back on Orin.\n \n ORIN", "there?!\n \n Tim looks up, makes fleeting eye contact with Orin. Shit! Tim\n scrambles to get out of the pool. Joan is a half-step behind", "Please. Orin. And if you need\n anything, Tim-- I mean anything--\n I'm up in the Tiffany Suite. Room" ], [ "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "BLACK MAN\n Are you Tim? Tim Lippe?\n \n Tim just smiles a wide, deer-in-headlights smile.", "Lippe, or I might have to take\n advantage of you.\n \n Joan squeezes Tim's thigh. Tim bolts off of his stool.", "to go fuck himself. Says I'm going\n with Tim Lippe. A man I can trust.\n (A WINK)", "He puts out his hand. She laughs and hugs him instead. Tim\n closes his eyes. She feels so good. Smells so good.", "INT. TIM'S BEDROOM - A LITTLE WHILE LATER\n \n Millie rides Tim. Tim palms her breasts. He still has on the", "Ronimal, is that from what I can\n deduce, young Timbo Lippe here has\n led a-- shall I say-- sheltered\n existence. And I think we oughta", "Tim Lippe.\n \n JOAN\n Don't get lippy with me, mister.", "Tim! Timmy Lippe! Didn't even know\n you were here. You see it, bud?\n \n TIM", "farms and frozen lakes of northern Wisconsin recede. He\n instinctively turns to his neighbor.\n \n TIM\n Tim Lippe.", "Tim steps aside to greet the widow Gwen Lemke in a receiving\n line. The grief has left her gaunt. She appears medicated.", "JOAN\n Hey! It's Tim \"don't get lippy with\n me\" Lippe.\n \n RONALD", "It's Tim Lippe. From the ASMI\n convention. We met out in front of\n the Holidome across the street?", "Then Joan mauls Tim. She tackles him to her bed. He rolls on\n top of her. A primal, guttural howl erupts from Tim. Then:", "Orin Helgesson, completely naked. Orin has just exited\n another shower. He smiles pleasantly at Tim, also naked.\n \n ORIN", "Tim kisses the warm tears from Millie's ruddy cheeks. Millie\n licks her finger and smooths Tim's cowlick. Wade just sits", "LIPPE (pronounced Lippy), 34, wholesome and positive, though\n undercurrents of desperation lurk just behind his kind eyes.", "You are a hero, Lippe.\n \n TIM\n Tss. I wish.\n 50.", "TIM\n Oh my gosh, really? Thank you.\n \n Orin sits next to Tim on the couch, closer than he needs to.", "The embrace runs its course. Tim isn't sure where to look.\n \n ORIN\n Tim, I know Bill's looking to" ], [ "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "BLACK MAN\n Are you Tim? Tim Lippe?\n \n Tim just smiles a wide, deer-in-headlights smile.", "It's Tim Lippe. From the ASMI\n convention. We met out in front of\n the Holidome across the street?", "farms and frozen lakes of northern Wisconsin recede. He\n instinctively turns to his neighbor.\n \n TIM\n Tim Lippe.", "Ronimal, is that from what I can\n deduce, young Timbo Lippe here has\n led a-- shall I say-- sheltered\n existence. And I think we oughta", "Tim Lippe. Down from Brown Valley,\n Wisconsin. Northlands Insurance?\n \n A flash of emotion-- maybe even anxiety-- on Orin's face.", "Tim! Timmy Lippe! Didn't even know\n you were here. You see it, bud?\n \n TIM", "Tim Lippe.\n \n JOAN\n Don't get lippy with me, mister.", "You are a hero, Lippe.\n \n TIM\n Tss. I wish.\n 50.", "LIPPE (pronounced Lippy), 34, wholesome and positive, though\n undercurrents of desperation lurk just behind his kind eyes.", "JOAN\n Hey! It's Tim \"don't get lippy with\n me\" Lippe.\n \n RONALD", "to go fuck himself. Says I'm going\n with Tim Lippe. A man I can trust.\n (A WINK)", "(TIM CHUCKLES)\n So Lippe, how'd you end up in the\n insurance game? God that sounded\n dorky-- insurance game.", "GUARD\n Tim Lip?\n \n REGINALD\n He pronounce it like Lippy.", "DEAN\n Trying to reach Tim Lippe. Who am I\n talking to?", "Tim sits on the toilet. His laptop sits on the counter, the\n Two Diamond presentation on the screen. He practices for the\n full-length mirror on back of the bathroom door.", "Lippe, or I might have to take\n advantage of you.\n \n Joan squeezes Tim's thigh. Tim bolts off of his stool.", "(SEVERELY COUGHS)\n Thank you. I'm Tim Lippe. Hog farm\n risk mitigation... What is...?", "GUARD\n Well, you're outta here, Lippe.\n \n Tim hands Reginald a business card.", "DEAN\n Call me Deanzie. Where you hail\n from, Tim Lippe? Quiet-land?\n \n TIM" ], [ "LIPPE (pronounced Lippy), 34, wholesome and positive, though\n undercurrents of desperation lurk just behind his kind eyes.", "GUARD\n Tim Lip?\n \n REGINALD\n He pronounce it like Lippy.", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "Tim Lippe.\n \n JOAN\n Don't get lippy with me, mister.", "Lippe, or I might have to take\n advantage of you.\n \n Joan squeezes Tim's thigh. Tim bolts off of his stool.", "Well Bree, it's nice to meet you.\n But let me give you a trade secret.\n (STAGE WHISPER)\n Keep smoking and your premiums will", "Ah, Bree. I'm Bree.\n \n They shake hands.\n \n TIM", "BREE (CONT'D)\n Oh baby, c'mere. C'mere.\n (HUGS TIM)\n You can fuck my ass if you want.", "You are a hero, Lippe.\n \n TIM\n Tss. I wish.\n 50.", "(an ironic growl)\n Sometimes a gal just needs a\n vacation from who she really is--\n know what I mean, Lippe?", "Deep subject. D'aar. Get it?\n (punches his arm)\n I told you you were a hero, Lippe.\n Insurance Man saves the day!", "that. Before she passed. Lot of\n people pronounce it lip. Course the\n high German's probably more like\n lipp-uh.", "JOAN (CONT'D)\n Come on, Lippe. It doesn't matter.\n You knew, didn't you?", "BLACK MAN\n Are you Tim? Tim Lippe?\n \n Tim just smiles a wide, deer-in-headlights smile.", "JOAN\n (stunned, mouth full)\n Oh my God, did you just make a dick\n joke, Lippe?", "So Lippe, I'm trying to figure you\n out. Hopes, dreams, aspirations,\n blah-blah-blah? Whaddaya got?", "Tim! Timmy Lippe! Didn't even know\n you were here. You see it, bud?\n \n TIM", "DEAN\n Call me Deanzie. Where you hail\n from, Tim Lippe? Quiet-land?\n \n TIM", "(JAW-CLENCHED SMILE)\n What're you doing, Lippe?\n \n TIM", "Ronimal, is that from what I can\n deduce, young Timbo Lippe here has\n led a-- shall I say-- sheltered\n existence. And I think we oughta" ], [ "The room busts up laughing. Tim takes notes.\n \n MIKE PYLE (CONT'D)\n So Property/Casualty Insurance, or", "Polite laughter from the 60 or so mostly male INSURANCE\n WORKERS congregated in the Sunset Terrace Ballroom, which has", "TIM\n Yeah. Not good. But after he died,\n our insurance agent fought like a\n tiger against the sawmill to make", "They'd call you Insurance Man-- put\n a big red \"I\" on your chest...\n \n TIM", "there-- fellowship and network. Buy\n a few drinks. Let `em see the good\n side of Northlands Insurance-- the\n wholesome side, OK?", "literally. And claim by claim,\n dream by dream, those agents helped\n rebuild this city. I'm telling you,\n it's a noble calling. I really", "You bet. Tim Lippe. Northlands\n Insurance. How `bout yourself?\n \n BREE", "largest Allstate agency in the\n Upper Midwest. The guy's a shark.\n \n Tim looks at Mike Pyle, the bland-looking man in the sweater", "interested in insurance, actually.\n When I was six, my dad got killed\n in a sawmill accident.\n \n JOAN", "believe that. Like I say, we're not\n just insuring vehicles and homes\n and that. Hell no. We're insuring\n people's dreams.", "Deep subject. D'aar. Get it?\n (punches his arm)\n I told you you were a hero, Lippe.\n Insurance Man saves the day!", "many considered to be the Michael\n Jordan of Mutual Insurance Agents.\n Roger Lemke.", "believe that.\n \n JOAN\n You realize you just made it sound\n cool to be an insurance salesman?", "that-- how hard those agents worked\n to make sure people's lives weren't\n left in the lurch. We're talking\n billions of dollars in damages,", "Amen. The gathered INSURERS head to the breakfast buffet.\n \n RONALD\n Orin knows how to lead a prayer", "regional insurance convention.\n Whoever it is, I'm sure he'll be a\n straight shooter.\n \n CUT TO:", "sure me and my mom were taken care\n of. And we were.\n (BEAT)\n The crazy thing-- our agent was", "Society of Mutual Insurers three\n years running. Because at Northlands\n Insurance, we insure your dreams.", "Two Diamond presenter. Tim Lip from\n Northlands Insurance. Tim?\n \n Joan, Dean and Ronald exchange worried looks. Dean stands.", "JOAN\n Heck yeah! I get to be Insurance\n Man's sidekick. We're going to kick\n some ASS!" ], [ "Deep subject. D'aar. Get it?\n (punches his arm)\n I told you you were a hero, Lippe.\n Insurance Man saves the day!", "You'll find another job, Lippe.\n Maybe even move to a new town.\n \n RONALD", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "Well you better try doing something\n right, Lippe. Because if you keep\n lousing up, we all by god starve!\n And don't you tell me to calm down", "LIPPE (pronounced Lippy), 34, wholesome and positive, though\n undercurrents of desperation lurk just behind his kind eyes.", "Lippe, or I might have to take\n advantage of you.\n \n Joan squeezes Tim's thigh. Tim bolts off of his stool.", "JOAN (CONT'D)\n Come on, Lippe. It doesn't matter.\n You knew, didn't you?", "So Lippe, I'm trying to figure you\n out. Hopes, dreams, aspirations,\n blah-blah-blah? Whaddaya got?", "I know you can do it, Lippe. Go be\n my hero-- Insurance Man.\n 72.\n Cedar Rapids, 6-12-09", "BLACK MAN\n Are you Tim? Tim Lippe?\n \n Tim just smiles a wide, deer-in-headlights smile.", "You are a hero, Lippe.\n \n TIM\n Tss. I wish.\n 50.", "Jesus Lippe, what did you do? Aw jeez. This is no good.\n \n DEAN\n What's the fucking charge?", "to go fuck himself. Says I'm going\n with Tim Lippe. A man I can trust.\n (A WINK)", "Ronimal, is that from what I can\n deduce, young Timbo Lippe here has\n led a-- shall I say-- sheltered\n existence. And I think we oughta", "It's Tim Lippe. From the ASMI\n convention. We met out in front of\n the Holidome across the street?", "farms and frozen lakes of northern Wisconsin recede. He\n instinctively turns to his neighbor.\n \n TIM\n Tim Lippe.", "Whaddaya say, Lippe? Take a dippy?\n \n TIM\n (GERMAN ACCENT)", "GUARD\n Well, you're outta here, Lippe.\n \n Tim hands Reginald a business card.", "hear about Lemke's passing up\n there. That guy was tits as a rep.\n Course he thought I was a big, loud", "Tim! Timmy Lippe! Didn't even know\n you were here. You see it, bud?\n \n TIM" ], [ "JOAN (CONT'D)\n Come on, Lippe. It doesn't matter.\n You knew, didn't you?", "JOAN\n (stunned, mouth full)\n Oh my God, did you just make a dick\n joke, Lippe?", "Tim Lippe.\n \n JOAN\n Don't get lippy with me, mister.", "Lippe, or I might have to take\n advantage of you.\n \n Joan squeezes Tim's thigh. Tim bolts off of his stool.", "JOAN\n It doesn't matter. Here, lie down,\n Lippe.", "JOAN\n You need to get over it, Lippe, cuz\n I'm not climbing jack.\n (MORE)\n 60.", "JOAN\n Hey! It's Tim \"don't get lippy with\n me\" Lippe.\n \n RONALD", "Jesus Lippe, what did you do? Aw jeez. This is no good.\n \n DEAN\n What's the fucking charge?", "LIPPE (pronounced Lippy), 34, wholesome and positive, though\n undercurrents of desperation lurk just behind his kind eyes.", "Well you better try doing something\n right, Lippe. Because if you keep\n lousing up, we all by god starve!\n And don't you tell me to calm down", "the aggressively angry looks as they go. Joan sees something:\n \n JOAN\n Oh shit.", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "Joan shakes him off.\n \n JOAN\n What are you talking about?\n \n TIM", "Why were you with him then?\n \n This stops Joan in her tracks. Her inner pain percolates.\n \n JOAN", "You are a hero, Lippe.\n \n TIM\n Tss. I wish.\n 50.", "Then Joan mauls Tim. She tackles him to her bed. He rolls on\n top of her. A primal, guttural howl erupts from Tim. Then:", "Tim reddens, once again going into panic mode. Joan laughs.\n \n JOAN (CONT'D)\n God, I am evil. I need help.", "So Lippe, I'm trying to figure you\n out. Hopes, dreams, aspirations,\n blah-blah-blah? Whaddaya got?", "Tim rests his head on Joan's lap. His eyes are still on fire.\n \n JOAN (CONT'D)\n (SINGS QUIETLY)", "Joan looks down at her blouse. Tim flicks her chin.\n \n TIM (CONT'D)\n Burn." ], [ "Jesus Lippe, what did you do? Aw jeez. This is no good.\n \n DEAN\n What's the fucking charge?", "DEAN\n (WHISPERING)\n I know. This needs to be private.\n (WHIFFS)", "JOAN (CONT'D)\n Come on, Lippe. It doesn't matter.\n You knew, didn't you?", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "that shit? The fucking Deanzie.\n That's who.\n \n Tim stares at Dean for an incredulous moment.", "It's a weird moment. Dean takes a drink, laughs it off.\n \n DEAN (CONT'D)\n What I was talking about anyway,", "Dean laughs heartily. It's a deeply uncomfortable moment. Tim\n looks around. He sees Joan talking to the karaoke DJ.\n Thankfully, Ronald returns with the drinks.", "DEAN\n I think I just shit my pants.\n \n Joan cheers. Orin looks to the Dudes, who shrug.", "INT. DEAN'S MINIVAN - MOMENTS LATER\n \n Dean looks nervously in the rearview mirror-- all clear.", "JOAN\n (stunned, mouth full)\n Oh my God, did you just make a dick\n joke, Lippe?", "TIM\n Here.\n \n Before the cops get to him, Tim hands Dean a crumpled piece\n of paper.", "DEAN\n Trying to reach Tim Lippe. Who am I\n talking to?", "DEAN\n Call me Deanzie. Where you hail\n from, Tim Lippe? Quiet-land?\n \n TIM", "Bill, I... That Dean Ziegler-- he\n was trying to warn me about Orin.\n \n BILL KROGSTAD (O.S. ON PHONE)", "BLACK MAN\n Are you Tim? Tim Lippe?\n \n Tim just smiles a wide, deer-in-headlights smile.", "DEAN (CONT'D)\n Like I told you, no shocker--\n Helgesson's buttering you up to get", "Helgesson gave them to me.\n \n DEAN\n Smug fuck. Trying to poison my\n roommate with his B-S propaganda.", "Tim! Timmy Lippe! Didn't even know\n you were here. You see it, bud?\n \n TIM", "at Dean. He shoves him. Dean is a much larger man and is\n therefore impervious to Tim's inelegant, girlish assault.", "You met him two days ago, Ziegler.\n \n DEAN\n Know what, blow me Ronald. It's not" ], [ "A series of shots as Tim-- sweaty, high and extremely hyper--\n dances with Bree to the deafening death metal. The party is a", "BREE (CONT'D)\n If you want to party, Tim, let me\n know. I'll be around.\n \n TIM", "BREE\n Totally. You wanna party?\n \n TIM", "Suck the glass dick, dude.\n \n They laugh. Bree lights the pipe. Tim inhales and instantly:", "guessing?\n \n A beat. Then they all laugh like crazy. So Tim laughs, too.\n Bree puts the pipe in Tim's mouth. He looks frightened.", "guy Tim met in the bathroom with Bree, ogles Joan.\n \n GARY\n Nice tits.", "TIM\n What's that now?\n \n BREE\n A cigarette?", "BREE\n Well you're livin' now. Here.\n \n She offers Tim a line. He declines.", "TIM\n Hello Bree.\n \n BREE\n (VAGUELY SEXY)", "Ah, Bree. I'm Bree.\n \n They shake hands.\n \n TIM", "INT. TIM'S BEDROOM - A LITTLE WHILE LATER\n \n Millie rides Tim. Tim palms her breasts. He still has on the", "Whoa-o here she comes-- she's a man\n eater!\n \n As Tim hurries out of the bar, Bree, the woman in the denim", "Bree examines Tim, standing stiffly, hands in his pockets.\n \n BREE (CONT'D)", "Tim exhales. Millie exhales. That worked out well.\n \n \n INT. TIM'S REC ROOM - LATER THAT NIGHT", "TIM\n Oh jeez, oh jeez, oh jeez.\n \n BREE\n A butterscotch might help.", "A moment of recognition.\n \n TIM\n Bree?\n (off her confused look)", "You bet. Party hearty. Nice\n chatting with you, Bree.\n \n People are so friendly. Tim enters the hotel.", "Dean and Ronald head for the bedroom. Tim looks at Joan.\n \n TIM\n I didn't make love to Bree, Joan.", "He puts out his hand. She laughs and hugs him instead. Tim\n closes his eyes. She feels so good. Smells so good.", "Deanzie sips from a mini-bar bottle of rum as Tim, now in a\n flannel bathrobe and slippers, enters the dingy stairwell." ], [ "Tim goes to the computer set up on stage for Power Point. He\n puts in his disc. His presentation appears on the screen.\n \n TIM", "Tim knocks a folder off the podium. Papers fly everywhere.\n \n TIM (CONT'D)\n Smooth move, Ex-Lax.", "Tim confers with the DJ. The DJ nods, cues up the song. Tim\n gives Joan a look of mock anger as he takes the mic.\n \n TIM", "the cramped, decidedly unimpressive office. Tim, seated at a\n desk, looks directly at the camera and stiffly addresses it.", "Tim sits on the toilet. His laptop sits on the counter, the\n Two Diamond presentation on the screen. He practices for the\n full-length mirror on back of the bathroom door.", "Joan passes Tim the shot. He slams it. The room applauds as\n Tim nervously makes his way to the stage.", "the mirror. She smirks. He immediately looks at the floor. We\n stay on Tim, lifting weights, eyes to the ground. But we hear\n the treadmill stop. Finally, Tim looks up to find:", "A look of profound anguish appears on Tim's face.\n \n TIM (CONT'D)\n Aw jeez. Oh my gosh. No...", "Uncle Ken blinks a few times. Then he lets Tim get up.\n \n RONALD (CONT'D)\n Indeed.", "Tim looks shell-shocked. What a long, long day it's been.\n \n DISSOLVE TO:", "You got it, bud.\n \n Tim shuts his eyes for a moment-- be strong. Be strong.", "agreed on the Dells.\n \n He avoids eye contact. Millie takes Tim's chin in her hands,\n forcing him to look at her.", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "Dean leads Tim out of the bathroom. Tim sits on a desk chair.\n Dean sits on the edge of the desk. He looks fatherly.\n \n DEAN (CONT'D)", "- Tim practices the presentation in front of a mirror. He\n works late. He types. He Power Points. Krogstad critiques.", "TIM\n What?!\n \n ORIN\n I know. But let's be honest, one of", "The room goes nuts. As Orin leaves the stage he spots Tim\n waiting in the wings. Tim gestures for Orin to come outside.\n 84.", "Orin gives Tim a hug. Tim juts his butt out so that their\n penises don't touch. A JANITOR enters the locker room, sees", "slacks, Tim still looks a tad out of place.\n \n The following conversation is shouted because of the music.\n \n TIM", "Bree examines Tim, standing stiffly, hands in his pockets.\n \n BREE (CONT'D)" ], [ "Tim admires Ronald's laptop. The screen saver is a photo of a\n billboard advertising Ronald Wilkes Insurance. A picture of a\n stoic-looking Ronald is the centerpiece of the billboard", "Tim goes to the computer set up on stage for Power Point. He\n puts in his disc. His presentation appears on the screen.\n \n TIM", "Tim sits on the toilet. His laptop sits on the counter, the\n Two Diamond presentation on the screen. He practices for the\n full-length mirror on back of the bathroom door.", "Tim looks shell-shocked. What a long, long day it's been.\n \n DISSOLVE TO:", "Tim looks pensive as he drives. He's wearing a new suit. It's\n a little too big. A greeting card and a Beanie Baby Rooster", "Hey. Hey.\n \n With that, Tim is gone...", "TIM\n Yeah. Not good. But after he died,\n our insurance agent fought like a\n tiger against the sawmill to make", "your company's Two Diamond Awards.\n \n TIM\n I know. I heard.\n \n DEAN", "Tim nods but looks more confused than ever.\n \n \n INT. TIM'S RENTAL CAR - LATER THAT NIGHT", "he drives. She's really getting into it, too. Tim's phone\n keeps ringing. It's Millie. He ignores it.", "Tim exhales. Millie exhales. That worked out well.\n \n \n INT. TIM'S REC ROOM - LATER THAT NIGHT", "the cramped, decidedly unimpressive office. Tim, seated at a\n desk, looks directly at the camera and stiffly addresses it.", "airport. Tim sets down his old American Tourister.\n \n TIM\n Well.\n \n JOAN", "He puts out his hand. She laughs and hugs him instead. Tim\n closes his eyes. She feels so good. Smells so good.", "TIM\n (WHEEZING)\n It's fully insured. 100 percent.\n (THEN)", "TIM (CONT'D)\n Careful. It's super slippery.\n \n Orin falls face first into the muddy ditch.", "Tim's stomach drops.\n \n VOICE (O.S. ON PHONE) (CONT'D)", "TIM (CONT'D)\n Key's like a stinkin' credit card.\n \n Suddenly, the door opens. And standing before Tim is a BLACK", "INT. TIM'S BEDROOM - LATER\n \n Tim's bedroom looks like that of a fastidious teenager. Twin", "TIM\n You are freaky.\n (laughs, then)\n No, it's kind of weird how I got" ], [ "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "BLACK MAN\n Are you Tim? Tim Lippe?\n \n Tim just smiles a wide, deer-in-headlights smile.", "It's Tim Lippe. From the ASMI\n convention. We met out in front of\n the Holidome across the street?", "Tim Lippe.\n \n JOAN\n Don't get lippy with me, mister.", "Ronimal, is that from what I can\n deduce, young Timbo Lippe here has\n led a-- shall I say-- sheltered\n existence. And I think we oughta", "Tim! Timmy Lippe! Didn't even know\n you were here. You see it, bud?\n \n TIM", "farms and frozen lakes of northern Wisconsin recede. He\n instinctively turns to his neighbor.\n \n TIM\n Tim Lippe.", "JOAN\n Hey! It's Tim \"don't get lippy with\n me\" Lippe.\n \n RONALD", "You are a hero, Lippe.\n \n TIM\n Tss. I wish.\n 50.", "to go fuck himself. Says I'm going\n with Tim Lippe. A man I can trust.\n (A WINK)", "Tim Lippe. Down from Brown Valley,\n Wisconsin. Northlands Insurance?\n \n A flash of emotion-- maybe even anxiety-- on Orin's face.", "GUARD\n Tim Lip?\n \n REGINALD\n He pronounce it like Lippy.", "LIPPE (pronounced Lippy), 34, wholesome and positive, though\n undercurrents of desperation lurk just behind his kind eyes.", "DEAN\n Trying to reach Tim Lippe. Who am I\n talking to?", "Lippe, or I might have to take\n advantage of you.\n \n Joan squeezes Tim's thigh. Tim bolts off of his stool.", "(SEVERELY COUGHS)\n Thank you. I'm Tim Lippe. Hog farm\n risk mitigation... What is...?", "DEAN\n Call me Deanzie. Where you hail\n from, Tim Lippe? Quiet-land?\n \n TIM", "Ugh, I am gross, so I'm going to\n bid you farewell, Tim Lippe. See\n you at Horizons tonight?", "GUARD\n Well, you're outta here, Lippe.\n \n Tim hands Reginald a business card.", "TIM (CONT'D)\n As in, \"Don't you get lippy with\n me, mister.\" My grandma used to say" ], [ "Tim steps aside to greet the widow Gwen Lemke in a receiving\n line. The grief has left her gaunt. She appears medicated.", "and Ronald get up, greet her warmly. Tim looks at his soda.\n \n RONALD\n Joan Ostrowski-Fox.", "That was Joan saying hi.\n (beat, to Joan)\n Millie says hi.\n \n MILLIE (O.S. ON PHONE)", "ORIN HELGESSON, 69, a gentle, avuncular man with a Mr. Rogers\n persona, addresses a crowd. A banner reading ASMI `09: Let's", "paired me up with. Between you and\n me, she's a little different. Real\n hyper-- one of these types who kind", "Dean and Ronald sleep soundly in their beds. We drift off of\n them to the couch, where Joan has fallen asleep. She wakes,\n realizes that Tim is no longer there.", "words Brodt Heating & Cooling is parked in the driveway.\n \n \n INT. MILLIE'S LIVING ROOM - MOMENTS LATER", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "A beat, then Millie removes a cruise brochure from her purse.\n 7.\n Cedar Rapids, 6-12-09", "ORIN\n Without any more ado, our keynote\n speaker, Iowa Insurance\n Commissioner, Mrs. Susan Voss!", "Millie? Something happened...?\n \n VOICE (O.S. ON PHONE)\n Ah, you wise man Mr. Tim. She die", "... but her dying wish for you, Mr.\n Tim, to get shit-face with Deanzie.\n \n Whip pan to reveal Dean on another house phone.", "gets up, puts on a shower cap . She applies cold cream to her\n face. She looks tired and decidedly middle-aged.", "Reveal: Wade is sitting in his rightful throne, watching an\n aerobics show on TV. Millie snaps at him.", "of Dean Ziegler. GODDAMNIT, you're\n lousing the whole thing up!\n \n DIONE KROGSTAD", "DEAN\n Well fuck you very much, Carla.\n \n The woman shakes her head and walks away. Ronald approaches.", "Aroo-aroo! Two Diamonds! Two Diamonds!\n \n The men roughhouse playfully. Roger's comely wife, GWEN, 30,", "up booths. He approaches a WOMAN at a table with a sign that\n says Met Life Scavenger Hunt!\n \n TIM", "MILLIE\n Mm.\n \n Tim tries to smile at Millie. He is surprised to see that her", "Wade is still there watching TV. He's drinking a beer.\n \n MILLIE" ], [ "Tim goes to the computer set up on stage for Power Point. He\n puts in his disc. His presentation appears on the screen.\n \n TIM", "Tim nods but looks more confused than ever.\n \n \n INT. TIM'S RENTAL CAR - LATER THAT NIGHT", "Tim walks up to the tiny municipal airport. He tries the\n door. It's locked. A RETARDED MAN shoveling snow spots Tim.", "- Tim laminates maps of Cedar Rapids and area attractions.\n \n - Tim pulls a dusty American Tourister suitcase from the", "The room goes nuts. As Orin leaves the stage he spots Tim\n waiting in the wings. Tim gestures for Orin to come outside.\n 84.", "Tim sits on the toilet. His laptop sits on the counter, the\n Two Diamond presentation on the screen. He practices for the\n full-length mirror on back of the bathroom door.", "Tim's jetting off to Cedar Rapids\n this morning, Wade. Big deal\n insurance convention. Iowa.\n \n WADE", "Tim looks pensive as he drives. He's wearing a new suit. It's\n a little too big. A greeting card and a Beanie Baby Rooster", "Tim confers with the DJ. The DJ nods, cues up the song. Tim\n gives Joan a look of mock anger as he takes the mic.\n \n TIM", "- Tim practices the presentation in front of a mirror. He\n works late. He types. He Power Points. Krogstad critiques.", "Tim has a window seat. He reads the safety card. He's sweaty,\n anxious. A vaguely swarthy MAN (Indian? Italian? Hard to", "the cramped, decidedly unimpressive office. Tim, seated at a\n desk, looks directly at the camera and stiffly addresses it.", "INT. PLANE - NIGHT\n \n Tim looks out the window, watching the city lights of Cedar", "Tim looks shell-shocked. What a long, long day it's been.\n \n DISSOLVE TO:", "airport. Tim sets down his old American Tourister.\n \n TIM\n Well.\n \n JOAN", "EXT. CEDAR RAPIDS AIRPORT PARKING GARAGE - DAY\n \n Tim emerges from an elevator on the roof of a parking garage.", "Tim is nowhere to be found. An EXECUTIVE COUNCIL MEMBER\n addresses the crowd.\n \n EXECUTIVE COUNCIL MEMBER", "TIM (CONT'D)\n I'm... Excuse me a sec...\n \n Tim exits the conference room and approaches Krogstad, whose", "- Tim Googles \"Cedar Rapids.\" He looks at photos, crime\n statistics, a Chamber of Commerce Youtube video. He closes\n his eyes, exhales.", "Tim drives. The Olive Garden doggie bag sits in Joan's lap.\n Silence, other than the radio. After a bit:\n \n TIM" ], [ "Tim goes to the computer set up on stage for Power Point. He\n puts in his disc. His presentation appears on the screen.\n \n TIM", "TIM\n Excuse me, Ronald. It's my boss.\n (ANSWERS PHONE)\n This is Tim.", "the cramped, decidedly unimpressive office. Tim, seated at a\n desk, looks directly at the camera and stiffly addresses it.", "Tim confers with the DJ. The DJ nods, cues up the song. Tim\n gives Joan a look of mock anger as he takes the mic.\n \n TIM", "Tim sits on the toilet. His laptop sits on the counter, the\n Two Diamond presentation on the screen. He practices for the\n full-length mirror on back of the bathroom door.", "Dean leads Tim out of the bathroom. Tim sits on a desk chair.\n Dean sits on the edge of the desk. He looks fatherly.\n \n DEAN (CONT'D)", "- Tim practices the presentation in front of a mirror. He\n works late. He types. He Power Points. Krogstad critiques.", "Tim is nowhere to be found. An EXECUTIVE COUNCIL MEMBER\n addresses the crowd.\n \n EXECUTIVE COUNCIL MEMBER", "TIM (CONT'D)\n I'm... Excuse me a sec...\n \n Tim exits the conference room and approaches Krogstad, whose", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "TIM\n Pardon my French, Dean, but that's\n a bunch of bull roar. My boss, Bill\n Krogstad? He told me how you called", "Tim looks shell-shocked. What a long, long day it's been.\n \n DISSOLVE TO:", "Shoot, you could come work for me\n if you wanted.\n \n For some reason, Tim finds this funny. He laughs hysterically.", "slacks, Tim still looks a tad out of place.\n \n The following conversation is shouted because of the music.\n \n TIM", "Joan passes Tim the shot. He slams it. The room applauds as\n Tim nervously makes his way to the stage.", "Tim knocks a folder off the podium. Papers fly everywhere.\n \n TIM (CONT'D)\n Smooth move, Ex-Lax.", "Krogstad hands Tim a Manila folder (bloodying it in the\n process). Tim gestures for his customers to hold tight. Tim\n opens the folder, reading aloud from a cover page.", "Tim admires Ronald's laptop. The screen saver is a photo of a\n billboard advertising Ronald Wilkes Insurance. A picture of a\n stoic-looking Ronald is the centerpiece of the billboard", "INT. HOLIDOME LOBBY - CONTINUOUS\n \n Tim tries to get a word in.\n \n TIM", "The Dudes shout instructions. Tim and Mike try again. To no\n avail. Neither could do a pull-up if his life depended on it." ], [ "- Tim Googles \"Cedar Rapids.\" He looks at photos, crime\n statistics, a Chamber of Commerce Youtube video. He closes\n his eyes, exhales.", "Cedar Rapids, 6-12-09\n \n \n \n Tim helps Orin to his feet. Several enormous HOGS rush toward", "Ronald sighs, nods. Dean kisses Tim's sweaty forehead.\n 103.\n Cedar Rapids, 6-12-09", "- Tim laminates maps of Cedar Rapids and area attractions.\n \n - Tim pulls a dusty American Tourister suitcase from the", "He puts out his hand. She laughs and hugs him instead. Tim\n closes his eyes. She feels so good. Smells so good.", "INT. PLANE - NIGHT\n \n Tim looks out the window, watching the city lights of Cedar", "Leslie pats Tim on the shoulder. As he heads back inside:\n 116.\n Cedar Rapids, 6-12-09", "Cedar Rapids, 6-12-09\n \n \n \n INT. TIM'S KITCHEN - DAY", "Cedar Rapids, 6-12-09\n \n \n \n TIM\n You bet.", "do here... In Cedar Rapids... It\n stays here.\n \n Tim gets up, even more pissed off than he was before.", "Tim's jetting off to Cedar Rapids\n this morning, Wade. Big deal\n insurance convention. Iowa.\n \n WADE", "Tim and Joan swing on a swing set in a dreary little park\n overlooking the Cedar River. It is a cold, gray day.\n \n TIM", "Cedar Rapids, 6-12-09\n \n \n \n TIM (CONT'D)", "Tim gets out of the car.\n \n TIM\n Just some gal from Omaha they", "Orin gives Tim a hug. Tim juts his butt out so that their\n penises don't touch. A JANITOR enters the locker room, sees", "TIM\n Oh my gosh, really? Thank you.\n \n Orin sits next to Tim on the couch, closer than he needs to.", "area. [Note: Tim has a conspicuous erection.]\n 76.\n Cedar Rapids, 6-12-09", "Tim sits on the toilet. His laptop sits on the counter, the\n Two Diamond presentation on the screen. He practices for the\n full-length mirror on back of the bathroom door.", "TIM (CONT'D)\n I compiled a ton of info on Cedar\n Rapids. I've got a sweet laminator\n in my basement.", "The room goes nuts. As Orin leaves the stage he spots Tim\n waiting in the wings. Tim gestures for Orin to come outside.\n 84." ], [ "TIM\n I really don't... Orin, President\n Helgesson, he wanted to help me\n meet people. Just being friendly.", "TIM\n Thank you President Helgesson.\n \n ORIN", "Orin Helgesson, completely naked. Orin has just exited\n another shower. He smiles pleasantly at Tim, also naked.\n \n ORIN", "ORIN\n PayPal. That's where. What has ASMI\n ever given Orin Helgesson? Huh? Not", "TIM\n President Helgesson, please let me\n stay in the Two Diamond contest.\n Please. This isn't for me-- it's", "I sent you to ASMI to restore our\n image, Tim. One day into the deal\n you're lousing the whole thing up!\n (TO DIONE)", "TIM\n What?!\n \n ORIN\n I know. But let's be honest, one of", "Warn you about Orin? Orin Helgesson\n has been ASMI Midwest Region\n President for 13 years! He is a", "With great difficulty, Tim picks up Orin. Then, he awkwardly\n hurls him over the barbed wire fence. Orin lands on his back", "ORIN\n To each his own, Tim.\n (gives Tim a kind wink)\n I'm teasing, of course. Well, I", "ORIN\n Oh, Tim. Just a sec.\n \n Orin glances in the mirror, smooths his hair. He undoes the", "Tim pulls Orin from the trunk. Orin's feet are tied together,\n so he has to hop as Tim leads him toward the hog farm.", "TIM (CONT'D)\n Careful. It's super slippery.\n \n Orin falls face first into the muddy ditch.", "The room goes nuts. As Orin leaves the stage he spots Tim\n waiting in the wings. Tim gestures for Orin to come outside.\n 84.", "Orin's in on the deal somehow.\n \n What? That's impossible.\n \n TIM", "Cedar Rapids, 6-12-09\n \n \n \n Tim helps Orin to his feet. Several enormous HOGS rush toward", "I... I really enjoyed your speech,\n President Helgesson.\n \n ORIN\n You were in there? Marvelous. Did", "TIM\n Oh my gosh, really? Thank you.\n \n Orin sits next to Tim on the couch, closer than he needs to.", "Orin gives Tim a hug. Tim juts his butt out so that their\n penises don't touch. A JANITOR enters the locker room, sees", "It's Tim Lippe. From the ASMI\n convention. We met out in front of\n the Holidome across the street?" ], [ "Ah, Bree. I'm Bree.\n \n They shake hands.\n \n TIM", "BREE (CONT'D)\n If you want to party, Tim, let me\n know. I'll be around.\n \n TIM", "TIM\n Hello Bree.\n \n BREE\n (VAGUELY SEXY)", "A series of shots as Tim-- sweaty, high and extremely hyper--\n dances with Bree to the deafening death metal. The party is a", "BREE\n Totally. You wanna party?\n \n TIM", "BREE\n Well you're livin' now. Here.\n \n She offers Tim a line. He declines.", "Bree examines Tim, standing stiffly, hands in his pockets.\n \n BREE (CONT'D)", "A moment of recognition.\n \n TIM\n Bree?\n (off her confused look)", "Whoa-o here she comes-- she's a man\n eater!\n \n As Tim hurries out of the bar, Bree, the woman in the denim", "guy Tim met in the bathroom with Bree, ogles Joan.\n \n GARY\n Nice tits.", "TIM\n What's that now?\n \n BREE\n A cigarette?", "TIM\n Hello Dean.\n \n DEAN\n It's Deanzie, c'mon.", "He puts out his hand. She laughs and hugs him instead. Tim\n closes his eyes. She feels so good. Smells so good.", "Well Bree, it's nice to meet you.\n But let me give you a trade secret.\n (STAGE WHISPER)\n Keep smoking and your premiums will", "only real insurance in this life--\n is love.\n \n That did it. Now Tim is weeping. Bree notices.", "BREE (CONT'D)\n Oh baby, c'mere. C'mere.\n (HUGS TIM)\n You can fuck my ass if you want.", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "By Ziegler's name, Tim frantically writes, \"Poacher\" and\n \"Armbrüster--\" making sure not to forget the umlaut.", "INT. TIM'S BEDROOM - A LITTLE WHILE LATER\n \n Millie rides Tim. Tim palms her breasts. He still has on the", "guessing?\n \n A beat. Then they all laugh like crazy. So Tim laughs, too.\n Bree puts the pipe in Tim's mouth. He looks frightened." ], [ "Tim goes to the computer set up on stage for Power Point. He\n puts in his disc. His presentation appears on the screen.\n \n TIM", "Tim sits on the toilet. His laptop sits on the counter, the\n Two Diamond presentation on the screen. He practices for the\n full-length mirror on back of the bathroom door.", "Tim admires Ronald's laptop. The screen saver is a photo of a\n billboard advertising Ronald Wilkes Insurance. A picture of a\n stoic-looking Ronald is the centerpiece of the billboard", "Tim looks pensive as he drives. He's wearing a new suit. It's\n a little too big. A greeting card and a Beanie Baby Rooster", "airport. Tim sets down his old American Tourister.\n \n TIM\n Well.\n \n JOAN", "Tim looks shell-shocked. What a long, long day it's been.\n \n DISSOLVE TO:", "He puts out his hand. She laughs and hugs him instead. Tim\n closes his eyes. She feels so good. Smells so good.", "Tim confers with the DJ. The DJ nods, cues up the song. Tim\n gives Joan a look of mock anger as he takes the mic.\n \n TIM", "your company's Two Diamond Awards.\n \n TIM\n I know. I heard.\n \n DEAN", "Tim nods but looks more confused than ever.\n \n \n INT. TIM'S RENTAL CAR - LATER THAT NIGHT", "Hey. Hey.\n \n With that, Tim is gone...", "he drives. She's really getting into it, too. Tim's phone\n keeps ringing. It's Millie. He ignores it.", "TIM\n (WHEEZING)\n It's fully insured. 100 percent.\n (THEN)", "(whispers to wife)\n Tim Lippe.\n (TO TIM)\n Um, fine, Tim. We're fine.", "By Ziegler's name, Tim frantically writes, \"Poacher\" and\n \"Armbrüster--\" making sure not to forget the umlaut.", "Tim is ebullient. Joan rides shotgun. The screen on Tim's\n phone says that he's missed 11 calls. It rings again.", "The room goes nuts. As Orin leaves the stage he spots Tim\n waiting in the wings. Tim gestures for Orin to come outside.\n 84.", "Tim exhales. Millie exhales. That worked out well.\n \n \n INT. TIM'S REC ROOM - LATER THAT NIGHT", "than ever, Tim. If I'm going to\n sell this company, we need people\n to feel OK about the Northlands\n brand.", "Oh yeah baby. Shag-a-licious!\n \n They laugh. Tim stares ahead, wishing for invisibility." ] ]

[ "Why did Tim feel the need to confess to his former teacher?", "Which insurance agent had a romantic relationship with the 3-time award winner?", "How did Tim get the nickname \"Butterscotch\"?", "What did Joan say Roger did to win his awards?", "When did Lippe discover that Mrs. Vanderhei had other lovers?", "What happened to Brownstar Insurance after Tim won the award?", "Which company did some of Brownstar's clients go to after the bribery was exposed?", "When did Lippe meet Bree?", "How did Orin know Tim behaved in ways that could have prevented him from winning the award?", "How is Tim Lippe related to the woman he welcomed and had sex with?", "What is Tim Lippe's job?", "Lippe was called what by Bree?", "What did all insurance agents participate in?", "What did Vanderhei suggest Lippe do?", "What did Lippe accuse Joan of?", "What did Lippe accidentally tell Dean?", "What caused Tim a high during a party with Bree?", "What did Tim admit at the podium?", "What was Tim's new company called?", "Who is Tim Lippe?", "Who is Mrs. Vanderhei?", "Where does Tim travel to for a regional conference?", "What des Tim's boss want him to achieve at the conference?", "Which person does Tim fall for in Cedar Rapids?", "Why does Tim bribe ASMI President Orin Helgesson?", "Which nickname does Bree give Tim?", "What is the name of the new company that Tim starts?" ]

[ [ "he felt guilty for having sex with Joan", "He wanted to marry her" ], [ "Joan", "Joan" ], [ "he offered a sex worker candy", "When he offered Bree candy" ], [ "bribe Orin Helgesson", "He bribed Helgesson" ], [ "after calling to confess to sleeping with Joan", "when he asked her to marry him" ], [ "Bill received an offer and has plans to sell the company", "he received an offer to buy it" ], [ "Top Notch", "Top Notch" ], [ "at the regional conference", "In the parking lot" ], [ "Orin saw Tim in the pool, drunk with Dean and Joan", "He say Tim with Joan at the pool" ], [ "She's his former teacher.", "She is his former techer" ], [ "He's an insurance agent", "an insurance agent" ], [ "Butterscotch", "Butterscotch" ], [ "A scavenger hunt", "a Scavenger hunt" ], [ "Take the opportunity to start a new life.", "Start a new life" ], [ "Being a prostitute sent to ruin his life.", "being a prostitute sent to destroy him" ], [ "About Lemke's bribery", "About Roger's bribery " ], [ "Crystal meth.", "crystal meth" ], [ "That his company was bribing every year to get the Two Diamond award.", "That the company bribed Helgessen for the trophy" ], [ "Top Notch", "Brownstar Insurance" ], [ "An upbeat insurance agent", "A naive insurance agent" ], [ "Tim's former teacher", "Tim's former techer" ], [ "Cedar Rapids, Iowa", "Cedar Rapids, Iowa" ], [ "He wants him to win the Two Diamonds Award.", "To win another Diamond award" ], [ "Joan, a fellow insurance agent.", "Joan and Bree" ], [ "He wants to win the Two Diamonds Award", "He wants the award" ], [ "Butterscotch", "Butterscotch" ], [ "Top Notch", "Top Notch" ] ]

[ [ "SCENE XIV.\n\n Enter DAVISON.", "DAVISON.\n It shall be done.\n\n [Exit.", "DAVISON.\nShe goes! She leaves me doubting and perplexed\nWith this dread paper! How to act I know not;\nShould I retain it, should I forward it?\n\n [To BURLEIGH, who enters.", "[To DAVISON.", "DAVISON.\n She has not yet explained her final will.\n\nBURLEIGH.\nExplained! She has subscribed it;--give it to me.", "DAVISON.\nNever expressly in so many words.", "DAVISON.\nI am to execute it, and I am not.\nGreat heavens! I know not what I am to do!", "DAVISON.\n She has quitted me\nIn bitter anger. Oh, advise me, help me,\nSave me from this fell agony of doubt!\nMy lord, here is the warrant: it is signed!", "ELIZABETH (interrupting him violently).\nLet me not fancy, sir----\n\nDAVISON.\n Oh, I am lost!\nI have it not.", "DAVISON.\nSo am I also if I act too rashly.\n\nBURLEIGH.\nWhat strange infatuation. Give it me.", "DAVISON.\nYou have declared it, say you? Oh, my queen,\nYou have said nothing. Please, my gracious mistress,\nBut to remember----", "BURLEIGH.\nIndeed! Oh, give it, give it me!\n\nDAVISON.\n I may not.\n\nBURLEIGH.\nHow!", "DAVISON.\n They are gone to quell\nThe tumult of the people. The alarm\nWas instantly appeased when they beheld", "Command my secretary, Davison,\nTo come to me this instant. Let the Earl\nOf Shrewsbury be summoned. Here he comes.", "DAVISON.\nOh, be indulgent to me! I have entered\nUnwittingly, not many months ago,\nUpon this office; I know not the language", "DAVISON.\nA sign of evil-boding, good my lord,\nFor the French Suitors.", "DAVISON.\nIs that my Lord of Kent? So soon returned?\nIs then the tourney, the carousal over?\n\nKENT.\nHow now? Were you not present at the tilt?", "DAVISON (approaches earnestly).\n Your orders are obeyed,\nMy queen----\n\nELIZABETH.\n What orders, sir?", "DAVISON (interrupting her quickly, and alarmed).\nNot mine--oh, God forbid! Obedience is\nMy only prudence here. No point must now", "ELIZABETH.\nAt your own risk; you answer the event.\n\nDAVISON.\nI! gracious heavens! Oh, speak, my queen, your pleasure!" ], [ "ELIZABETH.\nWhat lady's that?\n\n [A general, embarrassed silence.\n\nLEICESTER.\n You are at Fotheringay,\nMy liege!", "ELIZABETH (exultingly).\n I am Queen of England!\n\n [Walking up and down in the greatest agitation.", "ELIZABETH.\nWretch! Is it thus you have obeyed my orders?\nDid I not lay my strict injunction on you\nTo keep it carefully?", "ELIZABETH.\nIn years she has the advantage----", "ELIZABETH, LEICESTER.\n\nELIZABETH.\nSay, who was here? I heard the sound of voices.", "ELIZABETH (cold and severe).\nWhat would you say to me, my Lady Stuart?\nYou wished to speak with me; and I, forgetting", "ELIZABETH.\n Yes, sir; if you could\nBut waken me some morning with this news\n\"Maria Stuart, your bloodthirsty foe,\nBreathed yesternight her last\"----", "MARY (who the whole time had leaned, almost fainting, on KENNEDY, rises\n now, and her eyes meet the steady, piercing look of ELIZABETH; she", "ELIZABETH.\n I will never see him;\nNo never, never more. Are orders given\nNot to admit him should he come?\n\nBURLEIGH.\n 'Tis done.", "ELIZABETH.\nOh, she shall pay me for it with her life!\nIs the death-warrant ready?\n\nBURLEIGH.\n 'Tis prepared\nAs you commanded.", "ELIZABETH (having read the letter, dries her tears).\nOh, what is man! What is the bliss of earth!\nTo what extremities is she reduced", "ELIZABETH.\n Your friendship is abroad,\nYour house is papacy, the monk your brother.\nName you my successor! The treacherous snare!", "ELIZABETH.\nAt your own risk; you answer the event.\n\nDAVISON.\nI! gracious heavens! Oh, speak, my queen, your pleasure!", "ELIZABETH (avoiding his sight).\n\nAudacious slave!\n\nLEICESTER.\n To turn me from the door!", "ELIZABETH.\nCan you deny your secret correspondence\nWith Mary?--that she sent and you received\nHer picture, that you gave her hopes of rescue?", "ELIZABETH.\nMy lord, you bear a melancholy office;\nI know the purity which guides your zeal,\nThe solid wisdom which informs your speech;", "ELIZABETH (entering from a side door; her gait and action expressive\n of the most violent uneasiness).\nNo message yet arrived! What! no one here!", "ELIZABETH (regards her long with a look of proud contempt).\nThose then, my Lord of Leicester, are the charms\nWhich no man with impunity can view,", "ELIZABETH.\n Out of my sight!\nAway! Conduct the traitor to the Tower!", "ELIZABETH.\n She shall surely die--\nHe shall behold her fall, and fall himself!\nI've driven him from my heart. No longer love," ], [ "MORTIMER (who has watched him closely the whole tine).\n Now, my lord, I can believe you.\n\nLEICESTER (having hastily run through the letter).\nYou know the purport of this letter, sir.", "MORTIMER.\n Expect not that.\n\nMARY.\nOne man alone on earth can open them.\n\nMORTIMER.\nOh, let me know his name!", "MORTIMER.\nLord Burleigh has the letter.\n\nLEICESTER.\n I am lost!", "MORTIMER.\nYou may depend upon it. How, my lord,\nSo scrupulous when help is offered you?\nYou wish to rescue Mary, and possess her;", "MORTIMER.\n And Mary hopes--\nShall I return to her with empty comfort?\n\nLEICESTER.\nBear her my vows of everlasting love.", "MARY.\nWill he do nothing for me?\n\nMORTIMER.\n Speak not of him.\nWhat can he do? What need have we of him?\nI will release you; I alone.", "[She reads.\n\n\"Confide in Mortimer, who brings you this;\nYou have no truer, firmer friend in England.\"\n\n [Looking at him with astonishment.", "MORTIMER.\nSo I pretended, that I must confess;\nSuch was my anxious wish to serve my queen.\n\nELIZABETH (to PAULET, who presents papers to her).\nWhat have you there?", "MORTIMER.\nAnd should I be obliged to kill the queen,\nI've sworn upon the host, it must be done!\n\nMARY.\nNo, Mortimer; ere so much blood for me----", "MORTIMER.\nIn which she calls on you to keep your word,\nRenews the promise of her hand, and mentions\nThe picture which she sent you.\n\nLEICESTER.\n Death and hell!", "MORTIMER.\n We have been absolved\nBeforehand; I may perpetrate the worst;\nI can, I will do so!\n\nMARY.\n Oh, dreadful, dreadful!", "MORTIMER.\nAnd what were then the plans which you had framed?\nWhat have you done then to deliver her?\nAnd how, if I were miscreant enough", "MARY.\nSir, you shall know its import. In this letter\nI beg a favor, a great favor of her,--\nThat she herself will give me audience,--she", "MORTIMER.\nThis would I ask of you, my Lord of Leicester.\n\nLEICESTER.\nYou said you wished to speak with me in private.", "LEICESTER.\n What?\n\nMORTIMER.\n A letter which the queen\nHad just addressed to you----\n\nLEICESTER.\n Unhappy woman!", "MORTIMER.\nAnd what is gained by this? When she discovers\nThat I am cheating her, that Mary lives;", "MARY.\nWhat, sir! Your uncle? How! Your second father!\n\nMORTIMER.\nMust perish by my hand--I murder him!\n\nMARY.\nOh, bloody outrage!", "MARY.\nYou gave him not my letter? Then, indeed\nMy hopes are lost!", "MARY (after a pause).\nNo, Mortimer, vain fears have blinded you;\n'Tis but the honest care of your true heart,", "LEICESTER.\nLead you the way of confidence, I'll follow.\n\nMORTIMER (producing suddenly the letter).\nHere is a letter from the Queen of Scotland." ], [ "Which blasteth as it flies! This fatal scroll\nCommands the sheriff and commissioners\nTo take departure straight for Fotheringay,\nAnd to the Queen of Scots announce her death,", "Her death with firmness. She it is, my friend,\nWho will exhibit the undaunted heart.\nOh! trust me, Mary Stuart will expire\nAs best becomes a heroine and queen!", "That the queen's welfare asks this bloody victim.\n'Tis my proposal, therefore, that the writ\nBe drawn at once to fix the execution.", "BURLEIGH.\n Sir; let the death-warrant\nBe instantly made out, and pass the seal;\nThen let it be presented to the queen;", "With frantic force, and cried into the street\nSo loud that all the people gathered round:\nI am the man, Queen Mary's secretary,\nThe traitor who accused his mistress falsely;", "MARY.\nWill she then dare, regardless of the shame,\nLay my crowned head upon the fatal block?\n\nMORTIMER.\nShe will most surely dare it, doubt it not.", "MARY.\nWhen did I that, my lord? Let them produce\nThe documents.\n\nBURLEIGH.\n You have already seen them\nThey were before the court, presented to you.", "MARY.\n'Tis true that I have called upon all princes\nTo free me from unworthy chains; yet 'tis\nAs true that, neither by intent or deed,\nHave I attempted my oppressor's life.", "ELIZABETH.\nOh, she shall pay me for it with her life!\nIs the death-warrant ready?\n\nBURLEIGH.\n 'Tis prepared\nAs you commanded.", "PAULET (to MARY).\nYou wished to-day assurance of your fate;\nMy Lord of Burleigh brings it to you now;\nHear it with resignation, as beseems you.", "LEICESTER.\n She must die;\nI now myself consent unto her death.\nI formerly advised you to suspend\nThe sentence, till some arm should rise anew\nOn her behalf; the case has happened now,\nAnd I demand her instant execution.", "CURL.\nAs soon as our dear queen shall be no more.\nOh, the unworthy, the disgraceful traitor!\nHe is our lady's murderer--'tis said\nIt was his testimony which condemned him.", "BURLEIGH.\n Here it is.\n\nLEICESTER (running over the letter without losing his presence of mind).\n'Tis Mary Stuart's hand----", "MARY.\nAnd on my menials' testimony, then,\nI am condemned; upon the word of those\nWho have betrayed me, me, their rightful queen!", "Of Lords and Commons, with the citizens\nOf London, eagerly and urgently\nDemand the execution of the sentence:--\nThe queen alone still craftily delays,", "MARY.\n Lord Burleigh, I can well\nImagine that a law expressly aimed\nAt me, and framed to compass my destruction", "MARY.\nI am prepared to meet eternity;\nWithin the narrow limits of an hour\nI shall appear before my Judge's throne.\nBut, I repeat it, my confession's ended.", "MORTIMER.\nAnd should I be obliged to kill the queen,\nI've sworn upon the host, it must be done!\n\nMARY.\nNo, Mortimer; ere so much blood for me----", "MARY.\n I but name\nMy enemy: I said not that I hate him.]\nBut to the matter, sir.\n\nBURLEIGH.\n You have acknowledged\nThe jurisdiction of the two-and-forty.", "It must be executed, Mortimer,\nAnd I must authorize the execution.\nThe blame will ever light on me, I must\nAvow it, nor can save appearances." ], [ "[Having spoken these last words, and paused awhile,\n he is seen with a convulsive motion suddenly to shrink\n and faint away; a confused hum of voices is heard at\n the same moment from below, and continues for some time.", "[The lords withdraw, SHREWSBURY alone stands\n for a few moments before the QUEEN, regards her\n significantly, then withdraws slowly, and with\n an expression of the deepest anguish.", "[He approaches her in a supplicating posture,\n she turns her back on him; he stands in despair;\n then speaks with a tone of resolution.", "[They all draw aside; MARY alone remains, leaning on KENNEDY.\n\n\n\nSCENE IV.", "[He stands as if annihilated; she continues,\n with a gentle voice.", "[She signs with resolution; lets her pen then fall,\n and steps back with an expression of terror. After\n a pause she rings.\n\n\n\nSCENE XI.", "LEICESTER (remaining alone).\nDo I live still? Can I still bear to live?\nWill not this roof fall down and bury me?", "FIRST WOMAN (to the NURSE).\n She chose to be\nAlone: she wishes, at this awful moment,\nFor the last time, to commune with her God.", "Believe it, and are mad; her head alone\nCan quiet them; this day must be her last.", "[He sets down the cup; hearing a noise,\n he covers his head, and goes to the door;\n MARY remains in silent devotion on her knees.", "Far from the noisy world and its distractions,\nTo commune with itself, to think apart,\nAnd estimate the real goods of life.\nNo God protected this poor sufferer:", "She interrupts him. Hark--she prays aloud;\nHer voice is firm--now all is still, quite still!\nAnd sobs and women's moans are all I hear.", "the others, wailing, follow her with their eyes\n till she disappears; they then retire through the\n other two doors.", "[She turns suddenly from them; all but MELVIL\n retire at different sides.\n\n\n\nSCENE VII.\n\n MARY, MELVIL.", "The miserable man no sooner saw me\nThan at my feet he fell, and there, with screams,\nClasping my knees, and writhing like a worm,", "But I must suffer in a foreign land,\nNone but my servants to bewail my fate!\nSir; to your loyal bosom I commit\nMy latest wishes. Bear then, sir, my blessing", "Go--call me--no, remain, boy! She is dead;\nNow have I room upon the earth at last.\nWhy do I shake? Whence comes this aguish dread?", "And when the rest of comfort all bereft,\nAbandoned to despair, wail round her, we\nWill lead her with heroic resolution,\nAnd be her staff upon the road to death!", "time earnestly, and in silence; he cannot support her\n looks; at length she speaks.", "To strangle him. No sooner had we saved\nThe wretch from his fierce grapple than at once\nHe turned his rage against himself and beat\nHis breast with savage fists; then cursed himself" ], [ "They are already there. Beneath my feet\nThe bloody business is preparing. Hark!\nI hear their voices. Hence! Away, away\nFrom this abode of misery and death!", "Now, they undress her; they remove the stool;\nShe kneels upon the cushion; lays her head----", "[Having spoken these last words, and paused awhile,\n he is seen with a convulsive motion suddenly to shrink\n and faint away; a confused hum of voices is heard at\n the same moment from below, and continues for some time.", "[He sets down the cup; hearing a noise,\n he covers his head, and goes to the door;\n MARY remains in silent devotion on her knees.", "Where, by the Jesuits' anxious labor, priests\nAre trained to preach our holy faith in England.\nThere, 'mongst the Scots, I found the noble Morgan,", "Lies in the hands of those who wish my ruin.\nA month of dread suspense is passed already\nSince when the forty high commissioners\nSurprised me in this castle, and erected,", "She interrupts him. Hark--she prays aloud;\nHer voice is firm--now all is still, quite still!\nAnd sobs and women's moans are all I hear.", "SCENE I.\n\n The Scene the same as in the First Act.", "Upon this plank, and she divided it\nUnequally, and bade them fight for it.\nThe narrow bed of Tweed alone divides\nThese daring spirits; often hath the blood", "And in the middle of the scaffold stood\nA dreadful sable block! upon it lay\nA naked, polished axe:--the hall was full", "Is in the neighborhood of Fotheringay;\nPermission may be given to Lady Stuart\nTo take the air; you meet her in the park,\nAs if by accident; it must not seem", "Transplanted in her early youth to France,\nThe court of levity and thoughtless joys,\nThere, in the round of constant dissipation,\nShe never heard the earnest voice of truth;", "A grievous crime, no doubt; but then it happened\nIn darksome days of trouble and dismay,\nIn the stern agony of civil war,", "LEICESTER.\n So, indeed, it seemed.\nNow, after ten lost years of tedious courtship", "Then from thy chamber bear thee forcibly.\nEach living soul must die beneath our hands,\nThat none remain who might disclose the deed.", "LEICESTER.\nI am astonished--I am terrified!\nWhere would your giddy madness hurry you?\nAre you acquainted with this country? Know you", "SCENE II.", "Far from the noisy world and its distractions,\nTo commune with itself, to think apart,\nAnd estimate the real goods of life.\nNo God protected this poor sufferer:", "In a park. In the foreground trees; in the background\n a distant prospect.\n\n MARY advances, running from behind the trees.\n HANNAH KENNEDY follows slowly.", "AUBESPINE.\nHow fares her majesty? My lords, you see me\nStill stunned, and quite beside myself for terror!\nHow happened it? How was it possible\nThat in the midst of this most loyal people----" ], [ "MARY.\nThis is too much!\n\nELIZABETH (laughing insultingly).\n You show us now, indeed,\nYour real face; till now 'twas but the mask.", "MARY.\n And bloodily,\nI fear, too soon 'twill be avenged on me:\nYou seek to comfort me, and you condemn me.", "ELIZABETH.\nCan you deny your secret correspondence\nWith Mary?--that she sent and you received\nHer picture, that you gave her hopes of rescue?", "MARY (still quite beside herself).\n Gone hence in wrath!\nShe carries death within her heart! I know it.\n\n [Falling on KENNEDY'S bosom.", "MARY.\n Oh! why should I deny it?\nYes, I confess, I cherished the fond hope;\nI thought myself the happy instrument", "ELIZABETH.\nWhat I should say I know not. I believe you,\nAnd I believe you not. I think you guilty,\nAnd yet I think you not. A curse on her\nWho caused me all this anguish.", "ELIZABETH.\n Well then, thou wretch!\n\nBURLEIGH.\nHis own words sentence him----", "MARY.\nAnd on my menials' testimony, then,\nI am condemned; upon the word of those\nWho have betrayed me, me, their rightful queen!", "MARY (who the whole time had leaned, almost fainting, on KENNEDY, rises\n now, and her eyes meet the steady, piercing look of ELIZABETH; she", "MARY.\n 'Tis true, I was deceived\nBy Hatton's crafty counsel:--he advised me,\nFor my own honor, and in confidence", "BURLEIGH.\nThat is the greatest torment of our queen,\n[That she can never 'scape the blame. Oh God!]\nHad but this lovely mischief died before\nShe set her faithless foot on English ground.", "[MARY collects herself, and begins to advance towards\n ELIZABETH, stops shuddering at half way: her action\n expresses the most violent internal struggle.", "MARY.\nThis long-atoned crime arises fresh\nAnd bleeding from its lightly-covered grave;\nMy husband's restless spirit seeks revenge;\nNo sacred bell can exorcise, no host\nIn priestly hands dismiss it to his tomb.", "MARY.\n Lord Burleigh, I can well\nImagine that a law expressly aimed\nAt me, and framed to compass my destruction", "With frantic force, and cried into the street\nSo loud that all the people gathered round:\nI am the man, Queen Mary's secretary,\nThe traitor who accused his mistress falsely;", "MARY.\nAh! not alone through hate; through lawless love\nHave I still more abused the sovereign good.\nMy heart was vainly turned towards the man\nWho left me in misfortune, who deceived me.", "By which my father cast disgrace upon me:\nIn vain with princely virtues would I hide it;\nThe envious hatred of my enemies\nUncovers it, and places Mary Stuart,", "ELIZABETH.\nAnd dared you then to execute the writ\nThus hastily, nor wait to know my pleasure?\nJust was the sentence--we are free from blame", "ELIZABETH.\nOh, she shall pay me for it with her life!\nIs the death-warrant ready?\n\nBURLEIGH.\n 'Tis prepared\nAs you commanded.", "ELIZABETH.\nOh, pity me, my Dudley; do not blame me;\nI cannot ask my heart. Oh, that had chosen" ], [ "MARY.\n Well I know him--\nIt is the bleeding Darnley's royal shade,\nRising in anger from his darksome grave\nAnd never will he make his peace with me\nUntil the measures of my woes be full.", "She was, as you well know, my destined bride,\nLong since, ere she bestowed her hand on Darnley,\nWhile yet the beams of glory round her smiled,", "To Darnley's murderess? What will they then,\nThese restless men, who even in thy lifetime\nTorment thee with a successor; who cannot", "The madness of a frantic love possessed you,\nAnd bound you to a terrible seducer,\nThe wretched Bothwell. That despotic man", "By which my father cast disgrace upon me:\nIn vain with princely virtues would I hide it;\nThe envious hatred of my enemies\nUncovers it, and places Mary Stuart,", "Beset thee; that the Catholics have sworn\nTo rescue from her prison Mary Stuart,\nAnd to proclaim her queen. Thy loyal people", "With frantic force, and cried into the street\nSo loud that all the people gathered round:\nI am the man, Queen Mary's secretary,\nThe traitor who accused his mistress falsely;", "BURLEIGH.\nYou were the man who knew, behind my back,\nTo lure the queen to Fotheringay Castle.\n\nLEICESTER.\nBehind your back! When did I fear to act\nBefore your face?", "BURLEIGH.\nYet in that very moment he betrayed you,\nBetrayed you to this wily Queen of Scots.", "Before your eyes he had your favorite singer,\nPoor Rizzio, murdered; you did but avenge\nWith blood the bloody deed----", "This realm against our queen (whom God preserve).\nAnd arm assassin bands. Did she not rouse\nFrom out these walls the malefactor Parry,\nAnd Babington, to the detested crime", "PAULET.\n Away, dissimulation!--\nI know the deed the queen proposed to you.\nShe hopes that your ambitious youth will prove", "To place upon the brows of him, the dearest\nOf men to me, the royal crown of England.\nThe Queen of Scotland was allowed to make\nHer hand the token of her inclination;", "PAULET.\n 'Tis from the Queen of Scots.\n'Tis a petition, and to thee addressed.\n\nBURLEIGH (hastily catching at it).\nGive me the paper.", "The Earl of Shrewsbury. That's he! exclaimed\nA hundred voices--that's the man--he saved\nThe queen; hear him--the bravest man in England!", "The fervent prayer of love can touch thy heart.\nThou mad'st the minstrel Rizzio blest, and gavest\nThyself a willing prey to Bothwell's arms.", "DAVISON.\nThis fear appears superfluous; she goes\nInto the bridal chamber; Mary Stuart\nEnters the gates of death.\n\nKENT.\n The queen approaches.", "CURL.\nAs soon as our dear queen shall be no more.\nOh, the unworthy, the disgraceful traitor!\nHe is our lady's murderer--'tis said\nIt was his testimony which condemned him.", "Which blasteth as it flies! This fatal scroll\nCommands the sheriff and commissioners\nTo take departure straight for Fotheringay,\nAnd to the Queen of Scots announce her death,", "MARY.\nAh! well I knew it.\n\nSHREWSBURY.\n What?\n\nPAULET.\n The queen approaches." ], [ "To part, and to become a happy spirit,\nWhom earthly inclinations tempt no more!\nNow, Leicester, I may venture to confess", "LEICESTER.\nAnd thus you loose yourself the knot of union\nWhich you officiously, uncalled for, bound!\nYou have deserved but little of your country,\nMy lord; this trouble was superfluous.", "LEICESTER.\n'Tis well; you may withdraw. Her majesty\nHas heard enough.\n\n [The officer withdraws.\n\nELIZABETH.", "LEICESTER (in the most violent agitation; he seeks to lead ELIZABETH\n away).\nAttend not to her rage! Away, away,\nFrom this disastrous place!", "LEICESTER.\n Away, away!\n\nMORTIMER.\n They know\nThat private conferences have been held\nAt Aubespine's----", "And if my last desire have any weight,\nStay not in England; let no haughty Briton\nGlut his proud heart with your calamities,", "LEICESTER (entering).\n Worthy sir!\nI with your nephew wish a word. The queen\nIs graciously inclined to him; she wills", "LEICESTER.\n So, indeed, it seemed.\nNow, after ten lost years of tedious courtship", "LEICESTER (stops suddenly as if resolved).\n I will.\n\n [Goes to the door, opens it, and calls.", "LEICESTER.\nI am astonished--I am terrified!\nWhere would your giddy madness hurry you?\nAre you acquainted with this country? Know you", "LEICESTER.\n Burleigh!\nTo him you are but sovereign, and as such\nAlone he seeks your welfare; but your rights,", "LEICESTER.\nDismiss this troublesome intruder first.\nWithdraw, my lord; it is not of your office\nTo play the third man here: between the queen\nAnd me there is no need of witnesses.\nRetire----", "AUBESPINE (officiously).\n My Lord of Burleigh,\nI know my duty.\n\nBURLEIGH.\n Sir, your duty is\nTo quit, and that without delay, this kingdom.", "BELLIEVRE.\nGreat majesty of England, suffer us\nTo take our leave, and to our royal master,", "ELIZABETH (looking steadfastly at LEICESTER).\nMy lord advises well. So be it, then.", "LEICESTER.\nI've played a dangerous game, I know it well,\nAnd none but Leicester dare be bold enough", "LEICESTER.\nNorfolk ne'er won the bride he wooed so fondly.\n\nMORTIMER.\nBut yet he proved how truly he deserved her.", "LEICESTER.\n A papist,\nCount Aubespine!\n\n\n\nSCENE II.\n\n Enter BURLEIGH, in conversation with DAVISON.", "Ne'er didst thou woman's fairest crown possess,\nNe'er hast thou with thy hand a lover's heart requited.\nI must attend Lord Leicester, and deliver", "[Exit.\n\nELIZABETH (to the EARL of KENT, who enters).\nSend for the Earl of Leicester." ], [ "Beset thee; that the Catholics have sworn\nTo rescue from her prison Mary Stuart,\nAnd to proclaim her queen. Thy loyal people", "With frantic force, and cried into the street\nSo loud that all the people gathered round:\nI am the man, Queen Mary's secretary,\nThe traitor who accused his mistress falsely;", "By which my father cast disgrace upon me:\nIn vain with princely virtues would I hide it;\nThe envious hatred of my enemies\nUncovers it, and places Mary Stuart,", "MARY (raising her voice).\n A bastard soils,\nProfanes the English throne! The generous Britons", "MARY.\n'Tis true that I have called upon all princes\nTo free me from unworthy chains; yet 'tis\nAs true that, neither by intent or deed,\nHave I attempted my oppressor's life.", "Her death with firmness. She it is, my friend,\nWho will exhibit the undaunted heart.\nOh! trust me, Mary Stuart will expire\nAs best becomes a heroine and queen!", "MARY STUART.\n\n A TRAGEDY.\n\n By Frederich Schiller", "MARY.\nA bloody crime, indeed of ancient date,\nAnd long ago confessed; yet with new terrors.\nIt now attacks me, black and grisly steps", "MARY.\n 'Tis that alone\nWhich arms the law against me; that alone\nFrom which I'm called upon to clear myself.\nStick to the point, my lord; evade it not.", "BURLEIGH.\n Here it is.\n\nLEICESTER (running over the letter without losing his presence of mind).\n'Tis Mary Stuart's hand----", "The law of England, not the monarch's will,\nCondemns the Queen of Scotland, and 'twere worthy\nOf the great soul of Queen Elizabeth,", "MARY.\nLord Burleigh brings it; therefore do I know it.\n\nPAULET.\n[It would become you better, Lady Stuart,\nTo listen less to hatred.", "This realm against our queen (whom God preserve).\nAnd arm assassin bands. Did she not rouse\nFrom out these walls the malefactor Parry,\nAnd Babington, to the detested crime", "MARY.\nWhen did I that, my lord? Let them produce\nThe documents.\n\nBURLEIGH.\n You have already seen them\nThey were before the court, presented to you.", "MARY.\nAm I condemned?\n\nPAULET.\n I cannot answer, lady.\n\nMARY.\n[Sir, a good work fears not the light of day.", "For England's quiet, and they sit in judgment\nOn me, the Queen of Scotland, and the papist.\nIt is an ancient saying, that the Scots", "MARY.\n Lord Burleigh, I can well\nImagine that a law expressly aimed\nAt me, and framed to compass my destruction", "MARY.\nThis long-atoned crime arises fresh\nAnd bleeding from its lightly-covered grave;\nMy husband's restless spirit seeks revenge;\nNo sacred bell can exorcise, no host\nIn priestly hands dismiss it to his tomb.", "MARY (after a pause).\nSir, nothing can surprise me which a court\nInspired by Burleigh's hate and Hatton's zeal,", "MARY.\n Oh! why should I deny it?\nYes, I confess, I cherished the fond hope;\nI thought myself the happy instrument" ], [ "ELIZABETH.\nCan you deny your secret correspondence\nWith Mary?--that she sent and you received\nHer picture, that you gave her hopes of rescue?", "MARY.\n Lord Burleigh, I can well\nImagine that a law expressly aimed\nAt me, and framed to compass my destruction", "To England's crown--and with one single word,\nTraced by her pen, throw wide her prison gates?\nNo:--she had rather live in vile confinement,", "MARY.\n'Tis true that I have called upon all princes\nTo free me from unworthy chains; yet 'tis\nAs true that, neither by intent or deed,\nHave I attempted my oppressor's life.", "MARY.\nThis is too much!\n\nELIZABETH (laughing insultingly).\n You show us now, indeed,\nYour real face; till now 'twas but the mask.", "Is in their hands. It is not Paulet only\nAnd his dependent host; all England guards\nMy prison gates: Elizabeth's free will\nAlone can open them.", "MARY.\n Sir, I breathe\nThe air within an English prison walls:\nIs that to live in England; to enjoy", "ELIZABETH, Queen of England.\nMARY STUART, Queen of Scots, a Prisoner in England.\nROBERT DUDLEY, Earl of Leicester.", "To murder her, as was proposed to me\nThis moment by Elizabeth, and which\nShe looks upon as certain; only name\nThe measures you have taken to protect her?", "MARY.\nAnd were it so, my lord--though I deny it--\nBut e'en suppose it were so: I am kept", "ELIZABETH.\nWretch! Is it thus you have obeyed my orders?\nDid I not lay my strict injunction on you\nTo keep it carefully?", "[MARY collects herself, and begins to advance towards\n ELIZABETH, stops shuddering at half way: her action\n expresses the most violent internal struggle.", "ELIZABETH.\nOh, she shall pay me for it with her life!\nIs the death-warrant ready?\n\nBURLEIGH.\n 'Tis prepared\nAs you commanded.", "Beset thee; that the Catholics have sworn\nTo rescue from her prison Mary Stuart,\nAnd to proclaim her queen. Thy loyal people", "ELIZABETH.\n Out of my sight!\nAway! Conduct the traitor to the Tower!", "MARY.\n Oh! why should I deny it?\nYes, I confess, I cherished the fond hope;\nI thought myself the happy instrument", "MARY.\nSir, you shall know its import. In this letter\nI beg a favor, a great favor of her,--\nThat she herself will give me audience,--she", "Directed me this morning to the Tower,\nWhere Mary's secretaries, Nau and Curl,\nAre now confined as prisoners, for I wished\nOnce more to put their evidence to proof.", "It is a prudent policy in her\nTo bury you so deep! All England's youth\nWould rise at once in general mutiny,\nAnd not a sword lie quiet in its sheath:", "MARY.\n 'Tis true, I was deceived\nBy Hatton's crafty counsel:--he advised me,\nFor my own honor, and in confidence" ], [ "MARY.\n Unto her majesty\nOf England bear a sister's salutation;\nTell her that from the bottom of my heart", "[MARY collects herself, and begins to advance towards\n ELIZABETH, stops shuddering at half way: her action\n expresses the most violent internal struggle.", "MARY (who the whole time had leaned, almost fainting, on KENNEDY, rises\n now, and her eyes meet the steady, piercing look of ELIZABETH; she", "MARY.\nThis is too much!\n\nELIZABETH (laughing insultingly).\n You show us now, indeed,\nYour real face; till now 'twas but the mask.", "ELIZABETH.\nCan you deny your secret correspondence\nWith Mary?--that she sent and you received\nHer picture, that you gave her hopes of rescue?", "MARY.\n Oh! why should I deny it?\nYes, I confess, I cherished the fond hope;\nI thought myself the happy instrument", "MARY.\nAh! well I knew it.\n\nSHREWSBURY.\n What?\n\nPAULET.\n The queen approaches.", "MARY.\nI am the weak, she is the mighty one:\n'Tis well, my lord; let her, then, use her power;", "MARY (raising her voice).\n A bastard soils,\nProfanes the English throne! The generous Britons", "MARY.\nAlas! alas! what language must I hear!\nMy woe, my sufferings should be sacred to you,\nAlthough my royal brows are so no more.", "MARY.\nSir, you shall know its import. In this letter\nI beg a favor, a great favor of her,--\nThat she herself will give me audience,--she", "SCENE II.\n\n The same. Enter MARY, veiled, a crucifix in her hand.", "MARY.\n Thou may'st forget it, Hannah;\nBut I've a faithful memory--'tis this day\nAnother wretched anniversary", "MARY.\nPresumptuous man!", "MARY.\nOh! how shall I begin? Oh, how shall I\nSo artfully arrange my cautious words\nThat they may touch, yet not offend your heart?", "MARY.\n Lord Leicester will resolve it.\nConfide in him, and he'll confide in you.\nWho comes?", "MARY.\nBefore my God and thee, my heart lies open.\n\nMELVIL.\nWhat calls thee to the presence of the Highest?", "MARY.\n Lord Leicester.\n\nMORTIMER.\n He!\n\n [Starts back in wonder.", "MARY.\nI hope with dignity, as it becomes\nMy innocence, and my exalted station.\n\nBURLEIGH.\nI come deputed from the court of justice.", "MARY.\n Sir, I breathe\nThe air within an English prison walls:\nIs that to live in England; to enjoy" ], [ "MORTIMER.\nYou may depend upon it. How, my lord,\nSo scrupulous when help is offered you?\nYou wish to rescue Mary, and possess her;", "MORTIMER.\n Expect not that.\n\nMARY.\nOne man alone on earth can open them.\n\nMORTIMER.\nOh, let me know his name!", "MORTIMER.\n We have been absolved\nBeforehand; I may perpetrate the worst;\nI can, I will do so!\n\nMARY.\n Oh, dreadful, dreadful!", "MARY.\nWhat, sir! Your uncle? How! Your second father!\n\nMORTIMER.\nMust perish by my hand--I murder him!\n\nMARY.\nOh, bloody outrage!", "MORTIMER.\nAnd what is gained by this? When she discovers\nThat I am cheating her, that Mary lives;", "MORTIMER.\n And Mary hopes--\nShall I return to her with empty comfort?\n\nLEICESTER.\nBear her my vows of everlasting love.", "MARY.\nWill he do nothing for me?\n\nMORTIMER.\n Speak not of him.\nWhat can he do? What need have we of him?\nI will release you; I alone.", "MORTIMER.\nAnd should I be obliged to kill the queen,\nI've sworn upon the host, it must be done!\n\nMARY.\nNo, Mortimer; ere so much blood for me----", "MARY.\n Lord Leicester.\n\nMORTIMER.\n He!\n\n [Starts back in wonder.", "MARY.\nYou come in token of its wondrous power.\n\nMORTIMER.\nAllow me of myself to speak.\n\nMARY.\n Say on.", "MARY (after a pause).\nNo, Mortimer, vain fears have blinded you;\n'Tis but the honest care of your true heart,", "MARY.\n Away--you're mad!\n\nMORTIMER.\nI'll teach thee then before me, too, to tremble.", "MORTIMER.\nShe thinks on nothing now but present danger,\nNor looks to that which is so far removed.\n\nMARY.\nAnd fears she not the dread revenge of France?", "MORTIMER.\nBeloved queen! I could not set thee free;\nYet take a lesson from me how to die.\nMary, thou holy one, O! pray for me!\nAnd take me to thy heavenly home on high.", "MARY.\nMadman, avaunt!\n\nMORTIMER.\n To rest upon this bosom,\nTo press upon this passion-breathing mouth----", "MARY (with dignity).\nI charge thee, Hannah, go not hence--remain.\n\nMORTIMER.\nFear not, my gracious lady--learn to know me.", "MORTIMER.\nThis would I ask of you, my Lord of Leicester.\n\nLEICESTER.\nYou said you wished to speak with me in private.", "MORTIMER.\n I heard all--\n\n [Gives the nurse a sign to repair to her post,\n and draws nearer; his whole appearance expresses\n the utmost violence of passion.", "MORTIMER.\n Deceive yourself no more;\nThink not your case is now as formerly;\nThe moment that the queen thus quitted you,", "MORTIMER.\nThe queen! What queen?\n\nPAULET.\n What queen! The Queen of England;\nShe has been murdered on the road to London." ], [ "MARY (who the whole time had leaned, almost fainting, on KENNEDY, rises\n now, and her eyes meet the steady, piercing look of ELIZABETH; she", "[MARY collects herself, and begins to advance towards\n ELIZABETH, stops shuddering at half way: her action\n expresses the most violent internal struggle.", "MARY.\nAh! well I knew it.\n\nSHREWSBURY.\n What?\n\nPAULET.\n The queen approaches.", "MARY.\n Unto her majesty\nOf England bear a sister's salutation;\nTell her that from the bottom of my heart", "MARY.\nThis is too much!\n\nELIZABETH (laughing insultingly).\n You show us now, indeed,\nYour real face; till now 'twas but the mask.", "MARY.\n Oh! why should I deny it?\nYes, I confess, I cherished the fond hope;\nI thought myself the happy instrument", "[She turns suddenly from them; all but MELVIL\n retire at different sides.\n\n\n\nSCENE VII.\n\n MARY, MELVIL.", "this sight MARY trembles, her knees fail her, she is\n about to fall, when LEICESTER catches at her, and\n receives her in his arms; she regards him for some", "MARY.\n Lord Leicester.\n\nMORTIMER.\n He!\n\n [Starts back in wonder.", "SCENE II.\n\n The same. Enter MARY, veiled, a crucifix in her hand.", "MARY (with quiet majesty, looking round the whole circle).\nWhy these complaints? Why weep ye? Ye should rather\nRejoice with me, that now at length the end", "MARY.\nSir, you shall know its import. In this letter\nI beg a favor, a great favor of her,--\nThat she herself will give me audience,--she", "ELIZABETH.\nCan you deny your secret correspondence\nWith Mary?--that she sent and you received\nHer picture, that you gave her hopes of rescue?", "MARY.\nI hope with dignity, as it becomes\nMy innocence, and my exalted station.\n\nBURLEIGH.\nI come deputed from the court of justice.", "MARY.\n I now\nHave nothing in this world to wish for more.\n\n [She takes the crucifix, and kisses it.", "MARY.\nBefore my God and thee, my heart lies open.\n\nMELVIL.\nWhat calls thee to the presence of the Highest?", "MARY (still quite beside herself).\n Gone hence in wrath!\nShe carries death within her heart! I know it.\n\n [Falling on KENNEDY'S bosom.", "MARY (with dignity).\nI charge thee, Hannah, go not hence--remain.\n\nMORTIMER.\nFear not, my gracious lady--learn to know me.", "MARY.\n Lord Leicester will resolve it.\nConfide in him, and he'll confide in you.\nWho comes?", "MARY.\nYou come in token of its wondrous power.\n\nMORTIMER.\nAllow me of myself to speak.\n\nMARY.\n Say on." ], [ "MORTIMER.\nYou may depend upon it. How, my lord,\nSo scrupulous when help is offered you?\nYou wish to rescue Mary, and possess her;", "MORTIMER.\nAnd what were then the plans which you had framed?\nWhat have you done then to deliver her?\nAnd how, if I were miscreant enough", "MORTIMER.\nOur time is brief: each moment I expect\nMy uncle, whom a hated man attends;\nHear, then, before his terrible commission\nSurprises you, how heaven prepares your rescue.", "MARY.\nWill he do nothing for me?\n\nMORTIMER.\n Speak not of him.\nWhat can he do? What need have we of him?\nI will release you; I alone.", "MORTIMER.\n We have been absolved\nBeforehand; I may perpetrate the worst;\nI can, I will do so!\n\nMARY.\n Oh, dreadful, dreadful!", "MORTIMER.\nFear not; our plan was laid without your help,\nWithout your help it would have been accomplished,\nHad she not signified her resolution\nTo owe her liberty to you alone.", "MORTIMER.\n Expect not that.\n\nMARY.\nOne man alone on earth can open them.\n\nMORTIMER.\nOh, let me know his name!", "MORTIMER.\nAnd what is gained by this? When she discovers\nThat I am cheating her, that Mary lives;", "MORTIMER.\nAnd should I be obliged to kill the queen,\nI've sworn upon the host, it must be done!\n\nMARY.\nNo, Mortimer; ere so much blood for me----", "MORTIMER.\n You will not hear me, then!\nI came to warn you; you too are detected.\n\nLEICESTER.\nHow! What?", "MORTIMER.\n Lord Burleigh went to Fotheringay\nJust as the luckless deed had been attempted;\nSearched with strict scrutiny the queen's apartments,\nAnd found there----", "MORTIMER.\n I heard all--\n\n [Gives the nurse a sign to repair to her post,\n and draws nearer; his whole appearance expresses\n the utmost violence of passion.", "MORTIMER.\n My lord,\nToo hazardous for you, who would possess her;\nBut we, who only wish to rescue her,\nWe are more bold.", "MORTIMER.\nImprove the moment; be beforehand with him,\nAnd save yourself--save her! An oath can clear", "But her deliverer, which made her tremble.\nFreedom was promised us; this very night\nHad Mortimer engaged to bear us hence:", "MORTIMER.\n The coward loves his life.\nWhoe'er would rescue you, and call you his,\nMust boldly dare affront e'en death itself!", "Not to discover Mortimer was false?\nThat he, the Guise's tool, and Mary's creature,\nA raging papist, daring fanatic,", "MARY.\nWhat, sir! Your uncle? How! Your second father!\n\nMORTIMER.\nMust perish by my hand--I murder him!\n\nMARY.\nOh, bloody outrage!", "MORTIMER.\nBut you attempted nothing for her rescue.\nYou let her be condemned without a word:\nYou gave, yourself, your verdict for her death;", "MORTIMER (who has watched him closely the whole tine).\n Now, my lord, I can believe you.\n\nLEICESTER (having hastily run through the letter).\nYou know the purport of this letter, sir." ], [ "ELIZABETH.\nOh, she shall pay me for it with her life!\nIs the death-warrant ready?\n\nBURLEIGH.\n 'Tis prepared\nAs you commanded.", "The law of England, not the monarch's will,\nCondemns the Queen of Scotland, and 'twere worthy\nOf the great soul of Queen Elizabeth,", "Or for the benefit of any claimant\nTo England's crown, that justice should be done\nOn such pretender, and the guilty party\nBe prosecuted unto death.\" Now, since", "Her death with firmness. She it is, my friend,\nWho will exhibit the undaunted heart.\nOh! trust me, Mary Stuart will expire\nAs best becomes a heroine and queen!", "MARY.\nWhen did I that, my lord? Let them produce\nThe documents.\n\nBURLEIGH.\n You have already seen them\nThey were before the court, presented to you.", "That the queen's welfare asks this bloody victim.\n'Tis my proposal, therefore, that the writ\nBe drawn at once to fix the execution.", "ELIZABETH.\nLord Burleigh shall partake this duty with you.\n\n [To BURLEIGH.\n\nSo be the warrant instantly prepared.", "PAULET (to MARY).\nYou wished to-day assurance of your fate;\nMy Lord of Burleigh brings it to you now;\nHear it with resignation, as beseems you.", "MARY.\n I but name\nMy enemy: I said not that I hate him.]\nBut to the matter, sir.\n\nBURLEIGH.\n You have acknowledged\nThe jurisdiction of the two-and-forty.", "LEICESTER.\n She must die;\nI now myself consent unto her death.\nI formerly advised you to suspend\nThe sentence, till some arm should rise anew\nOn her behalf; the case has happened now,\nAnd I demand her instant execution.", "MORTIMER.\nSo I pretended, that I must confess;\nSuch was my anxious wish to serve my queen.\n\nELIZABETH (to PAULET, who presents papers to her).\nWhat have you there?", "ELIZABETH.\nCan you deny your secret correspondence\nWith Mary?--that she sent and you received\nHer picture, that you gave her hopes of rescue?", "Of Lords and Commons, with the citizens\nOf London, eagerly and urgently\nDemand the execution of the sentence:--\nThe queen alone still craftily delays,", "ELIZABETH.\n Yes, sir; if you could\nBut waken me some morning with this news\n\"Maria Stuart, your bloodthirsty foe,\nBreathed yesternight her last\"----", "BURLEIGH.\n Sir; let the death-warrant\nBe instantly made out, and pass the seal;\nThen let it be presented to the queen;", "MARY.\n Lord Burleigh, I can well\nImagine that a law expressly aimed\nAt me, and framed to compass my destruction", "ELIZABETH.\nAnd dared you then to execute the writ\nThus hastily, nor wait to know my pleasure?\nJust was the sentence--we are free from blame", "MARY.\n'Tis true that I have called upon all princes\nTo free me from unworthy chains; yet 'tis\nAs true that, neither by intent or deed,\nHave I attempted my oppressor's life.", "LEICESTER.\nDid the queen give you, then, this bloody order?\n\nMORTIMER.\nShe was deceived in me, as Mary is in you.", "ELIZABETH.\n Well then, thou wretch!\n\nBURLEIGH.\nHis own words sentence him----" ], [ "MARY.\n'Tis true that I have called upon all princes\nTo free me from unworthy chains; yet 'tis\nAs true that, neither by intent or deed,\nHave I attempted my oppressor's life.", "Her death with firmness. She it is, my friend,\nWho will exhibit the undaunted heart.\nOh! trust me, Mary Stuart will expire\nAs best becomes a heroine and queen!", "MARY.\nWill she then dare, regardless of the shame,\nLay my crowned head upon the fatal block?\n\nMORTIMER.\nShe will most surely dare it, doubt it not.", "Before the murdered, the beheaded Mary.\nShe will arise, and quit her grave, will range\nA fiend of discord, an avenging ghost,", "MARY (still quite beside herself).\n Gone hence in wrath!\nShe carries death within her heart! I know it.\n\n [Falling on KENNEDY'S bosom.", "MARY.\nAnd on my menials' testimony, then,\nI am condemned; upon the word of those\nWho have betrayed me, me, their rightful queen!", "MARY.\nA bloody crime, indeed of ancient date,\nAnd long ago confessed; yet with new terrors.\nIt now attacks me, black and grisly steps", "MARY.\nI am prepared to meet eternity;\nWithin the narrow limits of an hour\nI shall appear before my Judge's throne.\nBut, I repeat it, my confession's ended.", "MORTIMER.\nAnd should I be obliged to kill the queen,\nI've sworn upon the host, it must be done!\n\nMARY.\nNo, Mortimer; ere so much blood for me----", "MARY.\n And bloodily,\nI fear, too soon 'twill be avenged on me:\nYou seek to comfort me, and you condemn me.", "With frantic force, and cried into the street\nSo loud that all the people gathered round:\nI am the man, Queen Mary's secretary,\nThe traitor who accused his mistress falsely;", "Of Lords and Commons, with the citizens\nOf London, eagerly and urgently\nDemand the execution of the sentence:--\nThe queen alone still craftily delays,", "Beset thee; that the Catholics have sworn\nTo rescue from her prison Mary Stuart,\nAnd to proclaim her queen. Thy loyal people", "MARY.\nWhat ails thee, Hannah? Yes, my hour is come.\nThe sheriff comes to lead me to my fate,\nAnd part we must. Farewell!", "MARY.\nAnd Drury, Paulet, my two keepers, they\nWould sooner spill their dearest drop of blood.\n\nMORTIMER.\nThey fall the very first beneath my steel.", "MARY.\nThis long-atoned crime arises fresh\nAnd bleeding from its lightly-covered grave;\nMy husband's restless spirit seeks revenge;\nNo sacred bell can exorcise, no host\nIn priestly hands dismiss it to his tomb.", "MARY.\nI have abased her before Leicester's eyes;\nHe saw it, he was witness of my triumph.\nHow did I hurl her from her haughty height,\nHe saw it, and his presence strengthened me.", "MARY (collected).\nSir, I am not surprised, nor terrified.\nI have been long prepared for such a message.\nToo well I know my judges. After all", "MARY.\n Lord Burleigh, I can well\nImagine that a law expressly aimed\nAt me, and framed to compass my destruction", "MARY.\nWhen did I that, my lord? Let them produce\nThe documents.\n\nBURLEIGH.\n You have already seen them\nThey were before the court, presented to you." ], [ "MARY.\nI, in the letter, beg another favor,\nAnd surely naught but inhumanity\nCan here reject my prayer. These many years", "With frantic force, and cried into the street\nSo loud that all the people gathered round:\nI am the man, Queen Mary's secretary,\nThe traitor who accused his mistress falsely;", "MARY.\n'Tis true that I have called upon all princes\nTo free me from unworthy chains; yet 'tis\nAs true that, neither by intent or deed,\nHave I attempted my oppressor's life.", "MARY.\nIf I am to be saved at all, 'twill be\nThrough him, and him alone. Go to him, sir;\nFreely confide in him: and, as a proof\nYou come from me, present this paper to him.", "MARY.\n Oh! why should I deny it?\nYes, I confess, I cherished the fond hope;\nI thought myself the happy instrument", "MARY.\nO Hannah! save me, save me from his hands.\nWhere shall I find, poor sufferer, an asylum?\nOh! to what saint shall I address my prayers?\nHere force assails me, and within is murder!", "MARY.\n And bloodily,\nI fear, too soon 'twill be avenged on me:\nYou seek to comfort me, and you condemn me.", "MARY (seizing his hand).\nOh, Talbot! you have ever been my friend,\nHad I but stayed beneath your kindly care!\nThey have, indeed, misused me, Shrewsbury.", "MARY.\nAm I condemned?\n\nPAULET.\n I cannot answer, lady.\n\nMARY.\n[Sir, a good work fears not the light of day.", "MARY.\nThis long-atoned crime arises fresh\nAnd bleeding from its lightly-covered grave;\nMy husband's restless spirit seeks revenge;\nNo sacred bell can exorcise, no host\nIn priestly hands dismiss it to his tomb.", "MARY.\nShe shall not weep, my lord; she shall not moan;\nI answer for my Hannah's resolution;\nBe merciful; divide me not so soon", "But in your turn be merciful, my sister;\n [She kneels.\nLet me not lie before you thus disgraced;\nStretch forth your hand, your royal hand, to raise", "[He presses her violently to his bosom.\n\nMARY.\nOh, must I call for help against the man\nWho would deliver me!", "MARY (still quite beside herself).\n Gone hence in wrath!\nShe carries death within her heart! I know it.\n\n [Falling on KENNEDY'S bosom.", "MARY.\nI humbly do acknowledge to have erred\nMost grievously, I tremble to approach,\nSullied with sin, the God of purity.", "MARY.\nWill he do nothing for me?\n\nMORTIMER.\n Speak not of him.\nWhat can he do? What need have we of him?\nI will release you; I alone.", "MARY.\nA bloody crime, indeed of ancient date,\nAnd long ago confessed; yet with new terrors.\nIt now attacks me, black and grisly steps", "MARY.\nSir, satisfy, I beg you, my impatience;\nWhat says his lordship? Say, sir, may I hope?", "MARY.\n My sentence then!\nIt is pronounced? Speak freely--I can bear it.", "MARY (starting angrily).\n Sister, sister!--\nGrant me forbearance, all ye powers of heaven!" ], [ "MARY (who the whole time had leaned, almost fainting, on KENNEDY, rises\n now, and her eyes meet the steady, piercing look of ELIZABETH; she", "MARY (still quite beside herself).\n Gone hence in wrath!\nShe carries death within her heart! I know it.\n\n [Falling on KENNEDY'S bosom.", "MARY.\n Oh! why should I deny it?\nYes, I confess, I cherished the fond hope;\nI thought myself the happy instrument", "[MARY collects herself, and begins to advance towards\n ELIZABETH, stops shuddering at half way: her action\n expresses the most violent internal struggle.", "MARY.\nThis long-atoned crime arises fresh\nAnd bleeding from its lightly-covered grave;\nMy husband's restless spirit seeks revenge;\nNo sacred bell can exorcise, no host\nIn priestly hands dismiss it to his tomb.", "MARY.\nI am prepared to meet eternity;\nWithin the narrow limits of an hour\nI shall appear before my Judge's throne.\nBut, I repeat it, my confession's ended.", "MARY.\n And bloodily,\nI fear, too soon 'twill be avenged on me:\nYou seek to comfort me, and you condemn me.", "With frantic force, and cried into the street\nSo loud that all the people gathered round:\nI am the man, Queen Mary's secretary,\nThe traitor who accused his mistress falsely;", "MARY.\nIt was the hardest trial I have passed;\nThis last of earthly bonds is torn asunder.\n\nMELVIL.\nWhat other sin disturbs thy guilty conscience?", "MARY.\nThis is too much!\n\nELIZABETH (laughing insultingly).\n You show us now, indeed,\nYour real face; till now 'twas but the mask.", "MARY.\nA bloody crime, indeed of ancient date,\nAnd long ago confessed; yet with new terrors.\nIt now attacks me, black and grisly steps", "ELIZABETH.\nWhat I should say I know not. I believe you,\nAnd I believe you not. I think you guilty,\nAnd yet I think you not. A curse on her\nWho caused me all this anguish.", "MARY.\n 'Tis true, I was deceived\nBy Hatton's crafty counsel:--he advised me,\nFor my own honor, and in confidence", "MARY.\n Thou may'st forget it, Hannah;\nBut I've a faithful memory--'tis this day\nAnother wretched anniversary", "MARY (seizing his hand).\nOh, Talbot! you have ever been my friend,\nHad I but stayed beneath your kindly care!\nThey have, indeed, misused me, Shrewsbury.", "ELIZABETH.\n Oh, I die\nFor shame! How must he laugh to scorn my weakness!\nI thought to humble her, and was myself\nThe object of her bitter scorn.", "MARY.\n My sentence then!\nIt is pronounced? Speak freely--I can bear it.", "MARY.\n I now\nHave nothing in this world to wish for more.\n\n [She takes the crucifix, and kisses it.", "MARY.\nWhat ails thee, Hannah? Yes, my hour is come.\nThe sheriff comes to lead me to my fate,\nAnd part we must. Farewell!", "MARY.\nAnd on my menials' testimony, then,\nI am condemned; upon the word of those\nWho have betrayed me, me, their rightful queen!" ], [ "If Mary Stuart should ascend the throne.", "Beset thee; that the Catholics have sworn\nTo rescue from her prison Mary Stuart,\nAnd to proclaim her queen. Thy loyal people", "MARY (raising her voice).\n A bastard soils,\nProfanes the English throne! The generous Britons", "That she lays claim to England? that the Guises\nWill not acknowledge thee as queen?\n[Did then Thy people's loyal fealty await", "For England's quiet, and they sit in judgment\nOn me, the Queen of Scotland, and the papist.\nIt is an ancient saying, that the Scots", "To place upon the brows of him, the dearest\nOf men to me, the royal crown of England.\nThe Queen of Scotland was allowed to make\nHer hand the token of her inclination;", "By which my father cast disgrace upon me:\nIn vain with princely virtues would I hide it;\nThe envious hatred of my enemies\nUncovers it, and places Mary Stuart,", "And gravely occupy our statesmen's minds.\nAstonishment possesses me, I own,\nTo think this lackland Queen of Scotland, she", "The law of England, not the monarch's will,\nCondemns the Queen of Scotland, and 'twere worthy\nOf the great soul of Queen Elizabeth,", "O'KELLY.\nTrue, true--oh! save yourself.\n\nMORTIMER (exultingly).\n The queen is murdered--\nAnd Mary shall ascend the English throne!", "MELVIL (making over her the sign of the cross).\nHear, Mary, Queen of Scotland:--in the name\nOf God the Father, Son, and Holy Ghost,", "ELIZABETH (exultingly).\n I am Queen of England!\n\n [Walking up and down in the greatest agitation.", "MORTIMER.\nWith France she makes an everlasting peace;\nAnd gives to Anjou's duke her throne and hand.\n\nMARY.\nWill not the King of Spain rise up in arms?", "MARY.\nAh! well I knew it.\n\nSHREWSBURY.\n What?\n\nPAULET.\n The queen approaches.", "Her death with firmness. She it is, my friend,\nWho will exhibit the undaunted heart.\nOh! trust me, Mary Stuart will expire\nAs best becomes a heroine and queen!", "MARY.\nLord Burleigh brings it; therefore do I know it.\n\nPAULET.\n[It would become you better, Lady Stuart,\nTo listen less to hatred.", "Or for the benefit of any claimant\nTo England's crown, that justice should be done\nOn such pretender, and the guilty party\nBe prosecuted unto death.\" Now, since", "Who could not save her own poor throne, the jest\nOf her own vassals, and her country's refuse,\n[Who in her fairest days of freedom, was", "BURLEIGH.\n Here it is.\n\nLEICESTER (running over the letter without losing his presence of mind).\n'Tis Mary Stuart's hand----", "To England's throne has been your only wrong,\nThis realm is justly yours by heritage,\nIn which you innocently pine as prisoner." ], [ "MORTIMER.\n We have been absolved\nBeforehand; I may perpetrate the worst;\nI can, I will do so!\n\nMARY.\n Oh, dreadful, dreadful!", "MORTIMER.\nAnd what is gained by this? When she discovers\nThat I am cheating her, that Mary lives;", "MORTIMER.\nAnd what were then the plans which you had framed?\nWhat have you done then to deliver her?\nAnd how, if I were miscreant enough", "MARY.\nWill he do nothing for me?\n\nMORTIMER.\n Speak not of him.\nWhat can he do? What need have we of him?\nI will release you; I alone.", "MORTIMER.\nYou may depend upon it. How, my lord,\nSo scrupulous when help is offered you?\nYou wish to rescue Mary, and possess her;", "MORTIMER.\n You will not hear me, then!\nI came to warn you; you too are detected.\n\nLEICESTER.\nHow! What?", "MORTIMER.\nFear not; our plan was laid without your help,\nWithout your help it would have been accomplished,\nHad she not signified her resolution\nTo owe her liberty to you alone.", "MORTIMER.\n Lord Burleigh went to Fotheringay\nJust as the luckless deed had been attempted;\nSearched with strict scrutiny the queen's apartments,\nAnd found there----", "MORTIMER.\n Expect not that.\n\nMARY.\nOne man alone on earth can open them.\n\nMORTIMER.\nOh, let me know his name!", "MORTIMER.\nAnd should I be obliged to kill the queen,\nI've sworn upon the host, it must be done!\n\nMARY.\nNo, Mortimer; ere so much blood for me----", "But her deliverer, which made her tremble.\nFreedom was promised us; this very night\nHad Mortimer engaged to bear us hence:", "MORTIMER (who has watched him closely the whole tine).\n Now, my lord, I can believe you.\n\nLEICESTER (having hastily run through the letter).\nYou know the purport of this letter, sir.", "MORTIMER.\nBeloved queen! I could not set thee free;\nYet take a lesson from me how to die.\nMary, thou holy one, O! pray for me!\nAnd take me to thy heavenly home on high.", "MARY.\nAnd Drury, Paulet, my two keepers, they\nWould sooner spill their dearest drop of blood.\n\nMORTIMER.\nThey fall the very first beneath my steel.", "Not to discover Mortimer was false?\nThat he, the Guise's tool, and Mary's creature,\nA raging papist, daring fanatic,", "MARY.\nWhat, sir! Your uncle? How! Your second father!\n\nMORTIMER.\nMust perish by my hand--I murder him!\n\nMARY.\nOh, bloody outrage!", "MORTIMER.\nOur time is brief: each moment I expect\nMy uncle, whom a hated man attends;\nHear, then, before his terrible commission\nSurprises you, how heaven prepares your rescue.", "MARY.\n Lord Leicester.\n\nMORTIMER.\n He!\n\n [Starts back in wonder.", "MORTIMER.\n I heard all--\n\n [Gives the nurse a sign to repair to her post,\n and draws nearer; his whole appearance expresses\n the utmost violence of passion.", "MORTIMER.\nShe thinks on nothing now but present danger,\nNor looks to that which is so far removed.\n\nMARY.\nAnd fears she not the dread revenge of France?" ], [ "SHREWSBURY.\nNo one attends her but the Earl of Leicester.\n\nMARY.\nLord Leicester?", "With frantic force, and cried into the street\nSo loud that all the people gathered round:\nI am the man, Queen Mary's secretary,\nThe traitor who accused his mistress falsely;", "MARY.\nLord Burleigh brings it; therefore do I know it.\n\nPAULET.\n[It would become you better, Lady Stuart,\nTo listen less to hatred.", "MARY.\nWhen did I that, my lord? Let them produce\nThe documents.\n\nBURLEIGH.\n You have already seen them\nThey were before the court, presented to you.", "MARY (after a pause).\nSir, nothing can surprise me which a court\nInspired by Burleigh's hate and Hatton's zeal,", "MARY.\nLord Burleigh lends that court his willing tongue,\nWhich was already guided by his spirit.\n\nPAULET.\nYou speak as if no stranger to the sentence.", "PAULET (to MARY).\nYou wished to-day assurance of your fate;\nMy Lord of Burleigh brings it to you now;\nHear it with resignation, as beseems you.", "MARY.\nAh! well I knew it.\n\nSHREWSBURY.\n What?\n\nPAULET.\n The queen approaches.", "MARY.\n Unto her majesty\nOf England bear a sister's salutation;\nTell her that from the bottom of my heart", "MARY.\n Well I know him--\nIt is the bleeding Darnley's royal shade,\nRising in anger from his darksome grave\nAnd never will he make his peace with me\nUntil the measures of my woes be full.", "MARY.\nSir, you shall know its import. In this letter\nI beg a favor, a great favor of her,--\nThat she herself will give me audience,--she", "MARY.\n Lord Burleigh, I can well\nImagine that a law expressly aimed\nAt me, and framed to compass my destruction", "MARY.\nAnd these men are my judges?\n [As LORD BURLEIGH seems to wish to speak.\n My lord treasurer,", "MARY.\n How, my lord;\nCan you deny me, then, this small petition?\nRespect my sex; who shall attend me else,", "Beset thee; that the Catholics have sworn\nTo rescue from her prison Mary Stuart,\nAnd to proclaim her queen. Thy loyal people", "ELIZABETH.\nOh, pity me, my Dudley; do not blame me;\nI cannot ask my heart. Oh, that had chosen", "PAULET.\n 'Tis from the Queen of Scots.\n'Tis a petition, and to thee addressed.\n\nBURLEIGH (hastily catching at it).\nGive me the paper.", "MARY.\n Oh! why should I deny it?\nYes, I confess, I cherished the fond hope;\nI thought myself the happy instrument", "MARY.\n'Tis true that I have called upon all princes\nTo free me from unworthy chains; yet 'tis\nAs true that, neither by intent or deed,\nHave I attempted my oppressor's life.", "MARY.\n Lord Leicester will resolve it.\nConfide in him, and he'll confide in you.\nWho comes?" ], [ "BURLEIGH.\n No, my queen;\nFrom Davison.\n\nELIZABETH.\n And did he in my name\nDeliver it?", "[SHREWSBURY hides his face. DAVIDSON wrings his hands in despair.\n\nELIZABETH.\n Speak, my lord; did you\nFrom me receive the warrant?", "DAVISON (approaches earnestly).\n Your orders are obeyed,\nMy queen----\n\nELIZABETH.\n What orders, sir?", "DAVISON.\n She has quitted me\nIn bitter anger. Oh, advise me, help me,\nSave me from this fell agony of doubt!\nMy lord, here is the warrant: it is signed!", "PAULET.\n 'Tis from the Queen of Scots.\n'Tis a petition, and to thee addressed.\n\nBURLEIGH (hastily catching at it).\nGive me the paper.", "ELIZABETH.\n Why this pause,\nThis hesitation? Where, sir, is the paper?\n\nDAVISON.\nI am undone! Undone! My fate is sealed!", "DAVISON.\nShe goes! She leaves me doubting and perplexed\nWith this dread paper! How to act I know not;\nShould I retain it, should I forward it?\n\n [To BURLEIGH, who enters.", "ELIZABETH.\nLord Burleigh shall partake this duty with you.\n\n [To BURLEIGH.\n\nSo be the warrant instantly prepared.", "DAVISON.\nYou have declared it, say you? Oh, my queen,\nYou have said nothing. Please, my gracious mistress,\nBut to remember----", "ELIZABETH (more urgent).\nWhich yesterday I gave into your charge.\n\nDAVISON.\nInto my charge, my liege!", "MORTIMER.\nSo I pretended, that I must confess;\nSuch was my anxious wish to serve my queen.\n\nELIZABETH (to PAULET, who presents papers to her).\nWhat have you there?", "ELIZABETH.\nThe sentence, sir, which I but late intrusted\nUnto your keeping; where is it?\n\nDAVISON (in the utmost astonishment).\n The sentence!", "ELIZABETH.\nOh, she shall pay me for it with her life!\nIs the death-warrant ready?\n\nBURLEIGH.\n 'Tis prepared\nAs you commanded.", "DAVISON.\nIt costs you but a word--determine then\nWhat shall I do with this mysterious scroll?\n\nELIZABETH.\nI have declared it, plague me, sir, no longer.", "DAVISON.\n She has not yet explained her final will.\n\nBURLEIGH.\nExplained! She has subscribed it;--give it to me.", "BURLEIGH.\n Here it is.\n\nLEICESTER (running over the letter without losing his presence of mind).\n'Tis Mary Stuart's hand----", "DAVISON.\nThis fear appears superfluous; she goes\nInto the bridal chamber; Mary Stuart\nEnters the gates of death.\n\nKENT.\n The queen approaches.", "ELIZABETH.\n I will never see him;\nNo never, never more. Are orders given\nNot to admit him should he come?\n\nBURLEIGH.\n 'Tis done.", "ELIZABETH.\nAt your own risk; you answer the event.\n\nDAVISON.\nI! gracious heavens! Oh, speak, my queen, your pleasure!", "ELIZABETH (exultingly).\n I am Queen of England!\n\n [Walking up and down in the greatest agitation." ], [ "ELIZABETH, Queen of England.\nMARY STUART, Queen of Scots, a Prisoner in England.\nROBERT DUDLEY, Earl of Leicester.", "Beset thee; that the Catholics have sworn\nTo rescue from her prison Mary Stuart,\nAnd to proclaim her queen. Thy loyal people", "MARY.\nAh! well I knew it.\n\nSHREWSBURY.\n What?\n\nPAULET.\n The queen approaches.", "By which my father cast disgrace upon me:\nIn vain with princely virtues would I hide it;\nThe envious hatred of my enemies\nUncovers it, and places Mary Stuart,", "If Mary Stuart should ascend the throne.", "ELIZABETH.\n Yes, sir; if you could\nBut waken me some morning with this news\n\"Maria Stuart, your bloodthirsty foe,\nBreathed yesternight her last\"----", "ELIZABETH.\nCan you deny your secret correspondence\nWith Mary?--that she sent and you received\nHer picture, that you gave her hopes of rescue?", "For England's quiet, and they sit in judgment\nOn me, the Queen of Scotland, and the papist.\nIt is an ancient saying, that the Scots", "PAULET.\nThe queen is hunting in the neighborhood----\n\nMARY.\n What!\n\nPAULET.\nIn a few moments she'll appear before you.", "The law of England, not the monarch's will,\nCondemns the Queen of Scotland, and 'twere worthy\nOf the great soul of Queen Elizabeth,", "ELIZABETH (exultingly).\n I am Queen of England!\n\n [Walking up and down in the greatest agitation.", "MARY.\nLord Burleigh brings it; therefore do I know it.\n\nPAULET.\n[It would become you better, Lady Stuart,\nTo listen less to hatred.", "MARY.\n Unto her majesty\nOf England bear a sister's salutation;\nTell her that from the bottom of my heart", "BURLEIGH.\n Here it is.\n\nLEICESTER (running over the letter without losing his presence of mind).\n'Tis Mary Stuart's hand----", "LEICESTER.\nDid the queen give you, then, this bloody order?\n\nMORTIMER.\nShe was deceived in me, as Mary is in you.", "MARY STUART.\n\n A TRAGEDY.\n\n By Frederich Schiller", "LEICESTER.\n I placed in thought\nYou and Maria Stuart side by side.\nYes! I confess I oft have felt a wish,", "MELVIL (making over her the sign of the cross).\nHear, Mary, Queen of Scotland:--in the name\nOf God the Father, Son, and Holy Ghost,", "MARY (after a pause).\nSir, nothing can surprise me which a court\nInspired by Burleigh's hate and Hatton's zeal,", "DAVISON.\nThis fear appears superfluous; she goes\nInto the bridal chamber; Mary Stuart\nEnters the gates of death.\n\nKENT.\n The queen approaches." ], [ "ELIZABETH.\nLord Burleigh shall partake this duty with you.\n\n [To BURLEIGH.\n\nSo be the warrant instantly prepared.", "MARY (after a pause).\nSir, nothing can surprise me which a court\nInspired by Burleigh's hate and Hatton's zeal,", "MARY.\nLord Burleigh lends that court his willing tongue,\nWhich was already guided by his spirit.\n\nPAULET.\nYou speak as if no stranger to the sentence.", "PAULET (to MARY).\nYou wished to-day assurance of your fate;\nMy Lord of Burleigh brings it to you now;\nHear it with resignation, as beseems you.", "PAULET.\n 'Tis from the Queen of Scots.\n'Tis a petition, and to thee addressed.\n\nBURLEIGH (hastily catching at it).\nGive me the paper.", "ELIZABETH.\nOh, she shall pay me for it with her life!\nIs the death-warrant ready?\n\nBURLEIGH.\n 'Tis prepared\nAs you commanded.", "MORTIMER.\nSo I pretended, that I must confess;\nSuch was my anxious wish to serve my queen.\n\nELIZABETH (to PAULET, who presents papers to her).\nWhat have you there?", "MARY.\nWhen did I that, my lord? Let them produce\nThe documents.\n\nBURLEIGH.\n You have already seen them\nThey were before the court, presented to you.", "BURLEIGH.\nYou were the man who knew, behind my back,\nTo lure the queen to Fotheringay Castle.\n\nLEICESTER.\nBehind your back! When did I fear to act\nBefore your face?", "With frantic force, and cried into the street\nSo loud that all the people gathered round:\nI am the man, Queen Mary's secretary,\nThe traitor who accused his mistress falsely;", "Beset thee; that the Catholics have sworn\nTo rescue from her prison Mary Stuart,\nAnd to proclaim her queen. Thy loyal people", "MARY.\nLord Burleigh brings it; therefore do I know it.\n\nPAULET.\n[It would become you better, Lady Stuart,\nTo listen less to hatred.", "BURLEIGH.\n Here it is.\n\nLEICESTER (running over the letter without losing his presence of mind).\n'Tis Mary Stuart's hand----", "MARY.\nAh! well I knew it.\n\nSHREWSBURY.\n What?\n\nPAULET.\n The queen approaches.", "Her death with firmness. She it is, my friend,\nWho will exhibit the undaunted heart.\nOh! trust me, Mary Stuart will expire\nAs best becomes a heroine and queen!", "MORTIMER.\n It is Lord Burleigh.\nCollect yourself, my queen, and strive to hear\nThe news he brings with equanimity.", "BURLEIGH.\n Sir; let the death-warrant\nBe instantly made out, and pass the seal;\nThen let it be presented to the queen;", "Of Lords and Commons, with the citizens\nOf London, eagerly and urgently\nDemand the execution of the sentence:--\nThe queen alone still craftily delays,", "SIR WILLIAM DAVISON, Secretary of State.\nSIR AMIAS PAULET, Keeper of MARY.\nSIR EDWARD MORTIMER, his Nephew.", "MARY.\n I but name\nMy enemy: I said not that I hate him.]\nBut to the matter, sir.\n\nBURLEIGH.\n You have acknowledged\nThe jurisdiction of the two-and-forty." ], [ "By which my father cast disgrace upon me:\nIn vain with princely virtues would I hide it;\nThe envious hatred of my enemies\nUncovers it, and places Mary Stuart,", "With frantic force, and cried into the street\nSo loud that all the people gathered round:\nI am the man, Queen Mary's secretary,\nThe traitor who accused his mistress falsely;", "MARY.\n Well I know him--\nIt is the bleeding Darnley's royal shade,\nRising in anger from his darksome grave\nAnd never will he make his peace with me\nUntil the measures of my woes be full.", "MARY STUART.\n\n A TRAGEDY.\n\n By Frederich Schiller", "Beset thee; that the Catholics have sworn\nTo rescue from her prison Mary Stuart,\nAnd to proclaim her queen. Thy loyal people", "Was come to free the Stuart, and to murder\nThe Queen of England!", "BURLEIGH.\n Here it is.\n\nLEICESTER (running over the letter without losing his presence of mind).\n'Tis Mary Stuart's hand----", "MARY.\nLord Burleigh brings it; therefore do I know it.\n\nPAULET.\n[It would become you better, Lady Stuart,\nTo listen less to hatred.", "Her death with firmness. She it is, my friend,\nWho will exhibit the undaunted heart.\nOh! trust me, Mary Stuart will expire\nAs best becomes a heroine and queen!", "If Mary Stuart should ascend the throne.", "O'KELLY.\nTrue, true--oh! save yourself.\n\nMORTIMER (exultingly).\n The queen is murdered--\nAnd Mary shall ascend the English throne!", "MARY (raising her voice).\n A bastard soils,\nProfanes the English throne! The generous Britons", "ELIZABETH.\n Yes, sir; if you could\nBut waken me some morning with this news\n\"Maria Stuart, your bloodthirsty foe,\nBreathed yesternight her last\"----", "MARY.\nA bloody crime, indeed of ancient date,\nAnd long ago confessed; yet with new terrors.\nIt now attacks me, black and grisly steps", "GUTENBERG EBOOK MARY STUART ***\n\n\n\n\nProduced by Tapio Riikonen and David Widger", "MARY.\n'Tis true that I have called upon all princes\nTo free me from unworthy chains; yet 'tis\nAs true that, neither by intent or deed,\nHave I attempted my oppressor's life.", "ELIZABETH, Queen of England.\nMARY STUART, Queen of Scots, a Prisoner in England.\nROBERT DUDLEY, Earl of Leicester.", "MORTIMER.\nAnd should I be obliged to kill the queen,\nI've sworn upon the host, it must be done!\n\nMARY.\nNo, Mortimer; ere so much blood for me----", "MARY (after a pause).\nSir, nothing can surprise me which a court\nInspired by Burleigh's hate and Hatton's zeal,", "Before your eyes he had your favorite singer,\nPoor Rizzio, murdered; you did but avenge\nWith blood the bloody deed----" ] ]

[ "Who is Davison?", "Who is Elizabeth?", "Who is Mortimer supposed to give Mary's letter to?", "Who eventually signs Mary's death warrant?", "The story concludes with which character standing alone?", "Where does this story take place?", "What two people does Elizabeth blame for Mary's death? ", "Who is Darnley?", "Where does Leicester leave England to go?", "Of what crime is Mary Stuart accused?", "Why does Elizabeth want Mary imprisoned?", "Who is Mary to Elizabeth?", "Who is Mortimer to Mary?", "What happens when Mary meets with Elizabeth?", "What does Mortimer do when his plan to rescue Mary is discovered?", "What justification does Elizabeth use for signing Mary's death warrant?", "Who has Mary executed?", "Which character pleads mercy for Mary throughout the story?", "At the end of the story, who does Elizabeth blame for Mary's death?", "Whose throne does Mary Stuart claim?", "What happens when Mortimer's plan to free Mary is discovered?", "Why is Mary seeking help from Robert Dudley?", "Why does Queen Elizabeth turn over the signed warrant to Undersecretary Davison without instruction?", "How are Queen Elizabeth and Mary Stuart related?", "Who convinces Queen Elizabeth to sign Mary's death warrant?", "Who was Mary Stuart accused of murdering?" ]

[ [ "Queen Elizabeth's undersecretary", "Elizabeth's undersecratary" ], [ "Mary's cousin", "The Queen of Enland" ], [ "Robert Dudley", "Robert Dudley" ], [ "Queen Elizabeth", "Elizabeth" ], [ "Queen Elizabeth", "Elizabeth" ], [ "England", "England" ], [ "Burleigh and Davidson", "Burleigh and Davison." ], [ "Mary Stewart's deceased husband", "The deceased husband of Mary Stuart" ], [ "France", "France" ], [ "Murdering her husband.", "Murdering her husband" ], [ "Because she has a claim to the throne that could threaten Elizabeth's power.", "her claim for the throne" ], [ "She is her cousin.", "her cousin" ], [ "Her custodian's nephew, who supports her claim and wishes to help her.", "The nephew of her custodian." ], [ "They fight because Mary will not give up her claim to the throne. ", "They argue." ], [ "He kills himself.", "Kills himself" ], [ "It is the will of the people.", "Her own people persuaded her to do it." ], [ "Burleigh.", "Lord Burleigh" ], [ "Lord Shrewsbury. ", "Lord Shrewsbury." ], [ "Burleigh and Davison.", "Burleigh and Davison" ], [ "Queen Elizabeth I of England.", "None" ], [ "He commits suicide.", "Mortimer kills himself" ], [ "She is trying to get a reprieve from her death sentence.", "Help for seeking reprieve." ], [ "She feels it burdens someone else with confirming Mary's death sentence.", "The burden of responsibility is now his." ], [ "They are cousins.", "Cousins." ], [ "Elizabeth, herself.", "herself" ], [ "Her husband, Darnley.", "her husband, Darnley" ] ]

[ [ "Mike throws her a disgusted look, then turns to go. Trent\n struggles to cheer him up.", "Trent and Sue react with frustrated disappointment.\n\n TRENT\n What are you doing?\n\n MIKE\n What?", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "TRENT\n VEGAS.\n\n MIKE\n What Vegas?\n\n TRENT\n We're going to Vegas.", "She gets up and leads Trent into the sleeping compartment to\n the rear. The door slaps shut.\n\n Mike and Lisa, in all her made-up glory, look into each\n others eyes.", "MIKE\n That was different.\n\n TRENT\n How?", "MIKE\n No!\n\n TRENT\n Yes!\n\n LISA\n Oh my God.", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "Mike is sleeping in the passenger seat.\n\n TRENT\n Wake up, baby.\n\n MIKE\n (stirring)\n Whu?", "TRENT\n Baby, don't talk like that, baby.\n\n MIKE\n Let's just leave.", "71 EXT. SUNSET BOULEVARD - NIGHT 71\n\n Mike is driving Trent and Sue home in his car.\n\n CUT TO:", "TRENT\n Arrrrg!\n\n The waitress cracks a smile as she crosses away. Mike is\n visibly embarrassed.", "MIKE\n Vegas.\n\n DISSOLVE TO:\n\n 10 INT. TRENT'S CAR - LATER THAT NIGHT 10", "MIKE\n You guys are such assholes.\n\n TRENT\n (continuing the gag)\n Aww... He got away?", "MIKE\n (to Trent, under his breath)\n I'm gonna fuckinkillyou.\n\n CUT TO:", "MIKE\n When?\n\n TRENT\n Tonight, baby.\n\n MIKE\n You're crazy.", "MIKE\n I know, but...\n\n TRENT\n You gotta do it.", "TRENT\n You gotta give Tee one thing. He's good\n with the ladies.\n\n MIKE\n I'm too tired for this. Let's just go.", "TRENT\n Damn. Now I gotta go in early.\n\n MIKE\n I'm sorry.", "SMASH CUT TO:\n\n Trent and Mike are wedged between the BLUEHAIR and the BIKER\n At the FIVE DOLLAR TABLE. They share a pile of red chips." ], [ "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "MIKE\n (playing along)\n Well... You can talk to a beautiful woman\n at a bar without worrying if anyone's\n watching you.\n\n CUT TO:", "MIKE\n You asked her for her number, and then\n you tore it up.\n\n TRENT\n She didn't see.", "A cute BLONDE sitting at the bar chuckles at his comment.\n\n Mike is at first self-conscious, then pushes ahead.", "Mike is standing in the middle of the room looking at\n LORRAINE'S NUMBER on the back of the BUSINESS CARD.\n\n He looks at the clock.", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "Mike catches the attention of a cute female BARTENDER.\n\n MIKE\n I'll get a Dewars rocks...\n (looks to Rob)", "Mike and Rob STARE DIRECTLY at the girls like a deer in the\n headlights... a big no-no.\n\n MIKE\n The one in the hat? She's cute.", "There's something fresh about her. She's dressed nice, but\n different. She definitely is not a regular.\n\n She throws Mike a half-smile, then looks away.", "Mike's P.O.V.\n\n The girls seem at first cold, the receptive. Trent and Sue\n join their table and share some laughs.", "Mike half-heartedly looks on. He is obviously not happy with\n where he stands on the bell-curve of masculinity.\n\n Mike, looking for any kind of escape, crosses to the bar.", "Mike hangs up.\n\n Beat.\n\n He dials again.", "MIKE\n Hi, Nikki. This is Mike. I met you\n tonight at the Dresden. I, uh, just", "MIKE\n Give it up, Sue.\n\n The PHONE RINGS. Sue picks it up and balances it on his\n shoulder as he plays.", "Trent winks to the boys. Smooth.\n\n She comes up with a pen and writes our her phone number.\n\n Trent crosses back as the music dies away.", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "Mike calls back right away.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "MIKE\n There are so many beautiful women here.\n\n ROB\n It's unbelievable.\n\n MIKE\n I got to at least try once.", "Mike leans in and slowly gives her the sweetest, softest,\n most innocent kiss.\n\n He backs up. She's got that goofy look as she unlocks her\n club and starts the car.", "They make the approach. With a great deal of effort, Mike\n catches their attention...\n\n MIKE\n Good evening, ladies..." ], [ "MIKE\n He's trying to be an actor.\n\n TRENT\n What a surprise...\n\n SUE\n ... How novel.", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "Trent and Sue react with frustrated disappointment.\n\n TRENT\n What are you doing?\n\n MIKE\n What?", "Mike half-heartedly looks on. He is obviously not happy with\n where he stands on the bell-curve of masculinity.\n\n Mike, looking for any kind of escape, crosses to the bar.", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "Mike is at a blackjack table with Trent at his side. The\n game has paused to observe the newcomers as Mike draws a\n billfold out of his breast pocket. They're pulling it off\n with only slightly noticeable effort.", "MIKE\n He drives a carriage.\n\n TRENT\n What?!?", "Mike hangs up.\n\n Beat.\n\n He dials again.", "MIKE\n ... a day...\n\n TRENT\n ... Whatever. It's work. You're doing\n what you love. What's she doing?", "Mike is standing in the middle of the room looking at\n LORRAINE'S NUMBER on the back of the BUSINESS CARD.\n\n He looks at the clock.", "Mike, out of guilt, hands him a four dollar tip. This he\n seems to understand. He smiles and leaves.\n\n Mike crosses back to the main room.", "Mike is sleeping in the passenger seat.\n\n TRENT\n Wake up, baby.\n\n MIKE\n (stirring)\n Whu?", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "MIKE\n (in reverie)\n Vegas.\n\n CUT TO:", "MIKE\n Give it up, Sue.\n\n The PHONE RINGS. Sue picks it up and balances it on his\n shoulder as he plays.", "Mike's eyes light up. He paces in anticipation as the tape\n rewinds.", "MIKE\n Selling scrap metal.\n\n TRENT\n (smiles)\n See? And what does this guy she's with\n do?", "Mike opens it, and Rob walks in with a brown bag.\n\n He surveys the scene. He's seen this before. He moves some\n laundry off an armchair and sits down.", "They make the approach. With a great deal of effort, Mike\n catches their attention...\n\n MIKE\n Good evening, ladies...", "Mike walks with purpose. He intermittently tries to pull\n open locked steel doors along the alley. Rob looks confused." ], [ "Rob leaves, shaken up.\n\n MIKE\n You asshole. Why are you carrying a gun?\n What? In case someone steps to you,\n Snoop Dogg?", "The word \"bitch\" is growled out by the two of them a half\n dozen more times until...\n\n Sue pulls a PISTOL out of his belt.", "SUE\n I said watch where you're going, bitch!\n\n That's it. Now they're squaring off in the empty parking\n lot.", "They roll up to a casino valet. TILT UP to a skull and\n crossbones which looms overhead.\n\n CUT TO:", "SUE\n I'm so sorry, man. You were so right.\n I got rid of the gun\n\n MIKE\n What are they doing here?", "TRENT\n ... Oh, who would jack your fuckin K-car?\n He's right, Sue. You don't need no gat.", "51 EXT. THE DRESDEN - PARKING LOT - OUT BACK - NIGHT 51", "The swingers look back to the dealer who is now flanked by\n the pit boss.\n\n The tense silence is broken by...", "Mike is walking Lorraine to her car. They come upon a parked\n Escort.\n\n LORRAINE\n Well... This is it.", "He approaches Trent who suavely leans against his worn down\n ride. He's a tall, slim, good-looking cat. His sharkskin", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "CUT TO:\n\n 33 EXT. DARK ALLEY - OFF OF HOLLYWOOD BLVD. - SEEDY - NIGHT 33", "Establishing shot of an Airstream trailer dug into the desert\n on chocks. Trent's car and two El Caminos are parked out\n front.", "They jump in the car and SPEED AWAY.\n\n Sue belts the gun and stands tall like Clint.\n\n TRENT\n What the fuck..?", "He walks away kicking himself. He is interrupted by Trent\n and Sue, who both hold up cocktail napkins with scribbles.\n\n TRENT\n We got the digits, baby.", "ROB\n Don't sweat it. Now I got an L.A. gun\n story. You should hear the way I tell to\n the guys back home. He had an Uzi.", "The dealer chirps out an unintelligible formality and the PIT\n BOSS chirps the response. Trent's focus whips away from the\n camera as both he and Mike stare at the pit boss ten feet\n away.", "He walks to the phone and pulls the CARD out of the crack.\n\n He looks at the clock.\n\n 12:10 PM.", "CUT TO:\n Trent and Sue watching in disbelief.\n\n SUE\n It is on.\n\n TRENT\n ... it is so on.", "The car-train BREAKS UP to nose-in park behind the bar. They\n all \"club\" their steering wheels.\n\n CUT TO:" ], [ "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "MIKE\n You asked her for her number, and then\n you tore it up.\n\n TRENT\n She didn't see.", "Mike and Rob STARE DIRECTLY at the girls like a deer in the\n headlights... a big no-no.\n\n MIKE\n The one in the hat? She's cute.", "Trent winks to the boys. Smooth.\n\n She comes up with a pen and writes our her phone number.\n\n Trent crosses back as the music dies away.", "MIKE\n Tee, girls don't go for me the way they\n go for you.\n\n TRENT\n Michelle went for you, right.", "Mike's P.O.V.\n\n The girls seem at first cold, the receptive. Trent and Sue\n join their table and share some laughs.", "ROB\n It's been two days. You should call that\n girl Nikki...\n\n Mike grabs his head in pain.", "Mike hangs up.\n\n Beat.\n\n He dials again.", "The blondes immediately enter back into their conversation as\n if they were never approached.\n\n Mike and Rob exchange defeated glances.\n\n One more try.", "Mike is standing in the middle of the room looking at\n LORRAINE'S NUMBER on the back of the BUSINESS CARD.\n\n He looks at the clock.", "MIKE\n I know, but she did. She's with someone\n else now...\n\n LISA\n Already? You poor thing. It won't last.", "There's something fresh about her. She's dressed nice, but\n different. She definitely is not a regular.\n\n She throws Mike a half-smile, then looks away.", "TRENT\n You looked right at her, baby.\n\n MIKE\n She didn't notice.\n\n SUE\n Yes she did.", "MIKE\n Why, you like the duck with the cigar?\n (hands her a card)", "MIKE\n It's not like that...\n\n TRENT\n Don't give me that! She liked you, man.", "Mike calls back right away.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "MIKE\n (apologizing to Christy as she\n exits)\n I've got a calling card, there's no\n charge to your phone.", "MIKE\n Hi, Nikki. This is Mike, again. I just\n called because it sounded like your", "Swinger's P.O.V. of Mike decisively engaging her in\n conversation.\n\n She laughs.\n\n Out comes the pen and the cocktail napkin. Bingo.", "Mike crosses back to the swingers' table and, using his body\n to shield Nikki's view, pretends to rip the napkin. This\n breaks the guys up." ], [ "Mike hangs up.\n\n Beat.\n\n He dials again.", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "Mike calls back right away.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "MIKE\n Hi, Nikki. This is Mike, again. I just\n called because it sounded like your", "LORRAINE\n I can call back...\n\n MIKE\n No, no. Hold on.\n\n He clicks back to the OTHER LINE.", "MIKE\n Hi, Nikki. This is Mike again. Could you\n just call me when you get in? I'll be up", "Mike smiles, then...\n\n MIKE\n (starting to cry)\n Then why won't she call...?", "MIKE\n Hello?\n\n LORRAINE\n Hi, Mike?\n\n MIKE\n Lorraine?", "MIKE\n You asked her for her number, and then\n you tore it up.\n\n TRENT\n She didn't see.", "Mike throws her a disgusted look, then turns to go. Trent\n struggles to cheer him up.", "ROB\n It's been two days. You should call that\n girl Nikki...\n\n Mike grabs his head in pain.", "Mike picks up the phone off the matted shag carpet. He\n pushes \"9\", listens, then hangs up.", "MIKE\n (apologizing to Christy as she\n exits)\n I've got a calling card, there's no\n charge to your phone.", "MIKE\n Give it up, Sue.\n\n The PHONE RINGS. Sue picks it up and balances it on his\n shoulder as he plays.", "MIKE\n Hi. Sorry about that.\n\n LORRAINE\n You didn't have to get off the other\n line. I would've called you back.", "MIKE\n Really?\n\n MICHELLE\n I miss you, Mike.\n\n MIKE\n Why didn't you call?", "Mike is standing in the middle of the room looking at\n LORRAINE'S NUMBER on the back of the BUSINESS CARD.\n\n He looks at the clock.", "MIKE\n Please, Tee. I have to use the phone.\n Sorry, man.\n\n TRENT\n Hold on.\n\n The door closes.", "Mike picks up the phone, pushes \"9\", and hangs up.\n\n He lights a cigarette.\n\n A knock at the door.", "MIKE\n That's okay. I wanted to talk to you.\n\n Mike holds his palm over the receiver and looks at the\n answering machine.\n\n Beat." ], [ "Mike hangs up.\n\n Beat.\n\n He dials again.", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "Mike calls back right away.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "MIKE\n Hi, Nikki. This is Mike, again. I just\n called because it sounded like your", "MIKE\n Hi, Nikki. This is Mike again. Could you\n just call me when you get in? I'll be up", "MIKE\n Hello?\n\n LORRAINE\n Hi, Mike?\n\n MIKE\n Lorraine?", "LORRAINE\n I can call back...\n\n MIKE\n No, no. Hold on.\n\n He clicks back to the OTHER LINE.", "Mike picks up the phone, pushes \"9\", and hangs up.\n\n He lights a cigarette.\n\n A knock at the door.", "MIKE\n Give it up, Sue.\n\n The PHONE RINGS. Sue picks it up and balances it on his\n shoulder as he plays.", "MIKE\n (apologizing to Christy as she\n exits)\n I've got a calling card, there's no\n charge to your phone.", "MIKE\n Please, Tee. I have to use the phone.\n Sorry, man.\n\n TRENT\n Hold on.\n\n The door closes.", "MIKE\n That's okay. I wanted to talk to you.\n\n Mike holds his palm over the receiver and looks at the\n answering machine.\n\n Beat.", "The LED goes black as the machine beeps off. Mike picks up\n the phone and hits autodial.\n\n Machine beeps off. Phone rings again, then is answered.", "MIKE\n Hi. Sorry about that.\n\n LORRAINE\n You didn't have to get off the other\n line. I would've called you back.", "NIKKI\n (calmly)\n Don't call me ever again.\n\n MIKE\n Wow, I guess you were home...\n (click)", "LISA\n Sure, I guess. The phone's in the back.\n\n Mike gets up and approaches the door.", "Mike picks up the phone off the matted shag carpet. He\n pushes \"9\", listens, then hangs up.", "MIKE\n You asked her for her number, and then\n you tore it up.\n\n TRENT\n She didn't see.", "Mike smiles, then...\n\n MIKE\n (starting to cry)\n Then why won't she call...?", "They make the approach. With a great deal of effort, Mike\n catches their attention...\n\n MIKE\n Good evening, ladies..." ], [ "As Mike's courage grows, the moves start to flow. A spin at\n first. Then a double twirl. It's not long before he's\n throwing her through combinations that stand out even among\n the pros.", "MIKE\n I know, but she did. She's with someone\n else now...\n\n LISA\n Already? You poor thing. It won't last.", "Mike leans in and slowly gives her the sweetest, softest,\n most innocent kiss.\n\n He backs up. She's got that goofy look as she unlocks her\n club and starts the car.", "Mike and Michelle say good bye. They hug and cry. He boards\n a plane for L.A..\n\n FADE TO:", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "TRENT\n No, baby. You're money.\n\n MIKE\n She didn't like me, anyway.", "MIKE\n No!\n\n TRENT\n Yes!\n\n LISA\n Oh my God.", "MIKE\n It's not like that...\n\n TRENT\n Don't give me that! She liked you, man.", "There's something fresh about her. She's dressed nice, but\n different. She definitely is not a regular.\n\n She throws Mike a half-smile, then looks away.", "Mike hangs up.\n\n Beat.\n\n He dials again.", "SUE\n Good for you, man. He's being smart.\n\n MIKE\n She's really special, guys.", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "Swinger's P.O.V. of Mike decisively engaging her in\n conversation.\n\n She laughs.\n\n Out comes the pen and the cocktail napkin. Bingo.", "TRENT\n I know she's coming back.\n\n MIKE\n I don't think so.", "She gets up and leads Trent into the sleeping compartment to\n the rear. The door slaps shut.\n\n Mike and Lisa, in all her made-up glory, look into each\n others eyes.", "then, remembering that he is locked in a high stakes battle\n of wills, subtly shakes her off. She smirks and starts to\n leave until she is interrupted by Mike holding up a finger.", "Mike crosses back to the swingers' table and, using his body\n to shield Nikki's view, pretends to rip the napkin. This\n breaks the guys up.", "Mike throws her a disgusted look, then turns to go. Trent\n struggles to cheer him up." ], [ "MIKE\n Hello?\n\n LORRAINE\n Hi, Mike?\n\n MIKE\n Lorraine?", "LORRAINE\n I can call back...\n\n MIKE\n No, no. Hold on.\n\n He clicks back to the OTHER LINE.", "Mike and Lorraine look into each others eyes. It's on, baby.", "Mike is walking Lorraine to her car. They come upon a parked\n Escort.\n\n LORRAINE\n Well... This is it.", "Mike is standing in the middle of the room looking at\n LORRAINE'S NUMBER on the back of the BUSINESS CARD.\n\n He looks at the clock.", "LORRAINE\n (looking at it)\n You're a comedian?\n\n MIKE\n Yeah. And an actor.", "LORRAINE\n ... well, it suits you...\n\n MIKE\n ... get the hell outta here already...", "LORRAINE\n Let me get a pen out of my car.\n (opens the door)\n Do you have something to write on?\n\n Mike hands her a business card.", "LORRAINE\n I'll be around.\n\n MIKE\n That's not good enough. I want to make\n plans to see you.", "Trent and Sue's P.O.V. of Mike and Lorraine having an\n unforced, enjoyable conversation.\n\n TRENT\n It's on...", "LORRAINE\n Can I give you a ride to your car...?\n\n MIKE\n ... Nah. I'm right across the street...", "MIKE\n I took a ballroom class with Michelle.\n I never danced with anyone but her, til\n tonight. That Lorraine chick is good.", "Mike and Lorraine smile and look into each other's eyes. The\n smile slowly disappears. Will they kiss?\n\n They're close.\n\n Really close.", "LORRAINE\n I'll have to come see you sometime.\n\n MIKE\n If and when I get a real gig I'll call\n you.", "LORRAINE\n ... Which one...?\n\n MIKE\n ... The red piece of shit over there...", "Mike pleadingly shakes his head at Lorraine. It's too fast.\n Her eyes narrow as her grip tightens. No sympathy here.", "LORRAINE\n Are you on the other line?\n\n MIKE\n Yeah, hold on.", "LORRAINE\n Bye.\n\n She drives off.\n\n He watches her go.\n\n DISSOLVE TO:", "LORRAINE\n Didn't you tell me to be patient with my\n career?\n\n MIKE\n ... Yeah, but entertainment law isn't\n something you just jump into...", "MIKE\n Listen. I had a great time.\n\n LORRAINE\n Me too.\n\n MIKE\n I would love to see you again sometime." ], [ "MIKE\n I know, but she did. She's with someone\n else now...\n\n LISA\n Already? You poor thing. It won't last.", "As Mike's courage grows, the moves start to flow. A spin at\n first. Then a double twirl. It's not long before he's\n throwing her through combinations that stand out even among\n the pros.", "Mike leans in and slowly gives her the sweetest, softest,\n most innocent kiss.\n\n He backs up. She's got that goofy look as she unlocks her\n club and starts the car.", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "TRENT\n No, baby. You're money.\n\n MIKE\n She didn't like me, anyway.", "MIKE\n It's not like that...\n\n TRENT\n Don't give me that! She liked you, man.", "There's something fresh about her. She's dressed nice, but\n different. She definitely is not a regular.\n\n She throws Mike a half-smile, then looks away.", "SUE\n Good for you, man. He's being smart.\n\n MIKE\n She's really special, guys.", "They make the approach. With a great deal of effort, Mike\n catches their attention...\n\n MIKE\n Good evening, ladies...", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "Swinger's P.O.V. of Mike decisively engaging her in\n conversation.\n\n She laughs.\n\n Out comes the pen and the cocktail napkin. Bingo.", "Mike hangs up.\n\n Beat.\n\n He dials again.", "then, remembering that he is locked in a high stakes battle\n of wills, subtly shakes her off. She smirks and starts to\n leave until she is interrupted by Mike holding up a finger.", "MIKE\n There are so many beautiful women here.\n\n ROB\n It's unbelievable.\n\n MIKE\n I got to at least try once.", "She gets up and leads Trent into the sleeping compartment to\n the rear. The door slaps shut.\n\n Mike and Lisa, in all her made-up glory, look into each\n others eyes.", "MIKE\n No!\n\n TRENT\n Yes!\n\n LISA\n Oh my God.", "Mike and Michelle say good bye. They hug and cry. He boards\n a plane for L.A..\n\n FADE TO:", "Mike throws her a disgusted look, then turns to go. Trent\n struggles to cheer him up.", "MIKE\n Why, you like the duck with the cigar?\n (hands her a card)" ], [ "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "MIKE\n (in reverie)\n Vegas.\n\n CUT TO:", "TRENT\n VEGAS.\n\n MIKE\n What Vegas?\n\n TRENT\n We're going to Vegas.", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "Mike half-heartedly looks on. He is obviously not happy with\n where he stands on the bell-curve of masculinity.\n\n Mike, looking for any kind of escape, crosses to the bar.", "Trent opens the door. He sees Mike standing there dressed\n for trouble. His face lights up.\n\n TRENT\n Mikey! Guys, Mikey's here!", "Trent and Sue react with frustrated disappointment.\n\n TRENT\n What are you doing?\n\n MIKE\n What?", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "MIKE\n You guys are such assholes.\n\n TRENT\n (continuing the gag)\n Aww... He got away?", "Mike throws him a pack of smokes, which he unravels with\n surgical precision.\n\n Cans of beer are tossed around and cracked.", "MIKE\n No!\n\n TRENT\n Yes!\n\n LISA\n Oh my God.", "Mike is sleeping in the passenger seat.\n\n TRENT\n Wake up, baby.\n\n MIKE\n (stirring)\n Whu?", "Mike opens it, and Rob walks in with a brown bag.\n\n He surveys the scene. He's seen this before. He moves some\n laundry off an armchair and sits down.", "Mike, out of guilt, hands him a four dollar tip. This he\n seems to understand. He smiles and leaves.\n\n Mike crosses back to the main room.", "MIKE and ROB walk down the dirty deserted alleyway. Mike is\n wearing baggy slacks, Doc Martin shoes, and an oversized", "Mike is at a blackjack table with Trent at his side. The\n game has paused to observe the newcomers as Mike draws a\n billfold out of his breast pocket. They're pulling it off\n with only slightly noticeable effort.", "Mike and Michelle sit with a lap full of food. They are\n laughing about something. Mike leans in for his first deep,", "MIKE\n When?\n\n TRENT\n Tonight, baby.\n\n MIKE\n You're crazy.", "MIKE\n Oh, they're watching all right. They're\n watching.\n\n CUT TO:", "MIKE\n Believe me, I know what that's like.\n (then to Trent)\n Yo, Double Down! What time are we\n leaving?" ], [ "Mike opens it, and Rob walks in with a brown bag.\n\n He surveys the scene. He's seen this before. He moves some\n laundry off an armchair and sits down.", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "TRENT\n Who? Rob?\n\n MIKE\n Yeah. You met him once.", "41 INT. LIVING ROOM - BUNGALOW - SAME 41\n\n Mike and Rob have come back into the room. They scout the\n terrain.", "Mike half-heartedly looks on. He is obviously not happy with\n where he stands on the bell-curve of masculinity.\n\n Mike, looking for any kind of escape, crosses to the bar.", "ROB\n There's the rub.\n\n The bartender serves them their drinks.\n\n CHARLES\n (o.s.)\n Whassup Mikey?", "MIKE and ROB walk down the dirty deserted alleyway. Mike is\n wearing baggy slacks, Doc Martin shoes, and an oversized", "MIKE\n ... piece of shit. Listen, Charles, this\n is my friend Rob from Back East.\n\n Shake.\n\n CHARLES\n Hi.", "The blondes immediately enter back into their conversation as\n if they were never approached.\n\n Mike and Rob exchange defeated glances.\n\n One more try.", "TRENT\n See, baby?\n\n Mike and Rob walk up to Trent and Sue.\n\n MIKE\n How you guys doing?", "Rob wears a Yale sweatshirt. Mike wears one from Queens\n College. A Mets cap shades his eyes. Neither have shaved", "Rob taps it in. He tends the pin or Mike, who misses.\n\n ROB\n Good to hear, Mikey.\n\n Mike putts again, and misses.", "He helps Mike up.\n\n ROB\n By the way, the guys back home said she\n put on some weight.", "They make the approach. With a great deal of effort, Mike\n catches their attention...\n\n MIKE\n Good evening, ladies...", "Mike, Rob, and Sue look on.\n\n SUE\n Here comes the kill...\n\n MATCH CUT TO:", "69 INT. BAR AREA - THE DERBY - NIGHT 69\n\n Mike steps up to the bar to refill his drink. He sees a\n BRUNETTE sitting at the bar.", "Rob leaves, shaken up.\n\n MIKE\n You asshole. Why are you carrying a gun?\n What? In case someone steps to you,\n Snoop Dogg?", "MIKE\n Rob, I just want you to know, you're the\n only one I can talk to about her.\n\n ROB\n Thanks. Thanks, man.", "MIKE\n (playing along)\n Well... You can talk to a beautiful woman\n at a bar without worrying if anyone's\n watching you.\n\n CUT TO:", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there." ], [ "Mike hangs up.\n\n Beat.\n\n He dials again.", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "Mike is standing in the middle of the room looking at\n LORRAINE'S NUMBER on the back of the BUSINESS CARD.\n\n He looks at the clock.", "Trent winks to the boys. Smooth.\n\n She comes up with a pen and writes our her phone number.\n\n Trent crosses back as the music dies away.", "MIKE\n Give it up, Sue.\n\n The PHONE RINGS. Sue picks it up and balances it on his\n shoulder as he plays.", "MIKE\n You asked her for her number, and then\n you tore it up.\n\n TRENT\n She didn't see.", "Mike leans in and slowly gives her the sweetest, softest,\n most innocent kiss.\n\n He backs up. She's got that goofy look as she unlocks her\n club and starts the car.", "Mike picks up the phone, pushes \"9\", and hangs up.\n\n He lights a cigarette.\n\n A knock at the door.", "Mike crosses back to the swingers' table and, using his body\n to shield Nikki's view, pretends to rip the napkin. This\n breaks the guys up.", "They make the approach. With a great deal of effort, Mike\n catches their attention...\n\n MIKE\n Good evening, ladies...", "Mike picks up the phone off the matted shag carpet. He\n pushes \"9\", listens, then hangs up.", "Mike's P.O.V.\n\n The girls seem at first cold, the receptive. Trent and Sue\n join their table and share some laughs.", "LISA\n Sure, I guess. The phone's in the back.\n\n Mike gets up and approaches the door.", "He walks away kicking himself. He is interrupted by Trent\n and Sue, who both hold up cocktail napkins with scribbles.\n\n TRENT\n We got the digits, baby.", "MIKE\n Why, you like the duck with the cigar?\n (hands her a card)", "Mike and Rob STARE DIRECTLY at the girls like a deer in the\n headlights... a big no-no.\n\n MIKE\n The one in the hat? She's cute.", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "MIKE\n (apologizing to Christy as she\n exits)\n I've got a calling card, there's no\n charge to your phone.", "Mike calls back right away.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "MIKE\n There are so many beautiful women here.\n\n ROB\n It's unbelievable.\n\n MIKE\n I got to at least try once." ], [ "Mike crosses back to the swingers' table and, using his body\n to shield Nikki's view, pretends to rip the napkin. This\n breaks the guys up.", "MIKE\n Hi, Nikki. Mike. I don't think this is\n working out. I think you're great, but", "Mike calls back right away.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "MIKE\n Hi, Nikki. This is Mike, again. I just\n called because it sounded like your", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "Trent and Sue react with frustrated disappointment.\n\n TRENT\n What are you doing?\n\n MIKE\n What?", "Mike leans in and slowly gives her the sweetest, softest,\n most innocent kiss.\n\n He backs up. She's got that goofy look as she unlocks her\n club and starts the car.", "MIKE\n Hi, Nikki. This is Mike again. Could you\n just call me when you get in? I'll be up", "ROB\n It's been two days. You should call that\n girl Nikki...\n\n Mike grabs his head in pain.", "MIKE\n You asked her for her number, and then\n you tore it up.\n\n TRENT\n She didn't see.", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "He dials yet again.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "As Mike's courage grows, the moves start to flow. A spin at\n first. Then a double twirl. It's not long before he's\n throwing her through combinations that stand out even among\n the pros.", "NIKKI\n (calmly)\n Don't call me ever again.\n\n MIKE\n Wow, I guess you were home...\n (click)", "MIKE\n It's not like that...\n\n TRENT\n Don't give me that! She liked you, man.", "Mike throws her a disgusted look, then turns to go. Trent\n struggles to cheer him up.", "MIKE\n I know, but she did. She's with someone\n else now...\n\n LISA\n Already? You poor thing. It won't last.", "The blondes immediately enter back into their conversation as\n if they were never approached.\n\n Mike and Rob exchange defeated glances.\n\n One more try.", "MIKE\n (lighting a cigarette,\n defeated)\n Shit.", "NIKKI\n (Live, in person. she picks\n up the line)\n Mike?" ], [ "The six piece swing band decked out in zoot suits wail on\n stage as the crowded dance floor whirls.\n\n The swingers eventually settle into a dark curtained-off\n onstage booth.", "A smoke-filled, windowless, black-walled room. There are\n several round padded booths lining the walls. The place is", "Night at the Viper. If we're not there\n we'll be at the Three of Clubs. So come\n meet up with us. We'll see you there,", "They enter the domed decco lounge and the full house parts\n for them and greets them in perfect Scorsese choreography.\n\n They pass the billiard table and the circular brass rail bar.", "Muffled music seeps through the door. The swingers turn the\n knob and enter...\n\n 38 INT. THE PARTY - CHATEAU MARMONT BUNGALOW - SAME 38", "The floor clears. Exhausted dancers push past them. Forget\n it. The moment's gone.\n\n What the hell. They had a great time. What's the hurry?", "The room dies down. The girls settle into the arms of their\n men. There's a lot of body language and pheromones, but not\n a lot of words.", "67 INT. \"THE DERBY\" - HOLLYWOOD NIGHTCLUB - NIGHT 67", "The swingers are leaving through the back door. The doorway\n is congested with another group of guys who are entering.\n\n A BALD GUY with a goatee brushes by Sue.", "The two guys walk and talk down a fluorescent hallway. It is\n well past midnight and the only patrons at this hour are", "The music starts back up and everyone returns to their\n conversations.\n\n The swingers weave their way through the crowd to...", "They make the approach. With a great deal of effort, Mike\n catches their attention...\n\n MIKE\n Good evening, ladies...", "one's coming. They all flood the floor for the last dance of\n the night.", "It is a weeknight and it is beginning to become painfully\n obvious that our boys are overdressed.", "Trent and Sue are involved in a different conversation. They\n are observing two HOT GIRLS at another cocktail table.", "The parquet floor is packed with swinging hepsters dressed in\n Hollywood's take on forties threads. The dancing is full-", "The band breaks into the full-tilt swing number and the dance\n floor writhes around them.\n\n They stand motionless for what seems like an eternity.", "Trent and Sue are scouting some LADIES across the room. One\n wears a FUNKY OVERSIZED HAT. Intermittent eye contact has\n been established.", "The swingers look back to the dealer who is now flanked by\n the pit boss.\n\n The tense silence is broken by...", "He walks away kicking himself. He is interrupted by Trent\n and Sue, who both hold up cocktail napkins with scribbles.\n\n TRENT\n We got the digits, baby." ], [ "LORRAINE\n I can call back...\n\n MIKE\n No, no. Hold on.\n\n He clicks back to the OTHER LINE.", "MIKE\n Hello?\n\n LORRAINE\n Hi, Mike?\n\n MIKE\n Lorraine?", "LORRAINE\n Are you on the other line?\n\n MIKE\n Yeah, hold on.", "Mike is standing in the middle of the room looking at\n LORRAINE'S NUMBER on the back of the BUSINESS CARD.\n\n He looks at the clock.", "MEDIUM SHOT of Mike through his window as he looks down onto\n Franklin avenue and talks on the phone.\n\n MIKE\n Hi, Lorraine. Thanks for holding on.", "MIKE\n Hi. Sorry about that.\n\n LORRAINE\n You didn't have to get off the other\n line. I would've called you back.", "Mike hangs up.\n\n Beat.\n\n He dials again.", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "LORRAINE\n Listen, Mike. You really didn't have to\n get off the line. I just wanted to ask", "MIKE\n Give it up, Sue.\n\n The PHONE RINGS. Sue picks it up and balances it on his\n shoulder as he plays.", "Mike picks up the phone, pushes \"9\", and hangs up.\n\n He lights a cigarette.\n\n A knock at the door.", "Mike is walking Lorraine to her car. They come upon a parked\n Escort.\n\n LORRAINE\n Well... This is it.", "LORRAINE\n I'll be around.\n\n MIKE\n That's not good enough. I want to make\n plans to see you.", "MIKE\n Please, Tee. I have to use the phone.\n Sorry, man.\n\n TRENT\n Hold on.\n\n The door closes.", "Mike calls back right away.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "MIKE\n That's okay. I wanted to talk to you.\n\n Mike holds his palm over the receiver and looks at the\n answering machine.\n\n Beat.", "MIKE\n Hi, Nikki. This is Mike again. Could you\n just call me when you get in? I'll be up", "LISA\n Sure, I guess. The phone's in the back.\n\n Mike gets up and approaches the door.", "MIKE\n Hi, Nikki. This is Mike, again. I just\n called because it sounded like your", "LORRAINE\n ... well, it suits you...\n\n MIKE\n ... get the hell outta here already..." ], [ "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "Mike half-heartedly looks on. He is obviously not happy with\n where he stands on the bell-curve of masculinity.\n\n Mike, looking for any kind of escape, crosses to the bar.", "MIKE\n (in reverie)\n Vegas.\n\n CUT TO:", "As Mike's courage grows, the moves start to flow. A spin at\n first. Then a double twirl. It's not long before he's\n throwing her through combinations that stand out even among\n the pros.", "MIKE\n Yeah. Here it's easier to avoid trouble.\n It's not like you like in Compton where", "Mike, out of guilt, hands him a four dollar tip. This he\n seems to understand. He smiles and leaves.\n\n Mike crosses back to the main room.", "Mike opens it, and Rob walks in with a brown bag.\n\n He surveys the scene. He's seen this before. He moves some\n laundry off an armchair and sits down.", "Mike hangs up.\n\n Beat.\n\n He dials again.", "MIKE\n That was different.\n\n TRENT\n How?", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "Mike picks up the phone, pushes \"9\", and hangs up.\n\n He lights a cigarette.\n\n A knock at the door.", "A cigarette wedged between knuckles smoulders. MIKE takes\n the last drag with great effort, then crushes it out. He", "The couple's dance is cut short as there were only a few bars\n left of the slow ballad. Mike smiles politely in relief and\n begins to lead Lorraine off the floor.", "Mike and Michelle say good bye. They hug and cry. He boards\n a plane for L.A..\n\n FADE TO:", "Mike is at a blackjack table with Trent at his side. The\n game has paused to observe the newcomers as Mike draws a\n billfold out of his breast pocket. They're pulling it off\n with only slightly noticeable effort.", "Mike smiles as the CAMERA PULLS BACK from the window and\n backwards down Franklin Avenue in a reverse of the first shot", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "MIKE\n He's trying to be an actor.\n\n TRENT\n What a surprise...\n\n SUE\n ... How novel.", "Trent and Sue react with frustrated disappointment.\n\n TRENT\n What are you doing?\n\n MIKE\n What?", "GUYS (O.S.)\n (from the living room)\n Mikey!\n\n Mike HEARS the sound of a hotly contested SEGA MATCH." ], [ "MIKE\n Coffee...\n (points to Trent, who nods)\n Two coffees. It says \"Breakfast Any\n Time\", right?", "Mike, out of guilt, hands him a four dollar tip. This he\n seems to understand. He smiles and leaves.\n\n Mike crosses back to the main room.", "MIKE\n Rob, I just want you to know, you're the\n only one I can talk to about her.\n\n ROB\n Thanks. Thanks, man.", "Mike opens it, and Rob walks in with a brown bag.\n\n He surveys the scene. He's seen this before. He moves some\n laundry off an armchair and sits down.", "77 EXT. \"BOURGEOIS PIG\" COFFEEHOUSE - LATE AFTERNOON 77\n\n Mike sips espresso as he stares at the CARD.", "Mike half-heartedly looks on. He is obviously not happy with\n where he stands on the bell-curve of masculinity.\n\n Mike, looking for any kind of escape, crosses to the bar.", "MIKE, TRENT, SUE, CHARLES, and ROB sit around the round\n scotch-plaid corner booth of the retro-hip coffee shop. All", "Mike crosses back to the swingers' table and, using his body\n to shield Nikki's view, pretends to rip the napkin. This\n breaks the guys up.", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "Mike leans in and slowly gives her the sweetest, softest,\n most innocent kiss.\n\n He backs up. She's got that goofy look as she unlocks her\n club and starts the car.", "MIKE\n That's okay. I wanted to talk to you.\n\n Mike holds his palm over the receiver and looks at the\n answering machine.\n\n Beat.", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "MIKE\n Sorry, it's just that...\n\n LISA\n I understand.\n\n Mike lightly knocks on the door.", "Mike hangs up.\n\n Beat.\n\n He dials again.", "MIKE\n (playing along)\n Well... You can talk to a beautiful woman\n at a bar without worrying if anyone's\n watching you.\n\n CUT TO:", "Mike half-smiles.\n\n Beat.\n\n ROB\n You want to talk about it?\n\n MIKE\n What's the point?", "As Mike's courage grows, the moves start to flow. A spin at\n first. Then a double twirl. It's not long before he's\n throwing her through combinations that stand out even among\n the pros.", "Mike is at a blackjack table with Trent at his side. The\n game has paused to observe the newcomers as Mike draws a\n billfold out of his breast pocket. They're pulling it off\n with only slightly noticeable effort." ], [ "TRENT\n (beat)\n You got it bad, baby. You need Vegas.\n\n MIKE\n What are you talking about? Vegas?", "TRENT\n VEGAS.\n\n MIKE\n What Vegas?\n\n TRENT\n We're going to Vegas.", "TRENT\n Look at it, baby. Vegas, baby!", "The two swingers are starting to fray around the edges but\n are unwilling to admit it to each other or themselves. Frank\n has been replaced by talk radio.\n\n TRENT\n Vegas, baby!", "MIKE\n (in reverie)\n Vegas.\n\n CUT TO:", "MIKE\n Vegas!\n\n The needle is still buried.\n\n DISSOLVE TO:", "The dealer plunks down the measly THREE CHIPS which represent\n Mike's entire cash reserve. Not quite the effect he had\n hoped for.", "9 INT. TRENT'S CAR - MANY HOURS LATER 9\n\n Sleep deprivation and desert static radio.\n\n TRENT\n Vegas.", "LISA\n You should. A lot of comics play Vegas.\n\n MIKE\n Well, I'm afraid it's not that easy...", "The blondes immediately enter back into their conversation as\n if they were never approached.\n\n Mike and Rob exchange defeated glances.\n\n One more try.", "It's a seven. Eighteen.\n\n Disappointment twists their faces.\n\n Finally the dealer flips over his card.", "The swingers look back to the dealer who is now flanked by\n the pit boss.\n\n The tense silence is broken by...", "They split up and both over-chip the green miserably.\n\n CUT TO:", "TRENT\n I know. Daddy's gonna get the Rainman\n suite. Vegas, baby. We're going to\n Vegas!", "They roll up to a casino valet. TILT UP to a skull and\n crossbones which looms overhead.\n\n CUT TO:", "Trent and Sue scream at the top of their lungs as they cruise\n down Sunset. Alcohol is a terrible drug.\n\n DISSOLVE TO:", "MIKE\n Vegas.\n\n DISSOLVE TO:\n\n 10 INT. TRENT'S CAR - LATER THAT NIGHT 10", "MIKE\n But I lost! How can you say always?!?\n\n In the meantime, the Bluehair has been dealt an eleven.\n This captures the swinger's attention.", "TRENT\n Baby, we're gonna be up by five hundy by\n midnight. Vegas, baby!\n\n MIKE\n Vegas!", "The corridor empties into the equally kitch CASINO.\n\n MIKE\n This place is dead. I thought this was\n the city that never sleeps." ], [ "67 INT. \"THE DERBY\" - HOLLYWOOD NIGHTCLUB - NIGHT 67", "1 EXT. HOLLYWOOD - NIGHT 1\n\n The soundtrack opens with Frank Sinatra's \"Fly Me to the\n Moon\".", "66 EXT. \"THE DERBY\" - HOLLYWOOD NIGHTCLUB - NIGHT 66", "... Up and over Hollywood Boulevard. High above the city...", "We are just above the tops of the highest buildings as we\n approach Hollywood Boulevard. Below is neon and the icy\n thrust of search lights rotating on the corner of Hollywood\n and Vine.", "47 EXT. HOLLYWOOD STREETS - NIGHT 47\n\n SHOTS of the CAR-TRAIN driving and making turns.", "The six piece swing band decked out in zoot suits wail on\n stage as the crowded dance floor whirls.\n\n The swingers eventually settle into a dark curtained-off\n onstage booth.", "understand why none of the clubs in\n Hollywood have signs. Anyway, I'm so bad\n at this, if you're not busy I thought you\n might...", "The parquet floor is packed with swinging hepsters dressed in\n Hollywood's take on forties threads. The dancing is full-", "There is the momentary appearance of the moonlit HOLLYWOOD\n sign as we pass the blinking red beacon of the Capital\n Records building and drop into Franklin avenue and over the\n 101.", "...We rise and pass the glowing Hollywood sign. It's still a\n full moon...", "They enter the domed decco lounge and the full house parts\n for them and greets them in perfect Scorsese choreography.\n\n They pass the billiard table and the circular brass rail bar.", "A smoke-filled, windowless, black-walled room. There are\n several round padded booths lining the walls. The place is", "34 INT. \"THE ROOM\" - HOLLYWOOD BAR - SAME 34", "Night at the Viper. If we're not there\n we'll be at the Three of Clubs. So come\n meet up with us. We'll see you there,", "48 EXT. THE DRESDEN - VERMONT AVE. - HOLLYWOOD - NIGHT 48", "CUT TO:\n\n 33 EXT. DARK ALLEY - OFF OF HOLLYWOOD BLVD. - SEEDY - NIGHT 33", "Architectural remnants of Hollywood's past whip up. We are\n heading east at treetop level. A warm glow in the distance", "CUT TO:\n\n 36 EXT. SUNSET BOULEVARD - HEADLIGHTS AND NEON - NIGHT 36", "35 INT. \"SWINGERS DINER\" - BEVERLY BLVD. - LATER THAT NIGHT 35" ], [ "MIKE\n We were a rebound, and we lasted six\n years.\n\n LISA\n Yeah, but how long was the relationship\n she was rebounding from?", "MIKE\n I just got out of a six-year\n relationship. Okay? That should help to", "MIKE\n Michelle?\n\n MICHELLE\n How's it going? It's been a while...\n\n MIKE\n ... Six months.", "MIKE\n I know, but she did. She's with someone\n else now...\n\n LISA\n Already? You poor thing. It won't last.", "MIKE\n It's just that I've been out of the game\n so long. Trent, I was with her for six", "MIKE\n ... It was six months, and she didn't\n dump...", "MIKE\n It's not like that...\n\n TRENT\n Don't give me that! She liked you, man.", "MIKE\n It's been six months and I'm just\n starting to get over it.", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "MIKE\n So, two days?\n\n TRENT\n Yeah. I guess you could call it that.", "MIKE\n I don't talk about her that much.\n\n ROB\n Oh no?\n\n MIKE\n I didn't mention her once today.", "MIKE\n Hi, Nikki. Mike. I don't think this is\n working out. I think you're great, but", "MIKE\n No!\n\n TRENT\n Yes!\n\n LISA\n Oh my God.", "The couple's dance is cut short as there were only a few bars\n left of the slow ballad. Mike smiles politely in relief and\n begins to lead Lorraine off the floor.", "As Mike's courage grows, the moves start to flow. A spin at\n first. Then a double twirl. It's not long before he's\n throwing her through combinations that stand out even among\n the pros.", "SUE\n How's it going for you two?\n\n MIKE\n Not well.\n\n SUE\n Rejected?", "MIKE\n You asked her for her number, and then\n you tore it up.\n\n TRENT\n She didn't see.", "MIKE\n (to answering machine)\n Do you realize that I've been waiting for\n that call for six months and I cut her\n off?", "Lips almost touching.\n\n Mike tries to muster-up the courage, but it's been so long.\n\n He can't do it. He lets her up.", "MIKE\n ... yeah, a month ago.\n\n CHARLES\n Oh, I'm sorry. How'd your folks take it?" ], [ "SUE\n I said watch where you're going, bitch!\n\n That's it. Now they're squaring off in the empty parking\n lot.", "Rob leaves, shaken up.\n\n MIKE\n You asshole. Why are you carrying a gun?\n What? In case someone steps to you,\n Snoop Dogg?", "All the bald guy's boys fall in behind him. All the swingers\n fall in behind Sue. The swingers are not happy with Sue at\n all.\n\n The two cliques contrast each other in every way.", "SMASH CUT TO:\n\n Trent and Mike are wedged between the BLUEHAIR and the BIKER\n At the FIVE DOLLAR TABLE. They share a pile of red chips.", "They roll up to a casino valet. TILT UP to a skull and\n crossbones which looms overhead.\n\n CUT TO:", "The swingers look back to the dealer who is now flanked by\n the pit boss.\n\n The tense silence is broken by...", "The bald guys HOLD UP THEIR HANDS and slowly back up to their\n ride.", "The car-train BREAKS UP to nose-in park behind the bar. They\n all \"club\" their steering wheels.\n\n CUT TO:", "Mike throws him a pack of smokes, which he unravels with\n surgical precision.\n\n Cans of beer are tossed around and cracked.", "The dealer chirps out an unintelligible formality and the PIT\n BOSS chirps the response. Trent's focus whips away from the\n camera as both he and Mike stare at the pit boss ten feet\n away.", "He approaches Trent who suavely leans against his worn down\n ride. He's a tall, slim, good-looking cat. His sharkskin", "It's a balsy move, but everyone's watching. The kid's going\n for broke.\n MIKE\n (to the waitress, but never", "Trent and Sue react with frustrated disappointment.\n\n TRENT\n What are you doing?\n\n MIKE\n What?", "MIKE\n (to Trent, under his breath)\n I'm gonna fuckinkillyou.\n\n CUT TO:", "CHARLES\n (yelling over the roar of the\n wall to wall crowd)\n Why not? This place is dead anyway.\n\n CUT TO:", "He walks away kicking himself. He is interrupted by Trent\n and Sue, who both hold up cocktail napkins with scribbles.\n\n TRENT\n We got the digits, baby.", "The swingers have left the party and are heading to their\n cars. They are all parked in a row, one behind the other.\n They each climb behind the wheel of their own car. They pull\n out in UNISON.", "The word \"bitch\" is growled out by the two of them a half\n dozen more times until...\n\n Sue pulls a PISTOL out of his belt.", "They travel like a train with their bumpers ALMOST TOUCHING.\n\n CUT TO:", "ROB\n There's the rub.\n\n The bartender serves them their drinks.\n\n CHARLES\n (o.s.)\n Whassup Mikey?" ], [ "TRENT\n VEGAS.\n\n MIKE\n What Vegas?\n\n TRENT\n We're going to Vegas.", "MIKE\n (in reverie)\n Vegas.\n\n CUT TO:", "TRENT\n (beat)\n You got it bad, baby. You need Vegas.\n\n MIKE\n What are you talking about? Vegas?", "Mike is at a blackjack table with Trent at his side. The\n game has paused to observe the newcomers as Mike draws a\n billfold out of his breast pocket. They're pulling it off\n with only slightly noticeable effort.", "MIKE\n Vegas.\n\n DISSOLVE TO:\n\n 10 INT. TRENT'S CAR - LATER THAT NIGHT 10", "MIKE\n Vegas!\n\n The needle is still buried.\n\n DISSOLVE TO:", "TRENT\n Baby, we're gonna be up by five hundy by\n midnight. Vegas, baby!\n\n MIKE\n Vegas!", "Mike points to a semi-curtained, semi-roped-off area near the\n baccarat tables. The clientele is classier, but they're\n still obviously overdressed.", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "TRENT\n I'll pick you up in a half an hour.\n\n MIKE\n I'm not going to Vegas.", "MIKE\n Vegas! You think we'll get there by\n midnight?", "The dealer, the pit boss, and all the players look on as Mike\n drops ANOTHER BLACK CHIP in the circle with a barely audible,\n yet deafening, thud.", "Mike crosses back to the swingers' table and, using his body\n to shield Nikki's view, pretends to rip the napkin. This\n breaks the guys up.", "TRENT\n What's that? One twenty? You're up\n twenty bucks, baby.\n\n Mike throws him a disgusted glare.", "MIKE\n There are so many beautiful women here.\n\n ROB\n It's unbelievable.\n\n MIKE\n I got to at least try once.", "Mike, out of guilt, hands him a four dollar tip. This he\n seems to understand. He smiles and leaves.\n\n Mike crosses back to the main room.", "MIKE\n No!\n\n TRENT\n Yes!\n\n LISA\n Oh my God.", "Mike throws a chip in the circle. Trent is shocked. That's\n a hundred bucks. Mike and Trent share a look. The dealer", "LISA\n You should. A lot of comics play Vegas.\n\n MIKE\n Well, I'm afraid it's not that easy...", "TRENT\n Look at it, baby. Vegas, baby!" ], [ "Mike crosses back to the swingers' table and, using his body\n to shield Nikki's view, pretends to rip the napkin. This\n breaks the guys up.", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "Mike calls back right away.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "MIKE\n Hi, Nikki. This is Mike again. Could you\n just call me when you get in? I'll be up", "MIKE\n Hi, Nikki. This is Mike, again. I just\n called because it sounded like your", "NIKKI\n (Live, in person. she picks\n up the line)\n Mike?", "Mike is at a blackjack table with Trent at his side. The\n game has paused to observe the newcomers as Mike draws a\n billfold out of his breast pocket. They're pulling it off\n with only slightly noticeable effort.", "TRENT\n Baby, did you hear her? \"You shouldn't\n leave without getting something for\n free.\" She wants to party, baby.\n\n MIKE\n You think so?", "Mike picks up the phone, pushes \"9\", and hangs up.\n\n He lights a cigarette.\n\n A knock at the door.", "Mike throws him a pack of smokes, which he unravels with\n surgical precision.\n\n Cans of beer are tossed around and cracked.", "As Mike's courage grows, the moves start to flow. A spin at\n first. Then a double twirl. It's not long before he's\n throwing her through combinations that stand out even among\n the pros.", "MIKE\n Hi, Nikki. This is Mike. I met you\n tonight at the Dresden. I, uh, just", "MIKE\n Hi, Nikki. Mike. I don't think this is\n working out. I think you're great, but", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "BLONDE\n Nikki.\n\n MIKE\n Thank you, Nikki.", "Mike opens it, and Rob walks in with a brown bag.\n\n He surveys the scene. He's seen this before. He moves some\n laundry off an armchair and sits down.", "There's something fresh about her. She's dressed nice, but\n different. She definitely is not a regular.\n\n She throws Mike a half-smile, then looks away.", "They make the approach. With a great deal of effort, Mike\n catches their attention...\n\n MIKE\n Good evening, ladies...", "Mike leans in and slowly gives her the sweetest, softest,\n most innocent kiss.\n\n He backs up. She's got that goofy look as she unlocks her\n club and starts the car.", "ROB\n It's been two days. You should call that\n girl Nikki...\n\n Mike grabs his head in pain." ], [ "SUE\n I said watch where you're going, bitch!\n\n That's it. Now they're squaring off in the empty parking\n lot.", "The word \"bitch\" is growled out by the two of them a half\n dozen more times until...\n\n Sue pulls a PISTOL out of his belt.", "Sue dives onto Trent. They wrestle a little too\n rambunctiously for indoors. Trent pulls the hockey sweater\n over Sue's head and starts wailing on his back.", "CUT TO:\n Trent and Sue watching in disbelief.\n\n SUE\n It is on.\n\n TRENT\n ... it is so on.", "SUE\n Yeah. This place is dead, anyway.\n\n CUT TO:", "Sue brushes back a shock of straight, greasy, dirty blonde\n hair as not to obscure his view of the screen. His face", "SUE\n ... People get carjacked...", "Trent and Sue react with frustrated disappointment.\n\n TRENT\n What are you doing?\n\n MIKE\n What?", "CUT TO:\n\n Trent and Sue, mouths agape.\n\n BACK TO:", "SUE\n (untangling himself from\n Trent)\n Gimme my reds. I've been jonesing for an\n hour.", "Mike, Rob, and Sue look on.\n\n SUE\n Here comes the kill...\n\n MATCH CUT TO:", "TRENT\n ... Oh, who would jack your fuckin K-car?\n He's right, Sue. You don't need no gat.", "31 INT. SUE'S LIVING ROOM - CONTINUOUS 31\n\n Trent and Sue are flushed. They pause long enough to torment\n Mike.", "SUE\n I'm so sorry, man. You were so right.\n I got rid of the gun\n\n MIKE\n What are they doing here?", "Trent and Sue are watching from across the room.\n\n TRENT\n It's on.\n\n SUE\n ... it's definitely on.", "SUE\n ... it's on.\n\n MATCH CUT TO:\n\n BACK IN THE TRENCHES:", "Trent and Sue scream at the top of their lungs as they cruise\n down Sunset. Alcohol is a terrible drug.\n\n DISSOLVE TO:", "SUE\n Good for you, man. He's being smart.\n\n MIKE\n She's really special, guys.", "SUE\n Well, just watch the T-bone and learn.\n\n CUT TO:", "SUE (O.S.)\n Bitch! You little bitch!\n\n The CAMERA follows Mike and Trent into the..." ], [ "Mike crosses back to the swingers' table and, using his body\n to shield Nikki's view, pretends to rip the napkin. This\n breaks the guys up.", "MIKE\n Hi, Nikki. Mike. I don't think this is\n working out. I think you're great, but", "Mike calls back right away.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "MIKE\n Hi, Nikki. This is Mike, again. I just\n called because it sounded like your", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "Trent and Sue react with frustrated disappointment.\n\n TRENT\n What are you doing?\n\n MIKE\n What?", "Mike leans in and slowly gives her the sweetest, softest,\n most innocent kiss.\n\n He backs up. She's got that goofy look as she unlocks her\n club and starts the car.", "MIKE\n Hi, Nikki. This is Mike again. Could you\n just call me when you get in? I'll be up", "ROB\n It's been two days. You should call that\n girl Nikki...\n\n Mike grabs his head in pain.", "MIKE\n You asked her for her number, and then\n you tore it up.\n\n TRENT\n She didn't see.", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "He dials yet again.\n\n NIKKI\n (recorded)\n Hi. This is Nikki. Leave a message.\n (beep)", "As Mike's courage grows, the moves start to flow. A spin at\n first. Then a double twirl. It's not long before he's\n throwing her through combinations that stand out even among\n the pros.", "NIKKI\n (calmly)\n Don't call me ever again.\n\n MIKE\n Wow, I guess you were home...\n (click)", "MIKE\n It's not like that...\n\n TRENT\n Don't give me that! She liked you, man.", "Mike throws her a disgusted look, then turns to go. Trent\n struggles to cheer him up.", "MIKE\n I know, but she did. She's with someone\n else now...\n\n LISA\n Already? You poor thing. It won't last.", "The blondes immediately enter back into their conversation as\n if they were never approached.\n\n Mike and Rob exchange defeated glances.\n\n One more try.", "MIKE\n (lighting a cigarette,\n defeated)\n Shit.", "NIKKI\n (Live, in person. she picks\n up the line)\n Mike?" ], [ "Mike hangs up.\n\n Beat.\n\n He dials again.", "Mike half-heartedly looks on. He is obviously not happy with\n where he stands on the bell-curve of masculinity.\n\n Mike, looking for any kind of escape, crosses to the bar.", "MIKE\n He's trying to be an actor.\n\n TRENT\n What a surprise...\n\n SUE\n ... How novel.", "A cigarette wedged between knuckles smoulders. MIKE takes\n the last drag with great effort, then crushes it out. He", "Trent and Sue react with frustrated disappointment.\n\n TRENT\n What are you doing?\n\n MIKE\n What?", "Mike throws him a pack of smokes, which he unravels with\n surgical precision.\n\n Cans of beer are tossed around and cracked.", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "Mike opens it, and Rob walks in with a brown bag.\n\n He surveys the scene. He's seen this before. He moves some\n laundry off an armchair and sits down.", "Mike, out of guilt, hands him a four dollar tip. This he\n seems to understand. He smiles and leaves.\n\n Mike crosses back to the main room.", "Mike picks up the phone, pushes \"9\", and hangs up.\n\n He lights a cigarette.\n\n A knock at the door.", "MIKE\n He drives a carriage.\n\n TRENT\n What?!?", "MIKE\n Oh, they're watching all right. They're\n watching.\n\n CUT TO:", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "Mike is standing in the middle of the room looking at\n LORRAINE'S NUMBER on the back of the BUSINESS CARD.\n\n He looks at the clock.", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "MIKE looks on. He is more captivated with the simulated\n sporting event than the Clippers game on the TV across the\n room.\n\n Electric guitars blaze over the stereo.", "Mike is sleeping in the passenger seat.\n\n TRENT\n Wake up, baby.\n\n MIKE\n (stirring)\n Whu?", "Mike turns to see CHARLES. A young black man with a tight\n Dolomite fro. He wears a black leather blazer over a black\n turtleneck. Just look up \"cool\" in the dictionary.", "Mike's eyes light up. He paces in anticipation as the tape\n rewinds." ], [ "TRENT\n You gotta give Tee one thing. He's good\n with the ladies.\n\n MIKE\n I'm too tired for this. Let's just go.", "43 INT. LIVING ROOM - TRENT'S CONVERSATION - CONTINUOUS 43\n\n Trent is having a sensitive one-on-one with the girl in the\n hat.", "TRENT\n Always, baby.\n\n MIKE\n I'm just saying, not in this particular\n case.\n\n TRENT\n Always.", "TRENT\n I'm telling you, they love that shit.\n\n MIKE\n You're gonna screw up our plan.", "TRENT\n That's what I keep trying to tell him.\n (to Mike)\n You're so money, you don't even know...", "Trent winks to the boys. Smooth.\n\n She comes up with a pen and writes our her phone number.\n\n Trent crosses back as the music dies away.", "TRENT\n We're gonna get laid, baby.\n\n MIKE\n First let's see what happens if we play\n it cool.", "MIKE\n I know, but...\n\n TRENT\n You gotta do it.", "MIKE\n I'm gonna try. I'm really gonna try.\n\n Trent just smiles and cranks Frank back up", "MIKE\n You guys are such assholes.\n\n TRENT\n (continuing the gag)\n Aww... He got away?", "Trent just shakes his head. He'll have no part of any of\n this.\n\n CUT TO:", "TRENT\n Oh fuck that. You don't have to try and\n impress anyone. You think I give a shit?\n You think I sweat that skanky whore\n waitress...", "Trent and Sue react with frustrated disappointment.\n\n TRENT\n What are you doing?\n\n MIKE\n What?", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "MIKE\n (to Trent, under his breath)\n I'm gonna fuckinkillyou.\n\n CUT TO:", "Using his body as a shield so the girl can't see, but so his\n boys can, he rips up and drops the number as he approaches\n them.\n\n TRENT\n Was I money?", "TRENT\n That was money. Tell me that wasn't\n money.\n\n MIKE\n That was so demeaning...", "MIKE\n That was different.\n\n TRENT\n How?", "TRENT\n Damn. Now I gotta go in early.\n\n MIKE\n I'm sorry.", "TRENT\n Yeah.\n\n SUE\n It's kinda money, actually.\n\n MIKE\n Make someone bleed." ], [ "Mike leans in and slowly gives her the sweetest, softest,\n most innocent kiss.\n\n He backs up. She's got that goofy look as she unlocks her\n club and starts the car.", "As Mike's courage grows, the moves start to flow. A spin at\n first. Then a double twirl. It's not long before he's\n throwing her through combinations that stand out even among\n the pros.", "Mike shakes his head \"no\".\n\n The girls walk to embrace him in consolation.\n\n BOTH GIRLS\n Awwww.", "The party RESUMES and the blondes redirect their attention to\n Mike. He is a little put-off but, God love him, he gets back\n in there.", "MIKE\n It's not like that...\n\n TRENT\n Don't give me that! She liked you, man.", "MIKE\n No!\n\n TRENT\n Yes!\n\n LISA\n Oh my God.", "MIKE\n I know, but she did. She's with someone\n else now...\n\n LISA\n Already? You poor thing. It won't last.", "Mike rushes to get it, then forces himself to wait another\n ring and a half exactly.\n\n MIKE\n Hello?\n\n FEMALE VOICE\n Hi Michael.", "Mike and Rob STARE DIRECTLY at the girls like a deer in the\n headlights... a big no-no.\n\n MIKE\n The one in the hat? She's cute.", "MIKE\n Tee, girls don't go for me the way they\n go for you.\n\n TRENT\n Michelle went for you, right.", "MIKE\n No, Trent. He's right.\n\n Mike walks to his car.\n\n TRENT\n Mikey!", "SUE\n Good for you, man. He's being smart.\n\n MIKE\n She's really special, guys.", "Mike and Michelle say good bye. They hug and cry. He boards\n a plane for L.A..\n\n FADE TO:", "Mike hangs up.\n\n Beat.\n\n He dials again.", "Mike's P.O.V.\n\n The girls seem at first cold, the receptive. Trent and Sue\n join their table and share some laughs.", "Mike nods and, energized by the bombardment, crosses back to\n the bar and right into the fray.\n\n Trent and Sue rejoin the other swingers.", "There's something fresh about her. She's dressed nice, but\n different. She definitely is not a regular.\n\n She throws Mike a half-smile, then looks away.", "TRENT\n No, baby. You're money.\n\n MIKE\n She didn't like me, anyway.", "Mike throws her a disgusted look, then turns to go. Trent\n struggles to cheer him up.", "She gets up and leads Trent into the sleeping compartment to\n the rear. The door slaps shut.\n\n Mike and Lisa, in all her made-up glory, look into each\n others eyes." ] ]

[ "Where did Mike and Trent go to forget about Mike's Ex?", "Who was the first girl that Mike got a phone number from at the Bar?", "What profession is Mike Pursuing?", "Who had a gun in the parking lot?", "What was the name of the second girl that exchanged numbers with Mike?", "Which girl did Mike try to call?", "Who were the two different women who called mike near the end?", "Which woman does Mike choose?", "Where did Mike meet Lorraine?", "What woman does Mike finally choose to pursue a relationship with?", "Where do Mike and his friends take a trip to?", "Who do Mike and Rob meet up with at the bar?", "What girl's phone number does Mike obtain at their favorite hangout spot?", "How does Mike blow his chances with Nikki?", "What themed night is it at the night club?", "Who is Mike talking to on the phone when Lorraine calls him?", "Where did Mike move from?", "Who does Mike meet for coffee and a heart to heart?", "Why does the Las Vegas trip fail?", "What was the theme night of the Hollywood nightclub? ", "How many years were Mike and his ex-girlfriend together?", "What nearly causes the parking lot brawl?", "Who convinces Mike to take a trip to Las Vegas?", "What does Mike get from Nikki at a party?", "What does Sue pull out during the parking lot incident?", "How does Mike blow his chances with Nikki?", "What is Mike Peter's occupation?", "What lesson does Trent try to give the guys?", "What girl does Mike choose?" ]

[ [ "Mike and Trent went to Las Vegas.", "Las Vegas" ], [ "Nikki ", "Nikki" ], [ "Actor", "actor" ], [ "Sue ", "sue" ], [ "Lorraine", "Lorraine." ], [ "Nikki", "Nikki" ], [ "Lorraine and Mike's Ex", "His ex an Lorraine. " ], [ "Lorraine", "Lorraine." ], [ "Mike met her at a night club.", "swing night at a Hollywood night club" ], [ "Lorraine", "lorraine" ], [ "Las Vegas", "Hollywood Hills" ], [ "Charles", "charles mikes friend" ], [ "Nikki", "Nikki" ], [ "Leaving excessive, awkward messages", "He leaves too many awkward messages." ], [ "Swing night", "swing night" ], [ "His ex", "His ex " ], [ "New York", "New York" ], [ "Trent", "trent" ], [ "Mike and Trent lose miserably at the casino", "They lose money at the casino." ], [ "It was swing night.", "Swing dancing" ], [ "Six", "Six years." ], [ "Sue's temper", "Sue's temper" ], [ "Trent", "Rob" ], [ "A phone number", "Her number " ], [ "A gun", "A gun " ], [ "By leaving several desperate, awkward messages.", "He leaves a bunch of increasingly desperate messages on her phone." ], [ "He is a struggling actor.", "actor" ], [ "He gives them lessons on handling the opposite sex.", "handling the opposite sex" ], [ "Lorraine", "Lorraine" ] ]

[ [ "to the testimony of the Four Evangelists, bringing their narratives to the\ntests to which other evidence is subjected in human tribunals. The", "Examination of the Testimony\n\n of the\n\n Four Evangelists,\n\n by the Rules of Evidence Administered", "§ 28. Proceeding further, to inquire whether the facts related by the Four\nEvangelists are proved by competent and satisfactory evidence, we are led,", "§ 37. In the _fourth_ place, as to the _conformity of their testimony with\nexperience_. The title of the evangelists to full credit for veracity", "GUTENBERG EBOOK AN EXAMINATION OF THE TESTIMONY OF THE FOUR EVANGELISTS***\n\n\n\n\n\n An", "The narratives of the evangelists are now submitted to the reader’s\nperusal and examination, upon the principles and by the rules already", "Let the evangelists be tried by these tests.", "§ 47. There are other internal marks of truth in the narratives of the\nevangelists, which, however, need here be only alluded to, as they have", "historians, than the like circumstance is permitted to do among profane\nwriters; and that the Four Evangelists should be admitted in corroboration", "These are related by the Evangelists as having actually occurred, within\ntheir own personal knowledge. Our religion, then, rests on the credit due\nto these witnesses. Are they worthy of implicit belief, in the matters", "§ 29. But if the burden of establishing the credibility of the evangelists\nwere devolved on those who affirm the truth of their narratives, it is", "190 The notice of this circumstance affords a proof of the veracity of\n the evangelist; for he barely states a fact having no apparent", "courts of justice, even to witnesses whose integrity is not wholly free\nfrom suspicion; much more is it applicable to the evangelists, whose\ntestimony went against all their worldly interests. The great truths which", "received and referred to among the Jews, as the sacred books of their\nreligion;(8) and that the text of the Four Evangelists has been handed", "§ 35. The discrepancies between the narratives of the several evangelists,\nwhen carefully examined, will not be found sufficient to invalidate their", "he does not object to that testimony; nay, he relies upon it: “It is by\nthe Gospels themselves,” says he, “that I shall establish _all the", "man, and as a witness. See BLUNT’S Veracity of the Gospels, sect.\n i. 4.", "press. Thus one Evangelist is wonderfully supplemental to another by\n notations of time, place, and other circumstances; and the strictest\n propriety and agreement result from diligently comparing them.", "exclusively to them. This is plain from instances to the contrary.\n One Evangelist is sometimes distinct, while another is concise; and", "that the Evangelist commits a deliberate error in this particular?\n We have distinct and satisfactory witnesses to prove that there" ], [ "were lost, copies which had been as universally received and acted upon as\nthe Four Gospels have been, would have been received in evidence in any of\nour courts of justice, without the slightest hesitation. The entire text", "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "in\n\n Courts of Justice.\n\n With an Account of the Trial of Jesus.\n\n By Simon Greenleaf, LL.D.", "he does not object to that testimony; nay, he relies upon it: “It is by\nthe Gospels themselves,” says he, “that I shall establish _all the", "received and referred to among the Jews, as the sacred books of their\nreligion;(8) and that the text of the Four Evangelists has been handed", "to the testimony of the Four Evangelists, bringing their narratives to the\ntests to which other evidence is subjected in human tribunals. The", "_Professor Greenleaf on the Gospels, and Strauss’ __“__Life of\n Jesus.__”_—Of course we place the titles of these two books", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "The narratives of the evangelists are now submitted to the reader’s\nperusal and examination, upon the principles and by the rules already", "Examination of the Testimony\n\n of the\n\n Four Evangelists,\n\n by the Rules of Evidence Administered", "evidence are received as authoritative in all the English and\n American tribunals,—for fourteen years the highly respected\n colleague of the late Mr. Justice Story, and now the honoured head", "On the publishers announcing to Professor Greenleaf their wish to\nintroduce his Harmony to the notice of the British Public, he with equal", "narratives, as we now have them, would be received as ancient documents,\ncoming from the proper custody. If so, then it is believed that every\nhonest and impartial man will act consistently with that result, by", "historians, than the like circumstance is permitted to do among profane\nwriters; and that the Four Evangelists should be admitted in corroboration", "10 1 Greenleaf on Evid. § 34, 142, 570.", "“According to this exposition of judicial proceedings,” says the Jew, “I\nshall follow out the application of them in the most memorable tried in", "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "in Book IV. chapter iii., entitled, “The Trial and Condemnation of Jesus.”\nThe reader will bear in his mind, that it is the language of an enemy of" ], [ "18 See Campbell on the Four Gospels, vol. iii. pp. 35, 36; Preface to\n St. Matthew’s Gospel, § 22, 23.", "to the testimony of the Four Evangelists, bringing their narratives to the\ntests to which other evidence is subjected in human tribunals. The", "Examination of the Testimony\n\n of the\n\n Four Evangelists,\n\n by the Rules of Evidence Administered", "were lost, copies which had been as universally received and acted upon as\nthe Four Gospels have been, would have been received in evidence in any of\nour courts of justice, without the slightest hesitation. The entire text", "GUTENBERG EBOOK AN EXAMINATION OF THE TESTIMONY OF THE FOUR EVANGELISTS***\n\n\n\n\n\n An", "this work leads me to deal with the four Gospels alone, the\n insertion of other parts of Scripture in the text, here and\n elsewhere, is omitted.", "historians, than the like circumstance is permitted to do among profane\nwriters; and that the Four Evangelists should be admitted in corroboration", "received and referred to among the Jews, as the sacred books of their\nreligion;(8) and that the text of the Four Evangelists has been handed", "The narratives of the evangelists are now submitted to the reader’s\nperusal and examination, upon the principles and by the rules already", "evangelists, and it will be hardly possible to conceive that four persons,\nwriting at different times, could have concurred in the delineation of", "he does not object to that testimony; nay, he relies upon it: “It is by\nthe Gospels themselves,” says he, “that I shall establish _all the", "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "Latinisms it contains, but from the unanimous testimony of ancient\nwriters, and from the internal evidence afforded by the Gospel itself.", "This alleged contradiction among the Evangelists does not exist. In the\nfirst place, St. Matthew does not say that the discourse was had by Jesus.", "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "time, which is referred to, Aristoph. Eccles. 390, Juv. Sat. ix.\n 107. The four Evangelists therefore denote the same time,—sc.", "These are related by the Evangelists as having actually occurred, within\ntheir own personal knowledge. Our religion, then, rests on the credit due\nto these witnesses. Are they worthy of implicit belief, in the matters", "dictated this Gospel to Mark, was quite as intimately acquainted as\nMatthew with the miracles and discourses of our Lord; which, therefore, he", "man, and as a witness. See BLUNT’S Veracity of the Gospels, sect.\n i. 4.", "§ 37. In the _fourth_ place, as to the _conformity of their testimony with\nexperience_. The title of the evangelists to full credit for veracity" ], [ "the next parish. And yet, according to Mr. Hume’s argument, we are\n bound to disbelieve them all, because they speak to a thing contrary", "“The use of Mr. Hume’s argument is this, and it is an important and\n a valuable one. It teaches us to sift closely and rigorously the", "ourselves and the dead man. Mr. Hume’s argument requires us to\n believe this as the lesser improbability of the two—as less unlikely", "seems to us the clearest. Upon the principles of the sceptic, we should be\nbound utterly to disbelieve them all. On the contrary, we apply to such", "7 The argument here briefly sketched, is stated more at large, and\n with great clearness and force, in an essay entitled “The Philosophy\n of the Plan of Salvation,” pp. 13-107.", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "illustrating the first. He requires us to withhold our belief in\n circumstances which would force every man of common understanding to\n lend his assent, and to act upon the supposition of the story told", "Dr. Adam’s Treatise in reply to Mr. Hume; Bishop Gleig’s\n Dissertation on Miracles, (in the third volume of his edition of", "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "59 Mr. Hume’s argument is thus refuted by Lord Brougham. “Here are two\n answers, to which the doctrine proposed by Mr. Hume is exposed, and\n either appears sufficient to shake it.", "concerning things which are not susceptible of any other than moral\nevidence alone, and of which the utmost that can be said is that there is\nno reasonable doubt of their truth.(48)", "before his death;—according to Mr. Hume, we are bound rather to\n believe, not only that those credible witnesses deceive us, or that", "excludes all knowledge derived by inference or deduction from facts,\nconfining us to what we derive from experience alone, and thus depriving\nus of any knowledge, or even rational belief, of the existence or", "the sceptic consists in pretending or supposing that there is a difference\nin the nature of the evidence, where there is no difference in the nature\nof the things to be proved; and in demanding demonstrative evidence", "10 1 Greenleaf on Evid. § 34, 142, 570.", "On the publishers announcing to Professor Greenleaf their wish to\nintroduce his Harmony to the notice of the British Public, he with equal", "and infirmities, as ourselves. And their writings show them to have been\nmen of vigorous understandings. If then their testimony was not true,\nthere was no possible motive for its fabrication.", "belief, as a matter of vital concernment. These are no ordinary claims;\nand it seems hardly possible for a rational being to regard them with even\na subdued interest; much less to treat them with mere indifference and", "“_Secondly_—This leads us to the next objection to which Mr. Hume’s\n argument is liable, and which we have in part anticipated while" ], [ "the next parish. And yet, according to Mr. Hume’s argument, we are\n bound to disbelieve them all, because they speak to a thing contrary", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "“The use of Mr. Hume’s argument is this, and it is an important and\n a valuable one. It teaches us to sift closely and rigorously the", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "ourselves and the dead man. Mr. Hume’s argument requires us to\n believe this as the lesser improbability of the two—as less unlikely", "_Professor Greenleaf on the Gospels, and Strauss’ __“__Life of\n Jesus.__”_—Of course we place the titles of these two books", "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "On the publishers announcing to Professor Greenleaf their wish to\nintroduce his Harmony to the notice of the British Public, he with equal", "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "59 Mr. Hume’s argument is thus refuted by Lord Brougham. “Here are two\n answers, to which the doctrine proposed by Mr. Hume is exposed, and\n either appears sufficient to shake it.", "“_Secondly_—This leads us to the next objection to which Mr. Hume’s\n argument is liable, and which we have in part anticipated while", "in that office, and continued in it about forty years, until after\n the death of David. This circumstance, and his great eminence, above\n his father, may account for the use of his name rather than his", "7 The argument here briefly sketched, is stated more at large, and\n with great clearness and force, in an essay entitled “The Philosophy\n of the Plan of Salvation,” pp. 13-107.", "and infirmities, as ourselves. And their writings show them to have been\nmen of vigorous understandings. If then their testimony was not true,\nthere was no possible motive for its fabrication.", "before his death;—according to Mr. Hume, we are bound rather to\n believe, not only that those credible witnesses deceive us, or that", "Dr. Adam’s Treatise in reply to Mr. Hume; Bishop Gleig’s\n Dissertation on Miracles, (in the third volume of his edition of", "ingenuity and want of faith were proverbial. It was to such an employment\nand under such circumstances, that Matthew was educated; an employment\nwhich must have made him acquainted with the Greek language, and", "of the most distinguished and prosperous school of English law in\n the world. The other is the work of a German professor and\n speculatist, also profoundly learned in his way,—an ingenious and", "10 1 Greenleaf on Evid. § 34, 142, 570." ], [ "In chapter xxvi. 61, he states the depositions of the witnesses, but\nsaying at the same time that they were _false witnesses_; and in chapter", "will, without greater danger of detection, lead to the same false result.\nThe increased number of witnesses to circumstances, and the increased\nnumber of the circumstances themselves, all tend to increase the", "impresses the mind with the conviction that the instrument found in\n such custody must be genuine.” See the cases cited in 1 Greenleaf on", "§ 40. The difference, in the detail of circumstances, between artful or\nfalse witnesses and those who testify the truth, is worthy of especial", "with the actual occurrences of the same time and place, may not be shown\nto be false.(63) Hence it is, that a false witness will not willingly\ndetail any circumstances, in which his testimony will be open to", "10 1 Greenleaf on Evid. § 34, 142, 570.", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "other true witnesses, containing, as Dr. Paley observes, substantial\ntruth, under circumstantial variety. There is enough of discrepancy to\nshow that there could have been no previous concert among them; and at the", "witnesses will not be uniform in its texture, but will be unequal,\nunnatural, and inconsistent. On the contrary, in the testimony of true", "the intelligence or integrity of a witness, against whom the case itself\nafforded no particle of testimony. This is sufficient for our purpose, in\nregard to these witnesses. But more than this is evident, from the", "probability which would remain, even though the witnesses were of such a\ncharacter as to merit no faith at all. This probability arises from the\nconcurrence itself. That such a concurrence should spring from chance, is", "if proof it may be called, by suborning one or more false witnesses, to\ntestify directly to the matter in question, than to procure an equal\nnumber to testify falsely to such collateral and separate circumstances as", "the order of the names, but he alone states that they were thus\n associated. The others give the names in couples, but state no\n reason for it. This is not the method of false witnesses; such", "probability of detection if the witnesses are false, because thereby the\npoints are multiplied in which their statements may be compared with each\nother, as well as with the truth itself, and in the same proportion is", "Mr. Salvador, on this subject, says, p. 87: “The two witnesses, whom St.\nMatthew and St. Mark charge with _falsehood_, narrate a discourse which", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "and infirmities, as ourselves. And their writings show them to have been\nmen of vigorous understandings. If then their testimony was not true,\nthere was no possible motive for its fabrication.", "still capable of a ready moral demonstration, when we consider the nature\nand character of the testimony, and the essential marks of difference\nbetween true narratives of facts and the creations of falsehood. It is", "witnesses be compared with themselves, with each other, and with\nsurrounding facts and circumstances; and let their testimony be sifted, as", "as they treat the evidence of other things; and that they would try and\njudge its actors and witnesses, as they deal with their fellow-men, when\ntestifying to human affairs and actions, in human tribunals. Let the" ], [ "Either the men of Galilee were men of superlative wisdom, of extensive\nknowledge and experience, and of deeper skill in the arts of deception,", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "He is a good man: others said,\nNay; but he deceiveth the\npeople.\n13 Howbeit, no man spake", "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "those sound and unprejudiced men were themselves deceived, and\n fancied things without real existence, but further, that they all\n hit by chance upon the discovery of a real secret, known only to", "and insincere. But it was far otherwise. He had a twofold object; to\n call the attention of his disciples to the fact of her being a", "Here, now, observe the deep perfidy of his accusers. “If thou let this man", "being mistaken, all misled, or all combining to deceive us. Let any\n man try to calculate the chances of a thousand persons who come from\n different quarters, and never saw each other before, and who all", "life, as these were too learned and acute to be deceived by imposture.", "This first artifice has escaped the sagacity of Mr. Salvador.\n\nSection II.—THE CORRUPTION AND TREACHERY OF JUDAS.", "10 1 Greenleaf on Evid. § 34, 142, 570.", "fraud, imposture, cunning, and deception, and must have become habitually\ndistrustful, scrutinizing, and cautious; and, of course, much less likely", "endeavouring to “entangle him in his talk;” a measure, planned and\nconducted with consummate cunning and skill. The Jews were divided into", "ingenuity and want of faith were proverbial. It was to such an employment\nand under such circumstances, that Matthew was educated; an employment\nwhich must have made him acquainted with the Greek language, and", "31 For if they do these things\nin a green tree, what shall be\ndone in the dry?\n32 And there were also two", "found nothing thereon, but if haply he might find any\nleaves only, and said unto it, thing thereon: and when he\nLet no fruit grow on thee came to it, he found nothing", "On the publishers announcing to Professor Greenleaf their wish to\nintroduce his Harmony to the notice of the British Public, he with equal", "In chapter xxvi. 61, he states the depositions of the witnesses, but\nsaying at the same time that they were _false witnesses_; and in chapter", "before his death;—according to Mr. Hume, we are bound rather to\n believe, not only that those credible witnesses deceive us, or that" ], [ "as far as possible, from existing prejudice and open to conviction. There\nshould be a readiness, on our part, to investigate with candour, to follow\nthe truth wherever it may lead us, and to submit, without reserve or", "inquiry and impartially to weigh the arguments and evidence, and to\nacquiesce in the judgment of right reason. The investigation, moreover,\nshould be pursued with the serious earnestness which becomes the greatness", "The author first takes care to inform us under what point of view he\nintends to give an account of that accusation: “That we ought to lament", "seems to us the clearest. Upon the principles of the sceptic, we should be\nbound utterly to disbelieve them all. On the contrary, we apply to such", "concerning things which are not susceptible of any other than moral\nevidence alone, and of which the utmost that can be said is that there is\nno reasonable doubt of their truth.(48)", "illustrating the first. He requires us to withhold our belief in\n circumstances which would force every man of common understanding to\n lend his assent, and to act upon the supposition of the story told", "§ 2. In requiring this candour and simplicity of mind in those who would\ninvestigate the truth of our religion, Christianity demands nothing more", "persons who pronounced them, their dignity, their age, the order which\nthey had observed in the trial, prove their good faith. Would not a\nmiracle at this time have been decisive?”", "them. Having thus contented myself with declaring my own faith, as Mr.\nSalvador has let us clearly understand his, I shall also examine the", "the next parish. And yet, according to Mr. Hume’s argument, we are\n bound to disbelieve them all, because they speak to a thing contrary", "and infirmities, as ourselves. And their writings show them to have been\nmen of vigorous understandings. If then their testimony was not true,\nthere was no possible motive for its fabrication.", "Hope, and seek to discharge a duty to his fellow-men by laying\n before them the grounds on which he founds this acceptance and\n this hope, are cheering circumstances to the Christian, and", "shall prejudice himself_. If a man accuses himself before a tribunal, we\nmust not believe him, unless the fact is attested by two other witnesses;", "was capable of being accurately observed, and certainly known; and the\nevidence demands our assent, precisely as the like evidence upon any other\nindifferent subject. The connexion of the word or the act of Jesus with", "observed, would, in the affairs of human life, satisfy the mind and\nconscience of a common man. When we have this degree of evidence, it is", "from the weight of their judgment in matters of opinion. The rule of\n law on this subject has been thus stated by Dr. Lushington: “When\n you examine the testimony of witnesses nearly connected with the", "characters, the further it will be found removed from all suspicion of\ncontrivance or design, and the more profoundly the mind will repose on the\nconviction of its truth.", "Thomas the test he had demanded; and charges him to be not faithless, but\nbelieving. Thomas, convinced and abashed, exclaims in the fulness of faith", "This being the state of the question, then, I enter upon my subject; and I\ndo not hesitate to affirm, because I will prove it, that, upon examining", "acquaint ourselves with the evidences of the Christian religion, or to act\nas though, having fully examined, we lightly esteemed them, is to assume\nan appalling amount of responsibility." ], [ "child, shall in nowise enter therein.’ Christianity does not profess to\nconvince the perverse and headstrong, to bring irresistible evidence to", "This might go to destroy man’s responsibility. All that Christianity\nprofesses, is to propose such evidences as may satisfy the meek, the", "than is readily conceded to every branch of human science. All these have\ntheir data, and their axioms; and Christianity, too, has her first\nprinciples, the admission of which is essential to any real progress in", "§ 1. In examining the evidences of the Christian religion, it is essential\nto the discovery of truth that we bring to the investigation a mind freed,", "one is to prove, and of the other to disprove, the Christian\n religion. The one is the production of an able and profound\n lawyer, a man who has grown grey in the halls of justice and the", "§ 3. The present design, however, is not to enter upon any general\nexamination of the evidences of Christianity, but to confine the inquiry", "§ 42. All that Christianity asks of men on this subject, is, that they\nwould be consistent with themselves; that they would treat its evidences", "51 This subject has been treated by Dr. Chalmers, in his Evidences of\n the Christian Revelation, chapter iii. The following extract from", "acquaint ourselves with the evidences of the Christian religion, or to act\nas though, having fully examined, we lightly esteemed them, is to assume\nan appalling amount of responsibility.", "Thomas the test he had demanded; and charges him to be not faithless, but\nbelieving. Thomas, convinced and abashed, exclaims in the fulness of faith", "as I now respectfully do, to you. If a close examination of the evidences\nof Christianity may be expected of one class of men more than another, it", "knowledge. “Christianity,” says Bishop Wilson, “inscribes on the portal of\nher dominions, ‘Whosoever shall not receive the kingdom of God as a little", "3 Bishop Wilson’s Evidences, p. 38.", "of evidence be at all different, if the fact to be proved were the\ndeclaration of Jesus, immediately preceding his restoration to sight, that\nhis faith had made him whole. In each of these cases, each isolated fact", "concerning things which are not susceptible of any other than moral\nevidence alone, and of which the utmost that can be said is that there is\nno reasonable doubt of their truth.(48)", "These are related by the Evangelists as having actually occurred, within\ntheir own personal knowledge. Our religion, then, rests on the credit due\nto these witnesses. Are they worthy of implicit belief, in the matters", "i. ch. 4, sec. 2; in which he refers, among others, to Doctor\n Gregory’s Letters on the Evidences of the Christian Revelation; Dr.", "acquiesced in even by Christians; in requiring the Christian\naffirmatively, and by positive evidence, _aliunde_, to establish the\ncredibility of his witnesses above all others, before their testimony is", "foundation of the hope of the Gospel, refused to believe except upon the\nevidence of their own senses; while all who after them have borne the\nChristian Name, have believed this great fact of the Gospel solely upon", "probability, but yet not utterly inconsistent with the innocence of the\naccused. The evidence which we have of the great facts of the Bible\nhistory belongs to this class, that is, it is moral evidence; sufficient" ], [ "The narratives of the evangelists are now submitted to the reader’s\nperusal and examination, upon the principles and by the rules already", "GUTENBERG EBOOK AN EXAMINATION OF THE TESTIMONY OF THE FOUR EVANGELISTS***\n\n\n\n\n\n An", "to the testimony of the Four Evangelists, bringing their narratives to the\ntests to which other evidence is subjected in human tribunals. The", "Examination of the Testimony\n\n of the\n\n Four Evangelists,\n\n by the Rules of Evidence Administered", "this work leads me to deal with the four Gospels alone, the\n insertion of other parts of Scripture in the text, here and\n elsewhere, is omitted.", "18 See Campbell on the Four Gospels, vol. iii. pp. 35, 36; Preface to\n St. Matthew’s Gospel, § 22, 23.", "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "evangelists, and it will be hardly possible to conceive that four persons,\nwriting at different times, could have concurred in the delineation of", "received and referred to among the Jews, as the sacred books of their\nreligion;(8) and that the text of the Four Evangelists has been handed", "These are related by the Evangelists as having actually occurred, within\ntheir own personal knowledge. Our religion, then, rests on the credit due\nto these witnesses. Are they worthy of implicit belief, in the matters", "he does not object to that testimony; nay, he relies upon it: “It is by\nthe Gospels themselves,” says he, “that I shall establish _all the", "§ 37. In the _fourth_ place, as to the _conformity of their testimony with\nexperience_. The title of the evangelists to full credit for veracity", "were lost, copies which had been as universally received and acted upon as\nthe Four Gospels have been, would have been received in evidence in any of\nour courts of justice, without the slightest hesitation. The entire text", "historians, than the like circumstance is permitted to do among profane\nwriters; and that the Four Evangelists should be admitted in corroboration", "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "§ 28. Proceeding further, to inquire whether the facts related by the Four\nEvangelists are proved by competent and satisfactory evidence, we are led,", "man, and as a witness. See BLUNT’S Veracity of the Gospels, sect.\n i. 4.", "time, which is referred to, Aristoph. Eccles. 390, Juv. Sat. ix.\n 107. The four Evangelists therefore denote the same time,—sc.", "This alleged contradiction among the Evangelists does not exist. In the\nfirst place, St. Matthew does not say that the discourse was had by Jesus.", "Luke’s Gospel were to be regarded only as the work of a contemporary\nhistorian, it would be entitled to our confidence. But it is more than" ], [ "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "_Professor Greenleaf on the Gospels, and Strauss’ __“__Life of\n Jesus.__”_—Of course we place the titles of these two books", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "On the publishers announcing to Professor Greenleaf their wish to\nintroduce his Harmony to the notice of the British Public, he with equal", "The narratives of the evangelists are now submitted to the reader’s\nperusal and examination, upon the principles and by the rules already", "Hope, and seek to discharge a duty to his fellow-men by laying\n before them the grounds on which he founds this acceptance and\n this hope, are cheering circumstances to the Christian, and", "narratives, as we now have them, would be received as ancient documents,\ncoming from the proper custody. If so, then it is believed that every\nhonest and impartial man will act consistently with that result, by", "he does not object to that testimony; nay, he relies upon it: “It is by\nthe Gospels themselves,” says he, “that I shall establish _all the", "these things unto the eleven, and to all the rest.—And their words seemed\nto them as idle tales, and they believed them not.” We may perhaps see in", "foundation of the hope of the Gospel, refused to believe except upon the\nevidence of their own senses; while all who after them have borne the\nChristian Name, have believed this great fact of the Gospel solely upon", "all, especially to Jesus. No opposition is offered to his passing the\nfrontier: his liberty depends entirely upon himself. This is not all; the", "ends with Jesus. In this way the three divisions are made out thus:—", "§ 173. Conclusion of John’s Gospel.", "Touched with the distresses of the nation, Jesus comforted them by holding\nup to them the hope of another life; he alarmed the great, the rich, and", "This rule serves to show the injustice with which the writers of the\nGospels have ever been treated by infidels; an injustice silently", "escape, but in the perfect conviction and admission that they were good\nmen, testifying to that which they had carefully observed and considered,\nand well knew to be true.(54)", "that are bruised,\n19 To preach the acceptable\nyear of the Lord.\n20 And he closed the book, and\nhe gave it again to the" ], [ "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "§ 35. The discrepancies between the narratives of the several evangelists,\nwhen carefully examined, will not be found sufficient to invalidate their", "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "_Professor Greenleaf on the Gospels, and Strauss’ __“__Life of\n Jesus.__”_—Of course we place the titles of these two books", "different and sometimes discordant reports of the same decisions. This\nremark applies especially to some alleged discrepancies in the reports\nwhich the several evangelists have given of the same discourses of our", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "the alleged difficulties and discrepancies in this part of the Gospel\nnarratives are found. We will therefore take up the chief of them in their\norder.", "§ 36. If the evidence of the evangelists is to be rejected because of a\nfew discrepancies among them, we shall be obliged to discard that of many", "This alleged contradiction among the Evangelists does not exist. In the\nfirst place, St. Matthew does not say that the discourse was had by Jesus.", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "The apparent discrepancy, if any, here arises simply from Matthew’s\nbrevity in omitting to state in full what his own narrative presupposes.", "he does not object to that testimony; nay, he relies upon it: “It is by\nthe Gospels themselves,” says he, “that I shall establish _all the", "other true witnesses, containing, as Dr. Paley observes, substantial\ntruth, under circumstantial variety. There is enough of discrepancy to\nshow that there could have been no previous concert among them; and at the", "and infirmities, as ourselves. And their writings show them to have been\nmen of vigorous understandings. If then their testimony was not true,\nthere was no possible motive for its fabrication.", "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "Thus, then, the witnesses did not agree together, and their declarations\nhad nothing conclusive. Mark xiv. 59. We must, therefore, look for other\nproofs.", "The apparent discrepancies in these accounts are reconciled by Dr.\n Robinson, in the following manner:\n\n “I. In the genealogy given by Matthew, considered by itself, some\n difficulties present themselves.", "press. Thus one Evangelist is wonderfully supplemental to another by\n notations of time, place, and other circumstances; and the strictest\n propriety and agreement result from diligently comparing them.", "whom St. Matthew and St. Mark accuse of perjury, relate a discourse which\nSt. John declares to be true, with regard to the power which Jesus", "Dr. Robinson’s Greek Harmony of the Gospels, pp. 183-187." ], [ "“The use of Mr. Hume’s argument is this, and it is an important and\n a valuable one. It teaches us to sift closely and rigorously the", "ourselves and the dead man. Mr. Hume’s argument requires us to\n believe this as the lesser improbability of the two—as less unlikely", "the next parish. And yet, according to Mr. Hume’s argument, we are\n bound to disbelieve them all, because they speak to a thing contrary", "59 Mr. Hume’s argument is thus refuted by Lord Brougham. “Here are two\n answers, to which the doctrine proposed by Mr. Hume is exposed, and\n either appears sufficient to shake it.", "things first made a code of laws, and then put it out of his own power to\nchange them. The scheme of Mr. Hume is but another form of the same error.", "before his death;—according to Mr. Hume, we are bound rather to\n believe, not only that those credible witnesses deceive us, or that", "in that office, and continued in it about forty years, until after\n the death of David. This circumstance, and his great eminence, above\n his father, may account for the use of his name rather than his", "Dr. Adam’s Treatise in reply to Mr. Hume; Bishop Gleig’s\n Dissertation on Miracles, (in the third volume of his edition of", "7 The argument here briefly sketched, is stated more at large, and\n with great clearness and force, in an essay entitled “The Philosophy\n of the Plan of Salvation,” pp. 13-107.", "“_Secondly_—This leads us to the next objection to which Mr. Hume’s\n argument is liable, and which we have in part anticipated while", "forbidden deed. Mr. Hume’s argument makes no exception. This is its\n scope; and whether he chooses to push it thus far or no, all", "ingenuity and want of faith were proverbial. It was to such an employment\nand under such circumstances, that Matthew was educated; an employment\nwhich must have made him acquainted with the Greek language, and", "“We may therefore rest in the necessary conclusion, that as our\n Lord’s regular descent from David was always asserted, and was never", "68 See Chalmers’s Evidence, chap. iii.", "begins _apo Abraham_, so the second also is said to begin _apo\n David_. The first extends _heos David_, and includes him; the second", "and infirmities, as ourselves. And their writings show them to have been\nmen of vigorous understandings. If then their testimony was not true,\nthere was no possible motive for its fabrication.", "ye not read what David did ye never read what David\nwhen he was a hungered, and did,(136) when he had need,\nthey that were with him; and was a hungered, he and", "was capable of being accurately observed, and certainly known; and the\nevidence demands our assent, precisely as the like evidence upon any other\nindifferent subject. The connexion of the word or the act of Jesus with", "footmen to fight his battles. It was observed for near four hundred\n years, until some time in the reign of Solomon; for David himself", "of the contemporaneous histories on which we are accustomed to rely. Dr.\nPaley has noticed the contradiction between Lord Clarendon and Burnett and" ], [ "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "ignorant person is capable of observing it. There is nothing\n extraordinary in the facts themselves; and the extraordinary\n coincidence, in which the miracle consists, becomes both", "“A miracle is improbable, when we can perceive no sufficient cause, in\nreference to his creatures, why the Deity should vary his modes of", "and improbable if he were a mere man; but it becomes perfectly\n natural and probable, when his divine power is considered. Each of\n those facts is in its nature so simple and obvious, that the most", "people would lend an easy belief to any miracles thus vouched. But\n let us add this circumstance, that a friend on his death-bed had", "knew him; and he vanished away from them. Here too the question is raised,\nwhether the language necessarily implies anything miraculous? Our English", "§ 38. But the full discussion of the subject of miracles forms no part of\nthe present design. Their credibility has been fully established, and the", "had performed many miracles, but never in any other name than his own. In\nhis own name, and without the recognition of any higher power, he had\nmiraculously healed the sick, restored sight to the blind and strength to", "unworthy of belief. Spinosa’s argument against the possibility of\nmiracles, was founded on the broad and bold assumption that all things are", "friends or foes, who beheld the miracles which he wrought. Indeed, if the\ntruth of one of the miracles is satisfactorily established, our belief", "mission. A sufficient number were enlightened to attest his miracles\n and proclaim his religion, and enough were left in their ignorance,", "proofs, the fact will here be assumed as true. That man is a religious\nbeing, is universally conceded, for it has been seen to be universally", "would be readily conceded by the objector, if the facts they relate were\nsuch as ordinarily occur in human experience. But they also relate events\nwhich were miraculous, or out of the ordinary course of human experience,", "spake of the Jewish temple, yet his words, in either sense, amounted to a\nclaim of the power of working miracles, and so brought him within the law.", "persons who pronounced them, their dignity, their age, the order which\nthey had observed in the trial, prove their good faith. Would not a\nmiracle at this time have been decisive?”", "_Professor Greenleaf on the Gospels, and Strauss’ __“__Life of\n Jesus.__”_—Of course we place the titles of these two books", "both an acute observer, and had given particular and even professional\nattention to all our Saviour’s miracles of healing. Thus, the man whom", "performs miracles, is to be punished when he speaks of a God unknown to\nthe Hebrews or their fathers.”" ], [ "62 See Bishop Wilson’s Evidences, lect. 7, p. 130.\n\n 63 1 Stark on Evid. p. 496-499.", "3 Bishop Wilson’s Evidences, p. 38.", "10 1 Greenleaf on Evid. § 34, 142, 570.", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "By competent evidence, is meant such as the nature of the thing to be\nproved requires; and by satisfactory evidence, is meant that amount of", "observed, would, in the affairs of human life, satisfy the mind and\nconscience of a common man. When we have this degree of evidence, it is", "probability, but yet not utterly inconsistent with the innocence of the\naccused. The evidence which we have of the great facts of the Bible\nhistory belongs to this class, that is, it is moral evidence; sufficient", "Mansfield, Ch. J. See 1 Greenleaf on Evidence, § 128.", "Lectures of Bp. Wilson, and of Bp. Sumner of Chester, on the\n Evidences of Christianity; and, in America, the same question, as it", "12 1 Starkie on Evidence, pp. 195, 230; 1 Greenleaf on Evidence, § 483.", "was capable of being accurately observed, and certainly known; and the\nevidence demands our assent, precisely as the like evidence upon any other\nindifferent subject. The connexion of the word or the act of Jesus with", "is proved, in great part at least, by such evidence, can we wholly\n reject the like evidence when it comes to prove an exception to the", "evidence are received as authoritative in all the English and\n American tribunals,—for fourteen years the highly respected\n colleague of the late Mr. Justice Story, and now the honoured head", "concerning things which are not susceptible of any other than moral\nevidence alone, and of which the utmost that can be said is that there is\nno reasonable doubt of their truth.(48)", "or the mode of weighing the evidence. It is still the evidence of matters\nof fact, capable of being seen and known and related, as well by one man", "to the ordinary experience of mankind, the burden of proof is devolved on\nthe objector, by the common and ordinary rules of evidence, and of\npractice in courts. No lawyer is permitted to argue in disparagement of", "i. ch. 4, sec. 2; in which he refers, among others, to Doctor\n Gregory’s Letters on the Evidences of the Christian Revelation; Dr.", "69 See Chalmers’s Evidence, pp. 76-78, Amer. ed. Proofs of this kind", "the intelligence or integrity of a witness, against whom the case itself\nafforded no particle of testimony. This is sufficient for our purpose, in\nregard to these witnesses. But more than this is evident, from the" ], [ "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "_Professor Greenleaf on the Gospels, and Strauss’ __“__Life of\n Jesus.__”_—Of course we place the titles of these two books", "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "he does not object to that testimony; nay, he relies upon it: “It is by\nthe Gospels themselves,” says he, “that I shall establish _all the", "The narratives of the evangelists are now submitted to the reader’s\nperusal and examination, upon the principles and by the rules already", "this work leads me to deal with the four Gospels alone, the\n insertion of other parts of Scripture in the text, here and\n elsewhere, is omitted.", "Luke’s Gospel were to be regarded only as the work of a contemporary\nhistorian, it would be entitled to our confidence. But it is more than", "18 See Campbell on the Four Gospels, vol. iii. pp. 35, 36; Preface to\n St. Matthew’s Gospel, § 22, 23.", "to the testimony of the Four Evangelists, bringing their narratives to the\ntests to which other evidence is subjected in human tribunals. The", "not agreed, nor is it material to our purpose to inquire; the genuineness\nof our present Greek gospel being sustained by satisfactory evidence.(16)\nThe precise time when he wrote is also uncertain, the several dates given", "equally close and searching. The other two evangelists, it has been well\nremarked, were as much too unlearned to forge the story of their Master’s", "minuteness of their narratives, and from their history. Matthew was\ntrained, by his calling, to habits of severe investigation and suspicious\nscrutiny; and Luke’s profession demanded an exactness of observation", "which belongs to the testimony of an eye-witness.(25) We may, therefore,\nregard the Gospel of Mark as an original composition, written at the", "The arrangement of the Gospels by Dr. Robinson was adopted in this work,\nit being the latest published in the United States, and by a scholar of", "the alleged difficulties and discrepancies in this part of the Gospel\nnarratives are found. We will therefore take up the chief of them in their\norder.", "appearance in Galilee; omissions irreconcilable with any previous\nknowledge of the Gospel according to Matthew. To these proofs we may add,\nthat in several places there are discrepancies between the accounts of", "witnessed the act of Jesus in touching him, and heard his words.(62) All\nthese, separately considered, were facts, plain and simple in their" ], [ "impresses the mind with the conviction that the instrument found in\n such custody must be genuine.” See the cases cited in 1 Greenleaf on", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "narratives, as we now have them, would be received as ancient documents,\ncoming from the proper custody. If so, then it is believed that every\nhonest and impartial man will act consistently with that result, by", "10 1 Greenleaf on Evid. § 34, 142, 570.", "The genuineness of these writings really admits of as little doubt, and is\nsusceptible of as ready proof, as that of any ancient writings whatever.", "have been otherwise; and that every document, found in its proper\nrepository, and not bearing marks of forgery, is genuine. Now this is\nprecisely the case with the Sacred Writings. They have been used in the", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "disaster; the result of which was communicated to the public, under\n their hands. This document received universal confidence, and no\n further inquiry was made.", "place, and bear no evident marks of forgery, the law presumes that they\nare genuine, and they are permitted to be read in evidence, unless the", "addressed to him, the remainder of which was found upon his person, no\njuror’s conscience could have reproached him for assenting to the verdict", "_Every document, apparently ancient, coming from the proper\n repository or custody, and bearing on its face no evident marks of", "Your obedient servant,\nSIMON GREENLEAF.\n\nHARVARD UNIVERSITY,\nDANE HALL, _May 1, 1846_.", "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "of them as genuine writings, precisely as Domesday Book, the Ancient\nStatutes of Wales, or any other of the ancient documents which have\nrecently been published under the British Record Commission, are received.", "and infirmities, as ourselves. And their writings show them to have been\nmen of vigorous understandings. If then their testimony was not true,\nthere was no possible motive for its fabrication.", "or the satisfactory character of the proof. In a recent case in the House\nof Lords, precisely such a document, being an old manuscript copy,\npurporting to have been extracted from ancient Journals of the House,", "Mansfield, Ch. J. See 1 Greenleaf on Evidence, § 128.", "an ancient deed or charter were produced in support of the title, under\nparallel circumstances on which to presume its genuineness, no lawyer, it\nis believed, would venture to deny either its admissibility in evidence,", "escape, but in the perfect conviction and admission that they were good\nmen, testifying to that which they had carefully observed and considered,\nand well knew to be true.(54)" ], [ "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "On the publishers announcing to Professor Greenleaf their wish to\nintroduce his Harmony to the notice of the British Public, he with equal", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "name to present any elucidations in favour of innocence, he was admitted\nto the seat, from which he addressed the judges and the people. But this", "found nothing thereon, but if haply he might find any\nleaves only, and said unto it, thing thereon: and when he\nLet no fruit grow on thee came to it, he found nothing", "of all this wickedness, but have everywhere left the plain and\nunincumbered narrative to speak for itself, and the reader to pronounce\nhis own sentence of condemnation; like true witnesses, who have nothing to", "It appears, that he had, many years before, in a little work, entitled\n“_The Free_ Defence of Accused Persons,” published in 1815, taken the same", "keeper of the garden. He too inquires, why she weeps. Her reply is the\nsame as before; except that she, not unnaturally, supposes him to have", "down at his feet, and besought\nhim, saying, Have patience\nwith me, and I will pay thee\nall.\n30 And he would not: but went", "After “chastising” him! And was not this a piece of cruelty, when he\nconsidered him to be innocent?(415) But this was an act of condescension", "The author first takes care to inform us under what point of view he\nintends to give an account of that accusation: “That we ought to lament", "10 1 Greenleaf on Evid. § 34, 142, 570.", "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "But being for a moment stopped by the voice of his own conscience, and by\nthe advice which his terrified wife sent to him—“_Have thou nothing to do", "_suffer_, and had not a trial.”", "character. No lawyer, it is conceived, would think of placing his defence\nupon any other basis.", "them, because they should hold he should hold his peace: but\ntheir peace: but they cried he cried the more a great\nthe more, saying, Have mercy deal, _Thou_ son of David,", "escape, but in the perfect conviction and admission that they were good\nmen, testifying to that which they had carefully observed and considered,\nand well knew to be true.(54)", "about to depart from them. In accordance with oriental hospitality they\nconstrained him to remain with them. He consents; and as he sat at meat" ], [ "ingenuity and want of faith were proverbial. It was to such an employment\nand under such circumstances, that Matthew was educated; an employment\nwhich must have made him acquainted with the Greek language, and", "minuteness of their narratives, and from their history. Matthew was\ntrained, by his calling, to habits of severe investigation and suspicious\nscrutiny; and Luke’s profession demanded an exactness of observation", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "Matthew.\nCH. II. 13-23.\n13 And when they were", "Luke, is not denied by Matthew, but omitted only. Nothing, indeed,\n is more common than to find the omission of some supplied by the\n other Evangelists. NEWCOME.", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "166 Both Mark and Luke state that this was in Matthew’s own house; and\n Luke calls it a great feast, made in honour of Jesus. The omission", "The apparent discrepancy, if any, here arises simply from Matthew’s\nbrevity in omitting to state in full what his own narrative presupposes.", "Matthew. Luke\nCH. XI. 2-19.\n2 Now when John had heard in 18 And the disciples of John", "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "in the parallel places named in couples. Luke mentions Matthew\n first, as being regarded as the senior of Thomas, his companion; but\n Matthew modestly places his own name last. Mark is less observant of", "had been closed, already rolled away. Matthew, on the other hand, after\nnarrating that the women went out to see the sepulchre, proceeds to", "Matthew and Mark describe simply as a leper, Luke describes as _full_ of\nleprosy;(28) he, whom they mention as having a withered hand, Luke says", "Evangelists to speak of him particularly. But there, as here, their\nlanguage is not exclusive; nor is there in it anything that contradicts\nthe statements of Matthew.", "Luke. John.\nCH. IV. 14. CH. IV. 1-3.\n When therefore the Lord knew", "Luke.\nCH. XVII. 11-19.\n11 And it came to pass, as he", "St. Luke, however, states a fact which accounts for their not making\n such inquiry, ch. xxii. 51. _He touched his ear and healed him_. An", "stood as yet, (John xix. 25,) so nigh the cross as to hear what\n Christ said. But at the time of his departure, Matthew, Mark and", "109 There is a seeming discrepancy between Matthew and Luke, in the\n order of the temptations; but Luke does not affirm the order;", "the appearances thus described by Matthew and Paul, were identical. It was\na great and solemn occasion. Our Lord had directed that the eleven and all" ], [ "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "On the publishers announcing to Professor Greenleaf their wish to\nintroduce his Harmony to the notice of the British Public, he with equal", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "all, especially to Jesus. No opposition is offered to his passing the\nfrontier: his liberty depends entirely upon himself. This is not all; the", "Hope, and seek to discharge a duty to his fellow-men by laying\n before them the grounds on which he founds this acceptance and\n this hope, are cheering circumstances to the Christian, and", "him,(198) because his face was doeth anything in secret, and\nas though he would go to he himself seeketh to be known\nJerusalem. openly. If thou do these", "secret, but that it should\n come abroad.\n 23 If any man have ears to\n hear, let him hear.", "were opened, and the string of\n his tongue was loosed, and he\n spake plain.\n 36 And he charged them that", "covered, that shall not be\nrevealed; neither hid, that\nshall not be known.\n3 Therefore, whatsoever ye\nhave spoken in darkness, shall", "whatsoever the teacher may inculcate; but it is a mind free from all pride\nof opinion, not hostile to the truth sought for, willing to pursue the", "as far as possible, from existing prejudice and open to conviction. There\nshould be a readiness, on our part, to investigate with candour, to follow\nthe truth wherever it may lead us, and to submit, without reserve or", "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "with the public. He has given himself honourably to the labour,\n and spread its results before the world.", "follow and become attached to him; for he preaches a doctrine that is\nfriendly and consolatory to the people; he unmasks our pride, our avarice,\nour insatiable spirit of domination!", "wisdom. It showed that Jesus was willing to throw open his most\n secret actions, discourses, and views not merely to his devoted\n friends, but to a sagacious and hardened enemy. If Judas had ever", "together.\n 37 And herein is that saying\n true, One soweth, and another\n reapeth.", "in all the affairs of life, from the cradle to the grave. This influence\nwe are constantly exerting for good or ill; and hence, to refuse to", "Jesus.\n33 They say unto him, Lord, 51 And Jesus answered and said\nthat our eyes may be opened. unto him, What wilt thou that", "comprehend the real complaint of the Jews. To them it was equivalent to\nsaying—He _teaches_ the people, he instructs them, he enlightens them; he" ], [ "have been otherwise; and that every document, found in its proper\nrepository, and not bearing marks of forgery, is genuine. Now this is\nprecisely the case with the Sacred Writings. They have been used in the", "The genuineness of these writings really admits of as little doubt, and is\nsusceptible of as ready proof, as that of any ancient writings whatever.", "of them as genuine writings, precisely as Domesday Book, the Ancient\nStatutes of Wales, or any other of the ancient documents which have\nrecently been published under the British Record Commission, are received.", "place, and bear no evident marks of forgery, the law presumes that they\nare genuine, and they are permitted to be read in evidence, unless the", "narratives, as we now have them, would be received as ancient documents,\ncoming from the proper custody. If so, then it is believed that every\nhonest and impartial man will act consistently with that result, by", "§ 9. An ancient document, offered in evidence in our courts, is said to\ncome from the proper repository, when it is found in the place where, and", "under the care of persons with whom, such writings might naturally and\nreasonably be expected to be found; for it is this custody which gives\nauthenticity to documents found within it.(9) If they come from such a", "impresses the mind with the conviction that the instrument found in\n such custody must be genuine.” See the cases cited in 1 Greenleaf on", "_Every document, apparently ancient, coming from the proper\n repository or custody, and bearing on its face no evident marks of", "The rule of municipal law on this subject is familiar, and applies with\nequal force to all ancient writing, whether documentary or otherwise; and\nas it comes first in order, in the prosecution of these inquiries, it may,", "materials for a cross-examination, which would infallibly have disgraced\nthem. Now, we of this age can institute the same cross-examination. We can", "among the copies subsequently made, there is no pretence that the\noriginals were anywhere corrupted. If it be objected that the originals\nare lost, and that copies alone are now produced, the principles of the", "and, as in the case of official registers and other public books, it is\nnot necessary that they should be confirmed and sanctioned by the ordinary\ntests of truth.(12) If any ancient document concerning our public rights", "place where they are actually found; for it is obvious, that, which\n there can be only one place of deposit strictly and absolutely\n proper, there may be many and various, that are reasonable and", "13 The arguments for the genuineness and authenticity of the books of\n the Holy Scriptures are briefly, yet very fully stated, and almost", "standard of their faith. There is no pretence that they were engraven on\nplates of gold and discovered in a cave, nor that they were brought from", "continued; and contemporaneous declarations, as part of the _res\n gestæ_, faithfully transmitted to succeeding times. It is alleged\n that those to whom the law of God was first announced, best knew its", "§ 44. The essential marks of difference between true narratives of facts\nand the creations of fiction, have already been adverted to. It may here", "the drawing up of a complete and authentic narrative of these great\nevents. He does not affirm himself to have been an eye-witness; though his\npersonal knowledge of some of the transactions may well be inferred from", "into the text.’ This indeed is in itself possible; yet all the\n external testimony of manuscripts and versions is in favour of the\n genuineness of that verse. It is better therefore to regard these" ], [ "circumstances which will be mentioned hereafter; from all which, it is\nmanifest that if they concerted a false story, they sought its\naccomplishment by a mode quite the opposite to that which all others are", "these different accounts of the same transactions were in strict verbal\nconformity with each other, the argument against their credibility would\nbe much stronger. All that is asked for these witnesses is, that their", "speak the truth, when they have no prevailing motive or inducement to the\ncontrary. This presumption, to which we have before alluded, is applied in", "and infirmities, as ourselves. And their writings show them to have been\nmen of vigorous understandings. If then their testimony was not true,\nthere was no possible motive for its fabrication.", "persons who pronounced them, their dignity, their age, the order which\nthey had observed in the trial, prove their good faith. Would not a\nmiracle at this time have been decisive?”", "§ 40. The difference, in the detail of circumstances, between artful or\nfalse witnesses and those who testify the truth, is worthy of especial", "In chapter xxvi. 61, he states the depositions of the witnesses, but\nsaying at the same time that they were _false witnesses_; and in chapter", "same time such substantial agreement as to show that they all were\nindependent narrators of the same great transaction, as the events\nactually occurred. That they conspired to impose falsehood upon the world", "the order of the names, but he alone states that they were thus\n associated. The others give the names in couples, but state no\n reason for it. This is not the method of false witnesses; such", "parties, and there is nothing very peculiar tending to destroy their\n credit, when they depose to mere facts, their testimony is to be\n believed; when they depose as to matter of opinion, it is to be", "53 If the witnesses could be supposed to have been biassed, this would\n destroy their testimony to matters of fact; it would only detract", "escape, but in the perfect conviction and admission that they were good\nmen, testifying to that which they had carefully observed and considered,\nand well knew to be true.(54)", "in order to ascertain whether, if they had thus testified on oath, in a\ncourt of justice, they would be entitled to credit; and whether their", "public estimation, detract from the integrity of the narrators, nor from\nthe credibility of their relations. In the points in which they agree, and\nwhich constitute the great body of their narratives, their testimony is of", "with the actual occurrences of the same time and place, may not be shown\nto be false.(63) Hence it is, that a false witness will not willingly\ndetail any circumstances, in which his testimony will be open to", "four of the very soundest judges and most incorruptibly honest men\n we know,—men noted for their difficult belief of wonders, and, above", "probability which would remain, even though the witnesses were of such a\ncharacter as to merit no faith at all. This probability arises from the\nconcurrence itself. That such a concurrence should spring from chance, is", "_The credit due to the testimony of witnesses depends upon,\n firstly, their honesty; secondly, their ability; thirdly, their", "witnesses with severity, to discover truth and separate it from error. Our\nfellow-men are well aware of this; and probably they act upon this", "courts of justice, even to witnesses whose integrity is not wholly free\nfrom suspicion; much more is it applicable to the evangelists, whose\ntestimony went against all their worldly interests. The great truths which" ], [ "forward and minute in details, where he knows that any danger of\ncontradiction is least to be apprehended.(64) Therefore it is, that\nvariety and minuteness of detail are usually regarded as certain tests of", "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "of most of the transactions noticed by the others, and from his care to\nmention several incidents which they have not recorded. That their\nnarratives were known to him, is too evident to admit of doubt; while his", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "is dead, and his moral character is forgotten, we can ascertain it only by\na close inspection of his narrative, comparing its details with each\nother, and with contemporary accounts and collateral facts. This test is", "minuteness of their narratives, and from their history. Matthew was\ntrained, by his calling, to habits of severe investigation and suspicious\nscrutiny; and Luke’s profession demanded an exactness of observation", "witnesses themselves, to see who and what manner of men they were, and we\nshall take them in the order of their writings; stating the prominent\ntraits only in their lives and characters, as they are handed down to us", "ever received in his life. See Memoirs of Sully, vol. i. p. 245. If\n we treated these narratives as sceptics would have us treat these of", "the drawing up of a complete and authentic narrative of these great\nevents. He does not affirm himself to have been an eye-witness; though his\npersonal knowledge of some of the transactions may well be inferred from", "of their Lord in his hour of extreme peril; these, and many other\nincidents tending directly to their own dishonour, are nevertheless set\ndown with all the directness and sincerity of truth, as by men writing", "witnesses there is a visible and striking naturalness of manner, and an\nunaffected readiness and copiousness in the detail of circumstances, as\nwell in one part of the narrative as another, and evidently without the", "escape, but in the perfect conviction and admission that they were good\nmen, testifying to that which they had carefully observed and considered,\nand well knew to be true.(54)", "both an acute observer, and had given particular and even professional\nattention to all our Saviour’s miracles of healing. Thus, the man whom", "By this mere analysis of a part of Mr. Salvador’s work we may judge of the\nextreme interest of the whole. His principal object has been, to make", "extensively conversant with the public affairs and the men of business of\nhis time; thus entitling him to our confidence, as an experienced and\nintelligent observer of events passing before him. And if the men of that", "he relates, and relates, too, without any view of applause to himself; are\nfacts which we may consider established by internal evidence, as strong as", "which he gave, of meekness, humility and patient suffering and\n self-denial. According to human experience, an early assumption of", "10 1 Greenleaf on Evid. § 34, 142, 570.", "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”" ], [ "seems to us the clearest. Upon the principles of the sceptic, we should be\nbound utterly to disbelieve them all. On the contrary, we apply to such", "7 The argument here briefly sketched, is stated more at large, and\n with great clearness and force, in an essay entitled “The Philosophy\n of the Plan of Salvation,” pp. 13-107.", "“The use of Mr. Hume’s argument is this, and it is an important and\n a valuable one. It teaches us to sift closely and rigorously the", "the next parish. And yet, according to Mr. Hume’s argument, we are\n bound to disbelieve them all, because they speak to a thing contrary", "The Author is a lawyer, very learned in his profession, acute,\n critical and used to raising and meeting practical doubts. Author", "ourselves and the dead man. Mr. Hume’s argument requires us to\n believe this as the lesser improbability of the two—as less unlikely", "The author of the following little work, M. Dupin, who is one of the most\neminent lawyers of the French Bar, immediately called in question the", "the sceptic consists in pretending or supposing that there is a difference\nin the nature of the evidence, where there is no difference in the nature\nof the things to be proved; and in demanding demonstrative evidence", "not hesitated to proclaim, and we may repeat with her—“Yes, if the life\nand death of _Socrates_ were those of a sage, the life and death of", "familiar for eighteen centuries,—a subtle controversialist, whose\n work, as he himself avows, is deeply tinged with the most strongly\n marked peculiarities of the philosophy and theology of his", "Thomas the test he had demanded; and charges him to be not faithless, but\nbelieving. Thomas, convinced and abashed, exclaims in the fulness of faith", "persons who pronounced them, their dignity, their age, the order which\nthey had observed in the trial, prove their good faith. Would not a\nmiracle at this time have been decisive?”", "as one to infinite; that is, in other words, morally impossible. If\ntherefore concert be excluded, there remains no cause but the reality of\nthe fact.”(56)", "error or falsehood in the attestor. Simple good sense, he says,\n suggests this; and the calculation of probabilities confirms its\n suggestion. There are some things, he adds, so extraordinary, that", "before his death;—according to Mr. Hume, we are bound rather to\n believe, not only that those credible witnesses deceive us, or that", "illustrating the first. He requires us to withhold our belief in\n circumstances which would force every man of common understanding to\n lend his assent, and to act upon the supposition of the story told", "Thomas is strikingly impressive and condemnatory of his want of faith:\n“Thomas, because thou hast seen me, thou hast believed; blessed are they", "one is to prove, and of the other to disprove, the Christian\n religion. The one is the production of an able and profound\n lawyer, a man who has grown grey in the halls of justice and the", "him,”—which imported also, in their minds, _and they will no longer\nbelieve in us_. Now, in this, I can readily perceive the fear of seeing", "probability which would remain, even though the witnesses were of such a\ncharacter as to merit no faith at all. This probability arises from the\nconcurrence itself. That such a concurrence should spring from chance, is" ], [ "GUTENBERG EBOOK AN EXAMINATION OF THE TESTIMONY OF THE FOUR EVANGELISTS***\n\n\n\n\n\n An", "18 See Campbell on the Four Gospels, vol. iii. pp. 35, 36; Preface to\n St. Matthew’s Gospel, § 22, 23.", "this work leads me to deal with the four Gospels alone, the\n insertion of other parts of Scripture in the text, here and\n elsewhere, is omitted.", "The narratives of the evangelists are now submitted to the reader’s\nperusal and examination, upon the principles and by the rules already", "to the testimony of the Four Evangelists, bringing their narratives to the\ntests to which other evidence is subjected in human tribunals. The", "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "received and referred to among the Jews, as the sacred books of their\nreligion;(8) and that the text of the Four Evangelists has been handed", "he does not object to that testimony; nay, he relies upon it: “It is by\nthe Gospels themselves,” says he, “that I shall establish _all the", "Examination of the Testimony\n\n of the\n\n Four Evangelists,\n\n by the Rules of Evidence Administered", "time, which is referred to, Aristoph. Eccles. 390, Juv. Sat. ix.\n 107. The four Evangelists therefore denote the same time,—sc.", "were lost, copies which had been as universally received and acted upon as\nthe Four Gospels have been, would have been received in evidence in any of\nour courts of justice, without the slightest hesitation. The entire text", "historians, than the like circumstance is permitted to do among profane\nwriters; and that the Four Evangelists should be admitted in corroboration", "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "§ 37. In the _fourth_ place, as to the _conformity of their testimony with\nexperience_. The title of the evangelists to full credit for veracity", "§ 47. There are other internal marks of truth in the narratives of the\nevangelists, which, however, need here be only alluded to, as they have", "This alleged contradiction among the Evangelists does not exist. In the\nfirst place, St. Matthew does not say that the discourse was had by Jesus.", "These are related by the Evangelists as having actually occurred, within\ntheir own personal knowledge. Our religion, then, rests on the credit due\nto these witnesses. Are they worthy of implicit belief, in the matters", "184 Matthew was not only a Jew himself, but it is evident, from the\n whole structure of his Gospel, especially from his numerous", "evangelists, and it will be hardly possible to conceive that four persons,\nwriting at different times, could have concurred in the delineation of", "§ 28. Proceeding further, to inquire whether the facts related by the Four\nEvangelists are proved by competent and satisfactory evidence, we are led," ], [ "Greenleaf in another has also presented an example. And it will\n not be competent, after these men have thus investigated and\n taught the rules and laws of investigation, for any man who is not", "spiritual view the importance is unspeakable. Mr. Greenleaf has\n doubtless felt this truth, and has also felt that his position\n would give to his labours some authority with his brethren and", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "On the publishers announcing to Professor Greenleaf their wish to\nintroduce his Harmony to the notice of the British Public, he with equal", "10 1 Greenleaf on Evid. § 34, 142, 570.", "In introducing to the notice of the British Public, Mr. Professor\nGREENLEAF’S Harmony of the Four Gospels, the publishers have much", "_Professor Greenleaf on the Gospels, and Strauss’ __“__Life of\n Jesus.__”_—Of course we place the titles of these two books", "The author first takes care to inform us under what point of view he\nintends to give an account of that accusation: “That we ought to lament", "find in him no fault _at all_.\n5 And they were the more\nfierce, saying, He stirreth up\nthe people, teaching", "EXTRACT OF A NOTICE OF PROFESSOR GREENLEAF ON THE FOUR GOSPELS,\n OCTOBER 24, 1846, IN “THE NEW YORK OBSERVER.”", "the “perfect understanding” which he says he possessed. Some of the\nlearned seem to have drawn this inference as to them all, and to have", "outside) and said to them, “_I find in him no fault at all_.” John xviii.\n38.", "The question being thus stated, Mr. Salvador goes over all the various\naspects of the accusation; and his conclusion is, that the procedure was", "correctness of Mr. Salvador’s opinion, and entered upon an analysis of\nthis portion of his work, with a view to examine its soundness, and the\npresent volume contains the result of that examination, conducted with", "found nothing thereon, but if haply he might find any\nleaves only, and said unto it, thing thereon: and when he\nLet no fruit grow on thee came to it, he found nothing", "31 For if they do these things\nin a green tree, what shall be\ndone in the dry?\n32 And there were also two", "The Author is a lawyer, very learned in his profession, acute,\n critical and used to raising and meeting practical doubts. Author", "comprehend the real complaint of the Jews. To them it was equivalent to\nsaying—He _teaches_ the people, he instructs them, he enlightens them; he", "pass unnoticed, in readily stating even those things most disparaging to\nthemselves. Their want of faith in their Master, their dulness of", "After “chastising” him! And was not this a piece of cruelty, when he\nconsidered him to be innocent?(415) But this was an act of condescension" ], [ "The Author is a lawyer, very learned in his profession, acute,\n critical and used to raising and meeting practical doubts. Author", "7 The argument here briefly sketched, is stated more at large, and\n with great clearness and force, in an essay entitled “The Philosophy\n of the Plan of Salvation,” pp. 13-107.", "seems to us the clearest. Upon the principles of the sceptic, we should be\nbound utterly to disbelieve them all. On the contrary, we apply to such", "The author of the following little work, M. Dupin, who is one of the most\neminent lawyers of the French Bar, immediately called in question the", "the next parish. And yet, according to Mr. Hume’s argument, we are\n bound to disbelieve them all, because they speak to a thing contrary", "familiar for eighteen centuries,—a subtle controversialist, whose\n work, as he himself avows, is deeply tinged with the most strongly\n marked peculiarities of the philosophy and theology of his", "To the heathen themselves I would say—You, who have gloried in the death\nof Socrates, how much must you be struck with wonder at that of Jesus! Ye,", "not hesitated to proclaim, and we may repeat with her—“Yes, if the life\nand death of _Socrates_ were those of a sage, the life and death of", "the multitude by a miracle, first asked Philip, who belonged to the\n city and was perfectly acquainted with the neighbourhood, whether\n bread could be procured there. His answer amounts to saying that it", "one is to prove, and of the other to disprove, the Christian\n religion. The one is the production of an able and profound\n lawyer, a man who has grown grey in the halls of justice and the", "the sceptic consists in pretending or supposing that there is a difference\nin the nature of the evidence, where there is no difference in the nature\nof the things to be proved; and in demanding demonstrative evidence", "ingenuity and want of faith were proverbial. It was to such an employment\nand under such circumstances, that Matthew was educated; an employment\nwhich must have made him acquainted with the Greek language, and", "persons who pronounced them, their dignity, their age, the order which\nthey had observed in the trial, prove their good faith. Would not a\nmiracle at this time have been decisive?”", "Thomas the test he had demanded; and charges him to be not faithless, but\nbelieving. Thomas, convinced and abashed, exclaims in the fulness of faith", "The author first takes care to inform us under what point of view he\nintends to give an account of that accusation: “That we ought to lament", "“The use of Mr. Hume’s argument is this, and it is an important and\n a valuable one. It teaches us to sift closely and rigorously the", "him,”—which imported also, in their minds, _and they will no longer\nbelieve in us_. Now, in this, I can readily perceive the fear of seeing", "keeper of the garden. He too inquires, why she weeps. Her reply is the\nsame as before; except that she, not unnaturally, supposes him to have", "At this interview Thomas was not present. On his return the other\ndisciples relate to him the circumstances. But Thomas now disbelieved the", "true. He is everywhere a worshipper. In every age and country, and in\nevery stage, from the highest intellectual culture to the darkest" ], [ "had performed many miracles, but never in any other name than his own. In\nhis own name, and without the recognition of any higher power, he had\nmiraculously healed the sick, restored sight to the blind and strength to", "spake of the Jewish temple, yet his words, in either sense, amounted to a\nclaim of the power of working miracles, and so brought him within the law.", "much, however, may here be remarked; that in almost every miracle related\nby the evangelists, the facts, separately taken, were plain, intelligible,\ntranspiring in public, and about which no person of ordinary observation", "witnessed the act of Jesus in touching him, and heard his words.(62) All\nthese, separately considered, were facts, plain and simple in their", "geographical position of the places, explains the whole. The miracle\n was wrought near Bethsaida, on the east side of the lake. The people", "§ 32. Jesus with his disciples goes from Capernaum throughout Galilee.", "_Professor Greenleaf on the Gospels, and Strauss’ __“__Life of\n Jesus.__”_—Of course we place the titles of these two books", "knew him; and he vanished away from them. Here too the question is raised,\nwhether the language necessarily implies anything miraculous? Our English", "§ 45. Reflections of Jesus on appealing to his mighty works. _Capernaum_.", "was not possible. These slight circumstances, thus collected\n together, constitute very cogent evidence of the veracity of the\n narrative, and evince the reality of the miracle itself. See Blunt,", "hence, if Jesus withdrew awhile, the throng would be drawn off\n towards Jerusalem. These undesigned coincidences tend to verify both", "council, and said, What do we? for this man _doeth many miracles_.” John\nxi. 47. They add: “If we let him thus alone, all men will believe on", "any reason for his own statement of the place where this miracle was\n wrought, namely, near Bethsaida. But John, in another place, (ch. i.", "merely referred John to the miracles he was doing, and the\n prophecies which spake of him, and which were fulfilled by those\n miracles. Bp. SUMNER, in loc.", "§ 26. Jesus teaches publicly in Galilee.", "and, in consequence, it has called forth some of the most able and\npowerful minds to correct and subdue it. Among these advocates of Divine\nRevelation, the profound lawyer, Professor Greenleaf, holds a most", "Tiberias, near the place where the miracle of bread was wrought, v.\n 23, but this does not at all explain the inquiry of the people how", "side. There are, however, examples to show that this was sometimes\n done; and in the case of Jesus, as we have seen, there was a", "great things Jesus had done\n for him. And all _men_ did\n marvel.\n 21 And when Jesus was passed", "both an acute observer, and had given particular and even professional\nattention to all our Saviour’s miracles of healing. Thus, the man whom" ], [ "witnessed the act of Jesus in touching him, and heard his words.(62) All\nthese, separately considered, were facts, plain and simple in their", "Bethsaida.\n 2 And a great multitude\n followed him, because they saw\n his miracles which he did on", "great things Jesus had done\n for him. And all _men_ did\n marvel.\n 21 And when Jesus was passed", "both an acute observer, and had given particular and even professional\nattention to all our Saviour’s miracles of healing. Thus, the man whom", "This circumstance shows both the sincerity and the wisdom of Jesus, in\nselecting him for an eye-witness of his conduct, and adds great weight to\nthe value of the testimony of this evangelist.", "John.\nCH. XII. 37-50.\n37 But though he had done so\nmany miracles before them, yet", "believed on him, and said,\nWhen Christ cometh, will he do\nmore miracles than these which\nthis _man_ hath done?", "and manifested forth his\n glory; and his disciples\n believed on him.\n 12 After this he went down to", "in his name, when they saw the\n miracles which he did.\n 24 But Jesus did not commit\n himself unto them, because he", "Jesus by craft, and without raising a tumult among the people. An\n incident happens, which offends one of Jesus’s familiar attendants,\n who immediately repairs to the enemies of Jesus, and receives from", "mission. A sufficient number were enlightened to attest his miracles\n and proclaim his religion, and enough were left in their ignorance,", "friends or foes, who beheld the miracles which he wrought. Indeed, if the\ntruth of one of the miracles is satisfactorily established, our belief", "Jesus, having given this proof of his divine mission, or foreseeing\n that so great a miracle would create too much attention in the\n people, prudently and humbly passed through Jericho on his return to", "more than me, is not worthy of me.”(376) Finally, if he wrought miracles\nbefore certain of the people, his replies to the questions of the doctors", "45 Then when he was come into\n Galilee, the Galileans\n received him, having seen all\n the things that he did at", "had performed many miracles, but never in any other name than his own. In\nhis own name, and without the recognition of any higher power, he had\nmiraculously healed the sick, restored sight to the blind and strength to", "John.\nCH. XX. 30, 31.\n30 And many other signs truly\ndid Jesus in the presence of", "These are related by the Evangelists as having actually occurred, within\ntheir own personal knowledge. Our religion, then, rests on the credit due\nto these witnesses. Are they worthy of implicit belief, in the matters", "was not possible. These slight circumstances, thus collected\n together, constitute very cogent evidence of the veracity of the\n narrative, and evince the reality of the miracle itself. See Blunt,", "4 And the passover, a feast of\n the Jews, was nigh.\n 5 When Jesus then lifted up\n his eyes, and saw a great" ] ]

[ "How is the veracity of the Four Evangelists tested?", "How does Greenleaf get the Four Gospels received into court?", "The Four Gospels are presumed to be authored by what persons?", "Greenleaf argues against skepticism of which Scottish philosopher?", "Greenleaf finds fault with which possition of Professor David Hume?", "When Greenleaf examines the testimony of the false and genuine witnesses he discovers what sort of evidence? ", "Greenleaf say who may be skilled at deception?", "Who says we should suspend prejudices and be open to conviction?", "In the story who originally said Christianity does not \"bring irresistible evidence\"? ", "Who is responsible for the Four Gospels?", "At the end of the story, what does Greenleaf hope for those involved with the gospels?", "What does Greenleaf conclude when he finds there are discrepancies among the gospels?", "Who was David Hume?", "What does Greenleaf assume about miracles?", "Which Bishop does Greenleaf reference regarding sufficient evidence?", "How did Greenleaf claim to approach analysis of the gospels?", "What did Greenleaf conclude as to the legitimacy of the documents?", "What is Greenleaf's plea at the beginning of the story?", "What did Greenleaf find about Matthew and Luke's abilities?", "What does Greenleaf want others to be open to?", "Where can the materials be placed into as genuine documents?", "Who has no motives to falsify their tesitomonies?", "Who gave meticulous details according to Greenleaf?", "Which philosopher is a skeptic?", "Who are the Four Gospels?", "Whose position does Greenleaf find fault with?", "Where is the skeptic philosopher from?", "Where did Jesus' miracles occurr, according to Greenleaf?", "Who witnessed Jesus' miracles?" ]

[ [ "By using the same rules employed in human tribunals..", "The same way as in a court of justice." ], [ "He explains how they do not bear any marks of forgery. ", "ancient documents rule" ], [ "Matthew, mark Luke and John.", "Matthew, Mark, Luke, and John" ], [ "David Hume.", "David Hume" ], [ "That immutable laws from the uniform course of human experience.", "Hume's skepticism" ], [ "Circumstantial evidence.", "circumstantial evidence that supports the accounts of the four gospels" ], [ "The men of Galilee.", "the men of Galilee" ], [ "Greenleaf.", "Greenleaf " ], [ "Bishop Daniel", "Bishop Daniel Wilson" ], [ "Matthew, Mark, Luke, John", "Matthew, Mark, Luke, and John" ], [ "That they honestly cross-examined themselves", "to be consistent with themselves" ], [ "That there was not collusion in the writings", "They are not evidence of collusion and they can be harmonized." ], [ "A Scottish philosopher", "a Scottish empirical philosopher" ], [ "Since there is a God, there can be miraculous events", "they are verified by witnesses" ], [ "Daniel Wilson", "Daniel Wilson" ], [ "As if the writers were in a court of law", "By applying the ancient documents rule " ], [ "All of the documents appear to be genuine.", "They were honest " ], [ "To suspend prejudices to be open to conviction", "To suspend prejudices and be open to conviction." ], [ "They were meticulous observers", "They are detailed and keen observationists, as well as consistent." ], [ "Conviction.", "open to following the truth wherever it will lead us." ], [ "Court.", "Into court." ], [ "Gospel writers.", "No one." ], [ "Matthew and Luke.", "Matthew and Luke" ], [ "David Hume.", "David Hume" ], [ "Matthew, Luke, Mark and John.", "Matthew, Mark, Luke and John." ], [ "David Hume's position.", "Hume " ], [ "Scotland.", "Scottland" ], [ "In the public.", "In public" ], [ "Friends and foes.", "believers and non-believers" ] ]

[ [ "to Barmouth with her for a year, and become a pupil in a young lady's\nschool, which had been recently established there, by a graduate of", "\"Cassandra,\" she spoke with haste, \"did you experience any shadow of a\nchange during the revival at Barmouth?\"\n\n\"No more than the baby here did.\"", "\"You do not look as if you thought so, Aunt Mercy. Why do you say\nthings in Barmouth you never said in Surrey?\"\n\n\"Come downstairs, Cassandra, and help me finish the dishes.\"", "Morgeson, his grandfather, who rode over to Barmouth to see her one\nday, and when he came back told father to take her, offered him half", "never go back to Barmouth, unless you wish it. Dear Cassy, do you pray\nany? I send you some new petticoats, and a shawl. Does Mercy warm the", "She did not come to Barmouth again. She was ill in the winter, and,\nfather told me, queerer than ever, and more trouble. The summer", "\"Be quiet, Cassandra.\"\n\nHe opened the window, took a handful of snow from the sill and put it\nto my mouth. It revived me.", "To Barmouth I went, and in May entered Miss Black's genteel school.\nMiss Black had a conviction that her vocation was teaching. Necessity", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "that year of Barmouth life, I forgot my own wants and woes. She saw\nmy interest in the book when she came back, and coaxed it from me,", "Miss Black, my Barmouth teacher, came into my mind, for I had said the\nsame thing to her in my first interview; but I was recalled from my", "Barmouth. I shut my eyes tight, when the horse struck the boards of\nthe long wooden bridge between the towns, and opened them when we\nstopped at an inn by the water side of Milford. Father took me into a", "\"No, not in Barmouth, Cassy.\"", "\"'Upon my soul I am,' I replied, feeling at ease as soon as I had said\nso.\n\n\"'Tell me, what has Cassandra been taught? Is Rosville suited to her?\nWe are not.'", "and Barmouth would have howled over the Total Depravity of Rosville.\nThere was no probationary air about it. Human Nature was the\ninfallible theme there. At first I missed the vibration of the moral", "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "he came to Barmouth, or carry me to Milford; but the motion of the\ncarriage, and the conveying power of the horse, created such a fearful", "He looked at her curiously. \"It would not be pleasant for you to\nattempt Belem. I hate it, but I feel a fate-impelling power in regard\nto Cassandra; I want her there.\"", "not for Miss Black to open the nodules of my understanding, with her\nhammer of instruction. She proposed Botany also. The young ladies made\nbotanical excursions to the fields and woods outside Barmouth; I", "the rock under us struck back its voice. It was an old Spanish bell,\nAunt Mercy told me. How it reached Barmouth she did not know. I\nrecognized its complaining voice afterward. It told me it could never" ], [ "said in a loud voice: \"Cassandra Morgeson, take your books and go\nhome. You shall not come here another day.\"", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"Cassandra, will you go?\" he asked. \"If not, I am off. Jump in behind,\nSam, will you?\"", "\"Veronica has been let alone--is master of herself, except when in a\nrage. She is an extraordinary girl; independent of kith and kin, and\neverything else. I assure you, Miss Cassy, she is very good.\"", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "\"I wish you would go, Aunt Merce.\"\n\n\"Yes, why not, Mercy?\" asked father. \"Would it be a good thing for\nArthur, Cassandra? You know what Surrey is for a boy.\"", "\"What is the matter, Cass?\"\n\n\"I am going away from Char--school.\"\n\n\"We are all going; but not to-night.\"\n\n\"I am going to-night.\"", "I heard Mrs. Somers say at breakfast, as I went in, \"We are to lose\nMiss Cassandra on Wednesday.\" I looked at Desmond, who was munching", "\"But she _is_ like her mother,\" said Aunt Merce.\n\n\"Well, Cassy, good-by\"; and he gave me a kiss with cruel nonchalance.\nI knew my year must be stayed out.", "of any direct notice of him, had heard his proposition about Rosville,\nsaid, \"Cassandra will go there.\"", "eighteen, and a bright girl.\" She sprang to the chaise, and caught the\nreins, which he threw into her hands, unbuckled the girth, and, before", "\"Not like yours, in the least,\" he continued. \"'Cassandra is very\nhandsome now, is she?'", "I thought it best to say no more. Aunt Mercy looked disturbed, and\nleft the table as soon as she could with decency.\n\n\"Cassandra,\" she said, when we were alone, \"what will become of you?\"", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"But I do not want rest; I have no burden,\" I said.\n\n\"Cassandra,\" thundered grand'ther, \"have you no respect for God nor\nman?\"", "\"What did I ever leave her for? She wasn't fit to take care of\nherself. Why, Cassandra Morgeson, you haven't got off all your things\nyet. And what's this sticking out of your bosom?\"", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"Must I give up trying to understand you, Cassandra?\"\n\n\"Yes, do. You'll visit Alice? You can divine her intentions. She is a\ngood woman.\"", "\"Be quiet, Cassandra.\"\n\nHe opened the window, took a handful of snow from the sill and put it\nto my mouth. It revived me." ], [ "\"'Upon my soul I am,' I replied, feeling at ease as soon as I had said\nso.\n\n\"'Tell me, what has Cassandra been taught? Is Rosville suited to her?\nWe are not.'", "\"I tell you, Cousin Sue,\" said Arthur, who overheard the last remark,\n\"that you don't know what they say of Cassandra in Rosville. She's the\nbiggest beauty they ever had, and had lots of beaus.\"", "of any direct notice of him, had heard his proposition about Rosville,\nsaid, \"Cassandra will go there.\"", "\"I am glad you are here, my darling. Do you smell the roses?\"\n\n\"Yes; let me go.\"\n\n\"Not till you tell me one thing. Why do you stay in Rosville?\"", "A year after, he went to Rosville, and built a cotton factory, three\nmiles from town, and the cottage, and then brought her and Edward, who", "\"I know what Rosville was for a girl,\" I thought. It was an excellent\nplan for Arthur; but a feeling of repulsion at the idea of his going\nkept me silent.\n\n\"Is it a good idea?\" he repeated.", "in Rosville over a year. \"I am going home soon,\" I said to myself,\nputting away the letter. It was a summer day, bright and hot. Alice,", "\"How the wind moans!\" said Helen. I understood her tone; she\nunderstood him, as I did.\n\n\"I _like_ Rosville, Miss Perkins,\" cried Mr. Somers.", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"The devil take the roses. Can't you get up, Cassandra?\"\n\n\"Not now. Go away, will you?\"", "She felt my hands. I was in a fever, she said, and ran down for\nCharles. \"Cass is sick, in spite of your white roses.\"", "\"The child is dead, for the first thing. (Cigar, Manuel.) Second,\nI was possessed to come home by the way of Rosville. When did your\nfather go away, Cass?\"\n\nI felt faint, and sat down.", "she believed his flowers cost him a great deal too. \"You must know,\nCassandra, that his heart is with his horses and his flowers. He is\nmore interested in them than he is in his children.\"", "\"I shall leave Rosville,\" were Ben's last words.\n\n\"What a fine, handsome young man he is! He is a gentleman,\" said Aunt\nMerce.\n\n\"Of course, Aunt Merce.\"", "\"Cassandra,\" he said, with a menacing voice, \"how dare you defy me?\nHow dare you tempt me?\"\n\nI put my hand on his arm. \"Charles, is love a matter of temperament?\"", "Helen said that Dr. White had been crossed in love, and long after had\nmarried a deformed woman--for science's sake, perhaps. His talent was\nwell known out of Rosville; but he was unambitious and eccentric.", "now. When he told her I was handsomer than any woman Rosville could\nboast of, she laughed.", "his invitations to Rosville, and returned with glowing accounts of his\nnew house and his hospitality.", "\"You shall never know; never--never--never.\"\n\n\"Cassandra, that man is a devil.\"\n\n\"I like devils.\"", "\"Cry here then, with me. Come, Cassandra, my wife! My God, I shall die\nwith happiness.\"\n\nA mortal paleness overspread his face." ], [ "\"What do you think, Charles?\" she said, \"Cassandra seems worried by\nthe influence, as she calls it, you have upon each other.\"\n\n\"Does she?\"", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"Cry here then, with me. Come, Cassandra, my wife! My God, I shall die\nwith happiness.\"\n\nA mortal paleness overspread his face.", "\"Cassandra, come.\" And Charles opened the door. I fumbled for the\nflower at my belt. \"It's nice to have flowers so late; don't you think", "\"We shall beat you,\" he said to Charles.\n\n\"Not unless Cassandra has improved,\" he replied.", "\"Cassandra,\" he said, with a menacing voice, \"how dare you defy me?\nHow dare you tempt me?\"\n\nI put my hand on his arm. \"Charles, is love a matter of temperament?\"", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"Here--is--Cassandra,\" said Charles, mentioning the fact as if he\nmerely wished to attract the child's attention.", "\"Must I give up trying to understand you, Cassandra?\"\n\n\"Yes, do. You'll visit Alice? You can divine her intentions. She is a\ngood woman.\"", "\"I am not too late, Cassandra?\" called Charles, coming up the steps,\nbowing to all. \"I am glad you are ready; Nell is impatient.\"", "\"Tempted!\" Charles exclaimed. \"Cassandra is never tempted. What she\ndoes, she does because she will. Don't worry yourself, Alice, about\nher.\"\n\n\"Because I will,\" I repeated.", "\"Having known Cassandra so long, sir,\" began Ben, but was interrupted\nby Veronica's exclaiming, \"We do not know each other at all. What is", "\"Do you hear, Charles? Never say those frightful words again. Never,\nnever.\"\n\n\"Never, if it must be so.\"\n\nHe touched my hand; I opened it; his closed over mine.", "She felt my hands. I was in a fever, she said, and ran down for\nCharles. \"Cass is sick, in spite of your white roses.\"", "\"You shall never know; never--never--never.\"\n\n\"Cassandra, that man is a devil.\"\n\n\"I like devils.\"", "\"What is the matter, Cass?\"\n\n\"I am going away from Char--school.\"\n\n\"We are all going; but not to-night.\"\n\n\"I am going to-night.\"", "\"Somers,\" said Charles, rising and touching his shoulder, \"behave like\na man, and let us alone; I love this girl.\"\n\nHis pale face changed, his eyes softened, and mine filled with tears.", "I heard Mrs. Somers say at breakfast, as I went in, \"We are to lose\nMiss Cassandra on Wednesday.\" I looked at Desmond, who was munching", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "There was a change everywhere. The greatest change of all was in\nCharles. From the night of the sleigh-ride his manner toward me was" ], [ "\"Come with me, then; you must.\" And he put my arm in his.\n\n\"Hail, and farewell, Cassandra!\" said Desmond, standing before the\ndoor. \"Give me your hand.\"", "\"_Cassandra_,\" said Desmond, \"are you bored?\"\n\nThe accent with which he spoke my name set my pulses striking like a\nclock. I got up mechanically, as Ben directed.", "\"It looks so. Yes, with me,\" answered Desmond. \"Wont you give me\nthanks for attention to your friend?\"\n\n\"It must have been a whim of Cassandra's.\"", "\"You shall never know; never--never--never.\"\n\n\"Cassandra, that man is a devil.\"\n\n\"I like devils.\"", "\"I venture to. Desmond is a violent, tyrannical, sensual man; his\nperceptions are his pulses. That he is handsome, clever, resolute, and\nsings well, I can admit; but no more.\"", "\"Desmond, Desmond, do you know how I love you? Feel my heart,--it has\nthrobbed with the weight of you since that night in Belem, when you\nstruck your head under the mantel.\"", "\"Where?\"\n\n\"For the doctor. The _baby_ is sick\"; and he looked hard at Desmond.\n\n\"I hope it will live for years and years,\" I said.", "\"Yes, yes, I will do it; you may depend on me. I will reign, and serve\nalso.\"\n\n\"Oh, Cassandra, _can_ you give up _yourself?_\"", "\"Pardon me, dear Cass. I _must_ do well now, surely. Will you believe\nin me? Oh, do you not know the strength, the power, that comes to us\nin the stress of passion and duty?\"", "But he made no reply to her. We were all silent for a moment, then he\nsaid, \"Was I wrong, Des.?\"\n\n\"No, no.\"", "The young man, twenty-nine years old, was Desmond. He crossed the\nroom and offered me his hand. We had not spoken since we parted at", "I heard Mrs. Somers say at breakfast, as I went in, \"We are to lose\nMiss Cassandra on Wednesday.\" I looked at Desmond, who was munching", "\"Cry here then, with me. Come, Cassandra, my wife! My God, I shall die\nwith happiness.\"\n\nA mortal paleness overspread his face.", "I broke its seal, and read: \"Tell Ben, before you can reflect upon it,\nthat _I_ will go abroad, and then repent of it,--as I shall. Desmond.\"", "They made a simultaneous movement with their hands, he to insist, she\nto deprecate, and I again observed how exactly alike they were.\n\n\"_Desmond_,\" I implored, \"pray allow me to go.\"", "\"Desmond,\" said Ben in a low voice, \"you do not see Mr. Morgeson and\nMiss Morgeson. My brother, Cassandra.\"", "Desmond made an inarticulate noise and sprang up, as if in answer to a\ncall. A moment after he stepped quietly over the back of the sofa", "\"If you marry Desmond Somers,\" he said austerely, \"you will contradict\nthree lives,--yours, mine, and Veronica's. What beast was it that", "\"I shall speak with you presently,\" she whispered, glancing at\nDesmond.\n\nHe heard her and his face flashed with the instinct of sport, which\nmade me ashamed of any desire for a struggle with her.", "\"I have come,\" he said, in a voice deathly faint.\n\n\"How old you have grown, Desmond!\"" ], [ "\"Come Veronica,\" he whispered, \"give me yourself. I love you,\nVeronica.\"\n\nHe sank down before her; she clasped her hands round his head, and\nkissed his hair.", "\"I promise, too, Veronica,\" heaven dawning in his eyes.\n\n\"We will see about it,\" said father. \"Now who will go to the theater?\"", "\"Veronica has been let alone--is master of herself, except when in a\nrage. She is an extraordinary girl; independent of kith and kin, and\neverything else. I assure you, Miss Cassy, she is very good.\"", "\"Veronica probably will not understand you, but you must manage for\nyourself. As you have discerned, she and I are far apart. She is pure,\nnoble, beautiful, and peculiar. I will have no voice between you.\"", "because she would never know how I valued her. Veronica shed no tears,\nbut sighed heavily. _Duty_ sounded through her sighs. \"Verry,", "\"Wake up, Verry; it is time to be married.\"", "\"'Why, Veronica,' said your mother, 'you astonish Mr. Somers.'\n\n\"'You are not astonished,' she said with vehemence, 'you are\nembarrassed.'", "Veronica observed him closely; he was aware of it, but was not\nembarrassed; he met her dark gaze with one keener than her own, and", "\"Of course,\" she answered. \"But if am not mistaken, you will be\ntormented by others besides me.\"\n\n\"Go out!\" said Veronica. \"Leave us, pale pest.\"", "In the bustle of their going, Veronica stooped over my hand and kissed\nit, unseen. It was more like a sigh upon it than a kiss, but it swept", "\"What are you reading, father?\" asked Veronica suddenly.\n\n\"To-day's letters, and I must be off for Boston; would you like to\ngo?\"", "Veronica offered me her hand, but she sent no message to you. She has\nnever been out of my mind a moment since.\"", "\"That's Grandfather John Morgeson you think of. I do not hate\nVeronica. I think I love her; at least she interests me.\"", "said--\"_Veronica_.\" He put his hand over my mouth with an indignant\nlook, which was lost upon me, for I whispered in his ear; \"Do you know", "Ben turned to speak, but Veronica put her hand over his mouth, and\nsaid:\n\n\"Why should I be 'hushed,' my darling?\"", "\"I know Veronica,\" said Ben, looking at me. \"Has this man seen _her_?\"\n\nHis voice crushed me. What a barrier his expression of contempt made\nbetween her and me!", "Another week passed. Ben had received a letter from Veronica,\ninforming him that letter-writing was a kind of composition she was", "ourselves. I never saw so much of Veronica as at that time; her health\nimproved with her temper. She threw us into fits of laughter with her", "He bowed distantly to Veronica when she entered, but she did not\nreturn his bow, though she looked at him fixedly. Temperance and", "\"Veronica will give me no thanks.\"\n\n\"Who is she?\"\n\n\"My sister, whom Ben loves.\"" ], [ "Ben has been dead six months. Only Desmond and I were with him in his\nlast moments. When he sprang from his bed, staggered backwards, and\nfell dead, we clung together with faint hearts, and mutely questioned\neach other.", "\"If you are to accompany me, Ben,\" I said, \"now is the time.\" And\nhe slipped out. He preserved a determined silence. I shook him, and", "for him. But Alice, upon whom he never made any impression, saw\nnothing of this; her gayety soon removed the stiffness and silence he\ncreated. The party grew noisy again, except Ben, who had not broken", "\"I see. Enough. Go back to your room. I must stay by him till all is\nover.\"\n\n\"I can't go back. Ben!\"\n\n\"What is it?\"", "At dusk Ben and Veronica drove up. Desmond was seated in the window.\nBen fixed his eyes upon him, without stopping.\n\nWe ran out, and called to him.", "\"'I drink the cup of a costly death,'\" Ben hummed, as he sauntered\nalong by us, hands in his pockets--the last in the room, except us\ntwo.", "\"Shall we have some last words now?\"\n\nAunt Merce slipped out, with an affectation of not having heard him.\nWe laughed, and Ben was glad that I could laugh.", "\"Indeed, Somers; perhaps you would like this too.\" And Charles offered\nhim his glass of wine.\n\nBen took it, and with his thumb and finger snapped it off at the stem,\ntipping the wine over Charles's hand.", "\"I shall leave Rosville,\" were Ben's last words.\n\n\"What a fine, handsome young man he is! He is a gentleman,\" said Aunt\nMerce.\n\n\"Of course, Aunt Merce.\"", "\"He has just left us,\" Ben answered; \"looking after his horses,\nprobably.\"", "\"To-night,\" Ben said, \"I am going to tell pa.\"\n\n\"That is best.\"\n\n\"Horrible atmosphere!\"\n\n\"It would kill Verry.\"", "Ben retired, and Mr. Munster began to talk volubly, with wandering\neyes, repeating words he was in danger of forgetting. No remarks were", "toward the gate, and then ran toward it. A pair of tired, splashed\nhorses dashed down the drive. Manuel had the reins, and Ben was beside", "\"I know what you are at, Ben,\" said Desmond. \"I have wished the brat\ndead; but upon my soul, I have a stronger wish than that--I have\n_forgotten_ it.\"", "\"Go, now,\" he said, and springing to the window, threw it up, and\njumped out. The boy came in with a tablecloth on his arm, and behind\nhim Ben.\n\n\"Glass broken, sir.\"", "On the way he touched me, making a sign toward Ben. I shook my head,\nwhich appeared satisfactory. The rest of the time was consumed in the\ndiscussion of the relationship, which ended in an invitation, as I\nexpected, to Surrey.", "Somers and Ann, neither of whom returned. As Ben stretched himself\non his sofa with an air of relief, Desmond emerged from the dark and\nstood behind him, leaning against a column, with his hands in his coat", "affair. She does not suspect it. I must say that Ben is mistaking\nhimself again. I mean, I think so.\"", "I gave him both my hands. He kissed one, and then the other, and\nmoved to let us pass out. But Ben did not go; he fumbled for his\nhandkerchief to wipe his forehead, on which stood beads of sweat.", "\"Good-night, sir,\" I said so loudly that he almost dropped his candle,\nand I retired to my room, taking a chair by the fire, with a sigh of\nrelief. After a while Ben and Veronica came up." ], [ "\"'Upon my soul I am,' I replied, feeling at ease as soon as I had said\nso.\n\n\"'Tell me, what has Cassandra been taught? Is Rosville suited to her?\nWe are not.'", "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"Veronica has been let alone--is master of herself, except when in a\nrage. She is an extraordinary girl; independent of kith and kin, and\neverything else. I assure you, Miss Cassy, she is very good.\"", "\"But I do not want rest; I have no burden,\" I said.\n\n\"Cassandra,\" thundered grand'ther, \"have you no respect for God nor\nman?\"", "\"Locke decides for Cassy,\" she answered; \"I never do now,\" looking at\nme reproachfully.", "\"Yes, yes, I will do it; you may depend on me. I will reign, and serve\nalso.\"\n\n\"Oh, Cassandra, _can_ you give up _yourself?_\"", "\"She is a good solid gal; but I can't recollect her christened name.\"\n\n\"It is Cassandra.\"\n\n\"Why, 'taint Scriptur'.\"", "\"What do you think, Charles?\" she said, \"Cassandra seems worried by\nthe influence, as she calls it, you have upon each other.\"\n\n\"Does she?\"", "\"You think Cassandra is not like you,\" he continued with a curious\nintonation.\n\n\"I told her that your oddities never troubled me.\"\n\n\"That is right.\"", "Belem, her plans or wishes need make no difference to us. If Cassandra\nwould be to us what she might, how things would clear! Don't you\nthink, my love, that there should be the greatest sympathy between", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"Having known Cassandra so long, sir,\" began Ben, but was interrupted\nby Veronica's exclaiming, \"We do not know each other at all. What is", "\"It amuses me to be here.\"\n\n\"Of course; but stir up Adelaide, she is genuine; has fine sense, and\nhalf despises her life; but she knows no other, and is proud.\"", "\"Not like yours, in the least,\" he continued. \"'Cassandra is very\nhandsome now, is she?'", "\"I trust, Cassandra, you will now stay at home,\" said mother; \"I am\ntired of table duty; you must pour the coffee and tea, for I wish to\nsit beside your father.\"", "\"Cry here then, with me. Come, Cassandra, my wife! My God, I shall die\nwith happiness.\"\n\nA mortal paleness overspread his face.", "\"That is a singular piece,\" said one. \"Now, Cassandra, will you favor\nus? We expect to find you highly accomplished.\"\n\n\"I sang myself out before you came in.\"", "\"Must I give up trying to understand you, Cassandra?\"\n\n\"Yes, do. You'll visit Alice? You can divine her intentions. She is a\ngood woman.\"", "\"You think too much of having a good time, Cassandra,\" said mother. \"I\nforesee the day when the pitcher will come back from the well broken.\nYou are idle and frivolous; eternally chasing after amusement.\"" ], [ "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "\"Veronica has been let alone--is master of herself, except when in a\nrage. She is an extraordinary girl; independent of kith and kin, and\neverything else. I assure you, Miss Cassy, she is very good.\"", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"Tempted!\" Charles exclaimed. \"Cassandra is never tempted. What she\ndoes, she does because she will. Don't worry yourself, Alice, about\nher.\"\n\n\"Because I will,\" I repeated.", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"She is a good solid gal; but I can't recollect her christened name.\"\n\n\"It is Cassandra.\"\n\n\"Why, 'taint Scriptur'.\"", "\"You think Cassandra is not like you,\" he continued with a curious\nintonation.\n\n\"I told her that your oddities never troubled me.\"\n\n\"That is right.\"", "\"Be quiet, Cassandra.\"\n\nHe opened the window, took a handful of snow from the sill and put it\nto my mouth. It revived me.", "\"Locke decides for Cassy,\" she answered; \"I never do now,\" looking at\nme reproachfully.", "\"Must I give up trying to understand you, Cassandra?\"\n\n\"Yes, do. You'll visit Alice? You can divine her intentions. She is a\ngood woman.\"", "\"Here--is--Cassandra,\" I repeated, imitating his tone. He started.\nSome devil broke loose in him, and looking through his eyes an", "\"Yes, yes, I will do it; you may depend on me. I will reign, and serve\nalso.\"\n\n\"Oh, Cassandra, _can_ you give up _yourself?_\"", "\"Not like yours, in the least,\" he continued. \"'Cassandra is very\nhandsome now, is she?'", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"Cassandra, will you go?\" he asked. \"If not, I am off. Jump in behind,\nSam, will you?\"", "\"You shall never know; never--never--never.\"\n\n\"Cassandra, that man is a devil.\"\n\n\"I like devils.\"", "\"Put her out, Cassandra,\" said Verry, \"if you like to touch her.\"", "\"What do you think, Charles?\" she said, \"Cassandra seems worried by\nthe influence, as she calls it, you have upon each other.\"\n\n\"Does she?\"", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "\"Cry here then, with me. Come, Cassandra, my wife! My God, I shall die\nwith happiness.\"\n\nA mortal paleness overspread his face." ], [ "\"_Cassandra_,\" said Desmond, \"are you bored?\"\n\nThe accent with which he spoke my name set my pulses striking like a\nclock. I got up mechanically, as Ben directed.", "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "\"You think too much of having a good time, Cassandra,\" said mother. \"I\nforesee the day when the pitcher will come back from the well broken.\nYou are idle and frivolous; eternally chasing after amusement.\"", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"Cry here then, with me. Come, Cassandra, my wife! My God, I shall die\nwith happiness.\"\n\nA mortal paleness overspread his face.", "\"Forgive me, Cassandra. Have I not been making a hermit of myself,\neating bread and meat by the ounce, for an expiation?\"\n\n\"How did it look there? Oh, tell me!\"", "\"Not like yours, in the least,\" he continued. \"'Cassandra is very\nhandsome now, is she?'", "in a bitter voice, with her hands over her head. She was her old\nself when she recovered, except that she was indifferent to practical\ndetails. She sought amusement, indeed, liked to have me with her to", "\"But I do not want rest; I have no burden,\" I said.\n\n\"Cassandra,\" thundered grand'ther, \"have you no respect for God nor\nman?\"", "\"Be quiet, Cassandra.\"\n\nHe opened the window, took a handful of snow from the sill and put it\nto my mouth. It revived me.", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"She is a good solid gal; but I can't recollect her christened name.\"\n\n\"It is Cassandra.\"\n\n\"Why, 'taint Scriptur'.\"", "\"You shall never know; never--never--never.\"\n\n\"Cassandra, that man is a devil.\"\n\n\"I like devils.\"", "\"It amuses me to be here.\"\n\n\"Of course; but stir up Adelaide, she is genuine; has fine sense, and\nhalf despises her life; but she knows no other, and is proud.\"", "\"What did I ever leave her for? She wasn't fit to take care of\nherself. Why, Cassandra Morgeson, you haven't got off all your things\nyet. And what's this sticking out of your bosom?\"", "\"Tempted!\" Charles exclaimed. \"Cassandra is never tempted. What she\ndoes, she does because she will. Don't worry yourself, Alice, about\nher.\"\n\n\"Because I will,\" I repeated.", "\"Veronica has been let alone--is master of herself, except when in a\nrage. She is an extraordinary girl; independent of kith and kin, and\neverything else. I assure you, Miss Cassy, she is very good.\"", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "\"Must I give up trying to understand you, Cassandra?\"\n\n\"Yes, do. You'll visit Alice? You can divine her intentions. She is a\ngood woman.\"" ], [ "visit had come. You will see me henceforth in Surrey. I will live and\ndie there.\"", "\"I wish you would go, Aunt Merce.\"\n\n\"Yes, why not, Mercy?\" asked father. \"Would it be a good thing for\nArthur, Cassandra? You know what Surrey is for a boy.\"", "\"Talk to me about Surrey, Cassandra.\"\n\n\"Not a word.\"\n\n\"Why did you call me?\"\n\n\"To see what mood you were in.\"", "\"Will it suit him to vegetate in Surrey? Veronica will not leave\nhome.\"\n\n\"He has no ambition.\"", "Alice applauded me for refusing him; but when he whispered in my ear\nthat he had been to Surrey I changed my mind. She assisted me with", "circumscribed it was, the better I could endure it. What a dreary\nprospect! The past was vital, the present dead! Life in Surrey must be", "These last words I write in the summer time at our house in Surrey,\nfor Desmond likes to be here at this season, and I write in my old", "In the summer Helen visited Surrey. Her enlivening gayety was the\nmeans of our uniting about her. She was never tired of Veronica's", "me, especially after he had seen her. It was needful, he said, from my\ninfluence in Surrey, that I should become an example, and asked me", "windows. But I must say the charm vanishes if I go from them. Surrey\nis not lovely.\" She closed the wicket, and sat down by the table. My", "and disposition pleased her. She asked him to let me spend another\nyear in Rosville; but he said that I must return to Surrey, and that\nhe never would allow me to leave home again.", "\"You do not look as if you thought so, Aunt Mercy. Why do you say\nthings in Barmouth you never said in Surrey?\"\n\n\"Come downstairs, Cassandra, and help me finish the dishes.\"", "\"He thinks he will not come to Surrey with you; asks me to tell him my\nwishes,\" she repeated rapidly, translating from the original. \"What do", "on what had happened in Surrey, and commenced a discussion on my\nwardrobe, when we were summoned to tea. Temperance brought Arthur to", "been in Surrey. Neither had I heard anything of his being there from\nfather. Once he told me that his father had explained the marriage of", "of the wild sea and shores of Surrey. I invested our isolated house\nwith the dignity of a stage, where the drama, which my thoughts must\ncontinually represent, could go on without interruption, and remain a", "\"Take tea with us soon, do. We do not see you in the street or at\nchurch. It must be dull for you after coming from a boarding-school.\nStill, Surrey has its advantages.\" And the doors closed on them.", "departure. Every child in Surrey was allowed to come in, to look at\nthe dead, with the idle curiosity of childhood. Veronica knew nothing", "Veronica's habits of isolation clung to her; she would never leave\nhome. The teaching she had was obtained in Surrey. But her knowledge", "stagnation of Surrey, and approved his plans as they matured. His mind\nwas filled with the hope of creating a great business which should\nimprove Surrey. New streets had been cut through his property and that" ], [ "said in a loud voice: \"Cassandra Morgeson, take your books and go\nhome. You shall not come here another day.\"", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"'Upon my soul I am,' I replied, feeling at ease as soon as I had said\nso.\n\n\"'Tell me, what has Cassandra been taught? Is Rosville suited to her?\nWe are not.'", "\"I wish you would go, Aunt Merce.\"\n\n\"Yes, why not, Mercy?\" asked father. \"Would it be a good thing for\nArthur, Cassandra? You know what Surrey is for a boy.\"", "\"But I do not want rest; I have no burden,\" I said.\n\n\"Cassandra,\" thundered grand'ther, \"have you no respect for God nor\nman?\"", "\"But she _is_ like her mother,\" said Aunt Merce.\n\n\"Well, Cassy, good-by\"; and he gave me a kiss with cruel nonchalance.\nI knew my year must be stayed out.", "I thought it best to say no more. Aunt Mercy looked disturbed, and\nleft the table as soon as she could with decency.\n\n\"Cassandra,\" she said, when we were alone, \"what will become of you?\"", "A year after, he went to Rosville, and built a cotton factory, three\nmiles from town, and the cottage, and then brought her and Edward, who", "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "some of the lessons she had been taught. At first, father \"poohed\"\nat the plan, but finally said it was a good place to tame me. When", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "\"Be quiet, Cassandra.\"\n\nHe opened the window, took a handful of snow from the sill and put it\nto my mouth. It revived me.", "\"I trust, Cassandra, you will now stay at home,\" said mother; \"I am\ntired of table duty; you must pour the coffee and tea, for I wish to\nsit beside your father.\"", "\"Forgive me, Cassandra. Have I not been making a hermit of myself,\neating bread and meat by the ounce, for an expiation?\"\n\n\"How did it look there? Oh, tell me!\"", "\"Not like yours, in the least,\" he continued. \"'Cassandra is very\nhandsome now, is she?'", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "of any direct notice of him, had heard his proposition about Rosville,\nsaid, \"Cassandra will go there.\"", "\"I should think you might sleep in Cassandra's room; her bed is big\nenough for three.\"\n\nNo answer was made to this proposition, but Verry said,", "\"Veronica has been let alone--is master of herself, except when in a\nrage. She is an extraordinary girl; independent of kith and kin, and\neverything else. I assure you, Miss Cassy, she is very good.\"" ], [ "\"What do you think, Charles?\" she said, \"Cassandra seems worried by\nthe influence, as she calls it, you have upon each other.\"\n\n\"Does she?\"", "\"Tempted!\" Charles exclaimed. \"Cassandra is never tempted. What she\ndoes, she does because she will. Don't worry yourself, Alice, about\nher.\"\n\n\"Because I will,\" I repeated.", "\"Here--is--Cassandra,\" said Charles, mentioning the fact as if he\nmerely wished to attract the child's attention.", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "She felt my hands. I was in a fever, she said, and ran down for\nCharles. \"Cass is sick, in spite of your white roses.\"", "This was the first time that he had referred to Charles since that\nmemorable night. Trifling as his words were, they broke into the\nfoundations of my stagnant will, and set the tide flowing once more.", "\"I am not too late, Cassandra?\" called Charles, coming up the steps,\nbowing to all. \"I am glad you are ready; Nell is impatient.\"", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"Cassandra,\" he said, with a menacing voice, \"how dare you defy me?\nHow dare you tempt me?\"\n\nI put my hand on his arm. \"Charles, is love a matter of temperament?\"", "\"Remember the tea.\"\n\nCharles stood near his wife; wherever she moved afterwards he moved.\nI saw it, and felt that it was the shadow of something which would\nfollow.", "\"Cassandra, come.\" And Charles opened the door. I fumbled for the\nflower at my belt. \"It's nice to have flowers so late; don't you think", "\"We shall beat you,\" he said to Charles.\n\n\"Not unless Cassandra has improved,\" he replied.", "\"She is a good solid gal; but I can't recollect her christened name.\"\n\n\"It is Cassandra.\"\n\n\"Why, 'taint Scriptur'.\"", "details respecting her affairs. It was her way of diverting me from\nthe thoughts which she believed troubled me. \"L.N.\" was expected soon.\nSince his last letter, she had caught herself more than once making", "\"When have you played whist, Cassandra?\" he asked in a low voice. \"Do\nyou remember?\"\n\n\"Is my name Cassandra?\"\n\n\"Have you forgotten that, too?\"", "\"You shall never know; never--never--never.\"\n\n\"Cassandra, that man is a devil.\"\n\n\"I like devils.\"", "she believed his flowers cost him a great deal too. \"You must know,\nCassandra, that his heart is with his horses and his flowers. He is\nmore interested in them than he is in his children.\"", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"I have been making coffee for you,\" she said, as soon as we entered,\n\"in my French biggin. I have packed your valise too, Charles, and have\nordered your breakfast. Cassy, we will breakfast after he has gone.\"", "\"Having known Cassandra so long, sir,\" began Ben, but was interrupted\nby Veronica's exclaiming, \"We do not know each other at all. What is" ], [ "\"Be quiet, Cassandra.\"\n\nHe opened the window, took a handful of snow from the sill and put it\nto my mouth. It revived me.", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"_Men! Citizens! ye Elders of Argos present here._\"\n\n\"Who was Agamemnon?\" I whispered.\n\n\"He gave Cassandra her last ride.\"", "\"You shall never know; never--never--never.\"\n\n\"Cassandra, that man is a devil.\"\n\n\"I like devils.\"", "\"My father is a Greek Professor, and he made me study it when I was a\nlittle girl.\"\n\n\"The name of Cassandra inspired me to rub up my knowledge of the\ntragedies.\"", "\"Here--is--Cassandra,\" I repeated, imitating his tone. He started.\nSome devil broke loose in him, and looking through his eyes an", "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "\"Cry here then, with me. Come, Cassandra, my wife! My God, I shall die\nwith happiness.\"\n\nA mortal paleness overspread his face.", "\"_Cassandra_,\" said Desmond, \"are you bored?\"\n\nThe accent with which he spoke my name set my pulses striking like a\nclock. I got up mechanically, as Ben directed.", "\"Not like yours, in the least,\" he continued. \"'Cassandra is very\nhandsome now, is she?'", "toward it, and cried--\"Cassandra!\" Ben started up with extended hands.", "\"You think Cassandra is not like you,\" he continued with a curious\nintonation.\n\n\"I told her that your oddities never troubled me.\"\n\n\"That is right.\"", "\"But I do not want rest; I have no burden,\" I said.\n\n\"Cassandra,\" thundered grand'ther, \"have you no respect for God nor\nman?\"", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"She is a good solid gal; but I can't recollect her christened name.\"\n\n\"It is Cassandra.\"\n\n\"Why, 'taint Scriptur'.\"", "She felt my hands. I was in a fever, she said, and ran down for\nCharles. \"Cass is sick, in spite of your white roses.\"", "I slept again--is so narrow that I recall it with a sense of\nreality which agonizes me; it is so immeasurable when I see her\nthere--_there_, that I am crushed.\"", "\"But she _is_ like her mother,\" said Aunt Merce.\n\n\"Well, Cassy, good-by\"; and he gave me a kiss with cruel nonchalance.\nI knew my year must be stayed out." ], [ "\"Talk to me about Surrey, Cassandra.\"\n\n\"Not a word.\"\n\n\"Why did you call me?\"\n\n\"To see what mood you were in.\"", "visit had come. You will see me henceforth in Surrey. I will live and\ndie there.\"", "\"I wish you would go, Aunt Merce.\"\n\n\"Yes, why not, Mercy?\" asked father. \"Would it be a good thing for\nArthur, Cassandra? You know what Surrey is for a boy.\"", "and disposition pleased her. She asked him to let me spend another\nyear in Rosville; but he said that I must return to Surrey, and that\nhe never would allow me to leave home again.", "I was going home! When we rode over the brow of the hill within a\nmile of Surrey, and I saw the crescent-shaped village, and the tall", "Alice applauded me for refusing him; but when he whispered in my ear\nthat he had been to Surrey I changed my mind. She assisted me with", "departure. Every child in Surrey was allowed to come in, to look at\nthe dead, with the idle curiosity of childhood. Veronica knew nothing", "windows. But I must say the charm vanishes if I go from them. Surrey\nis not lovely.\" She closed the wicket, and sat down by the table. My", "circumscribed it was, the better I could endure it. What a dreary\nprospect! The past was vital, the present dead! Life in Surrey must be", "on what had happened in Surrey, and commenced a discussion on my\nwardrobe, when we were summoned to tea. Temperance brought Arthur to", "In the summer Helen visited Surrey. Her enlivening gayety was the\nmeans of our uniting about her. She was never tired of Veronica's", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"He thinks he will not come to Surrey with you; asks me to tell him my\nwishes,\" she repeated rapidly, translating from the original. \"What do", "\"'Upon my soul I am,' I replied, feeling at ease as soon as I had said\nso.\n\n\"'Tell me, what has Cassandra been taught? Is Rosville suited to her?\nWe are not.'", "These last words I write in the summer time at our house in Surrey,\nfor Desmond likes to be here at this season, and I write in my old", "\"You went to Surrey.\"", "\"No vestige but these flowers,\" uncovering them again. \"In my room at\nSurrey I will take you out,\" and I shut the box. The clanking of the", "\"You do not look as if you thought so, Aunt Mercy. Why do you say\nthings in Barmouth you never said in Surrey?\"\n\n\"Come downstairs, Cassandra, and help me finish the dishes.\"" ], [ "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"What did I ever leave her for? She wasn't fit to take care of\nherself. Why, Cassandra Morgeson, you haven't got off all your things\nyet. And what's this sticking out of your bosom?\"", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "she believed his flowers cost him a great deal too. \"You must know,\nCassandra, that his heart is with his horses and his flowers. He is\nmore interested in them than he is in his children.\"", "\"But I do not want rest; I have no burden,\" I said.\n\n\"Cassandra,\" thundered grand'ther, \"have you no respect for God nor\nman?\"", "\"I trust, Cassandra, you will now stay at home,\" said mother; \"I am\ntired of table duty; you must pour the coffee and tea, for I wish to\nsit beside your father.\"", "\"You think too much of having a good time, Cassandra,\" said mother. \"I\nforesee the day when the pitcher will come back from the well broken.\nYou are idle and frivolous; eternally chasing after amusement.\"", "\"Here, mother,\" he said behind her, followed by the dog. \"You were\nexpecting Cassandra, my old chum; and Mr. Morgeson has come to leave\nher with us.\"", "\"Be quiet, Cassandra.\"\n\nHe opened the window, took a handful of snow from the sill and put it\nto my mouth. It revived me.", "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"How much Veronica has improved,\" they continued, \"do not you think\nso?\"\n\n\"You know,\" she interrupted, \"that Cassandra has been dangerously ill,\nand has barely recovered.\"", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "\"Everything is changed. I have tried to be as steady as when mother\nwas here, but I cannot; I whirl with a vague idea of liberty. Did she\nkeep the family conscience? Now that she has gone I feel responsible\nno more.\"", "\"The devil take the roses. Can't you get up, Cassandra?\"\n\n\"Not now. Go away, will you?\"", "\"Yes, yes, I will do it; you may depend on me. I will reign, and serve\nalso.\"\n\n\"Oh, Cassandra, _can_ you give up _yourself?_\"", "said in a loud voice: \"Cassandra Morgeson, take your books and go\nhome. You shall not come here another day.\"", "I heard Mrs. Somers say at breakfast, as I went in, \"We are to lose\nMiss Cassandra on Wednesday.\" I looked at Desmond, who was munching", "\"Locke decides for Cassy,\" she answered; \"I never do now,\" looking at\nme reproachfully.", "\"Cassandra, what does your bitter face and voice mean?\"\n\n\"I mean, mother, all your woman's heart might guess, if you were not\nso pure, so single-hearted.\"" ], [ "Desmond made an inarticulate noise and sprang up, as if in answer to a\ncall. A moment after he stepped quietly over the back of the sofa", "\"I venture to. Desmond is a violent, tyrannical, sensual man; his\nperceptions are his pulses. That he is handsome, clever, resolute, and\nsings well, I can admit; but no more.\"", "with a dry crust, making a feint of eating it. Desmond kept the\ndecanter, occasionally swallowing a glassful.", "\"Where?\"\n\n\"For the doctor. The _baby_ is sick\"; and he looked hard at Desmond.\n\n\"I hope it will live for years and years,\" I said.", "When I saw Desmond again, he was surrounded by men, the French Count\namong them, drinking champagne. He held a bottle, and was talking", "\"Desmond, Desmond, do you know how I love you? Feel my heart,--it has\nthrobbed with the weight of you since that night in Belem, when you\nstruck your head under the mantel.\"", "talk in a lively, brilliant way. He did not ask for wine, but I saw\nhim look toward it and Desmond. The decanter was empty. After the", "Desmond ordered the coach for her. When it was ready he put her in it,\nseated himself beside her, with provoking nonchalance, and carried her", "\"Drink to me only with thine eyes,\n And I will pledge with mine,\"\n\nI became conscious that Desmond was near me. With a perfectly pure\nvoice he joined in the song:", "\"Old fellow,\" said Desmond, \"willing or not, I have come.\"\n\nBen's face was a study; so many emotions assailed him that my heart\nwas wrung with pity.", "The young man, twenty-nine years old, was Desmond. He crossed the\nroom and offered me his hand. We had not spoken since we parted at", "passed over his face. At that instant I remembered that Desmond's\nbeing seen in the evening and in the morning was a rare occurrence.", "\"I have come,\" he said, in a voice deathly faint.\n\n\"How old you have grown, Desmond!\"", "\"I know what you are at, Ben,\" said Desmond. \"I have wished the brat\ndead; but upon my soul, I have a stronger wish than that--I have\n_forgotten_ it.\"", "\"I shall speak with you presently,\" she whispered, glancing at\nDesmond.\n\nHe heard her and his face flashed with the instinct of sport, which\nmade me ashamed of any desire for a struggle with her.", "She swept along, and I followed, bringing up close to Desmond, who had\nhis hand round his head, and was very pale, either from the effect", "\"Your father is getting the best of the gout,\" said Mrs. Hepburn,\nreturning. \"How is Desmond? He may be the wickedest of you all, but", "\"Is it something in me, ma'am?\" said Desmond, putting his head before\nmy face so that it was hid from her.\n\n\"Something in both of you; thief! thief!\"", "Ben has been dead six months. Only Desmond and I were with him in his\nlast moments. When he sprang from his bed, staggered backwards, and\nfell dead, we clung together with faint hearts, and mutely questioned\neach other.", "There was no falseness in his voice; he spoke the truth.\n\n\"Forgive me, Des.\"\n\n\"No matter about that,\" he answered, sauntering off." ], [ "\"Come Veronica,\" he whispered, \"give me yourself. I love you,\nVeronica.\"\n\nHe sank down before her; she clasped her hands round his head, and\nkissed his hair.", "\"I promise, too, Veronica,\" heaven dawning in his eyes.\n\n\"We will see about it,\" said father. \"Now who will go to the theater?\"", "because she would never know how I valued her. Veronica shed no tears,\nbut sighed heavily. _Duty_ sounded through her sighs. \"Verry,", "\"Veronica probably will not understand you, but you must manage for\nyourself. As you have discerned, she and I are far apart. She is pure,\nnoble, beautiful, and peculiar. I will have no voice between you.\"", "\"Veronica has been let alone--is master of herself, except when in a\nrage. She is an extraordinary girl; independent of kith and kin, and\neverything else. I assure you, Miss Cassy, she is very good.\"", "In the bustle of their going, Veronica stooped over my hand and kissed\nit, unseen. It was more like a sigh upon it than a kiss, but it swept", "\"Of course,\" she answered. \"But if am not mistaken, you will be\ntormented by others besides me.\"\n\n\"Go out!\" said Veronica. \"Leave us, pale pest.\"", "Veronica observed him closely; he was aware of it, but was not\nembarrassed; he met her dark gaze with one keener than her own, and", "\"'Why, Veronica,' said your mother, 'you astonish Mr. Somers.'\n\n\"'You are not astonished,' she said with vehemence, 'you are\nembarrassed.'", "Another week passed. Ben had received a letter from Veronica,\ninforming him that letter-writing was a kind of composition she was", "Veronica offered me her hand, but she sent no message to you. She has\nnever been out of my mind a moment since.\"", "said--\"_Veronica_.\" He put his hand over my mouth with an indignant\nlook, which was lost upon me, for I whispered in his ear; \"Do you know", "\"That's Grandfather John Morgeson you think of. I do not hate\nVeronica. I think I love her; at least she interests me.\"", "Ben turned to speak, but Veronica put her hand over his mouth, and\nsaid:\n\n\"Why should I be 'hushed,' my darling?\"", "\"I know Veronica,\" said Ben, looking at me. \"Has this man seen _her_?\"\n\nHis voice crushed me. What a barrier his expression of contempt made\nbetween her and me!", "\"What are you reading, father?\" asked Veronica suddenly.\n\n\"To-day's letters, and I must be off for Boston; would you like to\ngo?\"", "\"Wake up, Verry; it is time to be married.\"", "saw me. So, like Veronica, I amused myself, and passed days on the\nsea-shore, or in the fields and woods, mother keeping me in long", "ourselves. I never saw so much of Veronica as at that time; her health\nimproved with her temper. She threw us into fits of laughter with her", "and hollow gales. At last he came--to Veronica first. He gave a deep\nbreath of delight when he stood again on the hearth-rug, before our" ], [ "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "\"She is a good solid gal; but I can't recollect her christened name.\"\n\n\"It is Cassandra.\"\n\n\"Why, 'taint Scriptur'.\"", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"Tempted!\" Charles exclaimed. \"Cassandra is never tempted. What she\ndoes, she does because she will. Don't worry yourself, Alice, about\nher.\"\n\n\"Because I will,\" I repeated.", "till afterward, why she had consented to the plan. It was because she\nwished me to comprehend the influences of her early life, and learn", "\"My father is a Greek Professor, and he made me study it when I was a\nlittle girl.\"\n\n\"The name of Cassandra inspired me to rub up my knowledge of the\ntragedies.\"", "\"She writes letters seldom.\"\n\n\"I have written her.\"\n\n\"She has never written me.\"\n\n\"It might be the means of revealing you to each other to do so.\"", "\"To keep Cassandra, I intend to ask Mrs. Morgeson to come again. Will\nyou write Mr. Morgeson to urge it?\"\n\n\"Yes.\"", "\"Be quiet, Cassandra.\"\n\nHe opened the window, took a handful of snow from the sill and put it\nto my mouth. It revived me.", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"But I do not want rest; I have no burden,\" I said.\n\n\"Cassandra,\" thundered grand'ther, \"have you no respect for God nor\nman?\"", "\"You think Cassandra is not like you,\" he continued with a curious\nintonation.\n\n\"I told her that your oddities never troubled me.\"\n\n\"That is right.\"", "attempt to analyze her character. I describe her as she appeared,\nand as my memory now holds her. I never understood her, and for that\nreason she attracted my attention. I felt puzzled now, she seemed", "\"Must I give up trying to understand you, Cassandra?\"\n\n\"Yes, do. You'll visit Alice? You can divine her intentions. She is a\ngood woman.\"", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "\"Cassandra, what does your bitter face and voice mean?\"\n\n\"I mean, mother, all your woman's heart might guess, if you were not\nso pure, so single-hearted.\"", "\"Not like yours, in the least,\" he continued. \"'Cassandra is very\nhandsome now, is she?'", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"What do you think, Charles?\" she said, \"Cassandra seems worried by\nthe influence, as she calls it, you have upon each other.\"\n\n\"Does she?\"", "hope that you, Cassandra, will ride with me sometimes when I drive\nher.\"" ], [ "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "said in a loud voice: \"Cassandra Morgeson, take your books and go\nhome. You shall not come here another day.\"", "\"But she _is_ like her mother,\" said Aunt Merce.\n\n\"Well, Cassy, good-by\"; and he gave me a kiss with cruel nonchalance.\nI knew my year must be stayed out.", "\"'Upon my soul I am,' I replied, feeling at ease as soon as I had said\nso.\n\n\"'Tell me, what has Cassandra been taught? Is Rosville suited to her?\nWe are not.'", "\"But I do not want rest; I have no burden,\" I said.\n\n\"Cassandra,\" thundered grand'ther, \"have you no respect for God nor\nman?\"", "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "\"I wish you would go, Aunt Merce.\"\n\n\"Yes, why not, Mercy?\" asked father. \"Would it be a good thing for\nArthur, Cassandra? You know what Surrey is for a boy.\"", "I thought it best to say no more. Aunt Mercy looked disturbed, and\nleft the table as soon as she could with decency.\n\n\"Cassandra,\" she said, when we were alone, \"what will become of you?\"", "\"Not like yours, in the least,\" he continued. \"'Cassandra is very\nhandsome now, is she?'", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"Be quiet, Cassandra.\"\n\nHe opened the window, took a handful of snow from the sill and put it\nto my mouth. It revived me.", "\"What did I ever leave her for? She wasn't fit to take care of\nherself. Why, Cassandra Morgeson, you haven't got off all your things\nyet. And what's this sticking out of your bosom?\"", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "of any direct notice of him, had heard his proposition about Rosville,\nsaid, \"Cassandra will go there.\"", "\"Forgive me, Cassandra. Have I not been making a hermit of myself,\neating bread and meat by the ounce, for an expiation?\"\n\n\"How did it look there? Oh, tell me!\"", "\"Veronica has been let alone--is master of herself, except when in a\nrage. She is an extraordinary girl; independent of kith and kin, and\neverything else. I assure you, Miss Cassy, she is very good.\"", "I heard Mrs. Somers say at breakfast, as I went in, \"We are to lose\nMiss Cassandra on Wednesday.\" I looked at Desmond, who was munching", "she believed his flowers cost him a great deal too. \"You must know,\nCassandra, that his heart is with his horses and his flowers. He is\nmore interested in them than he is in his children.\"", "\"Miss Cassy don't play,\" answered the three, looking at me over their\nspectacles. \"Miss Verry's sun puts out her fire.\"" ], [ "\"Cry here then, with me. Come, Cassandra, my wife! My God, I shall die\nwith happiness.\"\n\nA mortal paleness overspread his face.", "\"Not like yours, in the least,\" he continued. \"'Cassandra is very\nhandsome now, is she?'", "\"_Men! Citizens! ye Elders of Argos present here._\"\n\n\"Who was Agamemnon?\" I whispered.\n\n\"He gave Cassandra her last ride.\"", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"You shall never know; never--never--never.\"\n\n\"Cassandra, that man is a devil.\"\n\n\"I like devils.\"", "\"She is a good solid gal; but I can't recollect her christened name.\"\n\n\"It is Cassandra.\"\n\n\"Why, 'taint Scriptur'.\"", "\"Yes, yes, I will do it; you may depend on me. I will reign, and serve\nalso.\"\n\n\"Oh, Cassandra, _can_ you give up _yourself?_\"", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"Cassandra, will you go?\" he asked. \"If not, I am off. Jump in behind,\nSam, will you?\"", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "\"You think Cassandra is not like you,\" he continued with a curious\nintonation.\n\n\"I told her that your oddities never troubled me.\"\n\n\"That is right.\"", "\"Come with me, then; you must.\" And he put my arm in his.\n\n\"Hail, and farewell, Cassandra!\" said Desmond, standing before the\ndoor. \"Give me your hand.\"", "\"But I do not want rest; I have no burden,\" I said.\n\n\"Cassandra,\" thundered grand'ther, \"have you no respect for God nor\nman?\"", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "\"Having known Cassandra so long, sir,\" began Ben, but was interrupted\nby Veronica's exclaiming, \"We do not know each other at all. What is", "\"Must I give up trying to understand you, Cassandra?\"\n\n\"Yes, do. You'll visit Alice? You can divine her intentions. She is a\ngood woman.\"", "\"Now for a compact,\" he said. \"I must be called Ben Somers by you; and\nmay I call you Cassandra, and Helen?\"\n\n\"Yes,\" we answered.\n\n\"Let us be confidential.\"", "\"Father,\" she cried, as he entered with a theater bill, \"had I better\nmarry this friend of Cassy's?\"\n\n\"Have you the courage? Do you know each other?\"", "\"'Upon my soul I am,' I replied, feeling at ease as soon as I had said\nso.\n\n\"'Tell me, what has Cassandra been taught? Is Rosville suited to her?\nWe are not.'" ], [ "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"What do you think, Charles?\" she said, \"Cassandra seems worried by\nthe influence, as she calls it, you have upon each other.\"\n\n\"Does she?\"", "She felt my hands. I was in a fever, she said, and ran down for\nCharles. \"Cass is sick, in spite of your white roses.\"", "\"Cassandra, come.\" And Charles opened the door. I fumbled for the\nflower at my belt. \"It's nice to have flowers so late; don't you think", "\"Cry here then, with me. Come, Cassandra, my wife! My God, I shall die\nwith happiness.\"\n\nA mortal paleness overspread his face.", "\"Tempted!\" Charles exclaimed. \"Cassandra is never tempted. What she\ndoes, she does because she will. Don't worry yourself, Alice, about\nher.\"\n\n\"Because I will,\" I repeated.", "\"I have been making coffee for you,\" she said, as soon as we entered,\n\"in my French biggin. I have packed your valise too, Charles, and have\nordered your breakfast. Cassy, we will breakfast after he has gone.\"", "\"Here--is--Cassandra,\" said Charles, mentioning the fact as if he\nmerely wished to attract the child's attention.", "\"We shall beat you,\" he said to Charles.\n\n\"Not unless Cassandra has improved,\" he replied.", "\"What did I ever leave her for? She wasn't fit to take care of\nherself. Why, Cassandra Morgeson, you haven't got off all your things\nyet. And what's this sticking out of your bosom?\"", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"I am not too late, Cassandra?\" called Charles, coming up the steps,\nbowing to all. \"I am glad you are ready; Nell is impatient.\"", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "I thought it best to say no more. Aunt Mercy looked disturbed, and\nleft the table as soon as she could with decency.\n\n\"Cassandra,\" she said, when we were alone, \"what will become of you?\"", "\"What is the matter, Cass?\"\n\n\"I am going away from Char--school.\"\n\n\"We are all going; but not to-night.\"\n\n\"I am going to-night.\"", "she believed his flowers cost him a great deal too. \"You must know,\nCassandra, that his heart is with his horses and his flowers. He is\nmore interested in them than he is in his children.\"", "\"I am free, Alice. I have left the Academy, and am going to set up for\nan independent woman.\"\n\n\"What?\" said Charles; \"you did not tell me. Did you know it, Alice?\"", "\"Cassandra,\" he said, with a menacing voice, \"how dare you defy me?\nHow dare you tempt me?\"\n\nI put my hand on his arm. \"Charles, is love a matter of temperament?\"", "\"Must I give up trying to understand you, Cassandra?\"\n\n\"Yes, do. You'll visit Alice? You can divine her intentions. She is a\ngood woman.\"", "\"You shall never know; never--never--never.\"\n\n\"Cassandra, that man is a devil.\"\n\n\"I like devils.\"" ], [ "\"Talk to me about Surrey, Cassandra.\"\n\n\"Not a word.\"\n\n\"Why did you call me?\"\n\n\"To see what mood you were in.\"", "visit had come. You will see me henceforth in Surrey. I will live and\ndie there.\"", "and disposition pleased her. She asked him to let me spend another\nyear in Rosville; but he said that I must return to Surrey, and that\nhe never would allow me to leave home again.", "\"I wish you would go, Aunt Merce.\"\n\n\"Yes, why not, Mercy?\" asked father. \"Would it be a good thing for\nArthur, Cassandra? You know what Surrey is for a boy.\"", "I was going home! When we rode over the brow of the hill within a\nmile of Surrey, and I saw the crescent-shaped village, and the tall", "departure. Every child in Surrey was allowed to come in, to look at\nthe dead, with the idle curiosity of childhood. Veronica knew nothing", "Alice applauded me for refusing him; but when he whispered in my ear\nthat he had been to Surrey I changed my mind. She assisted me with", "on what had happened in Surrey, and commenced a discussion on my\nwardrobe, when we were summoned to tea. Temperance brought Arthur to", "\"'Upon my soul I am,' I replied, feeling at ease as soon as I had said\nso.\n\n\"'Tell me, what has Cassandra been taught? Is Rosville suited to her?\nWe are not.'", "windows. But I must say the charm vanishes if I go from them. Surrey\nis not lovely.\" She closed the wicket, and sat down by the table. My", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "circumscribed it was, the better I could endure it. What a dreary\nprospect! The past was vital, the present dead! Life in Surrey must be", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "In the summer Helen visited Surrey. Her enlivening gayety was the\nmeans of our uniting about her. She was never tired of Veronica's", "\"He thinks he will not come to Surrey with you; asks me to tell him my\nwishes,\" she repeated rapidly, translating from the original. \"What do", "\"Eh, Verry,\" said father, \"are you there? Were you glad to see Cassy\nhome again?\"\n\n\"Should I be glad? What can _she_ do?\"", "\"You do not look as if you thought so, Aunt Mercy. Why do you say\nthings in Barmouth you never said in Surrey?\"\n\n\"Come downstairs, Cassandra, and help me finish the dishes.\"", "\"No vestige but these flowers,\" uncovering them again. \"In my room at\nSurrey I will take you out,\" and I shut the box. The clanking of the", "been in Surrey. Neither had I heard anything of his being there from\nfather. Once he told me that his father had explained the marriage of" ], [ "Ben Somers disappeared; no one knew where he had gone. The Ryders were\nin consternation, for he was an intimate of the family, since he", "Somers dispersed it by asking Ben to go out on some errand. That it\nwas a pretext, I knew by Ben's expression; therefore, when he had gone", "He was sorry, he said, that Morgeson was not at home. When he\nmentioned him I looked out of the window, and saw Ben Somers coming", "Ben has been dead six months. Only Desmond and I were with him in his\nlast moments. When he sprang from his bed, staggered backwards, and\nfell dead, we clung together with faint hearts, and mutely questioned\neach other.", "\"Indeed, Somers; perhaps you would like this too.\" And Charles offered\nhim his glass of wine.\n\nBen took it, and with his thumb and finger snapped it off at the stem,\ntipping the wine over Charles's hand.", "family trait, though they were all in a state of the most robust\nhealth, with the exception of Mr. Somers. I walked up and down the\nrooms. \"They were fine once,\" said Ben, who appeared from a dark", "Ben Somers came early, suffering from a fit of nonchalance, to the\ndisgust of several young men, standard beaux, who regarded him with an\nimpertinence which delighted him.", "\"Charles, what did Ben Somers do at Harvard?\"\n\n\"He was in a night-fight, and he sometimes got drunk; it is a family\nhabit.\"", "Somers and Ann, neither of whom returned. As Ben stretched himself\non his sofa with an air of relief, Desmond emerged from the dark and\nstood behind him, leaning against a column, with his hands in his coat", "attack on you, he told them that your lace was an heirloom. Here he\nis.\" Mr. Parker took her away, and Ben Somers went in pursuit of a", "name is Ann Somers. I am never introduced; Adder, my sister, is in\nthe way, you know. I dare say Ben never spoke of me to you. I am never", "\"It is a curse to inherit money in this country. Mr. Somers writes\nthat Ben will have three thousand a year; but that the disposal, at\npresent, is not in his power.\"", "And so I took my way out of Rosville. Ben Somers went with us to\nBoston, and stayed at the Bromfield. In the morning he disappeared,", "A door near us opened, and Ben Somers and young Parker looked in. They\nwere the watchers. Parker went back when he saw me; but Ben came in.", "\"'Cassandra Somers! now tell her,' he whispered, turning me gently\nfrom him, with a hand precisely like Ben's.\"\n\n\"No, it is handsomer,\" I muttered.", "A few days after, father came to Rosville. I invited Ben Somers and\nHelen to spend with us the only evening he stayed. After they were", "\"Money, Family, Influence,--are a ding-dong bell which you must weary\nof, Mr. Somers--sometimes.\"\n\n\"Ben has disappointed me; I must confess that.\"", "Miss Helen Perkins, Mr. Ben Somers, of Belem, requests me to present\nhim to you. I add the information that he is, although a senior,", "\"What on earth has happened to you? Oh!\" she exclaimed, as I looked at\nher. \"You were out there with Morgeson and Ben Somers,\" she whispered;\n\"something has occurred; what is it?\"", "door. Mr. Somers and Ben were already on the walk, waiting for me; so\nI went through the ceremony of bidding good-by--a ceremony performed\nwith so much cheerfulness on all sides that it was an occasion for" ], [ "\"I tell you, Cousin Sue,\" said Arthur, who overheard the last remark,\n\"that you don't know what they say of Cassandra in Rosville. She's the\nbiggest beauty they ever had, and had lots of beaus.\"", "\"'Upon my soul I am,' I replied, feeling at ease as soon as I had said\nso.\n\n\"'Tell me, what has Cassandra been taught? Is Rosville suited to her?\nWe are not.'", "\"The child is dead, for the first thing. (Cigar, Manuel.) Second,\nI was possessed to come home by the way of Rosville. When did your\nfather go away, Cass?\"\n\nI felt faint, and sat down.", "in Rosville over a year. \"I am going home soon,\" I said to myself,\nputting away the letter. It was a summer day, bright and hot. Alice,", "of any direct notice of him, had heard his proposition about Rosville,\nsaid, \"Cassandra will go there.\"", "A year after, he went to Rosville, and built a cotton factory, three\nmiles from town, and the cottage, and then brought her and Edward, who", "\"What did I ever leave her for? She wasn't fit to take care of\nherself. Why, Cassandra Morgeson, you haven't got off all your things\nyet. And what's this sticking out of your bosom?\"", "\"I know what Rosville was for a girl,\" I thought. It was an excellent\nplan for Arthur; but a feeling of repulsion at the idea of his going\nkept me silent.\n\n\"Is it a good idea?\" he repeated.", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"May be not. You may tell mother that I am coming.\"\n\n\"I shall not say 'Miss Morgeson,' but 'Cassandra.' 'Cassandra\nMorgeson,' if I like.\"", "\"The devil take the roses. Can't you get up, Cassandra?\"\n\n\"Not now. Go away, will you?\"", "\"Veronica has been let alone--is master of herself, except when in a\nrage. She is an extraordinary girl; independent of kith and kin, and\neverything else. I assure you, Miss Cassy, she is very good.\"", "\"I wish you would go, Aunt Merce.\"\n\n\"Yes, why not, Mercy?\" asked father. \"Would it be a good thing for\nArthur, Cassandra? You know what Surrey is for a boy.\"", "I thought it best to say no more. Aunt Mercy looked disturbed, and\nleft the table as soon as she could with decency.\n\n\"Cassandra,\" she said, when we were alone, \"what will become of you?\"", "\"I am glad you are here, my darling. Do you smell the roses?\"\n\n\"Yes; let me go.\"\n\n\"Not till you tell me one thing. Why do you stay in Rosville?\"", "\"What is the matter, Cass?\"\n\n\"I am going away from Char--school.\"\n\n\"We are all going; but not to-night.\"\n\n\"I am going to-night.\"", "\"Having known Cassandra so long, sir,\" began Ben, but was interrupted\nby Veronica's exclaiming, \"We do not know each other at all. What is", "\"She is a good solid gal; but I can't recollect her christened name.\"\n\n\"It is Cassandra.\"\n\n\"Why, 'taint Scriptur'.\"", "\"But she _is_ like her mother,\" said Aunt Merce.\n\n\"Well, Cassy, good-by\"; and he gave me a kiss with cruel nonchalance.\nI knew my year must be stayed out.", "\"What do you think, Charles?\" she said, \"Cassandra seems worried by\nthe influence, as she calls it, you have upon each other.\"\n\n\"Does she?\"" ], [ "\"It is mine,\" she said, \"you shall not touch it. God blew it in\nthrough the window; but it has not breathed yet.\"\n\n\"Pooh; I have three mice in the kitchen.\"", "\"Do you read your Bible, child?\"\n\n\"Every day.\"\n\n\"And what does it teach you?\"\n\n\"I do not know.\"", "\"Sit still,\" she said to me, in her low, inflexible voice, holding\nFanny against the wall. \"I must attend to this little demon. Do you", "\"If you touch me it will rouse me. Did a child of yours ever inflict a\nblow upon you?\"\n\nShe turned purple with rage, looming up before my vision like a peony.", "Veronica is lying on the floor watching her year-old baby. It smiles\ncontinually, but never cries, never moves, except when it is moved.", "\"Verry, you drive me wild. Must I say that I was wrong? Say so to my\nown child?\"", "\"Do go. How still it is! The shadows of the trees on the Neck reach\nalmost from shore to shore, and there's a fish-boat motionless.\"\n\n\"The boat was there when I got up.\"", "to the dictates of his will or not I moved as if under a pivot; when\naway my natural elasticity prevailed, and I held the same relation to", "\"It is the winter that kills little Verry,\" she said, in a childlike\nvoice. \"God's breath is cold over the world, and my life goes. But the\nspring is coming; it will come back.\"", "breathe at all. Its delicate, virgin beauty touched me with a holy\npity. We sat by her bed in silence a long time, and although it was", "to much of the business of ordinary life which children are taught to\nunderstand. Father and mother both stopped at the same point with us,\nbut for a different reason; father, because he saw nothing beyond the", "\"He asked,\" said father, \"if I remembered his poor boy, whose chest\nnever came home, and wished to hear some one read a hymn; Temperance", "\"He watches her so when she holds Arthur! Why do you stare at me? Why\ndo I talk to you? I am going. Now mind, I shall never leave home to go\nto any school; I shall know enough without.\"", "\"We will not bandy his merits or his demerits between us. Let us\nobserve him. And now, tell me,--what am I?\"", "\"Because,\" said Verry, \"we are all so different; but I like you,\nmother, and all that you do.\"\n\n\"Different!\" she exclaimed, \"children talk to parents about a\ndifference between them.\"", "\"The child is dead, for the first thing. (Cigar, Manuel.) Second,\nI was possessed to come home by the way of Rosville. When did your\nfather go away, Cass?\"\n\nI felt faint, and sat down.", "The windows were open; a wind was blowing through the house, the\nfurniture was set in order, the doors were thrown back, but not a soul", "\"You must pick them up, or we shall spend the night here, and father\nis waiting for me.\"\n\n\"Is he?\" and she began to take them up.", "\"Sit down, when you get there, and show less,\" she said. I went in\nsoftly, and stood behind mother's chair, slightly abashed for a moment", "or an aside. This old lady had taught me something. I went to the\nwindow, curious to know whether any nerve of association would vibrate\nagain. Nothing stirred me; the machinery which had agitated and" ], [ "\"Where?\"\n\n\"For the doctor. The _baby_ is sick\"; and he looked hard at Desmond.\n\n\"I hope it will live for years and years,\" I said.", "Desmond made an inarticulate noise and sprang up, as if in answer to a\ncall. A moment after he stepped quietly over the back of the sofa", "\"Desmond, Desmond, do you know how I love you? Feel my heart,--it has\nthrobbed with the weight of you since that night in Belem, when you\nstruck your head under the mantel.\"", "\"_Allons,_ Ben,\" I said.\n\n\"Go on, go on,\" said Desmond, holding the door wide open.", "The young man, twenty-nine years old, was Desmond. He crossed the\nroom and offered me his hand. We had not spoken since we parted at", "When I saw Desmond again, he was surrounded by men, the French Count\namong them, drinking champagne. He held a bottle, and was talking", "Desmond ordered the coach for her. When it was ready he put her in it,\nseated himself beside her, with provoking nonchalance, and carried her", "with a dry crust, making a feint of eating it. Desmond kept the\ndecanter, occasionally swallowing a glassful.", "window was open. Desmond sat by it, his arms folded across his chest,\nsmoking, and contemplating some object beyond our view. Ann derisively", "\"I venture to. Desmond is a violent, tyrannical, sensual man; his\nperceptions are his pulses. That he is handsome, clever, resolute, and\nsings well, I can admit; but no more.\"", "She swept along, and I followed, bringing up close to Desmond, who had\nhis hand round his head, and was very pale, either from the effect", "Ben has been dead six months. Only Desmond and I were with him in his\nlast moments. When he sprang from his bed, staggered backwards, and\nfell dead, we clung together with faint hearts, and mutely questioned\neach other.", "which fell with a loud noise. The parlor door was ajar; the fire was\nnot out, and Desmond was before it, watching its decay.", "\"Is it something in me, ma'am?\" said Desmond, putting his head before\nmy face so that it was hid from her.\n\n\"Something in both of you; thief! thief!\"", "\"Your father is getting the best of the gout,\" said Mrs. Hepburn,\nreturning. \"How is Desmond? He may be the wickedest of you all, but", "Desmond made a grimace, and went to the window.\n\n\"Who returns with you,\" she continued, \"Ben? He likes piloting.\"\n\n\"I hope he will; I came here to please him.\"", "I broke its seal, and read: \"Tell Ben, before you can reflect upon it,\nthat _I_ will go abroad, and then repent of it,--as I shall. Desmond.\"", "\"_Cassandra_,\" said Desmond, \"are you bored?\"\n\nThe accent with which he spoke my name set my pulses striking like a\nclock. I got up mechanically, as Ben directed.", "\"Come with me, then; you must.\" And he put my arm in his.\n\n\"Hail, and farewell, Cassandra!\" said Desmond, standing before the\ndoor. \"Give me your hand.\"", "Desmond, who had remained silent, took the candle, which Mrs. Somers\nwas reading by, and held it for Ann, close to my face. The operation\nwas over, but the candle was not taken away till Mrs. Somers asked for\nit sharply." ], [ "\"How much Veronica has improved,\" they continued, \"do not you think\nso?\"\n\n\"You know,\" she interrupted, \"that Cassandra has been dangerously ill,\nand has barely recovered.\"", "\"Having known Cassandra so long, sir,\" began Ben, but was interrupted\nby Veronica's exclaiming, \"We do not know each other at all. What is", "\"Veronica has been let alone--is master of herself, except when in a\nrage. She is an extraordinary girl; independent of kith and kin, and\neverything else. I assure you, Miss Cassy, she is very good.\"", "\"Cassandra does other things better than playing,\" Veronica said to\nMr. Morgeson.\n\n\"Why, Veronica,\" I said, surprised, going toward her.", "\"How tired you look, Cass,\" said Veronica, slipping in quietly. \"What\nare you talking about? Has Fanny been tormenting you?\"", "\"My sister Adelaide has sent for you, Cassandra, to visit us,\" said\nBen, \"and will you go too, Veronica?\"", "afternoon. Mr. Somers was affable and patronizing. When introduced to\nVeronica, he betrayed astonishment. \"She is not like you, Cassandra.", "\"Veronica probably will not understand you, but you must manage for\nyourself. As you have discerned, she and I are far apart. She is pure,\nnoble, beautiful, and peculiar. I will have no voice between you.\"", "\"Put her out, Cassandra,\" said Verry, \"if you like to touch her.\"", "Helen and he had a Homeric talk, while I silently walked by them,\nthinking that Cassandra would have suited Veronica, and that no name", "\"Of course,\" she answered. \"But if am not mistaken, you will be\ntormented by others besides me.\"\n\n\"Go out!\" said Veronica. \"Leave us, pale pest.\"", "I prefer the name of Veronica, and fancy that the person to whom\nthe name belongs has a narrow face, with eyes near together, and a\nquantity of light hair, which falls straight; that she has long hands;", "\"Veronica is odd, also,\" was my thought; \"but oddity there runs in\na different direction.\" Her image appeared to me, pale, delicate,\nunyielding. I seemed to wash like a weed at her base.", "The hall door opened. \"Here _she_ is,\" muttered this Fanny.\n\n\"Veronica!\"\n\n\"Cassandra!\"", "\"Come Veronica,\" he whispered, \"give me yourself. I love you,\nVeronica.\"\n\nHe sank down before her; she clasped her hands round his head, and\nkissed his hair.", "\"Eh, Verry,\" said father, \"are you there? Were you glad to see Cassy\nhome again?\"\n\n\"Should I be glad? What can _she_ do?\"", "\"Veronica will give me no thanks.\"\n\n\"Who is she?\"\n\n\"My sister, whom Ben loves.\"", "\"They look something alike now,\" Hepsey remarked.\n\n\"Not at all,\" said Veronica, dropping my hand, and retreating.\n\n\"Why, Arthur dear, come here!\"", "however, that she was prone to laughter, and that I could provoke\nit; we got on better after that discovery; but Veronica, disdaining", "In the bustle of their going, Veronica stooped over my hand and kissed\nit, unseen. It was more like a sigh upon it than a kiss, but it swept" ], [ "\"She is a good solid gal; but I can't recollect her christened name.\"\n\n\"It is Cassandra.\"\n\n\"Why, 'taint Scriptur'.\"", "\"'Mother,\" and she shook the grasses, and made a little snow fall\nround her; 'what shall I say then? I am sure he knows Cassandra. What\ndid you come here for?' turning to me again.", "\"Not like yours, in the least,\" he continued. \"'Cassandra is very\nhandsome now, is she?'", "\"'To see you,' I answered foolishly.\n\n\"'And has Cassandra spoken of me?' Her pale face grew paler, and an\nindescribable expression passed over it. 'I do not often speak of\nher.'", "\"My father is a Greek Professor, and he made me study it when I was a\nlittle girl.\"\n\n\"The name of Cassandra inspired me to rub up my knowledge of the\ntragedies.\"", "\"Be quiet, Cassandra.\"\n\nHe opened the window, took a handful of snow from the sill and put it\nto my mouth. It revived me.", "\"We think so, when we see it in others.\"\n\n\"Not all of us,\" she said. \"You think Cassandra has no ways of her\nown! She can make us change ours; do you know that?\"", "\"Cassandra,\" urged Ben, in a gentle voice, \"come with me; come away.\"\n\n\"Fool,\" I answered; \"leave _me_ alone, and go.\"", "\"_Men! Citizens! ye Elders of Argos present here._\"\n\n\"Who was Agamemnon?\" I whispered.\n\n\"He gave Cassandra her last ride.\"", "\"Hail, Cassandra! Hail!\"", "\"But I do not want rest; I have no burden,\" I said.\n\n\"Cassandra,\" thundered grand'ther, \"have you no respect for God nor\nman?\"", "\"You think Cassandra is not like you,\" he continued with a curious\nintonation.\n\n\"I told her that your oddities never troubled me.\"\n\n\"That is right.\"", "\"Sit down, Cassandra. I'll look up somebody.\"", "She turned with her mouth open in astonishment, and her hand full of\ncandle-ends. \"Cassandra Morgeson, are you mad?\"\n\n\"Good-by,\" Alice.", "\"Yes, yes, I will do it; you may depend on me. I will reign, and serve\nalso.\"\n\n\"Oh, Cassandra, _can_ you give up _yourself?_\"", "\"'Upon my soul I am,' I replied, feeling at ease as soon as I had said\nso.\n\n\"'Tell me, what has Cassandra been taught? Is Rosville suited to her?\nWe are not.'", "\"Cry here then, with me. Come, Cassandra, my wife! My God, I shall die\nwith happiness.\"\n\nA mortal paleness overspread his face.", "\"Cassandra, will you go?\" he asked. \"If not, I am off. Jump in behind,\nSam, will you?\"", "\"Here--is--Cassandra,\" said Charles, mentioning the fact as if he\nmerely wished to attract the child's attention.", "\"Having known Cassandra so long, sir,\" began Ben, but was interrupted\nby Veronica's exclaiming, \"We do not know each other at all. What is" ] ]

[ "What important lesson does Cassandra learn in Barmouth?", "Where does Cassandra go when she turns 18?", "Who does Cassandra fall in love with in Rosville?", "What happens to end Cassandra's relationship with Charles?", "What does Desmond promise Cassandra? ", "Who does Veronica marry? ", "How does Ben die?", "What does Cassandra think of her role as lady of the house?", "What does Cassandra do to help he realize her goals of self possession?", "How does Cassandra escape the boredom of domestic life?", "What does living in Surrey motivate Cassandra to do?", "Where do Cassandra's parents send her to live with when she is thirteen?", "Why is Cassandra constantly reminded of her affair with Charles?", "Who awakened Cassandra's sexuality?", "What does Cassandra discover when returning to Surrey?", "Who did Cassandra have to take care of when her mother died?", "What motives Desmond to conquer his alcoholism?", "Who did Veronica end up marrying?", "Why does Cassandra write?", "When Cassandra is 13 who is she sent to live with?", "Who does Cassandra marry?", "What is Cassandra left with, after her affair with Charles?", "What does Cassandra discover upon her return to Surrey?", "What does Ben Somers die from?", "How old is Cassandra when she goes to live with her cousins in Rosville?", "Whose child does not move unless moved?", "Where does Desmond go to cure his addiction?", "What is Veronica to Cassandra?", "Where was Cassandra born?" ]

[ [ "Conformity", "conformity" ], [ "To stay with cousins in Rosville", "rosville" ], [ "Her cousin Charles", "Charles" ], [ "An accident that kills Charles", "Charles dies" ], [ "To cure his alcoholism ", "he promises himself to her" ], [ "Ben Somers", "Desmond somers" ], [ "Of alcoholism ", "Alcoholism" ], [ "She resents it and find a it boring and monotonous ", "She resents it" ], [ "She writes the story of her life", "write" ], [ "Through adventure and exploration.", "With stories of adventure and exploration." ], [ "It drives her on a quest for knowledge experience.", "To go on a quest for knowledge and experience" ], [ "Her grandfather.", "barmouth" ], [ "The scar on her face.", "She has a scar on her face from a tragic accident that occurred during the affair" ], [ "Charles.", "Charles" ], [ "That her mother has died.", "Her mother has died" ], [ "Her sister.", "Veronica " ], [ "Cassandra.", "Cassandra" ], [ "Ben.", "Ben Somers" ], [ "It helps her define herself.", "she wants to define herself" ], [ "Her Grandfather Warren", "Grandfather Warren" ], [ "Desmond Somers", "Desmond" ], [ "A scar on her face", "a scar" ], [ "That her mother is dead", "her mother has died" ], [ "alcoholism", "alcholism" ], [ "18", "18" ], [ "Veronica", "Veronica and Ben's child" ], [ "Spain", "Spain" ], [ "Her younger sister", "Sister" ], [ "Surrey", "Surrey" ] ]

[ [ "Steven puts his hands on the table. The Officer kicks his legs apart, then frisks him in front of \neveryone. It is pure humiliation.\n\nPOLICE OFFICER\nHands behind your back.", "STEVEN\nUh… I'm Steven Bartowsky. What's going\non?\n\nPOLICE OFFICER\nYou are under arrest.\n\nMR. DANIELS\nOn what charge?", "Steven runs out of the hospital. The two policemen run after him, about twenty feet behind. \nSteven jumps in his car, and takes off. The police follow in their car.", "Steven runs down the hall to the elevator. Before he reaches it the doors open, and the two \npolicemen who arrested him at work walk out. Steven quickly turns left, but the policemen see \nhim, and make chase.", "Steven walks into his apartment, exhausted from his jail experience. He walks into the living room \nand sees several new frames on the wall. They are four foot blow ups of Polaroid photographs of", "Steven is now wearing prison blues. He holds a pillow and a set of sheets as he walks down the \nlong corridor to his cell. Lining each side are cells filled with angry prisoners who throw things at", "Steven runs to his car, and gets in. He drives up the ramp in a panic. From out of nowhere the", "59\tEXT. OFFICE TOWER - MOMENTS LATER\n\nSteven is walked to a police car, and put inside.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "Steven moves a sudden move toward the Police Officer. The Officer jabs him in the ribs with his \nclub. Steven groans, then leans over in pain.", "He leaps at Steven, and puts him in a head-lock. He squeezes until Steven passes out. The he lays \nhim on the ground.", "Enraged, Steven punches him in the mouth with such tremendous force that it appears to have \nknocked his jaw out of alignment.", "STEVEN\nYou go near her, I'll kill you.\n\nSteven lunges at the glass. Steven's guard pulls Steven out of the room toward the exit.", "Steven slams on the gas, until he is driving one-hundred miles-per-hour. He weaves in and out of", "A guard walks Steven in. His lawyer sits on the other side of the glass with his back to Steven. \nSteven sits down and picks up the phone, excited to hear any news.", "Steven is driving in his car. His cellular phone rings. He picks it up.\n\nSTEVEN\n(panicked)\nHello.", "Steven throws the phone. When it lands we see the speaker phone light is on. He begins looking \nfor the camera. He smashes his TV.\n\nJUMP CUTS - Steven tearing through everything in his apartment.", "The show's host runs up to Steven.", "We pull out to reveal we are in Steven's living room. It is populated with about twenty odd \nlooking misfits mingling and dancing to the music. Among them we see Rick looking very \nuncomfortable.", "STEVEN\nHey, relax. I'm the one who's going to\njail.\n\nNobody laughs. He exits." ], [ "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "RICK (VO)\nBingo. \"My Three Sons.\"\n\nSTEVEN\nChip and Ernie Douglas.", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "As Rick gets closer Steven steps forward out of the shadows, and we reveal that it is not Steven, \nbut the Cable Guy, dressed like Steven, doing a perfect impression (actually the real voice of", "Steven tackles him to the ground, and begins hitting him. They are both covered in mud like \nwarriors from the rain forest. Steven grabs a large rock and holds it over his head.\n\nSTEVEN\nTell me!", "STEVEN\nChip, this isn't funny! Will you stop\nit!", "He hands Steven a paper crown. They both put theirs on.\n\nSTEVEN\nThanks for the help.\n\nThe Cable Guy sees something. His eyes widen.", "ROBIN\nWas it a man named Steven?\n\nCABLE GUY\nI can't tell you.\n\nROBIN\nCome on.", "There is a long silence. Steven doesn't know how to react.\n\nSTEVEN\nNever mind.\n\nThe Cable Guy sits back down and pretends Steven never mentioned it.", "STEVEN\nWhat did you hear? What did you hear?\n\nThe man turns around. It is not Steven's lawyer, it is the\nCable Guy dressed in an expensive suit.", "STEVEN\nHey, watch it!\n\nThe Cable Guy leaps onto Steven. Then he speaks into his ear as he pushes him down onto the \nground.", "The Cable Guy flies through the air, lands on his back. Steven rides to him. Jumps off his horse, \nthrows off his helmet.\nSTEVEN\n(concerned)", "Everyone laughs. They are all having a great time, except Steven. The Cable Guy looks at the next \nword, shows it to the family privately, then whipsers to Steven.", "Steven stares at it for a beat. The cable Guy waits. He'll wait as long as it takes. Finally Steven \ngives him a low five just so he can leave.", "STEVEN\nYou son of a bitch.\n\nThe Cable Gut quickly puts it away.\n\nCABLE GUY\nCome on Steven, let's just have a good\ntime tonight.", "STEVEN\n(smacks the glass three times)\nGet off there! Are you trying to get me\nkilled?\n\nThe Cable Guy begins to laugh.", "The Cable Guy immediately punches Steven, sending him back into the water. The Cable Guy \ndives on top of him. A moment later the Cable Guy pulls Steven up, then grabs his collar and \nspeaks right into his face.", "He leaps at Steven, and puts him in a head-lock. He squeezes until Steven passes out. The he lays \nhim on the ground.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke." ], [ "ROBIN\nBlackmailing you? How?\n\nSTEVEN\nWith a photograph.\n\nROBIN\nOf what?\n\nSTEVEN\nMe with a... prostitute.", "Everyone laughs. They are all having a great time, except Steven. The Cable Guy looks at the next \nword, shows it to the family privately, then whipsers to Steven.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "He leaps at Steven, and puts him in a head-lock. He squeezes until Steven passes out. The he lays \nhim on the ground.", "Then an image comes on the screen. It is black and white surveillance video, digitized to the \ncomputer format. The video is of Robin and Steven talking. It is the conversation they had before \nthey watched \"Sleepless in Seattle.\"", "Steven tackles him to the ground, and begins hitting him. They are both covered in mud like \nwarriors from the rain forest. Steven grabs a large rock and holds it over his head.\n\nSTEVEN\nTell me!", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "STEVEN\nChip, this isn't funny! Will you stop\nit!", "48\tOMITTED\n\n49\tINT. STEVEN'S LIVING ROOM - NIGHT\n\nSteven is watching television while eating a TV dinner.", "There is a long silence. Steven doesn't know how to react.\n\nSTEVEN\nNever mind.\n\nThe Cable Guy sits back down and pretends Steven never mentioned it.", "Steven puts his hands on the table. The Officer kicks his legs apart, then frisks him in front of \neveryone. It is pure humiliation.\n\nPOLICE OFFICER\nHands behind your back.", "71\tINT. DINING ROOM - LATER\n\nAs the Cable Guy charms Steven's family we pan across all of the guests laughing, and enjoying \ndinner.", "Steven finds a small camera in one of the television speakers. He rips it out.\n\nSTEVEN\nSo he doesn't even work for the Cable\nCompany?", "Steven runs in with a small bag of groceries. He is dressed for a date. He pulls out a bottle of", "Steven lloks at the floorboards, then runs out of the room, and returns a moment later with an ax. \nHe starts chopping at the floorboards, tearing the out.", "We pull out to reveal we are in Steven's living room. It is populated with about twenty odd \nlooking misfits mingling and dancing to the music. Among them we see Rick looking very \nuncomfortable.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "EARL\nI know we haven't been there for you\nlately but we're going to see you through\nthis, 'cause we are a family. I love\nyou.\n\nHe gives him a big hug. Steven grimaces.", "STEVEN'S MOTHER\nYou've got a good friend here.\n\nThey walk into the next room where the entire family is gathered for pre-dinner cocktails.", "He makes a motion which implies sex.\n\nCABLE GUY\nEnjoy the flick.\n\nThe Cable Guy walks away. Steven walks back inside.\n\nROBIN\nWho was that?" ], [ "arena, the kind a rodeo is held in. The entire restaurant/arena is designed in Medieval themed \ndecor. All of the staff are dressed as knights, sorcerers, royalty, etc.", "The camera moves behind then and reveals an enormous faux castle with a big sign on it which \nsays \"MEDIEVAL TIMES RESTAURANT.\"\n\nSTEVEN\nMedieval Times?", "He swings his sword, and they battle 'Star Trek' style. The Cable Guy begins to sing the \"Star Trek \nBattle Music\" as they fight.\n\nSTEVEN\nThis isn't 'Star Trek!'", "HOST\nWelcome to a magnificent journey into the\npast. This is Medieval Times!\n\nThe entire crowd, filled completely with white trash tourists, applauds.", "The two knights fight with swords. After a few moments of battle the Red Knight wins.\n\nThe crowd erupts. The Cable Guy goes crazy.", "HOST\nLet the battle begin. Come now people,\nlet me hear your voices!\n\nThe crowd cheers. Music plays. The serfs hand them each a sword and shield, then walk them to \nthe center of the pit.", "The Cable Guy grabs a large tree brance and runs towards Steven. They begin fighting in a fashion \nwhich mirrors their Medieval Times swordfight.", "34\tINT. FIGHTING PIT - LATER\n\nSteven and the Cable Guy are being dressed in armor by the two serfs. The Cable Guy could not \nbe happier. Steven is freaked out.", "toward the fence. The horse has the coat of arms from Medieval Times. When he reaches it he \nsmashes off the chain with a sword, then rides through. The horse rears back on its hind legs.", "33\tINT. MEDIEVAL TIMES - LATER\n\nON THE FLOOR - In the center of the room two Knights are fighting with swords while on \nhorseback.", "Left with no choice, Steven jumps on a horse and grabs a joust. The host smacks Steven's horse \nsending it straight toward the charging Cable Guy.\nSTEVEN", "ON THE STANDS - Each section of the crowd is painted a color that corresponds with a knight. \nThe Cable Guy stands up and cheers like he is at a wrestling match. Steven remains seated.", "arena in victory. The crowd cheers wildly. Steven feels the adrenaline rush. He holds up his arms \nin triumph, and smiles.\nDISSOLVE TO LATER:", "STEVEN\nIs this a normal part of the show?\n\nCABLE GUY\nNo, but I give all the Knights free\ncable. They said it would be cool if we\njust went at it for a little while.", "The sword smashes into it sending sparks into the air. The Cable Guy darts toward Steven and \npokes him several times with his sword. Each time Steven blocks it with either his sword or his \nshield.", "CABLE GUY (OS)\nSteven!!!! Stev-ey!!!! Let's go!!!!\n\nON THE TV - A commercial for Medieval Times Restaurant.", "The Cable Guy runs to a horses' entrance. There is a long pause, and then we hear the sound of \npounding horse hooves. A moment later the Cable Guy rides out on a horse holding a jousting \nstick.", "WAITRESS\nThere were no utensils in Medieval Times,\nso there are no utensils at 'Medieval\nTimes.' Do you want a refill on that\nPepsi?", "Steven away from him, then takes a huge swing, but Steven leaps in the air over the blade. The \nCable Guy swings over his head, and Steven blocks it with his ax handle. They continue to swing", "WAITRESS\n(flatly)\nWelcome to Medieval Times. My name is\nMelinda. I'll be your serving wench.\nMay I get you something from the bar\nkeep?" ], [ "The song ends. Rick walks away. He waves to Steven as he heads out. Steven runs over to him.\nRICK\nI'm getting out of here.\nSTEVEN", "Steven tentatively walks over to Rick's rear end. He pulls back a small portion of the bandage and", "A player passes to Steven. Rick is covering him. Steven drives to the basket and puts in a lay up.\n\nRICK\n(to himself)\nShit! My fault! My fault!", "Steven is elated. He can barely contain himself.\n\nRICK (O.S.)\nSteven, are you ready to go?", "RICK\nNone of them say no, believe me. I'll\ntalk to you later.\n\nSteven hangs up, and waits.\n\nDISSOLVE TO:", "RICK\nI told you not to hang out with him.\n\nSTEVEN\nYou're the one who told me to offer him\nmoney so I could get free cable.", "Steven turns and sees Rick wearing a \"Soundgarden\" T-shirt.\n\nSTEVEN\n(pained)\nThe concert. Oh Jesus.\n\nRICK\nWhat?", "We see Steven's best friend RICK standing in the middle of a busy newsroom. He is a rough \nlooking, cynical local news cameraman. In the background, hanging from the ceiling is a television \nset.", "his own rebound. When he puts up a second shot, Rick gently fouls him. Steven stumbles to the \nground. The ball does not go in.", "RICK\nYou bet your ass you've been blowing me\noff.\n\nSTEVEN\nIt's just, this guy is really doing a\nnumber on me.", "Steven gets out of the car. Rick drives off. Steven walks up the steps to his apartment. The Cable \nGuy appears from behind a corner.", "Steven enters the room. The camera pulls back to reveal Rick laying in full traction, face down, his \nrear end heavily bandaged. He is unconscious.", "55\tOMITTED\n\n56\tEXT. STEVEN'S APARTMENT - NIGHT\n\nIt is raining. Rick pulls up, and drops Steven off.", "We pull out to reveal we are in Steven's living room. It is populated with about twenty odd \nlooking misfits mingling and dancing to the music. Among them we see Rick looking very \nuncomfortable.", "STEVEN\n(rapid fire)\nRick Legatos. He's a friend of mine.\nWhere is he?\n\nDOCTOR\nRoom 205.", "RICK\nSteven invited me.", "STEVEN\nRobin just called. I think we're getting\nback together.\n\nRICK\n(pissed)\nSo you're blowing me off? I can't\nbelieve this.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "RICK\n(dismissive)\nYeah.\n\nHe shakes his head and exits with the rest of the players.\n\nSTEVEN\nWhat are you doing?", "In the distance he sees Steven standing in the shadows.\n\nSTEVEN\nHey Rick. I'm really excited to hear\nwhat you found out about this nut." ], [ "Steven walks to his car carrying a box filled with his belongings. He has been fired. Suddenly a car", "He exits. Everyone looks at Steven like he is the devil.\n\nSTEVEN\nYou don't understand.\n\nEveryone walks away from Steven. The party is over.", "Enraged, Steven punches him in the mouth with such tremendous force that it appears to have \nknocked his jaw out of alignment.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "Steven runs to his car, and gets in. He drives up the ramp in a panic. From out of nowhere the", "Steven throws the phone. When it lands we see the speaker phone light is on. He begins looking \nfor the camera. He smashes his TV.\n\nJUMP CUTS - Steven tearing through everything in his apartment.", "Steven runs out of the hospital. The two policemen run after him, about twenty feet behind. \nSteven jumps in his car, and takes off. The police follow in their car.", "Steven continues unpacking. He is very neat. He opens a box and finds a pictures of him with his \nex-girlfriend. He looks at one sadly, considering whether or not to put it on display. He puts it \nback in the box.", "ROBIN\nI just think you were completely out of\nline. I don't know what's happening to\nyou these days.\n\nSteven gets fed up.", "Everyone laughs. Steven is very good at his job.", "STEVEN\nYou go near her, I'll kill you.\n\nSteven lunges at the glass. Steven's guard pulls Steven out of the room toward the exit.", "Steven walks behind his desk. He notices something which disturbs him. His computer is on. He \nclicks a button and a message comes on the screen.", "Steven gets out of the car. Rick drives off. Steven walks up the steps to his apartment. The Cable \nGuy appears from behind a corner.", "Steven is beginning to get a little wigged out by this. He fast forwards through a sampling of the \nrest of the calls.", "Steven is driving in his car. His cellular phone rings. He picks it up.\n\nSTEVEN\n(panicked)\nHello.", "Steven puts his hands on the table. The Officer kicks his legs apart, then frisks him in front of \neveryone. It is pure humiliation.\n\nPOLICE OFFICER\nHands behind your back.", "He leaps at Steven, and puts him in a head-lock. He squeezes until Steven passes out. The he lays \nhim on the ground.", "He slowly brings the drill down to Steven. Steven blindly reaches behind him. He grasps a large \nbranch and bats the Cable Guy off him.", "Steven slams on the gas, until he is driving one-hundred miles-per-hour. He weaves in and out of", "STEVEN\n(smacks the glass three times)\nGet off there! Are you trying to get me\nkilled?\n\nThe Cable Guy begins to laugh." ], [ "From below we hear the sound of sirens. A pack of police cars pull up and surround the antenna. \nThe Cable Guy's expression changes. He begins to look like a scared little boy.", "Steven's car turns a corner, and flies down a busy boulevard. A second later the police cars follow \nwith sirens blaring.\n\n116E\tEXT. SATELLITE DISH - NIGHT", "SAM SWEET\nWhat? I'm just goofing around.\n\nWe pull back and reveal a group of police officers watching this on television.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "The van drives up into the hills, finally revealing a huge satellite dish on top of a small mountain, \noverlooking the entire city.", "STEVEN\nYou're not going anywhere.\n\nThe Cable Guy hangs high above the satellite dish. Steven tries to pull the Cable Guy back onto \nthe platform, but the Cable Guy does not want to be saved.", "begins walking to the satellite dish which is surrounded by a chain link fence. He hears the sounds \nof horse hooves coming closer, and closer. The he sees a headless man on a horse ride straight", "Steven runs out of the hospital. The two policemen run after him, about twenty feet behind. \nSteven jumps in his car, and takes off. The police follow in their car.", "STEVEN\nEasy.\n\nHe walks with Robin to the edge of the platform. There is a one-hundred foot drop to the dish \nbelow. A police helicopter hovers in the air around them.", "watching Steven's humiliation. As the policeman pushes Steven into the car he looks at the Cable \nguy and touches his nose. The Cable Guy touches his nose.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "STEVE\nThis is all a mistake. I didn't accept\nany stolen goods.\n\nJust then it hits him. He hears the Cable Guy's voice in his head.", "60\tINT. POLICE STATION - LATER\n\nSteven is chained to a bench. He is speaking to his father EARL, a stout man of sixty, and his \nLAWYER.", "Steven runs down the hall to the elevator. Before he reaches it the doors open, and the two \npolicemen who arrested him at work walk out. Steven quickly turns left, but the policemen see \nhim, and make chase.", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "CABLE GUY\nSee, I knew the moment I met you that\nyou would appreciate this.\n\nThe Cable Guy runs to the dish. A few seconds later he appears inside of it.", "The Cable Guy is being taken away on a stretcher toward an emergency helicopter. Steven and \nRobin are covered in police blankets. Steven calls to a paramedic.\n\nSTEVEN\nIs he going to be all right?", "CABLE GUY\nHey, it's Chip Douglas.\n\nROBIN\nChip Douglas?\n\nCABLE GUY\nYour cable guy.", "traffic, running stop lights, and avoiding obstacles. The police cars disappear behind him. On a \ndime, Steven turns left onto a residential street and shuts off his lights. A moment later all of the", "He runs to the side of the dish. He realizes he must climb up to release her. He climbs onto the \nWIRE and begins tightrope walking toward her. He walks very slowly, almost losing his balance \nseveral times." ], [ "Enraged, Steven punches him in the mouth with such tremendous force that it appears to have \nknocked his jaw out of alignment.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "Steven charges at the Cable Guy, swinging wildly. It is a real battle now. He bangs away at the", "The Cable Guy immediately punches Steven, sending him back into the water. The Cable Guy \ndives on top of him. A moment later the Cable Guy pulls Steven up, then grabs his collar and \nspeaks right into his face.", "Steven smashes him in the head with the branch.\n\nSTEVEN\nI got the point.\n\nThe Cable Guy goes down. He appears to be unconscious.", "Steven hits him again, this time on the other side of the face.\n\nCABLE GUY\n(lisping again)\nYou stupid son of a bitch.\n\nThe Cable Guy falls unconscious.", "The Cable Guy charges at Steven with his shield. He upper cuts the shield to Steven's face, \nsending him to the ground.", "This time when he gets near Steven, he leaps off the horse, onto him. They both slam into a puddle \nof mud. The Cable Guy punches him in the stomach, and then the face.", "STEVEN\nChip, this isn't funny! Will you stop\nit!", "Steven gets angry and pushes the Cable Guy off of him. He swings at the Cable Guy with his \nsword, just missing him. The Cable Guy rolls on the ground and pops back up in the air.", "He slowly brings the drill down to Steven. Steven blindly reaches behind him. He grasps a large \nbranch and bats the Cable Guy off him.", "The sword smashes into it sending sparks into the air. The Cable Guy darts toward Steven and \npokes him several times with his sword. Each time Steven blocks it with either his sword or his \nshield.", "STEVEN\n(smacks the glass three times)\nGet off there! Are you trying to get me\nkilled?\n\nThe Cable Guy begins to laugh.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "Steven tackles him to the ground, and begins hitting him. They are both covered in mud like \nwarriors from the rain forest. Steven grabs a large rock and holds it over his head.\n\nSTEVEN\nTell me!", "The camera moves to Steven. He stares at the Cable Guy, his eyes filled with rage.\n\nSTEVEN'S P.O.V.", "The Cable Guy runs at Steven, and swings his sword. In fear, Steven puts his shield over his head.", "Steven moves a sudden move toward the Police Officer. The Officer jabs him in the ribs with his \nclub. Steven groans, then leans over in pain.", "Steven puts his hands on the table. The Officer kicks his legs apart, then frisks him in front of \neveryone. It is pure humiliation.\n\nPOLICE OFFICER\nHands behind your back.", "Steven away from him, then takes a huge swing, but Steven leaps in the air over the blade. The \nCable Guy swings over his head, and Steven blocks it with his ax handle. They continue to swing" ], [ "CABLE GUY\nHey, it's Chip Douglas.\n\nROBIN\nChip Douglas?\n\nCABLE GUY\nYour cable guy.", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "The Cable Guy's eyes turn sad. This hits the Cable Guy like a sucker punch. Dazed, he lets go of \nRobin. She runs to Steven's arms.", "There is a long silence. Steven doesn't know how to react.\n\nSTEVEN\nNever mind.\n\nThe Cable Guy sits back down and pretends Steven never mentioned it.", "RICK (VO)\nHe was fired for beating up a customer\nwho yelled at him for being late. A\ncompany in Denver thinks they might have", "Steven hits him again, this time on the other side of the face.\n\nCABLE GUY\n(lisping again)\nYou stupid son of a bitch.\n\nThe Cable Guy falls unconscious.", "STEVEN\n(smacks the glass three times)\nGet off there! Are you trying to get me\nkilled?\n\nThe Cable Guy begins to laugh.", "CABLE GUY\n(crazed)\nYou treat me like the TV! You use me, but\nyou can't live without me!\n\nThe Cable Guy smashes Steven in the knee with his branch.", "He slowly brings the drill down to Steven. Steven blindly reaches behind him. He grasps a large \nbranch and bats the Cable Guy off him.", "RICK\nThat's so sad that you know that.\nAnyway, the cable company in town fired a\nguy six months ago named Darren Stevens.\nHe stole the truck and disappeared.\nThat's our guy.", "The camera pulls out and reveals the Cable Guy watching the film in the back of his van – alone. \nWe cannot see much of the inside of the van because the only light is that of the television, but we \ncan tell that he lives there.", "The Cable Guy appears dead. The needle of the antenna sticks through his mid-section. A red light \nblinks at the tip of the needle. Then, the Cable Guy's eyes open.", "The Cable Guy runs to the wall and grabs a huge battle ax, a four foot long stick with a fancy", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "The Cable Guy and Robin are speaking on the phone. As the conversation continues we slowly \npull back and reveal that the Cable Guy is standing on the top of a telephone pole, dressed as a", "The Cable Guy leaps out of the hatch like a jack-in-the-box. He slides down the dish, knocking", "From below we hear the sound of sirens. A pack of police cars pull up and surround the antenna. \nThe Cable Guy's expression changes. He begins to look like a scared little boy.", "(he is too moved to finish his sentence)\nSTEVEN\nIt's no big deal.\nCABLE GUY\nYes it is.", "The Cable Guy leaves before Steven can reconsider. Steven cannot believe he just got roped into \nthat.\n\n(End Revision - Pink)", "He turns a corner very sharply throwing the Cable Guy off his car. The Cable Guy falls to the \nground, rolling many times, then leaps to his feet using the momentum of the roll, and runs off," ], [ "It is a stylish old apartment. There are half unpacked boxes strewn about the floor. Steven has just \nmoved in. The phone rings.\n\nSTEVEN\n(into the phone)\nHello.", "Steven continues unpacking. He is very neat. He opens a box and finds a pictures of him with his \nex-girlfriend. He looks at one sadly, considering whether or not to put it on display. He puts it \nback in the box.", "Steven walks into his apartment, exhausted from his jail experience. He walks into the living room \nand sees several new frames on the wall. They are four foot blow ups of Polaroid photographs of", "Steven is watching television. He looks lonely and depressed. He clicks around in a daze, never \nstopping for more than a second.\n\nHe hears a horn honking outside.", "He exits. Everyone looks at Steven like he is the devil.\n\nSTEVEN\nYou don't understand.\n\nEveryone walks away from Steven. The party is over.", "3\tINT. STEVEN'S APARTMENT - CONTINUOUS\n\nSteven unpacks as they speak. The phone call intercuts between the two locations.", "The camera pulls back into its final position and we see STEVEN BARTOWSKY, thirty\nyears old, sitting on his couch. He is trying to find a channel with viewable reception.", "Steven gets out of the car. Rick drives off. Steven walks up the steps to his apartment. The Cable \nGuy appears from behind a corner.", "4A\tEXT. STEVEN'S APARTMENT BUILDING - DAY\n\nEstablishing shot of a renovated apartment building built in the nineteen twenties. A moving truck \npulls into a gated side garage.", "Steven turns and sees her. She waves for him to come to her. He waves her off.\n\nJOAN\n(more urgently-quietly)\nI really need to speak with you.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "7\tINT. STEVEN'S LIVING ROOM - LATER\n\nMany of the boxes are gone. Steven lies on the couch, staring at the ceiling, fidgeting. He is unable \nto fill his day without cable.", "Steven throws the phone. When it lands we see the speaker phone light is on. He begins looking \nfor the camera. He smashes his TV.\n\nJUMP CUTS - Steven tearing through everything in his apartment.", "He laughs, and exits. Steven slowly follows.\n\n76-78 OMITTED\n\n79\tINT. LIVING AREA - LATER", "STEVEN\nWhere the hell is he?\n\n8\tINT. STEVEN'S APARTMENT - LATER\n\nSteven paces back and forth across the room. He stares at his watch frequently.", "STEVEN\n(panting)\nOh my god. She's right. I am a\nsmotherer. I'm just like him.\n\nThe phone rings.\n\nSTEVEN\nHello.", "Steven lloks at the floorboards, then runs out of the room, and returns a moment later with an ax. \nHe starts chopping at the floorboards, tearing the out.", "STEVEN\nAll she had to do was say no. She didn't\nhave to kick me out. I feel like Felix\nUnger.", "STEVEN\nNo, no. We really should see it now.\nNow's a good time.\n\nHe plays with the remote, hoping it will magically come back. It doesn't.", "STEVEN\nWhat happened?\n\nCABLE GUY\n(long beat)\nThey had a lot of cats.\n\nThey walk into Steven's living room." ], [ "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "Steven stares at it for a beat. The cable Guy waits. He'll wait as long as it takes. Finally Steven \ngives him a low five just so he can leave.", "He hands Steven a paper crown. They both put theirs on.\n\nSTEVEN\nThanks for the help.\n\nThe Cable Guy sees something. His eyes widen.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "Everyone laughs. Steven is very good at his job.", "Everyone laughs. They are all having a great time, except Steven. The Cable Guy looks at the next \nword, shows it to the family privately, then whipsers to Steven.", "CABLE GUY\nI knew you'd appreciate it. I took\nSteven here once, and he didn't give a\nrats ass about my interests.\n\nROBIN\nI'm worried about Steven.", "RICK (VO)\nBingo. \"My Three Sons.\"\n\nSTEVEN\nChip and Ernie Douglas.", "STEVEN\n(halfheartedly)\nWay to go Red Knight. Good job of\nkilling. Good work.\n\nSteven and the Cable Guy sit down.", "STEVEN\nChip, this isn't funny! Will you stop\nit!", "There is a pause, then everyone applauds. Mr. Daniels walks over to Steven and puts a proud arm \naround him. They speak as the meeting breaks up.", "(he is too moved to finish his sentence)\nSTEVEN\nIt's no big deal.\nCABLE GUY\nYes it is.", "STEVEN\nAnything you want. Name it – quickly.\n\nCABLE GUY\nTomorrow night, we hang out.\n\nSTEVEN\nFine, whatever you want.", "Steven away from him, then takes a huge swing, but Steven leaps in the air over the blade. The \nCable Guy swings over his head, and Steven blocks it with his ax handle. They continue to swing", "Steven gets out of the car. Rick drives off. Steven walks up the steps to his apartment. The Cable \nGuy appears from behind a corner.", "He slowly brings the drill down to Steven. Steven blindly reaches behind him. He grasps a large \nbranch and bats the Cable Guy off him.", "He puts his arm around Steven and walks him toward the front door.\n\nSTEVEN\nOh, great. How much?", "There is a long silence. Steven doesn't know how to react.\n\nSTEVEN\nNever mind.\n\nThe Cable Guy sits back down and pretends Steven never mentioned it.", "He makes a motion which implies sex.\n\nCABLE GUY\nEnjoy the flick.\n\nThe Cable Guy walks away. Steven walks back inside.\n\nROBIN\nWho was that?" ], [ "They sit on the couch. Robin moves to sit in closer to Steven. Steven turns on the television. The \nscreen is filled with white noise. The sound is loud static. He changes channels looking for the", "ROBIN\nI invited him.\n\nSTEVEN\nWhen did you invite him?\n\nROBIN\nAt lunch the other day.", "Then an image comes on the screen. It is black and white surveillance video, digitized to the \ncomputer format. The video is of Robin and Steven talking. It is the conversation they had before \nthey watched \"Sleepless in Seattle.\"", "70\tINT. STEVEN'S FATHER'S HOME\n\nSteven turns to Robin.\n\nSTEVEN\n(enraged)\nWhat is he doing here?", "27\tINT. STEVEN'S LIVING ROOM - LATER\n\nThe food is all eaten. Steven and Robin are sitting on the couch having an awkward conversation.", "Steven peeks his head in her door.\n\nSTEVEN\nHello.\n\nRobin's face drops.\n\nROBIN\nSteven, what are you doing here?", "He peeks in to get a look at Robin. They make momentary eye contact. Steven pushes him back \nout.\n\nCABLE GUY\nBut calling me back isn't?", "STEVEN\nNobody.\n\nSteven sits down next to Robin. Robin moves next to him. Steven looks very happy.\n\n28\tON THE TV", "The Cable Guy and Robin are at the dish. He gives her the same tour he gave Steven earlier in the \nfilm.", "STEVEN\n(playing along)\nOh… well…\n\nROBIN\nYou didn't have to do that.\n\nSTEVEN\nI… wanted to.", "Robin is in bed. A man wearing a cable installer's uniform is smothering her with a pillow. The \nman turns -- it is Steven. He quickly closes the door.", "ROBIN\nAre you alright?\n\nSTEVEN\nI'm fine.\n\nThey go back to kissing.", "ROBIN\nI wanted you to know I invited your\nfriend. He was concerned about you.\n\nSTEVEN\nGreat. I feel. Bad. I've been kind of\nblowing Rick off lately.", "ROBIN\nSteven!\n\nSteven runs to her.\n\n124\tEXT. SATELLITE DISH - LATER", "ROBIN\nWhat?!\n\nSTEVEN\nHe set it up. He invited this woman to\nmy party and didn't tell me she was a\nprostitute. I'm so glad we can talk\nabout this.", "ROBIN\nWhen did you have a party?\n\nSTEVEN\nWhen we weren't communicating. I invited\nyou. You were out on a date.\n\nROBIN\nAnd you were with a prostitute.", "Robin is on the phone.\n\nROBIN\nYes.\n\nSTEVEN\n(surprised)\nI… love you too.\n\nROBIN\nThat was so sweet of you.", "The doorbell rings. Steven takes a deep breath then opens the door. It is Robin. She is dressed \ncasually, but looks beautiful.\n\nSTEVEN\nHey, good to see you.", "Steven's car screeches to a stop. He runs up to Robin's door and starts knocking. Her FEMALE \nNEIGHBOOR opens her door.\n\nSTEVEN\nBe home! Be home!", "The Cable Guy sits next to Robin. Steven and his mother sit across from them." ], [ "The camera moves behind then and reveals an enormous faux castle with a big sign on it which \nsays \"MEDIEVAL TIMES RESTAURANT.\"\n\nSTEVEN\nMedieval Times?", "The Cable Guy grabs a large tree brance and runs towards Steven. They begin fighting in a fashion \nwhich mirrors their Medieval Times swordfight.", "toward the fence. The horse has the coat of arms from Medieval Times. When he reaches it he \nsmashes off the chain with a sword, then rides through. The horse rears back on its hind legs.", "HOST\nWelcome to a magnificent journey into the\npast. This is Medieval Times!\n\nThe entire crowd, filled completely with white trash tourists, applauds.", "The two knights fight with swords. After a few moments of battle the Red Knight wins.\n\nThe crowd erupts. The Cable Guy goes crazy.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "Left with no choice, Steven jumps on a horse and grabs a joust. The host smacks Steven's horse \nsending it straight toward the charging Cable Guy.\nSTEVEN", "They run toward each other. A horrible game of chicken. Neither gives in. When they reach one \nanother Steven knocks the Cable Guy off his horse with his jousting stick.", "The Cable Guy runs at Steven, and swings his sword. In fear, Steven puts his shield over his head.", "This time when he gets near Steven, he leaps off the horse, onto him. They both slam into a puddle \nof mud. The Cable Guy punches him in the stomach, and then the face.", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "The Cable Guy grabs a mace (a stick with a chain and ball attached to it) off of a weapon filled \nwall and runs at Steven, swinging with abandon. Steven blocks the deadly mace with his shield.", "Steven away from him, then takes a huge swing, but Steven leaps in the air over the blade. The \nCable Guy swings over his head, and Steven blocks it with his ax handle. They continue to swing", "34\tINT. FIGHTING PIT - LATER\n\nSteven and the Cable Guy are being dressed in armor by the two serfs. The Cable Guy could not \nbe happier. Steven is freaked out.", "The sword smashes into it sending sparks into the air. The Cable Guy darts toward Steven and \npokes him several times with his sword. Each time Steven blocks it with either his sword or his \nshield.", "The Cable Guy runs to a horses' entrance. There is a long pause, and then we hear the sound of \npounding horse hooves. A moment later the Cable Guy rides out on a horse holding a jousting \nstick.", "33\tINT. MEDIEVAL TIMES - LATER\n\nON THE FLOOR - In the center of the room two Knights are fighting with swords while on \nhorseback.", "STEVEN\n(halfheartedly)\nWay to go Red Knight. Good job of\nkilling. Good work.\n\nSteven and the Cable Guy sit down.", "alive? He's changing, Rick. You've got\nto learn to live with that.\nRICK\nI don't know what your story is \"Chip", "CABLE GUY (OS)\nSteven!!!! Stev-ey!!!! Let's go!!!!\n\nON THE TV - A commercial for Medieval Times Restaurant." ], [ "ROBIN\nBlackmailing you? How?\n\nSTEVEN\nWith a photograph.\n\nROBIN\nOf what?\n\nSTEVEN\nMe with a... prostitute.", "Everyone laughs. They are all having a great time, except Steven. The Cable Guy looks at the next \nword, shows it to the family privately, then whipsers to Steven.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "He leaps at Steven, and puts him in a head-lock. He squeezes until Steven passes out. The he lays \nhim on the ground.", "Steven tackles him to the ground, and begins hitting him. They are both covered in mud like \nwarriors from the rain forest. Steven grabs a large rock and holds it over his head.\n\nSTEVEN\nTell me!", "Then an image comes on the screen. It is black and white surveillance video, digitized to the \ncomputer format. The video is of Robin and Steven talking. It is the conversation they had before \nthey watched \"Sleepless in Seattle.\"", "71\tINT. DINING ROOM - LATER\n\nAs the Cable Guy charms Steven's family we pan across all of the guests laughing, and enjoying \ndinner.", "48\tOMITTED\n\n49\tINT. STEVEN'S LIVING ROOM - NIGHT\n\nSteven is watching television while eating a TV dinner.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "There is a long silence. Steven doesn't know how to react.\n\nSTEVEN\nNever mind.\n\nThe Cable Guy sits back down and pretends Steven never mentioned it.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "STEVEN\nChip, this isn't funny! Will you stop\nit!", "Steven puts his hands on the table. The Officer kicks his legs apart, then frisks him in front of \neveryone. It is pure humiliation.\n\nPOLICE OFFICER\nHands behind your back.", "STEVEN'S MOTHER\nYou've got a good friend here.\n\nThey walk into the next room where the entire family is gathered for pre-dinner cocktails.", "We pull out to reveal we are in Steven's living room. It is populated with about twenty odd \nlooking misfits mingling and dancing to the music. Among them we see Rick looking very \nuncomfortable.", "He puts his arm around Steven and walks him toward the front door.\n\nSTEVEN\nOh, great. How much?", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "He laughs, and exits. Steven slowly follows.\n\n76-78 OMITTED\n\n79\tINT. LIVING AREA - LATER", "ON STEVEN AND THE CABLE GUY - They are eating whole chickens with their bare hands \nwhile watching the show.\n\nSTEVEN\n(to the Watiress)\nCould I get a knife and fork?", "A spotlight shines on them. Steven is shocked.\n\nSTEVEN\nWhat's going on?\n\nCABLE GUY\nWe're going to do battle. It'll be fun." ], [ "Steven walks to his car carrying a box filled with his belongings. He has been fired. Suddenly a car", "Enraged, Steven punches him in the mouth with such tremendous force that it appears to have \nknocked his jaw out of alignment.", "He exits. Everyone looks at Steven like he is the devil.\n\nSTEVEN\nYou don't understand.\n\nEveryone walks away from Steven. The party is over.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "Steven runs out of the hospital. The two policemen run after him, about twenty feet behind. \nSteven jumps in his car, and takes off. The police follow in their car.", "Steven throws the phone. When it lands we see the speaker phone light is on. He begins looking \nfor the camera. He smashes his TV.\n\nJUMP CUTS - Steven tearing through everything in his apartment.", "Steven continues unpacking. He is very neat. He opens a box and finds a pictures of him with his \nex-girlfriend. He looks at one sadly, considering whether or not to put it on display. He puts it \nback in the box.", "Everyone laughs. Steven is very good at his job.", "Steven runs to his car, and gets in. He drives up the ramp in a panic. From out of nowhere the", "ROBIN\nI just think you were completely out of\nline. I don't know what's happening to\nyou these days.\n\nSteven gets fed up.", "STEVEN\nRick told me you were fired from The\nCable Company. You're not even a real\ncable guy.\n\n106\tINT. SOMEWHERE - CONTINUOUS", "Steven gets out of the car. Rick drives off. Steven walks up the steps to his apartment. The Cable \nGuy appears from behind a corner.", "STEVEN\nYou go near her, I'll kill you.\n\nSteven lunges at the glass. Steven's guard pulls Steven out of the room toward the exit.", "STEVEN\nWhat happened?\n\nCABLE GUY\n(long beat)\nThey had a lot of cats.\n\nThey walk into Steven's living room.", "He slowly brings the drill down to Steven. Steven blindly reaches behind him. He grasps a large \nbranch and bats the Cable Guy off him.", "Steven walks behind his desk. He notices something which disturbs him. His computer is on. He \nclicks a button and a message comes on the screen.", "Steven is beginning to get a little wigged out by this. He fast forwards through a sampling of the \nrest of the calls.", "Steven is driving in his car. His cellular phone rings. He picks it up.\n\nSTEVEN\n(panicked)\nHello.", "Steven puts his hands on the table. The Officer kicks his legs apart, then frisks him in front of \neveryone. It is pure humiliation.\n\nPOLICE OFFICER\nHands behind your back.", "Steven is now wearing prison blues. He holds a pillow and a set of sheets as he walks down the \nlong corridor to his cell. Lining each side are cells filled with angry prisoners who throw things at" ], [ "CABLE GUY\nHey, it's Chip Douglas.\n\nROBIN\nChip Douglas?\n\nCABLE GUY\nYour cable guy.", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "The Cable Guy's eyes turn sad. This hits the Cable Guy like a sucker punch. Dazed, he lets go of \nRobin. She runs to Steven's arms.", "There is a long silence. Steven doesn't know how to react.\n\nSTEVEN\nNever mind.\n\nThe Cable Guy sits back down and pretends Steven never mentioned it.", "RICK (VO)\nHe was fired for beating up a customer\nwho yelled at him for being late. A\ncompany in Denver thinks they might have", "Steven hits him again, this time on the other side of the face.\n\nCABLE GUY\n(lisping again)\nYou stupid son of a bitch.\n\nThe Cable Guy falls unconscious.", "STEVEN\n(smacks the glass three times)\nGet off there! Are you trying to get me\nkilled?\n\nThe Cable Guy begins to laugh.", "CABLE GUY\n(crazed)\nYou treat me like the TV! You use me, but\nyou can't live without me!\n\nThe Cable Guy smashes Steven in the knee with his branch.", "He slowly brings the drill down to Steven. Steven blindly reaches behind him. He grasps a large \nbranch and bats the Cable Guy off him.", "RICK\nThat's so sad that you know that.\nAnyway, the cable company in town fired a\nguy six months ago named Darren Stevens.\nHe stole the truck and disappeared.\nThat's our guy.", "The camera pulls out and reveals the Cable Guy watching the film in the back of his van – alone. \nWe cannot see much of the inside of the van because the only light is that of the television, but we \ncan tell that he lives there.", "The Cable Guy appears dead. The needle of the antenna sticks through his mid-section. A red light \nblinks at the tip of the needle. Then, the Cable Guy's eyes open.", "The Cable Guy runs to the wall and grabs a huge battle ax, a four foot long stick with a fancy", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "The Cable Guy and Robin are speaking on the phone. As the conversation continues we slowly \npull back and reveal that the Cable Guy is standing on the top of a telephone pole, dressed as a", "The Cable Guy leaps out of the hatch like a jack-in-the-box. He slides down the dish, knocking", "From below we hear the sound of sirens. A pack of police cars pull up and surround the antenna. \nThe Cable Guy's expression changes. He begins to look like a scared little boy.", "(he is too moved to finish his sentence)\nSTEVEN\nIt's no big deal.\nCABLE GUY\nYes it is.", "The Cable Guy leaves before Steven can reconsider. Steven cannot believe he just got roped into \nthat.\n\n(End Revision - Pink)", "He turns a corner very sharply throwing the Cable Guy off his car. The Cable Guy falls to the \nground, rolling many times, then leaps to his feet using the momentum of the roll, and runs off," ], [ "alive? He's changing, Rick. You've got\nto learn to live with that.\nRICK\nI don't know what your story is \"Chip", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "STEVEN\nThat's what he wanted. He was\nmanipulating me. It feels so good to be\nhonest about this. We're finally", "up and spit them out. A frustrated Sam\nturned to petty larceny, while his more\nimpressionable brother, Stan, fell in\nwith a fringe cult called \"The", "There is a long silence. Steven doesn't know how to react.\n\nSTEVEN\nNever mind.\n\nThe Cable Guy sits back down and pretends Steven never mentioned it.", "STEVEN\nChip, this isn't funny! Will you stop\nit!", "CABLE GUY\nHey, it's Chip Douglas.\n\nROBIN\nChip Douglas?\n\nCABLE GUY\nYour cable guy.", "RICK\nOh really. That's sweet. All right Chip\nDouglas, you're on shirts. Let's play.", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "Steven lloks at the floorboards, then runs out of the room, and returns a moment later with an ax. \nHe starts chopping at the floorboards, tearing the out.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "CABLE GUY\n(crazed)\nYou treat me like the TV! You use me, but\nyou can't live without me!\n\nThe Cable Guy smashes Steven in the knee with his branch.", "RICK (VO)\nBingo. \"My Three Sons.\"\n\nSTEVEN\nChip and Ernie Douglas.", "RICK\nI hit the Holy Grail. This guy is deeply\ntroubled. Only child. His mother was\narrested for prostitution, and phone\nsolicitation. Apparently she was some\nphone sex pioneer.", "He makes a motion which implies sex.\n\nCABLE GUY\nEnjoy the flick.\n\nThe Cable Guy walks away. Steven walks back inside.\n\nROBIN\nWho was that?", "STEVEN\nYou know he was the one who beat up your\ndate at that restaurant. That's right.\nAnd he gave you the free cable. It wasn't\nme.\n\nROBIN\nBut you took the credit for it?", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "again to the door even faster. BANG! He staggers back into position again. He runs toward the \ndoor.", "STEVE\nThis is all a mistake. I didn't accept\nany stolen goods.\n\nJust then it hits him. He hears the Cable Guy's voice in his head.", "From below we hear the sound of sirens. A pack of police cars pull up and surround the antenna. \nThe Cable Guy's expression changes. He begins to look like a scared little boy." ], [ "Steven sees that the Cable Guy has completely redecorated the room in a fashion which makes the \nroom impractical for anything other than watching television. The TV is now on the stairs", "Steven throws the phone. When it lands we see the speaker phone light is on. He begins looking \nfor the camera. He smashes his TV.\n\nJUMP CUTS - Steven tearing through everything in his apartment.", "3\tINT. STEVEN'S APARTMENT - CONTINUOUS\n\nSteven unpacks as they speak. The phone call intercuts between the two locations.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "Steven walks into his apartment, exhausted from his jail experience. He walks into the living room \nand sees several new frames on the wall. They are four foot blow ups of Polaroid photographs of", "The camera rotates and reveals that the Cable Guy is actually lying down. Then the camera rises \nup and reveals that the Cable Guy is lying in the floorboards right underneath Steven. A single", "Steven gets out of the car. Rick drives off. Steven walks up the steps to his apartment. The Cable \nGuy appears from behind a corner.", "Steven walks to the living room.\n36AA\tINT. LIVING ROOM - CONTINUOUS\nSteven turns on the lights.\nCABLE GUY\nWhat do you think?", "41\tINT. STEVEN'S APARTMENT - NEXT MORNING\n\nSteven walks into the living room looking a little disheveled. The Cable Guy is cooking him \nbreakfast.", "Steven finds a small camera in one of the television speakers. He rips it out.\n\nSTEVEN\nSo he doesn't even work for the Cable\nCompany?", "He picks up Steven's remotes, punches in a complicated series of commands, then points them at \neach other. As he holds them together he makes a face as if their power is surging through him.", "Steven lloks at the floorboards, then runs out of the room, and returns a moment later with an ax. \nHe starts chopping at the floorboards, tearing the out.", "It is a stylish old apartment. There are half unpacked boxes strewn about the floor. Steven has just \nmoved in. The phone rings.\n\nSTEVEN\n(into the phone)\nHello.", "He hands Steven a paper crown. They both put theirs on.\n\nSTEVEN\nThanks for the help.\n\nThe Cable Guy sees something. His eyes widen.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "Steven opens the door to his apartment.\n36\tINT. STEVEN'S APARTMENT - CONTINUOUS", "Steven walks behind his desk. He notices something which disturbs him. His computer is on. He \nclicks a button and a message comes on the screen.", "He slowly brings the drill down to Steven. Steven blindly reaches behind him. He grasps a large \nbranch and bats the Cable Guy off him.", "into the space in the floor. The Cable Guy's face appears in front of him, screaming like a mad \nman. He licks Steven's face quickly, then disappears back into the hole. Steven falls back. He hears", "Steven stares at it for a beat. The cable Guy waits. He'll wait as long as it takes. Finally Steven \ngives him a low five just so he can leave." ], [ "Steven runs out of the hospital. The two policemen run after him, about twenty feet behind. \nSteven jumps in his car, and takes off. The police follow in their car.", "Steven runs to his car, and gets in. He drives up the ramp in a panic. From out of nowhere the", "He exits. Everyone looks at Steven like he is the devil.\n\nSTEVEN\nYou don't understand.\n\nEveryone walks away from Steven. The party is over.", "Steven gets out of the car. Rick drives off. Steven walks up the steps to his apartment. The Cable \nGuy appears from behind a corner.", "Steven continues unpacking. He is very neat. He opens a box and finds a pictures of him with his \nex-girlfriend. He looks at one sadly, considering whether or not to put it on display. He puts it \nback in the box.", "It is a stylish old apartment. There are half unpacked boxes strewn about the floor. Steven has just \nmoved in. The phone rings.\n\nSTEVEN\n(into the phone)\nHello.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "He laughs, and exits. Steven slowly follows.\n\n76-78 OMITTED\n\n79\tINT. LIVING AREA - LATER", "55\tOMITTED\n\n56\tEXT. STEVEN'S APARTMENT - NIGHT\n\nIt is raining. Rick pulls up, and drops Steven off.", "Steven walks into his apartment, exhausted from his jail experience. He walks into the living room \nand sees several new frames on the wall. They are four foot blow ups of Polaroid photographs of", "Steven gets up, and runs out of his front door.\n\n108A\tEXT. STEVEN'S APARTMENT BUILDING - NIGHT", "We pull out to reveal we are in Steven's living room. It is populated with about twenty odd \nlooking misfits mingling and dancing to the music. Among them we see Rick looking very \nuncomfortable.", "Steven walks to his car carrying a box filled with his belongings. He has been fired. Suddenly a car", "Steven slams on the gas, until he is driving one-hundred miles-per-hour. He weaves in and out of", "Steven is watching television. He looks lonely and depressed. He clicks around in a daze, never \nstopping for more than a second.\n\nHe hears a horn honking outside.", "3\tINT. STEVEN'S APARTMENT - CONTINUOUS\n\nSteven unpacks as they speak. The phone call intercuts between the two locations.", "The song ends. Rick walks away. He waves to Steven as he heads out. Steven runs over to him.\nRICK\nI'm getting out of here.\nSTEVEN", "Steven throws the phone. When it lands we see the speaker phone light is on. He begins looking \nfor the camera. He smashes his TV.\n\nJUMP CUTS - Steven tearing through everything in his apartment.", "Steven opens the door to his apartment.\n36\tINT. STEVEN'S APARTMENT - CONTINUOUS", "4A\tEXT. STEVEN'S APARTMENT BUILDING - DAY\n\nEstablishing shot of a renovated apartment building built in the nineteen twenties. A moving truck \npulls into a gated side garage." ], [ "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "Steven lloks at the floorboards, then runs out of the room, and returns a moment later with an ax. \nHe starts chopping at the floorboards, tearing the out.", "STEVEN\nChip, this isn't funny! Will you stop\nit!", "Steven looks through his rear view window and sees the Cable Guy staring at him.", "Steven walks behind his desk. He notices something which disturbs him. His computer is on. He \nclicks a button and a message comes on the screen.", "Steven gets out of the car. Rick drives off. Steven walks up the steps to his apartment. The Cable \nGuy appears from behind a corner.", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "There is a long silence. Steven doesn't know how to react.\n\nSTEVEN\nNever mind.\n\nThe Cable Guy sits back down and pretends Steven never mentioned it.", "We see a drawing which looks a little like the Cable Guy. In it he has a moustache and appears to \nbe Hispanic. Steven looks carefully. Does he know that man? Nah. He changes the channel.", "STEVEN\n(smacks the glass three times)\nGet off there! Are you trying to get me\nkilled?\n\nThe Cable Guy begins to laugh.", "He hands Steven a paper crown. They both put theirs on.\n\nSTEVEN\nThanks for the help.\n\nThe Cable Guy sees something. His eyes widen.", "Steven throws the phone. When it lands we see the speaker phone light is on. He begins looking \nfor the camera. He smashes his TV.\n\nJUMP CUTS - Steven tearing through everything in his apartment.", "The camera rotates and reveals that the Cable Guy is actually lying down. Then the camera rises \nup and reveals that the Cable Guy is lying in the floorboards right underneath Steven. A single", "Steven stares at it for a beat. The cable Guy waits. He'll wait as long as it takes. Finally Steven \ngives him a low five just so he can leave.", "The Cable Guy looks at Steven and Heather.\nCABLE GUY\nLook at him. Have you ever seen him so", "Everyone laughs. They are all having a great time, except Steven. The Cable Guy looks at the next \nword, shows it to the family privately, then whipsers to Steven.", "As Mr. Daniels speaks, Joan tries to get Steven's attention from a crack in the door.\n\nJOAN\n(quietly)\nPssst. Steven.", "The sccene starts again. It is on a loop. Steven is aghast. He looks up and sees the scene is playing", "Steven finds a small camera in one of the television speakers. He rips it out.\n\nSTEVEN\nSo he doesn't even work for the Cable\nCompany?" ], [ "The camera moves behind then and reveals an enormous faux castle with a big sign on it which \nsays \"MEDIEVAL TIMES RESTAURANT.\"\n\nSTEVEN\nMedieval Times?", "The Cable Guy grabs a large tree brance and runs towards Steven. They begin fighting in a fashion \nwhich mirrors their Medieval Times swordfight.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "Steven away from him, then takes a huge swing, but Steven leaps in the air over the blade. The \nCable Guy swings over his head, and Steven blocks it with his ax handle. They continue to swing", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "34\tINT. FIGHTING PIT - LATER\n\nSteven and the Cable Guy are being dressed in armor by the two serfs. The Cable Guy could not \nbe happier. Steven is freaked out.", "The two serfs put Steven on a chair connected to two poles. They carry him to the center of the", "The Cable Guy runs at Steven, and swings his sword. In fear, Steven puts his shield over his head.", "The Cable Guy grabs a mace (a stick with a chain and ball attached to it) off of a weapon filled \nwall and runs at Steven, swinging with abandon. Steven blocks the deadly mace with his shield.", "He hands Steven a paper crown. They both put theirs on.\n\nSTEVEN\nThanks for the help.\n\nThe Cable Guy sees something. His eyes widen.", "Left with no choice, Steven jumps on a horse and grabs a joust. The host smacks Steven's horse \nsending it straight toward the charging Cable Guy.\nSTEVEN", "The sword smashes into it sending sparks into the air. The Cable Guy darts toward Steven and \npokes him several times with his sword. Each time Steven blocks it with either his sword or his \nshield.", "STEVEN\n(halfheartedly)\nWay to go Red Knight. Good job of\nkilling. Good work.\n\nSteven and the Cable Guy sit down.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "CABLE GUY (OS)\nSteven!!!! Stev-ey!!!! Let's go!!!!\n\nON THE TV - A commercial for Medieval Times Restaurant.", "ROBIN\nI invited him.\n\nSTEVEN\nWhen did you invite him?\n\nROBIN\nAt lunch the other day.", "Everyone laughs. They are all having a great time, except Steven. The Cable Guy looks at the next \nword, shows it to the family privately, then whipsers to Steven.", "STEVEN\nChip, this isn't funny! Will you stop\nit!", "There is a pause, then everyone applauds. Mr. Daniels walks over to Steven and puts a proud arm \naround him. They speak as the meeting breaks up.", "He leaps at Steven, and puts him in a head-lock. He squeezes until Steven passes out. The he lays \nhim on the ground." ], [ "CABLE GUY\nYou know, the women.\n\nSTEVEN\nYou mean Heather is a prostitute?", "38\tINT. BEDROOM - CONTINUOUS\n\nSteven and Heather are sitting on the bed talking.", "STEVEN\n(laughs)\nSo what do you do?\n\nHEATHER\nI can barely hear you. Do you want to\ntalk in the other room?\n\nSTEVEN\nOh… okay.", "ANGLE ON STEVEN AND HEATHER\n\nSTEVEN\nYou sounded just like Olivia Newton John.\n\nHEATHER\nI've been practicing for years.", "He holds her around the neck, and puts a staple gun to her head, then walks her out of the dish.", "STEVEN\nShe seduced me. That's what they do.\nThey're professionals. And I didn't even\nknow she was a prostitute.\n\nROBIN\nSo that makes it better?", "Steven and Heather are kissing passionately. Suddenly the door flies open, and the Cable Guy", "Hey. I'm Steven.\nWOMAN\nHeather.\nSTEVEN\nCan I get you something to drink?\nHEATHER", "STEVEN\nShe says she wants a break, and that's\nfine with me. I think I needed some time\nalso.\n\nHEATHER\nYeah. I know what you mean.", "He leaves. The phone rings.\nSECRETARY\n(through the intercom)\nRobin on line two.", "The Cable Guy looks at Steven and Heather.\nCABLE GUY\nLook at him. Have you ever seen him so", "Well, she is no longer with us.", "He turns and sees a stunning woman standing in the middle of a group of male and female misfits. \nWhen he looks at her, she smiles. He quickly turns back.\nCABLE GUY", "(looks her deeply in the eyes)\nHe's a good man. He mentioned that you\nguys have had some problems.", "He exits the room. As he does we see a television broadcasting the Sweet case.\n\nON MTV - Sam Sweet sits behind the defendant's table. TABITHA SOREN is giving the news \nupdate.", "There is an awkward moment where Steven intentionally doesn't kiss her hello.\n\nSTEVEN\nCome on in. What do you think of the\nplace?\n\nShe looks at the odd placement of furniture.", "Steven puts up his hand, and turns as if he's going to call for the waitress. He sees the woman. She", "37C\tINT. LIVING ROOM - LATER\nAT THE KARAOKE AREA - Steven and Heather are singing \"You're the One that I Want\" from", "ROBIN\nWhat?!\n\nSTEVEN\nHe set it up. He invited this woman to\nmy party and didn't tell me she was a\nprostitute. I'm so glad we can talk\nabout this.", "Steven turns and sees her. She waves for him to come to her. He waves her off.\n\nJOAN\n(more urgently-quietly)\nI really need to speak with you." ], [ "He looks around the restaurant, then spots Robin and a handsome, chiseled man at a table. They \nare on a date. The Cable Guy looks angry. He walks to the restroom.", "up to a vent. He looks through and sees Robin changing in the bedroom. He tries not to look at \nRobin undress. He turns away.", "Robin is talking to her date RAY. He is handsome, and somewhat goofy. They have empty salad \nplates in front of them.", "He rings the doorbell.\n\nROBIN\nNot Rick.\n\nThe door opens. Standing there, dressed to kill, is the Cable Guy.", "Robin is brought over to the table by a hostess. The Cable Guy takes off his Walkman, and stands \nup to be polite. He sits down in perfect synch with her.\n\nROBIN\nHello.", "He peeks in to get a look at Robin. They make momentary eye contact. Steven pushes him back \nout.\n\nCABLE GUY\nBut calling me back isn't?", "ROBIN\nAre you alright?\n\nSTEVEN\nI'm fine.\n\nThey go back to kissing.", "Robin looks at him, somewhat shocked.\n\nROBIN\nOh.", "Robin is in bed. A man wearing a cable installer's uniform is smothering her with a pillow. The \nman turns -- it is Steven. He quickly closes the door.", "RAY\nHold that thought. I have to use the rest\nroom. Be right back.\n\nHe leaves. Robin looks relieved to have a break.", "Steven peeks his head in her door.\n\nSTEVEN\nHello.\n\nRobin's face drops.\n\nROBIN\nSteven, what are you doing here?", "The Cable Guy's eyes turn sad. This hits the Cable Guy like a sucker punch. Dazed, he lets go of \nRobin. She runs to Steven's arms.", "He quickly departs. We hold on Robin for a beat.\n\n53\tEXT. ROBIN'S APARTMENT - CONTINUOUS\n\nThe Cable Guy smiles, proud of himself.", "Steven and Robin are kissing. Outside it is raining. There is occasional lightning and thunder. In \nthe middle of kissing, lightning flashes. Steven looks up and sees a flash of the Cable Guy staring", "43\tEXT. FANCY RESTAURANT - NIGHT\n\nP.O.V. Shot - Robin and a date enter the restaurant.", "Ray enters the restroom. The Cable Guy is now wearing the bathroom attendant's blue shirt white \npants and a thin fake moustache. A DISTINGUISHED MAN walks over and washes his hands.", "He leaves. The phone rings.\nSECRETARY\n(through the intercom)\nRobin on line two.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "The Cable Guy and Robin are at the dish. He gives her the same tour he gave Steven earlier in the \nfilm.", "The Cable Guy grabs the back of Ray's shirt, kicks his feet out from under him, and slams his face \ninto the toilet bowl, sloshing it around. Ray struggles, but the Cable Guy is too strong." ], [ "He makes a motion which implies sex.\n\nCABLE GUY\nEnjoy the flick.\n\nThe Cable Guy walks away. Steven walks back inside.\n\nROBIN\nWho was that?", "ROBIN\nAre you alright?\n\nSTEVEN\nI'm fine.\n\nThey go back to kissing.", "He peeks in to get a look at Robin. They make momentary eye contact. Steven pushes him back \nout.\n\nCABLE GUY\nBut calling me back isn't?", "Robin is on the phone.\n\nROBIN\nYes.\n\nSTEVEN\n(surprised)\nI… love you too.\n\nROBIN\nThat was so sweet of you.", "STEVEN\n(playing along)\nOh… well…\n\nROBIN\nYou didn't have to do that.\n\nSTEVEN\nI… wanted to.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "STEVEN\nRobin just called. I think we're getting\nback together.\n\nRICK\n(pissed)\nSo you're blowing me off? I can't\nbelieve this.", "70\tINT. STEVEN'S FATHER'S HOME\n\nSteven turns to Robin.\n\nSTEVEN\n(enraged)\nWhat is he doing here?", "Steven turns and sees her. She waves for him to come to her. He waves her off.\n\nJOAN\n(more urgently-quietly)\nI really need to speak with you.", "He hands Steven a paper crown. They both put theirs on.\n\nSTEVEN\nThanks for the help.\n\nThe Cable Guy sees something. His eyes widen.", "There is a pause, then everyone applauds. Mr. Daniels walks over to Steven and puts a proud arm \naround him. They speak as the meeting breaks up.", "Steven stares at it for a beat. The cable Guy waits. He'll wait as long as it takes. Finally Steven \ngives him a low five just so he can leave.", "Steven peeks his head in her door.\n\nSTEVEN\nHello.\n\nRobin's face drops.\n\nROBIN\nSteven, what are you doing here?", "STEVEN\nI want us to get back together, but I can\nsee why taking this time might be good\nfor us. So, I'm not mad.\n\nAfter a long beat, Robin smiles.", "The Cable Guy's eyes turn sad. This hits the Cable Guy like a sucker punch. Dazed, he lets go of \nRobin. She runs to Steven's arms.", "The song ends. Rick walks away. He waves to Steven as he heads out. Steven runs over to him.\nRICK\nI'm getting out of here.\nSTEVEN", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "ROBIN\n(to the Cable Guy)\nYou're not a nuisance. Please don't go.\n(to Steven)\nSteven, you're being an asshole.", "ROBIN\nI just think you were completely out of\nline. I don't know what's happening to\nyou these days.\n\nSteven gets fed up.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage." ], [ "ROBIN\nBlackmailing you? How?\n\nSTEVEN\nWith a photograph.\n\nROBIN\nOf what?\n\nSTEVEN\nMe with a... prostitute.", "48\tOMITTED\n\n49\tINT. STEVEN'S LIVING ROOM - NIGHT\n\nSteven is watching television while eating a TV dinner.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "He makes a motion which implies sex.\n\nCABLE GUY\nEnjoy the flick.\n\nThe Cable Guy walks away. Steven walks back inside.\n\nROBIN\nWho was that?", "Steven continues unpacking. He is very neat. He opens a box and finds a pictures of him with his \nex-girlfriend. He looks at one sadly, considering whether or not to put it on display. He puts it \nback in the box.", "Steven finds a small camera in one of the television speakers. He rips it out.\n\nSTEVEN\nSo he doesn't even work for the Cable\nCompany?", "Then an image comes on the screen. It is black and white surveillance video, digitized to the \ncomputer format. The video is of Robin and Steven talking. It is the conversation they had before \nthey watched \"Sleepless in Seattle.\"", "STEVEN\nI will not touch it.\n\nThe Cable Guy stands up, and begins unbuttoning his shirt.\n\nSTEVEN\nWhat are you doing? Stop it.", "Steven tackles him to the ground, and begins hitting him. They are both covered in mud like \nwarriors from the rain forest. Steven grabs a large rock and holds it over his head.\n\nSTEVEN\nTell me!", "He hands Steven a paper crown. They both put theirs on.\n\nSTEVEN\nThanks for the help.\n\nThe Cable Guy sees something. His eyes widen.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "96\tINT. STEVEN'S KITCHEN - NIGHT\n\nThe PHONE RINGS. Steven runs in the front door, and picks up the phone.\n\nSTEVEN\nHello.", "STEVEN\nAnything you want. Name it – quickly.\n\nCABLE GUY\nTomorrow night, we hang out.\n\nSTEVEN\nFine, whatever you want.", "There is a long silence. Steven doesn't know how to react.\n\nSTEVEN\nNever mind.\n\nThe Cable Guy sits back down and pretends Steven never mentioned it.", "Everyone laughs. They are all having a great time, except Steven. The Cable Guy looks at the next \nword, shows it to the family privately, then whipsers to Steven.", "STEVEN\nYou go near her, I'll kill you.\n\nSteven lunges at the glass. Steven's guard pulls Steven out of the room toward the exit.", "Steven stares at it for a beat. The cable Guy waits. He'll wait as long as it takes. Finally Steven \ngives him a low five just so he can leave.", "37AA\tINT. KITCHEN - CONTINUOUS\nSteven is on the phone. He is dressed up. Occasionally a misfit enters and grabs a drink from the \nfridge.", "The Cable Guy immediately punches Steven, sending him back into the water. The Cable Guy \ndives on top of him. A moment later the Cable Guy pulls Steven up, then grabs his collar and \nspeaks right into his face.", "He pushes him under the water again. After a moment he pulls him back up. Steven gasps for air.\n\nCABLE GUY\nWho would have thunk it?" ], [ "Steven walks to his car carrying a box filled with his belongings. He has been fired. Suddenly a car", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "Enraged, Steven punches him in the mouth with such tremendous force that it appears to have \nknocked his jaw out of alignment.", "Steven hits him again, this time on the other side of the face.\n\nCABLE GUY\n(lisping again)\nYou stupid son of a bitch.\n\nThe Cable Guy falls unconscious.", "Steven smashes him in the head with the branch.\n\nSTEVEN\nI got the point.\n\nThe Cable Guy goes down. He appears to be unconscious.", "STEVEN\nChip, this isn't funny! Will you stop\nit!", "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "He slowly brings the drill down to Steven. Steven blindly reaches behind him. He grasps a large \nbranch and bats the Cable Guy off him.", "He pushes him toward the door. Steven looks at everyone's horrified faces as he is taken away. He \ntries to break the tension with a joke.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "Steven runs out of the hospital. The two policemen run after him, about twenty feet behind. \nSteven jumps in his car, and takes off. The police follow in their car.", "STEVEN\n(smacks the glass three times)\nGet off there! Are you trying to get me\nkilled?\n\nThe Cable Guy begins to laugh.", "There is a long silence. Steven doesn't know how to react.\n\nSTEVEN\nNever mind.\n\nThe Cable Guy sits back down and pretends Steven never mentioned it.", "Everyone laughs. They are all having a great time, except Steven. The Cable Guy looks at the next \nword, shows it to the family privately, then whipsers to Steven.", "He exits. Everyone looks at Steven like he is the devil.\n\nSTEVEN\nYou don't understand.\n\nEveryone walks away from Steven. The party is over.", "Steven gets out of the car. Rick drives off. Steven walks up the steps to his apartment. The Cable \nGuy appears from behind a corner.", "He leaps at Steven, and puts him in a head-lock. He squeezes until Steven passes out. The he lays \nhim on the ground.", "Steven charges at the Cable Guy, swinging wildly. It is a real battle now. He bangs away at the", "Steven tackles him to the ground, and begins hitting him. They are both covered in mud like \nwarriors from the rain forest. Steven grabs a large rock and holds it over his head.\n\nSTEVEN\nTell me!", "Steven gets a frightened look on his face.\n\nThe kid points his gun at the Cable Guy and yells \"pow.\" The Cable Guy drops to the floor like \nhe's been shot." ], [ "RICK\n(gestures to injured player)\nGreat. We need another man.\n\nSTEVEN\nThis is… Chip Douglas… my cable guy.\n\nRick smiles in recognition.", "RICK (VO)\nBingo. \"My Three Sons.\"\n\nSTEVEN\nChip and Ernie Douglas.", "RICK\nNone of them say no, believe me. I'll\ntalk to you later.\n\nSteven hangs up, and waits.\n\nDISSOLVE TO:", "A player passes to Steven. Rick is covering him. Steven drives to the basket and puts in a lay up.\n\nRICK\n(to himself)\nShit! My fault! My fault!", "As Rick gets closer Steven steps forward out of the shadows, and we reveal that it is not Steven, \nbut the Cable Guy, dressed like Steven, doing a perfect impression (actually the real voice of", "STEVEN\nHey Rick. I need to meet with you right\naway. I've got some information about\nthis crazy cable guy.\n\nRICK\nMe too. I've got the whole story.", "The song ends. Rick walks away. He waves to Steven as he heads out. Steven runs over to him.\nRICK\nI'm getting out of here.\nSTEVEN", "Steven is elated. He can barely contain himself.\n\nRICK (O.S.)\nSteven, are you ready to go?", "Steven gets out of the car. Rick drives off. Steven walks up the steps to his apartment. The Cable \nGuy appears from behind a corner.", "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "alive? He's changing, Rick. You've got\nto learn to live with that.\nRICK\nI don't know what your story is \"Chip", "We pull out to reveal we are in Steven's living room. It is populated with about twenty odd \nlooking misfits mingling and dancing to the music. Among them we see Rick looking very \nuncomfortable.", "Steven turns and sees Rick wearing a \"Soundgarden\" T-shirt.\n\nSTEVEN\n(pained)\nThe concert. Oh Jesus.\n\nRICK\nWhat?", "Steven tentatively walks over to Rick's rear end. He pulls back a small portion of the bandage and", "We see Steven's best friend RICK standing in the middle of a busy newsroom. He is a rough \nlooking, cynical local news cameraman. In the background, hanging from the ceiling is a television \nset.", "Steven enters the room. The camera pulls back to reveal Rick laying in full traction, face down, his \nrear end heavily bandaged. He is unconscious.", "55\tOMITTED\n\n56\tEXT. STEVEN'S APARTMENT - NIGHT\n\nIt is raining. Rick pulls up, and drops Steven off.", "It is raining lightly outside. Steven is in his car. He pulls away quickly.\n\n109\tINT. RICK'S NEWSROOM - NIGHT", "Steven tackles him to the ground, and begins hitting him. They are both covered in mud like \nwarriors from the rain forest. Steven grabs a large rock and holds it over his head.\n\nSTEVEN\nTell me!", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes." ], [ "STEVEN\nChip! Chip, this isn't funny! Where are\nyou?!!!\n\nSuddenly they all stop simultaneously, and then the only sound is a miniacle laugh echoing through \nthe garage.", "alive? He's changing, Rick. You've got\nto learn to live with that.\nRICK\nI don't know what your story is \"Chip", "He runs to the side of the dish. He realizes he must climb up to release her. He climbs onto the \nWIRE and begins tightrope walking toward her. He walks very slowly, almost losing his balance \nseveral times.", "He keeps running, and the hallway starts getting smaller and smaller, till he can barely fit through. \nHe becomes trapped at the end of the hall. Arms come out of the window behind him and grab", "The helicopter flies away.\n\nTHE END", "Steven lloks at the floorboards, then runs out of the room, and returns a moment later with an ax. \nHe starts chopping at the floorboards, tearing the out.", "Steven and Robin are sitting in the dish, a few feet from where the water begins. They are \nexhausted from their ordeal. They hold each other close.", "Steven can't hold onto his forearm any longer. The Cable Guy's arm slips and Steven grabs onto \nhis hand at the last possible second.", "again to the door even faster. BANG! He staggers back into position again. He runs toward the \ndoor.", "From below we hear the sound of sirens. A pack of police cars pull up and surround the antenna. \nThe Cable Guy's expression changes. He begins to look like a scared little boy.", "She begins tapping. Rick begins humming the theme to \"My Three Sons.\" She joins him. They sing \nlouder and louder. They've broken the code.\n\n(Revision Ends - Blue)", "The Cable Guy's eyes turn sad. This hits the Cable Guy like a sucker punch. Dazed, he lets go of \nRobin. She runs to Steven's arms.", "STEVEN\nI'll see ya' Chip.\n\nBefore he can exit the van, the Cable Guy is staring him in the eyes.", "He hands Steven a paper crown. They both put theirs on.\n\nSTEVEN\nThanks for the help.\n\nThe Cable Guy sees something. His eyes widen.", "Steven runs to his car, and gets in. He drives up the ramp in a panic. From out of nowhere the", "into the space in the floor. The Cable Guy's face appears in front of him, screaming like a mad \nman. He licks Steven's face quickly, then disappears back into the hole. Steven falls back. He hears", "There is a pause, then everyone applauds. Mr. Daniels walks over to Steven and puts a proud arm \naround him. They speak as the meeting breaks up.", "The Cable Guy sits up and smile at him.\nCABLE GUY\nWell done good sir. You are the victor,\nbut we shall meet again.", "A pasty white couch potato stares at the white noise, not sure what to do. He turns and picks up a \nbook. As music crescendos he begins to read.", "He looks down into the hole, he sees nothing. Then a hand grabs him by the shirt and pulls his face" ] ]

[ "What is Steven arrested for?", "What does Chip tell Steven his real name is?", "What does Chip use to blackmail Steven at his family dinner?", "Which Star Trek episode is referenced in the arena battle at Medival Times?", "What does RIck suggest to Steven in the beginning of the story?", "Why does Steven get fired from his job?", "What reasoning does Chip give for his actions as police are arriving at the satellite?", "Why does Steven punch Chip?", "Why was Chip fired from the cable company?", "Why did Steven Kovacs move into his own apartment at the beginning of the story?", "Why did Chip make Steven one of his preferred customers?", "What did Steven invite Robin to watch with him?", "Who did Chip nearly kill at Medieval Times?", "How does Chip blackmail Steven while having dinner with Steven's family?", "Why was Steven fired from his job?", "Why was Chip fired from the cable company?", "What does Chip claim made him behave the way he did?", "What did Chip install in Steven's apartment?", "What drives Steven to move out into his own apartment?", "What suspicious behavior does Steven initially notice from Chip?", "What event did Chip arrange with Steven at Medieval time?", "What was Heathers profession?", "When Chip meets Robins date in the bathroom, what does he do?", "What gesture does Chip make in order to get Robin to go back out with Steven?", "At dinner, what item does Chip have that he threatens to blackmail Steven with?", "How did Chip get Steven fired from his job?", "What information does Rick reveal to Steven about Chip's employment?", "Who does Chip latch onto at the end of the story?" ]

[ [ "Possession of stolen property.", "Possession of stolen property." ], [ "Ricky Ricardo.", "Ricky Ricardo" ], [ "A picture of him with a prostitute.", "A picture of Steven with Heather. " ], [ "\"Amok Time.\"", "Amok Time" ], [ "That he bribe the cable guy for free channels", "To bribe the cable guy." ], [ "Chip sends a video of Steven insulting his boss to Steven's work. ", "For stalking customers" ], [ "Being raised by television.", "He was raised by television" ], [ "Chip implies that he slept with Robin.", "Steven thought Chip slept with Robin" ], [ "For stalking customers.", "He was stalking customers. " ], [ "His proposal to his girlfriend failed.", "His marriage proposal was refused. " ], [ "Steven hung out with him as a friend.", "Bribes him to get channels and makes him hang out with him. " ], [ "Sleepless in Seattle.", "Sleepless in Seattle" ], [ "Steven.", "Steven" ], [ "He threatened that he will show everyone the photo that was taken while he was with a prostitute.", "With photos of him with a prostitute." ], [ "Chip sent out a video of Steven insulting his boss.", "Chip told on him." ], [ "He was stalking customers.", "He was stalking customers. " ], [ "He was raised by television.", "He claims to have a parent and child relationship with television." ], [ "An expensive home theater system.", "a expensive home theater system" ], [ "The proposal to his girlfriend failed", "He breaks up with his girlfriend after a failed marriage proposal." ], [ "He starts to see him everywhere he goes", "Running into him at the gym and leaving him multiple messages. " ], [ "To battle each other", "Battling in the arena" ], [ "She was a prostitute", "Prostitute. " ], [ "He beats him up and tells him to stay away from Robin", "Beats him up and tells him to stay away from Robin" ], [ "He updates her cable and tells her it's a gift from Steven", "Fixes her cable and tells her Steven paid" ], [ "A picture of him with a prostitute", "Photos of Steven sleeping with a prostitute" ], [ "He showed his work a hidden video of Steven insulting his boss", "He sent out an incriminating tape." ], [ "That Chip has actually been fired for stalking customers and using fake names", "He was fired from the cable company" ], [ "The paramedic", "Paramedic" ] ]

[ [ "of winning a fortune, he lost it all by an unfortunate speculation.\nAnd in a moment of failure and despair, being now thirty years old, he\nbecame an employee of Julio Madariaga.", "house, or to send Julio to the country school. Madariaga would always\nsteal his grandson away, and then they would scour the plains together.", "with the most discreet allusions. The painter described Julio's life\nbefore the war as an existence dedicated completely to art. The father\nignored the inexactitude of such words, and gratefully accepted the lie", "wildly and bites. The father was greatly distressed at the possibility\nof such an outcome. . . . One scandal more! Julio had dedicated the\ngreater part of his existence to the handling of arms.", "direction. It was Madame Laurier. . . . Would she recognize Julio? He\nnoted that the youth turned pale and began looking at the other people", "Julio, upon arriving in Paris, had changed the bent of his aspirations.\nHe no longer thought of becoming an engineer; he wished to become\nan artist. Don Marcelo objected in great consternation, but finally", "Julio soon discovered in him an admirable reflex of his own personality.\nHe knew that Argensola had come third-class from Madrid with twenty", "But Julio had not gone to Biarritz to live with his family. . . . The\nvery day of his arrival, he saw Marguerite's mother in the distance. She", "In a last desperate attempt at explanation she again repeated what she\nhad said at the beginning of their interview. She loved Julio . . . and", "Madariaga's fortune was enormous. He had lived in the field since his\narrival in America, when the white race had not dared to settle outside", "acquainted with his wife. Again he could hear the tread of the herds. He\nrecalled Madariaga on tranquil nights proclaiming, under the splendor of", "glance, spoke a few words to the chief preceding him with an aspect of\ngreat deference. The official had at first to think very hard to\nrecall Julio to mind, but he soon remembered the exploits of Sergeant", "As soon as Julio would see him absorbed in a book, he would demand an\nimmediate share: \"Tell me the story.\" So the \"secretary,\" not only gave", "Julio was listening absent-mindedly to the news brought by his\ncompanion, the vibrating statements recited in declamatory tones, the", "Don Marcelo was growing more and more impatient at seeing so many\nhundreds of men, but no Julio. The senator, complying with his imploring", "Madariaga had known many of the hard old days of wars and violence. Upon\nhis arrival in South America, he had witnessed the last years of the", "had undoubtedly recognized him. His face was familiar. Who was he? . . .\nSuddenly in his mind's eye, Julio saw the heaving ocean, a great", "\"You will not stay long. Nobody can get along with Don Madariaga. We\nhave lost count of his overseers. He is a man who must be killed or\ndeserted. Soon you will go, too!\"", "Julio thought that the Counsellor and his admirers must be drunk. \"Look\nhere, Captain,\" he said in a conciliatory tone, \"what you say lacks", "An old gentleman was greeting him with an amiable smile.\n\n\"I am the father of Julio.\"\n\nAnd he walked into the apartment with the confidence of a man entirely\nfamiliar with his surroundings." ], [ "In 1870 Marcelo Desnoyers was nineteen years old. He was born in the\nsuburbs of Paris, an only child; his father, interested in little", "authority of Don Marcelo Desnoyers. \"Oh, that old man!\" exclaimed Julio,\nreferring to his father. \"He may live many years yet, but how he weighs\nupon us all!\"", "\"I have Germany in my own house,\" growled Marcelo Desnoyers.", "Don Marcelo clasped his hand like an old comrade. All of his son's\nfriends were his friends. He knew the life that young men lived.", "\"He knows them all,\" said the Spaniard, when describing their neighbor\nto Desnoyers. \"He has only to hear of a new one to master it. He", "Argentinian. But in spite of the silence of the maids, Don Marcelo was\nalways in fear of some outburst of exalted patriotism, and that his", "eyebrows. He frowned ferociously at Desnoyers as though making him\nresponsible for his death and the trouble of his family. For a few\nmoments Don Marcelo could hardly recognize this man, transformed by", "Don Marcelo had had dreams of other things for his daughter--a grand\nwedding to which the daily papers would devote much space, a son-in-law", "Just outside of his home, he met Tchernoff. Don Marcelo was in high good\nhumor. The certainty that he was soon going to see his son filled him", "Rarely did he dream of mortal peril to his family or self. The frightful\nvision was always that certain notes bearing his signature were\npresented for collection which he, Marcelo Desnoyers, the man always", "\"And what of that?\" yelled Don Marcelo. \"Soon they will meet someone to\ntalk to! Joffre is going to meet them. Our armies are in the East, in", "Desnoyers explained that he was the owner of the castle. \"French?\"\ncontinued the lieutenant. \"Yes, French.\" . . . The official scowled in", "flatly. Suppose Don Marcelo should ever find it out, what a scene! . . .\nBut the Spaniard deemed it unseemly to return empty-handed, and always", "Desnoyers could not but think of the loss of life that this must\nrepresent. Julio's fate, however, gave him no uneasiness, for his son", "One especially engrossing matter was increasing her sadness. Her sons.\n. . . What would become of her sons! Don Marcelo had never told her of", "and from that to the entire battalion. Don Marcelo divined his great\npopularity in the glances and smiles of the soldiers passing near them.\nHe was the generous son of a millionaire, and this popularity seemed to", "He was the friend of her son, and she was used to his petitions. Times\nhad changed; Don Marcelo's generosity now knew no bounds . . . but the", "between long intervals of silence. Desnoyers knew a little German as\na souvenir of a visit to some relatives in Berlin, and so was able\nto catch a few words. The Commandant was repeating every few minutes", "Don Marcelo soon felt the same sadness and bewilderment as these\nsoldiers. He didn't understand, either. He saw the obvious thing,", "When Julio Desnoyers was two years old, his grandfather made the rounds\nof his estates, holding him on the saddle in front of him. He went from" ], [ "But the daughter's independence was as nothing compared to the worry\nwhich the other child gave the Desnoyers. Ay, that other one! . . .", "After seven years of marriage, the wife of Desnoyers found that she,\ntoo, was going to become a mother. Her sister already had three sons.", "Desnoyers.", "Julio was the only one who would have prolonged the family, passing\non the name. The Desnoyers had died; his daughter's children would be\nLacour. . . . All was ended.", "The senator's son soon read her thoughts and began to lose some of\nhis smiling serenity. For three days he did not present himself at the\nDesnoyers' home, and they all supposed that he was detained by work at\nthe office.", "The only disappointments in Desnoyers' new life came from his children.\nChichi irritated him because of the independence of her tastes. She did", "The Desnoyers family were on the way to carry out their long-cherished\nhope.\n\nUpon recovering consciousness after the fatal news, the father had\nconcentrated all his will power in one petition.", "Desnoyers indeed perceived a distant crackling that he had not noted\nbefore, and he felt an added anguish at the thought that his son must be", "While he tolerated this blond brood, he never would permit the slightest\nintimacy. Desnoyers and his wife often had to come to their rescue,", "When the Desnoyers children returned to the Capital, he spent his\nlonesome hours in going from ranch to ranch. A young half-breed would", "Desnoyers assented. It was so; they were no longer fashionable. None\nknew that better than he, for he who was once the sensation of the day,", "Desnoyers was worrying about other things. That morning he had received\na note from Marguerite--only two lines scrawled in great haste. She was", "Desnoyers, senior, was very indignant upon learning of this last\nescapade of his son. He had always had a great liking for Laurier.", "Desnoyers and the senator were also concerned about their future, but in\na very definite way. They must be married as soon as possible. What was", "of Lacour. The son of Desnoyers--at whom he had scarcely glanced\nbefore--now inspired him with sudden interest. The senator was a", "to the wife of Desnoyers, but there still remained an enormous share for\nthe Romantica and her children. \"I do this,\" he said, \"in memory of my", "Desnoyers accepted this rebellion coldly. \"It appears just to me. You\nare now of age!\" Then he promptly reduced to extremes his oversight", "In 1870 Marcelo Desnoyers was nineteen years old. He was born in the\nsuburbs of Paris, an only child; his father, interested in little", "Desnoyers and his wife were plodding through life in a routine\naffection, reminding Dona Luisa, in her limited imagination, of the", "\"Look at her, Monsieur. . . . There are my children.\"" ], [ "So strongly was Julio impressed that for a little while he forgot the\npurpose which had brought him thither. . . . If those who provoke war", "In a last desperate attempt at explanation she again repeated what she\nhad said at the beginning of their interview. She loved Julio . . . and", "to defend herself, and the more enemies fell the better. . . . The only\nsoldier who interested him now was Julio. And his faith in the destiny", "with the most discreet allusions. The painter described Julio's life\nbefore the war as an existence dedicated completely to art. The father\nignored the inexactitude of such words, and gratefully accepted the lie", "Julio had died, and he was going to die, too, not having strength to\nsurvive his bitter woe; but how many hundreds of the enemy wasting in", "\"He says, sir,\" reported Julio's neighbor, \"that he wishes France\nto become a very great nation so that some day we may march together\nagainst other enemies . . . against OTHERS!\"", "A man of his stamp, an enemy of existing conditions, who had no property\nto defend, was going to war--to death, perhaps--because of a generous\nand distant ideal, in order that future generations might never know", "Vain were the senator's efforts to show him the impossibility of such\na journey. The fighting was still going on in the zone where Julio had", "His desires were fulfilled. Luisa gave birth to a boy who bore the name\nof Julio, and although he did not show in his somewhat sketchy features", "than that Julio should receive the most insignificant wound! . . . She\nbegan to share the bellicose sentiments of her daughter, recognizing in", "wildly and bites. The father was greatly distressed at the possibility\nof such an outcome. . . . One scandal more! Julio had dedicated the\ngreater part of his existence to the handling of arms.", "Her eyes, with an irresistible desire for comparison, sought Julio's,\nadmiring his youthful grace and distinction. The image of Laurier, heavy", "But Julio had not gone to Biarritz to live with his family. . . . The\nvery day of his arrival, he saw Marguerite's mother in the distance. She", "Julio, upon arriving in Paris, had changed the bent of his aspirations.\nHe no longer thought of becoming an engineer; he wished to become\nan artist. Don Marcelo objected in great consternation, but finally", "But Julio insisted, foreseeing a break in that firm negative. Where\ncould they be more comfortable? Besides, weren't they going to marry as\nsoon as possible? . . .", "momentary lack of faith when the first news of his wounded boy reached\nhim. How absurd! . . . No one would kill Julio; his heart told him so.", "saw his son beautiful and immortal as a god. He had a conviction that he\nwould come out safe and sound from all dangers. That others should die\nwas but natural, but Julio! . . .", "Don Marcelo was growing more and more impatient at seeing so many\nhundreds of men, but no Julio. The senator, complying with his imploring", "Julio felt the usual exasperation at hearing this. He came very near to\nclosing his beloved's mouth with his hand. Was she trying to make fun of\nhim? . . . It was fairly insulting to place him apart from other men.", "When Julio and Chichi returned to the ranch for their vacations, the\ngrandfather again concentrated his fondness on the first, as though the" ], [ "Of all the inimical group, this man was the only one for whom Don\nMarcelo felt a vague attraction. \"Although a German, he appears a good", "Don Marcelo soon felt the same sadness and bewilderment as these\nsoldiers. He didn't understand, either. He saw the obvious thing,", "The mere sound of the Marshal's name revived Don Marcelo's hope.\nPerhaps this soldier, who was keeping his faith intact in spite of the", "Don Marcelo stood rooted to the ground. Shot! . . . and after the\nGeneral's pardon! . . . Suddenly he ran back to the castle, hardly", "existence of Don Marcelo, looked at him with interest, now that he\nwas in intimate conversation with a member of the General Staff. He\nperceived that these men were about to humanize themselves by casting", "with lines. He must be the general. His arrogant and piercing gaze was\nsweeping him from head to foot. Don Marcelo felt a presentiment that his\nlife was hanging on this examination; should an evil suggestion, a", "\"The Germans are going to reply at any moment,\" said Don Marcelo to his\nfriend.\n\nThe senator was of the same opinion. Undoubtedly they would retaliate,\ncarrying on an artillery duel.", "Marcelo was opposed to the Empire like all the youths of his generation.\nHe was also much influenced by the older workmen who had taken part in", "Since, in her maternal desperation, she had appealed to his protection,\nDon Marcelo believed that he ought to intervene, and so he spoke to", "Don Marcelo clasped his hand like an old comrade. All of his son's\nfriends were his friends. He knew the life that young men lived.", "behind them, pallid with surprise, and fixing her gaze earnestly on the\nsoldier who was separating himself from her. Don Marcelo read in her", "and from that to the entire battalion. Don Marcelo divined his great\npopularity in the glances and smiles of the soldiers passing near them.\nHe was the generous son of a millionaire, and this popularity seemed to", "Don Marcelo was not in sympathy with the general resignation. The\nwar was going to be much shorter than they were all imagining. His", "to defend herself, and the more enemies fell the better. . . . The only\nsoldier who interested him now was Julio. And his faith in the destiny", "thinking of their sons in battle. Don Marcelo, who had always considered\nreligion with indifference, suddenly recognized the necessity of\nfaith. He wanted to pray like the others, with a vague, indefinite", "Don Marcelo looked from one to another. The fatigues of war, especially\nthe forced march of the last days, were very apparent in their persons.", "\"I have Germany in my own house,\" growled Marcelo Desnoyers.", "Don Marcelo was fleeing to take refuge in his castle when he met the\nmayor of Villeblanche. The noise of the firing had made him hurry to the", "Don Marcelo's indignation took another bound when his wife repeated to\nhim the news from her sister. All a lie! . . . The war was progressing", "\"Attention, Marcelo!\" he said to himself with grim humor. \"Keep cool\nnow! . . . You must avoid Friend Tchernoff's four horsemen, you know!\"" ], [ "\"It is war,\" boomed Hartrott. \"When I left Germany, fifteen days ago, I\nknew that war was inevitable.\"", "Poor Frau von Hartrott! Her letter written a month before, had contained\nnothing but death notices and words of despair. Captain Otto was dead.", "\"Until now wars have been carried on by the soldiery,\" continued\nHartrott. \"That which is now going to begin will be waged by a", "guarding against the approach of reinforcements, he had a suspicion that\nthe enemy whose corpse was lying a few feet away might possibly be a\nmember of the von Hartrott family. No, he looked much older than his", "The establishment of the Hartrotts was in keeping with these new\nrelationships. In the home in Berlin, the servants wore knee-breeches", "Villeblanche when the Hartrott family had paid a long visit to their\nrelatives in France. The officials now occupying the edifice had\ndetained him that he might lunch with them. One of them had casually", "Frau von Hartrott made his uneasiness worse. Instead of keeping a\ndiscreet silence, she was constantly introducing discord into the home\nwith her opinions.", "\"You forget that I am a mother,\" sobbed Frau von Hartrott. \"You forget\nthat among those whose extermination you are imploring, are my sons.\"", "Captain von Hartrott was slowly conducting his uncle toward the castle.\nThe gray and unbending soldiers who, until then, had been ignoring the", "These allusions to the Emperor aggravated Frau von Hartrott more than\nanything else. In the first days of the war, her sister had surprised\nher weeping before the newspaper caricatures and leaflets sold in the\nstreets.", "Hartrott enumerated these countries. Holland and Belgium were German.\nFrance, through the Franks, was one-third Teutonic blood. Italy. . . .", "\"Even though England attack us,\" continued Hartrott, \"we shall conquer,\nnotwithstanding. This adversary is not more terrible than the others.", "For the first time, Argensola's eyes and general expression approved the\nwords of Hartrott. What he had just said was only too true--the world", "the Desnoyers in their castle of Villeblanche. With good-natured\nsuperiority, Karl von Hartrott had appreciated the rich and rather", "upon learning that he was a relative of the von Hartrotts, had done him\nthe honor of inviting him to his table.", "von Hartrott's inscription, \"Bitte, nicht plundern.\" To them it seemed\nthe acme of wit--truly Teutonic.", "make their grandeur felt. The high-toned friends of Hartrott emphasized\ntheir love for France, but it was the pious love that a weak and", "Hartrott again harked back to the inferiority of their racial enemies.\nIn order to combat successfully, it required self-assurance, an\nunquenchable confidence in the superiority of their own powers.", "Doctor von Hartrott, on explaining his visit, spoke in Spanish.\nHe availed himself of this language used by the family during his", "\"You really do not know me?\" queried the German, always in Spanish. \"I\nam Otto. . . . Captain Otto von Hartrott.\"" ], [ "Don Marcelo had had dreams of other things for his daughter--a grand\nwedding to which the daily papers would devote much space, a son-in-law", "Don Marcelo even felt a certain satisfaction in thinking of his\napproaching death. More than anything else, he wished to pass out of the", "One especially engrossing matter was increasing her sadness. Her sons.\n. . . What would become of her sons! Don Marcelo had never told her of", "And Don Marcelo had to concentrate all his efforts in making his\ndaughter give up this dolorous insistence which made her exact an", "Don Marcelo soon felt the same sadness and bewilderment as these\nsoldiers. He didn't understand, either. He saw the obvious thing,", "Don Marcelo did not need to ask anything further; he dreaded to know the\ntruth. Nevertheless, he asked after her husband. Now that he was awake", "The grandchild protested as though he had been insulted. His mother had\ntaught him that he was an Argentinian, and his father had suggested that\nshe also add Spanish, in order to please the grandfather.", "Don Marcelo's indignation took another bound when his wife repeated to\nhim the news from her sister. All a lie! . . . The war was progressing", "Don Marcelo returned from this visit with melancholy resignation. Those\npeople had undoubtedly made great strides. He was not such a blind", "Marcelo was opposed to the Empire like all the youths of his generation.\nHe was also much influenced by the older workmen who had taken part in", "The mere sight of them filled Don Marcelo with a kind of savage joy, as\nhis mourning fatherhood tasted the fleeting consolation of vengeance.", "Don Marcelo was not in sympathy with the general resignation. The\nwar was going to be much shorter than they were all imagining. His", "Don Marcelo clasped his hand like an old comrade. All of his son's\nfriends were his friends. He knew the life that young men lived.", "Don Marcelo returned home, grinding his teeth and waving his cane in an\nalarming manner. Ah, the bandits! . . . If only his sister-in-law could", "with indifference. Don Marcelo was himself convinced that the miraculous\ncharm had lost its power. They all chanted a chorus of sorrow and", "Don Marcelo and the woman exchanged a compassionate glance, and then\nlooked pityingly at each other as the sunlight brought out more strongly\ntheir aging, wan appearance.", "Don Marcelo was at last alone. The two coppery maids had followed by\nrail the flight of their mistresses. At first the old man felt a little", "Julio, upon arriving in Paris, had changed the bent of his aspirations.\nHe no longer thought of becoming an engineer; he wished to become\nan artist. Don Marcelo objected in great consternation, but finally", "But now Don Marcelo was experiencing an abrupt reversal of his\nconvictions regarding alien ideas. He had seen so much! . . . The", "When he least expected it, Don Marcelo found himself at the end of that\ndelightful and proud existence which his son's presence had brought him." ], [ "Marcelo's precautions, and the family was now living in generous\nunconcern. The mother, like other house mistresses, had stored up", "Don Marcelo.", "Don Marcelo was fleeing to take refuge in his castle when he met the\nmayor of Villeblanche. The noise of the firing had made him hurry to the", "Don Marcelo had had dreams of other things for his daughter--a grand\nwedding to which the daily papers would devote much space, a son-in-law", "Don Marcelo clasped his hand like an old comrade. All of his son's\nfriends were his friends. He knew the life that young men lived.", "Don Marcelo was at last alone. The two coppery maids had followed by\nrail the flight of their mistresses. At first the old man felt a little", "For Don Marcelo there now began an absurd life of the most extraordinary\nevents, an experience which was going to last four days. In his life\nhistory, this period represented a long parenthesis of stupefaction,\nslashed by the most horrible visions.", "Just outside of his home, he met Tchernoff. Don Marcelo was in high good\nhumor. The certainty that he was soon going to see his son filled him", "Don Marcelo was now tinglingly awake. Through the open window was\nblowing the clear night air. The cannonading was still going on,", "building speculations, maintained his family in modest comfort. The\nmason wished to make an architect of his son, and Marcelo was in the\nmidst of his preparatory studies when his father suddenly died, leaving", "Marcelo cut her pleadings short. He would remain. Then the poor senora\nran to the rue de la Pompe. Her son! . . . Julio scarcely listened to", "Don Marcelo watched these preparations with the immovability of\nsurprise. So rapid and noiseless had been the apparition of the", "Don Marcelo was growing more and more impatient at seeing so many\nhundreds of men, but no Julio. The senator, complying with his imploring", "Don Marcelo returned home, grinding his teeth and waving his cane in an\nalarming manner. Ah, the bandits! . . . If only his sister-in-law could", "Argentinian. But in spite of the silence of the maids, Don Marcelo was\nalways in fear of some outburst of exalted patriotism, and that his", "Marcelo was opposed to the Empire like all the youths of his generation.\nHe was also much influenced by the older workmen who had taken part in", "Don Marcelo stood rooted to the ground. Shot! . . . and after the\nGeneral's pardon! . . . Suddenly he ran back to the castle, hardly", "Don Marcelo felt a slight nervous tremor near one of his legs; it was\nLecour, on the qui vive over the approaching novelty. They were going", "Don Marcelo would return home from these send-offs vibrating with\nnervous fatigue, as one who had just participated in a scene of racking", "Don Marcelo had not time to recover from his surprise before there came\na second explosion nearer the mud wall . . . a third inside the park." ], [ "His desires were fulfilled. Luisa gave birth to a boy who bore the name\nof Julio, and although he did not show in his somewhat sketchy features", "knew about the poet was that he had died. Of this she was almost sure,\nand she imagined that in life, he was a great friend of Julio's because\nshe had so often heard her son repeat his name.", "Julio was the only one who would have prolonged the family, passing\non the name. The Desnoyers had died; his daughter's children would be\nLacour. . . . All was ended.", "need one so. It shall be named Julio, and I hope that it will look like\nmy poor dead wife.\"", "Several months passed by. One day the Frenchman approached him with a\ncertain air of mystery. \"Elena has a son and has named him 'Julio' after\nyou.\"", "with the most discreet allusions. The painter described Julio's life\nbefore the war as an existence dedicated completely to art. The father\nignored the inexactitude of such words, and gratefully accepted the lie", "When Julio and Chichi returned to the ranch for their vacations, the\ngrandfather again concentrated his fondness on the first, as though the", "He did not call him an \"Indian,\" but Julio heard the implication as\nthough he had used the word itself. Ah, if that hidden handclasp had not", "Celedonio, the old overseer, who was now such a grandee in his country\nthat Julio ironically called him \"my uncle.\"", "Julio had died, and he was going to die, too, not having strength to\nsurvive his bitter woe; but how many hundreds of the enemy wasting in", "had undoubtedly recognized him. His face was familiar. Who was he? . . .\nSuddenly in his mind's eye, Julio saw the heaving ocean, a great", "Desnoyers could not but think of the loss of life that this must\nrepresent. Julio's fate, however, gave him no uneasiness, for his son", "glance, spoke a few words to the chief preceding him with an aspect of\ngreat deference. The official had at first to think very hard to\nrecall Julio to mind, but he soon remembered the exploits of Sergeant", "celebrity was worthy of him; his paternal pride could accept nothing\nless. . . . And it never occurred to him that Julio might be with", "Julio shot her a questioning look. Who was \"he\"? He suspected, but\nfeigned ignorance, as though fearing to learn the truth.\n\n\"Laurier,\" she replied laconically, \"my former husband.\"", "wildly and bites. The father was greatly distressed at the possibility\nof such an outcome. . . . One scandal more! Julio had dedicated the\ngreater part of his existence to the handling of arms.", "had petted behind their grandfather's back, before Julio was born. For\nmany years, he had lavished great affection on these youngsters, when", "As soon as Julio would see him absorbed in a book, he would demand an\nimmediate share: \"Tell me the story.\" So the \"secretary,\" not only gave", "He could never know how Julio's death had happened. Nobody could tell\nhim his last words. He was ignorant as to whether his end had been", "The grandfather then turned his attention to Julio's three-year-old\nsister, exhibiting her before him as he had her brother, as he took her" ], [ "In 1870 Marcelo Desnoyers was nineteen years old. He was born in the\nsuburbs of Paris, an only child; his father, interested in little", "Their wishes could be realized. The husband was facilitating the step\nby his unexpected intervention. So young Desnoyers set forth for South\nAmerica in order to raise the money and marry Marguerite.", "Don Marcelo was at last alone. The two coppery maids had followed by\nrail the flight of their mistresses. At first the old man felt a little", "For Don Marcelo there now began an absurd life of the most extraordinary\nevents, an experience which was going to last four days. In his life\nhistory, this period represented a long parenthesis of stupefaction,\nslashed by the most horrible visions.", "When Desnoyers made a trip to Buenos Aires a few days afterward, the\ncause of the old man's wrath was explained. It appeared that for some", "Returning in desperation to his estate, Don Marcelo Desnoyers saw\nhuge automobiles and men on horseback, forming a very long convoy and", "On speaking with Don Marcelo, he immediately revealed his academic\ntraining. The order for departure had surprised the professor in a\nprivate institute; he was just about to be married and all his plans had\nbeen upset.", "At daybreak Don Marcelo left the train. \"Good luck to you!\" And he\nclasped the hands of the brave young fellows who were going to die,", "In spite of the fatigue of the journey, Don Marcelo slept badly, excited\nby the thought that his son was not far away.", "authority of Don Marcelo Desnoyers. \"Oh, that old man!\" exclaimed Julio,\nreferring to his father. \"He may live many years yet, but how he weighs\nupon us all!\"", "via Buenos Aires, from Europe. At the suggestion of Chicha, Desnoyers\naccompanied them in the capacity of driver.", "perhaps in a very short time. Finding the road unexpectedly open, the\ntrain started immediately and Desnoyers found himself alone in the\nstation. In normal times a branch road would have taken him on to", "Don Marcelo walked all the morning long. The white, rectilinear ribbon\nof roadway was spotted with approaching groups that on the horizon line", "Just outside of his home, he met Tchernoff. Don Marcelo was in high good\nhumor. The certainty that he was soon going to see his son filled him", "Don Marcelo had had dreams of other things for his daughter--a grand\nwedding to which the daily papers would devote much space, a son-in-law", "eyebrows. He frowned ferociously at Desnoyers as though making him\nresponsible for his death and the trouble of his family. For a few\nmoments Don Marcelo could hardly recognize this man, transformed by", "When Julio Desnoyers was two years old, his grandfather made the rounds\nof his estates, holding him on the saddle in front of him. He went from", "Don Marcelo would return home from these send-offs vibrating with\nnervous fatigue, as one who had just participated in a scene of racking", "Argensola began to form the habit of working in the presence of Don\nMarcelo. He knew that the resolute soul abominated inactive people, so,", "Don Marcelo clasped his hand like an old comrade. All of his son's\nfriends were his friends. He knew the life that young men lived." ], [ "Don Marcelo had had dreams of other things for his daughter--a grand\nwedding to which the daily papers would devote much space, a son-in-law", "Don Marcelo.", "Don Marcelo did not need to ask anything further; he dreaded to know the\ntruth. Nevertheless, he asked after her husband. Now that he was awake", "Don Marcelo's indignation took another bound when his wife repeated to\nhim the news from her sister. All a lie! . . . The war was progressing", "Don Marcelo clasped his hand like an old comrade. All of his son's\nfriends were his friends. He knew the life that young men lived.", "On speaking with Don Marcelo, he immediately revealed his academic\ntraining. The order for departure had surprised the professor in a\nprivate institute; he was just about to be married and all his plans had\nbeen upset.", "As soon as he was able to get out Don Marcelo looked inquiringly at the\nwoman with her bloodshot eyes, dishevelled hair and sorrow-drawn face.", "Don Marcelo who used to look uneasily upon any new friendship, fearing a\ndemand for a loan, gave himself up with enthusiasm to intimacy with this", "Marcelo's precautions, and the family was now living in generous\nunconcern. The mother, like other house mistresses, had stored up", "Don Marcelo was at last alone. The two coppery maids had followed by\nrail the flight of their mistresses. At first the old man felt a little", "Don Marcelo looked from one to another. The fatigues of war, especially\nthe forced march of the last days, were very apparent in their persons.", "Marcelo cut her pleadings short. He would remain. Then the poor senora\nran to the rue de la Pompe. Her son! . . . Julio scarcely listened to", "Don Marcelo was not in sympathy with the general resignation. The\nwar was going to be much shorter than they were all imagining. His", "Don Marcelo even felt a certain satisfaction in thinking of his\napproaching death. More than anything else, he wished to pass out of the", "Don Marcelo was silent about the letter in his wife's presence. He\npitied Elena for her losses, so he overlooked her political connections.", "Since, in her maternal desperation, she had appealed to his protection,\nDon Marcelo believed that he ought to intervene, and so he spoke to", "One especially engrossing matter was increasing her sadness. Her sons.\n. . . What would become of her sons! Don Marcelo had never told her of", "Marcelo was opposed to the Empire like all the youths of his generation.\nHe was also much influenced by the older workmen who had taken part in", "Don Marcelo stood rooted to the ground. Shot! . . . and after the\nGeneral's pardon! . . . Suddenly he ran back to the castle, hardly", "and anxious wife. \"They are going to come, Marcelo; my heart tells\nme so. The girl! . . . the girl!\" She was accepting blindly all the" ], [ "When Julio and Chichi returned to the ranch for their vacations, the\ngrandfather again concentrated his fondness on the first, as though the", "Marcelo's precautions, and the family was now living in generous\nunconcern. The mother, like other house mistresses, had stored up", "Don Marcelo was growing more and more impatient at seeing so many\nhundreds of men, but no Julio. The senator, complying with his imploring", "Julio, upon arriving in Paris, had changed the bent of his aspirations.\nHe no longer thought of becoming an engineer; he wished to become\nan artist. Don Marcelo objected in great consternation, but finally", "But Julio had not gone to Biarritz to live with his family. . . . The\nvery day of his arrival, he saw Marguerite's mother in the distance. She", "Marcelo cut her pleadings short. He would remain. Then the poor senora\nran to the rue de la Pompe. Her son! . . . Julio scarcely listened to", "But Julio insisted, foreseeing a break in that firm negative. Where\ncould they be more comfortable? Besides, weren't they going to marry as\nsoon as possible? . . .", "house, or to send Julio to the country school. Madariaga would always\nsteal his grandson away, and then they would scour the plains together.", "An old gentleman was greeting him with an amiable smile.\n\n\"I am the father of Julio.\"\n\nAnd he walked into the apartment with the confidence of a man entirely\nfamiliar with his surroundings.", "Four months later, Don Marcelo's confidence received a rude shock. Julio\nwas wounded. But at the same time that Lacour bought him this news,", "They passed a quarter of an hour without loosening hands, looking\ninto each other's eyes. Julio asked after his mother and Chichi. He", "After greetings had been exchanged, Rene paid more attention to Don\nMarcelo than to his father, because he reminded him of Chichi. He", "Upon leaving one of the cells, in the middle of an open space, the\nyearning father met his son. He knew that it must be Julio by the", "At this time began to develop the most important event in Julio's\nexistence. The Desnoyers family was to be united with that of Senator", "A swarm of children was racing and screaming through the short avenues\naround the monument. On entering the place, the first thing that Julio", "From the luxurious rooms came forth the world-old cry, always the same\nfrom the humblest home to the highest and loneliest:--\n\n\"Oh, Julio! . . . Oh, my son, my son! . . .\"", "Chichi's appraising glance swept Julio from head to foot; taking in all\nthe details of his military elegance. His cloak was worn thin and dirty;", "The two remained silent. The remembrance of the husband had swept across\nthem like a glacial blast. Julio was the first to brighten up.\n\n\"And you have not danced in all this time?\"", "His desires were fulfilled. Luisa gave birth to a boy who bore the name\nof Julio, and although he did not show in his somewhat sketchy features", "Just outside of his home, he met Tchernoff. Don Marcelo was in high good\nhumor. The certainty that he was soon going to see his son filled him" ], [ "Julio looked at her in surprise, trying to imagine what was going on in\nthat idolized and frivolous head. What ideas were forming back of that", "her infidelity. She still remembered the way he looked the night he\nsurprised her leaving Julio's home. His was the passion that kills, and,", "The two remained silent. The remembrance of the husband had swept across\nthem like a glacial blast. Julio was the first to brighten up.\n\n\"And you have not danced in all this time?\"", "In a last desperate attempt at explanation she again repeated what she\nhad said at the beginning of their interview. She loved Julio . . . and", "though she were the wife of Julio. His friend Lacour had again spoken\nto him about the Lauriers. He knew that Marguerite was going to become a", "But Julio insisted, foreseeing a break in that firm negative. Where\ncould they be more comfortable? Besides, weren't they going to marry as\nsoon as possible? . . .", "Every advance on Julio's part but aroused in Marguerite a vehement and\nmodest protest as though they were meeting for the first time.", "Her eyes, with an irresistible desire for comparison, sought Julio's,\nadmiring his youthful grace and distinction. The image of Laurier, heavy", "Julio had leaped from childhood to libertinism, taking his initiation\ninto life at a single bound. She had desired marriage in order to", "only served to attract the attention of the passers-by. Although Julio\nwas waxing impatient with the annoyance of this wandering love affair", "Julio shot her a questioning look. Who was \"he\"? He suspected, but\nfeigned ignorance, as though fearing to learn the truth.\n\n\"Laurier,\" she replied laconically, \"my former husband.\"", "She tried not to say more about it, as though she suddenly realized\nthe inopportuneness of her last words. Perhaps she noticed the scowl on\nJulio's face.", "Julio was finding her even lovelier than before, and felt sure that\npossessing her was well worth all the contrarieties which had brought", "Julio felt the usual exasperation at hearing this. He came very near to\nclosing his beloved's mouth with his hand. Was she trying to make fun of\nhim? . . . It was fairly insulting to place him apart from other men.", "the ground, like an apparition. A cough, a slight rustling of footsteps,\nand as he turned, Julio almost collided with her.", "Upon Marguerite Laurier the presence of Julio flashed like a ray of\nsunlight in the tiresome salon of Lacour. She was dancing the fad of the", "Marguerite divined the expansion which might follow Julio's\nexclamations, the vehement hand-clasp, perhaps something more, so she\nkept herself calm and serene.", "But Julio had not gone to Biarritz to live with his family. . . . The\nvery day of his arrival, he saw Marguerite's mother in the distance. She", "mother, and the old man, without taking into account the reconciliation\nnor the passage of time, felt as much moved at the thought of this\napproaching maternity as though the child were going to be Julio's.", "Julio noticed a persistent absent-mindedness about her. It seemed\nas though her spirit, abandoning her body, was wandering to far-away" ], [ "Marguerite, too--contemplating the love which was going from her\nforever, her vanished hopes, the future illumined by the satisfaction of\nduty fulfilled but monotonous and painful--cried out:", "Their wishes could be realized. The husband was facilitating the step\nby his unexpected intervention. So young Desnoyers set forth for South\nAmerica in order to raise the money and marry Marguerite.", "affairs. Marguerite appeared satisfied, and in spite of her frivolity,\nadopted the air of a serious woman.", "seeing Marguerite devoted to her husband, and talking to him with such\naffectionate interest. This matrimonial felicity seemed to him like the", "did not seem to her like her old husband. But Marguerite wished to\nforget the pallid lieutenant with the sad countenance who had passed\nbefore her eyes, preferring to remember him only as the manufacturer", "advantage of me.\" He readily promised, swearing that everything should\nbe as Marguerite wished. . . . But from that day they were no longer\nseen in the gardens, nor wandering around persecuted by the winter", "\"No, no!\" interrupted Marguerite in an anguished tone. \"You, no! One\nis enough. . . . How horrible! You, too, wounded, mutilated forever,", "Marguerite's voice trembled when saying this as if she were going\nto cry, although her eyes were tearless. They did not now feel", "Marguerite looked at him with clouded eyes as though she were just\nawaking. It was true--and the other one? . . . Kindled by the proposed", "Julio listened to her with astonishment. Was this woman really\nMarguerite? . . . War was obliterating all her winning vanities. She was", "Desnoyers was worrying about other things. That morning he had received\na note from Marguerite--only two lines scrawled in great haste. She was", "Marguerite was silent, as though yielding on seeing her pretexts\nexhausted. Desnoyers was silent, too, construing her stillness as", "\"Let him think what he will!\" concluded Marguerite courageously. \"Let\nhim despise me! I am here where I ought to be. I need his forgiveness,", "One afternoon, Marguerite announced that henceforth she would see him\nless frequently. She was attending classes now, and had only two free\ndays.", "\"Listen, Marguerite: I can read your soul. You love this man, and you\ndo well. He is superior to me, and women are always attracted by", "advised her not to accompany her son to the railway station, so his\nsister had gone with him. And upon returning home, Marguerite had found\nher mother rigid in her arm chair, with a set face, avoiding all mention", "But the former Marguerite was still alive. He saw her constantly\nreappearing in a funny way among the sombre preoccupations with which\nwar was overshadowing all lives.", "But Julio had not gone to Biarritz to live with his family. . . . The\nvery day of his arrival, he saw Marguerite's mother in the distance. She", "Marguerite was also avoiding these places. The meetings of the two were\ntaking place in accordance with what she had read in the love stories", "\"How annoying!\" groaned Marguerite. \"Why did we ever come to this\nplace!\"\n\nThe two scrutinized each other carefully, wishing to see exactly what\ntransformation Time had wrought." ], [ "Villeblanche when the Hartrott family had paid a long visit to their\nrelatives in France. The officials now occupying the edifice had\ndetained him that he might lunch with them. One of them had casually", "Poor Frau von Hartrott! Her letter written a month before, had contained\nnothing but death notices and words of despair. Captain Otto was dead.", "\"It is war,\" boomed Hartrott. \"When I left Germany, fifteen days ago, I\nknew that war was inevitable.\"", "The establishment of the Hartrotts was in keeping with these new\nrelationships. In the home in Berlin, the servants wore knee-breeches", "Frau von Hartrott made his uneasiness worse. Instead of keeping a\ndiscreet silence, she was constantly introducing discord into the home\nwith her opinions.", "the Desnoyers in their castle of Villeblanche. With good-natured\nsuperiority, Karl von Hartrott had appreciated the rich and rather", "Captain von Hartrott was slowly conducting his uncle toward the castle.\nThe gray and unbending soldiers who, until then, had been ignoring the", "And settling back into the motor-car, Desnoyers saw the horrors of the\nbattle field flying past at a dizzying speed and disappearing behind\nhim. He was rolling toward human life . . . he was returning to\ncivilization!", "The fortnight had flown by so swiftly! The sub-lieutenant had returned\nto his post, and all the family, after this period of reality, had", "At the end of October, the Desnoyers family returned to Paris. Dona\nLuisa could no longer live in Biarritz, so far from her husband. In vain", "mentioned that the owner of the castle was somewhere about although\nnobody knew exactly where. This had been a great surprise to Captain von\nHartrott who had tried to find him, regretting to see him taking refuge", "with him. Such a long time without seeing her little sugar soldier!\n. . . So the family abandoned their hotel life and returned to the\navenue Victor Hugo.", "For the first time, Argensola's eyes and general expression approved the\nwords of Hartrott. What he had just said was only too true--the world", "promised lovers, and the sight of their silent grief, was intensifying\nthe mother's suffering. Von Hartrott continued presiding over patriotic\nsocieties and making plans of expansion after the near victory, but he", "Captain von Hartrott swelled up with a jerk. Separating himself from the\ncomplainant and looking fixedly at him, he spoke in a low voice, hissing", "They were there four months. In a little while Desnoyers felt ready to\nretreat. Each to his own kind; he would never be able to understand", "And as his thoughts swung back to the lost son he, too, exclaimed with\nhis wife, \"Oh, why did we ever come? . . .\" He, too, with the solidarity", "When the door closed, he approached his friend who was returning\nsomewhat dismayed. Argensola no longer considered Doctor Julius von\nHartrott crazy.", "fees--was divided into two groups, separated by the ocean. The Desnoyers\nmoved to Buenos Aires. The Hartrotts moved to Berlin as soon as Karl", "von Hartrott's inscription, \"Bitte, nicht plundern.\" To them it seemed\nthe acme of wit--truly Teutonic." ], [ "Julio had died, and he was going to die, too, not having strength to\nsurvive his bitter woe; but how many hundreds of the enemy wasting in", "He could never know how Julio's death had happened. Nobody could tell\nhim his last words. He was ignorant as to whether his end had been", "Desnoyers could not but think of the loss of life that this must\nrepresent. Julio's fate, however, gave him no uneasiness, for his son", "In a last desperate attempt at explanation she again repeated what she\nhad said at the beginning of their interview. She loved Julio . . . and", "Julio was the only one who would have prolonged the family, passing\non the name. The Desnoyers had died; his daughter's children would be\nLacour. . . . All was ended.", "her infidelity. She still remembered the way he looked the night he\nsurprised her leaving Julio's home. His was the passion that kills, and,", "But what the father didn't know, what Julio would never tell, was the\ndiscovery that he had made after killing the captain.", "saw his son beautiful and immortal as a god. He had a conviction that he\nwould come out safe and sound from all dangers. That others should die\nwas but natural, but Julio! . . .", "wildly and bites. The father was greatly distressed at the possibility\nof such an outcome. . . . One scandal more! Julio had dedicated the\ngreater part of his existence to the handling of arms.", "Four months later, Don Marcelo's confidence received a rude shock. Julio\nwas wounded. But at the same time that Lacour bought him this news,", "But then, in order that Julio might not feel any false hopes, she\nadded:--\"Live; you must not die; that would be for me another torment.", "French hurried to the spot, killing the corporal. Then there was a sharp\ncross-fire with the enemy's company which had halted a little ways off\nwhile their commander was exploring the ground. Julio, in spite of", "knew about the poet was that he had died. Of this she was almost sure,\nand she imagined that in life, he was a great friend of Julio's because\nshe had so often heard her son repeat his name.", "the output of his ranches, and never before had meat brought such high\nprices. Money was flowing in with greater volume than formerly, while\nthe expenses were diminishing. . . . Julio was in daily danger of death,", "invariably followed by a scuffle. No one could surpass Julio in the\nquick slap and the ready card. His father heard with a heavy heart the", "His desires were fulfilled. Luisa gave birth to a boy who bore the name\nof Julio, and although he did not show in his somewhat sketchy features", "Julio shot her a questioning look. Who was \"he\"? He suspected, but\nfeigned ignorance, as though fearing to learn the truth.\n\n\"Laurier,\" she replied laconically, \"my former husband.\"", "momentary lack of faith when the first news of his wounded boy reached\nhim. How absurd! . . . No one would kill Julio; his heart told him so.", "Upon leaving one of the cells, in the middle of an open space, the\nyearning father met his son. He knew that it must be Julio by the", "\"But I tell you that Nobody will kill Julio! . . . He is my son. In my\nyouth I, too, passed through great dangers. They wounded me, too, in the" ], [ "Of all the inimical group, this man was the only one for whom Don\nMarcelo felt a vague attraction. \"Although a German, he appears a good", "\"I have Germany in my own house,\" growled Marcelo Desnoyers.", "Don Marcelo clasped his hand like an old comrade. All of his son's\nfriends were his friends. He knew the life that young men lived.", "Since, in her maternal desperation, she had appealed to his protection,\nDon Marcelo believed that he ought to intervene, and so he spoke to", "Marcelo was opposed to the Empire like all the youths of his generation.\nHe was also much influenced by the older workmen who had taken part in", "existence of Don Marcelo, looked at him with interest, now that he\nwas in intimate conversation with a member of the General Staff. He\nperceived that these men were about to humanize themselves by casting", "The Doctor made a gesture of protest, as though he had just heard\nsomething insulting. \"No, I am a German. No matter where a German may", "farmsteads, exploring the country in pursuit of German fugitives. Don\nMarcelo had to explain his business there, showing the passport that", "\"The Germans are going to reply at any moment,\" said Don Marcelo to his\nfriend.\n\nThe senator was of the same opinion. Undoubtedly they would retaliate,\ncarrying on an artillery duel.", "Don Marcelo soon felt the same sadness and bewilderment as these\nsoldiers. He didn't understand, either. He saw the obvious thing,", "The officer looked amazed that he should protest for such trifling\ncause, but he gave orders in German and his men ceased their rude\nexplorations. Then, in justification of this extraordinary respect, he\nadded in French:", "Don Marcelo stood rooted to the ground. Shot! . . . and after the\nGeneral's pardon! . . . Suddenly he ran back to the castle, hardly", "liquors from his wine cellars. They were talking together in German, and\nfor an hour Don Marcelo remained there, anxious to go but never finding\nthe opportune moment to leave his seat and disappear.", "Don Marcelo was fleeing to take refuge in his castle when he met the\nmayor of Villeblanche. The noise of the firing had made him hurry to the", "\"Attention, Marcelo!\" he said to himself with grim humor. \"Keep cool\nnow! . . . You must avoid Friend Tchernoff's four horsemen, you know!\"", "Don Marcelo recognized him with surprise. Commandant Blumhardt, too!\n. . . But immediately he excused the act. He supposed it was only", "The mere sound of the Marshal's name revived Don Marcelo's hope.\nPerhaps this soldier, who was keeping his faith intact in spite of the", "Don Marcelo was not in sympathy with the general resignation. The\nwar was going to be much shorter than they were all imagining. His", "Don Marcelo who used to look uneasily upon any new friendship, fearing a\ndemand for a loan, gave himself up with enthusiasm to intimacy with this", "gave Don Marcelo some news. The Germans were in full retreat. They had\ninstalled some of their batteries on the banks of the Marne in order\nto attempt a new resistance. . . . And the new arrival remained without" ], [ "The first person that he encountered on his arrival was Chichi. She\ndeclared that the town was impossible because of the families of rich", "was thinking of Chichi, fearing sometimes, that he might never see her\nagain. In one of her trips from the castle to her home, Blumhardt called", "Then, too, Chichi was now almost a woman--her robust development making\nher look older than she was--and it was not expedient to keep her on the\nestate to become a rustic senorita like her mother.", "\"You have done this!\" exclaimed Chichi. \"You have done this!\"\n\nAlthough very pale, she gazed fondly at him with her great eyes--eyes\nthat seemed to devour him with admiration.", "It was Chichi who notified them with a cry, \"Here. . . . Here it is!\"\nThe old folks tried to run, almost falling at every step. All the family", "times of peace, Chichi had rather admired this personage. \"He's not so\nbad-looking,\" she had commented, \"but with a very ordinary smile.\" Now", "\"What a horrible death! . . . What glory!\" thought Chichi sadly.", "Chichi protested against her father's avarice when she saw him buying\nslowly and with much calculation and hesitation. \"Avarice, no!\" he\nretorted, \"it is because I know the worth of things.\"", "of their daughter brought Chichi to his mind. He had passed near her\nwithout noting the transformation in her, seeing her just the same\nas when, with her little dog trot, she had accompanied the Master's", "The only disappointments in Desnoyers' new life came from his children.\nChichi irritated him because of the independence of her tastes. She did", "Chichi and her husband promptly dismounted again. Then Dona Luisa, with\nsad resolution, biting her lips to keep the tears back. Then the three", "Senora Desnoyers was so greatly impressed by these dire prophecies that\nshe could not hide them from her family. Chichi waxed indignant at her", "Chichi had clambered up on the hillock which contained, perhaps, more\nthan their dead. With furrowed brow, she was contemplating the plain.", "children, and smiled a little over the enthusiasm with which the old\ngentleman spoke of his daughter, saluting Fraulein Chichi as a witty\nsprite, and expressing great sympathy on learning that the only son was", "After that, he refrained from mentioning the war in his sister-in-law's\npresence. Chichi was the only one keeping up her aggressive and noisy", "The father conjectured that something terrible must have happened to\nLacour's son. That was the only thing that could make Chichi show such", "from ranch to ranch. Everybody called Chicha's little girl Chichi, but\nthe grandfather bestowed on her the same nickname that he had given her", "surprised him weeping more than once. An only child, and he might\nhave to lose him! . . . Chichi's dumb woe made him feel even greater", "\"Too much, mama,\" Chichi would protest. \"They will take you for a\npawnbroker's lady!\" But the Creole, satisfied with her splendor, the", "He took what comfort he could out of the situation. What more did they\nwant? Chichi was happy--with a rollicking and selfish happiness which" ], [ "So strongly was Julio impressed that for a little while he forgot the\npurpose which had brought him thither. . . . If those who provoke war", "In a last desperate attempt at explanation she again repeated what she\nhad said at the beginning of their interview. She loved Julio . . . and", "Julio had died, and he was going to die, too, not having strength to\nsurvive his bitter woe; but how many hundreds of the enemy wasting in", "with the most discreet allusions. The painter described Julio's life\nbefore the war as an existence dedicated completely to art. The father\nignored the inexactitude of such words, and gratefully accepted the lie", "to defend herself, and the more enemies fell the better. . . . The only\nsoldier who interested him now was Julio. And his faith in the destiny", "\"He says, sir,\" reported Julio's neighbor, \"that he wishes France\nto become a very great nation so that some day we may march together\nagainst other enemies . . . against OTHERS!\"", "Julio was listening absent-mindedly to the news brought by his\ncompanion, the vibrating statements recited in declamatory tones, the", "But Julio had not gone to Biarritz to live with his family. . . . The\nvery day of his arrival, he saw Marguerite's mother in the distance. She", "His desires were fulfilled. Luisa gave birth to a boy who bore the name\nof Julio, and although he did not show in his somewhat sketchy features", "Don Marcelo was growing more and more impatient at seeing so many\nhundreds of men, but no Julio. The senator, complying with his imploring", "Julio, upon arriving in Paris, had changed the bent of his aspirations.\nHe no longer thought of becoming an engineer; he wished to become\nan artist. Don Marcelo objected in great consternation, but finally", "wildly and bites. The father was greatly distressed at the possibility\nof such an outcome. . . . One scandal more! Julio had dedicated the\ngreater part of his existence to the handling of arms.", "Julio was an optimist. What did all this restlessness signify to a man\nwho had just been living more than twenty days among Germans, crossing\nthe Atlantic under the flag of the Empire?", "But Julio insisted, foreseeing a break in that firm negative. Where\ncould they be more comfortable? Besides, weren't they going to marry as\nsoon as possible? . . .", "Before his inward gaze fluttered the vision of Julio with his black,\ncurly beard which to him was the greatest novelty of the trip. He heard\nagain his grave voice, that of a man who has taken up life from a new\nviewpoint.", "As soon as Julio would see him absorbed in a book, he would demand an\nimmediate share: \"Tell me the story.\" So the \"secretary,\" not only gave", "From the luxurious rooms came forth the world-old cry, always the same\nfrom the humblest home to the highest and loneliest:--\n\n\"Oh, Julio! . . . Oh, my son, my son! . . .\"", "Her eyes, with an irresistible desire for comparison, sought Julio's,\nadmiring his youthful grace and distinction. The image of Laurier, heavy", "Desnoyers could not but think of the loss of life that this must\nrepresent. Julio's fate, however, gave him no uneasiness, for his son", "than that Julio should receive the most insignificant wound! . . . She\nbegan to share the bellicose sentiments of her daughter, recognizing in" ], [ "house, or to send Julio to the country school. Madariaga would always\nsteal his grandson away, and then they would scour the plains together.", "The grandfather then turned his attention to Julio's three-year-old\nsister, exhibiting her before him as he had her brother, as he took her", "of winning a fortune, he lost it all by an unfortunate speculation.\nAnd in a moment of failure and despair, being now thirty years old, he\nbecame an employee of Julio Madariaga.", "But Julio had not gone to Biarritz to live with his family. . . . The\nvery day of his arrival, he saw Marguerite's mother in the distance. She", "When Julio and Chichi returned to the ranch for their vacations, the\ngrandfather again concentrated his fondness on the first, as though the", "direction. It was Madame Laurier. . . . Would she recognize Julio? He\nnoted that the youth turned pale and began looking at the other people", "mother, and the old man, without taking into account the reconciliation\nnor the passage of time, felt as much moved at the thought of this\napproaching maternity as though the child were going to be Julio's.", "with the most discreet allusions. The painter described Julio's life\nbefore the war as an existence dedicated completely to art. The father\nignored the inexactitude of such words, and gratefully accepted the lie", "In a last desperate attempt at explanation she again repeated what she\nhad said at the beginning of their interview. She loved Julio . . . and", "Julio looked at her in surprise, trying to imagine what was going on in\nthat idolized and frivolous head. What ideas were forming back of that", "and retainers, were to receive the last paternal munificence of the old\npatriarch. At the head of these was Celedonio whom Madariaga had greatly", "An old gentleman was greeting him with an amiable smile.\n\n\"I am the father of Julio.\"\n\nAnd he walked into the apartment with the confidence of a man entirely\nfamiliar with his surroundings.", "From the luxurious rooms came forth the world-old cry, always the same\nfrom the humblest home to the highest and loneliest:--\n\n\"Oh, Julio! . . . Oh, my son, my son! . . .\"", "The family consisted of his wife Misia Petrona (whom he always called\nthe China) and two grown daughters who had gone to school in Buenos\nAires, but on returning to the ranch had reverted somewhat to their\noriginal rusticity.", "Julio shot her a questioning look. Who was \"he\"? He suspected, but\nfeigned ignorance, as though fearing to learn the truth.\n\n\"Laurier,\" she replied laconically, \"my former husband.\"", "The two remained silent. The remembrance of the husband had swept across\nthem like a glacial blast. Julio was the first to brighten up.\n\n\"And you have not danced in all this time?\"", "Her eyes, with an irresistible desire for comparison, sought Julio's,\nadmiring his youthful grace and distinction. The image of Laurier, heavy", "than that Julio should receive the most insignificant wound! . . . She\nbegan to share the bellicose sentiments of her daughter, recognizing in", "Luisa, the elder daughter, called Chicha, in the South American fashion,\nwas much more respected by her father. \"She is my poor China right over", "\"Go, he might surprise us, and he would be furious.\" So Julio had fled\nthe paternal home, caressed by the tears of the two ladies and the" ], [ "Desnoyers could not but think of the loss of life that this must\nrepresent. Julio's fate, however, gave him no uneasiness, for his son", "When Julio Desnoyers was two years old, his grandfather made the rounds\nof his estates, holding him on the saddle in front of him. He went from", "authority of Don Marcelo Desnoyers. \"Oh, that old man!\" exclaimed Julio,\nreferring to his father. \"He may live many years yet, but how he weighs\nupon us all!\"", "Julio was the only one who would have prolonged the family, passing\non the name. The Desnoyers had died; his daughter's children would be\nLacour. . . . All was ended.", "Desnoyers family should return their visit. This change of environment\nmight tone Julio down a little. Perhaps his ambition might waken on", "were represented by these bequests in lands and herds. The one who\ncompleted the list of beneficiaries was Julio Desnoyers. The grandfather", "What was this seduced and useless man, called Julio Desnoyers, doing\nthere, tormenting with his presence a poor woman, trying to turn her", "At this time began to develop the most important event in Julio's\nexistence. The Desnoyers family was to be united with that of Senator", "When Desnoyers made a trip to Buenos Aires a few days afterward, the\ncause of the old man's wrath was explained. It appeared that for some", "In 1870 Marcelo Desnoyers was nineteen years old. He was born in the\nsuburbs of Paris, an only child; his father, interested in little", "Desnoyers.", "Desnoyers explained that he was the owner of the castle. \"French?\"\ncontinued the lieutenant. \"Yes, French.\" . . . The official scowled in", "the planks. Desnoyers ran his eye hungrily over the file of men. Where\ncould Julio be? . . .", "They were to have met in the garden of the Chapelle Expiatoire at five\no'clock in the afternoon, but Julio Desnoyers with the impatience of a", "Desnoyers assented. It was so; they were no longer fashionable. None\nknew that better than he, for he who was once the sensation of the day,", "The morning after the return of Julio Desnoyers, while Argensola was\ntalking on the stairway with Tchernoff, the bell rang. How annoying! The", "Julio Desnoyers, upon meeting this dance of his childhood in full swing\nin Paris, devoted himself to it with the confidence that an old love", "Julio shot her a questioning look. Who was \"he\"? He suspected, but\nfeigned ignorance, as though fearing to learn the truth.\n\n\"Laurier,\" she replied laconically, \"my former husband.\"", "Desnoyers listened in consternation to his counsels. What kind of\nmentality had these men, anyway? Were they insane, or were they trying\nto have some fun at his expense? . . .", "At these reunions, Desnoyers became acquainted with the Lauriers. He was\nan engineer who owned a motor-factory for automobiles in the outskirts" ], [ "The German officers wanted to die. With upraised swords, after having\nexhausted the shots in their revolvers, they advanced upon their", "adjoining room crying out nervously. The noise of the German fire was\nbeginning to mingle with that of other explosives close at hand. He\nsurmised that this was the smashing of the French projectiles which were", "him instantly: \"French sharpshooters in disguise who are going to get\nthe punishment they deserve.\" The German bayonets were sunk deep into", "The old man was now fired with a desperate resolution;--since he had to\ndie, let a French ball kill him! And he advanced very erect with his two", "la France!\" A doubtful despatch, foreshadowing calamity: \"No matter! We\nmust press on at all costs! The Russians will close in behind them!\" And", "His beloved French were already within the park gates. They were\nrunning, bayonets in hand, in pursuit of the last remnants of the German", "with all his might. When he came to himself again, he was hugging\nthe grimy head of a young French officer who was looking at him in\nastonishment. He probably thought him crazy on receiving his kisses, on", "The two principal men felt the necessity of saying something, of closing\nthe page of their existence with an affirmation.\n\n\"Vive la Republique!\" cried the mayor.\n\n\"Vive la France!\" said the priest.", "though they had just been struck. They both thought that the Germans\nhad begun to return the fire, but it was the French who were shooting.\nA feathery stream of vapor came up out of the woods a dozen yards away,", "Those still alive were firing through the gaps in the walls. Then they\nsprang up with the greatest haste. Some grasped their bayonets, pale,", "clinging, a rain of dirt that obscured the heavens. Some stones fell\ndown from the wall. The Germans crouched but with no visible emotion.\nThey knew what it meant; they had been expecting it as something", "a group of horsemen--the last forces of the rear guard that had taken\ntheir position on the outskirts of the village in order to cover\nthe retreat. The profound silence that followed the turmoil of", "battalion trying to escape toward the village. A group of horsemen\npassed along the road. They were dragoons coming to complete the rout.\nBut their horses were fagged out; nothing but the fever of victory", "French hurried to the spot, killing the corporal. Then there was a sharp\ncross-fire with the enemy's company which had halted a little ways off\nwhile their commander was exploring the ground. Julio, in spite of", "With his eyes distended by the proximity of death, he kept his gaze\nfixed upon the Frenchman who had raised his gun to his face. A shot,\nfrom a barrel almost touching him . . . and the German fell dead.", "assailants followed by the soldiers who still obeyed them. There was a\nscuffle, a wild melee. To the trembling spectator, it seemed as though", "trailing their loosened bandages. They were wounded Frenchmen,\nstragglers who had remained in the village because too weak to keep up\nwith the retreat. Perhaps they had joined the group which, finding its", "Desnoyers saw approaching along the highroad the last stragglers from\nthe infantry. They were not walking, they rather appeared to be dragging", "gave Don Marcelo some news. The Germans were in full retreat. They had\ninstalled some of their batteries on the banks of the Marne in order\nto attempt a new resistance. . . . And the new arrival remained without", "retirement were extending hundreds of miles. Desnoyers was seeing only\none division. Others and still others were doing exactly this same thing\nat that very hour, their recessional extending across half of France." ], [ "In 1870 Marcelo Desnoyers was nineteen years old. He was born in the\nsuburbs of Paris, an only child; his father, interested in little", "Their wishes could be realized. The husband was facilitating the step\nby his unexpected intervention. So young Desnoyers set forth for South\nAmerica in order to raise the money and marry Marguerite.", "They were to have met in the garden of the Chapelle Expiatoire at five\no'clock in the afternoon, but Julio Desnoyers with the impatience of a", "Desnoyers, too, uniting his thoughts with hers, was seeing again the\npampas, the immense green plains of the ranch where he had become", "Desnoyers and his wife were plodding through life in a routine\naffection, reminding Dona Luisa, in her limited imagination, of the", "Desnoyers and the senator were also concerned about their future, but in\na very definite way. They must be married as soon as possible. What was", "They stared at one another for a long while, as though hypnotized with\nsurprise. She looked alarmed when Desnoyers advanced a step toward her.", "Just outside of his home, he met Tchernoff. Don Marcelo was in high good\nhumor. The certainty that he was soon going to see his son filled him", "Desnoyers and Argensola met in a boulevard cafe toward midnight. Both\nwere exhausted by the day's emotions and under that nervous depression", "When Desnoyers made a trip to Buenos Aires a few days afterward, the\ncause of the old man's wrath was explained. It appeared that for some", "At these reunions, Desnoyers became acquainted with the Lauriers. He was\nan engineer who owned a motor-factory for automobiles in the outskirts", "When Desnoyers awoke he found her note awaiting him, setting their\nmeeting at five that afternoon and also containing a few words about the", "One evening as Don Marcelo was accompanying his son down the Champs\nElysees, he started at recognizing a lady approaching from the opposite", "At the end of October, the Desnoyers family returned to Paris. Dona\nLuisa could no longer live in Biarritz, so far from her husband. In vain", "Desnoyers had had a presentiment of this happiness when he saw them\ntogether. And the man of inflexible morality who was, the year before,", "Desnoyers assented. It was so; they were no longer fashionable. None\nknew that better than he, for he who was once the sensation of the day,", "\"I have Germany in my own house,\" growled Marcelo Desnoyers.", "Don Marcelo had had dreams of other things for his daughter--a grand\nwedding to which the daily papers would devote much space, a son-in-law", "the first attracted the attention of Desnoyers. She, too, had made an\nexception in favor of this young Argentinian, abdicating her title from", "authority of Don Marcelo Desnoyers. \"Oh, that old man!\" exclaimed Julio,\nreferring to his father. \"He may live many years yet, but how he weighs\nupon us all!\"" ], [ "Graves . . . graves everywhere! The recollection of Julio had already\npassed to second place in her mind. She could not bring him back, no\nmatter how much she might weep.", "Julio had died, and he was going to die, too, not having strength to\nsurvive his bitter woe; but how many hundreds of the enemy wasting in", "The mother became very despondent. Julio's visit home but made her feel\nhis absence with greater intensity. Seeing him, hearing those tales of", "Don Marcelo was growing more and more impatient at seeing so many\nhundreds of men, but no Julio. The senator, complying with his imploring", "Don Marcelo soon felt the same sadness and bewilderment as these\nsoldiers. He didn't understand, either. He saw the obvious thing,", "Four months later, Don Marcelo's confidence received a rude shock. Julio\nwas wounded. But at the same time that Lacour bought him this news,", "Julio, upon arriving in Paris, had changed the bent of his aspirations.\nHe no longer thought of becoming an engineer; he wished to become\nan artist. Don Marcelo objected in great consternation, but finally", "Don Marcelo returned from this visit with melancholy resignation. Those\npeople had undoubtedly made great strides. He was not such a blind", "One especially engrossing matter was increasing her sadness. Her sons.\n. . . What would become of her sons! Don Marcelo had never told her of", "haunting the places that his beloved has frequented. The letters from\nJulio were not enough; he needed to see his old abode, to be on familiar\nterms with the objects which had surrounded him, to breathe the same", "In a last desperate attempt at explanation she again repeated what she\nhad said at the beginning of their interview. She loved Julio . . . and", "He could never know how Julio's death had happened. Nobody could tell\nhim his last words. He was ignorant as to whether his end had been", "Before his inward gaze fluttered the vision of Julio with his black,\ncurly beard which to him was the greatest novelty of the trip. He heard\nagain his grave voice, that of a man who has taken up life from a new\nviewpoint.", "Upon leaving one of the cells, in the middle of an open space, the\nyearning father met his son. He knew that it must be Julio by the", "Ay, they would never find Julio's remains! The parents, too, had been\nscrutinizing the plots nearest them, bending sadly before cross after", "him to see his son's grave before dying himself, and Lacour had to\nrequisition all his powers, for four long months formulating requests\nand overcoming much opposition, in order that Don Marcelo might be", "dismayed at Julio's delayed arrival. He was really affected at thinking\nof what must be Karl's despair.", "Marcelo felt an abnormal delight in contemplating this increasing\nnumber of vanquished enemies, yet he grieved at the same time that this\nprecipitation of intruders should be deposited forever on his property.", "knew about the poet was that he had died. Of this she was almost sure,\nand she imagined that in life, he was a great friend of Julio's because\nshe had so often heard her son repeat his name.", "AND DON MARCELO ENVIED HIS GRIEF." ], [ "But Desnoyers felt a hereditary impulse of aggressiveness before each\nof her husband's statements, enunciated in haughty tones, and responded\ncoldly:--", "the Desnoyers in their castle of Villeblanche. With good-natured\nsuperiority, Karl von Hartrott had appreciated the rich and rather", "on the rough, bark-like countenances of the suspicious rustics. For a\nlong time Desnoyers had been on bad terms with the entire village. He\nhad harshly insisted on his rights, showing no tolerance in matters", "Desnoyers, senior, was very indignant upon learning of this last\nescapade of his son. He had always had a great liking for Laurier.", "Desnoyers explained that he was the owner of the castle. \"French?\"\ncontinued the lieutenant. \"Yes, French.\" . . . The official scowled in", "Ah, no! . . . Desnoyers repelled this protection vehemently. He did not\nwish to be kind. He was silent because he could not be anything else.", "fees--was divided into two groups, separated by the ocean. The Desnoyers\nmoved to Buenos Aires. The Hartrotts moved to Berlin as soon as Karl", "Peace! . . . A few days afterward Desnoyers recalled bitterly the old\nman's illusion, for war--domestic war--broke loose in this idyllic\nstage-setting of ranch life.", "When Desnoyers made a trip to Buenos Aires a few days afterward, the\ncause of the old man's wrath was explained. It appeared that for some", "Desnoyers made a gesture of astonishment. War! . . . What war? . . .\nLike all the others, he had read on the news bulletin outside", "She hesitated in her response, not wishing to exasperate Desnoyers any\nfurther. But the truth was uppermost in her mind, and she said simply:", "\"For this reason I have come to bid you good-bye,\" said Desnoyers\nhaughtily. \"I know that my love is absurd, and I wish to leave.\"", "They stared at one another for a long while, as though hypnotized with\nsurprise. She looked alarmed when Desnoyers advanced a step toward her.", "\"They are talking about the war,\" said Desnoyers to himself. \"At this\ntime, all Paris speaks of nothing but the possibility of war.\"", "Desnoyers accepted this rebellion coldly. \"It appears just to me. You\nare now of age!\" Then he promptly reduced to extremes his oversight", "While he tolerated this blond brood, he never would permit the slightest\nintimacy. Desnoyers and his wife often had to come to their rescue,", "Desnoyers listened without taking it in. One thought only was occupying\nhis mind. . . . That man that he had supposed just, that sentimentalist", "husband's country because she always considered family ties of more\nimportance than the rivalries of nations. Just because Desnoyers\nhappened to be a Frenchman and Karl a German, she was not going to", "His family was right. \"To Paris!\" For in the Desnoyers' mind, to go to\nEurope meant, of course, to go to Paris. Let the \"aunt from Berlin\" keep", "Desnoyers protested crossly. Go away? . . . Paris had become a shrunken\nplace for them nowadays because Marguerite refused to go to a single" ], [ "Desnoyers could not but think of the loss of life that this must\nrepresent. Julio's fate, however, gave him no uneasiness, for his son", "Julio was the only one who would have prolonged the family, passing\non the name. The Desnoyers had died; his daughter's children would be\nLacour. . . . All was ended.", "When Julio Desnoyers was two years old, his grandfather made the rounds\nof his estates, holding him on the saddle in front of him. He went from", "Desnoyers could hardly keep from laughing at his simplicity. To wait\ntill the end of the war to know who was to blame! . . . And if the", "When Desnoyers made a trip to Buenos Aires a few days afterward, the\ncause of the old man's wrath was explained. It appeared that for some", "exterior of one who has just lost much in weight. Desnoyers surmised\nthat the man had formerly lived in tranquil and vulgar sensuousness, in\na middle-class happiness suddenly cut short by war.", "Desnoyers made a gesture of astonishment. War! . . . What war? . . .\nLike all the others, he had read on the news bulletin outside", "Julio listened to her with astonishment. Was this woman really\nMarguerite? . . . War was obliterating all her winning vanities. She was", "authority of Don Marcelo Desnoyers. \"Oh, that old man!\" exclaimed Julio,\nreferring to his father. \"He may live many years yet, but how he weighs\nupon us all!\"", "Julio had died, and he was going to die, too, not having strength to\nsurvive his bitter woe; but how many hundreds of the enemy wasting in", "At this time began to develop the most important event in Julio's\nexistence. The Desnoyers family was to be united with that of Senator", "And settling back into the motor-car, Desnoyers saw the horrors of the\nbattle field flying past at a dizzying speed and disappearing behind\nhim. He was rolling toward human life . . . he was returning to\ncivilization!", "They were to have met in the garden of the Chapelle Expiatoire at five\no'clock in the afternoon, but Julio Desnoyers with the impatience of a", "\"They are talking about the war,\" said Desnoyers to himself. \"At this\ntime, all Paris speaks of nothing but the possibility of war.\"", "At the end of October, the Desnoyers family returned to Paris. Dona\nLuisa could no longer live in Biarritz, so far from her husband. In vain", "Desnoyers family should return their visit. This change of environment\nmight tone Julio down a little. Perhaps his ambition might waken on", "Four months later, Don Marcelo's confidence received a rude shock. Julio\nwas wounded. But at the same time that Lacour bought him this news,", "with the most discreet allusions. The painter described Julio's life\nbefore the war as an existence dedicated completely to art. The father\nignored the inexactitude of such words, and gratefully accepted the lie", "The morning after the return of Julio Desnoyers, while Argensola was\ntalking on the stairway with Tchernoff, the bell rang. How annoying! The", "But Julio had not gone to Biarritz to live with his family. . . . The\nvery day of his arrival, he saw Marguerite's mother in the distance. She" ], [ "Don Marcelo had had dreams of other things for his daughter--a grand\nwedding to which the daily papers would devote much space, a son-in-law", "And Don Marcelo had to concentrate all his efforts in making his\ndaughter give up this dolorous insistence which made her exact an", "Don Marcelo.", "Don Marcelo clasped his hand like an old comrade. All of his son's\nfriends were his friends. He knew the life that young men lived.", "A nearer trouble shook his peace of mind. When he returned to his home\none evening, he found Dona Luisa with a terrified aspect holding her\nhands to her head.\n\n\"The daughter, Marcelo . . . our daughter!\"", "Marcelo's precautions, and the family was now living in generous\nunconcern. The mother, like other house mistresses, had stored up", "Don Marcelo's indignation took another bound when his wife repeated to\nhim the news from her sister. All a lie! . . . The war was progressing", "Marcelo cut her pleadings short. He would remain. Then the poor senora\nran to the rue de la Pompe. Her son! . . . Julio scarcely listened to", "Don Marcelo did not need to ask anything further; he dreaded to know the\ntruth. Nevertheless, he asked after her husband. Now that he was awake", "and anxious wife. \"They are going to come, Marcelo; my heart tells\nme so. The girl! . . . the girl!\" She was accepting blindly all the", "Now that his daughter was already a woman, he had confided her\nabsolutely to the care of Dona Luisa. But the former \"Peoncito\" was not", "Don Marcelo was at last alone. The two coppery maids had followed by\nrail the flight of their mistresses. At first the old man felt a little", "One evening as Don Marcelo was accompanying his son down the Champs\nElysees, he started at recognizing a lady approaching from the opposite", "One especially engrossing matter was increasing her sadness. Her sons.\n. . . What would become of her sons! Don Marcelo had never told her of", "As soon as he was able to get out Don Marcelo looked inquiringly at the\nwoman with her bloodshot eyes, dishevelled hair and sorrow-drawn face.", "Don Marcelo's letters, opposed an adamantine will to all contrary\nsuggestions. Besides, she was thinking of her son, her Julio, now a", "Luisa, the elder daughter, called Chicha, in the South American fashion,\nwas much more respected by her father. \"She is my poor China right over", "behind them, pallid with surprise, and fixing her gaze earnestly on the\nsoldier who was separating himself from her. Don Marcelo read in her", "After greetings had been exchanged, Rene paid more attention to Don\nMarcelo than to his father, because he reminded him of Chichi. He", "Don Marcelo stood rooted to the ground. Shot! . . . and after the\nGeneral's pardon! . . . Suddenly he ran back to the castle, hardly" ], [ "At the end of October, the Desnoyers family returned to Paris. Dona\nLuisa could no longer live in Biarritz, so far from her husband. In vain", "The Desnoyers family were on the way to carry out their long-cherished\nhope.\n\nUpon recovering consciousness after the fatal news, the father had\nconcentrated all his will power in one petition.", "Young Desnoyers renewed his Parisian existence, living entirely in the\nstudio and going less and less to his father's home. Dona Luisa began to", "Desnoyers family should return their visit. This change of environment\nmight tone Julio down a little. Perhaps his ambition might waken on", "Desnoyers no longer cared to live in the country. For twenty years,\nnow, he had been the head of an enormous agricultural and stock raising", "Desnoyers explained that he was the owner of the castle. \"French?\"\ncontinued the lieutenant. \"Yes, French.\" . . . The official scowled in", "His family was right. \"To Paris!\" For in the Desnoyers' mind, to go to\nEurope meant, of course, to go to Paris. Let the \"aunt from Berlin\" keep", "Desnoyers had been to his father's home before starting for the Chapelle\nExpiatoire. A stealthy entrance into the great house on the avenue", "Desnoyers protested crossly. Go away? . . . Paris had become a shrunken\nplace for them nowadays because Marguerite refused to go to a single", "Desnoyers.", "sought shelter on the hospitable strand of Paris. Their cheers had no\nspecial significance, but they were all moved by their desire to show\ntheir love for the Republic. And Desnoyers, touched by the sight,", "Desnoyers assented. It was so; they were no longer fashionable. None\nknew that better than he, for he who was once the sensation of the day,", "was Desnoyers. Just as she was imagining that she had reorganized\nher existence--adjusting the satisfactions of worldly elegance to the", "And settling back into the motor-car, Desnoyers saw the horrors of the\nbattle field flying past at a dizzying speed and disappearing behind\nhim. He was rolling toward human life . . . he was returning to\ncivilization!", "They were there four months. In a little while Desnoyers felt ready to\nretreat. Each to his own kind; he would never be able to understand", "When his comrade told him that night about the transfer of the seat of\ngovernment, with all the mystery of news not yet made public, Desnoyers\nmerely replied:", "When Desnoyers made a trip to Buenos Aires a few days afterward, the\ncause of the old man's wrath was explained. It appeared that for some", "Desnoyers felt satisfied with the stand he had taken. To follow the\nfamily would be sheer cowardice. The memory of his youthful flight to", "In 1870 Marcelo Desnoyers was nineteen years old. He was born in the\nsuburbs of Paris, an only child; his father, interested in little", "her mother's body for the last time, and Desnoyers who for more than\na year had been supporting them behind his father-in-law's back, took" ], [ "Desnoyers could not but think of the loss of life that this must\nrepresent. Julio's fate, however, gave him no uneasiness, for his son", "Desnoyers. \"An excellent soldier,\" he said. \"He will be sent for\nimmediately, Senator Lacour. . . . He is on duty now with his section in\nthe first line trenches.\"", "When Julio Desnoyers was two years old, his grandfather made the rounds\nof his estates, holding him on the saddle in front of him. He went from", "Desnoyers could not but admire the resolution with which the great man\nmade his exit from the shelter, exactly as if he were going to march\nagainst the foe.", "As Desnoyers contemplated him, he felt both admiration and jealousy. He\nwas ashamed to admit the aversion inspired by the wounded man, so sorely", "His wife admired him with enthusiasm as \"the most gifted knight in the\nworld.\" And Desnoyers received their devotion in gratified silence,\naccepting the German as an excellent comrade. As he controlled", "Four months later, Don Marcelo's confidence received a rude shock. Julio\nwas wounded. But at the same time that Lacour bought him this news,", "Desnoyers, know something about what that means. . . . His chiefs know\nhow to appreciate him.\" . . .", "toward Desnoyers, praising him as \"a very worthy man, but without\nancient lineage or distinguished family--and French, besides.\"", "authority of Don Marcelo Desnoyers. \"Oh, that old man!\" exclaimed Julio,\nreferring to his father. \"He may live many years yet, but how he weighs\nupon us all!\"", "Her eyes, with an irresistible desire for comparison, sought Julio's,\nadmiring his youthful grace and distinction. The image of Laurier, heavy", "Julio was the only one who would have prolonged the family, passing\non the name. The Desnoyers had died; his daughter's children would be\nLacour. . . . All was ended.", "The great man moved Desnoyers to pity. He was making such heroic efforts\nto preserve the stoic serenity of ancient days by recalling his glorious", "his comrades by means of the blows from his bayonet and hand to hand\nencounters. Whenever his superior officers needed a reliable man, they\ninvariably said, \"Let Sergeant Desnoyers be called!\"", "lauding the French gaiety which laughs and sings in the presence of\ndanger, while his friend continued brooding about Julio. When would he\never see him?", "When Desnoyers first saw the wounded artilleryman in bed, he had to make\na great effort to keep the tears back. . . . Ay, his son, too, might be", "At this time began to develop the most important event in Julio's\nexistence. The Desnoyers family was to be united with that of Senator", "mere embusques, unworthy of comparison with his Julio. . . . The\nwounded men who got out of the coaches by the aid of staffs and crutches", "duels had brought Desnoyers this renown. It was Glory that put him on\nhis feet.", "with the most discreet allusions. The painter described Julio's life\nbefore the war as an existence dedicated completely to art. The father\nignored the inexactitude of such words, and gratefully accepted the lie" ] ]

[ "What is the profession of Julio Madariaga?", "Marcelo Desonyers can be assumed to be conversant in at least which two languages?", "What are the first names of the Desonyers children?", "What motivates Julio to fight in the war?", "Why does Marcelo choose to defend a German soldier?", "Which side of the war does the Hartrott family fight on?", "What does Marcelo regret about the grandchildren his daughter might have?", "Marcelo's mansion is located in which city?", "Julio was likely named for which of his relatives?", "Where does Marcelo Desonyers travel to at the beginning of the story?", "Who does Marcelo marry?", "Where do Marcelo and his family move to with Julio and ChiChi?", "What married woman does Julio flirt with?", "Who does Marguerite's younger daughter marry?", "Where do the Hartrotts move back to?", "How does Julio die?", "Why does Marcelo defend a German man?", "What will ChiChi's children not have?", "What causes Julio to join the war?", "Who is Julio Madariaga's oldest daughter?", "Who is Julio Desnoyers?", "What happened as the last of the French soldiers try to hold back the German soldiers?", "Where do Marcelo Desnoyers and his future wife meet?", "Why is Marcelo sad while visiting Julio's grave?", "Why are the Desnoyers and Hartrott families against one another at the onset of WWI?", "What happens to Julio Desnoyers at the end of the war?", "What is the name of Marcelo's daughter?", "Where does the Desnoyers family live after moving back to France?", "Why is Julio Desnoyers praised after being wounded?" ]

[ [ "He was the owner of a ranch.", "Rancher" ], [ "French and Spanish.", "French and Spanish. " ], [ "Julio and Chichi.", "Julio and ChiChi" ], [ "He is motivated by the attention which his married love interest shows to her wounded husband.", "When Marguerite was wounded in the battle" ], [ "Because the German soldier had earlier spared his life.", "Because he spared Marcelo's life." ], [ "The German side.", "Germany's" ], [ "He regrets that they will not bear his family name.", "They will not bear the Desnoyers name." ], [ "Paris, France.", "Paris" ], [ "His maternal grandfather.", "His grandfather Julio Madariaga" ], [ "Argentina", "Argentina" ], [ "The elder daughter of Julio Madariaga", "The oldest daughter of Julio Madariaga." ], [ "Paris France", "France" ], [ "Marguerite Laurier", "Marguerite Laurier " ], [ "Karl Hartrott", "Marcelo Desonyers" ], [ "Germany", "Germany." ], [ "In war", "He is killed in battle." ], [ "He spared his life earlier", "He had earlier spared his life." ], [ "The name Desnoyers", "the name \"Desnoyers\"" ], [ "Marguerites attention to her wounded husband", "Jelousy of his lover's husband, who has been wounded in battle. " ], [ "She is the wife of Marcelo Desonyers.", "Marcelo's wife" ], [ "The son of Marcelo Desnoyers and his wife.", "The son of Marcelo Desnoyers." ], [ "Marcelo defended a German man who had earlier spared his life.", "Marcelo defends a German man who had saved him." ], [ "In Argentina.", "Argenitina " ], [ "Because his grandchildren will not carry on the Desnoyers family name.", "His family name will no got on." ], [ "Because Karl Hartott is German and moved back to Germany.", "They support different sides of the war." ], [ "He is killed in battle.", "He dies in battle." ], [ "Chichi.", "Chichi" ], [ "A mansion in Paris.", "Live a mansion in Paris" ], [ "For his valor.", "For his valour." ] ]

[ [ "HEDRA\n I got terrible nicknames growing up, which I'm not telling\n you.\n\n ALLISON\n Not Hedy ? Like Hedy Lamarr ? That's exotic.", "HEDRA\n I know. I was you.\n\nShe points her gloved finger to Allison, and then looks at herself\nin the mirror.\n HEDRA\n Who is this Hedy anyway ?", "ALLISON (voice over)\n Hedy, are you all right ?\n\n HEDRA\n I can't hear you.", "ALLISON (voice over)\n Hedy ?\n\nHedra enters the bathroom and closes the door behind her.", "SAM (voice over on the phone)\n Allie ?\n HEDRA\n No, it's Hedy.\n\nHOTEL ATHERTON - A BEDROOM - INTERIOR NIGHT", "HEDRA\n Who are you ?\n\n MITCHELL\n Mitchell Myerson.\n\nHedra turns around to face Mitchell.", "ALLISON\n Oh, Hedy.\n HEDRA\n It'll be fine, come on.\n\nThey enter the shop.", "ALLISON\n Hedy ?... Hedy ?", "ALLISON\n Oh !... That's Hedy. I really freaked her out about people\n knowing she's living in the building. I would've had you\n down to meet her... but she's shy.", "ALLISON (voice over)\n Hedy, we really have to talk.\n\n HEDRA (voice over)\n Allie, please, I have a surprise for you.", "We hear several knocks on the door. Hedra doesn't react at all.\n\n ALLISON (voice over)\n Hedy ?\n\nHedra answers without moving her head.", "ALLISON\n Hello, Mr. Besch, you don't know me, my name is Allison\n Jones. I think my room-mate Hedra is your daughter. Ellen.", "ALLISON\n Hedy ?\n\nShe walks around the hall, looking in all the rooms.\n\n ALLISON\n Hedy ?", "HEDRA\n Really ? Well, that's great... Well, good luck.\nWe can see, by her expression, that Hedra is not very happy about\nwhat she just heard, but she keeps a smiling face.", "HEDRA\n You knew it was me. Come on ! You knew and you didn't care.\n Well, I think she should know that.", "HEDRA\n I am... Well, I was supposed to be a twin, but she was\n stillborn.\n\n ALLISON\n Oh, that's so sad.", "HEDRA\n Oh, I'm Hedra Carlson. We spoke on the phone this morning.\n\nShe looks at Allison's face, where we still can see she's been\ncrying.", "ALLISON\n Hedy, it'll never work. Besides ... people have seen you.\n We just can't tell. We'll go to a lawyer or a doctor and\n they'll explain it to the police, or something.", "ALLISON\n No, Hedy, I didn't mean for you to move out today.\n\nHedra looks around the room.", "HEDRA\n Well... his name's Buddy. I had a dog named Buddy when I\n was little." ], [ "and crosses the room to a table, where a man, who was sitting\nalone, stands up when she comes to him. The man is Mitchell\nMyerson, Allison's appointment.", "MITCHELL\n No, no, it's worth the wait.\n\n ALLISON\n Thank you.\n\nThey sit down. The man takes his glass.", "MITCHELL\n Ah !... The quote... That's the one thing I haven't seen.\n\n ALLISON\n Best for last.", "MITCHELL\n Well, I've got to admit, I'm very impressed.\n\n ALLISON\n Well, maybe you start spreading the word.", "Allison looks anxiously at the scene, but, from her lying position\non the carpet, doesn't see everything.\n\nMitchell puts the gun inside his belt and kneels down to untie\nAllison.", "MITCHELL (voice over)\n Huh-huh.\n\nBack to Allison typing. Mitchell's head is just behind hers.", "He grabs her from behind and squeezes her in his arms.\n\n ALLISON\n Mitch...\n\n MITCHELL\n Hey, look...", "ALLISON\n Hi !\n\n MITCHELL\n Hi !\n\n ALLISON\n I'm sorry, I'm a little late.\nThey shake hands.", "MITCHELL\n I'll set it up, I'll set it up. Maybe I... I'll call you\n tonight after I check on some things.\n ALLISON\n Great.", "ALLISON\n Where is she ?\n\n MITCHELL\n Don't worry about her, I took care of her.", "MITCHELL\n That's just that you're so tight.\n ALLISON\n Mitch, please, don't. That's enough.", "ALLISON\n Well... Block up some time for me next week. Then... it's\n just a little late tonight.\n\nMitchell kneels down on the floor.", "MITCHELL\n I look forward to it.\n\nThey shake hands.\n\nALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY", "He points to what he wrote on the document Allison is still\nholding.\n\n MITCHELL\n But that is the only way to prove it.", "Allison turns to him, and seems not to like his strange smile.\n\n ALLISON\n Well, I hope you're satisfied with what I've done.", "MITCHELL\n ...in 24 hours of the rest of your data will be\n irretrievably lost. This payment policing program is\n installed on all of Allison Jones software.\"\nMitchell jumps up.", "MITCHELL\n Top her ?\n\n ALLISON\n What are you doing ?", "Hedra enters the room, pointing her gun towards Mitchell.\n\n HEDRA\n Get off of her.\n\nMitchell, still kneeling down across Allison's body, turns around.", "MITCHELL\n No, no, please, don't embarrass yourself. That's my final\n offer. Now, of course, if you would like to think about\n it...", "ALLISON\n It's easier this way, believe me. And this could be nice.\n\nThey walk away toward the exit of the apartment. The agent remains\nstanding on the same spot." ], [ "ALLISON (voice over)\n Hedy's parents said that for years they'd tried to explain\n her that her sister's death wasn't her fault.", "HEDRA\n I am... Well, I was supposed to be a twin, but she was\n stillborn.\n\n ALLISON\n Oh, that's so sad.", "Hedra slowly falls on the floor, where she remains motionless.\n\nAllison looks down at her, trying to catch her breath back.\n\nShe kneels down to close Hedra's eyelids.", "ALLISON\n I'm not like your sister, Hedy. Not any more. I'm like you\n now.\n\nClose up on the barrel of the gun.", "ALLISON (voice over)\n Hedy ?\n\nHedra enters the bathroom and closes the door behind her.", "ALLISON (voice over)\n Hedy, are you all right ?\n\n HEDRA\n I can't hear you.", "Allison points the gun towards Hedra and presses the trigger\nseveral times. But nothing happens : there are no more cartridge\nin the chamber of the gun.", "We hear several knocks on the door. Hedra doesn't react at all.\n\n ALLISON (voice over)\n Hedy ?\n\nHedra answers without moving her head.", "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "She eventually finds her in the living room, vigorously cleaning\nthe mantlepiece. Hedra is wearing a long plain gray dress and red\nrubber gloves. Allison remains at the door of the room.", "Allison pulls a little harder, and Hedra's hands are squeezed by\nthe door. She screams. Allison lets go of Hedra's legs to close\nthe door shut.", "Graham's first sentence is actually heard in voice over the\nprevious sequence.\n\n GRAHAM\n Ready to kill her yet ?\n\n ALLISON\n Who, Hedy ?", "HEDRA\n Just like that stupid girl in Tampa. She called my parents,\n too. Told them all my secrets.\n\nShe comes behind Allison and pulls her hair to tilt her head back.", "Close up on Hedra's collection of photographs, lying near the\nshoebox where she used to stock them. In the forefront, the black\nand white picture of Hedra and her twin sister holding a dog\nbetween them.", "Hedra watches Allison's face intently. Then, when she realizes\nthat Allison is unconscious, she bends down and kisses her on the", "HEDRA\n I know. I was you.\n\nShe points her gloved finger to Allison, and then looks at herself\nin the mirror.\n HEDRA\n Who is this Hedy anyway ?", "Allison opens the door and goes out.\n\n HEDRA\n Yeah.\n\nAllison closes the door behind her.", "She slams the drawer shut, and opens another one.\n HEDRA\n You know, it was an accident. But he deserved it.\n\nShe claps her hands.", "Slowly, Hedra puts the black gloves on her hands.\n\n HEDRA\n You know Sam's dead, don't you ?\n\nAllison turns around to face Hedra.", "HEDRA\n Could you care of her ? You were off on a business trip or\n screwing someone.\n\n SAM\n She never said a word to me about that." ], [ "SAM (sleepy voice)\n Allie, Allie... what are you doing ?\nHedra goes down Sam's body, still kissing him. When she gets", "ALLISON\n All right, Hedy, he's fine.\n (in a much lower voice, for Sam's ears only)\n Poor guy's doesn't who's who anymore.", "Hedra raises her head from Sam's private parts.\n\n HEDRA\n No, not Allie.", "HEDRA\n Just for a little while, okay. Sam will call back if it's\n busy.\n\nHedra hugs Allison.\n HEDRA\n I'm sorry, Allie.", "Hedra watches Allison's face intently. Then, when she realizes\nthat Allison is unconscious, she bends down and kisses her on the", "SAM (voice over on the phone)\n Allie ?\n HEDRA\n No, it's Hedy.\n\nHOTEL ATHERTON - A BEDROOM - INTERIOR NIGHT", "ALLISON\n Oh, Hedy, I'm not really up for this today.\n\n HEDRA\n What ?\n\nShe puts her hand on Allison's neck.", "HEDRA\n Yeah... Yeah. Just... forget it. So, I guess you've patched\n things up with Sam, huh ?\n\n ALLISON\n Yeah... Yeah, I made him suffer.", "HEDRA\n Only if you let him. But you won't let him, will you ?\n\n ALLISON\n What can I do ?\n\n HEDRA\n Oh, Allie...", "ALLISON (voice over)\n Hedy, are you all right ?\n\n HEDRA\n I can't hear you.", "ALLISON (voice over)\n Hedy ?\n\nHedra enters the bathroom and closes the door behind her.", "HEDRA\n I know. I was you.\n\nShe points her gloved finger to Allison, and then looks at herself\nin the mirror.\n HEDRA\n Who is this Hedy anyway ?", "HEDRA\n Allie, it's Sam.\n\nAllison shakes her head «No».\n\nNEW YORK - A STREET - EXTERIOR DAY", "HEDRA\n Oh well... Well I think I'll turn in. Goodnight, Allie.\n\nShe kisses Allison's cheek.\n\n HEDRA\n Goodnight, Sam.", "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "SAM\n Allie !\n\nHedra walks to the balcony and slowly slides the window down.\n\nFade out.", "Then she moves up in the bed, her head finally resting near Sam's\none. Sam is breathing very hard. Hedra strokes him on the chest,\nand kisses his cheek.", "She takes her night-robe off. Allison seems embarrassed to see her\nnaked. She turns her eyes away from her.\n\n HEDRA\n Go ahead. Share and share alike.", "ALLISON\n No, there's nothing to talk about anyway. Sam, there's\n somebody here right now...\n\nWe see Hedra's face peeking through the door of her bedroom.", "She tears the tape off Allison's mouth.\n\n ALLISON\n Please...\n\n HEDRA\n No." ], [ "Allison screams : she's been shot in the left shoulder. Hedra\nshoots again, but Allison hides behind the corner of the wall of\nthe hall.\n\nHedra gets up to run after Allison.", "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "Allison rushes towards them, grabs Hedra by her feet, and pulls\nher towards the front door. Hedra, still lying on her stomach\nwhile being pulled away by Allison, still tries desperately to\npoint her gun towards Graham.", "GRAHAM (voice over from inside the apartment)\n All right.\nAllison runs away towards the elevator. Hedra, still lying on the\nfloor, raises her gun towards Allison and shoots.", "Allison points the gun towards Hedra and presses the trigger\nseveral times. But nothing happens : there are no more cartridge\nin the chamber of the gun.", "Hedra seems very nervous. While Allison is unlocking the door, she\nkeeps looking around her and pressing Allison's back with her gun.\n\nAllison opens the door, and enters the apartment, followed by\nHedra.", "Allison pulls a little harder, and Hedra's hands are squeezed by\nthe door. She screams. Allison lets go of Hedra's legs to close\nthe door shut.", "Hedra rushes into the corridor, pointing her gun at Allison.\n\n HEDRA\n Allie !", "Then the two girls start fighting for the gun. Allison slams\nHedra's hand on a mirror hanging on the wall. The glass of the\nmirror breaks into small pieces, but Hedra doesn't drop the gun.", "Allison is peeking from behind a corner of the corridor.\n\nReverse angle shot showing what Allison sees. We - and she - see\nthe incinerator room with Hedra banging her hook on the\nventilation system.", "Close up of Allison's hand picking the gun up from the floor.\n\n HEDRA\n No... No... No...\n\nHedra watches the outer door closing slowly.", "Hedra enters the room, pointing her gun towards Mitchell.\n\n HEDRA\n Get off of her.\n\nMitchell, still kneeling down across Allison's body, turns around.", "her head very hard against the wall. Allison pulls Hedra away from\nher. Hedra hits the wall on the other side of the cabin, and falls", "Allison is going down the stairs. She opens a service door, and,\nhidden by this door, watches Hedra waiting for the elevator.\nAllison rushes back to the staircase.", "Hedra screams and drops her gun on the cabin floor. Allison closes\nthe inner door shut.", "Hedra comes back into the incinerator room. Just above the open\ndoor of the incinerator, there is a big ventilation metal box,\nsimilar to the one Allison is hiding in.", "Allison at the desk seen from behind. Suddenly we hear the noise\nof a plug being pulled off from its socket. The computer screen\nbecomes all black and Allison turns quickly around. Hedra is\npointing her gun at her.", "Allison opens the door and goes out.\n\n HEDRA\n Yeah.\n\nAllison closes the door behind her.", "We hear her crying in the next room. Allison turns her head\nslightly towards her.\n\nClose up on Allison's face. We hear Hedra screaming and breaking\nthings. Allison seems terrified.", "She takes Allison by the hand and drags her to the door of the\nshop.\n\n HEDRA\n Let's go.\n\nAllison tries to resist Hedra." ], [ "ALLISON\n No, Sam.\n SAM (voice over on the phone)\n Why not ?... Why not ?...\n\n ALLISON\n No, it's not a good time.", "SAM\n Yeah ?... No... Because... I'm hanging up now.\n\nHe puts the handset back on the telephone set, which Allison had\nput on the bed.", "As the camera comes back forward, we hear two voices speaking, one\nmale, one female. They are the voices of Allison «Allie» Jones and\nher fiancé Sam Rawson.", "Allison puts the phone back on its hook on the wall. She sits down\non the floor crying, and still holding Sam's picture. She crumples\nthe picture into a small tight ball.", "She goes into his arms. He hugs her. She start crying.\n\n ALLISON\n You really hurt me, Sam.\n\n SAM\n Shhh !", "SAM\n Forget the letter. I love you. I can't exist without you.\n I have no excuse for what I did, Allie. You have to give me\n a second chance.", "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "We see Sam sleeping and lying on his back, half-covered by the\nsheet. Allison looks at him and sighs.\n\nWe hear some strange noises. Allison gets up and off the bed.", "SAM\n No.\n\nShe starts moving out of the bed.\n\n ALLISON\n I'll be right back, okay.", "SAM (voice over)\n I didn't go over there intending to sleep with her, Allie.\n I swear to God.", "ALLISON (crying)\n You couldn't have him !\n\nShe falls down, sitting on the floor and crying.\n\n ALLISON\n Why ?... Why ?", "Allison is lying in her bed with the sheet up to her neck. Sam\nbends over her and gives her a light tender kiss on the lips. Then", "ALLISON (voice over)\n So every day, I try to forgive Hedy for Sam.\n\nAllison puts the lid back on the shoebox.", "Allison stops in front of the window. The window is open and the\nbroken piece of wrought iron, on which Sam was working earlier in", "ALLISON\n No, that's not it at all. You've been a good room-mate.\n It's just... This is the man I'm going to marry. I want us\n to start our lives together.", "HEDRA\n Just for a little while, okay. Sam will call back if it's\n busy.\n\nHedra hugs Allison.\n HEDRA\n I'm sorry, Allie.", "HEDRA\n Yeah... Yeah. Just... forget it. So, I guess you've patched\n things up with Sam, huh ?\n\n ALLISON\n Yeah... Yeah, I made him suffer.", "Hedra raises her head from Sam's private parts.\n\n HEDRA\n No, not Allie.", "Allison is standing up in the dark, not moving. We hear Sam's\nvoice, partly from the bedroom, and partly from the answering\nmachine, which gives the voice a sort of echo effect.", "SAM\n So, if I got to be able to drag you away from computer\n tomorrow, I'll buy you that ring.\n\n ALLISON\n Sure. So, is this gonna be a real wedding ?" ], [ "ALLISON (screaming and crying)\n He's dead ! Buddy's dead !\n\nSam climbs on the balcony.\n\nClose up on the gap in the balustrade.", "HEDRA\n Of course, Sam's away. I didn't want to say anything... How\n he could go on that trip the day after Buddy died.", "Reverse angle shot showing what the woman sees from her balcony.\nBuddy, the puppy dog, is lying motionless on the pavement, with a", "We hear the muffled sound of a gun shot. Then a scream from\nAllison and another gunshot.\n\nThe camera moves closer to Graham's face. He has a large bloody\nbump on his forehead.", "HEDRA\n Well... his name's Buddy. I had a dog named Buddy when I\n was little.", "Hedra slowly falls on the floor, where she remains motionless.\n\nAllison looks down at her, trying to catch her breath back.\n\nShe kneels down to close Hedra's eyelids.", "Graham is lying in the empty bathtub, with his cat sleeping on his\nright shoulder. There are a few traces of blood on the side of the\nbathtub.", "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "ALLISON (crying)\n You couldn't have him !\n\nShe falls down, sitting on the floor and crying.\n\n ALLISON\n Why ?... Why ?", "HEDRA\n Buddy, come here.\n\nShe taps her hand on the floor.\n\n HEDRA\n Come here, sweetie.", "Allison points the gun towards Hedra and presses the trigger\nseveral times. But nothing happens : there are no more cartridge\nin the chamber of the gun.", "HEDRA\n I've been waiting since six o'clock last night to hear from\n you. I'm worried sick. Buddy was crying. I thought I might\n as well come in here, so it calm down.", "Allison rushes towards them, grabs Hedra by her feet, and pulls\nher towards the front door. Hedra, still lying on her stomach\nwhile being pulled away by Allison, still tries desperately to\npoint her gun towards Graham.", "Close up on a rat scuttling away from the noise.\n\nClose up on Allie hidden in a big metal box, near the ceiling of\nthe basement. This metal box is obviously a part of the\nventilation system.", "Reverse angle shot of the fan spinning on the ceiling.\n\nFade-out.", "ALLISON (voice over)\n Then I try to do what she couldn't... Forgive myself.\n\nThe camera moves slowly away from the shoebox to a last photograph\nhidden underneath some wrapping plastic material.", "eye, and, behind the eye, certainly enters his skull and his\nbrain, because, instantly after the blow, Sam falls heavily on his\nback on the floor, where he remains motionless and unconscious.", "GRAHAM (voice over from inside the apartment)\n All right.\nAllison runs away towards the elevator. Hedra, still lying on the\nfloor, raises her gun towards Allison and shoots.", "She seems very nervous. The dog keeps on yapping at the door.\n HEDRA\n Buddy, come !\n\nShe taps her hand on the floor in a more and more nervous way.", "We see Allison's hands taking the pictures one by one.\n\n ALLISON (voice over)\n But she never forgave herself for surviving." ], [ "ALLISON (voice over)\n Hedy's parents said that for years they'd tried to explain\n her that her sister's death wasn't her fault.", "Hedra slowly falls on the floor, where she remains motionless.\n\nAllison looks down at her, trying to catch her breath back.\n\nShe kneels down to close Hedra's eyelids.", "ALLISON (voice over)\n Hedy, are you all right ?\n\n HEDRA\n I can't hear you.", "ALLISON\n Oh, Hedy.\n HEDRA\n It'll be fine, come on.\n\nThey enter the shop.", "ALLISON (voice over)\n Hedy ?\n\nHedra enters the bathroom and closes the door behind her.", "HEDRA\n I know. I was you.\n\nShe points her gloved finger to Allison, and then looks at herself\nin the mirror.\n HEDRA\n Who is this Hedy anyway ?", "Hedra watches Allison's face intently. Then, when she realizes\nthat Allison is unconscious, she bends down and kisses her on the", "HEDRA\n It's me. I interrupted you when I called you in for\n breakfast. And Allie, it's my fault.\n\nShe starts crying.\nAllison rushes out the room.", "ALLISON (voice over)\n Hedy, we really have to talk.\n\n HEDRA (voice over)\n Allie, please, I have a surprise for you.", "ALLISON\n But... but you shouldn't run. That'll only make it worse. I\n know you weren't yourself when you did this, Hedy.\n\nHedra laughs.", "Allison points the gun towards Hedra and presses the trigger\nseveral times. But nothing happens : there are no more cartridge\nin the chamber of the gun.", "Hedra kneels down in front of Allison. She bends down to rest her\nface on Allison's lap, and starts crying. Allison moves her hand\nas far as she can and strokes Hedra's hair.", "HEDRA\n No, Allie, don't turn this around. You're the victim. He\n should pay for this.\n\nShe kneels on the floor in front of Allison.", "ALLISON\n Oh !... That's Hedy. I really freaked her out about people\n knowing she's living in the building. I would've had you\n down to meet her... but she's shy.", "HEDRA\n Only if you let him. But you won't let him, will you ?\n\n ALLISON\n What can I do ?\n\n HEDRA\n Oh, Allie...", "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "ALLISON\n No, no, wait a little. You'll find someone, Hedy. I mean,\n God, if I can...\n\nHedra is standing in the doorway and points to the mirror.", "Allison is going down the stairs. She opens a service door, and,\nhidden by this door, watches Hedra waiting for the elevator.\nAllison rushes back to the staircase.", "ALLISON (voice over)\n So every day, I try to forgive Hedy for Sam.\n\nAllison puts the lid back on the shoebox.", "ALLISON\n Oh, Hedy, I'm not really up for this today.\n\n HEDRA\n What ?\n\nShe puts her hand on Allison's neck." ], [ "ALLISON (voice over)\n Hedy, are you all right ?\n\n HEDRA\n I can't hear you.", "ALLISON (voice over)\n Hedy ?\n\nHedra enters the bathroom and closes the door behind her.", "HEDRA\n I am... Well, I was supposed to be a twin, but she was\n stillborn.\n\n ALLISON\n Oh, that's so sad.", "HEDRA\n I grew up like a part of me was missing.\n\nShe turns around sees the new lampshade.\n\n HEDRA\n Allie ! God !", "ALLISON (voice over)\n Hedy's parents said that for years they'd tried to explain\n her that her sister's death wasn't her fault.", "ALLISON\n No, no, wait a little. You'll find someone, Hedy. I mean,\n God, if I can...\n\nHedra is standing in the doorway and points to the mirror.", "HEDRA\n I know. I was you.\n\nShe points her gloved finger to Allison, and then looks at herself\nin the mirror.\n HEDRA\n Who is this Hedy anyway ?", "ALLISON\n No, there's nothing to talk about anyway. Sam, there's\n somebody here right now...\n\nWe see Hedra's face peeking through the door of her bedroom.", "ALLISON\n All right ?... Okay... Bye.\n\nShe puts the phone down. Hedra is still peeking behind her bedroom\ndoor.", "ALLISON\n Oh, Hedy, I'm not really up for this today.\n\n HEDRA\n What ?\n\nShe puts her hand on Allison's neck.", "ALLISON (voice over)\n Hedy, we really have to talk.\n\n HEDRA (voice over)\n Allie, please, I have a surprise for you.", "Hedra kneels down in front of Allison. She bends down to rest her\nface on Allison's lap, and starts crying. Allison moves her hand\nas far as she can and strokes Hedra's hair.", "Allison opens the door and goes out.\n\n HEDRA\n Yeah.\n\nAllison closes the door behind her.", "ALLISON\n Hedy ?\n\nShe walks around the hall, looking in all the rooms.\n\n ALLISON\n Hedy ?", "We hear several knocks on the door. Hedra doesn't react at all.\n\n ALLISON (voice over)\n Hedy ?\n\nHedra answers without moving her head.", "We hear her crying in the next room. Allison turns her head\nslightly towards her.\n\nClose up on Allison's face. We hear Hedra screaming and breaking\nthings. Allison seems terrified.", "ALLISON\n We can have breakfast when you get back.\n\nHedra walks out of the apartment. Allison closes the door, but\nremains behind it, lost in her thoughts.", "ALLISON (voice over)\n So every day, I try to forgive Hedy for Sam.\n\nAllison puts the lid back on the shoebox.", "Hedra looks at Allison with a very strange expression on her face.\nShe can see the tears on Allison's face.", "ALLISON\n Oh, Hedy.\n HEDRA\n It'll be fine, come on.\n\nThey enter the shop." ], [ "He keeps on kissing her neck, and puts his hand inside her dress\nto reach her breast. Allison seems to be on the verge of tears.", "Allison, still seated, is now facing him, her face at the level of\nhis crotch. He takes her head to guide it toward his private", "and crosses the room to a table, where a man, who was sitting\nalone, stands up when she comes to him. The man is Mitchell\nMyerson, Allison's appointment.", "HEDRA\n Only if you let him. But you won't let him, will you ?\n\n ALLISON\n What can I do ?\n\n HEDRA\n Oh, Allie...", "parts. Allison looks up at him and then, with both fists and all\nher might, she hits him very hard between his legs. He screams.", "Allison turns to him, and seems not to like his strange smile.\n\n ALLISON\n Well, I hope you're satisfied with what I've done.", "ALLISON\n Yeah. She's my problem. I'll handle it.\n\nShe starts walking again towards the front door. Graham follows\nher.", "HEDRA\n Allie, he came in my mouth. Then he tried to beat the shit\n out of me because I wanted to tell you.", "MITCHELL (voice over)\n What the fuck is going on here ?\n\nHe kneels down and tears the tape off her mouth.\n\n ALLISON\n Be careful, she's crazy.", "ALLISON\n Wait a minute. You lied to me ! If she hadn't called, would\n I have found out ? I think that's really scary, okay ?\n Please, if you want to be nice, just stay away.", "GRAHAM\n Allie, either she's gone by Saturday, or I go to the\n police, okay ?\n\nAllison laughs.\n\n ALLISON\n That was very impressive.", "ALLISON\n Oh, I hope you don't mind. I just... I always wanted to try\n that.\n\n HEDRA\n Oh God, no. anything you want... you want.", "Graham, dressed in a black T-shirt and kaki short pants, enters\nthe room and sits on the bed. He takes Allison's leg through the\nbedcover. Allison stands up with a start.", "Allison rushes towards them, grabs Hedra by her feet, and pulls\nher towards the front door. Hedra, still lying on her stomach\nwhile being pulled away by Allison, still tries desperately to\npoint her gun towards Graham.", "ALLISON\n I know that. I can do it on my own.\n\n GRAHAM\n Absolutely.\n\n ALLISON\n I'll just get a room-mate.", "Allison pulls a little harder, and Hedra's hands are squeezed by\nthe door. She screams. Allison lets go of Hedra's legs to close\nthe door shut.", "Allison is lying on the carpet, completely tied up in duct tape,\nlooking like a human salami. She is gagged by another piece of\ntape. When she sees Mitchell, she starts wriggling and screaming\nthrough her gag.", "Allison looks anxiously at the scene, but, from her lying position\non the carpet, doesn't see everything.\n\nMitchell puts the gun inside his belt and kneels down to untie\nAllison.", "MITCHELL\n That's just that you're so tight.\n ALLISON\n Mitch, please, don't. That's enough.", "He throws the napkin on the floor, and comes back toward Allison\nwith the bottle of Champagne. He puts the bottom of the bottle on\nAllison's bare shoulders. She shivers." ], [ "Slowly, Hedra puts the black gloves on her hands.\n\n HEDRA\n You know Sam's dead, don't you ?\n\nAllison turns around to face Hedra.", "While talking, Hedra slowly slides her hand into the paper bag,\ntakes a pair of black gloves out of the bag and puts the bag down\non the floor.\n\n HEDRA\n You're upset about Sam.", "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "He comes near the bed and bends down to pick up something. Hedra\nrushes on him.\n\n HEDRA\n Sam !\n\nHe pushes her away from him.", "SAM\n But no, don't blame Hedy. It's not her fault, okay.\n\nHedra goes out of the hall into the living room.", "HEDRA\n Of course, Sam's away. I didn't want to say anything... How\n he could go on that trip the day after Buddy died.", "HEDRA\n That's not true.\n\n SAM\n Oh, bullshit !\n\n HEDRA\n Huh-huh.", "HEDRA\n Could you care of her ? You were off on a business trip or\n screwing someone.\n\n SAM\n She never said a word to me about that.", "HEDRA\n She needs me. Who was there for her when her boss almost\n raped her ?\n\n SAM\n What ?", "HEDRA (voice over on the phone)\n Okay.\n\n SAM\n Okay.\n\n HEDRA (voice over on the phone)\n Okay, I'll tell her.", "ALLISON\n No, there's nothing to talk about anyway. Sam, there's\n somebody here right now...\n\nWe see Hedra's face peeking through the door of her bedroom.", "Then she moves up in the bed, her head finally resting near Sam's\none. Sam is breathing very hard. Hedra strokes him on the chest,\nand kisses his cheek.", "She puts the glass on the night table, and kneels on the bed. She\nstart stroking Sam's shoulder.\n\n HEDRA\n I knew it.\n\n SAM\n Knew what ?", "ALLISON (voice over)\n So every day, I try to forgive Hedy for Sam.\n\nAllison puts the lid back on the shoebox.", "Hedra suddenly comes behind him, and strikes him very hard on the\nhead with a statuette. He falls down on the floor. Hedra rushes to", "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "HEDRA\n Yeah... Yeah. Just... forget it. So, I guess you've patched\n things up with Sam, huh ?\n\n ALLISON\n Yeah... Yeah, I made him suffer.", "SAM\n Oh... I just got in from the airport. Is she asleep ?\n\n HEDRA (voice over on the phone)\n Yeah...", "HEDRA\n I tried to let you know.\n\nSam puts the puppy on the floor.\n\n ALLISON\n What are you doing here ? Hedy !", "Hedra raises her head from Sam's private parts.\n\n HEDRA\n No, not Allie." ], [ "ALLISON (screaming and crying)\n He's dead ! Buddy's dead !\n\nSam climbs on the balcony.\n\nClose up on the gap in the balustrade.", "Allison puts the phone back on its hook on the wall. She sits down\non the floor crying, and still holding Sam's picture. She crumples\nthe picture into a small tight ball.", "Allison is standing up in the dark, not moving. We hear Sam's\nvoice, partly from the bedroom, and partly from the answering\nmachine, which gives the voice a sort of echo effect.", "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "She goes into his arms. He hugs her. She start crying.\n\n ALLISON\n You really hurt me, Sam.\n\n SAM\n Shhh !", "We see Sam sleeping and lying on his back, half-covered by the\nsheet. Allison looks at him and sighs.\n\nWe hear some strange noises. Allison gets up and off the bed.", "Slowly, Hedra puts the black gloves on her hands.\n\n HEDRA\n You know Sam's dead, don't you ?\n\nAllison turns around to face Hedra.", "ALLISON (voice over)\n Sam !\n\nWe see Allison's hand looking inside the already opened envelope\nand taking a key-ring out.", "SAM\n Yeah ?... No... Because... I'm hanging up now.\n\nHe puts the handset back on the telephone set, which Allison had\nput on the bed.", "Suddenly, Sam realizes that something may be wrong. He gives an\nanxious look at Hedra.\n\n SAM\n Allie ?", "As the camera comes back forward, we hear two voices speaking, one\nmale, one female. They are the voices of Allison «Allie» Jones and\nher fiancé Sam Rawson.", "ALLISON\n No, there's nothing to talk about anyway. Sam, there's\n somebody here right now...\n\nWe see Hedra's face peeking through the door of her bedroom.", "ALLISON (voice over)\n So every day, I try to forgive Hedy for Sam.\n\nAllison puts the lid back on the shoebox.", "ALLISON\n Sam, it's your ex-wife.\nShe gives the receiver to Sam. Still half-asleep, Sam takes the\nphone.\n\n SAM\n What ?", "Fade to two seconds of black screen. And then we see Sam and\nAllison asleep in the bed. They are naked but covered with the\nsheet.\n\nThe phone rings. Allison wakes up and picks up the phone handset.", "ALLISON\n Is it Sam ?\n\nWe hear a male voice over the phone. We quickly understand it's\nHedra's father.", "SAM (voice over and yelling)\n Allie, Allie, I don't know how you shut that thing off.", "SAM (finishing the sentence he was saying in voice over\n while Allison was opening the door)\n Well, isn't this a thoroughly uninteresting conversation.\n\nHe looks up at Allison entering the room", "SAM (voice over)\n Okay ... goodbye.\n\nALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT", "Allison suddenly realizes that the room number is Sam's one. She\nrushes to the telephone set on the wall near the refrigerator.\n\nALLISON'S APARTMENT - KITCHEN - INTERIOR DAY" ], [ "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "Slowly, Hedra puts the black gloves on her hands.\n\n HEDRA\n You know Sam's dead, don't you ?\n\nAllison turns around to face Hedra.", "Then she moves up in the bed, her head finally resting near Sam's\none. Sam is breathing very hard. Hedra strokes him on the chest,\nand kisses his cheek.", "Hedra suddenly comes behind him, and strikes him very hard on the\nhead with a statuette. He falls down on the floor. Hedra rushes to", "He comes near the bed and bends down to pick up something. Hedra\nrushes on him.\n\n HEDRA\n Sam !\n\nHe pushes her away from him.", "While talking, Hedra slowly slides her hand into the paper bag,\ntakes a pair of black gloves out of the bag and puts the bag down\non the floor.\n\n HEDRA\n You're upset about Sam.", "SAM\n But no, don't blame Hedy. It's not her fault, okay.\n\nHedra goes out of the hall into the living room.", "She puts the glass on the night table, and kneels on the bed. She\nstart stroking Sam's shoulder.\n\n HEDRA\n I knew it.\n\n SAM\n Knew what ?", "HEDRA (voice over on the phone)\n Okay.\n\n SAM\n Okay.\n\n HEDRA (voice over on the phone)\n Okay, I'll tell her.", "SAM (sleepy voice)\n Allie, Allie... what are you doing ?\nHedra goes down Sam's body, still kissing him. When she gets", "HEDRA\n Goodnight, Sam. Sleep well.\n\nShe slowly puts the phone down and plays a little with it.", "Sam is lying on the bed, still dressed in his suit and necktie. He\nis talking on the telephone.\n\n HEDRA (voice over on the phone)\n Where are you ? Where are you ?", "She slides under the sheet of the bed, close to Sam. Sam moans in\nhis sleep. He turns slowly towards Hedra, who starts kissing him\non the chest.", "SAM\n Oh... I just got in from the airport. Is she asleep ?\n\n HEDRA (voice over on the phone)\n Yeah...", "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "HEDRA\n Of course, Sam's away. I didn't want to say anything... How\n he could go on that trip the day after Buddy died.", "HEDRA\n Could you care of her ? You were off on a business trip or\n screwing someone.\n\n SAM\n She never said a word to me about that.", "Allison points the gun towards Hedra and presses the trigger\nseveral times. But nothing happens : there are no more cartridge\nin the chamber of the gun.", "Hedra walks a couple of steps towards the open door and listen to\nthe conversation going on in the living room\n SAM (voice over)", "Graham bangs Hedra's head repeatedly on the floor. Hedra succeeds\nin moving slightly away from him, and try to point her gun toward\nhim.\n\n HEDRA\n I'll kill you !" ], [ "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "HEDRA\n Just for a little while, okay. Sam will call back if it's\n busy.\n\nHedra hugs Allison.\n HEDRA\n I'm sorry, Allie.", "ALLISON\n But... but you shouldn't run. That'll only make it worse. I\n know you weren't yourself when you did this, Hedy.\n\nHedra laughs.", "Suddenly, Sam realizes that something may be wrong. He gives an\nanxious look at Hedra.\n\n SAM\n Allie ?", "ALLISON (voice over)\n So every day, I try to forgive Hedy for Sam.\n\nAllison puts the lid back on the shoebox.", "HEDRA\n Of course, Sam's away. I didn't want to say anything... How\n he could go on that trip the day after Buddy died.", "SAM (sleepy voice)\n Allie, Allie... what are you doing ?\nHedra goes down Sam's body, still kissing him. When she gets", "Slowly, Hedra puts the black gloves on her hands.\n\n HEDRA\n You know Sam's dead, don't you ?\n\nAllison turns around to face Hedra.", "HEDRA\n Yeah... Yeah. Just... forget it. So, I guess you've patched\n things up with Sam, huh ?\n\n ALLISON\n Yeah... Yeah, I made him suffer.", "ALLISON\n No, there's nothing to talk about anyway. Sam, there's\n somebody here right now...\n\nWe see Hedra's face peeking through the door of her bedroom.", "SAM\n Allie !\n\nHedra walks to the balcony and slowly slides the window down.\n\nFade out.", "HEDRA\n Only if you let him. But you won't let him, will you ?\n\n ALLISON\n What can I do ?\n\n HEDRA\n Oh, Allie...", "HEDRA\n Allie, it's Sam.\n\nAllison shakes her head «No».\n\nNEW YORK - A STREET - EXTERIOR DAY", "She gets out of the kitchen. Sam turns his head towards Hedra and\nthen follows Allison.", "She looks back and forth to Allison and Sam, and gets just a «No»\nhead-shake as an answer from Allison.\n\n HEDRA\n Okay.", "HEDRA\n Come on... take them. Come on, Allie, it's nicer this way.\n\n ALLISON\n Okay.", "Allison opens the door and goes out.\n\n HEDRA\n Yeah.\n\nAllison closes the door behind her.", "She takes Allison by the hand and drags her to the door of the\nshop.\n\n HEDRA\n Let's go.\n\nAllison tries to resist Hedra.", "Allison points the gun towards Hedra and presses the trigger\nseveral times. But nothing happens : there are no more cartridge\nin the chamber of the gun.", "ALLISON\n Nothing's happened, Hedy, come on. Look, I'll talk to Sam." ], [ "ALLISON (screaming and crying)\n He's dead ! Buddy's dead !\n\nSam climbs on the balcony.\n\nClose up on the gap in the balustrade.", "Allison puts the phone back on its hook on the wall. She sits down\non the floor crying, and still holding Sam's picture. She crumples\nthe picture into a small tight ball.", "We see Sam sleeping and lying on his back, half-covered by the\nsheet. Allison looks at him and sighs.\n\nWe hear some strange noises. Allison gets up and off the bed.", "ALLISON (voice over)\n So every day, I try to forgive Hedy for Sam.\n\nAllison puts the lid back on the shoebox.", "HEDRA\n Of course, Sam's away. I didn't want to say anything... How\n he could go on that trip the day after Buddy died.", "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "SAM\n Yeah ?... No... Because... I'm hanging up now.\n\nHe puts the handset back on the telephone set, which Allison had\nput on the bed.", "Allison is standing up in the dark, not moving. We hear Sam's\nvoice, partly from the bedroom, and partly from the answering\nmachine, which gives the voice a sort of echo effect.", "Slowly, Hedra puts the black gloves on her hands.\n\n HEDRA\n You know Sam's dead, don't you ?\n\nAllison turns around to face Hedra.", "We see Allison's hands taking the pictures one by one.\n\n ALLISON (voice over)\n But she never forgave herself for surviving.", "ALLISON\n No, there's nothing to talk about anyway. Sam, there's\n somebody here right now...\n\nWe see Hedra's face peeking through the door of her bedroom.", "ALLISON (voice over)\n Graham says that won't bring him back. He says I have to\n start letting go. He's right.", "Suddenly, Sam realizes that something may be wrong. He gives an\nanxious look at Hedra.\n\n SAM\n Allie ?", "ALLISON (voice over)\n Sam !\n\nWe see Allison's hand looking inside the already opened envelope\nand taking a key-ring out.", "ALLISON (voice over)\n Then I try to do what she couldn't... Forgive myself.\n\nThe camera moves slowly away from the shoebox to a last photograph\nhidden underneath some wrapping plastic material.", "ALLISON\n All right, Hedy, he's fine.\n (in a much lower voice, for Sam's ears only)\n Poor guy's doesn't who's who anymore.", "BLACK SCREEN\n\n ALLISON (voice over)\n I cried the whole week of Sam's funeral.", "ALLISON\n Thanks.\n\nSam's crumpled picture falls on the floor from a fold in the\njacket. Hedra picks it up", "SAM\n Well, I sent it with the keys.\n\n ALLISON\n Well, I didn't get those, either. What did it say ?", "Allison stops in front of the window. The window is open and the\nbroken piece of wrought iron, on which Sam was working earlier in" ], [ "Allison looks anxiously at the scene, but, from her lying position\non the carpet, doesn't see everything.\n\nMitchell puts the gun inside his belt and kneels down to untie\nAllison.", "Kneeling on the floor, Allison takes the shoe to look at it more\nclosely. Then she screams and throws it away, knocking the other\nshoe down on the floor.", "on the floor. Allison rushes and falls on Hedra, but Hedra pushes\nher away from her.", "and crosses the room to a table, where a man, who was sitting\nalone, stands up when she comes to him. The man is Mitchell\nMyerson, Allison's appointment.", "Allison rushes towards them, grabs Hedra by her feet, and pulls\nher towards the front door. Hedra, still lying on her stomach\nwhile being pulled away by Allison, still tries desperately to\npoint her gun towards Graham.", "Allison puts the phone back on its hook on the wall. She sits down\non the floor crying, and still holding Sam's picture. She crumples\nthe picture into a small tight ball.", "Allison is going down the stairs. She opens a service door, and,\nhidden by this door, watches Hedra waiting for the elevator.\nAllison rushes back to the staircase.", "She eventually finds her in the living room, vigorously cleaning\nthe mantlepiece. Hedra is wearing a long plain gray dress and red\nrubber gloves. Allison remains at the door of the room.", "We see Sam sleeping and lying on his back, half-covered by the\nsheet. Allison looks at him and sighs.\n\nWe hear some strange noises. Allison gets up and off the bed.", "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "Allison starts tearing the sheets off the bed. Her movements are\nvery nervous. And, eventually, she drops on the sheet-less\nmattress and starts crying.", "Graham rushes out of the bathroom, grabs Hedra by the waist and\nfalls with her on the floor.\n\n ALLISON (voice over)\n Graham !", "Close up of Allison's hand picking the gun up from the floor.\n\n HEDRA\n No... No... No...\n\nHedra watches the outer door closing slowly.", "The outer door of the elevator opens, and, through the vertical\nbars of the inner door, we can see Allison still lying on her back", "She is still kneeling on the floor, crying, when the door opens\nand Hedra enters the room. Allison raises her head to look at\nHedra.", "he stands up. We hear him leaving the room and closing the door.\nAllison turns her head with her eyes still closes.", "She suddenly stops and looks intently at Allison lying on the\nfloor. She grabs a green blanket on a shelf and wraps Allison's\nface in it.", "ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT\n\nAllison is still on the phone.", "Close up on a rat scuttling away from the noise.\n\nClose up on Allie hidden in a big metal box, near the ceiling of\nthe basement. This metal box is obviously a part of the\nventilation system.", "on the floor of the cabin. Hedra opens the inner door, then pulls\nAllison by the legs out of the elevator." ], [ "Allison screams : she's been shot in the left shoulder. Hedra\nshoots again, but Allison hides behind the corner of the wall of\nthe hall.\n\nHedra gets up to run after Allison.", "We hear the muffled sound of a gun shot. Then a scream from\nAllison and another gunshot.\n\nThe camera moves closer to Graham's face. He has a large bloody\nbump on his forehead.", "Allison rushes towards them, grabs Hedra by her feet, and pulls\nher towards the front door. Hedra, still lying on her stomach\nwhile being pulled away by Allison, still tries desperately to\npoint her gun towards Graham.", "doubles up with pain, she strikes him again on the shoulder.\nGraham falls on the floor, and she gives him a final blow on the\nhead, leaving him unconscious on the floor.", "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "But, before he reaches her, she strikes him very hard in the face\nwith her other shoe. The stiletto heel of the shoe enters his left", "Allison points the gun towards Hedra and presses the trigger\nseveral times. But nothing happens : there are no more cartridge\nin the chamber of the gun.", "him and picks up the gun from his belt. She takes a cushion from\nthe back of an armchair, puts the cushion on Mitchell's face and", "Hedra enters slowly in the room, carrying the large paper bag\nwhere she has put the gun.\n\nAllison takes her night shirt off. She is now naked from the waist\nup. But she grabs a sweater and puts it on.", "Then the two girls start fighting for the gun. Allison slams\nHedra's hand on a mirror hanging on the wall. The glass of the\nmirror breaks into small pieces, but Hedra doesn't drop the gun.", "Hedra enters the room, pointing her gun towards Mitchell.\n\n HEDRA\n Get off of her.\n\nMitchell, still kneeling down across Allison's body, turns around.", "Allison at the desk seen from behind. Suddenly we hear the noise\nof a plug being pulled off from its socket. The computer screen\nbecomes all black and Allison turns quickly around. Hedra is\npointing her gun at her.", "Hedra seems very nervous. While Allison is unlocking the door, she\nkeeps looking around her and pressing Allison's back with her gun.\n\nAllison opens the door, and enters the apartment, followed by\nHedra.", "The rat falls on Hedra's shoulder. She screams.\n\nAllison hides back into the ventilation metal box not to be seen\nby Hedra.", "level. And suddenly, he grabs the gun and throws Hedra across the\nroom. She falls on a round table, which breaks under her weight.\nShe remains motionless on the floor.", "She bends down and takes the gun out of the paper bag.\n\n HEDRA\n Why are you making me do this ?\n\nShe snaps a cartridge into the chamber of the gun.", "eye, and, behind the eye, certainly enters his skull and his\nbrain, because, instantly after the blow, Sam falls heavily on his\nback on the floor, where he remains motionless and unconscious.", "GRAHAM (voice over from inside the apartment)\n All right.\nAllison runs away towards the elevator. Hedra, still lying on the\nfloor, raises her gun towards Allison and shoots.", "He puts his other hand on her shoulder. Then he puts the bottle on\nthe table, and starts massaging her shoulders.", "Graham bangs Hedra's head repeatedly on the floor. Hedra succeeds\nin moving slightly away from him, and try to point her gun toward\nhim.\n\n HEDRA\n I'll kill you !" ], [ "ALLISON (voice over)\n Hedy's parents said that for years they'd tried to explain\n her that her sister's death wasn't her fault.", "Hedra slowly falls on the floor, where she remains motionless.\n\nAllison looks down at her, trying to catch her breath back.\n\nShe kneels down to close Hedra's eyelids.", "ALLISON (voice over)\n Hedy, are you all right ?\n\n HEDRA\n I can't hear you.", "ALLISON\n Oh, Hedy.\n HEDRA\n It'll be fine, come on.\n\nThey enter the shop.", "HEDRA\n It's me. I interrupted you when I called you in for\n breakfast. And Allie, it's my fault.\n\nShe starts crying.\nAllison rushes out the room.", "Hedra watches Allison's face intently. Then, when she realizes\nthat Allison is unconscious, she bends down and kisses her on the", "ALLISON (voice over)\n Hedy ?\n\nHedra enters the bathroom and closes the door behind her.", "HEDRA\n I know. I was you.\n\nShe points her gloved finger to Allison, and then looks at herself\nin the mirror.\n HEDRA\n Who is this Hedy anyway ?", "Hedra kneels down in front of Allison. She bends down to rest her\nface on Allison's lap, and starts crying. Allison moves her hand\nas far as she can and strokes Hedra's hair.", "HEDRA\n No, Allie, don't turn this around. You're the victim. He\n should pay for this.\n\nShe kneels on the floor in front of Allison.", "ALLISON\n But... but you shouldn't run. That'll only make it worse. I\n know you weren't yourself when you did this, Hedy.\n\nHedra laughs.", "ALLISON (voice over)\n Hedy, we really have to talk.\n\n HEDRA (voice over)\n Allie, please, I have a surprise for you.", "Allison points the gun towards Hedra and presses the trigger\nseveral times. But nothing happens : there are no more cartridge\nin the chamber of the gun.", "ALLISON\n No, no, wait a little. You'll find someone, Hedy. I mean,\n God, if I can...\n\nHedra is standing in the doorway and points to the mirror.", "Allison is going down the stairs. She opens a service door, and,\nhidden by this door, watches Hedra waiting for the elevator.\nAllison rushes back to the staircase.", "ALLISON\n Oh !... That's Hedy. I really freaked her out about people\n knowing she's living in the building. I would've had you\n down to meet her... but she's shy.", "ALLISON\n Oh, Hedy, I'm not really up for this today.\n\n HEDRA\n What ?\n\nShe puts her hand on Allison's neck.", "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "HEDRA\n Only if you let him. But you won't let him, will you ?\n\n ALLISON\n What can I do ?\n\n HEDRA\n Oh, Allie...", "Allison opens the door and goes out.\n\n HEDRA\n Yeah.\n\nAllison closes the door behind her." ], [ "He does not answer but he makes a face and then laughs, which is a\ngood answer to Allison's question. She puts her head down in her\nhand, feeling a bit embarrassed.", "GRAHAM\n Jesus, Allie, what is it ?\n\nGraham is opening his front door to Allie, who enters the\napartment, but stays near the open front door.", "Allison, still seated, is now facing him, her face at the level of\nhis crotch. He takes her head to guide it toward his private", "As the camera comes back forward, we hear two voices speaking, one\nmale, one female. They are the voices of Allison «Allie» Jones and\nher fiancé Sam Rawson.", "A little later. They have finished their meal. Allison has put her\nlaptop computer on the table and is typing on the keyboard. On the", "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "She eventually finds her in the living room, vigorously cleaning\nthe mantlepiece. Hedra is wearing a long plain gray dress and red\nrubber gloves. Allison remains at the door of the room.", "ALLISON\n Hello, Mr. Besch, you don't know me, my name is Allison\n Jones. I think my room-mate Hedra is your daughter. Ellen.", "The phone rings, but Allison, who is still looking down at Hedra\nwith her very hard stare, doesn't move. Hedra turns her head in\nthe direction of the phone.\n\n HEDRA\n Allie ?", "Allison is lying in her bed with the sheet up to her neck. Sam\nbends over her and gives her a light tender kiss on the lips. Then", "Allison is staring at the couple\n\n HEDRA (voice over)\n Yeah, you look like my sister's boyfriend.\n\nJim laughs.", "with Allison standing near her. Her name is Barbara, and she is a\nwoman with brown hair and a sleek bob haircut. Mitchell is\nstanding a couple of feet away.", "We see Sam sleeping and lying on his back, half-covered by the\nsheet. Allison looks at him and sighs.\n\nWe hear some strange noises. Allison gets up and off the bed.", "Close up on a rat scuttling away from the noise.\n\nClose up on Allie hidden in a big metal box, near the ceiling of\nthe basement. This metal box is obviously a part of the\nventilation system.", "ALLISON\n All right ?... Okay... Bye.\n\nShe puts the phone down. Hedra is still peeking behind her bedroom\ndoor.", "Later. Allison is asleep, lying on her side. She is still wearing\nher night-gown. Her hand is moving on the sheet, and apparently\ndoes not find what it was looking for, because Allison suddenly\nsits up on the bed.", "GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAY\n\nAllison turns her head towards the front door.", "and crosses the room to a table, where a man, who was sitting\nalone, stands up when she comes to him. The man is Mitchell\nMyerson, Allison's appointment.", "Suddenly, she has a very menacing face. Allison, still standing\nup, looks down at her with a very hard stare. Hedra, seeing that\nstare, calms down and laughs.", "Allison opens the door and goes out.\n\n HEDRA\n Yeah.\n\nAllison closes the door behind her." ], [ "As the camera comes back forward, we hear two voices speaking, one\nmale, one female. They are the voices of Allison «Allie» Jones and\nher fiancé Sam Rawson.", "ALLISON\n No, that's not it at all. You've been a good room-mate.\n It's just... This is the man I'm going to marry. I want us\n to start our lives together.", "We are inside Allison's cab. In front of us, through the\nwindshield, we see the back of Hedra's cab driving in the heavy\ntraffic of New York.", "A nice restaurant in New-York. Paintings on the walls. Soft music.\nA waitress is talking on the phone. Allison enters the restaurant", "The bell rings again. Allison turns her heard towards the front\ndoor.\n\nA BUSY STREET IN NEW-YORK - EXTERIOR DAY", "Allison is lying in her bed with the sheet up to her neck. Sam\nbends over her and gives her a light tender kiss on the lips. Then", "ALLISON\n You just should've asked first.\n\n HEDRA\n Well, I wanted it to be a surprise.\nThey stop at a newspaper stand.", "Allison, still seated, is now facing him, her face at the level of\nhis crotch. He takes her head to guide it toward his private", "A little later. They have finished their meal. Allison has put her\nlaptop computer on the table and is typing on the keyboard. On the", "MITCHELL\n No, no, it's worth the wait.\n\n ALLISON\n Thank you.\n\nThey sit down. The man takes his glass.", "He grabs her from behind and squeezes her in his arms.\n\n ALLISON\n Mitch...\n\n MITCHELL\n Hey, look...", "Behind the front of the bed we see the wrought iron of the\nbalcony. The light is very dim in the room, lit only by the street\nlights and a couple of candles. We hear Allison finishing her last\nvoice over sentence.", "Allison rings the doorbell of Graham's apartment. Getting no\nanswer she knocks on the door. Getting no answer again, she walks\naway from the door.", "ALLISON\n It's OK. It's going to have to be a small one, you know.\n I've not been in New York long enough to know very many\n people.", "This is Allison's new place. Actually it is the apartment Allison\nvisited with Sam, just before the puppy's death.", "ALLISON\n You're the only friend I need. You're the best thing that\n ever happened to me.\n\nThey start kissing very tenderly.", "He does not answer but he makes a face and then laughs, which is a\ngood answer to Allison's question. She puts her head down in her\nhand, feeling a bit embarrassed.", "Close up on a rat scuttling away from the noise.\n\nClose up on Allie hidden in a big metal box, near the ceiling of\nthe basement. This metal box is obviously a part of the\nventilation system.", "As soon as the cab is gone, Allison rushes from her hiding spot\nand runs to the street, with her hand raised.\n\n ALLISON\n Taxi !", "A full view of Allison's building in the New-York night. Actually,\nit's not full night yet, because there is still some dark blue\nlight in the sky." ], [ "She goes into his arms. He hugs her. She start crying.\n\n ALLISON\n You really hurt me, Sam.\n\n SAM\n Shhh !", "We see Sam sleeping and lying on his back, half-covered by the\nsheet. Allison looks at him and sighs.\n\nWe hear some strange noises. Allison gets up and off the bed.", "Allison puts the phone back on its hook on the wall. She sits down\non the floor crying, and still holding Sam's picture. She crumples\nthe picture into a small tight ball.", "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "As the camera comes back forward, we hear two voices speaking, one\nmale, one female. They are the voices of Allison «Allie» Jones and\nher fiancé Sam Rawson.", "SAM\n Yeah ?... No... Because... I'm hanging up now.\n\nHe puts the handset back on the telephone set, which Allison had\nput on the bed.", "ALLISON\n No, Sam.\n SAM (voice over on the phone)\n Why not ?... Why not ?...\n\n ALLISON\n No, it's not a good time.", "SAM\n Forget the letter. I love you. I can't exist without you.\n I have no excuse for what I did, Allie. You have to give me\n a second chance.", "ALLISON\n And she stole a letter that Sam wrote me. I have to do\n something.\nGraham gets up from the couch.\n\n GRAHAM\n Get rid of her.", "SAM\n No.\n\nShe starts moving out of the bed.\n\n ALLISON\n I'll be right back, okay.", "ALLISON (voice over)\n Sam !\n\nWe see Allison's hand looking inside the already opened envelope\nand taking a key-ring out.", "Allison is lying in her bed with the sheet up to her neck. Sam\nbends over her and gives her a light tender kiss on the lips. Then", "ALLISON\n Thanks.\n\nSam's crumpled picture falls on the floor from a fold in the\njacket. Hedra picks it up", "ALLISON (screaming and crying)\n He's dead ! Buddy's dead !\n\nSam climbs on the balcony.\n\nClose up on the gap in the balustrade.", "ALLISON\n Sam, it's your ex-wife.\nShe gives the receiver to Sam. Still half-asleep, Sam takes the\nphone.\n\n SAM\n What ?", "SAM (sleepy voice)\n Allie, Allie... what are you doing ?\nHedra goes down Sam's body, still kissing him. When she gets", "ALLISON\n No, there's nothing to talk about anyway. Sam, there's\n somebody here right now...\n\nWe see Hedra's face peeking through the door of her bedroom.", "Hedra raises her head from Sam's private parts.\n\n HEDRA\n No, not Allie.", "ALLISON (voice over)\n So every day, I try to forgive Hedy for Sam.\n\nAllison puts the lid back on the shoebox.", "SAM\n Do you think we can smoke her out ?\n\n ALLISON\n This is such a mess. I just can't do it right now. I think\n I'm her only friend." ], [ "GRAHAM\n Jesus, Allie, what is it ?\n\nGraham is opening his front door to Allie, who enters the\napartment, but stays near the open front door.", "ALLISON\n Oh no, that's Graham Knox. He is my upstair neighbor. That\n was just for last night. Oh, he's the first one.", "GRAHAM\n Allie, I let you sleep.\n\n ALLISON\n What time is it ?\n\n GRAHAM\n About ten.", "GRAHAM\n Hm-mm !\n\n ALLISON\n No, no, it's a lot of fun having a girlfriend again.", "GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAY\n\nAllison turns her head towards the front door.", "GRAHAM\n It's 4 a.m. !\n\n ALLISON (voice over through the door)\n It's me, Graham.", "They reach Graham's front door. Allison rings the bell, waits a\ncouple of seconds and turns around.\n\n ALLISON\n Nobody's home.", "Allison rings the doorbell of Graham's apartment. Getting no\nanswer she knocks on the door. Getting no answer again, she walks\naway from the door.", "Graham, dressed in a black T-shirt and kaki short pants, enters\nthe room and sits on the bed. He takes Allison's leg through the\nbedcover. Allison stands up with a start.", "Graham opens the door. Allison is just wearing a night-robe, and\nher face is full of tears.\n\n GRAHAM\n Allie ?", "ALLISON (voice over)\n Graham says that won't bring him back. He says I have to\n start letting go. He's right.", "ALLISON\n I know that. I can do it on my own.\n\n GRAHAM\n Absolutely.\n\n ALLISON\n I'll just get a room-mate.", "Allison opens the door.\n ALLISON\n Thank you for the tea. I'll see you tomorrow.\n\n GRAHAM\n Okay.", "ALLISON\n I've got one friend. Graham. He lives just upstairs...\n\n HEDRA\n A friend ?", "ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -\nINTERIOR NIGHT\n\nThrough the windows, we can see that night has come.", "GRAHAM\n She is a lunatic, Allie. She's got to go. Do it tonight.\n\nGRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHT", "ALLISON (voice over from the air vent)\n (a few words incomprehensible)\n I am supposed to trust you now ?\n\nGraham is listening with a worried look on his face.", "ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -\nINTERIOR NIGHT\n\nGraham takes Allison by the hand and brings her inside his\napartment.", "ALLISON (voice over)\n Oh, don't tempt me. No, I just needed to talk it out.\n\nGRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHT", "GRAHAM\n Allie, either she's gone by Saturday, or I go to the\n police, okay ?\n\nAllison laughs.\n\n ALLISON\n That was very impressive." ], [ "HEDRA\n I got terrible nicknames growing up, which I'm not telling\n you.\n\n ALLISON\n Not Hedy ? Like Hedy Lamarr ? That's exotic.", "HEDRA\n Who are you ?\n\n MITCHELL\n Mitchell Myerson.\n\nHedra turns around to face Mitchell.", "HEDRA\n I know. I was you.\n\nShe points her gloved finger to Allison, and then looks at herself\nin the mirror.\n HEDRA\n Who is this Hedy anyway ?", "ALLISON (voice over)\n Hedy, are you all right ?\n\n HEDRA\n I can't hear you.", "ALLISON (voice over)\n Hedy ?\n\nHedra enters the bathroom and closes the door behind her.", "SAM (voice over on the phone)\n Allie ?\n HEDRA\n No, it's Hedy.\n\nHOTEL ATHERTON - A BEDROOM - INTERIOR NIGHT", "ALLISON\n Hello, Mr. Besch, you don't know me, my name is Allison\n Jones. I think my room-mate Hedra is your daughter. Ellen.", "ALLISON\n Oh !... That's Hedy. I really freaked her out about people\n knowing she's living in the building. I would've had you\n down to meet her... but she's shy.", "ALLISON\n Oh, Hedy.\n HEDRA\n It'll be fine, come on.\n\nThey enter the shop.", "ALLISON\n Hedy ?... Hedy ?", "HEDRA\n Oh, I'm Hedra Carlson. We spoke on the phone this morning.\n\nShe looks at Allison's face, where we still can see she's been\ncrying.", "ALLISON (voice over)\n Hedy, we really have to talk.\n\n HEDRA (voice over)\n Allie, please, I have a surprise for you.", "We hear several knocks on the door. Hedra doesn't react at all.\n\n ALLISON (voice over)\n Hedy ?\n\nHedra answers without moving her head.", "HEDRA\n Really ? Well, that's great... Well, good luck.\nWe can see, by her expression, that Hedra is not very happy about\nwhat she just heard, but she keeps a smiling face.", "ALLISON\n Hedy ?\n\nShe walks around the hall, looking in all the rooms.\n\n ALLISON\n Hedy ?", "HEDRA\n Well... his name's Buddy. I had a dog named Buddy when I\n was little.", "ALLISON\n Hedy, it'll never work. Besides ... people have seen you.\n We just can't tell. We'll go to a lawyer or a doctor and\n they'll explain it to the police, or something.", "HEDRA\n You knew it was me. Come on ! You knew and you didn't care.\n Well, I think she should know that.", "HEDRA\n I am... Well, I was supposed to be a twin, but she was\n stillborn.\n\n ALLISON\n Oh, that's so sad.", "We get a full view of the unknown visitor. It's Hedra Carlson. She\nis wearing a black hat on her long light brown hair. She is\ncarrying a large bag held by a strap across her chest. She looks\nvery sweet and nice." ], [ "HEDRA\n I am... Well, I was supposed to be a twin, but she was\n stillborn.\n\n ALLISON\n Oh, that's so sad.", "HEDRA\n Did you know that identical twins are never really\n identical ? There's always one that's prettier. And the one", "Close up on Hedra's collection of photographs, lying near the\nshoebox where she used to stock them. In the forefront, the black\nand white picture of Hedra and her twin sister holding a dog\nbetween them.", "Close-up on Hedra going down the stair. Her hairdo is so much like\nAllison's one that she almost looks like a twin sister of Allison.\n\nBack to Allison's thunderstruck face.", "ALLISON (voice over from the air vent)\n Nothing she told me is true. The twin that she said died at\n birth. It was in an accident when she was nine.", "ALLISON (voice over)\n Hedy's parents said that for years they'd tried to explain\n her that her sister's death wasn't her fault.", "HEDRA\n I know. I was you.\n\nShe points her gloved finger to Allison, and then looks at herself\nin the mirror.\n HEDRA\n Who is this Hedy anyway ?", "HEDRA\n Just like that stupid girl in Tampa. She called my parents,\n too. Told them all my secrets.\n\nShe comes behind Allison and pulls her hair to tilt her head back.", "ALLISON (voice over)\n Hedy, are you all right ?\n\n HEDRA\n I can't hear you.", "ALLISON (voice over)\n Hedy ?\n\nHedra enters the bathroom and closes the door behind her.", "Hedra slowly falls on the floor, where she remains motionless.\n\nAllison looks down at her, trying to catch her breath back.\n\nShe kneels down to close Hedra's eyelids.", "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "Allison and Hedra are walking in a busy street. If Hedra was not a\nbit shorter than Allison, one could think they were twins. Allison\nseems angry.", "We see Hedra coming out of a room and walking towards the front\ndoor. Since we see only the back of her head, she can easily be\nmistaken for Allison.\n\n GRAHAM\n Allie !", "Allison points the gun towards Hedra and presses the trigger\nseveral times. But nothing happens : there are no more cartridge\nin the chamber of the gun.", "Hedra watches Allison's face intently. Then, when she realizes\nthat Allison is unconscious, she bends down and kisses her on the", "HEDRA\n Oh God, you like them ?\n\nWe now see both girls' faces. Hedra is taking off the shoes she\nwas wearing.", "She sees Hedra's pair of stiletto heel shoes. Underneath one of\nthe heels, there are some traces of blood on the tile floor of the\nbathroom.", "We hear several knocks on the door. Hedra doesn't react at all.\n\n ALLISON (voice over)\n Hedy ?\n\nHedra answers without moving her head.", "HEDRA\n Why don't you look in the mirror ?... Huh ? Look !\n\nShe comes back into the bedroom. She forces Allison to look at\nboth of them in the mirror." ], [ "Allison crosses the hall, followed by the puppy. She stops, bends\ndown and picks it up.\n\nShe walks slowly to Hedra's door, which is partly opened. We hear\nHedra moaning.", "Hedra looks down at Allison hand stroking the puppy.\n\n HEDRA\n Is that an engagement ring ?\n\nAllison stands up.", "ALLISON\n God, Hedy, thanks. I never would've got it done without\n you.\n\nHedra is playing with a portable battery-powered fan. She puts it\ndown to play with the puppy.", "Hedra and Allison are lying on Allison's bed, with the puppy\nbetween them. Hedra is wearing a pink T-shirt and red short pants.", "HEDRA\n Can I just talk to you for a second...\n\n ALLISON\n Buddy !\n\nSam enters from the living room with the puppy in his arms.", "Close-up at Hedra's peeking through the ajar opening of the door.\nThe puppy is still yapping.\nThe door of Allison's bedroom opens and Allison comes out. She is\nwearing a light pink nightdress.", "The puppy doesn't respond at all to Hedra's call and food.\n\n HEDRA (voice over)\n Come on, three's a crowd, sweetie.", "HEDRA\n I tried to let you know.\n\nSam puts the puppy on the floor.\n\n ALLISON\n What are you doing here ? Hedy !", "Allison jumps into her bed and lies down. We can hear the puppy\nyapping behind the door.\nAllison hears the door opening. She puts her head on the pillow,\ncloses her eyes and pretends she is asleep.", "Allison turns around, sees Hedra with the puppy and stops in her\ntracks. She doesn't seem very happy, almost angry in fact.", "Behind Allison, we see Hedra coming out the bathroom carrying the\npuppy wrapped in the towel.", "She goes to the bed where Hedra is stroking absently the puppy.\nShe kneels down at the bedside.\n\n ALLISON\n Hey, are you okay ?", "The camera moves away from the TV, and we see Allison and Hedra\nasleep on Allison's bed, with the puppy between them. Hedra moves\nslightly in her sleep.", "She gives a kiss to the puppy. She then looks up at Allison's\nface, which doesn't seem very friendly.\n\n HEDRA\n Tomorrow, okay. I promise.", "We hear the puppy yapping. Hedra is sitting on her bed in the\ndark. She stands up and peeks through the ajar opening of the\ndoor.", "She slowly opens the kitchen door, bends down and picks up the\npuppy.\n\n ALLISON\n Oh ! Come on.", "HEDRA\n I love helping.\nShe tries to move the puppy, who wants to move the other way.\n\n HEDRA\n Wait... Wait...", "Sam closes the door behind them. The puppy remains behind the\ndoor, whining.\n\nHedra sits down on the floor, leaning on the wall near the door of\nthe living room.", "Reverse angle shot of Allison picking up the puppy. She then goes\naway, presumably to her bedroom, with the puppy in her arms.\n\n ALLISON\n Okay. Come on. Shhh !", "HEDRA\n Buddy, come here, boy.\nShe takes a piece of bacon out of the plate and shows it to the\npuppy.\n\nReverse angle shot on Allison and Sam." ], [ "Close up on Hedra's collection of photographs, lying near the\nshoebox where she used to stock them. In the forefront, the black\nand white picture of Hedra and her twin sister holding a dog\nbetween them.", "HEDRA\n I am... Well, I was supposed to be a twin, but she was\n stillborn.\n\n ALLISON\n Oh, that's so sad.", "ALLISON (voice over from the air vent)\n Nothing she told me is true. The twin that she said died at\n birth. It was in an accident when she was nine.", "ALLISON (voice over)\n Hedy's parents said that for years they'd tried to explain\n her that her sister's death wasn't her fault.", "Allison enters the room, and looks around. She walks to the closet\nand starts looking through Hedra's clothes. Suddenly, she notices\nthe shoebox on the shelf above the clothes.", "Close-up on the clipping Allison is holding. There is a picture of\ntwo young twin girls, and above, a title that reads :", "HEDRA\n Did you know that identical twins are never really\n identical ? There's always one that's prettier. And the one", "She slams the drawer shut, and opens another one.\n HEDRA\n You know, it was an accident. But he deserved it.\n\nShe claps her hands.", "ALLISON (voice over)\n Hedy, are you all right ?\n\n HEDRA\n I can't hear you.", "Close-up on Hedra going down the stair. Her hairdo is so much like\nAllison's one that she almost looks like a twin sister of Allison.\n\nBack to Allison's thunderstruck face.", "She sees Hedra's pair of stiletto heel shoes. Underneath one of\nthe heels, there are some traces of blood on the tile floor of the\nbathroom.", "ALLISON (voice over)\n So every day, I try to forgive Hedy for Sam.\n\nAllison puts the lid back on the shoebox.", "HEDRA\n I know. I was you.\n\nShe points her gloved finger to Allison, and then looks at herself\nin the mirror.\n HEDRA\n Who is this Hedy anyway ?", "ALLISON (voice over)\n Hedy ?\n\nHedra enters the bathroom and closes the door behind her.", "We hear several knocks on the door. Hedra doesn't react at all.\n\n ALLISON (voice over)\n Hedy ?\n\nHedra answers without moving her head.", "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "In the «cage», Hedra takes a boot out of the cardboard box. Then\nshe takes a sock out of the boot, and delicately, takes a black", "HEDRA\n Yeah.\n\nAllison takes the snapshot.\n\nLater in the night. There is a black and white movie on the TV.", "Graham's first sentence is actually heard in voice over the\nprevious sequence.\n\n GRAHAM\n Ready to kill her yet ?\n\n ALLISON\n Who, Hedy ?", "ALLISON (voice over)\n Hedy, we really have to talk.\n\n HEDRA (voice over)\n Allie, please, I have a surprise for you." ], [ "Allison slashes Hedra's chest with the broken piece of glass.\nHedra falls on the floor and Allison rushes out of the room.\n\nHedra gets up and picks up the gun from the balcony.", "Slowly, Hedra puts the black gloves on her hands.\n\n HEDRA\n You know Sam's dead, don't you ?\n\nAllison turns around to face Hedra.", "Then she moves up in the bed, her head finally resting near Sam's\none. Sam is breathing very hard. Hedra strokes him on the chest,\nand kisses his cheek.", "Hedra suddenly comes behind him, and strikes him very hard on the\nhead with a statuette. He falls down on the floor. Hedra rushes to", "He comes near the bed and bends down to pick up something. Hedra\nrushes on him.\n\n HEDRA\n Sam !\n\nHe pushes her away from him.", "While talking, Hedra slowly slides her hand into the paper bag,\ntakes a pair of black gloves out of the bag and puts the bag down\non the floor.\n\n HEDRA\n You're upset about Sam.", "SAM\n But no, don't blame Hedy. It's not her fault, okay.\n\nHedra goes out of the hall into the living room.", "She puts the glass on the night table, and kneels on the bed. She\nstart stroking Sam's shoulder.\n\n HEDRA\n I knew it.\n\n SAM\n Knew what ?", "HEDRA (voice over on the phone)\n Okay.\n\n SAM\n Okay.\n\n HEDRA (voice over on the phone)\n Okay, I'll tell her.", "SAM (sleepy voice)\n Allie, Allie... what are you doing ?\nHedra goes down Sam's body, still kissing him. When she gets", "HEDRA\n Goodnight, Sam. Sleep well.\n\nShe slowly puts the phone down and plays a little with it.", "Sam is lying on the bed, still dressed in his suit and necktie. He\nis talking on the telephone.\n\n HEDRA (voice over on the phone)\n Where are you ? Where are you ?", "She slides under the sheet of the bed, close to Sam. Sam moans in\nhis sleep. He turns slowly towards Hedra, who starts kissing him\non the chest.", "SAM\n Oh... I just got in from the airport. Is she asleep ?\n\n HEDRA (voice over on the phone)\n Yeah...", "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "HEDRA\n Of course, Sam's away. I didn't want to say anything... How\n he could go on that trip the day after Buddy died.", "HEDRA\n Could you care of her ? You were off on a business trip or\n screwing someone.\n\n SAM\n She never said a word to me about that.", "Allison points the gun towards Hedra and presses the trigger\nseveral times. But nothing happens : there are no more cartridge\nin the chamber of the gun.", "Hedra walks a couple of steps towards the open door and listen to\nthe conversation going on in the living room\n SAM (voice over)", "Graham bangs Hedra's head repeatedly on the floor. Hedra succeeds\nin moving slightly away from him, and try to point her gun toward\nhim.\n\n HEDRA\n I'll kill you !" ], [ "ALLISON (screaming and crying)\n He's dead ! Buddy's dead !\n\nSam climbs on the balcony.\n\nClose up on the gap in the balustrade.", "Allison puts the phone back on its hook on the wall. She sits down\non the floor crying, and still holding Sam's picture. She crumples\nthe picture into a small tight ball.", "Allison is standing up in the dark, not moving. We hear Sam's\nvoice, partly from the bedroom, and partly from the answering\nmachine, which gives the voice a sort of echo effect.", "HEDRA\n Allie !\n\n SAM (voice over)\n Allie !\n\nSam runs out of the room after Allison.", "She goes into his arms. He hugs her. She start crying.\n\n ALLISON\n You really hurt me, Sam.\n\n SAM\n Shhh !", "Slowly, Hedra puts the black gloves on her hands.\n\n HEDRA\n You know Sam's dead, don't you ?\n\nAllison turns around to face Hedra.", "We see Sam sleeping and lying on his back, half-covered by the\nsheet. Allison looks at him and sighs.\n\nWe hear some strange noises. Allison gets up and off the bed.", "SAM\n Yeah ?... No... Because... I'm hanging up now.\n\nHe puts the handset back on the telephone set, which Allison had\nput on the bed.", "Suddenly, Sam realizes that something may be wrong. He gives an\nanxious look at Hedra.\n\n SAM\n Allie ?", "ALLISON (voice over)\n Sam !\n\nWe see Allison's hand looking inside the already opened envelope\nand taking a key-ring out.", "As the camera comes back forward, we hear two voices speaking, one\nmale, one female. They are the voices of Allison «Allie» Jones and\nher fiancé Sam Rawson.", "ALLISON (voice over)\n So every day, I try to forgive Hedy for Sam.\n\nAllison puts the lid back on the shoebox.", "ALLISON\n Sam, it's your ex-wife.\nShe gives the receiver to Sam. Still half-asleep, Sam takes the\nphone.\n\n SAM\n What ?", "ALLISON\n No, there's nothing to talk about anyway. Sam, there's\n somebody here right now...\n\nWe see Hedra's face peeking through the door of her bedroom.", "ALLISON\n Is it Sam ?\n\nWe hear a male voice over the phone. We quickly understand it's\nHedra's father.", "SAM (voice over and yelling)\n Allie, Allie, I don't know how you shut that thing off.", "Allison stops in front of the window. The window is open and the\nbroken piece of wrought iron, on which Sam was working earlier in", "Fade to two seconds of black screen. And then we see Sam and\nAllison asleep in the bed. They are naked but covered with the\nsheet.\n\nThe phone rings. Allison wakes up and picks up the phone handset.", "BLACK SCREEN\n\n ALLISON (voice over)\n I cried the whole week of Sam's funeral.", "SAM\n Well, I sent it with the keys.\n\n ALLISON\n Well, I didn't get those, either. What did it say ?" ] ]

[ "What was Hedy's real name?", "What did Mitchell Meyerson attempt after his business transaction with Allie was completed?", "How did Hedy's sister actually die?", "What did Hedy, disguised as Allie; do to Sam after she tricked him into having oral sex?", "When Allie tries to flee from Hedy, where was Allie shot?", "Why did Allie break off her engagement with Sam?", "How did Buddy die?", "What does Allie believe was Hedy's downfall?", "According to what Hedy tells Allie, why does Hedy always feel lonely?", "What does Myerson threaten to do to Allie if she does not submit to his sexual demands?", "Why does Hedy kill Sam?", "How does Allie find out about Sam's death?", "How does Hedy kill Sam?", "What argument does Hedy use to convince Allie that they should run away after Sam's death?", "What does Myerson notice after Sam's death that causes him to try to find Allie?", "What does Myerson see on the floor after rushing off to find Allie?", "Who is shot in the shoulder?", "What does Allie believe Hedy's downfall to be?", "What does Allie do for a living?", "What city do Allie and her fiance live in?", "What does Allie find out about Sam that causes her to throw him out and break off the engagement?", "What career does Allie's neighbor Graham aspire to?", "What's Hedy's real name?", "What happened to Hedy's twin?", "What's the name of the puppy Hedy buys Allie?", "According to the clipping in Hedy's shoe box, how did her twin really die?", "How does Hedy kill Sam?", "How does Allie learn of Sam's death?" ]

[ [ "Ellen Besch", "Ellen Besch." ], [ "He tried to rape her.", "to rape allie" ], [ "Drowning", "By accident." ], [ "She killed him.", "killed him" ], [ "In the shoulder.", "Shoulder" ], [ "He recently slept with his ex-wife.", "He slept with his ex-wife." ], [ "He fell off the balcony.", "He fell from the balcony." ], [ "Survivor's guilt.", "her survivor's guilt" ], [ "Her sister was born still born.", "Because her twin died." ], [ "He threatens to warn off future buyers of her software and not pay her.", "Not pay her and warn any future clients." ], [ "Sam threatens to tell Allie the truth about Hedy impersonating her to perform oral sex on him.", "He refused to leave Allie" ], [ "A news report.", "news report" ], [ "He uses a stiletto heel.", "With a stiletto heel through eye." ], [ "Hedy tells her that since they look alike, people will think Allie killed him.", "Police will think Allie killed him." ], [ "His files being erased.", "His files being erased" ], [ "He sees Allie tied up on the floor.", "Allie tied up." ], [ "Allie is shot in the shoulder.", "Allie." ], [ "Survivor's guilt.", "Guilt over sister drowning." ], [ "She is a software designer.", "She is a fashion house owner" ], [ "New York City.", "New York City" ], [ "Sleep with his ex-wife.", "He slept with his ex-wife." ], [ "He wants to become an actor.", "Actor" ], [ "Ellen Besch.", "Ellen Besch" ], [ "It was still born.", "Stillborn" ], [ "Buddy", "buddy" ], [ "She drowned.", "By drowning." ], [ "She stabs him in the eye with a stiletto heel. ", "Gouges his eye with her shoe." ], [ "She sees it on the news.", "She sees a news report." ] ]

[ [ "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "Undine had not met him since her marriage, and of late the adverse\nturn of his fortunes had carried him quite beyond her thoughts. But\nhis actual presence was always stimulating, and even through her", "winter with the married daughter who lived near Pau. The other members\nof the family returned to their respective estates, and Undine once more\nfound herself alone with her husband. But she knew by this time that", "Undine had been right in supposing that her husband would expect\ntheir life to go on as before. There was no appreciable change in the", "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "and though Undine could not remember his ever voluntarily bringing the\nsubject of their marriage he did not shrink from her recurring mention\nof it. He seemed merely too steeped in present well-being to think", "Undine echoed his laugh. \"Well, I guess I don't need anybody to do that:\nI can do it myself,\" she said, with the good-humoured curtness that was\nthe habitual note of intercourse with the Spraggs.", "Undine's face brightened. \"You know he's not a Count; he's a Marquis.\nHis name's Roviano; his palace in Rome is in the guide-books, and", "mark. Undine did not believe that her husband was seriously in love with\nanother woman--she could not conceive that any one could tire of her\nof whom she had not first tired--but she was humiliated by his", "Undine stared and laughed. \"Oh, my dear, you're so quaint! Why, nobody's\njealous any more.\"", "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "alien to Undine. She had turned on Marvell a gaze at once pleading and\npossessive; but whether betokening merely an inherited intimacy (Undine", "\"An American? He's marrying an American?\" Undine wavered between wrath\nand satisfaction. She felt a flash of resentment at any other intruder's", "The thoughtful air with which Undine heard him out made him fancy this\nargument had carried; and as be ended she threw him a bright look.\n\n\"Well, that's easy enough: I can drop her if she comes to New York.\"", "Undine, as a child, had taken but a lukewarm interest in the diversions\nof her playmates. Even in the early days when she had lived with her", "If any one had prophesied before his marriage that he would find it\ndifficult to tell this to Undine he would have smiled at the suggestion;", "Undine gave him a startled glance. \"Father? Why, have you seen him? He\nnever said a word about it!\"", "Undine. You see, you were his ideal.\"", "He thought this over carefully; then he spoke again. \"Call Undine.\"\n\nShe made no answer, and he repeated irritably: \"Why don't you call her?\nI want to speak to her.\"" ], [ "\"Stop right here, Elmer Moffatt!\" the older man broke out with lifted\nhand. Moffatt made a burlesque feint of evading a blow; then his face", "second her. It was strange that Elmer Moffatt, a shiftless out-cast from\neven the small world she despised, should give her, in the very moment", "Meanwhile Ralph, from various sources, continued to pick up a good deal\nof more or less contradictory information about Elmer Moffatt. It seemed", "He glanced again at his daughter's door, as if to make sure of its being\nshut; then, standing close before his wife, he lowered his voice to say:\n\"I saw Elmer Moffatt down town to-day.\"", "Elmer Moffatt, on whose movements Wall Street was beginning to fix a\nfascinated eye. When Ralph, the year after his marriage, had renounced", "Nevertheless, the looking about had to be done; and a day came when\nhe found himself once more at the door of Elmer Moffatt's office. His", "Elmer Moffatt had been magnificent, rolling out his alternating effects\nof humour and pathos, stirring his audience by moving references to the", "office. At the door of the elevator a man turned to him, and he\nrecognized Elmer Moffatt, who put out his hand with an easy gesture.", "He broke off, made aware by Mr. Spragg's glance of the presence of Elmer\nMoffatt, who, with unwonted discretion, had dropped back into the", "Paul flushed up, and again the iron grasp was on his heart. He hadn't,\nhitherto, actually disliked Mr. Moffatt, who was always in a good", "yet it was at the moment when Elmer Moffatt's failure was most complete\nand flagrant that she suddenly felt the extent of his power. After the", "She had fancied her avowal of loneliness might call forth some\nsentimental phrase; but though Moffatt was clearly pleased to be\nwith her she saw that she was not the centre of his thoughts, and the\ndiscovery irritated her.", "\"THIS man...THIS man...\" he couldn't get beyond the thought: whichever\nway he turned his haggard thought, there was Moffatt bodily blocking the", "The incident, trifling as it was, filled up the measure of Undine's\nbitterness. She thought Moffatt pitiably ridiculous, and she hated him", "on the back, and turning he saw Elmer Moffatt at his side, smooth and\nrubicund under a new straw hat.", "As she raised herself she saw a thick-set figure approaching her across\nthe square; and a moment later she was shaking hands with Elmer Moffatt.", "There was an interval of scuffling and laughter beneath the stairs, and\nthen the minister's lifted hand enjoined silence and Elmer Moffatt got\nto his feet.", "had come when Elmer Moffatt--the Elmer Moffatt of Apex!--could, even for\na moment, cause consternation in the Driscoll camp? He had always said", "Moffatt gave him a humorous look. \"I'd hate to see Mr. Fleischhauer miss\nhis train--\"", "Van Degen shrugged. \"Nobody knows how it's coming out That queer chap\nElmer Moffatt threatens to give old Driscoll a fancy ball--says he's" ], [ "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "mark. Undine did not believe that her husband was seriously in love with\nanother woman--she could not conceive that any one could tire of her\nof whom she had not first tired--but she was humiliated by his", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "on good terms with his wife. For different reasons it was scarcely\nless important to Undine: she had no wish to affront again the social\nreprobation that had so nearly wrecked her. But she could not keep up", "Undine shrugged her shoulders. \"It was a mistake, of course. Why on\nearth did you let him come up?\"\n\n\"I thought maybe he had a message for you, Undie.\"", "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "Undine had not met him since her marriage, and of late the adverse\nturn of his fortunes had carried him quite beyond her thoughts. But\nhis actual presence was always stimulating, and even through her", "winter with the married daughter who lived near Pau. The other members\nof the family returned to their respective estates, and Undine once more\nfound herself alone with her husband. But she knew by this time that", "his cousin suddenly dominated him. But as yet he couldn't go into the\ndetails of the bargain. That the reckoning between himself and Undine\nshould be settled in dollars and cents seemed the last bitterest satire", "A flicker of self-esteem caused Undine to protest. \"It wouldn't have\nmade any difference. His wife would never have given him up.\"\n\n\"She's so crazy about him?\"", "Undine's name had once perpetually murmured there. That night as he went\nup to bed he said to himself that he was actually ceasing to think about\nhis wife...", "Undine blushed with anger at her own simplicity in fancying that he had\nbeen \"taken\" by her--that she could ever really count among these happy", "been introduced to Undine, and had whirled her through an evening's\ndances, Ralph was not seriously disturbed. Husband and wife had grown", "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "Undine's attention was roused. \"Sat here--all alone? Didn't you tell him\nI was out?\"\n\n\"Yes--but he came up all the same. He asked for me.\"", "alien to Undine. She had turned on Marvell a gaze at once pleading and\npossessive; but whether betokening merely an inherited intimacy (Undine", "son-in-law. But even this argument did not move him. Undine, as soon as\nshe had risked Van Degen's name, found herself face to face with a code", "\"Of course.\" But Undine was still absorbed in the economic aspect of the\ncase. \"If they're as rich as you say, I suppose Hubert means to pay you\nback by and bye?\"", "Undine coloured; but she could take the hardest thrusts where her\npersonal interest was involved. \"You mean that I'M the bore, then?\"", "Undine, intently following her, caught at this with a spring. \"Then he\nknew it all along--he admits that? And it made no earthly difference to" ], [ "Undine stood up, looking about her with vague eyes, as if she had come\nback from a long distance. Elmer Moffatt was still in Paris--he was in", "between the high Alps and Paris or New York. He told himself that there\nis always a Narcissus-element in youth, and that what Undine really", "her occupations and engagements. They lived as much apart is if\ntheir cramped domicile had been a palace; and when Undine--as she now", "II\n\nUndine's white and gold bedroom, with sea-green panels and old rose\ncarpet, looked along Seventy-second Street toward the leafless tree-tops\nof the Central Park.", "XXIX\n\nThe early spring found Undine once more in Paris.", "apparently been sent to Undine's hotel in Paris and forwarded to him by\nher hand. \"Another bill!\" he reflected grimly, as he threw it aside and", "Not much more than a year had elapsed since Undine Marvell, sitting\nin the drawing-room of another Parisian hotel, had heard the immense", "Why, you dined home two nights last week. They ought to come over to New\nYork and see!\" And she poured into Undine's half-envious ear a list of", "winter with the married daughter who lived near Pau. The other members\nof the family returned to their respective estates, and Undine once more\nfound herself alone with her husband. But she knew by this time that", "their polychrome suite at the Stentorian, and since then their\nperegrinations had carried them through half the hotels of the\nmetropolis. Undine, who had early discovered her mistake in thinking", "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "Undine's smile confirmed the appeal. She wanted to know how lately Bowen\nhad left New York, and pressed him to tell her when he had last seen her", "Undine, as a child, had taken but a lukewarm interest in the diversions\nof her playmates. Even in the early days when she had lived with her", "Undine, late the next day, waited alone under the leafless trellising of\na wistaria arbour on the west side of the Central Park. She had put on", "There were moments after Undine's return to New York when she was\ntempted to class her marriage with the hateful early mistakes from the", "Undine's ill-humour was soon dispelled by any new distraction, and she\ngave herself to the untroubled enjoyment of Paris. The Shallums were the", "Desert and the Hotel de Chelles to live in, as generations of ladies of\nher name had done before her. Thus Undine beheld her future laid out for", "Since then Mabel had returned to New York and married a stock-broker;\nand Undine's first steps in social enlightenment dated from the day when\nshe had met Mrs. Harry Lipscomb, and been again taken under her wing.", "of the Atlantic seaboard, and the next summer found the Spraggs at Skog\nHarbour, Maine. Even now Undine felt a shiver of boredom as she recalled", "Blitch occupied a position of distinction as the only New York girl at\nthe school, and for a time there had been sharp rivalry for her\nfavour between Undine and Indiana Frusk, whose parents had somehow" ], [ "\"How can I? Such things are not done out here. Why, I'm a Catholic; and\nthe Catholic Church--\" She broke off, reading the end in his face. \"But", "\"Raymond has told me that there are certain things you fail to\nunderstand--I have no wish whatever to discuss them.\" The Marquise had", "impossible for a father to benefit his eldest son at the expense of the\nothers. Raymond was therefore little richer than before, and with the\ndebts of honour of a troublesome younger brother to settle, and Saint", "which she divined to be different--had shown the same respect for her\nfreedom. It was therefore disconcerting to find that Raymond expected\nher to choose her friends, and even her acquaintances, in conformity not", "Raymond seemed to attach more importance to love, in all its\nmanifestations, than was usual or convenient in a husband; and she\ngradually began to be aware that her domination over him involved a", "henceforth, as Raymond said, Hubert's debts would be some one else's\nbusiness. Then a third consideration prevailed. \"But if he's engaged to", "Raymond's insistence on this rule was simply part of an elaborate and\ninveterate system of \"relations\" (the whole of French social life seemed", "authority her sense of the rightfulness of her cause had been measured\nby her power of making people do as she pleased. Raymond's firmness\nshook her faith in her own claims, and a blind desire to wound and", "\"Any man who can feel at all will feel it as I did\"; and the conviction\ngrew in him that Raymond de Chelles, of whom he had formed an idea", "A year earlier she would have regarded this as another proof of her\npower; but she now drew her inferences less quickly. Raymond was as", "But this explanation did not quiet her, and that evening, as she and\nRaymond drove back together from a party, she felt a sudden impulse to", "Disagreeable as they were, she had always, vulgarly speaking, found they\npaid; but now it was she who was expected to pay. Raymond took his", "\"It's not altogether that, my dear; Raymond's not a man his friends\nforget. It's rather more, if you'll excuse my saying so, the fact of\nyour being--you personally--in the wrong set.\"", "the felicitations which the whole far-reaching circle of friends and\nrelations distributed to every member of Hubert's family on the approach\nof the happy event. Nor was this the hardest of her trials. Raymond had", "laugh Raymond out of his prudence or coax him round to her point of\nview. She did not understand how a man so romantically in love could be", "class, embodying in his lean, fatigued and finished person that happy\nmean of simplicity and intelligence of which no other race has found the\nsecret. If Raymond de Chelles had been English he would have been a", "But once back in Paris she had less time for introspection, and Raymond\nless for books. They resumed their dispersed and busy life, and in spite", "Raymond made no answer, and the Marquise did, in fact, let her fire go\nout. But she did not come down--she simply continued to sit upstairs\nwithout a fire.", "and with their settling down at Saint Desert she had prepared to resign\nherself to the society of a country gentleman absorbed in sport and\nagriculture. But Raymond, to her surprise, had again developed a", "\"I don't. They weren't there. But it didn't make a bit of difference,\nbecause Raymond sent down a cook from the Luxe.\"" ], [ "The boy was incomparably the stronger argument, yet the less serviceable\nin filling the void. Ralph felt his son all the while, and all through\nhis other feelings; but he could not think about him actively and", "To see his boy at stated intervals! Ralph wondered how a sane man could\nsit there, looking responsible and efficient, and talk such rubbish...As", "Ralph, when the boy was out of hearing, rebuked his sister for her\nanswer. \"I don't want you to talk of his mother as if she were dead. I\ndon't want you to forbid Paul to speak of her.\"", "Moffatt looked at him with a sort of resigned compassion, as a doctor\nlooks at a despairing mother who will not understand what he has tried\nto imply without uttering the word she dreads. Ralph understood the\nlook, but hurried on.", "Ralph pondered. \"Later--if she asks to see him--I shan't refuse.\"\n\nMrs. Fairford pressed her lips together to check the answer: \"She never\nwill!\"", "the next room. Paul, in fact, was now the chief link between Ralph and\nhis past. Concerning his son he still felt and thought, in a general", "with her.\" Ralph looked at him curiously, perceiving that he intended in\nthis negative way to imply his disapproval of his daughter's course.", "\"My boy...you spoke of him the other day... I'm awfully fond of him--\"\nRalph broke off, deterred by the impossibility of confiding his feeling", "\"And by God, I will!\" Ralph thundered. Anger was the only emotion in him\nnow. He had been fooled, cheated, made a mock of; but the score was not", "Fairford shrank from raising. As for his mother, Ralph had seen at once\nthat the idea of talking over the situation was positively frightening\nto her. There was no provision for such emergencies in the moral order", "Ralph had been prepared for the question, but when it came he felt a\nmoment's tremor. He knew he could count on half the amount from", "Ralph was to join them with his boy.... The blinds were all drawn down,\nand the freshness and silence of the marble-paved hall laid soothing", "because Ralph loves me that he wants me back--it's simply because he\ncan't afford to let me stay!\"", "Ralph had collected himself, and went on with sudden resolution: \"Well,\nyou see--when my wife and I separated, I never dreamed she'd want the", "power to give her child a suitable home, should assert her claim on him.\nIt was more disconcerting to Ralph to learn that Mrs. Spragg, for once", "Ralph uttered an incredulous exclamation. \"But don't you see?\" she\nhurried on. \"It's her only hope--her last chance. She's much too clever", "\"I should say not!\" Ralph ejaculated. \"He never would have had the cheek\nto think of it.\"\n\n\"Well, I've made him, anyhow! Did you ever know such luck?\"", "her husband, as she explained. This necessitated the keeping up of two\nhouseholds, and even for so short a time the strain on Ralph's purse", "Flattered by his evident disappointment, she became high and careless\nin her triumph. \"Oh, yes,--but that's all changed. Ralph and the boy are", "to you. So long.\" Ralph's weak bones ached under his handshake." ], [ "For a long time Ralph sat and stared at this document; then he began to\nlaugh and tossed it into the scrap-basket. After that, with a groan, he\ndropped his head against the edge of his writing table.", "memories of which she had hoped it would free her. Since it was never\nher habit to accuse herself of such mistakes it was inevitable that she\nshould gradually come to lay the blame on Ralph. She found a poignant", "Moffatt looked at him with a sort of resigned compassion, as a doctor\nlooks at a despairing mother who will not understand what he has tried\nto imply without uttering the word she dreads. Ralph understood the\nlook, but hurried on.", "Ralph heard it, nevertheless, and let it pass. Nothing gave him so\nprofound a sense of estrangement from his former life as the conviction", "Ralph!), and after her bitter two years of loneliness and humiliation it\nwas delicious to find herself once more adored and protected.", "\"And by God, I will!\" Ralph thundered. Anger was the only emotion in him\nnow. He had been fooled, cheated, made a mock of; but the score was not", "Ralph was angry, sore, ashamed. He felt as if Laura, whose hand he\ninstantly detected, had taken a cruel pleasure in her work, and for an", "Ralph had begun to laugh again. Suddenly he heard his own laugh and it\npulled him up. What was he laughing about? What was he talking about?", "that no Apex child should ever again drink poisoned water--and out\nof those two disinterested impulses, by some impressive law of\ncompensation, material prosperity had come. What Ralph understood and", "For an instant the words conveyed no meaning to Ralph; then they surged\nup into his brain and flung him forward with half-raised arm. But he", "Ralph, for his own part, had no inclination to resist. As he left\nMoffatt's office his inmost feeling was one of relief. He had reached", "After this first explosion Mr. Dagonet also became silent; and Ralph\nperceived that what annoyed him most was the fact of the \"scandal's\" not", "When a man felt in that way about a woman he was surely in a position to\ndeal with his case impartially. This came to Ralph as the joyless solace", "the hopelessness of Ralph Marvell's case. He had accepted the fact with\na humorous fatalism. Material resources were limited on both sides of", "\"Who's the man? Did he tell you that?\" Ralph insisted. He saw her\ngrowing agitation. \"Why can't you answer? Is it any one I know?\"", "Ralph uttered an incredulous exclamation. \"But don't you see?\" she\nhurried on. \"It's her only hope--her last chance. She's much too clever", "appear as important as those he had lost; otherwise there could be no\nreason why he should go on living. He applied himself doggedly to this\nattempt; but whenever he thought he had found a reason that his mind", "Ralph made no reply but showed no annoyance. He simply took her hand and\nkissed it as he said good-bye; and she turned from him without audible\nfarewell.", "Ralph stared about him, hardly listening. He did not resent his\nfather-in-law's tone. In a dim way he guessed that Mr. Spragg was", "to you. So long.\" Ralph's weak bones ached under his handshake." ], [ "been present. All the rites connected with her engagement were new and\nmysterious to Undine, and none more so than the unaccountable necessity", "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "It took Undine a long time to accustom herself to such an atmosphere,\nand meanwhile she fretted, fumed and flaunted, or abandoned herself to", "No question could have been less welcome to Undine. If there was one\npoint on which she was doggedly and puritanically resolved, it was that", "Undine, as a child, had taken but a lukewarm interest in the diversions\nof her playmates. Even in the early days when she had lived with her", "It was the first time that Undine had seriously paused to consider\nthe conditions of her new life, and as the days passed she began to\nunderstand that so they would continue to succeed each other till the", "on any freedom with her. Nevertheless she did not scruple to talk of her\nsentimental experiences, and seemed surprised, and rather disappointed,\nthat Undine had so few to relate in return. She playfully accused her", "Undine, at first, had supposed that the resulting change could not\nbe other than favourable. She had been on too formal terms with her", "The Princess, at first, seemed totally to have forgotten their former\nintimacy, and Undine was made to feel that in a life so variously", "Undine hated \"scenes\": she was essentially peace-loving, and would have\npreferred to live on terms of unbroken harmony with her parents. But", "patience. But she had noticed lately that Undine was beginning to be\nnervous, and there was nothing that Undine's parents dreaded so much as", "Undine was glad to be relieved of her burden, for she was unused to the\nchild's weight, and disliked to feel that her skirt was dragging on", "rushed to his aid. They told him it was not of himself that Undine had\nwearied, but only of their present way of life. He had said a moment\nbefore, without conscious exaggeration, that her presence made any place", "Undine, near by, leaned against a gnarled tree with the slightly\nconstrained air of a person unused to sylvan abandonments. Her beautiful", "The murmur of negation died on Undine's lips. She found herself\ngrappling with a new social riddle, and such surprises were always", "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "Undine shrugged away from her. \"Mercy! At this hour? You'll be as white\nas a sheet to-morrow, sitting up all night like this.\"", "passed between himself and Undine had become unthinkable. Insensibly he\nhad been subdued to the point of view about him, and the idea of calling", "Undine had not yet put her hand. To know that others were indifferent to\nwhat she had thought important was to cheapen all present pleasure and\nturn the whole force of her desires in a new direction. What she wanted", "interested Undine at the various exhibitions of the moment, and which of\nthe new books she had read, were almost as open to suspicion, since they\nhad to be answered in the negative. Undine did not even know that there" ], [ "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "winter with the married daughter who lived near Pau. The other members\nof the family returned to their respective estates, and Undine once more\nfound herself alone with her husband. But she knew by this time that", "mark. Undine did not believe that her husband was seriously in love with\nanother woman--she could not conceive that any one could tire of her\nof whom she had not first tired--but she was humiliated by his", "This was an evident relief to Mrs. Spragg, and as Undine swept to her\nroom with the note her mother sank back, murmuring plaintively: \"Oh,", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "Undine's eyes opened wide. Here at last was a topic that really\ninterested her, and one that gave another amazing glimpse into the", "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "\"An American? He's marrying an American?\" Undine wavered between wrath\nand satisfaction. She felt a flash of resentment at any other intruder's", "The thoughtful air with which Undine heard him out made him fancy this\nargument had carried; and as be ended she threw him a bright look.\n\n\"Well, that's easy enough: I can drop her if she comes to New York.\"", "A few days later there appeared from the same receptacle a bundle of\nbanknotes considerable enough to quiet Undine's last scruples. She no", "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "Undine echoed his laugh. \"Well, I guess I don't need anybody to do that:\nI can do it myself,\" she said, with the good-humoured curtness that was\nthe habitual note of intercourse with the Spraggs.", "Undine had not met him since her marriage, and of late the adverse\nturn of his fortunes had carried him quite beyond her thoughts. But\nhis actual presence was always stimulating, and even through her", "Undine's name had once perpetually murmured there. That night as he went\nup to bed he said to himself that he was actually ceasing to think about\nhis wife...", "and though Undine could not remember his ever voluntarily bringing the\nsubject of their marriage he did not shrink from her recurring mention\nof it. He seemed merely too steeped in present well-being to think", "Ralph, as the days passed, felt that Clare was right: if Undine married\nagain he would possess himself more completely, be more definitely rid", "\"There! I guess you can put your ring on again,\" she said with a laugh\nof jovial significance; and Undine, echoing the laugh in a murmur of", "Undine, conscious of the intimate charm of her mise-en-scene, and of\nthe recovered freshness and bloom which put her in harmony with it,\nhad never been more sure of her power to keep her friend in the desired", "on good terms with his wife. For different reasons it was scarcely\nless important to Undine: she had no wish to affront again the social\nreprobation that had so nearly wrecked her. But she could not keep up", "left him thankful when Undine's anger yielded to a burst of tears. He\nhad held his own and gained his point. The trip on the Sorceress was" ], [ "Mr. Spragg rose heavily from his seat. \"I presume my daughter has her\nreasons,\" he said, moving toward the door in Moffatt's wake.", "Mr. Spragg listened with a heavy brow and pushed-out lip. His daughter's\noutburst seemed at last to have roused him to a faint resentment. After", "Her distress made him fear that Mr. Spragg was ill, and he drew her to\nhim soothingly; but she broke away with an impatient movement.", "Mr. Spragg drew himself up with a kind of slouching majesty. \"My\ndaughter is not that style. I understand Undine thinks there have been", "After a few weeks it became evident to both parents and daughter\nthat their unnatural association could not continue much longer. Mrs.\nSpragg's shrinking from everything new and unfamiliar had developed into", "Mr. Spragg, adjusting his glasses, read the letter slowly, restored it\nto the envelope and gave it back. \"My daughter has intimated that she", "\"Oh, Abner,\" she moaned again, her eyes also on her daughter's door. Mr.\nSpragg's black eyebrows gathered in an angry frown, but it was evident\nthat his anger was not against his wife.", "Mr. Spragg threw back his head and stared at the garlanded French clock\non the chimney-piece. Mrs. Spragg was sitting upstairs in her daughter's", "Spragg was surprised to meet in his wife a firmness as inflexible as his\ndaughter's.", "and a helpless dependence on his daughter. Mrs. Spragg's long habit of\napathy was overcome by her dread of being left alone when her husband\nand Undine went out, and she delayed and impeded their expeditions", "Spraggs. Several times since his wife's departure he had tried to bring\nabout closer relations between his own family and Undine's; and the", "The door opened, and she heard Mr. Spragg say behind her: \"No, sir, I\nwon't--that's final.\"", "eager appeal for advice had been received by Mr. Spragg with the very\nphrase he had just used: \"I presume you'll have to leave the matter to\nmy daughter.\"", "at Mr. Spragg. The latter, as if in response to an imperceptible signal,\nmechanically pronounced his visitor's name; and the two young men moved\ntoward each other.", "Mr. Spragg was standing near her mother, who sat in a drooping attitude,\nher head sunk on her breast, as she did when she had one of her \"turns.\"\nHe looked up abruptly as Undine entered.", "Mrs. Spragg shuddered away from the suggestion. \"How'd he look? Just the\nsame?\" she whispered.\n\n\"No. Spruced up. That's what scared me.\"", "Mr. Spragg was silent.\n\n\"How's that?\" Moffatt continued unabashed. \"I saw in the papers the date\nwas set for the end of June.\"", "Mr. Spragg held her away at arm's length, a smile drawing up the loose\nwrinkles about his eyes.", "were strongly opposed to it. He concluded that Mr. Spragg had long since\nmeasured the extent of profitable resistance, and knew just when it\nbecame vain to hold out against his daughter or advise others to do so.", "of \"dragging\"--as she phrased it--Mrs. Spragg into the affair. It was\nan accepted article of the Apex creed that parental detachment should be" ], [ "Since then Mabel had returned to New York and married a stock-broker;\nand Undine's first steps in social enlightenment dated from the day when\nshe had met Mrs. Harry Lipscomb, and been again taken under her wing.", "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "\"An American? He's marrying an American?\" Undine wavered between wrath\nand satisfaction. She felt a flash of resentment at any other intruder's", "There were moments after Undine's return to New York when she was\ntempted to class her marriage with the hateful early mistakes from the", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "\"He's a broker,\" said Undine, glad to be able to place her friend's\nhusband in so handsome a light. The subtleties of a professional", "II\n\nUndine's white and gold bedroom, with sea-green panels and old rose\ncarpet, looked along Seventy-second Street toward the leafless tree-tops\nof the Central Park.", "Undine's smile confirmed the appeal. She wanted to know how lately Bowen\nhad left New York, and pressed him to tell her when he had last seen her", "Undine remained motionless, and the manicure, suddenly laying both hands\non the girl's shoulders, and bending over to peer at her reflection,\nsaid playfully: \"Ever been engaged before, Undine?\"", "Undine stared and laughed. \"Oh, my dear, you're so quaint! Why, nobody's\njealous any more.\"", "The young man stared a moment, a humorous glint in his small black eyes;\nbut he made no motion to leave his seat. \"Undine's to be married next\nweek, isn't she?\" he asked in a conversational tone.", "Why, you dined home two nights last week. They ought to come over to New\nYork and see!\" And she poured into Undine's half-envious ear a list of", "Undine had not met him since her marriage, and of late the adverse\nturn of his fortunes had carried him quite beyond her thoughts. But\nhis actual presence was always stimulating, and even through her", "\"Oh, I guess Undine's all right. A girl like her can afford to wait.\nAnd if young Marvell's really taken with her she'll have the run of the\nplace in no time.\"", "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "\"Of course.\" But Undine was still absorbed in the economic aspect of the\ncase. \"If they're as rich as you say, I suppose Hubert means to pay you\nback by and bye?\"", "marriageable. He had no desire to marry at all--that had been the whole\ntruth of it till he met Undine Spragg. And now--? He lit a cigar, and", "Undine stood up, looking about her with vague eyes, as if she had come\nback from a long distance. Elmer Moffatt was still in Paris--he was in", "This was an evident relief to Mrs. Spragg, and as Undine swept to her\nroom with the note her mother sank back, murmuring plaintively: \"Oh," ], [ "\"That's an amazing chap,\" Ralph repeated, looking down at her. \"Where\nwas it you ran across him--out at Apex?\"", "Undine leaned close enough for her lowered voice to reach him. \"Can't\nyou understand that, knowing how they all feel about me--and how Ralph\nfeels--I'd give almost anything to get away?\"", "been introduced to Undine, and had whirled her through an evening's\ndances, Ralph was not seriously disturbed. Husband and wife had grown", "B. Driscoll's. Yet here was she. Undine Spragg of Apex, about to be\nintroduced into an inner circle to which Driscolls and Van Degens had", "\"RALPH!\" his mother breathed; then, turning to Undine, she said with\na constrained smile: \"I believe in certain parts of the country", "The girl explained languidly: \"A little fellow--I think Mr. Popple said\nhis name was Ralph\"; while her mother continued: \"Undine met them both", "bridge at his club. The party, therefore, consisted only of Undine\nand Ralph, with Mrs. Fairford and her attendant friend. Undine vaguely", "Undine smiled: she was glad he should have given her an opening. \"He\nshall be told as soon as he's old enough to thank you. I'm so glad you\ncame to Ralph about that business.\"", "Ralph was surprised, for he had gathered from some frightened references\nof Mrs. Spragg's that Undine's parents had wind of her European plan and", "in her companion's fur-coated figure. Then the motor flew on and Undine\nran up the steps. Ralph went out on the landing. He saw her coming up", "Undine seemed unconscious of his embarrassment. \"He doesn't give us\nnearly as much as father does,\" she said; and, as Ralph remained silent,\nshe went on:", "Laura--was she well too, and was Paul with her, or still with his\ngrandmother? They were all dreadfully bad correspondents, and so was\nshe. Undine laughingly admitted; and when Ralph had last written her", "Undine laughed appreciatively. \"Only it dooms poor Ralph to such awful\nfrumps. Can't you see the sort of woman who'd love his sort of play?\"", "Ralph looked after him with amusement. \"Who's your friend--an Ambassador\nor a tailor?\"\n\nUndine was rapidly slipping on her rings, which, as he now saw, had also\nbeen scattered over the table.", "brought her no nearer to Fifth Avenue. Even in Apex, Undine's tender\nimagination had been nurtured on the feats and gestures of Fifth", "Undine had not met him since her marriage, and of late the adverse\nturn of his fortunes had carried him quite beyond her thoughts. But\nhis actual presence was always stimulating, and even through her", "familiar to Apex City. \"Come along down to dinner, mother--I guess\nUndine won't mind if I don't rig up to-night.\"", "Ralph smiled. Even his subjugated mind perceived the inconsistency\nof Undine's taxing him with having hastened their marriage; but her\nvariations on the eternal feminine still enchanted him.", "Ralph reddened, but laughed.\n\n\"Oh, Undine's wonderfully able to defend herself, even against such\nseductions as Peter's.\"", "Undine was surprised; but beneath her surprise she felt a quick sense of\nrelief. Ralph was easier to manage than so many of her friends--and\nit was a mark of his present indifference to acquiesce in anything she\nsuggested." ], [ "\"RALPH!\" his mother breathed; then, turning to Undine, she said with\na constrained smile: \"I believe in certain parts of the country", "Undine seemed unconscious of his embarrassment. \"He doesn't give us\nnearly as much as father does,\" she said; and, as Ralph remained silent,\nshe went on:", "Undine smiled: she was glad he should have given her an opening. \"He\nshall be told as soon as he's old enough to thank you. I'm so glad you\ncame to Ralph about that business.\"", "The girl explained languidly: \"A little fellow--I think Mr. Popple said\nhis name was Ralph\"; while her mother continued: \"Undine met them both", "Ralph could still hear the horrified murmur with which his mother had\nrebuked his laugh. For he had laughed--had thought Undine's speech fresh", "been introduced to Undine, and had whirled her through an evening's\ndances, Ralph was not seriously disturbed. Husband and wife had grown", "advised country air. Ralph at once hired a small house at Tuxedo and\nUndine of course accompanied her son to the country; but she spent only\nthe Sundays with him, running up to town during the week to be with", "Undine leaned close enough for her lowered voice to reach him. \"Can't\nyou understand that, knowing how they all feel about me--and how Ralph\nfeels--I'd give almost anything to get away?\"", "Undine was still smiling up at him; but suddenly her grew grave. \"What\ndoes it matter what I do or don't do, when Ralph has ordered me home\nnext week?\"", "Ralph was surprised, for he had gathered from some frightened references\nof Mrs. Spragg's that Undine's parents had wind of her European plan and", "Ralph reddened, but laughed.\n\n\"Oh, Undine's wonderfully able to defend herself, even against such\nseductions as Peter's.\"", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "This was an evident relief to Mrs. Spragg, and as Undine swept to her\nroom with the note her mother sank back, murmuring plaintively: \"Oh,", "Undine gave him a startled glance. \"Father? Why, have you seen him? He\nnever said a word about it!\"", "bridge at his club. The party, therefore, consisted only of Undine\nand Ralph, with Mrs. Fairford and her attendant friend. Undine vaguely", "Undine blushed to the ripples of her brilliant hair. \"I never knew such\na child! They've turned him into a perfect little savage!\"\n\nRaymond de Chelles advanced from behind his mother's chair.", "\"Undine didn't come.\"\n\n\"Didn't come? Who brought the boy, then?\"\n\n\"He didn't come either. That's why the cake's not cut.\"", "infant vigorously rocked. She saw at once Undine's value as a factor in\nher scheme, and the two formed an alliance on which Ralph refrained from", "Undine was surprised; but beneath her surprise she felt a quick sense of\nrelief. Ralph was easier to manage than so many of her friends--and\nit was a mark of his present indifference to acquiesce in anything she\nsuggested.", "grandson. But her anecdotes of Paul left a deeper silence behind them.\nUndine did not want to talk of her boy. She could forget him when," ], [ "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "mark. Undine did not believe that her husband was seriously in love with\nanother woman--she could not conceive that any one could tire of her\nof whom she had not first tired--but she was humiliated by his", "winter with the married daughter who lived near Pau. The other members\nof the family returned to their respective estates, and Undine once more\nfound herself alone with her husband. But she knew by this time that", "Undine, as a child, had taken but a lukewarm interest in the diversions\nof her playmates. Even in the early days when she had lived with her", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "Undine's name had once perpetually murmured there. That night as he went\nup to bed he said to himself that he was actually ceasing to think about\nhis wife...", "It was about this time that Mrs. Heeny arrived with Paul; and for a\nwhile Undine was pleasantly absorbed in her boy. She kept Mrs. Heeny", "Undine had not met him since her marriage, and of late the adverse\nturn of his fortunes had carried him quite beyond her thoughts. But\nhis actual presence was always stimulating, and even through her", "movements. The hope of escaping to the seaside with Paul vanished in\nthe pained stare with which her mother-in-law received the suggestion.\nUndine learned the next day that it had cost the old Marquise a", "Half an hour later their talk was over and he stood once more on the\nlanding outside Mr. Spragg's door. Undine's answer had come and Paul's", "on good terms with his wife. For different reasons it was scarcely\nless important to Undine: she had no wish to affront again the social\nreprobation that had so nearly wrecked her. But she could not keep up", "The thoughtful air with which Undine heard him out made him fancy this\nargument had carried; and as be ended she threw him a bright look.\n\n\"Well, that's easy enough: I can drop her if she comes to New York.\"", "Undine seemed unconscious of his embarrassment. \"He doesn't give us\nnearly as much as father does,\" she said; and, as Ralph remained silent,\nshe went on:", "A flicker of self-esteem caused Undine to protest. \"It wouldn't have\nmade any difference. His wife would never have given him up.\"\n\n\"She's so crazy about him?\"", "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "Undine shrugged her shoulders. \"It was a mistake, of course. Why on\nearth did you let him come up?\"\n\n\"I thought maybe he had a message for you, Undie.\"", "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "Laura--was she well too, and was Paul with her, or still with his\ngrandmother? They were all dreadfully bad correspondents, and so was\nshe. Undine laughingly admitted; and when Ralph had last written her", "Undine stood up, looking about her with vague eyes, as if she had come\nback from a long distance. Elmer Moffatt was still in Paris--he was in", "days.\" His glance played over her for a moment. \"Say, Undine--it was\ngood while it lasted, though, wasn't it?\"" ], [ "The means of raising the requisite amount of money became, during the\nnext few weeks, the anxious theme of all Ralph's thoughts. His lawyers'", "Ralph had been prepared for the question, but when it came he felt a\nmoment's tremor. He knew he could count on half the amount from", "\"That's what you want the money for?\" he finally raised his head to ask.\n\nThe word came out of the depths of Ralph's anguish: \"Yes.\"", "papers acted as an unconscious suggestion. Besides, to whom else could\nhe look for help? The sum his wife demanded could be acquired only by \"a\nquick turn,\" and the fact that Ralph had once rendered the same kind", "\"And by God, I will!\" Ralph thundered. Anger was the only emotion in him\nnow. He had been fooled, cheated, made a mock of; but the score was not", "a business?\" His smile grew more indulgent as this novel distinction\ndawned on him. \"Why, I guess that's the whole trouble with Ralph. Nobody", "XXXV\n\nWithin forty-eight hours Ralph's money was in Moffatt's hands, and the\ninterval of suspense had begun.", "For a long time Ralph sat and stared at this document; then he began to\nlaugh and tossed it into the scrap-basket. After that, with a groan, he\ndropped his head against the edge of his writing table.", "For an instant the words conveyed no meaning to Ralph; then they surged\nup into his brain and flung him forward with half-raised arm. But he", "Ralph rose with a laugh. \"You're right. I'll hurry back and make\nhis acquaintance.\" He held out his hand to his cousin, avoiding her\ndisappointed eyes.", "than a narrow depression in his beard. He stood before Ralph, absently\nshaking the loose change in his trouser-pockets.", "\"I should say not!\" Ralph ejaculated. \"He never would have had the cheek\nto think of it.\"\n\n\"Well, I've made him, anyhow! Did you ever know such luck?\"", "Moffatt looked at him with a sort of resigned compassion, as a doctor\nlooks at a despairing mother who will not understand what he has tried\nto imply without uttering the word she dreads. Ralph understood the\nlook, but hurried on.", "that no Apex child should ever again drink poisoned water--and out\nof those two disinterested impulses, by some impressive law of\ncompensation, material prosperity had come. What Ralph understood and", "\"Look where? In the Dagonet coffers? Oh, Ralph, what's the use of\npretending? Tell me what you've got to give her.\" It was amazing how", "for every grasp at opportunity by a man so avowedly unable to do the\nreaching for her! Ralph had gone into business to make more money for", "Ralph laughed, and his laugh sounded in his own ears like an echo of the\ndreary mirth with which he had filled Mr. Spragg's office the day he", "have been perfectly content with life, with herself and her husband. She\nstill thought Ralph \"sweet\" when she was not bored by his good advice or\nexasperated by his inability to pay her bills. The question of money", "given him to understand that the transaction must be closed before the\nfirst of August. Ralph telephoned once or twice to Moffatt, receiving\ngenially-worded assurances that everything was \"going their way\"; but he", "A fury of action burned in Ralph, pouring light into his mind and\nstrength into his muscles. He caught up his hat and turned to the door." ], [ "Undine leaned close enough for her lowered voice to reach him. \"Can't\nyou understand that, knowing how they all feel about me--and how Ralph\nfeels--I'd give almost anything to get away?\"", "Undine seemed unconscious of his embarrassment. \"He doesn't give us\nnearly as much as father does,\" she said; and, as Ralph remained silent,\nshe went on:", "\"RALPH!\" his mother breathed; then, turning to Undine, she said with\na constrained smile: \"I believe in certain parts of the country", "Undine flushed to the forehead. \"Oh, Elmer--I was only a child when I\nwas engaged to Millard--\"", "Undine smiled: she was glad he should have given her an opening. \"He\nshall be told as soon as he's old enough to thank you. I'm so glad you\ncame to Ralph about that business.\"", "But to Undine, though undoubtedly impressive, the statement did not\nimmediately present itself as a subject for pleasantry.\n\n\"Elmer Moffatt--you ARE?\"", "Under their brief about Elmer Moffatt currents of rapid intelligence\nseemed to be flowing between them. Suddenly Undine leaned over the desk,\nher eyes widening trustfully, and the limpid smile flowing up to them.", "\"Oh--\" Undine threw off a vague laugh. \"Since you're intimate enough for\nhim to tell you THAT he must, have told you more--told you something to", "Ralph could still hear the horrified murmur with which his mother had\nrebuked his laugh. For he had laughed--had thought Undine's speech fresh", "\"From my--from Undine's lawyers? Yes.\" Ralph held it out. \"It's queer\nreading. She hasn't hitherto been very keen to have Paul with her.\"", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "Ralph reddened, but laughed.\n\n\"Oh, Undine's wonderfully able to defend herself, even against such\nseductions as Peter's.\"", "Undine laughed appreciatively. \"Only it dooms poor Ralph to such awful\nfrumps. Can't you see the sort of woman who'd love his sort of play?\"", "out at last, as he pressed her closer: \"Well, if you want to know, she's\nseen Elmer.\"", "Ralph was surprised, for he had gathered from some frightened references\nof Mrs. Spragg's that Undine's parents had wind of her European plan and", "Undine stood up, looking about her with vague eyes, as if she had come\nback from a long distance. Elmer Moffatt was still in Paris--he was in", "\"Elmer, if you're going away it can't do any harm to tell me--is there\nany one else?\"", "\"See here, I know Undine's reasons. I've had a talk with her--didn't\nshe tell you? SHE don't beat about the bush the way you do. She told", "Undine was still smiling up at him; but suddenly her grew grave. \"What\ndoes it matter what I do or don't do, when Ralph has ordered me home\nnext week?\"", "in intimacy was given to miscalculations of the sort, and Ralph's first\nmovement was to glance at Undine and see how it affected her. But her" ], [ "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "Her first glance showed Undine how glad Raymond de Chelles was to see\nher. Since their last meeting his admiration for her seemed not only to", "Undine's eyes opened wide. Here at last was a topic that really\ninterested her, and one that gave another amazing glimpse into the", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "Undine paused a moment before answering, \"It won't be impossible when my\nmarriage is annulled,\" she said.", "The thoughtful air with which Undine heard him out made him fancy this\nargument had carried; and as be ended she threw him a bright look.\n\n\"Well, that's easy enough: I can drop her if she comes to New York.\"", "\"Oh, I guess Undine's all right. A girl like her can afford to wait.\nAnd if young Marvell's really taken with her she'll have the run of the\nplace in no time.\"", "\"There! I guess you can put your ring on again,\" she said with a laugh\nof jovial significance; and Undine, echoing the laugh in a murmur of", "Ralph, as the days passed, felt that Clare was right: if Undine married\nagain he would possess himself more completely, be more definitely rid", "A few days after her decisive conversation with Raymond de Chelles,\nUndine, emerging from the doors of the Nouveau Luxe, where she had been", "\"Oh, if THAT'S all they want, it's a pity Raymond didn't marry Hubert's\nwife,\" Undine flung back; and on the stairs she murmured to herself:", "Undine echoed his laugh. \"Well, I guess I don't need anybody to do that:\nI can do it myself,\" she said, with the good-humoured curtness that was\nthe habitual note of intercourse with the Spraggs.", "\"See here, I know Undine's reasons. I've had a talk with her--didn't\nshe tell you? SHE don't beat about the bush the way you do. She told", "Undine stared and laughed. \"Oh, my dear, you're so quaint! Why, nobody's\njealous any more.\"", "A few days later there appeared from the same receptacle a bundle of\nbanknotes considerable enough to quiet Undine's last scruples. She no", "Undine, conscious of the intimate charm of her mise-en-scene, and of\nthe recovered freshness and bloom which put her in harmony with it,\nhad never been more sure of her power to keep her friend in the desired", "Undine opened her eyes with a trustful look. \"Yes--I do.\"\n\n\"Well--I'll be damned!\" said Moffatt gaily.", "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "rushed to his aid. They told him it was not of himself that Undine had\nwearied, but only of their present way of life. He had said a moment\nbefore, without conscious exaggeration, that her presence made any place", "on good terms with his wife. For different reasons it was scarcely\nless important to Undine: she had no wish to affront again the social\nreprobation that had so nearly wrecked her. But she could not keep up" ], [ "For a long time Ralph sat and stared at this document; then he began to\nlaugh and tossed it into the scrap-basket. After that, with a groan, he\ndropped his head against the edge of his writing table.", "Moffatt looked at him with a sort of resigned compassion, as a doctor\nlooks at a despairing mother who will not understand what he has tried\nto imply without uttering the word she dreads. Ralph understood the\nlook, but hurried on.", "memories of which she had hoped it would free her. Since it was never\nher habit to accuse herself of such mistakes it was inevitable that she\nshould gradually come to lay the blame on Ralph. She found a poignant", "the hopelessness of Ralph Marvell's case. He had accepted the fact with\na humorous fatalism. Material resources were limited on both sides of", "Ralph heard it, nevertheless, and let it pass. Nothing gave him so\nprofound a sense of estrangement from his former life as the conviction", "\"And by God, I will!\" Ralph thundered. Anger was the only emotion in him\nnow. He had been fooled, cheated, made a mock of; but the score was not", "Ralph had begun to laugh again. Suddenly he heard his own laugh and it\npulled him up. What was he laughing about? What was he talking about?", "Ralph!), and after her bitter two years of loneliness and humiliation it\nwas delicious to find herself once more adored and protected.", "For an instant the words conveyed no meaning to Ralph; then they surged\nup into his brain and flung him forward with half-raised arm. But he", "appear as important as those he had lost; otherwise there could be no\nreason why he should go on living. He applied himself doggedly to this\nattempt; but whenever he thought he had found a reason that his mind", "Ralph uttered an incredulous exclamation. \"But don't you see?\" she\nhurried on. \"It's her only hope--her last chance. She's much too clever", "that no Apex child should ever again drink poisoned water--and out\nof those two disinterested impulses, by some impressive law of\ncompensation, material prosperity had come. What Ralph understood and", "to you. So long.\" Ralph's weak bones ached under his handshake.", "marriage was a mistake from the beginning; and Ralph feels just as I do\nabout it. His people hate me, they've always hated me; and he looks at", "At every point Ralph felt his hold slip off the surface of his\nfather-in-law's impervious fatalism.\n\n\"Does she suppose Van Degen's going to marry her?\"", "Ralph was angry, sore, ashamed. He felt as if Laura, whose hand he\ninstantly detected, had taken a cruel pleasure in her work, and for an", "After this first explosion Mr. Dagonet also became silent; and Ralph\nperceived that what annoyed him most was the fact of the \"scandal's\" not", "Ralph, for his own part, had no inclination to resist. As he left\nMoffatt's office his inmost feeling was one of relief. He had reached", "because Ralph loves me that he wants me back--it's simply because he\ncan't afford to let me stay!\"", "When a man felt in that way about a woman he was surely in a position to\ndeal with his case impartially. This came to Ralph as the joyless solace" ], [ "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "\"Oh, if THAT'S all they want, it's a pity Raymond didn't marry Hubert's\nwife,\" Undine flung back; and on the stairs she murmured to herself:", "\"Do you mean to tell me that Undine's divorcing ME?\"\n\n\"I presume that's her plan,\" Mr. Spragg admitted.\n\n\"For desertion?\" Ralph pursued, still laughing.", "had learned that Undine intended to divorce him. But now his wrath was\nseasoned with a wholesome irony. The fact of his wife's having reached", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "A few days after her decisive conversation with Raymond de Chelles,\nUndine, emerging from the doors of the Nouveau Luxe, where she had been", "Undine paused a moment before answering, \"It won't be impossible when my\nmarriage is annulled,\" she said.", "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "winter with the married daughter who lived near Pau. The other members\nof the family returned to their respective estates, and Undine once more\nfound herself alone with her husband. But she knew by this time that", "Undine's name had once perpetually murmured there. That night as he went\nup to bed he said to himself that he was actually ceasing to think about\nhis wife...", "Ralph, as the days passed, felt that Clare was right: if Undine married\nagain he would possess himself more completely, be more definitely rid", "days.\" His glance played over her for a moment. \"Say, Undine--it was\ngood while it lasted, though, wasn't it?\"", "Her first glance showed Undine how glad Raymond de Chelles was to see\nher. Since their last meeting his admiration for her seemed not only to", "\"An American? He's marrying an American?\" Undine wavered between wrath\nand satisfaction. She felt a flash of resentment at any other intruder's", "Undine divided her shining glances between the two. \"I guess he isn't\ngoing to treat me any different afterward,\" she proclaimed with joyous\ndefiance.", "mark. Undine did not believe that her husband was seriously in love with\nanother woman--she could not conceive that any one could tire of her\nof whom she had not first tired--but she was humiliated by his", "The thoughtful air with which Undine heard him out made him fancy this\nargument had carried; and as be ended she threw him a bright look.\n\n\"Well, that's easy enough: I can drop her if she comes to New York.\"", "chance allusion to Mrs. Lipscomb, and Undine's answer, fluted out on her\nhighest note: \"Oh, I guess she'll get a divorce pretty soon. He's been a", "on good terms with his wife. For different reasons it was scarcely\nless important to Undine: she had no wish to affront again the social\nreprobation that had so nearly wrecked her. But she could not keep up", "Undine echoed his laugh. \"Well, I guess I don't need anybody to do that:\nI can do it myself,\" she said, with the good-humoured curtness that was\nthe habitual note of intercourse with the Spraggs." ], [ "yielded to her entreaty, packed their trunks, and stoically set out for\nthe unknown. Neither Mr. Spragg nor his wife had ever before been out of", "Mrs. Spragg shuddered away from the suggestion. \"How'd he look? Just the\nsame?\" she whispered.\n\n\"No. Spruced up. That's what scared me.\"", "Her husband, she continued, could not, at the time, do much for his\nfather-in-law. Mr. Spragg had come to Apex as a poor boy, and their", "Mr. Spragg threw back his head and stared at the garlanded French clock\non the chimney-piece. Mrs. Spragg was sitting upstairs in her daughter's", "one element of variety in her life. As for Mr. Spragg, it was impossible\nto imagine any one in whom the domestic sentiments were more completely\nunlocalized and disconnected from any fixed habits; and he was probably", "They looked at each other for a moment; then Mr. Spragg added: \"But\nit HAS happened, you know. Bear that in mind. Nothing you can do will\nchange it. Time and again, I've found that a good thing to remember.\"", "There was a derisive sound in Mr. Spragg's throat.", "Mrs. Spragg sighed again. \"They don't appear to. They say New Yorkers\nare always in a hurry; but I can't say as they've hurried much to make\nour acquaintance.\"", "at Mr. Spragg. The latter, as if in response to an imperceptible signal,\nmechanically pronounced his visitor's name; and the two young men moved\ntoward each other.", "Mr. Spragg was silent.\n\n\"How's that?\" Moffatt continued unabashed. \"I saw in the papers the date\nwas set for the end of June.\"", "\"The Twentieth Century's generally considered the best route to Dakota,\"\nexplained Mr. Spragg, who pronounced the word ROWT.\n\n\"Do you mean to say Undine's in the United States?\"", "the Spraggs, some two years previously, had moved from Apex City to New\nYork, they had made little progress in establishing relations with their", "Her distress made him fear that Mr. Spragg was ill, and he drew her to\nhim soothingly; but she broke away with an impatient movement.", "To Mrs. Spragg this conveyed even less than to her daughter, \"'way down\nthere? Why do they live with somebody else? Haven't they got the means\nto have a home of their own?\"", "of \"dragging\"--as she phrased it--Mrs. Spragg into the affair. It was\nan accepted article of the Apex creed that parental detachment should be", "of the Atlantic seaboard, and the next summer found the Spraggs at Skog\nHarbour, Maine. Even now Undine felt a shiver of boredom as she recalled", "on their lips it had often so different a meaning. Ralph had never seen\nthem actually in the making, before they had acquired the speech of the\nconquered race. But Mrs. Spragg still used the dialect of her people,", "Mrs. Spragg took up her moan. \"Don't you tell her you saw him, Abner.\"\n\n\"I'll do as you say; but she may meet him herself.\"", "coming to one of the big Fifth Avenue hotels. When she had suggested it\nMr. Spragg had briefly replied that, owing to the heavy expenses of her", "Mr. Spragg emitted a derisive groan. \"From what I hear of the amount of\nbusiness he's doing I guess he could keep the Poet's Corner going right" ], [ "Since then Mabel had returned to New York and married a stock-broker;\nand Undine's first steps in social enlightenment dated from the day when\nshe had met Mrs. Harry Lipscomb, and been again taken under her wing.", "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "\"An American? He's marrying an American?\" Undine wavered between wrath\nand satisfaction. She felt a flash of resentment at any other intruder's", "There were moments after Undine's return to New York when she was\ntempted to class her marriage with the hateful early mistakes from the", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "\"He's a broker,\" said Undine, glad to be able to place her friend's\nhusband in so handsome a light. The subtleties of a professional", "II\n\nUndine's white and gold bedroom, with sea-green panels and old rose\ncarpet, looked along Seventy-second Street toward the leafless tree-tops\nof the Central Park.", "Undine's smile confirmed the appeal. She wanted to know how lately Bowen\nhad left New York, and pressed him to tell her when he had last seen her", "Undine remained motionless, and the manicure, suddenly laying both hands\non the girl's shoulders, and bending over to peer at her reflection,\nsaid playfully: \"Ever been engaged before, Undine?\"", "Undine stared and laughed. \"Oh, my dear, you're so quaint! Why, nobody's\njealous any more.\"", "The young man stared a moment, a humorous glint in his small black eyes;\nbut he made no motion to leave his seat. \"Undine's to be married next\nweek, isn't she?\" he asked in a conversational tone.", "Why, you dined home two nights last week. They ought to come over to New\nYork and see!\" And she poured into Undine's half-envious ear a list of", "Undine had not met him since her marriage, and of late the adverse\nturn of his fortunes had carried him quite beyond her thoughts. But\nhis actual presence was always stimulating, and even through her", "\"Oh, I guess Undine's all right. A girl like her can afford to wait.\nAnd if young Marvell's really taken with her she'll have the run of the\nplace in no time.\"", "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "\"Of course.\" But Undine was still absorbed in the economic aspect of the\ncase. \"If they're as rich as you say, I suppose Hubert means to pay you\nback by and bye?\"", "marriageable. He had no desire to marry at all--that had been the whole\ntruth of it till he met Undine Spragg. And now--? He lit a cigar, and", "Undine stood up, looking about her with vague eyes, as if she had come\nback from a long distance. Elmer Moffatt was still in Paris--he was in", "This was an evident relief to Mrs. Spragg, and as Undine swept to her\nroom with the note her mother sank back, murmuring plaintively: \"Oh," ], [ "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "mark. Undine did not believe that her husband was seriously in love with\nanother woman--she could not conceive that any one could tire of her\nof whom she had not first tired--but she was humiliated by his", "Undine, as a child, had taken but a lukewarm interest in the diversions\nof her playmates. Even in the early days when she had lived with her", "The thoughtful air with which Undine heard him out made him fancy this\nargument had carried; and as be ended she threw him a bright look.\n\n\"Well, that's easy enough: I can drop her if she comes to New York.\"", "Undine, conscious of the intimate charm of her mise-en-scene, and of\nthe recovered freshness and bloom which put her in harmony with it,\nhad never been more sure of her power to keep her friend in the desired", "Undine had not met him since her marriage, and of late the adverse\nturn of his fortunes had carried him quite beyond her thoughts. But\nhis actual presence was always stimulating, and even through her", "Undine shrugged her shoulders. \"It was a mistake, of course. Why on\nearth did you let him come up?\"\n\n\"I thought maybe he had a message for you, Undie.\"", "A flicker of self-esteem caused Undine to protest. \"It wouldn't have\nmade any difference. His wife would never have given him up.\"\n\n\"She's so crazy about him?\"", "Undine had not yet put her hand. To know that others were indifferent to\nwhat she had thought important was to cheapen all present pleasure and\nturn the whole force of her desires in a new direction. What she wanted", "Undine looked up. \"But I'm awfully poor; I can't afford to have him\nhere.\"", "Undine's name had once perpetually murmured there. That night as he went\nup to bed he said to himself that he was actually ceasing to think about\nhis wife...", "Undine blushed with anger at her own simplicity in fancying that he had\nbeen \"taken\" by her--that she could ever really count among these happy", "Undine looked innocently surprised. \"Oh, I guess not. They like each\nother well enough. But he's been a disappointment to her. He isn't", "Undine's attention was roused. \"Sat here--all alone? Didn't you tell him\nI was out?\"\n\n\"Yes--but he came up all the same. He asked for me.\"", "Undine coloured; but she could take the hardest thrusts where her\npersonal interest was involved. \"You mean that I'M the bore, then?\"", "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "on good terms with his wife. For different reasons it was scarcely\nless important to Undine: she had no wish to affront again the social\nreprobation that had so nearly wrecked her. But she could not keep up", "Undine opened her eyes with a trustful look. \"Yes--I do.\"\n\n\"Well--I'll be damned!\" said Moffatt gaily.", "Undine. You see, you were his ideal.\"" ], [ "\"Oh, if THAT'S all they want, it's a pity Raymond didn't marry Hubert's\nwife,\" Undine flung back; and on the stairs she murmured to herself:", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "No question could have been less welcome to Undine. If there was one\npoint on which she was doggedly and puritanically resolved, it was that", "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "\"Raymond has told me that there are certain things you fail to\nunderstand--I have no wish whatever to discuss them.\" The Marquise had", "Undine looked up. \"But I'm awfully poor; I can't afford to have him\nhere.\"", "Raymond de Chelles, more than ever infatuated as attainment became less\ncertain, had claimed a definite promise from Undine, and his family,", "Undine coloured. \"No--\" she began; and seeing his look of surprise, she\nembarked on her usual explanation. \"I can't tell you how I miss him,\"", "Undine paused a moment before answering, \"It won't be impossible when my\nmarriage is annulled,\" she said.", "If any one had prophesied before his marriage that he would find it\ndifficult to tell this to Undine he would have smiled at the suggestion;", "\"No.--I wouldn't beckon like that,\" Undine whispered between her teeth.\n\n\"Why not? Don't you want him to know you're here?\"", "\"An American? He's marrying an American?\" Undine wavered between wrath\nand satisfaction. She felt a flash of resentment at any other intruder's", "\"Do you mean to tell me that Undine's divorcing ME?\"\n\n\"I presume that's her plan,\" Mr. Spragg admitted.\n\n\"For desertion?\" Ralph pursued, still laughing.", "Undine, surprised at his dullness, tried to explain. \"Oh that wouldn't\nbe the reason GIVEN, of course. Any lawyer could fix it up for them.\nDon't they generally call it desertion?\"", "Undine kept this incident to herself: her wounded pride made her shrink\nfrom confessing it even to Madame de Trezac. She was sure Raymond would", "\"What's the matter. Undine? Don't you see Mr. Marvell over there? Is\nthat his sister he's with?\"", "Undine looked innocently surprised. \"Oh, I guess not. They like each\nother well enough. But he's been a disappointment to her. He isn't", "Her first glance showed Undine how glad Raymond de Chelles was to see\nher. Since their last meeting his admiration for her seemed not only to", "He thought this over carefully; then he spoke again. \"Call Undine.\"\n\nShe made no answer, and he repeated irritably: \"Why don't you call her?\nI want to speak to her.\"" ], [ "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "Undine had not met him since her marriage, and of late the adverse\nturn of his fortunes had carried him quite beyond her thoughts. But\nhis actual presence was always stimulating, and even through her", "Undine's face brightened. \"You know he's not a Count; he's a Marquis.\nHis name's Roviano; his palace in Rome is in the guide-books, and", "alien to Undine. She had turned on Marvell a gaze at once pleading and\npossessive; but whether betokening merely an inherited intimacy (Undine", "Undine gave him a startled glance. \"Father? Why, have you seen him? He\nnever said a word about it!\"", "winter with the married daughter who lived near Pau. The other members\nof the family returned to their respective estates, and Undine once more\nfound herself alone with her husband. But she knew by this time that", "\"An American? He's marrying an American?\" Undine wavered between wrath\nand satisfaction. She felt a flash of resentment at any other intruder's", "mark. Undine did not believe that her husband was seriously in love with\nanother woman--she could not conceive that any one could tire of her\nof whom she had not first tired--but she was humiliated by his", "on good terms with his wife. For different reasons it was scarcely\nless important to Undine: she had no wish to affront again the social\nreprobation that had so nearly wrecked her. But she could not keep up", "Undine had been right in supposing that her husband would expect\ntheir life to go on as before. There was no appreciable change in the", "Undine's attention was roused. \"Sat here--all alone? Didn't you tell him\nI was out?\"\n\n\"Yes--but he came up all the same. He asked for me.\"", "\"He's a broker,\" said Undine, glad to be able to place her friend's\nhusband in so handsome a light. The subtleties of a professional", "Mrs. Fairford presented an amazed silence to the rush of this tirade;\nbut when she rallied it was to murmur: \"And is Undine one of the\nexceptions?\"", "Undine stared and laughed. \"Oh, my dear, you're so quaint! Why, nobody's\njealous any more.\"", "The thoughtful air with which Undine heard him out made him fancy this\nargument had carried; and as be ended she threw him a bright look.\n\n\"Well, that's easy enough: I can drop her if she comes to New York.\"", "He thought this over carefully; then he spoke again. \"Call Undine.\"\n\nShe made no answer, and he repeated irritably: \"Why don't you call her?\nI want to speak to her.\"", "Undine echoed his laugh. \"Well, I guess I don't need anybody to do that:\nI can do it myself,\" she said, with the good-humoured curtness that was\nthe habitual note of intercourse with the Spraggs." ], [ "For an instant the words conveyed no meaning to Ralph; then they surged\nup into his brain and flung him forward with half-raised arm. But he", "\"And by God, I will!\" Ralph thundered. Anger was the only emotion in him\nnow. He had been fooled, cheated, made a mock of; but the score was not", "to you. So long.\" Ralph's weak bones ached under his handshake.", "Moffatt looked at him with a sort of resigned compassion, as a doctor\nlooks at a despairing mother who will not understand what he has tried\nto imply without uttering the word she dreads. Ralph understood the\nlook, but hurried on.", "For a long time Ralph sat and stared at this document; then he began to\nlaugh and tossed it into the scrap-basket. After that, with a groan, he\ndropped his head against the edge of his writing table.", "Ralph!), and after her bitter two years of loneliness and humiliation it\nwas delicious to find herself once more adored and protected.", "Ralph uttered an incredulous exclamation. \"But don't you see?\" she\nhurried on. \"It's her only hope--her last chance. She's much too clever", "Ralph rose with a laugh. \"You're right. I'll hurry back and make\nhis acquaintance.\" He held out his hand to his cousin, avoiding her\ndisappointed eyes.", "Ralph had begun to laugh again. Suddenly he heard his own laugh and it\npulled him up. What was he laughing about? What was he talking about?", "At every point Ralph felt his hold slip off the surface of his\nfather-in-law's impervious fatalism.\n\n\"Does she suppose Van Degen's going to marry her?\"", "\"Who's the man? Did he tell you that?\" Ralph insisted. He saw her\ngrowing agitation. \"Why can't you answer? Is it any one I know?\"", "Ralph, when the boy was out of hearing, rebuked his sister for her\nanswer. \"I don't want you to talk of his mother as if she were dead. I\ndon't want you to forbid Paul to speak of her.\"", "Ralph made no reply but showed no annoyance. He simply took her hand and\nkissed it as he said good-bye; and she turned from him without audible\nfarewell.", "\"What do you call the end?\"\n\n\"Oh, before the Day of Judgment, sure: next year, I guess.\"\n\n\"Next year?\" Ralph flushed. \"What earthly good will that do me?\"", "be the critic of her conduct. Her annoyance, however, died out with\nher fears. Ralph, the morning after the Elling dinner, went his way as\nusual, and after nerving herself for the explosion which did not come", "Ralph sat silent for a moment--then he turned away and began to gather\nup his scattered pages.", "Ralph heard Laura's step behind him. He threw the paper aside and their\neyes met.\n\n\"Is this what you wanted to tell me last night?\"\n\n\"Last night?--Is it in the papers?\"", "\"Oh, Ralph, it's SWEET of you, and I love you!\" she cried out, letting\nhim take her to his breast.\n\n\n\nXII", "A fury of action burned in Ralph, pouring light into his mind and\nstrength into his muscles. He caught up his hat and turned to the door.", "Ralph had been prepared for the question, but when it came he felt a\nmoment's tremor. He knew he could count on half the amount from" ], [ "\"Her husband? But she's an American--she's divorced,\" the Duchess\nreplied, as if she were merely stating the same fact in two different\nways; and Undine stopped short with a pang of apprehension.", "No question could have been less welcome to Undine. If there was one\npoint on which she was doggedly and puritanically resolved, it was that", "Undine stared. \"He never did!\"\n\n\"No.\"\n\n\"Doesn't that show you the story's all trumped up?\"", "\"No.--I wouldn't beckon like that,\" Undine whispered between her teeth.\n\n\"Why not? Don't you want him to know you're here?\"", "\"An American? He's marrying an American?\" Undine wavered between wrath\nand satisfaction. She felt a flash of resentment at any other intruder's", "\"Why, what's the matter? That ruled out too? Oh, all right. Look at\nhere, Undine, suppose you let me know what you ARE here to talk about,\nanyhow.\"", "Undine coloured. \"No--\" she began; and seeing his look of surprise, she\nembarked on her usual explanation. \"I can't tell you how I miss him,\"", "Undine looked up. \"But I'm awfully poor; I can't afford to have him\nhere.\"", "\"See here, I know Undine's reasons. I've had a talk with her--didn't\nshe tell you? SHE don't beat about the bush the way you do. She told", "on good terms with his wife. For different reasons it was scarcely\nless important to Undine: she had no wish to affront again the social\nreprobation that had so nearly wrecked her. But she could not keep up", "A flicker of self-esteem caused Undine to protest. \"It wouldn't have\nmade any difference. His wife would never have given him up.\"\n\n\"She's so crazy about him?\"", "Undine, hitherto, had found more benefits than drawbacks in her\nmarriage; but now the tie began to gall. It was hard to be criticized", "He thought this over carefully; then he spoke again. \"Call Undine.\"\n\nShe made no answer, and he repeated irritably: \"Why don't you call her?\nI want to speak to her.\"", "The murmur of negation died on Undine's lips. She found herself\ngrappling with a new social riddle, and such surprises were always", "Undine looked innocently surprised. \"Oh, I guess not. They like each\nother well enough. But he's been a disappointment to her. He isn't", "Mrs. Fairford presented an amazed silence to the rush of this tirade;\nbut when she rallied it was to murmur: \"And is Undine one of the\nexceptions?\"", "Undine shrugged away from her. \"Mercy! At this hour? You'll be as white\nas a sheet to-morrow, sitting up all night like this.\"", "The social order seemed to be falling in ruins at Undine's feet. A\nvisitor who asked for a girl's mother!--she stared at Mrs. Spragg with\ncold incredulity. \"What makes you think he did?\"", "\"Oh, my dear, it's so refreshing to hear you talk like that! Personally,\nof course, I've never quite got used to the French view--\"\n\n\"I hope no American woman ever does,\" said Undine.", "Undine blushed with anger at her own simplicity in fancying that he had\nbeen \"taken\" by her--that she could ever really count among these happy" ], [ "The sole custody! But that meant that Paul was hers, hers only, hers\nfor always: that his father had no more claim on him than any casual", "stipulation that her doing so was only a temporary concession to the\nfeelings of her husband's family; and she had held out against all\nattempts to induce her to surrender Paul permanently. Before her", "lawyers, to undertake that no attempt should be made to remove Paul from\nhis father's custody. Nevertheless, he seemed to think it quite natural\nthat Undine, on the point of making a marriage which would put it in her", "His irritation was aggravated by the discovery that Mrs. Marvell and\nLaura had already begun to treat Paul as if he were an orphan. One day,", "\"Paul?\" Laura intervened with a nervous laugh. \"But there's never been\nthe least doubt about his having Paul!\"", "\"You mean she's got sole custody?\"\n\nRalph made a sign of assent, and Moffatt pondered. \"That's bad--bad.\"", "It was about this time that Mrs. Heeny arrived with Paul; and for a\nwhile Undine was pleasantly absorbed in her boy. She kept Mrs. Heeny", "\"Nothing's happened--Paul's all right. Apparently Undine forgot. She\nnever went home for him, and the nurse waited till it was too late to\ncome.\"", "mistake of appealing to the courts for his custody. This had confirmed\nUndine's resistance, and her determination to keep the child. The case\nhad been decided in her favour, and she had thereupon demanded, and", "Moffatt lowered his charge with exaggerated care, and a \"Steady there,\nsteady,\" that made the child laugh; then, stooping over, he put a kiss\non Paul's lips before handing him over to his mother.", "To escape the strain of these visits, Ralph once or twice tried the\nexperiment of leaving Paul with his grand-parents and calling for him in", "\"Belong to?\"\n\n\"Who got him when you were divorced? Did you?\"\n\n\"Oh, I got everything,\" she said, her instinct of self-defense on the\nalert.", "never seriously thought of asserting this claim. Her parents' diminished\nmeans and her own uncertain future made her regard the care of Paul as\nan additional burden, and she quieted her scruples by thinking of him", "seeing no one but Mrs. Heeny, whose daily ministrations had once more\nbeen prescribed, and asking only that the noise of Paul's play should be", "The next moment he was again absorbed in his own cares. Now that he had\nlearned the imminence of Paul's danger, and the futility of pleading for", "Instantly he passed Paul over to his nurse, stammered out a word about\nbeing tired, and sprang up the long flights to his study. The pain", "\"Why, you must know that much, Paul.\" Mrs. Heeny again looked warm and\nworried. \"She's married to him because she got a divorce--that's why.\"", "possessed to his son, this unexpected windfall handsomely increased\nPaul's patrimony. Undine had never relinquished her claim on her child;", "to think she might, after all, miss the boy and himself more than she\nimagined. She was tenderly preoccupied with Paul's welfare, and, to\nprepare for his translation to his grandparents' she gave the household", "for his wife and child. The woman he had turned from on the stairs a few\nhours earlier was still his wife and the mother of Paul Marvell. She was" ], [ "Undine leaned close enough for her lowered voice to reach him. \"Can't\nyou understand that, knowing how they all feel about me--and how Ralph\nfeels--I'd give almost anything to get away?\"", "\"RALPH!\" his mother breathed; then, turning to Undine, she said with\na constrained smile: \"I believe in certain parts of the country", "Undine seemed unconscious of his embarrassment. \"He doesn't give us\nnearly as much as father does,\" she said; and, as Ralph remained silent,\nshe went on:", "\"From my--from Undine's lawyers? Yes.\" Ralph held it out. \"It's queer\nreading. She hasn't hitherto been very keen to have Paul with her.\"", "Ralph reddened, but laughed.\n\n\"Oh, Undine's wonderfully able to defend herself, even against such\nseductions as Peter's.\"", "Ralph shrugged. \"There may be other inducements. But she won't be able\nto manage it.\" He heard himself speaking quite collectedly. Had Undine\nat last lost her power of wounding him?", "Undine laughed appreciatively. \"Only it dooms poor Ralph to such awful\nfrumps. Can't you see the sort of woman who'd love his sort of play?\"", "no reason for resisting Undine. \"I guess she's got the law on her side,\"\nhe said; and in response to Ralph's passionate remonstrances he added", "Undine smiled: she was glad he should have given her an opening. \"He\nshall be told as soon as he's old enough to thank you. I'm so glad you\ncame to Ralph about that business.\"", "Undine was still smiling up at him; but suddenly her grew grave. \"What\ndoes it matter what I do or don't do, when Ralph has ordered me home\nnext week?\"", "Ralph, as the days passed, felt that Clare was right: if Undine married\nagain he would possess himself more completely, be more definitely rid", "Ralph smiled. Even his subjugated mind perceived the inconsistency\nof Undine's taxing him with having hastened their marriage; but her\nvariations on the eternal feminine still enchanted him.", "in intimacy was given to miscalculations of the sort, and Ralph's first\nmovement was to glance at Undine and see how it affected her. But her", "Ralph could still hear the horrified murmur with which his mother had\nrebuked his laugh. For he had laughed--had thought Undine's speech fresh", "Doubtless guessing Ralph's desire to have Undine to himself, Mrs.\nFairford had sent the girl in first; and Undine, as she seated herself,", "Undine was surprised; but beneath her surprise she felt a quick sense of\nrelief. Ralph was easier to manage than so many of her friends--and\nit was a mark of his present indifference to acquiesce in anything she\nsuggested.", "\"Well, think it over--let me know this evening,\" Ralph said,\nproportioning the waiter's fee to a bill burdened by Undine's reckless\nchoice of primeurs.", "Ralph was surprised, for he had gathered from some frightened references\nof Mrs. Spragg's that Undine's parents had wind of her European plan and", "I don't believe Undine cares a straw for 'the appearance of\nrespectability.' What she wants is the money for her annulment.\"", "Ralph interposed with another laugh. \"You see, Undine, you'd better\nthink twice before you divorce me!\"" ], [ "I don't believe Undine cares a straw for 'the appearance of\nrespectability.' What she wants is the money for her annulment.\"", "She listened intently to what he told her; then she said: \"You tell me\nit will cost a great deal; but why take it to the courts at all? Why not\ngive the money to Undine instead of to your lawyers?\"", "Undine's brow still gloomed. \"You refuse, then?\"\n\n\"Refuse? I don't need to! Do you want to succeed to half the\nchorus-world of New York?\"", "Undine's estimate of people had always been based on their apparent\npower of getting what they wanted--provided it came under the category\nof things she understood wanting. Success was beauty and romance to her;", "A few days later there appeared from the same receptacle a bundle of\nbanknotes considerable enough to quiet Undine's last scruples. She no", "Undine had not yet put her hand. To know that others were indifferent to\nwhat she had thought important was to cheapen all present pleasure and\nturn the whole force of her desires in a new direction. What she wanted", "proposed to dispossess them. Undine, at first, had regarded these\narrangements as merely provisional. She was persuaded that, under her", "\"Mr. Popple. He's coming round to see us. You know he wants to paint\nme.\" Undine fluttered and beamed as the brilliant Popple made his way\nacross the stalls to the seat which her neighbour had momentarily left.", "Undine looked up. \"But I'm awfully poor; I can't afford to have him\nhere.\"", "Undine drew herself up. \"I don't understand--I never said the tapestries\nwere for sale.\"\n\n\"Precisely. But this gentleman buys only this that are not for sale.\"", "The thoughtful air with which Undine heard him out made him fancy this\nargument had carried; and as be ended she threw him a bright look.\n\n\"Well, that's easy enough: I can drop her if she comes to New York.\"", "Undine's face brightened. \"You know he's not a Count; he's a Marquis.\nHis name's Roviano; his palace in Rome is in the guide-books, and", "Undine echoed his laugh. \"Well, I guess I don't need anybody to do that:\nI can do it myself,\" she said, with the good-humoured curtness that was\nthe habitual note of intercourse with the Spraggs.", "Undine coloured; but she could take the hardest thrusts where her\npersonal interest was involved. \"You mean that I'M the bore, then?\"", "\"Of course.\" But Undine was still absorbed in the economic aspect of the\ncase. \"If they're as rich as you say, I suppose Hubert means to pay you\nback by and bye?\"", "\"See here, I know Undine's reasons. I've had a talk with her--didn't\nshe tell you? SHE don't beat about the bush the way you do. She told", "Undine's mother heaved another and more helpless sigh. \"I wish YOU'D\ntell Undine that, Mrs. Heeny.\"", "Undine's eyes opened wide. Here at last was a topic that really\ninterested her, and one that gave another amazing glimpse into the", "Undine, on the whole, behaved with discretion. She received the good\nnews languidly and showed no unseemly haste to profit by it. But it was", "lawyers, to undertake that no attempt should be made to remove Paul from\nhis father's custody. Nevertheless, he seemed to think it quite natural\nthat Undine, on the point of making a marriage which would put it in her" ] ]

[ "Who did Undine marry?", "What did Elmer Moffatt hate?", "Undine had an affair with the husband of whose cousin?", "Aside from being in New York and Paris, where else did Undine live?", "What can Raymond not do as a Catholic?", "What did Ralph have to do if he was to keep his son with him?", "Why did Ralph commit suicide?", "Which customs can Undine not adjust to?", "Who did Undine marry that finally resulted in her satisfaction?", "What is the name of the Spraggs' daughter?", "Who does Undine marry in New York?", "What person from Apex does Undine meet just before her wedding to to Ralph?", "What is the name of Undine and Ralph's son?", "With whom does Undine have an affair after Paul's birth?", "What does Ralph do with the money he borrows?", "What secret does Elmer reveal to Ralph about Undine?", "Why is Undine finally able to marry Raymond?", "Why does Ralph commit suicide?", "Who does Undine marry after divorcing Raymond?", "Where are the Spragg's from?", "Who does Undine marry in New York?", "Who does Undine have an affair with?", "Why can't Raymond marry Undine?", "Who was Undine secretly married to?", "How does Ralph die?", "Why can't Undine be an Ambassador's wife?", "Who has custody of Paul?", "Why does Undine blackmail Ralph?", "Why does Undine want to bribe the Pope?" ]

[ [ "Ralph Marvell", "Ralph and Raymond" ], [ "Religious piety and social cant", "religious piety and social clant" ], [ "Ralph's.", "Clare" ], [ "North Dakota", "North Dakota." ], [ "Marry a divorcee.", "get a divorce" ], [ "Pay Undine a huge amount of money.", "pay Undine a large amount of money." ], [ "He was shocked from learning Moffatt eloped with Undine and he was also scared of losing Paul.", "He was upset about losing his son." ], [ "The customs of upper-class French society.", "staid customs of high society" ], [ "Elmer Moffatt", "elmer moffatt" ], [ "Undine.", "Undine." ], [ "Ralph Marvell.", "Elmer Moffat" ], [ "Elmer Moffatt.", "Elmer Moffatt" ], [ "Paul.", "Paul" ], [ "Peter Van Degen.", "Peter Van Degen" ], [ "He invests it in one of Elmer Moffatt's business ventures. ", "invests in moffatt's business" ], [ "That Elmer and Undine were once married.", "he once eloped with Undine and they got a divorce" ], [ "Ralph commits suicide, making her a widow.", "bacause of ralph's suicide" ], [ "He was going to lose his son, Paul.", "he's worried he might lose his son" ], [ "Elmer Moffatt.", "a crass midwestern businessman" ], [ "Apex.", "Apex." ], [ "Ralph Marvell", "ralph marvell" ], [ "Peter Van Degen", "Peter Van Degen" ], [ "He is Catholic and she is divorced.", "He cannot marry a divorcee." ], [ "Elmer Moffat", "Ralph" ], [ "He commits suicide.", "commits suicide" ], [ "She is a divorcee.", "she was divorced" ], [ "Undine, but he lives with Ralph.", "Undine, but Paul lives with Ralph" ], [ "To get money to bribe the Pope.", "to annul their marriage" ], [ "To annul her marriage to Ralph.", "To annul her marriage." ] ]

[ [ "BREAN\n (CONT.)\n Thank you.\n\n MR. YOUNG\n What's on your mind?", "MR. YOUNG\n Who're you working for?\n\n BREAN\n Nobody whose name you want me to say, Mr. Young, I\n promise you.", "BREAN LOOKS UP, AS AMES, ACCOMPANIED BY AN ARMY MAJOR, PASSES THROUGH\nLINE AND APPROACHES BREAN, BECKONING.", "BREAN\n Would you go to War to do that?\n (PAUSE)\n\n MR. YOUNG\n I have.", "BREAN IS SUNK IN THOUGHT. AN AIDE STARTS TO SPEAK. AMES SILENCES HIM, BREAN\nBECKONS AMES OVER.", "BREAN\n When you...\n (TO AIDE)\n What? I'm busy.\n\n AIDE\n It's the White House.", "BREAN\n (REACHES INTO HIS JACKET POCKET)\n Oh, oh, oh, oh, oh, get this typed, get somebody to\n send it to the White House...", "MR. YOUNG\n I'm <u>doing</u> my job, Mr. Brean. That's what you see me", "YOUNG\n No, we're on top of it.\n\n BREAN\n <u>Thank</u> you.", "BREAN\n I have a question for you.\n\n MR. YOUNG\n Ask it.\n\n BREAN\n Why do people go to war?", "BREAN\n ...the young girl in the video, the Albanian Girl....\n\nYOUNG NODS, AND MAKES A NOTE IN A BOOK. BREAN TURNS TO AMES.", "BREAN\n Who's got the story?\n (PAUSE)\n\n AMES\n Don't you want to know if it's true?", "BREAN\n (TO THE AIDE)\n Get it in the stacks at the Library of Congress, Now.\n (TO THE ASSEMBLE)\n Who's seeing the guy at C.B.S.?", "HE HANDS THE PHONE TO BREAN.\n\n BREAN\n <u>Hello</u>.\n (PAUSE)\n What?\n\n MOSS\n What?", "AMES\n Yes\n\n BREAN\n Who's gonna tell'em.\n\n AMES\n ...but...", "BREAN\n ...you the Press Office?\n\n CAIN\n ...Yes.", "BREAN\n What do <u>you</u> think? What I need from you: I need a\n base of operations. Some place in the District. I\n need some clean <u>money</u> ...", "BREAN\n (NODS)\n We're due at Andrews.\n (LOOKS AT HIS WATCH)", "BREAN\n (INTO PHONE)\n Hell, yes, we're, we're on our way to get him now. No.", "BREAN\n S'only got to hold for another few days.\n\n MR. YOUNG\n Well, I'm not interested in how long its \"got to hold\n for.\"" ], [ "HOLD ON THE GROUP.\n\n BREAN\n (CONT.)\n It's just for eight more days.....\n\nINT CORRIDORS C.I.A. COMPLEX", "BREAN\n The C.I.A.\n\n AMES\n Oh, Lord....", "MOSS\n ...the Suitcase Bomb. ACT ONE Albania denies it.\n President comes on the air, \"Be Calm.\" Okay, now:", "Get your Press Office, Right now. To deny; There <u>is</u>\n no report of Albanian Activity. They have to deny it.\n Now, get the C.I.A.", "SKLANSKY\n Sir: the heads of the Albanian Desks at C.I.A., and at\n the National Security agency have been recalled on", "I <u>know</u> they'll be in in an hour, get'em <u>now</u>...C.I.A.,\n N.S.A., wake'em up.", "AMES\n (TO SECRET SERVICEMAN)\n ...That's him.\n\nAMES MOVES OUT OF THE SHOT. LEAVING US ON THE POLITICAL COMMERCIAL.", "(PAUSE)\n Have him say it like I wrote it, It'll be fine.\n Thanks.\n (HE HANGS UP.)", "HE HANDS IT TO MOSS.\n\n MOSS\n What is it?\n\n BREAN\n President's speech.", "BREAN AND MOSS GET UP, MOVE TOWARD THE FRONT OF THE PLANE, MOSS LOOKING OUT\nOF THE WINDOW.\n\n MOSS\n Well, they're protecting him well enough.", "TABLE. A SECRET SERVICE TYPE PUTS HIS HEAD IN THE ROOM, AND BOWS OUT, AND\nNODS, BREAN AND AMES ENTER HURRIEDLY.", "but we <u>probably</u> have one. Albanian Dusk, C.I.A.,\n N.S.A. roust'em outta bed, sirens blaring....", "BREAN\n (TO THE AIDE)\n Get it in the stacks at the Library of Congress, Now.\n (TO THE ASSEMBLE)\n Who's seeing the guy at C.B.S.?", "BREAN\n (REACHES INTO HIS JACKET POCKET)\n Oh, oh, oh, oh, oh, get this typed, get somebody to\n send it to the White House...", "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "AN AIDE BRINGS HIM A CUP OF COFFEE.\n\n BREAN\n Thank you. Now: where is he?\n\n LEVY\n China.", "PAUSE. THEY LOOK AT HIM.\n\n AMES\n (CONT.)\n Any untoward \"revelation\" regarding, uh...", "AMES\n (TO BREAN, STILL HOLDING THE PHONE TO\n HIS EAR)\n ...but the President wonders about the Possible\n Albanian Backlash...", "AMES\n ...this is magnificent.\n\n BREAN\n ...Stanley Moss...\n\n AMES\n 8 days and we bring it back home....", "THE TV GOES BLANK, AS THE AIDE FLIPS IT OFF. HE TAKES THE LAST REMAINING\nTRASHBIN, AND STARTS TO PULL IT OUTSIDE." ], [ "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "MOSS\n S'only when you fuck up, everything gets full of shit.\n (PAUSE)\n Do you think we could line him up for the Peace Prize?", "MOSS\n ...the Suitcase Bomb. ACT ONE Albania denies it.\n President comes on the air, \"Be Calm.\" Okay, now:", "MOSS\n You know, I think you people are looking at this All\n Wrong. If you look at the <u>backstory</u> -- the guy's", "MOSS\n You see? What's the lesson here? <u>Never</u> give up.\n <u>Never</u> give up.", "MOSS\n Naa, fuck this, this is nothing. Oh, Lord -- this", "MOSS\n Fucking <u>amateurs</u>. Pity of it is, two more days, we\n bring it all back home...\n\n BRKAN\n ...knock wood...", "MOSS\n ...how do we Explain That? Hey? Am I worried...?\n\n AMES\n ...how do we explain that? With the World Watching.", "BREAN\n You can't tell this story.\n\n MOSS\n Why not?\n\n BREAN\n Some'b'y'll have you killed.", "MOSS\n How do we explain that? Ah, well, you see, Wilfred,", "MOSS\n Well, yes, but the guy <u>did</u> bring Peace.\n\n BREAN\n Yes, but there wasn't a War.", "MOSS\n Bigger than that. For want of a nail a <u>Kingdom</u> was\n lost...\n\n BREAN\n You've <u>got</u> something, there...", "MOSS NODS DECISIVELY. AS IF TO SAY, \"BY GOLLY, <u>NOW</u> YOU'RE <u>TALKING</u>...\"", "MOSS\n How's our friend? What is he, \"dead?\"\n\n BREAN\n Wake up.\n\n MOSS\n Is he dead?", "MOSS\n (READING)\n Look, look, look....\n (HE HOLDS UP A SMALL VIAL, READS.)\n He's fine, as long as he has his medication.", "story breaks, so we aren't quote, responding to it.\n Issue is as a bulletin. He's got some rare strain\n of...", "MOSS\n He's not dead, Ronnie. He's just a little\n understandab1y, <u>fatigued</u>.\n (PAUSE)\n Let's get him to some help...", "MOSS\n They got him standing by.\n\n BREAN\n What's the thing with Morse Code...\n\n MOSS\n Oh, you're gonna love this:", "MOSS LOOKS AT BREAN APPRAISINGLY.\n\n MOSS\n Have him say, 'I know we're all concerned for the\n President, there will he an update at 5:45.'", "MOSS\n He raped a nun.\n (PAUSE)\n\n AMES\n Yeeaahhh... Ohmigod ... ohmigod... ohmigod..." ], [ "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "MOSS\n You see? What's the lesson here? <u>Never</u> give up.\n <u>Never</u> give up.", "MOSS\n Fucking <u>amateurs</u>. Pity of it is, two more days, we\n bring it all back home...\n\n BRKAN\n ...knock wood...", "MOSS\n S'only when you fuck up, everything gets full of shit.\n (PAUSE)\n Do you think we could line him up for the Peace Prize?", "MOSS NODS DECISIVELY. AS IF TO SAY, \"BY GOLLY, <u>NOW</u> YOU'RE <u>TALKING</u>...\"", "MOSS\n Naa, fuck this, this is nothing. Oh, Lord -- this", "MOSS\n They got him standing by.\n\n BREAN\n What's the thing with Morse Code...\n\n MOSS\n Oh, you're gonna love this:", "MOSS\n ...the Suitcase Bomb. ACT ONE Albania denies it.\n President comes on the air, \"Be Calm.\" Okay, now:", "MOSS\n How's our friend? What is he, \"dead?\"\n\n BREAN\n Wake up.\n\n MOSS\n Is he dead?", "MOSS\n Yes. Indeed I did.\n (PAUSE)\n\nHE LOOKS OVER AT HIS WALL FULL OF PLAQUES AND TROPHIES.", "BREAN AND MOSS GET UP, MOVE TOWARD THE FRONT OF THE PLANE, MOSS LOOKING OUT\nOF THE WINDOW.\n\n MOSS\n Well, they're protecting him well enough.", "THE OTHER TWO LOOK AT HIM ADMIRINGLY.\n\n MOSS\n Wilfred, that's not bad.\n\n BREAN\n That's not bad at all.", "MOSS\n ...how do we Explain That? Hey? Am I worried...?\n\n AMES\n ...how do we explain that? With the World Watching.", "MOSS\n How do we explain that? Ah, well, you see, Wilfred,", "MOSS\n (TO BREAN)\n ...this is nothing. This is nothing. D'you ever shoot", "MOSS\n Shot down, Forced down...\n (HE GESTURES, MEANING, THIS IS A MINOR\n POINT)", "MOSS\n (SHRUGS)\n It's <u>producing</u>.\n\n AMES\n No, this is great.", "BREAN SIGHS. NODS, AND WALKS HACK TO THE TABLE, WBERE MOSS IS SLUMPED.", "MOSS LEANS OVER AND TURNS DOWN THE VOLUME ON THE TV.\nBEAT.\n\n MOSS\n Well. You bought yourself one day. Maybe two.", "HE FINISHES RAGING AT THE TELEVISION SET. PAUSE.\n\n MOSS\n Come on.\n\n AMES\n ...where?" ], [ "Because Schumann's the Shark. He's ...<u>Jaws</u>. You have\n to <u>tease</u>'em... You don't puttem in the first reel of", "THEY ALL STRAIGHTEN UP AND SMILE, AS SCHUMANN, A RAINCOAT OVER HIS SHOULDERS,", "SCHUMANN\n (AS IF COMING TO)\n ...who <u>are</u> you?\n (PAUSE)", "SCHUMANN RUNS INTO THE KITCHEN, AND WE HEAR THE SOUNDS OF LITTLE GIRL SCREAMS.", "SCHUMANN BEGINS TO ROUSE BIMSELF.", "MOSS\n (SHOWS THE PHOTO OF SCHUMANN TO BREAN)", "SCHUMANN\n (PAUSE. SCHUMANN LOOKS AT THEM WARILY)\n What do you mean, \"What kind of stuff?\"", "THE OFFICER TAKES THE RAINCOAT FROM SCHUMANN'S SHOULDERS, REVEALING HE IS IN A", "PRISON UNIFORM, AND HEAVILY MANACLED. THE MAN, IS SCHUMANN, AN UNMISTAKABLE", "BREAN\n (LOOKS AROUND)\n Schumann. We're gonna go pick him up tonight.\n\n FAD KING\n Where is he?", "received this photograph, of Schumann in Captivity.\n Held by a dissident group of Albanian\n Terrorists...Now, I don't know how many of you are", "BREAN POURS HIMSELF A DRINK. PAUSE. TO SCHUMANN.\n\n BREAN\n How are'ya...\n\nDISSOLVE", "ANGLE\nSCHUMANN, AS HE LOOKS AWAY, AND MUTTERS TO HIMSELF.\n\n SCHUMANN\n \"...where's my pill...\"", "BREAN\n We pick up Schumann. Sneak him back inside the Beltway.\n And we plan his homecoming. Zt's gone be Neil", "A PHOTO OF SCHUMANN COMES ON THE TELEVISION. BREAN STUMBLES BACK INTO THE", "His name is William Schumann. He is a Master Sergeant\n in the United States Army. A member of the Squad\n 303....dropped behind Albanian Lines. We've just", "SCHUMANN\n You gonna git me back tomorrow?\n (PAUSE)\n Cause they havin <u>beans</u> tomorrow...", "SCHUMANN\n ...where's my l'il <u>pill</u>?\n\n MOSS\n (TO BREAN)\n Show some compassion.", "MOSS ADMINISTERS A PILL TO SCHUMANN.\n\n SCHUMANN\n What the fuck did you <u>mean</u>, \"What kind of stuff?\"?", "ANGLE\nON SCHUMANN, LEERING.\n\n SCHUMANN\n (MUTTERING)\n ...where is my pill?" ], [ "PLANE, AND HAULS THE DAZED SCHUMANN OUT, AND PROPS HIM AGAINST THE PLANE.", "BREAN\n (NODS)\n We're due at Andrews.\n (LOOKS AT HIS WATCH)", "BREAN\n We pick up Schumann. Sneak him back inside the Beltway.\n And we plan his homecoming. Zt's gone be Neil", "HE RETURNS TO THE COCKPIT. BREAN TRIES TO REDIAL THE TELEPHONE.\n\n SCHUMANN\n Long's I git back for my Beans.", "Army Special Programs -- tell'em to bring Schumann to\n the plane, n we'll bring him back, stash him the\n Hospital...Call the plane....tell me where to pick'm", "freed a tired, but happy William Schumann, Suffering\n no casualties. His condition is reported as Guarded,\n and his route to the US has not been disclosed, but a", "BREAN\n (SHRUGS)\n Gemme a plane. Business Aviation, National, one hour.\n Fly to Chicago. O'hare, LAX 6 A.M.", "BREAN\n (LOOKS AROUND)\n Schumann. We're gonna go pick him up tonight.\n\n FAD KING\n Where is he?", "ANGLE\nINT, THE PLANE, BREAN, LOOKING AT SCHUMANN. HOLD. MOSS ENTERS THE PLANE.", "BREAN AND MOSS GET UP, MOVE TOWARD THE FRONT OF THE PLANE, MOSS LOOKING OUT\nOF THE WINDOW.\n\n MOSS\n Well, they're protecting him well enough.", "AMES\n ...his Triumphal Plane. Shot Down.", "THEM TO SCHUMANN. WHO TAKES THEM. MOSS THEN STRAPS HIMSELF BACK IN AND BREAN\nCONTINUES TALKING ON THE TELEPHONE.", "received this photograph, of Schumann in Captivity.\n Held by a dissident group of Albanian\n Terrorists...Now, I don't know how many of you are", "AMES\n What happens if he doesn't have his medication?\n\n MOSS\n He's not fine.\n\nBREAN GOES TO THE FRONT OF THE PLANE.", "THE OFFICER TAKES THE RAINCOAT FROM SCHUMANN'S SHOULDERS, REVEALING HE IS IN A", "of the flight. Must give us pause. And, in that pause\n we should take time to examine ourselves, our plans,", "BREAN\n When's he coming back...?\n\n LEVY\n Touchdown, Andrews, fourteen hundred, today.", "Because Schumann's the Shark. He's ...<u>Jaws</u>. You have\n to <u>tease</u>'em... You don't puttem in the first reel of", "AIDE\n ...White House wants to know about the Congressional\n Medal of Honor.\n\n BREAN\n What about it?\n\n AIDE\n For Schumann.", "A HUGE FLASH OF LIGHTENING, THE PLANE IS PLUNGED INTO DARKNESS, THE ENGINES\nSTOP:\n\nINT THE DARK CABIN. THE WIND WHISTLING." ], [ "Because Schumann's the Shark. He's ...<u>Jaws</u>. You have\n to <u>tease</u>'em... You don't puttem in the first reel of", "(HE BEGINS TO WEEP)\n We killed the Schuster...spend our life in a\n packingcrate...Where are you <u>going</u>...?", "THE OFFICER TAKES THE RAINCOAT FROM SCHUMANN'S SHOULDERS, REVEALING HE IS IN A", "BREAN\n (LOOKS AROUND)\n Schumann. We're gonna go pick him up tonight.\n\n FAD KING\n Where is he?", "SCHUMANN RUNS INTO THE KITCHEN, AND WE HEAR THE SOUNDS OF LITTLE GIRL SCREAMS.", "SCHUMANN\n (PAUSE. SCHUMANN LOOKS AT THEM WARILY)\n What do you mean, \"What kind of stuff?\"", "SCHUMANN\n You gonna git me back tomorrow?\n (PAUSE)\n Cause they havin <u>beans</u> tomorrow...", "SCHUMANN BEGINS TO ROUSE BIMSELF.", "ANGLE\nSCHUMANN, AS HE LOOKS AWAY, AND MUTTERS TO HIMSELF.\n\n SCHUMANN\n \"...where's my pill...\"", "BREAN\n Uh huh...\n\n SCHUMANN\n So you don't have to <u>fear</u> it.", "THEY ALL STRAIGHTEN UP AND SMILE, AS SCHUMANN, A RAINCOAT OVER HIS SHOULDERS,", "BREAN\n We pick up Schumann. Sneak him back inside the Beltway.\n And we plan his homecoming. Zt's gone be Neil", "SCHUMANN\n ...just want to Get Back to the Beans...\n\nMOSS WALKS TO BREAN, AND STARTS KICKING HIM.", "AMES\n ... you want Schumann saved by an Illegal Alien...?\n\n BREAN\n Well, what do you want to do about it?\n (PAUSE)\n What do you...", "MOSS ADMINISTERS A PILL TO SCHUMANN.\n\n SCHUMANN\n What the fuck did you <u>mean</u>, \"What kind of stuff?\"?", "PRISON UNIFORM, AND HEAVILY MANACLED. THE MAN, IS SCHUMANN, AN UNMISTAKABLE", "PLANE, AND HAULS THE DAZED SCHUMANN OUT, AND PROPS HIM AGAINST THE PLANE.", "MOSS\n No, I didn't think so.\n\nAMES KICKS IN THE THLEVISION. HE MOVES TO SCHUMANN AND LIFTS HIM TO HIS FEET.", "MOSS\n (SHOWS THE PHOTO OF SCHUMANN TO BREAN)", "(PAUSE)\n The Fella Killed Old Shoe.\n (PAUSE)" ], [ "MOSS\n (SHOWS THE PHOTO OF SCHUMANN TO BREAN)", "ANGLE\nSCHUMANN, AS HE LOOKS AWAY, AND MUTTERS TO HIMSELF.\n\n SCHUMANN\n \"...where's my pill...\"", "MOSS\n How's our friend? What is he, \"dead?\"\n\n BREAN\n Wake up.\n\n MOSS\n Is he dead?", "Because Schumann's the Shark. He's ...<u>Jaws</u>. You have\n to <u>tease</u>'em... You don't puttem in the first reel of", "MOSS ADMINISTERS A PILL TO SCHUMANN.\n\n SCHUMANN\n What the fuck did you <u>mean</u>, \"What kind of stuff?\"?", "MOSS\n (OF SCHUMANN)\n Uh...", "SCHUMANN\n (PAUSE. SCHUMANN LOOKS AT THEM WARILY)\n What do you mean, \"What kind of stuff?\"", "MOSS\n No, no, no...\n\n SCHUMANN\n ...isn't it time for my Pill...?", "SCHUMANN\n ...where's my l'il <u>pill</u>?\n\n MOSS\n (TO BREAN)\n Show some compassion.", "BREAN POURS HIMSELF A DRINK. PAUSE. TO SCHUMANN.\n\n BREAN\n How are'ya...\n\nDISSOLVE", "SCHUMANN BEGINS TO ROUSE BIMSELF.", "THEY ALL STRAIGHTEN UP AND SMILE, AS SCHUMANN, A RAINCOAT OVER HIS SHOULDERS,", "ANGLE\nON SCHUMANN, LEERING.\n\n SCHUMANN\n (MUTTERING)\n ...where is my pill?", "SCHUMANN RUNS INTO THE KITCHEN, AND WE HEAR THE SOUNDS OF LITTLE GIRL SCREAMS.", "MOSS\n Come on.\n\nMOSS MOVES SCHUMANN INTO A STANDING POSITION.", "BREAN\n (LOOKS AROUND)\n Schumann. We're gonna go pick him up tonight.\n\n FAD KING\n Where is he?", "received this photograph, of Schumann in Captivity.\n Held by a dissident group of Albanian\n Terrorists...Now, I don't know how many of you are", "BREAN\n Uh huh...\n\n SCHUMANN\n So you don't have to <u>fear</u> it.", "MOSS STARTS CODDLING SCHUMANN.\n\n MOSS\n Come on, Pal, come on Willie, come on, Old Shoe...", "MOSS\n (THROUGH THE DOOR, TO SCHUMANN)\n 'Member, we were talking about how much you liked the\n \"beans\" and all...?" ], [ "BREAN\n You can't tell this story.\n\n MOSS\n Why not?\n\n BREAN\n Some'b'y'll have you killed.", "BREAN\n \"Freedom.\"\n\n MOSS\n Why would they want that?\n\n HAKAN\n They're Oppressed.", "BREAN\n We have no home. We're vagrants. N'each man's hand's\n against us. We killed Old Shoe...", "BREAN\n ...that's what it is.\n\n MOSS\n (TO HIMSELF)\n \"The Country Is At War.\"\n (PAUSE)", "BREAN\n ...someone would come to your house and kill you.\n (TO PHONE)\n <u>Hello</u>... we're about to start shooting...", "BREAN\n The Albanian Campaign.\n\n MOSS\n (TO HIMSELF)\n ...the Albanian Campaign. This... this is history...", "MOSS\n How's our friend? What is he, \"dead?\"\n\n BREAN\n Wake up.\n\n MOSS\n Is he dead?", "BREAN\n I'm here, Mr. Moss, because you've shown yourself a\n great supporter of the Party.\n\n MOSS\n Party's gonna need more than a couple bucks now.", "BREAN\n We're locked into Albania.\n\n FAD KING\n Well, let's not be too sure, why is that?", "BREAN\n ...who is this guy...?\n\n MOSS\n (TO BREAN)\n Act Two: and then, Act Two...", "BREAN\n No, it's...\n (ON PHONE)\n I'll, yes, I'm holding, but...\n (TO MOSS)\n No, it's ...", "BREAN\n Mmm...\n\n MOSS\n You do your job right, nobody should notice.\n\n BREAN\n Mmm.", "BREAN AND MOSS. LOOKING ON, A SILENT AUDITORIUM, MOSS TALKING ON THE PHONE.\nBREAN SHUSHES HIM. MOSS LOOKS UP.", "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "BREAN\n We aren't going to have a war. We're going to have the\n \"appearance\" of a war.", "BREAN\n No, I'm fine... I got it together....\n\n MOSS\n ...but...\n\nTHEY STOP BY A TELEPHONE.", "BREAN\n Just for the Symmetry of the thing...?\n\n MOSS\n ...that's right.", "BREAN\n No. You're right.\n\n MOSS\n Show Must Go On.\n\n BREAN\n A proud tradition.", "BREAN\n We've just got to hold their interest for ten more\n days, till the Election.\n\n MOSS\n ...it's a Teaser!", "BREAN\n I'm gonna <u>tell</u> you why...\n\nBREAN LEANS CONSPIRATORIALLY, OVER TOWARD MOSS." ], [ "got some info on the President's sex scandal, it's on\n your conscience, believe me, he'll drop what he's", "BREAN\n They caught him in the closet with a Girlscout. Side-\n effects of a pill ain't gone trump that. You have to", "ANNOUNCER\n (VO)\n Allegations that the president had sexual... Ah...\n here is the deputy ... assistant under secretary...", "BREAN\n (CON'T)\n ...he made a pass at some Secretary, back in...", "And we must consider this man. <u>This</u> man...who, you\n will remember, was discovered, scant days ago, in a", "MOSS\n He raped a nun.\n (PAUSE)\n\n AMES\n Yeeaahhh... Ohmigod ... ohmigod... ohmigod...", "CAIN\n What's more interesting than boffing the girlscout?\n\n BREAN\n Well, that's what we're <u>doing</u> here...", "MOSS\n You would be, two, if you'd gone through what he went\n through.\n\n BREAN\n He raped a <u>Nun</u>...", "SECOND TALKING HEAD\n Seventeen percent.\n\n ANNOUNCER\n Accusations have surfaced, which...", "AN AIDE BRINGS HIM A CUP OF COFFEE.\n\n BREAN\n Thank you. Now: where is he?\n\n LEVY\n China.", "(PAUSE)\n Nothing. Now, I do not say these charges are true, I do\n not see how they <u>could</u> be. Accusations of, of sexual", "MAN\n ...there was a fellow in a limousine, outside,\n throwing...\n\nSHE SHUSHES HIM. WE HEAR, ON THE RADIO:", "PAUSE. THEY LOOK AT HIM.\n\n AMES\n (CONT.)\n Any untoward \"revelation\" regarding, uh...", "MOSS\n S'only when you fuck up, everything gets full of shit.\n (PAUSE)\n Do you think we could line him up for the Peace Prize?", "BREAN\n He can't respond to the Allegations.\n (PAUSE)", "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "BREAN\n Okay, look, who's takin' the press conference today?\n\n CAIN\n Is there a press conference today?", "AMES\n But, but, but, \"they\" would find out.\n\n BREAN\n Who would find out?", "WE SEE THE ASSEMBLED THRONG LISTENING TO THE END OF THE SONG, \"GOOD OLD SHOE,\"\nRAPT. BREAN RISES, AND FLIPS OFF THE TAPE.", "FEMALE TALKING HEAD\n Sexual relations with a girl thirteen years old.\n\nTHE SCREEN GOES TO THE PHOTO OF THE PRESIDENT WITH THE GIRLSCOUTS." ], [ "\"87.\" CAMERA PULLS BACK TO SHOW \"3\" DAYS TIL ELECTION.", "And we must consider this man. <u>This</u> man...who, you\n will remember, was discovered, scant days ago, in a", "BREAN\n If we can hold the break-in-the-dam for ten days, til\n the election, we...", "on. Put him on.\n (PAUSE. HE COVERS PHONE)\n President wants to reveal Scbumann before the election.", "BREAN\n We've just got to hold their interest for ten more\n days, till the Election.\n\n MOSS\n ...it's a Teaser!", "got some info on the President's sex scandal, it's on\n your conscience, believe me, he'll drop what he's", "of disgrace, <u>unrest</u> haunts the President, who, scant\n days from the Election...", "TALKING HEAD\n Good morning: With the election eleven days away the\n world slept, expecting news from the President on <u>Trade</u>", "Election Day. Two days from now, Folks...Don't forget\n to vote.", "But I'm going to ask you to look at it once more. With\n the election one day off, and the President's standing\n in the polls...", "REPORTER\n With seven days to go before the election, the Fortunes\n of President...", "SECOND TALKING HEAD\n Seventeen percent.\n\n ANNOUNCER\n Accusations have surfaced, which...", "WALL ARE HUNG TWO WIPE-OFF SLATES. ONE READS \"DAYS TO ELECTION 12,\" THE OTHER", "ANNOUNCER\n Senator Frederick Nole. With, excuse me, Senator,\n that's eleven days, til the election, And the president\n ahead in the polls by, Bob...?", "BREAN\n (ON THE PHONE)\n You have the number in D.C.? Good. What time\n tonight... What...?\n (BREAN TURNS TO THE TELEVISION)", "THEIR EYES. AND A SIGN ON THE BOARD, READING <u>6</u> DAYS TO ELECTION, AND %-IN-", "AMES\n ...what's the Long View?\n\n BREAN\n Your guy gets four more years in Washington... ...it's\n only Nine More Days.", "This won't hold for eleven days. Guy fucked a twelve-\n year-old...whadday're gonna do to hold that off?", "BREAN\n Okay, look, who's takin' the press conference today?\n\n CAIN\n Is there a press conference today?", "BUT HE PULLS AWAY. THE NEWS CAMERA HUNTS AND FINDS A SMALL ALBANIAN GIRL," ], [ "BREAN\n (CON'T)\n ...he made a pass at some Secretary, back in...", "BREAN\n (CONT.)\n And gemme a car.\n\n AMES\n Car and a driver, Mr. Brean, the Westgate, Now,\n please...", "BREAN\n We aren't going to have a war. We're going to have the\n \"appearance\" of a war.", "BREAN\n (CON'T)\n Jesus, Mary and Joseph.\n\n AMES\n We are virtually certain it isn't...", "BREAN\n We've just got to hold their interest for ten more\n days, till the Election.\n\n MOSS\n ...it's a Teaser!", "BREAN\n Well, darlin' <u>I</u> ain't your confessor. Tell him you've", "BREAN\n (SIMULTANEOUSLY, WITH THE ABOVE SPEECH)\n Well, I'm sure that speaks very well of you and for", "BREAN\n Mmm...\n\n MOSS\n You do your job right, nobody should notice.\n\n BREAN\n Mmm.", "BREAN\n Not bad for government work.\n (PAUSE)\n Having a good time.\n\n MOSS\n Haven't had so much fun since Live TV.", "BREAN\n (TO THE AIDE)\n Get it in the stacks at the Library of Congress, Now.\n (TO THE ASSEMBLE)\n Who's seeing the guy at C.B.S.?", "BREAN\n We have no home. We're vagrants. N'each man's hand's\n against us. We killed Old Shoe...", "BREAN\n (SHRUGS)\n Earn your money. ...He's ill, the Plane is sick...", "BREAN\n No, I don't think you can <u>do</u> that.\n\n MOSS\n Watch me.", "BREAN\n (SIGHS)\n Hell of a thing...\n (HE LOOKS OUT OF WINDOW. TO THE\n DRIVER)\n Stop there..", "BREAN\n I'm here, Mr. Moss, because you've shown yourself a\n great supporter of the Party.\n\n MOSS\n Party's gonna need more than a couple bucks now.", "BREAN\n (CONT.)\n Thank you.\n\n MR. YOUNG\n What's on your mind?", "BREAN\n Okay, look, who's takin' the press conference today?\n\n CAIN\n Is there a press conference today?", "BREAN\n ...who is this guy...?\n\n MOSS\n (TO BREAN)\n Act Two: and then, Act Two...", "BREAN\n ...that's what it is.\n\n MOSS\n (TO HIMSELF)\n \"The Country Is At War.\"\n (PAUSE)", "BREAN\n We don't need it to prove out. We need it to <u>distract</u>\n them for two weeks til the election." ], [ "BREAN\n ...that's what it is.\n\n MOSS\n (TO HIMSELF)\n \"The Country Is At War.\"\n (PAUSE)", "BREAN\n We aren't going to have a war. We're going to have the\n \"appearance\" of a war.", "BREAN\n It's not \"war.\" It is a <u>Pageant</u>. It's a <u>Pageant</u>...", "BREAN\n The War is Over. Senator Nole just ended the War.\n\n AMES\n Oh, God...", "BREAN\n Why do they go to War?\n\n MR. YOUNG\n To preserve their Way of Life.", "BREAN\n (CHECKS HIS WATCH.)\n The President is going to declare War against Albania\n in a half an hour.", "AMES\n What are we going to do?\n\n BREAN\n (TO MOSS)\n The War is Over.\n\n MOSS\n What?", "MOSS\n The War ain't over.\n (PAUSE)\n\n BREAN\n I saw it on TV.", "BREAN\n Would you go to War to do that?\n (PAUSE)\n\n MR. YOUNG\n I have.", "There is no War.", "BREAN\n I have a question for you.\n\n MR. YOUNG\n Ask it.\n\n BREAN\n Why do people go to war?", "fight a Two-ocean War\" against who? Sweden and <u>Togo</u>?\n Who you sitting here to Go To War Against? That time", "COMMENTATOR\n ...dead and fifteen wounded in these first hours of the\n War. They are not, they are not The Enemy, they are", "RADIO\n (VO)\n ...the end of the incredible saga of One Man, his\n country, and a War He did Not Wish, but unto which\n he...", "AMES\n Our adopted land...\n\n BREAN\n ...but to the Old World; you are stilling the forces of\n hatred and of War which have, since I was a child...", "BREAN\n The Albanian Campaign.\n\n MOSS\n (TO HIMSELF)\n ...the Albanian Campaign. This... this is history...", "BREAN\n (SHRUGS)\n You can't have a war without an enemy.", "war, you can punch out, go home, and take up Oil\n Painting. And there <u>ain't</u> no war but ours.\n (PAUSE)", "BREAN\n He just got Hip to us.\n (PAUSE)\n He just ended the War.\n\nCAMERA TAKES THEM INTO THE RECORDING STUDIO.", "MR. YOUNG\n Why do people go to war?\n\n MR. YOUNG\n I'll play your silly game." ], [ "BREAN\n We aren't going to have a war. We're going to have the\n \"appearance\" of a war.", "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "BREAN\n ...that's what it is.\n\n MOSS\n (TO HIMSELF)\n \"The Country Is At War.\"\n (PAUSE)", "BREAN\n It's not \"war.\" It is a <u>Pageant</u>. It's a <u>Pageant</u>...", "MOSS\n The War ain't over.\n (PAUSE)\n\n BREAN\n I saw it on TV.", "BREAN\n The War is Over. Senator Nole just ended the War.\n\n AMES\n Oh, God...", "COMMENTATOR\n ...dead and fifteen wounded in these first hours of the\n War. They are not, they are not The Enemy, they are", "AMES\n What are we going to do?\n\n BREAN\n (TO MOSS)\n The War is Over.\n\n MOSS\n What?", "BREAN\n Would you go to War to do that?\n (PAUSE)\n\n MR. YOUNG\n I have.", "MOSS\n The war ain't over til I <u>say</u> it's over. This is <u>my</u>", "have to be alert, and the <u>public</u> has to be alert.\n Cause that is the war of the <u>future</u>, and if you're not", "that why you're here? I guess <u>so</u>. N'if you go to war\n again, who is it going to be against? Your \"ability to", "BREAN\n Why do they go to War?\n\n MR. YOUNG\n To preserve their Way of Life.", "war, you can punch out, go home, and take up Oil\n Painting. And there <u>ain't</u> no war but ours.\n (PAUSE)", "change this subject, you better have a War. What do\n you need? It's gotta be <u>quick</u>, it's gotta be <u>dramatic</u>,", "BREAN\n The Albanian Campaign.\n\n MOSS\n (TO HIMSELF)\n ...the Albanian Campaign. This... this is history...", "BREAN\n (SHRUGS)\n You can't have a war without an enemy.", "<u>Is</u> war...? What <u>is</u> war? I mean, aside from the", "HE REACHES OVER AND FLICKS OFF THE TV.\n\n BREAN\n (TO MOSS. CONT.)\n War's over, Pal.\n (PAUSE)", "gearing up, to fight <u>that</u> war, <u>eventually</u> the axe will\n fall. N'you're gonna be out in the street." ], [ "COMES OUT ON TO THE POOL AREA, HOLDING THE SHOT OF A SMALL, FOREIGN LOOKING\nCHILD, IN FRONT OF A PILE OF RUBBLE.", "CAIN LOOKS UP, AND WE SEE ON A VIDEOMONITOR, WHICH SHOWS A REARVIEW OF THE", "And we must consider this man. <u>This</u> man...who, you\n will remember, was discovered, scant days ago, in a", "THE CAMERA MOVES ONTO THE GRANDMOTHER, STANDING, NODDING, BEHIND THE LITTLE", "BREAN HAS KICKED THE TELEVISION INTO LIFE, WE SEE A MAN AND WOMAN ANCHOR,\nSPEAKING LUGUBRIOUSLY, INTO THE CAMERA.", "MUTTERING, AND THEY PUNCH UP A PLAYBACK, AND WE SEE THE SAME RUN-FORWARD,\nREPLAYED AGAINST AN \"ALBANIAN VILLAGE\" SCENE.", "PRINTED ON IT, AS IT SCROLLS UP, AND WE SEE CAIN FOLLOW ALONG, ON THE TEXT AT\nHER HAND.", "BREAN\n ...the young girl in the video, the Albanian Girl....\n\nYOUNG NODS, AND MAKES A NOTE IN A BOOK. BREAN TURNS TO AMES.", "...child at the airport...\n (TO MOSS)\n breaks through the ranks, runs to \"old shoe\" --", "AS HE CLEARS THE FRAME, WE SEE, BELOW HIM, MOSS AND THE FIRST ATTENDANT, WHO", "ANGLE, HIS POV.\nTHE TELEVISION, NOW SWITCHED TO THE SCENE OF THE DESERTED TARMAC.", "ANGLE, ON BREAN, AS HE TURNS TO LOOK AT ANOTHER SCREEN. ON THAT TV SCREEN WE\nSEE A SOB-SISTER TYPE", "BUT HE PULLS AWAY. THE NEWS CAMERA HUNTS AND FINDS A SMALL ALBANIAN GIRL,", "MOSS\n Headshots. Girls to play the girl in our footage.\n (OF A PHOTO)", "ANNOUNCER\n ...just having heard her family shot. For the crime of\n non-cooperation with Albanian Authorities. Apparently,", "AS HE PERUSES THEM WE SEE THE FAD KING, HE GOES, DREAMILY, TO A PHONE, AND\nDIALS.", "TOWARD THE TV, WHERE WE SEE A FREEZE FRAME OF THE GIRL ON THE BRIDGE, AND AN\nINSERT OF A MAP OF ALBANIA.", "BREAN\n (GESTURES AT THE TV, WHERE WE SEE TRUDY\n LAROUCHE RUNNING ACROSS THE BURNING", "AN AIDE COMES UP TO THEM, HOLDING A VIDEOTAPE.\n\n AMES\n What is it...", "BREAN WANDERS BACK TO THE CONTROL BOOTH WHERE WE SEE THE SCENE ON SEVERAL" ], [ "BREAN\n Stanley. Stanley... you knew the... Stanley.\n (HE RESTRAINS HIM)\n You knew the deal when you signed <u>on</u>.", "BREAN\n No, I don't think you can <u>do</u> that, Stanley...\n\n MOSS\n Watch me.", "BREAN\n ...that's what it is.\n\n MOSS\n (TO HIMSELF)\n \"The Country Is At War.\"\n (PAUSE)", "BREAN\n I'm here, Mr. Moss, because you've shown yourself a\n great supporter of the Party.\n\n MOSS\n Party's gonna need more than a couple bucks now.", "BREAN\n Hell of a show. Hell of a job, Stan.\n\n MOSS\n (KNOCKS ON WOOD)\n ...one more day.", "BREAN\n Uh huh...\n\n MOSS\n Mmm.", "BREAN\n The Albanian Campaign.\n\n MOSS\n (TO HIMSELF)\n ...the Albanian Campaign. This... this is history...", "BREAN\n ...this the Guy.\n\n MOSS\n Oh, he's gonna be Aces.\n\n BREAN\n Where is he now?", "BREAN\n Stanley, no fooling... no fooling... you're playing\n with your <u>life</u> here...", "BREAN\n ...who is this guy...?\n\n MOSS\n (TO BREAN)\n Act Two: and then, Act Two...", "BREAN\n Mmm...\n\n MOSS\n You do your job right, nobody should notice.\n\n BREAN\n Mmm.", "BREAN\n Stanley, you can't do this....\n\nAMES CALLS FROM THE FAR ROOM.\n\n AMES\n Could we have you in here, please...7", "BREAN\n It's like being a producer, Mr. Moss. The Things in", "BREAN\n You can't tell this story.\n\n MOSS\n Why not?\n\n BREAN\n Some'b'y'll have you killed.", "BREAN\n Not bad for government work.\n (PAUSE)\n Having a good time.\n\n MOSS\n Haven't had so much fun since Live TV.", "BREAN\n I think we were experiencing a Little Technical\n Difficulty.\n\n MOSS\n How's our friend?", "BREAN\n Out in Oklahoma.\n\n MOSS\n Going to make a little stop back home, pick up my\n shirts, show him a little treat.", "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "MOSS\n They got him standing by.\n\n BREAN\n What's the thing with Morse Code...\n\n MOSS\n Oh, you're gonna love this:", "BREAN\n (CONT.)\n And gemme a car.\n\n AMES\n Car and a driver, Mr. Brean, the Westgate, Now,\n please..." ], [ "MR. YOUNG\n Who're you working for?\n\n BREAN\n Nobody whose name you want me to say, Mr. Young, I\n promise you.", "BREAN\n (CONT.)\n Thank you.\n\n MR. YOUNG\n What's on your mind?", "BREAN\n Would you go to War to do that?\n (PAUSE)\n\n MR. YOUNG\n I have.", "BREAN\n I have a question for you.\n\n MR. YOUNG\n Ask it.\n\n BREAN\n Why do people go to war?", "BREAN\n When you...\n (TO AIDE)\n What? I'm busy.\n\n AIDE\n It's the White House.", "YOUNG\n No, we're on top of it.\n\n BREAN\n <u>Thank</u> you.", "BREAN\n Not bad for government work.\n (PAUSE)\n Having a good time.\n\n MOSS\n Haven't had so much fun since Live TV.", "BREAN\n (REACHES INTO HIS JACKET POCKET)\n Oh, oh, oh, oh, oh, get this typed, get somebody to\n send it to the White House...", "MR. YOUNG\n I'm <u>doing</u> my job, Mr. Brean. That's what you see me", "BREAN LOOKS UP, AS AMES, ACCOMPANIED BY AN ARMY MAJOR, PASSES THROUGH\nLINE AND APPROACHES BREAN, BECKONING.", "BREAN\n What do <u>you</u> think? What I need from you: I need a\n base of operations. Some place in the District. I\n need some clean <u>money</u> ...", "BREAN\n Why do they go to War?\n\n MR. YOUNG\n To preserve their Way of Life.", "BREAN\n The C.I.A.\n\n AMES\n Oh, Lord....", "HOLD ON THE GROUP.\n\n BREAN\n (CONT.)\n It's just for eight more days.....\n\nINT CORRIDORS C.I.A. COMPLEX", "BREAN\n ...the young girl in the video, the Albanian Girl....\n\nYOUNG NODS, AND MAKES A NOTE IN A BOOK. BREAN TURNS TO AMES.", "MR. YOUNG\n I'm interested in the Security of My Country, Mr.\n Brean.", "BREAN\n (NODS)\n We're due at Andrews.\n (LOOKS AT HIS WATCH)", "BREAN IS SUNK IN THOUGHT. AN AIDE STARTS TO SPEAK. AMES SILENCES HIM, BREAN\nBECKONS AMES OVER.", "BREAN\n (TO THE AIDE)\n Get it in the stacks at the Library of Congress, Now.\n (TO THE ASSEMBLE)\n Who's seeing the guy at C.B.S.?", "BREAN, AND AMES, AND TWO SECRET SERVICE TYPES, WALKING THROUGH THE MALL." ], [ "MOSS\n The War ain't over.\n (PAUSE)\n\n BREAN\n I saw it on TV.", "BREAN\n The War is Over. Senator Nole just ended the War.\n\n AMES\n Oh, God...", "BREAN\n We aren't going to have a war. We're going to have the\n \"appearance\" of a war.", "American people bought that war. M'I getting through\n to you? War in the Balkans, don't mean nothing, till", "BUT HE PULLS AWAY. THE NEWS CAMERA HUNTS AND FINDS A SMALL ALBANIAN GIRL,", "AMES\n What are we going to do?\n\n BREAN\n (TO MOSS)\n The War is Over.\n\n MOSS\n What?", "BREAN NUDGES HIM, TO LOOK AT THE TV.\n\nTHEY SETTLE BACK, LOOK AT THE TV.", "HE REACHES OVER AND FLICKS OFF THE TV.\n\n BREAN\n (TO MOSS. CONT.)\n War's over, Pal.\n (PAUSE)", "SOMEBODY SWITCHES THE CHANNEL, AND WE SEE A NEWSMAN DOING A STANDUP IN FRONT", "fucking <u>wars</u>. Y'know why. Cause it's <u>show business</u>.\n That's why I'm here. Naked girl, covered in Napalm.", "WE SEE THE ASSEMBLED THRONG LISTENING TO THE END OF THE SONG, \"GOOD OLD SHOE,\"\nRAPT. BREAN RISES, AND FLIPS OFF THE TAPE.", "THEY TURN AROUND, LOOKING FOR AMES, WHO IS HANGING BACK, LOOKING AT A TV. THEY", "BREAN\n He just got Hip to us.\n (PAUSE)\n He just ended the War.\n\nCAMERA TAKES THEM INTO THE RECORDING STUDIO.", "BREAN\n (CHECKS HIS WATCH.)\n The President is going to declare War against Albania\n in a half an hour.", "BREAN\n Who's got the story?\n (PAUSE)\n\n AMES\n Don't you want to know if it's true?", "RADIO\n (VO)\n ...the end of the incredible saga of One Man, his\n country, and a War He did Not Wish, but unto which\n he...", "BREAN HAS KICKED THE TELEVISION INTO LIFE, WE SEE A MAN AND WOMAN ANCHOR,\nSPEAKING LUGUBRIOUSLY, INTO THE CAMERA.", "BREAN AND AMES COMING OFF OF THE PLANE, BREAN STOPS AT THE FREE PERIODICALS\nDISPLAY. SAMPLE HEADLINES READ:", "MOSS\n ...the Suitcase Bomb. ACT ONE Albania denies it.\n President comes on the air, \"Be Calm.\" Okay, now:", "BREAN\n It's not \"war.\" It is a <u>Pageant</u>. It's a <u>Pageant</u>..." ], [ "And we must consider this man. <u>This</u> man...who, you\n will remember, was discovered, scant days ago, in a", "MOSS\n (AT THE DOOR)\n Shoe, boy...? You know, you were telling me you\n wanted Beans? Remember, you were concerned about the\n Beans...?", "MOSS\n ...for the beans, yes...\n\n BREAN\n (ON THE PHONE)\n We're gonna, just, may have to call <u>off</u> the...", "BREAN\n He just got Hip to us.\n (PAUSE)\n He just ended the War.\n\nCAMERA TAKES THEM INTO THE RECORDING STUDIO.", "AMES\n When it broke, he said one word: get me Ronnie Brean.", "MR. YOUNG\n (TO YALIE)\n ...took you long enough.\n\n YALIE\n Found'em as quick as we could, sir.", "BREAN\n (SHRUGS)\n Gemme a plane. Business Aviation, National, one hour.\n Fly to Chicago. O'hare, LAX 6 A.M.", "BREAN\n (CON'T)\n ...he made a pass at some Secretary, back in...", "the-rainforest, Liberal hire-a-convict <u>shithead</u>?\n Mister Affirmative-Action Peacnik. Commie...", "MOSS\n They got him standing by.\n\n BREAN\n What's the thing with Morse Code...\n\n MOSS\n Oh, you're gonna love this:", "BREAN\n Yes.\n\n AMES\n Why?\n\n BREAN\n What do you know about them?", "AN AIDE BRINGS HIM A CUP OF COFFEE.\n\n BREAN\n Thank you. Now: where is he?\n\n LEVY\n China.", "BREAN\n (AS HE READS FROM HIS NOTEBOOK)\n Alright, now, here: he stays on the ground in China\n til Tomorrow.\n\n CAIN\n ...why?", "BREAN\n (REACHES INTO HIS JACKET POCKET)\n Oh, oh, oh, oh, oh, get this typed, get somebody to\n send it to the White House...", "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "BREAN LOOKS UP, AS AMES, ACCOMPANIED BY AN ARMY MAJOR, PASSES THROUGH\nLINE AND APPROACHES BREAN, BECKONING.", "BREAN\n ... and he spent the last twelve years in a Milit&ry\n Prison...\n (PAUSE)\n\n AMES\n How do we explain <u>that</u>?", "(PAUSE)\n I'm told his unit mates gave him the nickname, \"Old\n Shoe.\" Ladies and Gentleman, we will not <u>treat</u> him", "BREAN\n Mmm...\n\n MOSS\n You do your job right, nobody should notice.\n\n BREAN\n Mmm.", "BREAN\n (TO THE AIDE)\n Get it in the stacks at the Library of Congress, Now.\n (TO THE ASSEMBLE)\n Who's seeing the guy at C.B.S.?" ], [ "BREAN\n No, I don't think you can <u>do</u> that, Stanley...\n\n MOSS\n Watch me.", "MOSS\n Good morning, My name's Stanley Moss, I'll be your\n director this morning, what I'd like you to do, Miss,\n what is your name...", "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "MOSS\n How's our friend? What is he, \"dead?\"\n\n BREAN\n Wake up.\n\n MOSS\n Is he dead?", "BREAN\n Stanley. Stanley... you knew the... Stanley.\n (HE RESTRAINS HIM)\n You knew the deal when you signed <u>on</u>.", "MOSS\n They got him standing by.\n\n BREAN\n What's the thing with Morse Code...\n\n MOSS\n Oh, you're gonna love this:", "MOSS\n Well, yes, but the guy <u>did</u> bring Peace.\n\n BREAN\n Yes, but there wasn't a War.", "AMES\n ...this is magnificent.\n\n BREAN\n ...Stanley Moss...\n\n AMES\n 8 days and we bring it back home....", "STANLEY MOSS, A SUCCESSFUL LOOKING FELLOW AROUND SIXTY, COMES THROUGH THE", "MOSS\n S'only when you fuck up, everything gets full of shit.\n (PAUSE)\n Do you think we could line him up for the Peace Prize?", "MOSS\n Yes. Indeed I did.\n (PAUSE)\n\nHE LOOKS OVER AT HIS WALL FULL OF PLAQUES AND TROPHIES.", "MOSS\n He raped a nun.\n (PAUSE)\n\n AMES\n Yeeaahhh... Ohmigod ... ohmigod... ohmigod...", "MOSS\n How do we explain that? Ah, well, you see, Wilfred,", "MOSS\n What he went through in <u>Albania</u>...\n\n BREAN\n He's doped to the <u>Gills</u> ...", "MOSS\n Prouder of this, than anything I ever did in my life.\n I want to thank you, Ron.\n (PAUSE)\n Want to thank you.", "MOSS\n (TO BREAN)\n ...this is nothing. This is nothing. D'you ever shoot", "MOSS\n The...\n (HE GESTURES OUT OF HIS WINDOW,\n MEANING, \"THE PUBLIC\")", "MOSS\n Bigger than that. For want of a nail a <u>Kingdom</u> was\n lost...\n\n BREAN\n You've <u>got</u> something, there...", "MOSS\n Naa, fuck this, this is nothing. Oh, Lord -- this", "BREAN\n The Albanian Campaign.\n\n MOSS\n (TO HIMSELF)\n ...the Albanian Campaign. This... this is history..." ], [ "MOSS\n Good morning, My name's Stanley Moss, I'll be your\n director this morning, what I'd like you to do, Miss,\n what is your name...", "BREAN\n Stanley. Stanley... you knew the... Stanley.\n (HE RESTRAINS HIM)\n You knew the deal when you signed <u>on</u>.", "MOSS\n They got him standing by.\n\n BREAN\n What's the thing with Morse Code...\n\n MOSS\n Oh, you're gonna love this:", "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "AMES\n ...this is magnificent.\n\n BREAN\n ...Stanley Moss...\n\n AMES\n 8 days and we bring it back home....", "BREAN\n No, I don't think you can <u>do</u> that, Stanley...\n\n MOSS\n Watch me.", "STANLEY MOSS, A SUCCESSFUL LOOKING FELLOW AROUND SIXTY, COMES THROUGH THE", "MOSS\n How's our friend? What is he, \"dead?\"\n\n BREAN\n Wake up.\n\n MOSS\n Is he dead?", "MOSS\n The...\n (HE GESTURES OUT OF HIS WINDOW,\n MEANING, \"THE PUBLIC\")", "MOSS\n S'only when you fuck up, everything gets full of shit.\n (PAUSE)\n Do you think we could line him up for the Peace Prize?", "MOSS\n Well, yes, but the guy <u>did</u> bring Peace.\n\n BREAN\n Yes, but there wasn't a War.", "MOSS\n And is it true?\n\n AMES\n Waal, Mr. Moss, I wouldn't....", "MOSS\n (TO PHONE)\n Lots n lotsa cash. Stay on for Gracie, she'll get you\n a ticket\n (HE HANGS UP)", "BREAN\n You can't tell this story.\n\n MOSS\n Why not?\n\n BREAN\n Some'b'y'll have you killed.", "BREAN\n Stanley, you can't do this....\n\nAMES CALLS FROM THE FAR ROOM.\n\n AMES\n Could we have you in here, please...7", "MOSS\n Yes. Indeed I did.\n (PAUSE)\n\nHE LOOKS OVER AT HIS WALL FULL OF PLAQUES AND TROPHIES.", "BREAN\n Mmm...\n\n MOSS\n You do your job right, nobody should notice.\n\n BREAN\n Mmm.", "MOSS\n How do we explain that? Ah, well, you see, Wilfred,", "MOSS\n Is that true?\n\n BREAN\n How the fuck do <u>we</u> know. You take my point?", "MOSS\n (TO AN AIDE)\n Gemme all your secretaries, puttem in an office now,\n Would you? Would you do that?\n (PAUSE)\n Gimme thirty secretaries..." ], [ "BREAN\n The War is Over. Senator Nole just ended the War.\n\n AMES\n Oh, God...", "AMES\n What are we going to do?\n\n BREAN\n (TO MOSS)\n The War is Over.\n\n MOSS\n What?", "MOSS\n The War ain't over.\n (PAUSE)\n\n BREAN\n I saw it on TV.", "ANNOUNCER\n ...just having heard her family shot. For the crime of\n non-cooperation with Albanian Authorities. Apparently,", "BREAN\n (CHECKS HIS WATCH.)\n The President is going to declare War against Albania\n in a half an hour.", "BREAN\n He just got Hip to us.\n (PAUSE)\n He just ended the War.\n\nCAMERA TAKES THEM INTO THE RECORDING STUDIO.", "RADIO\n (VO)\n ...the end of the incredible saga of One Man, his\n country, and a War He did Not Wish, but unto which\n he...", "our picturesque Canadian Border. The Albanian\n Government is screaming its innocence, the world is\n listening.\n (PAUSE)", "HE REACHES OVER AND FLICKS OFF THE TV.\n\n BREAN\n (TO MOSS. CONT.)\n War's over, Pal.\n (PAUSE)", "NOLE\n ...gotten word that the situation in Albania <u>is</u>\n resolved. That it <u>is</u> resolved. My military sources", "AMES\n (TO HIMSELF)\n ...you want us to go to War with Albania.", "MOSS\n ...the Albanian Campaign.\n (PAUSE)\n And we won't even be a footnote...", "There is no War.", "BREAN\n We aren't going to have a war. We're going to have the\n \"appearance\" of a war.", "(PAUSE)\n Have him say it like I wrote it, It'll be fine.\n Thanks.\n (HE HANGS UP.)", "BREAN\n We're locked into Albania.\n\n FAD KING\n Well, let's not be too sure, why is that?", "BREAN\n The Albanian Campaign.\n\n MOSS\n (TO HIMSELF)\n ...the Albanian Campaign. This... this is history...", "COMMENTATOR\n ...dead and fifteen wounded in these first hours of the\n War. They are not, they are not The Enemy, they are", "BREAN\n ...that's what it is.\n\n MOSS\n (TO HIMSELF)\n \"The Country Is At War.\"\n (PAUSE)", "MOSS\n Well, yes, but the guy <u>did</u> bring Peace.\n\n BREAN\n Yes, but there wasn't a War." ], [ "MOSS\n (SHOWS THE PHOTO OF SCHUMANN TO BREAN)", "MOSS\n (OF SCHUMANN)\n Uh...", "SCHUMANN BEGINS TO ROUSE BIMSELF.", "MOSS STARTS CODDLING SCHUMANN.\n\n MOSS\n Come on, Pal, come on Willie, come on, Old Shoe...", "Because Schumann's the Shark. He's ...<u>Jaws</u>. You have\n to <u>tease</u>'em... You don't puttem in the first reel of", "ANGLE\nSCHUMANN, AS HE LOOKS AWAY, AND MUTTERS TO HIMSELF.\n\n SCHUMANN\n \"...where's my pill...\"", "SCHUMANN RUNS INTO THE KITCHEN, AND WE HEAR THE SOUNDS OF LITTLE GIRL SCREAMS.", "MOSS ADMINISTERS A PILL TO SCHUMANN.\n\n SCHUMANN\n What the fuck did you <u>mean</u>, \"What kind of stuff?\"?", "SCHUMANN\n ...mmm.\n\n MOSS\n ...'bout ready to Mix it Up...?", "MOSS\n No, no, no...\n\n SCHUMANN\n ...isn't it time for my Pill...?", "THEY ALL STRAIGHTEN UP AND SMILE, AS SCHUMANN, A RAINCOAT OVER HIS SHOULDERS,", "SCHUMANN\n ...where's my l'il <u>pill</u>?\n\n MOSS\n (TO BREAN)\n Show some compassion.", "BREAN\n (LOOKS AROUND)\n Schumann. We're gonna go pick him up tonight.\n\n FAD KING\n Where is he?", "SCHUMANN\n (PAUSE. SCHUMANN LOOKS AT THEM WARILY)\n What do you mean, \"What kind of stuff?\"", "BREAN POURS HIMSELF A DRINK. PAUSE. TO SCHUMANN.\n\n BREAN\n How are'ya...\n\nDISSOLVE", "THEM TO SCHUMANN. WHO TAKES THEM. MOSS THEN STRAPS HIMSELF BACK IN AND BREAN\nCONTINUES TALKING ON THE TELEPHONE.", "received this photograph, of Schumann in Captivity.\n Held by a dissident group of Albanian\n Terrorists...Now, I don't know how many of you are", "ANGLE\nON SCHUMANN, LEERING.\n\n SCHUMANN\n (MUTTERING)\n ...where is my pill?", "MOSS\n Come on.\n\nMOSS MOVES SCHUMANN INTO A STANDING POSITION.", "MOSS\n (THROUGH THE DOOR, TO SCHUMANN)\n 'Member, we were talking about how much you liked the\n \"beans\" and all...?" ], [ "Because Schumann's the Shark. He's ...<u>Jaws</u>. You have\n to <u>tease</u>'em... You don't puttem in the first reel of", "THE OFFICER TAKES THE RAINCOAT FROM SCHUMANN'S SHOULDERS, REVEALING HE IS IN A", "(HE BEGINS TO WEEP)\n We killed the Schuster...spend our life in a\n packingcrate...Where are you <u>going</u>...?", "SCHUMANN RUNS INTO THE KITCHEN, AND WE HEAR THE SOUNDS OF LITTLE GIRL SCREAMS.", "BREAN\n (LOOKS AROUND)\n Schumann. We're gonna go pick him up tonight.\n\n FAD KING\n Where is he?", "SCHUMANN\n (PAUSE. SCHUMANN LOOKS AT THEM WARILY)\n What do you mean, \"What kind of stuff?\"", "SCHUMANN\n You gonna git me back tomorrow?\n (PAUSE)\n Cause they havin <u>beans</u> tomorrow...", "(PAUSE)\n The Fella Killed Old Shoe.\n (PAUSE)", "THEY ALL STRAIGHTEN UP AND SMILE, AS SCHUMANN, A RAINCOAT OVER HIS SHOULDERS,", "ANGLE\nSCHUMANN, AS HE LOOKS AWAY, AND MUTTERS TO HIMSELF.\n\n SCHUMANN\n \"...where's my pill...\"", "SCHUMANN BEGINS TO ROUSE BIMSELF.", "MOSS ADMINISTERS A PILL TO SCHUMANN.\n\n SCHUMANN\n What the fuck did you <u>mean</u>, \"What kind of stuff?\"?", "BREAN\n We pick up Schumann. Sneak him back inside the Beltway.\n And we plan his homecoming. Zt's gone be Neil", "PRISON UNIFORM, AND HEAVILY MANACLED. THE MAN, IS SCHUMANN, AN UNMISTAKABLE", "SCHUMANN\n ...just want to Get Back to the Beans...\n\nMOSS WALKS TO BREAN, AND STARTS KICKING HIM.", "BREAN\n Uh huh...\n\n SCHUMANN\n So you don't have to <u>fear</u> it.", "MOSS\n (SHOWS THE PHOTO OF SCHUMANN TO BREAN)", "MOSS\n No, I didn't think so.\n\nAMES KICKS IN THE THLEVISION. HE MOVES TO SCHUMANN AND LIFTS HIM TO HIS FEET.", "AMES\n ... you want Schumann saved by an Illegal Alien...?\n\n BREAN\n Well, what do you want to do about it?\n (PAUSE)\n What do you...", "PLANE, AND HAULS THE DAZED SCHUMANN OUT, AND PROPS HIM AGAINST THE PLANE." ], [ "THEY ALL STRAIGHTEN UP AND SMILE, AS SCHUMANN, A RAINCOAT OVER HIS SHOULDERS,", "SCHUMANN BEGINS TO ROUSE BIMSELF.", "SCHUMANN\n (PAUSE. SCHUMANN LOOKS AT THEM WARILY)\n What do you mean, \"What kind of stuff?\"", "BREAN\n We pick up Schumann. Sneak him back inside the Beltway.\n And we plan his homecoming. Zt's gone be Neil", "SCHUMANN RUNS INTO THE KITCHEN, AND WE HEAR THE SOUNDS OF LITTLE GIRL SCREAMS.", "PAINTED, WITH A HUGE MURAL OF SCHUMANN, AND THE WORDS, \"COURAGE, MOM...\"", "BREAN POURS HIMSELF A DRINK. PAUSE. TO SCHUMANN.\n\n BREAN\n How are'ya...\n\nDISSOLVE", "ANGLE\nSCHUMANN, AS HE LOOKS AWAY, AND MUTTERS TO HIMSELF.\n\n SCHUMANN\n \"...where's my pill...\"", "MOSS\n (SHOWS THE PHOTO OF SCHUMANN TO BREAN)", "PRISON UNIFORM, AND HEAVILY MANACLED. THE MAN, IS SCHUMANN, AN UNMISTAKABLE", "SCHUMANN\n You gonna git me back tomorrow?\n (PAUSE)\n Cause they havin <u>beans</u> tomorrow...", "PLANE, AND HAULS THE DAZED SCHUMANN OUT, AND PROPS HIM AGAINST THE PLANE.", "Because Schumann's the Shark. He's ...<u>Jaws</u>. You have\n to <u>tease</u>'em... You don't puttem in the first reel of", "THE OFFICER TAKES THE RAINCOAT FROM SCHUMANN'S SHOULDERS, REVEALING HE IS IN A", "BREAN\n (LOOKS AROUND)\n Schumann. We're gonna go pick him up tonight.\n\n FAD KING\n Where is he?", "MOSS\n Come on.\n\nMOSS MOVES SCHUMANN INTO A STANDING POSITION.", "freed a tired, but happy William Schumann, Suffering\n no casualties. His condition is reported as Guarded,\n and his route to the US has not been disclosed, but a", "received this photograph, of Schumann in Captivity.\n Held by a dissident group of Albanian\n Terrorists...Now, I don't know how many of you are", "SCHUMANN\n (AS IF COMING TO)\n ...who <u>are</u> you?\n (PAUSE)", "THEY LOOK OUT THE WINDOW, START STRAIGHTENING UP THEIR CLOTHING, ET CETERA, IN\nPREPARATION FOR MEETING SCHUMANN." ], [ "MOSS\n How's our friend? What is he, \"dead?\"\n\n BREAN\n Wake up.\n\n MOSS\n Is he dead?", "BREAN\n You can't tell this story.\n\n MOSS\n Why not?\n\n BREAN\n Some'b'y'll have you killed.", "MOSS\n You would be, two, if you'd gone through what he went\n through.\n\n BREAN\n He raped a <u>Nun</u>...", "MOSS\n He raped a nun.\n (PAUSE)\n\n AMES\n Yeeaahhh... Ohmigod ... ohmigod... ohmigod...", "MOSS\n Oh, jeez, this guy is fucked.\n\n BREAN\n What one has to do, Mr. Moss. Is to fight a holding\n action.", "MOSS\n They got him standing by.\n\n BREAN\n What's the thing with Morse Code...\n\n MOSS\n Oh, you're gonna love this:", "MOSS\n Well, yes, but the guy <u>did</u> bring Peace.\n\n BREAN\n Yes, but there wasn't a War.", "BREAN\n The Albanian Campaign.\n\n MOSS\n (TO HIMSELF)\n ...the Albanian Campaign. This... this is history...", "ANNOUNCER\n ...just having heard her family shot. For the crime of\n non-cooperation with Albanian Authorities. Apparently,", "MOSS\n And what? What? She was Driven From Her Home, by\n Albanian Terrorists. It is her we are mobilizing to\n defend... it is \"she\"?", "MOSS\n (TO BREAN)\n ...this is nothing. This is nothing. D'you ever shoot", "MOSS\n Is that true?\n\n BREAN\n How the fuck do <u>we</u> know. You take my point?", "MOSS\n But at some point they gotta know.\n\n BREAN\n Who?", "MOSS\n Fucking <u>amateurs</u>. Pity of it is, two more days, we\n bring it all back home...\n\n BRKAN\n ...knock wood...", "MOSS\n S'only when you fuck up, everything gets full of shit.\n (PAUSE)\n Do you think we could line him up for the Peace Prize?", "MOSS\n The hats.\n\n LIZ\n A beret.\n\n MOSS\n Why a beret?", "MOSS\n Naa, fuck this, this is nothing. Oh, Lord -- this", "MOSS\n (CONT.)\n And one of them is in love with the <u>sister</u> of...\n\n LIZ\n I'm just talking about the Hats.", "MOSS\n What he went through in <u>Albania</u>...\n\n BREAN\n He's doped to the <u>Gills</u> ...", "MOSS\n Bigger than that. For want of a nail a <u>Kingdom</u> was\n lost...\n\n BREAN\n You've <u>got</u> something, there..." ], [ "MR. YOUNG\n (LOOKING AT NOTES HE IS HANDED BY\n YALIE)\n I know who you are, Mr. Ames.", "MR. YOUNG NODS.", "YOUNG\n No, we're on top of it.\n\n BREAN\n <u>Thank</u> you.", "MR. YOUNG\n (TO YALIE)\n ...took you long enough.\n\n YALIE\n Found'em as quick as we could, sir.", "MR. YOUNG\n Guess who <u>I</u> am.\n\n AMES\n I'd like to mention a few <u>names</u>, who...", "MR. YOUNG\n Who're you working for?\n\n BREAN\n Nobody whose name you want me to say, Mr. Young, I\n promise you.", "MR. YOUNG\n N'who might <u>you</u> be, when all's said and done?\n\n BREAN\n My name is Ronald Brean.", "BREAN\n (CONT.)\n Thank you.\n\n MR. YOUNG\n What's on your mind?", "MR. YOUNG\n When I'm done with'em, we want to dump'em in the", "MR. YOUNG\n Quite touching.", "BREAN\n Would you go to War to do that?\n (PAUSE)\n\n MR. YOUNG\n I have.", "MR. YOUNG\n S'all very well, but when the Fit hits the Shan,\n somebody's going to have to Stay After School, and who\n do you 'spose that might be.", "YOUNG\n No, thank <u>you</u>...\n\n BREAN\n (HE CHECKS HIS WATCH)\n I should be in Nashville, tell him I'm coming in.", "PAUSE. MR. YOUNG LOOKS AT THE AIDE, WHO IS EXITING, AND NODS. THE AIDE STAYS\nBEHIND.", "THE DOOR OPENS, THE YALIE COMES TO ATTENTION, <u>MR. YOUNG</u>, A TWENTY-YEAR OLDER", "MR. YOUNG\n Why do people go to war?\n\n MR. YOUNG\n I'll play your silly game.", "MR. YOUNG\n I'm <u>doing</u> my job, Mr. Brean. That's what you see me", "BREAN\n I have a question for you.\n\n MR. YOUNG\n Ask it.\n\n BREAN\n Why do people go to war?", "INCLINES HIS HEAD TOWARD THE REAR OF THE STORE, AND MR. YOUNG WALKS TOWARD THE\nREAR.", "BREAN\n S'only got to hold for another few days.\n\n MR. YOUNG\n Well, I'm not interested in how long its \"got to hold\n for.\"" ] ]

[ "Who sends Agent Young to confront Brean about the deception? ", "How does the CIA decide to deal with the situation? ", "How does Motss attempt to put a positive spin on the story and avert catastrophe? ", "What is Motss' response to the obvious setbacks that his plan incurs?", "Who is the real Schumann?", "Why does the plane carrying Schumann fail to reach Andrews Air Force Base?", "Why does the farmer kill Schumann?", "How does Motss explain Schumann's death?", "Why does Brean have Motss killed?", "Who is caught in a sex scandal?", "The scandal became breaking news how close to Election Day? ", "What is the profession of Conrad Breane, the man who is hired to take the publics attention away from the scandal?", "The fictional war is what country? ", "What kind of tactic is this fictional war being used as?", "How is the orphan in the faked footage described as?", "Brean hires Stanley Motss from where? ", "Agent Young is sent by what government agency to confront Breane?", "After the media gets bored of the fake war story where does their attention turn? ", "Why was Conrad Bean hired?", "What did Stanley Motss did ?", "Who hired Stanley Motss?", "Who reported that the Albany war ended?", "Who told Motss about Schumann?", "Why did the farmer killed Schumann?", "What kind of funeral Schumann had?", "Who had Motss killed?", "Who was Young?" ]

[ [ "The CIA", "The CIA" ], [ "Announce that the war has ended and allow Motss to continue working the story.", "The CIA decides to announce the war is over." ], [ "He invents a hero named Schumann who was a soldier left behind enemy lines.", "He invents a war hero" ], [ "He says that they are nothing compared to the movie-making catastrophes that he has averted.", "He dismisses them as nothing. " ], [ "A criminally insane army prison convict.", "a criminally insane army prison convict" ], [ "It crashes", "It crashes" ], [ "He attempted to rape his daughter.", "Because Schumann attempted to rape his daughter" ], [ "With an elaborate military funeral, claiming that he died from woulds obtained during his rescue.", "He said Schumann died from wounds that he got during the rescue" ], [ "He is threatening to reveal his involvement in order to receive credit for the cover up of the presidents scandal.", "Motss was going to reveal the President's involvement in the made-up war." ], [ "The president of the United States.", "The President. " ], [ "2 weeks", "less than two weeks" ], [ "A Spin Doctor", "spin doctor" ], [ "Albania ", "albania" ], [ "A diversionary tactic.", "Diversionary" ], [ "being photogenic. ", "Photogenic" ], [ "Hollywood.", "Hollywood" ], [ "The CIA.", "CIA" ], [ "Back to the presidents scandal.", "The President's abuse scandal." ], [ "He was hired to find a story to replace the president scamdle.", "To try and divert the public's interest away from the Presidential scandal" ], [ "He made up a story about a war in Albania", "create a fake war" ], [ "Conrad Bean", "President Brean" ], [ "The CIA", "CIA" ], [ "Pentagon", "The Pentagon" ], [ "Schumann was trying to rape his daughter.", "attempts to rape the farmer's daughter" ], [ "Military funeral", "military" ], [ "Brean", "Brean" ], [ "CIA Agent", "An agent sent to confront the President about the fake war story." ] ]

[ [ "Thuvia, the girl whom I had first freed, soon had the others at\nliberty. Tars Tarkas and I stripped the bodies of the two therns of", "Only Tars Tarkas, Thuvia, and I were left. The fatal marksmanship of\nthe therns had snatched from our companions whatever slender chance\nthey had of gaining the perilous freedom of the world without.", "had entered. About me lay the bodies of my companions, with the\nexception of Thuvia and Tars Tarkas, who, like myself, had been asleep\nupon the floor and thus escaped the first raking fire.", "\"Here, then, is one of them,\" spoke Thuvia, indicating the Thark, \"and\nif you will look upon this dead man by the door perhaps you will", "\"How came you here, Thuvia?\" I asked. \"And where is Tars Tarkas?\"", "We had proceeded for possibly an hour without serious interruption, and\nThuvia had just whispered to me that we were approaching our first\ndestination, when on entering a great chamber we came upon a man,\nevidently a thern.", "I knew though that my ruse had worked and that temporarily at least\nThuvia and Tars Tarkas were safe, and the means of escape was theirs.", "\"There be five now in the party, Tars Tarkas,\" I said; \"Thuvia, Xodar,\nCarthoris, and ourselves. We shall need five thoats to bear us.\"", "Torn and bleeding from many cruel wounds, I lay panting upon the ground\nwithin the hollow of the tree, while Tars Tarkas defended the opening\nfrom the furious mob without.", "Soon we were entirely surrounded by some fifty of the brutes. Two\nwalked close on either side of Thuvia, as guards might walk. The sleek", "As the thern saw us his eyes narrowed to two nasty slits.\n\n\"Stop!\" he cried. \"What means this, Thuvia?\"", "John Carter could have done the deeds you tell of.' And when Thuvia\ntold Dejah Thoris of her love for John Carter, and his loyalty and", "\"Before we go farther we must be sure,\" I said. \"I cannot leave Tars\nTarkas alive among the Warhoons. To-night I shall enter the city and\nmake sure.\"", "the fate of the great Thark, and of his beautiful companion, the girl,\nThuvia. Even should they by some miracle have escaped and been\nreceived and spared by a friendly nation, what hope had I of the", "\"Tars Tarkas was in advance, and they saw him, but me they did not see.\nThe Thark sprang back to my side and forced me into an adjacent", "\"How is it, Tars Tarkas,\" I asked, \"that the men of Thark take not the\naccustomed action against one who returns from the bosom of Iss?\"", "which they had left the corridor. There, through an open door, I saw\nthem removing the chains that secured the great Thark, Tars Tarkas, to\nthe wall.", "When the girl, Thuvia, told me that you had returned to Barsoom, I\nlistened, but I could not understand, for it seemed that such happiness", "\"A thern!\" whispered Tars Tarkas.\n\n\"Worse than that, I fear,\" replied Xodar. \"But let us see.\"", "The two companions of the man who lay now beside the door of the cell\nthat had been Tars Tarkas' had just started to ascend the runway as the\nThark came in view." ], [ "\"Know you, O judges and people of Helium,\" he said, \"that John Carter,\none time Prince of Helium, has returned by his own statement from the", "\"Stay your hands, men of Helium,\" he shouted, his voice trembling with\nrage. \"The sentence of the court is passed, but the day of retribution", "\"You may go free within two minutes, upon one condition. Tardos Mors\nwill never return to Helium. Neither will Mors Kajak, nor Dejah", "\"Men of Helium,\" I cried, turning to the spectators, and speaking over\nthe heads of my judges, \"how can John Carter expect justice from the", "\"The fleet continued north nearly to Helium, but last night they\nevidently realized that John Carter had indeed escaped them and so they\nturned toward the south once more. Shortly thereafter a guard entered\nour compartment and dragged me to the deck.", "For a moment I was perplexed, but for a moment only. The proud\ndaughter of a thousand Jeddaks would choose death to a dishonorable\nalliance such as this, nor could John Carter do less for Helium than\nhis Princess would do.", "\"You have heard the fate that the men of Zodanga would mete to Helium's\nnoblest hero. It may be the duty of the men of Helium to accept the", "\"John Carter,\" he said, \"by the edict of custom, by the law of our\nreligion, and by the verdict of an impartial court, you are condemned", "John Carter could have done the deeds you tell of.' And when Thuvia\ntold Dejah Thoris of her love for John Carter, and his loyalty and", "\"I intend taking you both back to Helium,\" I said. \"No harm will come\nto you. You will find the red men of Helium a kindly and magnanimous", "Carter. Where have you been, O my Prince? All Helium has been plunged\nin sorrow. Terrible have been the calamities that have befallen your", "\"Kantos Kan:\" it read. \"Surrender, in the name of the Jeddak of\nHelium, for you cannot escape,\" and it was signed, \"Zat Arrras.\"", "When they returned it was to announce that Issus desired to look upon\nthe daughter of Matai Shang, and the strange creature from another\nworld who had been a Prince of Helium.", "\"Stop!\" cried Zat Arrras. \"Soldiers of Helium, let no prisoner leave\nthe Throne of Righteousness.\"", "is dead--a thousand years to John Carter, Jeddak of Helium.\" As I heard\nthat and saw the ugly attitude of the men of Helium toward the soldiers", "be little justice here for John Carter, or his son, or for the great\nThark who had commanded the savage tribesmen who overran Zodanga's\nbroad avenues, looting, burning, and murdering.", "At the sound of that name the boy jumped to his feet.\n\n\"John Carter!\" he cried. \"John Carter! Why, man, John Carter, Prince\nof Helium, has been dead for years. I am his son.\"", "\"Speak, John Carter, Prince of Helium,\" cried a great noble from the\naudience, and the multitude echoed his permission, until the building\nrocked with the noise of their demonstration.", "The first man to greet me was Kantos Kan himself. My old friend had\nwon to the highest place in the navy of Helium, but he was still to me", "When the girl, Thuvia, told me that you had returned to Barsoom, I\nlistened, but I could not understand, for it seemed that such happiness" ], [ "Thuvia, the girl whom I had first freed, soon had the others at\nliberty. Tars Tarkas and I stripped the bodies of the two therns of", "Thuvia and Phaidor came close also, but when Thuvia saw that we would\nbe alone she withdrew to the further side of the chamber. Not so the\ndaughter of Matai Shang.", "Thoris in thy arms again. Wait you the long, long year; but know that\nwhen the waiting is over it shall be Phaidor's arms which shall welcome", "The men looked very sheepish and very scared.\n\n\"Had they not better throw these bodies to the plant men and then\nreturn to their quarters, O Mighty One?\" asked Thuvia of me.", "Only Tars Tarkas, Thuvia, and I were left. The fatal marksmanship of\nthe therns had snatched from our companions whatever slender chance\nthey had of gaining the perilous freedom of the world without.", "Massive bars blocked our further progress, but beyond I saw her--my\nincomparable Princess, and with her were Thuvia and Phaidor. When she", "As he talked Carthoris had been working at the lock which held my\nfetters, and now, with an exclamation of pleasure, he dropped the end", "\"Here, then, is one of them,\" spoke Thuvia, indicating the Thark, \"and\nif you will look upon this dead man by the door perhaps you will", "faintly, in Thuvia's voice: \"My Prince, O my Prince; I would rather\nremain and die with--\" But the rest was lost in the noise of my\nassailants.", "Phaidor and I were taken below decks, where, still fast bound, we were\nthrown into a small compartment which contained a single port-hole. As\nour escort left us they barred the door behind them.", "the fate of the great Thark, and of his beautiful companion, the girl,\nThuvia. Even should they by some miracle have escaped and been\nreceived and spared by a friendly nation, what hope had I of the", "\"The fleet continued north nearly to Helium, but last night they\nevidently realized that John Carter had indeed escaped them and so they\nturned toward the south once more. Shortly thereafter a guard entered\nour compartment and dragged me to the deck.", "Presently we approached a great chamber more brightly lighted than the\ncorridors. Thuvia halted us. Quietly she stole toward the entrance\nand glanced within. Then she motioned us to follow her.", "\"It was midnight when you released me from my chains,\" said Thuvia.\n\"Two hours later we reached the storeroom. There you slept for", "At last we came to a great carved door, and through this Carthoris\ndashed, a foot ahead of me. Within, we came upon such a scene as I had", "had entered. About me lay the bodies of my companions, with the\nexception of Thuvia and Tars Tarkas, who, like myself, had been asleep\nupon the floor and thus escaped the first raking fire.", "Thoris, Princess of Helium, for his wife, and for nearly ten years had\nbeen a prince of the house of Tardos Mors, Jeddak of Helium.", "The two companions of the man who lay now beside the door of the cell\nthat had been Tars Tarkas' had just started to ascend the runway as the\nThark came in view.", "Torn and bleeding from many cruel wounds, I lay panting upon the ground\nwithin the hollow of the tree, while Tars Tarkas defended the opening\nfrom the furious mob without.", "We had reached the doorway now and Thuvia was opening it.\n\n\"They fear the black pirates of Barsoom, O Prince,\" she said, \"from\nwhom may our first ancestors preserve us.\"" ], [ "slave is to serve you well,\" he said to me, indicating Xodar with a\nwave of his hand. \"If he does not, you are to beat him into", "\"Where is the white slave?\" again cried the guard.\n\n\"I know not,\" replied Xodar. \"He was here even as you entered. I am\nnot his keeper--go find him.\"", "In the outer gardens to which the guard now escorted me, I found Xodar\nsurrounded by a crowd of noble blacks. They were reviling and cursing\nhim. The men slapped his face. The women spat upon him.", "\"Xodar, Dator of the First Born of Barsoom, is accustomed to give\ncommands, not to receive them,\" replied the black pirate. Then,\nturning to me, \"What are your intentions concerning me?\"", "There was no fight. In the first place there was no room to fight. We\nwere simply submerged by numbers. Then as swords menaced me a command\nfrom Xodar stayed the hands of his fellows.", "\"What now?\" he cried. \"What would you of Thurid?\"\n\nQuickly a dozen voices explained.\n\nThurid turned toward Xodar, his eyes narrowing to two nasty slits.", "\"Finally, Xodar, who is a fiend for subtle craftiness, evolved a plan\nwhereby we might worm the information from him. And so I caused Hor", "Xodar entered the cabin with his men.\n\n\"Come,\" he said, and we followed him through the hatchway which had\nbeen opened by one of the seamen.", "I said as much to Xodar, over my shoulder.\n\n\"It is very wonderful, nevertheless,\" he replied. \"No one else could\nhave accomplished it but John Carter.\"", "I nodded to one of the soldiers, who left the chamber, returning\npresently with the things that Xodar had requested. The black kneeled", "At this point the door of our prison opened to admit Xodar.\n\nHe smiled pleasantly at me, and when he smiled his expression was\nkindly--anything but cruel or vindictive.", "\"It will be,\" said Xodar, \"when they find from whence you have come.\nThat is but one of the superstitions which Issus has foisted upon a", "\"Lead back to Shador, my friend,\" I whispered. \"Xodar, the black, is\nthere. We were to attempt our escape together, so I cannot desert him.\"", "slew seven of the First Born, and with his bare hands took Xodar\ncaptive, binding him with his own harness.\"", "even to permit the slender form of my Princess to pass. Oh, why did\nnot Xodar haste. Above we could hear the faint echoes of a great", "\"You shall soon see Issus,\" said Xodar to Phaidor. \"The few prisoners\nwe take are presented to her. Occasionally she selects slaves from", "As I finished I raised Xodar to his feet and released him. He did not\nrenew the attack upon me, nor did he speak. Instead, he walked toward", "When I appeared they turned their attentions toward me.\n\n\"Ah,\" cried one, \"so this is the creature who overcame the great Xodar\nbare-handed. Let us see how it was done.\"", "Xodar and the green Jeddak were formally presented to each other. Then\nThuvia was lifted to the least fractious thoat, Xodar and Carthoris", "Kantos Kan and Xodar were to attend to the remodelling of the ships.\nTars Tarkas was to get into communication with Thark and learn the" ], [ "When I appeared they turned their attentions toward me.\n\n\"Ah,\" cried one, \"so this is the creature who overcame the great Xodar\nbare-handed. Let us see how it was done.\"", "We waited to hear no more. Slinging my harness into a long single\nstrap, I lowered Tars Tarkas to the courtyard beneath, and an instant\nlater dropped to his side.", "Then I had been an unknown wanderer upon a strange planet, and he a\nsimple padwar in the navy of Helium. To-day he commanded all Helium's", "\"Now and again some hapless pilgrim, drifting out upon the silent sea\nfrom the cold Iss, escapes the plant men and the great white apes that", "There was no fight. In the first place there was no room to fight. We\nwere simply submerged by numbers. Then as swords menaced me a command\nfrom Xodar stayed the hands of his fellows.", "We had stumbled upon a two-man flier. Its ray tanks were charged only\nwith sufficient repulsive energy to lift two ordinary men. The Thark's\ngreat weight was anchoring us to our doom.", "The smaller fliers were commencing to rise toward us when Xodar\nshouted: \"The shaft! The shaft! Dead ahead,\" and I saw the opening,\nblack and yawning in the glowing dome of this underworld.", "The men looked very sheepish and very scared.\n\n\"Had they not better throw these bodies to the plant men and then\nreturn to their quarters, O Mighty One?\" asked Thuvia of me.", "For moments after that awful laugh had ceased reverberating through the\nrocky room, Tars Tarkas and I stood in tense and expectant silence.\nBut no further sound broke the stillness, nor within the range of our\nvision did aught move.", "Torn and bleeding from many cruel wounds, I lay panting upon the ground\nwithin the hollow of the tree, while Tars Tarkas defended the opening\nfrom the furious mob without.", "The first man to greet me was Kantos Kan himself. My old friend had\nwon to the highest place in the navy of Helium, but he was still to me", "Or, had he found that he had been too late, and thus gone back to a\nliving death upon a dead world? Or was he really dead after all, never\nto return either to his mother Earth or his beloved Mars?", "\"Only a bare half-hour before I saw you battling with the plant men I\nwas standing in the moonlight upon the banks of a broad river that taps", "Naked and unarmed, as I was, my end would have been both speedy and\nhorrible at the hands of these cruel creatures had I had time to put my", "He was, I should say, a hundred yards in advance of his closest\ncompanion, and so I called to Tars Tarkas to ascend a great tree that", "\"He was with me less than an hour since, Dejah Thoris,\" I replied. \"It\nmust have been he whose men you have heard battling within the\nprecincts of the temple.", "relief. I had not been discovered, and, best of all, the party was the\nsame that I had followed into the pits. It consisted of Tars Tarkas\nand his three guards.", "\"Move not, Tars Tarkas! Move not a muscle!\"\n\nHe did not ask why, but stood like a graven image while my eyes watched\nthe strange thing that meant so much to us.", "\"It was thus that one did escape the therns in bygone times; but none\nhas ever escaped the First Born,\" said Xodar, with a touch of pride in\nhis voice.", "Dropping to the floor once more, I detailed my discovery to Tars\nTarkas, who suggested that I explore aloft as far as I could go in\nsafety while he guarded the entrance against a possible attack." ], [ "Thuvia, the girl whom I had first freed, soon had the others at\nliberty. Tars Tarkas and I stripped the bodies of the two therns of", "For some time neither of us spoke. Each was occupied with his own\nthoughts. For my part I was wondering as to the fate of Tars Tarkas\nand the girl, Thuvia.", "\"The new captive was a very beautiful girl. She told Dejah Thoris that\nmany years ago she had taken the voluntary pilgrimage from the court of", "For a moment I was perplexed, but for a moment only. The proud\ndaughter of a thousand Jeddaks would choose death to a dishonorable\nalliance such as this, nor could John Carter do less for Helium than\nhis Princess would do.", "The girl's voice awoke Xodar and Carthoris. The boy gazed upon the\nwoman in surprise, but she did not seem to realize the presence of", "Carthoris and Tars Tarkas with the keenest delight, but he asked\nneither where he had been. He could scarcely keep his hands off the\nboy.", "\"Move not, Tars Tarkas! Move not a muscle!\"\n\nHe did not ask why, but stood like a graven image while my eyes watched\nthe strange thing that meant so much to us.", "But little time was wasted in narration of our adventure. Tars Tarkas\nand Carthoris exchanged the dignified and formal greetings common upon", "\"Here, then, is one of them,\" spoke Thuvia, indicating the Thark, \"and\nif you will look upon this dead man by the door perhaps you will", "\"There be five now in the party, Tars Tarkas,\" I said; \"Thuvia, Xodar,\nCarthoris, and ourselves. We shall need five thoats to bear us.\"", "her father, the Jeddak of Ptarth. She was Thuvia, the Princess of\nPtarth. And then she asked Dejah Thoris who she might be, and when she", "relief. I had not been discovered, and, best of all, the party was the\nsame that I had followed into the pits. It consisted of Tars Tarkas\nand his three guards.", "Only Tars Tarkas, Thuvia, and I were left. The fatal marksmanship of\nthe therns had snatched from our companions whatever slender chance\nthey had of gaining the perilous freedom of the world without.", "\"Tars Tarkas was in advance, and they saw him, but me they did not see.\nThe Thark sprang back to my side and forced me into an adjacent", "gone a dozen of her household guard and body servants, including Sola\nthe green woman--Tars Tarkas' daughter, you recall. No word left they", "When the girl, Thuvia, told me that you had returned to Barsoom, I\nlistened, but I could not understand, for it seemed that such happiness", "Torn and bleeding from many cruel wounds, I lay panting upon the ground\nwithin the hollow of the tree, while Tars Tarkas defended the opening\nfrom the furious mob without.", "\"In with you, Tars Tarkas,\" I cried, but he would not go; saying that\nhis bulk was too great for the little aperture, while I might slip in\neasily.", "\"Before we go farther we must be sure,\" I said. \"I cannot leave Tars\nTarkas alive among the Warhoons. To-night I shall enter the city and\nmake sure.\"", "We waited to hear no more. Slinging my harness into a long single\nstrap, I lowered Tars Tarkas to the courtyard beneath, and an instant\nlater dropped to his side." ], [ "\"The black pirates of Barsoom, O Prince,\" said Thuvia.\n\nIn great circles the air craft of the marauders swept lower and lower\ntoward the defending forces of the therns.", "The black pirates interested me immensely. I had heard vague rumours,\nlittle more than legends they were, during my former life on Mars; but\nnever had I seen them, nor talked with one who had.", "prisoner here. From time immemorial the black pirates of Barsoom have\npreyed upon the Holy Therns.", "of the black pirates were usually made simultaneously along the entire\nribbon-like domain of the therns, which circles the Valley Dor on the\nouter slopes of the Mountains of Otz.", "\"The therns know that they live at all only by the sufferance of the\nblack men. They were near to extermination that once and they will not\nventure risking it again.\"", "We had reached the doorway now and Thuvia was opening it.\n\n\"They fear the black pirates of Barsoom, O Prince,\" she said, \"from\nwhom may our first ancestors preserve us.\"", "But always, it seemed, were the black pirates of Barsoom victorious,\nand the girl, brought miraculously unharmed through the conflict, borne\naway into the outer darkness upon the deck of a swift flier.", "THE BLACK PIRATES OF BARSOOM\n\n\n\"What is it?\" I asked of the girl.\n\nFor answer she pointed to the sky.", "had I witnessed its like before. I had thought the green Martians the\nmost ferocious warriors in the universe, but the awful abandon with\nwhich the black pirates threw themselves upon their foes transcended", "Now I realized why the black pirate had kept me engrossed with his\nstrange tale. For miles he had sensed the approach of succour, and but", "The craft swayed slightly but she did not move. Then a new cry of\nwarning broke upon our ears. Turning, I saw a dozen black pirates", "For an instant the black pirate and I remained motionless, glaring into\neach other's eyes. Then a grim smile curled the handsome lips above", "Simultaneously my free hand shot out for the black throat, just within\nreach, and the ebony finger tightened on the trigger. The pirate's", "\"From scraps of conversation which we overheard it was evident that the\nblack pirates were searching for a party of fugitives that had escaped", "My only danger lay in that should I ever escape the black pirates it\nmight be to fall into the hands of unfriendly red or green men. Then\nit would mean short shrift for me.", "Fully a thousand black men manned the great engine of destruction. Her\ndecks were crowded with them as they pressed forward as far as\ndiscipline would permit to get a glimpse of their captives.", "\"When she realized that she was in the clutches of the black pirates,\nshe attempted to take her own life, but one of the blacks tore her\ndagger from her, and then they bound us both so that we could not use\nour hands.", "places of the outer world and the temples of the therns had been robbed\nof their princesses and goddesses that the blacks might have their\nslaves.", "On and on went that strange battle. The therns and blacks had not\ncombined against us. Wherever thern ship met ship of the First Born", "The therns fired upon them through shields affixed to their rifles, but\non, steadily on, came the grim, black craft. They were small fliers" ], [ "\"It will be an excellent lesson for this daughter of the therns,\" he\nadded, \"for she shall see the Temple of Issus, and Issus, perchance,\nshall embrace her.\"", "\"Issus!\" I cried. \"Issus! Where is Issus? Search the temple for her,\nbut let no man harm her but John Carter. Carthoris, where are the\napartments of Issus?\"", "Issus is no god. She is a cruel and wicked old woman, who has deceived\nand played upon you for ages. Take her. John Carter, Prince of", "Directly opposite my cage was the throne of Issus. Here the horrid\ncreature squatted, surrounded by a hundred slave maidens sparkling in", "The first event of the day was the Tribute to Issus. It marked the end\nof those poor unfortunates who had looked upon the divine glory of the", "\"Yesterday the monthly rites of Issus were held,\" replied Yersted, \"and\nI saw her then sitting in her accustomed place at the foot of Issus.\"", "\"The Temple of Issus is, I take it, a heaven within a heaven,\" I said.\n\"Let us hope that there it will be meted to the therns as they have\nmeted it here unto others.\"", "The doors were swung open and after being cautioned not to turn our\nheads under penalty of instant death we were commanded to back into the\npresence of Issus.", "\"You know not of what you speak,\" he replied. \"Issus is omnipotent.\nIssus is omniscient. She hears now the words you speak. She knows the", "them to make place for others. Issus alone of all is protected against\ndeath. She has lived for countless ages.\"", "Here the ceremony of entrance was repeated. Again Issus bid me rise.\nFor several minutes all was silent as the tomb. The eyes of deity were\nappraising me.", "\"In part, yes,\" she answered. \"That about the outer valley is true,\nbut what he says of the location of the Temple of Issus in the centre", "\"Issus would look again upon this man,\" he said. \"The girl has told\nher that he is of wondrous beauty and of such prowess that alone he", "\"It is Issus' wish that you two be confined in the same room,\" said the\nguard when he had returned to our cell. \"This cowardly slave of a", "Phaidor's eyes were wide in amazement.\n\n\"The Temple of Issus,\" she whispered, half to herself.", "\"What if I were from the Temple of Issus?\" I hazarded on a wild guess.\n\n\"Fate forfend!\" he exclaimed, his face going white under the blood that\nnow nearly covered it.", "hear. Issus nodded her head. The black raised his hands above his\nhead in token of salute, grasped the girl by the wrist, and dragged her\nfrom the arena through a small doorway below the throne.", "\"Let the man turn and look upon Issus, knowing that those of the lower\norders who gaze upon the holy vision of her radiant face survive the\nblinding glory but a single year.\"", "\"That will depend largely upon Issus. So long as she does not send for\nyou and reveal her face to you, you may live on for years in as mild a\nform of bondage as I can arrange for you.\"", "of Dor, in the exact centre of which lies the Lost Sea of Korus. On\nthe shore of this sea stands the Golden Temple of Issus in the Land of\nthe First Born. It is there that we are bound.\"" ], [ "\"The fleet continued north nearly to Helium, but last night they\nevidently realized that John Carter had indeed escaped them and so they\nturned toward the south once more. Shortly thereafter a guard entered\nour compartment and dragged me to the deck.", "\"Know you, O judges and people of Helium,\" he said, \"that John Carter,\none time Prince of Helium, has returned by his own statement from the", "\"You may go free within two minutes, upon one condition. Tardos Mors\nwill never return to Helium. Neither will Mors Kajak, nor Dejah", "\"Stop!\" cried Zat Arrras. \"Soldiers of Helium, let no prisoner leave\nthe Throne of Righteousness.\"", "Carter. Where have you been, O my Prince? All Helium has been plunged\nin sorrow. Terrible have been the calamities that have befallen your", "For a moment I was perplexed, but for a moment only. The proud\ndaughter of a thousand Jeddaks would choose death to a dishonorable\nalliance such as this, nor could John Carter do less for Helium than\nhis Princess would do.", "\"Stay your hands, men of Helium,\" he shouted, his voice trembling with\nrage. \"The sentence of the court is passed, but the day of retribution", "For nine years I had sailed and fought with the navy of Helium. I had\nraced through space on the tiny one-man air scout and I had commanded", "Warhoon's torch to light his way. A dozen paces behind him followed\nJohn Carter, Prince of Helium.", "\"For a year,\" he said, \"Ever since Carthoris disappeared, Dejah Thoris\nhas grieved and mourned for her lost boy. The blow of years ago, when", "\"I am John Carter, Prince of the House of Tardos Mors, Jeddak of\nHelium,\" I replied. \"And whom,\" I added, \"has the honour of serving\nbeen accorded me?\"", "At the sound of that name the boy jumped to his feet.\n\n\"John Carter!\" he cried. \"John Carter! Why, man, John Carter, Prince\nof Helium, has been dead for years. I am his son.\"", "It must have been several hours later that I awakened to find a young\nman standing before me. In one hand he bore a light, in the other a\nreceptacle containing a gruel-like mixture--the common prison fare of\nBarsoom.", "is dead--a thousand years to John Carter, Jeddak of Helium.\" As I heard\nthat and saw the ugly attitude of the men of Helium toward the soldiers", "\"It is to you of Helium that I speak now. When I am done let the men\nof Zodanga have their will with me. Zat Arrras has taken my sword from", "\"Kantos Kan:\" it read. \"Surrender, in the name of the Jeddak of\nHelium, for you cannot escape,\" and it was signed, \"Zat Arrras.\"", "Two hours after leaving my palace at Helium, or about midnight, Kantos", "has not been set. I, Zat Arrras, Jed of Zodanga, appreciating the royal\nconnections of the prisoner and his past services to Helium and", "\"Sits there no man here who does not know the history of John Carter.\nHow he came among you from another world and rose from a prisoner among", "\"Speak, John Carter, Prince of Helium,\" cried a great noble from the\naudience, and the multitude echoed his permission, until the building\nrocked with the noise of their demonstration." ], [ "There was no fight. In the first place there was no room to fight. We\nwere simply submerged by numbers. Then as swords menaced me a command\nfrom Xodar stayed the hands of his fellows.", "In the outer gardens to which the guard now escorted me, I found Xodar\nsurrounded by a crowd of noble blacks. They were reviling and cursing\nhim. The men slapped his face. The women spat upon him.", "slave is to serve you well,\" he said to me, indicating Xodar with a\nwave of his hand. \"If he does not, you are to beat him into", "When I appeared they turned their attentions toward me.\n\n\"Ah,\" cried one, \"so this is the creature who overcame the great Xodar\nbare-handed. Let us see how it was done.\"", "As I finished I raised Xodar to his feet and released him. He did not\nrenew the attack upon me, nor did he speak. Instead, he walked toward", "\"What now?\" he cried. \"What would you of Thurid?\"\n\nQuickly a dozen voices explained.\n\nThurid turned toward Xodar, his eyes narrowing to two nasty slits.", "\"Where is the white slave?\" again cried the guard.\n\n\"I know not,\" replied Xodar. \"He was here even as you entered. I am\nnot his keeper--go find him.\"", "\"Finally, Xodar, who is a fiend for subtle craftiness, evolved a plan\nwhereby we might worm the information from him. And so I caused Hor", "At this point the door of our prison opened to admit Xodar.\n\nHe smiled pleasantly at me, and when he smiled his expression was\nkindly--anything but cruel or vindictive.", "\"Xodar, Dator of the First Born of Barsoom, is accustomed to give\ncommands, not to receive them,\" replied the black pirate. Then,\nturning to me, \"What are your intentions concerning me?\"", "I said as much to Xodar, over my shoulder.\n\n\"It is very wonderful, nevertheless,\" he replied. \"No one else could\nhave accomplished it but John Carter.\"", "Guardsmen and nobles pressed close about the silent witness upon the\nmarble floor. Many were the exclamations of astonishment and\nquestioning wonder as Xodar's acts confirmed the suspicion which he had\nheld.", "Xodar stood stiffly erect. Not a muscle twitched, nor a tremor shook\nhis giant frame as a soldier of the guard roughly stripped his gorgeous\ntrappings from him.", "\"Let us sleep on it to-night,\" said Xodar. \"A plan may come with our\nawakening.\"\n\nSo we threw ourselves upon the hard stone floor of our prison and slept\nthe sleep of tired men.", "Xodar entered the cabin with his men.\n\n\"Come,\" he said, and we followed him through the hatchway which had\nbeen opened by one of the seamen.", "\"He was a Holy Thern,\" said Xodar. \"Fortunate indeed it is for us that\nhe did not escape.\"\n\nThe officer of the guard entered the chamber at this juncture.", "you with my foot,\" and with the words he turned to kick Xodar.", "\"Lead back to Shador, my friend,\" I whispered. \"Xodar, the black, is\nthere. We were to attempt our escape together, so I cannot desert him.\"", "I was standing close beside Xodar as Thurid swung his foot for the\ncowardly kick. The degraded Dator stood erect and motionless as a", "For a moment there was tense silence, then Thurid, with a roar of rage\nsprang for my throat; just as Xodar had upon the deck of the cruiser." ], [ "credulous humanity. She works through the Holy Therns who are as\nignorant of her real self as are the Barsoomians of the outer world.", "\"And even then, O Prince,\" she cried, \"the arm of the Holy Thern is\nlong. It reaches to every nation of Barsoom. His secret temples are", "\"All life on Barsoom,\" she said, \"is created solely for the support of\nthe race of therns. How else could we live did the outer world not", "\"Would not the other Barsoomians live for ever but for the doctrine of\nthe voluntary pilgrimage which drags them to the bosom of Iss at or\nbefore their thousandth year?\" I asked him.", "of lying fiends. I have come back to the Barsoom that I saved from a\npainless death to again save her, but this time from death in its most\nfrightful form.\"", "\"As the lesser Barsoomians of the outer world have been lured by you to\nthe terrible Valley Dor, so may it be that the therns themselves have", "\"As man may eat of the flesh of beasts, so may gods eat of the flesh of\nman. The Holy Therns are the gods of Barsoom.\"\n\nI was disgusted and I imagine that I showed it.", "When the girl, Thuvia, told me that you had returned to Barsoom, I\nlistened, but I could not understand, for it seemed that such happiness", "Thuvia, the girl whom I had first freed, soon had the others at\nliberty. Tars Tarkas and I stripped the bodies of the two therns of", "How I wished that I might have accompanied them. It seemed to me that\nI could not fail to impress upon the intelligent red men of Barsoom the\nwicked deception that a cruel and senseless superstition had foisted\nupon them.", "\"The new captive was a very beautiful girl. She told Dejah Thoris that\nmany years ago she had taken the voluntary pilgrimage from the court of", "\"Now don his harness, Prince,\" she said, \"and you may pass where you\nwill in the realms of the therns, for Sator Throg was a Holy Thern of\nthe Tenth Cycle, and mighty among his kind.\"", "Barsoomian of the outer world gave ear to. Now we must steal our\nthoats and be well away to the north before these fellows discover how\nwe have tricked them.\"", "'Even the wise and mysterious therns of Barsoom, that ancient cult\nwhich for countless ages has been credited with holding the secret of", "much if it could but teach the people of Barsoom the facts of the cruel\ndeception that had been worked upon them for countless ages, and thus\nsave thousands each year from the horrid fate that awaited them at the", "not a soul upon Barsoom would have dared to approach it even had they\nknown its exact location. I questioned Thuvia, asking her what enemies\nthe therns could fear in their impregnable fortress.", "the Holy Therns are not holy; that they are a race of cruel and\nheartless mortals, knowing no more of the real life to come than we do.", "We had proceeded for possibly an hour without serious interruption, and\nThuvia had just whispered to me that we were approaching our first\ndestination, when on entering a great chamber we came upon a man,\nevidently a thern.", "We had reached the doorway now and Thuvia was opening it.\n\n\"They fear the black pirates of Barsoom, O Prince,\" she said, \"from\nwhom may our first ancestors preserve us.\"", "\"You do not understand,\" she replied. \"We therns are a holy race. It\nis an honour to a lesser creature to be a slave among us. Did we not" ], [ "So saying, she led the way through winding corridors until at a sudden\nturn we came upon an opening which overlooked the Valley Dor.", "\"You know that it was left for a man from another world, for yourself,\nJohn Carter, to teach this cruel Thark what friendship is; and you, I\nthought, also roamed the care-free Valley Dor.", "As I looked I commenced to realize why it was that in all the ages only\none had escaped from the Valley Dor. My only wonder was that even the", "life of love and peace in the blessed Valley of Dor is a rank and\nwicked deception. We know that the valley is not sacred; we know that", "\"Who are you?\" she asked, \"and what your mission, that you have the\ntemerity to attempt to escape from the Valley Dor and the death you\nhave chosen?\"", "Valley Dor and even from the Temple of Issus itself. That, in the\npresence of many men of Helium he has blasphemed against the Sacred", "\"I have just come from the Valley Dor and the Land of the First Born,\nZat Arrras,\" I replied.", "\"There is an ancient legend that once a red man returned from the banks\nof the Lost Sea of Korus, returned from the Valley Dor, back through", "By returning from Dor we had committed a sacrilege; by recounting our\nadventures there, and stating the facts as they existed we had outraged", "of Dor, in the exact centre of which lies the Lost Sea of Korus. On\nthe shore of this sea stands the Golden Temple of Issus in the Land of\nthe First Born. It is there that we are bound.\"", "\"This is the valley of love and peace and rest to which every\nBarsoomian since time immemorial has longed to pilgrimage at the end of", "Dor, the valley beautiful, the valley hideous. In all this time I had\nslept but twice, though once the clock around within the storehouse of\nthe therns.", "to fugitives from the Valley Dor. Tars Tarkas grieved for the loss of\nhis daughter. Xodar alone was care-free--a fugitive and outlaw, he", "\"As the lesser Barsoomians of the outer world have been lured by you to\nthe terrible Valley Dor, so may it be that the therns themselves have", "Tars Tarkas listened in silence, but I could feel his eyes riveted upon\nme and I knew that he awaited my answer as one might listen to the\nreading of his sentence by the foreman of a jury.", "the Valley Dor.\"", "\"Would not the other Barsoomians live for ever but for the doctrine of\nthe voluntary pilgrimage which drags them to the bosom of Iss at or\nbefore their thousandth year?\" I asked him.", "that it could be but a matter of days ere she went to join her loved\nones within the precincts of the Valley Dor.", "\"It is not enough for me, however,\" retorted Zat Arrras. \"More must I\nhear from those who have taken the pilgrimage than their names. Where\nhave you been, John Carter?\"", "Dropping to the floor once more, I detailed my discovery to Tars\nTarkas, who suggested that I explore aloft as far as I could go in\nsafety while he guarded the entrance against a possible attack." ], [ "Twelve years had passed since I had laid the body of my great-uncle,\nCaptain John Carter, of Virginia, away from the sight of men in that\nstrange mausoleum in the old cemetery at Richmond.", "Carter. Where have you been, O my Prince? All Helium has been plunged\nin sorrow. Terrible have been the calamities that have befallen your", "\"For a year,\" he said, \"Ever since Carthoris disappeared, Dejah Thoris\nhas grieved and mourned for her lost boy. The blow of years ago, when", "Thirty days had passed since I had given the youth the note. Three\nhundred and thirty days had passed since my incarceration. As closely", "'JOHN CARTER'\n\n\nEarly the next morning I took the first train for Richmond and within\ntwo hours was being ushered into the room occupied by John Carter.", "She seemed very angry and somewhat fearful. Never have I seen her act\nin so uncertain and almost terrified a manner. Now I know that it must\nhave been because she had learned that John Carter, Prince of Helium,", "\"John Carter, John Carter,\" she sobbed, with her dear head upon my\nshoulder; \"even now I can scarce believe the witness of my own eyes.", "Twelve years had passed since his body had been found upon the bluff\nbefore his cottage overlooking the Hudson, and oft-times during these", "you did not return from the atmosphere plant, was lessened to some\nextent by the duties of motherhood, for your son broke his white shell\nthat very night.\"", "\"John Carter,\" she said, \"this be the last time that you shall see any\nof us. Tell me that you love me, that I may die happy.\"", "Questioning elicited the fact that none had seen her since Carthoris\nhad sent her thoat galloping madly toward the hills, in the hope of\ncarrying her out of harm's way.", "\"As the days passed, and moon after moon went by without bringing even\nthe faintest rumour of you, I resigned myself to my fate. And now that", "As nearly as I could estimate, I had at this time been in the pits for\nthree hundred days. If anything was to be done to save Dejah Thoris it", "where that terrible creature might discover me. You do not know her.\nNone can imagine her ferocious cruelty who has not witnessed her daily\nacts for over half a year. It has taken me nearly all this time to", "\"I cannot bear to be parted from you now, even for a moment, John\nCarter,\" she said. \"I shudder at the thought of being alone again", "Twelve years had passed since I had read the remarkable manuscript of\nthis remarkable man; this man who remembered no childhood and who could\nnot even offer a vague guess as to his age; who was always young and", "the sudden parting of a taut wire, and I stood naked and free beside\nthe staring, lifeless thing that had so recently pulsed with the warm,\nred life-blood of John Carter.", "Or, had he found that he had been too late, and thus gone back to a\nliving death upon a dead world? Or was he really dead after all, never\nto return either to his mother Earth or his beloved Mars?", "had hoped might bring you once more to her side, for she has always\ntried to believe that you had but temporarily returned to your own\nplanet, I at last gave way to my great yearning and a month since I", "fourteen hours. It must now be nearly sundown again. Come, we will go\nto some nearby window in the cliff and make sure.\"" ], [ "\"As a last resort, Mors Kajak, her father, and Tardos Mors, her\ngrandfather, took command of two mighty expeditions, and a month ago", "Thoris, Princess of Helium, for his wife, and for nearly ten years had\nbeen a prince of the house of Tardos Mors, Jeddak of Helium.", "Tardos Mors, and Tars Tarkas, Jeddak of Thark, at the same time.\"", "her father, the Jeddak of Ptarth. She was Thuvia, the Princess of\nPtarth. And then she asked Dejah Thoris who she might be, and when she", "daughter, Sola, had accompanied Dejah Thoris upon the last long\npilgrimage. I had not had the heart to tell him what Kantos Kan had", "\"You may go free within two minutes, upon one condition. Tardos Mors\nwill never return to Helium. Neither will Mors Kajak, nor Dejah", "\"Carthoris, my Prince,\" he cried, \"Kaor! Kaor! Hor Vastus greets the\nson of Dejah Thoris, Princess of Helium, and of her husband, John", "\"Two of them are of Helium's noblest family. Tars Tarkas, Jeddak of\nThark, is Tardos Mors' best beloved ally. The other is a friend and", "John Carter could have done the deeds you tell of.' And when Thuvia\ntold Dejah Thoris of her love for John Carter, and his loyalty and", "Barsoom, grant a respite of one year, or until the return of Mors\nKajak, or Tardos Mors to Helium. Disperse quietly to your houses. Go.\"", "Whom they choose may count upon the loyalty of my sword, nor shall I\nseek the honour for myself. Until then Tardos Mors is Jeddak of\nHelium, and Zat Arrras is his representative.\"", "At my right sat Kantos Kan, while to the right of Dejah Thoris' empty\nplace Tars Tarkas sat in a huge chair before a raised section of the", "party. The loss of Dejah Thoris was still fresh in the minds of all,\nand to this was added fear for the safety of Tardos Mors and Mors", "heard she fell upon her knees and kissed Dejah Thoris' fettered hands,\nand told her that that very morning she had been with John Carter,\nPrince of Helium, and Carthoris, her son.", "the First Born, Dejah Thoris knew that it could be none other than the\nPrince of Helium; 'For who,' she said, 'upon all Barsoom other than", "\"He was with me less than an hour since, Dejah Thoris,\" I replied. \"It\nmust have been he whose men you have heard battling within the\nprecincts of the temple.", "\"I hope he heard only our references to a new Jeddak,\" I said. \"If he\noverheard our plans to rescue Dejah Thoris, it will mean civil war, for", "\"Here, then, is one of them,\" spoke Thuvia, indicating the Thark, \"and\nif you will look upon this dead man by the door perhaps you will", "\"For a year,\" he said, \"Ever since Carthoris disappeared, Dejah Thoris\nhas grieved and mourned for her lost boy. The blow of years ago, when", "\"Dejah Thoris is found!\" he cried. \"A messenger from Dejah Thoris!\"" ], [ "I knew though that my ruse had worked and that temporarily at least\nThuvia and Tars Tarkas were safe, and the means of escape was theirs.", "\"You know that it was left for a man from another world, for yourself,\nJohn Carter, to teach this cruel Thark what friendship is; and you, I\nthought, also roamed the care-free Valley Dor.", "Even if they succeeded in eluding pursuit they must eventually fall\ninto the hands of either red men or green, and as fugitives from the\nValley Dor they could look for but little else than a swift and\nterrible death.", "As I looked I commenced to realize why it was that in all the ages only\none had escaped from the Valley Dor. My only wonder was that even the", "So saying, she led the way through winding corridors until at a sudden\nturn we came upon an opening which overlooked the Valley Dor.", "\"Yes,\" replied Tars Tarkas, and turned as though to retrace his steps\nto the cell, but he only waited until the two had disappeared at the", "to fugitives from the Valley Dor. Tars Tarkas grieved for the loss of\nhis daughter. Xodar alone was care-free--a fugitive and outlaw, he", "Dropping to the floor once more, I detailed my discovery to Tars\nTarkas, who suggested that I explore aloft as far as I could go in\nsafety while he guarded the entrance against a possible attack.", "which they had left the corridor. There, through an open door, I saw\nthem removing the chains that secured the great Thark, Tars Tarkas, to\nthe wall.", "relief. I had not been discovered, and, best of all, the party was the\nsame that I had followed into the pits. It consisted of Tars Tarkas\nand his three guards.", "They were rapidly overhauling us when Tars Tarkas cried to me to hasten\nahead and discover, if possible, the sanctuary we sought. The", "escape. The Warhoons were now close upon us. Tars Tarkas and Xodar\nhad discovered our absence and were charging rapidly to our support.", "Dor, the valley beautiful, the valley hideous. In all this time I had\nslept but twice, though once the clock around within the storehouse of\nthe therns.", "that I could find. This time, however, I did not advance so far away\nfrom the main corridor as on the other occasion that had resulted in my\nlosing Tars Tarkas and his guards.", "Tarkas, simultaneously springing for the receding half of the pivoting\ndoor. In like manner the Thark wheeled and leaped for the opening\nbeing made by the inswinging section.", "The two companions of the man who lay now beside the door of the cell\nthat had been Tars Tarkas' had just started to ascend the runway as the\nThark came in view.", "The therns were so engaged with their terrible assailants that now, if\never, escape should be comparatively easy. I turned to search for an", "\"Come,\" cried Tars Tarkas, \"we must make for the cliffs. There lies\nour only hope of even temporary escape; there we may find a cave or a", "Tars Tarkas was satisfied; here was something tangible that he could\ncut and slash with his great blade, while I, for my part, may say that\nthe diversion was a marked improvement over the uncanny voices from\nunseen lips.", "\"As the lesser Barsoomians of the outer world have been lured by you to\nthe terrible Valley Dor, so may it be that the therns themselves have" ], [ "\"Know you, O judges and people of Helium,\" he said, \"that John Carter,\none time Prince of Helium, has returned by his own statement from the", "\"The fleet continued north nearly to Helium, but last night they\nevidently realized that John Carter had indeed escaped them and so they\nturned toward the south once more. Shortly thereafter a guard entered\nour compartment and dragged me to the deck.", "\"You may go free within two minutes, upon one condition. Tardos Mors\nwill never return to Helium. Neither will Mors Kajak, nor Dejah", "Carter. Where have you been, O my Prince? All Helium has been plunged\nin sorrow. Terrible have been the calamities that have befallen your", "\"I intend taking you both back to Helium,\" I said. \"No harm will come\nto you. You will find the red men of Helium a kindly and magnanimous", "For a moment I was perplexed, but for a moment only. The proud\ndaughter of a thousand Jeddaks would choose death to a dishonorable\nalliance such as this, nor could John Carter do less for Helium than\nhis Princess would do.", "\"The fleet must have missed you,\" he said, \"but it will return to\nOmean, and then that will be a very different matter--for John Carter.\"", "The first man to greet me was Kantos Kan himself. My old friend had\nwon to the highest place in the navy of Helium, but he was still to me", "At the sound of that name the boy jumped to his feet.\n\n\"John Carter!\" he cried. \"John Carter! Why, man, John Carter, Prince\nof Helium, has been dead for years. I am his son.\"", "John Carter could have done the deeds you tell of.' And when Thuvia\ntold Dejah Thoris of her love for John Carter, and his loyalty and", "carcass by inventing horrid lies to--\" But he got no further. One does\nnot call John Carter \"coward\" and \"liar\" thus lightly, and Zat Arrras", "is dead--a thousand years to John Carter, Jeddak of Helium.\" As I heard\nthat and saw the ugly attitude of the men of Helium toward the soldiers", "\"Stay your hands, men of Helium,\" he shouted, his voice trembling with\nrage. \"The sentence of the court is passed, but the day of retribution", "When they returned it was to announce that Issus desired to look upon\nthe daughter of Matai Shang, and the strange creature from another\nworld who had been a Prince of Helium.", "started upon the journey, the end of which you have this day witnessed.\nDo you understand now where you be, John Carter?\"", "\"Men of Helium,\" I cried, turning to the spectators, and speaking over\nthe heads of my judges, \"how can John Carter expect justice from the", "But when I had finished, Zat Arrras arose and, turning to the judges,\nsaid in a low tone: \"My nobles, you have heard John Carter's plea;", "\"Speak, John Carter, Prince of Helium,\" cried a great noble from the\naudience, and the multitude echoed his permission, until the building\nrocked with the noise of their demonstration.", "When the girl, Thuvia, told me that you had returned to Barsoom, I\nlistened, but I could not understand, for it seemed that such happiness", "\"You have heard the fate that the men of Zodanga would mete to Helium's\nnoblest hero. It may be the duty of the men of Helium to accept the" ], [ "slave is to serve you well,\" he said to me, indicating Xodar with a\nwave of his hand. \"If he does not, you are to beat him into", "\"Where is the white slave?\" again cried the guard.\n\n\"I know not,\" replied Xodar. \"He was here even as you entered. I am\nnot his keeper--go find him.\"", "As I finished I raised Xodar to his feet and released him. He did not\nrenew the attack upon me, nor did he speak. Instead, he walked toward", "In the outer gardens to which the guard now escorted me, I found Xodar\nsurrounded by a crowd of noble blacks. They were reviling and cursing\nhim. The men slapped his face. The women spat upon him.", "\"Xodar, Dator of the First Born of Barsoom, is accustomed to give\ncommands, not to receive them,\" replied the black pirate. Then,\nturning to me, \"What are your intentions concerning me?\"", "\"What now?\" he cried. \"What would you of Thurid?\"\n\nQuickly a dozen voices explained.\n\nThurid turned toward Xodar, his eyes narrowing to two nasty slits.", "There was no fight. In the first place there was no room to fight. We\nwere simply submerged by numbers. Then as swords menaced me a command\nfrom Xodar stayed the hands of his fellows.", "At this point the door of our prison opened to admit Xodar.\n\nHe smiled pleasantly at me, and when he smiled his expression was\nkindly--anything but cruel or vindictive.", "Xodar entered the cabin with his men.\n\n\"Come,\" he said, and we followed him through the hatchway which had\nbeen opened by one of the seamen.", "I said as much to Xodar, over my shoulder.\n\n\"It is very wonderful, nevertheless,\" he replied. \"No one else could\nhave accomplished it but John Carter.\"", "brave man, Xodar. It is your own affair if you wish to be persecuted\nand humiliated; but were I you I should assert my manhood and defy my\nenemies.\"", "\"Finally, Xodar, who is a fiend for subtle craftiness, evolved a plan\nwhereby we might worm the information from him. And so I caused Hor", "\"You have much to learn, thern,\" replied Xodar, with an ugly smile,\n\"nor do I envy you the manner in which you will learn it.\"", "\"Follow me, John Carter,\" replied Xodar, and without waiting for my\nreply he dashed down into the tunnel at our feet. At his heels I ran", "\"Lead back to Shador, my friend,\" I whispered. \"Xodar, the black, is\nthere. We were to attempt our escape together, so I cannot desert him.\"", "There was little of disrespect in the tone that the man used in\naddressing either Xodar or myself. It was evident that he felt less", "When I appeared they turned their attentions toward me.\n\n\"Ah,\" cried one, \"so this is the creature who overcame the great Xodar\nbare-handed. Let us see how it was done.\"", "even to permit the slender form of my Princess to pass. Oh, why did\nnot Xodar haste. Above we could hear the faint echoes of a great", "\"Xodar,\" I said, \"let us be friends. For a year, possibly, we may be\nforced to live together in the narrow confines of this tiny room. I am", "\"Let us sleep on it to-night,\" said Xodar. \"A plan may come with our\nawakening.\"\n\nSo we threw ourselves upon the hard stone floor of our prison and slept\nthe sleep of tired men." ], [ "But here is the story of his return to Mars on that other occasion, as\nI have gleaned it from the great mass of notes which he left for me\nupon the table of his room in the hotel at Richmond.", "Mars, and this was very possible since during my ten years' residence\nupon the planet I had explored but a comparatively tiny area of its\nvast expanse.", "That I was indeed upon Mars I now had no doubt, for here were members\nof the wild hordes that people the dead sea bottoms and deserted cities\nof that dying planet.", "Beneath the brilliant light of Mars' two glorious moons the whole scene\npresented itself in vivid distinctness. The golden-haired,", "\"Kaor,\" I cried, after the red Martian manner of greeting.\n\n\"Kaor,\" he replied. \"What do you here?\"", "I knew too that Xodar spoke the truth when he lauded the speed of his\nlittle craft, for nothing that cleaves the thin air of Mars can\napproximate the speed of the ships of Helium.", "They were a people drunk with power and success, looking upon the other\ninhabitants of Mars as we look upon the beasts of the field and the", "I could not see the girl's face as her eyes rested for the first time\non the Supreme Deity of Mars, but felt the shudder that ran through her\nin the trembling flesh of the arm that touched mine.", "At his side hung a long-sword, a short-sword, a dagger, and one of the\ndestructive radium revolvers that are common upon Mars.", "yet who had dandled my grandfather's great-grandfather upon his knee;\nthis man who had spent ten years upon the planet Mars; who had fought", "The banth is a fierce beast of prey that roams the low hills\nsurrounding the dead seas of ancient Mars. Like nearly all Martian\nanimals it is almost hairless, having only a great bristly mane about\nits thick neck.", "With scarcely a parting glance I turned my eyes again toward Mars,\nlifted my hands toward his lurid rays, and waited.", "My former experiences upon Mars had familiarized me thoroughly with\nthem and their methods, and I may say that of all the fearsome and", "All these evidences of careful and systematic cultivation convinced me\nthat I had been fortunate enough to make my entry into Mars on this\nsecond occasion through the domain of a civilized people and that when", "us. There were neither moons nor stars. Never before had I seen such\na thing upon Mars, and for the moment I was nonplussed. Then the", "direction and so quickly were we out again that we had no time to alter\nour course. Omean lies perhaps two miles below the surface crust of\nMars. Our speed must have approximated two hundred miles an hour, for", "Or, had he found that he had been too late, and thus gone back to a\nliving death upon a dead world? Or was he really dead after all, never\nto return either to his mother Earth or his beloved Mars?", "therns, born as she had been within sight of Mars' only remaining sea,\nhad the same terror of deep water as is a common attribute of all\nMartians.", "This fierce green warrior had been the first to greet me that day, now\ntwenty years gone, which had witnessed my first advent upon Mars. He", "within the Temple of Reward. It is here that Martian justice is meted\nto benefactor and malefactor. Here the hero is decorated. Here the" ], [ "started upon the journey, the end of which you have this day witnessed.\nDo you understand now where you be, John Carter?\"", "\"She lives, John Carter.\"\n\n\"You have not told me where we are,\" I reminded him.", "At the sound of that name the boy jumped to his feet.\n\n\"John Carter!\" he cried. \"John Carter! Why, man, John Carter, Prince\nof Helium, has been dead for years. I am his son.\"", "'JOHN CARTER'\n\n\nEarly the next morning I took the first train for Richmond and within\ntwo hours was being ushered into the room occupied by John Carter.", "\"The fleet continued north nearly to Helium, but last night they\nevidently realized that John Carter had indeed escaped them and so they\nturned toward the south once more. Shortly thereafter a guard entered\nour compartment and dragged me to the deck.", "\"I am John Carter, Prince of the House of Tardos Mors, Jeddak of\nHelium,\" I replied. \"And whom,\" I added, \"has the honour of serving\nbeen accorded me?\"", "When the girl, Thuvia, told me that you had returned to Barsoom, I\nlistened, but I could not understand, for it seemed that such happiness", "above Barsoom. Had we continued the five thousand miles that lie\nbetween Thuria and the planet he would have been but the frozen memory\nof a man.\"", "From the deck of the _Xavarian_ we four, Carthoris, Tars Tarkas, Xodar,\nand I, were transferred to a lesser flier to be transported to quarters", "\"Where are we?\" he repeated. \"Do you tell me, John Carter, that you\nknow not where you be?\"", "John Carter could have done the deeds you tell of.' And when Thuvia\ntold Dejah Thoris of her love for John Carter, and his loyalty and", "is not with them to share the joy of living he died to give them. Upon\nall Barsoom there is no greater name than John Carter.\"", "\"Come,\" said Kantos Kan, \"we will escort John Carter and his party to\nhis own palace,\" and they formed about us and started toward the stairs\nleading to the Aisle of Hope.", "\"Sits there no man here who does not know the history of John Carter.\nHow he came among you from another world and rose from a prisoner among", "Warhoon's torch to light his way. A dozen paces behind him followed\nJohn Carter, Prince of Helium.", "We had proceeded for possibly an hour without serious interruption, and\nThuvia had just whispered to me that we were approaching our first\ndestination, when on entering a great chamber we came upon a man,\nevidently a thern.", "many hours. This was the beginning of my fifth day upon Barsoom since\nI had found myself suddenly translated from my cottage on the Hudson to", "\"I know not any of these places, John Carter. Be they upon Barsoom?\"", "\"Go, John Carter,\" she said. \"Our son is there, and the soldiers of\nHelium, fighting for the Princess of Helium. Where they are you should", "Torn and bleeding from many cruel wounds, I lay panting upon the ground\nwithin the hollow of the tree, while Tars Tarkas defended the opening\nfrom the furious mob without." ], [ "the Valley Dor.\"", "\"As the lesser Barsoomians of the outer world have been lured by you to\nthe terrible Valley Dor, so may it be that the therns themselves have", "Valley Dor and even from the Temple of Issus itself. That, in the\npresence of many men of Helium he has blasphemed against the Sacred", "\"You know that it was left for a man from another world, for yourself,\nJohn Carter, to teach this cruel Thark what friendship is; and you, I\nthought, also roamed the care-free Valley Dor.", "very general way could I guess the location of the Valley Dor. That it\nwas far south of the equator was evident from the constellations, but I\nwas not sufficiently a Martian astronomer to come much closer than a", "\"This is the valley of love and peace and rest to which every\nBarsoomian since time immemorial has longed to pilgrimage at the end of", "Dor, the valley beautiful, the valley hideous. In all this time I had\nslept but twice, though once the clock around within the storehouse of\nthe therns.", "life of love and peace in the blessed Valley of Dor is a rank and\nwicked deception. We know that the valley is not sacred; we know that", "So saying, she led the way through winding corridors until at a sudden\nturn we came upon an opening which overlooked the Valley Dor.", "the mysterious River Iss, to await in the Valley Dor upon the shores of\nthe Lost Sea of Korus the beautiful Dejah Thoris, your princess.", "\"All who reach the Valley Dor are, by custom, the rightful prey of the\nplant men and the apes, while their arms and ornaments become the", "\"There is an ancient legend that once a red man returned from the banks\nof the Lost Sea of Korus, returned from the Valley Dor, back through", "to fugitives from the Valley Dor. Tars Tarkas grieved for the loss of\nhis daughter. Xodar alone was care-free--a fugitive and outlaw, he", "\"I have just come from the Valley Dor and the Land of the First Born,\nZat Arrras,\" I replied.", "As I looked I commenced to realize why it was that in all the ages only\none had escaped from the Valley Dor. My only wonder was that even the", "If it could open to the red men the fair Valley Dor it would have\naccomplished much, and in the Land of Lost Souls between the Mountains", "Golden Cliffs, out over the Valley Dor, where, six thousand feet below\nme, the Lost Sea of Korus lay shimmering in the moonlight.", "\"The Temple of Issus is to the therns what the Valley Dor is imagined\nby the peoples of the outer world to be to them; it is the ultimate", "that it could be but a matter of days ere she went to join her loved\nones within the precincts of the Valley Dor.", "\"The First Born of Barsoom,\" he explained, \"are the race of black men\nof which I am a Dator, or, as the lesser Barsoomians would say, Prince." ], [ "\"You are indeed of another world,\" he said, a touch of awe in his\nvoice. \"With the skin of a thern, the black hair of a First Born and", "The room was filled with specimens of the strange beings that inhabit\nthis underworld; a heterogeneous collection of hybrids--the offspring\nof the prisoners from the outside world; red and green Martians and the\nwhite race of therns.", "\"Thern,\" said one, \"you fight like a Dator. But for your detestable\nyellow hair and your white skin you would be an honour to the First\nBorn of Barsoom.\"", "We had proceeded for possibly an hour without serious interruption, and\nThuvia had just whispered to me that we were approaching our first\ndestination, when on entering a great chamber we came upon a man,\nevidently a thern.", "\"The therns know that they live at all only by the sufferance of the\nblack men. They were near to extermination that once and they will not\nventure risking it again.\"", "Constant confinement below ground had wrought odd freaks upon their\nskins. They more resemble corpses than living beings. Many are\ndeformed, others maimed, while the majority, Thuvia explained, are\nsightless.", "In addition to the green men there had been three principal races upon\nBarsoom. The blacks, the whites, and a race of yellow men. As the", "the therns, the red men, and my own. Only in the colour of their skin\ndid they differ materially from us; that is of the appearance of", "\"Here, then, is one of them,\" spoke Thuvia, indicating the Thark, \"and\nif you will look upon this dead man by the door perhaps you will", "Thuvia, the girl whom I had first freed, soon had the others at\nliberty. Tars Tarkas and I stripped the bodies of the two therns of", "\"Now don his harness, Prince,\" she said, \"and you may pass where you\nwill in the realms of the therns, for Sator Throg was a Holy Thern of\nthe Tenth Cycle, and mighty among his kind.\"", "\"Two from the outer world are at large within the dominions of the\ntherns. We sought them at the command of the Father of Therns. One", "\"You do not understand,\" she replied. \"We therns are a holy race. It\nis an honour to a lesser creature to be a slave among us. Did we not", "She was the perfect type of that remarkably beautiful race whose\noutward appearance is identical with the more god-like races of Earth\nmen, except that this higher race of Martians is of a light reddish", "Thern and black man turned alike against the common enemy, for the\nbanths showed no partiality toward either.", "\"There is immortality only in Issus,\" she replied. \"And Issus is for\nthe race of therns alone. Thus am I immortal.\"", "She hesitated a moment before speaking. Then she asked:\n\n\"You are no thern. Are you an enemy of the therns?\"", "\"The therns are mortal,\" she replied. \"They die from the same causes\nas you or I might: those who do not live their allotted span of life,", "\"I have been in the territory of the therns for a day and a half.\nDuring that entire time my life has been in constant danger. I have", "\"The therns, I judge from what you have said, are no less mortal than\nwe; and yet have I always heard them spoken of with the utmost awe and" ], [ "They were a people drunk with power and success, looking upon the other\ninhabitants of Mars as we look upon the beasts of the field and the", "\"As man may eat of the flesh of beasts, so may gods eat of the flesh of\nman. The Holy Therns are the gods of Barsoom.\"\n\nI was disgusted and I imagine that I showed it.", "worshipped a beautiful hope for a life of love and peace and happiness\nin the hereafter. The therns worshipped the hideous plant men and the", "But if their bodies are divine, their hearts, apparently, are quite the\nreverse. Never did I witness such a malign lust for blood as these\ndemons of the outer air evinced in their mad battle with the therns.", "\"Your goddess cannot read my thoughts; nor can she read yours when you\nare out of sight, unless you will it. Had she been able to read mine,", "as ours, and the fact that they remain invisible to us is the best\nproof to my mind that they are mortal; nor overly courageous mortals at", "them to make place for others. Issus alone of all is protected against\ndeath. She has lived for countless ages.\"", "all the countless ages of her godhood. And the way that Issus\nremembers her best as the wife of one and the mother of another who\nraised their hands against the Goddess of Life Eternal.\"", "\"Oh, no; those whom you laid low are lesser therns; but of the same\ncruel and hateful race. The Holy Therns abide upon the outer slopes of", "\"You do not understand,\" she replied. \"We therns are a holy race. It\nis an honour to a lesser creature to be a slave among us. Did we not", "all-powerful. Thou only canst save thy people. I am done. We await\nthy will. Strike!\"", "soldier is a god, and has his slaves to wait upon him.", "thoughts you think. It is sacrilege even to dream of breaking her\ncommands.\"", "\"Do not the therns themselves do likewise with the poor creatures who\ntake the voluntary pilgrimage down the River of Mystery? Was not", "\"You know not of what you speak,\" he replied. \"Issus is omnipotent.\nIssus is omniscient. She hears now the words you speak. She knows the", "\"The therns know that they live at all only by the sufferance of the\nblack men. They were near to extermination that once and they will not\nventure risking it again.\"", "\"The therns for their part have temples dotted about the entire\ncivilized world. Here priests whom the people never see communicate", "Even without the glossy green hide and the metal ornaments which\ndenoted the tribes to which they belonged, I would have known them on\nthe instant for what they were, for where else in all the universe is\ntheir like duplicated?", "have killed one and captured the other; for this had Sator Throg given\nus our liberty. And now in your stupidity have you come and killed all", "\"Fools! Fools!\" it shrieked. \"Thinkest thou to defeat the eternal\nlaws of life and death? Wouldst cheat the mysterious Issus, Goddess of" ], [ "John Carter could have done the deeds you tell of.' And when Thuvia\ntold Dejah Thoris of her love for John Carter, and his loyalty and", "Thuvia, the girl whom I had first freed, soon had the others at\nliberty. Tars Tarkas and I stripped the bodies of the two therns of", "\"I am John Carter, Prince of the House of Tardos Mors, Jeddak of\nHelium,\" I replied. \"And whom,\" I added, \"has the honour of serving\nbeen accorded me?\"", "For a moment I was perplexed, but for a moment only. The proud\ndaughter of a thousand Jeddaks would choose death to a dishonorable\nalliance such as this, nor could John Carter do less for Helium than\nhis Princess would do.", "\"John Carter,\" she said, \"this be the last time that you shall see any\nof us. Tell me that you love me, that I may die happy.\"", "\"Sits there no man here who does not know the history of John Carter.\nHow he came among you from another world and rose from a prisoner among", "\"John Carter,\" he said, \"by the edict of custom, by the law of our\nreligion, and by the verdict of an impartial court, you are condemned", "heard she fell upon her knees and kissed Dejah Thoris' fettered hands,\nand told her that that very morning she had been with John Carter,\nPrince of Helium, and Carthoris, her son.", "\"John Carter!\" he exclaimed, and then a sudden troubled look came into\nhis eyes. \"My Prince,\" he started, \"where hast thou--\" and then he", "\"If you fail, John Carter,\" he said, \"know that the cruel and heartless\nThark, to whom you taught the meaning of friendship, will come out to\ndie beside you.\"", "\"Follow me, John Carter,\" replied Xodar, and without waiting for my\nreply he dashed down into the tunnel at our feet. At his heels I ran", "\"It was ever your way, John Carter, to think last of your own life,\" he\nsaid; \"but still more your way to command the lives and actions of\nothers, even to the greatest of Jeddaks who rule upon Barsoom.\"", "\"In time to save your Princess?\" he asked, and then without waiting for\nmy reply, \"No, John Carter, Issus will not give up her own. She knows", "\"She lives, John Carter.\"\n\n\"You have not told me where we are,\" I reminded him.", "At the sound of that name the boy jumped to his feet.\n\n\"John Carter!\" he cried. \"John Carter! Why, man, John Carter, Prince\nof Helium, has been dead for years. I am his son.\"", "Thuvia for fifteen years a plaything and a slave? Is it less than just\nthat you should suffer as you have caused others to suffer?\"", "\"The fleet continued north nearly to Helium, but last night they\nevidently realized that John Carter had indeed escaped them and so they\nturned toward the south once more. Shortly thereafter a guard entered\nour compartment and dragged me to the deck.", "\"You know that it was left for a man from another world, for yourself,\nJohn Carter, to teach this cruel Thark what friendship is; and you, I\nthought, also roamed the care-free Valley Dor.", "\"Where is the white slave?\" again cried the guard.\n\n\"I know not,\" replied Xodar. \"He was here even as you entered. I am\nnot his keeper--go find him.\"", "\"Go, John Carter,\" she said. \"Our son is there, and the soldiers of\nHelium, fighting for the Princess of Helium. Where they are you should" ], [ "It was Tars Tarkas, Jeddak of Thark, and as he couched his great\nforty-foot metal-shod lance we saw his warriors do likewise. Then it", "\"Move not, Tars Tarkas! Move not a muscle!\"\n\nHe did not ask why, but stood like a graven image while my eyes watched\nthe strange thing that meant so much to us.", "And there before my astonished eyes I beheld the greatest of the green\nmen of Barsoom; their shrewdest statesman, their mightiest general, my\ngreat and good friend, Tars Tarkas, Jeddak of Thark.", "\"Two of them are of Helium's noblest family. Tars Tarkas, Jeddak of\nThark, is Tardos Mors' best beloved ally. The other is a friend and", "\"A thern!\" whispered Tars Tarkas.\n\n\"Worse than that, I fear,\" replied Xodar. \"But let us see.\"", "\"Tars Tarkas was in advance, and they saw him, but me they did not see.\nThe Thark sprang back to my side and forced me into an adjacent", "Thuvia, the girl whom I had first freed, soon had the others at\nliberty. Tars Tarkas and I stripped the bodies of the two therns of", "line on the far horizon. I awoke the others. Tars Tarkas, whose giant\nstature towered high above the rest of us, could see the farthest.", "Tars Tarkas rode ahead and, leaning down to the latch, threw the\nbarriers open, while I held the loose thoats from breaking back to the", "Tars Tarkas, with his mighty bulk and enormous weight, would find it a\ntask possibly quite beyond his prowess or his skill, for Martians are", "Kantos Kan and Xodar were to attend to the remodelling of the ships.\nTars Tarkas was to get into communication with Thark and learn the", "him with expressions of affection, and words of sorrow for our common\nloss. It was now that Tars Tarkas for the first time learned that his", "\"Rot, Tars Tarkas,\" I cried, \"those voices come from beings as real as\nyou or as I. In their veins flows lifeblood that may be let as easily", "But little time was wasted in narration of our adventure. Tars Tarkas\nand Carthoris exchanged the dignified and formal greetings common upon", "Carthoris and Tars Tarkas with the keenest delight, but he asked\nneither where he had been. He could scarcely keep his hands off the\nboy.", "better friend than Tars Tarkas, Jeddak of the Tharks.", "\"What do you make of it, Kantos Kan?\" asked Tars Tarkas.\n\n\"A spy sent by Zat Arrras,\" he replied. \"It was ever his way.\"", "relief. I had not been discovered, and, best of all, the party was the\nsame that I had followed into the pits. It consisted of Tars Tarkas\nand his three guards.", "The men with us fought well, but never since Tars Tarkas and I fought\nout that long, hot afternoon shoulder to shoulder against the hordes of", "\"In with you, Tars Tarkas,\" I cried, but he would not go; saying that\nhis bulk was too great for the little aperture, while I might slip in\neasily." ], [ "Thuvia, the girl whom I had first freed, soon had the others at\nliberty. Tars Tarkas and I stripped the bodies of the two therns of", "John Carter could have done the deeds you tell of.' And when Thuvia\ntold Dejah Thoris of her love for John Carter, and his loyalty and", "\"The fleet continued north nearly to Helium, but last night they\nevidently realized that John Carter had indeed escaped them and so they\nturned toward the south once more. Shortly thereafter a guard entered\nour compartment and dragged me to the deck.", "For a moment I was perplexed, but for a moment only. The proud\ndaughter of a thousand Jeddaks would choose death to a dishonorable\nalliance such as this, nor could John Carter do less for Helium than\nhis Princess would do.", "\"Sits there no man here who does not know the history of John Carter.\nHow he came among you from another world and rose from a prisoner among", "beloved people, but also one whom all Barsoom loved best--her greatest\nwarrior and her saviour--John Carter, Prince of Helium!\"", "\"Come,\" said Kantos Kan, \"we will escort John Carter and his party to\nhis own palace,\" and they formed about us and started toward the stairs\nleading to the Aisle of Hope.", "\"I am John Carter, Prince of the House of Tardos Mors, Jeddak of\nHelium,\" I replied. \"And whom,\" I added, \"has the honour of serving\nbeen accorded me?\"", "\"She lives, John Carter.\"\n\n\"You have not told me where we are,\" I reminded him.", "As he talked Carthoris had been working at the lock which held my\nfetters, and now, with an exclamation of pleasure, he dropped the end", "\"You know that it was left for a man from another world, for yourself,\nJohn Carter, to teach this cruel Thark what friendship is; and you, I\nthought, also roamed the care-free Valley Dor.", "\"Know you, O judges and people of Helium,\" he said, \"that John Carter,\none time Prince of Helium, has returned by his own statement from the", "\"Go, John Carter,\" she said. \"Our son is there, and the soldiers of\nHelium, fighting for the Princess of Helium. Where they are you should", "At the sound of that name the boy jumped to his feet.\n\n\"John Carter!\" he cried. \"John Carter! Why, man, John Carter, Prince\nof Helium, has been dead for years. I am his son.\"", "\"Speak, John Carter, Prince of Helium,\" cried a great noble from the\naudience, and the multitude echoed his permission, until the building\nrocked with the noise of their demonstration.", "heard she fell upon her knees and kissed Dejah Thoris' fettered hands,\nand told her that that very morning she had been with John Carter,\nPrince of Helium, and Carthoris, her son.", "\"In time to save your Princess?\" he asked, and then without waiting for\nmy reply, \"No, John Carter, Issus will not give up her own. She knows", "\"John Carter!\" he exclaimed, and then a sudden troubled look came into\nhis eyes. \"My Prince,\" he started, \"where hast thou--\" and then he", "\"John Carter,\" he said, \"by the edict of custom, by the law of our\nreligion, and by the verdict of an impartial court, you are condemned", "In a moment a dozen men broke through the now blinding smoke to my\nside. There was Carthoris, and Kantos Kan, and Hor Vastus, and Xodar,\nwith a few more who had followed me to the temple court." ], [ "Even if they succeeded in eluding pursuit they must eventually fall\ninto the hands of either red men or green, and as fugitives from the\nValley Dor they could look for but little else than a swift and\nterrible death.", "life of love and peace in the blessed Valley of Dor is a rank and\nwicked deception. We know that the valley is not sacred; we know that", "\"Who are you?\" she asked, \"and what your mission, that you have the\ntemerity to attempt to escape from the Valley Dor and the death you\nhave chosen?\"", "As I looked I commenced to realize why it was that in all the ages only\none had escaped from the Valley Dor. My only wonder was that even the", "the Valley Dor.\"", "\"All who reach the Valley Dor are, by custom, the rightful prey of the\nplant men and the apes, while their arms and ornaments become the", "So saying, she led the way through winding corridors until at a sudden\nturn we came upon an opening which overlooked the Valley Dor.", "By returning from Dor we had committed a sacrilege; by recounting our\nadventures there, and stating the facts as they existed we had outraged", "Dor, the valley beautiful, the valley hideous. In all this time I had\nslept but twice, though once the clock around within the storehouse of\nthe therns.", "Valley Dor and even from the Temple of Issus itself. That, in the\npresence of many men of Helium he has blasphemed against the Sacred", "of Dor, in the exact centre of which lies the Lost Sea of Korus. On\nthe shore of this sea stands the Golden Temple of Issus in the Land of\nthe First Born. It is there that we are bound.\"", "\"As the lesser Barsoomians of the outer world have been lured by you to\nthe terrible Valley Dor, so may it be that the therns themselves have", "\"You know that it was left for a man from another world, for yourself,\nJohn Carter, to teach this cruel Thark what friendship is; and you, I\nthought, also roamed the care-free Valley Dor.", "If it could open to the red men the fair Valley Dor it would have\naccomplished much, and in the Land of Lost Souls between the Mountains", "\"There is an ancient legend that once a red man returned from the banks\nof the Lost Sea of Korus, returned from the Valley Dor, back through", "that it could be but a matter of days ere she went to join her loved\nones within the precincts of the Valley Dor.", "Iss, and against the Valley Dor, and the Lost Sea of Korus, and the\nHoly Therns themselves, and even against Issus, Goddess of Death, and", "Golden Cliffs, out over the Valley Dor, where, six thousand feet below\nme, the Lost Sea of Korus lay shimmering in the moonlight.", "\"I have just come from the Valley Dor and the Land of the First Born,\nZat Arrras,\" I replied.", "\"The Temple of Issus is to the therns what the Valley Dor is imagined\nby the peoples of the outer world to be to them; it is the ultimate" ], [ "\"Not that, other than as a last resort,\" he replied. \"Hast ever heard\nof the Temple of the Sun? It is there that they will put her. It lies", "cause him to be placed within a chamber of the Temple of the Sun for a\nyear. Ofttimes she imprisons an executioner with the condemned, that", "then three more, another pause, and then two. A second later the wall\nswung in, and I was pushed within a brilliantly lighted chamber in\nwhich sat three richly trapped men.", "\"The blacks have fired the temple,\" he cried. \"In a thousand places it\nis burning now. Haste to the outer gardens, or you are lost.\"", "of Dor, in the exact centre of which lies the Lost Sea of Korus. On\nthe shore of this sea stands the Golden Temple of Issus in the Land of\nthe First Born. It is there that we are bound.\"", "Shang. They each love John Carter. Ha-ah! but it is droll. Together\nfor a year they will meditate within the Temple of the Sun, but ere the", "\"Within the temples that lie behind the ramparts a million fighting-men\nare ever ready. The courts and gardens are filled with slaves, with\nwomen and with children.\n\n\"None could go a stone's throw without detection.\"", "Phaidor and I were taken below decks, where, still fast bound, we were\nthrown into a small compartment which contained a single port-hole. As\nour escort left us they barred the door behind them.", "\"As the entire Temple of the Sun revolves once with each revolution of\nBarsoom about the sun, but once each year does the entrance to each\nseparate chamber come opposite the mouth of the corridor which forms\nits only link to the world without.", "Once within the palace, I drew Sola to the dining hall, and, when she\nhad greeted her father after the formal manner of the green men, she\ntold the story of the pilgrimage and capture of Dejah Thoris.", "Spying Xodar among the officers of the red men, I called him to lead me\nquickly to the Temple of the Sun, and, without waiting to learn what", "\"When the bud burst the plant man remained dangling at the end of his\nstem, but the three other sections fell to the ground, where the\nefforts of their imprisoned occupants to escape sent them hopping about\nin all directions.", "The journey I had taken to the Temple of Issus on the preceding day was\nrepeated. The guards kept the red boy and myself separated, so that we\nhad no opportunity to continue the conversation that had been\ninterrupted the previous night.", "saw me she rushed toward the bars that separated us. Already the\nchamber had turned upon its slow way so far that but a portion of the\nopening in the temple wall was opposite the barred end of the corridor.", "\"Fly, my Prince!\" she cried. \"It is useless to fight them longer. All\nwithin the arena are dead. All who charged the throne are dead but you", "prisoners, would be transported to the gardens of Issus beside the\nGolden Temple.\"", "\"It will be an excellent lesson for this daughter of the therns,\" he\nadded, \"for she shall see the Temple of Issus, and Issus, perchance,\nshall embrace her.\"", "As he spoke we saw smoke pouring from a dozen windows looking out upon\nthe courtyard of the Temple of the Sun, and far above the highest\nminaret of Issus hung an ever-growing pall of smoke.", "The fact that the prisoners within were securely chained led us to\nbelieve that surely there must be an avenue of escape from the terrible\ncreatures which inhabited this unspeakable place.", "I fell in behind them and soon we were at the cell in which the great\nThark had been chained. Two of the warriors remained without while the" ], [ "started upon the journey, the end of which you have this day witnessed.\nDo you understand now where you be, John Carter?\"", "At the sound of that name the boy jumped to his feet.\n\n\"John Carter!\" he cried. \"John Carter! Why, man, John Carter, Prince\nof Helium, has been dead for years. I am his son.\"", "\"I am John Carter, Prince of the House of Tardos Mors, Jeddak of\nHelium,\" I replied. \"And whom,\" I added, \"has the honour of serving\nbeen accorded me?\"", "\"She lives, John Carter.\"\n\n\"You have not told me where we are,\" I reminded him.", "When the girl, Thuvia, told me that you had returned to Barsoom, I\nlistened, but I could not understand, for it seemed that such happiness", "John Carter could have done the deeds you tell of.' And when Thuvia\ntold Dejah Thoris of her love for John Carter, and his loyalty and", "\"I am of another world. I am John Carter, Prince of the House of\nTardos Mors, Jeddak of Helium. Perchance some faint rumour of me may\nhave leaked within the confines of your hellish abode.\"", "\"Sits there no man here who does not know the history of John Carter.\nHow he came among you from another world and rose from a prisoner among", "is not with them to share the joy of living he died to give them. Upon\nall Barsoom there is no greater name than John Carter.\"", "beloved people, but also one whom all Barsoom loved best--her greatest\nwarrior and her saviour--John Carter, Prince of Helium!\"", "\"It will not be for long, John Carter,\" he replied. \"We have been\nexpecting you and we are prepared.\"", "\"She is dropping badly by the head, John Carter,\" he said. \"So long as\nwe were rising at a stiff angle it was not noticeable, but now that I", "\"The fleet continued north nearly to Helium, but last night they\nevidently realized that John Carter had indeed escaped them and so they\nturned toward the south once more. Shortly thereafter a guard entered\nour compartment and dragged me to the deck.", "\"Know you, O judges and people of Helium,\" he said, \"that John Carter,\none time Prince of Helium, has returned by his own statement from the", "\"Go, John Carter,\" she said. \"Our son is there, and the soldiers of\nHelium, fighting for the Princess of Helium. Where they are you should", "\"Where are we?\" he repeated. \"Do you tell me, John Carter, that you\nknow not where you be?\"", "had met John Carter, and told her of the things John Carter, and\nCarthoris, and Xodar had narrated of their adventures in the Land of", "'JOHN CARTER'\n\n\nEarly the next morning I took the first train for Richmond and within\ntwo hours was being ushered into the room occupied by John Carter.", "Warhoon's torch to light his way. A dozen paces behind him followed\nJohn Carter, Prince of Helium.", "above Barsoom. Had we continued the five thousand miles that lie\nbetween Thuria and the planet he would have been but the frozen memory\nof a man.\"" ], [ "\"Let the man turn and look upon Issus, knowing that those of the lower\norders who gaze upon the holy vision of her radiant face survive the\nblinding glory but a single year.\"", "Only a single thin rank of men now stood between us and Issus. Her\nface was blue with terror. Foam flecked her lips. She seemed too", "be to set an armed guard at the mouth of the River Iss to escort the\npoor deluded voyagers back to the outer world. Also should I devote my", "the mysterious River Iss, and the legend has it that he narrated a\nfearful blasphemy of horrid brutes that inhabited a valley of wondrous", "\"Now and again some hapless pilgrim, drifting out upon the silent sea\nfrom the cold Iss, escapes the plant men and the great white apes that", "race, but if they listen to me there will be no more voluntary\npilgrimages down the river Iss, and the impossible belief that they\nhave cherished for ages will be shattered into a thousand pieces.\"", "\"Many prisoners travel to Issus in your grim craft, Yersted?\" I asked.\n\n\"Very many,\" he assented.\n\n\"Might you remember one whom men called Dejah Thoris?\"", "then there was no scurrying of feet as we had expected, and while the\nboy remained to direct the boat I slid from cabin to cabin in futile\nsearch for some member of the crew. The craft was entirely deserted.", "them to make place for others. Issus alone of all is protected against\ndeath. She has lived for countless ages.\"", "\"Issus would look again upon this man,\" he said. \"The girl has told\nher that he is of wondrous beauty and of such prowess that alone he", "As we watched, our eyes wandered to the rolling Iss, which issued from\nthe base of the cliffs beneath us. Presently there emerged from the", "\"Down with Issus!\" I shouted, and together the boy and I took up the\nfight once more. Two blacks went down with our swords in their vitals,", "the eye could reach. \"That is the bed of the River Iss,\" said Xodar.\n\"It runs far beneath the ice field, and below the level of the Valley", "Finally I felt the lapping waters about my feet. The smoke was thick\nbehind me. My suffering was intense. There seemed but one thing to", "As the last utan was filing past us the waters had risen until they\nsurged about our necks, but we clasped hands and stood our ground until", "There were now but one warrior and two females left, and it seemed that\nit could be but a matter of seconds ere these, also, lay dead upon the\nscarlet sward.", "\"And that was the River Iss, emptying into the Lost Sea of Korus in the\nValley Dor?\" I asked.", "\"There is one there,\" he said, \"my personal property, built to carry\nfive men, that is the swiftest of the swift. If we can board her we", "As we came on deck I saw to my surprise that the vessel was passing\nover a great field of snow and ice. As far as the eye could reach in\nany direction naught else was visible.", "The first event of the day was the Tribute to Issus. It marked the end\nof those poor unfortunates who had looked upon the divine glory of the" ], [ "\"You know that it was left for a man from another world, for yourself,\nJohn Carter, to teach this cruel Thark what friendship is; and you, I\nthought, also roamed the care-free Valley Dor.", "So saying, she led the way through winding corridors until at a sudden\nturn we came upon an opening which overlooked the Valley Dor.", "life of love and peace in the blessed Valley of Dor is a rank and\nwicked deception. We know that the valley is not sacred; we know that", "As I looked I commenced to realize why it was that in all the ages only\none had escaped from the Valley Dor. My only wonder was that even the", "\"There is an ancient legend that once a red man returned from the banks\nof the Lost Sea of Korus, returned from the Valley Dor, back through", "started upon the journey, the end of which you have this day witnessed.\nDo you understand now where you be, John Carter?\"", "Dor, the valley beautiful, the valley hideous. In all this time I had\nslept but twice, though once the clock around within the storehouse of\nthe therns.", "The two companions of the man who lay now beside the door of the cell\nthat had been Tars Tarkas' had just started to ascend the runway as the\nThark came in view.", "Even if they succeeded in eluding pursuit they must eventually fall\ninto the hands of either red men or green, and as fugitives from the\nValley Dor they could look for but little else than a swift and\nterrible death.", "\"As the lesser Barsoomians of the outer world have been lured by you to\nthe terrible Valley Dor, so may it be that the therns themselves have", "the Valley Dor.\"", "\"All who reach the Valley Dor are, by custom, the rightful prey of the\nplant men and the apes, while their arms and ornaments become the", "If it could open to the red men the fair Valley Dor it would have\naccomplished much, and in the Land of Lost Souls between the Mountains", "\"I have just come from the Valley Dor and the Land of the First Born,\nZat Arrras,\" I replied.", "I had not long to wait, for presently the golden surface commenced to\nmove rapidly. Scarcely had it started than I gave the signal to Tars", "\"Who are you?\" she asked, \"and what your mission, that you have the\ntemerity to attempt to escape from the Valley Dor and the death you\nhave chosen?\"", "Valley Dor and even from the Temple of Issus itself. That, in the\npresence of many men of Helium he has blasphemed against the Sacred", "Dropping to the floor once more, I detailed my discovery to Tars\nTarkas, who suggested that I explore aloft as far as I could go in\nsafety while he guarded the entrance against a possible attack.", "They were rapidly overhauling us when Tars Tarkas cried to me to hasten\nahead and discover, if possible, the sanctuary we sought. The", "to fugitives from the Valley Dor. Tars Tarkas grieved for the loss of\nhis daughter. Xodar alone was care-free--a fugitive and outlaw, he" ], [ "\"Yes,\" replied Tars Tarkas, and turned as though to retrace his steps\nto the cell, but he only waited until the two had disappeared at the", "The two companions of the man who lay now beside the door of the cell\nthat had been Tars Tarkas' had just started to ascend the runway as the\nThark came in view.", "relief. I had not been discovered, and, best of all, the party was the\nsame that I had followed into the pits. It consisted of Tars Tarkas\nand his three guards.", "What it has taken minutes to write occurred in but a few seconds, but\nduring that time Tars Tarkas had seen my plight and had dropped from", "I knew though that my ruse had worked and that temporarily at least\nThuvia and Tars Tarkas were safe, and the means of escape was theirs.", "Thuvia, the girl whom I had first freed, soon had the others at\nliberty. Tars Tarkas and I stripped the bodies of the two therns of", "escape. The Warhoons were now close upon us. Tars Tarkas and Xodar\nhad discovered our absence and were charging rapidly to our support.", "\"Tars Tarkas was in advance, and they saw him, but me they did not see.\nThe Thark sprang back to my side and forced me into an adjacent", "Only Tars Tarkas, Thuvia, and I were left. The fatal marksmanship of\nthe therns had snatched from our companions whatever slender chance\nthey had of gaining the perilous freedom of the world without.", "I had naturally assumed that they would return with Tars Tarkas the\nsame way that they had come, which would have carried them away from", "\"Come,\" cried Tars Tarkas, \"we must make for the cliffs. There lies\nour only hope of even temporary escape; there we may find a cave or a", "\"In with you, Tars Tarkas,\" I cried, but he would not go; saying that\nhis bulk was too great for the little aperture, while I might slip in\neasily.", "Torn and bleeding from many cruel wounds, I lay panting upon the ground\nwithin the hollow of the tree, while Tars Tarkas defended the opening\nfrom the furious mob without.", "We waited to hear no more. Slinging my harness into a long single\nstrap, I lowered Tars Tarkas to the courtyard beneath, and an instant\nlater dropped to his side.", "had entered. About me lay the bodies of my companions, with the\nexception of Thuvia and Tars Tarkas, who, like myself, had been asleep\nupon the floor and thus escaped the first raking fire.", "For moments after that awful laugh had ceased reverberating through the\nrocky room, Tars Tarkas and I stood in tense and expectant silence.\nBut no further sound broke the stillness, nor within the range of our\nvision did aught move.", "\"As Earth men say, we are between the devil and the deep sea, Tars\nTarkas,\" I replied, nor could I help but smile at our dilemma.", "Dropping to the floor once more, I detailed my discovery to Tars\nTarkas, who suggested that I explore aloft as far as I could go in\nsafety while he guarded the entrance against a possible attack.", "We had stumbled upon a two-man flier. Its ray tanks were charged only\nwith sufficient repulsive energy to lift two ordinary men. The Thark's\ngreat weight was anchoring us to our doom.", "Tars Tarkas rode ahead and, leaning down to the latch, threw the\nbarriers open, while I held the loose thoats from breaking back to the" ], [ "escape. The Warhoons were now close upon us. Tars Tarkas and Xodar\nhad discovered our absence and were charging rapidly to our support.", "The therns were so engaged with their terrible assailants that now, if\never, escape should be comparatively easy. I turned to search for an", "Thuvia, the girl whom I had first freed, soon had the others at\nliberty. Tars Tarkas and I stripped the bodies of the two therns of", "The two companions of the man who lay now beside the door of the cell\nthat had been Tars Tarkas' had just started to ascend the runway as the\nThark came in view.", "Tarkas, simultaneously springing for the receding half of the pivoting\ndoor. In like manner the Thark wheeled and leaped for the opening\nbeing made by the inswinging section.", "Only Tars Tarkas, Thuvia, and I were left. The fatal marksmanship of\nthe therns had snatched from our companions whatever slender chance\nthey had of gaining the perilous freedom of the world without.", "\"Come,\" cried Tars Tarkas, \"we must make for the cliffs. There lies\nour only hope of even temporary escape; there we may find a cave or a", "Torn and bleeding from many cruel wounds, I lay panting upon the ground\nwithin the hollow of the tree, while Tars Tarkas defended the opening\nfrom the furious mob without.", "had entered. About me lay the bodies of my companions, with the\nexception of Thuvia and Tars Tarkas, who, like myself, had been asleep\nupon the floor and thus escaped the first raking fire.", "their probable import, and then of a sudden I grasped the fact that\nthey were caused by Tars Tarkas in what was evidently a desperate\nstruggle with wild beasts or savage men.", "We had proceeded for possibly an hour without serious interruption, and\nThuvia had just whispered to me that we were approaching our first\ndestination, when on entering a great chamber we came upon a man,\nevidently a thern.", "Tars Tarkas was approaching me rapidly, and still more rapidly came the\nawful horde at his heels.", "\"Tars Tarkas was in advance, and they saw him, but me they did not see.\nThe Thark sprang back to my side and forced me into an adjacent", "I knew though that my ruse had worked and that temporarily at least\nThuvia and Tars Tarkas were safe, and the means of escape was theirs.", "Our relentless pursuers were now close to us, so close that it seemed\nthat it would be an utter impossibility for the Jeddak of Thark to", "Tars Tarkas rode ahead and, leaning down to the latch, threw the\nbarriers open, while I held the loose thoats from breaking back to the", "They were rapidly overhauling us when Tars Tarkas cried to me to hasten\nahead and discover, if possible, the sanctuary we sought. The", "which they had left the corridor. There, through an open door, I saw\nthem removing the chains that secured the great Thark, Tars Tarkas, to\nthe wall.", "\"A thern!\" whispered Tars Tarkas.\n\n\"Worse than that, I fear,\" replied Xodar. \"But let us see.\"", "bearing down upon us. A moment later Tars Tarkas and Xodar ranged\nthemselves on either hand, turning their thoats loose that we might all\nbe on an equal footing." ], [ "Now I realized why the black pirate had kept me engrossed with his\nstrange tale. For miles he had sensed the approach of succour, and but", "For an instant the black pirate and I remained motionless, glaring into\neach other's eyes. Then a grim smile curled the handsome lips above", "The craft lay at her moorings with uncovered hatch. Raising his finger\nto his lips and then tapping his sword in a significant manner, the\nyouth crept noiselessly toward the vessel. I was close at his heels.", "The second awoke as I touched him, and, though I succeeded in hurling\nhim from the cruiser's deck, his wild cry of alarm brought the\nremaining pirates to their feet. There were five of them.", "The craft swayed slightly but she did not move. Then a new cry of\nwarning broke upon our ears. Turning, I saw a dozen black pirates", "The black pirates interested me immensely. I had heard vague rumours,\nlittle more than legends they were, during my former life on Mars; but\nnever had I seen them, nor talked with one who had.", "Several of the pirates already had released Xodar. He now personally\nattended to my disarming and saw that I was properly bound. At least", "Simultaneously my free hand shot out for the black throat, just within\nreach, and the ebony finger tightened on the trigger. The pirate's", "\"When she realized that she was in the clutches of the black pirates,\nshe attempted to take her own life, but one of the blacks tore her\ndagger from her, and then they bound us both so that we could not use\nour hands.", "At length, with a concerted rush, evidently in response to a signal of\ncommand, the pirates in our immediate vicinity dashed recklessly to the\nground in the very midst of the thern soldiery.", "moments we had turned the tables upon them and a second later as we\nswarmed their own decks I had the satisfaction of seeing their\ncommander take the long leap from the bows of his vessel in token of", "The man had now regained full possession of his faculties, and was\nregarding us intently from where he lay bound upon the deck. He was a", "they boarded. Just as the vessels came together with a slight shock, I\nforced my way through the lines and was the first to spring to the deck", "In fact we reached the boat's side and were all aboard before the watch\nupon the battleship, aroused by the shots, detected us. Then an alarm", "It became intensely cold. Breathing was difficult. The girl, Phaidor,\nand the black pirate kept their eyes glued upon me. At length the girl\nspoke.", "But always, it seemed, were the black pirates of Barsoom victorious,\nand the girl, brought miraculously unharmed through the conflict, borne\naway into the outer darkness upon the deck of a swift flier.", "The girl they bound also, and then they fastened us together. In the\nmeantime they had brought our craft alongside the disabled battleship,\nand soon we were transported to the latter's deck.", "\"The fleet continued north nearly to Helium, but last night they\nevidently realized that John Carter had indeed escaped them and so they\nturned toward the south once more. Shortly thereafter a guard entered\nour compartment and dragged me to the deck.", "Above my head I could see the dangling forms of the boarding party as\nthe battleship raced over us. Then I rose at a sharp angle, throwing\nmy speed lever to its last notch.", "\"There is one there,\" he said, \"my personal property, built to carry\nfive men, that is the swiftest of the swift. If we can board her we" ], [ "\"The fleet must have missed you,\" he said, \"but it will return to\nOmean, and then that will be a very different matter--for John Carter.\"", "\"Haste!\" he cried. \"If we delay, we all are lost. The pumps of Omean\nhave been stopped. They would drown us like rats in a trap. We must", "do, and that to choose the easier death which confronted me, and so I\nmoved on down the corridor until the cold waters of Omean closed about\nme, and I swam on through utter blackness toward--what?", "As he ceased speaking a weird call rang out across the waters of Omean.\nI had heard it at the same time the previous evening and knew that it", "waters rise until it soon became apparent to me, who brought up the\nrear, that they were gaining rapidly upon us. I could understand the\nreason for this, as with the narrowing expanse of Omean as the waters", "Then I had him draw a map of Omean, indicating plainly the position of\nShador and of the opening in the dome which led to the outer world.", "length upon his couch. The discipline on Omean was lax indeed. But it\nis not to be wondered at since no enemy guessed the existence upon", "But our escape was not to be encompassed with such ease, for scarcely\nhad we gotten under way once more in the direction of the entrance to\nOmean than we saw far to the north a great black line topping the", "number brought up the rear some twenty miles behind the transports. In\nthis formation we had progressed toward the entrance to Omean for\nseveral hours when one of our scouts returned from the front to report", "Omean. By this I steered, endeavouring to keep the circle of light\nbelow me ever perfect. At best it was but a slender cord that held us", "in the bosom of Omean. The phosphorescent light you now see pervading\nthis great subterranean vault emanates from the rocks that form its", "his overwhelmed him. The last that I saw of him they were bearing him,\nwounded and bleeding, to the deserted city from which they had sallied\nto attack us.\"", "Torn and bleeding from many cruel wounds, I lay panting upon the ground\nwithin the hollow of the tree, while Tars Tarkas defended the opening\nfrom the furious mob without.", "\"If you fail, John Carter,\" he said, \"know that the cruel and heartless\nThark, to whom you taught the meaning of friendship, will come out to\ndie beside you.\"", "We now felt that it would be some time at least before the returning\nFirst Born could reach the surface of Omean, and that we would have", "And such proved to be the case. In fact, four hundred of my fleet of\nfive hundred rested safely upon the bosom of Omean before the first", "started upon the journey, the end of which you have this day witnessed.\nDo you understand now where you be, John Carter?\"", "\"You know that it was left for a man from another world, for yourself,\nJohn Carter, to teach this cruel Thark what friendship is; and you, I\nthought, also roamed the care-free Valley Dor.", "The return to the Sea of Omean was uneventful. We dropped down the\nawful shaft in the same car that had brought us to the surface. There", "\"John Carter,\" she said, \"this be the last time that you shall see any\nof us. Tell me that you love me, that I may die happy.\"" ], [ "\"The fleet must have missed you,\" he said, \"but it will return to\nOmean, and then that will be a very different matter--for John Carter.\"", "\"Haste!\" he cried. \"If we delay, we all are lost. The pumps of Omean\nhave been stopped. They would drown us like rats in a trap. We must", "do, and that to choose the easier death which confronted me, and so I\nmoved on down the corridor until the cold waters of Omean closed about\nme, and I swam on through utter blackness toward--what?", "But our escape was not to be encompassed with such ease, for scarcely\nhad we gotten under way once more in the direction of the entrance to\nOmean than we saw far to the north a great black line topping the", "away. Close behind them pursued the youth. At my back were the young\ngirls, and as it was in their service that I fought, I remained\nstanding there to meet my inevitable death, but with the determination", "For the safety of our entrance upon Omean we depended largely upon the\nvery boldness of it, believing that it would be some little time before", "\"We shall both die if we remain without, John Carter; here is a slight\nchance for one of us. Take it and you may live to avenge me, it is", "\"We are hemmed in by flames in front and flood behind.\" \"Help, John\nCarter; we are suffocating,\" and then there swept back upon us at the", "waters rise until it soon became apparent to me, who brought up the\nrear, that they were gaining rapidly upon us. I could understand the\nreason for this, as with the narrowing expanse of Omean as the waters", "We reached the submarine pool in Omean without incident. Here we\ndebated the wisdom of sinking the craft before leaving her, but finally", "overtake you--a death so horrible that even the Holy Therns themselves,\nwho conceived both Life and Death, avert their eyes from its\nfiendishness and close their ears against the hideous shrieks of its", "And such proved to be the case. In fact, four hundred of my fleet of\nfive hundred rested safely upon the bosom of Omean before the first", "Then I had him draw a map of Omean, indicating plainly the position of\nShador and of the opening in the dome which led to the outer world.", "Torn and bleeding from many cruel wounds, I lay panting upon the ground\nwithin the hollow of the tree, while Tars Tarkas defended the opening\nfrom the furious mob without.", "down eventually to certain death before them. I shuddered at the\nthought of it, dying thus in this terrible place where no word of my", "length upon his couch. The discipline on Omean was lax indeed. But it\nis not to be wondered at since no enemy guessed the existence upon", "direction and so quickly were we out again that we had no time to alter\nour course. Omean lies perhaps two miles below the surface crust of\nMars. Our speed must have approximated two hundred miles an hour, for", "Omean. By this I steered, endeavouring to keep the circle of light\nbelow me ever perfect. At best it was but a slender cord that held us", "in the bosom of Omean. The phosphorescent light you now see pervading\nthis great subterranean vault emanates from the rocks that form its", "number brought up the rear some twenty miles behind the transports. In\nthis formation we had progressed toward the entrance to Omean for\nseveral hours when one of our scouts returned from the front to report" ], [ "\"Yes,\" replied Tars Tarkas, and turned as though to retrace his steps\nto the cell, but he only waited until the two had disappeared at the", "\"In with you, Tars Tarkas,\" I cried, but he would not go; saying that\nhis bulk was too great for the little aperture, while I might slip in\neasily.", "The two companions of the man who lay now beside the door of the cell\nthat had been Tars Tarkas' had just started to ascend the runway as the\nThark came in view.", "relief. I had not been discovered, and, best of all, the party was the\nsame that I had followed into the pits. It consisted of Tars Tarkas\nand his three guards.", "Torn and bleeding from many cruel wounds, I lay panting upon the ground\nwithin the hollow of the tree, while Tars Tarkas defended the opening\nfrom the furious mob without.", "What it has taken minutes to write occurred in but a few seconds, but\nduring that time Tars Tarkas had seen my plight and had dropped from", "Tarkas, simultaneously springing for the receding half of the pivoting\ndoor. In like manner the Thark wheeled and leaped for the opening\nbeing made by the inswinging section.", "\"Tars Tarkas was in advance, and they saw him, but me they did not see.\nThe Thark sprang back to my side and forced me into an adjacent", "Dropping to the floor once more, I detailed my discovery to Tars\nTarkas, who suggested that I explore aloft as far as I could go in\nsafety while he guarded the entrance against a possible attack.", "\"The fleet continued north nearly to Helium, but last night they\nevidently realized that John Carter had indeed escaped them and so they\nturned toward the south once more. Shortly thereafter a guard entered\nour compartment and dragged me to the deck.", "which they had left the corridor. There, through an open door, I saw\nthem removing the chains that secured the great Thark, Tars Tarkas, to\nthe wall.", "\"Then we shall die together, Tars Tarkas,\" I replied, \"for I shall not\ngo first. Let me defend the opening while you get in, then my smaller\nstature will permit me to slip in with you before they can prevent.\"", "escape. The Warhoons were now close upon us. Tars Tarkas and Xodar\nhad discovered our absence and were charging rapidly to our support.", "that I could find. This time, however, I did not advance so far away\nfrom the main corridor as on the other occasion that had resulted in my\nlosing Tars Tarkas and his guards.", "Tars Tarkas rode ahead and, leaning down to the latch, threw the\nbarriers open, while I held the loose thoats from breaking back to the", "\"Haste, Tars Tarkas,\" I urged, \"or we shall both go down to profitless\ndefeat; I cannot hold them for ever alone.\"", "For moments after that awful laugh had ceased reverberating through the\nrocky room, Tars Tarkas and I stood in tense and expectant silence.\nBut no further sound broke the stillness, nor within the range of our\nvision did aught move.", "\"Before we go farther we must be sure,\" I said. \"I cannot leave Tars\nTarkas alive among the Warhoons. To-night I shall enter the city and\nmake sure.\"", "We waited to hear no more. Slinging my harness into a long single\nstrap, I lowered Tars Tarkas to the courtyard beneath, and an instant\nlater dropped to his side.", "their probable import, and then of a sudden I grasped the fact that\nthey were caused by Tars Tarkas in what was evidently a desperate\nstruggle with wild beasts or savage men." ], [ "direction and so quickly were we out again that we had no time to alter\nour course. Omean lies perhaps two miles below the surface crust of\nMars. Our speed must have approximated two hundred miles an hour, for", "\"Haste!\" he cried. \"If we delay, we all are lost. The pumps of Omean\nhave been stopped. They would drown us like rats in a trap. We must", "Then I had him draw a map of Omean, indicating plainly the position of\nShador and of the opening in the dome which led to the outer world.", "The return to the Sea of Omean was uneventful. We dropped down the\nawful shaft in the same car that had brought us to the surface. There", "\"It will not be long,\" he said, \"before we shall have light. At the\nlower levels we meet the same stratum of phosphorescent rock that\nilluminates Omean.\"", "in the bosom of Omean. The phosphorescent light you now see pervading\nthis great subterranean vault emanates from the rocks that form its", "Instantly the sleeping thousands were awake. The decks of a thousand\nmonster craft teemed with fighting-men, for an alarm on Omean was a\nthing of rare occurrence.", "\"A little to your right,\" cried Xodar, for there are no points of\ncompass upon Omean where every direction is due north.", "\"Dispatch ten battleships to guard the entrance to Omean, with orders\nto let no hostile enter or leave the shaft. That will bottle up the\ngreat fleet of the First Born.", "\"There are miles of corridors honeycombing the ground beneath the\ngardens and the temple itself, and there is one passage that leads down\nto and connects with the lower regions that open on the water shaft\nthat gives passage to Omean.", "At our right the sun was setting, a huge red orb, below the western\nrange of Otz. A little below us stood the Holy Thern on watch upon his", "But our escape was not to be encompassed with such ease, for scarcely\nhad we gotten under way once more in the direction of the entrance to\nOmean than we saw far to the north a great black line topping the", "The smaller fliers were commencing to rise toward us when Xodar\nshouted: \"The shaft! The shaft! Dead ahead,\" and I saw the opening,\nblack and yawning in the glowing dome of this underworld.", "In the matter of equipping a fleet to enter Omean the details were left\nto Kantos Kan and Xodar. The former agreed to take such vessels as we", "number brought up the rear some twenty miles behind the transports. In\nthis formation we had progressed toward the entrance to Omean for\nseveral hours when one of our scouts returned from the front to report", "We reached the submarine pool in Omean without incident. Here we\ndebated the wisdom of sinking the craft before leaving her, but finally", "and each equipped to navigate the air of Omean and the waters of Omean\nitself. Upon each battleship there are five ten-man cruisers, and ten", "The party had landed and was standing on the sward as the awful horde\ncame in sight. There was a brief and futile effort of defence. Then", "We now felt that it would be some time at least before the returning\nFirst Born could reach the surface of Omean, and that we would have", "We waited to hear no more. Slinging my harness into a long single\nstrap, I lowered Tars Tarkas to the courtyard beneath, and an instant\nlater dropped to his side." ] ]

[ "Thuvia tells Carter that Tars Tarkas is captured by which people?", "When Carter is returned to Helium what crime is he tried for?", "At the end of the story where are Thoris, Thuvia, and Phaidor imprisoned?", "Why is Xodar given to Carter as a slave?", "At the beginning of the story who is the lone survivor of the attack by the planet men?", "Who is the slave girl that Carter and Tars Tarkas rescue at the beginning of the story?", "What are the black pirates called that prey on the Therns?", "Where does Carter meet Issus?", "How long is Carter held prisoner in Helium?", "What was Xodar's punishment for being defeated by Carter?", "What did the Therns mislead Barsoomians to believe about the pilgrimage to the Valley Dor? ", "Why did Tars take the pilgrimage to the Valley Dor?", "How long had Carter been separated from his wife and unborn child?", "How is Mors Kajak related to Dejah Thoris?", "What did Carter and Tars use to their advantage when they attempted to escape from Valley Dor?", "What happens to Carter after he returns to Helium? ", "How does Xodar respond to the way Carter treats him as a slave?", "What is the alternate name for Mars in the story?", "Where on Barsoom is John Carter transported?", "What is the Valley Dor to Barsoomians?", "What skin color do the Therns have?", "Which two groups in the story think of themselves as gods?", "Who is made John Carter's slave?", "Who is Tars Tarkas?", "Who rescues John Carter after he escapes prison?", "What is the punishment for escaping the Valley Dor?", "Which three people are imprisoned in the Temple of the Sun at the end of the story?", "Where does John Carter arrive on Barsoom?", "Who is the lone survivor on the boat on the River Iss?", "What do Tars and John discover about the journey to the Valley Dor?", "Who do Tars and John rescue?", "Who is attacking the Therns when Tars and John attempt to escape?", "What happens aboard the pirate ship that John boards?", "What happens to John at Omean?", "How does John escape death in Omean?", "What happens when John goes to rescue Tars?", "What happens at Omean Crater?" ]

[ [ "The green warriors of Warhoon.", "the green warriors of Warhoon" ], [ "Heresy.", "returning from the Valley of Dor" ], [ "In the Temple of the Sun.", "Temple of the Sun" ], [ "As punishment for being defeated by Carter. ", "as his punishment for being defeated by Carter previously" ], [ "Tars Tarkas.", "It is Tars Tarkas." ], [ "Thuvia.", "Thuvia" ], [ "The First Born", "The Black Pirates of Barsoom." ], [ "Omean.", "Omean" ], [ "365 days.", "365 days." ], [ "He had to be his slave.", "He's made a slave" ], [ "That it is a journey to paradise.", "That is a journey to paradise" ], [ "To find Carter.", "To find Carter" ], [ "Ten years.", "Ten years. " ], [ "He is her father. ", "Their father" ], [ "The confusion caused from an attack by the Black Pirates of Barsoom.", "They used confusion caused by the attack of the Black Pirates." ], [ "He is tried for heresy by the Zodangans.", "He is tried heresy by the Zodangans." ], [ "He becomes Carter's friend.", "Carter treats him with compassion, and the two become friends." ], [ "Barsoom", "Barsoom" ], [ "The Valley Dor", "Back to earth" ], [ "The afterlife", "It is the Barsoomian afterlife." ], [ "White", "White skin" ], [ "The Therns and the Black Pirates", "The Therns and Black Pirates." ], [ "Xodar", "Xodar" ], [ "John Carter's friend, the Jeddak of Thark", "The Jeddak of Thark" ], [ "The Heliumetic navy", "His son." ], [ "Death", "Being enslaved or eaten" ], [ "Dejah Thoris, Thuvia and Phaidor", "They are Dejah Thoris, Thuvia, and Phaidor." ], [ "The Valley Dor, the Barsoomian equivalent of the afterlife", "The Valley Dor" ], [ "John's friend Tars Tarkas, who had set out to find John Carter.", "Tars Tarkas" ], [ "That it is a lie the Therns have fed to the Baroomian's that they will journey to paradise and are instead killed by other creatures.", "No one is allowed to depart." ], [ "They rescue Thuvia, a slave girl.", "Thuvia" ], [ "The Black Pirates of Barsoom are attacking the Therns.", "The Black Pirates of Barsoomia." ], [ "John kills all of the pirates but one and rescues a kidnapped princess.", "He kills all but one of the pirates. " ], [ "John is imprisoned by the first born.", "He is taken to Issus" ], [ "He leads a revolt among the prisoners killing many First Ones, and then sneaks with his son through underground tunnels.", "through underground tunnels" ], [ "He is discovered by his enemies and forced to fight.", "They hijack a pirate ship" ], [ "John is challenged by the Therns, Zat Arras and then the First Born, and John encourages the Therns and First Born to fight one another.", "The Therns an First Born attack one another." ] ]

[ [ "His house is a small, neatly painted bungalow in South\nCentral Los Angeles. Corn, tomatoes, other vegetables grow in\nthe yard. Chickens scratch around.", "Gideon is raking out the chicken coop. He puts the rake down\nand walks over to the garden and watches Suzie plant seeds\nfor a while.", "EXT. BACKYARD - DAY\n\nHarry, Okra and Herman are trying to catch another chicken.\nHerman is COUGHING badly and Okra is out of breath.", "Harry slowly walks along the rows in Suzie's garden. He\nstands by the chicken cage. Suddenly, the chickens start to\nrun about and CACKLE as if a dog had gotten in.", "Herman hands Harry the ax. Harry is poised over the chicken\nwith the ax, appreciating the moment. Harry raises the ax.\nThe SOUND of Rodney starting to practice his trumpet brings\nthe rooster out of the trance.", "Gideon looks over at the chickens, scratching around in the\ngarden. He calls to them, but they don't respond. He puts his", "There is only one hen left in the coop. The garden is full of\nweeds. The sunflowers are bent by the force of the wind. A\nbag is thrown over the fence.", "Hattie goes over and pulls the blanket back. Okra, M.C. and\nHerman hurry over to take a quick glance. They huddle behind\nHattie, peeping over her shoulder.", "He slowly awakens; his hands are trembling. He looks around\nand sees the chickens. He looks up at the sky and sighs, with\nsome relief.", "The pigeons take to the air like an explosion. The chickens\nstart to CACKLE and run about as Harry reaches for one with\nhis cane. The SOUND of the boy next door practicing with his\ntrumpet adds to the bedlam.", "Shot of the backyard. Nothing. Suddenly, with the grace and\nsuspicion of alley cats, kids jump over Gideon's back fence,\nlook around timidly, and start climbing up his fruit tree.", "Sunny, seated in the back, pokes a hole in the sack of feed.\nThe mash trickles to the floor as if from an hour glass.\n\nINT. KITCHEN - DAY", "Harry turns from the chicken coop. He stands still. Sunny is\nhiding behind a bush.", "and Junior out of trouble was to\n\tsend us to Big Daddy's farm. We\n\twould get up with the chickens.\n\tEvery summer the fence had to be", "Gideon is looking at the price of laying mash. He digs his\nhand into a barrel of scratch. Sunny also digs his hand in\nthe barrel.", "EXT. MRS. BAKER'S BACKYARD - DAY\n\nRodney walks around in the yard BLOWING his trumpet as loud\nas he can. The SOUND of the trumpet frightens Skip's birds.", "EXT. BACKYARD - MORNING\n\nEverything is wet from the night's rain. The garden looks\nmore like a graveyard. Moisture drips from the sunflowers.", "Harry and Babe Brother are playing cards while Linda watches\nand Sunny plays by himself on the floor. In the sink is a\nnewspaper full of bloody feathers. A small flame is under a", "A sack drops over the fence. Okra limps over to see what is\nin the bag. He uses a stick to open the bag. He doesn't like\nwhat he sees and throws the bag back over the fence.", "Harry has caught a hen that is SCREAMING her head off. He\nlooks around and finds Suzie hurrying towards him." ], [ "Suzie opens the door. BABE BROTHER, Gideon's youngest son,\nabout 31, handsome, wearing an expensive suit, comes in,\nbeating the cold off of him and blowing in his hands.", "Gideon is busy going around to everyone seeing if everything\nis okay. Gideon and Suzie have worked up a sweat trying to\nattend to everyone's needs.", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "Suzie invites the church members in.\n\n\t\t\tPREACHER \n\tSister, we've come to see how you\n\twere doing. We came to ask if we\n\tcould pray over Gideon.", "Suddenly Suzie and Gideon burst into the kitchen holding up\none of the twins, Loviray. They carry the twin towards", "INT. FRONT ROOM - DAY\n\nSuzie is holding the door open while Gideon is carried in by\nJunior and Babe Brother. Gideon is led to a chair. He still\nlooks awful.", "Gideon is lying in bed. Suzie gets in beside him.\n\n\t\t\tGIDEON \n\tYour feet are cold.\n\n\t\t\tSUZIE \n\tGo back to sleep.", "Gideon is busy eating almost everything in sight. A group of\nmystified and sleepy faces appear at the door. Pat, Linda,\nRhonda and Sunny are all looking rather dumbfounded.", "INT. FRONT ROOM - MORNING\n\nGideon is paging through the Bible as he stands by the door,\nwaiting for Suzie who is watering her plants. Harry comes in.", "Gideon is shaving with a straight razor and humming to\nhimself, obviously in a good mood. Suzie sticks her head in.", "Suzie is sitting in a chair; her head is bent forward. Gideon\nis TALKING in his sleep. She awakes and nods off again. Harry\nsticks his head in.", "Suzie, Gideon, JUNIOR (Gideon's elder son, 35 years old and\ndark skinned), PAT (Junior's wife, who is expecting, about", "INT. BEDROOM - DAY\n\nSuzie bursts into the room and then moves very slowly to\nGideon, who is sitting on the bed out of breath.", "The SOUND of Gideon and Suzie arriving makes them scurry to\nget the cards put away. Harry puts his knife away just as\nSuzie and Gideon enter. Linda feels a little embarrassed.", "Gideon and Suzie get in Junior's car. Junior, Pat and Rhonda\nwave to Harry as the car pulls away.\n\nINT. LIVING HOUSE - DAY", "M.C. gives Gideon a bear hug, lifting him off his feet. On\nseeing Suzie, he drops Gideon and rushes over to lift her up\noff her feet.\n\nEXT. STREET - DAY", "GIDEON \n\tSuzie, I'm hungry.\n\nINT. FRONT ROOM - NIGHT (RAIN)", "Suzie looks at him and lifts the covers at the foot of the\nbed. Gideon's feet are resting on dead leaves.", "GIDEON \n\tSuzie.\n\nINT. KITCHEN - NIGHT (RAIN) (LATER)", "Gideon is raking out the chicken coop. He puts the rake down\nand walks over to the garden and watches Suzie plant seeds\nfor a while." ], [ "Suzie comes in and grabs part of the knife with her hand and\nJunior's wrist with her other hand. Pat and Linda try to pull\nthe two men apart while pleading with Junior.", "Suzie and Gideon are getting the food ready while Harry,\nwearing a shirt that looks like it is made of shiny\nsnakeskin, sits in a darkened corner of the room, cutting his\nfingernails with his knife.", "Suzie helps him to take his wet coat off. She goes into the\nkitchen, puts his coat in front of the stove. The knife falls\nout. She picks it up and looks at it like she would throw it\naway but Babe Brother takes it.", "Babe Brother is preoccupied sharpening his knife with a\nsharpening stone. He is almost in a trance. Junior comes in\nrather angrily. Sunny goes and sits in the shadows in the\ndining room.", "and Babe Brother flips over to defend himself. Babe Brother\ngrabs Junior's wrist as Junior tries to push the knife\nagainst his throat.", "Harry takes his knife, a crab apple switch, out. It has a\nrabbit foot attached to it. Harry cleans his fingernail with\nthe knife. Sunny is interested in the rabbit foot. He reaches\nfor the knife.", "Babe Brother and Junior are both reaching for the knife.\nJunior is on top of Babe Brother, who is stretched out on the\ntable trying to reach the knife. Junior grabs the knife first", "Babe Brother, attempting to forcibly cut a piece of roast,\nslings Linda's arm away. His hand accidentally hits her in\nthe eye.", "Suzie puts her hand through the window. The Nurse stands up\nto get a better look. The Nurse takes the wad out of her\nhand. The bleeding has stopped.", "Junior slowly becomes aware of the blood and his body\nrelaxes. He calmly releases the knife.\n\nJunior takes his mother's hand.", "Junior stands over Harry's shoulder looking at him sharpening\nhis knife. Harry feels uncomfortable with Junior standing\nbehind him. Harry looks up at him.", "Harry is aware that Babe Brother is interested in the knife.\nAfter cleaning his last fingernail, he hands the knife to\nBabe Brother.\n\nHarry looks at the cards in his hand. He smiles to himself.", "The SOUND of Gideon and Suzie arriving makes them scurry to\nget the cards put away. Harry puts his knife away just as\nSuzie and Gideon enter. Linda feels a little embarrassed.", "Harry gives the knife to Babe Brother and signals him to put\nit in his pocket.\n\nThe SOUND of the thunder has an unreal violence to it.", "INT. KITCHEN - NIGHT (RAIN)\n\nSunny stands in the doorway watching his father sharpen his\nknife that he got from Harry. Babe Brother is unaware that\nhis son is watching him.", "Harry picks up an old cigar box that falls opens. Dice,\nshotgun shells, some spent .38 slugs and an old rusty knife,\na crab apple switch, land on the floor. Harry picks up the\nknife.", "Harry flops down on the couch. Suzie sets a cup of coffee on\nthe table for Gideon. Harry looks up from sharpening his\nknife on a hand sharpening stone. He spits on it.", "room and he wouldn't stop drinking.\n\tHe started talking about the old\n\tdays and he went mad. He pulled his\n\tknife and I got to mine first. The", "Babe Brother's eyes are rolled to the back. Junior's eyes are\nhuge; he has an animal look on his face. The SOUND of\nstruggling people breathing heavily is amplified. The pool of\nblood on the table grows larger.", "Pat is sitting at the blood-stained table unable to move. She\nis PANTING, sweating, and holding her stomach. Linda is\ncaught between trying to help Suzie and attending to Pat." ], [ "Babe Brother's eyes are rolled to the back. Junior's eyes are\nhuge; he has an animal look on his face. The SOUND of\nstruggling people breathing heavily is amplified. The pool of\nblood on the table grows larger.", "Babe Brother turns and starts hurrying back before Harry can\nobject. He walks slowly after Babe Brother who is doubling\nthe distance between himself and Harry as he runs through the\norchard to his car. Harry stops and looks around.", "Babe Brother is preoccupied sharpening his knife with a\nsharpening stone. He is almost in a trance. Junior comes in\nrather angrily. Sunny goes and sits in the shadows in the\ndining room.", "and Babe Brother flips over to defend himself. Babe Brother\ngrabs Junior's wrist as Junior tries to push the knife\nagainst his throat.", "HARRY \n\tWhose old piece of knife is this?\n\n\t\t\tHERMAN \n\tThat was my brother's knife.", "Marsh sits in a chair opposite Harry. Babe Brother stands\nbehind Harry. Harry, knowing that Marsh is going to bring up\nunpleasant things of the past, feels the need to get rid of\nBabe Brother.", "Babe Brother and Junior are both reaching for the knife.\nJunior is on top of Babe Brother, who is stretched out on the\ntable trying to reach the knife. Junior grabs the knife first", "Junior whispers to Babe Brother. They both start to laugh.\n\nSuzie looks up and finds them in a fit of laughter. A faint\nsmile appears on her face.", "Suzie opens the door. BABE BROTHER, Gideon's youngest son,\nabout 31, handsome, wearing an expensive suit, comes in,\nbeating the cold off of him and blowing in his hands.", "Babe Brother hurries out. M.C., Herman and Okra flop down in\nchairs and on the bed and look at their watches.", "Babe Brother hits Junior on the jaw, driving him backwards,\ncausing the overhead lamp to sway violently.\n\nINT. BEDROOM - NIGHT (RAIN)", "Babe Brother is in a corner all by himself. He looks down\nwhen Pat asks the question about Harry.\n\nA loud CRASHING SOUND comes from the kitchen.\n\nINT. KITCHEN - DAY", "The twin is holding her throat and PANTING like a fish out of\nwater. She is in a lot of pain. William, the twin brother, is\nstanding at the door with a tragic face.", "Babe Brother and Harry get out of the car. They walk on a\npath that takes them under low hanging tree limbs. It gets\ndarker as they go deeper into the orchard. Babe Brother finds\nthe going rough and loses his footing.", "Junior. Babe Brother raises himself. The blood from Suzie's\ndripping from his head. Rhonda is trying to hold Sunny back.", "Babe Brother is surrounded by Linda and Sunny who has his\neyes fixed on Harry. They move as one heading for the\nbedroom.\n\nHarry seems a lot older. He sadly walks towards the kitchen\nwith his coffee cup.", "Harry and Babe Brother are playing cards while Linda watches\nand Sunny plays by himself on the floor. In the sink is a\nnewspaper full of bloody feathers. A small flame is under a", "Junior stares at Harry. Harry returns Junior's stare and\nJunior finds himself embarrassed. Junior looks down at his\npants leg and attempts to fix the crease in his pants by", "Babe Brother, Junior, Pat, and Linda, Suzie run in. Suzie\ntries to see if he is alive. Babe Brother tries to give him", "Babe Brother agrees but his thoughts are obviously somewhere\nelse. Harry studies his hand and looks at Babe Brother; he\nputs down his hand. Babe Brother wins and is quite pleased.\nThe next series of hands are won by Babe Brother." ], [ "Junior stares at Harry. Harry returns Junior's stare and\nJunior finds himself embarrassed. Junior looks down at his\npants leg and attempts to fix the crease in his pants by", "Babe Brother is lost in his thoughts. He stares down at his\nhands resting on his knees. He picks up the telephone.\n\nINT. JUNIOR'S HOUSE - DAY", "Junior slowly becomes aware of the blood and his body\nrelaxes. He calmly releases the knife.\n\nJunior takes his mother's hand.", "Babe Brother hits Junior on the jaw, driving him backwards,\ncausing the overhead lamp to sway violently.\n\nINT. BEDROOM - NIGHT (RAIN)", "Gideon and Suzie get in Junior's car. Junior, Pat and Rhonda\nwave to Harry as the car pulls away.\n\nINT. LIVING HOUSE - DAY", "Junior whispers to Babe Brother. They both start to laugh.\n\nSuzie looks up and finds them in a fit of laughter. A faint\nsmile appears on her face.", "EXT. JUNIOR'S HOUSE - DAY\n\nBabe Brother drives around the block past Junior's house.\n\nINT. JUNIOR'S HOUSE - DAY", "Suzie attempts to go see Gideon but Babe Brother and Junior\nturn her to the door. Going through the kitchen door, Junior\nintentionally turns his back to Babe Brother. Babe Brother\nstares at Junior's back as he walks ahead.", "door to the kitchen separating them. Junior, the Preacher and\nPat are eating chicken. Linda is on the phone trying to get\nthrough to the morgue.", "Finally he sits reluctantly on the side of the bed and Sunny\ncomes over and sits next to him, trying to get his weary\nfather interested in his remote-control racing car.", "Junior feels her stomach. Pat again tries to shake Harry's\nhand and again gets a jolt from her stomach. She finds a\nchair to sit down in.\n\nThe SOUND of rocks hitting the roof causes everyone to look\nup.", "As Harry walks towards the back door, he looks back at\nJunior.\n\nEXT. BACKYARD - EVENING", "The phone rings and Junior goes to pick it up. Linda's and\nPat's attention is focused on the phone. Junior hands the\nphone to Linda.", "JUNIOR \n\tYou dumb ass, it's Babe Brother.\n\n\t\t\tBABE BROTHER \n\tMy name is Sam. Samuel.", "On the other side of the room, Suzie is looking quietly at\nthem as if she is in deep thought.\n\nJunior walks over to the reception desk.", "Junior slips on the ladder and the wires touch. There is a\nbig spark. All the lights in the house go out. \n\nINT. BABE BROTHER'S KITCHEN - NIGHT", "Junior struggle to lift Gideon. They almost stumble at the\ndoor. Harry is left standing in the room alone.", "EXT. JUNIOR'S HOUSE - DAY", "INT. FRONT ROOM - DAY\n\nPat, Linda and Junior are seated at the table. The suitcases\nare in the middle of the floor.", "Junior. Babe Brother raises himself. The blood from Suzie's\ndripping from his head. Rhonda is trying to hold Sunny back." ], [ "M.C. is sitting on the bed, reading the job section of the\npaper. Herman is putting Vicks Vapo-Rub in a bowl of boiling", "Finally he sits reluctantly on the side of the bed and Sunny\ncomes over and sits next to him, trying to get his weary\nfather interested in his remote-control racing car.", "INT. GIDEON'S BEDROOM - MORNING\n\nGideon tries to put his pants on. He is too weak and sits\nback on the bed with his pants only up as far as his knees.", "Gideon is asleep. The church members gather around his bed.\nThe Preacher puts his hand on the foot of the bed and\ndiscovers that there is something strange under the covers.", "Suzie, Junior and Pat are standing around Gideon's bed. He is\nin a room full of old veterans who are apparently nearing the\nend.", "INT. GIDEON'S BEDROOM - MORNING\n\nGideon is trying to get out of bed. He sits on the side of\nthe bed and starts to COUGH.", "It takes almost everyone to hoist Gideon. Linda and Pat push\nthe bed and night-stand out of the way as Babe Brother and", "Suzie is sitting in a chair; her head is bent forward. Gideon\nis TALKING in his sleep. She awakes and nods off again. Harry\nsticks his head in.", "Gideon is lying in bed. Suzie gets in beside him.\n\n\t\t\tGIDEON \n\tYour feet are cold.\n\n\t\t\tSUZIE \n\tGo back to sleep.", "Hattie goes over and pulls the blanket back. Okra, M.C. and\nHerman hurry over to take a quick glance. They huddle behind\nHattie, peeping over her shoulder.", "Linda is reading a book to Sunny, who has his coffee can of\nmarbles emptied on the bed. The NOISE from the party in the", "INT. FRONT ROOM - DAY\n\nSuzie is holding the door open while Gideon is carried in by\nJunior and Babe Brother. Gideon is led to a chair. He still\nlooks awful.", "He snores louder. She opens the window and pulls back the\ncover. The cold air makes him draw up. On walking out, Linda\nsays in a rather hurt voice:", "INT. BEDROOM - DAY\n\nSuzie bursts into the room and then moves very slowly to\nGideon, who is sitting on the bed out of breath.", "Gideon comes in walking very slowly, holding his plate out.\nEveryone is shocked. Gideon is completely unaware of the\nperiod that he has been sick.", "Pat is sitting at the blood-stained table unable to move. She\nis PANTING, sweating, and holding her stomach. Linda is\ncaught between trying to help Suzie and attending to Pat.", "Herman is a dried-up man with nothing, not even a shadow. He\nhas a racking COUGH.\n\nINT. FRONT ROOM - DAY", "Harry is seated in the middle. The composition hints at The\nLast Supper.\n\nINT. BEDROOM - NIGHT", "Sunny comes in carrying his night-clothes folded neatly. He\nstands next to Linda. Harry, in a mild but demanding way,\nushers Babe Brother out of the door.", "INT. GIDEON'S BEDROOM - DAY\n\nGideon is SNORING loudly. On the night-stand is a plate with\nfood left on it. Suzie feels his forehead." ], [ "Babe Brother, Junior, Pat, and Linda, Suzie run in. Suzie\ntries to see if he is alive. Babe Brother tries to give him", "THE END", "Harry turns his back on Marsh. Marsh stands there looking at\nHarry's profile. He turns and walks away.\n\nThe record ends. The Younger Woman and the Older Man wait for\nthe next record.", "Junior slowly becomes aware of the blood and his body\nrelaxes. He calmly releases the knife.\n\nJunior takes his mother's hand.", "Ahead of Gideon seems to be a puddle but as he approaches, he\ndiscovers that it is an abyss. The boy and the mule on the\nother side fade away. Everything FADES TO BLACK.", "Suzie's letters that are dated years ago. In one of the\nletters, he finds a picture of a man standing behind a\nplough. \"Uncle Joe after Ella's death\" is written on the", "Linda are the last ones out. Babe Brother takes a long look\nin the direction of Harry as Linda pulls him out. She slams\nthe door.", "Henry. Oh, this is my wife, Esme.\n\tMy first wife Lulie died.", "Pat is sitting at the blood-stained table unable to move. She\nis PANTING, sweating, and holding her stomach. Linda is\ncaught between trying to help Suzie and attending to Pat.", "Harry is trying to raise himself from the floor. He pauses\nfor a moment and then collapses. Harry is in a lot of pain.\nHarry's body contorts and then remains still.", "Everyone is frozen. Babe Brother and Linda remain asleep. The\nrocking caused by the earthquake doesn't wake them.", "Hattie goes over and pulls the blanket back. Okra, M.C. and\nHerman hurry over to take a quick glance. They huddle behind\nHattie, peeping over her shoulder.", "MARSH \n\tThere is something that I always\n\twanted to know. Tell me, how did\n\tthose boys die?\n\n\t\t\tHARRY \n\tNow who are we talking about?", "Babe Brother stares down at Harry and then goes slowly back\ninto the living room. Pat is on the phone dialing the\nparamedics. Everyone stands around Harry.\n\nINT. KITCHEN - DAY", "Harry, Babe Brother and Linda come in after staying out all\nnight. Linda looks as though she is about to fall asleep\nstanding up. She awakes and looks at Harry. There is dislike", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "Close to tears, she turns and with exaggerated care, puts the\nspoon down and gently puts Sunny in a chair. She starts to\nuntie his shoes. Sunny stares at her while she keeps wiping\nher eyes.", "Gideon is raking out the chicken coop. He puts the rake down\nand walks over to the garden and watches Suzie plant seeds\nfor a while.", "Harry's body lies there motionless.\n\nINT. FRONT ROOM - DAY\n\nThe Preacher is SNORING violently.", "Junior whispers to Babe Brother. They both start to laugh.\n\nSuzie looks up and finds them in a fit of laughter. A faint\nsmile appears on her face." ], [ "HARRY \n\tWhere we come from, you had to know\n\thow to act right. You had to know\n\thow to say yes sir and no sir. You\n\thad to know your place.", "Harry is seated in the middle. The composition hints at The\nLast Supper.\n\nINT. BEDROOM - NIGHT", "Harry is more interested in the boy, but Sunny doesn't want\nto come near Harry. It is Gideon's arm that is keeping him\nwithin close range of Harry.", "Harry is reading the Bible. He runs his finger over the print\nof the Bible. After reading the passage, he stares at the\nempty plate on the floor for what seems like a long time. He", "INT. HARRY'S BEDROOM - MORNING", "INT. HARRY'S BEDROOM - MORNING", "INT. BEDROOM / EXT. YARD - NIGHT\n\nHarry is sitting by the bed, just visible through the window.\nHe seems restless.", "HARRY \n\tLet us walk awhile. I grow weary\n\twhen I sit still too long.\n\nBabe Brother's car stops in an orchard-like area.", "INT. HARRY'S BEDROOM - DAY", "INT. BEDROOM - EARLY MORNING\n\nHarry is just waking up. He listens to the voices of Suzie\nand Gideon as they get ready for church.", "Harry is wiping off his face with a washcloth. He stares at\nhimself in the mirror for a long time. The sudden sound of", "Harry is trying to raise himself from the floor. He pauses\nfor a moment and then collapses. Harry is in a lot of pain.\nHarry's body contorts and then remains still.", "Harry becomes aware of Mrs. Baker's stare. He comes to\nhimself and smiles at her.\n\nINT. GIDEON'S KITCHEN - DAY", "INT. HARRY'S ROOM - DAY", "Harry comes in and Hattie and Suzie stop talking. Harry is\naware that he was the subject. The SOUND of the boy next door\nplaying his horn is heard.", "Harry is with a group of people. Marsh tries to get Harry's\nattention.", "Junior stares at Harry. Harry returns Junior's stare and\nJunior finds himself embarrassed. Junior looks down at his\npants leg and attempts to fix the crease in his pants by", "Harry takes his knife, a crab apple switch, out. It has a\nrabbit foot attached to it. Harry cleans his fingernail with\nthe knife. Sunny is interested in the rabbit foot. He reaches\nfor the knife.", "Sunny steps around the bush. Harry looks at Sunny with such\nconcentration that Sunny takes a step backward as if getting\nready to defend himself.", "Harry sees that it is safe to leave. He sees Sunny sweeping\nin Gideon's room. Gideon is sound asleep. Sunny is sweeping\naround the bed.\n\nINT. KITCHEN - DAY" ], [ "Marsh and Harry are getting quite loud in their argument. It\nhas become a kind of controlled anger.", "HARRY \n\tYou can certainly tell how old you\n\tare, my dear.\n\nHattie is angered.", "There is obvious hostility in Junior's tone. Harry senses\nJunior's hostility and chooses to ignore it.", "Sunny, playing with the broom, accidentally touches Harry's\nshoe with it. Harry hides his anger about being touched with\nthe broom. Harry takes the broom from Sunny and spits on the\nbottom of it.", "Harry, Babe Brother and Linda come in after staying out all\nnight. Linda looks as though she is about to fall asleep\nstanding up. She awakes and looks at Harry. There is dislike", "Junior stares at Harry. Harry returns Junior's stare and\nJunior finds himself embarrassed. Junior looks down at his\npants leg and attempts to fix the crease in his pants by", "Harry moves out of her way to let her go by. Hattie doesn't\neven give him a glance. Harry continues to look at her as she\ndisappears into Gideon's room.", "Harry is more interested in the boy, but Sunny doesn't want\nto come near Harry. It is Gideon's arm that is keeping him\nwithin close range of Harry.", "The RATTLING of pots and dishes starts suddenly. Harry's body\nstarts to sway gently as if he were about to get up.", "Hattie has started her nervous twitch again. She is so mad\nthat she bites her lip to keep from exploding.", "Harry becomes aware of Mrs. Baker's stare. He comes to\nhimself and smiles at her.\n\nINT. GIDEON'S KITCHEN - DAY", "Marsh sits in a chair opposite Harry. Babe Brother stands\nbehind Harry. Harry, knowing that Marsh is going to bring up\nunpleasant things of the past, feels the need to get rid of\nBabe Brother.", "Hattie enters Harry's room. She goes through his things. She\nreads one of his letters. As she walks over to the window\nreading his letter, she steps on the plate, cracking it.", "Hattie is reading Harry's letters when he appears behind her.\nHattie turns but is not surprised or concerned about Harry.\nShe hands him back his letters, looks at him for a moment and\ngoes. Harry looks down at the cracked dish.", "INT. FRONT ROOM - DAY\n\nHarry sadly gets up. He looks at Babe Brother. Linda steps in\nfront of Babe Brother.", "Harry is reading the Bible. He runs his finger over the print\nof the Bible. After reading the passage, he stares at the\nempty plate on the floor for what seems like a long time. He", "Harry slowly gets to his feet and goes in the other room to\nuse the phone. Linda watches him go. She is deep in thought.", "Harry is trying to raise himself from the floor. He pauses\nfor a moment and then collapses. Harry is in a lot of pain.\nHarry's body contorts and then remains still.", "Harry slowly walks along the rows in Suzie's garden. He\nstands by the chicken cage. Suddenly, the chickens start to\nrun about and CACKLE as if a dog had gotten in.", "INT. BEDROOM - EARLY MORNING\n\nHarry is just waking up. He listens to the voices of Suzie\nand Gideon as they get ready for church." ], [ "GIDEON \n\tWell, I would appreciate that.\n\nEXT. HOUSE - DAY\n\nGideon and Suzie are stepping off the porch. Harry is\nstanding behind the screen door.", "As Suzie goes to Gideon's room, she comes face to face with\nHarry. She doesn't say anything.\n\n\t\t\tHARRY\n\tI came to pick up my things.", "Harry looks through Gideon's and Suzie's private things. He\nlooks at the baby pictures that fill the mirror. He reads", "Suzie and Gideon are getting the food ready while Harry,\nwearing a shirt that looks like it is made of shiny\nsnakeskin, sits in a darkened corner of the room, cutting his\nfingernails with his knife.", "Suzie is sitting in a chair; her head is bent forward. Gideon\nis TALKING in his sleep. She awakes and nods off again. Harry\nsticks his head in.", "INT. FRONT ROOM - MORNING\n\nGideon is paging through the Bible as he stands by the door,\nwaiting for Suzie who is watering her plants. Harry comes in.", "The SOUND of Gideon and Suzie arriving makes them scurry to\nget the cards put away. Harry puts his knife away just as\nSuzie and Gideon enter. Linda feels a little embarrassed.", "INT. FRONT ROOM - DAY\n\nSuzie comes to the front door; she recognizes Harry right\naway. She invites him in. Harry stumps his feet on the porch\nseveral times and then enters.", "INT. BEDROOM - EARLY MORNING\n\nHarry is just waking up. He listens to the voices of Suzie\nand Gideon as they get ready for church.", "Gideon and Suzie get in Junior's car. Junior, Pat and Rhonda\nwave to Harry as the car pulls away.\n\nINT. LIVING HOUSE - DAY", "GIDEON \n\tHarry, good God Almighty, man! It's\n\tbeen, what, thirty years or more.\n\tSuzie, we haven't seen Harry since\n\twe left home.", "Harry flops down on the couch. Suzie sets a cup of coffee on\nthe table for Gideon. Harry looks up from sharpening his\nknife on a hand sharpening stone. He spits on it.", "Gideon is busy going around to everyone seeing if everything\nis okay. Gideon and Suzie have worked up a sweat trying to\nattend to everyone's needs.", "INT. HARRY'S BEDROOM - DAY\n\nSuzie knocks on the door. No one answers. She peeps in. No\none is in the room.", "The room is crowded with people. Suzie is putting Gideon's\nshirt on. Harry is leaning against the door. After having put", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "SUZIE \n\tHarry, I can't believe it is you.\n\tGideon, look who is here.", "Gideon smiles in appreciation. He pushes his plate out to\nPat, indicating that he wants it filled with chicken. Gideon\nis about to bite into the chicken when he notices Harry's", "Suzie opens the door. BABE BROTHER, Gideon's youngest son,\nabout 31, handsome, wearing an expensive suit, comes in,\nbeating the cold off of him and blowing in his hands.", "Suzie invites the church members in.\n\n\t\t\tPREACHER \n\tSister, we've come to see how you\n\twere doing. We came to ask if we\n\tcould pray over Gideon." ], [ "Marsh sits in a chair opposite Harry. Babe Brother stands\nbehind Harry. Harry, knowing that Marsh is going to bring up\nunpleasant things of the past, feels the need to get rid of\nBabe Brother.", "Harry turns his back on Marsh. Marsh stands there looking at\nHarry's profile. He turns and walks away.\n\nThe record ends. The Younger Woman and the Older Man wait for\nthe next record.", "Hattie is reading Harry's letters when he appears behind her.\nHattie turns but is not surprised or concerned about Harry.\nShe hands him back his letters, looks at him for a moment and\ngoes. Harry looks down at the cracked dish.", "Hattie enters Harry's room. She goes through his things. She\nreads one of his letters. As she walks over to the window\nreading his letter, she steps on the plate, cracking it.", "Harry looks at the baby picture pasted over the mirror. He\ntakes the picture of his children from his old black dusty\nwallet and compares the faces of his kids with those on the\nmirror. He talks to himself more than to Pat.", "Hattie pushes him away. The drink spills on him. She turns\nand walks away. He follows her.\n\nINT. KITCHEN - NIGHT", "her husband. She picks up an eyelet and Mr. Baker looks at\nher as if to say, keep your hands off. She gets the message\nand lays the eyelet back on the work bench.", "HARRY (CONT'D)\n\tHattie is a snake. That woman broke\n\tup so many homes and caused a lot\n\tof misery and because she calls\n\therself getting religion everything\n\tis put right.", "Linda rejoins the party. She moves through the crowd and sees\nBabe Brother standing next to Harry. She is disappointed and\nstays at a distance.", "Suzie's letters that are dated years ago. In one of the\nletters, he finds a picture of a man standing behind a\nplough. \"Uncle Joe after Ella's death\" is written on the", "Harry, Babe Brother and Linda come in after staying out all\nnight. Linda looks as though she is about to fall asleep\nstanding up. She awakes and looks at Harry. There is dislike", "Harry comes in and Hattie and Suzie stop talking. Harry is\naware that he was the subject. The SOUND of the boy next door\nplaying his horn is heard.", "Pat, who is pregnant, attempts to shake hands with Harry, but\nis forced to withdraw her hand because of a sudden pain in\nher stomach.", "MARSH, who is not too pleased to see Harry. OKRA TATE, an\nelderly black man with dark circles under his eyes, comes in\nlimping badly with an old Polaroid camera hanging from his", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "Harry becomes aware of Mrs. Baker's stare. He comes to\nhimself and smiles at her.\n\nINT. GIDEON'S KITCHEN - DAY", "to a woman he had a child by. The\n\tchild had died and he was writing\n\tto give her some comfort. Hattie\n\tdidn't know that deep down at the", "MRS. BAKER, a black woman in her early thirties, comes out on\nthe back porch. She shakes out a rug. She stops shaking the\nrug and stares at Harry.", "The good mood that Gideon was in dissolves quickly. Gideon\nwipes the soap off his face and throws the towel down. Suzie\nleaves. Gideon brushes his hair and adjusts his bathrobe.", "Harry is reading the Bible. He runs his finger over the print\nof the Bible. After reading the passage, he stares at the\nempty plate on the floor for what seems like a long time. He" ], [ "Harry is trying to raise himself from the floor. He pauses\nfor a moment and then collapses. Harry is in a lot of pain.\nHarry's body contorts and then remains still.", "Harry is reading the Bible. He runs his finger over the print\nof the Bible. After reading the passage, he stares at the\nempty plate on the floor for what seems like a long time. He", "Hattie is reading Harry's letters when he appears behind her.\nHattie turns but is not surprised or concerned about Harry.\nShe hands him back his letters, looks at him for a moment and\ngoes. Harry looks down at the cracked dish.", "Harry's body lies there motionless.\n\nINT. FRONT ROOM - DAY\n\nThe Preacher is SNORING violently.", "Harry looks sad and suddenly a lot older as if what she said\nhas taken away some of his life.", "Harry turns his back on Marsh. Marsh stands there looking at\nHarry's profile. He turns and walks away.\n\nThe record ends. The Younger Woman and the Older Man wait for\nthe next record.", "Harry opens the door and slowly walks in. Gideon is asleep.\nHarry picks up Gideon's pants from the back of the chair.\nGideon's false teeth fall to the floor.", "MARSH \n\tThere is something that I always\n\twanted to know. Tell me, how did\n\tthose boys die?\n\n\t\t\tHARRY \n\tNow who are we talking about?", "Harry is seated in the middle. The composition hints at The\nLast Supper.\n\nINT. BEDROOM - NIGHT", "Harry is wiping off his face with a washcloth. He stares at\nhimself in the mirror for a long time. The sudden sound of", "HARRY \n\t'Course, you could be right. Your\n\tsons are alive. All my sons are\n\tdead.\n\nOff-screen, Rodney starts to practice on his HORN.", "Harry looks at the baby picture pasted over the mirror. He\ntakes the picture of his children from his old black dusty\nwallet and compares the faces of his kids with those on the\nmirror. He talks to himself more than to Pat.", "HARRY \n\tTake your wife and child home, boy.\n\nBabe Brother seems all too happy to obey Harry. After Harry\ncloses the door behind Babe Brother, he turns with a wide\nsmile.", "Hattie enters Harry's room. She goes through his things. She\nreads one of his letters. As she walks over to the window\nreading his letter, she steps on the plate, cracking it.", "Marsh sits in a chair opposite Harry. Babe Brother stands\nbehind Harry. Harry, knowing that Marsh is going to bring up\nunpleasant things of the past, feels the need to get rid of\nBabe Brother.", "Gideon smiles in appreciation. He pushes his plate out to\nPat, indicating that he wants it filled with chicken. Gideon\nis about to bite into the chicken when he notices Harry's", "Harry takes his knife, a crab apple switch, out. It has a\nrabbit foot attached to it. Harry cleans his fingernail with\nthe knife. Sunny is interested in the rabbit foot. He reaches\nfor the knife.", "HARRY \n\tThose boys never did have good\n\tluck.\n\n\t\t\tMARSH \n\tYou damn right they didn't,\n\tespecially Emory, my cousin.", "HARRY \n\tOh. I'm sorry. Gideon, what do you\n\tsay?\n\n\t\t\tGIDEON \n\tWell, it's up to Suzie.", "INT. KITCHEN - DAY\n\nHarry's body lies on the floor. On the kitchen sink are\nSuzie's jars of cuttings, which have developed a maze of\nroots." ], [ "Junior slowly becomes aware of the blood and his body\nrelaxes. He calmly releases the knife.\n\nJunior takes his mother's hand.", "Junior stares at Harry. Harry returns Junior's stare and\nJunior finds himself embarrassed. Junior looks down at his\npants leg and attempts to fix the crease in his pants by", "Babe Brother is lost in his thoughts. He stares down at his\nhands resting on his knees. He picks up the telephone.\n\nINT. JUNIOR'S HOUSE - DAY", "Gideon and Suzie get in Junior's car. Junior, Pat and Rhonda\nwave to Harry as the car pulls away.\n\nINT. LIVING HOUSE - DAY", "Babe Brother hits Junior on the jaw, driving him backwards,\ncausing the overhead lamp to sway violently.\n\nINT. BEDROOM - NIGHT (RAIN)", "Suzie attempts to go see Gideon but Babe Brother and Junior\nturn her to the door. Going through the kitchen door, Junior\nintentionally turns his back to Babe Brother. Babe Brother\nstares at Junior's back as he walks ahead.", "EXT. JUNIOR'S HOUSE - DAY\n\nBabe Brother drives around the block past Junior's house.\n\nINT. JUNIOR'S HOUSE - DAY", "Junior whispers to Babe Brother. They both start to laugh.\n\nSuzie looks up and finds them in a fit of laughter. A faint\nsmile appears on her face.", "door to the kitchen separating them. Junior, the Preacher and\nPat are eating chicken. Linda is on the phone trying to get\nthrough to the morgue.", "As Harry walks towards the back door, he looks back at\nJunior.\n\nEXT. BACKYARD - EVENING", "JUNIOR \n\tYou dumb ass, it's Babe Brother.\n\n\t\t\tBABE BROTHER \n\tMy name is Sam. Samuel.", "Junior feels her stomach. Pat again tries to shake Harry's\nhand and again gets a jolt from her stomach. She finds a\nchair to sit down in.\n\nThe SOUND of rocks hitting the roof causes everyone to look\nup.", "Finally he sits reluctantly on the side of the bed and Sunny\ncomes over and sits next to him, trying to get his weary\nfather interested in his remote-control racing car.", "INT. FRONT ROOM - DAY\n\nPat, Linda and Junior are seated at the table. The suitcases\nare in the middle of the floor.", "The phone rings and Junior goes to pick it up. Linda's and\nPat's attention is focused on the phone. Junior hands the\nphone to Linda.", "Junior slips on the ladder and the wires touch. There is a\nbig spark. All the lights in the house go out. \n\nINT. BABE BROTHER'S KITCHEN - NIGHT", "EXT. HOUSE - MORNING\n\nBabe Brother and Junior help Suzie out of the car. She has\nher left hand bandaged. They are extremely exhausted. They\nwalk up the porch to find Harry holding the door open.", "JUNIOR\n\tI ought to break your damn neck.\n\nINT. DINING ROOM - NIGHT (RAIN)", "Junior. Babe Brother raises himself. The blood from Suzie's\ndripping from his head. Rhonda is trying to hold Sunny back.", "There is obvious hostility in Junior's tone. Harry senses\nJunior's hostility and chooses to ignore it." ], [ "Suzie helps him to take his wet coat off. She goes into the\nkitchen, puts his coat in front of the stove. The knife falls\nout. She picks it up and looks at it like she would throw it\naway but Babe Brother takes it.", "Suzie and Gideon are getting the food ready while Harry,\nwearing a shirt that looks like it is made of shiny\nsnakeskin, sits in a darkened corner of the room, cutting his\nfingernails with his knife.", "Junior slowly becomes aware of the blood and his body\nrelaxes. He calmly releases the knife.\n\nJunior takes his mother's hand.", "Babe Brother is preoccupied sharpening his knife with a\nsharpening stone. He is almost in a trance. Junior comes in\nrather angrily. Sunny goes and sits in the shadows in the\ndining room.", "Suzie comes in and grabs part of the knife with her hand and\nJunior's wrist with her other hand. Pat and Linda try to pull\nthe two men apart while pleading with Junior.", "Harry takes his knife, a crab apple switch, out. It has a\nrabbit foot attached to it. Harry cleans his fingernail with\nthe knife. Sunny is interested in the rabbit foot. He reaches\nfor the knife.", "Babe Brother and Junior are both reaching for the knife.\nJunior is on top of Babe Brother, who is stretched out on the\ntable trying to reach the knife. Junior grabs the knife first", "Harry is aware that Babe Brother is interested in the knife.\nAfter cleaning his last fingernail, he hands the knife to\nBabe Brother.\n\nHarry looks at the cards in his hand. He smiles to himself.", "Babe Brother, attempting to forcibly cut a piece of roast,\nslings Linda's arm away. His hand accidentally hits her in\nthe eye.", "and Babe Brother flips over to defend himself. Babe Brother\ngrabs Junior's wrist as Junior tries to push the knife\nagainst his throat.", "Junior stands over Harry's shoulder looking at him sharpening\nhis knife. Harry feels uncomfortable with Junior standing\nbehind him. Harry looks up at him.", "Harry gives the knife to Babe Brother and signals him to put\nit in his pocket.\n\nThe SOUND of the thunder has an unreal violence to it.", "GIDEON\n\tWhat happened to your hand?\n\n\t\t\tSUZIE\n\tI cut it on an old rusty knife.\n\nGideon is deeply concerned.", "HARRY \n\tWhose old piece of knife is this?\n\n\t\t\tHERMAN \n\tThat was my brother's knife.", "INT. KITCHEN - NIGHT (RAIN)\n\nSunny stands in the doorway watching his father sharpen his\nknife that he got from Harry. Babe Brother is unaware that\nhis son is watching him.", "Harry picks up an old cigar box that falls opens. Dice,\nshotgun shells, some spent .38 slugs and an old rusty knife,\na crab apple switch, land on the floor. Harry picks up the\nknife.", "Harry flops down on the couch. Suzie sets a cup of coffee on\nthe table for Gideon. Harry looks up from sharpening his\nknife on a hand sharpening stone. He spits on it.", "The SOUND of Gideon and Suzie arriving makes them scurry to\nget the cards put away. Harry puts his knife away just as\nSuzie and Gideon enter. Linda feels a little embarrassed.", "Harry has his back to the camera, sitting in a chair facing a\nwall. He is naked from the waist up. An empty plate is placed\nnot too far from where he is sitting. He is cutting an apple.\nHe licks the blade of his knife.", "room and he wouldn't stop drinking.\n\tHe started talking about the old\n\tdays and he went mad. He pulled his\n\tknife and I got to mine first. The" ], [ "Babe Brother and Junior are both reaching for the knife.\nJunior is on top of Babe Brother, who is stretched out on the\ntable trying to reach the knife. Junior grabs the knife first", "Junior stares at Harry. Harry returns Junior's stare and\nJunior finds himself embarrassed. Junior looks down at his\npants leg and attempts to fix the crease in his pants by", "and Babe Brother flips over to defend himself. Babe Brother\ngrabs Junior's wrist as Junior tries to push the knife\nagainst his throat.", "Junior hands Harry the newspaper. Harry puts the paper under\nhis foot and trims his toenails with it. Harry is aware of\nJunior standing over him.", "Babe Brother's eyes are rolled to the back. Junior's eyes are\nhuge; he has an animal look on his face. The SOUND of\nstruggling people breathing heavily is amplified. The pool of\nblood on the table grows larger.", "Junior stands over Harry's shoulder looking at him sharpening\nhis knife. Harry feels uncomfortable with Junior standing\nbehind him. Harry looks up at him.", "Junior struggle to lift Gideon. They almost stumble at the\ndoor. Harry is left standing in the room alone.", "JUNIOR \n\tYou dumb ass, it's Babe Brother.\n\n\t\t\tBABE BROTHER \n\tMy name is Sam. Samuel.", "The phone rings and Junior goes to pick it up. Linda's and\nPat's attention is focused on the phone. Junior hands the\nphone to Linda.", "JUNIOR \n\tRoll down the window and let me\n\ttalk to you.\n\nBabe Brother only stares at him. Junior gets more violent and\nstarts to shake the car.", "There is obvious hostility in Junior's tone. Harry senses\nJunior's hostility and chooses to ignore it.", "Babe Brother is lost in his thoughts. He stares down at his\nhands resting on his knees. He picks up the telephone.\n\nINT. JUNIOR'S HOUSE - DAY", "Babe Brother hits Junior on the jaw, driving him backwards,\ncausing the overhead lamp to sway violently.\n\nINT. BEDROOM - NIGHT (RAIN)", "Babe Brother attempts to get up but Junior pushes him down.\n\n\t\t\tJUNIOR \n\tSit down!", "Junior. Babe Brother raises himself. The blood from Suzie's\ndripping from his head. Rhonda is trying to hold Sunny back.", "Suzie comes in and grabs part of the knife with her hand and\nJunior's wrist with her other hand. Pat and Linda try to pull\nthe two men apart while pleading with Junior.", "Suzie attempts to go see Gideon but Babe Brother and Junior\nturn her to the door. Going through the kitchen door, Junior\nintentionally turns his back to Babe Brother. Babe Brother\nstares at Junior's back as he walks ahead.", "Junior whispers to Babe Brother. They both start to laugh.\n\nSuzie looks up and finds them in a fit of laughter. A faint\nsmile appears on her face.", "Junior slowly becomes aware of the blood and his body\nrelaxes. He calmly releases the knife.\n\nJunior takes his mother's hand.", "Babe Brother sits in his car with the windows up. Junior\ntries to talk to him but Babe Brother will not roll down the\nwindows. He just stares at Junior, who is getting angry." ], [ "Suzie opens the door. BABE BROTHER, Gideon's youngest son,\nabout 31, handsome, wearing an expensive suit, comes in,\nbeating the cold off of him and blowing in his hands.", "Babe Brother is surrounded by Linda and Sunny who has his\neyes fixed on Harry. They move as one heading for the\nbedroom.\n\nHarry seems a lot older. He sadly walks towards the kitchen\nwith his coffee cup.", "Babe Brother is preoccupied sharpening his knife with a\nsharpening stone. He is almost in a trance. Junior comes in\nrather angrily. Sunny goes and sits in the shadows in the\ndining room.", "HARRY \n\tWhose old piece of knife is this?\n\n\t\t\tHERMAN \n\tThat was my brother's knife.", "Babe Brother's eyes are rolled to the back. Junior's eyes are\nhuge; he has an animal look on his face. The SOUND of\nstruggling people breathing heavily is amplified. The pool of\nblood on the table grows larger.", "Babe Brother turns and starts hurrying back before Harry can\nobject. He walks slowly after Babe Brother who is doubling\nthe distance between himself and Harry as he runs through the\norchard to his car. Harry stops and looks around.", "Babe Brother agrees but his thoughts are obviously somewhere\nelse. Harry studies his hand and looks at Babe Brother; he\nputs down his hand. Babe Brother wins and is quite pleased.\nThe next series of hands are won by Babe Brother.", "Marsh sits in a chair opposite Harry. Babe Brother stands\nbehind Harry. Harry, knowing that Marsh is going to bring up\nunpleasant things of the past, feels the need to get rid of\nBabe Brother.", "Babe Brother is lost in his thoughts. He stares down at his\nhands resting on his knees. He picks up the telephone.\n\nINT. JUNIOR'S HOUSE - DAY", "BABE BROTHER \n\tHe will be alright.\n\nThe camera follows Babe Brother. He passes Gideon's room\nwhere Gideon is asleep, snoring loudly.", "Gideon sticks his head over the fence.\n\n\t\t\tGIDEON \n\tWell, well, look who is taking up\n\tall the sunshine. Brother John, how\n\tare you doing?", "Babe Brother is in a corner all by himself. He looks down\nwhen Pat asks the question about Harry.\n\nA loud CRASHING SOUND comes from the kitchen.\n\nINT. KITCHEN - DAY", "Linda gives Babe Brother a jab with her elbow. His hand\nreaches out to Gideon.\n\nINT. FRONT ROOM - NIGHT", "GIDEON \n\tI tell you, I feel like a ghost.\n\nHarry signals Babe Brother to come over to him.", "and Babe Brother flips over to defend himself. Babe Brother\ngrabs Junior's wrist as Junior tries to push the knife\nagainst his throat.", "Babe Brother hurries out. M.C., Herman and Okra flop down in\nchairs and on the bed and look at their watches.", "Babe Brother hits Junior on the jaw, driving him backwards,\ncausing the overhead lamp to sway violently.\n\nINT. BEDROOM - NIGHT (RAIN)", "Harry is aware that Babe Brother is interested in the knife.\nAfter cleaning his last fingernail, he hands the knife to\nBabe Brother.\n\nHarry looks at the cards in his hand. He smiles to himself.", "Harry, Babe Brother and Linda come in after staying out all\nnight. Linda looks as though she is about to fall asleep\nstanding up. She awakes and looks at Harry. There is dislike", "Babe Brother stares down at Harry and then goes slowly back\ninto the living room. Pat is on the phone dialing the\nparamedics. Everyone stands around Harry.\n\nINT. KITCHEN - DAY" ], [ "JUNIOR \n\tYou dumb ass, it's Babe Brother.\n\n\t\t\tBABE BROTHER \n\tMy name is Sam. Samuel.", "Gideon smiles in appreciation. He pushes his plate out to\nPat, indicating that he wants it filled with chicken. Gideon\nis about to bite into the chicken when he notices Harry's", "Suzie and Gideon are getting the food ready while Harry,\nwearing a shirt that looks like it is made of shiny\nsnakeskin, sits in a darkened corner of the room, cutting his\nfingernails with his knife.", "Harry is aware that Babe Brother is interested in the knife.\nAfter cleaning his last fingernail, he hands the knife to\nBabe Brother.\n\nHarry looks at the cards in his hand. He smiles to himself.", "The Preacher turns a page in the Bible. Gideon has his mouth\nopen like a fish trying to get air. The Choir continues to", "GIDEON \n\tMy daddy called me boy up to the\n\ttime he died. I was always boy to\n\thim.", "Babe Brother agrees but his thoughts are obviously somewhere\nelse. Harry studies his hand and looks at Babe Brother; he\nputs down his hand. Babe Brother wins and is quite pleased.\nThe next series of hands are won by Babe Brother.", "LINDA \n\tAnd what lesson have we learned\n\tfrom all of this, Babe Br... Sam...\n\tI mean Samuel?", "Suzie opens the door. BABE BROTHER, Gideon's youngest son,\nabout 31, handsome, wearing an expensive suit, comes in,\nbeating the cold off of him and blowing in his hands.", "Gideon is sitting on the edge of his bed looking through the\nscraps of leftovers on his plate. He puts his pants on. As he\nmoves about, his joints SNAP and POP. He picks up the empty\nplate.", "Gideon is shaving with a straight razor and humming to\nhimself, obviously in a good mood. Suzie sticks her head in.", "Junior stares at Harry. Harry returns Junior's stare and\nJunior finds himself embarrassed. Junior looks down at his\npants leg and attempts to fix the crease in his pants by", "HARRY \n\tYou still call him boy. You call\n\tBabe Brother boy in front of his\n\twife and son.", "GIDEON \n\tI tell you, I feel like a ghost.\n\nHarry signals Babe Brother to come over to him.", "GIDEON, a strongly built elderly black man, is sitting at a\ntable. On the table is a large bowl of fruit. A crocheted", "Marsh sits in a chair opposite Harry. Babe Brother stands\nbehind Harry. Harry, knowing that Marsh is going to bring up\nunpleasant things of the past, feels the need to get rid of\nBabe Brother.", "The Preacher is sleep in his chair, SNORING loudly. Babe\nBrother and Linda are sitting together, talking in almost a\nwhisper. Sunny is asleep in his lap. Babe Brother is finding\nit difficult to apologize for his recent behavior.", "Sunny is on the floor near his mother. Every time she move,\nhe follows her. Harry notices Sunny has his shoes on the\nwrong foot and adds in a sarcastic way:", "INT. GIDEON'S BEDROOM - DAY\n\nPat is looking at a book of baby names. Harry passes the door\nand stops.", "Old John taps on the bench with his pipe. The man lying on\nthe bench stirs and gives Old John a wave to indicate that he\nis alright. Old John slowly gets his cart moving again." ], [ "Gideon is raking out the chicken coop. He puts the rake down\nand walks over to the garden and watches Suzie plant seeds\nfor a while.", "Gideon is busy going around to everyone seeing if everything\nis okay. Gideon and Suzie have worked up a sweat trying to\nattend to everyone's needs.", "While at the counter, Gideon turns and looks around at the\nprices of different items. Suzie brings her plants and puts\nthem on the counter.", "GIDEON \n\tI have to feed the chickens before\n\tthey wake everybody up.\n\n\t\t\tSUZIE \n\tYou stay inside. I will see to\n\tthem.", "Suzie raises the window shade and is shocked to see the state\nthat Gideon is in.\n\n\t\t\tSUZIE \n\tOh my Lord!\n\nINT. BEDROOM - DAY", "GIDEON \n\tSuzie, I'm hungry.\n\nINT. FRONT ROOM - NIGHT (RAIN)", "Suzie looks at him and lifts the covers at the foot of the\nbed. Gideon's feet are resting on dead leaves.", "GIDEON \n\tSuzie.\n\nINT. KITCHEN - NIGHT (RAIN) (LATER)", "Suzie is looking at new young plants. She gives the\nvegetables a thorough going-over.\n\nGideon is standing in line waiting to place his order.", "Suzie and Gideon are sitting at the dining room table. Suzie\nis cutting the dead leaves off of a small potted plant.", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "Suzie is sitting in front of a table full of jars. Each jar\nhas a shoot and is half-filled with water. Gideon is on his", "GIDEON \n\tWell, I would appreciate that.\n\nEXT. HOUSE - DAY\n\nGideon and Suzie are stepping off the porch. Harry is\nstanding behind the screen door.", "Suzie and Gideon are getting the food ready while Harry,\nwearing a shirt that looks like it is made of shiny\nsnakeskin, sits in a darkened corner of the room, cutting his\nfingernails with his knife.", "Gideon is shaving with a straight razor and humming to\nhimself, obviously in a good mood. Suzie sticks her head in.", "Gideon is lying in bed. Suzie gets in beside him.\n\n\t\t\tGIDEON \n\tYour feet are cold.\n\n\t\t\tSUZIE \n\tGo back to sleep.", "INT. FRONT ROOM - DAY\n\nGideon and Suzie are in silhouette against the window.", "Gideon in the background in the kitchen washing off the\nvegetables. Suzie and HATTIE are sitting at the table. Harry", "INT. GIDEON'S BEDROOM - DAY\n\nGideon is SNORING loudly. On the night-stand is a plate with\nfood left on it. Suzie feels his forehead.", "M.C. gives Gideon a bear hug, lifting him off his feet. On\nseeing Suzie, he drops Gideon and rushes over to lift her up\noff her feet.\n\nEXT. STREET - DAY" ], [ "Gideon is busy going around to everyone seeing if everything\nis okay. Gideon and Suzie have worked up a sweat trying to\nattend to everyone's needs.", "Gideon and Suzie get in Junior's car. Junior, Pat and Rhonda\nwave to Harry as the car pulls away.\n\nINT. LIVING HOUSE - DAY", "GIDEON \n\tSuzie.\n\nINT. KITCHEN - NIGHT (RAIN) (LATER)", "Gideon is lying in bed. Suzie gets in beside him.\n\n\t\t\tGIDEON \n\tYour feet are cold.\n\n\t\t\tSUZIE \n\tGo back to sleep.", "M.C. gives Gideon a bear hug, lifting him off his feet. On\nseeing Suzie, he drops Gideon and rushes over to lift her up\noff her feet.\n\nEXT. STREET - DAY", "INT. FRONT ROOM - DAY\n\nGideon and Suzie are in silhouette against the window.", "GIDEON \n\tSuzie, I'm hungry.\n\nINT. FRONT ROOM - NIGHT (RAIN)", "GIDEON \n\tWell, I would appreciate that.\n\nEXT. HOUSE - DAY\n\nGideon and Suzie are stepping off the porch. Harry is\nstanding behind the screen door.", "Gideon is raking out the chicken coop. He puts the rake down\nand walks over to the garden and watches Suzie plant seeds\nfor a while.", "Suzie looks at him and lifts the covers at the foot of the\nbed. Gideon's feet are resting on dead leaves.", "Suzie and Gideon are sitting at the dining room table. Suzie\nis cutting the dead leaves off of a small potted plant.", "Suzie raises the window shade and is shocked to see the state\nthat Gideon is in.\n\n\t\t\tSUZIE \n\tOh my Lord!\n\nINT. BEDROOM - DAY", "Suzie is sitting in a chair; her head is bent forward. Gideon\nis TALKING in his sleep. She awakes and nods off again. Harry\nsticks his head in.", "INT. BEDROOM - DAY\n\nSuzie bursts into the room and then moves very slowly to\nGideon, who is sitting on the bed out of breath.", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "Suzie opens the door. BABE BROTHER, Gideon's youngest son,\nabout 31, handsome, wearing an expensive suit, comes in,\nbeating the cold off of him and blowing in his hands.", "INT. FRONT ROOM - MORNING\n\nGideon is paging through the Bible as he stands by the door,\nwaiting for Suzie who is watering her plants. Harry comes in.", "INT. GIDEON'S BEDROOM - DAY\n\nGideon is SNORING loudly. On the night-stand is a plate with\nfood left on it. Suzie feels his forehead.", "INT. GIDEON'S BEDROOM - NIGHT (RAIN)\n\nGideon is slowly getting up. He looks around. He calls for\nSuzie. He slowly gets to his feet.", "Suzie and Gideon are getting the food ready while Harry,\nwearing a shirt that looks like it is made of shiny\nsnakeskin, sits in a darkened corner of the room, cutting his\nfingernails with his knife." ], [ "Harry becomes aware of Mrs. Baker's stare. He comes to\nhimself and smiles at her.\n\nINT. GIDEON'S KITCHEN - DAY", "Suzie knocks on the door. Harry comes to the door still\nbuttoning his shirt.\n\n\t\t\tSUZIE \n\tI have someone I want you to meet.", "Harry is seated in the middle. The composition hints at The\nLast Supper.\n\nINT. BEDROOM - NIGHT", "Harry moves out of her way to let her go by. Hattie doesn't\neven give him a glance. Harry continues to look at her as she\ndisappears into Gideon's room.", "INT. BEDROOM / EXT. YARD - NIGHT\n\nHarry is sitting by the bed, just visible through the window.\nHe seems restless.", "Junior stares at Harry. Harry returns Junior's stare and\nJunior finds himself embarrassed. Junior looks down at his\npants leg and attempts to fix the crease in his pants by", "INT. FRONT ROOM - DAY\n\nSuzie comes to the front door; she recognizes Harry right\naway. She invites him in. Harry stumps his feet on the porch\nseveral times and then enters.", "Harry is helping Herman to his feet. Herman starts to cough.\nThey come over and join the rest of the crowd at the table.", "Harry sees that it is safe to leave. He sees Sunny sweeping\nin Gideon's room. Gideon is sound asleep. Sunny is sweeping\naround the bed.\n\nINT. KITCHEN - DAY", "Harry is with a group of people. Marsh tries to get Harry's\nattention.", "Harry is wiping off his face with a washcloth. He stares at\nhimself in the mirror for a long time. The sudden sound of", "Harry is reading the Bible. He runs his finger over the print\nof the Bible. After reading the passage, he stares at the\nempty plate on the floor for what seems like a long time. He", "Harry slowly gets to his feet and goes in the other room to\nuse the phone. Linda watches him go. She is deep in thought.", "Harry is trying to raise himself from the floor. He pauses\nfor a moment and then collapses. Harry is in a lot of pain.\nHarry's body contorts and then remains still.", "Harry is more interested in the boy, but Sunny doesn't want\nto come near Harry. It is Gideon's arm that is keeping him\nwithin close range of Harry.", "Gideon smiles in appreciation. He pushes his plate out to\nPat, indicating that he wants it filled with chicken. Gideon\nis about to bite into the chicken when he notices Harry's", "Harry opens the door and slowly walks in. Gideon is asleep.\nHarry picks up Gideon's pants from the back of the chair.\nGideon's false teeth fall to the floor.", "Sunny steps around the bush. Harry looks at Sunny with such\nconcentration that Sunny takes a step backward as if getting\nready to defend himself.", "HARRY \n\tLet us walk awhile. I grow weary\n\twhen I sit still too long.\n\nBabe Brother's car stops in an orchard-like area.", "HARRY \n\tLet me share something with you.\n\nHarry stops and thinks for a while." ], [ "Marsh sits in a chair opposite Harry. Babe Brother stands\nbehind Harry. Harry, knowing that Marsh is going to bring up\nunpleasant things of the past, feels the need to get rid of\nBabe Brother.", "Harry turns his back on Marsh. Marsh stands there looking at\nHarry's profile. He turns and walks away.\n\nThe record ends. The Younger Woman and the Older Man wait for\nthe next record.", "Marsh and Harry are getting quite loud in their argument. It\nhas become a kind of controlled anger.", "Suzie is sitting in a chair; her head is bent forward. Gideon\nis TALKING in his sleep. She awakes and nods off again. Harry\nsticks his head in.", "He snores louder. She opens the window and pulls back the\ncover. The cold air makes him draw up. On walking out, Linda\nsays in a rather hurt voice:", "Harry looks at the baby picture pasted over the mirror. He\ntakes the picture of his children from his old black dusty\nwallet and compares the faces of his kids with those on the\nmirror. He talks to himself more than to Pat.", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "Zenia Dent, an elderly white woman with a strong Southern\naccent, arrives with her husband, Howard Dent, a black man,\nwho is in a wheelchair. The Twins and Howard are the center\nof attention.", "Hattie is reading Harry's letters when he appears behind her.\nHattie turns but is not surprised or concerned about Harry.\nShe hands him back his letters, looks at him for a moment and\ngoes. Harry looks down at the cracked dish.", "Pat, who is pregnant, attempts to shake hands with Harry, but\nis forced to withdraw her hand because of a sudden pain in\nher stomach.", "On seeing Suzie, Sunny jumps up, knocking the can of marbles\nover the kitchen floor. He runs to give Suzie a hug. Sunny\nwants to touch her bandaged hand, but Linda stops him.", "Linda is reading a book to Sunny, who has his coffee can of\nmarbles emptied on the bed. The NOISE from the party in the", "Hattie pushes him away. The drink spills on him. She turns\nand walks away. He follows her.\n\nINT. KITCHEN - NIGHT", "Linda is about thirty years old and materially oriented like\nher husband. She is wearing a conservatively cut business\ndress.", "Close to tears, she turns and with exaggerated care, puts the\nspoon down and gently puts Sunny in a chair. She starts to\nuntie his shoes. Sunny stares at her while she keeps wiping\nher eyes.", "Harry, Babe Brother and Linda come in after staying out all\nnight. Linda looks as though she is about to fall asleep\nstanding up. She awakes and looks at Harry. There is dislike", "M.C. and Okra come in wanting to take pictures. Marsh is\npretty mad about them intruding. M.C. sets the naked lamp in\nfront of Marsh, on the floor, almost between his legs.", "Before Okra can get his camera set to shoot, Marsh leaves.\nHarry smiles as if he had won a major victory. Herman flops\ndown in the empty chair and starts to COUGH.", "Gideon is raking out the chicken coop. He puts the rake down\nand walks over to the garden and watches Suzie plant seeds\nfor a while.", "her husband. She picks up an eyelet and Mr. Baker looks at\nher as if to say, keep your hands off. She gets the message\nand lays the eyelet back on the work bench." ], [ "THE END", "Harry turns his back on Marsh. Marsh stands there looking at\nHarry's profile. He turns and walks away.\n\nThe record ends. The Younger Woman and the Older Man wait for\nthe next record.", "Babe Brother, Junior, Pat, and Linda, Suzie run in. Suzie\ntries to see if he is alive. Babe Brother tries to give him", "Linda are the last ones out. Babe Brother takes a long look\nin the direction of Harry as Linda pulls him out. She slams\nthe door.", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "Junior slowly becomes aware of the blood and his body\nrelaxes. He calmly releases the knife.\n\nJunior takes his mother's hand.", "Ahead of Gideon seems to be a puddle but as he approaches, he\ndiscovers that it is an abyss. The boy and the mule on the\nother side fade away. Everything FADES TO BLACK.", "MARSH \n\tThere is something that I always\n\twanted to know. Tell me, how did\n\tthose boys die?\n\n\t\t\tHARRY \n\tNow who are we talking about?", "Suzie, Junior and Pat are standing around Gideon's bed. He is\nin a room full of old veterans who are apparently nearing the\nend.", "Suzie looks at him and lifts the covers at the foot of the\nbed. Gideon's feet are resting on dead leaves.", "Henry. Oh, this is my wife, Esme.\n\tMy first wife Lulie died.", "Babe Brother is surrounded by Linda and Sunny who has his\neyes fixed on Harry. They move as one heading for the\nbedroom.\n\nHarry seems a lot older. He sadly walks towards the kitchen\nwith his coffee cup.", "Suzie's letters that are dated years ago. In one of the\nletters, he finds a picture of a man standing behind a\nplough. \"Uncle Joe after Ella's death\" is written on the", "Pat is sitting at the blood-stained table unable to move. She\nis PANTING, sweating, and holding her stomach. Linda is\ncaught between trying to help Suzie and attending to Pat.", "HERMAN\n\tHattie, you can be so mean.\n\n\t\t\tGIDEON\n\tHow long has he been dead?\n\n\t\t\tSUZIE\n\tSince this morning.", "There is only one hen left in the coop. The garden is full of\nweeds. The sunflowers are bent by the force of the wind. A\nbag is thrown over the fence.", "Close to tears, she turns and with exaggerated care, puts the\nspoon down and gently puts Sunny in a chair. She starts to\nuntie his shoes. Sunny stares at her while she keeps wiping\nher eyes.", "Junior. Babe Brother raises himself. The blood from Suzie's\ndripping from his head. Rhonda is trying to hold Sunny back.", "Junior whispers to Babe Brother. They both start to laugh.\n\nSuzie looks up and finds them in a fit of laughter. A faint\nsmile appears on her face.", "Harry, Babe Brother and Linda come in after staying out all\nnight. Linda looks as though she is about to fall asleep\nstanding up. She awakes and looks at Harry. There is dislike" ], [ "Suzie looks at him and lifts the covers at the foot of the\nbed. Gideon's feet are resting on dead leaves.", "Gideon is busy going around to everyone seeing if everything\nis okay. Gideon and Suzie have worked up a sweat trying to\nattend to everyone's needs.", "Gideon is lying in bed. Suzie gets in beside him.\n\n\t\t\tGIDEON \n\tYour feet are cold.\n\n\t\t\tSUZIE \n\tGo back to sleep.", "Suzie raises the window shade and is shocked to see the state\nthat Gideon is in.\n\n\t\t\tSUZIE \n\tOh my Lord!\n\nINT. BEDROOM - DAY", "Suzie and Gideon are sitting at the dining room table. Suzie\nis cutting the dead leaves off of a small potted plant.", "INT. BEDROOM - DAY\n\nSuzie bursts into the room and then moves very slowly to\nGideon, who is sitting on the bed out of breath.", "GIDEON \n\tSuzie.\n\nINT. KITCHEN - NIGHT (RAIN) (LATER)", "Suzie opens the door. BABE BROTHER, Gideon's youngest son,\nabout 31, handsome, wearing an expensive suit, comes in,\nbeating the cold off of him and blowing in his hands.", "GIDEON \n\tSuzie, I'm hungry.\n\nINT. FRONT ROOM - NIGHT (RAIN)", "Suzie is sitting in a chair; her head is bent forward. Gideon\nis TALKING in his sleep. She awakes and nods off again. Harry\nsticks his head in.", "INT. FRONT ROOM - DAY\n\nGideon and Suzie are in silhouette against the window.", "Gideon is raking out the chicken coop. He puts the rake down\nand walks over to the garden and watches Suzie plant seeds\nfor a while.", "Gideon and Suzie get in Junior's car. Junior, Pat and Rhonda\nwave to Harry as the car pulls away.\n\nINT. LIVING HOUSE - DAY", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "Suzie and Gideon are getting the food ready while Harry,\nwearing a shirt that looks like it is made of shiny\nsnakeskin, sits in a darkened corner of the room, cutting his\nfingernails with his knife.", "M.C. gives Gideon a bear hug, lifting him off his feet. On\nseeing Suzie, he drops Gideon and rushes over to lift her up\noff her feet.\n\nEXT. STREET - DAY", "The room is crowded with people. Suzie is putting Gideon's\nshirt on. Harry is leaning against the door. After having put", "INT. GIDEON'S BEDROOM - DAY\n\nGideon is SNORING loudly. On the night-stand is a plate with\nfood left on it. Suzie feels his forehead.", "GIDEON \n\tWell, I would appreciate that.\n\nEXT. HOUSE - DAY\n\nGideon and Suzie are stepping off the porch. Harry is\nstanding behind the screen door.", "Suzie helps Gideon to undress. Gideon loses hit balance but\ncatches himself on the side of the bed." ], [ "Suzie puts her hand through the window. The Nurse stands up\nto get a better look. The Nurse takes the wad out of her\nhand. The bleeding has stopped.", "A woman is in a squatting position. Suzie and her aide are\nholding the woman by the arms.\n\nEXT. JUNIOR'S HOUSE - DAY", "Suzie,is bent over a plant that she is tying to a stick. She\nlooks up and sees the sack on the fence. A smile appears on\nher face. She goes over to the fence.", "Suzie raises the window shade and is shocked to see the state\nthat Gideon is in.\n\n\t\t\tSUZIE \n\tOh my Lord!\n\nINT. BEDROOM - DAY", "Pat is sitting at the blood-stained table unable to move. She\nis PANTING, sweating, and holding her stomach. Linda is\ncaught between trying to help Suzie and attending to Pat.", "GIDEON\n\tWhat did you put on it?\n\n\t\t\tSUZIE\n\tIt's healing now.", "Suzie helps him to take his wet coat off. She goes into the\nkitchen, puts his coat in front of the stove. The knife falls\nout. She picks it up and looks at it like she would throw it\naway but Babe Brother takes it.", "On seeing Suzie, Sunny jumps up, knocking the can of marbles\nover the kitchen floor. He runs to give Suzie a hug. Sunny\nwants to touch her bandaged hand, but Linda stops him.", "It is hard to see the woman giving birth. There are people\nblocking the view of the camera. Suzie is facing the camera\nand the woman has her back to the camera.\n\n\t\t\tMOTHER\n\tIt hurts.", "EXT. HOUSE - MORNING\n\nBabe Brother and Junior help Suzie out of the car. She has\nher left hand bandaged. They are extremely exhausted. They\nwalk up the porch to find Harry holding the door open.", "Junior. Babe Brother raises himself. The blood from Suzie's\ndripping from his head. Rhonda is trying to hold Sunny back.", "Suzie comes in and grabs part of the knife with her hand and\nJunior's wrist with her other hand. Pat and Linda try to pull\nthe two men apart while pleading with Junior.", "Suzie's letters that are dated years ago. In one of the\nletters, he finds a picture of a man standing behind a\nplough. \"Uncle Joe after Ella's death\" is written on the", "SUZIE \n\tYou stay back. You might cut your\n\tfingers.\n\nSuzie looks down sadly at her broken tea pot.", "Blood drips from Suzie's hand to the table, forming a pool\nunder Babe Brother's head.\n\n\t\t\tPAT \n\tStop it! Stop it! Look what you are\n\tdoing!", "EXT. BACKYARD - DAY\n\nA SLOW CLOSE UP DOLLY SHOT OF SUZIE'S HANDS DROPPING SEEDS IN\nTHE GROUND.", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "GIDEON\n\tWhat happened to your hand?\n\n\t\t\tSUZIE\n\tI cut it on an old rusty knife.\n\nGideon is deeply concerned.", "NURSE \n\tWhat sort of emergency are you here\n\tfor?\n\n\t\t\tSUZIE \n\tI cut my hand.", "INT. HARRY'S BEDROOM - DAY\n\nSuzie knocks on the door. No one answers. She peeps in. No\none is in the room." ], [ "DISSOLVE:\n\nINT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN)", "Babe Brother stares down at Harry and then goes slowly back\ninto the living room. Pat is on the phone dialing the\nparamedics. Everyone stands around Harry.\n\nINT. KITCHEN - DAY", "LINDA \n\tYou are going to need some\n\tstitches. We better take her to the\n\temergency hospital.\n\nBabe Brother is shamefully calm now and very humble.", "More injured people come but in spite of their condition they\nare told that they have to wait. There is only standing room.\n\nJunior and Babe Brother are standing next to the wall.", "INT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN)", "INT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN)", "They find a seat all together.\n\n\t\t\t\t\t\t\tDISSOLVE:\n\nINT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN)", "Pat is sitting at the blood-stained table unable to move. She\nis PANTING, sweating, and holding her stomach. Linda is\ncaught between trying to help Suzie and attending to Pat.", "NURSE \n\tWhat sort of emergency are you here\n\tfor?\n\n\t\t\tSUZIE \n\tI cut my hand.", "The automatic doors open and Junior, Babe Brother and Suzie\nenter. There is a long line of people waiting at the\nregistration window as well as groups of people filling out\nforms. Other patients are seated and waiting patiently to see\nthe doctor.", "The room slowly fills with people and Babe Brother and Junior\noffer their seats to those there for medical care.\n\n\t\t\t\t\t\t\tDISSOLVE:", "Two PARAMEDICS work on Harry. One of the paramedics is a\nyoung Asian. The other is white with red hair. They listen", "INT. FRONT ROOM - DAY\n\nSuzie is holding the door open while Gideon is carried in by\nJunior and Babe Brother. Gideon is led to a chair. He still\nlooks awful.", "Skip is on the roof with his radio listening to rap music\nwhile his birds circle over head. From time to time he throws\na rock at them.\n\nINT. DELIVERY ROOM - DAY", "door to the kitchen separating them. Junior, the Preacher and\nPat are eating chicken. Linda is on the phone trying to get\nthrough to the morgue.", "Junior feels her stomach. Pat again tries to shake Harry's\nhand and again gets a jolt from her stomach. She finds a\nchair to sit down in.\n\nThe SOUND of rocks hitting the roof causes everyone to look\nup.", "The twin is holding her throat and PANTING like a fish out of\nwater. She is in a lot of pain. William, the twin brother, is\nstanding at the door with a tragic face.", "Suzie puts her hand through the window. The Nurse stands up\nto get a better look. The Nurse takes the wad out of her\nhand. The bleeding has stopped.", "The Nurse takes a deep breath. The Nurse glances up to notice\nthe blood stains on the back of Babe Brother head.", "Harry is helping Herman to his feet. Herman starts to cough.\nThey come over and join the rest of the crowd at the table." ], [ "As Suzie goes to Gideon's room, she comes face to face with\nHarry. She doesn't say anything.\n\n\t\t\tHARRY\n\tI came to pick up my things.", "SUZIE \n\tHarry, I can't believe it is you.\n\tGideon, look who is here.", "GIDEON \n\tWell, I would appreciate that.\n\nEXT. HOUSE - DAY\n\nGideon and Suzie are stepping off the porch. Harry is\nstanding behind the screen door.", "The SOUND of Gideon and Suzie arriving makes them scurry to\nget the cards put away. Harry puts his knife away just as\nSuzie and Gideon enter. Linda feels a little embarrassed.", "Harry looks through Gideon's and Suzie's private things. He\nlooks at the baby pictures that fill the mirror. He reads", "INT. FRONT ROOM - MORNING\n\nGideon is paging through the Bible as he stands by the door,\nwaiting for Suzie who is watering her plants. Harry comes in.", "Harry becomes aware of Mrs. Baker's stare. He comes to\nhimself and smiles at her.\n\nINT. GIDEON'S KITCHEN - DAY", "Suzie is sitting in a chair; her head is bent forward. Gideon\nis TALKING in his sleep. She awakes and nods off again. Harry\nsticks his head in.", "GIDEON \n\tHarry, good God Almighty, man! It's\n\tbeen, what, thirty years or more.\n\tSuzie, we haven't seen Harry since\n\twe left home.", "Gideon and Suzie get in Junior's car. Junior, Pat and Rhonda\nwave to Harry as the car pulls away.\n\nINT. LIVING HOUSE - DAY", "The room is crowded with people. Suzie is putting Gideon's\nshirt on. Harry is leaning against the door. After having put", "Suzie and Gideon are getting the food ready while Harry,\nwearing a shirt that looks like it is made of shiny\nsnakeskin, sits in a darkened corner of the room, cutting his\nfingernails with his knife.", "Harry moves out of her way to let her go by. Hattie doesn't\neven give him a glance. Harry continues to look at her as she\ndisappears into Gideon's room.", "INT. BEDROOM - EARLY MORNING\n\nHarry is just waking up. He listens to the voices of Suzie\nand Gideon as they get ready for church.", "Suzie raises the window shade and is shocked to see the state\nthat Gideon is in.\n\n\t\t\tSUZIE \n\tOh my Lord!\n\nINT. BEDROOM - DAY", "INT. FRONT ROOM - DAY\n\nSuzie comes to the front door; she recognizes Harry right\naway. She invites him in. Harry stumps his feet on the porch\nseveral times and then enters.", "M.C. gives Gideon a bear hug, lifting him off his feet. On\nseeing Suzie, he drops Gideon and rushes over to lift her up\noff her feet.\n\nEXT. STREET - DAY", "Gideon smiles in appreciation. He pushes his plate out to\nPat, indicating that he wants it filled with chicken. Gideon\nis about to bite into the chicken when he notices Harry's", "Gideon is busy going around to everyone seeing if everything\nis okay. Gideon and Suzie have worked up a sweat trying to\nattend to everyone's needs.", "INT. HARRY'S BEDROOM - DAY\n\nSuzie knocks on the door. No one answers. She peeps in. No\none is in the room." ], [ "Harry is seated in the middle. The composition hints at The\nLast Supper.\n\nINT. BEDROOM - NIGHT", "INT. BEDROOM - EARLY MORNING\n\nHarry is just waking up. He listens to the voices of Suzie\nand Gideon as they get ready for church.", "HARRY \n\tSon, you haven't danced with your\n\twife all night.\n\nBabe Brother is reluctant to leave, but Harry gives him a\nnudge. He goes looking for Linda.", "Harry is helping Herman to his feet. Herman starts to cough.\nThey come over and join the rest of the crowd at the table.", "Harry moves out of her way to let her go by. Hattie doesn't\neven give him a glance. Harry continues to look at her as she\ndisappears into Gideon's room.", "Harry is more interested in the boy, but Sunny doesn't want\nto come near Harry. It is Gideon's arm that is keeping him\nwithin close range of Harry.", "HARRY \n\tTake your wife and child home, boy.\n\nBabe Brother seems all too happy to obey Harry. After Harry\ncloses the door behind Babe Brother, he turns with a wide\nsmile.", "Hattie is reading Harry's letters when he appears behind her.\nHattie turns but is not surprised or concerned about Harry.\nShe hands him back his letters, looks at him for a moment and\ngoes. Harry looks down at the cracked dish.", "The door bell rings and Harry slowly walks over to answer the\ndoor. Suzie puts the punch bowl down and hurries over to meet", "HARRY \n\tYou just run along. I'll fix him\n\this soup. He will be all right.\n\nINT. ROOM - NIGHT", "INT. FRONT ROOM - DAY\n\nSuzie comes to the front door; she recognizes Harry right\naway. She invites him in. Harry stumps his feet on the porch\nseveral times and then enters.", "Harry, Babe Brother and Linda come in after staying out all\nnight. Linda looks as though she is about to fall asleep\nstanding up. She awakes and looks at Harry. There is dislike", "Sunny comes in carrying his night-clothes folded neatly. He\nstands next to Linda. Harry, in a mild but demanding way,\nushers Babe Brother out of the door.", "HARRY (CONT'D)\n\tI got a surprise for you tonight.\n\nHarry flops down on the couch and kicks his shoes off.", "Harry is reading the Bible. He runs his finger over the print\nof the Bible. After reading the passage, he stares at the\nempty plate on the floor for what seems like a long time. He", "Harry becomes aware of Mrs. Baker's stare. He comes to\nhimself and smiles at her.\n\nINT. GIDEON'S KITCHEN - DAY", "Harry is wiping off his face with a washcloth. He stares at\nhimself in the mirror for a long time. The sudden sound of", "INT. BEDROOM / EXT. YARD - NIGHT\n\nHarry is sitting by the bed, just visible through the window.\nHe seems restless.", "longer than you can stay in their\n\thouse. Come with us, boy. We are\n\tgoing to have a good time.", "Harry sees that it is safe to leave. He sees Sunny sweeping\nin Gideon's room. Gideon is sound asleep. Sunny is sweeping\naround the bed.\n\nINT. KITCHEN - DAY" ], [ "Gideon is busy going around to everyone seeing if everything\nis okay. Gideon and Suzie have worked up a sweat trying to\nattend to everyone's needs.", "He slowly awakens; his hands are trembling. He looks around\nand sees the chickens. He looks up at the sky and sighs, with\nsome relief.", "SUZIE \n\tI remember Harry always trying to\n\thelp someone. He got Lulla's\n\tdaughter out of trouble. He was", "\"Boy, you got to work day and night\n\tcause idleness is sinfulness.\" So\n\the takes the other half of his\n\tticket and takes the express to", "Close to tears, she turns and with exaggerated care, puts the\nspoon down and gently puts Sunny in a chair. She starts to\nuntie his shoes. Sunny stares at her while she keeps wiping\nher eyes.", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "Suzie opens the door. BABE BROTHER, Gideon's youngest son,\nabout 31, handsome, wearing an expensive suit, comes in,\nbeating the cold off of him and blowing in his hands.", "HARRY \n\tOf course not. Have you ever heard\n\tof a man jumping in the river to\n\tsave five hundred drowning people?", "Suzie helps him to take his wet coat off. She goes into the\nkitchen, puts his coat in front of the stove. The knife falls\nout. She picks it up and looks at it like she would throw it\naway but Babe Brother takes it.", "Babe Brother, feeling sorry, doesn't know what to do. He\nautomatically picks up the fork and washes it off. Linda\npicks up Sunny.", "Gideon is raking out the chicken coop. He puts the rake down\nand walks over to the garden and watches Suzie plant seeds\nfor a while.", "Gideon comes in walking very slowly, holding his plate out.\nEveryone is shocked. Gideon is completely unaware of the\nperiod that he has been sick.", "Babe Brother, Junior, Pat, and Linda, Suzie run in. Suzie\ntries to see if he is alive. Babe Brother tries to give him", "Gideon is shaving with a straight razor and humming to\nhimself, obviously in a good mood. Suzie sticks her head in.", "Harry is reading the Bible. He runs his finger over the print\nof the Bible. After reading the passage, he stares at the\nempty plate on the floor for what seems like a long time. He", "Suzie and Gideon are getting the food ready while Harry,\nwearing a shirt that looks like it is made of shiny\nsnakeskin, sits in a darkened corner of the room, cutting his\nfingernails with his knife.", "your home. Dry as my soul be,\n\theaven is lost to thee.\" We all got\n\tto make way.", "Babe Brother is preoccupied sharpening his knife with a\nsharpening stone. He is almost in a trance. Junior comes in\nrather angrily. Sunny goes and sits in the shadows in the\ndining room.", "Junior slowly becomes aware of the blood and his body\nrelaxes. He calmly releases the knife.\n\nJunior takes his mother's hand.", "Junior. Babe Brother raises himself. The blood from Suzie's\ndripping from his head. Rhonda is trying to hold Sunny back." ], [ "Marsh sits in a chair opposite Harry. Babe Brother stands\nbehind Harry. Harry, knowing that Marsh is going to bring up\nunpleasant things of the past, feels the need to get rid of\nBabe Brother.", "Marsh and Harry are getting quite loud in their argument. It\nhas become a kind of controlled anger.", "Harry turns his back on Marsh. Marsh stands there looking at\nHarry's profile. He turns and walks away.\n\nThe record ends. The Younger Woman and the Older Man wait for\nthe next record.", "marry someone in the lodge. I know\n\tGideon ain't gone yet, but there\n\twill be a lot of his old friends\n\tcoming around to get in line. I", "Hattie is reading Harry's letters when he appears behind her.\nHattie turns but is not surprised or concerned about Harry.\nShe hands him back his letters, looks at him for a moment and\ngoes. Harry looks down at the cracked dish.", "Pat, who is pregnant, attempts to shake hands with Harry, but\nis forced to withdraw her hand because of a sudden pain in\nher stomach.", "her husband. She picks up an eyelet and Mr. Baker looks at\nher as if to say, keep your hands off. She gets the message\nand lays the eyelet back on the work bench.", "On seeing Suzie, Sunny jumps up, knocking the can of marbles\nover the kitchen floor. He runs to give Suzie a hug. Sunny\nwants to touch her bandaged hand, but Linda stops him.", "Close to tears, she turns and with exaggerated care, puts the\nspoon down and gently puts Sunny in a chair. She starts to\nuntie his shoes. Sunny stares at her while she keeps wiping\nher eyes.", "Before Okra can get his camera set to shoot, Marsh leaves.\nHarry smiles as if he had won a major victory. Herman flops\ndown in the empty chair and starts to COUGH.", "Gideon comes back in with Suzie, who is helping tie his tie.\nThey all line up and file out the front door with Suzie and\nGideon leading the way. Pat is holding her stomach with a\nthoughtful look on her face.", "He snores louder. She opens the window and pulls back the\ncover. The cold air makes him draw up. On walking out, Linda\nsays in a rather hurt voice:", "M.C. and Okra come in wanting to take pictures. Marsh is\npretty mad about them intruding. M.C. sets the naked lamp in\nfront of Marsh, on the floor, almost between his legs.", "Suzie is sitting in a chair; her head is bent forward. Gideon\nis TALKING in his sleep. She awakes and nods off again. Harry\nsticks his head in.", "The SOUND of Gideon and Suzie arriving makes them scurry to\nget the cards put away. Harry puts his knife away just as\nSuzie and Gideon enter. Linda feels a little embarrassed.", "Gideon is raking out the chicken coop. He puts the rake down\nand walks over to the garden and watches Suzie plant seeds\nfor a while.", "The good mood that Gideon was in dissolves quickly. Gideon\nwipes the soap off his face and throws the towel down. Suzie\nleaves. Gideon brushes his hair and adjusts his bathrobe.", "Harry, Babe Brother and Linda come in after staying out all\nnight. Linda looks as though she is about to fall asleep\nstanding up. She awakes and looks at Harry. There is dislike", "Hattie pushes him away. The drink spills on him. She turns\nand walks away. He follows her.\n\nINT. KITCHEN - NIGHT", "Hattie enters Harry's room. She goes through his things. She\nreads one of his letters. As she walks over to the window\nreading his letter, she steps on the plate, cracking it." ] ]

[ "What do they raise in their backyard?", "Who comes to visit Gideon and Susie?", "Who gets wounded by a knife?", "What are the two brothers names?", "Where are Samuel and Junior when they reconcile?", "Who is in bed with a serious illness during part of the story?", "Who dies in the story?", "Where is Harry from?", "Harry's visit stirs up anger in who?", "What do Gideon and Suzie insist that Harry do when he comes to visit?", "Whose presence threatened to break up Samuel's marriage?", "What does Harry's death suggest?", "Where do Samuel and Junior reconcile?", "Who is cut by the knife?", "What are Samuel and Junior struggling over?", "Who is Samuel's older brother?", "What is Samuel's nickname?", "What do Gideon and Suzie raise in their backyard?", "Where do Gideon and Suzie live?", "Who does harry goes to meet?", "Whose marriage is in trouble?", "Who dies in the end and for whom?", "Where did suzie and gideon live?", "What wound did suzie suffer?", "Who was in the emergency room and why?", "What reaction did suzie and gideon give after seeing harry?", "For how long did the couple insisted harry to stay with them?", "Who has been self sacrificing saviour?", "Whose marriage was in danger?" ]

[ [ "Chickens", "Chickens." ], [ "Harry", "Harry" ], [ "Suzie", "Suzie." ], [ "Samuel and Junior", "Samuel and Junior" ], [ "IN the Emergency Room ", "Emergency room " ], [ "Gideon ", "GIDEON." ], [ "Harry", "Harry" ], [ "The south", "HARRY IS FROM THE SOUTH." ], [ "Samuel ", "Samuel and Junior." ], [ "That he stay as long as he would like.", "stay as long as he likes" ], [ "Harry's presence.", "Harry's presence." ], [ "That he has been a self-sacrificing savor of the family.", "He's the savior of the family" ], [ "In the emergency room.", "an emergency room" ], [ "Suzie.", "Suzie" ], [ "A knife.", "A knife" ], [ "Junior.", "Junior." ], [ "Baby Brother.", "Baby Brother." ], [ "Chickens.", "Chickens." ], [ "In South Central Los Angeles.", "South Central Los Angeles." ], [ "harry goes to meet gideon and suzie.", "Gideon and Suzie" ], [ "samuels marriage is in trouble.", "Gideon and Suzie" ], [ "harry dies in the end for the family.", "HARRY DIES FOR THE FAMILY" ], [ "they live in south central los angeles", "THEY LIVE IN SOUTH CENTRAL LOS ANGELES." ], [ "she grasped the knife that junior and samuel are struggling over.", "Knife wound" ], [ "suzie was in the emegency room because she grasped the knife.", "Suzie was in the emergency room after she suffered a wound when grasping the knife that Samuel and Junior were struggling over during their fight." ], [ "they were delighted to see him", "Delight." ], [ "they insisted him to stay as long as he wished to.", "as long as he would like" ], [ "harry has been self sacrificing saviour of the family.", "HARRY." ], [ "samuels marriage was in danger.", "Samuel's." ] ]

[ [ "The fence. The gate that separates the parents. It bows\n toward them like iron filings to a magnet, and several of\n the strands of barbed wire have given way.", "The gate closes and the boy looks back to see his parents\n - along with many others - being restrained by a number\n of soldiers. The screaming is deafening.", "He looks up. A look of brutal determination crosses his\n face. Straining, he pulls himself up by his right arm.", "His outstretched fingers claw at the thin air and he\n screams until the blood in his face is blue.", "The family tries to stay together, clinging to one\n another dearly, until finally, they are put upon by a\n number of gray uniforms and pulled apart. The boy is", "He hears the sound of approaching foot-steps coming from\n the hallway. He spots another entrance on the far side\n of the room and, carrying his clothes, he staggers out,\n still in considerable pain.", "Logan sees a grand entrance with two huge oak doors and\n brightly-polished steel knobs that scream &igrave;exit.&icirc; He\n starts in that direction when the doors begin to open.", "He pops his head through again. He turns his shoulder\n toward the bars and begins to push. His feet slip in the\n floor and his fingers stretch and crack inside, then his", "Suddenly, the gate slowly opens -- Inviting him to leave.\n He pauses, momentarily confused. He takes one long look\n back at the mansion. And then leaves.", "His back arches and he falls from his chair onto the\n floor. He struggles to reach for a fire alarm on the\n wall. His fingers stretch until finally -- he pulls it.", "He walks towards the cell and tries to look down the\n hall, pressing his face to the bars.", "collects himself. Then he goes over to the bars again.\n He pauses, afraid... then:", "But as he does this, METAL OBJECTS from around the lab\n fly in front of it sealing him in.\n\n INT. CORRIDOR - NIGHT", "He turns again, ready to run the other way when he sees\n the SHADOWS of two more people coming from the other\n direction. Logan is trapped. He lunges for the large\n oak door and bursts through.", "dragged screaming his feet no longer touching the ground.\n Two soldiers carry him as they follow the back of a large\n column of children being led through a gate of barbed", "But then suddenly, something is wrong. Kelly buckles,\n clutching his stomach again. He squelches what would\n have been a scream of agony.", "This only holds his attention for a moment. Logan looks\n across an expanse of grounds that house the Mansion. A\n high, wrought-iron gate surrounds the entire property.", "It is only when he hears the sound of a HELICOPTER IN THE\n DISTANCE that he reacts. He starts to panic, then", "Then it is gone. He hangs his head in exhaustion.", "HIMSELF THROUGH THE HOLE -- his hands still bound behind\n his back, and slams against the outer railing of the\n torch." ], [ "He is out of bed. She is unable to speak, choked silent\n by his grip.\n\n He places his fist near her face. We see the three faint\n scars just above his knuckles.", "Jean and Kelly both look as the cotton swab ignites like\n flash paper in her hand. Everyone is shocked. Jean\n pauses and takes the bottle of alcohol from the shelf.", "And she grabs the sides of his face and kisses him\n deeply. There is an awkward moment. Until:", "The can rolls down the steps. People move away from it\n as though the can itself were dangerous.\n\n The crowd steps back in genuine fear. Jean simply moves\n ahead now, unimpeded, still shaking her head.", "Jean focuses as she brings her outstretched fists closer\n together. Suddenly -- the two fire extinguishers crash\n through their glass holders.\n\n Like two gunslingers in a showdown.", "A KID IN THE CROWD holding a full can of Coke. Smiling\n to his friend beside him. He fires it over the heads of\n everyone toward Jean. Perfect trajectory. Closing fast.", "Suddenly, Toad lands in front of Jean, grabs her head and\n before she can react, his tongue launches at her face.", "He walks to Jean and tears off her bonds. He reaches out\n to grab her neck but his claw is stopped again in mid-", "They fly open. And then a terrible noise. The sound of\n a well tuned machine suddenly going horribly wrong.\n Xavier is in terrible pain.", "Cyclops drops to his knees, the sprinklers still gushing.\n His eyes are tightly shut.\n\n He feels for Storm&iacute;s face and touches her lips.", "all. Merely a gasp, like steam escaping. Through the\n huge slash in her clothes, we see the wound on her chest\n slowly vanish.", "His eyes look down, through the hole in the torch, into\n the Statue&iacute;s head, searching for Jean.\n\n The deafening whine builds louder and louder.", "She tumbles and lands on her stick, snapping it. She\n stands and, when the children see that her stick is\n broken, they begin to giggle.", "First, he sees that Blob is laying on the floor with a\n purple, welt-like hand print across his face. It is\n blistered and hideous. Blob is gasping for air.", "His back arches and he falls from his chair onto the\n floor. He struggles to reach for a fire alarm on the\n wall. His fingers stretch until finally -- he pulls it.", "Rogue holds vigil at his side.\n\n Kelly is in the bed next to him, trembling, burning up\n from what seems to be a bad fever that keeps getting\n worse.", "Jean&iacute;s eyes widen -- and around the corner steps Senator\n Kelly, wearing the clothing he had taken from the beach.\n He trembles as though from a high fever. His body is\n covered with a layer of sweat.", "touching. She is starting to panic now. She looks\n around, but anyone still left in the mall is running for\n the doors.", "Cyclops turns Jean on her back, ready to perform CPR. He\n is shocked, the slime has now hardened to Jean&iacute;s face.\n She is suffocating. He desperately tries to pry it off.", "neck. She draws her hand back quickly as if burned. The\n heart monitor keeps speeding up until it is racing faster\n than a human heart could possibly produce." ], [ "The can rolls down the steps. People move away from it\n as though the can itself were dangerous.\n\n The crowd steps back in genuine fear. Jean simply moves\n ahead now, unimpeded, still shaking her head.", "and somewhat distant creature. From the shawl around her\n head to her boots, layers of odd clothing wrap every inch\n of her body, except her face and hands. She looks worn,", "Jean and Kelly both look as the cotton swab ignites like\n flash paper in her hand. Everyone is shocked. Jean\n pauses and takes the bottle of alcohol from the shelf.", "She tumbles and lands on her stick, snapping it. She\n stands and, when the children see that her stick is\n broken, they begin to giggle.", "all. Merely a gasp, like steam escaping. Through the\n huge slash in her clothes, we see the wound on her chest\n slowly vanish.", "at all. Quite a contrast from her own, stifling garb.\n She touches the glass as though trying to reach them,\n then she moves on.", "Across the aisle from them sits a lone oddly pretty\n twenty year old girl. Her name is ROGUE -- a dark-eyed", "One by one, all eyes fall on the little girl and the\n looks of curiosity become looks of fear. Of\n superstition.\n\n Punctuated by a solid thump.", "Finally, she gets a hold of herself, becoming the\n introverted Rogue we all know so well.\n\n Then she stands slowly, looks at the others.", "Jean focuses as she brings her outstretched fists closer\n together. Suddenly -- the two fire extinguishers crash\n through their glass holders.\n\n Like two gunslingers in a showdown.", "Adults come out of their huts and in from the fields and\n the whole of the village is soon gathered around the\n little girl, staring up from the clear blue sky and the\n snow that falls from nowhere. From nothing.", "as if she has taken in his trait of berserker rage. Soon\n she is smashing things all around her. One hand rakes\n the wallpaper like claws.", "Before long, she transforms back into a healthy young\n girl with no sign of injury.", "Jean stands and walks out, pushing her way through\n reporters now moving in for her response. All the while,\n Kelly is delivering his last words.", "One girl in particular. A PRETTY GIRL OF 12, with\n unusual white hair, is tagged and immediately shunned.", "They have now formed a circle, at first avoiding her\n touch with distance, but now growing tighter with menace.\n In the unspoken manner of children at prey, the group", "face the child and another swings his stick across her\n back with a solid THWACK. Before long, mob rule gives\n way and all the kids are swinging at her and laughing.", "And all along the white haired girl sits huddled in the\n dust, crying.\n\n As hailstones fall in a circle around her, never coming\n closer than then a few feet or so.", "JEAN\n The Professor said you were a solider.\n Actually, I believe he used the word\n mercenary.", "Kelly, of course, is shocked. Mystique shows a little\n hip, raising the scales at her mid-section mockingly, as\n the last of what we thought was Guyrich slips underneath." ], [ "It has been her all along, using SHAPE SHIFTING powers\n borrowed from the real Mystique.\n\n Magneto fights to get free, but his power is being\n drained from him.", "His tongue covers her face with an ADHESIVE SLIME. Jean\n falls to the ground. Toad looks back at the main\n entrance, sees Cyclops emerging and LEAPS up, out of\n frame.", "PULL OUT TO REVEAL:\n\n Kelly is strapped to a metal chair, bound impossibly\n tight. He struggles. Mystique watches from the far side\n of the room.", "Magneto takes the little girl/Mystique by the hand and\n the blind Pyro by the arm and leads them away,\n humiliated, to their waiting helicopter.", "TOAD (cont&iacute;d)\n Oh God it hurts. Do it again.\n\n Magneto watches this, momentarily stunned.", "With that, Mystique punches Kelly. Knocking him out\n cold.\n\n BLACK", "passengers inside -- and Magneto, Sabretooth, Mystique\n Toad and Pyro on the outside. With a final thrust, the", "Magneto turns.\n\n MAGNETO\n What is?\n\n MYSTIQUE\n This is.", "Toad fights the gale force winds, his webbed feet\n adhering to the ground. He inches closer to Storm. Toad\n bares his FANGS.", "XAVIER\n WHAT DO YOU MEAN TO DO?\n\n Sabretooth and Toad walk away, still with the punching\n and asking to be punched.", "And Mystique MORPHS into a small child and begins tugging\n at Magneto&iacute;s pant leg.\n\n MYSTIQUE\n I have to go to the bathroom.", "And when Rogue looks up, she sees another figure - this\n one filling the frame behind Storm.\n\n A huge clawed hand grabs Storm around the throat and\n lifts her up as she struggles in vain.", "over to the NYPD entering the room. Swish pan back.\n Mystique has taken the form of a Secret Service agent.", "Suddenly, Toad lands in front of Jean, grabs her head and\n before she can react, his tongue launches at her face.", "The door to Cerebro opens.\n\n Rogue or rather Mystique, rushes in. She goes to a small\n panel on the side of Cerebro.", "Toad&iacute;s head peers through the open elevator doors to the\n level below, looking down on the helpless Storm. Toad\n SMILES. His webbed finger presses the elevator button.", "Magneto coming up from below. They nod to one another\n and walk toward the front of the boat. On the deck is\n something covered with a tarp. Sabretooth pulls back the", "And with that, Mystique walks up.\n\n MYSTIQUE\n And people like you are the reason I\n was afraid to go to school as a child.", "MAGNETO (cont&iacute;d)\n (to Mystique)\n Call the others and tell them we have\n what we came for.", "MORTIMER TOYNBEE, a dim, loyal thug whose agile leaping\n ability and superhuman strength have earned him the name\n TOAD." ], [ "It is Senator Kelly, and he resembles in many ways a\n jellyfish. His skin and innards are clear and gooey. It", "We hear the voice of Senator Kelly on the TV. Kelly is\n on the screen giving good face.", "Jean&iacute;s eyes widen -- and around the corner steps Senator\n Kelly, wearing the clothing he had taken from the beach.\n He trembles as though from a high fever. His body is\n covered with a layer of sweat.", "As he is speaking, we cut to:\n\n INT. CAPITOL BUILDING - WASHINGTON D.C. - DAY\n\n Kelly pushing past reporters.", "As the Senator continues we PULL BACK and see Magneto\n watching this. He begins speaking over Kelly&iacute;s diatribe.", "A MICROPHONED VOICE interrupts. Bearing down is the\n flamboyant SENATOR SCOTT \"FRANK\" KELLY, a conservative\n from Florida, and the hearing's Chairman.", "The sheet that covers Kelly&iacute;s body begins to flatten out.\n The sweat covering the hapless Senator&iacute;s body thickens", "Senator Kelly&iacute;s helicopter, which has obviously been\n pilfered for Magneto&iacute;s use, lands.", "MAGNETO\n Are you a &igrave;God-fearing man,&icirc; Senator?\n\n Kelly&iacute;s reaction tells him he is certainly afraid of\n something right now.", "The TV cuts to a shot of Kelly being grilled by reporters\n as he walks down the Capitol steps.", "INTERVIEWER\n ...and the leading voice in the call\n for Mutant registration is Senator\n Scott Frank Kelly, of Florida, who", "KELLY\n Dr. Grey.\n\n JEAN\n Senator?\n\n CYCLOPS\n How did you get in here?", "KELLY\n You... wha... Who are you... Where is\n Henry?\n\n MAGNETO\n Mr. Guyrich has been dead for some\n time Senator.", "Jean stands and walks out, pushing her way through\n reporters now moving in for her response. All the while,\n Kelly is delivering his last words.", "KELLY\n You mutant bastards...\n\n Pyro grabs the Senator as he runs back for the helicopter\n in vain.", "Kelly raises a blown-up photograph: a grainy, super-\n zoomed, somewhat obscured image of a CAR ON A FREEWAY\n which appears to have \"melted.\" Now he's really playing\n to the crowd.", "MAGNETO\n And you may mark my words, Senator\n Kelly. All your plotting, all your", "The room LAUGHS. Kelly mistaken thinks it is for him,\n until the double meaning occurs to him. He is\n momentarily embarrassed, but he quickly recovers.", "Kelly is hunched over his toilet, heaving. His suit is\n rumpled and dirty, showing signs that time has passed.\n\n There is a television just outside the door:", "KELLY\n What have you bastards done to me?\n\n Kelly is horrified. Disgusted. He paces the cell,\n unable to comprehend what has happened to himself." ], [ "MAGNETO (cont&iacute;d)\n Find Logan.\n\n Sabretooth exits as Magneto turns to reveal --", "Sabretooth, stunned and scorched, gets to his feet and\n smiles at his handiwork. He is about to move in and\n finish them both when the rumble of a helicopter can be\n heard above.", "Magneto looks and sees the cell is empty. He looks at\n Sabretooth.\n\n MAGNETO (cont&iacute;d)\n I want him alive.", "Magneto coming up from below. They nod to one another\n and walk toward the front of the boat. On the deck is\n something covered with a tarp. Sabretooth pulls back the", "WHAM -- E.C.U. Sabretooth&iacute;s feet as he lands on the metal\n floor. He quickly takes in the situation, Magneto and\n Rogue are still unconscious. He walks towards Storm.", "Sabretooth whips around, still clutching Jean to see -\n LOGAN -\n\n Bleeding, beaten and panting, and yet still standing\n defiantly over Magneto&iacute;s unconscious body.", "XAVIER\n WHAT DO YOU MEAN TO DO?\n\n Sabretooth and Toad walk away, still with the punching\n and asking to be punched.", "SABRETOOTH\n I&iacute;ll find him.\n\n MAGNETO\n ALIVE.\n\n And Sabretooth bolts back from where they came.", "TATTOOED IN HIS ARM.\n He then drops the dog tag on the desk, Magneto stands and\n heads for the door, Sabretooth follows. The television", "SABRETOOTH\n We&iacute;ve found him.\n\n Magneto puts the phone to his ear. He smiles.\n\n MAGNETO\n Where?", "The silence is shattered by a phone ringing. Sabretooth\n picks it up. He listens, then hands the phone to\n Magneto.", "MAGNETO (cont&iacute;d)\n Your expression tells me the news is\n not good, brother.\n\n SABRETOOTH\n I lost him.", "passengers inside -- and Magneto, Sabretooth, Mystique\n Toad and Pyro on the outside. With a final thrust, the", "MAGNETO\n A piece. Only a piece.\n\n SABRETOOTH\n Is it enough?\n\n MAGNETO\n Enough for a test.", "Magneto notices Sabretooth&iacute;s apparent exhaustion, his\n torn clothing, including the slashes in his side. His\n look asks &igrave;what happened?&icirc;", "Guyrich and Kelly step out. As they get closer he can\n make out Magneto and Sabretooth.\n\n KELLY\n Dear God... Dear... God.", "INT. HALLWAY - ELSEWHERE - NIGHT\n\n Magneto and Sabretooth come walking from the other end of\n the hall and pass the very spot where we just saw Kelly.\n No sign of him.", "TOAD (cont&iacute;d)\n Oh God it hurts. Do it again.\n\n Magneto watches this, momentarily stunned.", "MAGNETO\n (into radio)\n Mystique... Mystique, where are you?\n\n Magneto turns to Sabretooth.", "INT. MALL - LOWER LEVEL - NIGHT\n\n Cyclops looks up and sees Storm is being CHOKED BY\n SABRETOOTH, her feet not touching the ground." ], [ "Magneto grabs hold of Rogue&iacute;s throat -- CHOKING HER.\n\n INT. TORCH - NIGHT", "Xavier opens his eyes and sees Rogue sitting on a chair\n in the corner. She is visibly upset. Xavier wheels over\n to Rogue. Xavier reaches out and softly touches her\n clothing covered shoulder.", "As he pulls up to the front doors, he sees Cyclops\n emerging, carrying Storm. She is conscious, but her\n breathing is shallow. His eyes are shut tightly and he\n must follow Rogue&iacute;s direction.", "Magneto is strangling Rogue, who clings to his face --\n drawing his powers.\n\n The walls GROAN as magnetic energy RIPPLES through the\n Statue&iacute;s head.", "Magneto, feeling the last of his power draining from him,\n grabs Rogue tightly and SLAMS her into the wall. Rogue", "Xavier makes a move, Magneto counters. Xavier moves\n again.", "Logan looking down, through the hole in the Statue&iacute;s head\n for Jean, sees Rogue and Magneto struggle.\n\n Logan watches helplessly as MAGNETO STRANGLES ROGUE.", "Cyclops, Storm, and Jean board the X-Jet. They find --\n ROGUE, strapped into a seat, ready to go.\n\n INT. HANGER - NIGHT", "Magneto turns.\n\n MAGNETO\n What is?\n\n MYSTIQUE\n This is.", "Rogue is still sitting in a chair, next to Xavier&iacute;s bed --\n Xavier&iacute;s opens his eyes. He looks at Rogue and smiles\n softly.", "Magneto looks at the cause of it all: XAVIER, HIS EYES", "Xavier&iacute;s eyes burst open.\n\n INT. LABORATORY - NIGHT\n\n Rogue leads Storm, Jean, Beast and Cyclops quickly into\n the lab.", "JEAN\n ROGUE, DESTROY THE MACHINE!\n\n Rogue goes to pull away, BUT MAGNETO WON&iacute;T LET HER GO.", "Logan finally pulls his claws free and retracts them.\n Rogue staggers, she pitches forward and touches his face\n gently with her hands, as though she would like him to be\n the last thing she sees on this Earth.", "JEAN\n (whispering)\n I&iacute;m sorry. I&iacute;m not strong enough.\n\n Magneto stands next to Storm. Close.", "MAGNETO\n (whispering)\n If the temperature changes a single\n degree...\n (looking at Jean)\n I only need one hostage.", "Kelly lies unconscious in his bed, his heart monitor\n weakening.\n\n Beast limps over to Xavier. Xavier struggles to speak.\n Beast bends down so that Xavier can whisper into his ear.", "It has been her all along, using SHAPE SHIFTING powers\n borrowed from the real Mystique.\n\n Magneto fights to get free, but his power is being\n drained from him.", "Magneto coming up from below. They nod to one another\n and walk toward the front of the boat. On the deck is\n something covered with a tarp. Sabretooth pulls back the", "Logan looks at rogue, contemplating this. Then to\n Xavier." ], [ "It has been her all along, using SHAPE SHIFTING powers\n borrowed from the real Mystique.\n\n Magneto fights to get free, but his power is being\n drained from him.", "Kelly, of course, is shocked. Mystique shows a little\n hip, raising the scales at her mid-section mockingly, as\n the last of what we thought was Guyrich slips underneath.", "Magneto turns.\n\n MAGNETO\n What is?\n\n MYSTIQUE\n This is.", "Rogue sits off to the side, bearing the guilt. While\n Storm, her neck badly bruised, stands near her.\n\n For the first time we have seen -- Charles Xavier is\n angry.", "And with that GUY SHAPE SHIFTS into a beautiful woman who\n herefore will be known as MYSTIQUE. Her body is covered\n in iridescent blue scales, which complement her lovely,\n solid yellow eyes.", "Xavier opens his eyes and sees Rogue sitting on a chair\n in the corner. She is visibly upset. Xavier wheels over\n to Rogue. Xavier reaches out and softly touches her\n clothing covered shoulder.", "The door to Cerebro opens.\n\n Rogue or rather Mystique, rushes in. She goes to a small\n panel on the side of Cerebro.", "Magneto notices Sabretooth&iacute;s apparent exhaustion, his\n torn clothing, including the slashes in his side. His\n look asks &igrave;what happened?&icirc;", "With that, Mystique punches Kelly. Knocking him out\n cold.\n\n BLACK", "Kelly lies unconscious in his bed, his heart monitor\n weakening.\n\n Beast limps over to Xavier. Xavier struggles to speak.\n Beast bends down so that Xavier can whisper into his ear.", "Xavier&iacute;s eyes burst open.\n\n INT. LABORATORY - NIGHT\n\n Rogue leads Storm, Jean, Beast and Cyclops quickly into\n the lab.", "PULL OUT TO REVEAL:\n\n Kelly is strapped to a metal chair, bound impossibly\n tight. He struggles. Mystique watches from the far side\n of the room.", "Sabretooth reacts, surprised by the sudden shift. This\n gives Storm one last chance to breath.\n\n We notice now that something is happening to her body.", "And she runs from the room. Storm runs after her.\n\n The rest turn to Logan, who lays on the floor,\n convulsing.", "over to the NYPD entering the room. Swish pan back.\n Mystique has taken the form of a Secret Service agent.", "NYPD and Secret Service rush up the stairs and into the\n head. Magneto lies unconscious on the floor.", "Xavier comes out from behind his desk. We see that he is\n in a MOTORED WHEELCHAIR. Realizing that he is safe for\n the moment, Logan begins putting on his stolen clothes.", "Jean realizes that Logan is right. ROGUE MORPHS INTO\n MYSTIQUE.\n\n MAGNETO (O.S.)\n Telekinesis.", "IT IS MYSTIQUE. The lower part of her face and the whole\n her neck are that of a stocky man.", "Three other agents pull their guns and aim at the tarp.\n The first agent pulls it back to reveal... nothing.\n Sabretooth is gone.\n\n INT. STATUE - HEAD - NIGHT" ], [ "The family tries to stay together, clinging to one\n another dearly, until finally, they are put upon by a\n number of gray uniforms and pulled apart. The boy is", "The gate closes and the boy looks back to see his parents\n - along with many others - being restrained by a number\n of soldiers. The screaming is deafening.", "Men, women and children are herded off the train like\n cattle toward a large open yard. There they huddle until\n the Germans begin to shout and shove through the mob.", "Then they follow the line of children that has gotten\n ahead of them.\n\n ANGLE ON:\n\n The boy's parents watch him as he -- as they, are taken\n away.", "The fence. The gate that separates the parents. It bows\n toward them like iron filings to a magnet, and several of\n the strands of barbed wire have given way.", "dragged screaming his feet no longer touching the ground.\n Two soldiers carry him as they follow the back of a large\n column of children being led through a gate of barbed", "The boy continues to scream as all the other faces simply\n freeze and wonder.\n\n One of the soldiers pulls a wooden baton from his belt\n and brains the boy violently.", "He stares at the metal wire with an unusual fascination.\n\n The boy looks up at HIS WORRIED PARENTS - a sturdy-\n looking couple who try to smile and comfort him.", "A LITTLE BOY. A boy who will not die this day. A boy\n who will live to see the end of the war and the world of\n the future.", "He throws the door to reveal a mass of huddled and\n frightened people inside.\n\n The words are not necessary. The language is not ours\n and the images say enough.", "He looks up. A look of brutal determination crosses his\n face. Straining, he pulls himself up by his right arm.", "He is out of bed. She is unable to speak, choked silent\n by his grip.\n\n He places his fist near her face. We see the three faint\n scars just above his knuckles.", "We are looking up at rows and rows of fences topped with\n barbed wire all designed to create a separator for the\n thousands of Jew who pour through each day.", "He hears the sound of approaching foot-steps coming from\n the hallway. He spots another entrance on the far side\n of the room and, carrying his clothes, he staggers out,\n still in considerable pain.", "Adults come out of their huts and in from the fields and\n the whole of the village is soon gathered around the\n little girl, staring up from the clear blue sky and the\n snow that falls from nowhere. From nothing.", "ANGLE ON: The black boots of a man, walk down a hallway,\n as students peer from their sleeping quarters, terrified.\n\n INT. GYMNASIUM - NIGHT", "day, some day very soon, they will\n pass that foolish law - or one just\n like it - and they will come for you\n and your children? Take you all away?", "BLACK\n\n Sounds of a train rolling to a halt, a shrill whistle.\n\n EXT. CAMP - DAY", "They have now formed a circle, at first avoiding her\n touch with distance, but now growing tighter with menace.\n In the unspoken manner of children at prey, the group", "It is only then that he hears a slight crack and his head\n squeezes between the bars like a soft-shelled egg. He" ], [ "E.C.U. of his ear. His powerful hearing enables him to\n hear Magneto.", "He puts it back on the desk. Now Magneto concentrates -\n sending a wave of magnetic force that ripples the air\n around it.", "MAGNETO raises his arms and a series of metal rings up\n from the machine platform that holds the dog tag. With a\n slight motion of his hand, the rings begin to spin slowly", "Across the room, JOHN ALLERDYCE, a wiry redhead whose\n ability to control fire with his fingers has earned him\n the name PYRO.", "Xavier lies asleep in a hospital bed. Several electrodes\n are taped to his head. A screen next to the bed monitors\n his erratic brain waves.", "He looks up. A look of brutal determination crosses his\n face. Straining, he pulls himself up by his right arm.", "He looks around and sees that he is in an oddly shaped\n room with barely enough space for him and Magneto, who\n smiles at him in the half darkness.", "Kelly shakes his head. There is nothing he can say to\n sway this man.\n\n Magneto turns and admires his machine.", "When he speaks, his lips do not move. We realize Logan\n &igrave;hears&icirc; the voice in his head. In addition, the voice is", "Despite the loud, pounding music, he is working with the\n meticulousness of a watch maker. At the same time, he", "They fly open. And then a terrible noise. The sound of\n a well tuned machine suddenly going horribly wrong.\n Xavier is in terrible pain.", "Xavier looks to Rogue. A warmth comes over his face. An\n look of understanding. At a glance he has read her mind.", "He is out of bed. She is unable to speak, choked silent\n by his grip.\n\n He places his fist near her face. We see the three faint\n scars just above his knuckles.", "XAVIER\n He also has accelerated healing\n abilities - uncharted regenerative\n capability, making his age impossible\n to determine. He could very well be\n older than I am.", "Magneto himself is a bit overwhelmed. He looks at his\n own skin - no apparent change. He shakes his head,\n blinks his eyes.", "Magneto uses his mind to move Kelly&iacute;s chair a little\n closer. Kelly nearly loses it.", "When Sabretooth clears his throat, the clicking balls\n instantly freeze and hover there.\n\n The volume on the television drops, though no remote is\n in sight.", "Xavier enters and wheels himself into the giant machine.\n It immediately comes to life - lighting the room. The\n chrome skull cap descends onto Xavier&iacute;s head.", "Magneto raises his hand and MAGNETIC WAVES RIPPLE. Metal\n groans as Magneto peels open a gaping hole in the top of", "Besides the occasional physical alterations, there is an\n overall oddness to the group, giving way to the fact that\n in some way or another these are all mutants." ], [ "MAGNETO (cont&iacute;d)\n ...Is me and my kind. The Brotherhood\n of Mutants.\n\n He touches Kelly&iacute;s face and Kelly recoils.", "XAVIER\n A very powerful mutant who for some\n reason has taken an interest in you.\n I&iacute;m not sure why, but until we find\n out, I must ask you to stay.", "Besides the occasional physical alterations, there is an\n overall oddness to the group, giving way to the fact that\n in some way or another these are all mutants.", "He barely pauses when he hears a child&iacute;s voice in semi-\n whisper:\n\n CHILD&iacute;S VOICE\n Mom, is that a mutant?", "He looks around and sees that he is in an oddly shaped\n room with barely enough space for him and Magneto, who\n smiles at him in the half darkness.", "LOGAN\n How do you know my name?\n\n Xavier taps the side of his head with his finger.", "The silence is shattered by a phone ringing. Sabretooth\n picks it up. He listens, then hands the phone to\n Magneto.", "Magneto himself is a bit overwhelmed. He looks at his\n own skin - no apparent change. He shakes his head,\n blinks his eyes.", "Magneto turns.\n\n MAGNETO\n What is?\n\n MYSTIQUE\n This is.", "KELLY\n Oh... Oh God... what have you done to\n me?\n\n Magneto hangs up the phone. He crosses to Kelly, leans\n in and whispers in his ear.", "Frustrated. Magneto inspects the dog tag.\n\n MAGNETO\n I want him. That is all they know\n because that is all you know.", "BEAST\n It appears as though Magneto has built\n a machine which somehow triggers the\n mutator gene in normal human beings.\n And he is using Adamantium as its\n core.", "ourselves. After tonight, when the\n leaders of the world return home --\n They will return as brothers, as\n mutants... and our cause will be", "somewhere after sixty, but strong and vital for his\n years. He is more often called MAGNETO.", "It has been her all along, using SHAPE SHIFTING powers\n borrowed from the real Mystique.\n\n Magneto fights to get free, but his power is being\n drained from him.", "IT IS MYSTIQUE. The lower part of her face and the whole\n her neck are that of a stocky man.", "Magneto walks past him, holding Logan&iacute;s dog tag.\n\n His thumb crushes one last time over the curious\n &igrave;Wolverine.&icirc;", "Magneto is strangling Rogue, who clings to his face --\n drawing his powers.\n\n The walls GROAN as magnetic energy RIPPLES through the\n Statue&iacute;s head.", "XAVIER\n I feel a great swell of pity for the\n poor soul who comes to that school\n again looking for trouble.\n\n He stares right at Magneto.", "KELLY (V.O.)\n What have you bastards done to me?\n\n CHILD&iacute;S VOICE (V.O.)\n Mom, is that a mutant?" ], [ "E.C.U. Xavier&iacute;s lips move as he tells Beast what he\n knows.\n\n INT. LAB - LATER - NIGHT", "Xavier and Magneto.\n\n They play a friendly game of chess.", "Xavier is pointing to the television.\n\n XAVIER\n There...\n\n He is looking at yet another report on Ellis Island.", "Xavier turns to Kelly, looking deep into his eyes.\n\n He begins to PROBE KELLY&iacute;S MIND.", "XAVIER (cont&iacute;d)\n Well, Logan.\n\n All eyes are on Logan. Logan pauses. He looks to\n Xavier, then back to the room.", "Xavier looks to Rogue. A warmth comes over his face. An\n look of understanding. At a glance he has read her mind.", "XAVIER\n I feel a great swell of pity for the\n poor soul who comes to that school\n again looking for trouble.\n\n He stares right at Magneto.", "XAVIER (cont&iacute;d)\n Can you tell me what happened to you?\n\n Kelly is in pain. It&iacute;s a struggle to speak.", "XAVIER (cont&iacute;d)\n Everyone, Logan would like to say...", "Xavier wheels over to her and gently touches the side of\n her face.\n\n XAVIER\n It&iacute;s going to be alright.", "Logan looks up at Xavier suspiciously, hating that he is\n making sense. Xavier moves closer.", "Xavier comes out from behind his desk. We see that he is\n in a MOTORED WHEELCHAIR. Realizing that he is safe for\n the moment, Logan begins putting on his stolen clothes.", "XAVIER\n Of course. Everything in this room is\n for you.\n\n Logan seems genuinely touched by the gesture.", "XAVIER\n But why would they do this?\n\n Then a look of realization...\n\n EXT. MANSION - MEANWHILE - NIGHT", "XAVIER\n Dear God.\n\n Xavier wheels himself from the room.\n\n INT. MALL - LOWER LEVEL - NIGHT", "Xavier lies in bed, motionless.\n\n INT. FRONT HALL - DAY", "Xavier is lying in his bed. Jean looks up at the screen\n above him and sees Xavier&iacute;s brain waves have dropped\n severely.", "Xavier has heard this argument before.\n\n XAVIER\n Now that&iacute;s Magneto talking.", "Xavier opens his eyes and sees Rogue sitting on a chair\n in the corner. She is visibly upset. Xavier wheels over\n to Rogue. Xavier reaches out and softly touches her\n clothing covered shoulder.", "Kelly lies unconscious in his bed, his heart monitor\n weakening.\n\n Beast limps over to Xavier. Xavier struggles to speak.\n Beast bends down so that Xavier can whisper into his ear." ], [ "He is out of bed. She is unable to speak, choked silent\n by his grip.\n\n He places his fist near her face. We see the three faint\n scars just above his knuckles.", "Cyclops turns Jean on her back, ready to perform CPR. He\n is shocked, the slime has now hardened to Jean&iacute;s face.\n She is suffocating. He desperately tries to pry it off.", "The lockers hit her in the back, sending her flying.\n\n Jean lies motionless on the floor, unconscious. The\n heavy lockers are floating above her, wavering between a\n few feet and a few inches.", "First, he sees that Blob is laying on the floor with a\n purple, welt-like hand print across his face. It is\n blistered and hideous. Blob is gasping for air.", "Xavier lies asleep in a hospital bed. Several electrodes\n are taped to his head. A screen next to the bed monitors\n his erratic brain waves.", "Xavier is lying in his bed. Jean looks up at the screen\n above him and sees Xavier&iacute;s brain waves have dropped\n severely.", "Rogue holds vigil at his side.\n\n Kelly is in the bed next to him, trembling, burning up\n from what seems to be a bad fever that keeps getting\n worse.", "Jean starts to put an IV in Logan&iacute;s arm.\n\n Just as she is sticking the needle in his arm HE JOLTS\n VIOLENTLY.\n\n SNAP", "BOOM\n\n A huge bolt of lightning shoot from her body into\n Sabretooth&iacute;s chest, knocking him back in shock. Storm\n falls to the ground, not breathing.", "Jean and Kelly both look as the cotton swab ignites like\n flash paper in her hand. Everyone is shocked. Jean\n pauses and takes the bottle of alcohol from the shelf.", "He lays under a single sheet, sweating, his eyes moving\n quickly this way and that in R.E.M. His hands twitch.\n\n Rogue leans closer.", "Magneto gets angry -- squeezing the metal surrounding\n Jean&iacute;s head. Jean gasps. This drives Cyclops crazy, but\n he is helpless to stop it.", "Logan sits upright in bed, CLAWS EXTENDED, INTO ROGUE&iacute;S\n CHEST. She is literally frozen at the end of his arm.", "Jean focuses as she brings her outstretched fists closer\n together. Suddenly -- the two fire extinguishers crash\n through their glass holders.\n\n Like two gunslingers in a showdown.", "Suddenly, Brad 4&iacute;s eyes open wide as if he&iacute;s in shock, an\n instant later, he COLLAPSES.\n\n Rogue reels back.", "Logan&iacute;s hand reaches up quickly, breaking the needle off\n in his arm. He grabs a startled Jean by the throat.", "Brad 2 is paralyzed. His eyes roll up as the oxygen is\n cut off. Brad 2 collapses.", "As he pulls up to the front doors, he sees Cyclops\n emerging, carrying Storm. She is conscious, but her\n breathing is shallow. His eyes are shut tightly and he\n must follow Rogue&iacute;s direction.", "Hesitation. Logan looks at her for a moment. Taken by\n her beauty. Then he is on his feet.\n\n Jean is on the floor, gasping for breath.", "And she runs from the room. Storm runs after her.\n\n The rest turn to Logan, who lays on the floor,\n convulsing." ], [ "Across the aisle from them sits a lone oddly pretty\n twenty year old girl. Her name is ROGUE -- a dark-eyed", "and somewhat distant creature. From the shawl around her\n head to her boots, layers of odd clothing wrap every inch\n of her body, except her face and hands. She looks worn,", "their identity. You mock the names\n these people choose but they wear them\n as badges of pride.", "Kelly, of course, is shocked. Mystique shows a little\n hip, raising the scales at her mid-section mockingly, as\n the last of what we thought was Guyrich slips underneath.", "all. Merely a gasp, like steam escaping. Through the\n huge slash in her clothes, we see the wound on her chest\n slowly vanish.", "Jean and Kelly both look as the cotton swab ignites like\n flash paper in her hand. Everyone is shocked. Jean\n pauses and takes the bottle of alcohol from the shelf.", "The can rolls down the steps. People move away from it\n as though the can itself were dangerous.\n\n The crowd steps back in genuine fear. Jean simply moves\n ahead now, unimpeded, still shaking her head.", "at all. Quite a contrast from her own, stifling garb.\n She touches the glass as though trying to reach them,\n then she moves on.", "Holding out her left hand.\n\n JEAN\n Logan, do you see this ring?\n\n LOGAN\n I&iacute;ve seen a lot of rings.", "Finally, she gets a hold of herself, becoming the\n introverted Rogue we all know so well.\n\n Then she stands slowly, looks at the others.", "She tumbles and lands on her stick, snapping it. She\n stands and, when the children see that her stick is\n broken, they begin to giggle.", "as if she has taken in his trait of berserker rage. Soon\n she is smashing things all around her. One hand rakes\n the wallpaper like claws.", "Jean uncaps an IV needle and moves to the middle of\n Logan&iacute;s arm. We cannot help but notice a diamond ring on\n her left hand.", "And she runs from the room. Storm runs after her.\n\n The rest turn to Logan, who lays on the floor,\n convulsing.", "Sabretooth reacts, surprised by the sudden shift. This\n gives Storm one last chance to breath.\n\n We notice now that something is happening to her body.", "Jean&iacute;s eyes widen -- and around the corner steps Senator\n Kelly, wearing the clothing he had taken from the beach.\n He trembles as though from a high fever. His body is\n covered with a layer of sweat.", "Human contact all around.\n\n She walks past a small child, her hand nearly brushing\n the girl&iacute;s hair.\n\n Rogue takes a seat on a bench, alone.", "her own family isn&iacute;t able to accept.\n She&iacute;s been on her own for weeks now,\n searching for a home. A place to\n belong.", "Jean, seeing Cyclops defenseless, stands up from behind\n the marble podium. She quickly scans the room and spots,\n on opposite walls near the old torch, TWO LARGE FIRE\n EXTINGUISHERS.", "He is out of bed. She is unable to speak, choked silent\n by his grip.\n\n He places his fist near her face. We see the three faint\n scars just above his knuckles." ], [ "Logan is hit from behind.", "He turns again, ready to run the other way when he sees\n the SHADOWS of two more people coming from the other\n direction. Logan is trapped. He lunges for the large\n oak door and bursts through.", "Suddenly, THE TRAIN LURCHES VIOLENTLY. Logan goes flying\n backward.\n\n EXT. TRAIN - NIGHT", "Finally, we see Logan separate from his attacker and\n CRASH THROUGH THE ICE of the frozen lake.", "Logan pauses, only for a second. Brad 1 is wailing for\n his life.\n\n But rage has taken over. Logan raises his blades to\n finish what he started.", "Logan&iacute;s hand reaches up quickly, breaking the needle off\n in his arm. He grabs a startled Jean by the throat.", "2 and 3 start punching him in the stomach and face.\n Logan is taking quite a beating and naturally the entire\n train of people are doing nothing.", "Logan is now in darkness. He frantically pulls on his\n binds. No use.\n\n INT. X-JET - NIGHT", "Logan struggles to his feet -- dazed. Suddenly,\n Sabretooth, running at full steam, tackles him. Slamming\n Logan into the railing.\n\n The metal railing bends.", "Logan is at the peak of his rage. The passengers stare\n in disbelief. Even Rogue is astonished.\n\n TRANSIT COP\n Freeze... transit police. Drop your\n weapon.", "The machine is now almost on him. Logan&iacute;s struggles\n turns to rage. SHOOK -- He pops his claws and\n frantically cuts at the wall behind him, as the machine\n draws closer.", "Rogue watches from the floor as the shadow of her pursuer\n bends around the corner. The sound of their footsteps\n get closer. The shadow is upon her, turning the corner.\n\n It is LOGAN.", "Brad 2 grabs a commuter&iacute;s briefcase and smashes it on\n Logan&iacute;s head. Bursting open, its contents fly\n everywhere.", "Logan slowly rises from the huddled passengers.\n Sabretooth fighting the urge to move on him. Logan\n glares back at Sabretooth.", "A MASSIVE CLAWED HAND strikes Logan&iacute;s chest. The blow\n sends Logan sailing back to the far end of the torch.", "As Logan tries to digest this, the door that he had just\n come through begins to open, letting in a shaft of light.\n Logan looks around wildly for a moment, looking for a\n place to hide when -", "to us. His hair is coarse and black, sprouting wildly\n from his head. He is LOGAN. We will come to know him\n well. As well as we can.", "LOGAN\n This. This whole God damn thing.\n (derisively, at Cyclops)\n Making yourselves into some sort of", "Logan&iacute;s breathing is strained, a blood stain in the\n middle of his shirt, but he is in control. Logan looks\n up, his eyes met by Jean&iacute;s.", "Brad 1 releases Logan and stares down at three punctured\n holes in his leg. Logan wheels around, kicks him to the\n floor, and punches him." ], [ "Besides the occasional physical alterations, there is an\n overall oddness to the group, giving way to the fact that\n in some way or another these are all mutants.", "ourselves. After tonight, when the\n leaders of the world return home --\n They will return as brothers, as\n mutants... and our cause will be", "Sirens wail in the distance.\n\n Xavier looks at the lot of them: waifish Rogue, blind\n Cyclops, unconscious Storm and his wheelchair-bound self\n as their guardian.", "Students slowly stand up. Proud of Logan. For he is one\n of them. He is a mutant. And he is a hero.", "XAVIER\n A very powerful mutant who for some\n reason has taken an interest in you.\n I&iacute;m not sure why, but until we find\n out, I must ask you to stay.", "The celebration continues unabated. The newscaster on\n the defeat of the Mutant Registration Act muted, in the", "Xavier&iacute;s eyes burst open.\n\n INT. LABORATORY - NIGHT\n\n Rogue leads Storm, Jean, Beast and Cyclops quickly into\n the lab.", "fear. It is only a matter of time\n before mutants will be herded into\n camps. Studied for weaknesses. And\n eventually wiped off the face of the", "LOGAN\n This. This whole God damn thing.\n (derisively, at Cyclops)\n Making yourselves into some sort of", "XAVIER\n Is that so?\n\n MAGNETO\n Still trying to make the world safe\n for our kind. Still trying to find a\n way to introduce ourselves --\n definitively.", "MAGNETO (cont&iacute;d)\n ...Is me and my kind. The Brotherhood\n of Mutants.\n\n He touches Kelly&iacute;s face and Kelly recoils.", "Cyclops, Jean, Storm, Rogue and about two dozen students\n all sit in front of a wide screen TV watching the Special\n Report on the Mutant Registration Act vote.", "XAVIER\n The brainwaves of mutants are quite\n different than those of the average\n human being.", "&igrave;team&icirc; of super-powered freaks.\n Teaching wayward mutants about\n classical literature. For what?", "Magneto coming up from below. They nod to one another\n and walk toward the front of the boat. On the deck is\n something covered with a tarp. Sabretooth pulls back the", "Kelly lies unconscious in his bed, his heart monitor\n weakening.\n\n Beast limps over to Xavier. Xavier struggles to speak.\n Beast bends down so that Xavier can whisper into his ear.", "<BODY>\n <PRE>\n\n\n\n X-Men\n\n\n\n By", "Magneto turns.\n\n MAGNETO\n What is?\n\n MYSTIQUE\n This is.", "BEAST\n It appears as though Magneto has built\n a machine which somehow triggers the\n mutator gene in normal human beings.\n And he is using Adamantium as its\n core.", "XAVIER\n I feel a great swell of pity for the\n poor soul who comes to that school\n again looking for trouble.\n\n He stares right at Magneto." ], [ "Logan finally pulls his claws free and retracts them.\n Rogue staggers, she pitches forward and touches his face\n gently with her hands, as though she would like him to be\n the last thing she sees on this Earth.", "Logan looking down, through the hole in the Statue&iacute;s head\n for Jean, sees Rogue and Magneto struggle.\n\n Logan watches helplessly as MAGNETO STRANGLES ROGUE.", "As he pulls up to the front doors, he sees Cyclops\n emerging, carrying Storm. She is conscious, but her\n breathing is shallow. His eyes are shut tightly and he\n must follow Rogue&iacute;s direction.", "Sabretooth, stunned and scorched, gets to his feet and\n smiles at his handiwork. He is about to move in and\n finish them both when the rumble of a helicopter can be\n heard above.", "Logan sits upright in bed, CLAWS EXTENDED, INTO ROGUE&iacute;S\n CHEST. She is literally frozen at the end of his arm.", "Xavier opens his eyes and sees Rogue sitting on a chair\n in the corner. She is visibly upset. Xavier wheels over\n to Rogue. Xavier reaches out and softly touches her\n clothing covered shoulder.", "Rogue, choking to death, looks frantically at Cyclops for\n help. She raises one of her hands and uses Magneto&iacute;s", "Sabretooth whips around, still clutching Jean to see -\n LOGAN -\n\n Bleeding, beaten and panting, and yet still standing\n defiantly over Magneto&iacute;s unconscious body.", "Logan and Rogue, locked in a fatal moment of tenderness\n snaring a look of loneliness that only they can\n understand.\n\n But suddenly, Logan seems to change.", "LOGAN\n I didn&iacute;t mean to scare you.\n\n ROGUE\n Thank God. Logan... we have to help\n Storm we have to.", "Cyclops smiles. Logan kneels down beside Rogue. He\n wants to comfort her but cannot touch her. She opens her\n eyes and sees Logan.", "All are silent. Rogue looks to Beast with desperate\n eyes.\n\n ROGUE\n Can you help him?\n\n BEAST\n I don&iacute;t know.", "Magneto grabs hold of Rogue&iacute;s throat -- CHOKING HER.\n\n INT. TORCH - NIGHT", "And when Rogue looks up, she sees another figure - this\n one filling the frame behind Storm.\n\n A huge clawed hand grabs Storm around the throat and\n lifts her up as she struggles in vain.", "Logan thinks for a moment -- looks at Jean still\n unconscious on the floor. Then:\n\n Logan retracts his claws.", "He walks over to Storm and Cyclops and SHOOK! cuts them\n loose. Jean and Cyclops catch Storm, who begins to come\n around.", "LOGAN (cont&iacute;d)\n No two women smell alike.\n\n He grabs Rogue by the throat.\n\n JEAN\n Logan, what are you doing?", "Magneto, feeling the last of his power draining from him,\n grabs Rogue tightly and SLAMS her into the wall. Rogue", "Logan extends his hand.\n\n LOGAN (cont&iacute;d)\n Here, take my hand.\n\n Rogue looks at Logan confused. Logan grows impatient.", "ROGUE\n Logan--\n\n LOGAN\n Whatever you say about them being the\n same...\n\n SHOOK. The claws are out. HE LUNGES." ], [ "The gate closes and the boy looks back to see his parents\n - along with many others - being restrained by a number\n of soldiers. The screaming is deafening.", "The fence. The gate that separates the parents. It bows\n toward them like iron filings to a magnet, and several of\n the strands of barbed wire have given way.", "dragged screaming his feet no longer touching the ground.\n Two soldiers carry him as they follow the back of a large\n column of children being led through a gate of barbed", "The family tries to stay together, clinging to one\n another dearly, until finally, they are put upon by a\n number of gray uniforms and pulled apart. The boy is", "Suddenly, the gate slowly opens -- Inviting him to leave.\n He pauses, momentarily confused. He takes one long look\n back at the mansion. And then leaves.", "He pops his head through again. He turns his shoulder\n toward the bars and begins to push. His feet slip in the\n floor and his fingers stretch and crack inside, then his", "Men, women and children are herded off the train like\n cattle toward a large open yard. There they huddle until\n the Germans begin to shout and shove through the mob.", "child. The farther they get from the fence, the heavier\n he seems to get, until they are literally pulling him as\n though he were anchored to something.", "Then they follow the line of children that has gotten\n ahead of them.\n\n ANGLE ON:\n\n The boy's parents watch him as he -- as they, are taken\n away.", "Logan sees a grand entrance with two huge oak doors and\n brightly-polished steel knobs that scream &igrave;exit.&icirc; He\n starts in that direction when the doors begin to open.", "We are looking up at rows and rows of fences topped with\n barbed wire all designed to create a separator for the\n thousands of Jew who pour through each day.", "He throws the door to reveal a mass of huddled and\n frightened people inside.\n\n The words are not necessary. The language is not ours\n and the images say enough.", "It is only then that he hears a slight crack and his head\n squeezes between the bars like a soft-shelled egg. He", "He looks up. A look of brutal determination crosses his\n face. Straining, he pulls himself up by his right arm.", "This only holds his attention for a moment. Logan looks\n across an expanse of grounds that house the Mansion. A\n high, wrought-iron gate surrounds the entire property.", "He stares at the metal wire with an unusual fascination.\n\n The boy looks up at HIS WORRIED PARENTS - a sturdy-\n looking couple who try to smile and comfort him.", "The boy continues to scream as all the other faces simply\n freeze and wonder.\n\n One of the soldiers pulls a wooden baton from his belt\n and brains the boy violently.", "He hears the sound of approaching foot-steps coming from\n the hallway. He spots another entrance on the far side\n of the room and, carrying his clothes, he staggers out,\n still in considerable pain.", "His outstretched fingers claw at the thin air and he\n screams until the blood in his face is blue.", "HIMSELF THROUGH THE HOLE -- his hands still bound behind\n his back, and slams against the outer railing of the\n torch." ], [ "Logan, still clutching his stolen clothes, opens his eyes\n and sees a man sitting behind a large mahogany desk --\n PROFESSOR CHARLES XAVIER, an intense and intelligent man\n just to look at him.", "XAVIER (cont&iacute;d)\n I&iacute;m sorry, allow me to formally\n introduce myself -- I am Professor\n Charles Xavier. This is my school.", "XAVIER\n The brainwaves of mutants are quite\n different than those of the average\n human being.", "Xavier opens his eyes and sees Rogue sitting on a chair\n in the corner. She is visibly upset. Xavier wheels over\n to Rogue. Xavier reaches out and softly touches her\n clothing covered shoulder.", "Xavier makes a move, Magneto counters. Xavier moves\n again.", "XAVIER\n A very powerful mutant who for some\n reason has taken an interest in you.\n I&iacute;m not sure why, but until we find\n out, I must ask you to stay.", "Cyclops stands looking down at Professor Xavier. He\n starts to walk away but he is stopped. He looks down and\n sees that the Professor has weakly grabbed his sleeve.", "Xavier looks to Rogue. A warmth comes over his face. An\n look of understanding. At a glance he has read her mind.", "KELLY\n Yes... Who are you?\n\n XAVIER\n I am Charles Xavier. This is my\n school.", "MAGNETO\n Can&iacute;t read my mind?\n\n Xavier&iacute;s expression falters. It appears as if the helmet\n has been made to block Xavier from doing just that.", "Xavier is lying in his bed. Jean looks up at the screen\n above him and sees Xavier&iacute;s brain waves have dropped\n severely.", "XAVIER\n I feel a great swell of pity for the\n poor soul who comes to that school\n again looking for trouble.\n\n He stares right at Magneto.", "XAVIER (cont&iacute;d)\n Well, Logan.\n\n All eyes are on Logan. Logan pauses. He looks to\n Xavier, then back to the room.", "Magneto is notably without his trademark helmet. Two\n casts encase his legs from his Logan-inflicted injury.\n\n Xavier is on a modified plastic chair with plastic\n wheels.", "KELLY\n Of course you are.\n\n INT. LABORATORY - LATER - DAY\n\n Xavier is in bed, eyes closed.", "LOGAN\n How do you know my name?\n\n Xavier taps the side of his head with his finger.", "XAVIER\n (to Cyclops)\n It&iacute;s alright... it&iacute;s alright.\n\n Magneto glances at Storm, then Cyclops.", "MAGNETO\n I am trying to save our kind, Charles.\n You should do the same.\n\n XAVIER\n Not at the cost of lives, Max.", "The chair is pulled closer to Magneto. Cyclops steps\n forward. Xavier need not turn to know help is coming.", "XAVIER (cont&iacute;d)\n Cerebro amplifies my power. It allows\n me to browse the world&iacute;s consciousness\n and find the genetically enhanced." ], [ "And she grabs the sides of his face and kisses him\n deeply. There is an awkward moment. Until:", "Jean&iacute;s eyes widen -- and around the corner steps Senator\n Kelly, wearing the clothing he had taken from the beach.\n He trembles as though from a high fever. His body is\n covered with a layer of sweat.", "neck and kissing him deeply. Then Magneto looks deep and\n lovingly into Guyrich&iacute;s eyes.", "Cyclops drops to his knees, the sprinklers still gushing.\n His eyes are tightly shut.\n\n He feels for Storm&iacute;s face and touches her lips.", "His tongue covers her face with an ADHESIVE SLIME. Jean\n falls to the ground. Toad looks back at the main\n entrance, sees Cyclops emerging and LEAPS up, out of\n frame.", "Suddenly, Toad lands in front of Jean, grabs her head and\n before she can react, his tongue launches at her face.", "He lays under a single sheet, sweating, his eyes moving\n quickly this way and that in R.E.M. His hands twitch.\n\n Rogue leans closer.", "He is out of bed. She is unable to speak, choked silent\n by his grip.\n\n He places his fist near her face. We see the three faint\n scars just above his knuckles.", "Jean and Kelly both look as the cotton swab ignites like\n flash paper in her hand. Everyone is shocked. Jean\n pauses and takes the bottle of alcohol from the shelf.", "He walks to Jean and tears off her bonds. He reaches out\n to grab her neck but his claw is stopped again in mid-", "Logan finally pulls his claws free and retracts them.\n Rogue staggers, she pitches forward and touches his face\n gently with her hands, as though she would like him to be\n the last thing she sees on this Earth.", "Cyclops turns Jean on her back, ready to perform CPR. He\n is shocked, the slime has now hardened to Jean&iacute;s face.\n She is suffocating. He desperately tries to pry it off.", "of Logan&iacute;s hands. Jean&iacute;s eye moves across his body. His\n rippling muscles.", "all. Merely a gasp, like steam escaping. Through the\n huge slash in her clothes, we see the wound on her chest\n slowly vanish.", "Hesitation. Logan looks at her for a moment. Taken by\n her beauty. Then he is on his feet.\n\n Jean is on the floor, gasping for breath.", "The can rolls down the steps. People move away from it\n as though the can itself were dangerous.\n\n The crowd steps back in genuine fear. Jean simply moves\n ahead now, unimpeded, still shaking her head.", "It is a woman breathing, groaning. He smiles and follows\n the noise.\n\n EXT. MANSION - NIGHT", "JEAN\n What is it you&iacute;re failing to get at?\n Are you interested in me?\n\n JEAN\n I&iacute;m just interested.", "Jean leans in slowly and kisses Cyclops just beside his\n mouth\n\n JEAN\n You know I love you, Scott.\n\n Cyclops pulls her close. The hold each other.", "Rogue holds vigil at his side.\n\n Kelly is in the bed next to him, trembling, burning up\n from what seems to be a bad fever that keeps getting\n worse." ], [ "Across the aisle from them sits a lone oddly pretty\n twenty year old girl. Her name is ROGUE -- a dark-eyed", "and somewhat distant creature. From the shawl around her\n head to her boots, layers of odd clothing wrap every inch\n of her body, except her face and hands. She looks worn,", "their identity. You mock the names\n these people choose but they wear them\n as badges of pride.", "at all. Quite a contrast from her own, stifling garb.\n She touches the glass as though trying to reach them,\n then she moves on.", "all. Merely a gasp, like steam escaping. Through the\n huge slash in her clothes, we see the wound on her chest\n slowly vanish.", "Jean and Kelly both look as the cotton swab ignites like\n flash paper in her hand. Everyone is shocked. Jean\n pauses and takes the bottle of alcohol from the shelf.", "Holding out her left hand.\n\n JEAN\n Logan, do you see this ring?\n\n LOGAN\n I&iacute;ve seen a lot of rings.", "Kelly, of course, is shocked. Mystique shows a little\n hip, raising the scales at her mid-section mockingly, as\n the last of what we thought was Guyrich slips underneath.", "The can rolls down the steps. People move away from it\n as though the can itself were dangerous.\n\n The crowd steps back in genuine fear. Jean simply moves\n ahead now, unimpeded, still shaking her head.", "Finally, she gets a hold of herself, becoming the\n introverted Rogue we all know so well.\n\n Then she stands slowly, looks at the others.", "Sabretooth reacts, surprised by the sudden shift. This\n gives Storm one last chance to breath.\n\n We notice now that something is happening to her body.", "her own family isn&iacute;t able to accept.\n She&iacute;s been on her own for weeks now,\n searching for a home. A place to\n belong.", "She tumbles and lands on her stick, snapping it. She\n stands and, when the children see that her stick is\n broken, they begin to giggle.", "Human contact all around.\n\n She walks past a small child, her hand nearly brushing\n the girl&iacute;s hair.\n\n Rogue takes a seat on a bench, alone.", "Before long, she transforms back into a healthy young\n girl with no sign of injury.", "Jean uncaps an IV needle and moves to the middle of\n Logan&iacute;s arm. We cannot help but notice a diamond ring on\n her left hand.", "touching. She is starting to panic now. She looks\n around, but anyone still left in the mall is running for\n the doors.", "She walks over to a Victoria&iacute;s Secret store and looks up\n at the mannequins in the windows who wear almost nothing", "Jean&iacute;s eyes widen -- and around the corner steps Senator\n Kelly, wearing the clothing he had taken from the beach.\n He trembles as though from a high fever. His body is\n covered with a layer of sweat.", "And she runs from the room. Storm runs after her.\n\n The rest turn to Logan, who lays on the floor,\n convulsing." ], [ "This only holds his attention for a moment. Logan looks\n across an expanse of grounds that house the Mansion. A\n high, wrought-iron gate surrounds the entire property.", "Magneto comes to stand on a railing outside from his high\n perch, overlooking the island. From here we pull out to\n reveal at last where he is.", "XAVIER (cont&iacute;d)\n I&iacute;m sorry, allow me to formally\n introduce myself -- I am Professor\n Charles Xavier. This is my school.", "Logan, still clutching his stolen clothes, opens his eyes\n and sees a man sitting behind a large mahogany desk --\n PROFESSOR CHARLES XAVIER, an intense and intelligent man\n just to look at him.", "KELLY\n Yes... Who are you?\n\n XAVIER\n I am Charles Xavier. This is my\n school.", "Sirens wail in the distance.\n\n Xavier looks at the lot of them: waifish Rogue, blind\n Cyclops, unconscious Storm and his wheelchair-bound self\n as their guardian.", "XAVIER\n A very powerful mutant who for some\n reason has taken an interest in you.\n I&iacute;m not sure why, but until we find\n out, I must ask you to stay.", "KELLY\n Ms. Grey -- you work at a school for\n mutants in Westchester, New York. Can\n you tell the members of this committee\n what exactly you are teaching these\n mutants?", "XAVIER\n I feel a great swell of pity for the\n poor soul who comes to that school\n again looking for trouble.\n\n He stares right at Magneto.", "Xavier comes out from behind his desk. We see that he is\n in a MOTORED WHEELCHAIR. Realizing that he is safe for\n the moment, Logan begins putting on his stolen clothes.", "Xavier opens his eyes and sees Rogue sitting on a chair\n in the corner. She is visibly upset. Xavier wheels over\n to Rogue. Xavier reaches out and softly touches her\n clothing covered shoulder.", "LOGAN\n What am I doing here?\n\n XAVIER\n I brought you here so that you would\n be safe from Magneto.\n\n LOGAN\n Who?", "LOGAN\n Look, I appreciate your concern. But,\n I do better on my own.\n\n Xavier indicates the wreckage of the train.", "ANGLE ON: X-ray of Logan&iacute;s Adamantium skeleton.\n\n INT. MANSION - NIGHT", "Logan goes to the door.\n\n Xavier, disappointed, just watches him go.\n\n INT. FRONT HALL - DAY", "Jean, Cyclops, Storm and Rogue step off the wing tip of\n the X-Jet onto the island. They climb over the fog\n encased seawall and stand staring up at the Statue and\n the desolate island.", "She manages a faint smile. Then Xavier looks to the\n other students -- their frightened faces.\n\n INT. LABORATORY - LATER - NIGHT", "Xavier&iacute;s eyes burst open.\n\n INT. LABORATORY - NIGHT\n\n Rogue leads Storm, Jean, Beast and Cyclops quickly into\n the lab.", "Stay for a moment. Watch him go. Then pan across a sign\n which reads --\n\n PROFESSOR CHARLES XAVIER&iacute;S SCHOOL FOR THE GIFTED", "INT. XAVIER&iacute;S OFFICE - DAY\n\n Logan shuts the door and leans his head back against it,\n exhausted." ], [ "Kelly was dead within hours. Your\n machine kills.", "But then suddenly, something is wrong. Kelly buckles,\n clutching his stomach again. He squelches what would\n have been a scream of agony.", "Rogue holds vigil at his side.\n\n Kelly is in the bed next to him, trembling, burning up\n from what seems to be a bad fever that keeps getting\n worse.", "Kelly tries to speak, but his strength is waning.\n\n The two men are a pitiful sight, both slowly coming\n apart.", "Kelly&iacute;s whole chest and pelvis are slightly flattened\n beneath his clothes, but with a hideous crunching sound,\n they seem to inflate again back to normal.", "Kelly is hunched over his toilet, heaving. His suit is\n rumpled and dirty, showing signs that time has passed.\n\n There is a television just outside the door:", "KELLY\n What have you bastards done to me?\n\n Kelly is horrified. Disgusted. He paces the cell,\n unable to comprehend what has happened to himself.", "Kelly turns and LEAPS. Sabretooth comes to the edge of\n the cliff.\n\n When he looks over, Kelly&iacute;s body has vanished. Swallowed\n by the sea.", "SUDDENLY - The sound of Kelly&iacute;s heart monitor begins to\n PICK UP SPEED. Jean rushes to Kelly and touches his pale", "Kelly looks out the window now and sees the helicopter is\n closing in on an island - where, is anyone&iacute;s guess. What\n is known is that the place is no pleasure resort.", "Jean stands and walks out, pushing her way through\n reporters now moving in for her response. All the while,\n Kelly is delivering his last words.", "Kelly raises a blown-up photograph: a grainy, super-\n zoomed, somewhat obscured image of a CAR ON A FREEWAY\n which appears to have \"melted.\" Now he's really playing\n to the crowd.", "KELLY\n Your front door was damaged... there\n was a hole...\n\n Kelly makes a hole with his hands that is not much larger\n then that of a coffee can.", "Kelly turns and screams. Blob has just walked into the\n room and lunges, grabbing him by the arms. Kelly is", "The sheet that covers Kelly&iacute;s body begins to flatten out.\n The sweat covering the hapless Senator&iacute;s body thickens", "JEAN\n The experiment was a failure. Kelly\n didn&iacute;t make it. Yes, you were", "Kelly looks at his body with a mixture of fascination and\n disgust.\n\n VOICE\n HEY.", "KELLY (cont&iacute;d)\n ... I squeezed through.\n\n Kelly buckles in pain, but then catches himself.", "With that, Mystique punches Kelly. Knocking him out\n cold.\n\n BLACK", "Kelly, with only that way to go, does so, passing once\n again the odd assortment of machines, very reminiscent of\n the one he was exposed to." ], [ "Toad fights the gale force winds, his webbed feet\n adhering to the ground. He inches closer to Storm. Toad\n bares his FANGS.", "BOOM\n\n A huge bolt of lightning shoot from her body into\n Sabretooth&iacute;s chest, knocking him back in shock. Storm\n falls to the ground, not breathing.", "Toad&iacute;s head peers through the open elevator doors to the\n level below, looking down on the helpless Storm. Toad\n SMILES. His webbed finger presses the elevator button.", "Sabretooth reacts, surprised by the sudden shift. This\n gives Storm one last chance to breath.\n\n We notice now that something is happening to her body.", "TOAD (cont&iacute;d)\n Oh God it hurts. Do it again.\n\n Magneto watches this, momentarily stunned.", "And she runs from the room. Storm runs after her.\n\n The rest turn to Logan, who lays on the floor,\n convulsing.", "Toad is blown off the railing in a flash of electricity\n and --\n\n EXT. HARBOR - NIGHT", "C.U. Toad&iacute;s face static, his eyes slowly look to the\n side. His head twists, looking over his shoulder. Storm\n stands behind him.", "Storm, nearly lifeless now, struggles with what little\n strength she has to get free of Sabretooth. He relishes\n the slow kill.", "Sabretooth backhands Storm across the jaw, knocking her\n out. As her head drops, he draws his claws and slashes", "Toad turns and hops off the railing towards Storm.\n\n C.U. on TOAD&iacute;S FACE. Which is horrible.", "But suddenly ALL THE HAIR ON HIS BODY STANDS ON END.\n Sabretooth is momentarily confused.\n\n Storm&iacute;s eyes open wide as her body convulses.", "His tongue covers her face with an ADHESIVE SLIME. Jean\n falls to the ground. Toad looks back at the main\n entrance, sees Cyclops emerging and LEAPS up, out of\n frame.", "Magneto stares icily at Storm.\n\n As if to accentuate the threat, a piece of metal pokes\n ever so slightly into the side of Storm&iacute;s throat.", "And when Rogue looks up, she sees another figure - this\n one filling the frame behind Storm.\n\n A huge clawed hand grabs Storm around the throat and\n lifts her up as she struggles in vain.", "Storm moves to the railing. She looks down at Cyclops\n and Jean. Suddenly, the metal railing on which her hands\n rest BEGIN TO BEND TOWARD HER.", "Rogue rushes to Storm, struggling with how to give her\n mouth to mouth, CPR, anything to resuscitate her without", "INT. MALL - LOWER LEVEL - NIGHT\n\n Cyclops looks up and sees Storm is being CHOKED BY\n SABRETOOTH, her feet not touching the ground.", "Storm struggles to her feet. Her hand presses against\n the thick glass elevator shaft, it surrounds her like a\n coffin.\n\n LIGHTNING strike the glass -- to no effect.", "He walks over to Storm and Cyclops and SHOOK! cuts them\n loose. Jean and Cyclops catch Storm, who begins to come\n around." ], [ "XAVIER (cont&iacute;d)\n Cerebro amplifies my power. It allows\n me to browse the world&iacute;s consciousness\n and find the genetically enhanced.", "INT. CEREBRO - NIGHT\n\n Xavier&iacute;s eyes open.\n\n XAVIER\n I&iacute;ve found her, Westchester Mall.", "Xavier enters and wheels himself into the giant machine.\n It immediately comes to life - lighting the room. The\n chrome skull cap descends onto Xavier&iacute;s head.", "The door to Cerebro opens.\n\n Rogue or rather Mystique, rushes in. She goes to a small\n panel on the side of Cerebro.", "MAGNETO (cont&iacute;d)\n I also have a small piece of Cerebro\n that might be of interest to you, if\n you hope to save Charles Xavier.", "LOGAN\n How do you know my name?\n\n Xavier taps the side of his head with his finger.", "Xavier is lying in his bed. Jean looks up at the screen\n above him and sees Xavier&iacute;s brain waves have dropped\n severely.", "At Xavier&iacute;s eye level is a black screen with a chin-rest\n like you see at the eye doctor. Xavier rests his head in\n it and the screen lights up.", "MAGNETO\n The two in Alaska. Just how do you\n people manage to be in the right place\n at the right time? Still tinkering\n with Cerebro?", "XAVIER\n The brainwaves of mutants are quite\n different than those of the average\n human being.", "They walk inside.\n\n INT. CEREBRO - CONTINUOUS - NIGHT\n\n They come into a room with a high sphered ceiling -\n entirely black.", "Logan, still clutching his stolen clothes, opens his eyes\n and sees a man sitting behind a large mahogany desk --\n PROFESSOR CHARLES XAVIER, an intense and intelligent man\n just to look at him.", "MAGNETO\n Can&iacute;t read my mind?\n\n Xavier&iacute;s expression falters. It appears as if the helmet\n has been made to block Xavier from doing just that.", "Rogue moves quietly down the corridor that leads to\n Cerebro.\n\n She comes to the retinal scanner - she brings her eye to\n the screen.", "Senator&iacute;s body is literally burning\n itself out. Scott -- this machine\n kills people and I don&iacute;t think Magneto\n realizes it.", "Xavier&iacute;s eyes burst open.\n\n INT. LABORATORY - NIGHT\n\n Rogue leads Storm, Jean, Beast and Cyclops quickly into\n the lab.", "MAGNETO (cont&iacute;d)\n Check and mate.\n\n PAUSE.", "CYCLOPS\n What do you think Magneto wants with\n him?\n\n Xavier wheels himself to the window, starring out, deep\n in thought.", "Magneto stands with a hand raised up toward the machine.\n Then a slight motion of his wrist --\n\n INT. TORCH - NIGHT", "Her other eye changes in the light of the scanner. The\n retina reshaping itself in minute ways.\n\n ANGLE ON: The screen -- ACCESS GRANTED -- CHARLES XAVIER" ], [ "It has been her all along, using SHAPE SHIFTING powers\n borrowed from the real Mystique.\n\n Magneto fights to get free, but his power is being\n drained from him.", "over to the NYPD entering the room. Swish pan back.\n Mystique has taken the form of a Secret Service agent.", "And with that GUY SHAPE SHIFTS into a beautiful woman who\n herefore will be known as MYSTIQUE. Her body is covered\n in iridescent blue scales, which complement her lovely,\n solid yellow eyes.", "IT IS MYSTIQUE. The lower part of her face and the whole\n her neck are that of a stocky man.", "Magneto turns.\n\n MAGNETO\n What is?\n\n MYSTIQUE\n This is.", "Kelly, of course, is shocked. Mystique shows a little\n hip, raising the scales at her mid-section mockingly, as\n the last of what we thought was Guyrich slips underneath.", "The door to Cerebro opens.\n\n Rogue or rather Mystique, rushes in. She goes to a small\n panel on the side of Cerebro.", "And with that, Mystique walks up.\n\n MYSTIQUE\n And people like you are the reason I\n was afraid to go to school as a child.", "Jean realizes that Logan is right. ROGUE MORPHS INTO\n MYSTIQUE.\n\n MAGNETO (O.S.)\n Telekinesis.", "He looks up and sees Mystique wheeling the gurney,\n smiling down at the Senator.", "With that, Mystique punches Kelly. Knocking him out\n cold.\n\n BLACK", "MAGNETO CONVULSES. Once, then again. Then he struggles\n to be set free.\n\n And MYSTIQUE TRANSFORMS INTO ROGUE.", "Mystique ignores Jean. She stops behind Magneto. She\n looks up and sees Logan staring back in agony.\n\n JEAN (cont&iacute;d)\n ... Please do something.", "Mystique walks slowly toward magneto. Storm and Jean\n watch the torch in horror.\n\n JEAN\n (to Mystique)\n You have to stop him, the machine...\n it kills people...", "PULL OUT TO REVEAL:\n\n Kelly is strapped to a metal chair, bound impossibly\n tight. He struggles. Mystique watches from the far side\n of the room.", "Magneto tilts his head slightly, acknowledging Jean, but\n not moving from his task.\n\n MYSTIQUE\n Don&iacute;t listen to her... it&iacute;s a trap.", "Mystique emerges from the stairwell behind Magneto. Her\n eyes widen in awe.\n\n MAGNETO\n Ahh, there you are.", "And when Rogue looks up, she sees another figure - this\n one filling the frame behind Storm.\n\n A huge clawed hand grabs Storm around the throat and\n lifts her up as she struggles in vain.", "Mystique has morphed back into her natural state with the\n exception of ONE OF ROGUE&iacute;S POCKETS, which still clings", "Xavier opens his eyes and sees Rogue sitting on a chair\n in the corner. She is visibly upset. Xavier wheels over\n to Rogue. Xavier reaches out and softly touches her\n clothing covered shoulder." ] ]

[ "What does Erick do that the gates as he tries to reach his parents?", "What does Marie D'Ancanto accidentally do to her boyfriend?", "What does Marie become known as?", "Who do Toad and Mystique kidnap?", "What does Senator Kelly do?", "Who do Magneto and Toad, along with Sabertooth, kidnap next?", "What do the X-Men discover Megneto plans to do with Rouge?", "After the big fight what do the X-Men discover of Mystique?", "Who is separated from his parents in a concentration Camp?", "What kind of abilities does Erik have?", "What is Erik's Mutant name?", "What relationship are Eric and Xavier Discussing?", "How does Marie put her boyfriend into a coma?", "What name does Marie take on ?", "Who attacks Logan and Marie on the road?", "What is the new group of Mutants called?", "How does Wolverine save Rogue?", "What happens to the concentration camp gate when young Eric tries to reach his parents?", "What is Professor Charles Xavier's mutation?", "What happens to Marie D'Ancanto's boyfriend as she kisses him?", "What does Marie change her name to?", "Where is the X-Mansion located?", "How does Kelly die?", "Where does Storm electrocute Toad?", "What is the name of Cerebro's machine which locates mutants?", "Who does Mystique impersonate?" ]

[ [ "He bends the metal toward him, as if by a magnetic force.", "bend towards them" ], [ "Put him in a coma while kissing him.", "Put him into a coma after kissing him" ], [ "Rouge.", "Rogue" ], [ "Senator Kelly.", "Senator Kelly" ], [ "Use his new mutant abilities to escape imprisonment.", "Tries to pass the \"Mutant Registration Act\"" ], [ "Rouge.", "Rogue" ], [ "Use her power-transferring ability to power his machine.", "Transfer his powers to her and force her to start the machine" ], [ "That she is still alive and impersonating Senator Kelly.", "The liberty island fight" ], [ "Erik Lehnsherr", "Erik Lehnsherr" ], [ "Magnetic Abilities.", "Magnetic" ], [ "Magneto", "Magneto" ], [ "The relationship between humans and mutants", "humans and mutants" ], [ "Sucking the life force out of him", "She kisses him. " ], [ "Rogue", "Rogue" ], [ "Victor Creed / Sabretooth", "Victor Creed/ Sabretooth" ], [ "X-Men", "X-men" ], [ "Transfers healing abilities.", "He transfers some of his healing power to her." ], [ "It bends", "the gate bent toward him as though he were magnetic" ], [ "Mental Telepathy", "telepathy" ], [ "He falls into a coma.", "She steals his life force and puts him into a coma." ], [ "Rogue", "Rogue" ], [ "Westchester County, New York", "Westchester County, New York" ], [ "He turns into a puddle of water", "his cells breakdown into water due to instability in his artificial mutation" ], [ "The Statue of Liberty", "Statue of Liberty" ], [ "Cerebro", "Cerebro" ], [ "Kelly", "Bobby Drake and Senator Kelly" ] ]

[ [ "Jimmie's face. His foot swung a step forward and the weight of his\nbody was behind his fist. Jimmie ducked his head, Bowery-like, with", "A stone had smashed into Jimmie's mouth. Blood was bubbling over his\nchin and down upon his ragged shirt. Tears made furrows on his", "\"Eh, what? Been fightin' agin, by Gawd!\" She threw herself upon\nJimmie. The urchin tried to dart behind the others and in the scuffle", "Jimmie was determined. \"He t'inks he kin scrap, but he'll fin' out\ndiff'ent.\"\n\n\"Gee,\" remonstrated the friend. \"What deh hell?\"", "friend, Jimmie, strutted upon the scene. He met Jimmie one day on the\nstreet, promised to take him to a boxing match in Williamsburg, and\ncalled for him in the evening.", "Jimmie, with his face drenched in blood, escaped up a side street,\npursued a short distance by some of the more law-loving, or excited\nindividuals of the crowd.", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "\"Well, what deh hell yer goin' teh do?\" repeated Jimmie's ally. They\nkept close to him, taunting and leering. They strove to make him\nattempt the initial blow.", "\"Well, den we'll see whose deh bes' man, you or me,\" he said.\n\nThe quiet stranger moved modestly toward the door.\n\nJimmie began to swell with valor.", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "Chapter XIII\n\nJimmie did not return home for a number of days after the fight with\nPete in the saloon. When he did, he approached with extreme caution.", "\"Run, Jimmie, run! Dey'll get yehs,\" screamed a retreating Rum Alley\nchild.", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "Jimmie replied with heavy contempt. \"Ah, youse can't fight, Blue\nBillie! I kin lick yeh wid one han'.\"\n\n\"Ah, go ahn,\" replied Billie again.", "\"Ah,\" said Jimmie threateningly.\n\n\"Ah,\" said the other in the same tone.\n\nThey struck at each other, clinched, and rolled over on the cobble\nstones.", "Jimmie grew large enough to take the vague position of head of the\nfamily. As incumbent of that office, he stumbled up-stairs late at", "and curses. There was a great final thump and Jimmie's voice cried:\n\"Dere, damn yeh, stay still.\" Maggie opened the door now, and went", "He began to kick into the chaotic mass on the ground. The boy Billie\nfelt a heavy boot strike his head. He made a furious effort and\ndisentangled himself from Jimmie. He tottered away, damning.", "\"Smash 'im, Jimmie, kick deh damn guts out of 'im,\" yelled Pete, the\nlad with the chronic sneer, in tones of delight.", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless." ], [ "\"Damn yer ol' hide,\" yelled Jimmie, madly. Maggie shrieked and ran\ninto the other room. To her there came the sound of a storm of crashes", "As Jimmie and his friend exchanged tales descriptive of their prowess,\nMaggie leaned back in the shadow. Her eyes dwelt wonderingly and", "When he arrived home he found his mother clamoring. Maggie had\nreturned. She stood shivering beneath the torrent of her mother's\nwrath.", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "Those glances of the men, shot at Maggie from under half-closed lids,\nmade her tremble. She thought them all to be worse men than Pete.\n\n\"Come, let's go,\" she said.", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "Jimmie crawled back in the shadows and waited. A noise in the next\nroom had followed his cry at the discovery that his mother was awake.", "urchin's arm in her little trembling hands and they huddled in a\ncorner. The eyes of both were drawn, by some force, to stare at the", "The door of the Johnson home opened and Maggie looked out. Jimmie made\na supreme cursing effort and hurled his mother into the room. He", "Chapter IV\n\nThe babe, Tommie, died. He went away in a white, insignificant coffin,\nhis small waxen hand clutching a flower that the girl, Maggie, had\nstolen from an Italian.", "The jeering cries ended in another burst of shrill laughter.\n\nThe girl seemed to awaken. \"Jimmie--\"\n\nHe drew hastily back from her.", "Jimmie grunted, and then began to stare out at the window. His mother\nsat down in a chair, but a moment later sprang erect and delivered a", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "and curses. There was a great final thump and Jimmie's voice cried:\n\"Dere, damn yeh, stay still.\" Maggie opened the door now, and went", "One day, Jimmie came home, sat down in a chair and began to wriggle\nabout with a new and strange nervousness. At last he spoke\nshamefacedly.", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "The woman on the floor cursed. Jimmie was intent upon his bruised\nfore-arms. The girl cast a glance about the room filled with a chaotic\nmass of debris, and at the red, writhing body of her mother.", "broke into clattering fragments. Jimmie partially suppressed a howl\nand darted down the stairway. Below he paused and listened. He heard", "He was telling tales to Jimmie.\n\nMaggie watched him furtively, with half-closed eyes, lit with a vague\ninterest.", "\"Maggie's gone teh deh devil! Are yehs deaf?\" roared Jimmie,\nimpatiently.\n\n\"Deh hell she has,\" murmured the mother, astounded." ], [ "Jimmie grew large enough to take the vague position of head of the\nfamily. As incumbent of that office, he stumbled up-stairs late at", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "She and Jimmie lived.", "A stone had smashed into Jimmie's mouth. Blood was bubbling over his\nchin and down upon his ragged shirt. Tears made furrows on his", "Jimmie grunted, and then began to stare out at the window. His mother\nsat down in a chair, but a moment later sprang erect and delivered a", "and curses. There was a great final thump and Jimmie's voice cried:\n\"Dere, damn yeh, stay still.\" Maggie opened the door now, and went", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "Chapter IV\n\nThe babe, Tommie, died. He went away in a white, insignificant coffin,\nhis small waxen hand clutching a flower that the girl, Maggie, had\nstolen from an Italian.", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "Jimmie arose painfully from the ground and confronting his father,\nbegan to curse him. His parent kicked him. \"Come home, now,\" he", "The jeering cries ended in another burst of shrill laughter.\n\nThe girl seemed to awaken. \"Jimmie--\"\n\nHe drew hastily back from her.", "Jimmie's face. His foot swung a step forward and the weight of his\nbody was behind his fist. Jimmie ducked his head, Bowery-like, with", "\"Well, I'm damned,\" said Jimmie in greeting.\n\nHis mother, tottering about the room, pointed a quivering forefinger.", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "Jimmie crawled back in the shadows and waited. A noise in the next\nroom had followed his cry at the discovery that his mother was awake.", "Jimmie and the old woman listened long in the hall. Above the muffled\nroar of conversation, the dismal wailings of babies at night, the", "Jimmie was determined. \"He t'inks he kin scrap, but he'll fin' out\ndiff'ent.\"\n\n\"Gee,\" remonstrated the friend. \"What deh hell?\"", "Jimmie came when he was obliged to by circumstances over which he had no\ncontrol. His well-trained legs brought him staggering home and put him", "Jimmie came when he was obliged to by circumstances over which he had no\ncontrol. His well-trained legs brought him staggering home and put him", "The door of the Johnson home opened and Maggie looked out. Jimmie made\na supreme cursing effort and hurled his mother into the room. He" ], [ "Maggie made no reply. She was watching the doors. \"It's a mean piece\nof business,\" complained the mere boy. He explained to her how amazing", "Maggie was pale. From her eyes had been plucked all look of\nself-reliance. She leaned with a dependent air toward her companion.", "Through the open door curious eyes stared in at Maggie. Children\nventured into the room and ogled her, as if they formed the front row", "Maggie was diff'ent--see--she was diff'ent.\"", "He went hastily over to the side door. Opening it and looking out, he\nperceived Maggie standing, as if undecided, on the corner. She was\nsearching the place with her eyes.", "\"Where's Maggie dese days?\" the mother shook her fuzzy head at them and\nappalled them with curses. Cunning hints inviting confidence she\nrebuffed with violence.", "At times Maggie told Pete long confidential tales of her former home\nlife, dwelling upon the escapades of the other members of the family\nand the difficulties she had to combat in order to obtain a degree of", "Chapter IV\n\nThe babe, Tommie, died. He went away in a white, insignificant coffin,\nhis small waxen hand clutching a flower that the girl, Maggie, had\nstolen from an Italian.", "Maggie, standing in the middle of the room, gazed about her. The usual\nupheaval of the tables and chairs had taken place. Crockery was strewn", "Over the eternal collars and cuffs in the factory Maggie spent the most\nof three days in making imaginary sketches of Pete and his daily", "The girl, Maggie, blossomed in a mud puddle. She grew to be a most\nrare and wonderful production of a tenement district, a pretty girl.", "As they went out Maggie perceived two women seated at a table with some\nmen. They were painted and their cheeks had lost their roundness. As\nshe passed them the girl, with a shrinking movement, drew back her\nskirts.", "It was obvious that Pete had been to this place many times before, and\nwas very familiar with it. A knowledge of this fact made Maggie feel\nlittle and new.", "She paid no attention to Maggie, looking toward her once or twice and\napparently seeing the wall beyond.\n\nThe mere boy was sulky. In the beginning he had welcomed with\nacclamations the additions.", "Maggie was dazed. She could dimly perceive that something stupendous\nhad happened. She wondered why Pete saw fit to remonstrate with the", "them at these places. Pete did not appear to be particularly interested\nin what he saw. He stood around looking heavy, while Maggie giggled in\nglee.", "Maggie turned and went.", "Chapter VI\n\nPete took note of Maggie.", "Maggie was paying no attention, being intent upon the doors. The mere\nboy relapsed into a period of gloom, during which he exterminated a", "By a chance, she got a position in an establishment where they made\ncollars and cuffs. She received a stool and a machine in a room where" ], [ "Pete did not pay much attention to the progress of events upon the\nstage. He was drinking beer and watching Maggie.", "Maggie was pale. From her eyes had been plucked all look of\nself-reliance. She leaned with a dependent air toward her companion.", "It was obvious that Pete had been to this place many times before, and\nwas very familiar with it. A knowledge of this fact made Maggie feel\nlittle and new.", "Maggie came to him, the anxious look disappearing from her face and a\nsmile wreathing her lips.\n\n\"Oh, Pete--,\" she began brightly.", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "Maggie perceived that Pete brought forth all his elegance and all his\nknowledge of high-class customs for her benefit. Her heart warmed as\nshe reflected upon his condescension.", "When Pete arrived Maggie, in a worn black dress, was waiting for him in\nthe midst of a floor strewn with wreckage. The curtain at the window", "Chapter VI\n\nPete took note of Maggie.", "Maggie was dazed. She could dimly perceive that something stupendous\nhad happened. She wondered why Pete saw fit to remonstrate with the", "them at these places. Pete did not appear to be particularly interested\nin what he saw. He stood around looking heavy, while Maggie giggled in\nglee.", "Chapter IV\n\nThe babe, Tommie, died. He went away in a white, insignificant coffin,\nhis small waxen hand clutching a flower that the girl, Maggie, had\nstolen from an Italian.", "\"Say, Pete,\" said Maggie, leaning forward, \"dis is great.\"\n\n\"Sure,\" said Pete, with proper complacence.", "Maggie observed Pete.", "A few evenings later Pete entered with fascinating innovations in his\napparel. As she had seen him twice and he had different suits on each\ntime, Maggie had a dim impression that his wardrobe was prodigiously\nextensive.", "He went hastily over to the side door. Opening it and looking out, he\nperceived Maggie standing, as if undecided, on the corner. She was\nsearching the place with her eyes.", "He and the woman entered into a long conversation, exchanging\nreminiscences of days together. Maggie sat still, unable to formulate\nan intelligent sentence upon the conversation and painfully aware of it.", "Maggie made no reply. She was watching the doors. \"It's a mean piece\nof business,\" complained the mere boy. He explained to her how amazing", "Maggie was diff'ent--see--she was diff'ent.\"", "He was telling tales to Jimmie.\n\nMaggie watched him furtively, with half-closed eyes, lit with a vague\ninterest.", "Pete did not consider that he had ruined Maggie. If he had thought\nthat her soul could never smile again, he would have believed the\nmother and brother, who were pyrotechnic over the affair, to be\nresponsible for it." ], [ "\"Damn yer ol' hide,\" yelled Jimmie, madly. Maggie shrieked and ran\ninto the other room. To her there came the sound of a storm of crashes", "The door of the Johnson home opened and Maggie looked out. Jimmie made\na supreme cursing effort and hurled his mother into the room. He", "As Jimmie and his friend exchanged tales descriptive of their prowess,\nMaggie leaned back in the shadow. Her eyes dwelt wonderingly and", "He was telling tales to Jimmie.\n\nMaggie watched him furtively, with half-closed eyes, lit with a vague\ninterest.", "\"Maggie's gone teh deh devil! Are yehs deaf?\" roared Jimmie,\nimpatiently.\n\n\"Deh hell she has,\" murmured the mother, astounded.", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "The jeering cries ended in another burst of shrill laughter.\n\nThe girl seemed to awaken. \"Jimmie--\"\n\nHe drew hastily back from her.", "Jimmie was transfixed by these questions. He could not conceive how\nunder the circumstances his mother's daughter and his sister could have\nbeen so wicked.", "\"Where's Maggie dese days?\" the mother shook her fuzzy head at them and\nappalled them with curses. Cunning hints inviting confidence she\nrebuffed with violence.", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "Maggie made no reply. She was watching the doors. \"It's a mean piece\nof business,\" complained the mere boy. He explained to her how amazing", "Of course Jimmie publicly damned his sister that he might appear on a\nhigher social plane. But, arguing with himself, stumbling about in", "\"Eh, what? Been fightin' agin, by Gawd!\" She threw herself upon\nJimmie. The urchin tried to dart behind the others and in the scuffle", "\"We lived in deh same house wid her an' I brought her up an' we never\nknowed how bad she was.\"\n\nJimmie nodded again.", "Jimmie followed, cursing blackly. At the top of the flight he seized\nhis mother's arm and started to drag her toward the door of their room.\n\n\"Come home, damn yeh,\" he gritted between his teeth.", "The woman on the floor cursed. Jimmie was intent upon his bruised\nfore-arms. The girl cast a glance about the room filled with a chaotic\nmass of debris, and at the red, writhing body of her mother.", "Pete did not consider that he had ruined Maggie. If he had thought\nthat her soul could never smile again, he would have believed the\nmother and brother, who were pyrotechnic over the affair, to be\nresponsible for it.", "Searching about in his mind for possible reasons for their conduct, he\ncame upon the conclusion that Maggie's motives were correct, but that\nthe two others wished to snare him. He felt pursued." ], [ "Pete to a corner. With his disengaged hand he made a furious effort at\nJimmie's coat-tails. Then he regained his balance and paused.", "\"Smash 'im, Jimmie, kick deh damn guts out of 'im,\" yelled Pete, the\nlad with the chronic sneer, in tones of delight.", "Chapter XIII\n\nJimmie did not return home for a number of days after the fight with\nPete in the saloon. When he did, he approached with extreme caution.", "Jimmie's face. His foot swung a step forward and the weight of his\nbody was behind his fist. Jimmie ducked his head, Bowery-like, with", "\"Well,\" said Pete in a threatening voice, \"don' make no trouble.\"\n\nJimmie suddenly leaned forward with his head on one side. He snarled\nlike a wild animal.", "As Pete confronted them with the bottle and the glasses, they laughed\nin his face. Jimmie's companion, evidently overcome with merriment,\npointed a grimy forefinger in Pete's direction.", "friend, Jimmie, strutted upon the scene. He met Jimmie one day on the\nstreet, promised to take him to a boxing match in Williamsburg, and\ncalled for him in the evening.", "\"Git onto his shape! Great Gawd!\"\n\n\"Hey,\" cried Jimmie, in tones of command. Pete came along slowly, with\na sullen dropping of the under lip.", "\"Well, what deh hell yer goin' teh do?\" gritted Jimmie.\n\nPete stepped warily back, waving his hands before him to keep the men\nfrom coming too near.", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "\"Eh, what? Been fightin' agin, by Gawd!\" She threw herself upon\nJimmie. The urchin tried to dart behind the others and in the scuffle", "Jimmie took a tendered tin-pail and seven pennies and departed. He\npassed into the side door of a saloon and went to the bar. Straining", "Jimmie replied with heavy contempt. \"Ah, youse can't fight, Blue\nBillie! I kin lick yeh wid one han'.\"\n\n\"Ah, go ahn,\" replied Billie again.", "be the part of a man to pick a quarrel with Pete, or would he be\njustified in striking him savagely with his beer glass without warning.\nBut he recovered himself when the woman turned to renew her smilings.", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "\"Damned if I knows,\" replied Jimmie. They laughed loudly. Pete put\ndown a bottle with a bang and turned a formidable face toward them. He\ndisclosed his teeth and his shoulders heaved restlessly.", "\"Ah,\" said Jimmie threateningly.\n\n\"Ah,\" said the other in the same tone.\n\nThey struck at each other, clinched, and rolled over on the cobble\nstones.", "\"Ah, come off,\" said Pete to the two men. \"Don't pick me up for no\njay. Drink yer rum an' git out an' don' make no trouble.\"", "Suddenly Pete swore redly. The flash of action gleamed from his eyes.\nHe threw back his arm and aimed a tremendous, lightning-like blow at", "\"Well, den we'll see whose deh bes' man, you or me,\" he said.\n\nThe quiet stranger moved modestly toward the door.\n\nJimmie began to swell with valor." ], [ "Maggie came to him, the anxious look disappearing from her face and a\nsmile wreathing her lips.\n\n\"Oh, Pete--,\" she began brightly.", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "Maggie was dazed. She could dimly perceive that something stupendous\nhad happened. She wondered why Pete saw fit to remonstrate with the", "At this instant Pete came forward. \"Oh, what deh hell, Mag, see,\"\nwhispered he softly in her ear. \"Dis all blows over. See? Deh ol'", "Those glances of the men, shot at Maggie from under half-closed lids,\nmade her tremble. She thought them all to be worse men than Pete.\n\n\"Come, let's go,\" she said.", "\"Say, Pete,\" said Maggie, leaning forward, \"dis is great.\"\n\n\"Sure,\" said Pete, with proper complacence.", "Chapter VI\n\nPete took note of Maggie.", "When the orchestra crashed finally, they jostled their way to the\nsidewalk with the crowd. Pete took Maggie's arm and pushed a way for\nher, offering to fight with a man or two.", "The morning after Maggie had departed from home, Pete stood behind the\nbar. He was immaculate in white jacket and apron and his hair was", "Pete did not consider that he had ruined Maggie. If he had thought\nthat her soul could never smile again, he would have believed the\nmother and brother, who were pyrotechnic over the affair, to be\nresponsible for it.", "It was obvious that Pete had been to this place many times before, and\nwas very familiar with it. A knowledge of this fact made Maggie feel\nlittle and new.", "\"Sit down, and call your lady-friend over,\" she said cordially to Pete.\nAt his beckoning Maggie came and sat between Pete and the mere boy.", "When Pete arrived Maggie, in a worn black dress, was waiting for him in\nthe midst of a floor strewn with wreckage. The curtain at the window", "Maggie observed Pete.", "Maggie perceived that Pete brought forth all his elegance and all his\nknowledge of high-class customs for her benefit. Her heart warmed as\nshe reflected upon his condescension.", "to bed some nights when he would rather have gone elsewhere. Swaggering\nPete loomed like a golden sun to Maggie. He took her to a dime museum", "to bed some nights when he would rather have gone elsewhere. Swaggering\nPete loomed like a golden sun to Maggie. He took her to a dime museum", "\"Mag, yer a bloomin' good-looker,\" he remarked, studying her face\nthrough the haze. The men made Maggie fear, but she blushed at Pete's\nwords as it became apparent to her that she was the apple of his eye.", "Pete did not pay much attention to the progress of events upon the\nstage. He was drinking beer and watching Maggie.", "At times Maggie told Pete long confidential tales of her former home\nlife, dwelling upon the escapades of the other members of the family\nand the difficulties she had to combat in order to obtain a degree of" ], [ "He was telling tales to Jimmie.\n\nMaggie watched him furtively, with half-closed eyes, lit with a vague\ninterest.", "The door of the Johnson home opened and Maggie looked out. Jimmie made\na supreme cursing effort and hurled his mother into the room. He", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "As Jimmie and his friend exchanged tales descriptive of their prowess,\nMaggie leaned back in the shadow. Her eyes dwelt wonderingly and", "\"Damn yer ol' hide,\" yelled Jimmie, madly. Maggie shrieked and ran\ninto the other room. To her there came the sound of a storm of crashes", "Jimmie grunted, and then began to stare out at the window. His mother\nsat down in a chair, but a moment later sprang erect and delivered a", "\"Well, I'm damned,\" said Jimmie in greeting.\n\nHis mother, tottering about the room, pointed a quivering forefinger.", "When he arrived home he found his mother clamoring. Maggie had\nreturned. She stood shivering beneath the torrent of her mother's\nwrath.", "Jimmie crawled back in the shadows and waited. A noise in the next\nroom had followed his cry at the discovery that his mother was awake.", "\"Maggie's gone teh deh devil! Are yehs deaf?\" roared Jimmie,\nimpatiently.\n\n\"Deh hell she has,\" murmured the mother, astounded.", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "Jimmie followed, cursing blackly. At the top of the flight he seized\nhis mother's arm and started to drag her toward the door of their room.\n\n\"Come home, damn yeh,\" he gritted between his teeth.", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "\"Eh, what? Been fightin' agin, by Gawd!\" She threw herself upon\nJimmie. The urchin tried to dart behind the others and in the scuffle", "\"Where's Maggie dese days?\" the mother shook her fuzzy head at them and\nappalled them with curses. Cunning hints inviting confidence she\nrebuffed with violence.", "\"We lived in deh same house wid her an' I brought her up an' we never\nknowed how bad she was.\"\n\nJimmie nodded again.", "His eyes pleaded with her. \"Come out a minit while I tells yeh.\"\n\nThe woman nodded slightly at Maggie and the mere boy, \"'Scuse me.\"", "A stone had smashed into Jimmie's mouth. Blood was bubbling over his\nchin and down upon his ragged shirt. Tears made furrows on his", "Jimmie was transfixed by these questions. He could not conceive how\nunder the circumstances his mother's daughter and his sister could have\nbeen so wicked.", "Jimmie grew large enough to take the vague position of head of the\nfamily. As incumbent of that office, he stumbled up-stairs late at" ], [ "Jimmie's face. His foot swung a step forward and the weight of his\nbody was behind his fist. Jimmie ducked his head, Bowery-like, with", "A stone had smashed into Jimmie's mouth. Blood was bubbling over his\nchin and down upon his ragged shirt. Tears made furrows on his", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "\"Run, Jimmie, run! Dey'll get yehs,\" screamed a retreating Rum Alley\nchild.", "Jimmie was determined. \"He t'inks he kin scrap, but he'll fin' out\ndiff'ent.\"\n\n\"Gee,\" remonstrated the friend. \"What deh hell?\"", "\"Well, den we'll see whose deh bes' man, you or me,\" he said.\n\nThe quiet stranger moved modestly toward the door.\n\nJimmie began to swell with valor.", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "friend, Jimmie, strutted upon the scene. He met Jimmie one day on the\nstreet, promised to take him to a boxing match in Williamsburg, and\ncalled for him in the evening.", "The jeering cries ended in another burst of shrill laughter.\n\nThe girl seemed to awaken. \"Jimmie--\"\n\nHe drew hastily back from her.", "Jimmie grew large enough to take the vague position of head of the\nfamily. As incumbent of that office, he stumbled up-stairs late at", "\"Eh, what? Been fightin' agin, by Gawd!\" She threw herself upon\nJimmie. The urchin tried to dart behind the others and in the scuffle", "and curses. There was a great final thump and Jimmie's voice cried:\n\"Dere, damn yeh, stay still.\" Maggie opened the door now, and went", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "\"Well, what deh hell yer goin' teh do?\" repeated Jimmie's ally. They\nkept close to him, taunting and leering. They strove to make him\nattempt the initial blow.", "Jimmie grunted, and then began to stare out at the window. His mother\nsat down in a chair, but a moment later sprang erect and delivered a", "Jimmie waited a long time in the street and then crept warily up\nthrough the building. He passed with great caution the door of the\ngnarled woman, and finally stopped outside his home and listened.", "Jimmie caught first sight of the on-coming interruption. On his feet\nhe had the same regard for a policeman that, when on his truck, he had\nfor a fire engine. He howled and ran for the side door.", "Jimmie, with his face drenched in blood, escaped up a side street,\npursued a short distance by some of the more law-loving, or excited\nindividuals of the crowd.", "Jimmie crawled back in the shadows and waited. A noise in the next\nroom had followed his cry at the discovery that his mother was awake." ], [ "When he had a dollar in his pocket his satisfaction with existence was\nthe greatest thing in the world. So, eventually, he felt obliged to\nwork. His father died and his mother's years were divided up into\nperiods of thirty days.", "Chapter IV\n\nThe babe, Tommie, died. He went away in a white, insignificant coffin,\nhis small waxen hand clutching a flower that the girl, Maggie, had\nstolen from an Italian.", "Jimmie grew large enough to take the vague position of head of the\nfamily. As incumbent of that office, he stumbled up-stairs late at", "himself with those brothers nor his sister with theirs. After the\nmother had, with great difficulty, suppressed the neighbors, she went", "In the middle of the floor lay his mother asleep. In one corner of the\nroom his father's limp body hung across the seat of a chair.", "The following night he returned home from work at rather a late hour in\nthe evening. In passing through the halls he came upon the gnarled and", "\"I kin remember when she used to wear dem,\" cried she. The women burst\nanew into cries as if they had all been stabbed. The mourner turned to\nthe soiled and unshaven man.", "died away. The breaths of the fighters came wheezingly from their lips\nand the three chests were straining and heaving. Pete at intervals", "As his sister continued her lamentations, he suddenly swore and struck\nher. The little girl reeled and, recovering herself, burst into tears", "He became a truck driver. He was given the charge of a painstaking\npair of horses and a large rattling truck. He invaded the turmoil and", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "\"Well,\" said he, \"Mag's dead.\"\n\n\"What?\" said the woman, her mouth filled with bread.\n\n\"Mag's dead,\" repeated the man.", "night, as his father had done before him. He reeled about the room,\nswearing at his relations, or went to sleep on the floor.", "The father had not moved, but lay in the same death-like sleep. The\nmother writhed in uneasy slumber, her chest wheezing as if she were in", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "The inexperienced fibres of the boy's eyes were hardened at an early\nage. He became a young man of leather. He lived some red years", "He had shown a sprightly desire to do the talking for the company and\ntell all about his family. In a loud voice he declaimed on various", "\"They's gone,\" he remarked, \"they's gone.\" He looked at her through\nthe smoke wreaths. \"Shay, lil' girl, we mightish well make bes' of it.", "He could hear his mother moving heavily about among the furniture of\nthe room. She was chanting in a mournful voice, occasionally", "When he arrived home he found his mother clamoring. Maggie had\nreturned. She stood shivering beneath the torrent of her mother's\nwrath." ], [ "Maggie made no reply. She was watching the doors. \"It's a mean piece\nof business,\" complained the mere boy. He explained to her how amazing", "Through the open door curious eyes stared in at Maggie. Children\nventured into the room and ogled her, as if they formed the front row", "He went hastily over to the side door. Opening it and looking out, he\nperceived Maggie standing, as if undecided, on the corner. She was\nsearching the place with her eyes.", "Maggie was pale. From her eyes had been plucked all look of\nself-reliance. She leaned with a dependent air toward her companion.", "Chapter IV\n\nThe babe, Tommie, died. He went away in a white, insignificant coffin,\nhis small waxen hand clutching a flower that the girl, Maggie, had\nstolen from an Italian.", "By a chance, she got a position in an establishment where they made\ncollars and cuffs. She received a stool and a machine in a room where", "She paid no attention to Maggie, looking toward her once or twice and\napparently seeing the wall beyond.\n\nThe mere boy was sulky. In the beginning he had welcomed with\nacclamations the additions.", "Maggie, standing in the middle of the room, gazed about her. The usual\nupheaval of the tables and chairs had taken place. Crockery was strewn", "The girl, Maggie, blossomed in a mud puddle. She grew to be a most\nrare and wonderful production of a tenement district, a pretty girl.", "Turning, Maggie contemplated the dark, dust-stained walls, and the\nscant and crude furniture of her home. A clock, in a splintered and", "Maggie came to him, the anxious look disappearing from her face and a\nsmile wreathing her lips.\n\n\"Oh, Pete--,\" she began brightly.", "When Maggie came home at half-past six her mother lay asleep amidst the\nwreck of chairs and a table. Fragments of various household utensils", "At times Maggie told Pete long confidential tales of her former home\nlife, dwelling upon the escapades of the other members of the family\nand the difficulties she had to combat in order to obtain a degree of", "When Pete arrived Maggie, in a worn black dress, was waiting for him in\nthe midst of a floor strewn with wreckage. The curtain at the window", "Over the eternal collars and cuffs in the factory Maggie spent the most\nof three days in making imaginary sketches of Pete and his daily", "As they went out Maggie perceived two women seated at a table with some\nmen. They were painted and their cheeks had lost their roundness. As\nshe passed them the girl, with a shrinking movement, drew back her\nskirts.", "Maggie was paying no attention, being intent upon the doors. The mere\nboy relapsed into a period of gloom, during which he exterminated a", "When he arrived home he found his mother clamoring. Maggie had\nreturned. She stood shivering beneath the torrent of her mother's\nwrath.", "them at these places. Pete did not appear to be particularly interested\nin what he saw. He stood around looking heavy, while Maggie giggled in\nglee.", "It was obvious that Pete had been to this place many times before, and\nwas very familiar with it. A knowledge of this fact made Maggie feel\nlittle and new." ], [ "It was obvious that Pete had been to this place many times before, and\nwas very familiar with it. A knowledge of this fact made Maggie feel\nlittle and new.", "them at these places. Pete did not appear to be particularly interested\nin what he saw. He stood around looking heavy, while Maggie giggled in\nglee.", "Maggie observed Pete.", "Chapter VI\n\nPete took note of Maggie.", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "Pete aggressively walked up a side aisle and took seats with Maggie at\na table beneath the balcony.\n\n\"Two beehs!\"", "to bed some nights when he would rather have gone elsewhere. Swaggering\nPete loomed like a golden sun to Maggie. He took her to a dime museum", "to bed some nights when he would rather have gone elsewhere. Swaggering\nPete loomed like a golden sun to Maggie. He took her to a dime museum", "When the orchestra crashed finally, they jostled their way to the\nsidewalk with the crowd. Pete took Maggie's arm and pushed a way for\nher, offering to fight with a man or two.", "When Pete arrived Maggie, in a worn black dress, was waiting for him in\nthe midst of a floor strewn with wreckage. The curtain at the window", "Pete did not pay much attention to the progress of events upon the\nstage. He was drinking beer and watching Maggie.", "A few evenings later Pete entered with fascinating innovations in his\napparel. As she had seen him twice and he had different suits on each\ntime, Maggie had a dim impression that his wardrobe was prodigiously\nextensive.", "\"Say, Pete,\" said Maggie, leaning forward, \"dis is great.\"\n\n\"Sure,\" said Pete, with proper complacence.", "Maggie came to him, the anxious look disappearing from her face and a\nsmile wreathing her lips.\n\n\"Oh, Pete--,\" she began brightly.", "Maggie perceived that Pete brought forth all his elegance and all his\nknowledge of high-class customs for her benefit. Her heart warmed as\nshe reflected upon his condescension.", "Maggie was dazed. She could dimly perceive that something stupendous\nhad happened. She wondered why Pete saw fit to remonstrate with the", "\"Sit down, and call your lady-friend over,\" she said cordially to Pete.\nAt his beckoning Maggie came and sat between Pete and the mere boy.", "hurrying toward some unseen falls. Pete and Maggie entered the hall\nand took chairs at a table near the door. The woman who was seated\nthere made an attempt to occupy Pete's attention and, failing, went", "In a hall of irregular shape sat Pete and Maggie drinking beer. A\nsubmissive orchestra dictated to by a spectacled man with frowsy hair", "Those glances of the men, shot at Maggie from under half-closed lids,\nmade her tremble. She thought them all to be worse men than Pete.\n\n\"Come, let's go,\" she said." ], [ "\"Where's Maggie dese days?\" the mother shook her fuzzy head at them and\nappalled them with curses. Cunning hints inviting confidence she\nrebuffed with violence.", "The door of the Johnson home opened and Maggie looked out. Jimmie made\na supreme cursing effort and hurled his mother into the room. He", "As they went out Maggie perceived two women seated at a table with some\nmen. They were painted and their cheeks had lost their roundness. As\nshe passed them the girl, with a shrinking movement, drew back her\nskirts.", "Those glances of the men, shot at Maggie from under half-closed lids,\nmade her tremble. She thought them all to be worse men than Pete.\n\n\"Come, let's go,\" she said.", "Maggie made no reply. She was watching the doors. \"It's a mean piece\nof business,\" complained the mere boy. He explained to her how amazing", "\"Damn yer ol' hide,\" yelled Jimmie, madly. Maggie shrieked and ran\ninto the other room. To her there came the sound of a storm of crashes", "When he arrived home he found his mother clamoring. Maggie had\nreturned. She stood shivering beneath the torrent of her mother's\nwrath.", "\"You're a liar. I ain't had a drop,\" she roared in reply.\n\nThey had a lurid altercation, in which they damned each other's souls\nwith frequence.", "In a fury he plunged out of the doorway. As he vanished the mother\nraised her head and lifted both hands, entreating.\n\n\"May Gawd curse her forever,\" she cried.", "her hands with studied airs of indifference. The doors swung behind\nthem, leaving Maggie and the mere boy seated at the table.", "\"Maggie's gone teh deh devil! Are yehs deaf?\" roared Jimmie,\nimpatiently.\n\n\"Deh hell she has,\" murmured the mother, astounded.", "She paid no attention to Maggie, looking toward her once or twice and\napparently seeing the wall beyond.\n\nThe mere boy was sulky. In the beginning he had welcomed with\nacclamations the additions.", "\"Ah, what deh hell?\" repeated he.\n\nMaggie darted into the hall, and up the stairs. She turned and smiled\nat him, then disappeared.", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "Maggie stood up.\n\n\"I'm going home,\" she said.\n\nThe mere boy started.", "Pete did not consider that he had ruined Maggie. If he had thought\nthat her soul could never smile again, he would have believed the\nmother and brother, who were pyrotechnic over the affair, to be\nresponsible for it.", "His eyes pleaded with her. \"Come out a minit while I tells yeh.\"\n\nThe woman nodded slightly at Maggie and the mere boy, \"'Scuse me.\"", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "\"Dey was damn jays,\" he said, denouncing the mother and brother.", "\"I kin remember when she used to wear dem,\" cried she. The women burst\nanew into cries as if they had all been stabbed. The mourner turned to\nthe soiled and unshaven man." ], [ "Pete to a corner. With his disengaged hand he made a furious effort at\nJimmie's coat-tails. Then he regained his balance and paused.", "Jimmie took a tendered tin-pail and seven pennies and departed. He\npassed into the side door of a saloon and went to the bar. Straining", "Pete, in a white jacket, was behind the bar bending expectantly toward\na quiet stranger. \"A beeh,\" said the man. Pete drew a foam-topped\nglassful and set it dripping upon the bar.", "Chapter XIII\n\nJimmie did not return home for a number of days after the fight with\nPete in the saloon. When he did, he approached with extreme caution.", "\"Well,\" said Pete in a threatening voice, \"don' make no trouble.\"\n\nJimmie suddenly leaned forward with his head on one side. He snarled\nlike a wild animal.", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "Pete slid a bottle and two glasses along the bar. He bended his head\nsideways as he assiduously polished away with a napkin at the gleaming\nwood. He had a look of watchfulness upon his features.", "\"Smash 'im, Jimmie, kick deh damn guts out of 'im,\" yelled Pete, the\nlad with the chronic sneer, in tones of delight.", "As Pete confronted them with the bottle and the glasses, they laughed\nin his face. Jimmie's companion, evidently overcome with merriment,\npointed a grimy forefinger in Pete's direction.", "Jimmie's face. His foot swung a step forward and the weight of his\nbody was behind his fist. Jimmie ducked his head, Bowery-like, with", "\"Damned if I knows,\" replied Jimmie. They laughed loudly. Pete put\ndown a bottle with a bang and turned a formidable face toward them. He\ndisclosed his teeth and his shoulders heaved restlessly.", "As she turned her face toward him Pete beckoned to her hurriedly,\nintent upon returning with speed to a position behind the bar and to\nthe atmosphere of respectability upon which the proprietor insisted.", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "\"Well, what deh hell yer goin' teh do?\" gritted Jimmie.\n\nPete stepped warily back, waving his hands before him to keep the men\nfrom coming too near.", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "\"Git onto his shape! Great Gawd!\"\n\n\"Hey,\" cried Jimmie, in tones of command. Pete came along slowly, with\na sullen dropping of the under lip.", "anxiety from different points in the room. She wanted it to look well\non Sunday night when, perhaps, Jimmie's friend would come. On Sunday\nnight, however, Pete did not appear.", "Jimmie had an idea it wasn't common courtesy for a friend to come to\none's home and ruin one's sister. But he was not sure how much Pete\nknew about the rules of politeness.", "\"Say, Jimmie,\" demanded he, \"what deh hell is dat behind deh bar?\"", "The morning after Maggie had departed from home, Pete stood behind the\nbar. He was immaculate in white jacket and apron and his hair was" ], [ "As Jimmie and his friend exchanged tales descriptive of their prowess,\nMaggie leaned back in the shadow. Her eyes dwelt wonderingly and", "\"Damn yer ol' hide,\" yelled Jimmie, madly. Maggie shrieked and ran\ninto the other room. To her there came the sound of a storm of crashes", "He was telling tales to Jimmie.\n\nMaggie watched him furtively, with half-closed eyes, lit with a vague\ninterest.", "The door of the Johnson home opened and Maggie looked out. Jimmie made\na supreme cursing effort and hurled his mother into the room. He", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "Maggie made no reply. She was watching the doors. \"It's a mean piece\nof business,\" complained the mere boy. He explained to her how amazing", "\"Maggie's gone teh deh devil! Are yehs deaf?\" roared Jimmie,\nimpatiently.\n\n\"Deh hell she has,\" murmured the mother, astounded.", "Jimmie and the old woman listened long in the hall. Above the muffled\nroar of conversation, the dismal wailings of babies at night, the", "The jeering cries ended in another burst of shrill laughter.\n\nThe girl seemed to awaken. \"Jimmie--\"\n\nHe drew hastily back from her.", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "\"Eh, what? Been fightin' agin, by Gawd!\" She threw herself upon\nJimmie. The urchin tried to dart behind the others and in the scuffle", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "Jimmie crawled back in the shadows and waited. A noise in the next\nroom had followed his cry at the discovery that his mother was awake.", "In the darkness of the hallway Jimmie discerned a knot of women talking\nvolubly. When he strode by they paid no attention to him.", "\"What deh hell is dat talkin'?\" cried the companion.\n\n\"Damned if I knows,\" replied Jimmie with exaggerated contempt.", "\"We lived in deh same house wid her an' I brought her up an' we never\nknowed how bad she was.\"\n\nJimmie nodded again.", "Jimmie replied with heavy contempt. \"Ah, youse can't fight, Blue\nBillie! I kin lick yeh wid one han'.\"\n\n\"Ah, go ahn,\" replied Billie again.", "\"Well, what deh hell yer goin' teh do?\" repeated Jimmie's ally. They\nkept close to him, taunting and leering. They strove to make him\nattempt the initial blow." ], [ "\"A little pale thing with no spirit,\" she said. \"Did you note the\nexpression of her eyes? There was something in them about pumpkin pie", "Maggie was pale. From her eyes had been plucked all look of\nself-reliance. She leaned with a dependent air toward her companion.", "Maggie made no reply. She was watching the doors. \"It's a mean piece\nof business,\" complained the mere boy. He explained to her how amazing", "Maggie was dazed. She could dimly perceive that something stupendous\nhad happened. She wondered why Pete saw fit to remonstrate with the", "\"Sit down, and call your lady-friend over,\" she said cordially to Pete.\nAt his beckoning Maggie came and sat between Pete and the mere boy.", "Those glances of the men, shot at Maggie from under half-closed lids,\nmade her tremble. She thought them all to be worse men than Pete.\n\n\"Come, let's go,\" she said.", "Maggie was diff'ent--see--she was diff'ent.\"", "His eyes pleaded with her. \"Come out a minit while I tells yeh.\"\n\nThe woman nodded slightly at Maggie and the mere boy, \"'Scuse me.\"", "\"Maggie's gone teh deh devil! Are yehs deaf?\" roared Jimmie,\nimpatiently.\n\n\"Deh hell she has,\" murmured the mother, astounded.", "When he arrived home he found his mother clamoring. Maggie had\nreturned. She stood shivering beneath the torrent of her mother's\nwrath.", "\"Mag, yer a bloomin' good-looker,\" he remarked, studying her face\nthrough the haze. The men made Maggie fear, but she blushed at Pete's\nwords as it became apparent to her that she was the apple of his eye.", "\"Where's Maggie dese days?\" the mother shook her fuzzy head at them and\nappalled them with curses. Cunning hints inviting confidence she\nrebuffed with violence.", "\"Do dose little men talk?\" asked Maggie.\n\n\"Naw,\" said Pete, \"it's some damn fake. See?\"", "Maggie came to him, the anxious look disappearing from her face and a\nsmile wreathing her lips.\n\n\"Oh, Pete--,\" she began brightly.", "She paid no attention to Maggie, looking toward her once or twice and\napparently seeing the wall beyond.\n\nThe mere boy was sulky. In the beginning he had welcomed with\nacclamations the additions.", "\"Ah, what deh hell?\" repeated he.\n\nMaggie darted into the hall, and up the stairs. She turned and smiled\nat him, then disappeared.", "\"Say, Pete,\" said Maggie, leaning forward, \"dis is great.\"\n\n\"Sure,\" said Pete, with proper complacence.", "He walked over to Maggie and whispered in her ear. \"Ah, what deh hell,\nMag? Come ahn and we'll have a hell of a time.\"", "At this instant Pete came forward. \"Oh, what deh hell, Mag, see,\"\nwhispered he softly in her ear. \"Dis all blows over. See? Deh ol'", "Chapter IV\n\nThe babe, Tommie, died. He went away in a white, insignificant coffin,\nhis small waxen hand clutching a flower that the girl, Maggie, had\nstolen from an Italian." ], [ "Maggie was dazed. She could dimly perceive that something stupendous\nhad happened. She wondered why Pete saw fit to remonstrate with the", "At this instant Pete came forward. \"Oh, what deh hell, Mag, see,\"\nwhispered he softly in her ear. \"Dis all blows over. See? Deh ol'", "Those glances of the men, shot at Maggie from under half-closed lids,\nmade her tremble. She thought them all to be worse men than Pete.\n\n\"Come, let's go,\" she said.", "Maggie came to him, the anxious look disappearing from her face and a\nsmile wreathing her lips.\n\n\"Oh, Pete--,\" she began brightly.", "\"Say, Pete,\" said Maggie, leaning forward, \"dis is great.\"\n\n\"Sure,\" said Pete, with proper complacence.", "topics. He assumed a patronizing air toward Pete. As Maggie was\nsilent, he paid no attention to her. He made a great show of lavishing\nwealth upon the woman of brilliance and audacity.", "Pete did not consider that he had ruined Maggie. If he had thought\nthat her soul could never smile again, he would have believed the\nmother and brother, who were pyrotechnic over the affair, to be\nresponsible for it.", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "At once Pete sprang to his feet, his face beaming with glad surprise.\n\n\"By Gawd, there's Nellie,\" he cried.", "When Pete arrived Maggie, in a worn black dress, was waiting for him in\nthe midst of a floor strewn with wreckage. The curtain at the window", "\"Do dose little men talk?\" asked Maggie.\n\n\"Naw,\" said Pete, \"it's some damn fake. See?\"", "At times Maggie told Pete long confidential tales of her former home\nlife, dwelling upon the escapades of the other members of the family\nand the difficulties she had to combat in order to obtain a degree of", "Maggie perceived that Pete brought forth all his elegance and all his\nknowledge of high-class customs for her benefit. Her heart warmed as\nshe reflected upon his condescension.", "Pete did not pay much attention to the progress of events upon the\nstage. He was drinking beer and watching Maggie.", "\"Sit down, and call your lady-friend over,\" she said cordially to Pete.\nAt his beckoning Maggie came and sat between Pete and the mere boy.", "Chapter VI\n\nPete took note of Maggie.", "to bed some nights when he would rather have gone elsewhere. Swaggering\nPete loomed like a golden sun to Maggie. He took her to a dime museum", "to bed some nights when he would rather have gone elsewhere. Swaggering\nPete loomed like a golden sun to Maggie. He took her to a dime museum", "them at these places. Pete did not appear to be particularly interested\nin what he saw. He stood around looking heavy, while Maggie giggled in\nglee.", "It was obvious that Pete had been to this place many times before, and\nwas very familiar with it. A knowledge of this fact made Maggie feel\nlittle and new." ], [ "In a partitioned-off section of a saloon sat a man with a half dozen\nwomen, gleefully laughing, hovering about him. The man had arrived at\nthat stage of drunkenness where affection is felt for the universe.", "At a tottering moment a blow from Pete's hand struck the ally and he\ncrashed to the floor. He wriggled instantly to his feet and grasping", "died away. The breaths of the fighters came wheezingly from their lips\nand the three chests were straining and heaving. Pete at intervals", "As the latter passed out of the door the man turned pathetically to the\nwomen.\n\n\"He don' know I'm damn goo' f'ler,\" cried he, dismally.", "Later, from a corner safely dark, he saw the policeman, the ally and\nthe bartender emerge from the saloon. Pete locked the doors and then", "When Pete arrived Maggie, in a worn black dress, was waiting for him in\nthe midst of a floor strewn with wreckage. The curtain at the window", "At times men at other tables regarded the girl furtively. Pete, aware\nof it, nodded at her and grinned. He felt proud.", "When the orchestra crashed finally, they jostled their way to the\nsidewalk with the crowd. Pete took Maggie's arm and pushed a way for\nher, offering to fight with a man or two.", "be the part of a man to pick a quarrel with Pete, or would he be\njustified in striking him savagely with his beer glass without warning.\nBut he recovered himself when the woman turned to renew her smilings.", "\"Sure you have, Pete,\" assented the woman. She delivered an oration to\nher companions. \"Yessir, that's a fact. Pete's a square fellah, he", "She saw Pete's eyes sparkle as he gazed upon the handsome stranger. He\nlistened smilingly to all she said. The woman was familiar with all\nhis affairs, asked him about mutual friends, and knew the amount of his\nsalary.", "Maggie was dazed. She could dimly perceive that something stupendous\nhad happened. She wondered why Pete saw fit to remonstrate with the", "Pete to a corner. With his disengaged hand he made a furious effort at\nJimmie's coat-tails. Then he regained his balance and paused.", "But Pete continued with his explanations. If he was laughed at for his\ntastes in women, he felt obliged to say that they were only temporary\nor indifferent ones.", "The morning after Maggie had departed from home, Pete stood behind the\nbar. He was immaculate in white jacket and apron and his hair was", "One day the young man, Pete, who as a lad had smitten the Devil's Row\nurchin in the back of the head and put to flight the antagonists of his", "In a semi-comatose state he conducted her on board an up-town car,\nostentatiously paid her fare, leered kindly at her through the rear\nwindow and fell off the steps.", "damn.\" She contemplated Pete's man-subduing eyes and noted that wealth\nand prosperity was indicated by his clothes. She imagined a future,", "At this instant Pete came forward. \"Oh, what deh hell, Mag, see,\"\nwhispered he softly in her ear. \"Dis all blows over. See? Deh ol'", "them at these places. Pete did not appear to be particularly interested\nin what he saw. He stood around looking heavy, while Maggie giggled in\nglee." ], [ "Jimmie's face. His foot swung a step forward and the weight of his\nbody was behind his fist. Jimmie ducked his head, Bowery-like, with", "\"Eh, what? Been fightin' agin, by Gawd!\" She threw herself upon\nJimmie. The urchin tried to dart behind the others and in the scuffle", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "\"Ah,\" said Jimmie threateningly.\n\n\"Ah,\" said the other in the same tone.\n\nThey struck at each other, clinched, and rolled over on the cobble\nstones.", "\"Well, what deh hell yer goin' teh do?\" repeated Jimmie's ally. They\nkept close to him, taunting and leering. They strove to make him\nattempt the initial blow.", "The jeering cries ended in another burst of shrill laughter.\n\nThe girl seemed to awaken. \"Jimmie--\"\n\nHe drew hastily back from her.", "Jimmie grunted, and then began to stare out at the window. His mother\nsat down in a chair, but a moment later sprang erect and delivered a", "A stone had smashed into Jimmie's mouth. Blood was bubbling over his\nchin and down upon his ragged shirt. Tears made furrows on his", "and curses. There was a great final thump and Jimmie's voice cried:\n\"Dere, damn yeh, stay still.\" Maggie opened the door now, and went", "Jimmie arose painfully from the ground and confronting his father,\nbegan to curse him. His parent kicked him. \"Come home, now,\" he", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "Jimmie was determined. \"He t'inks he kin scrap, but he'll fin' out\ndiff'ent.\"\n\n\"Gee,\" remonstrated the friend. \"What deh hell?\"", "\"Well, den we'll see whose deh bes' man, you or me,\" he said.\n\nThe quiet stranger moved modestly toward the door.\n\nJimmie began to swell with valor.", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "He began to kick into the chaotic mass on the ground. The boy Billie\nfelt a heavy boot strike his head. He made a furious effort and\ndisentangled himself from Jimmie. He tottered away, damning.", "On first thoughts Jimmie, with his heart throbbing at battle heat,\nstarted to go desperately to the rescue of his friend, but he halted.\n\n\"Ah, what deh hell?\" he demanded of himself.", "friend, Jimmie, strutted upon the scene. He met Jimmie one day on the\nstreet, promised to take him to a boxing match in Williamsburg, and\ncalled for him in the evening.", "The woman stepped closer and laid her fingers on his arm. \"But,\nlook-a-here--\"\n\nJimmie snarled. \"Oh, go teh hell.\"", "Jimmie replied with heavy contempt. \"Ah, youse can't fight, Blue\nBillie! I kin lick yeh wid one han'.\"\n\n\"Ah, go ahn,\" replied Billie again.", "Jimmie turned upon her fiercely as if resolved to make a last stand for\ncomfort and peace." ], [ "Jimmie grew large enough to take the vague position of head of the\nfamily. As incumbent of that office, he stumbled up-stairs late at", "\"Lookut her, Jimmie, lookut her. Dere's yer sister, boy. Dere's yer\nsister. Lookut her! Lookut her!\"", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "Jimmie grunted, and then began to stare out at the window. His mother\nsat down in a chair, but a moment later sprang erect and delivered a", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "Jimmie was determined. \"He t'inks he kin scrap, but he'll fin' out\ndiff'ent.\"\n\n\"Gee,\" remonstrated the friend. \"What deh hell?\"", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "A stone had smashed into Jimmie's mouth. Blood was bubbling over his\nchin and down upon his ragged shirt. Tears made furrows on his", "\"Jimmie, boy, go git yer sister! Go git yer sister an' we'll put deh\nboots on her feets!\"", "Jimmie's face. His foot swung a step forward and the weight of his\nbody was behind his fist. Jimmie ducked his head, Bowery-like, with", "The jeering cries ended in another burst of shrill laughter.\n\nThe girl seemed to awaken. \"Jimmie--\"\n\nHe drew hastily back from her.", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "She and Jimmie lived.", "Of course Jimmie publicly damned his sister that he might appear on a\nhigher social plane. But, arguing with himself, stumbling about in", "Jimmie crawled back in the shadows and waited. A noise in the next\nroom had followed his cry at the discovery that his mother was awake.", "\"Run, Jimmie, run! Dey'll get yehs,\" screamed a retreating Rum Alley\nchild.", "One day, Jimmie came home, sat down in a chair and began to wriggle\nabout with a new and strange nervousness. At last he spoke\nshamefacedly.", "Jimmie and the old woman listened long in the hall. Above the muffled\nroar of conversation, the dismal wailings of babies at night, the", "and curses. There was a great final thump and Jimmie's voice cried:\n\"Dere, damn yeh, stay still.\" Maggie opened the door now, and went", "In the darkness of the hallway Jimmie discerned a knot of women talking\nvolubly. When he strode by they paid no attention to him." ], [ "The mother slowly gathered herself up from the floor. Her eyes\nglittered menacingly upon her children.", "Eventually they entered into a dark region where, from a careening\nbuilding, a dozen gruesome doorways gave up loads of babies to the", "The man caught his breath and laughed. He hit his son on the head with\nthe empty pail. As it rolled clanging into the street, Jimmie began to\nscream and kicked repeatedly at his father's shins.", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "She jerked the baby's arm impatiently. He fell on his face, roaring.\nWith a second jerk she pulled him to his feet, and they went on. With", "She returned and stirred up the room until her children were bobbing\nabout like bubbles.", "\"Ah, what deh hell,\" he said, and smote the deeply-engaged one on the\nback of the head. The little boy fell to the ground and gave a hoarse,", "The urchin raised his voice in defiance to his parent and continued his\nattacks. The babe bawled tremendously, protesting with great violence.\nDuring his sister's hasty manoeuvres, he was dragged by the arm.", "As his sister continued her lamentations, he suddenly swore and struck\nher. The little girl reeled and, recovering herself, burst into tears", "\"Yeh devil's kids,\" she howled, shaking red fists. The little boys\nwhooped in glee. As she started up the street they fell in behind and", "himself with those brothers nor his sister with theirs. After the\nmother had, with great difficulty, suppressed the neighbors, she went", "The children scrambled hastily. With prodigious clatter they arranged\nthemselves at table. The babe sat with his feet dangling high from a", "and quaveringly cursed him. As she slowly retreated her brother\nadvanced dealing her cuffs. The father heard and turned about.", "forward and touched her dress, cautiously, as if investigating a\nred-hot stove. Its mother's voice rang out like a warning trumpet.\nShe rushed forward and grabbed her child, casting a terrible look of", "The circle of little boys instantly parted. They drew away and waited\nin ecstatic awe for that which was about to happen. The two little\nboys fighting in the modes of four thousand years ago, did not hear the\nwarning.", "The small combatants pounded and kicked, scratched and tore. They\nbegan to weep and their curses struggled in their throats with sobs.", "walls in the scuffle. The mother lay screeching on the floor, the\ntears running down her furrowed face.", "The father had not moved, but lay in the same death-like sleep. The\nmother writhed in uneasy slumber, her chest wheezing as if she were in", "\"Good Gawd,\" she howled. Her eyes glittered on her child with sudden\nhatred. The fervent red of her face turned almost to purple. The", "Jimmie arose painfully from the ground and confronting his father,\nbegan to curse him. His parent kicked him. \"Come home, now,\" he" ], [ "Jimmie grew large enough to take the vague position of head of the\nfamily. As incumbent of that office, he stumbled up-stairs late at", "Jimmie was determined. \"He t'inks he kin scrap, but he'll fin' out\ndiff'ent.\"\n\n\"Gee,\" remonstrated the friend. \"What deh hell?\"", "Jimmie's face. His foot swung a step forward and the weight of his\nbody was behind his fist. Jimmie ducked his head, Bowery-like, with", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "Jimmie grunted, and then began to stare out at the window. His mother\nsat down in a chair, but a moment later sprang erect and delivered a", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "One day, Jimmie came home, sat down in a chair and began to wriggle\nabout with a new and strange nervousness. At last he spoke\nshamefacedly.", "and curses. There was a great final thump and Jimmie's voice cried:\n\"Dere, damn yeh, stay still.\" Maggie opened the door now, and went", "When Jimmie was a little boy, he began to be arrested. Before he\nreached a great age, he had a fair record.", "A stone had smashed into Jimmie's mouth. Blood was bubbling over his\nchin and down upon his ragged shirt. Tears made furrows on his", "The jeering cries ended in another burst of shrill laughter.\n\nThe girl seemed to awaken. \"Jimmie--\"\n\nHe drew hastily back from her.", "Jimmie arose painfully from the ground and confronting his father,\nbegan to curse him. His parent kicked him. \"Come home, now,\" he", "He heard it creak, and then the sound of a small voice came to him.\n\"Jimmie! Jimmie! Are yehs dere?\" it whispered. The urchin started.", "\"Lookut her, Jimmie, lookut her. Dere's yer sister, boy. Dere's yer\nsister. Lookut her! Lookut her!\"", "Jimmie took a tendered tin-pail and seven pennies and departed. He\npassed into the side door of a saloon and went to the bar. Straining", "Jimmie came when he was obliged to by circumstances over which he had no\ncontrol. His well-trained legs brought him staggering home and put him", "Jimmie came when he was obliged to by circumstances over which he had no\ncontrol. His well-trained legs brought him staggering home and put him", "Chapter XIII\n\nJimmie did not return home for a number of days after the fight with\nPete in the saloon. When he did, he approached with extreme caution.", "Jimmie waited a long time in the street and then crept warily up\nthrough the building. He passed with great caution the door of the\ngnarled woman, and finally stopped outside his home and listened." ], [ "Maggie made no reply. She was watching the doors. \"It's a mean piece\nof business,\" complained the mere boy. He explained to her how amazing", "Through the open door curious eyes stared in at Maggie. Children\nventured into the room and ogled her, as if they formed the front row", "He went hastily over to the side door. Opening it and looking out, he\nperceived Maggie standing, as if undecided, on the corner. She was\nsearching the place with her eyes.", "Maggie was pale. From her eyes had been plucked all look of\nself-reliance. She leaned with a dependent air toward her companion.", "Chapter IV\n\nThe babe, Tommie, died. He went away in a white, insignificant coffin,\nhis small waxen hand clutching a flower that the girl, Maggie, had\nstolen from an Italian.", "By a chance, she got a position in an establishment where they made\ncollars and cuffs. She received a stool and a machine in a room where", "She paid no attention to Maggie, looking toward her once or twice and\napparently seeing the wall beyond.\n\nThe mere boy was sulky. In the beginning he had welcomed with\nacclamations the additions.", "Maggie, standing in the middle of the room, gazed about her. The usual\nupheaval of the tables and chairs had taken place. Crockery was strewn", "The girl, Maggie, blossomed in a mud puddle. She grew to be a most\nrare and wonderful production of a tenement district, a pretty girl.", "Turning, Maggie contemplated the dark, dust-stained walls, and the\nscant and crude furniture of her home. A clock, in a splintered and", "Maggie came to him, the anxious look disappearing from her face and a\nsmile wreathing her lips.\n\n\"Oh, Pete--,\" she began brightly.", "When Maggie came home at half-past six her mother lay asleep amidst the\nwreck of chairs and a table. Fragments of various household utensils", "At times Maggie told Pete long confidential tales of her former home\nlife, dwelling upon the escapades of the other members of the family\nand the difficulties she had to combat in order to obtain a degree of", "When Pete arrived Maggie, in a worn black dress, was waiting for him in\nthe midst of a floor strewn with wreckage. The curtain at the window", "Over the eternal collars and cuffs in the factory Maggie spent the most\nof three days in making imaginary sketches of Pete and his daily", "As they went out Maggie perceived two women seated at a table with some\nmen. They were painted and their cheeks had lost their roundness. As\nshe passed them the girl, with a shrinking movement, drew back her\nskirts.", "Maggie was paying no attention, being intent upon the doors. The mere\nboy relapsed into a period of gloom, during which he exterminated a", "When he arrived home he found his mother clamoring. Maggie had\nreturned. She stood shivering beneath the torrent of her mother's\nwrath.", "them at these places. Pete did not appear to be particularly interested\nin what he saw. He stood around looking heavy, while Maggie giggled in\nglee.", "It was obvious that Pete had been to this place many times before, and\nwas very familiar with it. A knowledge of this fact made Maggie feel\nlittle and new." ], [ "Those glances of the men, shot at Maggie from under half-closed lids,\nmade her tremble. She thought them all to be worse men than Pete.\n\n\"Come, let's go,\" she said.", "\"Where's Maggie dese days?\" the mother shook her fuzzy head at them and\nappalled them with curses. Cunning hints inviting confidence she\nrebuffed with violence.", "Chapter IV\n\nThe babe, Tommie, died. He went away in a white, insignificant coffin,\nhis small waxen hand clutching a flower that the girl, Maggie, had\nstolen from an Italian.", "Maggie was pale. From her eyes had been plucked all look of\nself-reliance. She leaned with a dependent air toward her companion.", "At times Maggie told Pete long confidential tales of her former home\nlife, dwelling upon the escapades of the other members of the family\nand the difficulties she had to combat in order to obtain a degree of", "Maggie made no reply. She was watching the doors. \"It's a mean piece\nof business,\" complained the mere boy. He explained to her how amazing", "He and the woman entered into a long conversation, exchanging\nreminiscences of days together. Maggie sat still, unable to formulate\nan intelligent sentence upon the conversation and painfully aware of it.", "Maggie was dazed. She could dimly perceive that something stupendous\nhad happened. She wondered why Pete saw fit to remonstrate with the", "Turning, Maggie contemplated the dark, dust-stained walls, and the\nscant and crude furniture of her home. A clock, in a splintered and", "Maggie was diff'ent--see--she was diff'ent.\"", "When he arrived home he found his mother clamoring. Maggie had\nreturned. She stood shivering beneath the torrent of her mother's\nwrath.", "\"Mag, yer a bloomin' good-looker,\" he remarked, studying her face\nthrough the haze. The men made Maggie fear, but she blushed at Pete's\nwords as it became apparent to her that she was the apple of his eye.", "When Maggie came home at half-past six her mother lay asleep amidst the\nwreck of chairs and a table. Fragments of various household utensils", "Pete did not consider that he had ruined Maggie. If he had thought\nthat her soul could never smile again, he would have believed the\nmother and brother, who were pyrotechnic over the affair, to be\nresponsible for it.", "\"Ah, what deh hell?\" repeated he.\n\nMaggie darted into the hall, and up the stairs. She turned and smiled\nat him, then disappeared.", "The door of the Johnson home opened and Maggie looked out. Jimmie made\na supreme cursing effort and hurled his mother into the room. He", "topics. He assumed a patronizing air toward Pete. As Maggie was\nsilent, he paid no attention to her. He made a great show of lavishing\nwealth upon the woman of brilliance and audacity.", "His eyes pleaded with her. \"Come out a minit while I tells yeh.\"\n\nThe woman nodded slightly at Maggie and the mere boy, \"'Scuse me.\"", "The girl, Maggie, blossomed in a mud puddle. She grew to be a most\nrare and wonderful production of a tenement district, a pretty girl.", "She paid no attention to Maggie, looking toward her once or twice and\napparently seeing the wall beyond.\n\nThe mere boy was sulky. In the beginning he had welcomed with\nacclamations the additions." ], [ "\"Damn yer ol' hide,\" yelled Jimmie, madly. Maggie shrieked and ran\ninto the other room. To her there came the sound of a storm of crashes", "Maggie made no reply. She was watching the doors. \"It's a mean piece\nof business,\" complained the mere boy. He explained to her how amazing", "As Jimmie and his friend exchanged tales descriptive of their prowess,\nMaggie leaned back in the shadow. Her eyes dwelt wonderingly and", "The door of the Johnson home opened and Maggie looked out. Jimmie made\na supreme cursing effort and hurled his mother into the room. He", "\"We lived in deh same house wid her an' I brought her up an' we never\nknowed how bad she was.\"\n\nJimmie nodded again.", "\"Maggie's gone teh deh devil! Are yehs deaf?\" roared Jimmie,\nimpatiently.\n\n\"Deh hell she has,\" murmured the mother, astounded.", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "As the sullen-eyed man, followed by the blood-covered boy, drew near,\nthe little girl burst into reproachful cries. \"Ah, Jimmie, youse bin\nfightin' agin.\"", "Pete did not consider that he had ruined Maggie. If he had thought\nthat her soul could never smile again, he would have believed the\nmother and brother, who were pyrotechnic over the affair, to be\nresponsible for it.", "Jimmie grunted, and then began to stare out at the window. His mother\nsat down in a chair, but a moment later sprang erect and delivered a", "himself with those brothers nor his sister with theirs. After the\nmother had, with great difficulty, suppressed the neighbors, she went", "\"Where's Maggie dese days?\" the mother shook her fuzzy head at them and\nappalled them with curses. Cunning hints inviting confidence she\nrebuffed with violence.", "Chapter IV\n\nThe babe, Tommie, died. He went away in a white, insignificant coffin,\nhis small waxen hand clutching a flower that the girl, Maggie, had\nstolen from an Italian.", "The jeering cries ended in another burst of shrill laughter.\n\nThe girl seemed to awaken. \"Jimmie--\"\n\nHe drew hastily back from her.", "Jimmie and the old woman listened long in the hall. Above the muffled\nroar of conversation, the dismal wailings of babies at night, the", "He was telling tales to Jimmie.\n\nMaggie watched him furtively, with half-closed eyes, lit with a vague\ninterest.", "Jimmie crawled back in the shadows and waited. A noise in the next\nroom had followed his cry at the discovery that his mother was awake.", "He and the woman entered into a long conversation, exchanging\nreminiscences of days together. Maggie sat still, unable to formulate\nan intelligent sentence upon the conversation and painfully aware of it." ], [ "Maggie came to him, the anxious look disappearing from her face and a\nsmile wreathing her lips.\n\n\"Oh, Pete--,\" she began brightly.", "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "Those glances of the men, shot at Maggie from under half-closed lids,\nmade her tremble. She thought them all to be worse men than Pete.\n\n\"Come, let's go,\" she said.", "\"Say, Pete,\" said Maggie, leaning forward, \"dis is great.\"\n\n\"Sure,\" said Pete, with proper complacence.", "Maggie was dazed. She could dimly perceive that something stupendous\nhad happened. She wondered why Pete saw fit to remonstrate with the", "At this instant Pete came forward. \"Oh, what deh hell, Mag, see,\"\nwhispered he softly in her ear. \"Dis all blows over. See? Deh ol'", "At once Pete sprang to his feet, his face beaming with glad surprise.\n\n\"By Gawd, there's Nellie,\" he cried.", "\"Sit down, and call your lady-friend over,\" she said cordially to Pete.\nAt his beckoning Maggie came and sat between Pete and the mere boy.", "Pete did not consider that he had ruined Maggie. If he had thought\nthat her soul could never smile again, he would have believed the\nmother and brother, who were pyrotechnic over the affair, to be\nresponsible for it.", "His eyes pleaded with her. \"Come out a minit while I tells yeh.\"\n\nThe woman nodded slightly at Maggie and the mere boy, \"'Scuse me.\"", "When Pete arrived Maggie, in a worn black dress, was waiting for him in\nthe midst of a floor strewn with wreckage. The curtain at the window", "When the orchestra crashed finally, they jostled their way to the\nsidewalk with the crowd. Pete took Maggie's arm and pushed a way for\nher, offering to fight with a man or two.", "\"Oh, I say, Nellie, this ain't a square deal, you know. You aren't\ngoin' to leave me and go off with that duffer, are you? I should\nthink--\"", "to bed some nights when he would rather have gone elsewhere. Swaggering\nPete loomed like a golden sun to Maggie. He took her to a dime museum", "to bed some nights when he would rather have gone elsewhere. Swaggering\nPete loomed like a golden sun to Maggie. He took her to a dime museum", "At times Maggie told Pete long confidential tales of her former home\nlife, dwelling upon the escapades of the other members of the family\nand the difficulties she had to combat in order to obtain a degree of", "Chapter VI\n\nPete took note of Maggie.", "\"Mag, yer a bloomin' good-looker,\" he remarked, studying her face\nthrough the haze. The men made Maggie fear, but she blushed at Pete's\nwords as it became apparent to her that she was the apple of his eye.", "Maggie perceived that Pete brought forth all his elegance and all his\nknowledge of high-class customs for her benefit. Her heart warmed as\nshe reflected upon his condescension.", "The morning after Maggie had departed from home, Pete stood behind the\nbar. He was immaculate in white jacket and apron and his hair was" ], [ "With Jimmie in his company, Pete departed in a sort of a blaze of glory\nfrom the Johnson home. Maggie, leaning from the window, watched him as\nhe walked down the street.", "Those glances of the men, shot at Maggie from under half-closed lids,\nmade her tremble. She thought them all to be worse men than Pete.\n\n\"Come, let's go,\" she said.", "Maggie came to him, the anxious look disappearing from her face and a\nsmile wreathing her lips.\n\n\"Oh, Pete--,\" she began brightly.", "Maggie was dazed. She could dimly perceive that something stupendous\nhad happened. She wondered why Pete saw fit to remonstrate with the", "It was obvious that Pete had been to this place many times before, and\nwas very familiar with it. A knowledge of this fact made Maggie feel\nlittle and new.", "When Pete arrived Maggie, in a worn black dress, was waiting for him in\nthe midst of a floor strewn with wreckage. The curtain at the window", "The morning after Maggie had departed from home, Pete stood behind the\nbar. He was immaculate in white jacket and apron and his hair was", "to bed some nights when he would rather have gone elsewhere. Swaggering\nPete loomed like a golden sun to Maggie. He took her to a dime museum", "to bed some nights when he would rather have gone elsewhere. Swaggering\nPete loomed like a golden sun to Maggie. He took her to a dime museum", "Chapter VI\n\nPete took note of Maggie.", "He went hastily over to the side door. Opening it and looking out, he\nperceived Maggie standing, as if undecided, on the corner. She was\nsearching the place with her eyes.", "When the orchestra crashed finally, they jostled their way to the\nsidewalk with the crowd. Pete took Maggie's arm and pushed a way for\nher, offering to fight with a man or two.", "them at these places. Pete did not appear to be particularly interested\nin what he saw. He stood around looking heavy, while Maggie giggled in\nglee.", "At times Maggie told Pete long confidential tales of her former home\nlife, dwelling upon the escapades of the other members of the family\nand the difficulties she had to combat in order to obtain a degree of", "hurrying toward some unseen falls. Pete and Maggie entered the hall\nand took chairs at a table near the door. The woman who was seated\nthere made an attempt to occupy Pete's attention and, failing, went", "Maggie turned and went.", "As thoughts of Pete came to Maggie's mind, she began to have an intense\ndislike for all of her dresses.", "Maggie observed Pete.", "Maggie stood up.\n\n\"I'm going home,\" she said.\n\nThe mere boy started.", "Pete did not consider that he had ruined Maggie. If he had thought\nthat her soul could never smile again, he would have believed the\nmother and brother, who were pyrotechnic over the affair, to be\nresponsible for it." ], [ "Jimmie grunted, and then began to stare out at the window. His mother\nsat down in a chair, but a moment later sprang erect and delivered a", "Jimmie sat nursing his various wounds. He cast furtive glances at his\nmother. His practised eye perceived her gradually emerge from a\nmuddled mist of sentiment until her brain burned in drunken heat. He\nsat breathless.", "\"Well, I'm damned,\" said Jimmie in greeting.\n\nHis mother, tottering about the room, pointed a quivering forefinger.", "and curses. There was a great final thump and Jimmie's voice cried:\n\"Dere, damn yeh, stay still.\" Maggie opened the door now, and went", "Jimmie crawled back in the shadows and waited. A noise in the next\nroom had followed his cry at the discovery that his mother was awake.", "\"Are yehs hurted much, Jimmie?\" she whispered timidly.\n\n\"Not a damn bit! See?\" growled the little boy.\n\n\"Will I wash deh blood?\"", "Jimmie followed, cursing blackly. At the top of the flight he seized\nhis mother's arm and started to drag her toward the door of their room.\n\n\"Come home, damn yeh,\" he gritted between his teeth.", "Jimmie stood until the noises ceased and the other inhabitants of the\ntenement had all yawned and shut their doors. Then he crawled upstairs", "Jimmie was determined. \"He t'inks he kin scrap, but he'll fin' out\ndiff'ent.\"\n\n\"Gee,\" remonstrated the friend. \"What deh hell?\"", "\"Eh, what? Been fightin' agin, by Gawd!\" She threw herself upon\nJimmie. The urchin tried to dart behind the others and in the scuffle", "Jimmie arose painfully from the ground and confronting his father,\nbegan to curse him. His parent kicked him. \"Come home, now,\" he", "A stone had smashed into Jimmie's mouth. Blood was bubbling over his\nchin and down upon his ragged shirt. Tears made furrows on his", "Jimmie's face. His foot swung a step forward and the weight of his\nbody was behind his fist. Jimmie ducked his head, Bowery-like, with", "The door of the Johnson home opened and Maggie looked out. Jimmie made\na supreme cursing effort and hurled his mother into the room. He", "\"Well, yeh must take me fer a damn fool,\" said Jimmie, indignant at his\nmother for mocking him. \"I didn't say we'd make 'er inteh a little tin", "The jeering cries ended in another burst of shrill laughter.\n\nThe girl seemed to awaken. \"Jimmie--\"\n\nHe drew hastily back from her.", "Jimmie grew large enough to take the vague position of head of the\nfamily. As incumbent of that office, he stumbled up-stairs late at", "\"Eh, Jimmie, it's cursed shame,\" she said. \"Go, now, like a dear an'\nbuy me a can, an' if yer mudder raises 'ell all night yehs can sleep\nhere.\"", "He heard it creak, and then the sound of a small voice came to him.\n\"Jimmie! Jimmie! Are yehs dere?\" it whispered. The urchin started.", "One day, Jimmie came home, sat down in a chair and began to wriggle\nabout with a new and strange nervousness. At last he spoke\nshamefacedly." ] ]

[ "Who saved Jimmie when he was fighting a gang of boys?", "Why are Jimmie,Maggie and Tommie shuddering in the corner?", "Who among Jimmie family died?", "Where did Maggie work?", "Who was Maggie dating?", "What did Jimmie and Mary accuse Maggie of doing?", "Whom did Jimmie pick up a figt with at Pete's bar?", "Who convinces Pete to leave Maggie?", "What did Jimmie told his mother Mary about Maggie?", "At the beginning of the story, who saves Jimmie from the gang of boys?", "Years later, which two of his family members die?", "Where does Maggie begin to work?", "Where are two places that Pete takes Maggie?", "Which two characters make accusations at Maggie and kick her out?", "What does Jimmie do at Pete's bar?", "What do Jimmie and Mary do when they hear people talking poorly about Maggie?", "Who calls Maggie \"a little pale thing with no spirit?", "After Nellie talks poorly about Maggie to Pete, what does Pete do?", "At the end of the story, what happens to Pete after he passes out in the salon while surrounded by women?", "Who is Jimmie fighting off at the beginning?", "How many siblings does Jimmie have?", "What do the parents do to the children?", "How does Jimmie change over the years?", "Where does Maggie begin to work?", "Who undermines Maggie's attempt to better her life?", "Why don't Jimmie and Mary defend Maggie from the neighbors?", "How does Nellie convince Pete to leave Maggie?", "Where does Maggie try to go after Pete leaves her?", "What does Jimmie tell his mother at the end? " ]

[ [ "Pete", "Pete." ], [ "Because their drunken parent Mary and John terrify them.", "their parents scare them during a drunken rage" ], [ "His father John and His brother Tommie.", "His father, Timmie and eventually Maggie." ], [ "She work at shirt factory", "shirt factory" ], [ "Maggie was dating Pete", "Pete " ], [ "They accuse her of going to \"Goin to deh devil\"", "Goin to deh devil." ], [ "Pete", "Pete" ], [ "Nellie", "Nelly" ], [ "Jimmie told her Maggie is dead.", "She was dead" ], [ "Pete", "Pete." ], [ "Tommie and Jimmie's father", "father and Tommy" ], [ "At a shirt factory.", "Shirt factory" ], [ "The theater and museum", "Neighborhood " ], [ "Jimmie and Mary.", "her parents" ], [ "Jimmie picks a fight with Pete.", "Pick a fight with Pete" ], [ "Jimmie and Mary also talk bad about Maggie instead of defending her.", "Join them in badmouthing her." ], [ "Nellie", "Nellie" ], [ "He leaves Maggie.", "Leave Maggie" ], [ "One woman takes his money.", "he's robbed" ], [ "A gang of boys from another neighborhood", "a gang of boys from an opposing neighborhood" ], [ "2, Maggie and Tommie", "Two" ], [ "Terrify them", "they scare them during a drunken rage" ], [ "He becomes sneering, aggressive, and cynical", "He becomes a trouble maker." ], [ "In a shirt factory", "A shirt factory" ], [ "Mary", "Mother " ], [ "They join the neighbors because they threw Maggie out", "They don't like her" ], [ "By calling her a pale thing with no spirit", "she calls her a pale thing with no spirit" ], [ "Back home", "Shirt factory" ], [ "That Maggie is dead", "That Maggie is dead." ] ]

[ [ "affection, without considering the circumstances, and the object! So the\nnext girl that run away to a dancing-master, or an ensign, would reckon\nherself one of Harriet's school.", "No matter, Harriet! There may be some wisdom in much folly. Every one\nspeaks not out so plainly as I do. But when the novelty of an", "No--But you know, Harriet, for a man, before he has experienced what sort\nof a wife I shall make, to complain against me for foibles in courtship,\nwhen he can help himself if he will, has something so very little--", "Charming Harriet! said Lady L----. I hope your generosity will be\nrewarded. Yet tell me, my dear, can you wish Lady Clementina may be his?", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "The whole world, replied my lord, shall not now divide us: and took his\nseat on the same side with Emily.\n\nThe man's a rogue, Harriet, whispered she: See! He gives himself airs\nalready!", "acquainting me with what she said of me. When we are taken with any\nbody, we love they should be taken with us. Teasing Harriet! You know", "See, Lucy, the greatness of this man's behaviour! What a presumption was\nit in your Harriet, ever to aspire to call such a one hers!\n\n\n\nLETTER II", "Well, well; he is undoubtedly a good sort of young man; and, Harriet, you\nare a good sort of young woman. Where much is given, much is required:", "He had his eyes upon you, Harriet, replied Lady G----, more earnestly\nthan he had upon me, or any body else.", "Miss Grandison--Lady G----, I would say--singled me out soon after--This\nBeauchamp is really a very pretty fellow, Harriet.\n\nHe is an agreeable man, answered I.", "a flame so young, generously prefer the interest of a more excellent\nwoman to her own.--There, Harriet, is a grave paragraph: you'll like me\nfor it.", "Do you know, Harriet, that Sir Charles is supposed to be one of the\nfinest dancers in England? Remember, my dear, that on Tuesday--[Lord", "And so do I, Harriet. And when Lord G---- sets the example, I shall--\nconsider of it. I am not a bad economist. Had I ten thousand pounds in", "And so it is, Harriet. I have done--Adieu!--Lord G---- will be silly\nagain, I doubt; but I am prepared. I wish he had half my patience.", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "Harriet, who hides not from her friends her own faults, should conceal\nyours?--But what a particular character is yours! Every body blames you,", "Lady L---- asked him; and as gently-voiced as if she were asking the same\nquestion of her own lord. Lady L---- is a kind-hearted soul, Harriet.\nShe is my sister.", "engaged in her affections, may think herself very happy with him. His\nconversation was easy and polite, and he said nothing that was low or", "would perhaps admire his own fancy more than her person. I believe, my\nHarriet, I shall make you afraid of matrimony: but I will pursue my\nsubject, for all that--" ], [ "I have just now heard, that Sir Hargrave Pollexfen is come from abroad\nalready. What can be the meaning of it? He is so low-minded, so", "Sir Hargrave Pollexfen, it seems, still keeps his chamber: he is thought\nnot to be out of danger from some inward hurt, which often makes him", "I could only have wished to have been spared Sir Hargrave Pollexfen's\nvile attempt: then, if I had come acquainted with this family, it would", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "Make your heart easy, in the first place, about Sir Hargrave. He is\nindeed in town; but very ill. He was frightened into England, and", "visitor to Sir Harry for one hour, (I intend to stay no longer,) that he\nreceived me with so disturbed a countenance, and has now withdrawn\nhimself, as if to avoid me.", "Sir Charles Grandison would have stopt reading here. He said, he could\nnot read it to me, without such a change of voice, as would add to my\npain, as well as to his own.", "If you please, madam, repeated she; and with that do-lo-rous accent too,\nmy Harriet!--My sister and I have been in tears this morning: Lord L----\nhad much ado to forbear. Sir Charles will soon leave us.", "It was near ten at night, before Sir Charles got to Lord W----'s, though\nbut three miles from Sir Hargrave's. My lord rejoiced to see him; and,", "Mr. Greville, when he met us at Stoney-Stratford, threw out menaces\nagainst Sir Hargrave, on my account; and said, It was well he was gone", "With as obliging an air as I could assume, I paid my compliments to her.\nShe received them with great stiffness; swelling at Sir Harry: who sidled\nto the door, in a moody and sullen manner, and then slipt out.", "The servant's great coat was open; and Sir Charles observing his livery,\nasked him, If he were not a servant of Sir Hargrave Pollexfen? and was\nanswered in the affirmative.", "returned. He could not but be polite; but, it seems, looked still\ndisturbed. I beg you to excuse, sir, said she, my behaviour to you: it", "with them. Sir Charles was gone, she said, to make a farewell visit to\nthe Danby set; but would be at home at dinner.", "Mr. Orme. Mr. Grenville's rudeness, and her own magnanimity. Hears of\nSir Hargrave Pollexfen's return.", "By this time Sir Hargrave's post-chaise was come up. He and his\ncolleague were with difficulty lifted into it. My brother and Mr.", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "He has withdrawn, sister, said Lord L----, with a resolution, if you deny\nhim, to urge you no further.\n\nI hate his peremptoriness.", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "He ceased speaking. I was in tremors. Sir, sir--The story, I must own,\nis a most affecting one. How much is the unhappy lady to be pitied! You\nwill do me honour in acquainting me with further particulars of it." ], [ "Harriet, said she, and flung from me to the window, remember this: may I\nsoon see you in the same situation! I will then have no mercy upon you.", "She had just time to whisper me, as he approached her; Ah, Harriet! now\ncomes the worst part of the show.--He kneeled on one knee, kissed her", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "But, within these four months past, these journeyings have been\ndiscontinued. The young lady accuses them of deluding her with vain\nhopes. She is impatient, and has made two attempts to escape from them.", "Sir Hargrave's servant was secured by them at their first attack; but\nafter they had disarmed him and his masters, he found an opportunity to", "Agreed, agreed, said Lady L----. And arm-in-arm, we entered your\ndressing-room, dismissed the maid, and began the attack--And, O Harriet!", "She arose, snatched my hand, hurried to the door--Be with us, Harriet,\nand cousin Reeves, and cousin Reeves, as soon as you can to-morrow. I", "to his arms, and kissed them.--Why, Harriet! your eyes glisten, child.\nThey would have run over, I suppose, had you been there! Is it, that", "Before my anger was gone down, in again [It is truth, Harriet,] came the\nbold wretch. I will not, said he, as you are not particularly employed,", "After he has left England, therefore, which I suppose he will quickly do,\nand when I am in Northamptonshire, what opportunities will your Harriet", "When we came within sight of this house, Now, Harriet, said Lucy, I see\nthe same kind of emotions beginning to arise in your face and bosom, as", "our Harriet, as well as yours: let us welcome the saucy girl, on her\nre-entrance into these doors!--Saucy, I suppose, I shall soon find her.", "I am fretful, Harriet; I won't be chidden: I will be comforted by you:\nyou shall sooth me: are you not my sister? She threw her arms round me,\nand kissed my cheek.", "affection, without considering the circumstances, and the object! So the\nnext girl that run away to a dancing-master, or an ensign, would reckon\nherself one of Harriet's school.", "attendance. She was thought too indulgent; and her servant Laura, as a\nmore manageable person, was taken in her place.' And O how cruelly, as\nyou shall hear, did they treat her!", "In the first place, my brother went to Mrs. Harrington's (Miss Danby's\naunt:) she did every thing but worship him. She had with her two young", "Tears, at last, began to trickle down her cheeks, as she stood fixedly\nlooking up. She started, looked about her, and hastening to her mother,", "into her bosom. I may, I hope, Harriet--If you please, madam, said I.", "When she was led to the altar, and Lord G---- and she stood together, she\ntrembled. Leave me not, Harriet, said she.--Brother! Lady L----!", "Harriet, than she has from him; as the virtue of either, I hope, is not\nquestionable? But the event of his Italian visit will explain and\nreconcile every thing." ], [ "The servant's great coat was open; and Sir Charles observing his livery,\nasked him, If he were not a servant of Sir Hargrave Pollexfen? and was\nanswered in the affirmative.", "I could only have wished to have been spared Sir Hargrave Pollexfen's\nvile attempt: then, if I had come acquainted with this family, it would", "Mr. Greville, when he met us at Stoney-Stratford, threw out menaces\nagainst Sir Hargrave, on my account; and said, It was well he was gone", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "The assailants had retired to some distance, and, after a consultation\ntogether, they all advanced towards Sir Charles; who, bidding his\nservants be on their guard, leapt on his horse, with that agility and", "I have just now heard, that Sir Hargrave Pollexfen is come from abroad\nalready. What can be the meaning of it? He is so low-minded, so", "It was near ten at night, before Sir Charles got to Lord W----'s, though\nbut three miles from Sir Hargrave's. My lord rejoiced to see him; and,", "Sir Hargrave Pollexfen, it seems, still keeps his chamber: he is thought\nnot to be out of danger from some inward hurt, which often makes him", "Sir Charles meets with an adventure on the road to Paris. Delivers Sir\nHargrave and Mr. Merceda from the chastisement of an enraged husband.", "By this time Sir Hargrave's post-chaise was come up. He and his\ncolleague were with difficulty lifted into it. My brother and Mr.", "Sir Hargrave and his companion intended, it seems, at first, to make some\nresistance; four only, of the seven, stopping the chaise: but when the", "Mr. Greville and Mr. Fenwick were here separately, an hour ago: I thanked\nthem for their civility on the road, and not ungraciously, as Mr.", "The whole world, replied my lord, shall not now divide us: and took his\nseat on the same side with Emily.\n\nThe man's a rogue, Harriet, whispered she: See! He gives himself airs\nalready!", "Lady Olivia asked Lady L----, if her brother had not a very tender regard\nfor me? He had, Lady L---- answered; and told her, that he had rescued", "Sir Hargrave's servant was secured by them at their first attack; but\nafter they had disarmed him and his masters, he found an opportunity to", "Mr. Orme. Mr. Grenville's rudeness, and her own magnanimity. Hears of\nSir Hargrave Pollexfen's return.", "Make your heart easy, in the first place, about Sir Hargrave. He is\nindeed in town; but very ill. He was frightened into England, and", "While Sir Charles was busy in helping the bruised wretches on their feet,\nthe seventh man came up to the others, followed by Sir Hargrave's chaise.", "We baited at Stoney Stratford. I was afraid how it would be: there were\nthe two bold creatures, Mr. Greville, and Mr. Fenwick, ready to receive", "Sir Charles, who was a good way a-head of his servants, calling out to\nspare the gentlemen, and bending his course to relieve the prostrate" ], [ "Grandison, to have the word unjust, in this way of speaking, in your\nthoughts! As if a good man had lain under a temptation to be unjust; and", "Sir Charles Grandison would have stopt reading here. He said, he could\nnot read it to me, without such a change of voice, as would add to my\npain, as well as to his own.", "Grandison to come over, as a last expedient, before they locked her up\neither in a nunnery, or in some private house: but the general would by\nno means come into it.", "of Sir Charles Grandison, and received me, at his recommendation, with a\npoliteness which seems natural to them. I will not repeat what I have\nwritten before of this excellent young gentleman; intrepidity, bravery,", "him as the brother of the late Lady Grandison. Had he been worthy of\nthat relation, how should I have reverenced him!", "He pulled out his handkerchief. My lord, said he, to his father; my\nLord, to the general; Grandison must not go!--and sat down with emotion.", "But why tacit? you will ask. Is Sir Charles Grandison ashamed to make an\nopen appearance in behalf of his Christian duties? He is not. For", "Grandison, I do know them; and also the general report in your favour for\nskill and courage. Do you think I would have heard with patience of the", "But this is not the case with Miss Grandison. Early she cast her eye on\nan improper object. Her pride convinced her in time of the impropriety.\nAnd this, as she owns, gave her an indifference to all men.", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "earnest in his Christian profession. But he never frights gay company\nwith grave maxims. I remember, one day, Mr. Grandison asked him, in his", "Grandison? Let me embrace the dearest of men. Now, now, have I lived\nlong enough. He bowed his head upon his pillow, and meditated me; his", "I have told you, brother, that it is impossible, if you go away in nine\nor ten days time.\n\nSir Charles particularly requested my influence. I could have no doubt,\nI said, but Miss Grandison would oblige her brother.", "Miss Grandison thought it too near to be private. He was indifferent, as\nto the place, he said--So it was at church; for he had been told of the", "Why that's true, my dear--But I shall not then be a Grandison. Yet the\nman will have some security from my brother's goodness. He is not only", "Grandison's: but yet I give his the preference; for we see in them a\nbenignity, that hers, though a woman's, has not; and a thoughtfulness, as", "Sir Charles Grandison--You are--She withdrew her hand; You are, repeated\nshe--and seemed ready to call names--", "Sir Hargrave Pollexfen, it seems, still keeps his chamber: he is thought\nnot to be out of danger from some inward hurt, which often makes him", "She was overcome: yet pride had its share with generosity. You are, said\nshe, the Grandison I have heard of: but I will not be under obligations", "To tell you the truth, Sir Harry and I have had a dispute: but he always\nspeaks of Sir Charles Grandison with pleasure.\n\nIs he not offended with me, madam, for the contents of the letter--" ], [ "country, Signora Clementina della Porretta, whom she allowed to have had\ngreat merit; but who, having irrecoverably been put out of her right", "Clementina. Signor Sebastiano shook his head: very, very indifferent,\nwere his words. We parted with great civilities.", "Grandison's final departure from Italy; and various matters relative to\nthe Porretta family; the persecutions Clementina endured from her\nrelations; and a letter Sir Charles Grandison received from Mrs.", "Lady Clementina is now impatiently expected by every one. She is at\nUrbino. The general and his lady are with her. His haughty spirit", "As to blame, or otherwise, said the Conte della Porretta, that is not now\nto be talked of; else, I know where it lies: in short, among ourselves.", "Clementina, pursuing you in hopes of calling herself yours; (for to\nEngland we hear she went, and there you own she is;) What obligations", "by whose virtues a Clementina was attracted. Upon my word, my dear,\nunhappy as she is, I rank her with the first of women.", "You need not, sir, say more to me to exalt him: and, let me add, that I\nhave no small pleasure in knowing that Clementina is a lady of strict\npiety, though a Roman Catholic.", "The first words she said, were, Love me, my mamma! Love your child! your\npoor child! your Clementina! Then raising her head, and again laying it", "intelligence he had received from Bologna:--His friend Signor Jeronymo\ndangerously ill, his sister Clementina declining in health, and their\nfather and mother absorbed in melancholy. The communication comes from", "Clementina!'--But, what a poor word is compassion! Noble Clementina! I\ngrieve for you, though the man be indeed a generous man!--O defend me, my", "Lady Clementina's superior qualities: but nobody, he says, till now,\ndoubted Laurana's love of her.'", "The young Marquis della Porretta, said he, is hasty; but he is a gallant\nman, and loves his sister. His grief on the unhappy situation they are", "have, between them, broken the spirit of my Clementina. The very name of\nLaurana gives her terror--So far is she sensible. But, O sir, her", "Think, my dear Dr. Bartlett, what emotions I must have on entering, once\nmore, the gates of the Porretta palace, though Clementina was not there.", "Let me, said the bishop, speak to her. He arose, and, taking her hand,\nwalked with her about the room. You look pretty, my Clementina! Your", "Had she a mind great enough to induce her to pity Clementina, I should\nhave been apt to pity her; for I saw her soul was disturbed. I saw that", "a foreign lady. Yet you know that this was always what we were afraid\nof: but, who, now, will say afraid, that knows the merit of Clementina?", "he had never seen Italy? And may not the poor Clementina, and all her\nfamily, for her sake, wish he never had?", "of honour, to comply with any terms he should propose to her. He had\noffered to the family della Porretta to allow their daughter her\nreligion, and her confessor, and to live with her every other year in" ], [ "Grandison's final departure from Italy; and various matters relative to\nthe Porretta family; the persecutions Clementina endured from her\nrelations; and a letter Sir Charles Grandison received from Mrs.", "Mr. Grandison, having no hopes of being allowed to see the unhappy lady,\nset out with a heavy heart for Florence. He gave orders there, and at", "Miss Grandison made me one of her flying visits, as she calls them, soon\nafter the countess and my lord went away.", "When it was known, for certain, that Mr. Grandison had actually left\nItaly, the family at Bologna began to wish that they had permitted the", "Grandison to come over, as a last expedient, before they locked her up\neither in a nunnery, or in some private house: but the general would by\nno means come into it.", "To the care of the person so much honoured by his confidence, Mr.\nGrandison left his agreeable ward, Miss Jervois; requesting the", "O, Lucy, Sir Charles Grandison is gone! Gone indeed! He set out at\nthree this morning; on purpose, no doubt, to spare his sisters, and\nfriends, as well as himself, concern.", "But this is not the case with Miss Grandison. Early she cast her eye on\nan improper object. Her pride convinced her in time of the impropriety.\nAnd this, as she owns, gave her an indifference to all men.", "What misfortunes to others do they not occasion? One might, with the\nexcellent Clementina, ask, What had Mr. Grandison to do in Italy! Or", "Miss Grandison is no longer to be called by that name. She is Lady\nG----. May she make Lord G---- as happy as I dare say he will make her,\nif it be not her own fault!", "dear Clementina. If I can leave her happy, I shall be sooner so, than I\ncould have been in the same circumstances, had I, from the first of my", "personally present to the woes of the inimitable Clementina: but I am\nsure you did not hesitate a moment about leaving all your friends here in", "Indeed, Grandison, she ever was a noble girl! We are too apt perhaps to\ngovern ourselves by events, without looking into causes: but the access", "Miss Grandison, as I told you, took with her my letter of yesterday. As\nsoon as my cousin Reeves and I entered Sir Charles's house, the two", "not, as they would have done, had not his attachment to Clementina been\nwhat now she saw, but never could have believed it was; having supposed,\nthat compassion only was the tie that bound him to her.", "Sir Charles Grandison would have stopt reading here. He said, he could\nnot read it to me, without such a change of voice, as would add to my\npain, as well as to his own.", "Miss Grandison, accompanied by Miss Jervois, has just left us. Lady\nL---- has undertaken, she says, to set all hands at work, to have things", "Lady Olivia will soon have her equipage ready.\n\nShe will make a great appearance.--But Sir Charles Grandison will not be\nwith her. What is grandeur to a disturbed heart?", "upon me but what arose from the unhappiness of the noble Clementina: that\nindeed was enough. I thought I should have some difficulty to manage my", "But, my good Miss Byron, you will say, That I have not yet fully answered\nyour last inquiry, relating to the present situation of the unhappy\nClementina.\n\nI will briefly inform you of it." ], [ "But this is not the case with Miss Grandison. Early she cast her eye on\nan improper object. Her pride convinced her in time of the impropriety.\nAnd this, as she owns, gave her an indifference to all men.", "she not refused?--But she declares, that she had rather be the friend of\nSir Charles Grandison, than the wife of the greatest prince on earth.", "Grandison to come over, as a last expedient, before they locked her up\neither in a nunnery, or in some private house: but the general would by\nno means come into it.", "Miss Grandison is no longer to be called by that name. She is Lady\nG----. May she make Lord G---- as happy as I dare say he will make her,\nif it be not her own fault!", "I have told you, brother, that it is impossible, if you go away in nine\nor ten days time.\n\nSir Charles particularly requested my influence. I could have no doubt,\nI said, but Miss Grandison would oblige her brother.", "Grandison's final departure from Italy; and various matters relative to\nthe Porretta family; the persecutions Clementina endured from her\nrelations; and a letter Sir Charles Grandison received from Mrs.", "But compassion, Lucy, from such a heart as his, the merit so great in the\nlady, must be love; a love of the nobler kind--And if it were not, it\nwould be unworthy of Clementina's.", "Sir Charles Grandison would have stopt reading here. He said, he could\nnot read it to me, without such a change of voice, as would add to my\npain, as well as to his own.", "not, as they would have done, had not his attachment to Clementina been\nwhat now she saw, but never could have believed it was; having supposed,\nthat compassion only was the tie that bound him to her.", "She was overcome: yet pride had its share with generosity. You are, said\nshe, the Grandison I have heard of: but I will not be under obligations", "to Sir Charles Grandison, since there is a lady who deserved him by\nsevere sufferings before I knew him; yet is my heart so wholly attached,\nthat I cannot think it just to give the least encouragement to any other", "If you love me, if you pity me, come hither this instant: I have great\nneed of your counsel. I am resolved to be unmarried; and therefore\nsubscribe myself by the beloved name of\n\nCHARLOTTE GRANDISON.", "Don't, Grandison, don't!--Jeronymo and Clementina are my soul's woe--But\nthey are not worse than might be apprehended. You go to court with me", "LETTER XV. Miss Byron to Miss Selby.--\nSerious conversation between Miss Byron and Miss Grandison concerning the\napproaching marriage. The latter expresses her indifference for Lord", "Miss Byron of her share of her mother's jewels, who refuses to accept of\nthem, and gives her opinion as to their disposal. Miss Grandison is", "Indeed, Grandison, she ever was a noble girl! We are too apt perhaps to\ngovern ourselves by events, without looking into causes: but the access", "Grandison, to have the word unjust, in this way of speaking, in your\nthoughts! As if a good man had lain under a temptation to be unjust; and", "You are an excellent young woman: but, my dear, if Sir Charles Grandison\nis engaged--your mind will, it must change. Few women marry their first\nloves. Your heart--", "You are Sir Charles Grandison, I suppose, sir, said she; I never saw you\nbefore: I have heard much talk of you.--But, pray, sir, are good men", "applaud your Harriet, if she can hold her magnanimity, in preferring the\nhappiness of Clementina to her own!--My grandmamma and aunt are of" ], [ "You now, my dear friends, have before you this affecting story, as far as\nDr. Bartlett can give it. My cousins express a good deal of concern for", "Mr. Beauchamp's narrative of this affair is, as I told you, very\ncircumstantial. I thought to have shortened it more than I have done. I", "You desired me, sir, to be very particular. I have been so; but at the\nexpense of my eyes: and I shall not wonder if your humane heart should be\naffected by my sad tale.", "The story did indeed affect you; yet, for my own sake, as well as yours,\nI referred you to Dr. Bartlett, for the particulars of some parts of it,\nupon which I could not expatiate.", "And now, my dear, said the lady, let me turn about. She did; and put one\narm round my neck, and with my own handkerchief wiped my eyes, and kissed", "He ceased speaking. I was in tremors. Sir, sir--The story, I must own,\nis a most affecting one. How much is the unhappy lady to be pitied! You\nwill do me honour in acquainting me with further particulars of it.", "tale. The gentlemen stopt, and he told them, that his master, who was an\nEnglishman, and his friend of the same nation, had been but a little", "This, Lucy, is the state of the unhappy case, as briefly and as clearly\nas my memory will serve to give it. And what a rememberer, if I may make\na word, is the heart!--Not a circumstance escapes it.", "The last time I had the honour of being alone with my good Miss Byron, I\ntold her a very tender tale. I was sure it would raise in such a heart", "to hear and to tell stories, of what has happened to either in the long\nregretted absence. It will be so with us, Lucy, when I return to the", "Dr. Bartlett has received from Sir Charles an account of what passed last\nFriday between him and Sir Harry and Lady Beauchamp. By the doctor's\nallowance, I enclose it to you.", "You have caused it to be told me, that your affections are engaged. This\nhas been a cruel blow upon us. My lord, nevertheless, has heard so much", "with the perusal of what he wrote; whence I have extracted the following\naccount: for his letter is long and circumstantial; and I did not ask his", "Well, but what am I now to say about the Danbys? Richard has made his\nreport; Sir Charles has told us some things: yet I will only give you\nheads: make out the rest.", "written in English, by the admired Mrs. Beaumont; some of the contents\nof which were, as you shall hear, extremely affecting.", "Let me now give you, my dear friend, a brief history of my Jeronymo's\ncase, and of the circumstances which have attended it; by which you will", "and it is impossible for me, while I have memory, to forget them. He had\njust concluded his brief history of Clementina--'And now, madam, what can", "He took great notice of the little boys. He dilated their hearts, and\nset them a prating; and was pleased with their prate. The doctor, who", "She often held out one open hand, while the forefinger of the other, in\nfull action, patted it; as at other times both were spread, with pretty\nwonder and delight: and thus she began:--", "I shuddered. O my dear, said I, he has been a sufferer, we are told, by\ngood women; but this is not a good woman. But can it be true? Who\ninformed you of it?" ], [ "HARRIET BYRON.\n\n\n***\n\n\nIn half an hour after, came a servant from Lady G---- with the following\nletter:", "HARRIET BYRON.\n\n\n\nLETTER VII\n\nMISS BYRON.--IN CONTINUATION\nSUNDAY NIGHT, APRIL 2.", "HARRIET BYRON.\n\n\n\nLETTER V", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "them, 'Harriet Byron,' said I to myself, 'be not mean. Hast thou not the\nexample of a Clementina before thee? Her religion and her love,", "In the first place, my brother went to Mrs. Harrington's (Miss Danby's\naunt:) she did every thing but worship him. She had with her two young", "What says Miss Byron?\n\nShe says, madam, that she reveres Lady D----, and will answer any\nquestions that she puts to her, however affecting--Sir Charles Grandison\nhas not.", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "Miss Byron of her share of her mother's jewels, who refuses to accept of\nthem, and gives her opinion as to their disposal. Miss Grandison is", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "LETTER XXXIV. Miss Byron to Sir Rowland Meredith.--\nShe regards Sir Rowland as her father; avows her affection for Sir", "LETTER XII. Miss Byron to Miss Selby.--\nInforms her of the generosity and kind condescension of Sir Charles to\nMrs. Oldham and her family, as related by Miss Grandison: their\ndifference of opinion on that subject.", "LETTER XXV. Miss Byron to Miss Selby.--\nLady Olivia is introduced to Miss Byron. Some traits in that lady's", "LETTER XI. Miss Byron to Miss Selby.--\nSir Charles Grandison communicates to Miss Byron the farther distressing", "LETTER XV. Miss Byron to Miss Selby.--\nSerious conversation between Miss Byron and Miss Grandison concerning the\napproaching marriage. The latter expresses her indifference for Lord", "herself--How will the dear Harriet bear these abominable recitatives?--\nBut I am now up stairs from them all, in order to recover my breath, and\nobey my Byron.", "Lady L---- asked him; and as gently-voiced as if she were asking the same\nquestion of her own lord. Lady L---- is a kind-hearted soul, Harriet.\nShe is my sister.", "My lord, said the countess, before I could answer, you must not expect a\nmere stiff maiden answer from Miss Byron: she is above all vulgar forms.", "The grateful, dutiful, and affectionate\nHARRIET BYRON.\n\n\n\nLETTER XXXVI", "Your ever-dutiful and affectionate daughter,\nHARRIET BYRON.\n\n\n\nLETTER XXXV" ], [ "HARRIET BYRON.\n\n\n***\n\n\nIn half an hour after, came a servant from Lady G---- with the following\nletter:", "HARRIET BYRON.\n\n\n\nLETTER VII\n\nMISS BYRON.--IN CONTINUATION\nSUNDAY NIGHT, APRIL 2.", "HARRIET BYRON.\n\n\n\nLETTER V", "herself--How will the dear Harriet bear these abominable recitatives?--\nBut I am now up stairs from them all, in order to recover my breath, and\nobey my Byron.", "But, my good Miss Byron, you will say, That I have not yet fully answered\nyour last inquiry, relating to the present situation of the unhappy\nClementina.\n\nI will briefly inform you of it.", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "Sir Hargrave's servant was secured by them at their first attack; but\nafter they had disarmed him and his masters, he found an opportunity to", "She had just time to whisper me, as he approached her; Ah, Harriet! now\ncomes the worst part of the show.--He kneeled on one knee, kissed her", "through the inn yard, and into the room they had engaged for us; blessing\nthemselves, all the way, for my coming down Harriet Byron.", "MISS BYRON.--IN CONTINUATION\nSATURDAY, APRIL 1.", "MISS BYRON.--IN CONTINUATION\nTUESDAY NIGHT.\n\n\nI am just returned from St. James's-square.", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "them, 'Harriet Byron,' said I to myself, 'be not mean. Hast thou not the\nexample of a Clementina before thee? Her religion and her love,", "In the first place, my brother went to Mrs. Harrington's (Miss Danby's\naunt:) she did every thing but worship him. She had with her two young", "voyage, and is indignant at meeting with a refusal. Miss Byron's exalted\nbehaviour.", "LETTER XXVIII. Miss Byron to Miss Selby.--\nAccount of Lady Olivia's behaviour. Her horrid attempt to stab Sir\nCharles. Miss Byron describes the state of her own mind, and resolves\nto return to Northamptonshire.", "MISS BYRON.--IN CONTINUATION\nFRIDAY NOON, APRIL 14.", "Harriet, said she, and flung from me to the window, remember this: may I\nsoon see you in the same situation! I will then have no mercy upon you.", "wedding, though his own heart is torn with uncertainty. Farther proofs\nof his esteem for Miss Byron.", "LETTER XXVII. Miss Byron to Miss Selby.--\nSir Charles departs unexpectedly, from the kindest motives. The concern" ], [ "LETTER XXXIII. Miss Byron to Miss Selby.--\nMr. Fowler brings a letter from Sir Rowland Meredith, most affectionately\nsoliciting the hand of Miss Byron in favour of his nephew.", "Then, sir, you will not take it amiss, if my son, by his assiduities, can\nprevail upon Miss Byron to think that he has merit, and that his heart is\nwholly devoted to her.", "wishing her to favour private and clandestine meetings (conscious that\nhis pretensions will not stand discussion); by the inequality of his\nfortune to hers: and has not our excellent Miss Byron, in the letters to", "LETTER XXVIII. Miss Byron to Miss Selby.--\nAccount of Lady Olivia's behaviour. Her horrid attempt to stab Sir\nCharles. Miss Byron describes the state of her own mind, and resolves\nto return to Northamptonshire.", "a pretty extraordinary one. But what a presumption would it be in me, to\nsuppose that I had SUCH an interest with Miss Byron, when she has\nrelations as worthy of her, as she is of them?'", "meaning in them, as seemed to express, 'You have no hopes, Miss Byron,\nany where else; and I will have you to be mine.'", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "'Amiss, madam!--No!--In justice, in honour, I cannot. May Miss Byron be,\nas she deserves to be, one of the happiest women on earth in her", "And let me assure you, madam, that Sir Charles's regard for Miss Byron\n(his more than regard for her, why should I not say? since every body", "I am ashamed, replied he, to have it thought by Miss Byron, that there\ncould have been a misunderstanding between us, especially so early. She\nknows her power over me. I am afraid she despises me.", "pleased with the hint, and acts accordingly. Account of Dr. Bartlett's\ninteresting conversation with Miss Byron on the subject of Sir Charles\ngoing to Italy, and his attachment to Miss Byron. The young lady's", "LETTER XVI. Miss Grandison to Miss Byron.--\nLudicrous description of three marriages given by Miss Grandison, with\nthe anticipation of her own.", "G----; compares his character with that of her brother; entreats Miss\nByron to breakfast with her the next day, and to remain with her till the\nevent takes place.", "wedding, though his own heart is torn with uncertainty. Farther proofs\nof his esteem for Miss Byron.", "Sir Charles's face was overspread with blushes. He bowed to my lord.\nMay the man, said he, who shall have the honour to call Miss Byron his,", "LETTER XIV. Miss Byron to Miss Selby.--\nSir Charles solicits his sister to fix the day for her marriage before he", "By his application to her, rather than to her natural friends and\nrelations; by his endeavouring to alienate her affections from them; by", "LETTER XXVII. Miss Byron to Miss Selby.--\nSir Charles departs unexpectedly, from the kindest motives. The concern", "MISS BYRON.--IN CONTINUATION\nTUESDAY NIGHT.\n\n\nI am just returned from St. James's-square.", "No where, Sir--\n\nOnly to breakfast with Miss Byron, my dear--As a mark of your\nobligingness, I request it." ], [ "Miss Byron of her share of her mother's jewels, who refuses to accept of\nthem, and gives her opinion as to their disposal. Miss Grandison is", "Mrs. Reeves desires me to acquaint you, that Miss Clements, having, by\nthe death of her mother and aunt, come into a pretty fortune, is", "wishing her to favour private and clandestine meetings (conscious that\nhis pretensions will not stand discussion); by the inequality of his\nfortune to hers: and has not our excellent Miss Byron, in the letters to", "offered, at least a thousand pounds of the three thousand bequeathed to\ncharitable uses by his late friend Mr. Danby. His sister's fortune was", "intends to make him heir of her large fortune.", "prospects from Mr. Calvert, an uncle by their mother's side; who was rich\nin money, and had besides an estate in land of 1500£. a year. He always", "LETTER XVII. Miss Byron to Miss Selby.--\nGreat preparations for Miss Grandison's marriage: her generous offer to", "a pretty extraordinary one. But what a presumption would it be in me, to\nsuppose that I had SUCH an interest with Miss Byron, when she has\nrelations as worthy of her, as she is of them?'", "LETTER XLII. Lady G---- to Miss Byron.--\nFavourable issue expected of the law-suit between the Mansfields and the", "he had seduced. Miss Clements comes into a fortune by the death of her\nmother and aunt.", "LETTER XII. Miss Byron to Miss Selby.--\nInforms her of the generosity and kind condescension of Sir Charles to\nMrs. Oldham and her family, as related by Miss Grandison: their\ndifference of opinion on that subject.", "lord, said she, Miss Byron has been telling me more than I knew before of\nmy duty. She proposes herself one day to make a won-der-ful obedient", "her history. He said, she had a vast fortune: she had had indiscretions;\nbut none that had affected her character as to virtue: but her spirit", "LETTER XXXVIII. Miss Jervois to Miss Byron.--\nHer regret at parting with Miss Byron at Stratford: encomiums on her", "Our daughter, sir, is entitled to a considerable estate which joins to\nour own domains. It was purchased for her by her two grandfathers; who", "LETTER XV. Miss Byron to Miss Selby.--\nSerious conversation between Miss Byron and Miss Grandison concerning the\napproaching marriage. The latter expresses her indifference for Lord", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "her sister of whatever she may be entitled to in her own right.\nSomething was mentioned to me at Mansfield-house of a thousand pounds\nleft to her by a godmother.", "LETTER XXV. Miss Byron to Miss Selby.--\nLady Olivia is introduced to Miss Byron. Some traits in that lady's", "LETTER XVI. Miss Grandison to Miss Byron.--\nLudicrous description of three marriages given by Miss Grandison, with\nthe anticipation of her own." ], [ "LETTER XXX. Miss Byron to Miss Selby.--\nPreparations for her journey into Northamptonshire. Regrets at parting", "After he has left England, therefore, which I suppose he will quickly do,\nand when I am in Northamptonshire, what opportunities will your Harriet", "HARRIET BYRON.\n\n\n***\n\n\nIn half an hour after, came a servant from Lady G---- with the following\nletter:", "with them. Sir Charles was gone, she said, to make a farewell visit to\nthe Danby set; but would be at home at dinner.", "LETTER XXVII. Miss Byron to Miss Selby.--\nSir Charles departs unexpectedly, from the kindest motives. The concern", "LETTER XXXVIII. Miss Jervois to Miss Byron.--\nHer regret at parting with Miss Byron at Stratford: encomiums on her", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "house, without saying, By your leave, With your leave, or whether he\nwould return to dinner, or not. Very pretty doings, Harriet!", "HARRIET BYRON.\n\n\n\nLETTER VII\n\nMISS BYRON.--IN CONTINUATION\nSUNDAY NIGHT, APRIL 2.", "If you please, madam, repeated she; and with that do-lo-rous accent too,\nmy Harriet!--My sister and I have been in tears this morning: Lord L----\nhad much ado to forbear. Sir Charles will soon leave us.", "I shall take leave of Lady Olivia and Lady Maffei to-morrow morning; when\nthey will set out for their projected tour. To-morrow we and the whole", "LETTER XXXV. Miss Byron to Miss Selby.--\nArrangements for her journey. Thoughts on public amusements.\nRetrospect. Tender parting with Dr. Bartlett.", "LETTER XXVIII. Miss Byron to Miss Selby.--\nAccount of Lady Olivia's behaviour. Her horrid attempt to stab Sir\nCharles. Miss Byron describes the state of her own mind, and resolves\nto return to Northamptonshire.", "When she was led to the altar, and Lord G---- and she stood together, she\ntrembled. Leave me not, Harriet, said she.--Brother! Lady L----!", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "LETTER XVII. Miss Byron to Miss Selby.--\nGreat preparations for Miss Grandison's marriage: her generous offer to", "Mr. Grandison, having no hopes of being allowed to see the unhappy lady,\nset out with a heavy heart for Florence. He gave orders there, and at", "herself--How will the dear Harriet bear these abominable recitatives?--\nBut I am now up stairs from them all, in order to recover my breath, and\nobey my Byron.", "conviction, a change of her religion; but she was resolved not to conceal\nanything from Lady L----. She left her to judge how much she must be\naffected, when he declared his obligation to leave England; and" ], [ "to my aunt and Lucy. How poor appears to me every conversation now with\nthese men!--But hold, saucy Harriet, was not your uncle Selby one of the", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "Lady L---- asked him; and as gently-voiced as if she were asking the same\nquestion of her own lord. Lady L---- is a kind-hearted soul, Harriet.\nShe is my sister.", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "LETTER XX. Miss Byron to Miss Selby.--\nSir Charles briefly lays before his sister the duties of a married life:", "LETTER XII. Miss Byron to Miss Selby.--\nInforms her of the generosity and kind condescension of Sir Charles to\nMrs. Oldham and her family, as related by Miss Grandison: their\ndifference of opinion on that subject.", "LETTER XI. Miss Byron to Miss Selby.--\nSir Charles Grandison communicates to Miss Byron the farther distressing", "LETTER XXV. Miss Byron to Miss Selby.--\nLady Olivia is introduced to Miss Byron. Some traits in that lady's", "LETTER IV\n\nMISS BYRON, TO MISS SELBY", "LETTER III\n\nMISS BYRON, TO MISS SELBY", "LETTER XVII. Miss Byron to Miss Selby.--\nGreat preparations for Miss Grandison's marriage: her generous offer to", "In the first place, my brother went to Mrs. Harrington's (Miss Danby's\naunt:) she did every thing but worship him. She had with her two young", "LETTER XV. Miss Byron to Miss Selby.--\nSerious conversation between Miss Byron and Miss Grandison concerning the\napproaching marriage. The latter expresses her indifference for Lord", "LETTER XIV. Miss Byron to Miss Selby.--\nSir Charles solicits his sister to fix the day for her marriage before he", "Your excellent aunt, Selby?\n\nI bowed again.\n\nYour uncle, your Lucy, your Nancy: Happy family! All harmony! all love!\n--How do they?", "LETTER V. Miss Harriet Byron to Miss Lucy Selby.--\nExplanation of the causes of Sir Charles Grandison's uneasiness,", "LETTER I\n\nMISS BYRON, TO MISS SELBY\n\n\nMiss Byron, To Miss Selby.", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "I am fretful, Harriet; I won't be chidden: I will be comforted by you:\nyou shall sooth me: are you not my sister? She threw her arms round me,\nand kissed my cheek.", "The whole world, replied my lord, shall not now divide us: and took his\nseat on the same side with Emily.\n\nThe man's a rogue, Harriet, whispered she: See! He gives himself airs\nalready!" ], [ "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "Miss Grandison, accompanied by Miss Jervois, has just left us. Lady\nL---- has undertaken, she says, to set all hands at work, to have things", "Sir Hargrave Pollexfen, it seems, still keeps his chamber: he is thought\nnot to be out of danger from some inward hurt, which often makes him", "I have just now heard, that Sir Hargrave Pollexfen is come from abroad\nalready. What can be the meaning of it? He is so low-minded, so", "engaged to continue by letter what had been the subject of their daily\nconversations, and transmit to him as many particulars as he could obtain\nof Mr. Grandison's sentiments and behaviour, on every occasion; Mr.", "***\n\n\nDR. BARTLETT'S TWELFTH LETTER\n\nMr. Grandison proceeds thus:", "Dr. Bartlett was in heaven, while on earth. He would retire to his\nbeloved Grandison-hall, and employ himself in distributing, as objects", "Mr. Greville and Mr. Fenwick were here separately, an hour ago: I thanked\nthem for their civility on the road, and not ungraciously, as Mr.", "of Sir Charles Grandison, and received me, at his recommendation, with a\npoliteness which seems natural to them. I will not repeat what I have\nwritten before of this excellent young gentleman; intrepidity, bravery,", "We baited at Stoney Stratford. I was afraid how it would be: there were\nthe two bold creatures, Mr. Greville, and Mr. Fenwick, ready to receive", "Miss Grandison, as I told you, took with her my letter of yesterday. As\nsoon as my cousin Reeves and I entered Sir Charles's house, the two", "He is making alterations at Grandison-hall; and has a large genteel\nneighbourhood there, who long to have him reside among them; and he\nhimself is fond of that seat.", "Sir Charles Grandison came to town last night. He was so polite as to\nsend to inquire after my health; and to let Mr. Reeves know, that he", "circuit, as I may call it. She observes, she says, that Sir Charles\nGrandison's sisters, and their lords, are very particularly engaged at", "Grandison? Let me embrace the dearest of men. Now, now, have I lived\nlong enough. He bowed his head upon his pillow, and meditated me; his", "fine one, he says, it is) to Emily; and they two are actually busied (and\nwill be for an hour or two, I doubt not) in admiring them; the one", "Miss Grandison thought it too near to be private. He was indifferent, as\nto the place, he said--So it was at church; for he had been told of the", "Lord G---- is very diligent in his court to Miss Grandison. His father\nand aunt are to visit her this afternoon. She behaves whimsically to my\nlord: yet I cannot think that she greatly dislikes him.", "The servant's great coat was open; and Sir Charles observing his livery,\nasked him, If he were not a servant of Sir Hargrave Pollexfen? and was\nanswered in the affirmative.", "Chevalier Grandison, and his sisters, with whom she wished to be\nacquainted. She delighted to speak English, and to talk of the" ], [ "Sir Hargrave Pollexfen, it seems, still keeps his chamber: he is thought\nnot to be out of danger from some inward hurt, which often makes him", "first obligation? No, madam; I could sooner die, than offer such\nindignity to both! I am fettered, added he; but Miss Byron is free: and", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "I could only have wished to have been spared Sir Hargrave Pollexfen's\nvile attempt: then, if I had come acquainted with this family, it would", "I have just now heard, that Sir Hargrave Pollexfen is come from abroad\nalready. What can be the meaning of it? He is so low-minded, so", "Unreasonable, wicked, cruel Byron! To expect a poor creature, so near\nher execution, to write an account of other people's behaviour in the", "LETTER XXVIII. Miss Byron to Miss Selby.--\nAccount of Lady Olivia's behaviour. Her horrid attempt to stab Sir\nCharles. Miss Byron describes the state of her own mind, and resolves\nto return to Northamptonshire.", "pleased with the hint, and acts accordingly. Account of Dr. Bartlett's\ninteresting conversation with Miss Byron on the subject of Sir Charles\ngoing to Italy, and his attachment to Miss Byron. The young lady's", "I shall be afraid, said he, turning to the countess, to ask your ladyship\nfor an explanation. Miss Byron, I hope, sir, addressing himself to Mr.", "G----; compares his character with that of her brother; entreats Miss\nByron to breakfast with her the next day, and to remain with her till the\nevent takes place.", "Let me know, my dear Dr. Bartlett, that Miss Byron is happy. I rejoice,\nwhatever be my own destiny, that I have not involved her in my", "We baited at Stoney Stratford. I was afraid how it would be: there were\nthe two bold creatures, Mr. Greville, and Mr. Fenwick, ready to receive", "wishing her to favour private and clandestine meetings (conscious that\nhis pretensions will not stand discussion); by the inequality of his\nfortune to hers: and has not our excellent Miss Byron, in the letters to", "The servant's great coat was open; and Sir Charles observing his livery,\nasked him, If he were not a servant of Sir Hargrave Pollexfen? and was\nanswered in the affirmative.", "She requested me to assure her, that neither Mr. Greville, nor Mr.\nFenwick, might be the man. They both took upon them, she said, to", "But, my good Miss Byron, you will say, That I have not yet fully answered\nyour last inquiry, relating to the present situation of the unhappy\nClementina.\n\nI will briefly inform you of it.", "occasioned by intelligence lately brought him from abroad. Miss Byron\nwishes that Sir Charles was proud and vain, that she might with the more\nease cast of her acknowledged shackles. She enumerates the engagements", "shall soon be in Northamptonshire. This may prevent his and Fenwick's\nthreatened journey to town.", "No where, Sir--\n\nOnly to breakfast with Miss Byron, my dear--As a mark of your\nobligingness, I request it.", "LETTER XXXI. Miss Byron to Miss Selby.--\nLady G---- quarrels with her lord, who entreat Miss Byron's assistance in" ], [ "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "HARRIET BYRON.\n\n\n***\n\n\nIn half an hour after, came a servant from Lady G---- with the following\nletter:", "a pretty extraordinary one. But what a presumption would it be in me, to\nsuppose that I had SUCH an interest with Miss Byron, when she has\nrelations as worthy of her, as she is of them?'", "LETTER XVI. Miss Grandison to Miss Byron.--\nLudicrous description of three marriages given by Miss Grandison, with\nthe anticipation of her own.", "LETTER XXXIII. Miss Byron to Miss Selby.--\nMr. Fowler brings a letter from Sir Rowland Meredith, most affectionately\nsoliciting the hand of Miss Byron in favour of his nephew.", "Do you know, Harriet, that Sir Charles is supposed to be one of the\nfinest dancers in England? Remember, my dear, that on Tuesday--[Lord", "The whole world, replied my lord, shall not now divide us: and took his\nseat on the same side with Emily.\n\nThe man's a rogue, Harriet, whispered she: See! He gives himself airs\nalready!", "LETTER XIV. Miss Byron to Miss Selby.--\nSir Charles solicits his sister to fix the day for her marriage before he", "LETTER XV. Miss Byron to Miss Selby.--\nSerious conversation between Miss Byron and Miss Grandison concerning the\napproaching marriage. The latter expresses her indifference for Lord", "And so do I, Harriet. And when Lord G---- sets the example, I shall--\nconsider of it. I am not a bad economist. Had I ten thousand pounds in", "No matter, Harriet! There may be some wisdom in much folly. Every one\nspeaks not out so plainly as I do. But when the novelty of an", "least forty; Sir Charles but six or seven and twenty: but if he makes not\nthe request to Harriet, who is but little more than twenty; what, after", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "LETTER XVII. Miss Byron to Miss Selby.--\nGreat preparations for Miss Grandison's marriage: her generous offer to", "his, were it not for an invincible obstacle. And noble, thrice noble\nClementina, be thine the preference even in the heart of Harriet Byron,", "And so it is, Harriet. I have done--Adieu!--Lord G---- will be silly\nagain, I doubt; but I am prepared. I wish he had half my patience.", "Harriet, than she has from him; as the virtue of either, I hope, is not\nquestionable? But the event of his Italian visit will explain and\nreconcile every thing.", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "affection, without considering the circumstances, and the object! So the\nnext girl that run away to a dancing-master, or an ensign, would reckon\nherself one of Harriet's school.", "In the first place, my brother went to Mrs. Harrington's (Miss Danby's\naunt:) she did every thing but worship him. She had with her two young" ], [ "HARRIET BYRON.\n\n\n***\n\n\nIn half an hour after, came a servant from Lady G---- with the following\nletter:", "in disposing of their uncle's present. Miss Byron's perturbed state of\nmind: the cause of it. Her noble resolution in favour of Lady\nClementina.", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "In the first place, my brother went to Mrs. Harrington's (Miss Danby's\naunt:) she did every thing but worship him. She had with her two young", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "to my aunt and Lucy. How poor appears to me every conversation now with\nthese men!--But hold, saucy Harriet, was not your uncle Selby one of the", "LETTER XII. Miss Byron to Miss Selby.--\nInforms her of the generosity and kind condescension of Sir Charles to\nMrs. Oldham and her family, as related by Miss Grandison: their\ndifference of opinion on that subject.", "them, 'Harriet Byron,' said I to myself, 'be not mean. Hast thou not the\nexample of a Clementina before thee? Her religion and her love,", "LETTER XI. Miss Byron to Miss Selby.--\nSir Charles Grandison communicates to Miss Byron the farther distressing", "HARRIET BYRON.\n\n\n\nLETTER VII\n\nMISS BYRON.--IN CONTINUATION\nSUNDAY NIGHT, APRIL 2.", "prospects from Mr. Calvert, an uncle by their mother's side; who was rich\nin money, and had besides an estate in land of 1500£. a year. He always", "I am only afraid of my uncle. He will rally his Harriet; yet only, I\nknow, in hopes to divert her, and us all: but my jesting days are over:", "LETTER V. Miss Harriet Byron to Miss Lucy Selby.--\nExplanation of the causes of Sir Charles Grandison's uneasiness,", "HARRIET BYRON.\n\n\n\nLETTER V", "LETTER XXXIII. Miss Byron to Miss Selby.--\nMr. Fowler brings a letter from Sir Rowland Meredith, most affectionately\nsoliciting the hand of Miss Byron in favour of his nephew.", "What says Miss Byron?\n\nShe says, madam, that she reveres Lady D----, and will answer any\nquestions that she puts to her, however affecting--Sir Charles Grandison\nhas not.", "Lady L---- asked him; and as gently-voiced as if she were asking the same\nquestion of her own lord. Lady L---- is a kind-hearted soul, Harriet.\nShe is my sister.", "Miss Byron of her share of her mother's jewels, who refuses to accept of\nthem, and gives her opinion as to their disposal. Miss Grandison is", "LETTER XXXI. Miss Byron to Miss Selby.--\nLady G---- quarrels with her lord, who entreat Miss Byron's assistance in", "Miss Byron? Excuse me, Mrs. Reeves, for thus urging your lovely cousin:\nI am at least entitled to the excuse Sir Charles Grandison made for me," ], [ "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "house, without saying, By your leave, With your leave, or whether he\nwould return to dinner, or not. Very pretty doings, Harriet!", "After he has left England, therefore, which I suppose he will quickly do,\nand when I am in Northamptonshire, what opportunities will your Harriet", "If you please, madam, repeated she; and with that do-lo-rous accent too,\nmy Harriet!--My sister and I have been in tears this morning: Lord L----\nhad much ado to forbear. Sir Charles will soon leave us.", "displeasure, to go away without taking leave of their sister. Dr.\nBartlett retired to his apartment. And when Lady G---- came down, she", "'He carried his displeasure to extremity, and obliged her to go away with\nhis aunt and him that very day, to her great regret; and as much to the", "I am only afraid of my uncle. He will rally his Harriet; yet only, I\nknow, in hopes to divert her, and us all: but my jesting days are over:", "conviction, a change of her religion; but she was resolved not to conceal\nanything from Lady L----. She left her to judge how much she must be\naffected, when he declared his obligation to leave England; and", "Camilla has just left me. She says, that her young lady had a tolerable\nnight. She thinks it owing, in a great measure, to her being indulged in", "When she was led to the altar, and Lord G---- and she stood together, she\ntrembled. Leave me not, Harriet, said she.--Brother! Lady L----!", "In the first place, my brother went to Mrs. Harrington's (Miss Danby's\naunt:) she did every thing but worship him. She had with her two young", "True, Harriet. And that it is not, was perhaps one of the reasons that\nmade me disinclined to go to so solemn a place as the church with Lord", "I am fretful, Harriet; I won't be chidden: I will be comforted by you:\nyou shall sooth me: are you not my sister? She threw her arms round me,\nand kissed my cheek.", "Harriet, than she has from him; as the virtue of either, I hope, is not\nquestionable? But the event of his Italian visit will explain and\nreconcile every thing.", "LETTER XXVII. Miss Byron to Miss Selby.--\nSir Charles departs unexpectedly, from the kindest motives. The concern", "But, within these four months past, these journeyings have been\ndiscontinued. The young lady accuses them of deluding her with vain\nhopes. She is impatient, and has made two attempts to escape from them.", "And so it is, Harriet. I have done--Adieu!--Lord G---- will be silly\nagain, I doubt; but I am prepared. I wish he had half my patience.", "Harriet, said she, and flung from me to the window, remember this: may I\nsoon see you in the same situation! I will then have no mercy upon you.", "Lady L---- asked him; and as gently-voiced as if she were asking the same\nquestion of her own lord. Lady L---- is a kind-hearted soul, Harriet.\nShe is my sister.", "She hurried away. I resumed my pen.--Run off what had passed, almost as\nswift as thought. I quit it to prepare to attend my cousins to St.\nJames's-square." ], [ "She arose, snatched my hand, hurried to the door--Be with us, Harriet,\nand cousin Reeves, and cousin Reeves, as soon as you can to-morrow. I", "She and her cousins have too much politeness, and, I will venture to say,\ndiscernment, not to be glad of your acquaintance, as an acquaintance--", "applaud your Harriet, if she can hold her magnanimity, in preferring the\nhappiness of Clementina to her own!--My grandmamma and aunt are of", "If you please, madam, repeated she; and with that do-lo-rous accent too,\nmy Harriet!--My sister and I have been in tears this morning: Lord L----\nhad much ado to forbear. Sir Charles will soon leave us.", "Lady L---- asked him; and as gently-voiced as if she were asking the same\nquestion of her own lord. Lady L---- is a kind-hearted soul, Harriet.\nShe is my sister.", "Miss Grandison, as I told you, took with her my letter of yesterday. As\nsoon as my cousin Reeves and I entered Sir Charles's house, the two", "to my aunt and Lucy. How poor appears to me every conversation now with\nthese men!--But hold, saucy Harriet, was not your uncle Selby one of the", "The coach stopt:--Ah, Lord! Harriet! The church! The church!\n\nSay, Charlotte, before you step out--Shall I speak to your brother, and\nDr. Bartlett, in the vestry?", "In the first place, my brother went to Mrs. Harrington's (Miss Danby's\naunt:) she did every thing but worship him. She had with her two young", "I am in love with your cousin Lucy. Were either Fenwick or Greville good\nenough--But they are not. I think she shall have Mr. Orme. Nancy, you", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "You bid me not tell Emily, that your cousin is in love with her: but I\nthink I will. Girls begin very early to look out for admirers. It is", "then, it was all elder sister, and insolent brother-in-law, I do assure\nyou. Upon my word, Harriet, they took upon them. Lady L---- told me, I", "A Clementina and a Harriet! said Lady L----, two women so excellent!\nWhat a fate is his! How must his heart be divided!", "You now, my dear friends, have before you this affecting story, as far as\nDr. Bartlett can give it. My cousins express a good deal of concern for", "Emily, the dear weeping girl! is just come. She is with my cousins. She\nexpects my permission for coming up to me. Imagine us weeping over each", "to receive me. Our beloved Nancy was also to be there; so were two other\ncousins, Kitty and Patty Holles, good young creatures; who, in my", "Harriet!--Perhaps Lady Clementina Grandison will be with him! God\nrestore her! Surely I shall be capable, if she be Lady Grandison, of\nrejoicing in her recovery!----", "When we came within sight of this house, Now, Harriet, said Lucy, I see\nthe same kind of emotions beginning to arise in your face and bosom, as", "half-suspected) should be a taking leave of my cousins, and your Harriet.\nHow many things did he say then--How many questions ask--In tender woe--" ], [ "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "I have just now heard, that Sir Hargrave Pollexfen is come from abroad\nalready. What can be the meaning of it? He is so low-minded, so", "I could only have wished to have been spared Sir Hargrave Pollexfen's\nvile attempt: then, if I had come acquainted with this family, it would", "What says Miss Byron?\n\nShe says, madam, that she reveres Lady D----, and will answer any\nquestions that she puts to her, however affecting--Sir Charles Grandison\nhas not.", "LETTER XII. Miss Byron to Miss Selby.--\nInforms her of the generosity and kind condescension of Sir Charles to\nMrs. Oldham and her family, as related by Miss Grandison: their\ndifference of opinion on that subject.", "Sir Hargrave Pollexfen, it seems, still keeps his chamber: he is thought\nnot to be out of danger from some inward hurt, which often makes him", "LETTER XL. Lady G---- to Miss Byron.--\nIdeas of female delicacy. Report of Sir Hargrave's return confirmed.", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "LETTER XI. Miss Byron to Miss Selby.--\nSir Charles Grandison communicates to Miss Byron the farther distressing", "for treating Clementina with cruelty. Remarks on Lady Olivia's conduct,\nand on female delicacy. Sir Charles recommends Miss Byron as a pattern", "Mr. Orme. Mr. Grenville's rudeness, and her own magnanimity. Hears of\nSir Hargrave Pollexfen's return.", "for his ward, and laments the depravity of Sir Hargrave and his friends.", "Mr. Greville, when he met us at Stoney-Stratford, threw out menaces\nagainst Sir Hargrave, on my account; and said, It was well he was gone", "Make your heart easy, in the first place, about Sir Hargrave. He is\nindeed in town; but very ill. He was frightened into England, and", "pleased with the hint, and acts accordingly. Account of Dr. Bartlett's\ninteresting conversation with Miss Byron on the subject of Sir Charles\ngoing to Italy, and his attachment to Miss Byron. The young lady's", "LETTER V. Miss Harriet Byron to Miss Lucy Selby.--\nExplanation of the causes of Sir Charles Grandison's uneasiness,", "LETTER I. Miss Byron to Miss Selby.--\nA tenth letter from Dr. Bartlett: Description of a formal visit Sir", "HARRIET BYRON.\n\n\n***\n\n\nIn half an hour after, came a servant from Lady G---- with the following\nletter:", "LETTER IV. Miss Byron to Miss Selby.--\nDr. Bartlett's thirteenth letter; containing an account of Sir Charles", "LETTER XXV. Miss Byron to Miss Selby.--\nLady Olivia is introduced to Miss Byron. Some traits in that lady's" ], [ "Sir Hargrave Pollexfen, it seems, still keeps his chamber: he is thought\nnot to be out of danger from some inward hurt, which often makes him", "I have just now heard, that Sir Hargrave Pollexfen is come from abroad\nalready. What can be the meaning of it? He is so low-minded, so", "The servant's great coat was open; and Sir Charles observing his livery,\nasked him, If he were not a servant of Sir Hargrave Pollexfen? and was\nanswered in the affirmative.", "I could only have wished to have been spared Sir Hargrave Pollexfen's\nvile attempt: then, if I had come acquainted with this family, it would", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "Mr. Greville and Mr. Fenwick were here separately, an hour ago: I thanked\nthem for their civility on the road, and not ungraciously, as Mr.", "We baited at Stoney Stratford. I was afraid how it would be: there were\nthe two bold creatures, Mr. Greville, and Mr. Fenwick, ready to receive", "You now, my dear friends, have before you this affecting story, as far as\nDr. Bartlett can give it. My cousins express a good deal of concern for", "engaged in her affections, may think herself very happy with him. His\nconversation was easy and polite, and he said nothing that was low or", "Dr. Bartlett came in to tea. My guardian would not permit Antony, who\noffered himself, to wait. Antony had been my own papa's servant, when my\nmother was not so good.", "The story did indeed affect you; yet, for my own sake, as well as yours,\nI referred you to Dr. Bartlett, for the particulars of some parts of it,\nupon which I could not expatiate.", "master's support, had there been occasion. At that instant Mr. Lowther,\nassisted by his own servant, was examining the wounds and bruises of the", "tale. The gentlemen stopt, and he told them, that his master, who was an\nEnglishman, and his friend of the same nation, had been but a little", "P.S. Dr. Bartlett tells me, that Mr. Beauchamp is at Calais, waiting the\npleasure of his father; and that Sir Harry has sent express for him, as\nat his lady's motion.", "He told them, that, if they were good, he would love them; and said, he\nhad a dear friend, whom he reverenced as his father, a man with white", "off, and one of the sisters, to try her, having officiously asked her to\ngo with her into the parlour, where she said, she would be allowed to\nconverse through the grate with a certain English gentleman, her", "He ceased speaking. I was in tremors. Sir, sir--The story, I must own,\nis a most affecting one. How much is the unhappy lady to be pitied! You\nwill do me honour in acquainting me with further particulars of it.", "He took great notice of the little boys. He dilated their hearts, and\nset them a prating; and was pleased with their prate. The doctor, who", "Dr. Bartlett is one of the kindest as well as best of men. I believe he\nloves me as if I were his own child: but good men must be affectionate", "fine one, he says, it is) to Emily; and they two are actually busied (and\nwill be for an hour or two, I doubt not) in admiring them; the one" ], [ "Sir Hargrave Pollexfen, it seems, still keeps his chamber: he is thought\nnot to be out of danger from some inward hurt, which often makes him", "I have just now heard, that Sir Hargrave Pollexfen is come from abroad\nalready. What can be the meaning of it? He is so low-minded, so", "I could only have wished to have been spared Sir Hargrave Pollexfen's\nvile attempt: then, if I had come acquainted with this family, it would", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "After he has left England, therefore, which I suppose he will quickly do,\nand when I am in Northamptonshire, what opportunities will your Harriet", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "The whole world, replied my lord, shall not now divide us: and took his\nseat on the same side with Emily.\n\nThe man's a rogue, Harriet, whispered she: See! He gives himself airs\nalready!", "If you please, madam, repeated she; and with that do-lo-rous accent too,\nmy Harriet!--My sister and I have been in tears this morning: Lord L----\nhad much ado to forbear. Sir Charles will soon leave us.", "Make your heart easy, in the first place, about Sir Hargrave. He is\nindeed in town; but very ill. He was frightened into England, and", "He has withdrawn, sister, said Lord L----, with a resolution, if you deny\nhim, to urge you no further.\n\nI hate his peremptoriness.", "The servant's great coat was open; and Sir Charles observing his livery,\nasked him, If he were not a servant of Sir Hargrave Pollexfen? and was\nanswered in the affirmative.", "returned. He could not but be polite; but, it seems, looked still\ndisturbed. I beg you to excuse, sir, said she, my behaviour to you: it", "visitor to Sir Harry for one hour, (I intend to stay no longer,) that he\nreceived me with so disturbed a countenance, and has now withdrawn\nhimself, as if to avoid me.", "salute his bride for his reward; and then pacing backwards several steps,\nwith such a strut and a crow--I see him yet!--Indulge me, Harriet!--I", "What would I give to know as much of his mind as Dr. Bartlett knows! If\nI thought he pitied the poor Harriet--I should scorn myself. I am, I\nwill be, above his pity, Lucy. In this believe your", "house, without saying, By your leave, With your leave, or whether he\nwould return to dinner, or not. Very pretty doings, Harriet!", "And so it is, Harriet. I have done--Adieu!--Lord G---- will be silly\nagain, I doubt; but I am prepared. I wish he had half my patience.", "Harriet! that is not the phrase, I hope!] as soon as he knew it himself;\nand she writes, supposing that I was actually offered on it. Women are", "He attended the two ladies to their lodgings in his coach. He owned to\nDr. Bartlett, that Lady Olivia was in tears all the way, lamenting her", "with her: he excused himself. It was a very afflicting thing to him, he\ntold the doctor, to deny any request that was made to him, especially by" ], [ "HARRIET BYRON.\n\n\n***\n\n\nIn half an hour after, came a servant from Lady G---- with the following\nletter:", "But, my good Miss Byron, you will say, That I have not yet fully answered\nyour last inquiry, relating to the present situation of the unhappy\nClementina.\n\nI will briefly inform you of it.", "But, within these four months past, these journeyings have been\ndiscontinued. The young lady accuses them of deluding her with vain\nhopes. She is impatient, and has made two attempts to escape from them.", "herself--How will the dear Harriet bear these abominable recitatives?--\nBut I am now up stairs from them all, in order to recover my breath, and\nobey my Byron.", "Harriet, said she, and flung from me to the window, remember this: may I\nsoon see you in the same situation! I will then have no mercy upon you.", "HARRIET BYRON.\n\n\n\nLETTER VII\n\nMISS BYRON.--IN CONTINUATION\nSUNDAY NIGHT, APRIL 2.", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "In the first place, my brother went to Mrs. Harrington's (Miss Danby's\naunt:) she did every thing but worship him. She had with her two young", "through the inn yard, and into the room they had engaged for us; blessing\nthemselves, all the way, for my coming down Harriet Byron.", "Mrs. Beaumont says, 'That the poor mother was prevailed upon to resign\nher child wholly to the management of Lady Sforza, and her daughter\nLaurana, who took her with them to their palace in Milan.", "HARRIET BYRON.\n\n\n\nLETTER V", "After he has left England, therefore, which I suppose he will quickly do,\nand when I am in Northamptonshire, what opportunities will your Harriet", "LETTER XXVIII. Miss Byron to Miss Selby.--\nAccount of Lady Olivia's behaviour. Her horrid attempt to stab Sir\nCharles. Miss Byron describes the state of her own mind, and resolves\nto return to Northamptonshire.", "She had just time to whisper me, as he approached her; Ah, Harriet! now\ncomes the worst part of the show.--He kneeled on one knee, kissed her", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "first obligation? No, madam; I could sooner die, than offer such\nindignity to both! I am fettered, added he; but Miss Byron is free: and", "LETTER XI. Miss Byron to Miss Selby.--\nSir Charles Grandison communicates to Miss Byron the farther distressing", "Sir Hargrave's servant was secured by them at their first attack; but\nafter they had disarmed him and his masters, he found an opportunity to", "Agreed, agreed, said Lady L----. And arm-in-arm, we entered your\ndressing-room, dismissed the maid, and began the attack--And, O Harriet!", "I think, my good Miss Byron, that I have now, as far as I am at present\nable, obeyed all your commands that concern the unhappy Clementina, and" ], [ "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "of Sir Charles Grandison, and received me, at his recommendation, with a\npoliteness which seems natural to them. I will not repeat what I have\nwritten before of this excellent young gentleman; intrepidity, bravery,", "LETTER VIII. Sir Charles Grandison to Dr. Bartlett.--\nSir Charles describes the interview he had with Sir Harry Beauchamp and", "Sir Charles Grandison would have stopt reading here. He said, he could\nnot read it to me, without such a change of voice, as would add to my\npain, as well as to his own.", "Now, Sir Charles Grandison, you are downright affronting. Unhand me!", "Sir Charles Grandison--You are--She withdrew her hand; You are, repeated\nshe--and seemed ready to call names--", "To tell you the truth, Sir Harry and I have had a dispute: but he always\nspeaks of Sir Charles Grandison with pleasure.\n\nIs he not offended with me, madam, for the contents of the letter--", "Sir Charles Grandison came to town last night. He was so polite as to\nsend to inquire after my health; and to let Mr. Reeves know, that he", "You are Sir Charles Grandison, I suppose, sir, said she; I never saw you\nbefore: I have heard much talk of you.--But, pray, sir, are good men", "disagreeable man in his person and manners. What he said of Sir Charles\nGrandison, and of his emulation being fired by his example, gave him", "Now, Sir Charles Grandison, said my lady, with an air of threatening--", "Sir Charles asked Sir Hargrave and Mr. Merceda, Whether they had reason\nto look upon themselves as injured men, or injurers? One of the\nassailants answered, That they both knew themselves to be villains.", "Mr. Greville and Mr. Fenwick were here separately, an hour ago: I thanked\nthem for their civility on the road, and not ungraciously, as Mr.", "The servant's great coat was open; and Sir Charles observing his livery,\nasked him, If he were not a servant of Sir Hargrave Pollexfen? and was\nanswered in the affirmative.", "not meet with all the civility from her on the errand you are come upon,\nthat a man of Sir Charles Grandison's character deserves to meet with\nfrom all the world. We have been unhappy together, ever since we had", "Miss Grandison, as I told you, took with her my letter of yesterday. As\nsoon as my cousin Reeves and I entered Sir Charles's house, the two", "I have just now heard, that Sir Hargrave Pollexfen is come from abroad\nalready. What can be the meaning of it? He is so low-minded, so", "LETTER XI. Miss Byron to Miss Selby.--\nSir Charles Grandison communicates to Miss Byron the farther distressing", "But why tacit? you will ask. Is Sir Charles Grandison ashamed to make an\nopen appearance in behalf of his Christian duties? He is not. For", "I have heard much of you, Sir Charles Grandison: but I am quite mistaken\nin you: I expected to see a grave formal young man, his prim mouth set in" ], [ "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "LETTER XV. Miss Byron to Miss Selby.--\nSerious conversation between Miss Byron and Miss Grandison concerning the\napproaching marriage. The latter expresses her indifference for Lord", "'Amiss, madam!--No!--In justice, in honour, I cannot. May Miss Byron be,\nas she deserves to be, one of the happiest women on earth in her", "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "I hinted to her afterwards, his fear of her despising him. Harriet,\nanswered she, with a serious air, I will do my duty by him. I will abhor", "Miss Byron of her share of her mother's jewels, who refuses to accept of\nthem, and gives her opinion as to their disposal. Miss Grandison is", "Harriet! that is not the phrase, I hope!] as soon as he knew it himself;\nand she writes, supposing that I was actually offered on it. Women are", "When she was led to the altar, and Lord G---- and she stood together, she\ntrembled. Leave me not, Harriet, said she.--Brother! Lady L----!", "wishing her to favour private and clandestine meetings (conscious that\nhis pretensions will not stand discussion); by the inequality of his\nfortune to hers: and has not our excellent Miss Byron, in the letters to", "HARRIET BYRON.\n\n\n***\n\n\nIn half an hour after, came a servant from Lady G---- with the following\nletter:", "My lord, said the countess, before I could answer, you must not expect a\nmere stiff maiden answer from Miss Byron: she is above all vulgar forms.", "I could only have wished to have been spared Sir Hargrave Pollexfen's\nvile attempt: then, if I had come acquainted with this family, it would", "men, knowing the difficulties of my own situation, how great soever were\nthe temptation from Miss Byron's merit if I had sought to engage her\naffections.'", "meaning in them, as seemed to express, 'You have no hopes, Miss Byron,\nany where else; and I will have you to be mine.'", "with her. And she is so self-denyingly careful of her Harriet! There\nnever was a more noble heart in woman. But her solitary moments, as my", "a pretty extraordinary one. But what a presumption would it be in me, to\nsuppose that I had SUCH an interest with Miss Byron, when she has\nrelations as worthy of her, as she is of them?'", "LETTER XIV. Miss Byron to Miss Selby.--\nSir Charles solicits his sister to fix the day for her marriage before he", "What says Miss Byron?\n\nShe says, madam, that she reveres Lady D----, and will answer any\nquestions that she puts to her, however affecting--Sir Charles Grandison\nhas not.", "Harriet, than she has from him; as the virtue of either, I hope, is not\nquestionable? But the event of his Italian visit will explain and\nreconcile every thing.", "his, were it not for an invincible obstacle. And noble, thrice noble\nClementina, be thine the preference even in the heart of Harriet Byron," ], [ "She comes, no doubt, to tell me, that Sir Charles having no thoughts of\nHarriet Byron, Lord D---- may have hopes of succeeding with her: and,", "LETTER XV. Miss Byron to Miss Selby.--\nSerious conversation between Miss Byron and Miss Grandison concerning the\napproaching marriage. The latter expresses her indifference for Lord", "HARRIET BYRON.\n\n\n***\n\n\nIn half an hour after, came a servant from Lady G---- with the following\nletter:", "The whole world, replied my lord, shall not now divide us: and took his\nseat on the same side with Emily.\n\nThe man's a rogue, Harriet, whispered she: See! He gives himself airs\nalready!", "will return. Come, come, Harriet, you shall be Lady Grandison still--Ah!\nand that sigh too! These love-sick folks have a language that nobody", "Harriet, than she has from him; as the virtue of either, I hope, is not\nquestionable? But the event of his Italian visit will explain and\nreconcile every thing.", "LETTER XVI. Miss Grandison to Miss Byron.--\nLudicrous description of three marriages given by Miss Grandison, with\nthe anticipation of her own.", "I hinted to her afterwards, his fear of her despising him. Harriet,\nanswered she, with a serious air, I will do my duty by him. I will abhor", "When she was led to the altar, and Lord G---- and she stood together, she\ntrembled. Leave me not, Harriet, said she.--Brother! Lady L----!", "In the first place, my brother went to Mrs. Harrington's (Miss Danby's\naunt:) she did every thing but worship him. She had with her two young", "wedding, though his own heart is torn with uncertainty. Farther proofs\nof his esteem for Miss Byron.", "LETTER VI. Miss Byron to Miss Selby.--\nSir Charles Grandison dines with Sir Hargrave Pollexfen and his gay", "LETTER XIV. Miss Byron to Miss Selby.--\nSir Charles solicits his sister to fix the day for her marriage before he", "LETTER XX. Miss Byron to Miss Selby.--\nSir Charles briefly lays before his sister the duties of a married life:", "LETTER XVII. Miss Byron to Miss Selby.--\nGreat preparations for Miss Grandison's marriage: her generous offer to", "She had just time to whisper me, as he approached her; Ah, Harriet! now\ncomes the worst part of the show.--He kneeled on one knee, kissed her", "HARRIET BYRON.\n\n\n\nLETTER V", "them, 'Harriet Byron,' said I to myself, 'be not mean. Hast thou not the\nexample of a Clementina before thee? Her religion and her love,", "Then, sir, you will not take it amiss, if my son, by his assiduities, can\nprevail upon Miss Byron to think that he has merit, and that his heart is\nwholly devoted to her.", "No matter, Harriet! There may be some wisdom in much folly. Every one\nspeaks not out so plainly as I do. But when the novelty of an" ] ]

[ "Why did so many men wish to court Harriet?", "What did Sir Hargrave Pollexfen do after Harriet told him that she could no longer receive his visits?", "Where was Harriet when she was kidnapped?", "Who saved Harriet from Pollexfen at Hounslow Heath?", "Why did Grandison refuse to duel against Pollexfen?", "Who was Signorina Clementina della Porretta?", "What happened to Clementina when Grandison left?", "Why did Clementina refuse to marry Grandison at the end of the story?", "What format is used to tell the story?", "Who is Harriet Byron raised by while growing up?", "Where is Harriet Byron when Byron is kidnapped?", "Which one of Ms Byron's suitors decides to kidnap Ms Byron?", "How large is the fortune Ms Byron is due to inherit?", "Where is Harriet Byron when leaving for London?", "How is Harriet related to George Selby?", "Who activity do Pollexfen and Grandison engage in?", "What does Pollexfen decide to do to prevent Byron from escaping?", "How many suitors does Harriet Byron supposedly have?", "What is the name of Harriet Byron's uncle?", "Why is Harriet leaving her uncle's house?", "What are the names of Harriet's cousins?", "What are Harriet Byron's criticisms of Sir Hargrave Pollexfen?", "What is Pollexfen's relationship to the protagonist in the story?", "What does Pollexfen do when he is rejected by by Harriet?", "Where is Harriet Byron taken after she is kidnapped?", "Why does Pollexfen challenge Charles Grandison to a duel?", "Why did Harriet Byron decline Pollexfen's marriage proposal?", "Ultimately, who does Harriet Byron marry?" ]

[ [ "She was the heir to a large fortune.", "She is an heir to 15,000 pounds." ], [ "He kidnapped her.", "Pollexfen kidnapped her. " ], [ "She was at a masquerade at the Haymarket.", "She was at a masquerade at the Haymarket. " ], [ "Charles Grandison", "Chrles Grandison" ], [ "He believed it was harmful to society.", "He believes dueling is harmful to society. " ], [ "She was the daughter of an Italian baron.", "She was an Italian woman who Grandison had proposed to." ], [ "She grew ill out of despair.", "She refused to marry a heretic. " ], [ "He was an Anglican Protestand and she though he was a heretic.", "He is Protestant" ], [ "A series of letters", "Novel" ], [ "Her grandparents", "her grandparents" ], [ "A masquerade ball", "She is at a masquerade." ], [ "Pollexfen", "Sir Hargrave Pollexfen" ], [ "Fifteen thousand pounds", "15,000 pounds" ], [ "George Selby's house", "uncles house" ], [ "Selby is Harriet's uncle", "Harriet is his niece. " ], [ "A duel", "A duel" ], [ "Move her to Windsor", "He takes her to his home in Windsor." ], [ "Three", "Six" ], [ "George Selby", "George Selby" ], [ "To visit her cousins in London.", "She was to visit her cousins in London." ], [ "Mr. and Mrs. Reeves", "Mr & Mrs Reeves" ], [ "He lacks morals and decency.", "lack of morals" ], [ "He is one of her suitors.", "He is a suitor to Byron." ], [ "He kidnaps her? ", "kidnaps her" ], [ "Lisson Grove", "Lisson Grove " ], [ "To punish Grandison for rescuing Harriet,", "He wants to marry Byron. " ], [ "She is in love with Charles Grandison.", "She loves Grandison" ], [ "Charles Grandison", "Grandison" ] ]

[ [ "Homer was nodding. \"I see. So that's why you shot at me in Timbuktu.\"\n\nAbe's eyes went wary. He said, \"I didn't know you knew.\"", "\"Let's go,\" Homer said. The second hovercraft joined them, driven by\nElmer Allen, and they made their way through the staring, but\nmotionless, crowds of Chaambra.", "\"That girl Isobel. She said somebody took a shot at the chief.\"\n\nHomer explained it, sourly. A sniper had taken a few shots at him, then\nmanaged to get away.", "Homer said flatly, \"We were attacked by this unidentified group of, ah,\ngun runners, from some unknown origin. We defended ourselves, to the\nbest of our ability.\"", "The crowd began to murmur and the two hurriedly picked up their fallen\ncompanion and took off with him.\n\nHomer said in English, \"What really happened?\"", "\"And if I didn't?\" Homer said.\n\n\"Then you were to be liquidated.\"\n\n\"So the finger is still on me, eh?\"", "front. Actually, you were already inside.\" Homer grunted. \"Besides, it\nwould have been awfully difficult for anyone else to have doped that", "\"On the double,\" Homer bit out, and he and Abe broke into a trot for the\npoint of conflict. The idea was to get this sort of thing over as\nquickly as possible before it had a chance to spread.", "The gun was meaningless now. Homer Crawford, his face agonized, was on\nhis knees beside the other who was threshing on the floor. \"Abe,\" he\ngroaned. \"You made me.\"", "Homer ignored the automatic weapon in the hands of the excited Arab. He\nsaid, and there was still a sad quality in his voice. \"The gun you carry", "Homer Crawford suddenly and violently pushed her to the side and to the\nground and at the same time dropped himself and rolled frantically to\nthe shelter of an adobe wall which had once been part of a house but now\nwas little more than waist high.", "Homer looked at her oddly. \"Possibly. However, I was standing next to\nthe Moorish boy who was cut entirely in half by the pressure spray of\nwater.\"\n\nThe expression on the girl's face sickened.", "Dr. Crawford had made a mistake. Homer didn't bother to tell him about\nthe poisoned brandy. He hung up, took the bottle into the bathroom and\npoured it away.", "The Arab cut a last switch in the air, with his whistling blade and\nstarted forward, in practiced posture. Homer awaited him, legs spread\nslightly, his hands extended slightly, the sword held at the ready but\nwith point low.", "\"But ... but who in the world would want to shoot you, Homer?\"\n\n\"Search me,\" he growled. \"My team has never operated in this immediate\narea.\"", "massacre of the Cubans. Homer took another deep breath, smashed the door\nopen with a heavy shoulder and dashed inward and immediately to one", "Homer said, \"They had another interesting device for dispersing mobs. It\nwas a noise bomb. The French set off several.\"\n\n\"A noise bomb?\" Cliff said. \"I don't get it.\"", "The Ouled Touameur chief was convinced. He stepped in fast, the blade\nflicked in and out in a quick feint, then flicked in again. Homer\nCrawford countered clumsily.", "\"They're the traditional weapon in the Arab _code duello_,\" Homer said,\nwith a wry grin. \"Nothing else would do.\"", "His sword darted forward, quickly, experimentally, and Homer Crawford\nbarely caught its razor edge on his own." ], [ "Homer was nodding. \"I see. So that's why you shot at me in Timbuktu.\"\n\nAbe's eyes went wary. He said, \"I didn't know you knew.\"", "put one of our own--perhaps me, even--in your place. No ill feelings,\nHomer. In fact, now I've just given you your chance. You could come in\nwith us--\"", "\"But ... but who in the world would want to shoot you, Homer?\"\n\n\"Search me,\" he growled. \"My team has never operated in this immediate\narea.\"", "\"And if I didn't?\" Homer said.\n\n\"Then you were to be liquidated.\"\n\n\"So the finger is still on me, eh?\"", "\"That girl Isobel. She said somebody took a shot at the chief.\"\n\nHomer explained it, sourly. A sniper had taken a few shots at him, then\nmanaged to get away.", "The other two watched him, both frowning.\n\nAbe said slowly, \"Homer, you _are_ El Hassan.\"\n\nHis chief scowled at him. \"What is that supposed to mean?\"", "Homer Crawford extended his hands in the direction of Ostrander, palms\nupward. \"I'm sorry, sir. But there seems to be your mysterious\nsubversive.\"", "Homer ignored the automatic weapon in the hands of the excited Arab. He\nsaid, and there was still a sad quality in his voice. \"The gun you carry", "At one point, while Homer stood idly in the crowd, feeling its temper\nand the extent to which the girl was dominating them, he felt someone\npress next to him.", "Zetterberg said, \"Do you think this might be the work of El Hassan and\nhis followers?\"\n\nAbe started to chuckle something, but Homer shook his head slightly in\nwarning and said, \"I don't know.\"", "\"We shall see who is the liar here,\" Homer Crawford said flatly. \"You\nasked who I am. I am known as Omar ben Crawf and I am headman of a team", "The Arab cut a last switch in the air, with his whistling blade and\nstarted forward, in practiced posture. Homer awaited him, legs spread\nslightly, his hands extended slightly, the sword held at the ready but\nwith point low.", "Homer Crawford came to his feet and pushed back the hood of the\nburnoose. He looked over at the headman of the Ouled Touameur warrior\nclan, whose face was darkening.", "Homer said flatly, \"We were attacked by this unidentified group of, ah,\ngun runners, from some unknown origin. We defended ourselves, to the\nbest of our ability.\"", "The crowd began to murmur and the two hurriedly picked up their fallen\ncompanion and took off with him.\n\nHomer said in English, \"What really happened?\"", "Abe stopped momentarily and twisted his face in a grimace. \"But there's\none other thing that's possibly the most important of all. Homer, you're\na born leader.\"", "Homer looked at her oddly. \"Possibly. However, I was standing next to\nthe Moorish boy who was cut entirely in half by the pressure spray of\nwater.\"\n\nThe expression on the girl's face sickened.", "Homer Crawford shrugged. \"Swords, in the open before the assembled\nChaambra so that they may see how truly weak is the one who calls\nhimself so strong.\"", "\"Isobel,\" he said, \"I hate to do this, but let me introduce you to Homer\nCrawford, my immediate boss and slave driver, late of the University of", "El Aicha looked up at Homer Crawford from where he sat. His voice\nwithout inflection, he said, \"Hast thou a sword, Omar ben Crawf?\"\n\n\"No,\" Crawford said." ], [ "The gun was meaningless now. Homer Crawford, his face agonized, was on\nhis knees beside the other who was threshing on the floor. \"Abe,\" he\ngroaned. \"You made me.\"", "side. At the same moment, Abe Baker, Tommy-Noiseless in hand, came in\nfrom the rear door, his eyes darting around trying to pierce the gloom\nof the unlighted building.", "Even as he was speaking, his eyes moved in a way Homer Crawford\nrecognized. He'd seen Abe Baker in action often enough. A gun flicked", "Abe Baker's face was quickly going ashen in his impossible quest for\noxygen. For a last second there was a gleam in his eyes and his lips", "In a few moments, Abe Baker came up to them, breathing hard and wiping\nsweat from his forehead. He grinned wryly. \"Man, those cats are way out.", "Homer Crawford, fully accompanied by Abe Baker and the rest of their\nteam, even Elmer Allen, burst into uncontrolled laughter.\n\n\n\n\nV", "Abe's fingers closed about the gun and Crawford, calling on his last\nresources, lashed out. He could feel the cartilage collapse, a sound of\nair, for a moment, almost like a shriek filled the room.", "Homer was nodding. \"I see. So that's why you shot at me in Timbuktu.\"\n\nAbe's eyes went wary. He said, \"I didn't know you knew.\"", "\"Man,\" Abe Baker murmured pleasantly, \"you're going to be one awful\ndisappointed cat before long.\"", "Abe Baker knew that in the long go, in spite of his somewhat greater\nheft, he wouldn't be able to take his former chief in the other man's", "Abe Baker chuckled. \"That cat sure can lay on a speech, man.\" As though\nmagically, a snub-nosed hand weapon of unique design appeared in his\ndark hand.", "Abe Bakr looked at him. \"Wha'd'ya mean, cover you, man? You slipped all\nthe way round the bend? Listen, let me plant a couple quick land mines", "\"Crazy man,\" Abe Baker said aloud. \"Let's be practical and cut out all\nthis jazz.\" The youthful New Yorker came to his feet. \"First of all you", "Elmer Allen looked at the once human mess below them. \"We certainly\ndid,\" he muttered, scowling.\n\n\"Crazy man,\" Abe said, nodding his agreement to the alibi.", "Elmer Allen erupted through a window, rolled over on the floor and came\nto rest, his gun trained.\n\n\"Where is he?\" Abe snapped.", "\"Crazy,\" Abe said, dropping off the back of the truck which Kenny\nBallalou, who was driving, brought almost to a complete stop. The older\nJake followed him.", "Abe and Bey looked innocent.\n\nHomer turned and led the way into the truck. \"O.K., let's get going.\"\n\n\n\n\nVII", "When Homer Crawford, Abe Baker, Kenny Ballalou, Elmer Allen and\nBey-ag-Akhamouk had laughed themselves out, Frederic Ostrander, the", "Zetterberg leaned forward, an expression of somewhat anxious sincerity\nin his whole demeanor.\n\n\n\n\nVIII\n\n\nAbe Baker choked, and then suddenly laughed.", "Out of a sidestreet came running Abe Baker at the head of possibly two\nor three hundred arm waving, shouting, stick brandishing Africans. A few" ], [ "She returned his frank look. \"I'm the first follower to dedicate her\nservices to El Hassan.\"\n\n\"So you want to come along?\"\n\n\"Yes,\" she said simply.", "One of the tribesmen said, \"I have heard of this El Hassan. Rumors of\nhis teachings spread through the land. He is to lead us all, Tuareg,\nArab and Sudanese, until we are all as rich as Roumas.\"", "a Hero to follow and then ... then El Hassan and his closest followers\nhave a good chance of winding up before a firing squad.\"", "Omar ben Crawf, the headman of the smiths, went on. \"El Hassan has\nproclaimed great new beliefs that spread through all North Africa, and", "One protested slowly, seeking out his words, \"Your El Hassan preaches\nthis equality, but surely the wiser man and the stronger man will soon\nfind his way to the top in any land, in any tribe, even in the nations\nof the Rouma.\"", "Isobel shrilled, \"Hear what the messenger from El Hassan has come to\ntell us! Hear the friend and devoted follower of El Hassan!\"", "gather. He held his hands out, palms upward questioningly, \"And why\nshould these young men beset a Holy One whose only crime is to love El\nHassan?\"", "Omar ben Crawf laughed. \"That is what we have allowed the Roumas to have\nus believe for much too long,\" he stated. \"El Hassan has proven", "\"There will be an El Hassan,\" Abe said definitely. \"And you can be him.\"\n\nCrawford stared at Abe, undecided.", "Crawford, leaning heavily on the pilgrim staff, drifted over to the\nother. \"Quiet, O young one,\" he said. \"I wish to listen to the words of\nthe girl who tells of the teachings of the great El Hassan.\"", "spy and an enemy of El Hassan, and one of the other boys will bear him\nout, and a couple of others will hustle him out of the hall.\" Homer", "and then he would not be present to mitigate their interest. In spite of\nhimself, now he growled, \"What beliefs? What truths? I know not of this\nEl Hassan of whom you speak.\"", "\"El Hassan is turning out to be a hangover all right,\" Elmer Allen\ngrunted, choosing to misinterpret his teammate's words. He peered down", "progressing fast, fantastically fast, and the coming of El Hassan is\ngoing to speed things up still more.\"", "The other two watched him, both frowning.\n\nAbe said slowly, \"Homer, you _are_ El Hassan.\"\n\nHis chief scowled at him. \"What is that supposed to mean?\"", "Zetterberg said, \"You've heard about this El Hassan before?\"\n\n\"Quite a bit.\"", "She switched suddenly to Arabic, and he could follow her now. The drift\nof her talk was that word had come through that El Hassan was to make a", "Kenny said, \"Anyway, that's when El Hassan was dreamed up. We kicked the\nidea around until the beer was all gone. And when we awoke in the", "you are admittedly our best man in the field. We're giving you a new\nassignment. Find this El Hassan and bring him here!\"", "\"That's why we give the assignment to our best team in the field,\" the\nSwede told him. \"You've got a roving commission. Find El Hassan and\nbring him here to Dakar.\"" ], [ "Isobel said, her voice low. \"In Timbuktu, when Abe saw the way things\nwere going, he realized you'd have to be liquidated, otherwise El Hassan", "Abe left and Crawford said to Isobel, \"Introduce me as Omar ben Crawf,\nthe great friend and assistant of El Hassan. Build it up.\"\n\n\"Right,\" she said.", "She returned his frank look. \"I'm the first follower to dedicate her\nservices to El Hassan.\"\n\n\"So you want to come along?\"\n\n\"Yes,\" she said simply.", "Isobel shrilled, \"Hear what the messenger from El Hassan has come to\ntell us! Hear the friend and devoted follower of El Hassan!\"", "\"That's why we give the assignment to our best team in the field,\" the\nSwede told him. \"You've got a roving commission. Find El Hassan and\nbring him here to Dakar.\"", "They went from one gathering place of women to another. To the spice\nmarket, to the fish and meat market, to the bathing and laundering\nlocations along the river. And everywhere they found animated groups of\nwomen, Isobel went into her speech.", "you are admittedly our best man in the field. We're giving you a new\nassignment. Find this El Hassan and bring him here!\"", "\"It's about time all of us got over there,\" Crawford said. He looked at\nIsobel as they walked. \"How does it feel being a sort of reverse agent\nprovocateur?\"", "\"Weapons!\" Isobel snapped. \"Do you intend to use weapons on those poor\npeople? Why, it was you yourself, you and your team, who started this", "\"I hope so,\" Isobel said. \"Sometimes I think I'm helping put over a\ngigantic hoax on these people. Promising something that won't be\ndelivered.\"", "She switched suddenly to Arabic, and he could follow her now. The drift\nof her talk was that word had come through that El Hassan was to make a", "The small Bahamian snorted. \"You chaps certainly started something with\nthis El Hassan farce. What are your immediate plans? How can I\nco-operate with you?\"", "spy and an enemy of El Hassan, and one of the other boys will bear him\nout, and a couple of others will hustle him out of the hall.\" Homer", "He let Isobel handle the bulk of the reverse-rabble rousing. His bit was\nto come later, and as yet he didn't want to reveal himself to the\nthrongs.", "Zetterberg said impatiently, \"Isn't it obvious, after the conversation\nwe've had here? Possibly this El Hassan is the man we're looking for.", "Isobel reacted first. \"Abe!\" she yelled, pointing accusingly at him.\n\nAbe Baker pretended to cringe, then reacted. \"Isobel! Somebody _told_ me\nyou were over here!\"", "\"Huh!\" said Isobel again, but she was really in no mood for their usual\nbanter. \"Listen,\" she said, \"what're we accomplishing with all this\nmasquerade?\"", "\"I'll make out all right,\" Isobel said. \"I can change in the plane.\"\n\n\"Hey, Isobel,\" Abe called out. \"Why not dress up like one of these Dogon\nbabes?\"", "and then he would not be present to mitigate their interest. In spite of\nhimself, now he growled, \"What beliefs? What truths? I know not of this\nEl Hassan of whom you speak.\"", "One of the tribesmen said, \"I have heard of this El Hassan. Rumors of\nhis teachings spread through the land. He is to lead us all, Tuareg,\nArab and Sudanese, until we are all as rich as Roumas.\"" ], [ "\"Homer Crawford, some kind of sociologist from the University of\nMichigan, I understand. He's connected with the Reunited Nations African\nDevelopment Project, heads one of their cloak and dagger teams.\"", "Homer Crawford knocked with a knuckle on the table that stood at the\nhead of the hall and called for silence. \"Sorry we're late,\" he said,", "Homer Crawford returned and his face was serious. \"That does it,\" he\nmuttered disgustedly. \"The fat's in the fire.\"\n\n\"Like, what's up, man?\"", "Homer Crawford said slowly, \"I've never answered that to my own\nsatisfaction. But I'll say this. I've never met a person, no matter how", "\"Isobel,\" he said, \"I hate to do this, but let me introduce you to Homer\nCrawford, my immediate boss and slave driver, late of the University of", "Homer Crawford looked after him. \"Good man,\" he said.", "Homer Crawford extended his hands in the direction of Ostrander, palms\nupward. \"I'm sorry, sir. But there seems to be your mysterious\nsubversive.\"", "Homer Crawford came up and said in English, \"All right, let's get out of\nhere. Don't hurry, but on the other hand don't let's prolong it. One of", "Homer Crawford was shaking his head, almost sadly it seemed. \"No,\" he\nsaid. \"The day of rule by the gun is over. It must be over because at", "\"We shall see who is the liar here,\" Homer Crawford said flatly. \"You\nasked who I am. I am known as Omar ben Crawf and I am headman of a team", "But Homer Crawford was already expertly rolling with the fall, rolling\nout to get a fresh start.", "\"I see,\" Crawford said.\n\nThe other laughed cheerfully. \"I'm sure you do, Dr. Crawford. A word to\nthe wise.\"\n\n * * * * *", "Homer Crawford nodded to him. \"Thank you, Bishop Manning. I'm sure we\nwill all consider your words.\" When the older man was gone, he looked\nout over the hall again. \"Well, who is next?\"", "Homer Crawford suddenly and violently pushed her to the side and to the\nground and at the same time dropped himself and rolled frantically to\nthe shelter of an adobe wall which had once been part of a house but now\nwas little more than waist high.", "The aircraft had hardly come to a halt before Homer Crawford clipped\nout, \"All right, boys, time's a wasting. Bey, you and Kenny get over to", "Homer Crawford, separated from the other members of his team, in the\nanimated discussions that went on about him, finally left the", "Homer Crawford was shaking his head. \"You don't believe that Dr.\nZetterberg, and I doubt if there are many non-Moslems who do. Mohammed", "Homer looked at him but said nothing.\n\nZetterberg said in irritation, \"It becomes necessary to warn you almost\nevery time you come in contact with this office, Dr. Crawford.\"", "Crawford turned. It was Elmer Allen, gun in hand.\n\nHomer Crawford said dully, \"What are you doing here?\"", "Homer Crawford laughed, too, and nodded as though in solemn agreement.\n\"However, there were also no doctors, engineers, scientists. There were\nwhole nations without a single college graduate.\"" ], [ "not amusing. I, too, have heard of him. His followers are evidently\nsweeping through the Sahara. Everywhere I hear of him.\"", "One of the tribesmen said, \"I have heard of this El Hassan. Rumors of\nhis teachings spread through the land. He is to lead us all, Tuareg,\nArab and Sudanese, until we are all as rich as Roumas.\"", "Homer waited for a few more minutes, then waved to Bey to cover him. The\nstreets were empty at this time of midday when the Sahara sun drove the", "now, armed with such weapons as these, we of the Sahara will again\nassert our birthright as the Chosen of Allah!\"", "\"El Hassan? But you boys told us all in Timbuktu that there was no El\nHassan. You invented him and then the rest of us, more or less", "will have these two killed and then I shall announce to the assembled\ntribes the new jedah, a Holy War to bring the Chosen of Allah once again\nto their rightful position in the Sahara.\"", "The officer's face went poker-expressionless. He looked at the lone\nfigure, dressed in the garb of the Tuareg, even to the turban-veil which", "whole El Hassan movement. I'm shocked. I've heard about your reputation,\nyou and the Sahara Development Project teams. Your ruthlessness--\"", "Omar ben Crawf laughed. \"That is what we have allowed the Roumas to have\nus believe for much too long,\" he stated. \"El Hassan has proven", "He swept his eyes about their circle. \"Chiefs of the Chaambra, there is\nno force in all the Sahara to restrain us. Let others work on the roads,", "tent.\" He approached the now parked vehicles and his followers crowded\nafter him. From the tents debouched women and children. The children\nwere completely nude, and the Tuareg women were unveiled for such are", "The Tuareg chief was becoming increasingly irritated. Such talk as this\nwas little short of blasphemy to his ears, but the fascination of the", "everything we said we ascribed to him, this mysterious hero who was\ngoing to lead all North Africa to Utopia.\"", "The Sahara Afforestation official gaped at him.\n\nThe room rocked with laughter.\n\nIrritated, Sandell snapped again, \"Ridiculous!\"", "eventually, _Inshallah_, throughout the continent. Through his great\nlearning he has assimilated the wisdom of all the prophets, all the\nwisemen of all the world, and proclaims their truths.\"", "For a brief moment Abd-el-Kader stepped back to observe his foe, and\nthere was mockery in his face. \"So thy manhood has been spat upon by one", "As they talked, they made their way to the large circle of men. In its\ncenter, Abd-el-Kader was stripping to his waist, meanwhile laughingly", "\"We shall see who is the liar here,\" Homer Crawford said flatly. \"You\nasked who I am. I am known as Omar ben Crawf and I am headman of a team", "They said their goodnights early. All of them were used to Sahara hours.\nUp at dawn, to bed shortly after sunset; the desert has little fuel to\nwaste on illumination.", "Omar ben Crawf, the headman of the smiths, went on. \"El Hassan has\nproclaimed great new beliefs that spread through all North Africa, and" ], [ "Moussa-ag-Amastan knew that he was backed by ten or more of his\nclansmen, half of whom bore rifles, the rest Tuareg broadswords,", "The two-vehicle caravan emerged from the sandy wastes of the _erg_ and\napproached the small encampment of Taitoq Tuareg which consisted of", "tent.\" He approached the now parked vehicles and his followers crowded\nafter him. From the tents debouched women and children. The children\nwere completely nude, and the Tuareg women were unveiled for such are", "\"We'll fight!\" Moussa-ag-Amastan growled. \"We Tuareg are warriors,\nbedouin, free men. We will never be slaves.\"", "Somehow the news of their presence spread, and another clan of nomad\nTuareg arrived and pitched their tents, to handle the wares of the\nsmiths and to bring their metal work for repair. And to listen to their\ndisturbing words.", "of his Ouled Touameur clan came dashing in, rifles held high and with\ngreat firing into the air. The Ouled Touameur were the noblest clan of", "They came to a halt and Moussa-ag-Amastan drew up his teguelmoust\nturban-veil even closer about his eyes. He had no desire to let the", "One of the tribesmen said, \"I have heard of this El Hassan. Rumors of\nhis teachings spread through the land. He is to lead us all, Tuareg,\nArab and Sudanese, until we are all as rich as Roumas.\"", "\"No, he's nearer to my size,\" Crawford grunted. He turned to El Aicha,\nand said in Arabic, \"I demand the right of a stranger in your camp to a\ntrial by combat.\"", "The Tuareg chief was becoming increasingly irritated. Such talk as this\nwas little short of blasphemy to his ears, but the fascination of the", "Teda to the south, and the Targui's eyes thinned beneath his\nteguelmoust. Since the French had pulled out their once dreaded Camel\nCorps there had been somewhat of a renaissance of violence between", "As they talked, they made their way to the large circle of men. In its\ncenter, Abd-el-Kader was stripping to his waist, meanwhile laughingly", "The Tuareg were astonished. They had never heard such words.\n\nMoussa-ag-Amastan was not appeased. \"You sound like a Rouma, yourself,\"\nhe said. \"Where have you learned of all this?\"", "possessions--after all, they weren't kinsmen, not even Tuareg. But on\nthe second day, the always smiling one named Abrahim el Bakr had been on", "remained only three days before being murdered by the Tuareg who\ncontrolled the town at that time. There was a plaque on the door\nrevealing those basic facts. Crawford had read elsewhere that the city", "Moussa-ag-Amastan scowled at his clansman, for his presumption, but Omar\nanswered, his voice sincere and carrying conviction. \"The world moves", "Nor could the aged Tuareg chief prevent in the evening discussions\nbetween the men, a thorough pursuing of the new ideas sweeping through\nthe Ahaggar. Though these strangers proclaimed themselves lowly", "Of them all, Bey-ag-Ahkamouk was the least moved by the slaughter. He\ngrumbled, \"Guns, explosives, mortar, flame throwers. If there is", "tracks. Already Arab Union troopers were debouching from them, some\nfiring at random and at unseen targets. However, the so-called Enaden", "\"Well, here we go,\" Crawford grunted. \"You fellows better station\nyourselves around just on the off chance that those Ouled Touameur\nbully-boys don't like the decision.\"" ], [ "\"No, he's nearer to my size,\" Crawford grunted. He turned to El Aicha,\nand said in Arabic, \"I demand the right of a stranger in your camp to a\ntrial by combat.\"", "tracks. Already Arab Union troopers were debouching from them, some\nfiring at random and at unseen targets. However, the so-called Enaden", "An officer stood up in the jeep and yelled at Crawford in Arabic.\n\nThe American took a deep breath and said in the same language, \"You're\nout of your own territory.\"", "Crawford stood hopelessly, in a semicrouch, his hands still slightly\nforward. The Arab came in fast, his sword at the ready for the death\nstroke.", "The Ouled Touameur chief was convinced. He stepped in fast, the blade\nflicked in and out in a quick feint, then flicked in again. Homer\nCrawford countered clumsily.", "The lead jeep--Skoda manufacture, Homer Crawford noted cynically--was\nsome thirty meters in advance. It drew to a halt upon seeing him and a\nturbaned Arab Union trooper swung a Brenn gun in his direction.", "In Arabic, Crawford said, \"I have sought you for some time,\nAbd-el-Kader. You are an illusive man.\"\n\n\"Who are you, Negro?\" the fighting man snapped.", "\"Abe, Jake,\" Crawford said. \"We'll drop you here. Mingle around. We'll\nhold the big meeting in front of the Great Mosque in an hour or so.\"", "Omar ben Crawf laughed. \"That is what we have allowed the Roumas to have\nus believe for much too long,\" he stated. \"El Hassan has proven", "The aircraft had hardly come to a halt before Homer Crawford clipped\nout, \"All right, boys, time's a wasting. Bey, you and Kenny get over to", "\"We shall see who is the liar here,\" Homer Crawford said flatly. \"You\nasked who I am. I am known as Omar ben Crawf and I am headman of a team", "But Abd-el-Kader was through, his eyes popping agony, his body writhing\non the ground. The whole thing, from the time the Arab had advanced on\nthe disarmed man for the kill, hadn't taken five seconds.", "\"To the contrary!\" Ostrander snapped.\n\n\"No, please,\" Crawford said, grinning ruefully. \"You see, my team\n_invented_ him, some time ago.\"", "Crawford looked critically at the clothing of Jake and Cliff. \"I suppose\nyou'll do in western stuff,\" he said. \"After all, this El Hassan is", "Crawford nodded. \"It just came to me. It had to be you. Supposedly, you\nbroke into the mosque from the back at the same moment I came in the", "Homer Crawford shrugged. \"Routine. Must have been as many as ten\nthousand of them at one point. We used standard tactics in gaining\ncontrol and then dispersing them. I'll have a complete written report to\nyou before the day is out.\"", "Crawford nodded to her question but his eyes were on Abe.\n\nAbe put his hands behind his head and said to the ceiling, \"Zetterberg\njust gave Homer's team the assignment of bringing in El Hassan.\"", "\"I'm afraid you're right,\" Crawford growled disgustedly.\n\nThe younger American came to his feet. \"I'll take him on,\" Abe said.", "\"Or from the Arab Union?\" Crawford pursued. \"Whether or not the Soviet\nComplex has agents in this part of Africa, we know that the Arab Union,", "The chips were down now.\n\nThe convoy, the motors growling their protests of the hard going even\nhere at the gravel bottomed wadi river bed, made its way toward them at\na pace of approximately twenty kilometers per hour." ], [ "\"That's why we have a Reunited Nations,\" Crawford said calmly.", "added sourly, \"I'm just wondering if the Reunited Nations is the\norganization that can come up with one. And, if it isn't, where is there\none?\"", "The Reunited Nations official looked at him for a long moment, as though\ndebating whether to let him in on higher policy. \"Because, frankly, Dr.", "meeting. Most of you are operating under other auspices than the\nReunited Nations. Many of you duplicate some of our work. It occurred to", "other auspices. We of the Reunited Nations teams are here because as\nAfricans racially but not nationally, we have no affiliation with clan,", "future. You are, after all, hired by the Reunited Nations and owe it all\nyour time and allegiance. We have no desire to see you fritter away this", "Afforestation Project, which, as you know, is also under the auspices of\nthe Reunited Nations, though not having any other connection with your\nown organization.\"", "\"On what side?\" Cliff said interestedly.\n\n\"Darn if I know.\"\n\nIsobel said, \"Well, we have nothing to do with the Reunited Nations.\"", "\"I'm going over to the Reunited Nations to resign from the African\nDevelopment Project. I have a sneaking suspicion that in the future they", "themselves at the offices of the African Development Project, Sahara\nDivision, of the Reunited Nations. Uncharacteristically, there was no", "Dakar boasts some of the few skyscrapers in all Africa. The Reunited\nNations occupied one of these in its entirety. Dakar was the center of", "Crawford said in English, \"They've been gathering for an outbreak of\nviolence, evidently directed at the Reunited Nations projects", "Nations, actually they are dominated by Yankees. The Yankees are seeping\nin everywhere.\" He looked at Isobel. \"Yes, such groups as your Africa", "of the African Development Project of the Reunited Nations. As you have\nsaid, Abd-el-Kader, this great council of the headmen of all the nations", "all on the ball will be elected to some committee or other. Give them\njobs compiling reports to El Hassan or something. Keep them busy. Give\nReunited Nations headquarters in Dakar time to come up with something.\"", "grievances. I personally have several and may as well state them now.\nAmong other things, it becomes increasingly clear that though some of\nthe organizations represented here are supposedly of the Reunited", "The Swede cleared his throat. \"The Arab Union has made a full complaint\nin the Reunited Nations of a group of our men massacring thirty-five of\ntheir troopers.\"", "\"What is your point, Elmer?\" Crawford said. \"You speak, of course, as an\nindividual not as an employee of the Reunited Nations nor even as a\nmember of my team.\"", "when they could have made contact with their Reunited Nations superiors.\nThey had a couple of cognacs in the bar, then, whistling happily, Abe\nBaker went out on the town.", "United Nations went in to help. Actually, each element in the United\nNations had its own irons in the fire, and usually their desires\ndiffered.\"" ], [ "One of the tribesmen said, \"I have heard of this El Hassan. Rumors of\nhis teachings spread through the land. He is to lead us all, Tuareg,\nArab and Sudanese, until we are all as rich as Roumas.\"", "\"El Hassan is turning out to be a hangover all right,\" Elmer Allen\ngrunted, choosing to misinterpret his teammate's words. He peered down", "Zetterberg said, \"You've heard about this El Hassan before?\"\n\n\"Quite a bit.\"", "\"The demonstrations are in favor of El Hassan.\"", "Zetterberg said impatiently, \"Isn't it obvious, after the conversation\nwe've had here? Possibly this El Hassan is the man we're looking for.", "Kenny said, \"Anyway, that's when El Hassan was dreamed up. We kicked the\nidea around until the beer was all gone. And when we awoke in the", "Omar ben Crawf laughed. \"That is what we have allowed the Roumas to have\nus believe for much too long,\" he stated. \"El Hassan has proven", "\"There will be an El Hassan,\" Abe said definitely. \"And you can be him.\"\n\nCrawford stared at Abe, undecided.", "spy and an enemy of El Hassan, and one of the other boys will bear him\nout, and a couple of others will hustle him out of the hall.\" Homer", "and then he would not be present to mitigate their interest. In spite of\nhimself, now he growled, \"What beliefs? What truths? I know not of this\nEl Hassan of whom you speak.\"", "somebody with El Hassan's power and prestige against us. We take the\nlong view, Homer, and it dictates that El Hassan has to be secretly on\nthe Party's side.\"", "One protested slowly, seeking out his words, \"Your El Hassan preaches\nthis equality, but surely the wiser man and the stronger man will soon\nfind his way to the top in any land, in any tribe, even in the nations\nof the Rouma.\"", "The other two watched him, both frowning.\n\nAbe said slowly, \"Homer, you _are_ El Hassan.\"\n\nHis chief scowled at him. \"What is that supposed to mean?\"", "thought of the El Hassan idea. Then we can blame it on him.\"", "Omar ben Crawf, the headman of the smiths, went on. \"El Hassan has\nproclaimed great new beliefs that spread through all North Africa, and", "\"Oh, mostly supposed words of wisdom that El Hassan was alleged to have\nmade with. I get it that he's some, well you wouldn't call him a", "progressing fast, fantastically fast, and the coming of El Hassan is\ngoing to speed things up still more.\"", "you are admittedly our best man in the field. We're giving you a new\nassignment. Find this El Hassan and bring him here!\"", "I ... I wish there really was an El Hassan. I'd throw my efforts behind\nhim.\"", "\"That's why we give the assignment to our best team in the field,\" the\nSwede told him. \"You've got a roving commission. Find El Hassan and\nbring him here to Dakar.\"" ], [ "One of the tribesmen said, \"I have heard of this El Hassan. Rumors of\nhis teachings spread through the land. He is to lead us all, Tuareg,\nArab and Sudanese, until we are all as rich as Roumas.\"", "One protested slowly, seeking out his words, \"Your El Hassan preaches\nthis equality, but surely the wiser man and the stronger man will soon\nfind his way to the top in any land, in any tribe, even in the nations\nof the Rouma.\"", "Omar ben Crawf, the headman of the smiths, went on. \"El Hassan has\nproclaimed great new beliefs that spread through all North Africa, and", "\"El Hassan is turning out to be a hangover all right,\" Elmer Allen\ngrunted, choosing to misinterpret his teammate's words. He peered down", "I ... I wish there really was an El Hassan. I'd throw my efforts behind\nhim.\"", "Omar ben Crawf laughed. \"That is what we have allowed the Roumas to have\nus believe for much too long,\" he stated. \"El Hassan has proven", "Kenny said, \"Anyway, that's when El Hassan was dreamed up. We kicked the\nidea around until the beer was all gone. And when we awoke in the", "\"The demonstrations are in favor of El Hassan.\"", "somebody with El Hassan's power and prestige against us. We take the\nlong view, Homer, and it dictates that El Hassan has to be secretly on\nthe Party's side.\"", "case we speak in favor of El Hassan and his great, and noble, and\ninspiring, and so on and so forth, teachings. We speak in not too loud a", "and then he would not be present to mitigate their interest. In spite of\nhimself, now he growled, \"What beliefs? What truths? I know not of this\nEl Hassan of whom you speak.\"", "\"Oh, mostly supposed words of wisdom that El Hassan was alleged to have\nmade with. I get it that he's some, well you wouldn't call him a", "thought of the El Hassan idea. Then we can blame it on him.\"", "Zetterberg said impatiently, \"Isn't it obvious, after the conversation\nwe've had here? Possibly this El Hassan is the man we're looking for.", "progressing fast, fantastically fast, and the coming of El Hassan is\ngoing to speed things up still more.\"", "Elmer said with dignity, \"He spoke against El Hassan, our great leader.\"", "\"There will be an El Hassan,\" Abe said definitely. \"And you can be him.\"\n\nCrawford stared at Abe, undecided.", "gather. He held his hands out, palms upward questioningly, \"And why\nshould these young men beset a Holy One whose only crime is to love El\nHassan?\"", "spy and an enemy of El Hassan, and one of the other boys will bear him\nout, and a couple of others will hustle him out of the hall.\" Homer", "ought to _become_ El Hassan. And Bey, Kenny and I agree.\"" ], [ "\"That's why we have a Reunited Nations,\" Crawford said calmly.", "The Reunited Nations official looked at him for a long moment, as though\ndebating whether to let him in on higher policy. \"Because, frankly, Dr.", "added sourly, \"I'm just wondering if the Reunited Nations is the\norganization that can come up with one. And, if it isn't, where is there\none?\"", "Crawford said in English, \"They've been gathering for an outbreak of\nviolence, evidently directed at the Reunited Nations projects", "themselves at the offices of the African Development Project, Sahara\nDivision, of the Reunited Nations. Uncharacteristically, there was no", "Dakar boasts some of the few skyscrapers in all Africa. The Reunited\nNations occupied one of these in its entirety. Dakar was the center of", "\"On what side?\" Cliff said interestedly.\n\n\"Darn if I know.\"\n\nIsobel said, \"Well, we have nothing to do with the Reunited Nations.\"", "other auspices. We of the Reunited Nations teams are here because as\nAfricans racially but not nationally, we have no affiliation with clan,", "The Swede cleared his throat. \"The Arab Union has made a full complaint\nin the Reunited Nations of a group of our men massacring thirty-five of\ntheir troopers.\"", "meeting. Most of you are operating under other auspices than the\nReunited Nations. Many of you duplicate some of our work. It occurred to", "future. You are, after all, hired by the Reunited Nations and owe it all\nyour time and allegiance. We have no desire to see you fritter away this", "\"I'm going over to the Reunited Nations to resign from the African\nDevelopment Project. I have a sneaking suspicion that in the future they", "when they could have made contact with their Reunited Nations superiors.\nThey had a couple of cognacs in the bar, then, whistling happily, Abe\nBaker went out on the town.", "Homer Crawford said very clearly, \"Sahara Division, African Development\nProject, Reunited Nations. You're far out of your own territory,", "Jake Armstrong and Cliff Jackson had come up behind Isobel, and were now\nintroduced in turn. The older man said, \"A Tuareg in a Reunited Nations", "Afforestation Project, which, as you know, is also under the auspices of\nthe Reunited Nations, though not having any other connection with your\nown organization.\"", "all on the ball will be elected to some committee or other. Give them\njobs compiling reports to El Hassan or something. Keep them busy. Give\nReunited Nations headquarters in Dakar time to come up with something.\"", "Nations, actually they are dominated by Yankees. The Yankees are seeping\nin everywhere.\" He looked at Isobel. \"Yes, such groups as your Africa", "\"What is your point, Elmer?\" Crawford said. \"You speak, of course, as an\nindividual not as an employee of the Reunited Nations nor even as a\nmember of my team.\"", "A man on the outskirts of the gathering called out in high irritation,\n\"But what of the storming of the administration buildings? Our leaders\nhave proclaimed the storming of the reactionaries!\"" ], [ "But Abd-el-Kader was through, his eyes popping agony, his body writhing\non the ground. The whole thing, from the time the Arab had advanced on\nthe disarmed man for the kill, hadn't taken five seconds.", "In Arabic, Crawford said, \"I have sought you for some time,\nAbd-el-Kader. You are an illusive man.\"\n\n\"Who are you, Negro?\" the fighting man snapped.", "Abd-el-Kader spoke softly now, and there was a different drama in his\nvoice. \"And now,\" he said, \"the French are gone. All the Rouma, save a", "For a brief moment Abd-el-Kader stepped back to observe his foe, and\nthere was mockery in his face. \"So thy manhood has been spat upon by one", "As they talked, they made their way to the large circle of men. In its\ncenter, Abd-el-Kader was stripping to his waist, meanwhile laughingly", "He drew it up next to the still agonized Abd-el-Kader and got out\naccompanied by Bey-ag-Akhamouk. Silently and without undue roughness", "Abd-el-Kader's eyes darted about the tent. So far as he could see, the\nother was backed only by his single henchman. The warrior chief gained", "Abd-el-Kader smiling triumphantly, had spun on his heel and made his way\nthrough the tent's entrance. Now they could hear him shouting orders.", "\"No, he's nearer to my size,\" Crawford grunted. He turned to El Aicha,\nand said in Arabic, \"I demand the right of a stranger in your camp to a\ntrial by combat.\"", "Crawford stood hopelessly, in a semicrouch, his hands still slightly\nforward. The Arab came in fast, his sword at the ready for the death\nstroke.", "The assembled chiefs looked to Abd-el-Kader, and a rustling sigh went\nthrough them. A hundred times the wiry desert chieftain had proven", "Abd-el-Kader made a brief gesture of obeisance to the Chaambra leader, a\ngesture so brief as to verge on disrespect. He said, his voice clear and", "\"So do mine,\" Homer Crawford said decisively. \"And I have come to arrest\nyou and take you to Columb-Béchar where you will be tried for your\nparticipation in recent raids on various development projects.\"", "* * * * *\n\nAbd-el-Kader left it there and crossed his arms on his chest, staring at\nthem challengingly.", "sword and then strolled over and retrieved that of El Aicha. Ignoring\nAbd-el-Kader, he crossed to where the tribal elders had assembled to", "Abd-el-Kader held up four fingers on which to enumerate. \"The Chaambra\nwere ever men. Warriors, bedouin; not for us the cities and villages of", "Abe left and Crawford said to Isobel, \"Introduce me as Omar ben Crawf,\nthe great friend and assistant of El Hassan. Build it up.\"\n\n\"Right,\" she said.", "Of all the Ouled Touameur clan Abd-el-Kader alone refrained from\ndischarging his gun into the air as they dashed into the inner circle of", "Crawford, leaning heavily on the pilgrim staff, drifted over to the\nother. \"Quiet, O young one,\" he said. \"I wish to listen to the words of\nthe girl who tells of the teachings of the great El Hassan.\"", "Abe's fingers closed about the gun and Crawford, calling on his last\nresources, lashed out. He could feel the cartilage collapse, a sound of\nair, for a moment, almost like a shriek filled the room." ], [ "\"Anyway, I suppose most of you know of the AFAA and possibly many of you\nbelong to it, or at least contribute. We've been called the African", "He looked at her uncomfortably. \"No they don't,\" he said bluntly.\n\"Otherwise we wouldn't be here, either your AFAA or my African", "for Africans Association.\" He added grimly, \"But there the resemblance\nends.\"", "Crawford said, \"I suppose that is your privilege, sir. Now, in accord\nwith the reason for this meeting, can you tell us why your organization\nis present in Africa and what it hopes to achieve?\"", "for Africans Association has high flown slogans, but wherever you go,\nthere go Yankee ideas, Yankee products, Yankee schools.\"", "Ostrander looked at him testily. \"Why not? There has been considerable\ninfiltration of all of these African development organizations by\nsubversive elements....\"\n\n\"Oh, Brother,\" Cliff Jackson said.", "Zionist organization and perhaps that's not too far off. We are largely,\nbut not entirely an American association. We send out our teams, such as\nthe one my colleagues and I belong to, in order to speed up progress", "The waiter came with the bill and Homer took it.\n\nIsobel said, \"Let's go Dutch on that.\"\n\nHe grinned at her. \"Consider it a donation to the AFAA.\"", "I assume that most of you have heard of us. An organization supported\npartially by government grant, partially by contributions by private\ncitizens and institutions, as is that of Miss Isobel Cunningham's Africa", "\"Now, wait a minute,\" Crawford snapped in return. \"I admit only to those\nslogans and ideas promulgated by the African Development Project. If any", "themselves at the offices of the African Development Project, Sahara\nDivision, of the Reunited Nations. Uncharacteristically, there was no", "Their aircraft swept in and landed at the busy airport.\n\nThey were assigned an African Development Project air-cushion car and\ndrove into the city proper.", "\"I'm going over to the Reunited Nations to resign from the African\nDevelopment Project. I have a sneaking suspicion that in the future they", "Homer Crawford said very clearly, \"Sahara Division, African Development\nProject, Reunited Nations. You're far out of your own territory,", "suspicion that we'll be here until next week unless I set a new\nprecedent and cut the position of the Africa for Africans Association\nshorter.\"", "The C.I.A. man said evenly, \"We've already had reports that this\nconference was going to be held. I might as well inform you that a\nprotest is being made to the Sahara Division of the African Development\nProject.\"", "particularly those not affiliated with NATO come closest to filling the\nbill. We have no designs on Africa. It is unfortunate that we have\npractically no Negro citizens who could do field work.\"", "must be taken if Africa is to run down the path of progress, rather than\nto crawl. We usually operate in teams of about half a dozen. There are\nhundreds of such teams in North Africa alone.\"", "Nations, actually they are dominated by Yankees. The Yankees are seeping\nin everywhere.\" He looked at Isobel. \"Yes, such groups as your Africa", "He turned to the others and spread his hands in a Gallic gesture. \"I\nintroduce myself, Pierre Dupaine, operative of the African Affairs\nsector of the French Community.\"" ], [ "Crawford grinned at the other. \"You look as though you have a bit of\nNegro blood in your own veins. In fact, I doubt if there's a so-called", "Crawford said, \"I suppose that is your privilege, sir. Now, in accord\nwith the reason for this meeting, can you tell us why your organization\nis present in Africa and what it hopes to achieve?\"", "Crawford looked out over them. \"I don't know most of you. The word of\nthis meeting must have spread from one group or team to another. So what", "Homer Crawford nodded. \"You are correct, sir. I should have said that is\nthe reason the teams of the Reunited Nations African Development Project", "\"Our team,\" Elmer Allen reminded him. He frowned at his chief, as though\nsurprised at Crawford's stand. But then he looked back at the rest. \"I", "Crawford said wearily, \"Find the others and bring them here. We've got\nto get rid of poor Abe, there, and then I've got something to tell you.\"", "\"Homer Crawford, some kind of sociologist from the University of\nMichigan, I understand. He's connected with the Reunited Nations African\nDevelopment Project, heads one of their cloak and dagger teams.\"", "must be taken if Africa is to run down the path of progress, rather than\nto crawl. We usually operate in teams of about half a dozen. There are\nhundreds of such teams in North Africa alone.\"", "Homer Crawford's eyebrows went up. \"What is your solution? The fact is\nthat the United States has a hundred or more times the educated Negroes\nthan any other country.\"", "Crawford grunted. \"We're _more_ aggressive and more capable. Let my team\nhandle that. One of the boys will jump up and accuse the guy of being a", "Homer Crawford, separated from the other members of his team, in the\nanimated discussions that went on about him, finally left the", "\"Genocide,\" Crawford said bitterly. \"We're doing here much what the\nwhite men did when they cleared the Amerinds from the plains, the\nmountains and forests of North America.\"", "Their faces turned blank. Crawford's eyes swept his teammates. \"Our\ninstructions are to get down there and do what we can to restore order.", "Crawford thought about that for a moment. \"I'll take that,\" he said.\n\"What's the point you're trying to make?\"", "\"To the contrary!\" Ostrander snapped.\n\n\"No, please,\" Crawford said, grinning ruefully. \"You see, my team\n_invented_ him, some time ago.\"", "Cliff shook his large head negatively. \"Of course not, but Crawford\nseems to think it'd be a good idea if some of us in the field would get\ntogether and ... well, have sort of a bull session.\"", "Crawford nodded to her question but his eyes were on Abe.\n\nAbe put his hands behind his head and said to the ceiling, \"Zetterberg\njust gave Homer's team the assignment of bringing in El Hassan.\"", "Crawford said, \"Elmer first round up the boys and get them spotted\nthrough the audience. You're the cheerleaders and also the sergeants at", "Crawford ran his hand around the back of his neck, uncomfortably. \"You\nthink such a project would get the support of the various teams and\norganizations working North Africa, eh?\"", "\"No,\" Homer Crawford said flatly. \"I don't. But I like the goal.\"\n\n\"And the end justifies the means?\"" ], [ "Their faces turned blank. Crawford's eyes swept his teammates. \"Our\ninstructions are to get down there and do what we can to restore order.", "Homer Crawford, separated from the other members of his team, in the\nanimated discussions that went on about him, finally left the", "here almost as soon as Crawford's team, when he had heard of the\ntrouble.", "\"Our team,\" Elmer Allen reminded him. He frowned at his chief, as though\nsurprised at Crawford's stand. But then he looked back at the rest. \"I", "Crawford grunted. \"We're _more_ aggressive and more capable. Let my team\nhandle that. One of the boys will jump up and accuse the guy of being a", "Crawford nodded to her question but his eyes were on Abe.\n\nAbe put his hands behind his head and said to the ceiling, \"Zetterberg\njust gave Homer's team the assignment of bringing in El Hassan.\"", "When Isobel returned, Crawford briefed his seven followers. They were to\noperate in teams of two. One of his men, complete with quarterstaff", "\"He was a commie,\" Crawford said dully. \"Evidently, the Party decided I\nstood in its way. Where are the others?\"\n\n\"Scouring the town to find you.\"", "Crawford said wearily, \"Find the others and bring them here. We've got\nto get rid of poor Abe, there, and then I've got something to tell you.\"", "\"It's about time all of us got over there,\" Crawford said. He looked at\nIsobel as they walked. \"How does it feel being a sort of reverse agent\nprovocateur?\"", "Crawford looked out over them. \"I don't know most of you. The word of\nthis meeting must have spread from one group or team to another. So what", "On the fourth day, Homer Crawford received orders to proceed to Dakar,\nleaving the rest of the team behind to keep an eye on the situation.", "Crawford growled, \"Yes, but I have a suspicion I'm being called on the\ncarpet for one of our recent escapades and I want backing if I need it.\"\nHe added, \"Besides, nothing is going to happen here.\"", "\"Well, here we go,\" Crawford grunted. \"You fellows better station\nyourselves around just on the off chance that those Ouled Touameur\nbully-boys don't like the decision.\"", "\"To the contrary!\" Ostrander snapped.\n\n\"No, please,\" Crawford said, grinning ruefully. \"You see, my team\n_invented_ him, some time ago.\"", "Crawford said, \"Elmer first round up the boys and get them spotted\nthrough the audience. You're the cheerleaders and also the sergeants at", "\"I'm afraid you're right,\" Crawford growled disgustedly.\n\nThe younger American came to his feet. \"I'll take him on,\" Abe said.", "\"So do mine,\" Homer Crawford said decisively. \"And I have come to arrest\nyou and take you to Columb-Béchar where you will be tried for your\nparticipation in recent raids on various development projects.\"", "At first snap opinion, Crawford thought his assistant was being pursued\nand started forward to the hopeless rescue, but then he realized that", "Zetterberg tossed his bombshell out of a clear sky. \"Dr. Crawford,\" he\nsnapped, \"in spite of the warnings we've had to issue to you repeatedly," ], [ "Crawford looked at his right-hand man. \"There are demonstrations in\nMopti. Riots.\"", "\"Mopti?\" Jake Armstrong said, surprised. \"Our team was working there\njust a couple of months ago. I thought everything was going fine in\nMopti.\"", "\"And we bought them all,\" Abe recalled happily. \"Man, we hung one on.\"\n\nHomer Crawford said to Cliff, \"The Mopti airport is about twelve miles\nover to the east of the town.\"", "Jake Armstrong said, \"Wait a minute, Homer. My team was heading back for\nDakar for a rest and new assignments. We'd be passing Mopti anyway. How", "\"Great guns,\" Isobel snorted, \"there're more people here than the whole\npopulation of Mopti. Where'd they all come from?\"\n\n\"They've been filtering in from the country,\" Crawford said.", "Homer in excellent English, \"It was requested that your team remain in\nMopti.\" Then he added, \"Sit down, gentlemen.\"", "Crawford said, \"I suppose that is your privilege, sir. Now, in accord\nwith the reason for this meeting, can you tell us why your organization\nis present in Africa and what it hopes to achieve?\"", "On the fourth day, Homer Crawford received orders to proceed to Dakar,\nleaving the rest of the team behind to keep an eye on the situation.", "\"That's why we give the assignment to our best team in the field,\" the\nSwede told him. \"You've got a roving commission. Find El Hassan and\nbring him here to Dakar.\"", "Homer Crawford nodded. \"You are correct, sir. I should have said that is\nthe reason the teams of the Reunited Nations African Development Project", "Crawford said, \"Thanks a lot, we can use you, especially since you speak\nDogon, I don't think any of my group does. We're going to hold a big", "Homer Crawford's team had come down over the Tanezrouft route, Reggan,\nBidon Cinq and Tessalit; that of Isobel Cunningham, Jacob Armstrong and", "\"So do mine,\" Homer Crawford said decisively. \"And I have come to arrest\nyou and take you to Columb-Béchar where you will be tried for your\nparticipation in recent raids on various development projects.\"", "must be taken if Africa is to run down the path of progress, rather than\nto crawl. We usually operate in teams of about half a dozen. There are\nhundreds of such teams in North Africa alone.\"", "\"Well, here we go,\" Crawford grunted. \"You fellows better station\nyourselves around just on the off chance that those Ouled Touameur\nbully-boys don't like the decision.\"", "remained only three days before being murdered by the Tuareg who\ncontrolled the town at that time. There was a plaque on the door\nrevealing those basic facts. Crawford had read elsewhere that the city", "sent to Paris, and thence, eventually to Dakar. At Dakar they were\nshipped through Senegal to Bamako by narrow gauge railroad which ran", "Homer Crawford said very clearly, \"Sahara Division, African Development\nProject, Reunited Nations. You're far out of your own territory,", "Their faces turned blank. Crawford's eyes swept his teammates. \"Our\ninstructions are to get down there and do what we can to restore order.", "Crawford nodded to her question but his eyes were on Abe.\n\nAbe put his hands behind his head and said to the ceiling, \"Zetterberg\njust gave Homer's team the assignment of bringing in El Hassan.\"" ], [ "\"There will be an El Hassan,\" Abe said definitely. \"And you can be him.\"\n\nCrawford stared at Abe, undecided.", "The other two watched him, both frowning.\n\nAbe said slowly, \"Homer, you _are_ El Hassan.\"\n\nHis chief scowled at him. \"What is that supposed to mean?\"", "Abe grinned and said, \"Suppose he doesn't want to come?\"\n\n\"Use any methods you find necessary. If you need more manpower, let us\nknow. But we must talk to El Hassan.\"", "Abe left and Crawford said to Isobel, \"Introduce me as Omar ben Crawf,\nthe great friend and assistant of El Hassan. Build it up.\"\n\n\"Right,\" she said.", "ought to _become_ El Hassan. And Bey, Kenny and I agree.\"", "\"El Hassan is turning out to be a hangover all right,\" Elmer Allen\ngrunted, choosing to misinterpret his teammate's words. He peered down", "Abe was heading the mob. Waving his staff, the New Yorker was shouting\nslogans, most of which had something to do with \"El Hassan\" but\notherwise were difficult to make out.", "Crawford nodded to her question but his eyes were on Abe.\n\nAbe put his hands behind his head and said to the ceiling, \"Zetterberg\njust gave Homer's team the assignment of bringing in El Hassan.\"", "Zetterberg said, \"Do you think this might be the work of El Hassan and\nhis followers?\"\n\nAbe started to chuckle something, but Homer shook his head slightly in\nwarning and said, \"I don't know.\"", "Zetterberg said impatiently, \"Isn't it obvious, after the conversation\nwe've had here? Possibly this El Hassan is the man we're looking for.", "One of the tribesmen said, \"I have heard of this El Hassan. Rumors of\nhis teachings spread through the land. He is to lead us all, Tuareg,\nArab and Sudanese, until we are all as rich as Roumas.\"", "Kenny said, \"Anyway, that's when El Hassan was dreamed up. We kicked the\nidea around until the beer was all gone. And when we awoke in the", "I ... I wish there really was an El Hassan. I'd throw my efforts behind\nhim.\"", "and then he would not be present to mitigate their interest. In spite of\nhimself, now he growled, \"What beliefs? What truths? I know not of this\nEl Hassan of whom you speak.\"", "thought of the El Hassan idea. Then we can blame it on him.\"", "spy and an enemy of El Hassan, and one of the other boys will bear him\nout, and a couple of others will hustle him out of the hall.\" Homer", "Isobel said, her voice low. \"In Timbuktu, when Abe saw the way things\nwere going, he realized you'd have to be liquidated, otherwise El Hassan", "\"I see,\" Abe said. He was far, far different than the laughing, beatnik\njabbering, youngster he had always seemed. \"That's not so good.\"", "One protested slowly, seeking out his words, \"Your El Hassan preaches\nthis equality, but surely the wiser man and the stronger man will soon\nfind his way to the top in any land, in any tribe, even in the nations\nof the Rouma.\"", "somebody with El Hassan's power and prestige against us. We take the\nlong view, Homer, and it dictates that El Hassan has to be secretly on\nthe Party's side.\"" ], [ "The Reunited Nations official looked at him for a long moment, as though\ndebating whether to let him in on higher policy. \"Because, frankly, Dr.", "\"That's why we have a Reunited Nations,\" Crawford said calmly.", "other auspices. We of the Reunited Nations teams are here because as\nAfricans racially but not nationally, we have no affiliation with clan,", "added sourly, \"I'm just wondering if the Reunited Nations is the\norganization that can come up with one. And, if it isn't, where is there\none?\"", "\"What is your point, Elmer?\" Crawford said. \"You speak, of course, as an\nindividual not as an employee of the Reunited Nations nor even as a\nmember of my team.\"", "future. You are, after all, hired by the Reunited Nations and owe it all\nyour time and allegiance. We have no desire to see you fritter away this", "\"On what side?\" Cliff said interestedly.\n\n\"Darn if I know.\"\n\nIsobel said, \"Well, we have nothing to do with the Reunited Nations.\"", "Jake Armstrong and Cliff Jackson had come up behind Isobel, and were now\nintroduced in turn. The older man said, \"A Tuareg in a Reunited Nations", "\"Homer Crawford, some kind of sociologist from the University of\nMichigan, I understand. He's connected with the Reunited Nations African\nDevelopment Project, heads one of their cloak and dagger teams.\"", "meeting. Most of you are operating under other auspices than the\nReunited Nations. Many of you duplicate some of our work. It occurred to", "themselves at the offices of the African Development Project, Sahara\nDivision, of the Reunited Nations. Uncharacteristically, there was no", "Afforestation Project, which, as you know, is also under the auspices of\nthe Reunited Nations, though not having any other connection with your\nown organization.\"", "Crawford said in English, \"They've been gathering for an outbreak of\nviolence, evidently directed at the Reunited Nations projects", "Homer Crawford nodded. \"You are correct, sir. I should have said that is\nthe reason the teams of the Reunited Nations African Development Project", "\"I'm going over to the Reunited Nations to resign from the African\nDevelopment Project. I have a sneaking suspicion that in the future they", "Homer Crawford said very clearly, \"Sahara Division, African Development\nProject, Reunited Nations. You're far out of your own territory,", "all on the ball will be elected to some committee or other. Give them\njobs compiling reports to El Hassan or something. Keep them busy. Give\nReunited Nations headquarters in Dakar time to come up with something.\"", "The Swede cleared his throat. \"The Arab Union has made a full complaint\nin the Reunited Nations of a group of our men massacring thirty-five of\ntheir troopers.\"", "\"That's why we give the assignment to our best team in the field,\" the\nSwede told him. \"You've got a roving commission. Find El Hassan and\nbring him here to Dakar.\"", "when they could have made contact with their Reunited Nations superiors.\nThey had a couple of cognacs in the bar, then, whistling happily, Abe\nBaker went out on the town." ], [ "Crawford said doggedly, \"It came about like this. These people need a\nhero. It's in their nomad tradition. They need a leader to follow. Given", "Still chuckling, Homer Crawford said, a hand held up for quiet, \"Please,\neveryone. Pardon the amusement of my teammates and myself. You see,\nthere is no such person as El Hassan.\"", "These people are just beginning to emerge from tribal society. In the\ntribes, people live by rituals and taboos, by traditions. But at the\nnext step in the evolution of society they follow a Hero--and the", "\"They want a leader. Someone to come out of the wilderness and lead them\nto the promised land.\" The older man grumbled sourly. \"All your life you", "everything we said we ascribed to him, this mysterious hero who was\ngoing to lead all North Africa to Utopia.\"", "later. If those mobs down there want a leader, they'll probably wind up\nwith one.\" He grunted deprecation. \"And then probably we'll be able to\nsay, Heaven help them.\"", "\"Our team,\" Elmer Allen reminded him. He frowned at his chief, as though\nsurprised at Crawford's stand. But then he looked back at the rest. \"I", "Kenny said, \"Anyway, that's when El Hassan was dreamed up. We kicked the\nidea around until the beer was all gone. And when we awoke in the", "team for years and operating as they did and where they did, each man\nsurvived only by selfless co-operation with all the others. In action,", "\"El Hassan? But you boys told us all in Timbuktu that there was no El\nHassan. You invented him and then the rest of us, more or less", "Abe stopped momentarily and twisted his face in a grimace. \"But there's\none other thing that's possibly the most important of all. Homer, you're\na born leader.\"", "\"It's routine,\" he said absently. \"The brain of a mob is no larger than\nthat of its minimum member. Any disciplined group, almost no matter how\nsmall can model it to order.\"", "\"You are right,\" Hinnan said uncomfortably, \"they would not believe us.\"\nInstinctively, the son of the head chief assumed leadership of the\nothers. \"We will keep this secret between us,\" he said to them.", "those Ouled Touameur might collect himself to the point of deciding he\nought to rescue his leader.\"", "\"We bore them to tears,\" Homer growled.\n\nThey looked at him blankly.\n\n\"We assume leadership of the whole thing and put up speakers.\"", "gang. They'll nominate me to be spokesman, and nominate each other to be\nmy committee and we'll be sent to find El Hassan and urge him to take", "Crawford nodded to her question but his eyes were on Abe.\n\nAbe put his hands behind his head and said to the ceiling, \"Zetterberg\njust gave Homer's team the assignment of bringing in El Hassan.\"", "\"These North Africans aren't going to make it, not in the short period\nof time that we want them to, unless a leader appears on the scene.", "Isobel found the other teammates one by one, and they came hurrying up\nfrom different directions to the support of their chief. They had been a", "Then, too, there was the strangeness of the night talks their leader was\nknown to have with his secret _Kambu_ fetish which was able to answer" ], [ "Out of a sidestreet came running Abe Baker at the head of possibly two\nor three hundred arm waving, shouting, stick brandishing Africans. A few", "The small mob charged out of the street and through the square, still\nshouting. Abe began to drop back into the ranks, and then to the edge of", "Homer Crawford suddenly and violently pushed her to the side and to the\nground and at the same time dropped himself and rolled frantically to\nthe shelter of an adobe wall which had once been part of a house but now\nwas little more than waist high.", "At first snap opinion, Crawford thought his assistant was being pursued\nand started forward to the hopeless rescue, but then he realized that", "\"This is no reason to butcher thirty-five men.\"\n\n\"We were fired upon first,\" Crawford said.\n\n\"That is not the way they tell it. They claim you ambushed them.\"", "\"All right, go on,\" Isobel said.\n\nCliff Jackson said slowly, \"Somebody shot them up. Killed several,\nwounded most of the others.\"", "A man on the outskirts of the gathering called out in high irritation,\n\"But what of the storming of the administration buildings? Our leaders\nhave proclaimed the storming of the reactionaries!\"", "\"On the double,\" Homer bit out, and he and Abe broke into a trot for the\npoint of conflict. The idea was to get this sort of thing over as\nquickly as possible before it had a chance to spread.", "They spotted a ruckus and could see Elmer Allen in the middle of it, his\nquarterstaff flailing.", "They came. The headmen, the Hogons, the witchmen and finally the sons of\nthe headmen, and each in turn stared into the ball and saw the tiny men", "Homer said flatly, \"We were attacked by this unidentified group of, ah,\ngun runners, from some unknown origin. We defended ourselves, to the\nbest of our ability.\"", "Crawford said in English, \"They've been gathering for an outbreak of\nviolence, evidently directed at the Reunited Nations projects", "The Emir had come to his feet again, in his rage, and now he towered\nover the table behind which the two sat as though about to physically\nattack them. \"You speak as fools,\" he raged.", "Of them all, Bey-ag-Ahkamouk was the least moved by the slaughter. He\ngrumbled, \"Guns, explosives, mortar, flame throwers. If there is", "They all stirred again and some muttered and Abd-el-Kader pushed his\npoint. \"The Chaambra are warriors born. Never serfs! Never slaves! Never", "But Abd-el-Kader was through, his eyes popping agony, his body writhing\non the ground. The whole thing, from the time the Arab had advanced on\nthe disarmed man for the kill, hadn't taken five seconds.", "There were many strange features about the smiths, as each man could\nsee. Among others, were their strange weapons. There had been some soft", "Elmer Allen said, \"Yes, and there. See those mobs?\" He looked at Homer\nCrawford and said sourly, \"Let's try and remember who it was who first", "Elmer Allen looked at the once human mess below them. \"We certainly\ndid,\" he muttered, scowling.\n\n\"Crazy man,\" Abe said, nodding his agreement to the alibi.", "that he finally sank to earth in the village of Irèli instead of their\nown. But now all were summoned. Those among them who were Kanaga dancers" ], [ "\"No, he's nearer to my size,\" Crawford grunted. He turned to El Aicha,\nand said in Arabic, \"I demand the right of a stranger in your camp to a\ntrial by combat.\"", "Homer Crawford shrugged. \"Swords, in the open before the assembled\nChaambra so that they may see how truly weak is the one who calls\nhimself so strong.\"", "Crawford stood hopelessly, in a semicrouch, his hands still slightly\nforward. The Arab came in fast, his sword at the ready for the death\nstroke.", "Zetterberg tossed his bombshell out of a clear sky. \"Dr. Crawford,\" he\nsnapped, \"in spite of the warnings we've had to issue to you repeatedly,", "\"Duel,\" Abe growled apprehensively. \"This joker here has challenged\ntheir top swordsman to a fight.\"", "\"I see,\" Crawford said.\n\nThe other laughed cheerfully. \"I'm sure you do, Dr. Crawford. A word to\nthe wise.\"\n\n * * * * *", "His sword darted forward, quickly, experimentally, and Homer Crawford\nbarely caught its razor edge on his own.", "Elmer said hurriedly, \"See here, Homer, I was on the college fencing\nteam and--\"\n\nCrawford grinned at him. \"Too late, friend.\"", "El Aicha looked up at Homer Crawford from where he sat. His voice\nwithout inflection, he said, \"Hast thou a sword, Omar ben Crawf?\"\n\n\"No,\" Crawford said.", "Homer Crawford pulled it from the scabbard. It was of scimitar type, the\nweapon which had once conquered half the known world.", "El Aicha sheathed it while looking into Homer Crawford's face. \"It has\nstill never been drawn to commit dishonor.\"\n\n\"My thanks,\" Crawford said.", "Crawford turned. It was Elmer Allen, gun in hand.\n\nHomer Crawford said dully, \"What are you doing here?\"", "Crawford yawned. \"I said I didn't know anything about swords. You didn't\nask me about judo. I once taught judo in the Marines.\"", "Crawford grinned at the other. \"You look as though you have a bit of\nNegro blood in your own veins. In fact, I doubt if there's a so-called", "\"I'm afraid you're right,\" Crawford growled disgustedly.\n\nThe younger American came to his feet. \"I'll take him on,\" Abe said.", "\"That's right,\" Crawford said, still looking at Abe.\n\n\"But didn't you tell Sven Zetterberg?\" Isobel demanded. \"He's too big a\nman to play jokes upon.\"", "In Arabic, Crawford said, \"I have sought you for some time,\nAbd-el-Kader. You are an illusive man.\"\n\n\"Who are you, Negro?\" the fighting man snapped.", "\"We shall see who is the liar here,\" Homer Crawford said flatly. \"You\nasked who I am. I am known as Omar ben Crawf and I am headman of a team", "Crawford, leaning heavily on the pilgrim staff, drifted over to the\nother. \"Quiet, O young one,\" he said. \"I wish to listen to the words of\nthe girl who tells of the teachings of the great El Hassan.\"", "Crawford stripped down too, nude to the waist. His body was in excellent\ntrim, muscles bunching under the ebony skin. A Haratin servant came up\nbearing El Aicha's sword." ], [ "\"I see,\" Crawford said.\n\nThe other laughed cheerfully. \"I'm sure you do, Dr. Crawford. A word to\nthe wise.\"\n\n * * * * *", "Zetterberg tossed his bombshell out of a clear sky. \"Dr. Crawford,\" he\nsnapped, \"in spite of the warnings we've had to issue to you repeatedly,", "Homer Crawford knocked with a knuckle on the table that stood at the\nhead of the hall and called for silence. \"Sorry we're late,\" he said,", "\"Homer Crawford, some kind of sociologist from the University of\nMichigan, I understand. He's connected with the Reunited Nations African\nDevelopment Project, heads one of their cloak and dagger teams.\"", "He looked at Homer Crawford. \"I am to be added to the number not in\nfavor of this conference. In fact, I am opposed to the presence of most\nof you here in Africa.\"", "Crawford, leaning heavily on the pilgrim staff, drifted over to the\nother. \"Quiet, O young one,\" he said. \"I wish to listen to the words of\nthe girl who tells of the teachings of the great El Hassan.\"", "Homer Crawford nodded to him. \"Thank you, Bishop Manning. I'm sure we\nwill all consider your words.\" When the older man was gone, he looked\nout over the hall again. \"Well, who is next?\"", "Cliff shook his large head negatively. \"Of course not, but Crawford\nseems to think it'd be a good idea if some of us in the field would get\ntogether and ... well, have sort of a bull session.\"", "\"Abe, Jake,\" Crawford said. \"We'll drop you here. Mingle around. We'll\nhold the big meeting in front of the Great Mosque in an hour or so.\"", "Crawford said abruptly, \"Somebody tried to poison me last night. Got\ninto this room somehow and put cyanide in a bottle of cognac Abe and I\nwere drinking out of earlier in the evening.\"", "Crawford looked out over them. \"I don't know most of you. The word of\nthis meeting must have spread from one group or team to another. So what", "A middle-aged, heavy-set, Western dressed man came to his feet and\ncleared his throat. \"Dr. Warren Harding Smythe, American Medical Relief.", "Crawford said, \"I suppose that is your privilege, sir. Now, in accord\nwith the reason for this meeting, can you tell us why your organization\nis present in Africa and what it hopes to achieve?\"", "Homer Crawford, separated from the other members of his team, in the\nanimated discussions that went on about him, finally left the", "crowd began drifting in her direction. She spoke for a few moments, the\nonly words the surprised Homer Crawford could make out were _El Hassan_.\nAnd she used them often.", "In the living room of the suite, Isobel took an easy-chair and Abe threw\nhimself full length on his back on a couch. Homer Crawford paced the\nfloor.\n\n\"Well?\" Isobel said.", "The two men looked at each other. Cliff said, \"Well, we'd like to finish\nout the week. Guy named Homer Crawford has been passing around the word\nto hold a meeting in Timbuktu the end of this week.\"", "Crawford shrugged. His manner had a cool competence. \"All right. If\nthere is no objection, I'll carry on until the meeting decides, if it\never does, that there is need of elected officers.\"", "remained only three days before being murdered by the Tuareg who\ncontrolled the town at that time. There was a plaque on the door\nrevealing those basic facts. Crawford had read elsewhere that the city", "waiting in anterooms, no dealing with subordinates. Dr. Crawford and his\nlieutenant were ushered directly to the office of Sven Zetterberg." ], [ "Cliff shook his large head negatively. \"Of course not, but Crawford\nseems to think it'd be a good idea if some of us in the field would get\ntogether and ... well, have sort of a bull session.\"", "Crawford was beginning to get it. \"If you mean do I ultimately support\nthe program of the Soviet Complex, the answer is definitely no. Whether", "Zetterberg tossed his bombshell out of a clear sky. \"Dr. Crawford,\" he\nsnapped, \"in spite of the warnings we've had to issue to you repeatedly,", "\"It's about time all of us got over there,\" Crawford said. He looked at\nIsobel as they walked. \"How does it feel being a sort of reverse agent\nprovocateur?\"", "\"I see,\" Crawford said.\n\nThe other laughed cheerfully. \"I'm sure you do, Dr. Crawford. A word to\nthe wise.\"\n\n * * * * *", "The C.I.A. man stared at him coldly. \"You know what I mean,\" he rapped.\n\"And I might add, we are familiar with your record, Mr. Allen.\"", "Crawford growled, \"Yes, but I have a suspicion I'm being called on the\ncarpet for one of our recent escapades and I want backing if I need it.\"\nHe added, \"Besides, nothing is going to happen here.\"", "C.I.A. operative stared at them in anger. \"What's so funny?\" he snapped.", "\"To the contrary!\" Ostrander snapped.\n\n\"No, please,\" Crawford said, grinning ruefully. \"You see, my team\n_invented_ him, some time ago.\"", "Crawford said abruptly, \"Somebody tried to poison me last night. Got\ninto this room somehow and put cyanide in a bottle of cognac Abe and I\nwere drinking out of earlier in the evening.\"", "He looked at Homer Crawford. \"I am to be added to the number not in\nfavor of this conference. In fact, I am opposed to the presence of most\nof you here in Africa.\"", "\"Any comment, Mr. Ostrander?\" Crawford said.\n\nOstrander grunted, \"Fuzzy thinking.\" Didn't bother with anything more.", "\"What is your point, Elmer?\" Crawford said. \"You speak, of course, as an\nindividual not as an employee of the Reunited Nations nor even as a\nmember of my team.\"", "Homer Crawford extended his hands in the direction of Ostrander, palms\nupward. \"I'm sorry, sir. But there seems to be your mysterious\nsubversive.\"", "Crawford ran his hand back over his wiry hair in puzzlement. \"I ... I\ndon't know. That's what's driving me batty. I can't figure out why\nanybody would want to kill me.\"", "\"He was a commie,\" Crawford said dully. \"Evidently, the Party decided I\nstood in its way. Where are the others?\"\n\n\"Scouring the town to find you.\"", "\"I'm afraid you're right,\" Crawford growled disgustedly.\n\nThe younger American came to his feet. \"I'll take him on,\" Abe said.", "\"No,\" Homer Crawford said flatly. \"I don't. But I like the goal.\"\n\n\"And the end justifies the means?\"", "\"Homer Crawford, some kind of sociologist from the University of\nMichigan, I understand. He's connected with the Reunited Nations African\nDevelopment Project, heads one of their cloak and dagger teams.\"", "\"I'll take this up with my department chief,\" Ostrander said angrily.\n\"You haven't heard the last of it, Crawford.\" He sat down abruptly." ], [ "Crawford said abruptly, \"Somebody tried to poison me last night. Got\ninto this room somehow and put cyanide in a bottle of cognac Abe and I\nwere drinking out of earlier in the evening.\"", "Dr. Crawford had made a mistake. Homer didn't bother to tell him about\nthe poisoned brandy. He hung up, took the bottle into the bathroom and\npoured it away.", "\"I see,\" Crawford said.\n\nThe other laughed cheerfully. \"I'm sure you do, Dr. Crawford. A word to\nthe wise.\"\n\n * * * * *", "Zetterberg tossed his bombshell out of a clear sky. \"Dr. Crawford,\" he\nsnapped, \"in spite of the warnings we've had to issue to you repeatedly,", "Crawford ran his hand back over his wiry hair in puzzlement. \"I ... I\ndon't know. That's what's driving me batty. I can't figure out why\nanybody would want to kill me.\"", "But fifteen-year-old brandy from the cognac district of France should\nnot boast a bouquet involving elements of bitter almonds. With an\nautomatic startled gesture, Crawford jerked his face away from the\nglass.", "Cliff had found the French brandy. He poured three stiff ones and handed\ndrinks to Isobel and Jake.", "The gun was meaningless now. Homer Crawford, his face agonized, was on\nhis knees beside the other who was threshing on the floor. \"Abe,\" he\ngroaned. \"You made me.\"", "\"He was a commie,\" Crawford said dully. \"Evidently, the Party decided I\nstood in its way. Where are the others?\"\n\n\"Scouring the town to find you.\"", "She knocked back the brandy and made her way to the other room, saying\nover her shoulder, \"Be with you in a minute.\"", "He scowled down at it for a long moment, then took up the bottle and\nsniffed it. He wondered how a would-be murderer went about getting hold\nof cyanide in Dakar.", "Crawford turned. It was Elmer Allen, gun in hand.\n\nHomer Crawford said dully, \"What are you doing here?\"", "Homer Crawford suddenly and violently pushed her to the side and to the\nground and at the same time dropped himself and rolled frantically to\nthe shelter of an adobe wall which had once been part of a house but now\nwas little more than waist high.", "Crawford, leaning heavily on the pilgrim staff, drifted over to the\nother. \"Quiet, O young one,\" he said. \"I wish to listen to the words of\nthe girl who tells of the teachings of the great El Hassan.\"", "When it was over, Homer Crawford stood again, and looked down at the\nbody, his face expressionless.\n\nFrom behind him a voice said, \"So I got here too late.\"", "moved. Crawford bent down. He wasn't sure, but he thought that somehow\nthe other found enough air to get out a last, \"Crazy man.\"", "Cliff sipped his brandy, shaking his big head even as he did so. \"No,\"\nhe said. \"It's a king-size rumor campaign and it's amazing how effective", "remained only three days before being murdered by the Tuareg who\ncontrolled the town at that time. There was a plaque on the door\nrevealing those basic facts. Crawford had read elsewhere that the city", "Crawford panted, \"Abe, there's just one thing I can do. A karate blow.\n_I_ can chop your windpipe with the side of my hand. Abe, if I do, only\nimmediate surgery could save your--\"", "\"I know that,\" Crawford said. \"And along with it, he's saved my life, on\nat least three different occasions in the past few years. He was a good\nman.\"\n\nIt was her turn to hold silence." ], [ "Abe stopped momentarily and twisted his face in a grimace. \"But there's\none other thing that's possibly the most important of all. Homer, you're\na born leader.\"", "\"Let's go,\" Homer said. The second hovercraft joined them, driven by\nElmer Allen, and they made their way through the staring, but\nmotionless, crowds of Chaambra.", "Homer said, \"You can come along, Abe.\"\n\nKenny Ballalou said, \"Orders were only you, Homer.\"", "\"What comes naturally,\" Homer said. \"We'll elect each other to the most\nimportant positions. But everybody else that seems to have anything at", "Homer said flatly, \"We were attacked by this unidentified group of, ah,\ngun runners, from some unknown origin. We defended ourselves, to the\nbest of our ability.\"", "\"Man, you're right,\" Abe said unhappily. He looked at his chief. \"What'd\nyou say, Homer?\"", "Homer Crawford had been sitting quietly next to Cliff Jackson who was\npiloting. Isobel and Jake Armstrong were immediately behind them and Abe", "\"On the double,\" Homer bit out, and he and Abe broke into a trot for the\npoint of conflict. The idea was to get this sort of thing over as\nquickly as possible before it had a chance to spread.", "Homer was nodding. \"I see. So that's why you shot at me in Timbuktu.\"\n\nAbe's eyes went wary. He said, \"I didn't know you knew.\"", "Homer Crawford came to his feet and pushed back the hood of the\nburnoose. He looked over at the headman of the Ouled Touameur warrior\nclan, whose face was darkening.", "\"That is was,\" Homer said grimly. \"Now, go see if you can find my lads,", "put one of our own--perhaps me, even--in your place. No ill feelings,\nHomer. In fact, now I've just given you your chance. You could come in\nwith us--\"", "Homer in excellent English, \"It was requested that your team remain in\nMopti.\" Then he added, \"Sit down, gentlemen.\"", "The other two watched him, both frowning.\n\nAbe said slowly, \"Homer, you _are_ El Hassan.\"\n\nHis chief scowled at him. \"What is that supposed to mean?\"", "Homer grinned at him, and began pushing his way through to the center.\n\n * * * * *", "The aircraft had hardly come to a halt before Homer Crawford clipped\nout, \"All right, boys, time's a wasting. Bey, you and Kenny get over to", "The crowd began to murmur and the two hurriedly picked up their fallen\ncompanion and took off with him.\n\nHomer said in English, \"What really happened?\"", "Cliff said worriedly, \"Suppose some of the hotheads get tired of this\nand try to take over?\"\n\nHomer said evenly, \"We have a couple of bully boys in the crowd to take\ncare of them.\"", "The Ouled Touameur chief was convinced. He stepped in fast, the blade\nflicked in and out in a quick feint, then flicked in again. Homer\nCrawford countered clumsily.", "Homer ignored the automatic weapon in the hands of the excited Arab. He\nsaid, and there was still a sad quality in his voice. \"The gun you carry" ], [ "The gun was meaningless now. Homer Crawford, his face agonized, was on\nhis knees beside the other who was threshing on the floor. \"Abe,\" he\ngroaned. \"You made me.\"", "\"I see,\" Abe said. He was far, far different than the laughing, beatnik\njabbering, youngster he had always seemed. \"That's not so good.\"", "\"No, I didn't and I'm not sure I know why.\"\n\n\"I know why,\" Abe said. He sat up suddenly and swung his feet around and\nto the floor.", "\"We'll worry about that,\" Abe said unhappily. \"You just see you get out\nof this in one piece. Anything happens to you and the head office'll", "Abe's fingers closed about the gun and Crawford, calling on his last\nresources, lashed out. He could feel the cartilage collapse, a sound of\nair, for a moment, almost like a shriek filled the room.", "Elmer Allen looked at the once human mess below them. \"We certainly\ndid,\" he muttered, scowling.\n\n\"Crazy man,\" Abe said, nodding his agreement to the alibi.", "Homer was nodding. \"I see. So that's why you shot at me in Timbuktu.\"\n\nAbe's eyes went wary. He said, \"I didn't know you knew.\"", "\"Crazy,\" Abe said, dropping off the back of the truck which Kenny\nBallalou, who was driving, brought almost to a complete stop. The older\nJake followed him.", "Crawford said wearily, \"Find the others and bring them here. We've got\nto get rid of poor Abe, there, and then I've got something to tell you.\"", "\"I'm afraid you're right,\" Crawford growled disgustedly.\n\nThe younger American came to his feet. \"I'll take him on,\" Abe said.", "Abe said evenly, \"I do, Homer. I'm a Party member.\"", "Elmer Allen erupted through a window, rolled over on the floor and came\nto rest, his gun trained.\n\n\"Where is he?\" Abe snapped.", "\"Man, you're right,\" Abe said unhappily. He looked at his chief. \"What'd\nyou say, Homer?\"", "Abe muttered an obscenity, bridged and crabbed out of the desperate\nposition he was in. And now his fingers were but a few inches from the\nweapon. He stretched.", "\"Abe, Jake,\" Crawford said. \"We'll drop you here. Mingle around. We'll\nhold the big meeting in front of the Great Mosque in an hour or so.\"", "Her eyes went from one of them to the other. \"You're not hurt?\"\n\n\"Nobody hurt, but the cat did all the shooting got away,\" Abe said\nunhappily.", "\"Crazy man,\" Abe said appreciatively.", "Abe and Bey looked innocent.\n\nHomer turned and led the way into the truck. \"O.K., let's get going.\"\n\n\n\n\nVII", "\"It was crazy beer, man,\" Abe protested. \"Real crazy.\"", "Over the noise of the crowd which now was beginning to murmur its\nincredulity at their champion's fantastic defeat, came the voice of Abe" ], [ "She returned his frank look. \"I'm the first follower to dedicate her\nservices to El Hassan.\"\n\n\"So you want to come along?\"\n\n\"Yes,\" she said simply.", "One of the tribesmen said, \"I have heard of this El Hassan. Rumors of\nhis teachings spread through the land. He is to lead us all, Tuareg,\nArab and Sudanese, until we are all as rich as Roumas.\"", "a Hero to follow and then ... then El Hassan and his closest followers\nhave a good chance of winding up before a firing squad.\"", "Omar ben Crawf, the headman of the smiths, went on. \"El Hassan has\nproclaimed great new beliefs that spread through all North Africa, and", "One protested slowly, seeking out his words, \"Your El Hassan preaches\nthis equality, but surely the wiser man and the stronger man will soon\nfind his way to the top in any land, in any tribe, even in the nations\nof the Rouma.\"", "\"There will be an El Hassan,\" Abe said definitely. \"And you can be him.\"\n\nCrawford stared at Abe, undecided.", "gather. He held his hands out, palms upward questioningly, \"And why\nshould these young men beset a Holy One whose only crime is to love El\nHassan?\"", "Isobel shrilled, \"Hear what the messenger from El Hassan has come to\ntell us! Hear the friend and devoted follower of El Hassan!\"", "She switched suddenly to Arabic, and he could follow her now. The drift\nof her talk was that word had come through that El Hassan was to make a", "Crawford, leaning heavily on the pilgrim staff, drifted over to the\nother. \"Quiet, O young one,\" he said. \"I wish to listen to the words of\nthe girl who tells of the teachings of the great El Hassan.\"", "Omar ben Crawf laughed. \"That is what we have allowed the Roumas to have\nus believe for much too long,\" he stated. \"El Hassan has proven", "\"El Hassan is turning out to be a hangover all right,\" Elmer Allen\ngrunted, choosing to misinterpret his teammate's words. He peered down", "ought to _become_ El Hassan. And Bey, Kenny and I agree.\"", "and then he would not be present to mitigate their interest. In spite of\nhimself, now he growled, \"What beliefs? What truths? I know not of this\nEl Hassan of whom you speak.\"", "spy and an enemy of El Hassan, and one of the other boys will bear him\nout, and a couple of others will hustle him out of the hall.\" Homer", "progressing fast, fantastically fast, and the coming of El Hassan is\ngoing to speed things up still more.\"", "The other two watched him, both frowning.\n\nAbe said slowly, \"Homer, you _are_ El Hassan.\"\n\nHis chief scowled at him. \"What is that supposed to mean?\"", "you are admittedly our best man in the field. We're giving you a new\nassignment. Find this El Hassan and bring him here!\"", "Kenny said, \"Anyway, that's when El Hassan was dreamed up. We kicked the\nidea around until the beer was all gone. And when we awoke in the", "Zetterberg said, \"You've heard about this El Hassan before?\"\n\n\"Quite a bit.\"" ] ]

[ "How was the second assassination attempt on Homer carried out?", "Who is Homer's would-be assassin?", "How does Home kill Abe Baker?", "Who is the first follower of El Hassan?", "What is Isobel's first mission under El Hassan?", "What is Dr. Homer Crawfords profession?", "What does he pretend to be while in the Sahara?", "Who attacked the group on their back from a Taureg encampment?", "Who won the fight between The Arab Union Convoy and Crawford team?", "What do the Reunited Nations consist of?", "Who is El Hassan?", "What are El Hassan's ideals?", "Where are the Reunited Nations attacked?", "How does Crawford arrest Abd-el-Kader?", "What does the AAFA stand for?", "What does Crawford want to accomplish with the other all-black teams?", "Where is Crawford's team sent?", "Why is Crawford's team sent to Mopti?", "Who does Abe want to become El Hassan?", "Who is leading the Reunited Nations team?", "What is the name of the imaginary leader the team creates?", "Who attacks the fieldworkers?", "Who does Dr. Crawford challenge to a sword duel?", "Where is the conference held that Dr. Crawford attends?", "What CIA operative disagrees with Dr. Crawford's proposal?", "What was Dr. Crawford's brandy poisoned with?", "Who is Homer's 2nd in command?", "Who kills Abe?", "Who becomes the first follower of El Hassan?" ]

[ [ "His drink was laced with cyanide", "laced drink" ], [ "Abe Baker", "abe baker is the assassin " ], [ "By hitting him with a karate blow to his throat", "He used a karate blow to the windpipe." ], [ "Isobel", "Isobel." ], [ "To convert Jake and Cliff to following El Hassan", "To convert Jake and Cliff to the cause." ], [ "He is a sociologist", "Sociologist" ], [ "Low-caste people selling their goods", "A low caste ininerant" ], [ "An Arab Union Convoy", "An Arab Union convoy" ], [ "Crawfords team", "Crawford team" ], [ "Black fieldworkers and Dr Crawford", "black soldiers" ], [ "An imaginary leader", "Homer Crawford." ], [ "His ideals include wisdom from all the sages and prophets of the world into one", "the right to equality, liberty and the pursuit of happiness" ], [ "Tuareg encampment", "On their way back from a Tuareg encampment." ], [ "By beating him in a duel and subduing him with martial arts", "Disables him" ], [ "Africa for Africans Association", "africa for africans association " ], [ "For all teams to cooperate with each other", "cooperation" ], [ "Mopti", "Mopti" ], [ "To defuse a demonstration by El Hassan", "They were sent to defuse a demonstration." ], [ "Crawford", "to get rid of him " ], [ "Dr. Homer Crawford", "dr. homer crawford leads the team" ], [ "El Hassan", "El Hassan" ], [ "An Arab union convoy", "Arab union convoy troops" ], [ "Adb-El-Kader", "Adb-el-Kader" ], [ "Timbuktu", "Timbuktu." ], [ "Fred Ostrander", "fred ostrander" ], [ "Cyanide", "cyinide" ], [ "Abe Baker", "Abe Baker" ], [ "Homer", "Homer kills Abe" ], [ "Isobel", "Isobel" ] ]

[ [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "language. The fever had left him, taking with it the heat of life. And\nwith his panting breast and lustrous eyes he reminded me again of a wild", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "language of his country, and show how to dance by-and-by.", "incomprehensible, and of a mysterious origin, in some obscure corner of\nthe earth. Yet amongst all the adventurers shipwrecked in all the wild", "of the earth, England was an undiscovered country. It was some time\nbefore he learned its name; and for all I know he might have expected to", "unsteady on his legs, meek, and caked over in half-dried mud, while the\ntwo men talked around him in an incomprehensible tongue. Mrs. Smith had", "was speaking in English. He waited, looking at her, burning with fever,\namazed at her silence and immobility, and then he shouted impatiently,\n'Water! Give me water!'", "an unearthly language. And he always would come to an end, with many\nemphatic shakes of his head, upon that awful sensation of his heart\nmelting within him directly he set foot on board that ship. Afterwards", "\"He did not know the name of his ship. Indeed, in the course of time we\ndiscovered he did not even know that ships had names--'like Christian", "of straw on the floor, guarding his bundle amongst a lot of men, of whom\nnot one could understand a single word he said. In the morning they", "bleating in the darkness, and he welcomed the first familiar sound he\nheard on these shores. It must have been two in the morning then. And\nthis is all we know of the manner of his landing, though he did not", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "\"Officially, the body of the little girl in the red frock is the first\nthing that came ashore from that ship. But I have patients amongst the", "all. He used to cast stealthy glances at it, and feel comforted. There\nwas nothing here the same as in his country! The earth and the water", "that he could have a man to talk with in that language that to our\nears sounded so disturbing, so passionate, and so bizarre. Why his wife", "another planet, was separated by an immense space from his past and\nby an immense ignorance from his future. His quick, fervent utterance\npositively shocked everybody. 'An excitable devil,' they called him.", "his country, even if they gave nothing, they spoke gently to beggars.\nThe children in his country were not taught to throw stones at those\nwho asked for compassion. Smith's strategy overcame him completely. The" ], [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "his head, in the direction of the New Barns Farm. From that moment he\nis plainly in the toils of his obscure and touching destiny. There is", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "\"Swaffer would be called eccentric were he not so much respected. They\nwill tell you that Mr. Swaffer sits up as late as ten o'clock at night", "\"His courtship had lasted some time--ever since he got his precarious\nfooting in the community. It began by his buying for Amy Foster a green", "A good many years ago now, on my return from abroad, he invited me to\nstay with him. I came readily enough, and as he could not neglect his", "turn round to look after him on the road. His foreignness had a peculiar\nand indelible stamp. At last people became used to see him. But", "\"It is Miss Swaffer who has all the credit of the munificence: but in\na very few days it came out that Mr. Swaffer had presented Yanko with", "took much notice of him about that time, and I believe the young ladies\nattempted to prepare the ground for his conversion. They could not,\nhowever, break him of his habit of crossing himself, but he went so far", "belt studded with little brass discs; and had never yet ventured into\nthe village. The land he looked upon seemed to him kept neatly, like the", "drink their evening beer in peace. On another occasion he tried to show\nthem how to dance. The dust rose in clouds from the sanded floor; he\nleaped straight up amongst the deal tables, struck his heels together,", "through all the little towns in the foothills of his country. They would\narrive on market days driving in a peasant's cart, and would set up an", "eyes. He had the talent of making people talk to him freely, and an\ninexhaustible patience in listening to their tales.", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "\"I don't know whether old Swaffer ever understood how much he was\nregarded in the light of a father by his foreign retainer. Anyway the", "there was the man--and for days, nay, for weeks--it didn't enter our\nheads that we had amongst us the only living soul that had escaped\nfrom that disaster. The man himself, even when he learned to speak" ], [ "\"He did the work which was given him with an intelligence which\nsurprised old Swaffer. By-and-by it was discovered that he could help", "\"His black hair flowed over his shoulders. I suppose it was Swaffer\nwho had given him the striped old cotton shirt; but he wore still the", "However, one day in the midst of sheep in a field (he was now Swaffer's\nunder-shepherd with Foster) he took off his hat to the father and", "\"It is Miss Swaffer who has all the credit of the munificence: but in\na very few days it came out that Mr. Swaffer had presented Yanko with", "\"I don't know whether old Swaffer ever understood how much he was\nregarded in the light of a father by his foreign retainer. Anyway the", "through weakness, nearly fell out over the back of the high two-wheeled\ncart. Swaffer took him straight home. And it is then that I come upon\nthe scene.", "\"That very same morning old Mr. Swaffer (Smith's nearest neighbour)\ncame over to give his advice, and ended by carrying him off. He stood,", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "cunning,' he cried repeatedly in a tone of warning. When Mr. Swaffer\nstarted the mare, the deplorable being sitting humbly by his side,", "\"Swaffer would be called eccentric were he not so much respected. They\nwill tell you that Mr. Swaffer sits up as late as ten o'clock at night", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "cross before he fell to. I believe that from that day, too, Swaffer\nbegan to pay him regular wages.", "simply _Miss_)--it was to obtain their permission to marry.\nSwaffer heard him unmoved, dismissed him by a nod, and then shouted the", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "\"Through this act of impulsive pity he was brought back again within\nthe pale of human relations with his new surroundings. He never forgot\nit--never.", "a cottage (the cottage you've seen this morning) and something like an\nacre of ground--had made it over to him in absolute property. Willcox", "over three fields and along two hundred yards of road--never further.\nThere stood Foster's cottage. She would help her mother to give their\ntea to the younger children, wash up the crockery, kiss the little ones,", "intelligence into Miss Swaffer's best ear. She showed no surprise, and\nonly remarked grimly, in a veiled blank voice, 'He certainly won't get\nany other girl to marry him.'", "was just that outlandishness of the man which influenced old Swaffer.\nPerhaps it was only an inexplicable caprice. All I know is that at", "to read books, and they will tell you also that he can write a cheque\nfor two hundred pounds without thinking twice about it. He himself would\ntell you that the Swaffers had owned land between this and Darnford for" ], [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "of imagination. And yet which of us is safe? At any rate, such as you\nsee her, she had enough imagination to fall in love. She's the daughter", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "kindness of heart without a certain amount of imagination. She had some.\nShe had even more than is necessary to understand suffering and to be\nmoved by pity. She fell in love under circumstances that leave no room", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "\"Her infatuation endured. People saw her going out to meet him in the\nevening. She stared with unblinking, fascinated eyes up the road where", "she fell in love. She fell in love silently, obstinately--perhaps\nhelplessly. It came slowly, but when it came it worked like a powerful", "glances upon the girl with the golden heart. I wonder whether he saw how\nplain she was. Perhaps among types so different from what he had ever\nseen, he had not the power to judge; or perhaps he was seduced by the", "\"His courtship had lasted some time--ever since he got his precarious\nfooting in the community. It began by his buying for Amy Foster a green", "of falling into the water below, which made a great splashing. He got\nseparated from his companion, and when he descended into the bottom of\nthat ship his heart seemed to melt suddenly within him.", "to look where she pointed. Together they followed with their eyes the\nfigure of the man running over a field; they saw him fall down, pick\nhimself up, and run on again, staggering and waving his long arms above", "One evening, in the tap-room of the Coach and Horses (having drunk some\nwhisky), he upset them all by singing a love song of his country. They", "in some way. She made no answer. It was, they said in the village, as if\nthe man had done something to her. People discussed the matter. It was", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "took much notice of him about that time, and I believe the young ladies\nattempted to prepare the ground for his conversion. They could not,\nhowever, break him of his habit of crossing himself, but he went so far", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "she had observed that he was good-looking. She shut the door and walked\nback slowly to the kitchen. Much later on, she told Mrs. Smith, who\nshuddered at the bare idea of being touched by that creature.", "was speaking in English. He waited, looking at her, burning with fever,\namazed at her silence and immobility, and then he shouted impatiently,\n'Water! Give me water!'", "\"She's the eldest of a large family. At the age of fifteen they put\nher out to service at the New Barns Farm. I attended Mrs. Smith, the" ], [ "sounding in the dialect of his country like Goorall) he got it for his\nsurname. And this is the only trace of him that the succeeding ages", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "\"He did not know the name of his ship. Indeed, in the course of time we\ndiscovered he did not even know that ships had names--'like Christian", "all. He used to cast stealthy glances at it, and feel comforted. There\nwas nothing here the same as in his country! The earth and the water", "drink their evening beer in peace. On another occasion he tried to show\nthem how to dance. The dust rose in clouds from the sanded floor; he\nleaped straight up amongst the deal tables, struck his heels together,", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "of the earth, England was an undiscovered country. It was some time\nbefore he learned its name; and for all I know he might have expected to", "of movement, his soft--a little startled, glance, his olive complexion\nand graceful bearing, his humanity suggested to me the nature of a\nwoodland creature. He came from there.\"", "by-and-by, as he used to do after his old father when he was a child--in\nhis own country. And I discovered he longed for their boy to grow up so", "\"At this he got up slowly from amongst all sorts of rubbish, stiff,\nhungry, trembling, miserable, and doubtful. 'Can you eat this?'", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "language. The fever had left him, taking with it the heat of life. And\nwith his panting breast and lustrous eyes he reminded me again of a wild", "\"He sat up and called out terribly one word--some word. Then he got up\nas though he hadn't been ill at all, she says. And as in fevered dismay,", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "is 'Amy Foster's boy.' She calls him Johnny--which means Little John.", "exertions, and so much fear. Later on, in his broken English that\nresembled curiously the speech of a young child, he told me himself that", "However, one day in the midst of sheep in a field (he was now Swaffer's\nunder-shepherd with Foster) he took off his hat to the father and" ], [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "is 'Amy Foster's boy.' She calls him Johnny--which means Little John.", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "\"He did not know the name of his ship. Indeed, in the course of time we\ndiscovered he did not even know that ships had names--'like Christian", "People were saying that Amy Foster was beginning to find out what\nsort of man she had married. He looked upon the sea with indifferent,\nunseeing eyes. His wife had snatched the child out of his arms one day", "by-and-by, as he used to do after his old father when he was a child--in\nhis own country. And I discovered he longed for their boy to grow up so", "\"His courtship had lasted some time--ever since he got his precarious\nfooting in the community. It began by his buying for Amy Foster a green", "would defy my wisdom. He had found his bit of true gold. That was Amy\nFoster's heart; which was 'a golden heart, and soft to people's misery,'", "course, didn't like to lose the wages the girl earned: Amy used to give\nall her money to her mother. But there was in Foster a very genuine", "in a very passion of maternal tenderness. The little fellow was lying on\nhis back, a little frightened at me, but very still, with his big black", "\"He's well, thank you.\"\n\nWe trotted again. \"A young patient of yours,\" I said; and the doctor,\nflicking the chestnut absently, muttered, \"Her husband used to be.\"", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "the old man for a few days. Their only child, a little girl not three\nyears old at the time, ran out of the house alone in her little white", "cheerless yellow paper on the wall. 'Amy!' I called aloud, and my voice\nseemed to lose itself in the emptiness of this tiny house as if I had", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "\"It is impossible to say whether this name recalls anything to her. Does\nshe ever think of the past? I have seen her hanging over the boy's cot", "of the earth, England was an undiscovered country. It was some time\nbefore he learned its name; and for all I know he might have expected to", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon" ], [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "was speaking in English. He waited, looking at her, burning with fever,\namazed at her silence and immobility, and then he shouted impatiently,\n'Water! Give me water!'", "exertions, and so much fear. Later on, in his broken English that\nresembled curiously the speech of a young child, he told me himself that", "teeth and lively glances of black eyes, at first in a sort of anxious\nbaby-talk, then, as he acquired the language, with great fluency,", "that he could have a man to talk with in that language that to our\nears sounded so disturbing, so passionate, and so bizarre. Why his wife", "unsteady on his legs, meek, and caked over in half-dried mud, while the\ntwo men talked around him in an incomprehensible tongue. Mrs. Smith had", "of straw on the floor, guarding his bundle amongst a lot of men, of whom\nnot one could understand a single word he said. In the morning they", "language. The fever had left him, taking with it the heat of life. And\nwith his panting breast and lustrous eyes he reminded me again of a wild", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "drink their evening beer in peace. On another occasion he tried to show\nthem how to dance. The dust rose in clouds from the sanded floor; he\nleaped straight up amongst the deal tables, struck his heels together,", "intelligibly, could tell us very little. He remembered he had felt\nbetter (after the ship had anchored, I suppose), and that the darkness,", "language of his country, and show how to dance by-and-by.", "is 'Amy Foster's boy.' She calls him Johnny--which means Little John.", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "fear of that strange man. I believe he spoke to her for a long time,\nentreating, wondering, pleading, ordering, I suppose. She says she bore", "so that the common people shouldn't hear, they kept a cunning telegraph\nmachine, through which they could talk to the Emperor of America. The\nfathers hung about the door, but the young men of the mountains would", "couple of horse-blankets, and he seemed to have spent the remainder\nof his strength in the exertion of cleaning himself. He was almost\nspeechless; his quick breathing under the blankets pulled up to his", "\"He was muddy. I covered him up and stood waiting in silence, catching\na painfully gasped word now and then. They were no longer in his own" ], [ "is 'Amy Foster's boy.' She calls him Johnny--which means Little John.", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "People were saying that Amy Foster was beginning to find out what\nsort of man she had married. He looked upon the sea with indifferent,\nunseeing eyes. His wife had snatched the child out of his arms one day", "indignation, and wonder he tried to get to her round the table, she\nsimply opened the door and ran out with the child in her arms. She heard\nhim call twice after her down the road in a terrible voice--and", "\"She jumped to her feet, snatched up the child, and stood still. He\nspoke to her, and his passionate remonstrances only increased her", "the old man for a few days. Their only child, a little girl not three\nyears old at the time, ran out of the house alone in her little white", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "of the waggoner he bounded off, going over the ploughed ground in long\nleaps, and suddenly appeared before the mother, thrust the child into\nher arms, and strode away.", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "refused to come downstairs till the madman was off the premises; Amy\nFoster, far from within the dark kitchen, watched through the open back", "no doubt after this of what happened to him. All is certain now: Mrs.\nSmith's intense terror; Amy Foster's stolid conviction held against", "was screaming upstairs, where she had locked herself in her bedroom; but\nAmy Foster sobbed piteously at the kitchen door, wringing her hands and", "had fled in sudden alarm at their rough angry tones hailing each other\nin the darkness. A sort of frenzy must have helped him up the steep", "would want to carry her off somewhere--or run off himself. It was not\nsafe. He preached it to his daughter that the fellow might ill-use her", "and lurch straight at her, babbling aloud in a voice that was enough to\nmake one die of fright. Having the baby with her in a perambulator, Mrs.", "exertions, and so much fear. Later on, in his broken English that\nresembled curiously the speech of a young child, he told me himself that", "Finn called out to him to go away, and as he persisted in coming nearer,\nshe hit him courageously with her umbrella over the head and, without", "to look where she pointed. Together they followed with their eyes the\nfigure of the man running over a field; they saw him fall down, pick\nhimself up, and run on again, staggering and waving his long arms above", "\"I gave her certain directions; and going outside, I said again that\nhe ought to be in bed upstairs. She wrung her hands. 'I couldn't. I", "a fright that the schoolmistress went out and spoke indignantly to a\n'horrid-looking man' on the road. He edged away, hanging his head, for" ], [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "\"'What's the matter with him?' she asked in a sort of vacant\ntrepidation. 'He doesn't look very ill. I never did see anybody look\nlike this before....'", "\"And as I turned away to shut the door he pronounced the word\n'Merciful!' and expired.", "exertions, and so much fear. Later on, in his broken English that\nresembled curiously the speech of a young child, he told me himself that", "was speaking in English. He waited, looking at her, burning with fever,\namazed at her silence and immobility, and then he shouted impatiently,\n'Water! Give me water!'", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "\"He was muddy. I covered him up and stood waiting in silence, catching\na painfully gasped word now and then. They were no longer in his own", "by the door, passing the tips of his fingers along his shaven upper\nlip. I gave some directions, promised to send a bottle of medicine, and\nnaturally made some inquiries.", "wore round his neck. He hung them on the wall by the side of his bed,\nand he was still to be heard every evening reciting the Lord's Prayer,", "He remained silent. Then went on--\"At all events, the next time I saw\nhim he was ill--lung trouble. He was tough, but I daresay he was not", "couple of horse-blankets, and he seemed to have spent the remainder\nof his strength in the exertion of cleaning himself. He was almost\nspeechless; his quick breathing under the blankets pulled up to his", "he put his trust in God, believing he was no longer in this world. And\ntruly--he would add--how was he to know? He fought his way against the", "fear of that strange man. I believe he spoke to her for a long time,\nentreating, wondering, pleading, ordering, I suppose. She says she bore", "\"Suddenly coming to himself, parched, he demanded a drink of water. She\ndid not move. She had not understood, though he may have thought he", "\"He sat up and called out terribly one word--some word. Then he got up\nas though he hadn't been ill at all, she says. And as in fevered dismay,", "there had been sold a cow, two ponies, and a bit of land to pay for\nhis going? His eyes would fill with tears, and, averting them from the", "entered his very soul. 'Why?' he cried in the penetrating and indignant\nvoice of a man calling to a responsible Maker. A gust of wind and a\nswish of rain answered.", "language. The fever had left him, taking with it the heat of life. And\nwith his panting breast and lustrous eyes he reminded me again of a wild" ], [ "\"He was a mountaineer of the eastern range of the Carpathians, and the\nvessel sunk the night before in Eastbay was the Hamburg emigrant-ship", "together with many others on board an emigrant-ship lying at the mouth\nof the Elbe, too bewildered to take note of his surroundings, too weary", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "his head, in the direction of the New Barns Farm. From that moment he\nis plainly in the toils of his obscure and touching destiny. There is", "way to America. Voices shouted, everything swayed; there was a ladder\ndipping up and down. He went up on his hands and knees in mortal fear", "\"They thought they were being taken to America straight away, but\nsuddenly the steam-machine bumped against the side of a thing like a", "know where he was. Somewhere very far from his mountains--somewhere over\nthe water. Was this America, he wondered?", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "to look where she pointed. Together they followed with their eyes the\nfigure of the man running over a field; they saw him fall down, pick\nhimself up, and run on again, staggering and waving his long arms above", "all. He used to cast stealthy glances at it, and feel comforted. There\nwas nothing here the same as in his country! The earth and the water", "an unearthly language. And he always would come to an end, with many\nemphatic shakes of his head, upon that awful sensation of his heart\nmelting within him directly he set foot on board that ship. Afterwards", "bleating in the darkness, and he welcomed the first familiar sound he\nheard on these shores. It must have been two in the morning then. And\nthis is all we know of the manner of his landing, though he did not", "unhappy--this soft and passionate adventurer, taken thus out of his\nknowledge, and feeling bitterly as he lay in his emigrant bunk his utter", "\"I gave her certain directions; and going outside, I said again that\nhe ought to be in bed upstairs. She wrung her hands. 'I couldn't. I", "at once all the time. He crept into one of these boxes and laid down\nthere in the clothes in which he had left his home many days before,\nkeeping his bundle and his stick by his side. People groaned, children", "of falling into the water below, which made a great splashing. He got\nseparated from his companion, and when he descended into the bottom of\nthat ship his heart seemed to melt suddenly within him.", "\"Before that he had been travelling a long, long time on the iron track.\nHe looked out of the window, which had a wonderfully clear glass in it,", "\"A few months later we could read in the papers the accounts of the\nbogus 'Emigration Agencies' among the Sclavonian peasantry in the more", "took much notice of him about that time, and I believe the young ladies\nattempted to prepare the ground for his conversion. They could not,\nhowever, break him of his habit of crossing himself, but he went so far", "again he was taken on and on through a land that wearied his eyes by its\nflatness without a single bit of a hill to be seen anywhere. One more\nnight he spent shut up in a building like a good stable with a litter" ], [ "way to America. Voices shouted, everything swayed; there was a ladder\ndipping up and down. He went up on his hands and knees in mortal fear", "\"They thought they were being taken to America straight away, but\nsuddenly the steam-machine bumped against the side of a thing like a", "know where he was. Somewhere very far from his mountains--somewhere over\nthe water. Was this America, he wondered?", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "together with many others on board an emigrant-ship lying at the mouth\nof the Elbe, too bewildered to take note of his surroundings, too weary", "of falling into the water below, which made a great splashing. He got\nseparated from his companion, and when he descended into the bottom of\nthat ship his heart seemed to melt suddenly within him.", "bleating in the darkness, and he welcomed the first familiar sound he\nheard on these shores. It must have been two in the morning then. And\nthis is all we know of the manner of his landing, though he did not", "cost a lot of money to get to America; but then, once there, you had\nthree dollars a day, and if you were clever you could find places where", "\"He did not know the name of his ship. Indeed, in the course of time we\ndiscovered he did not even know that ships had names--'like Christian", "true gold could be picked up on the ground. His father's house was\ngetting over full. Two of his brothers were married and had children.\nHe promised to send money home from America by post twice a year. His", "\"He was a mountaineer of the eastern range of the Carpathians, and the\nvessel sunk the night before in Eastbay was the Hamburg emigrant-ship", "of the great distance; besides, those only who had some money could be\ntaken. There were some who sold their huts and their land because it", "miserably from starvation on a barren coast; others suffered violent\ndeath or else slavery, passing through years of precarious existence\nwith people to whom their strangeness was an object of suspicion,", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "at once all the time. He crept into one of these boxes and laid down\nthere in the clothes in which he had left his home many days before,\nkeeping his bundle and his stick by his side. People groaned, children", "a pine-clad pass to a Jew inn-keeper in order to pay the people of the\nship that took men to America to get rich in a short time.", "been taken out of his knowledge, that he had been sea-sick and battened\ndown below for four days, that he had no general notion of a ship or of", "to see anything, too anxious to care. They were driven below into the\n'tweendeck and battened down from the very start. It was a low timber", "some harm some day yet.' And so it went on. They could be seen on the\nroads, she tramping stolidly in her finery--grey dress, black feather,", "again he was taken on and on through a land that wearied his eyes by its\nflatness without a single bit of a hill to be seen anywhere. One more\nnight he spent shut up in a building like a good stable with a litter" ], [ "in some way. She made no answer. It was, they said in the village, as if\nthe man had done something to her. People discussed the matter. It was", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "the heart within him had been buoyant. Perhaps it was only the force of\nthe contrast, but when he was passing one of these villagers here, the", "turn round to look after him on the road. His foreignness had a peculiar\nand indelible stamp. At last people became used to see him. But", "\"I had been called out that night to an urgent case in the village, and\non my way home at daybreak passed by the cottage. The door stood open.", "how--shall I say odious?--he was to all the countryside. Every old woman\nin the village was up in arms. Smith, coming upon him near the farm,", "dislike or fear. We read about these things, and they are very pitiful.\nIt is indeed hard upon a man to find himself a lost stranger, helpless,", "about all wet and muddy, and, it seemed, very drunk, in the narrow deep\nlane by the limekilns. All this was the talk of three villages for days;", "at him, and without saying a word went back to the house. But from that\ntime they laid out his meals on the kitchen table; and at first, Miss", "of the great distance; besides, those only who had some money could be\ntaken. There were some who sold their huts and their land because it", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "together with many others on board an emigrant-ship lying at the mouth\nof the Elbe, too bewildered to take note of his surroundings, too weary", "\"He was a mountaineer of the eastern range of the Carpathians, and the\nvessel sunk the night before in Eastbay was the Hamburg emigrant-ship", "belt studded with little brass discs; and had never yet ventured into\nthe village. The land he looked upon seemed to him kept neatly, like the", "remote provinces of Austria. The object of these scoundrels was to get\nhold of the poor ignorant people's homesteads, and they were in league\nwith the local usurers. They exported their victims through Hamburg", "myself. Ah! He was different: innocent of heart, and full of good will,\nwhich nobody wanted, this castaway, that, like a man transplanted into", "drink their evening beer in peace. On another occasion he tried to show\nthem how to dance. The dust rose in clouds from the sanded floor; he\nleaped straight up amongst the deal tables, struck his heels together,", "his head, in the direction of the New Barns Farm. From that moment he\nis plainly in the toils of his obscure and touching destiny. There is", "\"How this aptitude came to her, what it did feed upon, is an inscrutable\nmystery. She was born in the village, and had never been further away", "all. He used to cast stealthy glances at it, and feel comforted. There\nwas nothing here the same as in his country! The earth and the water" ], [ "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "sounding in the dialect of his country like Goorall) he got it for his\nsurname. And this is the only trace of him that the succeeding ages", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "drink their evening beer in peace. On another occasion he tried to show\nthem how to dance. The dust rose in clouds from the sanded floor; he\nleaped straight up amongst the deal tables, struck his heels together,", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "\"At this he got up slowly from amongst all sorts of rubbish, stiff,\nhungry, trembling, miserable, and doubtful. 'Can you eat this?'", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "\"Smith is notoriously hot-tempered, but the sight of some nondescript\nand miry creature sitting cross-legged amongst a lot of loose straw, and", "to look where she pointed. Together they followed with their eyes the\nfigure of the man running over a field; they saw him fall down, pick\nhimself up, and run on again, staggering and waving his long arms above", "\"'Do you know where your daughter is?' I asked.\n\n\"'Don't I!' he cried. 'I am going to talk to him a bit. Frightening a\npoor woman like this.'", "his head, in the direction of the New Barns Farm. From that moment he\nis plainly in the toils of his obscure and touching destiny. There is", "However, one day in the midst of sheep in a field (he was now Swaffer's\nunder-shepherd with Foster) he took off his hat to the father and", "that made him noticeable at a great distance, and had lustrous black\neyes. He was so different from the mankind around that, with his freedom", "there was the man--and for days, nay, for weeks--it didn't enter our\nheads that we had amongst us the only living soul that had escaped\nfrom that disaster. The man himself, even when he learned to speak", "there had been sold a cow, two ponies, and a bit of land to pay for\nhis going? His eyes would fill with tears, and, averting them from the", "\"His courtship had lasted some time--ever since he got his precarious\nfooting in the community. It began by his buying for Amy Foster a green", "\"He did not know the name of his ship. Indeed, in the course of time we\ndiscovered he did not even know that ships had names--'like Christian" ], [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "A good many years ago now, on my return from abroad, he invited me to\nstay with him. I came readily enough, and as he could not neglect his", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "\"Through this act of impulsive pity he was brought back again within\nthe pale of human relations with his new surroundings. He never forgot\nit--never.", "and adjured in God's name to afford food and shelter) kept on speaking\nfirmly but gently to it, and retreating all the time into the other", "wet through, and his teeth chattered. He and the young man from the same\nvalley took each other by the hand.", "\"I believe he felt the hostility of his human surroundings. But he was\ntough--tough in spirit, too, as well as in body. Only the memory of the", "again he was taken on and on through a land that wearied his eyes by its\nflatness without a single bit of a hill to be seen anywhere. One more\nnight he spent shut up in a building like a good stable with a litter", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "whether the man might not be perishing with cold and hunger. Meantime,\nat first, the maniac made a great deal of noise in the lodge. Mrs. Smith", "\"'Do you know where your daughter is?' I asked.\n\n\"'Don't I!' he cried. 'I am going to talk to him a bit. Frightening a\npoor woman like this.'", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "offer prayers and make a vow for his safety. He could not give me an\nidea of how large and lofty and full of noise and smoke and gloom, and", "to get out of the carriage, and slept through a night on a bench in a\nhouse of bricks with his bundle under his head; and once for many hours", "couple of horse-blankets, and he seemed to have spent the remainder\nof his strength in the exertion of cleaning himself. He was almost\nspeechless; his quick breathing under the blankets pulled up to his", "\"At this he got up slowly from amongst all sorts of rubbish, stiff,\nhungry, trembling, miserable, and doubtful. 'Can you eat this?'", "to look where she pointed. Together they followed with their eyes the\nfigure of the man running over a field; they saw him fall down, pick\nhimself up, and run on again, staggering and waving his long arms above" ], [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "of movement, his soft--a little startled, glance, his olive complexion\nand graceful bearing, his humanity suggested to me the nature of a\nwoodland creature. He came from there.\"", "\"He was a mountaineer of the eastern range of the Carpathians, and the\nvessel sunk the night before in Eastbay was the Hamburg emigrant-ship", "One evening, in the tap-room of the Coach and Horses (having drunk some\nwhisky), he upset them all by singing a love song of his country. They", "know where he was. Somewhere very far from his mountains--somewhere over\nthe water. Was this America, he wondered?", "\"I believe he felt the hostility of his human surroundings. But he was\ntough--tough in spirit, too, as well as in body. Only the memory of the", "drink their evening beer in peace. On another occasion he tried to show\nthem how to dance. The dust rose in clouds from the sanded floor; he\nleaped straight up amongst the deal tables, struck his heels together,", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "through all the little towns in the foothills of his country. They would\narrive on market days driving in a peasant's cart, and would set up an", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "\"How this aptitude came to her, what it did feed upon, is an inscrutable\nmystery. She was born in the village, and had never been further away", "\"At this he got up slowly from amongst all sorts of rubbish, stiff,\nhungry, trembling, miserable, and doubtful. 'Can you eat this?'", "\"He did not know the name of his ship. Indeed, in the course of time we\ndiscovered he did not even know that ships had names--'like Christian", "another planet, was separated by an immense space from his past and\nby an immense ignorance from his future. His quick, fervent utterance\npositively shocked everybody. 'An excitable devil,' they called him.", "\"'Do you know where your daughter is?' I asked.\n\n\"'Don't I!' he cried. 'I am going to talk to him a bit. Frightening a\npoor woman like this.'", "that made him noticeable at a great distance, and had lustrous black\neyes. He was so different from the mankind around that, with his freedom" ], [ "is 'Amy Foster's boy.' She calls him Johnny--which means Little John.", "People were saying that Amy Foster was beginning to find out what\nsort of man she had married. He looked upon the sea with indifferent,\nunseeing eyes. His wife had snatched the child out of his arms one day", "GUTENBERG EBOOK AMY FOSTER ***\n\n\n\n\nProduced by Judith Boss and David Widger", "End of the Project Gutenberg EBook of Amy Foster, by Joseph Conrad", "AMY FOSTER\n\nBy Joseph Conrad", "a shadow passes away upon a white screen. She lives in the cottage and\nworks for Miss Swaffer. She is Amy Foster for everybody, and the child", "no doubt after this of what happened to him. All is certain now: Mrs.\nSmith's intense terror; Amy Foster's stolid conviction held against", "\"His courtship had lasted some time--ever since he got his precarious\nfooting in the community. It began by his buying for Amy Foster a green", "wood-lodge presented the horrible aspect of a dungeon. What would be\ndone to him next?... No wonder that Amy Foster appeared to his eyes", "was screaming upstairs, where she had locked herself in her bedroom; but\nAmy Foster sobbed piteously at the kitchen door, wringing her hands and", "would defy my wisdom. He had found his bit of true gold. That was Amy\nFoster's heart; which was 'a golden heart, and soft to people's misery,'", "course, didn't like to lose the wages the girl earned: Amy used to give\nall her money to her mother. But there was in Foster a very genuine", "refused to come downstairs till the madman was off the premises; Amy\nFoster, far from within the dark kitchen, watched through the open back", "of one Isaac Foster, who from a small farmer has sunk into a shepherd;\nthe beginning of his misfortunes dating from his runaway marriage with", "over three fields and along two hundred yards of road--never further.\nThere stood Foster's cottage. She would help her mother to give their\ntea to the younger children, wash up the crockery, kiss the little ones,", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "However, one day in the midst of sheep in a field (he was now Swaffer's\nunder-shepherd with Foster) he took off his hat to the father and", "her on that night three miles and a half to the door of Foster's\ncottage! I did the next day.", "of imagination. And yet which of us is safe? At any rate, such as you\nsee her, she had enough imagination to fall in love. She's the daughter", "\"Officially, the body of the little girl in the red frock is the first\nthing that came ashore from that ship. But I have patients amongst the" ], [ "is 'Amy Foster's boy.' She calls him Johnny--which means Little John.", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "\"He was muddy. I covered him up and stood waiting in silence, catching\na painfully gasped word now and then. They were no longer in his own", "drink their evening beer in peace. On another occasion he tried to show\nthem how to dance. The dust rose in clouds from the sanded floor; he\nleaped straight up amongst the deal tables, struck his heels together,", "He remained silent. Then went on--\"At all events, the next time I saw\nhim he was ill--lung trouble. He was tough, but I daresay he was not", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "\"'Do you know where your daughter is?' I asked.\n\n\"'Don't I!' he cried. 'I am going to talk to him a bit. Frightening a\npoor woman like this.'", "\"His black hair flowed over his shoulders. I suppose it was Swaffer\nwho had given him the striped old cotton shirt; but he wore still the", "fairly staggered him. He had admitted since (for the story has been a\nlegitimate subject of conversation about here for years) that he made\nmore than one step backwards. Then a sudden burst of rapid, senseless", "she had observed that he was good-looking. She shut the door and walked\nback slowly to the kitchen. Much later on, she told Mrs. Smith, who\nshuddered at the bare idea of being touched by that creature.", "to look where she pointed. Together they followed with their eyes the\nfigure of the man running over a field; they saw him fall down, pick\nhimself up, and run on again, staggering and waving his long arms above", "with some one, the poor devil had tried to stop the cart. Also three\nboys confessed afterwards to throwing stones at a funny tramp, knocking", "\"Smith is notoriously hot-tempered, but the sight of some nondescript\nand miry creature sitting cross-legged amongst a lot of loose straw, and", "at him, and without saying a word went back to the house. But from that\ntime they laid out his meals on the kitchen table; and at first, Miss", "\"I believe he felt the hostility of his human surroundings. But he was\ntough--tough in spirit, too, as well as in body. Only the memory of the", "swinging itself to and fro like a bear in a cage, made him pause. Then\nthis tramp stood up silently before him, one mass of mud and filth from", "through weakness, nearly fell out over the back of the high two-wheeled\ncart. Swaffer took him straight home. And it is then that I come upon\nthe scene.", "by-and-by, as he used to do after his old father when he was a child--in\nhis own country. And I discovered he longed for their boy to grow up so", "\"'What's the matter with him?' she asked in a sort of vacant\ntrepidation. 'He doesn't look very ill. I never did see anybody look\nlike this before....'" ], [ "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "People were saying that Amy Foster was beginning to find out what\nsort of man she had married. He looked upon the sea with indifferent,\nunseeing eyes. His wife had snatched the child out of his arms one day", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "\"'Do you know where your daughter is?' I asked.\n\n\"'Don't I!' he cried. 'I am going to talk to him a bit. Frightening a\npoor woman like this.'", "so frightened. He wanted me just now to give him the baby. I can't\nunderstand what he says to it.'", "and lurch straight at her, babbling aloud in a voice that was enough to\nmake one die of fright. Having the baby with her in a perambulator, Mrs.", "fear of that strange man. I believe he spoke to her for a long time,\nentreating, wondering, pleading, ordering, I suppose. She says she bore", "a fright that the schoolmistress went out and spoke indignantly to a\n'horrid-looking man' on the road. He edged away, hanging his head, for", "she had observed that he was good-looking. She shut the door and walked\nback slowly to the kitchen. Much later on, she told Mrs. Smith, who\nshuddered at the bare idea of being touched by that creature.", "was screaming upstairs, where she had locked herself in her bedroom; but\nAmy Foster sobbed piteously at the kitchen door, wringing her hands and", "in his stackyard. Was he? He would teach him to frighten women.", "no doubt after this of what happened to him. All is certain now: Mrs.\nSmith's intense terror; Amy Foster's stolid conviction held against", "every sound, with the terror, the unreasonable terror, of that man she\ncould not understand creeping over her. She had drawn the wicker", "exertions, and so much fear. Later on, in his broken English that\nresembled curiously the speech of a young child, he told me himself that", "wood-lodge presented the horrible aspect of a dungeon. What would be\ndone to him next?... No wonder that Amy Foster appeared to his eyes", "cheerless yellow paper on the wall. 'Amy!' I called aloud, and my voice\nseemed to lose itself in the emptiness of this tiny house as if I had", "\"'He won't frighten her any more,' I said. 'He is dead.'\n\n\"He struck with his stick at the mud.\n\n\"'And there's the child.'", "fairly staggered him. He had admitted since (for the story has been a\nlegitimate subject of conversation about here for years) that he made\nmore than one step backwards. Then a sudden burst of rapid, senseless", "refused to come downstairs till the madman was off the premises; Amy\nFoster, far from within the dark kitchen, watched through the open back" ], [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "\"'What's the matter with him?' she asked in a sort of vacant\ntrepidation. 'He doesn't look very ill. I never did see anybody look\nlike this before....'", "was speaking in English. He waited, looking at her, burning with fever,\namazed at her silence and immobility, and then he shouted impatiently,\n'Water! Give me water!'", "\"He sat up and called out terribly one word--some word. Then he got up\nas though he hadn't been ill at all, she says. And as in fevered dismay,", "fairly staggered him. He had admitted since (for the story has been a\nlegitimate subject of conversation about here for years) that he made\nmore than one step backwards. Then a sudden burst of rapid, senseless", "to insanity on that night. Before his excitement collapsed and he became\nunconscious he was throwing himself violently about in the dark, rolling\non some dirty sacks, and biting his fists with rage, cold, hunger,", "\"'Do you know where your daughter is?' I asked.\n\n\"'Don't I!' he cried. 'I am going to talk to him a bit. Frightening a\npoor woman like this.'", "entered his very soul. 'Why?' he cried in the penetrating and indignant\nvoice of a man calling to a responsible Maker. A gust of wind and a\nswish of rain answered.", "exertions, and so much fear. Later on, in his broken English that\nresembled curiously the speech of a young child, he told me himself that", "so frightened. He wanted me just now to give him the baby. I can't\nunderstand what he says to it.'", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "understood, his dismay at finding all the men angry and all the women\nfierce. He had approached them as a beggar, it is true, he said; but in", "fear of that strange man. I believe he spoke to her for a long time,\nentreating, wondering, pleading, ordering, I suppose. She says she bore", "that he could have a man to talk with in that language that to our\nears sounded so disturbing, so passionate, and so bizarre. Why his wife", "He remained silent. Then went on--\"At all events, the next time I saw\nhim he was ill--lung trouble. He was tough, but I daresay he was not", "there had been sold a cow, two ponies, and a bit of land to pay for\nhis going? His eyes would fill with tears, and, averting them from the", "couple of horse-blankets, and he seemed to have spent the remainder\nof his strength in the exertion of cleaning himself. He was almost\nspeechless; his quick breathing under the blankets pulled up to his", "intelligibly, could tell us very little. He remembered he had felt\nbetter (after the ship had anchored, I suppose), and that the darkness," ], [ "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "\"He was a mountaineer of the eastern range of the Carpathians, and the\nvessel sunk the night before in Eastbay was the Hamburg emigrant-ship", "together with many others on board an emigrant-ship lying at the mouth\nof the Elbe, too bewildered to take note of his surroundings, too weary", "of falling into the water below, which made a great splashing. He got\nseparated from his companion, and when he descended into the bottom of\nthat ship his heart seemed to melt suddenly within him.", "an unearthly language. And he always would come to an end, with many\nemphatic shakes of his head, upon that awful sensation of his heart\nmelting within him directly he set foot on board that ship. Afterwards", "\"He did not know the name of his ship. Indeed, in the course of time we\ndiscovered he did not even know that ships had names--'like Christian", "bleating in the darkness, and he welcomed the first familiar sound he\nheard on these shores. It must have been two in the morning then. And\nthis is all we know of the manner of his landing, though he did not", "\"... The relations of shipwrecks in the olden time tell us of much\nsuffering. Often the castaways were only saved from drowning to die", "been taken out of his knowledge, that he had been sea-sick and battened\ndown below for four days, that he had no general notion of a ship or of", "there seemed to come for him a period of blank ignorance, at any rate as\nto facts. No doubt he must have been abominably sea-sick and abominably", "incomprehensible, and of a mysterious origin, in some obscure corner of\nthe earth. Yet amongst all the adventurers shipwrecked in all the wild", "the sea, and therefore could have no definite idea of what was happening\nto him. The rain, the wind, the darkness he knew; he understood the", "damaged, who shall say; but had gone out, unknown, unseen, and fatal, to\nperish mysteriously at sea. Of her nothing ever came to light, and yet", "way to America. Voices shouted, everything swayed; there was a ladder\ndipping up and down. He went up on his hands and knees in mortal fear", "sea frightened him, with that vague terror that is left by a bad dream.\nHis home was far away; and he did not want now to go to America. I had", "his head, in the direction of the New Barns Farm. From that moment he\nis plainly in the toils of his obscure and touching destiny. There is", "unhappy--this soft and passionate adventurer, taken thus out of his\nknowledge, and feeling bitterly as he lay in his emigrant bunk his utter", "know where he was. Somewhere very far from his mountains--somewhere over\nthe water. Was this America, he wondered?", "intelligibly, could tell us very little. He remembered he had felt\nbetter (after the ship had anchored, I suppose), and that the darkness,", "myself. Ah! He was different: innocent of heart, and full of good will,\nwhich nobody wanted, this castaway, that, like a man transplanted into" ], [ "in some way. She made no answer. It was, they said in the village, as if\nthe man had done something to her. People discussed the matter. It was", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "would want to carry her off somewhere--or run off himself. It was not\nsafe. He preached it to his daughter that the fellow might ill-use her", "how--shall I say odious?--he was to all the countryside. Every old woman\nin the village was up in arms. Smith, coming upon him near the farm,", "\"'Do you know where your daughter is?' I asked.\n\n\"'Don't I!' he cried. 'I am going to talk to him a bit. Frightening a\npoor woman like this.'", "fear of that strange man. I believe he spoke to her for a long time,\nentreating, wondering, pleading, ordering, I suppose. She says she bore", "\"He was a mountaineer of the eastern range of the Carpathians, and the\nvessel sunk the night before in Eastbay was the Hamburg emigrant-ship", "understood, his dismay at finding all the men angry and all the women\nfierce. He had approached them as a beggar, it is true, he said; but in", "another planet, was separated by an immense space from his past and\nby an immense ignorance from his future. His quick, fervent utterance\npositively shocked everybody. 'An excitable devil,' they called him.", "dislike or fear. We read about these things, and they are very pitiful.\nIt is indeed hard upon a man to find himself a lost stranger, helpless,", "she had observed that he was good-looking. She shut the door and walked\nback slowly to the kitchen. Much later on, she told Mrs. Smith, who\nshuddered at the bare idea of being touched by that creature.", "about all wet and muddy, and, it seemed, very drunk, in the narrow deep\nlane by the limekilns. All this was the talk of three villages for days;", "the heart within him had been buoyant. Perhaps it was only the force of\nthe contrast, but when he was passing one of these villagers here, the", "\"I walked away thoughtfully; I wondered whether his difference, his\nstrangeness, were not penetrating with repulsion that dull nature they\nhad begun by irresistibly attracting. I wondered....\"", "a fright that the schoolmistress went out and spoke indignantly to a\n'horrid-looking man' on the road. He edged away, hanging his head, for", "\"I had been called out that night to an urgent case in the village, and\non my way home at daybreak passed by the cottage. The door stood open.", "exertions, and so much fear. Later on, in his broken English that\nresembled curiously the speech of a young child, he told me himself that", "\"How this aptitude came to her, what it did feed upon, is an inscrutable\nmystery. She was born in the village, and had never been further away", "they never became used to him. His rapid, skimming walk; his swarthy\ncomplexion; his hat cocked on the left ear; his habit, on warm evenings,", "\"I believe he felt the hostility of his human surroundings. But he was\ntough--tough in spirit, too, as well as in body. Only the memory of the" ], [ "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "\"He did not know the name of his ship. Indeed, in the course of time we\ndiscovered he did not even know that ships had names--'like Christian", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "of the earth, England was an undiscovered country. It was some time\nbefore he learned its name; and for all I know he might have expected to", "\"He was a mountaineer of the eastern range of the Carpathians, and the\nvessel sunk the night before in Eastbay was the Hamburg emigrant-ship", "turn round to look after him on the road. His foreignness had a peculiar\nand indelible stamp. At last people became used to see him. But", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "sounding in the dialect of his country like Goorall) he got it for his\nsurname. And this is the only trace of him that the succeeding ages", "myself. Ah! He was different: innocent of heart, and full of good will,\nwhich nobody wanted, this castaway, that, like a man transplanted into", "However, one day in the midst of sheep in a field (he was now Swaffer's\nunder-shepherd with Foster) he took off his hat to the father and", "together with many others on board an emigrant-ship lying at the mouth\nof the Elbe, too bewildered to take note of his surroundings, too weary", "his head, in the direction of the New Barns Farm. From that moment he\nis plainly in the toils of his obscure and touching destiny. There is", "all. He used to cast stealthy glances at it, and feel comforted. There\nwas nothing here the same as in his country! The earth and the water", "another planet, was separated by an immense space from his past and\nby an immense ignorance from his future. His quick, fervent utterance\npositively shocked everybody. 'An excitable devil,' they called him.", "took much notice of him about that time, and I believe the young ladies\nattempted to prepare the ground for his conversion. They could not,\nhowever, break him of his habit of crossing himself, but he went so far", "of one Isaac Foster, who from a small farmer has sunk into a shepherd;\nthe beginning of his misfortunes dating from his runaway marriage with", "bleating in the darkness, and he welcomed the first familiar sound he\nheard on these shores. It must have been two in the morning then. And\nthis is all we know of the manner of his landing, though he did not", "know where he was. Somewhere very far from his mountains--somewhere over\nthe water. Was this America, he wondered?", "\"He must have been a real adventurer at heart, for how many of the\ngreatest enterprises in the conquest of the earth had for their", "there was the man--and for days, nay, for weeks--it didn't enter our\nheads that we had amongst us the only living soul that had escaped\nfrom that disaster. The man himself, even when he learned to speak" ], [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "\"He did not know the name of his ship. Indeed, in the course of time we\ndiscovered he did not even know that ships had names--'like Christian", "is 'Amy Foster's boy.' She calls him Johnny--which means Little John.", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "drink their evening beer in peace. On another occasion he tried to show\nthem how to dance. The dust rose in clouds from the sanded floor; he\nleaped straight up amongst the deal tables, struck his heels together,", "\"He sat up and called out terribly one word--some word. Then he got up\nas though he hadn't been ill at all, she says. And as in fevered dismay,", "\"I believe he felt the hostility of his human surroundings. But he was\ntough--tough in spirit, too, as well as in body. Only the memory of the", "\"'Do you know where your daughter is?' I asked.\n\n\"'Don't I!' he cried. 'I am going to talk to him a bit. Frightening a\npoor woman like this.'", "language. The fever had left him, taking with it the heat of life. And\nwith his panting breast and lustrous eyes he reminded me again of a wild", "\"At this he got up slowly from amongst all sorts of rubbish, stiff,\nhungry, trembling, miserable, and doubtful. 'Can you eat this?'", "couple of horse-blankets, and he seemed to have spent the remainder\nof his strength in the exertion of cleaning himself. He was almost\nspeechless; his quick breathing under the blankets pulled up to his", "\"He's well, thank you.\"\n\nWe trotted again. \"A young patient of yours,\" I said; and the doctor,\nflicking the chestnut absently, muttered, \"Her husband used to be.\"", "another planet, was separated by an immense space from his past and\nby an immense ignorance from his future. His quick, fervent utterance\npositively shocked everybody. 'An excitable devil,' they called him.", "in some way. She made no answer. It was, they said in the village, as if\nthe man had done something to her. People discussed the matter. It was", "fairly staggered him. He had admitted since (for the story has been a\nlegitimate subject of conversation about here for years) that he made\nmore than one step backwards. Then a sudden burst of rapid, senseless" ], [ "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "A good many years ago now, on my return from abroad, he invited me to\nstay with him. I came readily enough, and as he could not neglect his", "\"Through this act of impulsive pity he was brought back again within\nthe pale of human relations with his new surroundings. He never forgot\nit--never.", "\"Yes; he was a castaway. A poor emigrant from Central Europe bound to\nAmerica and washed ashore here in a storm. And for him, who knew nothing", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "again he was taken on and on through a land that wearied his eyes by its\nflatness without a single bit of a hill to be seen anywhere. One more\nnight he spent shut up in a building like a good stable with a litter", "\"I believe he felt the hostility of his human surroundings. But he was\ntough--tough in spirit, too, as well as in body. Only the memory of the", "and adjured in God's name to afford food and shelter) kept on speaking\nfirmly but gently to it, and retreating all the time into the other", "all. He used to cast stealthy glances at it, and feel comforted. There\nwas nothing here the same as in his country! The earth and the water", "his head, in the direction of the New Barns Farm. From that moment he\nis plainly in the toils of his obscure and touching destiny. There is", "at once all the time. He crept into one of these boxes and laid down\nthere in the clothes in which he had left his home many days before,\nkeeping his bundle and his stick by his side. People groaned, children", "drink their evening beer in peace. On another occasion he tried to show\nthem how to dance. The dust rose in clouds from the sanded floor; he\nleaped straight up amongst the deal tables, struck his heels together,", "\"His courtship had lasted some time--ever since he got his precarious\nfooting in the community. It began by his buying for Amy Foster a green", "there was the man--and for days, nay, for weeks--it didn't enter our\nheads that we had amongst us the only living soul that had escaped\nfrom that disaster. The man himself, even when he learned to speak", "kindness of heart without a certain amount of imagination. She had some.\nShe had even more than is necessary to understand suffering and to be\nmoved by pity. She fell in love under circumstances that leave no room", "of the people, especially on Sundays, spoke of opulence. He wondered\nwhat made them so hardhearted and their children so bold. He got\nhis food at the back door, carried it in both hands carefully to his" ], [ "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "\"Of course, after that no power on earth could prevent them from getting\nmarried.", "\"It was only when he declared his purpose to get married that I\nfully understood how, for a hundred futile and inappreciable reasons,", "declared himself humbly. 'I daresay she's fool enough to marry you,' was\nall Foster said. 'And then,' he used to relate, 'he puts his hat on his", "intelligence into Miss Swaffer's best ear. She showed no surprise, and\nonly remarked grimly, in a veiled blank voice, 'He certainly won't get\nany other girl to marry him.'", "a woman married to that Jack-in-the-box. He didn't care. There was a\nman now (he told me boastfully) to whom he could sing and talk in the", "of imagination. And yet which of us is safe? At any rate, such as you\nsee her, she had enough imagination to fall in love. She's the daughter", "hunting on the eve of the wedding day. She had the unmoved countenance\nof the deaf, spoke very seldom, and her lips, thin like her father's,", "in some way. She made no answer. It was, they said in the village, as if\nthe man had done something to her. People discussed the matter. It was", "\"His courtship had lasted some time--ever since he got his precarious\nfooting in the community. It began by his buying for Amy Foster a green", "of one Isaac Foster, who from a small farmer has sunk into a shepherd;\nthe beginning of his misfortunes dating from his runaway marriage with", "\"He's well, thank you.\"\n\nWe trotted again. \"A young patient of yours,\" I said; and the doctor,\nflicking the chestnut absently, muttered, \"Her husband used to be.\"", "simply _Miss_)--it was to obtain their permission to marry.\nSwaffer heard him unmoved, dismissed him by a nod, and then shouted the", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "People were saying that Amy Foster was beginning to find out what\nsort of man she had married. He looked upon the sea with indifferent,\nunseeing eyes. His wife had snatched the child out of his arms one day", "aversion to that match. He contended that the fellow was very good with\nsheep, but was not fit for any girl to marry. For one thing, he used", "kindness of heart without a certain amount of imagination. She had some.\nShe had even more than is necessary to understand suffering and to be\nmoved by pity. She fell in love under circumstances that leave no room" ], [ "People were saying that Amy Foster was beginning to find out what\nsort of man she had married. He looked upon the sea with indifferent,\nunseeing eyes. His wife had snatched the child out of his arms one day", "\"His courtship had lasted some time--ever since he got his precarious\nfooting in the community. It began by his buying for Amy Foster a green", "course, didn't like to lose the wages the girl earned: Amy used to give\nall her money to her mother. But there was in Foster a very genuine", "a shadow passes away upon a white screen. She lives in the cottage and\nworks for Miss Swaffer. She is Amy Foster for everybody, and the child", "GUTENBERG EBOOK AMY FOSTER ***\n\n\n\n\nProduced by Judith Boss and David Widger", "is 'Amy Foster's boy.' She calls him Johnny--which means Little John.", "would defy my wisdom. He had found his bit of true gold. That was Amy\nFoster's heart; which was 'a golden heart, and soft to people's misery,'", "was screaming upstairs, where she had locked herself in her bedroom; but\nAmy Foster sobbed piteously at the kitchen door, wringing her hands and", "AMY FOSTER\n\nBy Joseph Conrad", "cheerless yellow paper on the wall. 'Amy!' I called aloud, and my voice\nseemed to lose itself in the emptiness of this tiny house as if I had", "no doubt after this of what happened to him. All is certain now: Mrs.\nSmith's intense terror; Amy Foster's stolid conviction held against", "than a signpost. The only peculiarity I perceived in her was a slight\nhesitation in her utterance, a sort of preliminary stammer which passes\naway with the first word. When sharply spoken to, she was apt to lose", "End of the Project Gutenberg EBook of Amy Foster, by Joseph Conrad", "refused to come downstairs till the madman was off the premises; Amy\nFoster, far from within the dark kitchen, watched through the open back", "of imagination. And yet which of us is safe? At any rate, such as you\nsee her, she had enough imagination to fall in love. She's the daughter", "out to his call. Mrs. Smith called her a shameless hussy. She answered\nnothing. She said nothing at all to anybody, and went on her way as if", "\"She's the eldest of a large family. At the age of fifteen they put\nher out to service at the New Barns Farm. I attended Mrs. Smith, the", "at her waist. She dressed severely in black, in memory of one of the\ninnumerable Bradleys of the neighbourhood, to whom she had been engaged\nsome twenty-five years ago--a young farmer who broke his neck out", "\"Precisely,\" said Kennedy. \"She is very passive. It's enough to look\nat the red hands hanging at the end of those short arms, at those slow,", "men about the farm, always the same--day after day, month after month,\nyear after year. She never showed a desire for conversation, and, as it" ], [ "\"His black hair flowed over his shoulders. I suppose it was Swaffer\nwho had given him the striped old cotton shirt; but he wore still the", "However, one day in the midst of sheep in a field (he was now Swaffer's\nunder-shepherd with Foster) he took off his hat to the father and", "\"It is Miss Swaffer who has all the credit of the munificence: but in\na very few days it came out that Mr. Swaffer had presented Yanko with", "a cottage (the cottage you've seen this morning) and something like an\nacre of ground--had made it over to him in absolute property. Willcox", "\"I don't know whether old Swaffer ever understood how much he was\nregarded in the light of a father by his foreign retainer. Anyway the", "\"He did the work which was given him with an intelligence which\nsurprised old Swaffer. By-and-by it was discovered that he could help", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "to read books, and they will tell you also that he can write a cheque\nfor two hundred pounds without thinking twice about it. He himself would\ntell you that the Swaffers had owned land between this and Darnford for", "\"That very same morning old Mr. Swaffer (Smith's nearest neighbour)\ncame over to give his advice, and ended by carrying him off. He stood,", "\"Swaffer would be called eccentric were he not so much respected. They\nwill tell you that Mr. Swaffer sits up as late as ten o'clock at night", "was just that outlandishness of the man which influenced old Swaffer.\nPerhaps it was only an inexplicable caprice. All I know is that at", "through weakness, nearly fell out over the back of the high two-wheeled\ncart. Swaffer took him straight home. And it is then that I come upon\nthe scene.", "cross before he fell to. I believe that from that day, too, Swaffer\nbegan to pay him regular wages.", "simply _Miss_)--it was to obtain their permission to marry.\nSwaffer heard him unmoved, dismissed him by a nod, and then shouted the", "\"Swaffer's younger daughter is married to Willcox, a solicitor and the\nTown Clerk of Colebrook. Regularly twice a year they come to stay with", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "over three fields and along two hundred yards of road--never further.\nThere stood Foster's cottage. She would help her mother to give their\ntea to the younger children, wash up the crockery, kiss the little ones,", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "intelligence into Miss Swaffer's best ear. She showed no surprise, and\nonly remarked grimly, in a veiled blank voice, 'He certainly won't get\nany other girl to marry him.'", "cunning,' he cried repeatedly in a tone of warning. When Mr. Swaffer\nstarted the mare, the deplorable being sitting humbly by his side," ], [ "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "People were saying that Amy Foster was beginning to find out what\nsort of man she had married. He looked upon the sea with indifferent,\nunseeing eyes. His wife had snatched the child out of his arms one day", "was screaming upstairs, where she had locked herself in her bedroom; but\nAmy Foster sobbed piteously at the kitchen door, wringing her hands and", "refused to come downstairs till the madman was off the premises; Amy\nFoster, far from within the dark kitchen, watched through the open back", "had fled in sudden alarm at their rough angry tones hailing each other\nin the darkness. A sort of frenzy must have helped him up the steep", "indignation, and wonder he tried to get to her round the table, she\nsimply opened the door and ran out with the child in her arms. She heard\nhim call twice after her down the road in a terrible voice--and", "Finn called out to him to go away, and as he persisted in coming nearer,\nshe hit him courageously with her umbrella over the head and, without", "in some way. She made no answer. It was, they said in the village, as if\nthe man had done something to her. People discussed the matter. It was", "no doubt after this of what happened to him. All is certain now: Mrs.\nSmith's intense terror; Amy Foster's stolid conviction held against", "\"His courtship had lasted some time--ever since he got his precarious\nfooting in the community. It began by his buying for Amy Foster a green", "would want to carry her off somewhere--or run off himself. It was not\nsafe. He preached it to his daughter that the fellow might ill-use her", "cheerless yellow paper on the wall. 'Amy!' I called aloud, and my voice\nseemed to lose itself in the emptiness of this tiny house as if I had", "the old man for a few days. Their only child, a little girl not three\nyears old at the time, ran out of the house alone in her little white", "a fright that the schoolmistress went out and spoke indignantly to a\n'horrid-looking man' on the road. He edged away, hanging his head, for", "yard. At last, watching his chance, by a sudden charge he bundled him\nheadlong into the wood-lodge, and instantly shot the bolt. Thereupon", "\"'Do you know where your daughter is?' I asked.\n\n\"'Don't I!' he cried. 'I am going to talk to him a bit. Frightening a\npoor woman like this.'", "would defy my wisdom. He had found his bit of true gold. That was Amy\nFoster's heart; which was 'a golden heart, and soft to people's misery,'", "course, didn't like to lose the wages the girl earned: Amy used to give\nall her money to her mother. But there was in Foster a very genuine" ], [ "\"He was called Yanko. He had explained that this meant little John; but\nas he would also repeat very often that he was a mountaineer (some word", "relation was curiously feudal. So when Yanko asked formally for an\ninterview--'and the Miss too' (he called the severe, deaf Miss Swaffer", "\"Yanko was in great trouble meantime. In his country you get an old man\nfor an ambassador in marriage affairs. He did not know how to proceed.", "was speaking in English. He waited, looking at her, burning with fever,\namazed at her silence and immobility, and then he shouted impatiently,\n'Water! Give me water!'", "that he could have a man to talk with in that language that to our\nears sounded so disturbing, so passionate, and so bizarre. Why his wife", "exertions, and so much fear. Later on, in his broken English that\nresembled curiously the speech of a young child, he told me himself that", "unsteady on his legs, meek, and caked over in half-dried mud, while the\ntwo men talked around him in an incomprehensible tongue. Mrs. Smith had", "his forehead against the trunk of one of them, sobbing, and talking to\nhimself. They had been like brothers to him at that time, he affirmed.\nEverything else was strange. Conceive you the kind of an existence", "\"'Do you know where your daughter is?' I asked.\n\n\"'Don't I!' he cried. 'I am going to talk to him a bit. Frightening a\npoor woman like this.'", "fear of that strange man. I believe he spoke to her for a long time,\nentreating, wondering, pleading, ordering, I suppose. She says she bore", "\"He was muddy. I covered him up and stood waiting in silence, catching\na painfully gasped word now and then. They were no longer in his own", "couple of horse-blankets, and he seemed to have spent the remainder\nof his strength in the exertion of cleaning himself. He was almost\nspeechless; his quick breathing under the blankets pulled up to his", "\"Suddenly coming to himself, parched, he demanded a drink of water. She\ndid not move. She had not understood, though he may have thought he", "language. The fever had left him, taking with it the heat of life. And\nwith his panting breast and lustrous eyes he reminded me again of a wild", "of straw on the floor, guarding his bundle amongst a lot of men, of whom\nnot one could understand a single word he said. In the morning they", "may find in the marriage register of the parish. There it stands--Yanko\nGoorall--in the rector's handwriting. The crooked cross made by the", "\"He sat up and called out terribly one word--some word. Then he got up\nas though he hadn't been ill at all, she says. And as in fevered dismay,", "\"'What's the matter with him?' she asked in a sort of vacant\ntrepidation. 'He doesn't look very ill. I never did see anybody look\nlike this before....'", "so frightened. He wanted me just now to give him the baby. I can't\nunderstand what he says to it.'", "teeth and lively glances of black eyes, at first in a sort of anxious\nbaby-talk, then, as he acquired the language, with great fluency," ] ]

[ "What is the language of the people of the country Yanko is washed ashore?", "Who is the eccentric local who decides to hire and support Yanko?", "Who did Yanko rescue that Mr. Swaffer awarded him a cottage for? ", "Who was the servant girl Yanko fell in love with?", "What does the name Goorall mean in Yanko's native country? ", "Who was Little John, Yanko and Amy's son, was named for?", "Waht does Yanko try to each Little John to say in his native language?", "Why does Amy flee from Yanko with their son Little John?", "Just before Yanko died, what had he been asking for?", "Where is the Hamburg emigrant headed?", "What happens on the journey to America?", "How do local villagers treat the emigrant?", "Who is Yanko Goorall?", "Which person offers Yanko shelter?", "Where is Yanko from?", "Who is Amy Foster?", "Who is Johnny?", "Why does Amy become frightened of Yanko?", "What had Yanko been asking for in his ill-induced rant?", "Where is the emigrant sailing from when he is shipwrecked?", "Why do the villagers think the emigrant is dangerous?", "What name does the enigrant take?", "What does Yanko mean?", "Who gives Yanko shelter and employment?", "Who does Yanko marry?", "What is Amy's profession?", "Why does Swaffer give Yanko a cottage?", "Why does Amy flee Yanko?", "What hjad Yanko been asking for in his native tongue?" ]

[ [ "English", "English" ], [ "Mr. Swaffer", "Mr Swaffer" ], [ "Mr. Swaffer's granddaughter. ", "Saving his grandaughter's life. " ], [ "Amy Foster", "Amy Foster" ], [ "a resident of the mountains", "A mountain area." ], [ "Yanko and in his native language means Little John", "His father" ], [ "A prayer", "To pray. " ], [ "Yanko in his illness cries out in his native language.", "She was scared of him." ], [ "Water", "water" ], [ "America", "America" ], [ "Ship is shipwrecked", "he shipwrecks" ], [ "He frightens them", "badly" ], [ "The emigrant", "An emigrant from Central Europe" ], [ "Mr. Swaffer", "Mr. Swaffer" ], [ "Carpathian Mountains", "Carpathian mountains in Central Europe" ], [ "A servant that Yanko falls in love with.", "A servant girl who marries Yanko." ], [ "Amy and Yanko's son.", "Yanko and Amy's son." ], [ "Gravely ill, he begins rambling in his native language.", "He was yelling in his native language. " ], [ "Water", "water" ], [ "Hamburg", "Hamburg" ], [ "They do not know of the shipwreck.", "Because he speaks a strange foreign language." ], [ "Yanko Goorall", "Yanko Goorall" ], [ "Little John", "little John" ], [ "Mr. Swaffer", "Mr. Swaffer" ], [ "Amy Foster", "Amy Foster, a servant girl" ], [ "servant girl", "she is a servant" ], [ "He saved his grandddaughter's life.", "for saving his granddaughter's life" ], [ "He becomes ill and rants in his native language.", "She is fearful for her life after Yanko falls ill and raves in his native language." ], [ "water", "water" ] ]

[ [ "Pollyanna opened wide her eyes at the remonstrative dismay in her aunt's\nvoice.\n\n\"Why, Aunt Polly, you SAID to!\"\n\nAunt Polly sighed.", "\"How do you do, Pollyanna? I--\" She had no chance to say more.\nPollyanna, had fairly flown across the room and flung herself into her\naunt's scandalized, unyielding lap.", "talk about him. Probably, anyhow, that is why she told me not to talk\nabout him.\" And Pollyanna, convinced anew of her aunt's \"kindness,\"", "It was that afternoon that Pollyanna, coming down from her attic room,\nmet her aunt on the stairway.", "\"And so it's hurt that I am, and not sick,\" she sighed at last. \"Well,\nI'm glad of that.\"\n\n\"G-glad, Pollyanna?\" asked her aunt, who was sitting by the bed.", "When the house was reached, Pollyanna unhesitatingly piloted her\ncompanion straight into the presence of her amazed aunt.", "Pollyanna laughed softly again. She turned luminous eyes on her aunt.\n\"Well, you see, since I have been hurt, you've called me 'dear' lots of", "\"Pollyanna,\" interrupted her aunt again, sharply, \"there is one thing\nthat might just as well be understood right away at once; and that is, I\ndo not care to have you keep talking of your father to me.\"", "Pollyanna found her aunt in the sitting room.\n\n\"Who was that man--the one who drove into the yard, Pollyanna?\"\nquestioned the lady a little sharply.", "\"Your--aunt!\" he ejaculated.\n\nPollyanna gave a happy little bounce in her seat.", "Her aunt frowned.\n\n\"When I ask a question, Pollyanna, I prefer that you should answer aloud\nnot merely with your head.\"\n\n\"Yes, Aunt Polly.\"", "\"Dear me, Pollyanna, what ARE you up to now?\" sighed her aunt. \"You ARE\nthe most extraordinary child!\"\n\nPollyanna frowned a little anxiously.", "\"WHAT, Pollyanna?\" Aunt Polly's voice was very sharp now. Her cheeks\nwere very red, too.", "\"Pollyanna, what does this mean?\" cried Aunt Polly then.\n\nPollyanna blinked sleepy eyes and sat up.", "Quite as a matter of course, Pollyanna came straight to her aunt's side\nand gave her an affectionate hug.", "\"But, Mr. Pendleton, I--There's Aunt Polly!\" Pollyanna's eyes were\nblurred with tears.\n\nThe man made an impatient gesture.", "\"She's the niece of one of our best known residents. Her name is\nPollyanna Whittier. I--I don't happen to enjoy a very extensive personal", "\"Your aunt is wanting you, Miss Pollyanna,\" she said with dreary\nlistlessness. \"She telephoned down to the Harlows' across the way. She", "\"PollyANNA!\" ejaculated her aunt, turning sharply about as she reached\nthe head of the stairs. \"I'm surprised at you--making a speech like that\nto me!\"", "\"Oh, Aunt Polly,\" choked Pollyanna. \"Why, I thought you'd be GLAD to\nhave him here! I'm sure, I should think you'd be glad--\"" ], [ "\"She's the niece of one of our best known residents. Her name is\nPollyanna Whittier. I--I don't happen to enjoy a very extensive personal", "Pollyanna opened wide her eyes at the remonstrative dismay in her aunt's\nvoice.\n\n\"Why, Aunt Polly, you SAID to!\"\n\nAunt Polly sighed.", "\"How do you do, Pollyanna? I--\" She had no chance to say more.\nPollyanna, had fairly flown across the room and flung herself into her\naunt's scandalized, unyielding lap.", "Her aunt frowned.\n\n\"When I ask a question, Pollyanna, I prefer that you should answer aloud\nnot merely with your head.\"\n\n\"Yes, Aunt Polly.\"", "\"Pollyanna, what does this mean?\" cried Aunt Polly then.\n\nPollyanna blinked sleepy eyes and sat up.", "talk about him. Probably, anyhow, that is why she told me not to talk\nabout him.\" And Pollyanna, convinced anew of her aunt's \"kindness,\"", "\"But there IS an Aunt Polly?\" demanded the child, anxiously.\n\n\"You bet your life there is,\" cut in Timothy.\n\nPollyanna relaxed visibly.", "\"That will do,\" observed Aunt Polly, with dignity. \"Pollyanna, you may\nbring out your clothes now, and I will look them over. What are not\nsuitable for you I shall give to the Sullivans, of course.\"", "\"Aunt Polly! Well, who is Aunt Polly?\"\n\n\"She's Miss Polly Harrington. I live with her.\"\n\nThe man made a sudden movement.", "\"Yes; I'm her niece. She's taken me to bring up--on account of my\nmother, you know,\" faltered Pollyanna, in a low voice. \"She was her", "\"Why, Aunt Polly, AREN'T you?\" queried Pollyanna, in frank wonder.", "A look of actual terror leaped to the man's eyes.\n\n\"Aunt Polly come--HERE!\"\n\nPollyanna's eyes widened a little.", "\"Have you had your supper, Pollyanna?\"\n\n\"Yes, Aunt Polly.\"", "Pollyanna laughed softly again. She turned luminous eyes on her aunt.\n\"Well, you see, since I have been hurt, you've called me 'dear' lots of", "At her aunt's look of shocked anger, Pollyanna corrected herself at\nonce.", "\"To read? Oh, thank you, Aunt Polly. I love to read!\"\n\nMiss Polly drew in her breath audibly, then she shut her lips together\nhard. Pollyanna, seeing her stern face, frowned a little thoughtfully.", "\"Well, she didn't tell Miss Polly,\" rejoined Nancy. \"Miss Pollyanna told\nme long ago that she couldn't tell her, 'cause her aunt didn't like ter", "\"Dear me, Pollyanna, what ARE you up to now?\" sighed her aunt. \"You ARE\nthe most extraordinary child!\"\n\nPollyanna frowned a little anxiously.", "\"There's Aunt Polly now in the window,\" cried Pollyanna; then, a second\nlater: \"Why, no, she isn't--but I thought I saw her!\"", "\"WHAT, Pollyanna?\" Aunt Polly's voice was very sharp now. Her cheeks\nwere very red, too." ], [ "\"Why, it's a game. Father told it to me, and it's lovely,\" rejoined\nPollyanna. \"We've played it always, ever since I was a little, little", "\"I'll tell ye, ma'am. It's a game Miss Pollyanna's father learned her\nter play. She got a pair of crutches once in a missionary barrel when", "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "\"The--game?\"\n\nPollyanna clapped her hands.\n\n\"There! I 'most forgot; but I've thought it up, Mrs. Snow--what you can\nbe glad about.\"", "Pollyanna stared slightly; then she drew a long breath.\n\n\"Oh, I forgot. You don't know about the game. I remember now.\"\n\n\"Suppose you tell me, then.\"", "\"Oh, yes; the game was to just find something about everything to be\nglad about--no matter what 'twas,\" rejoined Pollyanna, earnestly. \"And\nwe began right then--on the crutches.\"", "\"Oh, oh, oh, how lovely!\" breathed Pollyanna; then she laughed suddenly.\n\"I just reckon the sun himself is trying to play the game now, don't", "always a smile of greeting; and almost everybody knew of the \"game\" that\nPollyanna was playing. To think that now never again would that smiling\nface be seen on their streets--never again would that cheery little", "\"You've--what?\" demanded Aunt Polly.\n\n\"Played it--the game, you know, that father--\" Pollyanna stopped with a\npainful blush at finding herself so soon again on forbidden ground.", "Nancy frowned in meditation. Nancy was getting so she could play this\ngame of \"being glad\" quite successfully, she thought. She rather enjoyed\nstudying out Pollyanna's \"posers,\" too, as she called some of the little\ngirl's questions.", "\"And now I'll tell you the game,\" proposed Pollyanna, blithely\nconfident. \"It'll be just lovely for you to play--it'll be so hard. And", "her words had brought it there. As for telling him the \"glad game,\" and\ntrying to get him to play it--Pollyanna had never seen the time yet when", "Pollyanna, as if it wa'n't yerself that was teachin' me ter play the\ngame,\" she reproached her gravely.", "\"About finding something in everything to be glad about, you know. As\nI said, he began with me on the crutches.\" And once more Pollyanna\ntold her story--this time to a man who listened with tender eyes and\nunderstanding ears.", "\"Well, Pollyanna, is it to be the 'glad game' with me, all the rest of\nmy life?\" asked the man, gently.", "that it was not easy to be glad for anything now. But under Pollyanna's\ncheery instructions and merry laughter at her mistakes, she was learning", "herself was playing the game now, with Pollyanna. To be sure, she was\nnot playing it very well--she had been sorry for everything for so long,", "\"Why, it's the game, and--\" Pollyanna stopped short, her fingers to her\nlips.\n\n\"What game?\"", "Pollyanna. However, suppose you tell me a little more about this nice\nlittle boy.\" And Pollyanna told him.", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"" ], [ "\"Well, goodness me! I can't see anythin' ter be glad about--gettin' a\npair of crutches when you wanted a doll!\"\n\nPollyanna clapped her hands.", "And this time Pollyanna told him. She told him the whole thing from\nthe very first--from the crutches that should have been a doll. As she", "\"Oh, yes; the game was to just find something about everything to be\nglad about--no matter what 'twas,\" rejoined Pollyanna, earnestly. \"And\nwe began right then--on the crutches.\"", "\"About finding something in everything to be glad about, you know. As\nI said, he began with me on the crutches.\" And once more Pollyanna\ntold her story--this time to a man who listened with tender eyes and\nunderstanding ears.", "\"I'll tell ye, ma'am. It's a game Miss Pollyanna's father learned her\nter play. She got a pair of crutches once in a missionary barrel when", "He lifted his chin and braced himself to meet what he expected--the\ngrieved disappointment of Pollyanna's eyes. To his amazement, however,\nthere was neither grief nor disappointment in Pollyanna's eyes. There\nwas only surprised joy.", "\"And so it's hurt that I am, and not sick,\" she sighed at last. \"Well,\nI'm glad of that.\"\n\n\"G-glad, Pollyanna?\" asked her aunt, who was sitting by the bed.", "\"Why, it's a game. Father told it to me, and it's lovely,\" rejoined\nPollyanna. \"We've played it always, ever since I was a little, little", "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "A twig cracked sharply under Pollyanna's foot, and the man turned his\nhead. With a cry of dismay Pollyanna ran to his side.\n\n\"Mr. Pendleton! Oh, are you hurt?\"", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "\"Why, y-yes, Pollyanna.\"\n\n\"Oh, I'm so glad! Then it's all right,\" sighed the little girl. \"Now you\ncan take us both, and everything will be lovely.\"", "Pollyanna gave a sudden radiant smile.\n\n\"That's so! I can be glad of that, can't I?\" she cried.\n\nNancy stared.", "Pollyanna rose reluctantly.\n\n\"All right,\" she sighed. \"I'll hurry.\" Suddenly she laughed. \"I suppose\nI ought to be glad I've got legs to hurry with, hadn't I, Mrs. Snow?\"", "\"Which makes me all the gladder, you know, that I HAVE had my legs,\"\nPollyanna confided to her aunt afterwards.", "Pollyanna laughed softly again. She turned luminous eyes on her aunt.\n\"Well, you see, since I have been hurt, you've called me 'dear' lots of", "Pollyanna laughed.\n\n\"Well, anyhow, you can be glad of that,\" she retorted; \"for when I'm\ntalking, YOU don't have to!\"", "that it was not easy to be glad for anything now. But under Pollyanna's\ncheery instructions and merry laughter at her mistakes, she was learning", "\"We can be glad 'tain't our'n,\" she observed demurely. But Pollyanna did\nnot hear. She had begun to tell of the accident; and in a moment Nancy,\nopen-mouthed, was listening.", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"" ], [ "\"Nancy, you may move Miss Pollyanna's things down-stairs this morning to\nthe room directly beneath. I have decided to have my niece sleep there\nfor the present.\"", "\"There, Pollyanna, here is your room, and your trunk is here, I see.\nHave you your key?\"\n\nPollyanna nodded dumbly. Her eyes were a little wide and frightened.", "It was that afternoon that Pollyanna, coming down from her attic room,\nmet her aunt on the stairway.", "\"In the front attic.\" Miss Polly hesitated, then went on: \"I suppose I\nmay as well tell you now, Nancy. My niece, Miss Pollyanna Whittier, is", "It was all confusion then. First, from the bedroom came Pollyanna's\nterrified \"Aunt Polly Aunt Polly!\" Then Miss Polly, seeing the open", "\"That will do,\" observed Aunt Polly, with dignity. \"Pollyanna, you may\nbring out your clothes now, and I will look them over. What are not\nsuitable for you I shall give to the Sullivans, of course.\"", "mysterious doors was open, and it was toward this that the maid led the\nway. A moment later Pollyanna found herself in a sumptuously furnished\nbedroom while the maid was saying in a frightened voice:", "Half an hour later when Miss Polly, her face expressing stern duty in\nevery line, climbed those stairs and entered Pollyanna's room, she was\ngreeted with a burst of eager enthusiasm.", "For one dazed moment Miss Polly looked at her bedecked self, and at her\nsurroundings; then she gave a low cry and fled to her room. Pollyanna,", "Miss Polly frowned, hesitated, then crossed the room majestically and\nopened the door; but Pollyanna was already out of sight, clattering up\nthe attic stairs.", "When the house was reached, Pollyanna unhesitatingly piloted her\ncompanion straight into the presence of her amazed aunt.", "\"Oh, Aunt Polly, Aunt Polly,\" breathed the little girl, rapturously;\n\"what a perfectly lovely, lovely house! How awfully glad you must be\nyou're so rich!\"", "\"Oh, did you come up here?\" Pollyanna greeted her at the door of Miss\nPolly's own room. \"That'll be nicer yet! I've got the comb. Now sit", "the room. Then another came, and another; but Pollyanna paid no heed.\nPollyanna had made a wonderful discovery--against this window a", "\"How do you do, Pollyanna? I--\" She had no chance to say more.\nPollyanna, had fairly flown across the room and flung herself into her\naunt's scandalized, unyielding lap.", "\"To read? Oh, thank you, Aunt Polly. I love to read!\"\n\nMiss Polly drew in her breath audibly, then she shut her lips together\nhard. Pollyanna, seeing her stern face, frowned a little thoughtfully.", "Aid meeting that afternoon, owing to a headache. When Aunt Polly went\nup-stairs to her room and closed the door, Pollyanna tried to be sorry", "It was nearly seven o'clock when Pollyanna awoke that first day after\nher arrival. Her windows faced the south and the west, so she could not", "At twilight a wonderfully tremulous, wonderfully different Aunt Polly\ncrept to Pollyanna's bedside. The nurse was at supper. They had the room\nto themselves.", "Pollyanna found her aunt in the sitting room.\n\n\"Who was that man--the one who drove into the yard, Pollyanna?\"\nquestioned the lady a little sharply." ], [ "\"Aunt Polly! Well, who is Aunt Polly?\"\n\n\"She's Miss Polly Harrington. I live with her.\"\n\nThe man made a sudden movement.", "\"And you won't--now?\" The man asked the question without turning his\nhead.\n\n\"Of course not! I'm Aunt Polly's.\"\n\nThe man turned now, almost fiercely.", "\"Aunt Polly has been so good to me,\" she began; but the man interrupted\nher sharply. The old irritability had come back to his face. Impatience", "\"Very much. I suppose--there isn't any more to-day that--that Aunt Polly\nDIDN'T send, is there?\" he asked with an odd smile.\n\nHis visitor looked distressed.", "\"Why, Mr. Pendleton, I can't--you know I can't. Why, I'm--Aunt Polly's!\"", "\"Oh, yes, sir! Why, once when Aunt Polly--\"\n\n\"Never mind Aunt Polly now,\" cut in the man scowlingly, as he tried to\nmove himself a little.", "\"Oh, yes, Aunt Polly. Besides, fath--I mean, I was taught at home some,\ntoo.\"\n\nMiss Polly frowned.", "\"Why, Mr. Tom--Aunt Polly!\" she stammered. \"Don't look so scared! It", "The little girl drew in her breath tremulously.\n\n\"Why, Aunt Polly, you--you mean--\" She hesitated, and her aunt filled\nthe pause.", "up?\" she cried. \"Why, Aunt Polly, I can't get up,\" she moaned, falling\nback on the pillow, after an ineffectual attempt to lift herself.", "Aunt Polly did not answer. Her hand was at her throat again. Her eyes\nwere full of tears. She had turned away and was hurrying from the room\nthrough the door by which the nurse had just entered.", "instead of her, just this once. Aunt Polly, may I?\"", "\"Why, no, of course you didn't, Aunt Polly!\" she hurried on, with a\nhot blush. \"I forgot; rich folks never have to have them. But you see", "\"Miss Hunt, please, I want Aunt Polly. I want her right away, quick,\nplease!\"\n\nThe nurse closed the door and came forward hurriedly. Her face was very\npale.", "\"Why, Aunt Polly,\" she breathed, \"I should think you'd be glad to have\nme gl--Oh!\" she broke off, clapping her hand to her lips and hurrying\nblindly from the room.", "\"But there IS an Aunt Polly?\" demanded the child, anxiously.\n\n\"You bet your life there is,\" cut in Timothy.\n\nPollyanna relaxed visibly.", "\"Oh, Aunt Polly, Aunt Polly,\" breathed the little girl, rapturously;\n\"what a perfectly lovely, lovely house! How awfully glad you must be\nyou're so rich!\"", "Aunt Polly caught her breath a little sharply. It was even harder this\ntime to keep her voice steady; but she did it.", "A look of actual terror leaped to the man's eyes.\n\n\"Aunt Polly come--HERE!\"\n\nPollyanna's eyes widened a little.", "\"Oh, it wasn't me, truly--not really, you know; not so much as it was\nAunt Polly.\"\n\nThe doctor turned with a quick start." ], [ "It was on the last day of October that the accident occurred. Pollyanna,\nhurrying home from school, crossed the road at an apparently safe\ndistance in front of a swiftly approaching motor car.", "\"We can be glad 'tain't our'n,\" she observed demurely. But Pollyanna did\nnot hear. She had begun to tell of the accident; and in a moment Nancy,\nopen-mouthed, was listening.", "\"There! Isn't this lovely? Is it far? I hope 'tis--I love to ride,\"\nsighed Pollyanna, as the wheels began to turn. \"Of course, if 'tisn't", "\"Hurt? Oh, yes; I--I ran.\" Pollyanna's eyes were dazed. She lifted her\nhand to her forehead. \"Why, it's--done up, and it--hurts!\"", "caught Miss Polly as she fell. Dr. Warren stood by, helplessly. It was\nnot until Pollyanna cried out again sharply and the nurse closed the", "For a moment the doctor did not answer. When he did speak his voice was\nso low Pollyanna could but just hear the words.\n\n\"Yes, Pollyanna, I--I thought she did look--just lovely.\"", "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "though there were tears in her eyes. She spoke of her grief and horror\nat the accident; then she asked diffidently if she might see Pollyanna.", "It was there that Pollyanna, on her way home from the Pendleton house,\nfound him. With a little cry she ran forward.", "\"And so it's hurt that I am, and not sick,\" she sighed at last. \"Well,\nI'm glad of that.\"\n\n\"G-glad, Pollyanna?\" asked her aunt, who was sitting by the bed.", "A twig cracked sharply under Pollyanna's foot, and the man turned his\nhead. With a cry of dismay Pollyanna ran to his side.\n\n\"Mr. Pendleton! Oh, are you hurt?\"", "It was on a rainy day about a week after Pollyanna's visit to Mr. John\nPendleton, that Miss Polly was driven by Timothy to an early afternoon", "Pollyanna laughed softly again. She turned luminous eyes on her aunt.\n\"Well, you see, since I have been hurt, you've called me 'dear' lots of", "\"Gone!\" gasped Pollyanna. \"You don't mean that I've driven her away?\"\nThrough Pollyanna's mind at the moment trooped remorseful memories", "\"For the land's sake, Miss Pollyanna, what a scare you did give me,\"\npanted Nancy, hurrying up to the big rock, down which Pollyanna had just\nregretfully slid.", "that it did happen. Pollyanna, however, at five o'clock, was borne, limp\nand unconscious, into the little room that was so dear to her. There, by", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "\"O dear! And you did look so pretty,\" almost sobbed Pollyanna, as she\nstumbled through the door.\n\nDown-stairs Pollyanna found the doctor waiting in his gig.", "Nancy made a sudden queer little sound with her mouth--but when\nPollyanna turned, her head was in the trunk again. At one of the\nwindows, a few minutes later, Pollyanna gave a glad cry and clapped her\nhands joyously.", "\"Well, Miss Pollyanna, may I have the pleasure of seeing you home?\"\nasked the doctor smilingly. \"I started to drive on a few minutes ago;\nthen it occurred to me that I'd wait for you.\"" ], [ "\"Aunt Polly! Well, who is Aunt Polly?\"\n\n\"She's Miss Polly Harrington. I live with her.\"\n\nThe man made a sudden movement.", "\"Why, because you were lovers, you know once; and I was so glad you\nstill felt that way now.\"\n\n\"Lovers!--your Aunt Polly and I?\"", "\"Aunt Polly has been so good to me,\" she began; but the man interrupted\nher sharply. The old irritability had come back to his face. Impatience", "\"And you won't--now?\" The man asked the question without turning his\nhead.\n\n\"Of course not! I'm Aunt Polly's.\"\n\nThe man turned now, almost fiercely.", "\"Yes, sir. Didn't you know? I supposed everybody knew that. He married\nAunt Polly's sister, and she was my mother.\"", "\"Oh, yes, sir! Why, once when Aunt Polly--\"\n\n\"Never mind Aunt Polly now,\" cut in the man scowlingly, as he tried to\nmove himself a little.", "\"Very much. I suppose--there isn't any more to-day that--that Aunt Polly\nDIDN'T send, is there?\" he asked with an odd smile.\n\nHis visitor looked distressed.", "The little girl drew in her breath tremulously.\n\n\"Why, Aunt Polly, you--you mean--\" She hesitated, and her aunt filled\nthe pause.", "Aunt Polly caught her breath a little sharply. It was even harder this\ntime to keep her voice steady; but she did it.", "\"Oh, I know just the place for you,\" she cried. \"Aunt Polly'll take\nyou--I know she will! Didn't she take me? And didn't she take Fluffy", "\"HER?\"\n\n\"Yes; Aunt Polly. And, of course he WOULD want to tell her himself\ninstead of having me do it--lovers, so!\"", "\"That will do,\" observed Aunt Polly, with dignity. \"Pollyanna, you may\nbring out your clothes now, and I will look them over. What are not\nsuitable for you I shall give to the Sullivans, of course.\"", "\"Oh--oh--oh! Why, Aunt Polly, you've got 'em, too,\" she cried\nrapturously, dancing round and round her aunt, as that lady entered the\nsitting room.", "\"But, Mr. Pendleton, I--There's Aunt Polly!\" Pollyanna's eyes were\nblurred with tears.\n\nThe man made an impatient gesture.", "\"Why, Mr. Pendleton, I can't--you know I can't. Why, I'm--Aunt Polly's!\"", "here almost ten months, and I didn't miss the wedding, anyhow. Wasn't\nthat just like you, Aunt Polly, to come on here and get married right", "\"Oh, Aunt Polly--YOU? I'm so glad! You see, I've really wanted you most\nof anybody, all the time.\"", "\"Why, no, of course you didn't, Aunt Polly!\" she hurried on, with a\nhot blush. \"I forgot; rich folks never have to have them. But you see", "\"But there IS an Aunt Polly?\" demanded the child, anxiously.\n\n\"You bet your life there is,\" cut in Timothy.\n\nPollyanna relaxed visibly.", "\"Oh, yes, Aunt Polly. Besides, fath--I mean, I was taught at home some,\ntoo.\"\n\nMiss Polly frowned." ], [ "\"You don't seem ter see any trouble bein' glad about everythin',\"\nretorted Nancy, choking a little over her remembrance of Pollyanna's\nbrave attempts to like the bare little attic room.", "Miss Polly turned and walked down the hall toward the attic stairway\ndoor. She was glad, now, that she had put the child in the attic room.", "Half an hour later when Miss Polly, her face expressing stern duty in\nevery line, climbed those stairs and entered Pollyanna's room, she was\ngreeted with a burst of eager enthusiasm.", "In the hot little attic room Pollyanna dropped herself on to one of the\nstraight-backed chairs. To her, existence loomed ahead one endless round\nof duty.", "Pollyanna by her side, and the lantern in her hand, she turned back into\nthe attic.", "Miss Polly frowned, hesitated, then crossed the room majestically and\nopened the door; but Pollyanna was already out of sight, clattering up\nthe attic stairs.", "Nancy made a sudden queer little sound with her mouth--but when\nPollyanna turned, her head was in the trunk again. At one of the\nwindows, a few minutes later, Pollyanna gave a glad cry and clapped her\nhands joyously.", "the room. Then another came, and another; but Pollyanna paid no heed.\nPollyanna had made a wonderful discovery--against this window a", "The little room was cooler now, and the air blew in fresh and sweet.\nOutside, the birds were twittering joyously, and Pollyanna flew to the", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "\"Oh, did you come up here?\" Pollyanna greeted her at the door of Miss\nPolly's own room. \"That'll be nicer yet! I've got the comb. Now sit", "Pollyanna, smiling bravely now, flew about, hanging the dresses in\nthe closet, stacking the books on the table, and putting away the\nundergarments in the bureau drawers.", "It was that afternoon that Pollyanna, coming down from her attic room,\nmet her aunt on the stairway.", "\"PollyANna!\" gasped the lady; but Pollyanna was gone, and only the\ndistant bang of the attic-stairway door answered for her. Pollyanna had\ngone to help Nancy bring down \"her things.\"", "\"Oh, yes; the game was to just find something about everything to be\nglad about--no matter what 'twas,\" rejoined Pollyanna, earnestly. \"And\nwe began right then--on the crutches.\"", "\"We will go up-stairs to your room. Your trunk is already there, I\npresume. I told Timothy to take it up--if you had one. You may follow\nme, Pollyanna.\"", "\"In the front attic.\" Miss Polly hesitated, then went on: \"I suppose I\nmay as well tell you now, Nancy. My niece, Miss Pollyanna Whittier, is", "\"Oh, I'm so glad,\" exulted Pollyanna. \"I love carpets. We didn't have\nany, only two little rugs that came in a missionary barrel, and one", "\"There, Pollyanna, here is your room, and your trunk is here, I see.\nHave you your key?\"\n\nPollyanna nodded dumbly. Her eyes were a little wide and frightened.", "\"You seem to--to be glad for a good many things, my dear,\" faltered Aunt\nPolly, putting her hand to her throat as if her collar bound.\n\nPollyanna laughed softly." ], [ "It did not take long for the entire town of Beldingsville to learn that\nthe great New York doctor had said Pollyanna Whittier would never", "Boston, and put her on the Beldingsville train. Of course you would be\nnotified what day and train to expect Pollyanna on.", "\"Why, about where we're going to live, of course,\" rejoined Pollyanna,\nin obvious surprise. \"I THOUGHT you meant here, at first. You said it", "\"See here, Pollyanna, how would you like to come and live with me?\" he\nasked, a little impatiently. \"I don't see anything of you, nowadays.\"", "It was there that Pollyanna, on her way home from the Pendleton house,\nfound him. With a little cry she ran forward.", "In due time came the telegram announcing that Pollyanna would arrive in\nBeldingsville the next day, the twenty-fifth of June, at four o'clock.", "It was this thought that made him ask very gently, as soon as he could\ncontrol his voice:\n\n\"I wonder if you know, Miss Harrington, how hard I tried to get\nPollyanna to come and live with me.\"", "\"Oh, did you come up here?\" Pollyanna greeted her at the door of Miss\nPolly's own room. \"That'll be nicer yet! I've got the comb. Now sit", "\"As if I'd leave her now!\" thought Pollyanna, as she climbed the stairs\nto her room a little later. \"I always knew I wanted to live with Aunt", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "been so unpleasant a surprise to her. The letter was addressed to Miss\nPolly Harrington, Beldingsville, Vermont; and it read as follows:", "\"No, I shall not go. It is not necessary that I should, I think. That is\nall.\" And she turned away--Miss Polly's arrangements for the comfort of\nher niece, Pollyanna, were complete.", "Half an hour later when Miss Polly, her face expressing stern duty in\nevery line, climbed those stairs and entered Pollyanna's room, she was\ngreeted with a burst of eager enthusiasm.", "\"Nowhere! Why, you can't do that--everybody lives somewhere,\" asserted\nPollyanna.\n\n\"Well, I don't--just now. I'm huntin' up a new place.\"", "It was on a rainy day about a week after Pollyanna's visit to Mr. John\nPendleton, that Miss Polly was driven by Timothy to an early afternoon", "On the afternoon that Pollyanna told John Pendleton of Jimmy Bean, the\nRev. Paul Ford climbed the hill and entered the Pendleton Woods, hoping", "When the house was reached, Pollyanna unhesitatingly piloted her\ncompanion straight into the presence of her amazed aunt.", "It was nearly seven o'clock when Pollyanna awoke that first day after\nher arrival. Her windows faced the south and the west, so she could not", "As the warm August days passed, Pollyanna went very frequently to the\ngreat house on Pendleton Hill. She did not feel, however, that her", "For a moment the doctor did not answer. When he did speak his voice was\nso low Pollyanna could but just hear the words.\n\n\"Yes, Pollyanna, I--I thought she did look--just lovely.\"" ], [ "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "\"Why, it's a game. Father told it to me, and it's lovely,\" rejoined\nPollyanna. \"We've played it always, ever since I was a little, little", "\"The--game?\"\n\nPollyanna clapped her hands.\n\n\"There! I 'most forgot; but I've thought it up, Mrs. Snow--what you can\nbe glad about.\"", "\"I'll tell ye, ma'am. It's a game Miss Pollyanna's father learned her\nter play. She got a pair of crutches once in a missionary barrel when", "\"Oh, yes; the game was to just find something about everything to be\nglad about--no matter what 'twas,\" rejoined Pollyanna, earnestly. \"And\nwe began right then--on the crutches.\"", "\"Oh, oh, oh, how lovely!\" breathed Pollyanna; then she laughed suddenly.\n\"I just reckon the sun himself is trying to play the game now, don't", "herself was playing the game now, with Pollyanna. To be sure, she was\nnot playing it very well--she had been sorry for everything for so long,", "always a smile of greeting; and almost everybody knew of the \"game\" that\nPollyanna was playing. To think that now never again would that smiling\nface be seen on their streets--never again would that cheery little", "Pollyanna stared slightly; then she drew a long breath.\n\n\"Oh, I forgot. You don't know about the game. I remember now.\"\n\n\"Suppose you tell me, then.\"", "Nancy frowned in meditation. Nancy was getting so she could play this\ngame of \"being glad\" quite successfully, she thought. She rather enjoyed\nstudying out Pollyanna's \"posers,\" too, as she called some of the little\ngirl's questions.", "that it was not easy to be glad for anything now. But under Pollyanna's\ncheery instructions and merry laughter at her mistakes, she was learning", "her words had brought it there. As for telling him the \"glad game,\" and\ntrying to get him to play it--Pollyanna had never seen the time yet when", "\"Pollyanna,\" she cried sharply, \"WILL you stop using that everlasting\nword 'glad'! It's 'glad'--'glad'--'glad' from morning till night until I\nthink I shall grow wild!\"", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "\"And now I'll tell you the game,\" proposed Pollyanna, blithely\nconfident. \"It'll be just lovely for you to play--it'll be so hard. And", "Pollyanna laughed.\n\n\"Well, anyhow,\" she chuckled, \"you can be glad it isn't 'Hephzibah.'\"\n\n\"Hephzibah!\"", "resolutely, these days, however, Pollyanna was turning a cheerful face\ntoward whatever came. Was she not specially bound to play the game, now", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "\"Why, it's the game, and--\" Pollyanna stopped short, her fingers to her\nlips.\n\n\"What game?\"", "\"Yes'm,\" smiled Pollyanna, cheerfully, \"I reckon I do, maybe. But you\nsee they used to bring me up, and--\"" ], [ "talk about him. Probably, anyhow, that is why she told me not to talk\nabout him.\" And Pollyanna, convinced anew of her aunt's \"kindness,\"", "\"I couldn't, sir--truly,\" faltered Pollyanna. \"You see, I found\nout--without asking. Aunt Polly WANTS me with her, and--and I want to", "\"Yes; I'm her niece. She's taken me to bring up--on account of my\nmother, you know,\" faltered Pollyanna, in a low voice. \"She was her", "\"And so it's hurt that I am, and not sick,\" she sighed at last. \"Well,\nI'm glad of that.\"\n\n\"G-glad, Pollyanna?\" asked her aunt, who was sitting by the bed.", "\"As if I'd leave her now!\" thought Pollyanna, as she climbed the stairs\nto her room a little later. \"I always knew I wanted to live with Aunt", "\"No, I shall not go. It is not necessary that I should, I think. That is\nall.\" And she turned away--Miss Polly's arrangements for the comfort of\nher niece, Pollyanna, were complete.", "Pollyanna opened wide her eyes at the remonstrative dismay in her aunt's\nvoice.\n\n\"Why, Aunt Polly, you SAID to!\"\n\nAunt Polly sighed.", "\"Oh, Aunt Polly,\" choked Pollyanna. \"Why, I thought you'd be GLAD to\nhave him here! I'm sure, I should think you'd be glad--\"", "\"To read? Oh, thank you, Aunt Polly. I love to read!\"\n\nMiss Polly drew in her breath audibly, then she shut her lips together\nhard. Pollyanna, seeing her stern face, frowned a little thoughtfully.", "It was this thought that made him ask very gently, as soon as he could\ncontrol his voice:\n\n\"I wonder if you know, Miss Harrington, how hard I tried to get\nPollyanna to come and live with me.\"", "\"That will do,\" observed Aunt Polly, with dignity. \"Pollyanna, you may\nbring out your clothes now, and I will look them over. What are not\nsuitable for you I shall give to the Sullivans, of course.\"", "\"Oh, yes, they do,\" nodded Pollyanna, entirely misunderstanding her\naunt's words. \"I told everybody we should keep it, if I didn't find", "\"You seem to--to be glad for a good many things, my dear,\" faltered Aunt\nPolly, putting her hand to her throat as if her collar bound.\n\nPollyanna laughed softly.", "\"Yes.\" Pollyanna hesitated, then continued with her usual truthfulness.\n\"You see, _I_ wanted Dr. Chilton all the time, but Aunt Polly wanted", "\"Why, y-yes, Pollyanna.\"\n\n\"Oh, I'm so glad! Then it's all right,\" sighed the little girl. \"Now you\ncan take us both, and everything will be lovely.\"", "\"Yes,\" nodded Pollyanna, happily. \"That's the story-part, you see. I\ndidn't know it till Nancy told me. She said Aunt Polly had a lover years", "Her aunt frowned.\n\n\"When I ask a question, Pollyanna, I prefer that you should answer aloud\nnot merely with your head.\"\n\n\"Yes, Aunt Polly.\"", "\"Yes. I think Pollyanna will understand. You will tell her I thought she\nwould be--GLAD!\"\n\n\"Why, of--of course,\" faltered Miss Polly.", "\"How do you do, Pollyanna? I--\" She had no chance to say more.\nPollyanna, had fairly flown across the room and flung herself into her\naunt's scandalized, unyielding lap.", "Pollyanna laughed softly again. She turned luminous eyes on her aunt.\n\"Well, you see, since I have been hurt, you've called me 'dear' lots of" ], [ "\"Aunt Polly! Well, who is Aunt Polly?\"\n\n\"She's Miss Polly Harrington. I live with her.\"\n\nThe man made a sudden movement.", "\"And you won't--now?\" The man asked the question without turning his\nhead.\n\n\"Of course not! I'm Aunt Polly's.\"\n\nThe man turned now, almost fiercely.", "\"Why, because you were lovers, you know once; and I was so glad you\nstill felt that way now.\"\n\n\"Lovers!--your Aunt Polly and I?\"", "\"Aunt Polly has been so good to me,\" she began; but the man interrupted\nher sharply. The old irritability had come back to his face. Impatience", "\"Yes, sir. Didn't you know? I supposed everybody knew that. He married\nAunt Polly's sister, and she was my mother.\"", "that Aunt Polly was playing it, too? And Aunt Polly found so many things\nto be glad about! It was Aunt Polly, too, who discovered the story", "\"Oh, yes, sir! Why, once when Aunt Polly--\"\n\n\"Never mind Aunt Polly now,\" cut in the man scowlingly, as he tried to\nmove himself a little.", "\"Very much. I suppose--there isn't any more to-day that--that Aunt Polly\nDIDN'T send, is there?\" he asked with an odd smile.\n\nHis visitor looked distressed.", "\"Oh, Aunt Polly--YOU? I'm so glad! You see, I've really wanted you most\nof anybody, all the time.\"", "\"Perhaps, some day, dear--\" But Aunt Polly did not finish. Aunt Polly\ndid not dare to tell, yet, the great hope that Dr. Chilton had put into", "\"HER?\"\n\n\"Yes; Aunt Polly. And, of course he WOULD want to tell her himself\ninstead of having me do it--lovers, so!\"", "\"Why, Aunt Polly,\" she breathed, \"I should think you'd be glad to have\nme gl--Oh!\" she broke off, clapping her hand to her lips and hurrying\nblindly from the room.", "\"Oh, Aunt Polly, Aunt Polly, I don't know how to be glad enough that\nyou let me come to live with you,\" she was sobbing. \"You don't know how", "\"With you?--in your bed?\" she cried rapturously. \"Oh, Aunt Polly, Aunt\nPolly, how perfectly lovely of you! And when I've so wanted to sleep", "\"Oh, I know just the place for you,\" she cried. \"Aunt Polly'll take\nyou--I know she will! Didn't she take me? And didn't she take Fluffy", "\"To read? Oh, thank you, Aunt Polly. I love to read!\"\n\nMiss Polly drew in her breath audibly, then she shut her lips together\nhard. Pollyanna, seeing her stern face, frowned a little thoughtfully.", "\"Why, Mr. Tom--Aunt Polly!\" she stammered. \"Don't look so scared! It", "\"Glad? GLAD? Well, I reckon I am glad! Oh, Aunt Polly, I've so wanted to\nfind a place for Jimmy--and that's such a lovely place! Besides, I'm", "was here that you had wanted Aunt Polly's hand and heart all these years\nto make a home, and--\"", "\"Why, Mr. Pendleton, I can't--you know I can't. Why, I'm--Aunt Polly's!\"" ], [ "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "\"Why, it's a game. Father told it to me, and it's lovely,\" rejoined\nPollyanna. \"We've played it always, ever since I was a little, little", "that it was not easy to be glad for anything now. But under Pollyanna's\ncheery instructions and merry laughter at her mistakes, she was learning", "her words had brought it there. As for telling him the \"glad game,\" and\ntrying to get him to play it--Pollyanna had never seen the time yet when", "\"The--game?\"\n\nPollyanna clapped her hands.\n\n\"There! I 'most forgot; but I've thought it up, Mrs. Snow--what you can\nbe glad about.\"", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "\"I'll tell ye, ma'am. It's a game Miss Pollyanna's father learned her\nter play. She got a pair of crutches once in a missionary barrel when", "Pollyanna, as if it wa'n't yerself that was teachin' me ter play the\ngame,\" she reproached her gravely.", "Nancy frowned in meditation. Nancy was getting so she could play this\ngame of \"being glad\" quite successfully, she thought. She rather enjoyed\nstudying out Pollyanna's \"posers,\" too, as she called some of the little\ngirl's questions.", "\"Oh, yes; the game was to just find something about everything to be\nglad about--no matter what 'twas,\" rejoined Pollyanna, earnestly. \"And\nwe began right then--on the crutches.\"", "\"Yes, she said she hoped you'd be. That's why she told you, to make\nyou--GLAD, Pollyanna.\"\n\nPollyanna looked up quickly.", "\"Well, Pollyanna, is it to be the 'glad game' with me, all the rest of\nmy life?\" asked the man, gently.", "\"Yes. I think Pollyanna will understand. You will tell her I thought she\nwould be--GLAD!\"\n\n\"Why, of--of course,\" faltered Miss Polly.", "\"Yes. You told her she could be glad because other folks wasn't like\nher--all sick, you know.\"\n\n\"Yes,\" nodded Pollyanna.", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "\"About finding something in everything to be glad about, you know. As\nI said, he began with me on the crutches.\" And once more Pollyanna\ntold her story--this time to a man who listened with tender eyes and\nunderstanding ears.", "Pollyanna stared slightly; then she drew a long breath.\n\n\"Oh, I forgot. You don't know about the game. I remember now.\"\n\n\"Suppose you tell me, then.\"", "\"Oh, oh, oh, how lovely!\" breathed Pollyanna; then she laughed suddenly.\n\"I just reckon the sun himself is trying to play the game now, don't", "\"You seem to--to be glad for a good many things, my dear,\" faltered Aunt\nPolly, putting her hand to her throat as if her collar bound.\n\nPollyanna laughed softly.", "\"Pollyanna,\" she cried sharply, \"WILL you stop using that everlasting\nword 'glad'! It's 'glad'--'glad'--'glad' from morning till night until I\nthink I shall grow wild!\"" ], [ "Pollyanna rose reluctantly.\n\n\"All right,\" she sighed. \"I'll hurry.\" Suddenly she laughed. \"I suppose\nI ought to be glad I've got legs to hurry with, hadn't I, Mrs. Snow?\"", "\"And so it's hurt that I am, and not sick,\" she sighed at last. \"Well,\nI'm glad of that.\"\n\n\"G-glad, Pollyanna?\" asked her aunt, who was sitting by the bed.", "It was on the last day of October that the accident occurred. Pollyanna,\nhurrying home from school, crossed the road at an apparently safe\ndistance in front of a swiftly approaching motor car.", "\"We can be glad 'tain't our'n,\" she observed demurely. But Pollyanna did\nnot hear. She had begun to tell of the accident; and in a moment Nancy,\nopen-mouthed, was listening.", "\"I'll tell ye, ma'am. It's a game Miss Pollyanna's father learned her\nter play. She got a pair of crutches once in a missionary barrel when", "caught Miss Polly as she fell. Dr. Warren stood by, helplessly. It was\nnot until Pollyanna cried out again sharply and the nurse closed the", "treatment. There seemed every reason to believe, indeed, that Dr. Mead's\nworst fears would be realized--that Pollyanna would never walk again.", "And this time Pollyanna told him. She told him the whole thing from\nthe very first--from the crutches that should have been a doll. As she", "\"Hurt? Oh, yes; I--I ran.\" Pollyanna's eyes were dazed. She lifted her\nhand to her forehead. \"Why, it's--done up, and it--hurts!\"", "\"Oh,\" sighed Pollyanna, falling back a little. \"That's all right, then.\nYou see, Mr. Pendleton HAD broken his leg when I found him--but he was\nlying down, though. And you are sitting up.\"", "though there were tears in her eyes. She spoke of her grief and horror\nat the accident; then she asked diffidently if she might see Pollyanna.", "A twig cracked sharply under Pollyanna's foot, and the man turned his\nhead. With a cry of dismay Pollyanna ran to his side.\n\n\"Mr. Pendleton! Oh, are you hurt?\"", "\"Which makes me all the gladder, you know, that I HAVE had my legs,\"\nPollyanna confided to her aunt afterwards.", "\"A broken leg? Oh, Mr. Pendleton, how perfectly awful!\" shuddered\nPollyanna. \"But I'm so glad I came! Can't _I_ do--\"", "Pollyanna laughed softly again. She turned luminous eyes on her aunt.\n\"Well, you see, since I have been hurt, you've called me 'dear' lots of", "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "\"Well, goodness me! I can't see anythin' ter be glad about--gettin' a\npair of crutches when you wanted a doll!\"\n\nPollyanna clapped her hands.", "For a moment the doctor did not answer. When he did speak his voice was\nso low Pollyanna could but just hear the words.\n\n\"Yes, Pollyanna, I--I thought she did look--just lovely.\"", "or death. It will mean--I honestly believe--nine chances out of ten that\nPollyanna Whittier will walk again!\"", "\"For the land's sake, Miss Pollyanna, what a scare you did give me,\"\npanted Nancy, hurrying up to the big rock, down which Pollyanna had just\nregretfully slid." ], [ "Pollyanna ate her bread and milk with good appetite; then, at Nancy's\nsuggestion, she went into the sitting room, where her aunt sat reading.\nMiss Polly looked up coldly.", "\"I'm very sorry, Pollyanna, to have been obliged so soon to send you\ninto the kitchen to eat bread and milk.\"", "\"But Pollyanna, Pollyanna,\" remonstrated Aunt Polly, following the\nlittle girl from the room and panting up-stairs after her.", "In the hot little attic room Pollyanna dropped herself on to one of the\nstraight-backed chairs. To her, existence loomed ahead one endless round\nof duty.", "Miss Polly frowned, hesitated, then crossed the room majestically and\nopened the door; but Pollyanna was already out of sight, clattering up\nthe attic stairs.", "\"Nancy, you may move Miss Pollyanna's things down-stairs this morning to\nthe room directly beneath. I have decided to have my niece sleep there\nfor the present.\"", "It was that afternoon that Pollyanna, coming down from her attic room,\nmet her aunt on the stairway.", "Aid meeting that afternoon, owing to a headache. When Aunt Polly went\nup-stairs to her room and closed the door, Pollyanna tried to be sorry", "\"And won't ye jest be listenin' ter this, Miss Pollyanna. You're ter\nsleep down-stairs in the room straight under this. You are--you are!\"\n\nPollyanna actually grew white.", "\"How do you do, Pollyanna? I--\" She had no chance to say more.\nPollyanna, had fairly flown across the room and flung herself into her\naunt's scandalized, unyielding lap.", "\"It's the little girl from Miss Polly's, mother,\" announced Milly, in a\ntired manner; then Pollyanna found herself alone with the invalid.", "\"There, Pollyanna, here is your room, and your trunk is here, I see.\nHave you your key?\"\n\nPollyanna nodded dumbly. Her eyes were a little wide and frightened.", "For a moment after she had gone Pollyanna stood quite still, looking\nafter her. Then she turned her wide eyes to the bare wall, the bare", "At twilight a wonderfully tremulous, wonderfully different Aunt Polly\ncrept to Pollyanna's bedside. The nurse was at supper. They had the room\nto themselves.", "Aunt Polly, indeed, seemed particularly bitter against Dr. Chilton, as\nPollyanna found out one day when a hard cold shut her up in the house.", "For one dazed moment Miss Polly looked at her bedecked self, and at her\nsurroundings; then she gave a low cry and fled to her room. Pollyanna,", "\"Nancy,\" directed her mistress, sharply, \"you may set the muffins down\nand go at once to Miss Pollyanna's room and shut the windows. Shut the", "Bang went two doors and a chair before Pollyanna at last reached her\ngoal--Aunt Polly.", "Pollyanna found her aunt in the sitting room.\n\n\"Who was that man--the one who drove into the yard, Pollyanna?\"\nquestioned the lady a little sharply.", "Half an hour later when Miss Polly, her face expressing stern duty in\nevery line, climbed those stairs and entered Pollyanna's room, she was\ngreeted with a burst of eager enthusiasm." ], [ "Pendleton. He lives all by himself in the big house on Pendleton Hill.\nHe won't even have any one 'round ter cook for him--comes down ter the", "In the ceremonious \"parlor\" of the Harrington homestead, Mr. John\nPendleton did not have to wait long before a swift step warned him of", "corner of the house, and ran with all his might down Pendleton Hill.", "how well he was doing. Jimmy had told her what a first-rate home he had,\nand what bang-up \"folks\" Mr. Pendleton made; and both had said that it", "Mr. Pendleton laughed.", "Dr. Chilton laughed a little constrainedly.\n\n\"So Mr. Pendleton says it takes a woman's hand and heart to make a home,\ndoes he?\" he asked evasively.", "\"Not exactly. It's Mr. John Pendleton. He would like to see you to-day,\nif you'll be so good as to come. It's stopped raining, so I drove down", "ago, and they quarrelled. She didn't know who it was at first. But we've\nfound out now. It's Mr. Pendleton, you know.\"", "Pendleton I will be down at once.' An' I come an' told him. Then I come\nout here an' told you,\" finished Nancy, casting another backward glance\ntoward the house.", "so glad for Mr. Pendleton, too. You see, now he'll have the child's\npresence.\"", "\"Yes; and I'm so glad now. It's come out lovely. Mr. Pendleton asked\nme to come and live with him, but of course I wouldn't leave Aunt Polly", "library, with John Pendleton himself sitting near her, his long, thin\nhands lying idle on the arms of his chair, and his faithful little dog\nat his feet.", "As soon as she could, after that, she hurried up the hill to John\nPendleton's house; and in due time she found herself in the great dim", "Mr. Tom said she had, and that he was livin' now right in this town. And\nNOW I know, of course. It's John Pendleton. Hain't he got a mystery in", "you?\" she cried, forgetting for the moment that Mr. Pendleton could not\nknow what she was talking about. \"Oh, how I wish I had a lot of those", "The great gray pile of masonry looked very different to Pollyanna when\nshe made her second visit to the house of Mr. John Pendleton. Windows", "was sure. He had been then with the Man, Mr. John Pendleton. She was\nlooking now, hoping to see him. For some minutes she watched eagerly,", "It was there that Pollyanna, on her way home from the Pendleton house,\nfound him. With a little cry she ran forward.", "\"Pendleton,\" began the doctor, abruptly, \"I've come to you because you,\nbetter than any one else in town, know something of my relations with\nMiss Polly Harrington.\"", "\"Why, Mr. Pendleton, she's glad, I know, to have--\"" ], [ "\"Oh, yes; the game was to just find something about everything to be\nglad about--no matter what 'twas,\" rejoined Pollyanna, earnestly. \"And\nwe began right then--on the crutches.\"", "\"Well, goodness me! I can't see anythin' ter be glad about--gettin' a\npair of crutches when you wanted a doll!\"\n\nPollyanna clapped her hands.", "\"About finding something in everything to be glad about, you know. As\nI said, he began with me on the crutches.\" And once more Pollyanna\ntold her story--this time to a man who listened with tender eyes and\nunderstanding ears.", "And this time Pollyanna told him. She told him the whole thing from\nthe very first--from the crutches that should have been a doll. As she", "\"I'll tell ye, ma'am. It's a game Miss Pollyanna's father learned her\nter play. She got a pair of crutches once in a missionary barrel when", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "\"Which makes me all the gladder, you know, that I HAVE had my legs,\"\nPollyanna confided to her aunt afterwards.", "\"Glad for--CRUTCHES!\" Miss Polly choked back a sob--she was thinking of\nthe helpless little legs on the bed up-stairs.", "A twig cracked sharply under Pollyanna's foot, and the man turned his\nhead. With a cry of dismay Pollyanna ran to his side.\n\n\"Mr. Pendleton! Oh, are you hurt?\"", "Pollyanna rose reluctantly.\n\n\"All right,\" she sighed. \"I'll hurry.\" Suddenly she laughed. \"I suppose\nI ought to be glad I've got legs to hurry with, hadn't I, Mrs. Snow?\"", "\"And so it's hurt that I am, and not sick,\" she sighed at last. \"Well,\nI'm glad of that.\"\n\n\"G-glad, Pollyanna?\" asked her aunt, who was sitting by the bed.", "\"Yes. You told her she could be glad because other folks wasn't like\nher--all sick, you know.\"\n\n\"Yes,\" nodded Pollyanna.", "\"Yes. I think Pollyanna will understand. You will tell her I thought she\nwould be--GLAD!\"\n\n\"Why, of--of course,\" faltered Miss Polly.", "that it was not easy to be glad for anything now. But under Pollyanna's\ncheery instructions and merry laughter at her mistakes, she was learning", "\"Yes, she said she hoped you'd be. That's why she told you, to make\nyou--GLAD, Pollyanna.\"\n\nPollyanna looked up quickly.", "\"We can be glad 'tain't our'n,\" she observed demurely. But Pollyanna did\nnot hear. She had begun to tell of the accident; and in a moment Nancy,\nopen-mouthed, was listening.", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "Nancy made a sudden queer little sound with her mouth--but when\nPollyanna turned, her head was in the trunk again. At one of the\nwindows, a few minutes later, Pollyanna gave a glad cry and clapped her\nhands joyously.", "white spread, and made Pollyanna--again like Mrs. Snow--so glad she had\nher hands and arms, anyway.", "It was there that Pollyanna, on her way home from the Pendleton house,\nfound him. With a little cry she ran forward." ], [ "\"But, Pollyanna, Pollyanna,\" remonstrated Miss Polly. \"I don't--\" But\nPollyanna was already halfway to the kitchen, calling:", "\"I'm Nancy, sir,\" she said respectfully, in response to the surprised\nquestioning of his eyes, when he came into the room. \"Miss Harrington\nsent me to tell you about--Miss Pollyanna.\"", "Pollyanna ate her bread and milk with good appetite; then, at Nancy's\nsuggestion, she went into the sitting room, where her aunt sat reading.\nMiss Polly looked up coldly.", "\"Miss Pollyanna, that bell means breakfast--mornin's,\" she panted,\npulling the little girl to her feet and hurrying her back to the house;", "Dinner, which came at noon in the Harrington homestead, was a silent\nmeal on the day of the Ladies' Aid meeting. Pollyanna, it is true, tried", "\"The doctor, sir,\" said the maid in the doorway.\n\nPollyanna rose at once.\n\nJohn Pendleton turned to her feverishly.", "Miss Polly frowned, hesitated, then crossed the room majestically and\nopened the door; but Pollyanna was already out of sight, clattering up\nthe attic stairs.", "\"I'm very sorry, Pollyanna, to have been obliged so soon to send you\ninto the kitchen to eat bread and milk.\"", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "\"After all, I'm afraid some of us--do have to, little girl,\" he said.\nThen, for a time he was silent. Pollyanna, stealing a glance at", "\"What?\" Miss Polly looked up in dazed surprise; then, suddenly, with\nvery red cheeks, she turned and swept angrily down the stairs. \"Don't be\nimpertinent, Pollyanna!\"", "\"My name's Pollyanna Whittier,\" she began pleasantly. \"What's yours?\"\n\nAgain the boy stirred restlessly. He even almost got to his feet. But he\nsettled back.", "It was there that Pollyanna, on her way home from the Pendleton house,\nfound him. With a little cry she ran forward.", "\"Nancy,\" directed her mistress, sharply, \"you may set the muffins down\nand go at once to Miss Pollyanna's room and shut the windows. Shut the", "fast. To-day, even, to Pollyanna's huge delight, she had said that she\nwas glad Pollyanna brought calf's-foot jelly, because that was just what", "\"I don't know, ma'am. There wasn't one in the kitchen.\" Nancy had been\ntoo excited to notice Pollyanna's up-flung windows the afternoon before.", "Half an hour later when Miss Polly, her face expressing stern duty in\nevery line, climbed those stairs and entered Pollyanna's room, she was\ngreeted with a burst of eager enthusiasm.", "Miss Polly did not answer this. Instead she asked:\n\n\"Do YOU know him?\"\n\nPollyanna nodded.", "\"Eh? Oh! Humph!\" he grunted; and strode on again.\n\nPollyanna laughed. He was such a funny man, she thought.\n\nThe next day she saw him again.", "Pollyanna laughed.\n\n\"Now you don't look as if you'd be glad even for calf's-foot jelly,\" she\nchuckled, stopping before him." ], [ "\"The 'glad game'?\" asked the man. \"Oh, yes; she told me of that.\"", "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "\"The--game?\"\n\nPollyanna clapped her hands.\n\n\"There! I 'most forgot; but I've thought it up, Mrs. Snow--what you can\nbe glad about.\"", "\"Oh, yes; the game was to just find something about everything to be\nglad about--no matter what 'twas,\" rejoined Pollyanna, earnestly. \"And\nwe began right then--on the crutches.\"", "her words had brought it there. As for telling him the \"glad game,\" and\ntrying to get him to play it--Pollyanna had never seen the time yet when", "\"Glad of what?\"\n\n\"Just glad! That's the game.\"\n\nMiss Polly actually stamped her foot.", "\"Why, it's a game. Father told it to me, and it's lovely,\" rejoined\nPollyanna. \"We've played it always, ever since I was a little, little", "Nancy frowned in meditation. Nancy was getting so she could play this\ngame of \"being glad\" quite successfully, she thought. She rather enjoyed\nstudying out Pollyanna's \"posers,\" too, as she called some of the little\ngirl's questions.", "glad' game. That's the game, ma'am. She's played it ever since.\"", "\"And after that she said he made a regular game of it--findin' somethin'\nin everythin' ter be glad about. An' she said ye could do it, too, and", "that it was not easy to be glad for anything now. But under Pollyanna's\ncheery instructions and merry laughter at her mistakes, she was learning", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "\"Pollyanna,\" she cried sharply, \"WILL you stop using that everlasting\nword 'glad'! It's 'glad'--'glad'--'glad' from morning till night until I\nthink I shall grow wild!\"", "\"Glad!\" interrupted the man, thoroughly losing his patience now. \"I'll\nwager Miss Polly doesn't know how to be glad--for anything! Oh, she does", "\"Yes. You told her she could be glad because other folks wasn't like\nher--all sick, you know.\"\n\n\"Yes,\" nodded Pollyanna.", "\"I'll tell ye, ma'am. It's a game Miss Pollyanna's father learned her\nter play. She got a pair of crutches once in a missionary barrel when", "\"Well, Pollyanna, is it to be the 'glad game' with me, all the rest of\nmy life?\" asked the man, gently.", "\"Yes. I think Pollyanna will understand. You will tell her I thought she\nwould be--GLAD!\"\n\n\"Why, of--of course,\" faltered Miss Polly.", "Pollyanna stared slightly; then she drew a long breath.\n\n\"Oh, I forgot. You don't know about the game. I remember now.\"\n\n\"Suppose you tell me, then.\"", "\"Yes, she said she hoped you'd be. That's why she told you, to make\nyou--GLAD, Pollyanna.\"\n\nPollyanna looked up quickly." ], [ "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "He lifted his chin and braced himself to meet what he expected--the\ngrieved disappointment of Pollyanna's eyes. To his amazement, however,\nthere was neither grief nor disappointment in Pollyanna's eyes. There\nwas only surprised joy.", "though there were tears in her eyes. She spoke of her grief and horror\nat the accident; then she asked diffidently if she might see Pollyanna.", "One by one the short winter days came and went--but they were not\nshort to Pollyanna. They were long, and sometimes full of pain. Very", "\"And so it's hurt that I am, and not sick,\" she sighed at last. \"Well,\nI'm glad of that.\"\n\n\"G-glad, Pollyanna?\" asked her aunt, who was sitting by the bed.", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "Pollyanna. However, suppose you tell me a little more about this nice\nlittle boy.\" And Pollyanna told him.", "It was there that Pollyanna, on her way home from the Pendleton house,\nfound him. With a little cry she ran forward.", "\"We can be glad 'tain't our'n,\" she observed demurely. But Pollyanna did\nnot hear. She had begun to tell of the accident; and in a moment Nancy,\nopen-mouthed, was listening.", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "that it was not easy to be glad for anything now. But under Pollyanna's\ncheery instructions and merry laughter at her mistakes, she was learning", "And this time Pollyanna told him. She told him the whole thing from\nthe very first--from the crutches that should have been a doll. As she", "Pollyanna's face fell.\n\n\"I don't believe he knows half so much as Dr. Chilton.\"\n\n\"Oh, yes, he does, I'm sure, dear.\"", "One by one the July days passed. To Pollyanna, they were happy days,\nindeed. She often told her aunt, joyously, how very happy they were.\nWhereupon her aunt would usually reply, wearily:", "\"About finding something in everything to be glad about, you know. As\nI said, he began with me on the crutches.\" And once more Pollyanna\ntold her story--this time to a man who listened with tender eyes and\nunderstanding ears.", "The man laughed a little; and again Pollyanna looked at him: the laugh\nhad sounded almost like a sob.\n\n\n\nCHAPTER XIX. WHICH IS SOMEWHAT SURPRISING", "For a moment the doctor did not answer. When he did speak his voice was\nso low Pollyanna could but just hear the words.\n\n\"Yes, Pollyanna, I--I thought she did look--just lovely.\"", "\"Why, no, of course not,\" agreed Pollyanna, sympathetically. \"But\nwait--just let me show you,\" she exclaimed, skipping over to the bureau\nand picking up a small hand-glass.", "\"No? What are they, then?\"\n\n\"Aunt Polly says they're 'learning to live,'\" sighed Pollyanna, with a\nrueful smile.", "\"Why, y-yes, Pollyanna.\"\n\n\"Oh, I'm so glad! Then it's all right,\" sighed the little girl. \"Now you\ncan take us both, and everything will be lovely.\"" ], [ "that it was not easy to be glad for anything now. But under Pollyanna's\ncheery instructions and merry laughter at her mistakes, she was learning", "\"Which makes me all the gladder, you know, that I HAVE had my legs,\"\nPollyanna confided to her aunt afterwards.", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "\"Oh, yes; the game was to just find something about everything to be\nglad about--no matter what 'twas,\" rejoined Pollyanna, earnestly. \"And\nwe began right then--on the crutches.\"", "Pollyanna rose reluctantly.\n\n\"All right,\" she sighed. \"I'll hurry.\" Suddenly she laughed. \"I suppose\nI ought to be glad I've got legs to hurry with, hadn't I, Mrs. Snow?\"", "\"And I'm glad I listened. You will be when I tell ye. Why, it may make\nPollyanna--walk!\"", "\"About finding something in everything to be glad about, you know. As\nI said, he began with me on the crutches.\" And once more Pollyanna\ntold her story--this time to a man who listened with tender eyes and\nunderstanding ears.", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "\"And so it's hurt that I am, and not sick,\" she sighed at last. \"Well,\nI'm glad of that.\"\n\n\"G-glad, Pollyanna?\" asked her aunt, who was sitting by the bed.", "Pollyanna laughed.\n\n\"Well, anyhow, you can be glad of that,\" she retorted; \"for when I'm\ntalking, YOU don't have to!\"", "\"Of course not--and I'm glad, too,\" nodded Pollyanna, cheerfully,\n\"because then I can fix it again. Anyhow, I should think you'd be glad", "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "\"Yes. I think Pollyanna will understand. You will tell her I thought she\nwould be--GLAD!\"\n\n\"Why, of--of course,\" faltered Miss Polly.", "Pollyanna gave a sudden radiant smile.\n\n\"That's so! I can be glad of that, can't I?\" she cried.\n\nNancy stared.", "Half an hour later when Miss Polly, her face expressing stern duty in\nevery line, climbed those stairs and entered Pollyanna's room, she was\ngreeted with a burst of eager enthusiasm.", "\"Yes. You told her she could be glad because other folks wasn't like\nher--all sick, you know.\"\n\n\"Yes,\" nodded Pollyanna.", "\"The--game?\"\n\nPollyanna clapped her hands.\n\n\"There! I 'most forgot; but I've thought it up, Mrs. Snow--what you can\nbe glad about.\"", "\"We can be glad 'tain't our'n,\" she observed demurely. But Pollyanna did\nnot hear. She had begun to tell of the accident; and in a moment Nancy,\nopen-mouthed, was listening.", "white spread, and made Pollyanna--again like Mrs. Snow--so glad she had\nher hands and arms, anyway.", "\"You seem to--to be glad for a good many things, my dear,\" faltered Aunt\nPolly, putting her hand to her throat as if her collar bound.\n\nPollyanna laughed softly." ], [ "\"But Pollyanna, Pollyanna,\" remonstrated Aunt Polly, following the\nlittle girl from the room and panting up-stairs after her.", "Pollyanna was a little late for supper on the night of the accident to\nJohn Pendleton; but, as it happened, she escaped without reproof.\n\nNancy met her at the door.", "\"What?\" Miss Polly looked up in dazed surprise; then, suddenly, with\nvery red cheeks, she turned and swept angrily down the stairs. \"Don't be\nimpertinent, Pollyanna!\"", "\"How do you do, Pollyanna? I--\" She had no chance to say more.\nPollyanna, had fairly flown across the room and flung herself into her\naunt's scandalized, unyielding lap.", "Aid meeting that afternoon, owing to a headache. When Aunt Polly went\nup-stairs to her room and closed the door, Pollyanna tried to be sorry", "\"To read? Oh, thank you, Aunt Polly. I love to read!\"\n\nMiss Polly drew in her breath audibly, then she shut her lips together\nhard. Pollyanna, seeing her stern face, frowned a little thoughtfully.", "Miss Polly rose suddenly to her feet. Her face was very red.\n\n\"That will do, Pollyanna,\" she said stiffly.", "\"Pollyanna, what does this mean?\" cried Aunt Polly then.\n\nPollyanna blinked sleepy eyes and sat up.", "Dinner, which came at noon in the Harrington homestead, was a silent\nmeal on the day of the Ladies' Aid meeting. Pollyanna, it is true, tried", "Half an hour later when Miss Polly, her face expressing stern duty in\nevery line, climbed those stairs and entered Pollyanna's room, she was\ngreeted with a burst of eager enthusiasm.", "\"Miss Pollyanna, that bell means breakfast--mornin's,\" she panted,\npulling the little girl to her feet and hurrying her back to the house;", "Pollyanna's arrival, Miss Polly was punishing Pollyanna--and for the\nthird time she was being confronted with the amazing fact that her", "Just in time Pollyanna remembered that she was not to talk of her father\nto her aunt. She dived into her closet then, hurriedly, and brought out\nall the poor little dresses in both her arms.", "Miss Polly said no. She began to say it very sternly; but something in\nthe woman's pleading eyes made her add the civil explanation that no one\nwas allowed yet to see Pollyanna.", "Pollyanna opened wide her eyes at the remonstrative dismay in her aunt's\nvoice.\n\n\"Why, Aunt Polly, you SAID to!\"\n\nAunt Polly sighed.", "At twilight a wonderfully tremulous, wonderfully different Aunt Polly\ncrept to Pollyanna's bedside. The nurse was at supper. They had the room\nto themselves.", "Miss Polly frowned, hesitated, then crossed the room majestically and\nopened the door; but Pollyanna was already out of sight, clattering up\nthe attic stairs.", "\"Have you had your supper, Pollyanna?\"\n\n\"Yes, Aunt Polly.\"", "\"That will do,\" observed Aunt Polly, with dignity. \"Pollyanna, you may\nbring out your clothes now, and I will look them over. What are not\nsuitable for you I shall give to the Sullivans, of course.\"", "A look of actual terror leaped to the man's eyes.\n\n\"Aunt Polly come--HERE!\"\n\nPollyanna's eyes widened a little." ], [ "\"Aunt Polly! Well, who is Aunt Polly?\"\n\n\"She's Miss Polly Harrington. I live with her.\"\n\nThe man made a sudden movement.", "\"And you won't--now?\" The man asked the question without turning his\nhead.\n\n\"Of course not! I'm Aunt Polly's.\"\n\nThe man turned now, almost fiercely.", "From the window where Aunt Polly stood now there came a half-stifled\ncry.\n\n\"To-morrow?\" smiled the nurse, brightly.", "\"Why, Aunt Polly, how perfectly lovely!\" she cried. \"You were coming up\nto see me! Come right in. I love company,\" she finished, scampering up\nthe stairs and throwing her door wide open.", "\"Oh, Aunt Polly, Aunt Polly, I don't know how to be glad enough that\nyou let me come to live with you,\" she was sobbing. \"You don't know how", "a white-faced Aunt Polly and a weeping Nancy she was undressed tenderly\nand put to bed, while from the village, hastily summoned by telephone,", "\"Aunt Polly has been so good to me,\" she began; but the man interrupted\nher sharply. The old irritability had come back to his face. Impatience", "\"Very much. I suppose--there isn't any more to-day that--that Aunt Polly\nDIDN'T send, is there?\" he asked with an odd smile.\n\nHis visitor looked distressed.", "\"Oh, Aunt Polly, Aunt Polly,\" breathed the little girl, rapturously;\n\"what a perfectly lovely, lovely house! How awfully glad you must be\nyou're so rich!\"", "\"Glad? GLAD? Well, I reckon I am glad! Oh, Aunt Polly, I've so wanted to\nfind a place for Jimmy--and that's such a lovely place! Besides, I'm", "\"Why, because you were lovers, you know once; and I was so glad you\nstill felt that way now.\"\n\n\"Lovers!--your Aunt Polly and I?\"", "\"But there IS an Aunt Polly?\" demanded the child, anxiously.\n\n\"You bet your life there is,\" cut in Timothy.\n\nPollyanna relaxed visibly.", "\"Why, Aunt Polly,\" she breathed, \"I should think you'd be glad to have\nme gl--Oh!\" she broke off, clapping her hand to her lips and hurrying\nblindly from the room.", "\"Oh, I know just the place for you,\" she cried. \"Aunt Polly'll take\nyou--I know she will! Didn't she take me? And didn't she take Fluffy", "\"Perhaps, some day, dear--\" But Aunt Polly did not finish. Aunt Polly\ndid not dare to tell, yet, the great hope that Dr. Chilton had put into", "\"Your aunt is wanting you, Miss Pollyanna,\" she said with dreary\nlistlessness. \"She telephoned down to the Harlows' across the way. She", "\"Oh, Aunt Polly, Aunt Polly, I reckon I am glad this morning just to be\nalive!\"", "\"Why, Mr. Tom--Aunt Polly!\" she stammered. \"Don't look so scared! It", "\"Oh, Aunt Polly--YOU? I'm so glad! You see, I've really wanted you most\nof anybody, all the time.\"", "that Aunt Polly was playing it, too? And Aunt Polly found so many things\nto be glad about! It was Aunt Polly, too, who discovered the story" ], [ "It did not take long for the entire town of Beldingsville to learn that\nthe great New York doctor had said Pollyanna Whittier would never", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "It was there that Pollyanna, on her way home from the Pendleton house,\nfound him. With a little cry she ran forward.", "\"Why, about where we're going to live, of course,\" rejoined Pollyanna,\nin obvious surprise. \"I THOUGHT you meant here, at first. You said it", "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "\"My name's Pollyanna Whittier,\" she began pleasantly. \"What's yours?\"\n\nAgain the boy stirred restlessly. He even almost got to his feet. But he\nsettled back.", "\"Oh, did you come up here?\" Pollyanna greeted her at the door of Miss\nPolly's own room. \"That'll be nicer yet! I've got the comb. Now sit", "Boston, and put her on the Beldingsville train. Of course you would be\nnotified what day and train to expect Pollyanna on.", "Pollyanna had not turned her steps toward home, when she left the\nchapel. She had turned them, instead, toward Pendleton Hill. It had", "For a moment the doctor did not answer. When he did speak his voice was\nso low Pollyanna could but just hear the words.\n\n\"Yes, Pollyanna, I--I thought she did look--just lovely.\"", "\"She's the niece of one of our best known residents. Her name is\nPollyanna Whittier. I--I don't happen to enjoy a very extensive personal", "It was nearly seven o'clock when Pollyanna awoke that first day after\nher arrival. Her windows faced the south and the west, so she could not", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "\"There! Isn't this lovely? Is it far? I hope 'tis--I love to ride,\"\nsighed Pollyanna, as the wheels began to turn. \"Of course, if 'tisn't", "Pollyanna. However, suppose you tell me a little more about this nice\nlittle boy.\" And Pollyanna told him.", "\"Of course not,\" promised Pollyanna, happily, sure now that her point\nwas gained. \"Then I'll let you know to-morrow.\"\n\n\"Where?\"", "Pollyanna laughed.\n\n\"Well, anyhow,\" she chuckled, \"you can be glad it isn't 'Hephzibah.'\"\n\n\"Hephzibah!\"", "\"Why, y-yes, Pollyanna.\"\n\n\"Oh, I'm so glad! Then it's all right,\" sighed the little girl. \"Now you\ncan take us both, and everything will be lovely.\"", "Nancy made a sudden queer little sound with her mouth--but when\nPollyanna turned, her head was in the trunk again. At one of the\nwindows, a few minutes later, Pollyanna gave a glad cry and clapped her\nhands joyously.", "It was on a rainy day about a week after Pollyanna's visit to Mr. John\nPendleton, that Miss Polly was driven by Timothy to an early afternoon" ], [ "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "\"Why, it's a game. Father told it to me, and it's lovely,\" rejoined\nPollyanna. \"We've played it always, ever since I was a little, little", "that it was not easy to be glad for anything now. But under Pollyanna's\ncheery instructions and merry laughter at her mistakes, she was learning", "\"The--game?\"\n\nPollyanna clapped her hands.\n\n\"There! I 'most forgot; but I've thought it up, Mrs. Snow--what you can\nbe glad about.\"", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "her words had brought it there. As for telling him the \"glad game,\" and\ntrying to get him to play it--Pollyanna had never seen the time yet when", "\"I'll tell ye, ma'am. It's a game Miss Pollyanna's father learned her\nter play. She got a pair of crutches once in a missionary barrel when", "Pollyanna, as if it wa'n't yerself that was teachin' me ter play the\ngame,\" she reproached her gravely.", "Nancy frowned in meditation. Nancy was getting so she could play this\ngame of \"being glad\" quite successfully, she thought. She rather enjoyed\nstudying out Pollyanna's \"posers,\" too, as she called some of the little\ngirl's questions.", "\"Oh, yes; the game was to just find something about everything to be\nglad about--no matter what 'twas,\" rejoined Pollyanna, earnestly. \"And\nwe began right then--on the crutches.\"", "\"Yes. I think Pollyanna will understand. You will tell her I thought she\nwould be--GLAD!\"\n\n\"Why, of--of course,\" faltered Miss Polly.", "\"Well, Pollyanna, is it to be the 'glad game' with me, all the rest of\nmy life?\" asked the man, gently.", "\"About finding something in everything to be glad about, you know. As\nI said, he began with me on the crutches.\" And once more Pollyanna\ntold her story--this time to a man who listened with tender eyes and\nunderstanding ears.", "\"Yes. You told her she could be glad because other folks wasn't like\nher--all sick, you know.\"\n\n\"Yes,\" nodded Pollyanna.", "Pollyanna stared slightly; then she drew a long breath.\n\n\"Oh, I forgot. You don't know about the game. I remember now.\"\n\n\"Suppose you tell me, then.\"", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "\"Yes, she said she hoped you'd be. That's why she told you, to make\nyou--GLAD, Pollyanna.\"\n\nPollyanna looked up quickly.", "\"You seem to--to be glad for a good many things, my dear,\" faltered Aunt\nPolly, putting her hand to her throat as if her collar bound.\n\nPollyanna laughed softly.", "\"Oh, oh, oh, how lovely!\" breathed Pollyanna; then she laughed suddenly.\n\"I just reckon the sun himself is trying to play the game now, don't", "\"And so it's hurt that I am, and not sick,\" she sighed at last. \"Well,\nI'm glad of that.\"\n\n\"G-glad, Pollyanna?\" asked her aunt, who was sitting by the bed." ], [ "It was a wonderful half-hour that Pollyanna spent then. The box was\nfull of treasures--curios that John Pendleton had picked up in years of", "\"Yes, she said she hoped you'd be. That's why she told you, to make\nyou--GLAD, Pollyanna.\"\n\nPollyanna looked up quickly.", "Nancy made a sudden queer little sound with her mouth--but when\nPollyanna turned, her head was in the trunk again. At one of the\nwindows, a few minutes later, Pollyanna gave a glad cry and clapped her\nhands joyously.", "they contained the winter clothing, put away for the summer. A little\nfearfully now, Pollyanna felt her way to these bags, selected a nice", "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "It was there that Pollyanna, on her way home from the Pendleton house,\nfound him. With a little cry she ran forward.", "\"Why, no, of course not,\" agreed Pollyanna, sympathetically. \"But\nwait--just let me show you,\" she exclaimed, skipping over to the bureau\nand picking up a small hand-glass.", "After supper that evening, Pollyanna, sitting on the back porch, told\nNancy all about Mr. John Pendleton's wonderful carved box, and the still\nmore wonderful things it contained.", "though there were tears in her eyes. She spoke of her grief and horror\nat the accident; then she asked diffidently if she might see Pollyanna.", "Half an hour later when Miss Polly, her face expressing stern duty in\nevery line, climbed those stairs and entered Pollyanna's room, she was\ngreeted with a burst of eager enthusiasm.", "\"Yes. I think Pollyanna will understand. You will tell her I thought she\nwould be--GLAD!\"\n\n\"Why, of--of course,\" faltered Miss Polly.", "\"Pollyanna!\" Miss Polly had turned sharply. Her cheeks showed a sudden\ncolor.\n\n\"Well, I did. He looked so--so sorrowful.\"", "He lifted his chin and braced himself to meet what he expected--the\ngrieved disappointment of Pollyanna's eyes. To his amazement, however,\nthere was neither grief nor disappointment in Pollyanna's eyes. There\nwas only surprised joy.", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "had little more to do with the missionary's wife. To be sure, Jennie\nherself had written, for a time, and had named her last baby \"Pollyanna\"", "Generally Pollyanna would answer this with a hug and a kiss--a\nproceeding that was still always most disconcerting to Miss Polly; but\none day she spoke. It was during the sewing hour.", "On the afternoon that Pollyanna told John Pendleton of Jimmy Bean, the\nRev. Paul Ford climbed the hill and entered the Pendleton Woods, hoping", "For a moment the doctor did not answer. When he did speak his voice was\nso low Pollyanna could but just hear the words.\n\n\"Yes, Pollyanna, I--I thought she did look--just lovely.\"", "The visit, certainly, was a delightful one, but before it was over,\nPollyanna was realizing that they were talking about something besides\nthe wonderful things in the beautiful carved box. They were talking", "Miss Polly frowned, hesitated, then crossed the room majestically and\nopened the door; but Pollyanna was already out of sight, clattering up\nthe attic stairs." ], [ "It was a wonderful half-hour that Pollyanna spent then. The box was\nfull of treasures--curios that John Pendleton had picked up in years of", "Nancy made a sudden queer little sound with her mouth--but when\nPollyanna turned, her head was in the trunk again. At one of the\nwindows, a few minutes later, Pollyanna gave a glad cry and clapped her\nhands joyously.", "they contained the winter clothing, put away for the summer. A little\nfearfully now, Pollyanna felt her way to these bags, selected a nice", "After supper that evening, Pollyanna, sitting on the back porch, told\nNancy all about Mr. John Pendleton's wonderful carved box, and the still\nmore wonderful things it contained.", "It was there that Pollyanna, on her way home from the Pendleton house,\nfound him. With a little cry she ran forward.", "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "\"Why, no, of course not,\" agreed Pollyanna, sympathetically. \"But\nwait--just let me show you,\" she exclaimed, skipping over to the bureau\nand picking up a small hand-glass.", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "Half an hour later when Miss Polly, her face expressing stern duty in\nevery line, climbed those stairs and entered Pollyanna's room, she was\ngreeted with a burst of eager enthusiasm.", "\"Yes, I have,\" nodded Pollyanna, importantly. \"I've got a brand-new one.\nThe Ladies' Aid bought it for me--and wasn't it lovely of them, when", "\"Pollyanna!\" Miss Polly had turned sharply. Her cheeks showed a sudden\ncolor.\n\n\"Well, I did. He looked so--so sorrowful.\"", "For a moment the doctor did not answer. When he did speak his voice was\nso low Pollyanna could but just hear the words.\n\n\"Yes, Pollyanna, I--I thought she did look--just lovely.\"", "\"Yes. I think Pollyanna will understand. You will tell her I thought she\nwould be--GLAD!\"\n\n\"Why, of--of course,\" faltered Miss Polly.", "Generally Pollyanna would answer this with a hug and a kiss--a\nproceeding that was still always most disconcerting to Miss Polly; but\none day she spoke. It was during the sewing hour.", "had little more to do with the missionary's wife. To be sure, Jennie\nherself had written, for a time, and had named her last baby \"Pollyanna\"", "He lifted his chin and braced himself to meet what he expected--the\ngrieved disappointment of Pollyanna's eyes. To his amazement, however,\nthere was neither grief nor disappointment in Pollyanna's eyes. There\nwas only surprised joy.", "Pollyanna, smiling bravely now, flew about, hanging the dresses in\nthe closet, stacking the books on the table, and putting away the\nundergarments in the bureau drawers.", "And this time Pollyanna told him. She told him the whole thing from\nthe very first--from the crutches that should have been a doll. As she", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "\"We can be glad 'tain't our'n,\" she observed demurely. But Pollyanna did\nnot hear. She had begun to tell of the accident; and in a moment Nancy,\nopen-mouthed, was listening." ], [ "\"Oh, yes; the game was to just find something about everything to be\nglad about--no matter what 'twas,\" rejoined Pollyanna, earnestly. \"And\nwe began right then--on the crutches.\"", "\"About finding something in everything to be glad about, you know. As\nI said, he began with me on the crutches.\" And once more Pollyanna\ntold her story--this time to a man who listened with tender eyes and\nunderstanding ears.", "\"Well, goodness me! I can't see anythin' ter be glad about--gettin' a\npair of crutches when you wanted a doll!\"\n\nPollyanna clapped her hands.", "\"I'll tell ye, ma'am. It's a game Miss Pollyanna's father learned her\nter play. She got a pair of crutches once in a missionary barrel when", "\"And so it's hurt that I am, and not sick,\" she sighed at last. \"Well,\nI'm glad of that.\"\n\n\"G-glad, Pollyanna?\" asked her aunt, who was sitting by the bed.", "Pollyanna laughed softly.\n\n\"Well, that's the game, you know, anyway.\"\n\n\"The--GAME?\"\n\n\"Yes; the 'just being glad' game.\"", "\"Oh, I'm so glad, GLAD, GLAD to see you,\" cried an eager voice in her\near. \"Of course I'm Pollyanna, and I'm so glad you came to meet me! I\nhoped you would.\"", "Pollyanna clapped her hands softly.\n\n\"Did she say that--really? Oh, I'm so glad!\"\n\n\"But, Pollyanna, what did she mean?\"", "He lifted his chin and braced himself to meet what he expected--the\ngrieved disappointment of Pollyanna's eyes. To his amazement, however,\nthere was neither grief nor disappointment in Pollyanna's eyes. There\nwas only surprised joy.", "\"Well, you can be glad of that, then, anyhow, can't you?\" nodded\nPollyanna. \"Mrs. White couldn't. You can't thrash when you have", "\"Yes, she said she hoped you'd be. That's why she told you, to make\nyou--GLAD, Pollyanna.\"\n\nPollyanna looked up quickly.", "\"The--game?\"\n\nPollyanna clapped her hands.\n\n\"There! I 'most forgot; but I've thought it up, Mrs. Snow--what you can\nbe glad about.\"", "Nancy made a sudden queer little sound with her mouth--but when\nPollyanna turned, her head was in the trunk again. At one of the\nwindows, a few minutes later, Pollyanna gave a glad cry and clapped her\nhands joyously.", "\"Yes'm. That's what I said, an' Miss Pollyanna said that's what she\nsaid, too. But he told her she COULD be glad--'cause she DIDN'T NEED\n'EM.\"", "\"Oh, I'm so glad,\" exulted Pollyanna. \"I love carpets. We didn't have\nany, only two little rugs that came in a missionary barrel, and one", "\"Pollyanna,\" she cried sharply, \"WILL you stop using that everlasting\nword 'glad'! It's 'glad'--'glad'--'glad' from morning till night until I\nthink I shall grow wild!\"", "that it was not easy to be glad for anything now. But under Pollyanna's\ncheery instructions and merry laughter at her mistakes, she was learning", "\"Why, y-yes, Pollyanna.\"\n\n\"Oh, I'm so glad! Then it's all right,\" sighed the little girl. \"Now you\ncan take us both, and everything will be lovely.\"", "but what there was somethin' about it that you could be glad about; an'\nthat she could be glad about them crutches.\"", "Pollyanna rose reluctantly.\n\n\"All right,\" she sighed. \"I'll hurry.\" Suddenly she laughed. \"I suppose\nI ought to be glad I've got legs to hurry with, hadn't I, Mrs. Snow?\"" ] ]

[ "What is the name of Pollyanna's aunt?", "How is Aunt Polly kin to Pollyanna?", "What is the name of the game that Pollyanna learned from her father?", "What was the good side of Pollyanna receiving crutches instead of a doll for Christmas?", "Which room in Aunt Polly's house is given to Pollyanna?", "What is the name of Aunt Polly's servant?", "What happens when Pollyanna is struck by an automobile?", "Who does Aunt Polly marry?", "What does Pollyanna find to be glad about her attic room?", "Who does Pollyanna go live with in Beldingsville?", "What is the name of the game Pollyanna uses to cheer herself?", "Why does Aunt Polly allow Pollyanna to stay with her?", "Who does Aunt Polly marry at end of the story?", "Who taught Pollyanna to play the \"Glad Game\"?", "What causes Pollyanna to lose the use of her legs?", "In what room must Pollyanna eat bread and milk when Aunt Polly punishes her?", "What kind of house does Mr. Pendleton have?", "Why was Pollyanna glad to crutches from the missionary at Christmas?", "What is the name of the servant who eats in the kitchen with Pollyanna?", "What is the Glad Game?", "What happens to test Pollyanna's optimism?", "After learning to walk again, what is Pollyanna glad about?", "How does Aunt Polly punish Pollyanna for being late to dinner?", "Who calls Aunt Polly's house to offer encouragement?", "What is the name of Pollyanna's new town?", "Who teaches Pollyanna to play the Glad Game?", "What was Pollyanna hoping to find in the missionary barrel?", "What did Pollyanna actually find in the missionary barrel?", "What did Pollyanna find to be glad about when she only found the pair of crutches?" ]

[ [ "Aunt Polly.", "Polly" ], [ "Aunt Polly is the sister of Pollyanna's mother.", "She is her mother's sister" ], [ "The Glad Game.", "The glad game" ], [ "Because Pollyanna did not need the crutches.", "She didn't need them" ], [ "The stuffy attic room.", "The attic" ], [ "The servant's name is Nancy.", "Nancy" ], [ "Pollyanna loses the use of her legs.", "She becomes paralyzed" ], [ "Her former lover Dr. Chilton.", "Dr. Chilton" ], [ "The lovely view she has from such a high window.", "She had a beautiful view." ], [ "Her aunt Polly.", "Aunt Polly" ], [ "The Glad Game.", "The Glad Game" ], [ "She feels it is her Christian duty.", "She feels obligated to her dead sister" ], [ "Dr. Chilton.", "Her lover Dr. Chilton." ], [ "Her father.", "her father" ], [ "She's hit by a car.", "She is hit by a car" ], [ "The kitchen.", "In the kitchen" ], [ "A mansion.", "A cluttered mansion." ], [ "Because she didn't need to use them.", "She took her father's advice, that she should be glad that she didn't need to use them." ], [ "Kate", "Nancy" ], [ "A game where Pollyanna challenges herself to find something to be glad about in any situation.", "Finding the good in everything, even the bad" ], [ "She is hit by a car and loses the use of her legs.", "She was struck by a car, losing use of her legs. " ], [ "She appreciates her legs more after having experienced being disabled.", "She appreciates the use of her legs. " ], [ "By making her eat a simple dinner of bread and milk in the servant's kitchen.", "She is forced to eat a meal of milk and bread in the kitchen with the servant." ], [ "The townspeople.", "the townspeople" ], [ "Beldingsville.", "Beldingsville" ], [ "Her father.", "Her dad" ], [ "A doll.", "a doll" ], [ "A pair of crutches.", "a pair of crutches inside the barrel" ], [ "That she never had to use them.", "That she did not need them" ] ]

[ [ "<P>(continuing)</P>\n <P>Richard!</P><I>\n <P>It is Bugs.</P></I><B>", "<P>Richard and Bugs stare at each other down the length of the longhouse.</P>\n <P>Richard smiles. He repeats the gesture that he made when returning with the", "<I><P>Richard yawns noisily. Some people laugh.</P>\n<P>He notice Bugs scowling at him.</P>", "<P>Just as Bugs reaches him he takes evasive action, feinting to one side.</P>\n <P>Bugs, cursing, pursues Richard around the longhouse, each of them trampling", "rice: he clutches his groin and thrusts towards Bugs.</P>\n <P>Bugs starts running towards Richard.</P>", "<P>At the heart of this are Bugs, and an Italian man, Gregorio. Bugs is holding a pair of pliers. Gregorio is in pain.</P>\n<P>Richard watches.</P>", "</I><B><P>RICHARD</P>\n</B><P>Anything I can do for you?</P>\n<I><P>Bugs smiles.</P>", "over possessions and partitions. Bugs is bigger but Richard is too sly and \n nimble for him, taunting and mocking as he dodges around the narrow upright", "<P>Inside are several people, including Bugs, sitting at the far end.</P>\n <P>When they see that it is Richard, all conversation stops.</P>", "<B><P>RICHARD</P>\n</B><P>Just a big fish, Bugs.</P>\n<B><P>BUGS</P>", "<P>As it reaches the top it is swung aside and Bugs looks down.</P>\n<P>Richard and Bugs stare at each other down the length of the chimney.</P>", "<P>They fight.</P>\n <P>Bugs forces Richard on to the ground</P>\n <P>He is about to stab Richard.</P>", "supports that run down the middle of the building.</P>\n <P>Eventually Bugs has Richard cornered.</P>\n <P>They face each other, crouched slightly, breathing heavily.</P>", "<I><P>The last to sit down opposite Richard is Bugs. He sits close, their knees almost touching.</P>\n<P>Richard is posed with his pen, ready to take note.</P>", "<P>RICHARD</B> (O.S.)</P>\n <P>Hey, Bugs!</P><I>\n <P>Richard stands on the rock.</P>", "<P>Bugs turns towards him. He drops the rope and walks a couple of paces, then \n rushes him.</P>\n <P>Richard manages to avoid the blade.</P>", "<P>Preplexed and in pain Richard watches Bugs walk away.</P>\n<p> <center><font size=4>\n</center></font>\n</I></FONT>", "<P>Bugs does not laugh. He stares at Richard.</P>\n<P>Richard is smiling as he extinguishes the final candle.</P></OL>", "<P>Richard calls after her sarcastically.</P></I><B>\n <P>RICHARD</P></B>\n <P>(continuing)</P>", "</B><P>No, it's not that. I just wondered about Bugs. And me.</P>\n<I><P>Sal rouses herself.</P>" ], [ "<I><P>Commence a montage of various scenes of island life involving its citizens and the newcomers.</P>", "<I><P>The inhabitants of the community are sprawled around the area, generally facing towards Sal who addresses them. Francoise is sitting with Etienne but turns to acknowledge Richard with a smile at some stage.</P>", "</B><P>Do you like it here, Richard?</P>\n<B><P>RICHARD</P>\n</B><P>I love this island.</P>", "of one side.</P>\n <P>This is the farmers' home on the island.</P>\n <P>It contains a collection of tools, arms, crates, bedding, food, cigarettes,", "</B><P>Nice Island.</P>\n<I><P>They smile and examine the plants.</P>\n<P>Richard wanders a short distance away.</P>", "<I><P>The empty beach on the other island.</P>\n</I><LI>EXT. HILLTOP. DAY.</LI>\n<I><P>Richard is not pleased.</P>", "<P>They become aware of a single person clapping slowly.</P>\n<P>They turn to see Keaty, a young Afro-Caribbean Londoner, standing a few paces away.</P>", "<I><P>A pair of hands, Sten's, tap loud and fast on a small drum.</P>\n<P>The inhabitants are sitting in a group. They are all holding half coconut shells.</P>", "<P>The longhouse is derelict and overrun with creepers.</P></I>\n <LI>EXT. ISLAND. DAY. <I>", "</B><P>If they reach the island, I want you to discourage them from getting any further.</P>\n<B><P>RICHARD</P>", "<P>Keaty is addressing the entire community beside the grave while earth is \n heaped on.</P></I><B>\n <P>KEATY</P></B>", "<P>Sal was the leader but it wasn't a big deal. There wasn't any ideology or shit like that, it was just a beach resort for people who don't like beach resorts.</P>", "<P>On the upper part of the island Richard ascends rapidly beside the \n stream.</P></I>\n <LI>EXT. HILLTOP. DAWN. <I>", "</B><P>He will not take us to the island. It's in the National Park and it is forbidden to go there. But we are allowed to travel to this one to stay for one night.</P>", "<I><P>The longhouse is full of inhabitants.</P>\n<P>Richard walks the length of the hut like Santa Claus despensing toiletries and other gifts as requested.</P>", "<P>Richard surveys the beach on the other island.</P></I>\n <LI>EXT. BEACH. DAWN. <I>\n <P>Through binoculars.</P>", "<B><P>ETIENNE</P>\n</B><P>It's on an island that no one get to.</P>\n<B><P>FRANCOISE</P>", "<P>With the binoculars he can see the details of life in each of these \n areas.</P></I>\n <LI>EXT. ISLAND SCENES. DAY. <I>", "<P>Seen through binoculars, Zeph walks along the beach on the other island. He \n is carrying a large piece of driftwood.</P>", "<P>At the center are Karl, on his knees, wailing and shouting in Swedish, and \n Sten, who has been savaged by a shark and looks dead. Despite his appearance," ], [ "<P>I think Sal is attracted to you.</P><B>\n<P>RICHARD</P></B>\n<P>No, I don't think so.</P><B>", "<P>Richard's knife (the stolen one) is lying beside him. Sal picks it up by \n the tip of the blade.</P></I><B>", "<P>Because I liked you. I didn't know you were going to screw Sal twenty-four \n hours later.</P><B>\n <P>RICHARD</P></B>", "<I><P>Richard turns to see Sal, who has appeared as though from nowhere.</P>\n</I><B><P>RICHARD</P>", "<I><P>Sal and Richard are walking away from the longhouse in the early morning light. Sal has a small parcel of cannabis wrapped up in a plastic bag.</P>\n</I><B><P>RICHARD</P>", "<P>RICHARD</B> (V.O.)</P>\n <P>But at least I understood why he'd done it.</P>", "<B><P>SAL</P>\n</B><P>You sure?</P>\n<B><P>RICHARD</P>\n</B><P>Yes.</P>", "<P>Richard is sitting with Sal.</P></I><B>\n <P>RICHARD</P></B>", "<I><P>Richard and Sal enter from the steps. Behind them the party is still in progress.</P>\n<P>Sal approaches the desk while Richard hangs back.</P>", "<B><P>RICHARD</P>\n</B><P>Because you built a shelter.</P>\n<B><P>SAL</P>", "<B><P>SAL</P>\n</B><P>One.</P>\n<I><P>Sumet looks at Richard.</P>", "<I><P>Sal kisses him on the cheak and leaves.</P>\n<P>Richard watches her go.</P>\n</I><B><P>RICHARD</P>", "<I><P>Surrounded by a wall of mosquito net, Richard and Sal lie on the bed.</P>\n<P>Sal lies on her side falling asleep. Richard is awake.</P>", "<P>RICHARD</P></B>\n <P>You knew they'd be killed.</P><B>\n <P>SAL</P></B>", "<I><P>Richard reaches the fringe of the beach where Sal is sitting alone, half watching the game.</P>\n</I><B><P>SAL</P>", "<B><P>RICHARD</P>\n</B><P>Oh. Well, here I am.</P>\n<B><P>SAL</P>", "<P>You liked to me. About Sal.</P><B>\n <P>RICHARD</P></B>\n <P>Oh, that. She told you?</P><B>", "<B><P>SAL</P>\n</B><P>No, Richard, don't worry. Daffy left because he felt that in coming to paradise we had inevitably destroyed it.</P>", "<B><P>RICHARD</P>\n</B><P>You don't understand.</P>\n<I><P>He hangs up.</P>", "<B><P>RICHARD</P>\n</B><P>I don't know, Sal.</P>\n<B><P>SAL</P>" ], [ "<P>A worn, disheveled man in his mid-thirties is standing at the nearby bar, a bottle in his hand, studying Richard. This is Daffy.</P>", "<P>Daffy. He saw it happen. Didn't he? Yea, he saw it happen. And now you \n wanted me to see it happen.</P><B>", "</I><B><P>DAFFY</P>\n</B><P>(continuing)</P>\n<P>I'll share something with you.</P>", "</I><B><P>DAFFY</P>\n</B><P>Excuse me.</P>\n<B><P>RICHARD</P>", "<I><P>Daffy stares at him for a moment. Recognition dawns.</P>\n</I><B><P>DAFFY</P>", "<P>Most of the tables around him are empty.</P>\n<P>Richard is interrupted by the man he met earlier, Daffy, who pulls up a chair beside him.</P>", "<B><P>DAFFY</P>\n</B><P>Yea, OK. I will be, I will be, I promise.</P>\n<B><P>RICHARD</P>", "</I><B><P>DAFFY</P>\n</B><P>Thank you, sir. Thank you. I promise I will repay you.</P>\n<B><P>RICHARD</P>", "</B><P>Richard -</P>\n<I><P>He turns back.</P>\n</I><B><P>DAFFY</P>", "</I><B><P>DAFFY</P>\n</B><P>(continuing)</P>\n<P>if you could see your way to lending me some cash -</P>", "us. It seems that Daffy, the guy who drew it,", "<B><P>RICHARD</P>\n</B><P>Why did Daffy leave? What made him unhappy?</P>\n<I><P>The silence persists.</P>", "</B><P>Thanks.</P>\n<I><P>Richard turns away.</P>\n</I><B><P>DAFFY</P>", "<P>Richard and Daffy shake hands.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "</I><B><P>RICHARD</P>\n</B><P>Good evening.</P>\n<I><P>Daffy says nothing but continues to stare and takes a drink.</P>", "<P>He reaches the other side of the room. There, wedged in the narrow gap between bed and wall, is Daffy's corpse. His wrists have been cut.</P>", "</B><P>Yeah, that's right. Now could you be quiet so I can get some sleep.</P>\n<B><P>DAFFY</P>", "<P>He studies the map then walks to Daffy's door and knocks.</P>\n<P>No reply.</P>", "<I><P>Richard knocks sharply on the door of Daffy's room.</P>\n<P>The door is opened immediately by Daffy, looking even worse then before.</P>", "<P>It's not the first time.</P><B>\n <P>RICHARD</P></B>\n <P>And Daffy?</P><B>" ], [ "<I><P>Richard, Francoise and Etiene sit at the back of a small powerful motor launch which skims across the surface of the sea with great noise and speed.</P></ol>", "<P>Richard struggles in, carrying Etienne draped over his shoulder.</P>\n<P>Francoise follows.</P>", "<P>Richard, Etienne, and Francoise stand on the beach looking towards it. Each is in their swimwear and a T-shirt, and carries a plastic bag, inflated and tied, in which they carry their valuables and some rations.</P>", "<I><P>Francoise and Etienne are looking at him.</P>\n</I><B><P>RICHARD</B> (V.O.)</P>", "<I><P>The motor launch idles gently as it drifts into the shallows of a small deserted bay.</P>\n<P>Richard Francoise, and Etienne jump from the boat into the shallows.</P></ol>", "<P>Richard turns back to Etienne and Francoise. They are still strolling amongst the plants.</P>\n<P>Richard begins to back away.</P>\n<P>The Farmer wakes.</P>", "approaches him.</P></I><B>\n <P>ETIENNE</P></B>\n <P>Richard, come one, get into the boat.</P><I>", "<I><P>The decks are crowded with travelers and their packs. Amongst them are Richard, Francoise, and Etienne. Maps and guidebooks are being studied by many. The noise of the engines and the wind deters conversation.</P>", "<P>Richard is awake. Opposite him, Etienne and Francoise are slumped together in sleep.</P>\n<B><P>RICHARD</B> (V.O.)</P>", "<I><P>By the light of the moon, they come to land on a deserted stretch of beach. Richard jumps into the shallows as Sal cuts the engine.</P>", "<I><P>Richard, Etienne, and Francoise reach the far edge of the field and enter the forest again.</P>\n</I><B><P>FRANCOISE</P>", "<I><P>Richard, Francoise, and Etienne walk through the forest behind the beach.</P></ol>", "<P>Richard struggles through dense undergrowth, followed by \n Francoise.</P></I><B>\n <P>RICHARD</P></B>", "<P>Francoise is joined by a young man, ETIENNE, who catches up with her. He nods at Richard as he takes her arm. They walk away from Richard to the next door.</P>", "<I><P>Richard, Etienne and Francoise wade apart a little and into deeper water. They wait and look.</P></OL>", "<P>The officer beckons Etienne into the office and closes the door.</P>\n<P>Richard and Francoise acknowledge each other with a smile.</P></OL>", "<P>Richard crawls towards the sleeping Etienne.</P>\n <P>Inside the tent, Francoise has her back to the entrance as she mops the", "<P>Francoise wades in up to her thighs. Richard follows.</P>\n<B><P>FRANCOISE</P>", "<I><P>Francoise is alone now. Richard is about to move across when the center of the room is occupied by commotion.</P>", "<I><P>The couple reach their door. They enter their room and the door is closed behind them.</P>\n<P>Alone in the corridor again, Richard contemplates their presence.</P>" ], [ "<B><P>RICHARD</P>\n</B><P>That's me: a good day's killing.</P>\n<B><P>KEATY</P>", "<P>Richard just has time to enjoy the silence when a", "<P>Richard and the German girl stare into each other's eyes for a moment.</P>\n <P>Suddenly her chest explodes forwards as a single bullet rips through from", "her back.</P>\n <P>She falls to the ground.</P>\n <P>Richard is spattered in her blood.</P>", "<P>RICHARD</B> (V.O.)</P>\n <P>But at least I understood why he'd done it.</P>", "<P>Richard looks at Christo's right leg: it has been bitten off beneath the \n knee, leaving only a ragged bloody stump.</P></I><B>", "<P>Something glinting on the ground catches Richard's eye. He leans down and picks it up. It is an empty brass cartridge from a rifle. Richard looks around.</P>", "</B><P>It's the anniversary, Richard.</P>\n</OL>", "<P>Richard appears in a tree, hiding from their view, if they cared to \n look.</P>\n <P>He steals forward to another tree. He watches them.</P></I><B>", "<P>Well?</P><B>\n <P>RICHARD</P></B>\n <P>They're dead.</P><B>", "</B><P>(continuing)</P>\n<P>Richard, you are a novelty act. He is the main attraction.</P>\n<B><P>RICHARD</P>", "<P>In his sleep, the farmer swats at his nose as he might swat at a fly. \n Richard withdraws the gun a fraction.</P>", "They stand and turn away towards the noise reaching for their guns, cocking \n them, etc.</P>\n <P>The knife is taken by Richard.</P>", "<P>He opens his eyes, frozen with fear.</P>\n <P>Richard is aware of a gaze from another direction. Keeping the knife at", "<P>Behind him, Richard smiles and releases his own grip on the gun.</P>\n <P>Instead he lifts the bandana away from the farmer's head and puts it on his", "</I><B><P>RICHARD</B> (V.O.)</P>\n<P>And yes, unfortunately, there was a man with a guitar.</P>", "<P>Richard sees small fish swimming around him. He spears one and holds it out on the tip of his spear.</P>", "<P>Richard emerges from the longhouse, flexing the fingers of his punching \n hand.</P>\n <P>A crowd has gathered as he joins it.</P>", "<P>Bugs turns towards him. He drops the rope and walks a couple of paces, then \n rushes him.</P>\n <P>Richard manages to avoid the blade.</P>", "<P>They fight.</P>\n <P>Bugs forces Richard on to the ground</P>\n <P>He is about to stab Richard.</P>" ], [ "<P>Richard looks at Christo's right leg: it has been bitten off beneath the \n knee, leaving only a ragged bloody stump.</P></I><B>", "<P>It's gangrene. It's spreading. He needs an amputation.</P><I>\n <P>Etienne produces a knife from his possessions.</P></I><B>", "<P>Etienne draws back the sheet covering Christo's discolored stump.</P></I>\n <P>Richard recoils.</P><B>", "nursing christo.</P>\n <P>He is carrying the knife.</P>\n <P>He crawls close up to the tent. Etienne is sleeping in the open", "it.</P><I>\n <P>Richard is standing over Christo who is lying in agony on the \n sand.</P></I><B>", "it was like we had amputated Christo from our community and after the \n operation was over, we felt a whole lot better.</P><I>", "<P>At the heart of this are Bugs, and an Italian man, Gregorio. Bugs is holding a pair of pliers. Gregorio is in pain.</P>\n<P>Richard watches.</P>", "<P>At the center are Karl, on his knees, wailing and shouting in Swedish, and \n Sten, who has been savaged by a shark and looks dead. Despite his appearance,", "<P>With help from two or three other people, Bgs drags Gregorio to the floor and rips out the offending tooth with a pair of pliers. Gregorio screams.</P>", "<P>Richard reaches forward. He pinches Christo's nose and covers his \nmouth.</P>\n <P>Christo's body struggles briefly and goes still.</P>", "<LI>INT. LONGHOUSE. DAY. <I>\n <P>Christo is being nursed by Etienne who is mopping his brow, trying to get", "brow of Christo, feverish and unconscious.</P></I>\n <LI>INT. LONGHOUSE. NIGHT. <I>\n <P>The farmers have torches now.</P>", "live, they might eat you. That's what sharks are good at, that's what they do. \n I could have explained this to Christo but I just knew he wouldn't see", "<P>They are watching Christo who stands a short distance away, spear poised for the kill while he talks through the process.</P>\n</I><B><P>CHRISTO</P>", "<P>Christo, delirious, is being nursed by Etienne in the small tent, now \n situated in the middle of the forest.</P>", "<P>After the funeral we all tried to get back to normal, but it just didn't \n seem right. After a while it became clear that the problem was Christo. You", "<P>Just ahead he sees the remains of an extinguished campfire, and beyond that, protruding from the undergrowth, a pair of male legs and beyond them, the butt of a rifle.</P>", "<P>Richard studies Christo, illuminated by a torch.</P>\n <P>His breathing is labored and irregular.</P>", "<P>Christo moans. A couple of people get up and leave.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "<P>This is disgusting! You cannot do this! Take him back!</P><I>\n <P>A party of stretcher bearers, including Bugs, Sal, and Keaty, carry Christo" ], [ "<P>I think Sal is attracted to you.</P><B>\n<P>RICHARD</P></B>\n<P>No, I don't think so.</P><B>", "</I><B><P>SAL</P>\n</B><P>OK, it's like this. Bugs is my boyfriend, my partner, and you, you're someone I just screwed. Is that ok?</P>", "<P>(Unfortunately the copy of the script is now missing a page.)</P>\n<P> </P>\n<B><P>SAL</P>", "<P>A few seconds later, Sal sits opposite him. She is absolutely matter of \n fact.</P></I><B>\n <P>SAL</P></B>", "<P>The figure looking down at him is Sal.</P>\n</I><LI>EXT. CLEARING. DAWN.</LI>", "<I><P>She throws the key. He catches.</P>\n</I><B><P>SAL</P>\n</B><P>(continuing)</P>", "<I><P>Richard and Sal enter from the steps. Behind them the party is still in progress.</P>\n<P>Sal approaches the desk while Richard hangs back.</P>", "<I><P>Sal kisses him on the cheak and leaves.</P>\n<P>Richard watches her go.</P>\n</I><B><P>RICHARD</P>", "<I><P>Richard reaches the fringe of the beach where Sal is sitting alone, half watching the game.</P>\n</I><B><P>SAL</P>", "<I><P>Richard turns to see Sal, who has appeared as though from nowhere.</P>\n</I><B><P>RICHARD</P>", "<P>FARNCOISE</P>\n<P>I mean being with Sal?</P>\n<B><P>RICHARD</P>", "<LI>EXT. BEACH. DAY.</LI>\n<I><P>Richard and Sal push the boat into the water and away from the beach, jumping on board as they do so.</P>", "<I><P>The bar opens out to a street just back from the beach. It is busy.</P>\n<P>Sal and Richard stand at the bar with their drinks.</P>", "<I><P>By the light of the moon, they come to land on a deserted stretch of beach. Richard jumps into the shallows as Sal cuts the engine.</P>", "<P>Most of the population is present in the room. Sal is reading.</P>\n</I><B><P>RICHARD</B> (V.O.)</P>", "<I><P>Surrounded by a wall of mosquito net, Richard and Sal lie on the bed.</P>\n<P>Sal lies on her side falling asleep. Richard is awake.</P>", "<B><P>GREGORIO</P>\n</B><P>Sal!</P>\n<I><P>Sal looks up for the first time.</P>", "<P>Richard is sitting with Sal.</P></I><B>\n <P>RICHARD</P></B>", "<P>Richard's knife (the stolen one) is lying beside him. Sal picks it up by \n the tip of the blade.</P></I><B>", "<P>Take him back, you fucking animals!</P><I>\n <P>Sal drops the tent at Etienne's feet.</P>" ], [ "<I><P>They reach the top of the hill. Richard looks back. Down below they can see the dope fields.</P>\n<P>They continue</P>", "some fruit and some dope. The farmers on the other", "<P>Richard watches them as they ascend the slope to the dope field.</P>\n <P>In the other direction, hidden from the travelers perspective, he notices", "of one side.</P>\n <P>This is the farmers' home on the island.</P>\n <P>It contains a collection of tools, arms, crates, bedding, food, cigarettes,", "<P>Looking through the trees, the four dope farmers (with their guns) are \n visible about thirty meters away, relaxing and playing cards.</P>", "<P>He joins Etienne and Francoise who are standing in awe at the edge of a large clearing filled with cannabis plants.</P>\n</I><B><P>ETIENNE</P>", "</B><P>We go to Ko Pha Ngan, sell the dope, buy the rice, and come back. That's all.</P>\n<LI>EXT. BEACH / Water. Day.</LI>", "<P>The longhouse is derelict and overrun with creepers.</P></I>\n <LI>EXT. ISLAND. DAY. <I>", "<I><P>Sal and Richard are walking away from the longhouse in the early morning light. Sal has a small parcel of cannabis wrapped up in a plastic bag.</P>\n</I><B><P>RICHARD</P>", "</B><P>Nice Island.</P>\n<I><P>They smile and examine the plants.</P>\n<P>Richard wanders a short distance away.</P>", "<P>He lifts his gun and stands up to look out over the dope field.</P></ol>", "</B><P>Right, the beach: it's on this secret island, in the middle of the national park where no one is allowed to go. It's paradise.</P>", "<B><P>ETIENNE</P>\n</B><P>It's on an island that no one get to.</P>\n<B><P>FRANCOISE</P>", "<I><P>The empty beach on the other island.</P>\n</I><LI>EXT. HILLTOP. DAY.</LI>\n<I><P>Richard is not pleased.</P>", "<P>RICHARD</P></B>\n <P>They grow here, all over the place. I picked some. Here.</P><I>", "<I><P>All three are stoned. A joint is passed around while Zeph sings badly.</P>\n</I><B><P>ZEPH</P>", "<I><P>Commence a montage of various scenes of island life involving its citizens and the newcomers.</P>", "<P>- I couldn't be bothered. It all seemed kind of trashy and out of place. This was why we kept the secret. If these assholes ever found out about our island they'd take just one night to spoil it forever.</P>", "<I><P>The music is far away now. Richard and Sal struggle along the deserted beach to their boat carrying a pallet laden with sacks of rice.</P>\n</I><P>They arrive and drop the pallet.</P>", "<P>Richard, his face disrupted by mud, sneaks towards the rough shelter of \n wooden planks and palm leaves under which the four farmers are \n sleeping.</P></I>" ], [ "<I><P>Richard surfaces, breathing deeply. He is in a cave within the cliffs, from which a small entrance opens on to the sea beyond.</P>", "<I><P>The empty beach on the other island.</P>\n</I><LI>EXT. HILLTOP. DAY.</LI>\n<I><P>Richard is not pleased.</P>", "<P>Richard surveys the beach on the other island.</P></I>\n <LI>EXT. BEACH. DAWN. <I>\n <P>Through binoculars.</P>", "</B><P>Do you like it here, Richard?</P>\n<B><P>RICHARD</P>\n</B><P>I love this island.</P>", "<I><P>Richard is alone.</P>\n</I><B><P>RICHARD</P>\n</B><P>(continuing)</P>", "</B><P>Nice Island.</P>\n<I><P>They smile and examine the plants.</P>\n<P>Richard wanders a short distance away.</P>", "</B><P>If they reach the island, I want you to discourage them from getting any further.</P>\n<B><P>RICHARD</P>", "<P>On the upper part of the island Richard ascends rapidly beside the \n stream.</P></I>\n <LI>EXT. HILLTOP. DAWN. <I>", "<I><P>Richard is seated at the top of his bed, addressing his speech out of shot while he holds the map.</P>\n</I><B><P>RICHARD</P>", "<P>Richard appears in a tree, hiding from their view, if they cared to \n look.</P>\n <P>He steals forward to another tree. He watches them.</P></I><B>", "<OL START=72>\n<P><LI> INT. LONGHOUSE. NIGHT.</P></LI>\n<I><P>Richard continues his story.</P>", "<P>She reaches the place where Richard is hiding, couched down in the \n undergrowth.</P>\n <P>Startled by seeing him, she stops abruptly.</P>", "<P>Richard sits at the lookout.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "<P>Richard lies awake.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "</B><P>Yeah, OK. Foreget it. We won't tell anyone.</P>\n<I><P>Richard picks up the map</P></ol>", "<I><P>The music is far away now. Richard and Sal struggle along the deserted beach to their boat carrying a pallet laden with sacks of rice.</P>\n</I><P>They arrive and drop the pallet.</P>", "<P>Richard, his face disrupted by mud, sneaks towards the rough shelter of \n wooden planks and palm leaves under which the four farmers are \n sleeping.</P></I>", "<P>Richard just has time to enjoy the silence when a", "<I><P>Richard walks away along the pontoon.</P>\n</I><B><P>RICHARD</B> (V.O.)</P>\n<P>(continuing)</P>", "now that sacrifice was the secret.</P>\n <LI>EXT. FOREST. NIGHT. <I>\n <P>Richard approaches the faint glow of the small tent where Francoise is" ], [ "<B><P>ETIENNE</P>\n</B><P>It's on an island that no one get to.</P>\n<B><P>FRANCOISE</P>", "<P>The longhouse is derelict and overrun with creepers.</P></I>\n <LI>EXT. ISLAND. DAY. <I>", "<P>It is a detailed and carefully drawn map of a cluster of islands. Some are named. One is unnamed. On it, some features are marked; hills, forest, river and a letter X.</P>", "island. Paradise. You know the kind of thing I'm talking", "<I><P>The music is far away now. Richard and Sal struggle along the deserted beach to their boat carrying a pallet laden with sacks of rice.</P>\n</I><P>They arrive and drop the pallet.</P>", "of one side.</P>\n <P>This is the farmers' home on the island.</P>\n <P>It contains a collection of tools, arms, crates, bedding, food, cigarettes,", "<I><P>The empty beach on the other island.</P>\n</I><LI>EXT. HILLTOP. DAY.</LI>\n<I><P>Richard is not pleased.</P>", "</B><P>OK, this island may not actually exist. And even if it does, we might not be able to get there. But look at it like this: what else is there to do around here?</P>", "</B><P>Right, the beach: it's on this secret island, in the middle of the national park where no one is allowed to go. It's paradise.</P>", "<I><P>By the light of the moon, they come to land on a deserted stretch of beach. Richard jumps into the shallows as Sal cuts the engine.</P>", "</B><P>Nice Island.</P>\n<I><P>They smile and examine the plants.</P>\n<P>Richard wanders a short distance away.</P>", "</B><P>He will not take us to the island. It's in the National Park and it is forbidden to go there. But we are allowed to travel to this one to stay for one night.</P>", "</B><P>We leave our rucksacks on this island and then we swim.</P>\n<B><P>FRANCOISE</P>\n</B><P>You can swim?</P>", "</B><P>Do you like it here, Richard?</P>\n<B><P>RICHARD</P>\n</B><P>I love this island.</P>", "<I><P>From a different beach they look towards their target: the island. It is 1-2 kilometers away.</P>", "</B><P>If they reach the island, I want you to discourage them from getting any further.</P>\n<B><P>RICHARD</P>", "<I><P>The motor launch idles gently as it drifts into the shallows of a small deserted bay.</P>\n<P>Richard Francoise, and Etienne jump from the boat into the shallows.</P></ol>", "<I><P>Richard surfaces, breathing deeply. He is in a cave within the cliffs, from which a small entrance opens on to the sea beyond.</P>", "<P>Richard surveys the beach on the other island.</P></I>\n <LI>EXT. BEACH. DAWN. <I>\n <P>Through binoculars.</P>", "<P>Seen through binoculars, Zeph walks along the beach on the other island. He \n is carrying a large piece of driftwood.</P>" ], [ "<B><P>RICHARD</P>\n</B><P>Why did Daffy leave? What made him unhappy?</P>\n<I><P>The silence persists.</P>", "<P>Richard is sitting copying Daffy's map on to another sheet of paper. He finishes and writes a note on the copy.</P>\n<P>He puts the original in his pack and lifts it.</P></ol>", "<B><P>RICHARD</P>\n</B><P>Here.</P>\n<I><P>He leans across and holds out a ten dollar note for Daffy.</P>", "<B><P>SAL</P>\n</B><P>No, Richard, don't worry. Daffy left because he felt that in coming to paradise we had inevitably destroyed it.</P>", "<P>He reaches the other side of the room. There, wedged in the narrow gap between bed and wall, is Daffy's corpse. His wrists have been cut.</P>", "</I><B><P>DAFFY</P>\n</B><P>Excuse me.</P>\n<B><P>RICHARD</P>", "<P>Most of the tables around him are empty.</P>\n<P>Richard is interrupted by the man he met earlier, Daffy, who pulls up a chair beside him.</P>", "</I><B><P>RICHARD</P>\n</B><P>Good evening.</P>\n<I><P>Daffy says nothing but continues to stare and takes a drink.</P>", "</B><P>Richard -</P>\n<I><P>He turns back.</P>\n</I><B><P>DAFFY</P>", "<P>A worn, disheveled man in his mid-thirties is standing at the nearby bar, a bottle in his hand, studying Richard. This is Daffy.</P>", "<P>Richard and Daffy shake hands.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "<I><P>Richard knocks sharply on the door of Daffy's room.</P>\n<P>The door is opened immediately by Daffy, looking even worse then before.</P>", "</B><P>Thanks.</P>\n<I><P>Richard turns away.</P>\n</I><B><P>DAFFY</P>", "<B><P>DAFFY</P>\n</B><P>Yea, OK. I will be, I will be, I promise.</P>\n<B><P>RICHARD</P>", "<B><P>DAFFY</P>\n</B><P>Just five dollars, please.</P>\n<I><P>He leans in close to Richard</P>", "</I><B><P>DAFFY</P>\n</B><P>Thank you, sir. Thank you. I promise I will repay you.</P>\n<B><P>RICHARD</P>", "<LI>INT. DAFFY'S ROOM. DAY. <I>\n <P>Richard steps carefully across the floor, avoiding the pools of \n blood.</P></I><B>", "<P>Sal is studying Daffy's map. She hands it back to Richard.</P>", "<P>RICHARD</P></B>\n <P>(continuing)</P>\n <P>Leave him with me.</P><I>", "<B><P>RICHARD</P>\n</B><P>I'm sorry. I can't lend you any money.</P>\n<I><P>Daffy retreats.</P>" ], [ "<I><P>The decks are crowded with travelers and their packs. Amongst them are Richard, Francoise, and Etienne. Maps and guidebooks are being studied by many. The noise of the engines and the wind deters conversation.</P>", "<P>Lined up in the corridor, slouching against the walls, are several other travelers from the hotel. At the front of the queue are Francoise and Etienne.</P>", "<P>Francoise and Etienne flee through the forest towards the beach.</P></I>\n <LI>INT. SMALL TENT. NIGHT. <I>", "<I><P>Richard, Francoise and Etiene sit at the back of a small powerful motor launch which skims across the surface of the sea with great noise and speed.</P></ol>", "<I><P>Francoise and Etienne are looking at him.</P>\n</I><B><P>RICHARD</B> (V.O.)</P>", "<P>He is woken by someone rummaging through the rucksack beside him. It is Francoise, removing clothes, books, souvenirs. Eventually she finds her camera, a mini-tripod and a cable-release.</P>", "<P>Francoise is joined by a young man, ETIENNE, who catches up with her. He nods at Richard as he takes her arm. They walk away from Richard to the next door.</P>", "<P>He is listening to the sound of Etienne and Francoise engaging in noisy sex. They reach the climax of their activity and fall silent.</P>", "<P>Richard turns back to Etienne and Francoise. They are still strolling amongst the plants.</P>\n<P>Richard begins to back away.</P>\n<P>The Farmer wakes.</P>", "<P>His feet pass in the gap between Richard and Francoise. He pauses. They lie frozen in place. He lights a cigarette and drops the match. He moves on.</P>\n<P>They breath again.</P> </ol>", "<P>Etienne and Francoise are lying flat on a rock, peering over the edge of this high waterfall. It falls in a single giant step.</P>", "<I><P>Richard and Francoise are sitting in the shadows.</P>\n</I><B><P>RICHARD</P>", "<I><P>A few candles still burn as people prepare to turn in for the night. Richard is lying in his sleeping area. He is watching Francoise.</P>", "<P>He looks down into it.</P>\n<P>Etienne and Francoise walk past him along the pontoon without stopping and disappear from view.</P>", "<P>The officer beckons Etienne into the office and closes the door.</P>\n<P>Richard and Francoise acknowledge each other with a smile.</P></OL>", "<I><P>Francoise is alone now. Richard is about to move across when the center of the room is occupied by commotion.</P>", "<I><P>The motor launch idles gently as it drifts into the shallows of a small deserted bay.</P>\n<P>Richard Francoise, and Etienne jump from the boat into the shallows.</P></ol>", "</B><P>You and Francoise, that's what.</P>\n<B><P>RICHARD</P>", "<P>Francoise emerges from the tent.</P>\n <P>Richard watches.</P></I>\n <LI>EXT. FOREST. DAWN <I>", "<I><P>Inside back of a covered, converted pick-up, four people are seated down each side, amongst them Richard, Francoise, and Etienne.</P>" ], [ "<P>They all congratulate him.</P>\n<P>Richard raises the spear aloft.</P>\n</I><B><P>RICHARD</P>", "<P>Richard just has time to enjoy the silence when a", "<I><P>Richard is alone.</P>\n</I><B><P>RICHARD</P>\n</B><P>(continuing)</P>", "</B><P>(continuing)</P>\n<P>Richard, you are a novelty act. He is the main attraction.</P>\n<B><P>RICHARD</P>", "<P>Richard emerges from the longhouse, flexing the fingers of his punching \n hand.</P>\n <P>A crowd has gathered as he joins it.</P>", "<P>Richard appears in a tree, hiding from their view, if they cared to \n look.</P>\n <P>He steals forward to another tree. He watches them.</P></I><B>", "<I><P>Richard surfaces, breathing deeply. He is in a cave within the cliffs, from which a small entrance opens on to the sea beyond.</P>", "<I><P>Richard is seated at the top of his bed, addressing his speech out of shot while he holds the map.</P>\n</I><B><P>RICHARD</P>", "</B><P>It's the anniversary, Richard.</P>\n</OL>", "<P>Richard politely reciprocates.</P>\n</I><B><P>RICHARD</P>\n</B><P>Sure.</P>", "</I><B><P>RICHARD</P>\n</B><P>\"Hey Richard - enjoy your dinner.\"</P>\n<I><P>There are cheers to the end of his story.</P>", "<P>Richard sits at the lookout.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "<B><P>RICHARD</B> (V.O.)</P>", "<P>Richard walks away from the wicket, past Keaty and the celebrating fielders, Francoise among them, who have gathered around Etienne.</P> </OL>", "<P>Richard's arms begin their forward motion as his V.O. commences.</P>\n</I><B><P>RICHARD</B> (V.O.)</P>", "<P>Richard returns to the video as a big yellow explosion is reflected on his face.</P> </OL>", "<P>A young man, Richard, sits in the back, his rucksack beside him, swaying with the motion of the vehicle. He is worn and sweating.</P>", "<B><P>RICHARD</B> (V.O.)\t</P>", "<P>Richard is with him.</P></I><B>\n <P>RICHARD</P></B>", "<B><P>RICHARD</P>\n</B><P>Oh. Well, here I am.</P>\n<B><P>SAL</P>" ], [ "</B><P>(continuing) </P>\n<P>You kill</P>\n<I><P>A dying fish wriggles on the end of the spear.</P>", "<P>At the center are Karl, on his knees, wailing and shouting in Swedish, and \n Sten, who has been savaged by a shark and looks dead. Despite his appearance,", "</B><P>The problem is seeing the fish. With the rain and the poor light, they are very difficult to catch. It could last for days. Sometimes when it rains, we get hungry.</P>", "<P>OK, let's face it. There is no such thing as a local fisherman anymore. There really isn't the demand for them. If you want to catch fish you put down a hundred kilometer drag net.</P>", "<P>After the funeral we all tried to get back to normal, but it just didn't \n seem right. After a while it became clear that the problem was Christo. You", "<I><P>The music is far away now. Richard and Sal struggle along the deserted beach to their boat carrying a pallet laden with sacks of rice.</P>\n</I><P>They arrive and drop the pallet.</P>", "<P>In his sleep, the farmer swats at his nose as he might swat at a fly. \n Richard withdraws the gun a fraction.</P>", "<I><P>Their feet and legs are visible. At first nothing is happening, then a few fish swim into view.</P>\n<P>Richard throws and misses. The other two throw and miss.</P>", "<P>The four bodies hang from the roof.</P>\n <P>The farmers have gone.</P>\n <P>Sal lies injured on the floor.</P>", "straightforward, easy to get along with, reliable sort of guy. He worked hard \n for the whole community - he even lost his life fishing for us.</P><I>", "<B><P>KEATY</P>\n</B><P>He'd appreciate that. Anyway, first day's fishing, first day's catch, you lot are just about ready to join the community.</P>", "</I><P>Bugs waits until these die down.</P>\n<B><P>BUGS</P>\n</B><P>Strange thing, killing a shark, isn't it?</P>", "<P>His finger strokes the trigger.</P>\n <P>He moves very carefully around the shelter, pointing the gun at each \n sleeping farmer and mouthing \"bang\" as he goes.</P>", "<P>And then-</P>\n<I><P>He suddenly throws the spear into the water. He lifts it out triumphant.</P>\n</I><B><P>CHRISTO</P>", "it was like we had amputated Christo from our community and after the \n operation was over, we felt a whole lot better.</P><I>", "<P>He sits motionless, staring at her corpse.</P></I>\n <P>UNDERWATER. DAY.</P><I>", "<P>Richard sees small fish swimming around him. He spears one and holds it out on the tip of his spear.</P>", "<I><P>One by one the three swimmers emerge from the sea and collapse on the beach. They are absolutely exhausted and lie there on the sand, unable to speak.</P>", "<P>You are lying! You are bringing people here. Too many people!</P><I>\n <P>He hits her with the rifle butt.</P></I><B>", "<P>The spear is held by richard who smiles as he deposits the fish on the broad wooden chopping surface.</P>\n</I><B><P>RICHARD</B> (V.O.)</P>" ], [ "<I><P>There are no volunteers. Everyone avoids Sal's eye.</P>\n</I><B><P>SAL</P>\n</B><P>(continuing)</P>", "</I><B><P>SAL</P>\n</B><P>No. It's out of the question.</P>\n<I><P>She returns to the book.</P>", "<P>(Unfortunately the copy of the script is now missing a page.)</P>\n<P> </P>\n<B><P>SAL</P>", "<P>He needs a doctor.</P><B>\n <P>RICHARD</P></B>\n <P>You worked in a hospital.</P><B>", "<P>A few seconds later, Sal sits opposite him. She is absolutely matter of \n fact.</P></I><B>\n <P>SAL</P></B>", "<P>I think Sal is attracted to you.</P><B>\n<P>RICHARD</P></B>\n<P>No, I don't think so.</P><B>", "<B><P>SAL</P>\n</B><P>Don't breathe till you get to the other side.</P>\n<I><P>Sal submerges.</P>", "is going to be a regulra situation, I'm going to have to start hiding from Sal \n so I don't have to come up here. But a strange thing happened: I began to", "<I><P>Sal and Richard are walking away from the longhouse in the early morning light. Sal has a small parcel of cannabis wrapped up in a plastic bag.</P>\n</I><B><P>RICHARD</P>", "<P>They were trying to save Sten's life although even as a novice in this \n field I could tell that just wasn't going to happen.</P><I>", "<P>He picks out two clumps of green, rotten mush and holds them out towards Sal who stands nearby.</P></OL>", "<P>Take him back, you fucking animals!</P><I>\n <P>Sal drops the tent at Etienne's feet.</P>", "</B><P>Yeah, it's unbelievable.</P>\n<B><P>SAL</P>\n</B><P>Why? That's all I want to know. Why?</P>", "</B><P>No, it's not that. I just wondered about Bugs. And me.</P>\n<I><P>Sal rouses herself.</P>", "<I><P>Surrounded by a wall of mosquito net, Richard and Sal lie on the bed.</P>\n<P>Sal lies on her side falling asleep. Richard is awake.</P>", "</B><P>Sal! How long do I - Sal!</P>\n<I><P>She does not turn around.</P>\n<P>Richard turns back towards the other island.</P>", "</B><P>Oh, Sal. Hi.</P>\n<B><P>SAL</P>", "</B><P>No. As a matter of fact, I'm going to go for a long walk.</P>\n<B><P>SAL</P>", "</B><P>Right.</P>\n<B><P>SAL</P>", "<B><P>SAL</P>\n</B><P>You sure?</P>\n<B><P>RICHARD</P>\n</B><P>Yes.</P>" ], [ "<P>Richard reaches forward. He pinches Christo's nose and covers his \nmouth.</P>\n <P>Christo's body struggles briefly and goes still.</P>", "it.</P><I>\n <P>Richard is standing over Christo who is lying in agony on the \n sand.</P></I><B>", "<P>Richard looks at Christo's right leg: it has been bitten off beneath the \n knee, leaving only a ragged bloody stump.</P></I><B>", "<P>Christo moans. A couple of people get up and leave.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "<P>Richard studies Christo, illuminated by a torch.</P>\n <P>His breathing is labored and irregular.</P>", "<P>Etienne draws back the sheet covering Christo's discolored stump.</P></I>\n <P>Richard recoils.</P><B>", "<P>This is a particularly bad time, with Christo lying in that tent, it \n wouldn't look good if anyone arrived.</P><B>\n <P>RICHARD</P></B>", "<P>No, what's wrong with you? Why didn't you stop them moving Christo?</P><B>\n <P>RICHARD</P></B>", "<P>RICHARD</B> (V.O.)</P>\n <P>But at least I understood why he'd done it.</P>", "<P>RICHARD</P></B>\n <P>Yeah. Sure. Christo, it'll be ok.</P>", "<P>At the heart of this are Bugs, and an Italian man, Gregorio. Bugs is holding a pair of pliers. Gregorio is in pain.</P>\n<P>Richard watches.</P>", "<P>Well?</P><B>\n <P>RICHARD</P></B>\n <P>They're dead.</P><B>", "<P>Richard lets Etienne slide off onto his bed where he lies, inert and comatose.</P>\n</I><B><P>FRANCOISE</P>", "<P>Bugs does not laugh. He stares at Richard.</P>\n<P>Richard is smiling as he extinguishes the final candle.</P></OL>", "<P>They fight.</P>\n <P>Bugs forces Richard on to the ground</P>\n <P>He is about to stab Richard.</P>", "<P>RICHARD</B> (V.O.)</P>\n <P>That was the worst thing: I didn't even get to die. I had to live with", "<P>RICHARD</P></B>\n <P>There is nothing more you can do. I'll look after him.</P><B>", "<P>Richard just has time to enjoy the silence when a", "her back.</P>\n <P>She falls to the ground.</P>\n <P>Richard is spattered in her blood.</P>", "Keaty and Gregorio are attempting to resuscitate him.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>" ], [ "<B><P>SAL</P>\n</B><P>No, Richard, don't worry. Daffy left because he felt that in coming to paradise we had inevitably destroyed it.</P>", "<P>Take him back, you fucking animals!</P><I>\n <P>Sal drops the tent at Etienne's feet.</P>", "<I><P>There are no volunteers. Everyone avoids Sal's eye.</P>\n</I><B><P>SAL</P>\n</B><P>(continuing)</P>", "<I><P>The inhabitants of the community are sprawled around the area, generally facing towards Sal who addresses them. Francoise is sitting with Etienne but turns to acknowledge Richard with a smile at some stage.</P>", "<P>The four bodies hang from the roof.</P>\n <P>The farmers have gone.</P>\n <P>Sal lies injured on the floor.</P>", "<P>(Unfortunately the copy of the script is now missing a page.)</P>\n<P> </P>\n<B><P>SAL</P>", "<I><P>Sal and Richard are walking away from the longhouse in the early morning light. Sal has a small parcel of cannabis wrapped up in a plastic bag.</P>\n</I><B><P>RICHARD</P>", "<P>You are lying! You are bringing people here. Too many people!</P><I>\n <P>He hits her with the rifle butt.</P></I><B>", "it was like we had amputated Christo from our community and after the \n operation was over, we felt a whole lot better.</P><I>", "<B><P>RICHARD</P>\n</B><P>Because you built a shelter.</P>\n<B><P>SAL</P>", "<P>Sal was the leader but it wasn't a big deal. There wasn't any ideology or shit like that, it was just a beach resort for people who don't like beach resorts.</P>", "<P>One by one at first, then en masse, everyone except Bugs leaves the \n longhouse, hurrying past Richard at the door.</P>", "</I><B><P>SAL</P>\n</B><P>No. It's out of the question.</P>\n<I><P>She returns to the book.</P>", "<I><P>The music is far away now. Richard and Sal struggle along the deserted beach to their boat carrying a pallet laden with sacks of rice.</P>\n</I><P>They arrive and drop the pallet.</P>", "<P>He picks out two clumps of green, rotten mush and holds them out towards Sal who stands nearby.</P></OL>", "<P>Sonja walks along with a large clay bottle, filling each shell with a milky liquid.</P>\n<P>Sal is standing up.</P>\n</I><P>The drumming stops.</P>", "<I><P>Sal kisses him on the cheak and leaves.</P>\n<P>Richard watches her go.</P>\n</I><B><P>RICHARD</P>", "<P>Christo moans. A couple of people get up and leave.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "<P>Yes, all of them. They disturbed the farmers.</P><B>\n <P>SAL</P></B>\n <P>Right.</P><B>", "is going to be a regulra situation, I'm going to have to start hiding from Sal \n so I don't have to come up here. But a strange thing happened: I began to" ], [ "<I><P>Richard surfaces, breathing deeply. He is in a cave within the cliffs, from which a small entrance opens on to the sea beyond.</P>", "<I><P>The empty beach on the other island.</P>\n</I><LI>EXT. HILLTOP. DAY.</LI>\n<I><P>Richard is not pleased.</P>", "<P>Richard surveys the beach on the other island.</P></I>\n <LI>EXT. BEACH. DAWN. <I>\n <P>Through binoculars.</P>", "</B><P>Do you like it here, Richard?</P>\n<B><P>RICHARD</P>\n</B><P>I love this island.</P>", "<I><P>Richard is alone.</P>\n</I><B><P>RICHARD</P>\n</B><P>(continuing)</P>", "</B><P>Nice Island.</P>\n<I><P>They smile and examine the plants.</P>\n<P>Richard wanders a short distance away.</P>", "</B><P>If they reach the island, I want you to discourage them from getting any further.</P>\n<B><P>RICHARD</P>", "<P>On the upper part of the island Richard ascends rapidly beside the \n stream.</P></I>\n <LI>EXT. HILLTOP. DAWN. <I>", "<I><P>Richard is seated at the top of his bed, addressing his speech out of shot while he holds the map.</P>\n</I><B><P>RICHARD</P>", "<P>Richard appears in a tree, hiding from their view, if they cared to \n look.</P>\n <P>He steals forward to another tree. He watches them.</P></I><B>", "<OL START=72>\n<P><LI> INT. LONGHOUSE. NIGHT.</P></LI>\n<I><P>Richard continues his story.</P>", "<P>She reaches the place where Richard is hiding, couched down in the \n undergrowth.</P>\n <P>Startled by seeing him, she stops abruptly.</P>", "<P>Richard sits at the lookout.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "<P>Richard lies awake.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "</B><P>Yeah, OK. Foreget it. We won't tell anyone.</P>\n<I><P>Richard picks up the map</P></ol>", "<I><P>The music is far away now. Richard and Sal struggle along the deserted beach to their boat carrying a pallet laden with sacks of rice.</P>\n</I><P>They arrive and drop the pallet.</P>", "<P>Richard, his face disrupted by mud, sneaks towards the rough shelter of \n wooden planks and palm leaves under which the four farmers are \n sleeping.</P></I>", "<P>Richard just has time to enjoy the silence when a", "<I><P>Richard walks away along the pontoon.</P>\n</I><B><P>RICHARD</B> (V.O.)</P>\n<P>(continuing)</P>", "now that sacrifice was the secret.</P>\n <LI>EXT. FOREST. NIGHT. <I>\n <P>Richard approaches the faint glow of the small tent where Francoise is" ], [ "<P>He reaches the other side of the room. There, wedged in the narrow gap between bed and wall, is Daffy's corpse. His wrists have been cut.</P>", "<P>Daffy. He saw it happen. Didn't he? Yea, he saw it happen. And now you \n wanted me to see it happen.</P><B>", "</B><P>Richard -</P>\n<I><P>He turns back.</P>\n</I><B><P>DAFFY</P>", "</B><P>Yeah, that's right. Now could you be quiet so I can get some sleep.</P>\n<B><P>DAFFY</P>", "</B><P>Thanks.</P>\n<I><P>Richard turns away.</P>\n</I><B><P>DAFFY</P>", "<B><P>RICHARD</P>\n</B><P>Why did Daffy leave? What made him unhappy?</P>\n<I><P>The silence persists.</P>", "<P>A worn, disheveled man in his mid-thirties is standing at the nearby bar, a bottle in his hand, studying Richard. This is Daffy.</P>", "<P>Richard and Daffy shake hands.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "</I><B><P>DAFFY</P>\n</B><P>(continuing)</P>\n<P>I'll share something with you.</P>", "<P>He studies the map then walks to Daffy's door and knocks.</P>\n<P>No reply.</P>", "</I><B><P>RICHARD</P>\n</B><P>Good evening.</P>\n<I><P>Daffy says nothing but continues to stare and takes a drink.</P>", "<I><P>Daffy stares at him for a moment. Recognition dawns.</P>\n</I><B><P>DAFFY</P>", "<I><P>Richard knocks sharply on the door of Daffy's room.</P>\n<P>The door is opened immediately by Daffy, looking even worse then before.</P>", "<B><P>SAL</P>\n</B><P>No, Richard, don't worry. Daffy left because he felt that in coming to paradise we had inevitably destroyed it.</P>", "</I><B><P>DAFFY</P>\n</B><P>Excuse me.</P>\n<B><P>RICHARD</P>", "</I><B><P>DAFFY</P>\n</B><P>Thank you, sir. Thank you. I promise I will repay you.</P>\n<B><P>RICHARD</P>", "<B><P>RICHARD</P>\n</B><P>Here.</P>\n<I><P>He leans across and holds out a ten dollar note for Daffy.</P>", "</I><B><P>DAFFY</P>\n</B><P>(continuing)</P>\n<P>if you could see your way to lending me some cash -</P>", "<P>Richard turns back to the video and his food.</P>\n<P>Daffy approaches two young women sitting at a nearby table.</P>\n</I><B><P>DAFFY</P>", "<I><P>The room is dim, be even so the blood can be seen sprayed and smeared around the walls, sheets and floor.</P>\n<P>There is no sign of Daffy.</P>" ], [ "<P>Richard is sitting copying Daffy's map on to another sheet of paper. He finishes and writes a note on the copy.</P>\n<P>He puts the original in his pack and lifts it.</P></ol>", "</B><P>Yeah, OK. Foreget it. We won't tell anyone.</P>\n<I><P>Richard picks up the map</P></ol>", "<P>He holds out the map drawn by Richard.</P></I>\n <LI>EXT. FOREST. NIGHT. <I>", "<I><P>Richard is seated at the top of his bed, addressing his speech out of shot while he holds the map.</P>\n</I><B><P>RICHARD</P>", "<B><P>RICHARD</P>\n</B><P>Hi there. Here, take a look.</P>\n<I><P>He shows Etienne the map.</P>", "<P>Richard studies the map again.</P>\n</I><B><P>RICHARD</B> (V.O.)</P>", "<P>Sal is studying Daffy's map. She hands it back to Richard.</P>", "They stand and turn away towards the noise reaching for their guns, cocking \n them, etc.</P>\n <P>The knife is taken by Richard.</P>", "<LI>INT. HOTEL CORRIDOR. DAY. <I>\n <P>Richard pins the map to the door of an adjacent room.</P>", "<P>Richard appears in a tree, hiding from their view, if they cared to \n look.</P>\n <P>He steals forward to another tree. He watches them.</P></I><B>", "<P>RICHARD</P></B>\n <P>(continuing)</P>\n <P>Leave him with me.</P><I>", "<I><P>Richard hops over the fence to the veranda of Zeph and Sammy's bungalow.</P>\n<P>He slips the folded copy under their door.</P>", "<I><P>Richard is alone.</P>\n</I><B><P>RICHARD</P>\n</B><P>(continuing)</P>", "<B><P>RICHARD</P>\n</B><P>The map is wrong.</P>\n<B><P>ZEPH</P>", "<P>Richard and Bugs stare at each other down the length of the longhouse.</P>\n <P>Richard smiles. He repeats the gesture that he made when returning with the", "<P>She reaches the place where Richard is hiding, couched down in the \n undergrowth.</P>\n <P>Startled by seeing him, she stops abruptly.</P>", "<P>Richard politely reciprocates.</P>\n</I><B><P>RICHARD</P>\n</B><P>Sure.</P>", "<P>Behind him, Richard smiles and releases his own grip on the gun.</P>\n <P>Instead he lifts the bandana away from the farmer's head and puts it on his", "<I><P>Richard surfaces, breathing deeply. He is in a cave within the cliffs, from which a small entrance opens on to the sea beyond.</P>", "<B><P>RICHARD</P>\n</B><P>I didn't draw the map, Etienne.</P>\n<B><P>ETIENNE</P>" ], [ "of one side.</P>\n <P>This is the farmers' home on the island.</P>\n <P>It contains a collection of tools, arms, crates, bedding, food, cigarettes,", "<P>The farmers are oblivious.</P>\n <P>Richard advances as far as he dare: a few meters from them.</P>", "</B><P>Nice Island.</P>\n<I><P>They smile and examine the plants.</P>\n<P>Richard wanders a short distance away.</P>", "some fruit and some dope. The farmers on the other", "<P>The travelers, watched by Richard, reach the top of the slope and then the \n edge of the field.</P>\n <P>The farmers are nearby.</P></I><B>", "<I><P>Commence a montage of various scenes of island life involving its citizens and the newcomers.</P>", "<P>Slowly, he begins to walk backwards, smiling reassuringly.</P>\n <P>The farmers say nothing but advance and outflank the travelers, herding", "<I><P>The farmer looks around, sees nobody. His attention is attracted by a whistle.</P>\n<P>He looks over. A group of three more, similarly armed Farmers emerge from the forest at the other side.</P>", "and bottles of cheap whiskey.</P>\n <P>Spaced out within the shelter, the four farmers are asleep on low pallets", "<P>The farmers see a bird fly from a tree. Satisfied, they give up and return \n to their resting place.</P>\n <P>Richard steals away from tree to tree.</P>", "<P>We go now. We leave in peace. Look we can pay. Here, American dollars. You \n can have them.</P><I>\n <P>The farmers line up opposite them.</P>", "<P>Richard lifts a stone and throws it high in the air beyond the farmers.</P>\n <P>As it falls through the trees to the forest floor the farmers are startled.", "<P>Richard, his face disrupted by mud, sneaks towards the rough shelter of \n wooden planks and palm leaves under which the four farmers are \n sleeping.</P></I>", "then -</P><I>\n <P>Zeph stops singing. He has seen the farmers, armed and watching him from a \n few meters away.</P>", "the four farmers sitting at their shelter eating breakfast.</P></I>\n <LI>EXT. FIELD. DAY. <I>", "<P>Looking through the trees, the four dope farmers (with their guns) are \n visible about thirty meters away, relaxing and playing cards.</P>", "<I><P>The music is far away now. Richard and Sal struggle along the deserted beach to their boat carrying a pallet laden with sacks of rice.</P>\n</I><P>They arrive and drop the pallet.</P>", "<P>The longhouse is derelict and overrun with creepers.</P></I>\n <LI>EXT. ISLAND. DAY. <I>", "<P>Richard turns back to Etienne and Francoise. They are still strolling amongst the plants.</P>\n<P>Richard begins to back away.</P>\n<P>The Farmer wakes.</P>", "island. Paradise. You know the kind of thing I'm talking" ], [ "<P>Richard sits in a hollow under a rough shelter he as made from palm \n leaves.</P>\n <P>He is using the knife to gut a bird of some sort which he then eats", "<P>Richard sees small fish swimming around him. He spears one and holds it out on the tip of his spear.</P>", "<I><P>The empty beach on the other island.</P>\n</I><LI>EXT. HILLTOP. DAY.</LI>\n<I><P>Richard is not pleased.</P>", "<P>And to eat?</P><B>\n <P>RICHARD</P></B>\n <P>Whatever I kill, we'll eat.</P><I>", "<P>Richard surveys the beach on the other island.</P></I>\n <LI>EXT. BEACH. DAWN. <I>\n <P>Through binoculars.</P>", "<P>Bugs turns towards him. He drops the rope and walks a couple of paces, then \n rushes him.</P>\n <P>Richard manages to avoid the blade.</P>", "<P>On the upper part of the island Richard ascends rapidly beside the \n stream.</P></I>\n <LI>EXT. HILLTOP. DAWN. <I>", "<P>The spear is held by richard who smiles as he deposits the fish on the broad wooden chopping surface.</P>\n</I><B><P>RICHARD</B> (V.O.)</P>", "<P>Something glinting on the ground catches Richard's eye. He leans down and picks it up. It is an empty brass cartridge from a rifle. Richard looks around.</P>", "<P>Richard appears alone in the clearing, the knife in his hadn.</P>\n <P>Thunder and lightening begin.</P></I><B>", "</B><P>Do you like it here, Richard?</P>\n<B><P>RICHARD</P>\n</B><P>I love this island.</P>", "<P>Just as Bugs reaches him he takes evasive action, feinting to one side.</P>\n <P>Bugs, cursing, pursues Richard around the longhouse, each of them trampling", "<P>He is astonished.</P>\n<P>It circles him and approaches again, pausing just in front.</P>\n<P>Tentatively, Richard raises a hand.</P>", "<I><P>Richard is alone.</P>\n</I><B><P>RICHARD</P>\n</B><P>(continuing)</P>", "<P>They fight.</P>\n <P>Bugs forces Richard on to the ground</P>\n <P>He is about to stab Richard.</P>", "<P>Richard appears in a tree, hiding from their view, if they cared to \n look.</P>\n <P>He steals forward to another tree. He watches them.</P></I><B>", "<I><P>Richard surfaces, breathing deeply. He is in a cave within the cliffs, from which a small entrance opens on to the sea beyond.</P>", "<P>The shark snatches it off and repeats its circle but does not threaten Richard.</P>\n<P>He smiles.</P>", "<I><P>The music is far away now. Richard and Sal struggle along the deserted beach to their boat carrying a pallet laden with sacks of rice.</P>\n</I><P>They arrive and drop the pallet.</P>", "<P>Richard walks along the shore and begins to follow a bloodstained furrow in \n the sand.</P></I><B>" ], [ "<P>Richard looks at Christo's right leg: it has been bitten off beneath the \n knee, leaving only a ragged bloody stump.</P></I><B>", "it.</P><I>\n <P>Richard is standing over Christo who is lying in agony on the \n sand.</P></I><B>", "<P>Christo clings to him.</P></I><B>\n <P>CHRISTO</P></B>", "<P>Christo, delirious, is being nursed by Etienne in the small tent, now \n situated in the middle of the forest.</P>", "<P>In the small tent, a torch glows, outlining Etienne and Francoise over the \n prone form of Christo.</P>", "<P>Richard studies Christo, illuminated by a torch.</P>\n <P>His breathing is labored and irregular.</P>", "<P>Etienne draws back the sheet covering Christo's discolored stump.</P></I>\n <P>Richard recoils.</P><B>", "<LI>INT. LONGHOUSE. DAY. <I>\n <P>Christo is being nursed by Etienne who is mopping his brow, trying to get", "<P>They are watching Christo who stands a short distance away, spear poised for the kill while he talks through the process.</P>\n</I><B><P>CHRISTO</P>", "<P>Richard reaches forward. He pinches Christo's nose and covers his \nmouth.</P>\n <P>Christo's body struggles briefly and goes still.</P>", "nursing christo.</P>\n <P>He is carrying the knife.</P>\n <P>He crawls close up to the tent. Etienne is sleeping in the open", "<P>Christo moans. A couple of people get up and leave.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "brow of Christo, feverish and unconscious.</P></I>\n <LI>INT. LONGHOUSE. NIGHT. <I>\n <P>The farmers have torches now.</P>", "it was like we had amputated Christo from our community and after the \n operation was over, we felt a whole lot better.</P><I>", "<P>Ok, that's far enough.</P><I>\n <P>They lower Christo to the ground.</P></I><B>\n <P>ETIENNE</P></B>", "</I><B><P>CHRISTO</P>\n</B><P>No, no, no. Too fast. Slowly.</P>\n<I><P>They pause</P>", "<I><P>He takes the mask and snorkel from Christo and marches down towards the sea.</P>\n</I><B><P>ETIENNE</P>", "<P>You don't have time to talk about this. You have to go now.</P><I>\n <P>Christo moans. Etienne looks at him.</P></I><B>", "<P>This is disgusting! You cannot do this! Take him back!</P><I>\n <P>A party of stretcher bearers, including Bugs, Sal, and Keaty, carry Christo", "don't they'll kill you.</P><B>\n <P>ETIENNE</P></B>\n <P>What about Christo?</P><B>" ], [ "<P>One of the guards shoots at her repeatedly, missing.</P>\n <P>The others start shooting at the remaining three, cutting them down in a \n hail of bullets.</P>", "<P>He hears two sets of footsteps rushing up the stairs of the next door bungalow. Two men, Americans, Zeph and Sammy, try to open their door but cannot.</P>", "They stand and turn away towards the noise reaching for their guns, cocking \n them, etc.</P>\n <P>The knife is taken by Richard.</P>", "<P>We go now. We leave in peace. Look we can pay. Here, American dollars. You \n can have them.</P><I>\n <P>The farmers line up opposite them.</P>", "<P>Behind him, Richard smiles and releases his own grip on the gun.</P>\n <P>Instead he lifts the bandana away from the farmer's head and puts it on his", "<P>At the center are Karl, on his knees, wailing and shouting in Swedish, and \n Sten, who has been savaged by a shark and looks dead. Despite his appearance,", "<I><P>The three inturders continue to crawl along the ground between the plants</P>\n<P>Suddenly Richard stops. The farmer's footsteps come closer.</P>", "<P>His feet pass in the gap between Richard and Francoise. He pauses. They lie frozen in place. He lights a cigarette and drops the match. He moves on.</P>\n<P>They breath again.</P> </ol>", "<P>The four bodies hang from the roof.</P>\n <P>The farmers have gone.</P>\n <P>Sal lies injured on the floor.</P>", "<P>Just ahead he sees the remains of an extinguished campfire, and beyond that, protruding from the undergrowth, a pair of male legs and beyond them, the butt of a rifle.</P>", "<P>You are lying! You are bringing people here. Too many people!</P><I>\n <P>He hits her with the rifle butt.</P></I><B>", "<P>One of them is interrogating Sal angrily in Thai while the other \n inhabitants cower at gunpoint.</P></I><B>\n <P>FARMER</P></B>", "<P>In his sleep, the farmer swats at his nose as he might swat at a fly. \n Richard withdraws the gun a fraction.</P>", "<I><P>The farmer looks around, sees nobody. His attention is attracted by a whistle.</P>\n<P>He looks over. A group of three more, similarly armed Farmers emerge from the forest at the other side.</P>", "<P>Richard and the German girl stare into each other's eyes for a moment.</P>\n <P>Suddenly her chest explodes forwards as a single bullet rips through from", "</B><P>Pardon me for this, but thank Christ he's dead.</P>\n<LI>EXT. BUNGALOWS RECEPTION. NIGHT.</LI>", "<P>His finger strokes the trigger.</P>\n <P>He moves very carefully around the shelter, pointing the gun at each \n sleeping farmer and mouthing \"bang\" as he goes.</P>", "<P>At the heart of this are Bugs, and an Italian man, Gregorio. Bugs is holding a pair of pliers. Gregorio is in pain.</P>\n<P>Richard watches.</P>", "<P>Slowly, he begins to walk backwards, smiling reassuringly.</P>\n <P>The farmers say nothing but advance and outflank the travelers, herding", "<P>At the end of her bed four corpses, Zeph, Sammy, and the two German girls, \n hang upside down and bound together from the central beam in the roof of the" ], [ "<P>Richard reaches forward. He pinches Christo's nose and covers his \nmouth.</P>\n <P>Christo's body struggles briefly and goes still.</P>", "it.</P><I>\n <P>Richard is standing over Christo who is lying in agony on the \n sand.</P></I><B>", "<P>Richard looks at Christo's right leg: it has been bitten off beneath the \n knee, leaving only a ragged bloody stump.</P></I><B>", "<P>Richard studies Christo, illuminated by a torch.</P>\n <P>His breathing is labored and irregular.</P>", "<P>Christo moans. A couple of people get up and leave.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "<P>Etienne draws back the sheet covering Christo's discolored stump.</P></I>\n <P>Richard recoils.</P><B>", "<P>At the heart of this are Bugs, and an Italian man, Gregorio. Bugs is holding a pair of pliers. Gregorio is in pain.</P>\n<P>Richard watches.</P>", "<P>Richard lets Etienne slide off onto his bed where he lies, inert and comatose.</P>\n</I><B><P>FRANCOISE</P>", "her back.</P>\n <P>She falls to the ground.</P>\n <P>Richard is spattered in her blood.</P>", "<P>Bugs does not laugh. He stares at Richard.</P>\n<P>Richard is smiling as he extinguishes the final candle.</P></OL>", "<P>RICHARD</P></B>\n <P>Yeah. Sure. Christo, it'll be ok.</P>", "<P>They fight.</P>\n <P>Bugs forces Richard on to the ground</P>\n <P>He is about to stab Richard.</P>", "<P>Well?</P><B>\n <P>RICHARD</P></B>\n <P>They're dead.</P><B>", "<P>This is a particularly bad time, with Christo lying in that tent, it \n wouldn't look good if anyone arrived.</P><B>\n <P>RICHARD</P></B>", "They stand and turn away towards the noise reaching for their guns, cocking \n them, etc.</P>\n <P>The knife is taken by Richard.</P>", "<P>Richard just has time to enjoy the silence when a", "Keaty and Gregorio are attempting to resuscitate him.</P></I><B>\n <P>RICHARD</B> (V.O.)</P>", "<P>Richard and the German girl stare into each other's eyes for a moment.</P>\n <P>Suddenly her chest explodes forwards as a single bullet rips through from", "<P>Behind him, Richard smiles and releases his own grip on the gun.</P>\n <P>Instead he lifts the bandana away from the farmer's head and puts it on his", "<P>In the small tent, a torch glows, outlining Etienne and Francoise over the \n prone form of Christo.</P>" ], [ "</B><P>Nice Island.</P>\n<I><P>They smile and examine the plants.</P>\n<P>Richard wanders a short distance away.</P>", "</B><P>Do you like it here, Richard?</P>\n<B><P>RICHARD</P>\n</B><P>I love this island.</P>", "<I><P>The empty beach on the other island.</P>\n</I><LI>EXT. HILLTOP. DAY.</LI>\n<I><P>Richard is not pleased.</P>", "</B><P>If they reach the island, I want you to discourage them from getting any further.</P>\n<B><P>RICHARD</P>", "of one side.</P>\n <P>This is the farmers' home on the island.</P>\n <P>It contains a collection of tools, arms, crates, bedding, food, cigarettes,", "<P>With the binoculars he can see the details of life in each of these \n areas.</P></I>\n <LI>EXT. ISLAND SCENES. DAY. <I>", "<P>It is a detailed and carefully drawn map of a cluster of islands. Some are named. One is unnamed. On it, some features are marked; hills, forest, river and a letter X.</P>", "<P>Sal was the leader but it wasn't a big deal. There wasn't any ideology or shit like that, it was just a beach resort for people who don't like beach resorts.</P>", "<I><P>Commence a montage of various scenes of island life involving its citizens and the newcomers.</P>", "</B><P>He will not take us to the island. It's in the National Park and it is forbidden to go there. But we are allowed to travel to this one to stay for one night.</P>", "<P>They become aware of a single person clapping slowly.</P>\n<P>They turn to see Keaty, a young Afro-Caribbean Londoner, standing a few paces away.</P>", "<P>The longhouse is derelict and overrun with creepers.</P></I>\n <LI>EXT. ISLAND. DAY. <I>", "<P>Seen through binoculars, Zeph walks along the beach on the other island. He \n is carrying a large piece of driftwood.</P>", "<P>Richard surveys the beach on the other island.</P></I>\n <LI>EXT. BEACH. DAWN. <I>\n <P>Through binoculars.</P>", "island. Paradise. You know the kind of thing I'm talking", "<P>On the upper part of the island Richard ascends rapidly beside the \n stream.</P></I>\n <LI>EXT. HILLTOP. DAWN. <I>", "<B><P>ETIENNE</P>\n</B><P>It's on an island that no one get to.</P>\n<B><P>FRANCOISE</P>", "</B><P>We leave our rucksacks on this island and then we swim.</P>\n<B><P>FRANCOISE</P>\n</B><P>You can swim?</P>", "<I><P>Richard surfaces, breathing deeply. He is in a cave within the cliffs, from which a small entrance opens on to the sea beyond.</P>", "<P>At the center are Karl, on his knees, wailing and shouting in Swedish, and \n Sten, who has been savaged by a shark and looks dead. Despite his appearance," ], [ "<P>Richard's knife (the stolen one) is lying beside him. Sal picks it up by \n the tip of the blade.</P></I><B>", "<I><P>Richard turns to see Sal, who has appeared as though from nowhere.</P>\n</I><B><P>RICHARD</P>", "<P>I think Sal is attracted to you.</P><B>\n<P>RICHARD</P></B>\n<P>No, I don't think so.</P><B>", "<I><P>Sal kisses him on the cheak and leaves.</P>\n<P>Richard watches her go.</P>\n</I><B><P>RICHARD</P>", "<P>They fight.</P>\n <P>Bugs forces Richard on to the ground</P>\n <P>He is about to stab Richard.</P>", "They stand and turn away towards the noise reaching for their guns, cocking \n them, etc.</P>\n <P>The knife is taken by Richard.</P>", "her back.</P>\n <P>She falls to the ground.</P>\n <P>Richard is spattered in her blood.</P>", "<P>Richard is sitting with Sal.</P></I><B>\n <P>RICHARD</P></B>", "<P>His right arm whips out and he grabs Richard by the testicles.</P>\n<P>Richard buckles forward in pain.</P>\n</I><B><P>BUGS</P>", "<I><P>Richard and Sal enter from the steps. Behind them the party is still in progress.</P>\n<P>Sal approaches the desk while Richard hangs back.</P>", "<I><P>Sal and Richard are walking away from the longhouse in the early morning light. Sal has a small parcel of cannabis wrapped up in a plastic bag.</P>\n</I><B><P>RICHARD</P>", "<P>RICHARD</P></B>\n <P>You knew they'd be killed.</P><B>\n <P>SAL</P></B>", "<I><P>Surrounded by a wall of mosquito net, Richard and Sal lie on the bed.</P>\n<P>Sal lies on her side falling asleep. Richard is awake.</P>", "<P>Just as Bugs reaches him he takes evasive action, feinting to one side.</P>\n <P>Bugs, cursing, pursues Richard around the longhouse, each of them trampling", "<I><P>Richard reaches the fringe of the beach where Sal is sitting alone, half watching the game.</P>\n</I><B><P>SAL</P>", "<P>Bugs turns towards him. He drops the rope and walks a couple of paces, then \n rushes him.</P>\n <P>Richard manages to avoid the blade.</P>", "<P>Richard reaches forward. He pinches Christo's nose and covers his \nmouth.</P>\n <P>Christo's body struggles briefly and goes still.</P>", "<I><P>Sal walks into the water and begins swimming out towards the cliff.</P>\n<P>Richard watches then dives into the water.</P>", "<I><P>By the light of the moon, they come to land on a deserted stretch of beach. Richard jumps into the shallows as Sal cuts the engine.</P>", "<P>In his sleep, the farmer swats at his nose as he might swat at a fly. \n Richard withdraws the gun a fraction.</P>" ] ]

[ "What did Bugs tease Richard about?", "What is the name of the community leader on the island?", "Why did Sal blackmail Richard?", "Who was Daffy?", "How did Richard and the French couple get to the island?", "What did Richard kill that made him a minor celebrity?", "Chriso gets gangrene in his leg as a result of what kind of attack?", "What is the name of Sal's boyfriend?", "What illegal substance is being grown on the island?", "Who tells Richard about the island?", "What is the location of the uninhabited island?", "What does Daffy leave Richard upon his suicide? ", "Where does the French couple travel?", "How does Richard gain celebrity?", "What kills a community fisherman and disrupts normalcy?", "Why does Sal refuse to get medical help?", "Why does Richard euthanize Christo?", "Why does the community abandon sal?", "Who tells Richard about the island?", "How does Daffy die?", "Who does Richard give a copy of the map to?", "What do the farmers grow on the island?", "What animal does Richard kill on the island?", "How is Christo injured?", "Who kills the Americans?", "How does Richard euthanize Christo?", "What is the leader of the Island's name?", "How does Sal try to kill Richard?" ]

[ [ "The size of the shark that Richard killed.", "the small size of the shark he had killed" ], [ "The island community leader's name is Sal. ", "Sal" ], [ "Sal blackmailed Richard because she found out he had given an American couple a map to the island. ", "because she discovers that Richard had given the map to the two Americans" ], [ "Daffy is the person that told Richard about the island and gave him a map on how to get there.", "A traveller who tells Richard of an island in the Gulf of Thailand." ], [ "They swam there from a nearby island. ", "they followed a map given to them by Daffy" ], [ "Richard killed a shark. ", "A shark." ], [ "Christo got gangrene after he was attacked by a shark. ", "a shark attack" ], [ "Sal's boyfriend is named Bugs. ", "Bugs" ], [ "Cannabis is being illegally grown on the island.", "Cannabis." ], [ "Daffy", "Daffy." ], [ "The Gulf of Thailand", "The gulf of Thailand" ], [ "A map to the island", "a map to the island" ], [ "Ko Samui", "To Ko Samui to find the island" ], [ "Killing a shark", "By killing a shark." ], [ "A shark attack", "Richard" ], [ "It will compromise the island's secrecy.", "Because it will compromise the community's secrecy." ], [ "His leg had become gangrenous", "He was injured." ], [ "She chose to kill richard", "She shocked them when she took the opportunity to kill Richard" ], [ "Daffy.", "Daffy " ], [ "He commits suicide.", "suicide" ], [ "Two Americans.", "two Americans he met in Ko Samui, who had heard rumors of the island" ], [ "Cannabis.", "cannabis" ], [ "A shark.", "A shark" ], [ "A shark attack.", "Attacked by a shark" ], [ "The farmers.", "the cannabis farmers" ], [ "Suffocation.", "Richards suffocates him." ], [ "Sal.", "Sal" ], [ "With a gun.", "With a gun." ] ]

[ [ "OTIS\n He must be crazy-excited about\n winning his fourth Piston Cup.\n Four! Wow!", "Wow. I can't believe they renamed\n the Piston Cup after our very own\n Doc Hudson.", "INT. RADIATOR SPRINGS MUSEUM - DAY\n \n CLOSE ON THE PISTON CUP. It has now changed, been adorned", "BRENT MUSTANGBURGER\n Lightning McQueen loses in the last\n lap to Francesco Bernoulli in the\n first race of the World Grand Prix", "Lightning McQueen is the first to\n take advantage. And just like that,\n folks, Francesco's lead is left in\n the dust.", "DARRELL CARTRIP (V.O.)\n And don't forget Lightning McQueen!\n His mentor, the Hudson Hornet, was", "with a small likeness of Doc. It says \"Hudson Hornet Piston\n Cup.\"\n \n MATER", "one of the greatest dirt track\n racers of all time. In my opinion,\n McQueen is the best all-around\n racer in this competition.", "Piston cups, framed articles, other racing ephemera.\n \n MCQUEEN\n I know Doc said these things were", "away, having spray painted \"TEAM LIGHTNING MCQUEEN\" on it.\n Guido quickly uncorks three wine bottles.\n \n GUIDO", "BRENT MUSTANGBURGER (V.O.)\n And Lightning McQueen just blasted\n away, hooked to the now rocket-\n propelled tow truck.", "... and now, our last competitor ---\n Number 95, Lightning McQueen!\n \n MCQUEEN approaches the microphone, flashes his headlights.", "He breezes right through his pit, goes after Mater.\n \n DAVID HOBBSCAP (V.O.)\n Normally an emergency vehicle on", "start the race, wait for Lightning\n McQueen to choke, pass him, then\n win. Francesco always wins. It's\n boring.", "Mater would want you to race.\n \n MCQUEEN\n All right. For Mater.", "The Formula car gets there first.\n \n BRENT MUSTANGBURGER (V.O.)\n Francesco's the winner, McQueen's", "Ah, you heard it! Lightning McQueen\n prefers to be slow! Of course, this\n is not news to Francesco. When I\n want to go to sleep I watch one of", "talking to? This is Lightning\n McQueen. I can handle anything.\n 11.", "from the karate demonstration.\n \n FINN\n I never properly introduced myself.\n Finn McMissile. British", "great time. Everybody! This here's\n Finn McMissile. He's a secret\n agent.\n (WHISPERS)" ], [ "Lightning McQueen is the first to\n take advantage. And just like that,\n folks, Francesco's lead is left in\n the dust.", "BRENT MUSTANGBURGER\n Lightning McQueen loses in the last\n lap to Francesco Bernoulli in the\n first race of the World Grand Prix", "BRENT MUSTANGBURGER (V.O.)\n Well, he better. Talk about a home-\n track advantage. Francesco\n Bernoulli grew up racing on this", "FRANCESCO\n Lightning McQueen! Buona sera.\n \n MCQUEEN\n Nice to meet you, Francesco.", "EXT. RACE COURSE - PORTO CORSA - DAY\n \n McQueen and Francesco battle for first place ---", "start the race, wait for Lightning\n McQueen to choke, pass him, then\n win. Francesco always wins. It's\n boring.", "The Formula car gets there first.\n \n BRENT MUSTANGBURGER (V.O.)\n Francesco's the winner, McQueen's", "Ah, you heard it! Lightning McQueen\n prefers to be slow! Of course, this\n is not news to Francesco. When I\n want to go to sleep I watch one of", "Lightning McQueen would not have a\n chance against Francesco!\n \n Mater doesn't like this.", "Francesco Bernoulli.\n \n Across the screen: LIVE FROM ROME, ITALY. We meet Formula\n race car FRANCESCO BERNOULLI.", "He is so getting beat today.\n \n The starting lights click down from RED to YELLOW to GREEN.\n The race begins. Francesco quickly grabs the lead. He's", "drives away from you.\n \n Francesco wears a bumper sticker that says \"Ciao, McQueen!\"\n \n MCQUEEN", "EXT. RACE COURSE - LONDON - DAY\n \n McQueen leads Francesco as they approach Big Bentley...", "Mater and McQueen ZING PAST HIM with a RED BLUR.\n \n FRANCESCO\n What is happening? It's a bad", "As the racers, led by McQueen and Francesco, take the wide,\n sweeping turn around Willy's Butte we CRANE UP to see MATER,", "away, having spray painted \"TEAM LIGHTNING MCQUEEN\" on it.\n Guido quickly uncorks three wine bottles.\n \n GUIDO", "FRANCESCO\n Signorina Sally. It is official:\n Lightning McQueen is the luckiest\n car in the world.", "Francesco. Is. Triple speed.\n Francesco likes this, McQueen. It's\n really getting him into the zone!\n \n MCQUEEN", "Mater would want you to race.\n \n MCQUEEN\n All right. For Mater.", "Race car.\n \n Uncle Topolino beckons McQueen over.\n \n UNCLE TOPOLINO" ], [ "inside. He's poised to push a DETONATOR BUTTON.\n \n As Zundapp's front tire approaches the detonator ---\n 112.", "CUT TO:\n \n The view of this scene through the window of a luxury box.\n Reveal Zundapp in the window's reflection. He's watching from", "Zundapp can't believe it. He FLIPS OUT.\n \n FARTHER UP THE TRACK - Francesco speeds along. ZHWAAAAAP!!!", "Professor Zundapp is visible below them. He talks with a few\n Pacers and Gremlins. Finn quickly retreats into the shadows.\n Holley follows suit.", "Holley immediately shoves a GUN in Zundapp's grill.\n 119.", "Finn reels him in. Zundapp spins his wheels, caught.\n \n Suddenly Zundapp miraculously, inconceivably, GAINS TRACTION!", "PROFESSOR ZUNDAPP\n Yes, sir. Of course.\n \n Zundapp hangs up, turns to the room.", "--- Professor Zundapp, speeding toward docks along the Thames\n where a COMBAT SHIP waits.\n 116.", "Finn speeds into view, in time to see Zundapp turn a corner\n out of sight.\n \n FINN", "A car finally appears. It's Zundapp.\n \n PROFESSOR ZUNDAPP\n Guten Tag!", "FINN, tires squealing, loses more and more ground to the\n boat. Zundapp, the \"rope\" in this tug-of-war, buckles under\n the tension.", "INT. BIG BENTLEY - LONDON\n \n Zundapp suddenly SQUAWKS over the radio.", "VICTOR HUGO\n Zundapp, when is he coming?\n \n PROFESSOR ZUNDAPP\n He's already here.", "INT. LUXURY BOX - CONTINUOUS\n \n Zundapp is still furiously hitting the button as Holley drops\n into view just beyond the glass.", "ON THE DERRICK - Professor Zundapp watches it all from far\n away.\n \n GREM (OVER RADIO)", "The project is still on schedule.\n You will find this second agent ---\n \n Zundapp kicks the camera's power into the RED.", "damage can be done.\n \n The Professor hangs up, turns to the room.\n \n PROFESSOR ZUNDAPP", "disappears, taking McQueen with him.\n \n ON ZUNDAPP. He now freely PUSHES the detonator, but it says\n \"OUT OF RANGE.\"", "Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and\n ACER, an orange Gremlin and a green Pacer, flank it.", "and Acer are manning this one. They focus it on the racers as\n they approach.\n \n PROFESSOR ZUNDAPP (OVER RADIO)" ], [ "got Finn. Get out of there. Get out\n of there right now!\n \n She turns a corner and STOPS.", "Finn, he's not joking.\n \n FINN\n I know.\n \n MATER", "Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick\n flame rises behind him, casts a Finn-shaped SHADOW over the", "--- THOK! They hook tightly onto a steel girder.\n \n Finn slides out ONTO THE WIRE like an acrobat, then expels", "FINN, tires squealing, loses more and more ground to the\n boat. Zundapp, the \"rope\" in this tug-of-war, buckles under\n the tension.", "darkness with purpose. Suddenly small flames appear, perhaps\n a knot or so away. Then WHOOSH!!! A flame rises above Finn,\n the ship. It illuminates an OIL DERRICK.", "ZZZZZZATTT! Holley shocks him unconscious.\n \n FINN\n (TO HOLLEY)", "She turns. He's GONE, leaving only an open window.\n \n FINN (OVER RADIO)\n Get him out of the pits now!", "FINN - He HANGS off the side of COMBAT SHIP, clandestine.\n \n We're with Finn as the ship continues on, cuts through the", "FINN\n You are now.\n CUT TO:", "FINN attaches his four-way cable hooks to the thugs and\n springs high in the air, crushing the four of them together.", "up the distance between them and Finn, FIRING BULLETS as they\n do so.\n \n ACER\n He's getting away!", "Finn, without hesitation, fires a MINI ROLLING-JACK. The jack\n DRIVES ITSELF toward Grem, anchors itself under his frame and", "It skips along, connecting with Finn in his rear and\n EXPLODING with such force that water skyrockets into the\n night clouds.", "MATER, now looking a bit nervous. He backs out of sight.\n \n MATER\n I don't know about this, Finn.", "HOLLEY (OVER RADIO)\n No! Don't go down that street!\n \n IN THE ALLEY - Finn, now nearly pushed completely into the", "Finn, hot in pursuit, leaps another obstacle and loses ground\n TO ---\n \n --- Tomber who turns a corner and finds himself grill to", "EXT. STREETS OF LONDON - SAME\n \n Finn screams around a corner, sees ---", "Finn, stuck in midair, notices an angry CRANE. Finn GRINS,\n having just found his escape.", "FINN\n You're on any moment now.\n CUT BACK TO:" ], [ "Finn, it's the camera!\n \n FINN\n Where?\n \n HOLLEY", "a disguise. You guys are stuck\n looking like that.\n \n This doesn't help him. They DROP HIM onto a TREADMILL, lock", "Come on, there's no time. Go!\n \n MATER\n Okay, okay. Computer: disguise.", "your disguise.\n \n Holley STOPS. The 3D disguise is now flush with his frame,\n but dents SHOW THROUGH.", "PROFESSOR ZUNDAPP\n You were very interested in this\n camera on the oil platform. Now you\n will witness what it really does.", "As they move past us the Security Car covertly drops a BALL\n BEARING which rolls into a corner. The ball bearing then", "PROFESSOR ZUNDAPP\n Ah, yes. Very carefully...\n \n A forklift opens the crate -- inside is a TV CAMERA, packed", "Fifty percent power.\n (to Rod Redline)\n This camera is actually an\n electromagnetic pulse emitter.", "actually do?\n 4.\n \n \n PROFESSOR ZUNDAPP\n This camera is extremely dangerous.", "(THINKS)\n Actually... there is one thing.\n CUT TO:", "ZWWWWAT! A HOLOGRAPHIC disguise suddenly umbrellas out,\n emitted from Mater's roof. It drops a clean cloaking image of", "carefully in foam. Finn SNAPS PHOTOS FURIOUSLY.\n \n NOSY PACER\n Oh. A TV camera. What does it", "footage from the party. Clearly, they were watching and\n recording him there.\n \n ACER\n You talked up a lot of cars last", "Holley's rearview tracking confirms that the device is on\n him.\n \n MATER\n (TO HIMSELF)", "He pushes the camera through an open small window, turns it\n toward the course. Mater DROPS down again ---", "Rod Redline, seeing this, does the world's most subtle double\n take. We caught it, but there's no way anyone else in the\n room could have ---", "...Alexander Hugo, aka \"Chop Shop\n Alex.\"\n \n IN A WIDER SHOT we realize this display is invisible to all", "He carefully rotates his guns BACK IN, pretending like he's\n seen nothing.\n \n ACER", "Holley turns back to her work. The disguise's cloaking is\n larger than Mater. As a result, Holley must dial it back to", "MCQUEEN\n You know, there's one thing I still\n don't get. The bad guys hit me with\n the beam from the camera, right? So" ], [ "Well the jury may still be out on\n whether Allinol caused these\n accidents, but one thing's for\n sure: Lightning McQueen blew this", "Allinol? After today?\n \n MCQUEEN (ON TV)\n My friend Fillmore says the fuel's", "HOLLEY\n Our investigation proved that\n Allinol was actually gasoline. And\n Miles Axlerod engineered it so that", "BRENT MUSTANGBURGER (V.O.)\n First, Allinol, making its debut\n tonight as the required fuel for", "There you have it. A clearly\n devastated Sir Miles Axlerod\n announcing that he will not require\n the cars to use Allinol for the", "Mel, after seeing Allinol in action\n at the World Grand Prix, nobody\n will ever go back to gasoline\n again.", "have any idea what it's going to\n be?\n \n MCQUEEN (ON TV)\n Allinol.", "him down. A container is wheeled forward and Rod is plied\n with Allinol brand gasoline.\n \n ROD REDLINE", "Allinol sign. They're fed up with it.\n \n ENGINE VOICE (V.O.)\n After today everyone will race back", "this is going.\n \n FINN\n Mater, he created Allinol.\n \n MATER", "LUIGI\n McQueen? Is everything okay?\n \n FILLMORE\n If you're worried about your fuel,", "away, having spray painted \"TEAM LIGHTNING MCQUEEN\" on it.\n Guido quickly uncorks three wine bottles.\n \n GUIDO", "Allinol is safe! Alternative fuel\n is safe! There is no way my fuel\n caused these cars to flame out!\n 54.", "Mater sees the explosive device attached to him. He looks up:\n \n An ALLINOL CONTAINER hangs ominously over his head.", "Lightning McQueen is the first to\n take advantage. And just like that,\n folks, Francesco's lead is left in\n the dust.", "BRENT MUSTANGBURGER (V.O.)\n And Lightning McQueen just blasted\n away, hooked to the now rocket-\n propelled tow truck.", "An independent panel of scientists\n has determined that Allinol is\n completely safe. Okay? Safe! There\n it is.", "and three, count em, three cars\n flamed out leading some to suggest\n that their fuel, Allinol, might be\n to blame.", "my fuel was safe.\n \n McQueen turns to Fillmore. Everyone does.\n \n FILLMORE", "a gas-guzzler into an electric car,\n and has devoted his life to finding\n a renewable, clean-burning fuel!\n 15." ], [ "INT. BIG BENTLEY - DAY\n \n --- to the GONG of a CLOCK.", "Big Bentley's big hand CLICKS ahead another minute. But we're\n a bit farther away from it than before.\n \n SALLY (O.S.)", "CUT TO:\n \n EXT. LONDON STREETS - SAME", "CUT TO:\n \n EXT. STREETS OF LONDON - DAY", "The BIG HAND finishes ADVANCING one minute. It's 3 PM.\n \n INT. BIG BENTLEY - CONTINUOUS", "EXT. BUCKINGHAM PALACE - DAY\n \n A massive crowd packs the adjacent streets and parks.", "INT. BIG BENTLEY - LONDON\n \n Zundapp suddenly SQUAWKS over the radio.", "angles into view. The clock's at T-minus 1:53.\n \n QUEEN'S GUARDS", "EXT. STREETS OF LONDON - SAME\n \n Finn screams around a corner, sees ---", "EXT. BIG BENTLEY - LONDON\n \n Finn BURSTS out the front doors of Big Bentley, speeds off as", "CUT BACK TO:\n \n EXT. DOCKS NEAR THE THAMES - CONTINUOUS", "EXT. RACE COURSE - LONDON - DAY\n \n McQueen leads Francesco as they approach Big Bentley...", "We came as soon as you called.\n 104.\n \n \n INT. MCQUEEN'S PIT - LONDON", "All around him, all he sees are GIANT PIECES OF MECHANIZED\n CLOCKWORK.", "INT. BUCKINGHAM PALACE - DAY\n \n Mater does the requisite \"silly faces\" in an attempt to break", "Good job! Quick thinking, Holley!\n \n EXT. LONDON - CONTINUOUS", "FINN and HOLLEY CLICK FORWARD.\n \n EXT. LONDON - DAY", "toward the clock face.\n \n ACER\n Not for much longer.", "Off the boat's RXN ---\n CUT TO:\n \n ANOTHER PART OF LONDON, AT STREET LEVEL", "INT. BIG BENTLEY - LONDON - CONTINUOUS\n \n GREM\n Here he comes!" ], [ "Mater sees the explosive device attached to him. He looks up:\n \n An ALLINOL CONTAINER hangs ominously over his head.", "ON HIS REARVIEW DISPLAY: We can see that a BOMB has been\n detected, anchored to Mater's air filter.\n \n FINN", "MCQUEEN\n Yes, Mater! You are the bomb!\n That's what I'm trying to say here.\n You've always been the bomb! And", "Mater bursts through the security gate with aplomb, tears\n through the pits and stops at MCQUEEN'S.", "ACER and GREM appear, chasing them. Mater, who is facing\n backward as he is being pulled along, faces them. They're\n about a hundred yards back.", "Mater FLINGS Miles Axlerod's hood open with his hook,\n revealing AN INTERNAL COMBUSTION ENGINE, oil dripping from\n all sides. It MATCHES the photo.", "Mater, now disguised as Ivan the Tow Truck, approaches the\n Hugos. Another LIMO CAR CARRIER arrives.", "Mater moves toward Miles Axlerod to pop his hood.\n \n MILES AXLEROD\n This lorry's crazy. He's going to", "MATER\n Uh-oh.\n \n MCQUEEN\n Mater! There you are!", "Mater tows Victor inside a private room, where inside are the\n WORLD'S WORST CARS including VLADMIR TRUNKOV, TUBBS PACER and", "Just as Mater's wheels touch the ramp, BULLETS PING around\n him in a spray. Siddeley is HIT, a tire BLOWN. He yells in\n pain.", "Mater looks down at the harbor, over which he flies. He spots\n a MOTORBOAT. Mater WHIPS his hook down, steals a ride behind\n the boat TOWARD MCQUEEN.", "McQueen drives off. Mater watches him go.\n \n EXT. THE WHEEL WELL - NIGHT", "A few car lengths ahead of Mater. They roll along, looking\n for... Aha! Finn and Holley recede into the shadows.", "Mater chooses one, drives inside. A SHRIEK is heard and Mater\n zips out.\n \n MATER\n Sorry ladies!", "Mater sticks his ticking bomb-nose into Miles Axlerod's\n grill.\n \n MATER", "Mater drives up the track. McQueen gains, fast. Because\n Mater's going backwards, they're face-to-face (but still with\n some distance between them).", "Rod Redline, now behind Mater and sensing an opportunity\n here, quickly produces A SMALL DEVICE.\n \n MATER", "Mater looks up: ACER screeches into view up ahead, dragging a\n long row of luggage carts in Mater's path, attempting to\n create an accident.", "BOOM! Another racer blows an engine. Mater JUMPS again.\n \n EXT. RACE COURSE - SAME" ], [ "Mater. Explain.\n \n MATER\n Okay! Somebody's been sabotaging\n the racers and hurting the cars and", "But Sir Axlerod created the race,\n Mater. Why would he want to hurt\n anyone?\n \n MATER", "footage from the party. Clearly, they were watching and\n recording him there.\n \n ACER\n You talked up a lot of cars last", "There you have it. A clearly\n devastated Sir Miles Axlerod\n announcing that he will not require\n the cars to use Allinol for the", "Mater looks up: ACER screeches into view up ahead, dragging a\n long row of luggage carts in Mater's path, attempting to\n create an accident.", "BRENT MUSTANGBURGER (V.O.)\n Hold everything. A tow truck has\n just raced onto the track. And he's\n driving backwards!", "Ahead of them, a half-mile off, a RED RACE CAR is visible.\n \n MATER", "Professor Z wanted you to have a\n front row seat for the death of\n Lightning McQueen.\n \n MATER", "and Acer are manning this one. They focus it on the racers as\n they approach.\n \n PROFESSOR ZUNDAPP (OVER RADIO)", "They knew you'd try to help\n McQueen. When we were knocked out\n they planted it in your air filter.", "We snuck a bomb in McQueen's pit!\n \n ACER\n The next time he makes a stop,", "Allinol sign. They're fed up with it.\n \n ENGINE VOICE (V.O.)\n After today everyone will race back", "ACER and GREM appear, chasing them. Mater, who is facing\n backward as he is being pulled along, faces them. They're\n about a hundred yards back.", "Guys, a little too much chatter.\n Let's keep this line clear.\n \n BOOM! A racer behind McQueen suddenly expels black smoke,", "HOLLEY\n Our investigation proved that\n Allinol was actually gasoline. And\n Miles Axlerod engineered it so that", "The field of cars thunders into a tunnel.\n \n BRENT MUSTANGBURGER (V.O.)\n Everyone's jostling for position as", "platform, under deep cover. He was\n able to get a photo of the car\n who's running the entire operation.", "He speeds furiously through town.\n \n EXT. RACE COURSE - PORTO CORSA - CONTINUOUS", "He smashes into the water and breaks into a million pieces.\n \n ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has", "He's dead, Professor.\n \n PROFESSOR ZUNDAPP\n Wunderbar. With Finn McMissile" ], [ "HOLLEY\n Oh -- no, no. No sir. Um, the oil\n platforms you were on? Turns out\n they're sitting on the biggest oil", "FINN\n Those thugs down there were on the\n oil platform. If they see me, the\n whole mission is compromised.", "From this vantage point, hundreds of derricks appear.\n \n EXT. PLATFORM - OIL DERRICK - MOMENTS LATER", "photos we saw him snap on the oil platform. Each one is \"NOT\n A MATCH.\" His view is suddenly disrupted by A BEAUTIFUL", "PROFESSOR ZUNDAPP\n You were very interested in this\n camera on the oil platform. Now you\n will witness what it really does.", "They'd been scrambling everyone's\n satellites. The Americans actually\n discovered it just before you did.\n They placed an agent on that", "airport.\n \n FINN\n Holley, pull up the pictures from\n the oil platform. I want to know", "To make Allinol look bad so\n everybody'd go back to using oil. I\n mean, he said it himself with that\n disguised voice.", "And then I remembered what they say\n about old British engines - \"If\n there ain't no oil under `em, there\n ain't no oil in `em.\"", "platform, under deep cover. He was\n able to get a photo of the car\n who's running the entire operation.", "GREM\n This is one of those British spies\n we told you about.\n \n ACER", "Mater sees the explosive device attached to him. He looks up:\n \n An ALLINOL CONTAINER hangs ominously over his head.", "Yes sir. We believe the infiltrator\n has passed along sensitive\n information.\n (beat, listening)\n I will take care of it before any", "They knew you'd try to help\n McQueen. When we were knocked out\n they planted it in your air filter.", "A GULFSTREAM JET wings into view overhead. This is SIDDELEY.\n \n FINN\n Roger that.", "TILT DOWN to reveal a pool of oil beneath Mater.\n \n MCQUEEN\n Mater!", "Thank you, Mel. It is very good to\n be here. Now listen to me: Big Oil.\n It costs a fortune. Pollution is\n getting worse. I mean, come on.", "A well-appointed spy jet. Various computers line the walls.\n \n FINN\n Now that's how I like to start the", "was in the box back at the oil derrick. He points it at Rod\n Redline.\n \n GREM\n --- for the camera.", "Yeah, but what if he found that\n huge oil field just as the world\n was trying to find something else?" ], [ "DARRELL CARTRIP (V.O.)\n And don't forget Lightning McQueen!\n His mentor, the Hudson Hornet, was", "OTIS\n He must be crazy-excited about\n winning his fourth Piston Cup.\n Four! Wow!", "EXT. RADIATOR SPRINGS - DAY\n \n Lightning McQueen is surrounded by his hometown friends.", "to go prove to the world what I\n already know - that you are the\n greatest race car in the whole wide\n world. Your best friend, Mater.\"", "Lightning McQueen is the first to\n take advantage. And just like that,\n folks, Francesco's lead is left in\n the dust.", "INT. RADIATOR SPRINGS MUSEUM - DAY\n \n CLOSE ON THE PISTON CUP. It has now changed, been adorned", "MCQUEEN\n Go get `em, buddy.\n \n McQueen joins his friends from Radiator Springs. Mater rolls", "Wow. I can't believe they renamed\n the Piston Cup after our very own\n Doc Hudson.", "Mater would want you to race.\n \n MCQUEEN\n All right. For Mater.", "Lightning McQueen. He's the bestest\n race car in the whole wide world.\n \n Fillmore and Sarge look around. Mater is visible in the back", "great time. Everybody! This here's\n Finn McMissile. He's a secret\n agent.\n (WHISPERS)", "BRENT MUSTANGBURGER\n Lightning McQueen loses in the last\n lap to Francesco Bernoulli in the\n first race of the World Grand Prix", "He breezes right through his pit, goes after Mater.\n \n DAVID HOBBSCAP (V.O.)\n Normally an emergency vehicle on", "McQueen and Mater are alone, the museum closed to the public.\n McQueen approaches a \"Hudson Hornet\" wall with Doc's three", "drives away from you.\n \n Francesco wears a bumper sticker that says \"Ciao, McQueen!\"\n \n MCQUEEN", "away, having spray painted \"TEAM LIGHTNING MCQUEEN\" on it.\n Guido quickly uncorks three wine bottles.\n \n GUIDO", "Mater drives up the track. McQueen gains, fast. Because\n Mater's going backwards, they're face-to-face (but still with\n some distance between them).", "BRENT MUSTANGBURGER (V.O.)\n And Lightning McQueen just blasted\n away, hooked to the now rocket-\n propelled tow truck.", "MATER\n McQueen, welcome back!\n \n MCQUEEN\n Mater, it's so good to see you.", "going to have a blast though.\n (off McQueen's silence)\n You're bringing Mater, right? You\n never bring him to any of your" ], [ "of the World Grand Prix!\n CUT TO:\n \n MUSTANGBURGER, HOBBSCAP and CARTRIP in the control booth.", "from around the globe to battle in\n the first ever World Grand Prix.\n Welcome Sir Miles Axlerod.", "MILES AXLEROD\n It is my absolute honor to\n introduce to you the competitors in\n the first-ever World Grand Prix.", "for the second race of the World\n Grand Prix.\n \n EXT. PORTO CORSA, ITALY - DAY", "GREM\n SMILE ---\n \n Grem pushes a World Grand Prix CAMERA - the same one that", "careful distance from the stage. He ZEROES HIS GAZE ON ---\n \n --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching", "modern technology. Welcome to the\n inaugural running of the World\n Grand Prix.\n \n ON OUR ANNOUNCERS as they introduce themselves:", "And to show the world what his new\n superfuel can do, he's created a\n racing competition like no other,\n inviting the greatest champions", "Mel, after seeing Allinol in action\n at the World Grand Prix, nobody\n will ever go back to gasoline\n again.", "MEL DORADO (ON TV)\n And on satellite, a World Grand\n Prix competitor and one of the\n fastest cars in the world,", "Where's this meeting taking place?\n \n TOMBER\n Porto Corsa, Italy.", "BRENT MUSTANGBURGER (V.O.)\n You are looking live at beautiful\n Porto Corsa, Italy, on the Italian\n Riviera. What a magnificent setting", "---- TEAM MCQUEEN, as they roll up the red carpet. Press is\n held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos", "He speeds furiously through town.\n \n EXT. RACE COURSE - PORTO CORSA - CONTINUOUS", "ground, and speeds off ---\n \n INT. ADJACENT LUXURY BOX - CONTINUOUS", "BRENT MUSTANGBURGER\n Lightning McQueen loses in the last\n lap to Francesco Bernoulli in the\n first race of the World Grand Prix", "VARIOUS SHOTS OF TOKYO as the racers move through the Rainbow\n Bridge. Bit by bit, Francesco ekes his way toward the front,", "and Acer are manning this one. They focus it on the racers as\n they approach.\n \n PROFESSOR ZUNDAPP (OVER RADIO)", "BRENT MUSTANGBURGER (V.O.)\n Well, he better. Talk about a home-\n track advantage. Francesco\n Bernoulli grew up racing on this", "HELICOPTER SHOT of the Casino.\n \n BRENT MUSTANGBURGER (V.O.)\n Welcome everyone to the second race" ], [ "And to show the world what his new\n superfuel can do, he's created a\n racing competition like no other,\n inviting the greatest champions", "BRENT MUSTANGBURGER (V.O.)\n First, Allinol, making its debut\n tonight as the required fuel for", "He's got plenty of fuel.\n \n MATER\n And he's awesome!\n CUT TO:", "David Hobbscap. There's never been\n a competition like this before.\n \n SHOTS OF THE PITS as the racers fuel up.", "Mel, after seeing Allinol in action\n at the World Grand Prix, nobody\n will ever go back to gasoline\n again.", "There you have it. A clearly\n devastated Sir Miles Axlerod\n announcing that he will not require\n the cars to use Allinol for the", "later, running on a fuel he'd\n distilled himself from the natural\n elements! Since then he's sold his\n oil fortune, converted himself from", "him down. A container is wheeled forward and Rod is plied\n with Allinol brand gasoline.\n \n ROD REDLINE", "and Acer are manning this one. They focus it on the racers as\n they approach.\n \n PROFESSOR ZUNDAPP (OVER RADIO)", "HOLLEY\n Our investigation proved that\n Allinol was actually gasoline. And\n Miles Axlerod engineered it so that", "That's cute. So you had one of\n those made up for all the racers?\n \n FRANCESCO\n No.", "Allinol sign. They're fed up with it.\n \n ENGINE VOICE (V.O.)\n After today everyone will race back", "a gas-guzzler into an electric car,\n and has devoted his life to finding\n a renewable, clean-burning fuel!\n 15.", "MILES AXLEROD\n It is my absolute honor to\n introduce to you the competitors in\n the first-ever World Grand Prix.", "the racers to still run on Allinol?\n \n VLADIMIR TRUNKOV\n Here it comes.", "this is going.\n \n FINN\n Mater, he created Allinol.\n \n MATER", "But Sir Axlerod created the race,\n Mater. Why would he want to hurt\n anyone?\n \n MATER", "modern technology. Welcome to the\n inaugural running of the World\n Grand Prix.\n \n ON OUR ANNOUNCERS as they introduce themselves:", "away, having spray painted \"TEAM LIGHTNING MCQUEEN\" on it.\n Guido quickly uncorks three wine bottles.\n \n GUIDO", "my fuel was safe.\n \n McQueen turns to Fillmore. Everyone does.\n \n FILLMORE" ], [ "MCQUEEN\n You know, there's one thing I still\n don't get. The bad guys hit me with\n the beam from the camera, right? So", "Finn, it's the camera!\n \n FINN\n Where?\n \n HOLLEY", "Fifty percent power.\n (to Rod Redline)\n This camera is actually an\n electromagnetic pulse emitter.", "when it got hit by the beam it\n would explode.\n \n MCQUEEN\n Wait a second. Fillmore, you said", "PROFESSOR ZUNDAPP\n You were very interested in this\n camera on the oil platform. Now you\n will witness what it really does.", "BRENT MUSTANGBURGER (V.O.)\n And Lightning McQueen just blasted\n away, hooked to the now rocket-\n propelled tow truck.", "Well the jury may still be out on\n whether Allinol caused these\n accidents, but one thing's for\n sure: Lightning McQueen blew this", "actually do?\n 4.\n \n \n PROFESSOR ZUNDAPP\n This camera is extremely dangerous.", "This is a light bulb moment for Mater. He eyes the bolts.\n \n MATER\n I get it. I get it! I know what", "the composure of a Buckingham Palace Guard. It isn't working.\n McQueen approaches.\n \n MCQUEEN", "was in the box back at the oil derrick. He points it at Rod\n Redline.\n \n GREM\n --- for the camera.", "away, having spray painted \"TEAM LIGHTNING MCQUEEN\" on it.\n Guido quickly uncorks three wine bottles.\n \n GUIDO", "PROFESSOR ZUNDAPP\n Ah, yes. Very carefully...\n \n A forklift opens the crate -- inside is a TV CAMERA, packed", "ever work right. Lemons is a tow\n truck's bread and butter. Like them\n Gremlins and Pacers we run into at\n the party and the race and the", "He breezes right through his pit, goes after Mater.\n \n DAVID HOBBSCAP (V.O.)\n Normally an emergency vehicle on", "LUIGI\n Oh, Lightning. Welcome home.\n \n FLO\n Good to have you back, honey.", "Lightning McQueen...\n \n Zundapp is already on the phone with their Big Boss who,\n based on his angry O.S. voice, sounds ticked off.", "talking to? This is Lightning\n McQueen. I can handle anything.\n 11.", "Holley SNAPS Mater's picture, temporarily blinding him.\n \n MATER\n Ahh!\n 71.", "HOLLEY\n It appears to be a standard\n television camera. They said if you\n could get closer photos next time,\n that would be great." ], [ "And we, the owners of the world's\n largest untapped oil reserve, will\n become the most powerful cars in\n the world!", "Yeah, but what if he found that\n huge oil field just as the world\n was trying to find something else?", "Thank you, Mel. It is very good to\n be here. Now listen to me: Big Oil.\n It costs a fortune. Pollution is\n getting worse. I mean, come on.", "HOLLEY\n Oh -- no, no. No sir. Um, the oil\n platforms you were on? Turns out\n they're sitting on the biggest oil", "From this vantage point, hundreds of derricks appear.\n \n EXT. PLATFORM - OIL DERRICK - MOMENTS LATER", "Brent. But I'll tell you what, he's\n gotta be the world's best backwards\n driver.", "There you have it. A clearly\n devastated Sir Miles Axlerod\n announcing that he will not require\n the cars to use Allinol for the", "photos we saw him snap on the oil platform. Each one is \"NOT\n A MATCH.\" His view is suddenly disrupted by A BEAUTIFUL", "ALEXANDER HUGO\n It's the boss! He is coming!\n \n The carrier parks and the back opens. VICTOR HUGO waits.", "later, running on a fuel he'd\n distilled himself from the natural\n elements! Since then he's sold his\n oil fortune, converted himself from", "And to show the world what his new\n superfuel can do, he's created a\n racing competition like no other,\n inviting the greatest champions", "reserve in the world.\n \n FINN\n How did we miss that?\n \n HOLLEY", "yourself. You're making a scene.\n \n MATER\n But I never leak oil. Never.", "DAVID HOBBSCAP (V.O.)\n From the ultra-rich and super-\n famous, to world leaders and\n important dignitaries.", "To make Allinol look bad so\n everybody'd go back to using oil. I\n mean, he said it himself with that\n disguised voice.", "MEL DORADO (ON TV)\n His story gripped the world! Oil\n billionaire Miles Axlerod, in an\n attempt to become the first car to", "WILD WHOOPING CHEERS fill the room. Lemonade corks are\n popped.\n \n BRENT MUSTANGBURGER (ON TV)", "particular to lead early.\n \n SHOTS OF Francesco, featured in an inset.\n \n DAVID HOBBSCAP (V.O.)", "ON MATER - He tows VICTOR. They are flanked on all four\n corners by Hugo thugs, ala a presidential motorcade. The\n largess of the interior design seems to finally snap Mater", "Siddeley LANDS HARD on the tarmac ahead of them. No time to\n stop, he DROPS his back open, revealing HOLLEY." ], [ "Too late. Tomber sees Mater, then notices FINN, reflected in\n a hubcap. He BOLTS. Finn and Holley give chase.", "FINN\n There's no time. McQueen needs your\n help, Mater.\n 108.", "ACER and GREM appear, chasing them. Mater, who is facing\n backward as he is being pulled along, faces them. They're\n about a hundred yards back.", "The Lemonheads celebrate, chant \"Long live lemons!\" Mater,\n scared, turns to leave. He's stopped by ALEXANDER HUGO.", "Mater drives up the track. McQueen gains, fast. Because\n Mater's going backwards, they're face-to-face (but still with\n some distance between them).", "HOLLEY\n Oh no. That's Mater's.\n \n FINN\n I knew his escape was too easy.", "Mater approaches when a MASS OF RACE FANS burst out a door,\n momentarily blocking Mater's view of Finn. Once the fans have\n past, Finn has disappeared.", "Finn SKIDS around, whipping Mater in a 180 so that Mater is\n now towing Finn.", "Mater, now disguised as Ivan the Tow Truck, approaches the\n Hugos. Another LIMO CAR CARRIER arrives.", "MCQUEEN\n Yes, Mater! You are the bomb!\n That's what I'm trying to say here.\n You've always been the bomb! And", "Mater looks down at the harbor, over which he flies. He spots\n a MOTORBOAT. Mater WHIPS his hook down, steals a ride behind\n the boat TOWARD MCQUEEN.", "Mater bursts through the security gate with aplomb, tears\n through the pits and stops at MCQUEEN'S.", "McQueen, Fillmore, Guido, Luigi, Sarge and patrons eye Mater,\n embarrassed and angry.", "lemon.\n \n Mater hooks his friend and starts towing him.\n \n MATER", "Now it's just Miles Axlerod, Mater, McQueen, Finn and Holley.\n Miles Axlerod's back tires slip on the edge of the podium as", "MATER\n Uh-oh.\n \n MCQUEEN\n Mater! There you are!", "into view. She sees ---\n \n Mater and McQueen, speeding up the street.\n \n HOLLEY", "Axlerod and the others. McQueen is beside himself.\n \n MCQUEEN\n Mater, you have to get a hold of", "She moves the engine photo so it's now blocking Mater again.\n \n FINN\n This seems like a dead end. If", "MATER\n Hey, what are you guys doing here?\n \n SALLY\n We're here because of you, Mater." ], [ "Finn SKIDS around, whipping Mater in a 180 so that Mater is\n now towing Finn.", "EXT. TARMAC - AIRPORT - JAPAN\n \n Finn pulls Mater down HARD onto the tarmac, towing him away\n from the terminal.", "Mater looks down at the harbor, over which he flies. He spots\n a MOTORBOAT. Mater WHIPS his hook down, steals a ride behind\n the boat TOWARD MCQUEEN.", "Mater continues on though, heeding Finn's advice.\n \n MATER\n Sorry fellers, I gotta go.", "A few car lengths ahead of Mater. They roll along, looking\n for... Aha! Finn and Holley recede into the shadows.", "HOLLEY\n Oh no. That's Mater's.\n \n FINN\n I knew his escape was too easy.", "Too late. Tomber sees Mater, then notices FINN, reflected in\n a hubcap. He BOLTS. Finn and Holley give chase.", "Get ready, Mater.\n CUT TO:\n \n FINN, at an outdoor cafe on the casino grounds.", "MATER\n You're leaving already?\n \n FINN\n We've got another mission, Mater.", "While Finn talks, Mater takes this in. He catches his own\n reflection in a nearby window. Seems to be seeing himself\n with new eyes.\n 83.", "Sure thing.\n CUT TO:\n \n MOMENTS LATER - Mater tows Tomber, following Finn and Holley.", "Mater approaches when a MASS OF RACE FANS burst out a door,\n momentarily blocking Mater's view of Finn. Once the fans have\n past, Finn has disappeared.", "McQueen drives off. Mater watches him go.\n \n EXT. THE WHEEL WELL - NIGHT", "ACER and GREM appear, chasing them. Mater, who is facing\n backward as he is being pulled along, faces them. They're\n about a hundred yards back.", "INT. ENCLOSED MARKETPLACE - DAY\n \n Mater, now out of sight of Finn and Holley, passes a darkened", "MATER\n Uh-oh.\n \n MCQUEEN\n Mater! There you are!", "Mater, now disguised as Ivan the Tow Truck, approaches the\n Hugos. Another LIMO CAR CARRIER arrives.", "Finn HOOKS Mater from behind. He YANKS HIM forward ---\n \n FINN", "Mater bursts through the security gate with aplomb, tears\n through the pits and stops at MCQUEEN'S.", "The motorboat isn't happy about this, tries to shake him.\n Mater is THROWN INTO A \"HOTEL\" sign, then SMASHES down" ], [ "Lightning McQueen must be killed.\n \n Mater's eyes open wide.\n \n MATER", "Then this shouldn't hurt at all.\n \n He empties the extinguisher in their eyes, speeds past. They", "Professor Z wanted you to have a\n front row seat for the death of\n Lightning McQueen.\n \n MATER", "To make Allinol look bad so\n everybody'd go back to using oil. I\n mean, he said it himself with that\n disguised voice.", "when it got hit by the beam it\n would explode.\n \n MCQUEEN\n Wait a second. Fillmore, you said", "(TO MCQUEEN)\n You. Why didn't my death ray kill\n you?\n \n MCQUEEN", "A laser sight hits Crabby between the eyes.\n \n CRABBY\n Alright, alright! Don't get your", "So there I was: rocket jets going\n full blast, McQueen hanging on for\n dear life when suddenly them two\n nasty lemons come out of nowhere,", "The 20 BAD GUY CARS that are still in pursuit surround him,\n fire up their blowtorches. About to pounce.", "up the distance between them and Finn, FIRING BULLETS as they\n do so.\n \n ACER\n He's getting away!", "ACER and GREM appear, chasing them. Mater, who is facing\n backward as he is being pulled along, faces them. They're\n about a hundred yards back.", "MCQUEEN\n You know, there's one thing I still\n don't get. The bad guys hit me with\n the beam from the camera, right? So", "Her escape is now blocked by the same HUGO THUGS she tricked\n before. Another vehicle appears BEHIND HER, LOOMS.", "a disguise. You guys are stuck\n looking like that.\n \n This doesn't help him. They DROP HIM onto a TREADMILL, lock", "LUIGI\n Oh, Lightning. Welcome home.\n \n FLO\n Good to have you back, honey.", "Mater witnesses the whole thing.\n \n MATER\n Wow! A live karate demonstration!", "Mater looks up: ACER screeches into view up ahead, dragging a\n long row of luggage carts in Mater's path, attempting to\n create an accident.", "MATER\n Yeah, they strapped it to me to\n kill you as a back-up plan.\n \n MCQUEEN", "He smashes into the water and breaks into a million pieces.\n \n ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has", "Then she looks over, catches a glimpse of GREM AND ACER,\n bearing down on them from a side street. They're going to\n broadside Mater and McQueen." ], [ "134.\n \n \n FINN\n Spy or not, you're still the", "FINN\n When did I... Oh. Mater, I was\n complimenting you on what a good\n spy you are.", "A well-appointed spy jet. Various computers line the walls.\n \n FINN\n Now that's how I like to start the", "FINN - He HANGS off the side of COMBAT SHIP, clandestine.\n \n We're with Finn as the ship continues on, cuts through the", "Finn. My cover's been compromised.\n Everything's gone pear-shaped.", "from the karate demonstration.\n \n FINN\n I never properly introduced myself.\n Finn McMissile. British", "FINN\n You're being followed.\n \n Finn quickly turns, fires a tiny GLASS CUTTING BEETLE at the", "FINN\n Those thugs down there were on the\n oil platform. If they see me, the\n whole mission is compromised.", "there'? Wait, you mean secret\n agents. You guys is spies!\n \n FINN\n Holley, in how many makes and", "Finn, he's not joking.\n \n FINN\n I know.\n \n MATER", "FINN\n It's his cover. One of the best\n I've seen, too. Look at the detail", "SIDDELEY\n Yes, Finn?\n \n FINN\n Paris. Tout de suite.", "Finn, hot in pursuit, leaps another obstacle and loses ground\n TO ---\n \n --- Tomber who turns a corner and finds himself grill to", "Finn GRINS. The second time we've seen this grin. It means\n he's got something cooking.", "FINN\n Her Majesty asked for you\n personally, Mater.\n \n MATER", "ever seen. And no one even knows it\n exists. Finn, I need backup. But\n don't call the cavalry - it could\n blow the operation. And be careful.", "FINN\n Tomber was doing 20 to life in a\n Moroccan impound the first time I\n saved him, if I recall correctly.", "FINN\n Mater, listen to me. The bomb is on\n you.", "Finn reels him in. Zundapp spins his wheels, caught.\n \n Suddenly Zundapp miraculously, inconceivably, GAINS TRACTION!", "Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick\n flame rises behind him, casts a Finn-shaped SHADOW over the" ], [ "Lightning McQueen is the first to\n take advantage. And just like that,\n folks, Francesco's lead is left in\n the dust.", "away, having spray painted \"TEAM LIGHTNING MCQUEEN\" on it.\n Guido quickly uncorks three wine bottles.\n \n GUIDO", "OTIS\n He must be crazy-excited about\n winning his fourth Piston Cup.\n Four! Wow!", "BRENT MUSTANGBURGER\n Lightning McQueen loses in the last\n lap to Francesco Bernoulli in the\n first race of the World Grand Prix", "BRENT MUSTANGBURGER (V.O.)\n And Lightning McQueen just blasted\n away, hooked to the now rocket-\n propelled tow truck.", "novantacinque. Lightning McQueen!\n \n Cheers (not so thunderous, obviously) from the crowd. McQueen\n doesn't seem to notice.", "I come by each one of them with my\n best friend Lightning McQueen.\n (MORE)\n 77.", "talking to? This is Lightning\n McQueen. I can handle anything.\n 11.", "... and now, our last competitor ---\n Number 95, Lightning McQueen!\n \n MCQUEEN approaches the microphone, flashes his headlights.", "DARRELL CARTRIP (V.O.)\n And don't forget Lightning McQueen!\n His mentor, the Hudson Hornet, was", "start the race, wait for Lightning\n McQueen to choke, pass him, then\n win. Francesco always wins. It's\n boring.", "INT. RADIATOR SPRINGS MUSEUM - DAY\n \n CLOSE ON THE PISTON CUP. It has now changed, been adorned", "Wow. I can't believe they renamed\n the Piston Cup after our very own\n Doc Hudson.", "race standings.\n \n DARRELL CARTRIP\n But the question everyone is\n asking: Will the real Lightning", "Ah, you heard it! Lightning McQueen\n prefers to be slow! Of course, this\n is not news to Francesco. When I\n want to go to sleep I watch one of", "Lightning McQueen? We've still got\n room for one more racer.\n \n MCQUEEN", "LIGHTNING MCQUEEN, far away, leaving the press podium.\n \n MATER\n McQueen!", "Lightning McQueen must be killed.\n \n Mater's eyes open wide.\n \n MATER", "Mater would want you to race.\n \n MCQUEEN\n All right. For Mater.", "Piston cups, framed articles, other racing ephemera.\n \n MCQUEEN\n I know Doc said these things were" ], [ "Mater, now disguised as Ivan the Tow Truck, approaches the\n Hugos. Another LIMO CAR CARRIER arrives.", "MCQUEEN\n Mater, you work here?\n \n MATER\n Well yeah I work here. What'd you", "Mater looks down at the harbor, over which he flies. He spots\n a MOTORBOAT. Mater WHIPS his hook down, steals a ride behind\n the boat TOWARD MCQUEEN.", "As Mater poses for a photo with Francesco:\n \n MATER\n Miss Sally is gonna flip when she", "Mater witnesses the whole thing.\n \n MATER\n Wow! A live karate demonstration!", "MATER\n Uh-oh.\n \n MCQUEEN\n Mater! There you are!", "EXT. STREET - PORTO CORSA - MOMENTS LATER\n \n --- just as Mater, now BOUND and with HIS MOUTH TAPED, is", "McQueen drives off. Mater watches him go.\n \n EXT. THE WHEEL WELL - NIGHT", "Mater is at their table, dressed as a waiter.\n \n MATER\n My name is Mater and I'll be your", "Mater bursts through the security gate with aplomb, tears\n through the pits and stops at MCQUEEN'S.", "Mater, still towing McQueen, rockets around a corner, zips\n down another street ---\n \n MATER", "ACER and GREM appear, chasing them. Mater, who is facing\n backward as he is being pulled along, faces them. They're\n about a hundred yards back.", "MCQUEEN\n Mater, Mater. Whoa. I was kind of\n thinking of just a quiet dinner.\n \n MATER", "MATER\n McQueen!\n \n Mater skids into main street and in one swift motion,", "MATER\n This is home.\n \n HOLLEY\n That's alright, we understand. But", "MCQUEEN\n Mater, what's going on?\n \n MATER\n Well, what's going on is I've got", "Mater as they turn a corner.\n \n ALEXANDER HUGO\n Okay, okay. Keep your voice down.", "MATER\n Whoo-hoo!!!\n \n He ROCKETS FORWARD, through the whole town. In doing so he", "LUIGI\n Mater!\n \n MATER\n Everybody get out! Get out now!", "INT. ENCLOSED MARKETPLACE - DAY\n \n Mater, now out of sight of Finn and Holley, passes a darkened" ], [ "Finn, he's not joking.\n \n FINN\n I know.\n \n MATER", "Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick\n flame rises behind him, casts a Finn-shaped SHADOW over the", "FINN - He HANGS off the side of COMBAT SHIP, clandestine.\n \n We're with Finn as the ship continues on, cuts through the", "A gunfight ensues between Finn and Acer. Finn SHOOTS ACER'S\n TIRE, blowing it and throwing him off-course.", "He smashes into the water and breaks into a million pieces.\n \n ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has", "ZZZZZZATTT! Holley shocks him unconscious.\n \n FINN\n (TO HOLLEY)", "ON FINN, admiring his handiwork as he appears. Just as he\n turns to leave he's BROADSIDED and pushed INTO A DARK ALLEY.", "up the distance between them and Finn, FIRING BULLETS as they\n do so.\n \n ACER\n He's getting away!", "FINN\n Tomber was doing 20 to life in a\n Moroccan impound the first time I\n saved him, if I recall correctly.", "Finn GRINS. The second time we've seen this grin. It means\n he's got something cooking.", "Finn falls. He turns himself so he's grill first, cleanly\n cutting into the water.\n 6.", "On Finn and Holley, now closer to death.\n \n HOLLEY\n So we'll be \"okay\"? Really?", "darkness with purpose. Suddenly small flames appear, perhaps\n a knot or so away. Then WHOOSH!!! A flame rises above Finn,\n the ship. It illuminates an OIL DERRICK.", "Finn suddenly pushes a button, stops the madness.\n \n FINN\n The idea is to keep a low profile,", "Finn suddenly STOPS COLD.\n \n FINN\n Oh no.", "HOLLEY (OVER RADIO)\n No! Don't go down that street!\n \n IN THE ALLEY - Finn, now nearly pushed completely into the", "FINN\n It's his cover. One of the best\n I've seen, too. Look at the detail", "MATER - He watches this from a safe hiding spot around a\n corner.\n \n FINN (V.O.)", "She turns. He's GONE, leaving only an open window.\n \n FINN (OVER RADIO)\n Get him out of the pits now!", "He's dead, Professor.\n \n PROFESSOR ZUNDAPP\n Wunderbar. With Finn McMissile" ], [ "for the second race of the World\n Grand Prix.\n \n EXT. PORTO CORSA, ITALY - DAY", "from around the globe to battle in\n the first ever World Grand Prix.\n Welcome Sir Miles Axlerod.", "MILES AXLEROD\n It is my absolute honor to\n introduce to you the competitors in\n the first-ever World Grand Prix.", "of the World Grand Prix!\n CUT TO:\n \n MUSTANGBURGER, HOBBSCAP and CARTRIP in the control booth.", "modern technology. Welcome to the\n inaugural running of the World\n Grand Prix.\n \n ON OUR ANNOUNCERS as they introduce themselves:", "And to show the world what his new\n superfuel can do, he's created a\n racing competition like no other,\n inviting the greatest champions", "GREM\n SMILE ---\n \n Grem pushes a World Grand Prix CAMERA - the same one that", "careful distance from the stage. He ZEROES HIS GAZE ON ---\n \n --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching", "BRENT MUSTANGBURGER (V.O.)\n You are looking live at beautiful\n Porto Corsa, Italy, on the Italian\n Riviera. What a magnificent setting", "He speeds furiously through town.\n \n EXT. RACE COURSE - PORTO CORSA - CONTINUOUS", "BRENT MUSTANGBURGER\n Lightning McQueen loses in the last\n lap to Francesco Bernoulli in the\n first race of the World Grand Prix", "MEL DORADO (ON TV)\n And on satellite, a World Grand\n Prix competitor and one of the\n fastest cars in the world,", "BRENT MUSTANGBURGER (V.O.)\n Well, he better. Talk about a home-\n track advantage. Francesco\n Bernoulli grew up racing on this", "EXT. PORTO CORSA - DAY\n \n SHOTS of the racers making the first few turns through the", "Where's this meeting taking place?\n \n TOMBER\n Porto Corsa, Italy.", "Mel, after seeing Allinol in action\n at the World Grand Prix, nobody\n will ever go back to gasoline\n again.", "He is so getting beat today.\n \n The starting lights click down from RED to YELLOW to GREEN.\n The race begins. Francesco quickly grabs the lead. He's", "HELICOPTER SHOT of the Casino.\n \n BRENT MUSTANGBURGER (V.O.)\n Welcome everyone to the second race", "MATER\n That's where the next race is!\n \n FINN\n Then there's a good chance our", "VARIOUS SHOTS OF TOKYO as the racers move through the Rainbow\n Bridge. Bit by bit, Francesco ekes his way toward the front," ], [ "BRENT MUSTANGBURGER (V.O.)\n First, Allinol, making its debut\n tonight as the required fuel for", "And to show the world what his new\n superfuel can do, he's created a\n racing competition like no other,\n inviting the greatest champions", "There you have it. A clearly\n devastated Sir Miles Axlerod\n announcing that he will not require\n the cars to use Allinol for the", "Mel, after seeing Allinol in action\n at the World Grand Prix, nobody\n will ever go back to gasoline\n again.", "him down. A container is wheeled forward and Rod is plied\n with Allinol brand gasoline.\n \n ROD REDLINE", "Allinol sign. They're fed up with it.\n \n ENGINE VOICE (V.O.)\n After today everyone will race back", "He's got plenty of fuel.\n \n MATER\n And he's awesome!\n CUT TO:", "David Hobbscap. There's never been\n a competition like this before.\n \n SHOTS OF THE PITS as the racers fuel up.", "MILES AXLEROD\n It is my absolute honor to\n introduce to you the competitors in\n the first-ever World Grand Prix.", "for the second race of the World\n Grand Prix.\n \n EXT. PORTO CORSA, ITALY - DAY", "continue to risk the lives of any\n more race cars. The final race will\n not be run on Allinol.", "modern technology. Welcome to the\n inaugural running of the World\n Grand Prix.\n \n ON OUR ANNOUNCERS as they introduce themselves:", "BRENT MUSTANGBURGER (V.O.)\n Well, he better. Talk about a home-\n track advantage. Francesco\n Bernoulli grew up racing on this", "the racers to still run on Allinol?\n \n VLADIMIR TRUNKOV\n Here it comes.", "a gas-guzzler into an electric car,\n and has devoted his life to finding\n a renewable, clean-burning fuel!\n 15.", "He speeds furiously through town.\n \n EXT. RACE COURSE - PORTO CORSA - CONTINUOUS", "to gasoline.\n \n We RACK FOCUS to reveal another fan as he RIPS an Allinol\n banner down angrily.", "The field of cars thunders into a tunnel.\n \n BRENT MUSTANGBURGER (V.O.)\n Everyone's jostling for position as", "Ahead of them, a half-mile off, a RED RACE CAR is visible.\n \n MATER", "Well the jury may still be out on\n whether Allinol caused these\n accidents, but one thing's for\n sure: Lightning McQueen blew this" ], [ "PROFESSOR ZUNDAPP\n Ah, yes. Very carefully...\n \n A forklift opens the crate -- inside is a TV CAMERA, packed", "PROFESSOR ZUNDAPP\n Yes, sir. Of course.\n \n Zundapp hangs up, turns to the room.", "Professor Zundapp is visible below them. He talks with a few\n Pacers and Gremlins. Finn quickly retreats into the shadows.\n Holley follows suit.", "PROFESSOR ZUNDAPP (O.S.)\n So you think.\n \n The Professor emerges from the darkness, behind Rod.", "ON THE DERRICK - Professor Zundapp watches it all from far\n away.\n \n GREM (OVER RADIO)", "damage can be done.\n \n The Professor hangs up, turns to the room.\n \n PROFESSOR ZUNDAPP", "PROFESSOR ZUNDAPP\n That's him. He's the one.\n \n GREM\n Roger that, Professor Z.", "inside. He's poised to push a DETONATOR BUTTON.\n \n As Zundapp's front tire approaches the detonator ---\n 112.", "PROFESSOR ZUNDAPP\n Oops. Did I forget to mention that\n it can only be disarmed by the one\n who activated it?", "A car finally appears. It's Zundapp.\n \n PROFESSOR ZUNDAPP\n Guten Tag!", "PROFESSOR ZUNDAPP\n Are you all so dense? It's voice-\n activated. Everything is voice-\n activated these days.", "Fifty percent power.\n (to Rod Redline)\n This camera is actually an\n electromagnetic pulse emitter.", "PROFESSOR ZUNDAPP\n Allinol by itself is good for you.\n \n Zundapp hits a button and the TREADMILL starts Rod's wheels", "PROFESSOR ZUNDAPP\n (GRINNING)\n I am not the one who activated it.\n Would anyone else like to try?", "VICTOR HUGO\n Zundapp, when is he coming?\n \n PROFESSOR ZUNDAPP\n He's already here.", "disappears, taking McQueen with him.\n \n ON ZUNDAPP. He now freely PUSHES the detonator, but it says\n \"OUT OF RANGE.\"", "--- Professor Zundapp, speeding toward docks along the Thames\n where a COMBAT SHIP waits.\n 116.", "PROFESSOR ZUNDAPP\n You were very interested in this\n camera on the oil platform. Now you\n will witness what it really does.", "PROFESSOR ZUNDAPP\n Agent Leland Turbo.\n \n The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo.", "actually do?\n 4.\n \n \n PROFESSOR ZUNDAPP\n This camera is extremely dangerous." ], [ "To make Allinol look bad so\n everybody'd go back to using oil. I\n mean, he said it himself with that\n disguised voice.", "HOLLEY\n Our investigation proved that\n Allinol was actually gasoline. And\n Miles Axlerod engineered it so that", "What if he came up with Allinol\n just to make alternative fuel look\n bad?\n \n MILES AXLEROD", "The Lemons all eye each other, considering Mater's words.\n \n MATER\n --- but becoming powerful and rich", "There you have it. A clearly\n devastated Sir Miles Axlerod\n announcing that he will not require\n the cars to use Allinol for the", "So there I was: rocket jets going\n full blast, McQueen hanging on for\n dear life when suddenly them two\n nasty lemons come out of nowhere,", "An independent panel of scientists\n has determined that Allinol is\n completely safe. Okay? Safe! There\n it is.", "to gasoline.\n \n We RACK FOCUS to reveal another fan as he RIPS an Allinol\n banner down angrily.", "Allinol sign. They're fed up with it.\n \n ENGINE VOICE (V.O.)\n After today everyone will race back", "A toast! To the death of Allinol\n and alternative fuel forever!\n \n EXT. CASINO - CONTINUOUS", "Mel, after seeing Allinol in action\n at the World Grand Prix, nobody\n will ever go back to gasoline\n again.", "Well the jury may still be out on\n whether Allinol caused these\n accidents, but one thing's for\n sure: Lightning McQueen blew this", "and three, count em, three cars\n flamed out leading some to suggest\n that their fuel, Allinol, might be\n to blame.", "Mater sees the explosive device attached to him. He looks up:\n \n An ALLINOL CONTAINER hangs ominously over his head.", "The Lemonheads celebrate, chant \"Long live lemons!\" Mater,\n scared, turns to leave. He's stopped by ALEXANDER HUGO.", "him down. A container is wheeled forward and Rod is plied\n with Allinol brand gasoline.\n \n ROD REDLINE", "ever work right. Lemons is a tow\n truck's bread and butter. Like them\n Gremlins and Pacers we run into at\n the party and the race and the", "this is going.\n \n FINN\n Mater, he created Allinol.\n \n MATER", "PROFESSOR ZUNDAPP\n Allinol must be finished for good.\n McQueen cannot win the last race.", "PROFESSOR ZUNDAPP\n The Allinol is now heating to a\n boil, dramatically expanding,\n causing the engine block to crack" ], [ "Rod Redline, now behind Mater and sensing an opportunity\n here, quickly produces A SMALL DEVICE.\n \n MATER", "Redline hid under Mater. She yanks it out with a GOOSE.\n \n MATER\n (JUMPS)", "MATER\n Are you okay?\n \n ROD REDLINE\n I'm fine.", "MATER\n (as he's goosed)\n --- altar!\n \n He spins around, sees Rod Redline for the first time.", "Rod Redline dangles from a car magnet. He's been beaten up,\n clings to consciousness.\n \n GREM (O.S.)", "On Mater. He takes this badly.\n \n MCQUEEN\n Look, guys. We know what the\n problem is and we've taken care of", "MATER\n But wait, I... oh, shoot.\n \n McQueen quickly pulls Mater aside, out of earshot of Miles", "Rod Redline, seeing this, does the world's most subtle double\n take. We caught it, but there's no way anyone else in the\n room could have ---", "Holley turns back to her monitor. Mater's face appears on\n screen. She quickly GRAFTS it over the Hugo's tow truck's.", "Alright then.\n \n Mater exits, leaving Rod Redline to a now even angrier Grem\n and Acer.", "On Mater. He takes this in.\n \n BRENT MUSTANGBURGER (ON TV)\n So a surprising revelation from", "MATER - He watches this from a safe hiding spot around a\n corner.\n \n FINN (V.O.)", "Mater witnesses the whole thing.\n \n MATER\n Wow! A live karate demonstration!", "Mater sees the explosive device attached to him. He looks up:\n \n An ALLINOL CONTAINER hangs ominously over his head.", "ACER and GREM appear, chasing them. Mater, who is facing\n backward as he is being pulled along, faces them. They're\n about a hundred yards back.", "MATER\n Shoot, that was nothing. Wait til\n you see what I got planned for\n tonight.", "MATER\n Yeah, they strapped it to me to\n kill you as a back-up plan.\n \n MCQUEEN", "she got left at the ---\n \n Rod Redline, surreptitiously attaches the device to Mater's\n undercarriage.", "On McQueen - he looks at Guido who gives a nod over to ---\n \n --- Mater, turned away from the crowd, still on the phone.", "Mater, now disguised as Ivan the Tow Truck, approaches the\n Hugos. Another LIMO CAR CARRIER arrives." ], [ "footage from the party. Clearly, they were watching and\n recording him there.\n \n ACER\n You talked up a lot of cars last", "MCQUEEN\n You know, there's one thing I still\n don't get. The bad guys hit me with\n the beam from the camera, right? So", "Finn, it's the camera!\n \n FINN\n Where?\n \n HOLLEY", "away, having spray painted \"TEAM LIGHTNING MCQUEEN\" on it.\n Guido quickly uncorks three wine bottles.\n \n GUIDO", "He breezes right through his pit, goes after Mater.\n \n DAVID HOBBSCAP (V.O.)\n Normally an emergency vehicle on", "when it got hit by the beam it\n would explode.\n \n MCQUEEN\n Wait a second. Fillmore, you said", "Fifty percent power.\n (to Rod Redline)\n This camera is actually an\n electromagnetic pulse emitter.", "Then this shouldn't hurt at all.\n \n He empties the extinguisher in their eyes, speeds past. They", "It's Finn McMissile! He's seen the\n camera! Kill him!!\n \n Finn UNLOADS with bullets as he starts to retreat --- He", "As they move past us the Security Car covertly drops a BALL\n BEARING which rolls into a corner. The ball bearing then", "(YELLING)\n Hey! Hey lady!\n \n Holley, caught in plain view, DRIVES OFF.", "Holley's rearview tracking confirms that the device is on\n him.\n \n MATER\n (TO HIMSELF)", "Holley SNAPS Mater's picture, temporarily blinding him.\n \n MATER\n Ahh!\n 71.", "Rod Redline, seeing this, does the world's most subtle double\n take. We caught it, but there's no way anyone else in the\n room could have ---", "Mater witnesses the whole thing.\n \n MATER\n Wow! A live karate demonstration!", "Just as Mater's wheels touch the ramp, BULLETS PING around\n him in a spray. Siddeley is HIT, a tire BLOWN. He yells in\n pain.", "No!\n \n Mater backs up, KNOCKING his emergency light against one of\n the monitors. ZZZZZAT! His holographic disguise flickers away", "respect a car that has nothing to\n hide.\n \n MCQUEEN\n Yeah, uh...", "Corsa's red light cameras to do\n recognition scans.\n \n MATER\n Wow, not only is you the prettiest", "Well the jury may still be out on\n whether Allinol caused these\n accidents, but one thing's for\n sure: Lightning McQueen blew this" ] ]

[ "Who is known for being the 4-time Piston Cup champion?", "Which race does Francesco Bernoulli challenge Lightning McQueen to?", "Who do Zundapp's henchmen attack?", "Who is abducted by Finn?", "What is the camera used in disguise of?", "What was the Allinol in Lightning McQueens car changed to?", "Where is the Big Ben clock located?", "Where is the bomb located in Mater's car?", "Who is the mastermind behind the whole operation to destroy the cars in the race?", "What did the British spy discover on the oil platform?", "Who is the 4-time Piston Cup champion's best friend?", "Where was the World Grand Prix held?", "Who created the fuel that the Grand Prix racers needed?", "Why didn't the camera work on Lightening?", "Who leads the owners of the world's largest untapped oil reserves?", "Who rescued Finn, Molly, Mater, and McQueen from the lemons?", "Where does Finn take Mater after abducting him?", "Why did the criminals want to kill Lightening?", "Which country is Finn a spy for, according to the story?", "How many times did Lightning win the Piston Cup?", "Where does Mater live?", "When did Finn fake his death?", "Where is the first World Grand Prix race being held?", "Which fuel is required to be used in the Grand Prix?", "How did Professor Zundapp disguise the electromagnetic pulse emitter?", "Why did the lemons want to destabilize Allinol?", "When did Mater get information about the mastermind from Redline?", "Why was Lightning's car unaffected by the fake camera?" ]

[ [ "Lightning McQueen", "Lightening McQueen" ], [ "The World Grand Prix", "the World Grand Prix" ], [ "Rod \"Tourque\" Redline", "Rod Redline" ], [ "Mater", "Mater" ], [ "Electromagnetic pulse emitter", "An EMP device" ], [ "Gasoline", "Gasoline" ], [ "In London", "London" ], [ "On his air filter", "Air filter" ], [ "Axlerod", "Axlerod" ], [ "an electromagnetic pulse emitter disguised as a camera", "An electromagnetic pulse emitter" ], [ "Mater", "Lightening McQueen is" ], [ "in Tokyo", "Tokyo, Paris, and London" ], [ "Sir Miles Axlelrod", "Sir Miles Axelrod" ], [ "Because Sarge changed the fuel", "Sarge changed the fuel from Allinol to gasoline" ], [ "Professor Zundapp", "Professor Zundapp" ], [ "Other residents of Radiator Springs", "They are rescued by other Radiator Springs residents." ], [ "on his plane", "Big Ben clock tower" ], [ "because he decided to continue using Allinol", "He refuses to stop using Allinol" ], [ "Britain", "England" ], [ "4", "4" ], [ "Radiator Springs", "Radiator Springs" ], [ "after escaping from the lemon cars", "after having been discovered infiltrating the world's largest untapped oil reserves that were owned by a group of lemon cars" ], [ "Tokyo", "Tokyo" ], [ "Allinol", "Allinol" ], [ "they made it look like a camera", "He makes it look like a camera" ], [ "to make sure they kept earning oil profits", "To increase the price of oil" ], [ "before Redline was killed by Professor Zundapp", "at a World Grand Prix promotional event in Tokyo" ], [ "Sarge changed the fuel to gasoline", "Searge changed McQueen's fuel to gasoline" ] ]

[ [ "about it all, while the little Rabbit lay under the bedclothes, with\njust his head peeping out, and listened. The room was to be", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms.", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"", "\"Hurrah!\" thought the little Rabbit. \"To-morrow we shall go to the\nseaside!\" For the boy had often talked of the seaside, and he wanted", "hair, and her face was like the most perfect flower of all. And she\ncame close to the little Rabbit and gathered him up in her arms and", "It was a long weary time, for the Boy was too ill to play, and the\nlittle Rabbit found it rather dull with nothing to do all day long.", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "\"Then stretch them out and show me, like this!\" said the wild rabbit.\nAnd he began to whirl round and dance, till the little Rabbit got\nquite dizzy.", "\"Ho!\" said the furry rabbit. \"It's as easy as anything,\" And he gave a\nbig hop sideways and stood on his hind legs.\n\n\"I don't believe you can!\" he said.", "Spring came, and they had long days in the garden, for wherever the\nBoy went the Rabbit went too. He had rides in the wheelbarrow, and", "It was so beautiful that the little Rabbit forgot to cry, and just lay\nthere watching it. And presently the blossom opened, and out of it\nthere stepped a fairy.", "\"I don't want to!\" he said again.\n\nBut the wild rabbits have very sharp eyes. And this one stretched out\nhis neck and looked.", "And so the little Rabbit was put into a sack with the old\npicture-books and a lot of rubbish, and carried out to the end of the", "And she kissed the little Rabbit again and put him down on the grass.\n\n\"Run and play, little Rabbit!\" she said.", "There were other things in the stocking, nuts and oranges and a toy\nengine, and chocolate almonds and a clockwork mouse, but the Rabbit", "He was a Real Rabbit at last, at home with the other rabbits.\n\n\n At Last! At Last!", "But the little Rabbit sat quite still for a moment and never moved.\nFor when he saw all the wild rabbits dancing around him he suddenly", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "They were rabbits like himself, but quite furry and brand-new. They\nmust have been very well made, for their seams didn't show at all, and", "\"I have!\" cried the little Rabbit. \"I have got hind legs! I am sitting\non them!\"" ], [ "The Skin Horse had lived longer in the nursery than any of the others.\nHe was so old that his brown coat was bald in patches and showed the", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "\"I am the nursery magic Fairy,\" she said. \"I take care of all the\nplaythings that the children have loved. When they are old and worn", "the nursery, when all the house was silent, and his talks with the\nSkin Horse. But very soon he grew to like it, for the Boy used to talk", "There was a person called Nana who ruled the nursery. Sometimes she\ntook no notice of the playthings lying about, and sometimes, for no", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "It was a bright, sunny morning, and the windows stood wide open. They\nhad carried the Boy out on to the balcony, wrapped in a shawl, and the\nlittle Rabbit lay tangled up among the bedclothes, thinking.", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "playthings all hated it, especially the tin ones. The Rabbit didn't\nmind it so much, for wherever he was thrown he came down soft.", "being only made of velveteen, some of the more expensive toys quite\nsnubbed him. The mechanical toys were very superior, and looked down\nupon every one else; they were full of modern ideas, and pretended", "\"Give me my Bunny!\" he said. \"You mustn't say that. He isn't a toy.\nHe's REAL!\"", "like himself, and he understood that sawdust was quite out-of-date and\nshould never be mentioned in modern circles. Even Timothy, the jointed\nwooden lion, who was made by the disabled soldiers, and should have", "they were real. The model boat, who had lived through two seasons and\nlost most of his paint, caught the tone from them and never missed an\nopportunity of referring to his rigging in technical terms. The Rabbit", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"", "Spring Time\n\n\"You must have your old Bunny!\" she said. \"Fancy all that fuss for a\ntoy!\"\n\nThe Boy sat up in bed and stretched out his hands." ], [ "The Skin Horse had lived longer in the nursery than any of the others.\nHe was so old that his brown coat was bald in patches and showed the", "\"I am the nursery magic Fairy,\" she said. \"I take care of all the\nplaythings that the children have loved. When they are old and worn", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "There was a person called Nana who ruled the nursery. Sometimes she\ntook no notice of the playthings lying about, and sometimes, for no", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "the nursery, when all the house was silent, and his talks with the\nSkin Horse. But very soon he grew to like it, for the Boy used to talk", "There were other things in the stocking, nuts and oranges and a toy\nengine, and chocolate almonds and a clockwork mouse, but the Rabbit", "Spring Time\n\n\"You must have your old Bunny!\" she said. \"Fancy all that fuss for a\ntoy!\"\n\nThe Boy sat up in bed and stretched out his hands.", "playthings all hated it, especially the tin ones. The Rabbit didn't\nmind it so much, for wherever he was thrown he came down soft.", "like himself, and he understood that sawdust was quite out-of-date and\nshould never be mentioned in modern circles. Even Timothy, the jointed\nwooden lion, who was made by the disabled soldiers, and should have", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms.", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "And while the Boy was asleep, dreaming of the seaside, the little\nRabbit lay among the old picture-books in the corner behind the", "much trouble to hunt for china dogs at bedtime, so she simply looked\nabout her, and seeing that the toy cupboard door stood open, she made\na swoop.", "they were real. The model boat, who had lived through two seasons and\nlost most of his paint, caught the tone from them and never missed an\nopportunity of referring to his rigging in technical terms. The Rabbit", "It was a bright, sunny morning, and the windows stood wide open. They\nhad carried the Boy out on to the balcony, wrapped in a shawl, and the\nlittle Rabbit lay tangled up among the bedclothes, thinking.", "being only made of velveteen, some of the more expensive toys quite\nsnubbed him. The mechanical toys were very superior, and looked down\nupon every one else; they were full of modern ideas, and pretended", "And so the little Rabbit was put into a sack with the old\npicture-books and a lot of rubbish, and carried out to the end of the", "OR\n HOW TOYS BECOME REAL\n\n by Margery Williams\n Illustrations by William Nicholson" ], [ "The Skin Horse had lived longer in the nursery than any of the others.\nHe was so old that his brown coat was bald in patches and showed the", "The Skin Horse Tells His Story", "was kind to him at all was the Skin Horse.", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "the nursery, when all the house was silent, and his talks with the\nSkin Horse. But very soon he grew to like it, for the Boy used to talk", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "\"It doesn't happen all at once,\" said the Skin Horse. \"You become. It\ntakes a long time. That's why it doesn't happen often to people who", "ants ran over his paws; the wonderful day when he first knew that he\nwas Real. He thought of the Skin Horse, so wise and gentle, and all", "Christmas Morning\n The Skin Horse Tells His Story\n Spring Time\n Summer Days\n Anxious Times\n The Fairy Flower\n At Last! At Last!\n _________________________________________________________________", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms." ], [ "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "\"I am Real!\" said the little Rabbit. \"I am Real! The Boy said so!\" And\nhe nearly began to cry.", "The Rabbit sighed. He thought it would be a long time before this\nmagic called Real happened to him. He longed to become Real, to know", "\"Give me my Bunny!\" he said. \"You mustn't say that. He isn't a toy.\nHe's REAL!\"", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"", "\"Come back and play with me!\" called the little Rabbit. \"Oh, do come\nback! I know I am Real!\"", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "they were real. The model boat, who had lived through two seasons and\nlost most of his paint, caught the tone from them and never missed an\nopportunity of referring to his rigging in technical terms. The Rabbit", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "about it all, while the little Rabbit lay under the bedclothes, with\njust his head peeping out, and listened. The room was to be", "\"What is REAL?\" asked the Rabbit one day, when they were lying side by\nside near the nursery fender, before Nana came to tidy the room. \"Does\nit mean having things that buzz inside you and a stick-out handle?\"", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "He was a Real Rabbit at last, at home with the other rabbits.\n\n\n At Last! At Last!", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "\"Hurrah!\" thought the little Rabbit. \"To-morrow we shall go to the\nseaside!\" For the boy had often talked of the seaside, and he wanted", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was" ], [ "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "OR\n HOW TOYS BECOME REAL\n\n by Margery Williams\n Illustrations by William Nicholson", "\"The Boy's Uncle made me Real,\" he said. \"That was a great many years\nago; but once you are Real you can't become unreal again. It lasts for\nalways.\"", "out and the children don't need them any more, then I come and take\nthem away with me and turn them into Real.\"", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "to play with, but REALLY loves you, then you become Real.\"", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "\"Give me my Bunny!\" he said. \"You mustn't say that. He isn't a toy.\nHe's REAL!\"", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "\"I am the nursery magic Fairy,\" she said. \"I take care of all the\nplaythings that the children have loved. When they are old and worn", "they were real. The model boat, who had lived through two seasons and\nlost most of his paint, caught the tone from them and never missed an\nopportunity of referring to his rigging in technical terms. The Rabbit", "The Rabbit sighed. He thought it would be a long time before this\nmagic called Real happened to him. He longed to become Real, to know", "\"It doesn't happen all at once,\" said the Skin Horse. \"You become. It\ntakes a long time. That's why it doesn't happen often to people who", "\"What is REAL?\" asked the Rabbit one day, when they were lying side by\nside near the nursery fender, before Nana came to tidy the room. \"Does\nit mean having things that buzz inside you and a stick-out handle?\"", "real glass eyes, but the Boy was too excited to care very much about\nit. For to-morrow he was going to the seaside, and that in itself was\nsuch a wonderful thing that he could think of nothing else.", "\"I am Real!\" said the little Rabbit. \"I am Real! The Boy said so!\" And\nhe nearly began to cry.", "being only made of velveteen, some of the more expensive toys quite\nsnubbed him. The mechanical toys were very superior, and looked down\nupon every one else; they were full of modern ideas, and pretended" ], [ "Spring came, and they had long days in the garden, for wherever the\nBoy went the Rabbit went too. He had rides in the wheelbarrow, and", "It was a long weary time, for the Boy was too ill to play, and the\nlittle Rabbit found it rather dull with nothing to do all day long.", "and the Boy got better. He was able to sit up in bed and look at\npicture-books, while the little Rabbit cuddled close at his side. And\none day, they let him get up and dress.", "\"Hurrah!\" thought the little Rabbit. \"To-morrow we shall go to the\nseaside!\" For the boy had often talked of the seaside, and he wanted", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "It was a bright, sunny morning, and the windows stood wide open. They\nhad carried the Boy out on to the balcony, wrapped in a shawl, and the\nlittle Rabbit lay tangled up among the bedclothes, thinking.", "Autumn passed and Winter, and in the Spring, when the days grew warm\nand sunny, the Boy went out to play in the wood behind the house. And", "Spring Time\n\n\"You must have your old Bunny!\" she said. \"Fancy all that fuss for a\ntoy!\"\n\nThe Boy sat up in bed and stretched out his hands.", "the Boy dropped off to sleep, the Rabbit would snuggle down close\nunder his little warm chin and dream, with the Boy's hands clasped\nclose round him all night long.", "And while the Boy was asleep, dreaming of the seaside, the little\nRabbit lay among the old picture-books in the corner behind the", "Summer Days\n\nThey stared at him, and the little Rabbit stared back. And all the\ntime their noses twitched.", "And she kissed the little Rabbit again and put him down on the grass.\n\n\"Run and play, little Rabbit!\" she said.", "Just then there was a sound of footsteps, and the Boy ran past near\nthem, and with a stamp of feet and a flash of white tails the two\nstrange rabbits disappeared.", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "hair, and her face was like the most perfect flower of all. And she\ncame close to the little Rabbit and gathered him up in her arms and", "they were real. The model boat, who had lived through two seasons and\nlost most of his paint, caught the tone from them and never missed an\nopportunity of referring to his rigging in technical terms. The Rabbit", "\"Then stretch them out and show me, like this!\" said the wild rabbit.\nAnd he began to whirl round and dance, till the little Rabbit got\nquite dizzy.", "about it all, while the little Rabbit lay under the bedclothes, with\njust his head peeping out, and listened. The room was to be", "\"I am Real!\" said the little Rabbit. \"I am Real! The Boy said so!\" And\nhe nearly began to cry.", "\"I don't want to!\" he said again.\n\nBut the wild rabbits have very sharp eyes. And this one stretched out\nhis neck and looked." ], [ "And then, one day, the Boy was ill.", "planned, and while the Boy lay half asleep he crept up close to the\npillow and whispered them in his ear. And presently the fever turned,", "and the Boy got better. He was able to sit up in bed and look at\npicture-books, while the little Rabbit cuddled close at his side. And\none day, they let him get up and dress.", "It was a long weary time, for the Boy was too ill to play, and the\nlittle Rabbit found it rather dull with nothing to do all day long.", "\"That?\" said the doctor. \"Why, it's a mass of scarlet fever\ngerms!-Burn it at once. What? Nonsense! Get him a new one. He mustn't\nhave that any more!\"", "It was a bright, sunny morning, and the windows stood wide open. They\nhad carried the Boy out on to the balcony, wrapped in a shawl, and the\nlittle Rabbit lay tangled up among the bedclothes, thinking.", "Autumn passed and Winter, and in the Spring, when the days grew warm\nand sunny, the Boy went out to play in the wood behind the house. And", "Near the house where they lived there was a wood, and in the long June\nevenings the Boy liked to go there after tea to play. He took the", "from sight under the bedclothes, and he never stirred, for he was\nafraid that if they found him some one might take him away, and he\nknew that the Boy needed him.", "him that last time she had changed him altogether. And he might have\nsat there a long time, too shy to move, if just then something hadn't\ntickled his nose, and before he thought what he was doing he lifted", "the candle because the Boy couldn't go to sleep unless he was there.\nHe was wet through with the dew and quite earthy from diving into the", "But he snuggled down patiently, and looked forward to the time when\nthe Boy should be well again, and they would go out in the garden", "The Boy was going to the seaside to-morrow. Everything was arranged,\nand now it only remained to carry out the doctor's orders. They talked", "real glass eyes, but the Boy was too excited to care very much about\nit. For to-morrow he was going to the seaside, and that in itself was\nsuch a wonderful thing that he could think of nothing else.", "And while the Boy was asleep, dreaming of the seaside, the little\nRabbit lay among the old picture-books in the corner behind the", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "That night he was almost too happy to sleep, and so much love stirred\nin his little sawdust heart that it almost burst. And into his", "Just then there was a sound of footsteps, and the Boy ran past near\nthem, and with a stamp of feet and a flash of white tails the two\nstrange rabbits disappeared." ], [ "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "The Rabbit sighed. He thought it would be a long time before this\nmagic called Real happened to him. He longed to become Real, to know", "He was a Real Rabbit at last, at home with the other rabbits.\n\n\n At Last! At Last!", "\"I am Real!\" said the little Rabbit. \"I am Real! The Boy said so!\" And\nhe nearly began to cry.", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"", "\"Come back and play with me!\" called the little Rabbit. \"Oh, do come\nback! I know I am Real!\"", "\"He doesn't smell right!\" he exclaimed. \"He isn't a rabbit at all! He\nisn't real!\"", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "they were real. The model boat, who had lived through two seasons and\nlost most of his paint, caught the tone from them and never missed an\nopportunity of referring to his rigging in technical terms. The Rabbit", "\"Ho!\" said the furry rabbit. \"It's as easy as anything,\" And he gave a\nbig hop sideways and stood on his hind legs.\n\n\"I don't believe you can!\" he said.", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms.", "It was so beautiful that the little Rabbit forgot to cry, and just lay\nthere watching it. And presently the blossom opened, and out of it\nthere stepped a fairy.", "But he never knew that it really was his own Bunny, come back to look\nat the child who had first helped him to be Real.", "And so the little Rabbit was put into a sack with the old\npicture-books and a lot of rubbish, and carried out to the end of the", "\"Then stretch them out and show me, like this!\" said the wild rabbit.\nAnd he began to whirl round and dance, till the little Rabbit got\nquite dizzy.", "hair, and her face was like the most perfect flower of all. And she\ncame close to the little Rabbit and gathered him up in her arms and", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "\"Give me my Bunny!\" he said. \"You mustn't say that. He isn't a toy.\nHe's REAL!\"" ], [ "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "\"I am Real!\" said the little Rabbit. \"I am Real! The Boy said so!\" And\nhe nearly began to cry.", "The Rabbit sighed. He thought it would be a long time before this\nmagic called Real happened to him. He longed to become Real, to know", "\"Give me my Bunny!\" he said. \"You mustn't say that. He isn't a toy.\nHe's REAL!\"", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"", "\"Come back and play with me!\" called the little Rabbit. \"Oh, do come\nback! I know I am Real!\"", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "they were real. The model boat, who had lived through two seasons and\nlost most of his paint, caught the tone from them and never missed an\nopportunity of referring to his rigging in technical terms. The Rabbit", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "about it all, while the little Rabbit lay under the bedclothes, with\njust his head peeping out, and listened. The room was to be", "\"What is REAL?\" asked the Rabbit one day, when they were lying side by\nside near the nursery fender, before Nana came to tidy the room. \"Does\nit mean having things that buzz inside you and a stick-out handle?\"", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "He was a Real Rabbit at last, at home with the other rabbits.\n\n\n At Last! At Last!", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "\"Hurrah!\" thought the little Rabbit. \"To-morrow we shall go to the\nseaside!\" For the boy had often talked of the seaside, and he wanted", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was" ], [ "One evening, when the Boy was going to bed, he couldn't find the china\ndog that always slept with him. Nana was in a hurry, and it was too", "That night the Boy slept in a different bedroom, and he had a new\nbunny to sleep with him. It was a splendid bunny, all white plush with", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms.", "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "There was a person called Nana who ruled the nursery. Sometimes she\ntook no notice of the playthings lying about, and sometimes, for no", "the nursery, when all the house was silent, and his talks with the\nSkin Horse. But very soon he grew to like it, for the Boy used to talk", "Spring Time\n\n\"You must have your old Bunny!\" she said. \"Fancy all that fuss for a\ntoy!\"\n\nThe Boy sat up in bed and stretched out his hands.", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "And while the Boy was asleep, dreaming of the seaside, the little\nRabbit lay among the old picture-books in the corner behind the", "burrows the Boy had made for him in the flower bed, and Nana grumbled\nas she rubbed him off with a corner of her apron.", "from sight under the bedclothes, and he never stirred, for he was\nafraid that if they found him some one might take him away, and he\nknew that the Boy needed him.", "the Boy dropped off to sleep, the Rabbit would snuggle down close\nunder his little warm chin and dream, with the Boy's hands clasped\nclose round him all night long.", "\"Give me my Bunny!\" he said. \"You mustn't say that. He isn't a toy.\nHe's REAL!\"", "Just then Nana caught sight of him.\n\n\"How about his old Bunny?\" she asked.", "That night he was almost too happy to sleep, and so much love stirred\nin his little sawdust heart that it almost burst. And into his", "It was a bright, sunny morning, and the windows stood wide open. They\nhad carried the Boy out on to the balcony, wrapped in a shawl, and the\nlittle Rabbit lay tangled up among the bedclothes, thinking.", "and the Boy got better. He was able to sit up in bed and look at\npicture-books, while the little Rabbit cuddled close at his side. And\none day, they let him get up and dress.", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting" ], [ "And then, one day, the Boy was ill.", "planned, and while the Boy lay half asleep he crept up close to the\npillow and whispered them in his ear. And presently the fever turned,", "It was a long weary time, for the Boy was too ill to play, and the\nlittle Rabbit found it rather dull with nothing to do all day long.", "and the Boy got better. He was able to sit up in bed and look at\npicture-books, while the little Rabbit cuddled close at his side. And\none day, they let him get up and dress.", "It was a bright, sunny morning, and the windows stood wide open. They\nhad carried the Boy out on to the balcony, wrapped in a shawl, and the\nlittle Rabbit lay tangled up among the bedclothes, thinking.", "from sight under the bedclothes, and he never stirred, for he was\nafraid that if they found him some one might take him away, and he\nknew that the Boy needed him.", "Autumn passed and Winter, and in the Spring, when the days grew warm\nand sunny, the Boy went out to play in the wood behind the house. And", "\"That?\" said the doctor. \"Why, it's a mass of scarlet fever\ngerms!-Burn it at once. What? Nonsense! Get him a new one. He mustn't\nhave that any more!\"", "The Boy was going to the seaside to-morrow. Everything was arranged,\nand now it only remained to carry out the doctor's orders. They talked", "But he snuggled down patiently, and looked forward to the time when\nthe Boy should be well again, and they would go out in the garden", "him that last time she had changed him altogether. And he might have\nsat there a long time, too shy to move, if just then something hadn't\ntickled his nose, and before he thought what he was doing he lifted", "Near the house where they lived there was a wood, and in the long June\nevenings the Boy liked to go there after tea to play. He took the", "the candle because the Boy couldn't go to sleep unless he was there.\nHe was wet through with the dew and quite earthy from diving into the", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "That night he was almost too happy to sleep, and so much love stirred\nin his little sawdust heart that it almost burst. And into his", "real glass eyes, but the Boy was too excited to care very much about\nit. For to-morrow he was going to the seaside, and that in itself was\nsuch a wonderful thing that he could think of nothing else.", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "sun sank lower and the little white moths fluttered out, and the Boy\ncame and carried him home.", "And while the Boy was asleep, dreaming of the seaside, the little\nRabbit lay among the old picture-books in the corner behind the" ], [ "disinfected, and all the books and toys that the Boy had played with\nin bed must be burnt.", "That night the Boy slept in a different bedroom, and he had a new\nbunny to sleep with him. It was a splendid bunny, all white plush with", "It was a bright, sunny morning, and the windows stood wide open. They\nhad carried the Boy out on to the balcony, wrapped in a shawl, and the\nlittle Rabbit lay tangled up among the bedclothes, thinking.", "planned, and while the Boy lay half asleep he crept up close to the\npillow and whispered them in his ear. And presently the fever turned,", "from sight under the bedclothes, and he never stirred, for he was\nafraid that if they found him some one might take him away, and he\nknew that the Boy needed him.", "And then, one day, the Boy was ill.", "The Boy was going to the seaside to-morrow. Everything was arranged,\nand now it only remained to carry out the doctor's orders. They talked", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "him that last time she had changed him altogether. And he might have\nsat there a long time, too shy to move, if just then something hadn't\ntickled his nose, and before he thought what he was doing he lifted", "and the Boy got better. He was able to sit up in bed and look at\npicture-books, while the little Rabbit cuddled close at his side. And\none day, they let him get up and dress.", "Just then there was a sound of footsteps, and the Boy ran past near\nthem, and with a stamp of feet and a flash of white tails the two\nstrange rabbits disappeared.", "One evening, when the Boy was going to bed, he couldn't find the china\ndog that always slept with him. Nana was in a hurry, and it was too", "\"That?\" said the doctor. \"Why, it's a mass of scarlet fever\ngerms!-Burn it at once. What? Nonsense! Get him a new one. He mustn't\nhave that any more!\"", "burrows the Boy had made for him in the flower bed, and Nana grumbled\nas she rubbed him off with a corner of her apron.", "And while the Boy was asleep, dreaming of the seaside, the little\nRabbit lay among the old picture-books in the corner behind the", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms.", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "about it all, while the little Rabbit lay under the bedclothes, with\njust his head peeping out, and listened. The room was to be", "the candle because the Boy couldn't go to sleep unless he was there.\nHe was wet through with the dew and quite earthy from diving into the", "And so the little Rabbit was put into a sack with the old\npicture-books and a lot of rubbish, and carried out to the end of the" ], [ "And then a strange thing happened. For where the tear had fallen a\nflower grew out of the ground, a mysterious flower, not at all like", "It was so beautiful that the little Rabbit forgot to cry, and just lay\nthere watching it. And presently the blossom opened, and out of it\nthere stepped a fairy.", "hair, and her face was like the most perfect flower of all. And she\ncame close to the little Rabbit and gathered him up in her arms and", "And she kissed the little Rabbit again and put him down on the grass.\n\n\"Run and play, little Rabbit!\" she said.", "\"I don't want to!\" he said again.\n\nBut the wild rabbits have very sharp eyes. And this one stretched out\nhis neck and looked.", "Spring came, and they had long days in the garden, for wherever the\nBoy went the Rabbit went too. He had rides in the wheelbarrow, and", "\"Then stretch them out and show me, like this!\" said the wild rabbit.\nAnd he began to whirl round and dance, till the little Rabbit got\nquite dizzy.", "The Fairy Flower\n\nAnd she held the little Rabbit close in her arms and flew with him\ninto the wood.", "that he had told him. Of what use was it to be loved and lose one's\nbeauty and become Real if it all ended like this? And a tear, a real", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"", "about it all, while the little Rabbit lay under the bedclothes, with\njust his head peeping out, and listened. The room was to be", "It was a long weary time, for the Boy was too ill to play, and the\nlittle Rabbit found it rather dull with nothing to do all day long.", "\"Hurrah!\" thought the little Rabbit. \"To-morrow we shall go to the\nseaside!\" For the boy had often talked of the seaside, and he wanted", "His face grew very flushed, and he talked in his sleep, and his little\nbody was so hot that it burned the Rabbit when he held him close.", "ground, and they crept quite close to him, twitching their noses,\nwhile the Rabbit stared hard to see which side the clockwork stuck\nout, for he knew that people who jump generally have something to wind", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms.", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "while he was playing, two rabbits crept out from the bracken and\npeeped at him. One of them was brown all over, but the other had", "them up. But he couldn't see it. They were evidently a new kind of\nrabbit altogether." ], [ "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "It was so beautiful that the little Rabbit forgot to cry, and just lay\nthere watching it. And presently the blossom opened, and out of it\nthere stepped a fairy.", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"", "The Rabbit sighed. He thought it would be a long time before this\nmagic called Real happened to him. He longed to become Real, to know", "The Fairy Flower\n\nAnd she held the little Rabbit close in her arms and flew with him\ninto the wood.", "\"I am Real!\" said the little Rabbit. \"I am Real! The Boy said so!\" And\nhe nearly began to cry.", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "hair, and her face was like the most perfect flower of all. And she\ncame close to the little Rabbit and gathered him up in her arms and", "\"Ho!\" said the furry rabbit. \"It's as easy as anything,\" And he gave a\nbig hop sideways and stood on his hind legs.\n\n\"I don't believe you can!\" he said.", "\"Come back and play with me!\" called the little Rabbit. \"Oh, do come\nback! I know I am Real!\"", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms.", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "\"Give me my Bunny!\" he said. \"You mustn't say that. He isn't a toy.\nHe's REAL!\"", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "He was a Real Rabbit at last, at home with the other rabbits.\n\n\n At Last! At Last!", "\"Then stretch them out and show me, like this!\" said the wild rabbit.\nAnd he began to whirl round and dance, till the little Rabbit got\nquite dizzy.", "But he never knew that it really was his own Bunny, come back to look\nat the child who had first helped him to be Real.", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting" ], [ "The Fairy Flower\n\nAnd she held the little Rabbit close in her arms and flew with him\ninto the wood.", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"", "It was so beautiful that the little Rabbit forgot to cry, and just lay\nthere watching it. And presently the blossom opened, and out of it\nthere stepped a fairy.", "And so the little Rabbit was put into a sack with the old\npicture-books and a lot of rubbish, and carried out to the end of the", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms.", "\"Then stretch them out and show me, like this!\" said the wild rabbit.\nAnd he began to whirl round and dance, till the little Rabbit got\nquite dizzy.", "And she kissed the little Rabbit again and put him down on the grass.\n\n\"Run and play, little Rabbit!\" she said.", "hair, and her face was like the most perfect flower of all. And she\ncame close to the little Rabbit and gathered him up in her arms and", "the open glade between the tree-trunks the wild rabbits danced with\ntheir shadows on the velvet grass, but when they saw the Fairy they", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "about it all, while the little Rabbit lay under the bedclothes, with\njust his head peeping out, and listened. The room was to be", "\"Hurrah!\" thought the little Rabbit. \"To-morrow we shall go to the\nseaside!\" For the boy had often talked of the seaside, and he wanted", "And while the Boy was asleep, dreaming of the seaside, the little\nRabbit lay among the old picture-books in the corner behind the", "Spring came, and they had long days in the garden, for wherever the\nBoy went the Rabbit went too. He had rides in the wheelbarrow, and", "Just then there was a sound of footsteps, and the Boy ran past near\nthem, and with a stamp of feet and a flash of white tails the two\nstrange rabbits disappeared.", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "\"Ho!\" said the furry rabbit. \"It's as easy as anything,\" And he gave a\nbig hop sideways and stood on his hind legs.\n\n\"I don't believe you can!\" he said.", "\"I don't want to!\" he said again.\n\nBut the wild rabbits have very sharp eyes. And this one stretched out\nhis neck and looked.", "The Rabbit sighed. He thought it would be a long time before this\nmagic called Real happened to him. He longed to become Real, to know", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone." ], [ "Spring came, and they had long days in the garden, for wherever the\nBoy went the Rabbit went too. He had rides in the wheelbarrow, and", "He was a Real Rabbit at last, at home with the other rabbits.\n\n\n At Last! At Last!", "The Rabbit sighed. He thought it would be a long time before this\nmagic called Real happened to him. He longed to become Real, to know", "But he never knew that it really was his own Bunny, come back to look\nat the child who had first helped him to be Real.", "\"Come back and play with me!\" called the little Rabbit. \"Oh, do come\nback! I know I am Real!\"", "And so the little Rabbit was put into a sack with the old\npicture-books and a lot of rubbish, and carried out to the end of the", "And she kissed the little Rabbit again and put him down on the grass.\n\n\"Run and play, little Rabbit!\" she said.", "\"Hurrah!\" thought the little Rabbit. \"To-morrow we shall go to the\nseaside!\" For the boy had often talked of the seaside, and he wanted", "they were real. The model boat, who had lived through two seasons and\nlost most of his paint, caught the tone from them and never missed an\nopportunity of referring to his rigging in technical terms. The Rabbit", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "\"I am Real!\" said the little Rabbit. \"I am Real! The Boy said so!\" And\nhe nearly began to cry.", "Just then there was a sound of footsteps, and the Boy ran past near\nthem, and with a stamp of feet and a flash of white tails the two\nstrange rabbits disappeared.", "\"I don't want to!\" he said again.\n\nBut the wild rabbits have very sharp eyes. And this one stretched out\nhis neck and looked.", "to him, and made nice tunnels for him under the bedclothes that he\nsaid were like the burrows the real rabbits lived in. And they had", "But the little Rabbit sat quite still for a moment and never moved.\nFor when he saw all the wild rabbits dancing around him he suddenly", "Summer Days\n\nThey stared at him, and the little Rabbit stared back. And all the\ntime their noses twitched.", "\"Then stretch them out and show me, like this!\" said the wild rabbit.\nAnd he began to whirl round and dance, till the little Rabbit got\nquite dizzy.", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "about it all, while the little Rabbit lay under the bedclothes, with\njust his head peeping out, and listened. The room was to be", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"" ], [ "The Skin Horse had lived longer in the nursery than any of the others.\nHe was so old that his brown coat was bald in patches and showed the", "The Skin Horse Tells His Story", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "was kind to him at all was the Skin Horse.", "the nursery, when all the house was silent, and his talks with the\nSkin Horse. But very soon he grew to like it, for the Boy used to talk", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "\"It doesn't happen all at once,\" said the Skin Horse. \"You become. It\ntakes a long time. That's why it doesn't happen often to people who", "ants ran over his paws; the wonderful day when he first knew that he\nwas Real. He thought of the Skin Horse, so wise and gentle, and all", "Christmas Morning\n The Skin Horse Tells His Story\n Spring Time\n Summer Days\n Anxious Times\n The Fairy Flower\n At Last! At Last!\n _________________________________________________________________", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting", "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his" ], [ "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "Velveteen Rabbit with him, and before he wandered off to pick flowers,\nor play at brigands among the trees, he always made the Rabbit a", "That was a dreadful question, for the Velveteen Rabbit had no hind\nlegs at all! The back of him was made all in one piece, like a", "This eBook is courtesy of the Celebration of Women Writers, online at\n http://digital.library.upenn.edu/women/.\n\n THE\n Velveteen Rabbit", "He was a Real Rabbit at last, at home with the other rabbits.\n\n\n At Last! At Last!", "GUTENBERG EBOOK THE VELVETEEN RABBIT***", "And so the little Rabbit was put into a sack with the old\npicture-books and a lot of rubbish, and carried out to the end of the", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "\"It doesn't happen all at once,\" said the Skin Horse. \"You become. It\ntakes a long time. That's why it doesn't happen often to people who" ], [ "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "rustling of tissue paper and unwrapping of parcels, and in the\nexcitement of looking at all the new presents the Velveteen Rabbit was\nforgotten.", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "Velveteen Rabbit with him, and before he wandered off to pick flowers,\nor play at brigands among the trees, he always made the Rabbit a", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "and the Boy got better. He was able to sit up in bed and look at\npicture-books, while the little Rabbit cuddled close at his side. And\none day, they let him get up and dress.", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "It was a long weary time, for the Boy was too ill to play, and the\nlittle Rabbit found it rather dull with nothing to do all day long.", "That night the Boy slept in a different bedroom, and he had a new\nbunny to sleep with him. It was a splendid bunny, all white plush with", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "That was a dreadful question, for the Velveteen Rabbit had no hind\nlegs at all! The back of him was made all in one piece, like a", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "And while the Boy was asleep, dreaming of the seaside, the little\nRabbit lay among the old picture-books in the corner behind the", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "\"The Boy's Uncle made me Real,\" he said. \"That was a great many years\nago; but once you are Real you can't become unreal again. It lasts for\nalways.\"" ], [ "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "The Skin Horse had lived longer in the nursery than any of the others.\nHe was so old that his brown coat was bald in patches and showed the", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "The Skin Horse Tells His Story", "\"It doesn't happen all at once,\" said the Skin Horse. \"You become. It\ntakes a long time. That's why it doesn't happen often to people who", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "the nursery, when all the house was silent, and his talks with the\nSkin Horse. But very soon he grew to like it, for the Boy used to talk", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "was kind to him at all was the Skin Horse.", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "That was a dreadful question, for the Velveteen Rabbit had no hind\nlegs at all! The back of him was made all in one piece, like a", "ants ran over his paws; the wonderful day when he first knew that he\nwas Real. He thought of the Skin Horse, so wise and gentle, and all", "\"The Boy's Uncle made me Real,\" he said. \"That was a great many years\nago; but once you are Real you can't become unreal again. It lasts for\nalways.\"" ], [ "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "Velveteen Rabbit with him, and before he wandered off to pick flowers,\nor play at brigands among the trees, he always made the Rabbit a", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "the nursery, when all the house was silent, and his talks with the\nSkin Horse. But very soon he grew to like it, for the Boy used to talk", "This eBook is courtesy of the Celebration of Women Writers, online at\n http://digital.library.upenn.edu/women/.\n\n THE\n Velveteen Rabbit", "\"It doesn't happen all at once,\" said the Skin Horse. \"You become. It\ntakes a long time. That's why it doesn't happen often to people who", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "GUTENBERG EBOOK THE VELVETEEN RABBIT***", "That was a dreadful question, for the Velveteen Rabbit had no hind\nlegs at all! The back of him was made all in one piece, like a", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "\"The Boy's Uncle made me Real,\" he said. \"That was a great many years\nago; but once you are Real you can't become unreal again. It lasts for\nalways.\"" ], [ "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "Velveteen Rabbit with him, and before he wandered off to pick flowers,\nor play at brigands among the trees, he always made the Rabbit a", "And so the little Rabbit was put into a sack with the old\npicture-books and a lot of rubbish, and carried out to the end of the", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "That was a dreadful question, for the Velveteen Rabbit had no hind\nlegs at all! The back of him was made all in one piece, like a", "rustling of tissue paper and unwrapping of parcels, and in the\nexcitement of looking at all the new presents the Velveteen Rabbit was\nforgotten.", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "The Skin Horse had lived longer in the nursery than any of the others.\nHe was so old that his brown coat was bald in patches and showed the", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "This eBook is courtesy of the Celebration of Women Writers, online at\n http://digital.library.upenn.edu/women/.\n\n THE\n Velveteen Rabbit", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms.", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "It was a long weary time, for the Boy was too ill to play, and the\nlittle Rabbit found it rather dull with nothing to do all day long.", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled." ], [ "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "\"I am Real!\" said the little Rabbit. \"I am Real! The Boy said so!\" And\nhe nearly began to cry.", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "that he had told him. Of what use was it to be loved and lose one's\nbeauty and become Real if it all ended like this? And a tear, a real", "That was a dreadful question, for the Velveteen Rabbit had no hind\nlegs at all! The back of him was made all in one piece, like a", "\"The Boy's Uncle made me Real,\" he said. \"That was a great many years\nago; but once you are Real you can't become unreal again. It lasts for\nalways.\"", "The Rabbit sighed. He thought it would be a long time before this\nmagic called Real happened to him. He longed to become Real, to know", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "Velveteen Rabbit with him, and before he wandered off to pick flowers,\nor play at brigands among the trees, he always made the Rabbit a", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "\"Give me my Bunny!\" he said. \"You mustn't say that. He isn't a toy.\nHe's REAL!\"" ], [ "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "\"I am the nursery magic Fairy,\" she said. \"I take care of all the\nplaythings that the children have loved. When they are old and worn", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "The Rabbit sighed. He thought it would be a long time before this\nmagic called Real happened to him. He longed to become Real, to know", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "This eBook is courtesy of the Celebration of Women Writers, online at\n http://digital.library.upenn.edu/women/.\n\n THE\n Velveteen Rabbit", "It was so beautiful that the little Rabbit forgot to cry, and just lay\nthere watching it. And presently the blossom opened, and out of it\nthere stepped a fairy.", "\"It doesn't happen all at once,\" said the Skin Horse. \"You become. It\ntakes a long time. That's why it doesn't happen often to people who", "Velveteen Rabbit with him, and before he wandered off to pick flowers,\nor play at brigands among the trees, he always made the Rabbit a", "\"The Boy's Uncle made me Real,\" he said. \"That was a great many years\nago; but once you are Real you can't become unreal again. It lasts for\nalways.\"" ], [ "The Skin Horse had lived longer in the nursery than any of the others.\nHe was so old that his brown coat was bald in patches and showed the", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all", "For a long time he lived in the toy cupboard or on the nursery floor,\nand no one thought very much about him. He was naturally shy, and", "\"I am the nursery magic Fairy,\" she said. \"I take care of all the\nplaythings that the children have loved. When they are old and worn", "the nursery, when all the house was silent, and his talks with the\nSkin Horse. But very soon he grew to like it, for the Boy used to talk", "There was a person called Nana who ruled the nursery. Sometimes she\ntook no notice of the playthings lying about, and sometimes, for no", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "like himself, and he understood that sawdust was quite out-of-date and\nshould never be mentioned in modern circles. Even Timothy, the jointed\nwooden lion, who was made by the disabled soldiers, and should have", "being only made of velveteen, some of the more expensive toys quite\nsnubbed him. The mechanical toys were very superior, and looked down\nupon every one else; they were full of modern ideas, and pretended", "happened to him, and he was a toy no longer. He was Real. The Boy\nhimself had said it.", "\"The Boy's Uncle made me Real,\" he said. \"That was a great many years\nago; but once you are Real you can't become unreal again. It lasts for\nalways.\"", "ants ran over his paws; the wonderful day when he first knew that he\nwas Real. He thought of the Skin Horse, so wise and gentle, and all", "The Skin Horse Tells His Story", "they were real. The model boat, who had lived through two seasons and\nlost most of his paint, caught the tone from them and never missed an\nopportunity of referring to his rigging in technical terms. The Rabbit", "\"Here,\" she said, \"take your old Bunny! He'll do to sleep with you!\"\nAnd she dragged the Rabbit out by one ear, and put him into the Boy's\narms.", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone." ], [ "That night, and for many nights after, the Velveteen Rabbit slept in\nthe Boy's bed. At first he found it rather uncomfortable, for the Boy", "HERE was once a velveteen rabbit, and in the beginning he was really\nsplendid. He was fat and bunchy, as a rabbit should be; his coat was", "And so time went on, and the little Rabbit was very happy-so happy\nthat he never noticed how his beautiful velveteen fur was getting", "\"I suppose you are real?\" said the Rabbit. And then he wished he had\nnot said it, for he thought the Skin Horse might be sensitive. But the\nSkin Horse only smiled.", "But there was no answer, only the little ants ran to and fro, and the\nbracken swayed gently where the two strangers had passed. The\nVelveteen Rabbit was all alone.", "When the little Rabbit heard that he was happy, for he knew that what\nthe Skin Horse had said was true at last. The nursery magic had", "\"Wasn't I Real before?\" asked the little Rabbit.\n\n\"You were Real to the Boy,\" the Fairy said, \"because he loved you. Now\nyou shall be Real to every one.\"", "Velveteen Rabbit with him, and before he wandered off to pick flowers,\nor play at brigands among the trees, he always made the Rabbit a", "Strange people came and went in the nursery, and a light burned all\nnight and through it all the little Velveteen Rabbit lay there, hidden", "The strange rabbit stopped dancing, and came quite close. He came so\nclose this time that his long whiskers brushed the Velveteen Rabbit's\near, and then he wrinkled his nose suddenly and flattened his ears and\njumped backwards.", "The Rabbit sighed. He thought it would be a long time before this\nmagic called Real happened to him. He longed to become Real, to know", "That was a dreadful question, for the Velveteen Rabbit had no hind\nlegs at all! The back of him was made all in one piece, like a", "\"Does it hurt?\" asked the Rabbit.\n\n\"Sometimes,\" said the Skin Horse, for he was always truthful. \"When\nyou are Real you don't mind being hurt.\"", "\"Real isn't how you are made,\" said the Skin Horse. \"It's a thing that\nhappens to you. When a child loves you for a long, long time, not just", "This eBook is courtesy of the Celebration of Women Writers, online at\n http://digital.library.upenn.edu/women/.\n\n THE\n Velveteen Rabbit", "looked like a rabbit any more, except to the Boy. To him he was always\nbeautiful, and that was all that the little Rabbit cared about. He", "Weeks passed, and the little Rabbit grew very old and shabby, but the\nBoy loved him just as much. He loved him so hard that he loved all his", "\"I've brought you a new playfellow,\" the Fairy said. \"You must be very\nkind to him and teach him all he needs to know in Rabbit-land, for he\nis going to live with you for ever and ever!\"", "GUTENBERG EBOOK THE VELVETEEN RABBIT***", "were only toys, and would never turn into anything else. For nursery\nmagic is very strange and wonderful, and only those playthings that\nare old and wise and experienced like the Skin Horse understand all" ] ]

[ "For what occasion is the rabbit given?", "What is the wisest toy in the nursery?", "What is the oldest toy in the nursey?", "Who previously owned the Skin Horse?", "Who tells the rabbit about toys becoming real?", "How do toys become real?", "What do the rabbit and boy do together in the spring?", "What illness does the boy catch?", "Who changes the rabbit into a real rabbit?", "Who tells the rabbit about toys becoming real?", "What toy does Nana give the boy to sleep with when he lost his favorite toy?", "What sickness does the boy contract?", "Where is the boy taken so his room can be disinfected?", "What grows out of the rabbit's tear that dropped on the ground?", "What does the fairy give the rabbit that causes him to become real?", "Where does the fairy take the rabbit?", "Where does the real rabbit go the next spring?", "Who was the original owner of the Skin Horse?", "What happens to the Velveteen rabbit at the end of the story?", "Why does the boy forget about the Velveteen rabbit?", "What does the Skin Horse tell the Velveteen rabbit?", "How does the Velveteen rabbit become the boy's favorite toy?", "Why is the Velveteen rabbit disgarded in the garden?", "What happens when the Velveteen rabbit cries real tears?", "How does the Nursery Magic Fairy turn the Velveteen rabbit into a real rabbit?", "Who was the oldest and wisest toy in the nursery?", "What does the Velveteen rabbit wish for?" ]

[ [ "Christmas present", "Christmas" ], [ "Skin Horse", "the Skin Horse" ], [ "Skin Horse", "the Skin Horse" ], [ "the boy's uncle", "The boy's uncle" ], [ "Skin Horse", "The boys uncle" ], [ "from the love of children", "through love from children" ], [ "have picnics", "enjoying picnics" ], [ "Scarlet Fever", "scarlet fever" ], [ "a fairy", "A fairy" ], [ "The Skin Horse", "Skin Horse" ], [ "the rabbit", "the rabbit" ], [ "scarlet fever", "Scarlet fever" ], [ "the seaside", "To the sea side" ], [ "a flower", "a flower" ], [ "a kiss", "a kiss" ], [ "to the forest", "into the forest" ], [ "to look at the boy", "to see the boy" ], [ "the boy's uncle", "the boy's uncle" ], [ "He turns into a real rabbit.", "turned into a real rabbit" ], [ "He gets new toys that are modern and mechanical.", "he has more modern toys to play with" ], [ "Toys can magically become real if they are loved enough.", "the love from children to make the toy to be real" ], [ "The nurse gives the Velveteen rabbit to the boy one night in place of a different lost toy.", "Because it was given to replace a lost toy" ], [ "The doctor ordered that the contents of the boy's room be disinfected and the toys burned.", "to be burned as part of the disinfection process." ], [ "The Nursery Magic Fairy appears and turns the Velveteen rabbit into a real rabbit.", "A flower sppears" ], [ "She gives him a kiss.", "gives him a kiss" ], [ "The Skin Horse", "The rabbit" ], [ "To be 'real'", "The rabbit wish to become a real one and live with the owner" ] ]

[ [ "He passes the \"Cine\" in the storefront. A movie's\n beginning to play on the supervisor's big-screen TV. The\n place is packed. No one sees Gordy, who moves on.", "Claudio opens the door of a cheap rental garage in an old\n commercial strip. He steps inside. There's a rental van", "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "Gordy sees the thin federale enter the front door. The\n thin federale sees him at the same time. Begins moving\n in on him.\n\n Gordy moves faster toward the girl. And...", "out and takes Gordy's hand, shows him the correct way to\n do it. Gordy tries again. Mauro nods \"yes\" and smiles.\n Gordy smiles back.", "Phipps goes. Gordy looks over as the bodies of Anne and\n Matt are placed on gurneys and rolled away. Chalk\n outlines are all that remain of his family. Beat.", "PHIPPS\n That's him, isn't it?\n\n SELENA\n (hesitates, then)\n Yes.", "ribs, while the other two hustle him forcefully to a van.\n He's shoved inside. His bag's tossed in. The van drives\n away.", "Phipps, approaching with Dray, addresses the same cop.\n\n PHIPPS\n Put that tape out fifty more\n feet.", "But Mauro squirms free, and immediately, Mauro runs back\n to his mother. Selena uses sign language to tell him\n everything's okay. OFF Gordy's surprised look --", "And now Armstong also realizes something's up. Turns and\n sees Gordy. Sees the cap in Gordy's hand as the Fat\n Federale addresses Gordy --", "He points to the chess player, SAL DIBIASE, another FD\n veteran, Mediterranean descent, and then to the rookie,\n RONNIE BOOK, a New York melting pot mutt.", "Mauro's gonna be with him. There'll be fires to put out\n and lives to save and basketball games and the multitude\n of miseries and joys the firefighters in Spanish Harlem\n see each and every day.", "It hurts like hell, he stumbles, but he stays on his\n feet, still holding the can. Selena goes for his head.", "Gordy burns through the monofilament trip wire. Then\n carefully slides the Coke can back over the grenade.", "He clamps a hand on Gordy's arm. Gordy shakes it off and\n starts running. Almost immediately, he's tackled to the\n ground by the thin federale. Two more federales join in.", "Gordy raises the can. Thwock! Thwock! The can's all\n dents. There's garbage everywhere. She feints high and", "of beer. The guerrillas take the beer and head out. No\n money's changed hands. When they're gone, to Felix --", "Phipps keeps moving, enters an eerie recreation of the\n blast site. Streets, buildings, etc. are marked out on", "He stops. Grins. It's a big joke. He hands back the\n pass, searches the boat quickly and waves the panga on.\n\n OFF Gordy's relief as the panga heads on..." ], [ "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "A severely-dazed Brandt, bleeding from the nose and ears,\n slowly gets to his knees, crawls out of the burning\n building and collapses outside.", "Gordy hears it. It only drives him to a deeper fury.\n\n GORDY\n They were my family.", "Phipps goes. Gordy looks over as the bodies of Anne and\n Matt are placed on gurneys and rolled away. Chalk\n outlines are all that remain of his family. Beat.", "He drives off. Gordy looks to Ever. Ever smiles,\n motions him to follow, then turns south and starts\n walking. As Gordy falls in behind...", "He REACHES the river. Sees Gordy, Mauro and Selena\n bobbing downstream hanging onto the cans. OPENS FIRE.", "Brandt, Rocha and the soldiers, approaching the front\n door inside, are hammered by the massive concussion of\n the BLAST and flung across the room, apparently dead.", "of beer. The guerrillas take the beer and head out. No\n money's changed hands. When they're gone, to Felix --", "The little girl runs back again, and Gordy watches the\n refugees disappear around the bend. Then turns back\n uphill and approaches the line the little girl drew in", "Yeah. 'bye.\n (hangs up; to\n Updegraf)\n Without his father's money, that", "family. Her father hands her a machete and a Zippo\n lighter, says something to her. Whereupon the little\n girl returns to Gordy and holds the items out to him.", "GORDY\n (looks up; beat)\n What'd I see? I saw my family\n die.\n\n Mike puts a restraining hand on Gordy.", "breaks through! A small hole, which he quickly widens,\n to reveal... a terrified Latino family gaping down at\n him, their room ablaze around them. Gordy reaches up.\n Speaks to them in Spanglish --", "rest of the house. She topples what she can into\n Gordy's way. Throws nails down behind her. Grabs a\n circular saw and hurls it back at Gordy, just missing him", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "Beat. Updegraf goes. Brandt crumples the fax and\n pitches it. Then sees he got fax ink on his hands. OFF", "leaves the group in the middle of the river. The GUNFIRE\n is now FAR-OFF AND SPORADIC. He crosses to the water's", "People come to help him, but Gordy only cares about\n finding Anne and Matt. He looks around desperately but\n can't see them, when...", "BANG! The Beaten Man SHOOTS Felix in the head. Then\n exits. OFF Felix, dead, his blood mixing with the water\n still streaming across the floor...", "The village is a silent, smoking ruin. Everyone who\n lived there is dead. Troops check the faces of the\n bodies of the men against the freeze-frame of The Wolf\n outside the Colombian consulate in New York." ], [ "SELENA\n My name is Selena.\n\n GORDY\n ... His wife?\n\n SELENA\n Yes.", "Gordy hits her like a linebacker. Slams Selena against a\n brick wall. Gets behind her and slips a mighty arm", "Selena is left alone, disconsolate, framed in the window.\n She looks up and sees Gordy outside. Her eyes meet his.\n OFF their look...", "SELENA\n Yes.\n\n GORDY\n Where?\n\n She doesn't answer.", "SELENA\n He's a war orphan. I adopted him.\n\n Beat. Gordy finishes checking the bullet wound.", "He just manages to grab Selena and yank her off the bike.", "SELENA\n I can't.\n\n She moves to the door and knocks. The door opens.\n Selena's gone. OFF Gordy, sagging...", "408 ANOTHER ANGLE 408\n\n He's between Selena and the only way out. And there's no\n way she's getting past him.", "SELENA\n He can't hear or speak.\n\n Gordy just looks at them a moment. Then moves to Selena.\n Re: Mauro, as Gordy examines her arm --", "Selena's in a teenager's bedroom. The teenager's got\n headphones on, oblivious to everything. Selena darts\n through a bathroom into a second bedroom.", "Selena hesitates, choking back her emotions.\n\n SELENA\n ... my baby girl was hit by\n shrapnel... she bled to death in\n Claudio's arms.", "Selena endures the pain. Hides it behind iron eyes.\n\n SELENA\n Your hired soldiers can't shoot.", "Selena swings again, and Gordy moves to block the hit.\n It's a feint. She swings under the can and hits a leg.", "Selena hears the BIKE. Sees Claudio coming. Uses the\n front edge of her hand to strike the female agent hard in", "SELENA\n Claudio used to be a teacher. I\n was a medical aid worker. We met", "Selena brings Gordy food. She's extremely subdued.\n Leaves the tray and starts back to the door.\n\n (CONTINUED)", "SELENA\n I tried to stop him.\n\n She holds Gordy's eyes a moment. Her look is grim,\n haunted.", "The window Selena slipped through easily is small for\n Gordy. He gets hung up on the glass, losing precious\n seconds. Selena's already halfway up when Gordy hits the\n fire escape steps.", "approaches, unaware of their presence. Gordy fumbles\n with the AK-47, looking for the safety switch on the\n strange weapon. Selena reaches over and expertly flicks", "SELENA\n It's just my arm.\n\n Gordy admires this woman's bravery. Selena stands.\n Mauro's clutching her skirt. Gordy looks at him." ], [ "A severely-dazed Brandt, bleeding from the nose and ears,\n slowly gets to his knees, crawls out of the burning\n building and collapses outside.", "Still stunned and bleeding, Brandt looks from where he\n lies on the ground as...", "Brandt moves back to the L.O.H., gets in. A moment\n later, the chopper's up and away.\n\n\n311 EXT. RIVER 311", "exit the fiery jail past Brandt. We see Brandt's not\n dead.\n\n\n161 EXT. MOMPOS STREET - OUTSIDE JAIL 161", "Brandt meets his eyes. A long beat. Then --", "Brandt only cares about the primary target.\n\n BRANDT\n They couldn't have made it this\n far. Go back upstream.\n\n As the chopper banks...", "Brandt goes. Moments later, a TORTURED SCREAM is heard\n on the other side of the brick wall, waking Armstrong\n with a start.", "Brandt bursts in. He searches. Finds Mauro's leather\n doll behind the toilet. The head's detached. Brandt\n looks inside, and...", "Brandt, Rocha and the soldiers, approaching the front\n door inside, are hammered by the massive concussion of\n the BLAST and flung across the room, apparently dead.", "68 CONTINUED: 68\n\n Dray heads out, passing Mike Brandt, who enters.", "Gordy's eyes meet Brandt's. The two men hold the look\n for a moment. If Brandt could speak, he'd be yelling at", "puts it on, Brandt sees her pack. Takes it and opens it.\n He inspects it, then hands it back. Gordy glares at him.", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "He slams down the phone. Rips up Brandt's business card.\n He's alone with his frustration, with his rekindled\n hatred and rage. OFF Gordy, glaring at the photo of The\n Wolf on his wall...", "Brandt lets \"thinks\" sink in.", "that drives all the wind from Brandt and drops him to his\n knees. Beat. Gordy's voice is cold and hard --", "Brandt's in the rear seat wearing a headset. The L.O.H.\n PILOT, wearing night-vision goggles, checks his GPS,\n speaks to Brandt via headset --", "BRANDT (O.S.)\n ... I don't fucking believe it.\n That lucky son-of-a-bitch found\n The Wolf.", "Updegraf has had papers handed to him and interrupts --\n\n UPDEGRAF\n Check this out.\n\n He hands a paper to Brandt. Brandt reads it.", "BRANDT\n (beat; hands papers\n to Rocha)\n Throw out the net. Have him\n picked up... Just make sure no one\n kills him." ], [ "Armstrong joins him.", "ARMSTRONG\n Hey, yo, dude, here's a seat, man!\n\n GORDY\n No, that's okay --", "Brandt goes. Moments later, a TORTURED SCREAM is heard\n on the other side of the brick wall, waking Armstrong\n with a start.", "drops Armstrong, pats himself and Armstrong down,\n knocking out the burning embers on their clothes and\n hair, when...", "This time, the door gives. Gordy picks up Armstrong's\n cap, then picks up Armstrong, who's starting to come\n around. Puts Armstrong over his shoulders in a fireman's\n carry.", "Instead of hitting Gordy, Armstrong accidentally-on-\n purpose clocks the fat detective. Then hisses into\n Gordy's ear, clearly not that drunk --", "Armstrong carefully returns the card to the hat. And now\n his voice takes on a noticeably more measured tone --", "Gordy to stop, not to go on. And Gordy knows it. But\n Gordy's not stopping. Picks up Armstrong again and moves\n off toward the waterfront.", "And now Armstong also realizes something's up. Turns and\n sees Gordy. Sees the cap in Gordy's hand as the Fat\n Federale addresses Gordy --", "ARMSTRONG\n Fucking hat thief!\n\n Armstrong takes a drunken swing at Gordy, but...", "He starts to go. Armstrong stops him.\n\n ARMSTRONG\n No. I told you. The pass is only\n good for one person. And you're\n too dangerous to travel with.", "gringo on the boat is a geek in a plaid shirt and gimme\n hat that says \"Deerborn.\" The geek, PHILIP ARMSTRONG,", "The powerful, concussive shock-wave channels into the\n cell area. Gordy's slightly protected by a wall.\n Armstrong, standing at the bars, is thrown into the\n opposite wall and knocked unconscious.", "ARMSTRONG\n That stun gun wasn't cool.\n\n Armstrong looks down at himself.", "But Armstrong's already throwing a bag off the bench.\n\n ARMSTRONG\n I was hoping for someone I could\n communicate with.", "ARMSTRONG\n Aw, hell... I was through with\n this place anyway...\n\n He takes off a boot. Shakes out some money and the pass.\n He hands the pass to Gordy.", "down at the son. A kid about Matt's age. Armstrong\n recognizes the look of a caring dad.", "ARMSTRONG\n Got kids, eh?\n\n OFF Armstrong, as Gordy walks away...", "ARMSTRONG\n (shaking his head)\n It's all cash and carry down here,\n Gordy.\n\n The FERRY WHISTLE TOOTS.", "But then Armstrong's legs won't work as the thin federale\n jams the stun gun against his neck, and 10,000 volts\n surprise the Armstrong neural network." ], [ "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "Wolf, but what he does see surprises him. The ELC\n Supervisor was right: Caguan's no Mompos. It's a third-", "BRANDT (O.S.)\n ... I don't fucking believe it.\n That lucky son-of-a-bitch found\n The Wolf.", "And now Armstong also realizes something's up. Turns and\n sees Gordy. Sees the cap in Gordy's hand as the Fat\n Federale addresses Gordy --", "Passengers are lined up to board a flight to Mexico City.\n FIND a man in line wearing a crisp business suit and tie.\n The clothes, a haircut and horn-rims have made The Wolf\n nearly unrecognizable.", "Gordy takes a swig of beer. When...\n\n Gordy sees the Beaten Man from the jail in Mompos. The\n man has just walked in with another guerrilla.", "BRANDT (O.S.)\n They're not just hiding The Wolf.\n\n UPDEGRAF (O.S.)\n Here it is on the map...", "Selena watches as Phipps plays a surveillance video of\n Union Station. Phipps suddenly freezes the image. Zooms\n in on a man in the middle of the crowd. Claudio.", "He takes a last drag on his cigarette, passes the butt to\n Updegraf to finish and gets in the rear of the L.O.H. as\n Updegraf scoots clear.", "lands inside a warehouse room amid sacks of rice, beans\n and coffee. The building is dark and dusty. He lies\n still and listens. FOOTSTEPS approach across the tin", "The man goes. Outside, we hear him SHOUT orders to the\n guerrillas guarding the plantation. The Beaten Man turns\n to Felix. Felix is terrified. In a pleading tone --", "He clamps a hand on Gordy's arm. Gordy shakes it off and\n starts running. Almost immediately, he's tackled to the\n ground by the thin federale. Two more federales join in.", "Felix is just loose enough.\n\n FELIX\n The Wolf, and they'll never catch\n him.\n\n GORDY\n Ever see him?", "He slams down the phone. Rips up Brandt's business card.\n He's alone with his frustration, with his rekindled\n hatred and rage. OFF Gordy, glaring at the photo of The\n Wolf on his wall...", "door and looks out. Sees the Suburban. Four guerrillas\n are getting out, including the Beaten Man. Felix meets\n them. The Beaten Man exchanges words with Felix. Felix", "Brandt's in the rear seat wearing a headset. The L.O.H.\n PILOT, wearing night-vision goggles, checks his GPS,\n speaks to Brandt via headset --", "of beer. The guerrillas take the beer and head out. No\n money's changed hands. When they're gone, to Felix --", "The door's unlocked and opens. Daylight streams in from\n above as The Wolf enters with two guerrilla bodyguards.\n He moves to the middle of the room. Looks at Gordy.", "Gordy peers out the window intently as they drive,\n looking for a lucky break, looking for The Wolf,\n searching the face of every man. He doesn't see The", "He reaches for another book. As he does, he topples a\n stack. Selena's eyes fix on one book cover.\n\n SELENA\n He had that book! Let me see it!" ], [ "Selena watches him another moment. Decides he's telling\n the truth. She reaches into a skirt pocket, then extends", "Selena watches as Phipps plays a surveillance video of\n Union Station. Phipps suddenly freezes the image. Zooms\n in on a man in the middle of the crowd. Claudio.", "PHIPPS\n That's him, isn't it?\n\n SELENA\n (hesitates, then)\n Yes.", "Selena is left alone, disconsolate, framed in the window.\n She looks up and sees Gordy outside. Her eyes meet his.\n OFF their look...", "Gordy relaxes the chokehold enough so she can breathe.\n Selena gasps for air. The impulse to murder has left\n Gordy. There's a new resolve...", "Beat. Selena's overwhelmed by the experience of seeing\n her husband on the tape, by her betrayal of him. She\n grows queasy. Leans on the table for support.", "Selena grabs her pack and rushes in. When the door's\n closed, Phipps turns to Dray, indicates monitor.", "He reaches for another book. As he does, he topples a\n stack. Selena's eyes fix on one book cover.\n\n SELENA\n He had that book! Let me see it!", "Selena hears the BIKE. Sees Claudio coming. Uses the\n front edge of her hand to strike the female agent hard in", "SELENA\n Yes.\n\n GORDY\n Where?\n\n She doesn't answer.", "a bush and pulls back leaves, revealing Mauro, cowering\n fearfully, clutching an old leather doll to his chest.\n Selena takes Mauro's hand, grabs a small pack lying next", "Suddenly, in the growing light, Gordy sees Selena's blood\n in the water and realizes she's wounded.\n\n GORDY\n You were shot.", "finally runs out of roof. She looks down. A fire escape\n ladder leads down to an interior, ground-level courtyard\n of a small foreign embassy. Still holding the crowbar,\n Selena takes the ladder down.", "Phipps flips to the last photo in the book.\n\n SELENA\n ... No...", "Gordy hits her like a linebacker. Slams Selena against a\n brick wall. Gets behind her and slips a mighty arm", "Brandt, Phipps, et al stand around her. Phipps flips\n through the pages of a large coffee table book for Selena\n to see.", "Gordy hits the balcony a half-second after Selena. He\n grabs her. Selena swings the crowbar to break his arm.\n Gordy has to let go. Selena heads for the stairs leading\n to the ground.", "Everyone's aboard and buckled in. Everyone's tired. The\n chopper lifts off. Selena's glaring at Brandt, who\n pushes a headset at her, shouts over the ENGINE WHINE --", "approaches, unaware of their presence. Gordy fumbles\n with the AK-47, looking for the safety switch on the\n strange weapon. Selena reaches over and expertly flicks", "417 BRANDT'S 417\n\n entering the courtyard as Gordy walks out. Brandt's seen\n Selena. He's smiling." ], [ "SHOOTS Claudio dead from the mouth of the alleyway down\n the block. The first SHOT CRACKS the back of Claudio's", "exits with the tray. The guard reaches to close the\n door, and Gordy brings the pipe down hard on his head,", "through her body. She's dead on her feet. Her body\n crumples to the ground and empties its blood in a large\n pool that quickly spreads over the slate.", "Gordy hits him. One of the jackhammer blows he slammed\n into Claudio in the bunker. A hard fist deep in the gut", "Selena hears the BIKE. Sees Claudio coming. Uses the\n front edge of her hand to strike the female agent hard in", "dropped. Before Claudio can get to a gun, Gordy's on\n him. They grapple. Gordy pounds Claudio hard. Once.\n Twice. When...", "Brandt bursts in. He searches. Finds Mauro's leather\n doll behind the toilet. The head's detached. Brandt\n looks inside, and...", "BANG! The Beaten Man SHOOTS Felix in the head. Then\n exits. OFF Felix, dead, his blood mixing with the water\n still streaming across the floor...", "Gordy gets the grenade from the tool box. He slides it\n just inside the top of his pants, with the spoon hooked", "Gordy sees the thin federale enter the front door. The\n thin federale sees him at the same time. Begins moving\n in on him.\n\n Gordy moves faster toward the girl. And...", "Isn't hers. It's from Phipps' GUN. It takes Selena in\n the middle of the back and explodes her heart on its way", "He smashes it into the base of Gordy's head, knocking\n Gordy out.", "the vicious onslaught. He finds a nearby garbage can.\n It's full, heavy, but he manages to lift it, spilling\n garbage as he uses the can to block the blows from the", "Phipps goes. Gordy looks over as the bodies of Anne and\n Matt are placed on gurneys and rolled away. Chalk\n outlines are all that remain of his family. Beat.", "finally finds a piece of sharp metal. He moves to the\n wall with the window. With the DIESELS covering the\n noise, Gordy starts chiseling away at the adobe.", "Using the Zippo again to light his way, Gordy advances to\n the young man. He follows the trip wire to where a Coca-", "rest of the house. She topples what she can into\n Gordy's way. Throws nails down behind her. Grabs a\n circular saw and hurls it back at Gordy, just missing him", "A shovel lies in the grass. Selena scoops it up and in\n one motion, spins back toward the gate, launches it", "SHOOTS the two escort people dead, then BLASTS away at\n the other people pouring out of the institute as she\n straddles the Ducati behind Claudio, and the powerful", "Whack! The Wolf slams the butt of an AK-47 against\n Gordy's skull. Gordy drops hard. The Wolf reverses the" ], [ "Big cheers now. Toasts all around. Everyone in the\n place is happy for Gordy, who sits there a moment trying\n to absorb the news, then buries his face in his hands.", "Finally, the father accepts, sits down with the sleepy\n boy on his lap. Nods his thanks at Gordy, who then gazes", "Finally, Gordy reaches him. One of the man's legs is\n missing below the knee. He's bleeding from various other", "of beer. The guerrillas take the beer and head out. No\n money's changed hands. When they're gone, to Felix --", "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "THE END", "Cheers throughout the bar. Mike quiets them.\n\n (CONTINUED)\n\n 32.", "Gordy takes a swig of beer. When...\n\n Gordy sees the Beaten Man from the jail in Mompos. The\n man has just walked in with another guerrilla.", "He takes a last drag on his cigarette, passes the butt to\n Updegraf to finish and gets in the rear of the L.O.H. as\n Updegraf scoots clear.", "A severely-dazed Brandt, bleeding from the nose and ears,\n slowly gets to his knees, crawls out of the burning\n building and collapses outside.", "Luis gets there to reject him. The crowd loves it. The\n BUZZER SOUNDS. NYFD wins.", "This time, the door gives. Gordy picks up Armstrong's\n cap, then picks up Armstrong, who's starting to come\n around. Puts Armstrong over his shoulders in a fireman's\n carry.", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "Gordy's silent. It's over. He's come up short. He's\n going home.", "watch. Then lights another butt from the one he just\n smoked. Stares off into the distance, his thoughts\n intense and far away. Updegraf emerges, crosses.", "sees the flashlight beam move past. He holds his breath.\n Beat. Then the FOOTSTEPS pass on, RECEDE down the roof.\n And Gordy can breathe again.", "They've had a lot more than two beers. Felix has,\n anyway. He's drunk. He's also in love with a waitress\n on his lap, a cute gordita named BERTA. He pats her.", "BANG! The Beaten Man SHOOTS Felix in the head. Then\n exits. OFF Felix, dead, his blood mixing with the water\n still streaming across the floor...", "He drives off. Gordy looks to Ever. Ever smiles,\n motions him to follow, then turns south and starts\n walking. As Gordy falls in behind...", "Brandt goes. Moments later, a TORTURED SCREAM is heard\n on the other side of the brick wall, waking Armstrong\n with a start." ], [ "Phipps addresses Gordy.\n\n PHIPPS\n We think the bomb was triggered by\n a cell phone.\n\n JUMP CUT:", "The blasts have caused fires in the building. Severed\n wires spark, creating more fire. Flames begin to spread\n through the tinder-dry structure.\n\n (CONTINUED)", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "PHIPPS\n We think the bomb was triggered by\n a cell phone. The guy doesn't\n have one in his hands here. Did\n you see a cell phone when you ran\n into him?", "NEWS ANCHOR (V.O.)\n ... The bombing that left a mother\n and son dead and New York City", "FELIX\n Especially now, since the bomb in\n New York.\n\n (CONTINUED)\n\n 73.", "The powerful, concussive shock-wave channels into the\n cell area. Gordy's slightly protected by a wall.\n Armstrong, standing at the bars, is thrown into the\n opposite wall and knocked unconscious.", "CLAUDIO\n\n Now in casual clothes. He's looking over the beautiful\n and busy station. Contemplating the devastation and\n death that a bomb planted here would wreak.", "Felix jams the car in drive.\n\n Gordy looks down, sees the spoon of the grenade exposed.\n As he readjusts his shirt to cover the spoon...", "Gordy gets the grenade from the tool box. He slides it\n just inside the top of his pants, with the spoon hooked", "The cop tickets a vehicle, then walks west out of frame.\n\n PHIPPS\n The bomb's in the cart.\n\n\n56 PHIPPS 56", "The village is a silent, smoking ruin. Everyone who\n lived there is dead. Troops check the faces of the\n bodies of the men against the freeze-frame of The Wolf\n outside the Colombian consulate in New York.", "152 ANOTHER ANGLE 152\n\n BOOM! BOOM! BOOM! A water tower, the Mompos fire\n station and the town's power supply are direct hits.", "Phipps keeps moving, enters an eerie recreation of the\n blast site. Streets, buildings, etc. are marked out on", "Brandt, Rocha and the soldiers, approaching the front\n door inside, are hammered by the massive concussion of\n the BLAST and flung across the room, apparently dead.", "A vicious jolt suddenly loosens a grenade. It starts to\n slip free. Gordy can't stop it without letting go. The\n grenade falls, and...", "erupts behind Anne and Matt...\n\n We hear the ENORMOUS BANG of the explosion...\n\n 12.", "Cola can hangs from a nearby tree. On closer inspection,\n Gordy can see the can is sleeved around a grenade.\n There's no pin in the grenade. The can keeps the", "Gordy quickly, carefully wires the grenade to the propane\n tank. Then takes out the Zippo, pulls it apart and", "American military officer died\n in last Thursday's blast. Also\n killed were Anne Pitt, wife of a\n New York City firefighter, and" ], [ "Wolf.", "The Wolf doesn't take his eyes off Gordy. The Woman\n squeezes his arm. Implores him --\n\n WOMAN\n Claudio.", "Gordy peers out the window intently as they drive,\n looking for a lucky break, looking for The Wolf,\n searching the face of every man. He doesn't see The", "Felix is just loose enough.\n\n FELIX\n The Wolf, and they'll never catch\n him.\n\n GORDY\n Ever see him?", "The Wolf slaps his palm for emphasis.\n\n THE WOLF (V.O.)\n ... Venceremos.\n\n The tape ends. Mike shakes his head.", "BRANDT (O.S.)\n ... I don't fucking believe it.\n That lucky son-of-a-bitch found\n The Wolf.", "THE WOLF\n One of the men in the jail with\n you in Mompos is dying. He was\n burned in your explosion.\n\n Gordy just looks at him.", "THE WOLF\n You Americans think you have all\n the answers. And really, you're\n so naive...\n\n (CONTINUED)", "The Wolf glances over. Meets her eyes a moment. Sees\n the photo in her hand. Glances up into her eyes again.\n They hold the look. A whole conversation exchanged", "Wolf, but what he does see surprises him. The ELC\n Supervisor was right: Caguan's no Mompos. It's a third-", "(another)\n A whole family... Anne and Matt\n didn't mean shit to them.\n (indicates The Wolf)", "with a strange-smiling face painted on it in camo earth\n tones. The Wolf's body is hidden shadow, the voice\n digitally altered to a deep bass growl.", "344 INT. LATIN AMERICAN INSTITUTE - \"THE WOLF\" ROOM - DAY 344", "334 INT. LATIN AMERICAN INSTITUTE - \"THE WOLF\" ROOM - DAY 334", "The Wolf's alive and unhurt. Angrily punts Gordy again.\n\n THE WOLF\n You think you can kill The Wolf?!", "THE WOLF\n ... You see one peasant with a\n gun, and you never ask why he has", "without words. Then The Wolf turns back to Gordy, lying\n in a pile on the ground. Beat. To Gordy --", "The Woman lays a hand on The Wolf's arm.\n\n WOMAN\n Claudio.", "A vicious kick in the ribs lifts Gordy off the ground,\n rolling him away from the Woman and child.\n\n THE WOLF\n You bastard!", "BRANDT (O.S.)\n They're not just hiding The Wolf.\n\n UPDEGRAF (O.S.)\n Here it is on the map..." ], [ "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "We see a block of reddish Semtex plastic explosive and a\n chemical fuse.\n\n BRANDT\n Everybody out! Clear this floor!\n Now!", "Gordy burns through the monofilament trip wire. Then\n carefully slides the Coke can back over the grenade.", "of beer. The guerrillas take the beer and head out. No\n money's changed hands. When they're gone, to Felix --", "Brandt, Rocha and the soldiers, approaching the front\n door inside, are hammered by the massive concussion of\n the BLAST and flung across the room, apparently dead.", "Gordy can see long, wide platforms inside. Above the\n platforms are multiple arrays of powerful heat lamps.\n Spread out and drying beneath them is a half-acre or two\n of converted cocaine.", "The man goes. Outside, we hear him SHOUT orders to the\n guerrillas guarding the plantation. The Beaten Man turns\n to Felix. Felix is terrified. In a pleading tone --", "Using the Zippo again to light his way, Gordy advances to\n the young man. He follows the trip wire to where a Coca-", "A severely-dazed Brandt, bleeding from the nose and ears,\n slowly gets to his knees, crawls out of the burning\n building and collapses outside.", "Gordy sees the thin federale enter the front door. The\n thin federale sees him at the same time. Begins moving\n in on him.\n\n Gordy moves faster toward the girl. And...", "Felix jams the car in drive.\n\n Gordy looks down, sees the spoon of the grenade exposed.\n As he readjusts his shirt to cover the spoon...", "Gordy quickly, carefully wires the grenade to the propane\n tank. Then takes out the Zippo, pulls it apart and", "Instead of hitting Gordy, Armstrong accidentally-on-\n purpose clocks the fat detective. Then hisses into\n Gordy's ear, clearly not that drunk --", "Cola can hangs from a nearby tree. On closer inspection,\n Gordy can see the can is sleeved around a grenade.\n There's no pin in the grenade. The can keeps the", "They've had a lot more than two beers. Felix has,\n anyway. He's drunk. He's also in love with a waitress\n on his lap, a cute gordita named BERTA. He pats her.", "blown to shit and burning. We got\n Colombians in cammies, a gringo\n down, a woman and kid, and some\n bodies. This guy --", "PHIPPS\n What got this place blown up?\n\n BRANDT\n We'll have this discussion\n somewhere else more secure, after\n I get your clearance.", "Gordy takes a swig of beer. When...\n\n Gordy sees the Beaten Man from the jail in Mompos. The\n man has just walked in with another guerrilla.", "Gordy gets the grenade from the tool box. He slides it\n just inside the top of his pants, with the spoon hooked" ], [ "The man goes. Outside, we hear him SHOUT orders to the\n guerrillas guarding the plantation. The Beaten Man turns\n to Felix. Felix is terrified. In a pleading tone --", "344 INT. LATIN AMERICAN INSTITUTE - \"THE WOLF\" ROOM - DAY 344", "He clamps a hand on Gordy's arm. Gordy shakes it off and\n starts running. Almost immediately, he's tackled to the\n ground by the thin federale. Two more federales join in.", "And now Armstong also realizes something's up. Turns and\n sees Gordy. Sees the cap in Gordy's hand as the Fat\n Federale addresses Gordy --", "334 INT. LATIN AMERICAN INSTITUTE - \"THE WOLF\" ROOM - DAY 334", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "Felix walks over to a guerrilla with an AK-47 and speaks\n to him. Then goes. Whereupon the guerrilla crosses to\n Gordy and takes up a sentry position over him.", "THE WOLF (V.O.)\n ... I swear that for every freedom\n fighter you killed, ten Americans\n will die. And I will pick the\n time and the place. And I will\n enjoy it...", "Brandt's in the rear seat wearing a headset. The L.O.H.\n PILOT, wearing night-vision goggles, checks his GPS,\n speaks to Brandt via headset --", "He slams down the phone. Rips up Brandt's business card.\n He's alone with his frustration, with his rekindled\n hatred and rage. OFF Gordy, glaring at the photo of The\n Wolf on his wall...", "He takes a last drag on his cigarette, passes the butt to\n Updegraf to finish and gets in the rear of the L.O.H. as\n Updegraf scoots clear.", "Selena watches as Phipps plays a surveillance video of\n Union Station. Phipps suddenly freezes the image. Zooms\n in on a man in the middle of the crowd. Claudio.", "The Wolf slaps his palm for emphasis.\n\n THE WOLF (V.O.)\n ... Venceremos.\n\n The tape ends. Mike shakes his head.", "THE WOLF\n One of the men in the jail with\n you in Mompos is dying. He was\n burned in your explosion.\n\n Gordy just looks at him.", "Gordy sees the thin federale enter the front door. The\n thin federale sees him at the same time. Begins moving\n in on him.\n\n Gordy moves faster toward the girl. And...", "door and looks out. Sees the Suburban. Four guerrillas\n are getting out, including the Beaten Man. Felix meets\n them. The Beaten Man exchanges words with Felix. Felix", "The door's unlocked and opens. Daylight streams in from\n above as The Wolf enters with two guerrilla bodyguards.\n He moves to the middle of the room. Looks at Gordy.", "The patrol leader looks at Felix hard. Then nods. The\n guerrillas go. Felix dumps Berta onto her feet, stands.\n Felix looks at Gordy, shakes his head.", "Agents press the man hard to the floorboards. His bag's\n tossed. It's empty. The guy's clean. It's not Claudio.\n OFF the agents, holding an innocent man...", "He indicates Brandt, talking on a cell phone.\n\n DRAY\n -- is one of the survivors.\n Name's Brandt. C.I.A." ], [ "SHOOTS Claudio dead from the mouth of the alleyway down\n the block. The first SHOT CRACKS the back of Claudio's", "dropped. Before Claudio can get to a gun, Gordy's on\n him. They grapple. Gordy pounds Claudio hard. Once.\n Twice. When...", "Gordy hits him. One of the jackhammer blows he slammed\n into Claudio in the bunker. A hard fist deep in the gut", "BANG! The Beaten Man SHOOTS Felix in the head. Then\n exits. OFF Felix, dead, his blood mixing with the water\n still streaming across the floor...", "376 CLAUDIO 376\n\n gets the pistol. Turns. Aims the gun two-handed at\n Gordy's head, and BANG!", "254 BACK TO SCENE 254\n\n The Woman sees Gordy. Screams toward the house --\n\n WOMAN\n Claudio!!", "through her body. She's dead on her feet. Her body\n crumples to the ground and empties its blood in a large\n pool that quickly spreads over the slate.", "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "Selena hesitates, choking back her emotions.\n\n SELENA\n ... my baby girl was hit by\n shrapnel... she bled to death in\n Claudio's arms.", "Agents press the man hard to the floorboards. His bag's\n tossed. It's empty. The guy's clean. It's not Claudio.\n OFF the agents, holding an innocent man...", "Selena hears the BIKE. Sees Claudio coming. Uses the\n front edge of her hand to strike the female agent hard in", "The Wolf doesn't take his eyes off Gordy. The Woman\n squeezes his arm. Implores him --\n\n WOMAN\n Claudio.", "Instead of hitting Gordy, Armstrong accidentally-on-\n purpose clocks the fat detective. Then hisses into\n Gordy's ear, clearly not that drunk --", "He clamps a hand on Gordy's arm. Gordy shakes it off and\n starts running. Almost immediately, he's tackled to the\n ground by the thin federale. Two more federales join in.", "A severely-dazed Brandt, bleeding from the nose and ears,\n slowly gets to his knees, crawls out of the burning\n building and collapses outside.", "Brandt bursts in. He searches. Finds Mauro's leather\n doll behind the toilet. The head's detached. Brandt\n looks inside, and...", "They've had a lot more than two beers. Felix has,\n anyway. He's drunk. He's also in love with a waitress\n on his lap, a cute gordita named BERTA. He pats her.", "drives the other fist like a piston into his abdomen.\n All his weight behind the punches. Trying to break ribs\n and crush them into The Wolf's heart, when...", "CLAUDIO\n\n Now in casual clothes. He's looking over the beautiful\n and busy station. Contemplating the devastation and\n death that a bomb planted here would wreak.", "exits with the tray. The guard reaches to close the\n door, and Gordy brings the pipe down hard on his head," ], [ "are inside a small house nearby, obviously fighting about\n something. Selena emphasizes her argument by slapping\n her hand. The Wolf storms off, and we hear a DOOR SLAM.", "Selena grabs her pack and rushes in. When the door's\n closed, Phipps turns to Dray, indicates monitor.", "Suddenly, in the growing light, Gordy sees Selena's blood\n in the water and realizes she's wounded.\n\n GORDY\n You were shot.", "Selena is left alone, disconsolate, framed in the window.\n She looks up and sees Gordy outside. Her eyes meet his.\n OFF their look...", "Gordy relaxes the chokehold enough so she can breathe.\n Selena gasps for air. The impulse to murder has left\n Gordy. There's a new resolve...", "The Wolf glances over. Meets her eyes a moment. Sees\n the photo in her hand. Glances up into her eyes again.\n They hold the look. A whole conversation exchanged", "Selena watches him another moment. Decides he's telling\n the truth. She reaches into a skirt pocket, then extends", "around Gordy's neck. Weakened by her wound, Selena keeps\n bobbing below the surface. Gordy pulls her up.", "Selena hears the BIKE. Sees Claudio coming. Uses the\n front edge of her hand to strike the female agent hard in", "Beat. Selena's overwhelmed by the experience of seeing\n her husband on the tape, by her betrayal of him. She\n grows queasy. Leans on the table for support.", "SELENA\n I tried to stop him.\n\n She holds Gordy's eyes a moment. Her look is grim,\n haunted.", "a bush and pulls back leaves, revealing Mauro, cowering\n fearfully, clutching an old leather doll to his chest.\n Selena takes Mauro's hand, grabs a small pack lying next", "Selena brings Gordy food. She's extremely subdued.\n Leaves the tray and starts back to the door.\n\n (CONTINUED)", "around her thin neck. Selena squirms hard, kicks\n backward, going for the balls, kneecaps, insteps, doing\n whatever she can to hurt Gordy and get free. But she's", "SELENA\n Yes.\n\n GORDY\n Where?\n\n She doesn't answer.", "Gordy hits her like a linebacker. Slams Selena against a\n brick wall. Gets behind her and slips a mighty arm", "just barely evades the sharp shovel edge headed for his\n face. It doesn't hurt him, but it stops him, and Selena\n breaks toward an open door of the house.", "the noise. Both women tumble. Selena gets right back\n on her feet. She breaks out a window with the crowbar\n and exits onto a fire escape as Gordy blasts in from the", "Everyone's aboard and buckled in. Everyone's tired. The\n chopper lifts off. Selena's glaring at Brandt, who\n pushes a headset at her, shouts over the ENGINE WHINE --", "approaches, unaware of their presence. Gordy fumbles\n with the AK-47, looking for the safety switch on the\n strange weapon. Selena reaches over and expertly flicks" ], [ "Phipps addresses Gordy.\n\n PHIPPS\n We think the bomb was triggered by\n a cell phone.\n\n JUMP CUT:", "The blasts have caused fires in the building. Severed\n wires spark, creating more fire. Flames begin to spread\n through the tinder-dry structure.\n\n (CONTINUED)", "THE WOLF\n That's why I'm teaching America a\n lesson... that's why there'll be\n more bombs... and more families\n like yours will pay the price.", "GORDY\n He kills innocent people.\n (then)\n He's planning to kill more.", "only as 'The Wolf,' states that\n the bombing was, quote, 'not an\n act of terror but an act of war,\n aimed at stopping your C.I.A.", "Liberation, or E.L.C., in Southern\n Colombia. The purpose of the\n mission was to punish the people\n behind the brutal bombing in New", "believe he has worked closely with\n radical elements in Latin America\n for more than twenty years and\n have linked him to numerous\n terrorist bombings, including the", "MIKE\n This guy didn't do the bombing,\n Gordo. He's just trying to get\n the people who did.", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "PHIPPS\n We think the bomb was triggered by\n a cell phone. The guy doesn't\n have one in his hands here. Did\n you see a cell phone when you ran\n into him?", "CLAUDIO\n\n Now in casual clothes. He's looking over the beautiful\n and busy station. Contemplating the devastation and\n death that a bomb planted here would wreak.", "Felix jams the car in drive.\n\n Gordy looks down, sees the spoon of the grenade exposed.\n As he readjusts his shirt to cover the spoon...", "JUNIOR\n Just came over the police radio...\n Consulate surveillance cameras\n caught the bomber in the act. He\n was disguised as a cop.", "We see a block of reddish Semtex plastic explosive and a\n chemical fuse.\n\n BRANDT\n Everybody out! Clear this floor!\n Now!", "Gordy quickly, carefully wires the grenade to the propane\n tank. Then takes out the Zippo, pulls it apart and", "PHIPPS\n And nobody caps him until we get\n that bomb tagged. After that, I\n don't give a shit what happens to\n him.", "Cola can hangs from a nearby tree. On closer inspection,\n Gordy can see the can is sleeved around a grenade.\n There's no pin in the grenade. The can keeps the", "FELIX\n Especially now, since the bomb in\n New York.\n\n (CONTINUED)\n\n 73.", "The cop tickets a vehicle, then walks west out of frame.\n\n PHIPPS\n The bomb's in the cart.\n\n\n56 PHIPPS 56", "Guerrillas plant small explosive charges on the hinges of\n the cell containing their two captured comrades. Beat." ], [ "of beer. The guerrillas take the beer and head out. No\n money's changed hands. When they're gone, to Felix --", "Big cheers now. Toasts all around. Everyone in the\n place is happy for Gordy, who sits there a moment trying\n to absorb the news, then buries his face in his hands.", "Gordy takes a swig of beer. When...\n\n Gordy sees the Beaten Man from the jail in Mompos. The\n man has just walked in with another guerrilla.", "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "Using the Zippo again to light his way, Gordy advances to\n the young man. He follows the trip wire to where a Coca-", "FELIX\n There's beer at the plantation.", "Finally, Gordy reaches him. One of the man's legs is\n missing below the knee. He's bleeding from various other", "The man goes. Outside, we hear him SHOUT orders to the\n guerrillas guarding the plantation. The Beaten Man turns\n to Felix. Felix is terrified. In a pleading tone --", "They've had a lot more than two beers. Felix has,\n anyway. He's drunk. He's also in love with a waitress\n on his lap, a cute gordita named BERTA. He pats her.", "Felix is right there supervising for himself as Gordy\n finishes working. Gordy stands. He stares hopefully at", "Finally, the father accepts, sits down with the sleepy\n boy on his lap. Nods his thanks at Gordy, who then gazes", "He takes a last drag on his cigarette, passes the butt to\n Updegraf to finish and gets in the rear of the L.O.H. as\n Updegraf scoots clear.", "Brandt meets his eyes. A long beat. Then --", "sees the flashlight beam move past. He holds his breath.\n Beat. Then the FOOTSTEPS pass on, RECEDE down the roof.\n And Gordy can breathe again.", "BRANDT\n (beat; hands papers\n to Rocha)\n Throw out the net. Have him\n picked up... Just make sure no one\n kills him.", "lands inside a warehouse room amid sacks of rice, beans\n and coffee. The building is dark and dusty. He lies\n still and listens. FOOTSTEPS approach across the tin", "MIKE\n Hey, we never turned down free\n beer, and rookie's buying, you\n believe that? He certified today,\n he's off probation.", "Gordy's eyes meet Brandt's. The two men hold the look\n for a moment. If Brandt could speak, he'd be yelling at", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "He realizes the horror of what will happen. And...\n\n (CONTINUED)\n\n 89." ], [ "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "A severely-dazed Brandt, bleeding from the nose and ears,\n slowly gets to his knees, crawls out of the burning\n building and collapses outside.", "This time, the door gives. Gordy picks up Armstrong's\n cap, then picks up Armstrong, who's starting to come\n around. Puts Armstrong over his shoulders in a fireman's\n carry.", "Brandt, Phipps, Dray, Selena and Gordy -- along with the\n rest of the entourage -- walk through the interagency\n nerve center. Gordy carries Mauro, still asleep.", "Phipps nods to Brandt, who turns to two of his agents,\n one a female.\n\n BRANDT\n Escort her.", "finally runs out of roof. She looks down. A fire escape\n ladder leads down to an interior, ground-level courtyard\n of a small foreign embassy. Still holding the crowbar,\n Selena takes the ladder down.", "Dray are among those waiting by the cars. The Lear's\n door pops, and Gordy, carrying a sleeping Mauro, emerges\n with Selena. Brandt and a medic follow.", "He takes a last drag on his cigarette, passes the butt to\n Updegraf to finish and gets in the rear of the L.O.H. as\n Updegraf scoots clear.", "of beer. The guerrillas take the beer and head out. No\n money's changed hands. When they're gone, to Felix --", "ribs, while the other two hustle him forcefully to a van.\n He's shoved inside. His bag's tossed in. The van drives\n away.", "Gordy bursts out of the inferno carrying Armstrong.\n They're singed and smoking, but they're alive. Gordy", "The men run up. One man covers Gordy, while Ever and the\n other man rifle his pack and toss his pockets. They take\n his passport, wallet, and an NYFD T-shirt. And then\n they're gone.", "Gordy sees the thin federale enter the front door. The\n thin federale sees him at the same time. Begins moving\n in on him.\n\n Gordy moves faster toward the girl. And...", "Beat. Updegraf goes. Brandt crumples the fax and\n pitches it. Then sees he got fax ink on his hands. OFF", "He clamps a hand on Gordy's arm. Gordy shakes it off and\n starts running. Almost immediately, he's tackled to the\n ground by the thin federale. Two more federales join in.", "Phipps goes. Gordy looks over as the bodies of Anne and\n Matt are placed on gurneys and rolled away. Chalk\n outlines are all that remain of his family. Beat.", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "The patrol leader looks at Felix hard. Then nods. The\n guerrillas go. Felix dumps Berta onto her feet, stands.\n Felix looks at Gordy, shakes his head.", "He indicates Brandt, talking on a cell phone.\n\n DRAY\n -- is one of the survivors.\n Name's Brandt. C.I.A.", "a police cart pulls up outside the consulate.\n\n (CONTINUED)\n\n 21." ], [ "American military officer died\n in last Thursday's blast. Also\n killed were Anne Pitt, wife of a\n New York City firefighter, and", "Brandt, Rocha and the soldiers, approaching the front\n door inside, are hammered by the massive concussion of\n the BLAST and flung across the room, apparently dead.", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "Gordy hears it. It only drives him to a deeper fury.\n\n GORDY\n They were my family.", "A severely-dazed Brandt, bleeding from the nose and ears,\n slowly gets to his knees, crawls out of the burning\n building and collapses outside.", "Phipps goes. Gordy looks over as the bodies of Anne and\n Matt are placed on gurneys and rolled away. Chalk\n outlines are all that remain of his family. Beat.", "The village is a silent, smoking ruin. Everyone who\n lived there is dead. Troops check the faces of the\n bodies of the men against the freeze-frame of The Wolf\n outside the Colombian consulate in New York.", "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "Selena hesitates, choking back her emotions.\n\n SELENA\n ... my baby girl was hit by\n shrapnel... she bled to death in\n Claudio's arms.", "their only child, four-year-old\n Matt... The President has vowed\n that the United States will avenge\n what he called 'this monstrous act", "NEWS ANCHOR (V.O.)\n ... The bombing that left a mother\n and son dead and New York City", "through her body. She's dead on her feet. Her body\n crumples to the ground and empties its blood in a large\n pool that quickly spreads over the slate.", "DRAY\n We got two dead bystanders, a\n mother and four-year-old son. The", "The blasts have caused fires in the building. Severed\n wires spark, creating more fire. Flames begin to spread\n through the tinder-dry structure.\n\n (CONTINUED)", "blown to shit and burning. We got\n Colombians in cammies, a gringo\n down, a woman and kid, and some\n bodies. This guy --", "Phipps addresses Gordy.\n\n PHIPPS\n We think the bomb was triggered by\n a cell phone.\n\n JUMP CUT:", "the New York bombing, the\n terrorist known as The Wolf, is\n among the enemy dead.", "GORDY\n (looks up; beat)\n What'd I see? I saw my family\n die.\n\n Mike puts a restraining hand on Gordy.", "UPDEGRAF\n (to Rocha)\n The man whose wife and son died in\n New York. One of your units found", "Still stunned and bleeding, Brandt looks from where he\n lies on the ground as..." ], [ "a police cart pulls up outside the consulate.\n\n (CONTINUED)\n\n 21.", "The village is a silent, smoking ruin. Everyone who\n lived there is dead. Troops check the faces of the\n bodies of the men against the freeze-frame of The Wolf\n outside the Colombian consulate in New York.", "JUNIOR\n Just came over the police radio...\n Consulate surveillance cameras\n caught the bomber in the act. He\n was disguised as a cop.", "Phipps addresses Gordy.\n\n PHIPPS\n We think the bomb was triggered by\n a cell phone.\n\n JUMP CUT:", "FELIX\n Especially now, since the bomb in\n New York.\n\n (CONTINUED)\n\n 73.", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "The blasts have caused fires in the building. Severed\n wires spark, creating more fire. Flames begin to spread\n through the tinder-dry structure.\n\n (CONTINUED)", "We see a block of reddish Semtex plastic explosive and a\n chemical fuse.\n\n BRANDT\n Everybody out! Clear this floor!\n Now!", "in super slow-mo, we see a cop -- the one who later\n bumped into Gordy -- in front of the consulate. His hat", "DRAY\n Device functioned in front of the\n Colombian Consulate just as a\n motorcade full of brass arrived.", "That gets Phipps' interest momentarily. Then, as they\n continue toward the consulate, he notices security\n cameras on the building.\n\n PHIPPS\n Check the surveillance cameras?", "PHIPPS\n We think the bomb was triggered by\n a cell phone. The guy doesn't\n have one in his hands here. Did\n you see a cell phone when you ran\n into him?", "Felix jams the car in drive.\n\n Gordy looks down, sees the spoon of the grenade exposed.\n As he readjusts his shirt to cover the spoon...", "the garage floor. Pieces of the Navigators rest in front\n of the area marked \"consulate;\" parts of an NYPD traffic", "American military officer died\n in last Thursday's blast. Also\n killed were Anne Pitt, wife of a\n New York City firefighter, and", "Gordy gets the grenade from the tool box. He slides it\n just inside the top of his pants, with the spoon hooked", "Cola can hangs from a nearby tree. On closer inspection,\n Gordy can see the can is sleeved around a grenade.\n There's no pin in the grenade. The can keeps the", "believe he has worked closely with\n radical elements in Latin America\n for more than twenty years and\n have linked him to numerous\n terrorist bombings, including the", "THE WOLF\n One of the men in the jail with\n you in Mompos is dying. He was\n burned in your explosion.\n\n Gordy just looks at him.", "Gordy quickly, carefully wires the grenade to the propane\n tank. Then takes out the Zippo, pulls it apart and" ], [ "a police cart pulls up outside the consulate.\n\n (CONTINUED)\n\n 21.", "The village is a silent, smoking ruin. Everyone who\n lived there is dead. Troops check the faces of the\n bodies of the men against the freeze-frame of The Wolf\n outside the Colombian consulate in New York.", "That gets Phipps' interest momentarily. Then, as they\n continue toward the consulate, he notices security\n cameras on the building.\n\n PHIPPS\n Check the surveillance cameras?", "in super slow-mo, we see a cop -- the one who later\n bumped into Gordy -- in front of the consulate. His hat", "49 ANGLE - PHIPPS 49\n\n Walking back to the consulate. He approaches Brandt.", "The four connected townhouses sit behind gates on a tree-\n lined street in Georgetown. A sign reads: Latin\n American Institute.", "the garage floor. Pieces of the Navigators rest in front\n of the area marked \"consulate;\" parts of an NYPD traffic", "DRAY\n Device functioned in front of the\n Colombian Consulate just as a\n motorcade full of brass arrived.", "239 FLASHBACK - SURVEILLANCE TAPE 239\n\n The face of the cop outside the consulate.", "45 EXT. COLOMBIAN CONSULATE 45", "finally runs out of roof. She looks down. A fire escape\n ladder leads down to an interior, ground-level courtyard\n of a small foreign embassy. Still holding the crowbar,\n Selena takes the ladder down.", "A cab with a Panama City logo pulls up at road's end.\n Gordy gets out with the Panamanian CAB DRIVER. The Cab", "One guerrilla approaching Gordy stops short and stands\n off, cocked-and-locked, as the other comes up. Gordy\n carefully produces the travel pass. The guerrilla looks\n it over. In butchered Spanish --", "136 FEDERALES 136\n\n burst into the courtyard. Two men hastily build a stack\n of boxes, etc., against the wall.", "A sprawling farm/estate deep in the countryside. Beyond\n the hacienda, we see a military compound containing tents\n and three heavily camouflaged helicopter shelters. A", "The Cab Driver indicates distant mountains.\n\n (CONTINUED)\n\n 38.", "JUNIOR\n Just came over the police radio...\n Consulate surveillance cameras\n caught the bomber in the act. He\n was disguised as a cop.", "The men run up. One man covers Gordy, while Ever and the\n other man rifle his pack and toss his pockets. They take\n his passport, wallet, and an NYFD T-shirt. And then\n they're gone.", "in Guatemala, in an Indian village\n called Guamaunco. We were married\n there. Sophia, our daughter was\n born there. Claudio was kind and", "ribs, while the other two hustle him forcefully to a van.\n He's shoved inside. His bag's tossed in. The van drives\n away." ], [ "GORDY\n Thirteen dead in a bus.\n (indicates another)\n A market. Twenty-seven dead.", "The blasts have caused fires in the building. Severed\n wires spark, creating more fire. Flames begin to spread\n through the tinder-dry structure.\n\n (CONTINUED)", "American military officer died\n in last Thursday's blast. Also\n killed were Anne Pitt, wife of a\n New York City firefighter, and", "Brandt, Rocha and the soldiers, approaching the front\n door inside, are hammered by the massive concussion of\n the BLAST and flung across the room, apparently dead.", "Phipps addresses Gordy.\n\n PHIPPS\n We think the bomb was triggered by\n a cell phone.\n\n JUMP CUT:", "The village is a silent, smoking ruin. Everyone who\n lived there is dead. Troops check the faces of the\n bodies of the men against the freeze-frame of The Wolf\n outside the Colombian consulate in New York.", "DRAY\n We got two dead bystanders, a\n mother and four-year-old son. The", "NEWS ANCHOR (V.O.)\n ... The bombing that left a mother\n and son dead and New York City", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "BOOM! A MASSIVE EXPLOSION spits flame out of the windows\n of the building's top floor.\n\n\n362 PEOPLE 362", "the New York bombing, the\n terrorist known as The Wolf, is\n among the enemy dead.", "A severely-dazed Brandt, bleeding from the nose and ears,\n slowly gets to his knees, crawls out of the burning\n building and collapses outside.", "Selena hesitates, choking back her emotions.\n\n SELENA\n ... my baby girl was hit by\n shrapnel... she bled to death in\n Claudio's arms.", "blown to shit and burning. We got\n Colombians in cammies, a gringo\n down, a woman and kid, and some\n bodies. This guy --", "through her body. She's dead on her feet. Her body\n crumples to the ground and empties its blood in a large\n pool that quickly spreads over the slate.", "The attack rages furiously for twenty seconds, then wanes\n to sporadic GUNFIRE. Other WEAPONS are FIRING now,\n too -- clearly the Army is finally mounting a defense.\n And then...", "152 ANOTHER ANGLE 152\n\n BOOM! BOOM! BOOM! A water tower, the Mompos fire\n station and the town's power supply are direct hits.", "CLAUDIO\n\n Now in casual clothes. He's looking over the beautiful\n and busy station. Contemplating the devastation and\n death that a bomb planted here would wreak.", "(jump cut)\n The deaths of the woman and little\n boy are regrettable, but your\n government inflicts them all the", "The powerful, concussive shock-wave channels into the\n cell area. Gordy's slightly protected by a wall.\n Armstrong, standing at the bars, is thrown into the\n opposite wall and knocked unconscious." ], [ "Phipps addresses Gordy.\n\n PHIPPS\n We think the bomb was triggered by\n a cell phone.\n\n JUMP CUT:", "only as 'The Wolf,' states that\n the bombing was, quote, 'not an\n act of terror but an act of war,\n aimed at stopping your C.I.A.", "NATIONAL SECURITY ADVISOR (V.O.)\n ... At this time, we believe the\n man responsible for carrying out", "THE WOLF\n That's why I'm teaching America a\n lesson... that's why there'll be\n more bombs... and more families\n like yours will pay the price.", "believe he has worked closely with\n radical elements in Latin America\n for more than twenty years and\n have linked him to numerous\n terrorist bombings, including the", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "The blasts have caused fires in the building. Severed\n wires spark, creating more fire. Flames begin to spread\n through the tinder-dry structure.\n\n (CONTINUED)", "PHIPPS\n And nobody caps him until we get\n that bomb tagged. After that, I\n don't give a shit what happens to\n him.", "MIKE\n This guy didn't do the bombing,\n Gordo. He's just trying to get\n the people who did.", "PHIPPS\n We think the bomb was triggered by\n a cell phone. The guy doesn't\n have one in his hands here. Did\n you see a cell phone when you ran\n into him?", "CLAUDIO\n\n Now in casual clothes. He's looking over the beautiful\n and busy station. Contemplating the devastation and\n death that a bomb planted here would wreak.", "THE WOLF (V.O.)\n ... I swear that for every freedom\n fighter you killed, ten Americans\n will die. And I will pick the\n time and the place. And I will\n enjoy it...", "JUNIOR\n Just came over the police radio...\n Consulate surveillance cameras\n caught the bomber in the act. He\n was disguised as a cop.", "Liberation, or E.L.C., in Southern\n Colombia. The purpose of the\n mission was to punish the people\n behind the brutal bombing in New", "We see a block of reddish Semtex plastic explosive and a\n chemical fuse.\n\n BRANDT\n Everybody out! Clear this floor!\n Now!", "numb took on a new dimension today\n when a notorious Latin American\n terrorist took credit for the\n attack.", "FELIX\n Especially now, since the bomb in\n New York.\n\n (CONTINUED)\n\n 73.", "the New York bombing, the\n terrorist known as The Wolf, is\n among the enemy dead.", "GORDY\n E.L.C. attack platoon... These\n assholes kill innocent people all\n the time in Colombia.\n\n Gordy indicates a newspaper article.", "(jump cut)\n The deaths of the woman and little\n boy are regrettable, but your\n government inflicts them all the" ], [ "GORDY\n What's that?\n\n FBI AGENT #1\n What's the number on it?\n\n GORDY\n Eleven.", "The FBI agents crash in.\n\n FBI SURVEILLANCE AGENT\n Mr. Pitt!\n\n Gordy just stares down at Ortiz-Dominguez.", "Gordy's tired, being debriefed by two FBI AGENTS.\n\n FBI AGENT #1\n ... Did Claudio leave with anyone\n else?", "Gordy sees the thin federale enter the front door. The\n thin federale sees him at the same time. Begins moving\n in on him.\n\n Gordy moves faster toward the girl. And...", "FBI SURVEILLANCE AGENT\n These guys're only mouthpieces.\n\n Beat. Then Gordy swings the bat. Hard. And...", "A strong hand stops him. The hand belongs to the Fat\n Federale. And now the thin federale's there, too,", "FBI AGENT #1\n We gotta be sure.\n\n Gordy's eyes go to numbered evidence photo. It's a\n picture of a seashell. He points to it.", "Gordy follows Armstrong's look to two plain-clothes\n federales, one fat and one thin, standing near the dock\n watching the boat pull up.", "FBI AGENT #2\n Mr. Pitt, you said Selena told you\n she had a daughter.\n\n GORDY\n She was killed in Guatemala.", "He clamps a hand on Gordy's arm. Gordy shakes it off and\n starts running. Almost immediately, he's tackled to the\n ground by the thin federale. Two more federales join in.", "Wolf, but what he does see surprises him. The ELC\n Supervisor was right: Caguan's no Mompos. It's a third-", "Felix is just loose enough.\n\n FELIX\n The Wolf, and they'll never catch\n him.\n\n GORDY\n Ever see him?", "An FBI SURVEILLANCE TEAM has taken over the office.\n Three agents work video and audio recording devices.", "And now Armstong also realizes something's up. Turns and\n sees Gordy. Sees the cap in Gordy's hand as the Fat\n Federale addresses Gordy --", "FBI AGENT #1\n ... Let's go through it again, Mr.\n Pitt.\n\n GORDY\n I've told you all I know.", "FBI agent JOE PHIPPS ducks under the police tape. REGGIE\n DRAY, a young agent, meets him. As they walk --", "Passengers are lined up to board a flight to Mexico City.\n FIND a man in line wearing a crisp business suit and tie.\n The clothes, a haircut and horn-rims have made The Wolf\n nearly unrecognizable.", "A Lear stops by a convoy of black government Suburbans\n parked on the tarmac. FBI agents Joe Phipps and Reggie", "BRANDT\n F.B.I.'s on the radio. Tell 'em\n everything you know.\n\n Gordy's her protector, intervenes. Grabs Brandt's arm.", "The village is a silent, smoking ruin. Everyone who\n lived there is dead. Troops check the faces of the\n bodies of the men against the freeze-frame of The Wolf\n outside the Colombian consulate in New York." ], [ "PHIPPS\n ... Mike was in the motorcade that\n day... He's the chief U.S.\n intelligence officer overseeing\n Colombia.", "The village is a silent, smoking ruin. Everyone who\n lived there is dead. Troops check the faces of the\n bodies of the men against the freeze-frame of The Wolf\n outside the Colombian consulate in New York.", "In b.g., the Navigators pull up at a building flying the\n Colombian flag. Latin and American men in suits get out\n of the Navigators.", "Brandt stubs a butt as a Colombian SOG group does killer\n training nearby. Updegraf opens the door. To Brandt --", "Full of manned hi-tech command-and-control and\n surveillance equipment. A Colombian military operations\n officer, ROCHA, waits with an aide.\n\n Brandt arrives with Updegraf.", "Phipps crosses to another AGENT.\n\n PHIPPS\n Any helpful information coming\n outta Colombia?", "DRAY\n No one's talking yet, but it\n smells high-level. There were\n Colombians and Americans in the\n cars. Three of 'em ate it. Guy\n on the phone --", "A Blackhawk lands in the clearing. The Colombian\n soldiers escort Gordy, Selena and Mauro to the chopper.\n The chopper door opens. Brandt's inside.", "blown to shit and burning. We got\n Colombians in cammies, a gringo\n down, a woman and kid, and some\n bodies. This guy --", "Just as Gordy charged into the fire-engulfed tenement\n past a tide of more sensible rats going the other way, he\n now steps over the line and advances into Colombia.", "GORDY\n E.L.C. attack platoon... These\n assholes kill innocent people all\n the time in Colombia.\n\n Gordy indicates a newspaper article.", "The four connected townhouses sit behind gates on a tree-\n lined street in Georgetown. A sign reads: Latin\n American Institute.", "Gordy addresses the passing people. Indicates where he's\n standing.\n\n GORDY\n Aqui? Colombia?...", "99.\n\n273 EXT. CIA HACIENDA - FRONT PORCH - NIGHT 273", "No one replies. Then a small COLOMBIAN GIRL comes up and\n gets his attention. She runs back up the trail a short\n distance and stops. She draws a line in the dirt.", "The man goes. Outside, we hear him SHOUT orders to the\n guerrillas guarding the plantation. The Beaten Man turns\n to Felix. Felix is terrified. In a pleading tone --", "PULL BACK to reveal:\n\n\n270 INT. CIA HACIENDA - DAY 270", "Gordy emerges from the waterfall, and...\n\n He's surrounded by Colombian soldiers with guns. More\n soldiers point guns at Selena and Mauro. Gordy raises\n his arms.", "BRANDT\n Inter-agency headquarters for our\n efforts in Latin America.\n\n PHIPPS\n It's secure, and we can coordinate\n all departments here.", "329 EXT. GEORGETOWN STREET - DAY 329\n\n The convoy slows outside the Latin American Institute.\n An attached garage opens." ], [ "He slams down the phone. Rips up Brandt's business card.\n He's alone with his frustration, with his rekindled\n hatred and rage. OFF Gordy, glaring at the photo of The\n Wolf on his wall...", "Just as Gordy charged into the fire-engulfed tenement\n past a tide of more sensible rats going the other way, he\n now steps over the line and advances into Colombia.", "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "Gordy takes a swig of beer. When...\n\n Gordy sees the Beaten Man from the jail in Mompos. The\n man has just walked in with another guerrilla.", "of beer. The guerrillas take the beer and head out. No\n money's changed hands. When they're gone, to Felix --", "The man goes. Outside, we hear him SHOUT orders to the\n guerrillas guarding the plantation. The Beaten Man turns\n to Felix. Felix is terrified. In a pleading tone --", "Felix comes around the corner. He's sleepy and hungover.\n And pissed by Gordy's lack of progress.", "OROSCO\n Well, basically, the situation in\n Colombia sucks...\n\n As Orosco continues...", "Beat. Updegraf goes. Brandt crumples the fax and\n pitches it. Then sees he got fax ink on his hands. OFF", "2. At the New York Public Library, Gordy uses microfilm\n files and computer access to the web to search out\n information on Colombia and The Wolf.", "watch. Then lights another butt from the one he just\n smoked. Stares off into the distance, his thoughts\n intense and far away. Updegraf emerges, crosses.", "Gordy addresses the passing people. Indicates where he's\n standing.\n\n GORDY\n Aqui? Colombia?...", "Yeah. 'bye.\n (hangs up; to\n Updegraf)\n Without his father's money, that", "it is... Besides, I can't risk\n traveling around up there in the\n company of a big gringo with a\n dumb-ass cover story about coffee", "Brandt goes. Moments later, a TORTURED SCREAM is heard\n on the other side of the brick wall, waking Armstrong\n with a start.", "Gordy's at a loss. He tosses the cap back. Just looks\n at Armstrong. Beat. Armstrong sighs.", "No one replies. Then a small COLOMBIAN GIRL comes up and\n gets his attention. She runs back up the trail a short\n distance and stops. She draws a line in the dirt.", "Brandt stubs a butt as a Colombian SOG group does killer\n training nearby. Updegraf opens the door. To Brandt --", "SAL\n I know it sucks... It really\n sucks...\n\n Gordy can't go there. Beat. Sal releases his grip.", "CAB DRIVER\n My cousin, Ever.\n\n Ever and Gordy exchange nods.\n\n GORDY\n How far's Colombia?" ], [ "The man goes. Outside, we hear him SHOUT orders to the\n guerrillas guarding the plantation. The Beaten Man turns\n to Felix. Felix is terrified. In a pleading tone --", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "He saves lives. If he kills Selena, Gordy crosses into\n her world, into Brandt's world, into the brutal nightmare\n destroying Colombia and all the places like it, and becomes", "A severely-dazed Brandt, bleeding from the nose and ears,\n slowly gets to his knees, crawls out of the burning\n building and collapses outside.", "We see a block of reddish Semtex plastic explosive and a\n chemical fuse.\n\n BRANDT\n Everybody out! Clear this floor!\n Now!", "PHIPPS\n And nobody caps him until we get\n that bomb tagged. After that, I\n don't give a shit what happens to\n him.", "Carefully, slowly -- praying that each bump doesn't jar\n the grenade off the pin -- with his other arm shaking and\n screaming in pain as he maintains a grip on the transfer", "Gordy quickly, carefully wires the grenade to the propane\n tank. Then takes out the Zippo, pulls it apart and", "Felix jams the car in drive.\n\n Gordy looks down, sees the spoon of the grenade exposed.\n As he readjusts his shirt to cover the spoon...", "Brandt only cares about the primary target.\n\n BRANDT\n They couldn't have made it this\n far. Go back upstream.\n\n As the chopper banks...", "use his other hand to get it. He needs the hand to hold\n onto the car. The grenade begins to slip. He's going to\n lose it. And just as it falls...", "BRANDT\n (beat; hands papers\n to Rocha)\n Throw out the net. Have him\n picked up... Just make sure no one\n kills him.", "Guerrillas plant small explosive charges on the hinges of\n the cell containing their two captured comrades. Beat.", "of beer. The guerrillas take the beer and head out. No\n money's changed hands. When they're gone, to Felix --", "PHIPPS\n Whatever it takes. But I got a\n bomber in the wind. I need\n everything you can give me, and I\n need it now.", "They turn the hose on the flames as Gordy moves to the\n trapped firefighter. Gordy tries lifting the debris,\n can't budge it. He starts chopping at it with the axe.", "Gordy burns through the monofilament trip wire. Then\n carefully slides the Coke can back over the grenade.", "Brandt, Rocha and the soldiers, approaching the front\n door inside, are hammered by the massive concussion of\n the BLAST and flung across the room, apparently dead.", "Gordy gets the grenade from the tool box. He slides it\n just inside the top of his pants, with the spoon hooked", "Using the Zippo again to light his way, Gordy advances to\n the young man. He follows the trip wire to where a Coca-" ], [ "Selena hears the BIKE. Sees Claudio coming. Uses the\n front edge of her hand to strike the female agent hard in", "Selena hesitates, choking back her emotions.\n\n SELENA\n ... my baby girl was hit by\n shrapnel... she bled to death in\n Claudio's arms.", "Selena watches as Phipps plays a surveillance video of\n Union Station. Phipps suddenly freezes the image. Zooms\n in on a man in the middle of the crowd. Claudio.", "of Claudio and drops. Selena's relentless, kicks Gordy\n repeatedly as...", "SELENA\n Claudio used to be a teacher. I\n was a medical aid worker. We met", "Selena's arms are wrapped around Claudio -- when Gordy\n rips her out of the saddle, Claudio goes, too. The three", "The Wolf doesn't take his eyes off Gordy. The Woman\n squeezes his arm. Implores him --\n\n WOMAN\n Claudio.", "Selena and Claudio argue inside the house. Selena slaps\n the back of one hand into the palm of the other.", "PHIPPS\n That's him, isn't it?\n\n SELENA\n (hesitates, then)\n Yes.", "Selena endures the pain. Hides it behind iron eyes.\n\n SELENA\n Your hired soldiers can't shoot.", "Gordy hits her like a linebacker. Slams Selena against a\n brick wall. Gets behind her and slips a mighty arm", "He reaches for another book. As he does, he topples a\n stack. Selena's eyes fix on one book cover.\n\n SELENA\n He had that book! Let me see it!", "Suddenly, in the growing light, Gordy sees Selena's blood\n in the water and realizes she's wounded.\n\n GORDY\n You were shot.", "a bush and pulls back leaves, revealing Mauro, cowering\n fearfully, clutching an old leather doll to his chest.\n Selena takes Mauro's hand, grabs a small pack lying next", "Claudio sits on his parked motorcycle. He sees Selena\n emerge. Drops his helmet visor and STARTS the BIKE.\n\n 121.", "SELENA\n Claudio joined the guerrillas.\n When that war ended, we moved to", "Selena watches him another moment. Decides he's telling\n the truth. She reaches into a skirt pocket, then extends", "The Woman lays a hand on The Wolf's arm.\n\n WOMAN\n Claudio.", "Selena whispers to Gordy at the door.\n\n SELENA\n He's on the right... No needless\n killing.", "approaches, unaware of their presence. Gordy fumbles\n with the AK-47, looking for the safety switch on the\n strange weapon. Selena reaches over and expertly flicks" ], [ "Big cheers now. Toasts all around. Everyone in the\n place is happy for Gordy, who sits there a moment trying\n to absorb the news, then buries his face in his hands.", "of beer. The guerrillas take the beer and head out. No\n money's changed hands. When they're gone, to Felix --", "Gordy drives past the house as the Beaten Man and the\n guerrilla with him get out of the Suburban and start\n carrying the beer inside. And a moment later...\n\n Felix comes around with a start.", "Gordy takes a swig of beer. When...\n\n Gordy sees the Beaten Man from the jail in Mompos. The\n man has just walked in with another guerrilla.", "He takes a last drag on his cigarette, passes the butt to\n Updegraf to finish and gets in the rear of the L.O.H. as\n Updegraf scoots clear.", "The blast detonated here. Some men from the Navigators\n are dead. MIKE BRANDT is not. Rises from the\n devastation, gun in hand, as SIRENS wail in the distance.", "Finally, Gordy reaches him. One of the man's legs is\n missing below the knee. He's bleeding from various other", "watch. Then lights another butt from the one he just\n smoked. Stares off into the distance, his thoughts\n intense and far away. Updegraf emerges, crosses.", "Cheers throughout the bar. Mike quiets them.\n\n (CONTINUED)\n\n 32.", "A severely-dazed Brandt, bleeding from the nose and ears,\n slowly gets to his knees, crawls out of the burning\n building and collapses outside.", "FELIX\n There's beer at the plantation.", "They've had a lot more than two beers. Felix has,\n anyway. He's drunk. He's also in love with a waitress\n on his lap, a cute gordita named BERTA. He pats her.", "Gordy gets the grenade from the tool box. He slides it\n just inside the top of his pants, with the spoon hooked", "Feet jam into boots. Yellow trousers are hauled up and\n hitched with suspenders.\n\n Yellow jackets are whipped on.", "Gordy burns through the monofilament trip wire. Then\n carefully slides the Coke can back over the grenade.", "sees the flashlight beam move past. He holds his breath.\n Beat. Then the FOOTSTEPS pass on, RECEDE down the roof.\n And Gordy can breathe again.", "Phipps, approaching with Dray, addresses the same cop.\n\n PHIPPS\n Put that tape out fifty more\n feet.", "He finds a small, round anti-personnel mine the size of a\n hockey puck. He inches past it. Moves past another.\n And another. To the writhing Man in the Yankees Cap --", "Using the Zippo again to light his way, Gordy advances to\n the young man. He follows the trip wire to where a Coca-", "Brandt goes. Moments later, a TORTURED SCREAM is heard\n on the other side of the brick wall, waking Armstrong\n with a start." ] ]

[ "What does Perrini do?", "What happens to Brewer's family?", "Who is Selena?", "What does Brandt do after returning to Mopos?", "What is Sean Armstrong's profession?", "Who does Brewer discover to be El Lobo?", "How does Brewer discover Selena's identity?", "What item is used to kill Perrini?", "What award does Brewer receive at the end?", "In what city did the bomb detonate?", "What does \"El Lobo\" mean?", "What does Brewer pretend to be in order to set the explosives and blow up the drug facility?", "Who tells Brewer \"El Lobo\" is planning a bombing in Washington D.C.?", "How does Brewer kill Claudio?", "What did Selena do to alert Brewer she had been with \"the wolf\" from the beginning?", "What is the motive behind the bombings?", "What type of reward will Brewer receive?", "Who does Brewer carry out of the state department?", "Which of Brewer's family members were killed in the bombing attack?", "In which county's consulate did th ebomb explode?", "In what city was the consulate located?", "How many people were killed in the bombing?", "Who claims responsibility for the bombing?", "Who does the FBI is El Lobo?", "Who is the CIA Columbian Station Chief?", "What is Brewer frustrated by that makes him go to Columbia himself?", "Who does Brewere try to save from the bomb he planting, causing him to be captured?", "Where does Selena identify the target of Claudio as?", "What medal is Brewer going to receive?" ]

[ [ "He is a terrorist.", "He's a Colombian terrorist" ], [ "They're killed in a terrorist attack.", "They died in a bomb explosion." ], [ "She is Claudio Perrini's wife.", "Claudio's wife, and El Lobo" ], [ "He and his paramilitary pals plot to destroy El Lobo.", "Meets with his allies. " ], [ "He is a mechanic.", "Mechanic" ], [ "Selena.", "Selena " ], [ "She makes a gesture that resembles similar gesture by El Lobo.", "A hand jesture she makes" ], [ "An axe.", "An axe to the chest" ], [ "The Presidential Medal of Freedom", "the Presidential Medal of Freedom" ], [ "Los Angeles", "Los Angeles" ], [ "the wolf", "The wolf" ], [ "a mechanic", "mechanic " ], [ "Selena / Claudio's wife", "Selena" ], [ "an axe", "he threw an axe into Claudio's chest" ], [ "make the same gesture he did", "She makes the same gesture." ], [ "revenge", "Because he belives Columbia has been oppressed by the US " ], [ "a medal", "Presidential Medal of Freedom" ], [ "Mauro / Selena's son / Claudio's son", "Mauro " ], [ "his wife and son", "his child" ], [ "Columbia", "The Columbian Consulate" ], [ "Los Angeles", "Los Angeles" ], [ "9", "9" ], [ "El Lobo", "El Lobo " ], [ "Claudio Perrini", "Claudio Perrini" ], [ "Peter Brandt", "Peter Brandt" ], [ "red tape", "Political red tape." ], [ "Selena", "Selena." ], [ "Union Station", "Union Station." ], [ "The Presidential Medal of Freedom", "Presidential Medal of Freedom." ] ]

[ [ "Noah stands shaking as he watches his father beat to death. We fade\n into later as he holds his father's body, wailing. An Italian kid", "No response from Noah. Dead eyes.\n\n \n\n 96.", "Noah and Louie bury the bodies of Mafioso #1 and #2. Louie stops\n and rests. He watches Noah and thinks.", "EXT. FUNERAL -- MORNING\n\n\n \n Noah, Louie and a priest are the only ones present at this modest\n affair. Louie weeps. Noah is emotionless.", "and I was helping them! I used you,\n Noah, to eliminate their problems, to\n destroy their competition, to cut out\n their cancers. I earned my place among", "flashbacks we will refer to young Poppa M as \"Noah.\" NOAH (16)\n works in back but watches.", "Noah shoots Thug #2 then cuts Thug #1's throat. The other Mafiosi", "Noah rounds the table and takes aim. The man is choking on his own\n blood. Noah slowly lowers his gun and just watches.", "follow in the footsteps of their\n father. They have inherited your\n blood, Noah...your anger.", "Poppa M fires one right between the Roman's eyes. Poppa M crumbles.\n His sons lay him down.", "hands raised, are scared as they look at Noah's dead eyes.", "Noah cuts out a chalk sketch on a large sheet of shoe leather.\n\n \n Louie helps Noah make a \"serious looking\" leather vest.", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "Noah puts down his sandwich. Louie talks to Noah with passion,\n m.o.s. and he listens while nodding his head.", "ROMAN\n My garden. She is beautiful, yes? Ah,\n but you. You are blind to beauty. You\n are a destroyer, Noah.", "He dies. The brothers weep. Nearby, Romeo is slumped and bleeding,\n on the edge of consciousness. A strange calm comes over the\n brothers as they stand and look to one another.", "110.\n\n \n\n \n Crowds flood a cemetery. Poppa M's casket is lowered...", "POPPA M\n Hello, Louie.\n\n \n\n ROMAN\n Noah.", "LOUIE\n\n (WHISPERING)\n Easy, Noah...easy friend.", "CONNOR\n And as Almighty God created you...he\n now calleth you home.\n\n \n He pulls the trigger - \"click.\"" ], [ "CONNOR\n I think Yakavetta murdered a good man\n just to send us a message.", "tonight and he just let it happen.\n Didn't lift a finger. I mean, if he's\n working for Yakavetta, why would he", "The boys flash with recognition.\n\n \n\n BOTH\n Yakavetta?", "ago, the Yakavetta's have regained\n their original strength. Looks like\n their clearing all their open accounts.", "Yakavetta. QUICK CUT: Romeo, guns up and once more with feeling...", "The Saints execute Poppa Joe Yakavetta before many terrified\n witnesses, the alarm blaring in the b.g. FLASH!", "Yakavettas and clear my way. This\n time, I will take what is rightfully\n mine. Just a little piece, for my old", "EUNICE\n I understand you got a job to do,\n Chief. But if Yakavetta even sniffs", "SLO-MO: Yakavetta runs toward his panic room. At the last second,\n Jimmy the Gofer hip-checks him and dives in. The door slides shut.", "CHIEF\n Why would Yakavetta want them back\n here? Him of all people.", "REPORTER #1 V.O. (CONT'D)\n ...and executed Mafia Don, Poppa Joe\n Yakavetta before a courtroom of", "CONNOR\n Where's Yakavetta hidin'?", "CONNOR\n We'll go after all Yakavetta's people\n and operations till we get to the man\n himself.", "Eunice lets him go and stands. Jimmy sits up.\n\n \n\n EUNICE\n Yakavetta had a partner, didn't he.", "Yakavetta in the nuts, let him know\n you're in town...Romeo's got an ace in\n the hole for you.", "perpetrators, gentlemen. The plan? We\n keep our ear to the ground and try to\n figure out where Yakavetta's hiding.", "DUFFY\n C.I.'s came back. Cold hits all\n around. Concezio Yakavetta and his six\n Capo Regime, all blood relatives, have\n disappeared.", "EUNICE\n And that's all she wrote. Everything\n points in the same direction.\n\n \n She taps Yakavetta's picture on the wall.", "GEORGE\n Yakavetta's racket chiefs. Street\n guys.\n (suddenly brightens)", "pint sized killer is the only thing\n that puts Yakavetta right in the middle\n of this. It is imperative that we find\n this man." ], [ "perpetrators, gentlemen. The plan? We\n keep our ear to the ground and try to\n figure out where Yakavetta's hiding.", "CONNOR\n Where's Yakavetta hidin'?", "tonight and he just let it happen.\n Didn't lift a finger. I mean, if he's\n working for Yakavetta, why would he", "The boys flash with recognition.\n\n \n\n BOTH\n Yakavetta?", "equipped for single living. Yakavetta is frazzled, baggy eyed in a\n robe. Jimmy the Gofer sits quietly as Concezio babbles to himself.", "Yakavetta in the nuts, let him know\n you're in town...Romeo's got an ace in\n the hole for you.", "ago, the Yakavetta's have regained\n their original strength. Looks like\n their clearing all their open accounts.", "SLO-MO: Yakavetta runs toward his panic room. At the last second,\n Jimmy the Gofer hip-checks him and dives in. The door slides shut.", "CHIEF\n Why would Yakavetta want them back\n here? Him of all people.", "Yakavettas and clear my way. This\n time, I will take what is rightfully\n mine. Just a little piece, for my old", "CONNOR\n I think Yakavetta murdered a good man\n just to send us a message.", "EUNICE (CONT'D)\n (with intent)\n Where is...Concezio Yakavetta?", "Yakavetta. QUICK CUT: Romeo, guns up and once more with feeling...", "EUNICE\n I understand you got a job to do,\n Chief. But if Yakavetta even sniffs", "N.S. BRUGLIONE #1\n Yakavetta's hiding from these Jesus\n Freaks and making us look like pussies.", "pint sized killer is the only thing\n that puts Yakavetta right in the middle\n of this. It is imperative that we find\n this man.", "Eunice lets him go and stands. Jimmy sits up.\n\n \n\n EUNICE\n Yakavetta had a partner, didn't he.", "GEORGE\n Yakavetta's racket chiefs. Street\n guys.\n (suddenly brightens)", "assume Yakavetta already knows we've\n ID'd his guy. We can't give him time\n to 'Plan B' us.", "EUNICE\n Yakavetta's lost control of the\n streets.\n\n (MORE)" ], [ "Noah stands shaking as he watches his father beat to death. We fade\n into later as he holds his father's body, wailing. An Italian kid", "Noah shoots Thug #2 then cuts Thug #1's throat. The other Mafiosi", "and I was helping them! I used you,\n Noah, to eliminate their problems, to\n destroy their competition, to cut out\n their cancers. I earned my place among", "Noah rounds the table and takes aim. The man is choking on his own\n blood. Noah slowly lowers his gun and just watches.", "Noah and Louie bury the bodies of Mafioso #1 and #2. Louie stops\n and rests. He watches Noah and thinks.", "No response from Noah. Dead eyes.\n\n \n\n 96.", "Noah holds a knife to Thug #1's throat at a card table. He has THUG", "hands raised, are scared as they look at Noah's dead eyes.", "Noah puts down his sandwich. Louie talks to Noah with passion,\n m.o.s. and he listens while nodding his head.", "EXT. FUNERAL -- MORNING\n\n\n \n Noah, Louie and a priest are the only ones present at this modest\n affair. Louie weeps. Noah is emotionless.", "flashbacks we will refer to young Poppa M as \"Noah.\" NOAH (16)\n works in back but watches.", "A mob boss and two body guards wait for an elevator. The doors\n open. Insides is Noah, dark jacket, English Mac (hat). He opens", "scream in horror. Louie kneels and weeps. Noah shoots Thug #3 in\n the heart and calmly takes aim at Thug #4. He shoots him in the", "LOUIE\n\n (WHISPERING)\n Easy, Noah...easy friend.", "He holds them out to Crew Cut. The boys weep, oblivious to this.", "Noah cuts out a chalk sketch on a large sheet of shoe leather.\n\n \n Louie helps Noah make a \"serious looking\" leather vest.", "EUNICE\n You got him in custody. Ask him\n yourself. You're the professional.\n\n \n She walks out and the detectives follow.", "POPPA M\n Hello, Louie.\n\n \n\n ROMAN\n Noah.", "MAFIOSO #2\n What are you, stupid or something?\n\n \n He smacks Noah across the face.", "ROMAN\n My garden. She is beautiful, yes? Ah,\n but you. You are blind to beauty. You\n are a destroyer, Noah." ], [ "He dies. The brothers weep. Nearby, Romeo is slumped and bleeding,\n on the edge of consciousness. A strange calm comes over the\n brothers as they stand and look to one another.", "Poppa M fires one right between the Roman's eyes. Poppa M crumbles.\n His sons lay him down.", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "In the confusion it is a few moments before anyone realizes he is\n gone. Silence falls. Presently, Romeo and the boys bolt up. Romeo\n goes for the door and the boys level at Eunice.", "He returns to eating. A moment of silence then the Capos burst into\n anger. Capo #1 slams a fist down and stands, silencing the lot.", "The brothers emerge and tear right in, firing at the gangsters.\n Romeo fires his useless 22. In the ensuing fire fight the brothers\n kill all but Chinese Gangster #3.", "YEEEEEEE HAAAAAAAW!!!\n\n \n Soon it is over. The brothers slam Concezio to his knees and level\n to the back of his head. As he begs for his life...", "DOLLY\n What do we do now? I mean, the\n brothers ain't goin' nowhere until we\n get Panza or they do.", "BOOM! They all start shooting as Eunice stands in the crossfire\n unaffected. Men fall dead and we see the relevance of each thing\n Eunice did to doctor the scene. WHIP PAN...", "EUNICE\n Something ain't right with this whole\n thing. Panza knew you were in there", "Noah stands shaking as he watches his father beat to death. We fade\n into later as he holds his father's body, wailing. An Italian kid", "EUNICE\n That's the guy. He's a Sicilian\n immigrant, name of Ottilio Panza.", "Eunice hits Crew Cut in the side. The assassin has a moment of\n outrage but persists firing as he makes a hasty exit.", "Nearby, Jimmy knocks over a bottle of wine, CRASH! Concezio dives\n back into the panic room. The door slides shut. DISSOLVE TO...", "EUNICE\n Good. Then you can just listen. The\n jig is up. We know Concezio had that\n priest killed.", "Suddenly, George comes rolling out of the kitchen, unconscious and\n tied, face down, to a bus cart. There is writing on his back.\n Everyone pulls their weapons and moves toward.", "Romeo is simultaneously hit in the leg and shoulder. He falls,\n dropping his .45s. He struggles to fire the shotgun.\n\n \n Poppa M takes one in the chest.", "As the boys guffaw, BOOM! A shotgun blast through the door sends\n Greenly to the floor with a gaping wound in his back.", "The Old Man moves to Crew Cut's bedside. He sees the rosary about\n the slumbering man's neck and rips it off. Crew Cut bolts awake!", "He whips Crew Cut with the rosary, until he cowers in the corner,\n weeping profuse apologies in Italian." ], [ "THE BROTHERS\n Holy shit.", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "The brothers emerge and tear right in, firing at the gangsters.\n Romeo fires his useless 22. In the ensuing fire fight the brothers\n kill all but Chinese Gangster #3.", "The brothers have just a moment of shock before Greenly chokes up\n some blood. They jump the bar and rush to him.\n\n \n\n MURPHY\n Jesus Christ!", "The boys watch in horror, trying to figure it out. Poppa M motions\n for his opponent to go first. Crew Cut cocks his hammer back with a\n \"click.\" The brother's eyes go wide.", "BROTHERS\n\n OH, SHIT!\n\n \n The boys look over the edge. Long way down.", "On the flatbed, the brothers shovel coffee out of the final crate\n which rests on the forks of the lift. Below them stands the Dock\n Worker holding his bleeding head. Romeo covers him with his 22.", "and I was helping them! I used you,\n Noah, to eliminate their problems, to\n destroy their competition, to cut out\n their cancers. I earned my place among", "The brothers lift a chest from a hole in the barn floor. They load\n guns and money into black duffel bags and place their signature\n rosaries around their necks, clasping their hands in prayer...", "We pan to the gaping mouthed brothers.\n\n \n\n MURPHY\n Jesus.", "ROCCO\n Come on. The game's starting.\n\n \n The brothers follow him. Red Sox emblems are abundant.", "BROTHERS\n\n JESUS CHRIST!\n Connor rushes over and grabs up the shotgun.", "Close up, three shot. George, looking very uncomfortable, is\n flanked by the brothers. He is positioned to covertly view the\n restaurant from the kitchen.", "kept us going all those years. And\n they did it. They finally fuckin' did\n it. What are we all gonna do now, huh?", "He dies. The brothers weep. Nearby, Romeo is slumped and bleeding,\n on the edge of consciousness. A strange calm comes over the\n brothers as they stand and look to one another.", "Crew Cut is unsure of himself. He thinks. Shakes his head. The\n brothers focus on Poppa M's gun as he tenses on the trigger.", "ROMEO\n Oh, shit. FIRE! FIRE!\n The brothers emerge from the shadows, cutting them off.", "He holds them out to Crew Cut. The boys weep, oblivious to this.", "The berth door is slightly ajar. In pops a bottle of Whiskey, then\n Romeo's head. He's expecting a cheer but the brothers have their\n backs to him. He's instantly taken by their ink.", "The garden is being torn apart as the brothers, Poppa M and Romeo\n hit their marks and the hit squad returns fire. The boys dive\n behind fountains which are then pulverized." ], [ "IRELAND: BOOM! BOOM! Connor and Murphy blast shotguns at the\n wolves. One is hit, the rest retreat. The boys perform mercy\n killings on the wolf and one sheep.", "GEORGE\n And he leaves all of us on the streets\n holding the bag while him and his are\n living it up at the Taj fuckin' Majal,\n not a care in the world.", "SUBTEXT: \"Ireland\"", "CAB DRIVER\n I think it's disgusting. I wish they'd\n have stayed gone.", "He stands and she takes his arm as they exit. Duffy quietly closes\n the door and turns. Hushed tones...", "(WHISTLES)\n Looks like Bloomy aced her science\n project.\n\n \n Kuntsler's men look embarrassed.", "blood. He's been left control of the\n streets. He's running all of it.", "FADE TO BLACK...\n\n \n\n EXT. DEEP COUNTRYSIDE -- DAY", "GEORGE\n Jesus, this is some embarrassing shit.\n\n \n We see the three men from behind. George is still in his Speedos,\n which now have a pronounced shit stain in back.", "DOLLY\n (re: Greenly)\n Why?\n\n \n\n DUFFY\n I don't know.", "GREENLY\n Bye.\n\n \n She hangs up and we are left with Greenly. Red handed.", "drapes and walked away! And we been\n living in silent fear ever since. Oh,\n we don't talk about it. Rape victims", "Why are you the one he left on the\n streets, George?", "(denotes surroundings)\n Outnumbered, outgunned. They kill\n everyone...and leave.", "Greenly looks emasculated. Dolly and Duffy smirk at him. Eunice\n stands and prowls the scene, intense, intrigued, in her own world...", "DUFFY\n You knew all along.\n\n \n\n CONNOR\n What? Ya don't call. Ya don't write.", "Connor touch the Celtic Cross tattoo on his forearm. The boys look\n at each other as the rain suddenly stops and all the \"little sounds\"", "You trying to turn them into your own\n little junior G-men? Well, you can put\n sprinkles on shit, Bloom, but it's", "The brothers have just a moment of shock before Greenly chokes up\n some blood. They jump the bar and rush to him.\n\n \n\n MURPHY\n Jesus Christ!", "DUFFY\n The victim was killed late last night.\n When people gathered for morning mass,\n they found the front entrance chained" ], [ "CLOSE ON: a gravestone. \"Paul M. Smecker, 1956 - 2003\"", "DUFFY\n She is also an authority on the Saints\n case. Which means Smecker must have\n walked her through it.\n\n \n The cops suddenly flush with fear.", "The boys reholster. She drops her arms.\n\n \n\n MURPHY\n We heard about Smecker. He was a good\n man.", "then disappeared into thin air as we\n fecklessly searched for them. The FBI\n tends to take exception to such things.\n They coulda sent anyone. They sent me.", "He fires and McKinney falls. Crew Cut steps forward and we see his\n face in the light. Piercing, ice blue, sociopathic eyes. WHIP PAN!", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "BOOM! They all start shooting as Eunice stands in the crossfire\n unaffected. Men fall dead and we see the relevance of each thing\n Eunice did to doctor the scene. WHIP PAN...", "Kuntsler's shit eating grin disappears. He leans in. Hushed tones.", "EUNICE (CONT'D)\n And you must be Greenly. Smecker\n always said you were the funny one.", "Eunice hits Crew Cut in the side. The assassin has a moment of\n outrage but persists firing as he makes a hasty exit.", "From behind we see the woman rest a rose at Smecker's Grave. \"Legs\"\n turns and walks toward a waiting squad car in b.g.", "GREENLY\n Smecker hand picked her? Aw, man.\n This brawd's gonna be a nightmare.", "Crew Cut watches Eunice and the detectives from the dark alley. He\n has shaved his head bald, giving him a sinister look.", "tonight and he just let it happen.\n Didn't lift a finger. I mean, if he's\n working for Yakavetta, why would he", "crosses them. Trepidation as he covers his genitals. Eunice smiles\n as she flashes her FBI credentials. George relaxes.", "CONNOR\n And as Almighty God created you...he\n now calleth you home.\n\n \n He pulls the trigger - \"click.\"", "The Saints enter the Suffolk Courthouse, undetected. FLASH!\n\n \n Dolly, dressed as a civilian, pulls the fire alarm. FLASH!", "and I was helping them! I used you,\n Noah, to eliminate their problems, to\n destroy their competition, to cut out\n their cancers. I earned my place among", "The boys wrap Jo Jo's body in a tarp and put it in the Green\n Machine. Romeo creates blood splatter with a turkey baster.", "Greenly's bagged body is about to be loaded into an ambulance.\n Eunice stops the EMTs, unzips it and touches his face. She weeps\n and then crushes into Dolly's chest." ], [ "IRELAND: BOOM! BOOM! Connor and Murphy blast shotguns at the\n wolves. One is hit, the rest retreat. The boys perform mercy\n killings on the wolf and one sheep.", "The brothers have just a moment of shock before Greenly chokes up\n some blood. They jump the bar and rush to him.\n\n \n\n MURPHY\n Jesus Christ!", "The brothers face off with Poppa M and Sibeal: a bizarre board\n meeting. Poppa M cocks a brow at Sibeal who clears his throat.", "Murphy sits, bare chested on a crate. With the rigged pen, he\n tattoos his brother's back. Connor cooks something, in a pot, on\n the hot plate. The resin of anger is evident.", "The door opens and in comes Connor and Murphy. Sibeal notes the\n change in appearance. The boys stand at the kitchen table's\n opposing end, hands in their pockets. Their resolve fills the room.", "The garden is being torn apart as the brothers, Poppa M and Romeo\n hit their marks and the hit squad returns fire. The boys dive\n behind fountains which are then pulverized.", "Sibeal, Poppa M, Connor and Murphy sit around the table. The boys\n have a look of controlled anger. Presently...", "The brothers emerge and tear right in, firing at the gangsters.\n Romeo fires his useless 22. In the ensuing fire fight the brothers\n kill all but Chinese Gangster #3.", "The brothers lift a chest from a hole in the barn floor. They load\n guns and money into black duffel bags and place their signature\n rosaries around their necks, clasping their hands in prayer...", "Murphy touches the faded Celtic Cross tattoo on his forearm. Connor\n sees. The music takes us to a secluded, pioneer-esque ranch.", "their own cigarettes with effortless synchronicity and light up.\n CONNOR and MURPHY MacMANUS (30's) now have long hair with heavy", "The boys watch in horror, trying to figure it out. Poppa M motions\n for his opponent to go first. Crew Cut cocks his hammer back with a\n \"click.\" The brother's eyes go wide.", "Connor touch the Celtic Cross tattoo on his forearm. The boys look\n at each other as the rain suddenly stops and all the \"little sounds\"", "where my father, Jacob MacManus, was a\n cobbler.", "Someone's callin' them out, Sibeal. Ya\n kill a priest in a church and make it\n look like they did it. Bring 'em back", "IRELAND: The wolves savagely attack the screaming sheep.\n\n \n BOSTON: Muzzle flash, blood splatters on the altar.", "SIBEAL\n Well, are ya at least gonna try ta talk\n them out of this?\n\n \n Poppa M shakes his head.", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "The boys look at each other.\n\n \n\n EXT. SIDE WALK OUTSIDE MCGINTY'S -- SAME TIME", "We pan to the gaping mouthed brothers.\n\n \n\n MURPHY\n Jesus." ], [ "He chuckles as all return to work. Kuntsler turns to Eunice.", "As they pray, a dozen or so church patrons who are in the pews begin\n to realize who they are. Our foursome stands and walks back down\n the aisle. They make eye contact with a few people.", "CAB DRIVER\n I think it's disgusting. I wish they'd\n have stayed gone.", "CONNOR\n Oh, no.\n\n \n\n ROMEO\n Fine. Then what exactly do you intend\n to do when you hit U.S. soil?", "He returns to eating. A moment of silence then the Capos burst into\n anger. Capo #1 slams a fist down and stands, silencing the lot.", "kept us going all those years. And\n they did it. They finally fuckin' did\n it. What are we all gonna do now, huh?", "Eunice, alone, saunters before the huge windows which are now\n intact. Concezio holds court nearby. He is shaved and dressed.", "George sits. Eunice reholsters, wiggles her skirt straight and sits\n on the massage table. George looks at her legs as she slowly", "POPPA M V.O. (CONT'D)\n And then suddenly, as if not a day had\n passed...it was back. I could see it\n in their eyes.", "DOLLY\n That's another thing. Everyone's\n assuming that they're going to come\n back. I mean, we got no way of knowing\n that for sure.", "Uneasy, the woman continues her work as Eunice lotions her hands.\n She covertly replaces the masseuse and motions her out of the room.", "He stands and she takes his arm as they exit. Duffy quietly closes\n the door and turns. Hushed tones...", "Took real balls. But they sailed into\n infinity and made it all the way to the\n shores of the New fucking World...\n (re: surroundings)", "and I was helping them! I used you,\n Noah, to eliminate their problems, to\n destroy their competition, to cut out\n their cancers. I earned my place among", "GEORGE\n And he leaves all of us on the streets\n holding the bag while him and his are\n living it up at the Taj fuckin' Majal,\n not a care in the world.", "crosses them. Trepidation as he covers his genitals. Eunice smiles\n as she flashes her FBI credentials. George relaxes.", "EUNICE\n I hear Costa Rica's nice.\n\n \n She looks at him as her eyes well up with tears.", "67.\n\n \n\n \n\n EUNICE (CONT'D)\n We got someplace to be! Let's go!", "He holds them out to Crew Cut. The boys weep, oblivious to this.", "POPPA M V.O.\n I could feel it, heavy in their\n presence. Something calling them back." ], [ "ROMEO\n Oh, thank, God. Irish, huh? Finally\n some class. I'm Romeo.", "ROMEO\n Oh, this is so fucking cool, man. I'm\n from Boston. I love you guys. Shit,", "ROY\n (re: Romeo)\n Who's this, your new sidekick?\n (extends hand)\n Pleased to meet you. I'm Roy.", "ROMEO\n He's gone.\n\n \n\n CONNOR\n Who are ya?", "ROMEO\n Whoa! Uh, merci, uh, si vous plait.", "ROMEO\n Oh, shit. FIRE! FIRE!\n The brothers emerge from the shadows, cutting them off.", "ROMEO\n You know what this is? This is our\n hide out, man! We got a hide out!", "ROMEO (CONT'D)\n I know who you are. You guys are the\n fuckin'....\n\n \n\n MURPHY", "He runs off. Romeo turns up to them.\n\n ROMEO\n So, let's not let this one, small\n incident get in the way of...", "EUNICE\n Easy fellas. I'm alone.\n\n \n The boys are before her as Romeo returns.", "ROMEO\n That shit was NOT funny, man!\n\n \n The brothers laugh harder. Romeo rolls on his side and slides a\n hand down the back of his pants. He seems relieved.", "ROMEO\n Fuck the both of you!", "ROMEO\n Yeah?! Well, there's an \"I\" in \"Fuck\n you!", "ROMEO\n Que pasa.\n\n \n It's Cesar.", "ROMEO (CONT'D)\n Ooooo. Found the loophole, bitch!", "ROMEO\n This is so fucking cool.", "ROMEO\n Nice to meet you, Fuck Ass, I'm Romeo.\n\n \n\n INT. UPSTAIRS STORE ROOM -- MOMENTS LATER", "ROMEO\n (to Dealer)\n You don't know me. You think these\n make me look gay?\n Romeo poses. The Dealer shrugs.", "ROMEO\n Well, you ain't. Can't you guys see\n it? This shit's fate, man. Like", "ROMEO\n What?\n\n \n\n CONNOR\n Nothin'." ], [ "Special Agent Bloom.", "REPORTER #2\n ...the search continues for missing\n Special Agent Eunice Bloom. As of yet,\n law enforcement has turned up nothing\n but have not ruled out foul play.", "BOOM! They all start shooting as Eunice stands in the crossfire\n unaffected. Men fall dead and we see the relevance of each thing\n Eunice did to doctor the scene. WHIP PAN...", "DUFFY\n Special Agent Eunice Bloom, 32 years\n old. Smecker plucked her right out of\n class at Quantico.", "With Eunice directing them, the boys and Romeo restage the crime\n scene. With a squeegee they move pools of blood across the linoleum\n floor and re-position bodies.", "A table laden with clip boards, bagged evidence, reports, etc.\n Eunice finds a baggy with a tiny wooden bead in it. Greenly enters.", "(POINTING)\n You hafta be Detectives Dolly and\n Duffy. Am I right?\n (extending hand)\n Eunice Bloom. A pleasure.", "DOLLY\n Look, with all due respect, Agent\n Bloom...\n\n \n\n EUNICE\n Special.", "Eunice stands, looking down the aisle at the altar. Behind her, the\n Detectives are curios as Eunice slides on pink latex gloves.", "EUNICE (CONT'D)\n The killer approached the body from the\n left side...\n (Eunice approaches)\n ...and flipped him to the right.", "crosses them. Trepidation as he covers his genitals. Eunice smiles\n as she flashes her FBI credentials. George relaxes.", "He joins Dolly and Duffy who stand on the periphery. Eunice is dead\n center, absorbing the scene when suddenly, FBI Agent JOHN KUNTSLER", "EXT. WAREHOUSE -- SAME TIME\n\n\n \n Eunice walks toward the crime scene with the CHIEF (50's).", "Greenly's bagged body is about to be loaded into an ambulance.\n Eunice stops the EMTs, unzips it and touches his face. She weeps\n and then crushes into Dolly's chest.", "Romeo and the brothers place the guns they used in the hands of dead\n gangsters as Eunice drops bullet casings in carefully chosen spots.", "EUNICE\n I am an FBI agent who is controlling\n this investigation from within, in\n order to ensure that you gentlemen", "TOTAL SILENCE AS...Eunice inspects the smashed door of a\n confessional booth. She looks over the body closely then turns from", "EUNICE\n It wasn't them...but I'm sure you boys\n already knew that.\n\n \n The detectives nod.", "Press clamors for the story in the b.g. Eunice and the detectives\n are in a private spot. Greenly excitedly hands her the file.", "SLO-MO: Two bullet holes pierce the windows behind Eunice as she\n levels her Colts. The mammoth panes shatter but stay in the frame." ], [ "Many remember this as the grisly\n calling card of the prolific vigilante\n killers known as the Saints, who went", "When the Saints are gone, the churchgoers gather in the aisle and\n stare at the front door in disbelief. Excited whisperings. One guy\n opens his cell phone. Then he thinks...and closes it.", "EUNICE\n And word's been put to all his\n lieutenants that the Saints are to be\n taken out, on sight.", "REPORTER #3\n Law enforcement has confirmed the\n Saints are back!\n\n \n This gives way to...", "EUNICE (CONT'D)\n The Saints' signature stance. Copley\n Plaza Hotel four years ago. Two men of", "The Saints enter the Suffolk Courthouse, undetected. FLASH!\n\n \n Dolly, dressed as a civilian, pulls the fire alarm. FLASH!", "As they pray, a dozen or so church patrons who are in the pews begin\n to realize who they are. Our foursome stands and walks back down\n the aisle. They make eye contact with a few people.", "Eunice, alone, saunters before the huge windows which are now\n intact. Concezio holds court nearby. He is shaved and dressed.", "front, \"SAINTS INNOCENT, NEW SUSPECT IN PRIEST'S MURDER\" He reads\n frantically. \"New evidence discovered at the crime scene...\"", "GREENLY\n The Saints killed his daddy six years\n ago, right? He was inside when that\n happened doing a nickel for extortion.", "The boys flash with recognition.\n\n \n\n SIBEAL (CONT'D)\n You knew him?", "INT. / EXT. NEWS FOOTAGE\n\n\n \n The Saints pencil composites are shown. From the studio...", "Someone's callin' them out, Sibeal. Ya\n kill a priest in a church and make it\n look like they did it. Bring 'em back", "DUFFY\n She is also an authority on the Saints\n case. Which means Smecker must have\n walked her through it.\n\n \n The cops suddenly flush with fear.", "me like a rented mule here. I got half\n of New England thinking the Saints\n whacked a priest and the other half\n thinking their innocent. Its a powder", "EUNICE\n The Saints were later determined to be\n five foot eleven inches tall. It's\n just dumb luck that the Russian and\n McKinney are the exact same height.", "Connor touch the Celtic Cross tattoo on his forearm. The boys look\n at each other as the rain suddenly stops and all the \"little sounds\"", "EUNICE\n (to herself)\n On a sultry Saturday in September the\n Saints saved seventeen souls...try\n saying that five times fast.", "The Saints execute Poppa Joe Yakavetta before many terrified\n witnesses, the alarm blaring in the b.g. FLASH!", "The brothers have just a moment of shock before Greenly chokes up\n some blood. They jump the bar and rush to him.\n\n \n\n MURPHY\n Jesus Christ!" ], [ "The Old Man moves to Crew Cut's bedside. He sees the rosary about\n the slumbering man's neck and rips it off. Crew Cut bolts awake!", "him. I don't know his name, though.\n Concezio always called him the \"Old\n Man\" accept one time when he called him", "OLD MAN\n Foolish, arrogant boy! What have you\n done?!", "OLD MAN\n Hello, old friend.\n\n \n\n PATRONAZZI\n Many years. Are you in need?", "73.\n\n \n\n \n\n OLD MAN\n Evidence?", "OLD MAN\n Shhhhh. He will come.\n\n \n\n INT. BASEMENT -- NIGHT", "INT. GREENHOUSE -- MOMENTS LATER\n\n\n \n From behind we see the Old Man gardening. He answers a ringing\n phone, nearby. We do not see his face.", "OLD MAN\n Let them. If you kill the sons...the\n father will come.\n\n \n Crew Cut develops a sinister smile.", "Crew Cut lies on the shop table. He's lost a lot of blood and is in\n shock. Using gardening utensils, the Old Man removes the bullet.\n We see his face for the first time. Unremarkable. In Italian...", "CREW CUT\n You.\n\n \n\n POPPA M\n Where is the Old Man?", "EXT. COMMON HOME -- MORNING\n\n\n \n This is a common home at the end of a cul de sac. The Old Man picks\n up the paper on his front stoop and shuts the door.", "PATRONAZZI\n Si.\n\n \n It's the Old Man. In Italian, alternating coverage...", "CONNOR\n We'll see, old man.\n\n \n A moment passes and Doc is literally shaking.", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "THUG #1\n (whispered into walkie)\n Remember, not a scratch on the Old Man.", "We see the hands of an OLD MAN (70) as he mists flowers in this lush", "CREW CUT\n He is not with them.\n\n \n\n OLD MAN\n Are you certain?", "POPPA M\n Is this your place among them? Because\n all I see is a an old man, sitting in a\n garden.", "They get him to his feet. Poppa M turns to the Roman. He levels a\n revolver toward the seated man. With his last bit of strength...", "Everything calms as Poppa M rushes up with a mag light and stops.\n He coughs roughly. Moody choral music begins..." ], [ "Louie hobbles in with a sack. He dumps a bevy of handguns on a\n table. All different makes.", "The Saints enter the Suffolk Courthouse, undetected. FLASH!\n\n \n Dolly, dressed as a civilian, pulls the fire alarm. FLASH!", "EUNICE\n And word's been put to all his\n lieutenants that the Saints are to be\n taken out, on sight.", "Noah and Louie bury the bodies of Mafioso #1 and #2. Louie stops\n and rests. He watches Noah and thinks.", "When the Saints are gone, the churchgoers gather in the aisle and\n stare at the front door in disbelief. Excited whisperings. One guy\n opens his cell phone. Then he thinks...and closes it.", "Noah puts down his sandwich. Louie talks to Noah with passion,\n m.o.s. and he listens while nodding his head.", "The Saints execute Poppa Joe Yakavetta before many terrified\n witnesses, the alarm blaring in the b.g. FLASH!", "INT. / EXT. NEWS FOOTAGE\n\n\n \n The Saints pencil composites are shown. From the studio...", "INT. COBBLER SHOP -- AFTERNOON\n\n\n \n Louie works on a pair of shoes. They are both a bit older.", "EUNICE (CONT'D)\n The Saints' signature stance. Copley\n Plaza Hotel four years ago. Two men of", "LOUIE\n\n (WHISPERING)\n Easy, Noah...easy friend.", "Louie draws a map on a note pad and speaks m.o.s.\n\n \n\n 97.", "REPORTER #3\n Law enforcement has confirmed the\n Saints are back!\n\n \n This gives way to...", "EXT. FUNERAL -- MORNING\n\n\n \n Noah, Louie and a priest are the only ones present at this modest\n affair. Louie weeps. Noah is emotionless.", "scream in horror. Louie kneels and weeps. Noah shoots Thug #3 in\n the heart and calmly takes aim at Thug #4. He shoots him in the", "JO JO\n So, until the Saints get popped, we're\n all lambs to slaughter?", "HOLY SHIT! You're the Saints! I'm\n Roy, it's an honor. Huge fan!", "#2's head pinned to the table top with a .38 cal. Nearby, Louie\n holds a large .44 magnum with shaking hands. Seated Thugs #3 and #4", "POPPA M (CONT'D)\n I'll see you in a minute, Louie.", "GREENLY\n The Saints killed his daddy six years\n ago, right? He was inside when that\n happened doing a nickel for extortion." ], [ "Noah and Louie bury the bodies of Mafioso #1 and #2. Louie stops\n and rests. He watches Noah and thinks.", "scream in horror. Louie kneels and weeps. Noah shoots Thug #3 in\n the heart and calmly takes aim at Thug #4. He shoots him in the", "EXT. FUNERAL -- MORNING\n\n\n \n Noah, Louie and a priest are the only ones present at this modest\n affair. Louie weeps. Noah is emotionless.", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "LOUIE\n\n (WHISPERING)\n Easy, Noah...easy friend.", "#2's head pinned to the table top with a .38 cal. Nearby, Louie\n holds a large .44 magnum with shaking hands. Seated Thugs #3 and #4", "Louie draws a map on a note pad and speaks m.o.s.\n\n \n\n 97.", "Louie hobbles in with a sack. He dumps a bevy of handguns on a\n table. All different makes.", "Noah puts down his sandwich. Louie talks to Noah with passion,\n m.o.s. and he listens while nodding his head.", "INT. COBBLER SHOP -- AFTERNOON\n\n\n \n Louie works on a pair of shoes. They are both a bit older.", "The brothers emerge and tear right in, firing at the gangsters.\n Romeo fires his useless 22. In the ensuing fire fight the brothers\n kill all but Chinese Gangster #3.", "POPPA M V.O. (CONT'D)\n Louie would pick the marks and plan\n everything in detail.", "POPPA M\n Why the priest, Louie? Why all this?\n Why, now?", "POPPA M V.O.\n I buried my father, then I buried the\n men who killed him. Louie, my best\n friend, helped me...", "CONNOR\n Do you know Louie's full name?\n\n \n\n POPPA M\n Aye.", "POPPA M (CONT'D)\n I'll see you in a minute, Louie.", "LOUIE\n I, I, I...am his friend.", "Murphy is hit in the leg but continues firing.\n The boys and Romeo manage to take out the last of the Thugs, who are\n blasted into the Turkish pool. It is over. The music fades...", "He returns to eating. A moment of silence then the Capos burst into\n anger. Capo #1 slams a fist down and stands, silencing the lot.", "BOOM! They all start shooting as Eunice stands in the crossfire\n unaffected. Men fall dead and we see the relevance of each thing\n Eunice did to doctor the scene. WHIP PAN..." ], [ "IRELAND: BOOM! BOOM! Connor and Murphy blast shotguns at the\n wolves. One is hit, the rest retreat. The boys perform mercy\n killings on the wolf and one sheep.", "GEORGE\n And he leaves all of us on the streets\n holding the bag while him and his are\n living it up at the Taj fuckin' Majal,\n not a care in the world.", "GEORGE\n Jesus, this is some embarrassing shit.\n\n \n We see the three men from behind. George is still in his Speedos,\n which now have a pronounced shit stain in back.", "You trying to turn them into your own\n little junior G-men? Well, you can put\n sprinkles on shit, Bloom, but it's", "SUBTEXT: \"Ireland\"", "(WHISTLES)\n Looks like Bloomy aced her science\n project.\n\n \n Kuntsler's men look embarrassed.", "GREENLY\n Bye.\n\n \n She hangs up and we are left with Greenly. Red handed.", "Greenly looks emasculated. Dolly and Duffy smirk at him. Eunice\n stands and prowls the scene, intense, intrigued, in her own world...", "crosses them. Trepidation as he covers his genitals. Eunice smiles\n as she flashes her FBI credentials. George relaxes.", "Someone's callin' them out, Sibeal. Ya\n kill a priest in a church and make it\n look like they did it. Bring 'em back", "blood. He's been left control of the\n streets. He's running all of it.", "DUFFY\n To have them executed. Revenge.\n Oldest motive in the book.", "Kuntsler pours a coffee. G-man #2 comes in holding a piece of paper.\n\n \n\n KUNTSLER\n Anybody word from Bloom, yet?", "DOLLY\n (re: Greenly)\n Why?\n\n \n\n DUFFY\n I don't know.", "He stands and she takes his arm as they exit. Duffy quietly closes\n the door and turns. Hushed tones...", "On the flatbed, the brothers shovel coffee out of the final crate\n which rests on the forks of the lift. Below them stands the Dock\n Worker holding his bleeding head. Romeo covers him with his 22.", "GREENLY (CONT'D)\n Oh, shit.\n\n \n\n 57.", "DUFFY\n (looks at watch)\n Sixty Seconds!\n\n \n\n MURPHY\n We gotta go now!", "The brothers have just a moment of shock before Greenly chokes up\n some blood. They jump the bar and rush to him.\n\n \n\n MURPHY\n Jesus Christ!", "GREENLY\n You need a body guard?\n\n \n\n EUNICE\n No thank you, Mike Tyson. Bye now." ], [ "The Saints enter the Suffolk Courthouse, undetected. FLASH!\n\n \n Dolly, dressed as a civilian, pulls the fire alarm. FLASH!", "EUNICE\n And word's been put to all his\n lieutenants that the Saints are to be\n taken out, on sight.", "GREENLY\n The Saints killed his daddy six years\n ago, right? He was inside when that\n happened doing a nickel for extortion.", "The Saints execute Poppa Joe Yakavetta before many terrified\n witnesses, the alarm blaring in the b.g. FLASH!", "Greenly, disguised as a correctional officer, lets Connor, Murphy\n and Poppa M out of a paddywagon. FLASH!", "S.W.A.T. can be heard surrounding the perimeter. The boys look to\n Romeo. He smiles at them and nods. The brothers turn and walk into\n the house. The echoed voice of Poppa M.", "never see the inside of a prison cell.\n I am conspiring to do this with three\n like minded individuals who have aided", "REPORTER #1 V.O.\n A rampage that ended six years ago,\n when the Saints brazenly walked into\n open court...", "Many remember this as the grisly\n calling card of the prolific vigilante\n killers known as the Saints, who went", "REPORTER #1 V.O.\n It's confirmed. The five drug\n traffickers all involved in the heroin\n trade were victims of the Saints.", "Suddenly, George comes rolling out of the kitchen, unconscious and\n tied, face down, to a bus cart. There is writing on his back.\n Everyone pulls their weapons and moves toward.", "The terrified ex-gangster staggers toward an exit while wriggling\n out of his bonds. Just as he touches the door.", "The brothers lift a chest from a hole in the barn floor. They load\n guns and money into black duffel bags and place their signature\n rosaries around their necks, clasping their hands in prayer...", "REPORTER #3\n Law enforcement has confirmed the\n Saints are back!\n\n \n This gives way to...", "EUNICE (CONT'D)\n The Saints' signature stance. Copley\n Plaza Hotel four years ago. Two men of", "When the Saints are gone, the churchgoers gather in the aisle and\n stare at the front door in disbelief. Excited whisperings. One guy\n opens his cell phone. Then he thinks...and closes it.", "Someone's callin' them out, Sibeal. Ya\n kill a priest in a church and make it\n look like they did it. Bring 'em back", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "BOOM! They all start shooting as Eunice stands in the crossfire\n unaffected. Men fall dead and we see the relevance of each thing\n Eunice did to doctor the scene. WHIP PAN...", "JO JO\n So, until the Saints get popped, we're\n all lambs to slaughter?" ], [ "front, \"SAINTS INNOCENT, NEW SUSPECT IN PRIEST'S MURDER\" He reads\n frantically. \"New evidence discovered at the crime scene...\"", "DOLLY\n Maybe we're reading it wrong. The\n priest was a frame job, right?", "Someone's callin' them out, Sibeal. Ya\n kill a priest in a church and make it\n look like they did it. Bring 'em back", "to how a priest could be murdered in a\n church. But perhaps more shocking, we\n have confirmed that the body was\n ritualized with pennies in the eyes.", "BOSTON: A frantic priest in his 50's weeps and begs as Crew Cut\n slams him to his knees with a .9 mm to his head.", "EUNICE\n Good. Then you can just listen. The\n jig is up. We know Concezio had that\n priest killed.", "Crew Cut finishes ritualizing the priest and looks deeply at his\n victim. He removes a glove and places his tiny hand next to", "me like a rented mule here. I got half\n of New England thinking the Saints\n whacked a priest and the other half\n thinking their innocent. Its a powder", "The Old Man moves to Crew Cut's bedside. He sees the rosary about\n the slumbering man's neck and rips it off. Crew Cut bolts awake!", "Crew Cut exits his confessional and kicks in the priest's door. He\n pulls the terrified cleric out. Close on a gash in the door.", "They all dart out. With fire in her eyes, she looks closely at a\n picture of the priest's wrist watch on the wall.", "As they pray, a dozen or so church patrons who are in the pews begin\n to realize who they are. Our foursome stands and walks back down\n the aisle. They make eye contact with a few people.", "DUFFY\n What dream world did you two just slip\n into?!\n\n \n They argue. Duffy snaps a photo of the dead priest from the wall.", "Many remember this as the grisly\n calling card of the prolific vigilante\n killers known as the Saints, who went", "BOOM! They all start shooting as Eunice stands in the crossfire\n unaffected. Men fall dead and we see the relevance of each thing\n Eunice did to doctor the scene. WHIP PAN...", "DUFFY\n The victim was killed late last night.\n When people gathered for morning mass,\n they found the front entrance chained", "Eunice is absorbed a photo on the wall of the priest's hand.\n\n \n\n EUNICE\n McKinney wore his watch on his left\n hand.", "In the confusion it is a few moments before anyone realizes he is\n gone. Silence falls. Presently, Romeo and the boys bolt up. Romeo\n goes for the door and the boys level at Eunice.", "He whips Crew Cut with the rosary, until he cowers in the corner,\n weeping profuse apologies in Italian.", "Noah stands shaking as he watches his father beat to death. We fade\n into later as he holds his father's body, wailing. An Italian kid" ], [ "The brothers emerge and tear right in, firing at the gangsters.\n Romeo fires his useless 22. In the ensuing fire fight the brothers\n kill all but Chinese Gangster #3.", "Romeo bobs, weaves and fakes, avoiding many punches. The Giant\n spews angry French all the while. The boys step up as money moves\n and men bet. Connor to the same Mexican Seaman in Spanish.", "MURPHY\n Oh, this is our Mexican.", "The brothers lift a chest from a hole in the barn floor. They load\n guns and money into black duffel bags and place their signature\n rosaries around their necks, clasping their hands in prayer...", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "ROMEO\n Viva La Mejico, bitches!\n\n \n George bolts up. The bus cart is still tied to his fat belly.", "The brothers have just a moment of shock before Greenly chokes up\n some blood. They jump the bar and rush to him.\n\n \n\n MURPHY\n Jesus Christ!", "The garden is being torn apart as the brothers, Poppa M and Romeo\n hit their marks and the hit squad returns fire. The boys dive\n behind fountains which are then pulverized.", "MECHANIC'S WELL: (SLO-MO) The brothers burst from the debris,\n covered in coffee grounds and white powder. They draw their weapons\n and walk toward the ramp at the well's opposing end.", "MEXICAN SEAMAN\n Romeo's fast, man. He says the\n Frenchman can't lay a hand on him.", "The boys watch in horror, trying to figure it out. Poppa M motions\n for his opponent to go first. Crew Cut cocks his hammer back with a\n \"click.\" The brother's eyes go wide.", "Romeo withdraws two gold plated .45's, intricately engraved, pearl\n handles with a Mexican flag. The boys snicker.", "two words. \"El Cava.\" It's a Mexican\n joint down by the docks. He sent it to\n his enforcer, Jo Jo Rhama. Guess", "The Irish GUN DEALER (30's) from the first film leads the brothers\n and Romeo through a basement to a large, steel vault door.", "On the flatbed, the brothers shovel coffee out of the final crate\n which rests on the forks of the lift. Below them stands the Dock\n Worker holding his bleeding head. Romeo covers him with his 22.", "The brothers and Romeo walk through the Mausoleum. They approach a\n grave slate with respect. The name reads, \"David Della Rocco.\"\n There is a picture of him. Murphy narrows his eyes and leans in.", "As the gangsters achieve the cart, the brothers creep over the bar\n in the b.g. Brugliones look down on George, painted on his back...", "The Manager lets George slip in. He steels into a tanning room.A\n Mexican towel boy has spied George. He picks up a phone...\n\n INT. MAUSOLEUM -- MOMENTS LATER", "Murphy sits, bare chested on a crate. With the rigged pen, he\n tattoos his brother's back. Connor cooks something, in a pot, on\n the hot plate. The resin of anger is evident.", "Eunice fires as the boys dive on Romeo. Crew Cut is revealed behind\n our trio, firing from the shadows. Eunice and Crew Cut exchange\n fire as the boys reload." ], [ "DOLLY\n I didn't even know he had a protege.\n What is this bullshit?\n\n \n Duffy whips out his trusty note pad.", "CLOSE ON: a gravestone. \"Paul M. Smecker, 1956 - 2003\"", "DUFFY\n She is also an authority on the Saints\n case. Which means Smecker must have\n walked her through it.\n\n \n The cops suddenly flush with fear.", "DUFFY\n Special Agent Eunice Bloom, 32 years\n old. Smecker plucked her right out of\n class at Quantico.", "GREENLY\n Smecker hand picked her? Aw, man.\n This brawd's gonna be a nightmare.", "Special Agent Bloom.", "The boys reholster. She drops her arms.\n\n \n\n MURPHY\n We heard about Smecker. He was a good\n man.", "Crew Cut watches Eunice and the detectives from the dark alley. He\n has shaved his head bald, giving him a sinister look.", "EUNICE (CONT'D)\n And you must be Greenly. Smecker\n always said you were the funny one.", "He fires and McKinney falls. Crew Cut steps forward and we see his\n face in the light. Piercing, ice blue, sociopathic eyes. WHIP PAN!", "crosses them. Trepidation as he covers his genitals. Eunice smiles\n as she flashes her FBI credentials. George relaxes.", "Kuntsler's shit eating grin disappears. He leans in. Hushed tones.", "then disappeared into thin air as we\n fecklessly searched for them. The FBI\n tends to take exception to such things.\n They coulda sent anyone. They sent me.", "From behind we see the woman rest a rose at Smecker's Grave. \"Legs\"\n turns and walks toward a waiting squad car in b.g.", "Kuntsler slaps the file down in front of Jimmy who is cuffed to a\n metal table. He looks at a picture of the Roman. Fear.", "DOLLY\n Just got a call from my best snitch.\n Never steered me wrong. He says its\n this guy.", "SLO-MO: Poppa M emerges from the shadows and moves to Crew Cut with\n a smoking, silenced Walther pistol in hand.", "The Manager lets George slip in. He steels into a tanning room.A\n Mexican towel boy has spied George. He picks up a phone...\n\n INT. MAUSOLEUM -- MOMENTS LATER", "Eunice lets him go and stands. Jimmy sits up.\n\n \n\n EUNICE\n Yakavetta had a partner, didn't he.", "him. I don't know his name, though.\n Concezio always called him the \"Old\n Man\" accept one time when he called him" ], [ "I even heard he posted a reward like\n Jesse James style and shit. Any of his\n guys that take you out gets his palm\n crossed, two hundred and fifty grand.", "The boys wrap Jo Jo's body in a tarp and put it in the Green\n Machine. Romeo creates blood splatter with a turkey baster.", "Eunice hits Crew Cut in the side. The assassin has a moment of\n outrage but persists firing as he makes a hasty exit.", "He fires and McKinney falls. Crew Cut steps forward and we see his\n face in the light. Piercing, ice blue, sociopathic eyes. WHIP PAN!", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "two words. \"El Cava.\" It's a Mexican\n joint down by the docks. He sent it to\n his enforcer, Jo Jo Rhama. Guess", "He cocks back his hammer. A silence POP! rings out from the\n shadows. Crew Cut's hand is hit. He drops, crying out in pain.", "MURPHY\n We're hittin' him tomorrow night. Dat\n soon enough?\n\n \n Everyone else cuts their conversation and listens.", "Noah and Louie bury the bodies of Mafioso #1 and #2. Louie stops\n and rests. He watches Noah and thinks.", "The brothers emerge and tear right in, firing at the gangsters.\n Romeo fires his useless 22. In the ensuing fire fight the brothers\n kill all but Chinese Gangster #3.", "The Manager lets George slip in. He steels into a tanning room.A\n Mexican towel boy has spied George. He picks up a phone...\n\n INT. MAUSOLEUM -- MOMENTS LATER", "tonight and he just let it happen.\n Didn't lift a finger. I mean, if he's\n working for Yakavetta, why would he", "Poppa Joe made you rich and his murder\n remains un-revenged...", "POP! POP! They kill him. DIP TO BLACK...\n\n \n\n INT. WAREHOUSE -- MOMENTS LATER", "The boys watch in horror, trying to figure it out. Poppa M motions\n for his opponent to go first. Crew Cut cocks his hammer back with a\n \"click.\" The brother's eyes go wide.", "EUNICE\n Good. Then you can just listen. The\n jig is up. We know Concezio had that\n priest killed.", "INT. JACKED UP SUV, NEARBY -- SAME TIME\n\n\n \n Crew Cut watches Jo Jo. He dials his cell.", "Crew Cut watches Eunice and the detectives from the dark alley. He\n has shaved his head bald, giving him a sinister look.", "The Saints execute Poppa Joe Yakavetta before many terrified\n witnesses, the alarm blaring in the b.g. FLASH!", "SLO-MO: Poppa M emerges from the shadows and moves to Crew Cut with\n a smoking, silenced Walther pistol in hand." ], [ "CONCEZIO (CONT'D)\n Shut the fuck up!\n (they obey)", "YEEEEEEE HAAAAAAAW!!!\n\n \n Soon it is over. The brothers slam Concezio to his knees and level\n to the back of his head. As he begs for his life...", "Concezio smacks him across the face.", "GEORGE (CONT'D)\n It's the truth! Concezio didn't tell\n no one what he was doing cuz he knew", "CONCEZIO (CONT'D)\n And don't come back here till I tell\n you to, you fat fucking waste of space!", "CONCEZIO (CONT'D)\n This too, is infamita. These homicidal\n maniacs nearly wiped this family out.", "Concezio wipes his mouth, stands and adjusts his cuffs. He slowly\n circles the table as he speaks.\n\n \n\n 20.", "CONCEZIO (CONT'D)\n You think I don't know that each one of\n you's been waking up in night sweats", "EUNICE\n Good. Then you can just listen. The\n jig is up. We know Concezio had that\n priest killed.", "CONCEZIO\n Get over here!\n\n \n\n GEORGE\n Whoa!", "Boom. Concezio drops. Romeo's been waiting, guns up and...", "CONCEZIO\n You stupid motherfucker! I told you,\n you're on the streets till this is\n over! Now get the fuck outta here!", "CONCEZIO\n A little sensitivity, huh? You\n heartless cocksucker! I need to", "With this, the panic room door slides open and Concezio emerges\n holding a bag. He dumps a bunch of cell phones on the coffee table.", "him. I don't know his name, though.\n Concezio always called him the \"Old\n Man\" accept one time when he called him", "Nearby, Jimmy knocks over a bottle of wine, CRASH! Concezio dives\n back into the panic room. The door slides shut. DISSOLVE TO...", "Eunice, alone, saunters before the huge windows which are now\n intact. Concezio holds court nearby. He is shaved and dressed.", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "He dies. The brothers weep. Nearby, Romeo is slumped and bleeding,\n on the edge of consciousness. A strange calm comes over the\n brothers as they stand and look to one another.", "CONCEZIO\n That wiley old fox not as clever as we\n thought. Or maybe he played me from the\n git. Y-you think he played me?" ], [ "He dies. The brothers weep. Nearby, Romeo is slumped and bleeding,\n on the edge of consciousness. A strange calm comes over the\n brothers as they stand and look to one another.", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "Poppa M fires one right between the Roman's eyes. Poppa M crumbles.\n His sons lay him down.", "YEEEEEEE HAAAAAAAW!!!\n\n \n Soon it is over. The brothers slam Concezio to his knees and level\n to the back of his head. As he begs for his life...", "He returns to eating. A moment of silence then the Capos burst into\n anger. Capo #1 slams a fist down and stands, silencing the lot.", "The brothers emerge and tear right in, firing at the gangsters.\n Romeo fires his useless 22. In the ensuing fire fight the brothers\n kill all but Chinese Gangster #3.", "In the confusion it is a few moments before anyone realizes he is\n gone. Silence falls. Presently, Romeo and the boys bolt up. Romeo\n goes for the door and the boys level at Eunice.", "DOLLY\n What do we do now? I mean, the\n brothers ain't goin' nowhere until we\n get Panza or they do.", "Eunice hits Crew Cut in the side. The assassin has a moment of\n outrage but persists firing as he makes a hasty exit.", "Noah stands shaking as he watches his father beat to death. We fade\n into later as he holds his father's body, wailing. An Italian kid", "BOOM! They all start shooting as Eunice stands in the crossfire\n unaffected. Men fall dead and we see the relevance of each thing\n Eunice did to doctor the scene. WHIP PAN...", "The Old Man moves to Crew Cut's bedside. He sees the rosary about\n the slumbering man's neck and rips it off. Crew Cut bolts awake!", "He whips Crew Cut with the rosary, until he cowers in the corner,\n weeping profuse apologies in Italian.", "Nearby, Jimmy knocks over a bottle of wine, CRASH! Concezio dives\n back into the panic room. The door slides shut. DISSOLVE TO...", "Romeo is simultaneously hit in the leg and shoulder. He falls,\n dropping his .45s. He struggles to fire the shotgun.\n\n \n Poppa M takes one in the chest.", "Suddenly, George comes rolling out of the kitchen, unconscious and\n tied, face down, to a bus cart. There is writing on his back.\n Everyone pulls their weapons and moves toward.", "As the boys guffaw, BOOM! A shotgun blast through the door sends\n Greenly to the floor with a gaping wound in his back.", "EUNICE\n Something ain't right with this whole\n thing. Panza knew you were in there", "scream in horror. Louie kneels and weeps. Noah shoots Thug #3 in\n the heart and calmly takes aim at Thug #4. He shoots him in the", "Noah shoots Thug #2 then cuts Thug #1's throat. The other Mafiosi" ], [ "him. I don't know his name, though.\n Concezio always called him the \"Old\n Man\" accept one time when he called him", "The Old Man moves to Crew Cut's bedside. He sees the rosary about\n the slumbering man's neck and rips it off. Crew Cut bolts awake!", "OLD MAN\n Hello, old friend.\n\n \n\n PATRONAZZI\n Many years. Are you in need?", "OLD MAN\n Foolish, arrogant boy! What have you\n done?!", "73.\n\n \n\n \n\n OLD MAN\n Evidence?", "OLD MAN\n Shhhhh. He will come.\n\n \n\n INT. BASEMENT -- NIGHT", "INT. GREENHOUSE -- MOMENTS LATER\n\n\n \n From behind we see the Old Man gardening. He answers a ringing\n phone, nearby. We do not see his face.", "OLD MAN\n Let them. If you kill the sons...the\n father will come.\n\n \n Crew Cut develops a sinister smile.", "Crew Cut lies on the shop table. He's lost a lot of blood and is in\n shock. Using gardening utensils, the Old Man removes the bullet.\n We see his face for the first time. Unremarkable. In Italian...", "CREW CUT\n You.\n\n \n\n POPPA M\n Where is the Old Man?", "EXT. COMMON HOME -- MORNING\n\n\n \n This is a common home at the end of a cul de sac. The Old Man picks\n up the paper on his front stoop and shuts the door.", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "CONNOR\n We'll see, old man.\n\n \n A moment passes and Doc is literally shaking.", "CREW CUT\n He is not with them.\n\n \n\n OLD MAN\n Are you certain?", "They get him to his feet. Poppa M turns to the Roman. He levels a\n revolver toward the seated man. With his last bit of strength...", "PATRONAZZI\n Si.\n\n \n It's the Old Man. In Italian, alternating coverage...", "POPPA M\n Is this your place among them? Because\n all I see is a an old man, sitting in a\n garden.", "Everything calms as Poppa M rushes up with a mag light and stops.\n He coughs roughly. Moody choral music begins...", "Poppa M listens, far off scratchy music. He moves quietly through\n the house, stopping at the foot of the stairs...listens. He removes", "We see the hands of an OLD MAN (70) as he mists flowers in this lush" ], [ "When the Saints are gone, the churchgoers gather in the aisle and\n stare at the front door in disbelief. Excited whisperings. One guy\n opens his cell phone. Then he thinks...and closes it.", "EUNICE\n And word's been put to all his\n lieutenants that the Saints are to be\n taken out, on sight.", "The Saints enter the Suffolk Courthouse, undetected. FLASH!\n\n \n Dolly, dressed as a civilian, pulls the fire alarm. FLASH!", "Many remember this as the grisly\n calling card of the prolific vigilante\n killers known as the Saints, who went", "The Saints execute Poppa Joe Yakavetta before many terrified\n witnesses, the alarm blaring in the b.g. FLASH!", "REPORTER #3\n Law enforcement has confirmed the\n Saints are back!\n\n \n This gives way to...", "REPORTER #1 V.O.\n It's confirmed. The five drug\n traffickers all involved in the heroin\n trade were victims of the Saints.", "As they pray, a dozen or so church patrons who are in the pews begin\n to realize who they are. Our foursome stands and walks back down\n the aisle. They make eye contact with a few people.", "EUNICE (CONT'D)\n The Saints' signature stance. Copley\n Plaza Hotel four years ago. Two men of", "BOOM! They all start shooting as Eunice stands in the crossfire\n unaffected. Men fall dead and we see the relevance of each thing\n Eunice did to doctor the scene. WHIP PAN...", "JO JO\n So, until the Saints get popped, we're\n all lambs to slaughter?", "He dies. The brothers weep. Nearby, Romeo is slumped and bleeding,\n on the edge of consciousness. A strange calm comes over the\n brothers as they stand and look to one another.", "GREENLY\n The Saints killed his daddy six years\n ago, right? He was inside when that\n happened doing a nickel for extortion.", "He seizes violently and dies. The brothers are in anguish. Crew\n Cut picks a .38 and stands. He and Poppa M level to each other's", "EUNICE\n (to herself)\n On a sultry Saturday in September the\n Saints saved seventeen souls...try\n saying that five times fast.", "EUNICE\n The Saints were later determined to be\n five foot eleven inches tall. It's\n just dumb luck that the Russian and\n McKinney are the exact same height.", "Murphy is hit in the leg but continues firing.\n The boys and Romeo manage to take out the last of the Thugs, who are\n blasted into the Turkish pool. It is over. The music fades...", "The brothers emerge and tear right in, firing at the gangsters.\n Romeo fires his useless 22. In the ensuing fire fight the brothers\n kill all but Chinese Gangster #3.", "REPORTER #1 V.O.\n A rampage that ended six years ago,\n when the Saints brazenly walked into\n open court...", "In the confusion it is a few moments before anyone realizes he is\n gone. Silence falls. Presently, Romeo and the boys bolt up. Romeo\n goes for the door and the boys level at Eunice." ], [ "Special Agent Bloom.", "crosses them. Trepidation as he covers his genitals. Eunice smiles\n as she flashes her FBI credentials. George relaxes.", "then disappeared into thin air as we\n fecklessly searched for them. The FBI\n tends to take exception to such things.\n They coulda sent anyone. They sent me.", "You trying to turn them into your own\n little junior G-men? Well, you can put\n sprinkles on shit, Bloom, but it's", "KUNTSLER\n Special Agent Bloom! You are hereby\n relieved of all obligation to this\n investigation.", "BOOM! They all start shooting as Eunice stands in the crossfire\n unaffected. Men fall dead and we see the relevance of each thing\n Eunice did to doctor the scene. WHIP PAN...", "He joins Dolly and Duffy who stand on the periphery. Eunice is dead\n center, absorbing the scene when suddenly, FBI Agent JOHN KUNTSLER", "Eunice hits Crew Cut in the side. The assassin has a moment of\n outrage but persists firing as he makes a hasty exit.", "Nearby, Jimmy knocks over a bottle of wine, CRASH! Concezio dives\n back into the panic room. The door slides shut. DISSOLVE TO...", "Kuntsler pours a coffee. G-man #2 comes in holding a piece of paper.\n\n \n\n KUNTSLER\n Anybody word from Bloom, yet?", "The Saints enter the Suffolk Courthouse, undetected. FLASH!\n\n \n Dolly, dressed as a civilian, pulls the fire alarm. FLASH!", "The terrified ex-gangster staggers toward an exit while wriggling\n out of his bonds. Just as he touches the door.", "At the hall's opposing end, two maintenance workers move toward.\n Romeo sees and quickly puts his head down. Soon, Romeo and the\n maintenance men converge. They turn, entering opposing elevators.", "DUFFY\n C.I.'s came back. Cold hits all\n around. Concezio Yakavetta and his six\n Capo Regime, all blood relatives, have\n disappeared.", "The garden is being torn apart as the brothers, Poppa M and Romeo\n hit their marks and the hit squad returns fire. The boys dive\n behind fountains which are then pulverized.", "She walks off. The cops look terrified.\n\n \n\n DOLLY\n Holy...fucking...shit.", "EUNICE\n I am an FBI agent who is controlling\n this investigation from within, in\n order to ensure that you gentlemen", "In the confusion it is a few moments before anyone realizes he is\n gone. Silence falls. Presently, Romeo and the boys bolt up. Romeo\n goes for the door and the boys level at Eunice.", "BOSTON: A frantic priest in his 50's weeps and begs as Crew Cut\n slams him to his knees with a .9 mm to his head.", "around as Greenly stares at the body like the detective has seen a\n ghost. He turns and nervously staggers toward the front vestibule." ], [ "Noah stands shaking as he watches his father beat to death. We fade\n into later as he holds his father's body, wailing. An Italian kid", "Noah shoots Thug #2 then cuts Thug #1's throat. The other Mafiosi", "and I was helping them! I used you,\n Noah, to eliminate their problems, to\n destroy their competition, to cut out\n their cancers. I earned my place among", "Noah and Louie bury the bodies of Mafioso #1 and #2. Louie stops\n and rests. He watches Noah and thinks.", "Noah rounds the table and takes aim. The man is choking on his own\n blood. Noah slowly lowers his gun and just watches.", "flashbacks we will refer to young Poppa M as \"Noah.\" NOAH (16)\n works in back but watches.", "No response from Noah. Dead eyes.\n\n \n\n 96.", "Noah holds a knife to Thug #1's throat at a card table. He has THUG", "EXT. FUNERAL -- MORNING\n\n\n \n Noah, Louie and a priest are the only ones present at this modest\n affair. Louie weeps. Noah is emotionless.", "Noah puts down his sandwich. Louie talks to Noah with passion,\n m.o.s. and he listens while nodding his head.", "He holds them out to Crew Cut. The boys weep, oblivious to this.", "hands raised, are scared as they look at Noah's dead eyes.", "A mob boss and two body guards wait for an elevator. The doors\n open. Insides is Noah, dark jacket, English Mac (hat). He opens", "scream in horror. Louie kneels and weeps. Noah shoots Thug #3 in\n the heart and calmly takes aim at Thug #4. He shoots him in the", "In the confusion it is a few moments before anyone realizes he is\n gone. Silence falls. Presently, Romeo and the boys bolt up. Romeo\n goes for the door and the boys level at Eunice.", "Noah cuts out a chalk sketch on a large sheet of shoe leather.\n\n \n Louie helps Noah make a \"serious looking\" leather vest.", "ROMAN\n My garden. She is beautiful, yes? Ah,\n but you. You are blind to beauty. You\n are a destroyer, Noah.", "LOUIE\n\n (WHISPERING)\n Easy, Noah...easy friend.", "With Eunice directing them, the boys and Romeo restage the crime\n scene. With a squeegee they move pools of blood across the linoleum\n floor and re-position bodies.", "MAFIOSO #2\n What are you, stupid or something?\n\n \n He smacks Noah across the face." ] ]

[ "How did Noah's father die?", "Who killed Yakavetta?", "Where was Yakavetta hiding?", "Who gave Noah up to the police?", "Who killed Panza?", "Why did the brothers go to the United States?", "Why did Bloom leave the country?", "Why did Smecker fake his death?", "Why were the McManus brothers and their father hiding in Ireland?", "Why were they returning to the United States? ", "Who is Romeo? ", "What does Special Agent Eunice Bloom discover at the crime scene? ", "How does Bloom know the Saints have returned? ", "Who is the Old Man? ", "Who does Louie have waiting for the Saints to arrive? ", "What happens to Louie? ", "Why does Bloom need to leave the country? ", "Who is planning to break the Saints out of prison? ", "In the beginning of the story, who is framed for the murder of a renowned priest?", "Who is the Mexican underground fighter the brothers meet?", "Who is the protegee of Paul Smecker?", "Who hires the hitman to kill Joe?", "How does Concezio die?", "Who kills Panza?", "Who is \"the old man\"?", "What happens to the Saints at the end of the story?", "How does Bloom flee FBI prosecution?", "Who gave Noah up to the police before the events of the story?" ]

[ [ "Killed by mobsters.", "by an assasin" ], [ "The Saints", "the Saints" ], [ "Prudential Tower", "Prudential Tower" ], [ "Louie", "Louie" ], [ "Noah", "Noah" ], [ "They were being framed for murder.", "to clear their name" ], [ "To flee FBI prosecution. ", "to avoid arrest by the FBI" ], [ "To develop a network of support for the Saints.", "To develop a network of support for the Saints." ], [ "They assassinated Joe Yakavetta. ", "they killed Joe Yakavetta" ], [ "Someone was framing them for the murder of a Boston Priest. ", "to clear their name over the murder of a priest" ], [ "A mexican underground fighter who joins the McManus brother's team. ", "A Mexican underground fighter" ], [ "That is the Saints are not responsible for the assassination. ", "that the Saints were back" ], [ "She finds the dead bodies at the warehouse. ", "at the warehouse crime scene" ], [ "Louie, Noah's friend, who helped him kill mobsters and turned Noah into the police. ", "Ottilio Panza" ], [ "Hit men. ", "hit-man" ], [ "Noah kills him. ", "Noah kills him " ], [ "To avoid FBI prosecution. ", "to flee FBI prosecution" ], [ "Smecker. ", "Smecker" ], [ "The Boondock Saints.", "The Saints" ], [ "Romeo. ", "Romeo." ], [ "Eunice Bloom. ", "Eunice Bloom" ], [ "Concezio.", "Connor, Murphy and Noah." ], [ "The brothers assassinate him. ", "The Saints kill him at a meeting with his people" ], [ "Noah.", "Noah" ], [ "Louie.", "Noah's old friend" ], [ "They are imprisoned.", "They are in prison." ], [ "Father Sibeal escorts her out of the country.", "by leaving the country" ], [ "Louie.", "Louie" ] ]

[ [ "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "Darwin takers out a sprig of verbena - a strongly scented\nherb.\n\nHe holds in front of his nose and inhales, making contented\nexpressions of pleasure.", "DARWIN\n Two years later. Captain Fitzroy\n and I took them back, in the\n company of a young Parson, hoping\n they would bring the other\n savages to god and to teach the\n others by example.", "Darwin listens to his footsteps receding, then turns his\n face back to the sun. When he opens his eyes sees a figure\n standing in the lawn.", "In the dawn light, Darwin is writing a letter to his wife.\n\n DARWIN (V.O.)\n .... It has been a very slow and\n gradual process, like the raising\n of continents.", "John Griffiths, the postman, comes up the hill from the\n village.\n\n Darwin gives him the manuscript. The Postman puts it in his\n satchel and heads on up the lane.", "It is starting to rain as, finally, he arrives at the\n address he is looking for. A substantial terraced house.\n\n Darwin descends a stone staircase to the imposing front\n door, and rings the bell.", "Darwin trying, to slip in discreetly is spied by a group of\n locals who hail him and gather around him, wedging him into\n a corner with their overloud loud talk and laughter.", "Darwin sits in his study window, watching a great flock of\n birds wheeling in the sky outside, the whole flock forming\n an ever-changing shape from the movement of its tiny\n component parts.", "Darwin cuts a strange dark angular figure, walking along\n the narrow track a single step at a time.\n\n He pauses breathing, and listens.", "72 INT DARWIN'S STUDY. THE PRESENT 72\n\n Darwin's pen scratches across the pages, making a noise\n like fingernails on a blackboard.", "Down the patch and through the open gate with the servants\n following.\n\n DARWIN\n Get aboard. Brodie", "He reaches into the dark recesses of the forest. Darwin\n grabs it and stuffs it, squawking into his collecting bag.\n 88", "DARWIN\n Once apon a time there was a\n family of Orang-u-tangs living in\n the jungles of darkest Borneo", "41 INT. DARWIN'S STUDY. NIGHT 41\n\n In the darkened study, with his specimens and books all\n around him, Darwin kneels by the box.", "Darwin steps outside and she slams the door on him. Darwin\n continues to rant at the closed door, standing in the\n pouring rain without his umbrella.", "59 THE BEACH. LATER 59\n\n Later, Near the cliff, Darwin is \"geologising\"", "Darwin is in the south American jungle, trying to coax down\n from the trees, some small squeaking creature - a tousled\n looking abandoned chick.", "The relatives of the sick, stand or sit among the pews,\n arriving, praying, departing\n\n Darwin kneels awkwardly in front of the altar, clasps his\n hands together and prays:", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma." ], [ "The sender is a Mr Wallace. There's a covering letter and a\n twenty page attachment Darwin reads, and lets out a sudden\n loud bellow of laughter.\n\n DARWIN\n Ha!!", "In the dawn light, Darwin is writing a letter to his wife.\n\n DARWIN (V.O.)\n .... It has been a very slow and\n gradual process, like the raising\n of continents.", "Darwin picks it up, it is addressed to John Murray,\n Publisher, stamped and sealed with sealing wax.", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "John Griffiths, the postman, comes up the hill from the\n village.\n\n Darwin gives him the manuscript. The Postman puts it in his\n satchel and heads on up the lane.", "Darwin sits up, writing to Emma, crying as he writes.", "PARSLOW\n Post for you sir.\n\n He leaves it by Darwins elbow and backs out.\n\n After a while Darwin seems to rouse himself.", "It is starting to rain as, finally, he arrives at the\n address he is looking for. A substantial terraced house.\n\n Darwin descends a stone staircase to the imposing front\n door, and rings the bell.", "HOOKER\n It is a letter. You have a book\n\n DARWIN\n ...barely half of it", "Darwin listens to his footsteps receding, then turns his\n face back to the sun. When he opens his eyes sees a figure\n standing in the lawn.", "DARWIN (V.O.)\n Dearest Emma. I think it best for\n you to know how every hour", "DARWIN\n (still writing)\n And say what? She does not want\n to hear it.\n\n ANNIE\n Then write to her.", "INNES\n Mrs Darwin informed me you would\n be alone and ....perhaps a need\n to counsel.\n\nHe sees an envelope on the ground and stoops to retrieve\nit.", "As he waits for an answer a woman appears, unseen in the\n rain streaked window above, observing him.\n\n Darwin rings again. A moment later the woman answers the\n door.", "Parslow comes running over from the skeletonizing shed,\n calling:\n\n PARSLOW\n Sir. Mr Darwin.", "DARWIN\n It has been finished for me. My\n correspondent In the spice\n islands has arrived independently", "Darwin takers out a sprig of verbena - a strongly scented\nherb.\n\nHe holds in front of his nose and inhales, making contented\nexpressions of pleasure.", "DARWIN\n He does indeed Mr Innes. I was\n reflecting only the other day on\n the fact that he has endowed us", "Darwin sits at his desk. Writing. He is possessed of a new\n sense of calm and purpose, the pen gliding fluently across\n the page.\n 87", "Darwin watches his wife, a sensuous figure, stooped over\n the sleeping child, a lock of hair falling forwards as she\n kisses her.\n\n DARWIN\n Good-night George" ], [ "DARWIN\n The hunters sold her the to the\n Sultan who promptly sold her to a\n visiting Englishman who packed\n her aboard a sailing ship and\n brought her to London zoo.", "DARWIN\n Once apon a time there was a\n family of Orang-u-tangs living in\n the jungles of darkest Borneo", "46 INT. CAGE. LONDON ZOO. DAY 46\n\n Now she sits disconsolately in a corner of her permanent\n enclosure.", "43 EXT. JUNGLES OF BORNEO. DAY 43\n\n Our POV moves between dark tropical trees to find a group\n of Orangutans flopping around grooming each other.", "Most of the apes flee up into the canopy. Jenny stays where\n she is, fascinated, just a moment longer than is prudent.", "As with the land of the Fuegan savages, there is something\n slightly artificial about these jungles, as though the\n trees really belong in Kew gardens, and the naked jungle", "DARWIN\n In London she had many admirers -\n of whom your father was but one.\n\n Darwin moves forwards from the shadows, where he has been\n observing and taking notes.", "A warning screech from one of the Orang-u-tangs posted as\n lookouts.", "DARWIN\n Their eldest daughter was the\n most loving, caring and trusting\n Orang of all.", "Darwin is in the south American jungle, trying to coax down\n from the trees, some small squeaking creature - a tousled\n looking abandoned chick.", "Darwin aged 40 - bright-eyed and inquisitive leans over to\n examine something, offering it his finger tip while making\n little tut tut tut noises.\n\n In the cot is a one-month old baby.", "DARWIN (V.O.)\n Their names were Jemmy Buttons,\n York Minster and Fuegia Basket.\n\n\n7 INT. BELOW DECKS. DAY. 7", "DARWIN\n Two years later. Captain Fitzroy\n and I took them back, in the\n company of a young Parson, hoping\n they would bring the other\n savages to god and to teach the\n others by example.", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "DARWIN\n He knew his wife wouldn't care\n for this creature so when he came\n home he locked it in a box, where\n it couldn't run around and do any\n damage.", "DARWIN\n A weasel.\n\nThe children bunch up to gaze on a strange and wonderful\nsight.", "Fuegia Basket curtsies.\n\n Queen Victoria remains out of shot but her attendants hand\n out presents off a purple silk cushion: A Bible for Fuegia\n and a telescope for Jemmy", "Jenny watches.\n\nDarwin holds the verbena towards Jenny.\n\nCautiously she extends a hand through the bars.", "The benighted young parson scrambles after them, collecting\n their discarded garments from among the rain-swept rocks.\n\n PARSON\n Jemmy! Fuegia", "Gully is a small dapper man wearing an apron over his shirt\n and tie. His trousers are tucked into calf-length\n Wellington boots.\n\n He greets Darwin cheerfully, effusively." ], [ "ANNIE\n Mr Innes sent me to the corner\n and made me kneel on rock-salt.\n\n DARWIN\n What!", "Brodie and the maid roll Annie on her side and cut off the\n tail of her shirt, then roll her on her back again, with a\n pillow between her two bony knees.", "Darwin kneels by her bedside, clasps her little hand is his\n own.\n\n DARWIN\n Darling Annie. I am here now.", "Darwin squints at her through the rain, which is falling\n harder now.\n\n The figure is Annie.", "Annie lets out a reedy whine of appreciation and strokes\n his lapel \"making him beautiful\"\n\n Brodie cannot bear it and bursts into tears.", "EMMA\n (interrupting)\n Annie. Let me talk to your\n father. He told her to kneel til\n she repented...\n\n DARWIN\n Repented what?", "DARWIN\n Annie. Annie. Annie.\n\n The piano music continuing over, as her fist closes round\n the end of his finger, then tries to pull it towards her\n mouth.", "Gully stands up from the bed. His expression tells us hope\n is fading. Annie's pale sunken cheeks and caked lips\n confirm it.", "Annie is beside herself, drumming the ground with her feet\nin a fever of fear and pity.\n\nThe rabbit is still in its dearth throes, its neck broken,\nits back legs still jerking", "Despite herself the concept amuses Annie. Chest still\n heaving with sobs - she dries her eyes and smiles at him\n through her tears.", "The salt wind. The dazzling light. The slow pulse of the\n surf.\n\n Darwin has paused in his narrative.\n\n ANNIE\n Go on papa.", "Darwin loses Annie, then he sees her again, at the top of a\n steep flight of stone steps.\n\n Darwin, drenched chases after her.", "Annie enjoys the joke and gives Darwin a weak smile. The\ndoctor regards her balefully\n\n DOCTOR\n Or if she would submit to be\n bled.", "Parslow has gathered up Annie from her room and is carrying\nher downstairs, pale and sickly-looking, with Brodie\nfussing behind.", "Annie gives a shout and disappears head over heels.\n\n DARWIN\n Annie!\n\n ANNIE\n I've found one!", "DARWIN\n Its not nothing. (To Annie) Why\n are your knees bleeding?\n 45", "DARWIN\n Annie!\n\n He reaches the centre of the lawn and stopped by a sudden\n intense pain in the gut which strikes him like a blow and\n fells him to his knees.", "Annie lies on the bed between them, her breathing fast and\n shallow. She manages a weak smile.\n\n DARWIN\n Is she any better? Does she want\n for anything?", "Darwin sits at his desk, writing and editing, his hand\n clamped on the pen.\n\n A voice speaks from nowhere\n\n ANNIE\n Talk to her.", "Suddenly she speaks: faintly but audibly:\n 81\n\n\n ANNIE\n The rabbit.\n\n DARWIN\n What?" ], [ "DARWIN\n Well damn how he sees it. Damn\n the pair of them and all their\n works\n\n EMMA\n Charles listen to yourself.\n Listen", "DARWIN\n You don't understand.\n\n EMMA\n I do! Do you think me deaf and\n blind. You have lived with her\n and spoken with her every day\n since she died.", "DARWIN AND EMMA\n Good-night Annie\n\n She's sound asleep. Finally Charles and Emma are alone\n together in the blissfully silent house.\n\n Emma smiles", "EMMA\n She is more real to you than I\n am. She's dead Charles.\n\n DARWIN\n I know that.", "EMMA\n Dear Charles\n\n DARWIN\n Dearest Emma\n\n He takes her hand and leads her to their bedroom.", "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "Darwin sits up, writing to Emma, crying as he writes.", "Darwin lies, pale and weak, looking upwards from a sea of\n white blankets.\n\n The door opens and he turns his head. Its Emma.", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "EMMA\n It is not so far.\n\n DARWIN\n It is two days by coach and\n train. Who will look after the\n others.", "141 INT. DARWIN'S BEDROOM. NIGHT 141\n\n Emma goes to bed, utterly drained.", "HOOKER\n Emma. Forgive the short notice.\n You know Thomas Huxley.\n\n EMMA\n Only by reputation\n\n HUXLEY\n Mrs Darwin.", "GULLY\nBut not to you.\n\n DARWIN\nEmma and I have become ...divided\non it.\n\n GULLY\nDoes it affect your marital\nrelations.", "DARWIN (V.O.)\n Dearest Emma. I think it best for\n you to know how every hour", "EMMA\n Annie...\n\n ANNIE\n Mama...\n\nShe clasps Emma's hand. Darwin keeps heading for the door.\nEmma holds fast to Annies hand and follows behind", "DARWIN\n ....To be doing Gods will.\n\n EMMA\n (to Innes)\n Please ignore him. After two\n glasses of claret he tends to\n becomes mischievous.", "Darwin watches his wife, a sensuous figure, stooped over\n the sleeping child, a lock of hair falling forwards as she\n kisses her.\n\n DARWIN\n Good-night George", "As she moves to the bell-pull he grabs her wrist\n\n DARWIN\n I went back to Worcester Road. I\n saw Annie.\n\n EMMA\n Charles. No.", "He embraces her.\n\nEmma is reassured, she cannot see the conflict written all\nover Darwins face.\n 47" ], [ "Darwin sits at his desk. Writing. He is possessed of a new\n sense of calm and purpose, the pen gliding fluently across\n the page.\n 87", "Darwin listens to his footsteps receding, then turns his\n face back to the sun. When he opens his eyes sees a figure\n standing in the lawn.", "John Griffiths, the postman, comes up the hill from the\n village.\n\n Darwin gives him the manuscript. The Postman puts it in his\n satchel and heads on up the lane.", "Darwin sits in sunshine at the rear of the house, rugged up\n against the cold. Looking frail still, but oddly at peace.\n\n INNES\n Ah, there you are Mr Darwin.", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "Darwin watches his wife, a sensuous figure, stooped over\n the sleeping child, a lock of hair falling forwards as she\n kisses her.\n\n DARWIN\n Good-night George", "PARSLOW\n Post for you sir.\n\n He leaves it by Darwins elbow and backs out.\n\n After a while Darwin seems to rouse himself.", "Darwin lowers himself into bed, inky and tousled. He seems\n prematurely aged, crippled by the gruelling process of\n writing the book.", "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "DARWIN\n He does indeed Mr Innes. I was\n reflecting only the other day on\n the fact that he has endowed us", "Darwin reclines on a leather couch, watching the watery\n play of light on the ceiling.\n\n A door opens and Dr Gully comes in, accompanied by two\n assistants.", "Darwin takers out a sprig of verbena - a strongly scented\nherb.\n\nHe holds in front of his nose and inhales, making contented\nexpressions of pleasure.", "MR GULLY\n Mr Darwin, old friend. Mr Darwin.\n It has been too long I fear. Tut\n tut tut tut tut. What have we now\n what have we now?", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "DARWIN\n Well damn how he sees it. Damn\n the pair of them and all their\n works\n\n EMMA\n Charles listen to yourself.\n Listen", "DARWIN\n (furious)\n Do you take me for an idiot?\n Clearly Gully has appraised you\n of my history.", "DARWIN.\n On one small mollusc!\n\n HOOKER\n In which the whole story of\n creation can be read. Do not\n pretend to me that was not your\n intention.", "Finally his outrage has spent itself, neutralized by her\ngentle persistence and the deep affection he holds for her.\n\n DARWIN\n You're right of course.... I'm\n sorry.", "Darwin kneels by her bedside, clasps her little hand is his\n own.\n\n DARWIN\n Darling Annie. I am here now.", "Darwin lies, pale and weak, looking upwards from a sea of\n white blankets.\n\n The door opens and he turns his head. Its Emma." ], [ "DARWIN\n He thinks I should write it and\n be done with it. He feels it is a\n question of moral courage ...or\n the lack of it.", "Darwin lowers himself into bed, inky and tousled. He seems\n prematurely aged, crippled by the gruelling process of\n writing the book.", "Darwin sits up, writing to Emma, crying as he writes.", "Darwin gets into bed behind her. He wants desperately to\n reach out a hand to touch her, to comfort her, but he\n cannot do it for fear of weakening his own fragile resolve.", "John Griffiths, the postman, comes up the hill from the\n village.\n\n Darwin gives him the manuscript. The Postman puts it in his\n satchel and heads on up the lane.", "DARWIN.\n You know it is not yet any fit\n state to publish.", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "Darwin dips his pen, scores out some text from his previous\n draft and writes again.\n\n The music continues from downstairs, louder and more\n insistent than before.", "In the dawn light, Darwin is writing a letter to his wife.\n\n DARWIN (V.O.)\n .... It has been a very slow and\n gradual process, like the raising\n of continents.", "Darwin sits at his desk.\n\n He has written the chapter heading and nothing else.\n\n Parslow knocks and looks in", "Darwin sits at his desk. Writing. He is possessed of a new\n sense of calm and purpose, the pen gliding fluently across\n the page.\n 87", "62 INT DARWIN'S STUDY. DAY. 62\n\n Darwin massages his cramped hand then takes a blank sheet\n of notepaper.", "Darwin sits immobile in his chair, regarding a locked,\n black lacquered steel trunk, on the floor under his work\n table.\n\n A voice speaks behind him.", "The older Darwin, hesitates, chest pounding, outside the\n door of number 14, then unlocks it as...", "He makes some space on the bench. Innes hesitates, unable\nto read Darwin's feelings towards him. The smile is\nwelcoming enough but there is something not altogether\nbalanced about it", "The conflicted expression has hardened, the furrows in\n Darwin's brow etched deeper, as he dips his pen and begins\n the second chapter.", "Darwin sits at his desk, writing and editing, his hand\n clamped on the pen.\n\n A voice speaks from nowhere\n\n ANNIE\n Talk to her.", "Darwin opens the black box, takes out the files, places\n them on his desk, then sits down and begins to write", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "72 INT DARWIN'S STUDY. THE PRESENT 72\n\n Darwin's pen scratches across the pages, making a noise\n like fingernails on a blackboard." ], [ "DARWIN\n He thinks I should write it and\n be done with it. He feels it is a\n question of moral courage ...or\n the lack of it.", "John Griffiths, the postman, comes up the hill from the\n village.\n\n Darwin gives him the manuscript. The Postman puts it in his\n satchel and heads on up the lane.", "Darwin gets into bed behind her. He wants desperately to\n reach out a hand to touch her, to comfort her, but he\n cannot do it for fear of weakening his own fragile resolve.", "PARSLOW\n Post for you sir.\n\n He leaves it by Darwins elbow and backs out.\n\n After a while Darwin seems to rouse himself.", "DARWIN\n No. We can leave that for Mr\n Wallace now. Should I advise him\n to stay overseas do you think? If\n he shows his face in Kent he may\n be required to kneel on rock\n salt.", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "DARWIN (V.O.)\n Dear Hooker, I have today\n despatched to John Murray the\n completed manuscript. Who knows", "Darwin sits up, writing to Emma, crying as he writes.", "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "In the dawn light, Darwin is writing a letter to his wife.\n\n DARWIN (V.O.)\n .... It has been a very slow and\n gradual process, like the raising\n of continents.", "DARWIN\n Well damn how he sees it. Damn\n the pair of them and all their\n works\n\n EMMA\n Charles listen to yourself.\n Listen", "Darwin turns back and walks up towards the house.\n\n As he does so a little figure, Annie takes his hand, and\n together they continue on home, Annie skipping happily by\n her father's side.", "He makes some space on the bench. Innes hesitates, unable\nto read Darwin's feelings towards him. The smile is\nwelcoming enough but there is something not altogether\nbalanced about it", "DARWIN\n (still writing)\n And say what? She does not want\n to hear it.\n\n ANNIE\n Then write to her.", "Darwin lowers himself into bed, inky and tousled. He seems\n prematurely aged, crippled by the gruelling process of\n writing the book.", "Darwin sits in sunshine at the rear of the house, rugged up\n against the cold. Looking frail still, but oddly at peace.\n\n INNES\n Ah, there you are Mr Darwin.", "DARWIN.\n You know it is not yet any fit\n state to publish.", "Darwin sits immobile in his chair, regarding a locked,\n black lacquered steel trunk, on the floor under his work\n table.\n\n A voice speaks behind him.", "Darwin listens to his footsteps receding, then turns his\n face back to the sun. When he opens his eyes sees a figure\n standing in the lawn.", "Darwin sits at his desk, writing and editing, his hand\n clamped on the pen.\n\n A voice speaks from nowhere\n\n ANNIE\n Talk to her." ], [ "DARWIN\n Well damn how he sees it. Damn\n the pair of them and all their\n works\n\n EMMA\n Charles listen to yourself.\n Listen", "EMMA\n Lord God who watches over all\n that we do. Bless this family and\n the food we eat. In Jesus name.\n Amen.\n\nEveryone repeats the \"Amen\" except Darwin.", "Emma lies on a rug, her head is in Darwin's lap. She is\n reading aloud from a new book of poems by Wordsworth.", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "Heavily pregnant Emma sits in the drawing room, crying and\n reading Darwin's latest letter.", "DARWIN\n ....To be doing Gods will.\n\n EMMA\n (to Innes)\n Please ignore him. After two\n glasses of claret he tends to\n becomes mischievous.", "DARWIN\n You don't understand.\n\n EMMA\n I do! Do you think me deaf and\n blind. You have lived with her\n and spoken with her every day\n since she died.", "EMMA\n She is more real to you than I\n am. She's dead Charles.\n\n DARWIN\n I know that.", "EMMA\n Amen.\n\n INNES\n (to Darwin)\n You don't agree.", "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "Emma, knowing her husband's ambivalence towards religion,\ncasts him a slightly arch, amused look. Innes notices this,\nthough he pretends not to.", "Darwin sits up, writing to Emma, crying as he writes.", "He embraces her.\n\nEmma is reassured, she cannot see the conflict written all\nover Darwins face.\n 47", "EMMA is devastated by the slip but is presently too\noverwrought to retract it.\n\n DARWIN\n Leave us please, Etty.", "DARWIN\n Let me tell you.\n\n EMMA\n I don't want to hear it. This\n must stop.", "141 INT. DARWIN'S BEDROOM. NIGHT 141\n\n Emma goes to bed, utterly drained.", "EMMA\n Eat your soup now.\n\n Darwin takes a couple of spoonfuls, pauses, as a wave of\n nausea sweeps over him, then pushes away the dish.", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "Emma is playing by candle-light. Darwin places the\n manuscript on top of the piano.\n\n She stops abruptly. The last chord resonates in the musky\n air.\n 90", "As she moves to the bell-pull he grabs her wrist\n\n DARWIN\n I went back to Worcester Road. I\n saw Annie.\n\n EMMA\n Charles. No." ], [ "Darwin turns back and walks up towards the house.\n\n As he does so a little figure, Annie takes his hand, and\n together they continue on home, Annie skipping happily by\n her father's side.", "Darwin kneels by her bedside, clasps her little hand is his\n own.\n\n DARWIN\n Darling Annie. I am here now.", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "Darwin sits at his desk, writing and editing, his hand\n clamped on the pen.\n\n A voice speaks from nowhere\n\n ANNIE\n Talk to her.", "Darwin loses Annie, then he sees her again, at the top of a\n steep flight of stone steps.\n\n Darwin, drenched chases after her.", "DARWIN\n Annie. Annie. Annie.\n\n The piano music continuing over, as her fist closes round\n the end of his finger, then tries to pull it towards her\n mouth.", "DARWIN\n Ah yes.\n\n ANNIE\n \"The natural History of babies\"\n ...Remember?\n\n DARWIN\n Of course I remember.", "\"Past\" means the summer of 1850, when Darwin was 41. The\n children are: Willy (11), Annie (9) Etty (6) George (5),", "Darwin squints at her through the rain, which is falling\n harder now.\n\n The figure is Annie.", "DARWIN\n Don't be absurd. Of course you're\n not.\n\n ANNIE\n The story of me when I was small.\n You showed me the pages.", "DARWIN\n (still writing)\n And say what? She does not want\n to hear it.\n\n ANNIE\n Then write to her.", "Darwin sits alone with Annie who is babbling incoherently.\n He can't make out anything she says\n 80", "Darwin is watching Annie dancing in front of the surf ,\n turning cartwheels - a wild dancing sprite of the sea,\n oblivious to the cold, shouting and singing:", "DARWIN\n (his arm is stuck)\n In his rights to torture our\n children for expressing the plain\n truth.\n\nBrodie appears and Darwin ushers Annie towards her", "DARWIN\n No. Why do you want to hear that\n bit?\n\n ANNIE\n I just like it. It makes me cry.", "DARWIN\n Its not nothing. (To Annie) Why\n are your knees bleeding?\n 45", "DARWIN\n ....and then she can read it, and\n we can all be free of this! Now,\n please, Annie no more\n interruptions!", "DARWIN\n (irritably)\n That is what I am doing Annie, I\n am writing all of it.\n 48", "DARWIN\n I have no time....\n\n ANNIE\n About Jenny. Please?\n\n The sound of a wave breaking. Wind stirs Darwin's hair", "DARWIN\n Is that good, my lovely\n\n ANNIE\n (suddenly lucid)\n Beautifully good. I am making\n custards." ], [ "Though the soft touch of her little hands is almost too\n real for him to bear and he closes his eyes\n\n ANNIE\n Breath in, papa. Breathe out. Now\n Tell me a story.", "ANNIE\n Tell me a story.\n\n DARWIN\n I'm busy Annie.", "Despite herself the concept amuses Annie. Chest still\n heaving with sobs - she dries her eyes and smiles at him\n through her tears.", "On shore, Annie runs up with a collecting box to show her\n father\n\n ANNIE\n I've got one.\n\n She opens the box to show him a little black beetle.", "ANNIE\n No! No! Stop it. Daddy. Stop it.\n Make it stop.\n\nThe rabbit is already dead.\n\n DARWIN\n Annie, Annie, Annie.", "Annie is beside herself, drumming the ground with her feet\nin a fever of fear and pity.\n\nThe rabbit is still in its dearth throes, its neck broken,\nits back legs still jerking", "Darwin turns back and walks up towards the house.\n\n As he does so a little figure, Annie takes his hand, and\n together they continue on home, Annie skipping happily by\n her father's side.", "ANNIE\n Tell me about Jenny.\n\n Darwin bends low to hear her more clearly.\n\n DARWIN\n What about her.", "Annie lets out a reedy whine of appreciation and strokes\n his lapel \"making him beautiful\"\n\n Brodie cannot bear it and bursts into tears.", "Darwin squints at her through the rain, which is falling\n harder now.\n\n The figure is Annie.", "Annie smiles, puts her hands around her fathers neck and\n dies.\n\n\n140 INT. TRAIN THE PAST DAY 140", "ANNIE\n And what did she do?\n\n DARWIN\n I don't know but I fancy she took\n them out in the garden and set\n them free.", "She looks up from her shells and smiles winningly.\n\n Darwin looks out to sea, at the bright crashing line of\n surf, and begins the familiar, much-told tale:", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "Gully stands up from the bed. His expression tells us hope\n is fading. Annie's pale sunken cheeks and caked lips\n confirm it.", "DARWIN\n No. Why do you want to hear that\n bit?\n\n ANNIE\n I just like it. It makes me cry.", "Annie sobs louder, incoherent in her grief.\n\n Darwin finally focusses on the sounds, recognizes her\n distress and gets up to investigate.", "DARWIN\n Annie. Annie. Annie.\n\n The piano music continuing over, as her fist closes round\n the end of his finger, then tries to pull it towards her\n mouth.", "DARWIN\n Go on what.\n\n ANNIE\n The bit where she gets sick and\n dies.", "Brodie and the maid roll Annie on her side and cut off the\n tail of her shirt, then roll her on her back again, with a\n pillow between her two bony knees." ], [ "Darwin sits up, writing to Emma, crying as he writes.", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "Heavily pregnant Emma sits in the drawing room, crying and\n reading Darwin's latest letter.", "DARWIN AND EMMA\n Good-night Annie\n\n She's sound asleep. Finally Charles and Emma are alone\n together in the blissfully silent house.\n\n Emma smiles", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "Darwin lies, pale and weak, looking upwards from a sea of\n white blankets.\n\n The door opens and he turns his head. Its Emma.", "Darwin gets into bed behind her. He wants desperately to\n reach out a hand to touch her, to comfort her, but he\n cannot do it for fear of weakening his own fragile resolve.", "As she moves to the bell-pull he grabs her wrist\n\n DARWIN\n I went back to Worcester Road. I\n saw Annie.\n\n EMMA\n Charles. No.", "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "DARWIN\n You don't understand.\n\n EMMA\n I do! Do you think me deaf and\n blind. You have lived with her\n and spoken with her every day\n since she died.", "Darwin watches his wife, a sensuous figure, stooped over\n the sleeping child, a lock of hair falling forwards as she\n kisses her.\n\n DARWIN\n Good-night George", "DARWIN\n Well damn how he sees it. Damn\n the pair of them and all their\n works\n\n EMMA\n Charles listen to yourself.\n Listen", "141 INT. DARWIN'S BEDROOM. NIGHT 141\n\n Emma goes to bed, utterly drained.", "DARWIN\n He sent a telegram. I'm sorry if\n it inconveniences you.\n 9\n\n\n Emma purses her lips and turns her attention back to the\n children", "Darwins attractive wife Emma adjusts the lamps and the boys\nrun in, Franky aged 10 Lenny aged 8 Horace aged 6.\n\n LENNY\n Mama mama.", "Emma lies on a rug, her head is in Darwin's lap. She is\n reading aloud from a new book of poems by Wordsworth.", "EMMA is devastated by the slip but is presently too\noverwrought to retract it.\n\n DARWIN\n Leave us please, Etty.", "EMMA\n She is more real to you than I\n am. She's dead Charles.\n\n DARWIN\n I know that.", "DARWIN (V.O.)\n Dearest Emma. I think it best for\n you to know how every hour", "He embraces her.\n\nEmma is reassured, she cannot see the conflict written all\nover Darwins face.\n 47" ], [ "Parslow has gathered up Annie from her room and is carrying\nher downstairs, pale and sickly-looking, with Brodie\nfussing behind.", "Gully stands up from the bed. His expression tells us hope\n is fading. Annie's pale sunken cheeks and caked lips\n confirm it.", "The local doctor Henry Holland takes out various\n concoctions from his medical bag and arranges them on the\n dresser.\n\n We are in the past. Annie is in bed with a fever.", "Annie is beside herself, drumming the ground with her feet\nin a fever of fear and pity.\n\nThe rabbit is still in its dearth throes, its neck broken,\nits back legs still jerking", "DARWIN\n Go on what.\n\n ANNIE\n The bit where she gets sick and\n dies.", "Annie lies on the bed between them, her breathing fast and\n shallow. She manages a weak smile.\n\n DARWIN\n Is she any better? Does she want\n for anything?", "Emma turns out the light. In the darkness Etty says.\n\n ETTY\n I think when Annie died he\n stopped loving us.\n\n Emma returns to her bedside", "Annie sobs louder, incoherent in her grief.\n\n Darwin finally focusses on the sounds, recognizes her\n distress and gets up to investigate.", "Annie struggles and whimpers. Brodie comforts her", "Brodie and the maid roll Annie on her side and cut off the\n tail of her shirt, then roll her on her back again, with a\n pillow between her two bony knees.", "Darwin squints at her through the rain, which is falling\n harder now.\n\n The figure is Annie.", "Annie enjoys the joke and gives Darwin a weak smile. The\ndoctor regards her balefully\n\n DOCTOR\n Or if she would submit to be\n bled.", "ANNIE\n (shouts back)\n Mama!\n\n The garden gate clangs shut behind them.", "It is Annie, plain as day, scowling at him angrily.", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "ANNIE\n Please no.\n\n DARWIN\n I will write to Dr Gully again.", "Annie smiles, puts her hands around her fathers neck and\n dies.\n\n\n140 INT. TRAIN THE PAST DAY 140", "EMMA\n I do not care for the others. I\n care for Annie!\n\nEtty, coming apon then unexpectedly, hears this and is\ninstantly heartbroken.", "Despite herself the concept amuses Annie. Chest still\n heaving with sobs - she dries her eyes and smiles at him\n through her tears.", "The others are shocked and amazed by the rabbits death, but\nnone of them distressed as Annie. They are country children\nand death is an everyday event" ], [ "There is no sign of Annie but he knows this street - The\n Worcester Road - a row of Grey Georgian houses, their backs\n against the hill, their sloping front gardens looking out\n over the rooftops of Malvern.", "DARWIN\n I should take her to Malvern.\n\n EMMA\n I think it is better she is here.", "A bright sunny day. Darwin, looking weak but purged, sits\n on the terrace, sipping a glass of foul-tasting mineral\n water and looking out over the stone houses, fields and\n valleys of Malvern.", "112 EXT. HORSE AND CART. DAY 112\n\n Darwin sits in the back as the attendant drives them\n through Malvern.", "Darwin loses Annie, then he sees her again, at the top of a\n steep flight of stone steps.\n\n Darwin, drenched chases after her.", "Darwin turns back and walks up towards the house.\n\n As he does so a little figure, Annie takes his hand, and\n together they continue on home, Annie skipping happily by\n her father's side.", "As she moves to the bell-pull he grabs her wrist\n\n DARWIN\n I went back to Worcester Road. I\n saw Annie.\n\n EMMA\n Charles. No.", "119 EXT. STREETS OF MALVERN. NIGHT 119\n\n Darwin wanders the cobbled streets of Malvern, pausing\n occasionally to consult a hand-written address.", "The train wheezes to a halt. The doors open and the train\n disgorges its cargo of sick people, come to Malvern for", "Darwin kneels by her bedside, clasps her little hand is his\n own.\n\n DARWIN\n Darling Annie. I am here now.", "At the bottom of the stairs, Darwin takes Annie from\nParslow's arms\n\n DARWIN\n The coach is outside. I will\n carry her from here.", "Darwin squints at her through the rain, which is falling\n harder now.\n\n The figure is Annie.", "Charles bundles Annie inside.\n\n DARWIN\n (to the coachman)\n Go. Go.\n\n EMMA\n (calls)\n Wait!", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "DARWIN\n Annie. Annie. Annie.\n\n The piano music continuing over, as her fist closes round\n the end of his finger, then tries to pull it towards her\n mouth.", "DARWIN\n Annie!\n\n He reaches the centre of the lawn and stopped by a sudden\n intense pain in the gut which strikes him like a blow and\n fells him to his knees.", "ANNIE\n Please no.\n\n DARWIN\n I will write to Dr Gully again.", "123 EXT. MALVERN. SIDE STREETS. VARIOUS. NIGHT 123\n\n Darwin pursues his daughter up narrow cobbled lanes.", "DARWIN\n (his arm is stuck)\n In his rights to torture our\n children for expressing the plain\n truth.\n\nBrodie appears and Darwin ushers Annie towards her", "Darwin is watching Annie dancing in front of the surf ,\n turning cartwheels - a wild dancing sprite of the sea,\n oblivious to the cold, shouting and singing:" ], [ "Annie smiles, puts her hands around her fathers neck and\n dies.\n\n\n140 INT. TRAIN THE PAST DAY 140", "Gully stands up from the bed. His expression tells us hope\n is fading. Annie's pale sunken cheeks and caked lips\n confirm it.", "Annie is beside herself, drumming the ground with her feet\nin a fever of fear and pity.\n\nThe rabbit is still in its dearth throes, its neck broken,\nits back legs still jerking", "Emma turns out the light. In the darkness Etty says.\n\n ETTY\n I think when Annie died he\n stopped loving us.\n\n Emma returns to her bedside", "Darwin kneels by her bedside, clasps her little hand is his\n own.\n\n DARWIN\n Darling Annie. I am here now.", "ANNIE\n No! No! Stop it. Daddy. Stop it.\n Make it stop.\n\nThe rabbit is already dead.\n\n DARWIN\n Annie, Annie, Annie.", "Though the soft touch of her little hands is almost too\n real for him to bear and he closes his eyes\n\n ANNIE\n Breath in, papa. Breathe out. Now\n Tell me a story.", "Annie lies on the bed between them, her breathing fast and\n shallow. She manages a weak smile.\n\n DARWIN\n Is she any better? Does she want\n for anything?", "On shore, Annie runs up with a collecting box to show her\n father\n\n ANNIE\n I've got one.\n\n She opens the box to show him a little black beetle.", "Annie sobs louder, incoherent in her grief.\n\n Darwin finally focusses on the sounds, recognizes her\n distress and gets up to investigate.", "Annie gives a shout and disappears head over heels.\n\n DARWIN\n Annie!\n\n ANNIE\n I've found one!", "ANNIE\n Please no.\n\n DARWIN\n I will write to Dr Gully again.", "Suddenly she speaks: faintly but audibly:\n 81\n\n\n ANNIE\n The rabbit.\n\n DARWIN\n What?", "Despite herself the concept amuses Annie. Chest still\n heaving with sobs - she dries her eyes and smiles at him\n through her tears.", "CHARLES\n Say it now. Say it. And all the\n rest that follows. That I should\n have kept Annie warm that day on", "ANNIE\n (shouts back)\n Mama!\n\n The garden gate clangs shut behind them.", "Annie struggles and whimpers. Brodie comforts her", "DARWIN\n Go on what.\n\n ANNIE\n The bit where she gets sick and\n dies.", "Annie lets out a reedy whine of appreciation and strokes\n his lapel \"making him beautiful\"\n\n Brodie cannot bear it and bursts into tears.", "ANNIE\n Will this hurt, papa?\n\n DARWIN\n No. It is only a beam of light.\n\n ANNIE\n How can light make a picture." ], [ "HUXLEY\n It is time to write your book Mr\n Darwin. Write it brilliantly as\n we all know you can. Strike hard\n and fast with a blow that is\n utterly conclusive.", "DARWIN\n You have been talking to Huxley.", "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "DARWIN.\n Mr Huxley\n\n HUXLEY\n ....and good riddance to the\n bearded malicious old bugger!", "DARWIN\n And you'd replace Gods Laws with\n what.\n\n HUXLEY\n The laws of logic. The laws of\n nature.", "39 EXT. DOWN HOUSE. DAY. 39\n\n The Coach to London has pulled up outside the front gate.\n Huxley is aboard. Darwin is talking with the coachman", "Darwin smiles at the idea, turns to Innes\n\n DARWIN\n Are you familiar with the works\n of Thomas Malthus, Mr Innes?.", "DARWIN\n Knowing, as we do, that most\n capital crimes are her everyday\n practises: Theft, rape, murder,\n adultery, infanticide....\n\n Huxley waves it away", "John Griffiths, the postman, comes up the hill from the\n village.\n\n Darwin gives him the manuscript. The Postman puts it in his\n satchel and heads on up the lane.", "HOOKER\n Emma. Forgive the short notice.\n You know Thomas Huxley.\n\n EMMA\n Only by reputation\n\n HUXLEY\n Mrs Darwin.", "DARWIN\n Hoo hoo hoo hoo.\n\nJenny regards him sceptically then looks away.\n\n DARWIN.\n HOO!!", "Its clearly worse than that, but Huxley, refusing to be\ndistracted, blithely ignores it and sits down beside him\ntil the worst of it passes.", "In the dawn light, Darwin is writing a letter to his wife.\n\n DARWIN (V.O.)\n .... It has been a very slow and\n gradual process, like the raising\n of continents.", "DARWIN.\n On one small mollusc!\n\n HOOKER\n In which the whole story of\n creation can be read. Do not\n pretend to me that was not your\n intention.", "DARWIN\n He does indeed Mr Innes. I was\n reflecting only the other day on\n the fact that he has endowed us", "Darwin sits immobile in his chair, regarding a locked,\n black lacquered steel trunk, on the floor under his work\n table.\n\n A voice speaks behind him.", "HUXLEY\n We'll meet again, Mr Darwin\n\n\n40 INT. THE LANEWAY. DAY 40\n\n The coach pulls away.", "The sender is a Mr Wallace. There's a covering letter and a\n twenty page attachment Darwin reads, and lets out a sudden\n loud bellow of laughter.\n\n DARWIN\n Ha!!", "Darwin nods, unable to turn his head, or make any gesture\n with his hands.\n\n The stranger continues to talk to him nonetheless.", "Darwin's ink stained fingers speak volumes.\n\n DR GULLY\n No doubt you have been exercising\n your brain every hour that God\n gave you." ], [ "Darwin nods, unable to turn his head, or make any gesture\n with his hands.\n\n The stranger continues to talk to him nonetheless.", "Darwin gets into bed behind her. He wants desperately to\n reach out a hand to touch her, to comfort her, but he\n cannot do it for fear of weakening his own fragile resolve.", "Darwin trying, to slip in discreetly is spied by a group of\n locals who hail him and gather around him, wedging him into\n a corner with their overloud loud talk and laughter.", "DARWIN\n ....To be doing Gods will.\n\n EMMA\n (to Innes)\n Please ignore him. After two\n glasses of claret he tends to\n becomes mischievous.", "PARSLOW\n Post for you sir.\n\n He leaves it by Darwins elbow and backs out.\n\n After a while Darwin seems to rouse himself.", "MR GULLY\n Mr Darwin, old friend. Mr Darwin.\n It has been too long I fear. Tut\n tut tut tut tut. What have we now\n what have we now?", "DARWIN\n (still writing)\n And say what? She does not want\n to hear it.\n\n ANNIE\n Then write to her.", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "In the dawn light, Darwin is writing a letter to his wife.\n\n DARWIN (V.O.)\n .... It has been a very slow and\n gradual process, like the raising\n of continents.", "Darwin sits in sunshine at the rear of the house, rugged up\n against the cold. Looking frail still, but oddly at peace.\n\n INNES\n Ah, there you are Mr Darwin.", "Darwin tries to wipe the bird shit off his hands and\n succeeds only in getting it on his sleeve.\n\n His breathing quickens. He seems at a loss. Parslow is\n awaiting further instructions", "Parslow comes running over from the skeletonizing shed,\n calling:\n\n PARSLOW\n Sir. Mr Darwin.", "DARWIN\n He thinks I should write it and\n be done with it. He feels it is a\n question of moral courage ...or\n the lack of it.", "Darwin kneels by her bedside, clasps her little hand is his\n own.\n\n DARWIN\n Darling Annie. I am here now.", "Darwin sits at his desk, writing and editing, his hand\n clamped on the pen.\n\n A voice speaks from nowhere\n\n ANNIE\n Talk to her.", "Darwin dips his pen, scores out some text from his previous\n draft and writes again.\n\n The music continues from downstairs, louder and more\n insistent than before.", "Darwin sits immobile in his chair, regarding a locked,\n black lacquered steel trunk, on the floor under his work\n table.\n\n A voice speaks behind him.", "Darwin listens to his footsteps receding, then turns his\n face back to the sun. When he opens his eyes sees a figure\n standing in the lawn.", "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "Darwin grunts noncommittally. The Crunch crunch of their\nfeet is punctuated by the regular stomp of his metal-shod\nwalking stick." ], [ "Darwin cuts a strange dark angular figure, walking along\n the narrow track a single step at a time.\n\n He pauses breathing, and listens.", "Darwin listens to his footsteps receding, then turns his\n face back to the sun. When he opens his eyes sees a figure\n standing in the lawn.", "Darwin turns back and walks up towards the house.\n\n As he does so a little figure, Annie takes his hand, and\n together they continue on home, Annie skipping happily by\n her father's side.", "Darwin grunts noncommittally. The Crunch crunch of their\nfeet is punctuated by the regular stomp of his metal-shod\nwalking stick.", "Darwin tips his hat rather stiffly and walks away, through\n the throng of parishioners, leaving his family to file into\n the church without him.", "The gardener, splitting logs, watches Darwin stagger from\n the tower with a rug wrapped around him, and make his way\n back to the house.", "It is starting to rain as, finally, he arrives at the\n address he is looking for. A substantial terraced house.\n\n Darwin descends a stone staircase to the imposing front\n door, and rings the bell.", "Darwin sits immobile in his chair, regarding a locked,\n black lacquered steel trunk, on the floor under his work\n table.\n\n A voice speaks behind him.", "The rise and fall of Innes's voice continues in the\n background as Darwin walks out from the porch, emerging\n from shadow into sunlight.\n 37", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "She looks at him crossly, then heads off up a cobbled side-\n street.\n\n Darwin follows.", "Darwin sits in sunshine at the rear of the house, rugged up\n against the cold. Looking frail still, but oddly at peace.\n\n INNES\n Ah, there you are Mr Darwin.", "The man closes the door to release the chain, then opens it\n again to admit Darwin.", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "DARWIN\n Never better. Thank-you.\n\n He heads off up the gravel path", "PARSLOW\n Post for you sir.\n\n He leaves it by Darwins elbow and backs out.\n\n After a while Darwin seems to rouse himself.", "Darwin gets into bed behind her. He wants desperately to\n reach out a hand to touch her, to comfort her, but he\n cannot do it for fear of weakening his own fragile resolve.", "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "Darwin steps outside and she slams the door on him. Darwin\n continues to rant at the closed door, standing in the\n pouring rain without his umbrella." ], [ "EMMA\n Annie...\n\n ANNIE\n Mama...\n\nShe clasps Emma's hand. Darwin keeps heading for the door.\nEmma holds fast to Annies hand and follows behind", "Darwin kneels by her bedside, clasps her little hand is his\n own.\n\n DARWIN\n Darling Annie. I am here now.", "Annie sobs louder, incoherent in her grief.\n\n Darwin finally focusses on the sounds, recognizes her\n distress and gets up to investigate.", "As she moves to the bell-pull he grabs her wrist\n\n DARWIN\n I went back to Worcester Road. I\n saw Annie.\n\n EMMA\n Charles. No.", "Darwin turns back and walks up towards the house.\n\n As he does so a little figure, Annie takes his hand, and\n together they continue on home, Annie skipping happily by\n her father's side.", "Darwin loses Annie, then he sees her again, at the top of a\n steep flight of stone steps.\n\n Darwin, drenched chases after her.", "Emma turns out the light. In the darkness Etty says.\n\n ETTY\n I think when Annie died he\n stopped loving us.\n\n Emma returns to her bedside", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "Darwin squints at her through the rain, which is falling\n harder now.\n\n The figure is Annie.", "DARWIN AND EMMA\n Good-night Annie\n\n She's sound asleep. Finally Charles and Emma are alone\n together in the blissfully silent house.\n\n Emma smiles", "DARWIN\n (his arm is stuck)\n In his rights to torture our\n children for expressing the plain\n truth.\n\nBrodie appears and Darwin ushers Annie towards her", "DARWIN\n Go on what.\n\n ANNIE\n The bit where she gets sick and\n dies.", "DARWIN\n Annie. Annie. Annie.\n\n The piano music continuing over, as her fist closes round\n the end of his finger, then tries to pull it towards her\n mouth.", "DARWIN\n You don't understand.\n\n EMMA\n I do! Do you think me deaf and\n blind. You have lived with her\n and spoken with her every day\n since she died.", "Darwin sits up, writing to Emma, crying as he writes.", "EMMA\n She is more real to you than I\n am. She's dead Charles.\n\n DARWIN\n I know that.", "It is midnight Darwin, exhausted, keeps a lonely Vigil by\n Annie's bedside. Each breath seems like it will be her\n last.", "Darwin gets into bed behind her. He wants desperately to\n reach out a hand to touch her, to comfort her, but he\n cannot do it for fear of weakening his own fragile resolve.", "Charles bundles Annie inside.\n\n DARWIN\n (to the coachman)\n Go. Go.\n\n EMMA\n (calls)\n Wait!", "Darwin sits alone with Annie who is babbling incoherently.\n He can't make out anything she says\n 80" ], [ "Jenny is taken out of a bamboo cage and put into a metal\n cage.\n\n\n45 INT. CARGO SHIP. DAY 45", "Jenny laughs waves a hand as if to say: \"Play, if it amuses\n you. I'm must kidding.\"\n\n\n47 EXT. THE BEACH. THE PAST. DAY 47", "Jenny takes the mirror, bites it, discovers it is inedible,\nand smashes it on the ground.\n\nCharles makes a sad, whining sound", "ANNIE\n Tell me about Jenny.\n\n Darwin bends low to hear her more clearly.\n\n DARWIN\n What about her.", "Jenny watches.\n\nDarwin holds the verbena towards Jenny.\n\nCautiously she extends a hand through the bars.", "The cage is lowered by a crane. Jenny looks out from her\n swaying prison at spinning grey skies and brick warehouses.", "CHARLES\n (pleasurable surprise)\n Ahhhh!!\n\nHe shows Jenny her own reflection and, then hands the\nmirror through the bars.", "As the other humans move away be attempts to start a\n conversation with Jenny in her own language, much in the\n way he communicated with baby Annie.\n 31", "Their fingers touch in space, like God Giving life to Adam.\nFor Darwin its a breakthrough - a moment of connection.\n\nJenny eats the verbena and spits it out, shrieking angrily.", "Darwin is sitting on the floor of the study holding in his\nhad a magazine, published by the Society for the useful\nDistribution of Knowledge, with a picture of Jenny on the\ncover", "Most of the apes flee up into the canopy. Jenny stays where\n she is, fascinated, just a moment longer than is prudent.", "Charles takes out a mouth organ and plays a snatch of\n Chopin.\n\n Jenny covers her ears and chatters. \"Not listening not\n listening!\"\n\n Charles, insulted, stops playing.", "CHARLES\n Hew Hew Hew...\n 32\n\n\n JENNY\n (pouting)\n Hmph.", "DARWIN\n I have no time....\n\n ANNIE\n About Jenny. Please?\n\n The sound of a wave breaking. Wind stirs Darwin's hair", "DARWIN\n Hoo hoo hoo hoo.\n\nJenny regards him sceptically then looks away.\n\n DARWIN.\n HOO!!", "DARWIN\n Why do you always ask for Jenny?\n Its so sad.\n\n ANNIE\n That's why I like it. It makes me\n cry.\n 29", "Darwin squints at her through the rain, which is falling\n harder now.\n\n The figure is Annie.", "Gully stands up from the bed. His expression tells us hope\n is fading. Annie's pale sunken cheeks and caked lips\n confirm it.", "EMMA\n I do not care for the others. I\n care for Annie!\n\nEtty, coming apon then unexpectedly, hears this and is\ninstantly heartbroken.", "Brodie and the maid roll Annie on her side and cut off the\n tail of her shirt, then roll her on her back again, with a\n pillow between her two bony knees." ], [ "contradicted him repeatedly. The\n fault was Annie's Mr Innes was\n quite within his rights.\n 46", "It is Annie, plain as day, scowling at him angrily.", "Brodie and the maid roll Annie on her side and cut off the\n tail of her shirt, then roll her on her back again, with a\n pillow between her two bony knees.", "Annie is beside herself, drumming the ground with her feet\nin a fever of fear and pity.\n\nThe rabbit is still in its dearth throes, its neck broken,\nits back legs still jerking", "ANNIE\n But just suppose if there was.\n And all this was punishment.\n\n DARWIN\n All what?\n\n No reply.", "Parslow has gathered up Annie from her room and is carrying\nher downstairs, pale and sickly-looking, with Brodie\nfussing behind.", "ANNIE\n Mr Innes sent me to the corner\n and made me kneel on rock-salt.\n\n DARWIN\n What!", "Darwin squints at her through the rain, which is falling\n harder now.\n\n The figure is Annie.", "Annie lets out a reedy whine of appreciation and strokes\n his lapel \"making him beautiful\"\n\n Brodie cannot bear it and bursts into tears.", "ANNIE\n (shouts back)\n Mama!\n\n The garden gate clangs shut behind them.", "DARWIN\n Annie. Annie. Annie.\n\n The piano music continuing over, as her fist closes round\n the end of his finger, then tries to pull it towards her\n mouth.", "Despite herself the concept amuses Annie. Chest still\n heaving with sobs - she dries her eyes and smiles at him\n through her tears.", "EMMA\n I do not care for the others. I\n care for Annie!\n\nEtty, coming apon then unexpectedly, hears this and is\ninstantly heartbroken.", "EMMA\n (interrupting)\n Annie. Let me talk to your\n father. He told her to kneel til\n she repented...\n\n DARWIN\n Repented what?", "Darwin turns back and walks up towards the house.\n\n As he does so a little figure, Annie takes his hand, and\n together they continue on home, Annie skipping happily by\n her father's side.", "Gully stands up from the bed. His expression tells us hope\n is fading. Annie's pale sunken cheeks and caked lips\n confirm it.", "The others are shocked and amazed by the rabbits death, but\nnone of them distressed as Annie. They are country children\nand death is an everyday event", "DARWIN\n (his arm is stuck)\n In his rights to torture our\n children for expressing the plain\n truth.\n\nBrodie appears and Darwin ushers Annie towards her", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "ANNIE\n No! No! Stop it. Daddy. Stop it.\n Make it stop.\n\nThe rabbit is already dead.\n\n DARWIN\n Annie, Annie, Annie." ], [ "Emma, knowing her husband's ambivalence towards religion,\ncasts him a slightly arch, amused look. Innes notices this,\nthough he pretends not to.", "Its said quietly but with genuine anguish. To Emma it is\nas though her life partner has announced he's contemplating\nsuicide.\n 34", "HORACE\n He went that way.\n\nEmma smiles brightly, covering for her embarrassment at her\nhusband's increasingly erratic behavior.", "EMMA\n Oh come now, Etty. You know\n that's not true. He is just a\n little bit ill - and a little bit\n busy.", "He enters the drawing room. There is no sign of Emma nor of\n his manuscript.\n\n He goes to the window and sees her at the bottom of the\n garden standing over a bonfire, burning something.", "Emma is pregnant.\n\n DOCTOR\n Calomel then, twice daily.\n\n DARWIN\n I will not give it to her.", "EMMA\n I am taking the children to Maer\n for a while, to visit their\n cousins.\n (Beat)\n I worry for you, Charles. Please\n talk to him", "EMMA\n I do not care for the others. I\n care for Annie!\n\nEtty, coming apon then unexpectedly, hears this and is\ninstantly heartbroken.", "EMMA\n Mr Innes is a dear friend and\n neighbor. I beg you at least\n appraise yourself the facts. She", "Emma has. They both know it. She turns abruptly from the\n door and hurries away.\n\n\n49 INT. BEDROOM. THE PRESENT. NIGHT. 49", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "Emma lies on a rug, her head is in Darwin's lap. She is\n reading aloud from a new book of poems by Wordsworth.", "EMMA\n Charles, please reconsider\n\n CHARLES\n Emma it is weeks now, months. She\n is getting worse, not better.", "the very weakness which killed\n her. Emma. That is what I\n couldn't write. That is what\n forestalled me all these years.", "EMMA\n It is not so far.\n\n DARWIN\n It is two days by coach and\n train. Who will look after the\n others.", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "EMMA\n It is what I have told them every\n night at bedtime. It is the\n instruction my aunt and your", "EMMA\n Did he say what it was about?\n\n DARWIN\n I think this is not the time to\n discuss it.", "EMMA is devastated by the slip but is presently too\noverwrought to retract it.\n\n DARWIN\n Leave us please, Etty.", "He takes Emma in his arms. She gives a little squeak -\n caught off balance then laughing as he waltzes her around\n the room, singing." ], [ "DARWIN\n No. It is a scientific text. But\n I had reached a point, beyond\n which it was impossible to", "DARWIN\n Well damn how he sees it. Damn\n the pair of them and all their\n works\n\n EMMA\n Charles listen to yourself.\n Listen", "DARWIN.\n On one small mollusc!\n\n HOOKER\n In which the whole story of\n creation can be read. Do not\n pretend to me that was not your\n intention.", "DARWIN\n Ah yes.\n\n ANNIE\n \"The natural History of babies\"\n ...Remember?\n\n DARWIN\n Of course I remember.", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "Darwin smiles at the idea, turns to Innes\n\n DARWIN\n Are you familiar with the works\n of Thomas Malthus, Mr Innes?.", "93 INT. DARWIN'S STUDY. THE PRESENT. NIGHT 93\n\n He is drinking in his office.", "John Griffiths, the postman, comes up the hill from the\n village.\n\n Darwin gives him the manuscript. The Postman puts it in his\n satchel and heads on up the lane.", "172 POST-SCRIPT. 172\n\n Darwin's \"Origin of Species\" was sold out on its day of\n publication.", "Darwin listens to his footsteps receding, then turns his\n face back to the sun. When he opens his eyes sees a figure\n standing in the lawn.", "72 INT DARWIN'S STUDY. THE PRESENT 72\n\n Darwin's pen scratches across the pages, making a noise\n like fingernails on a blackboard.", "Darwin takers out a sprig of verbena - a strongly scented\nherb.\n\nHe holds in front of his nose and inhales, making contented\nexpressions of pleasure.", "Darwin sits in his study window, watching a great flock of\n birds wheeling in the sky outside, the whole flock forming\n an ever-changing shape from the movement of its tiny\n component parts.", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "Darwin sits at his desk. Writing. He is possessed of a new\n sense of calm and purpose, the pen gliding fluently across\n the page.\n 87", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "Darwin lowers himself into bed, inky and tousled. He seems\n prematurely aged, crippled by the gruelling process of\n writing the book.", "Darwin watches his wife, a sensuous figure, stooped over\n the sleeping child, a lock of hair falling forwards as she\n kisses her.\n\n DARWIN\n Good-night George", "Darwin sits immobile in his chair, regarding a locked,\n black lacquered steel trunk, on the floor under his work\n table.\n\n A voice speaks behind him.", "DARWIN\n He does indeed Mr Innes. I was\n reflecting only the other day on\n the fact that he has endowed us" ], [ "HUXLEY\n It is time to write your book Mr\n Darwin. Write it brilliantly as\n we all know you can. Strike hard\n and fast with a blow that is\n utterly conclusive.", "DARWIN\n You have been talking to Huxley.", "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "HOOKER\n Emma. Forgive the short notice.\n You know Thomas Huxley.\n\n EMMA\n Only by reputation\n\n HUXLEY\n Mrs Darwin.", "DARWIN.\n Mr Huxley\n\n HUXLEY\n ....and good riddance to the\n bearded malicious old bugger!", "Darwin smiles at the idea, turns to Innes\n\n DARWIN\n Are you familiar with the works\n of Thomas Malthus, Mr Innes?.", "DARWIN\n And you'd replace Gods Laws with\n what.\n\n HUXLEY\n The laws of logic. The laws of\n nature.", "DARWIN.\n On one small mollusc!\n\n HOOKER\n In which the whole story of\n creation can be read. Do not\n pretend to me that was not your\n intention.", "DARWIN\n Hoo hoo hoo hoo.\n\nJenny regards him sceptically then looks away.\n\n DARWIN.\n HOO!!", "DARWIN\n No. No I am but one of many.\n There is Squire Lubbock, and the\n reverend Innes\n\n The Thatcher waves them away as lesser talents.", "DARWIN\n Well damn how he sees it. Damn\n the pair of them and all their\n works\n\n EMMA\n Charles listen to yourself.\n Listen", "John Griffiths, the postman, comes up the hill from the\n village.\n\n Darwin gives him the manuscript. The Postman puts it in his\n satchel and heads on up the lane.", "Darwin's ink stained fingers speak volumes.\n\n DR GULLY\n No doubt you have been exercising\n your brain every hour that God\n gave you.", "DARWIN\n Knowing, as we do, that most\n capital crimes are her everyday\n practises: Theft, rape, murder,\n adultery, infanticide....\n\n Huxley waves it away", "DARWIN\n (furious)\n Do you take me for an idiot?\n Clearly Gully has appraised you\n of my history.", "In the dawn light, Darwin is writing a letter to his wife.\n\n DARWIN (V.O.)\n .... It has been a very slow and\n gradual process, like the raising\n of continents.", "THATCHER\n ...a fellow of the Royal society\n and a prodigious expert on\n clams...oysters?\n\n DARWIN\n Barnacles.", "DARWIN\n He does indeed Mr Innes. I was\n reflecting only the other day on\n the fact that he has endowed us", "DARWIN\n No. We can leave that for Mr\n Wallace now. Should I advise him\n to stay overseas do you think? If\n he shows his face in Kent he may\n be required to kneel on rock\n salt.", "93 INT. DARWIN'S STUDY. THE PRESENT. NIGHT 93\n\n He is drinking in his office." ], [ "DARWIN\n No. Simply the great relief of\n liberation. Did you read the\n Wallace abstract.\n\nHooker bats the idea away", "The sender is a Mr Wallace. There's a covering letter and a\n twenty page attachment Darwin reads, and lets out a sudden\n loud bellow of laughter.\n\n DARWIN\n Ha!!", "DARWIN\n No. We can leave that for Mr\n Wallace now. Should I advise him\n to stay overseas do you think? If\n he shows his face in Kent he may\n be required to kneel on rock\n salt.", "HUXLEY\n It is time to write your book Mr\n Darwin. Write it brilliantly as\n we all know you can. Strike hard\n and fast with a blow that is\n utterly conclusive.", "Darwin gets into bed behind her. He wants desperately to\n reach out a hand to touch her, to comfort her, but he\n cannot do it for fear of weakening his own fragile resolve.", "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "DARWIN\n What? I am forestalled by Mr\n Wallace. That is the simple fact\n of it. What reason do you have to\n be angry?!", "DARWIN\n He thinks I should write it and\n be done with it. He feels it is a\n question of moral courage ...or\n the lack of it.", "Darwin watches his wife, a sensuous figure, stooped over\n the sleeping child, a lock of hair falling forwards as she\n kisses her.\n\n DARWIN\n Good-night George", "Darwin sits at his desk. Writing. He is possessed of a new\n sense of calm and purpose, the pen gliding fluently across\n the page.\n 87", "Darwin tries to wipe the bird shit off his hands and\n succeeds only in getting it on his sleeve.\n\n His breathing quickens. He seems at a loss. Parslow is\n awaiting further instructions", "DARWIN\n I know that. I know.\n\n A long, awkward silence, neither of them wants to\n recapitulate the events of Annies death.", "Darwin takers out a sprig of verbena - a strongly scented\nherb.\n\nHe holds in front of his nose and inhales, making contented\nexpressions of pleasure.", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "93 INT. DARWIN'S STUDY. THE PRESENT. NIGHT 93\n\n He is drinking in his office.", "Darwin nods, unable to turn his head, or make any gesture\n with his hands.\n\n The stranger continues to talk to him nonetheless.", "The salt wind. The dazzling light. The slow pulse of the\n surf.\n\n Darwin has paused in his narrative.\n\n ANNIE\n Go on papa.", "DARWIN\n (To Parslow)\n Tell Mr Davies it was delicious,\n but my stomach is not quite right\n yet.\n (To Emma)\n Excuse me.", "PARSLOW\n Post for you sir.\n\n He leaves it by Darwins elbow and backs out.\n\n After a while Darwin seems to rouse himself.", "DARWIN\n Do you mean there will be more.\n\n EMMA\n I assumed that's what you wanted.\n Of course, if the idea doesn't\n appeal then..." ], [ "DARWIN\n We live in a society bound\n together by the church. An\n improbable sort of barque I grant", "The relatives of the sick, stand or sit among the pews,\n arriving, praying, departing\n\n Darwin kneels awkwardly in front of the altar, clasps his\n hands together and prays:", "Beyond the church fence, villagers greet each other before\n heading inside. The great majority of the village have\n turned out, from Squire Lubbock through the tradesmen and", "Their eyes meet briefly in a sort of challenge, and in that\n moment, Darwin somehow knows with absolutely certainty that\n religious faith has left him.", "brother and most of our family\n live by. It is what all of the\n village believe ...or try to.\n Charles. Must our children be", "53 INT. DOWNE VILLAGE CHURCH. THE PAST. DAY. 53\n\n The church is packed for the Sunday Morning service", "The Children start to copy the sentence which Innes has\n written on the blackboard.\n\n Annie reads the sentence and hesitates: \"And on the seventh\n day God ended his work which he had made; and he rested\"", "A classic to this day, it was reprinted six times before\n his death; and his burial, with full Christian honours, in\n Westminster Abbey.", "HUXLEY (cont'd)\n Goodbye to the lot of em - damned\n bishops and Archbishops with\n their threats of eternal\n punishment.", "The organ, played by Mrs Innes, wheezes to a pause. Innes\n himself mounts the pulpit.\n\n INNES\n Let us pray.", "Emma, knowing her husband's ambivalence towards religion,\ncasts him a slightly arch, amused look. Innes notices this,\nthough he pretends not to.", "The ancient flint church stands in the centre of Downe\n (sic) village, opposite the George and Dragon pub.\n 20", "Darwin tips his hat rather stiffly and walks away, through\n the throng of parishioners, leaving his family to file into\n the church without him.", "The others are shocked and amazed by the rabbits death, but\nnone of them distressed as Annie. They are country children\nand death is an everyday event", "A bright sunny day. Darwin, looking weak but purged, sits\n on the terrace, sipping a glass of foul-tasting mineral\n water and looking out over the stone houses, fields and\n valleys of Malvern.", "The congregation, not daring to raise their heads, watch\n Darwin's sturdy walking shoes departing down the aisle.", "DARWIN\n I know she is dead. I know it. It\n is you who will not accept the\n fact, preferring to think of her\n in heaven.", "CHARLES\n But free of the fantasy, free of\n the rest, the silly vain hope\n that we will be reunited in\n heaven and the nagging unspoken\n belief that I killed her!", "CHARLES\n We thought she would live. You\n were not to know.\n\nHe moves to her, she startles, then lets him enfold her in\nhis damp coat", "GULLY\nOf course. Plainly she is in\nheaven.\n\n DARWIN\nThat is what my wife believes. It\nis a great consolation to her" ], [ "DARWIN\n Well damn how he sees it. Damn\n the pair of them and all their\n works\n\n EMMA\n Charles listen to yourself.\n Listen", "DARWIN.\n On one small mollusc!\n\n HOOKER\n In which the whole story of\n creation can be read. Do not\n pretend to me that was not your\n intention.", "Darwin takers out a sprig of verbena - a strongly scented\nherb.\n\nHe holds in front of his nose and inhales, making contented\nexpressions of pleasure.", "Darwin smiles at the idea, turns to Innes\n\n DARWIN\n Are you familiar with the works\n of Thomas Malthus, Mr Innes?.", "93 INT. DARWIN'S STUDY. THE PRESENT. NIGHT 93\n\n He is drinking in his office.", "In the dawn light, Darwin is writing a letter to his wife.\n\n DARWIN (V.O.)\n .... It has been a very slow and\n gradual process, like the raising\n of continents.", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "Darwin listens to his footsteps receding, then turns his\n face back to the sun. When he opens his eyes sees a figure\n standing in the lawn.", "Darwin watches his wife, a sensuous figure, stooped over\n the sleeping child, a lock of hair falling forwards as she\n kisses her.\n\n DARWIN\n Good-night George", "She comes and sits on his lap.\n\n DARWIN\n Once there was a man\n Who, while travelling in South\n America, came apon a beautiful\n and dangerous idea.", "Their eyes meet briefly in a sort of challenge, and in that\n moment, Darwin somehow knows with absolutely certainty that\n religious faith has left him.", "Darwin steps outside and she slams the door on him. Darwin\n continues to rant at the closed door, standing in the\n pouring rain without his umbrella.", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "John Griffiths, the postman, comes up the hill from the\n village.\n\n Darwin gives him the manuscript. The Postman puts it in his\n satchel and heads on up the lane.", "DARWIN\n No. It is a scientific text. But\n I had reached a point, beyond\n which it was impossible to", "DARWIN\n Ah yes.\n\n ANNIE\n \"The natural History of babies\"\n ...Remember?\n\n DARWIN\n Of course I remember.", "Darwin sits in his study window, watching a great flock of\n birds wheeling in the sky outside, the whole flock forming\n an ever-changing shape from the movement of its tiny\n component parts.", "Darwin sits at his desk. Writing. He is possessed of a new\n sense of calm and purpose, the pen gliding fluently across\n the page.\n 87", "Darwin sits immobile in his chair, regarding a locked,\n black lacquered steel trunk, on the floor under his work\n table.\n\n A voice speaks behind him.", "Darwin sits in sunshine at the rear of the house, rugged up\n against the cold. Looking frail still, but oddly at peace.\n\n INNES\n Ah, there you are Mr Darwin." ], [ "Huxley has seen Darwin, washing his hands by the\n \"skeletonizing shed\".\n\n Huxley hangs back to introduce himself as Hooker steers\n Emma off into the house.", "Darwin watches his wife, a sensuous figure, stooped over\n the sleeping child, a lock of hair falling forwards as she\n kisses her.\n\n DARWIN\n Good-night George", "DARWIN\n Well damn how he sees it. Damn\n the pair of them and all their\n works\n\n EMMA\n Charles listen to yourself.\n Listen", "Darwin listens to his footsteps receding, then turns his\n face back to the sun. When he opens his eyes sees a figure\n standing in the lawn.", "Darwin lies, pale and weak, looking upwards from a sea of\n white blankets.\n\n The door opens and he turns his head. Its Emma.", "Darwin sits immobile in his chair, regarding a locked,\n black lacquered steel trunk, on the floor under his work\n table.\n\n A voice speaks behind him.", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "Darwin gets into bed behind her. He wants desperately to\n reach out a hand to touch her, to comfort her, but he\n cannot do it for fear of weakening his own fragile resolve.", "Darwin kneels by her bedside, clasps her little hand is his\n own.\n\n DARWIN\n Darling Annie. I am here now.", "DARWIN\n ....To be doing Gods will.\n\n EMMA\n (to Innes)\n Please ignore him. After two\n glasses of claret he tends to\n becomes mischievous.", "The vigorous Darwin of the past moves swiftly from room to\n room, gathering his things. Hat and gloves, books,\n spectacles, papers.\n\n Emma, eight months pregnant, tries to keep up with him", "Darwin reclines on a leather couch, watching the watery\n play of light on the ceiling.\n\n A door opens and Dr Gully comes in, accompanied by two\n assistants.", "They pick him up and lie him down, quite rigid beside\n another pod like creature, similarly swaddled, with a red\n face and a beard.\n\n BEARDED STRANGER\n Mr Darwin is it?", "The cook, Mrs Davies looks out through a steamed up window\n to see the angular figure of Charles Darwin, bent almost\n double inspecting a tiny segment of lawn.\n\n Brodie joins Mrs Davies at the window.", "In the dawn light, Darwin is writing a letter to his wife.\n\n DARWIN (V.O.)\n .... It has been a very slow and\n gradual process, like the raising\n of continents.", "Darwin sits, his face wet with tears, reading, through\n blurred vision, a letter from Emma.", "DARWIN\n In London she had many admirers -\n of whom your father was but one.\n\n Darwin moves forwards from the shadows, where he has been\n observing and taking notes.", "Darwin smiles at the idea, turns to Innes\n\n DARWIN\n Are you familiar with the works\n of Thomas Malthus, Mr Innes?.", "PARSLOW\n Post for you sir.\n\n He leaves it by Darwins elbow and backs out.\n\n After a while Darwin seems to rouse himself.", "John Griffiths, the postman, comes up the hill from the\n village.\n\n Darwin gives him the manuscript. The Postman puts it in his\n satchel and heads on up the lane." ], [ "Darwin kneels by her bedside, clasps her little hand is his\n own.\n\n DARWIN\n Darling Annie. I am here now.", "DARWIN\n Annie. Annie. Annie.\n\n The piano music continuing over, as her fist closes round\n the end of his finger, then tries to pull it towards her\n mouth.", "Darwin loses Annie, then he sees her again, at the top of a\n steep flight of stone steps.\n\n Darwin, drenched chases after her.", "Innes appears briefly in it, preceded by Annie, who is\n trotting to keep pace with him and crying.\n\n Darwin, intent on his work, notices neither of them", "Darwin turns back and walks up towards the house.\n\n As he does so a little figure, Annie takes his hand, and\n together they continue on home, Annie skipping happily by\n her father's side.", "Darwin squints at her through the rain, which is falling\n harder now.\n\n The figure is Annie.", "Annie sobs louder, incoherent in her grief.\n\n Darwin finally focusses on the sounds, recognizes her\n distress and gets up to investigate.", "Darwin sits at his desk, writing and editing, his hand\n clamped on the pen.\n\n A voice speaks from nowhere\n\n ANNIE\n Talk to her.", "It is midnight Darwin, exhausted, keeps a lonely Vigil by\n Annie's bedside. Each breath seems like it will be her\n last.", "Darwin sits alone with Annie who is babbling incoherently.\n He can't make out anything she says\n 80", "Darwin gets into bed behind her. He wants desperately to\n reach out a hand to touch her, to comfort her, but he\n cannot do it for fear of weakening his own fragile resolve.", "DARWIN\n (his arm is stuck)\n In his rights to torture our\n children for expressing the plain\n truth.\n\nBrodie appears and Darwin ushers Annie towards her", "DARWIN\n They put her in a bag and carried\n her off....\n 30\n\n\n ANNIE\n \" much to her loving parent's\n sorrow.\"", "As she moves to the bell-pull he grabs her wrist\n\n DARWIN\n I went back to Worcester Road. I\n saw Annie.\n\n EMMA\n Charles. No.", "DARWIN\n Go on what.\n\n ANNIE\n The bit where she gets sick and\n dies.", "Darwin is watching Annie dancing in front of the surf ,\n turning cartwheels - a wild dancing sprite of the sea,\n oblivious to the cold, shouting and singing:", "DARWIN\n Its not nothing. (To Annie) Why\n are your knees bleeding?\n 45", "Annie enjoys the joke and gives Darwin a weak smile. The\ndoctor regards her balefully\n\n DOCTOR\n Or if she would submit to be\n bled.", "ANNIE\n No! No! Stop it. Daddy. Stop it.\n Make it stop.\n\nThe rabbit is already dead.\n\n DARWIN\n Annie, Annie, Annie.", "EMMA\n Annie...\n\n ANNIE\n Mama...\n\nShe clasps Emma's hand. Darwin keeps heading for the door.\nEmma holds fast to Annies hand and follows behind" ] ]

[ "Where did Darwin go to gather research on his theory of evolution?", "Who sends Darwin a letter detailing he had the same findings as Darwin?", "What is the name of the young orangutan that was brought to the London Zoo?", "Why does the clergyman make Annie kneel on salt rock?", "How are Darwin and Emma related, beyond marriage?", "After reading Darwin's synopsis, what do Darwin's friends tell him he has done?", "What is a reason Darwin delays writing his manuscript?", "Who does Darwin leave the decision to publish his work up to?", "Why is Emma worried about Darwin's work opposing her religion?", "What does Darwin teach his eldest daughter Annie about?", "What is Annie's favorite story her father told her about?", "What does Darwin's wife Emma worry about?", "When does Annie become ill?", "Why does Darwin take Annie to Worcestershire town of Malvern?", "What is the one thing Annie requests from her father right before she dies?", "What does Huxley tell Darwin about his theory?", "What does Darwin's friends tell him to keep doing?", "Who is the figure that walks beside Darwin on his way home?", "What does Darwin and Emma fear the most about Annie's death?", "Who is Jenny?", "What was Annie's punishment when she contradicted the family clergyman? ", "What was Emma's worry about her husband's work?", "What was the name of Darwin's work?", "What did Thomas Henry Huxley tell Darwin about his theory?", "After Wallace more succinctly detailing Darwin's findings, why did Darwin's friends urge him to continue?", "What was the Church's position on life?", "On what was Darwin's theory?", "Who was Darwin's \"accomplice\"?", "What was Darwin's fear about Annie's death?" ]

[ [ "The Galapagos Islands. ", "galapagos islands" ], [ "Alfred Russel Wallace. ", "Alfred Russel Wallace" ], [ "Jenny. ", "Jenny." ], [ "For contradicting him on dinosaurs and their existence and extinction. ", "as a punishment for going against him" ], [ "They are closely related cousins. ", "cousins" ], [ "Killed God. ", "killed God" ], [ "The delay is caused by anxiety over his relationship with his religiously devoted wife, Emma. ", "Anxiety over his relationship with his devoutly religious wife." ], [ "His wife, Emma. ", "Emma" ], [ "She is worried Darwin would not go to heaven, thus separating them for eternity. ", "She sees it as a threat to her religion." ], [ "Darwin teaches Annie about nature, science, travel and evolution.", "the theory of evolution" ], [ "The story about the orangutan Jenny.", "The story of the young orangutan." ], [ "Emma worries that she will go to Heaven and Darwin won't and they won't share eternal life together.", "about darwin's theory is a threat to her religion" ], [ "Annie becomes ill in 1851.", "1851" ], [ "Darwin takes Annie there to get James Manby Gully's water cure therapy because he believes it will help her.", "For Gully's water cure therapy." ], [ "Annie requests he tell her the story she loves so much about the orangutan Jenny.", "that he tell her the story of Jenny the orangutan one last time" ], [ "Huxley tells Darwin that his theory has killed God.", "Huxley tells Darwin that his theory has \"killed God\"." ], [ "Darwin's friends tell him to keep on with his book.", "Continue to publish his work. " ], [ "The figure beside Darwin is his daughter Annie.", "Annie." ], [ "Darwin and Emma are scared that Annie died because they were cousins.", "That Emma died because she was genetically weak." ], [ "An Orangatan.", "a young orangutan brought from Borneo to the London Zoo where she died of pneumonia" ], [ "To kneel on rock salt.", "Kneel on rock salt." ], [ "That she may go to heaven and he would not.", "She will go to heaven and Darwin might not." ], [ "On the Origin of Species.", "On the Orgin of Species" ], [ "That he had \"killed God\".", "Huxley encourages Darwin and tells him his theory has \"killed God\"." ], [ "Because his work was more comprehensive.", "Darwin's book was much more comprehensive." ], [ "That it was unchanging.", "Young-earth creationism and that life is unchanging." ], [ "Evolution.", "evolution" ], [ "Emma.", "Emma" ], [ "That Annie was genetically weak because Darwin and his wife were closely related.", "that annie was genetically weak due to darwin and emma's taboo" ] ]

[ [ "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "On the center screen, a giant image of Mars. A frantic flow \n of green numbers crawls above and below this, and the site \n of the Mars One Base Camp is marked in blinking red.", "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "EXT. MARS ONE BASE CAMP. LATE DAY", "EXT. MARS. THE FACE. LATE DAY", "EXT. MARS. THE FACE. LATE DAY", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE\n\n As the Face burns away around us, the Martian ship begins to \n rise and spin.", "INT. MARS RECOVERY. LOWER HAB. NIGHT", "As seen through the cockpit windows. Huge, beautiful, MUCH \n CLOSER now. We can make out swirling pink clouds, large \n surface features. It's just before Martian dawn, the next \n morning.", "EXT. MARS. THE FACE. PLAINS OF CYDONIA. NIGHT", "EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY", "EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY", "EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY", "EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY", "EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY", "The crew of Mars One - Kirov, Willis, and Cote -- have joined \n Luke, gathered around some display monitors. They're in NASA", "As we see the Mars One Base Camp: silent, very still. In the \n distance, the massive ERV still looms, perched for takeoff, \n the bottom rungs of its ladder buried.\n\n PANNING" ], [ "INT. MARS ONE HAB. DAY\n\n McConnell, Luke, Terri and Phil stare at this phenomenon, \n awed. They're barely breathing.", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere.", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "Looks are exchanged among the Mars Two crew.\n\n TERRI\n What about the crew?", "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "BACK TO SCENE (INT. MARS ONE HAB.)\n\n PHIL\n My God... Is that what I think it \n is?", "The crew of Mars One - Kirov, Willis, and Cote -- have joined \n Luke, gathered around some display monitors. They're in NASA", "DISSOLVE TO:\n\n INT. MARS TWO (DOCKED). COCKPIT. DAY", "INT. MARS ONE HAB. ANOTHER SECTION. DAY\n\n CLOSE ON MCCONNELL\n\n As he trembles with excitement. With sudden comprehension.", "Set down their helmets, then cautiously converge around this \n column, forming a loose triangle. As they stare into it, the \n myriad lights are reflected off their own eyes and their \n spacesuits.", "PHIL\n Oh Jesus, look! The ship!\n\n Phil points. McConnell and Terri look.\n\n THE MARS RECOVERY COCKPIT", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "INT. MARS ONE HAB. ANOTHER SECTION. NEXT MORNING", "Woody spots a tiny geyser of brownish ice crystals spouting \n out of the hull of the lower Hab. It's some distance away \n from him, but clearly visible.", "Woody takes a final look at the charred, doomed Mars Recovery. \n The only home they've known for six months. He exchanges a", "MCCONNELL, PHIL AND TERRI (INT. MARS ONE HAB.)\n\n They are stunned. Can hardly believe their eyes.\n\n PHIL\n Jesus...", "INT. MARS RECOVERY. LOWER HAB. DAY\n\n McConnell and crew are eating dinner while they watch a taped \n message from MMCR.", "INT. MARS ONE HAB. MOMENTS LATER", "On a large CENTER DISPLAY SCREEN, we see Luke and the Mars \n One crew, sitting around their kitchen table in the Hab, \n finishing lunch while taping this VIDEO MESSAGE." ], [ "distant mountains. Then all is stillness again, deathly \n stillness and silence...", "this is a vortex of fire. As we watch, more fiery streaks \n begin to emerge from the sides of the Face, from the chin,", "As suddenly a huge, curved segment of the white surface begins \n to rise from the earth, like a gigantic hangar door, sliding", "the topmost rubble at the near end of the big mountain -- an \n isolated, butte-like giant, stretching two miles from left \n to right in front of them.", "In the maelstrom of flying debris, they can barely make out \n Cote and Kirov, still retreating, leaning back with all their \n strength against the suction, while staring up, aghast.", "behind them. The sky is purplish black, thick with flying \n debris and eerie lightning flashes. Towering billows of dust \n chase them over the plain, nearly enveloping them as they", "Until finally the images whirl away, the holographic column \n dissolves, leaving only a circle of glowing, concentric,", "the mountain's ridgeline. Its whiteness is in clear contrast \n to the typical rust-orange of the surrounding rubble; what's", "Flips a switch on the radar gun, then swivels its muzzle \n slowly across the near slope of the mountain. We hear and", "The vortex is now a tight, rapidly spinning cylinder. As it \n draws more and more power from the disintegrating Face, the \n Martian ship in its center spins faster and faster.", "Instantly we're hurled into an immense, stunning LANDSCAPE, \n mysterious and vivid as a fever dream. Dazzling sunlight. A", "WIDEVIEW FROM ABOVE, as the energy vortex bends from side to \n side, pushing back the swirling storm that surrounds the", "Face. As the vortex coalesces its energy into a cylindrical \n shape, we see through its center to a rising form -- the", "The yard is nearly deserted. The \"Bon Voyage\" banner has \n torn loose at one end and flutters limply. Here and there a \n napkin blows across the ground.", "WIDE VIEW, FROM ABOVE, as the energy vortex changes from red-\n orange to blue-white. It ROARS with terrifying power as its", "As he and Terri stare at it, dumbfounded. Thick droplets of \n blood leak out and begin to swirl away, sucked up towards", "Looks back at her, nods his understanding. For the first \n time she seems to smile. Benevolence, reassurance. Then as \n abruptly as she first appeared, she fades away. Vanishes.", "On the plain, as the last pebbles, released from suction, \n pitter down, bouncing. Swirls of dust and sand drift away,", "Starts to swirl and rise, straight up from the top or the \n mountain, at its center. As it swirls, the cylinder picks up", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is" ], [ "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "For a moment nothing happens.\n\n Then the deep bass rumbling stops as well. The only remaining \n sound is of WIND, stirring up dust on the Martian plains.", "INT. MARS RECOVERY. LOWER HAB. NIGHT\n\n The lighting is subdued for a sleep period, but everyone's \n too restless. There's a low HUM of equipment.", "As they go to their jobs, the deep, barely audible rumbling \n tone continues.\n\n INT. SPACE STATION. CORRIDOR OUTSIDE MMCR. DAY", "disaster, the probable end of the Mars Program, and the \n certain end of his own career. He doesn't, at first, even \n hear the nearby VOICE.", "INT. MARS RECOVERY. LOWER HAB. DAY\n\n McConnell and crew are eating dinner while they watch a taped \n message from MMCR.", "THE ASTRONAUTS\n\n Walk towards the mountain. There's a very deep, very low, \n staccato tone intruding over their headsets.", "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere.", "Attitude control thrusters on the hull begin firing in pulses. \n The rotation of the lower Hab deck immediately starts to \n slow down. The great red ball of Mars drifts by.", "Then all the jets fire in unison, braking the REMO, as it \n falls away from us, towards Mars at night.\n\n INT. REMO. HIGH ATMOSPHERE. NIGHT", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "INT. MARS ONE HAB. DAY\n\n McConnell, Luke, Terri and Phil stare at this phenomenon, \n awed. They're barely breathing.", "Looks are exchanged among the Mars Two crew.\n\n TERRI\n What about the crew?", "Behind them, there is an abrupt WHOOOSH, like a giant airlock \n sealing shut. They turn, startled and nervous. Letting go of", "As they reach the rover, they hear, even in this chaos, that \n the deep pulsing tone of the Face has started again. They", "Suddenly the data stream goes crazy. It shivers, streaks, \n breaks up... then stops. The blinking green icon representing \n Mars Recovery glows brighter... then vanishes.", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "INT. MARS ONE HAB. ANOTHER SECTION. DAY\n\n CLOSE ON MCCONNELL\n\n As he trembles with excitement. With sudden comprehension.", "MCCONNELL, PHIL AND TERRI (INT. MARS ONE HAB.)\n\n They are stunned. Can hardly believe their eyes.\n\n PHIL\n Jesus..." ], [ "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "The Martian stops, turns, facing them. The astronauts stop, \n too, uncertain what they're meant to do. Then the Martian \n gestures again.", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "Is in wondrous awe, his whole face radiant with joy. It's \n the first time we've ever seen him utterly without sadness \n or reserve. Staring at the Martian, he understands.", "TERRI\n Dear God. Look at that.\n\n Through their cockpit window, they watch the Martian ship \n hurtle by them at a hundred times their speed.", "The stream of Martian ships grows smaller and smaller as it \n continues on its epic voyage towards a new solar system. \n Then we zero in on\n\n ONE PARTICULAR ROCKETSHIP", "On the center screen, a giant image of Mars. A frantic flow \n of green numbers crawls above and below this, and the site \n of the Mars One Base Camp is marked in blinking red.", "trained for. But what if there's \n more...? In all our myths, in every \n human culture, Mars has always held", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "top starts to bend, angling like a telescope towards a \n specific point in the stars. Then the Martian ship -- a \n rounded darker form, little more than a blip within the vast,", "Everyone is looking back at the curve of Mars against black \n space, expecting to see the REMO coming up behind them.\n\n TERRI\n\n Happens to glance directly below.", "book on Mars. He's got more hours in \n the sims than the rest of us put \n together. Ray, we can do this. Give", "As dust storms roil across its cold, lifeless surface. The \n flaming hunks of molten rock cool into twin moons.\n\n THE ASTRONAUTS", "IN THE HOLOGRAPHIC COLUMN\n\n The whirling lights resolve into images, which relate to \n them the story of ancient Mars:\n\n A BLUE PLANET", "EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE\n\n As the Face burns away around us, the Martian ship begins to \n rise and spin.", "Following the Martian, they find themselves in a round, open \n space, defined by light, with a smooth matte-metallic floor, \n but without apparent walls.", "They walk forward slowly, carrying their helmets, up the \n ramp and into the tunnel of light, following the Martian, \n who retreats before them. They go through the hatch and \n disappear inside.", "beyond it, we see an eerie and beautiful sight: a bright \n streak of red as the REMO slashes down into the Martian \n atmosphere, like a shooting star, finally disappearing behind", "Stares down at Mars, enthralled, as sunlight floods the side \n of the spaceship, sparkles off his visor. Dawn, after a very \n long night indeed. He whispers lovingly, under his breath.", "The Mars One Base Camp looms in the foreground, like some \n desolate, otherwordly ghost town. And then, in the night sky" ], [ "The Martian stops, turns, facing them. The astronauts stop, \n too, uncertain what they're meant to do. Then the Martian \n gestures again.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "Is in wondrous awe, his whole face radiant with joy. It's \n the first time we've ever seen him utterly without sadness \n or reserve. Staring at the Martian, he understands.", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere.", "Stares down at Mars, enthralled, as sunlight floods the side \n of the spaceship, sparkles off his visor. Dawn, after a very \n long night indeed. He whispers lovingly, under his breath.", "INT. MARTIAN SPACESHIP. NIGHT\n\n McConnell reacts, surprised, as suddenly\n\n A TRANSPARENT, GLASS-LIKE CYLINDER", "INT. MARS RECOVERY. LOWER HAB. DAY\n\n McConnell and crew are eating dinner while they watch a taped \n message from MMCR.", "As they do so, the Martian seems to be staring directly into \n McConnell's eyes.", "Sequence omitted from original script.\n\n INT. MARTIAN SPACESHIP. NIGHT", "beyond it, we see an eerie and beautiful sight: a bright \n streak of red as the REMO slashes down into the Martian \n atmosphere, like a shooting star, finally disappearing behind", "top starts to bend, angling like a telescope towards a \n specific point in the stars. Then the Martian ship -- a \n rounded darker form, little more than a blip within the vast,", "TERRI\n Dear God. Look at that.\n\n Through their cockpit window, they watch the Martian ship \n hurtle by them at a hundred times their speed.", "EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE\n\n As the Face burns away around us, the Martian ship begins to \n rise and spin.", "McConnell, moved by this honor, nods. He reaches out to throw \n the switch himself.\n\n MCCONNELL\n Let's go to Mars.", "The stream of Martian ships grows smaller and smaller as it \n continues on its epic voyage towards a new solar system. \n Then we zero in on\n\n ONE PARTICULAR ROCKETSHIP", "As we see the Mars One Base Camp: silent, very still. In the \n distance, the massive ERV still looms, perched for takeoff, \n the bottom rungs of its ladder buried.\n\n PANNING", "wondrous. This glowing MARTIAN -- a holograph -- regards the \n astronauts for a few moments, then beckons to them, as if to" ], [ "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "Is in wondrous awe, his whole face radiant with joy. It's \n the first time we've ever seen him utterly without sadness \n or reserve. Staring at the Martian, he understands.", "beyond it, we see an eerie and beautiful sight: a bright \n streak of red as the REMO slashes down into the Martian \n atmosphere, like a shooting star, finally disappearing behind", "IN THE HOLOGRAPHIC COLUMN\n\n The whirling lights resolve into images, which relate to \n them the story of ancient Mars:\n\n A BLUE PLANET", "ANGLE ON MONITOR\n\n MARS completely fills the screen. Surface details are clearly \n visible. Something is moving down there, an amorphous brown \n swirl.", "diagrams covering the walls: Martian landscapes, annotated \n maps, and over and over, obsessively repeated, drawings of \n the vortex that destroyed the Mars One crew.", "As dust storms roil across its cold, lifeless surface. The \n flaming hunks of molten rock cool into twin moons.\n\n THE ASTRONAUTS", "For a moment nothing happens.\n\n Then the deep bass rumbling stops as well. The only remaining \n sound is of WIND, stirring up dust on the Martian plains.", "vast plain of rust-orange soil. Countless craters. Boulders \n the size of houses, tossed about by the hands of gods. Twin", "On the center screen, a giant image of Mars. A frantic flow \n of green numbers crawls above and below this, and the site \n of the Mars One Base Camp is marked in blinking red.", "EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE\n\n As the Face burns away around us, the Martian ship begins to \n rise and spin.", "The Martian stops, turns, facing them. The astronauts stop, \n too, uncertain what they're meant to do. Then the Martian \n gestures again.", "vast blackness, like a narrowly focused spotlight piercing \n the night. Down below, we can see the dust storm in all its \n vastness still boiling orange and brown across the planet's", "Stares down at Mars, enthralled, as sunlight floods the side \n of the spaceship, sparkles off his visor. Dawn, after a very \n long night indeed. He whispers lovingly, under his breath.", "EXT. MARS. THE FACE. LATE DAY", "EXT. MARS. THE FACE. LATE DAY", "Martian ship. It is a flattened convex circle whose matte-\n metallic angles replicate the \"Face\" imagery.", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere." ], [ "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "A tiny reddish dot hovers there, glowing steadily. Mars \n itself, a tantalizing prize. But for him now, more distant \n than ever. For him, perhaps, never to be attained.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "The Mars One Base Camp looms in the foreground, like some \n desolate, otherwordly ghost town. And then, in the night sky", "He turns to look at...\n\n MARS\n\n Right below him, filling his field of view. A long beat.", "Is now several kilometers below and behind them. It's glowing \n red... then orange... then white. Then it erupts into a giant \n fireball, devoured by friction with Mars' atmosphere.", "EXT. MARS. HIGH ATMOSPHERE. NIGHT", "On the center screen, a giant image of Mars. A frantic flow \n of green numbers crawls above and below this, and the site \n of the Mars One Base Camp is marked in blinking red.", "Is in wondrous awe, his whole face radiant with joy. It's \n the first time we've ever seen him utterly without sadness \n or reserve. Staring at the Martian, he understands.", "Woody takes a final look at the charred, doomed Mars Recovery. \n The only home they've known for six months. He exchanges a", "For a moment nothing happens.\n\n Then the deep bass rumbling stops as well. The only remaining \n sound is of WIND, stirring up dust on the Martian plains.", "disaster, the probable end of the Mars Program, and the \n certain end of his own career. He doesn't, at first, even \n hear the nearby VOICE.", "It's a color, high-resolution satellite image of the Mars \n One Base Camp. Ghostly, dust-covered. No signs of life.\n\n WOODY\n Looks deserted.", "Stares down at Mars, enthralled, as sunlight floods the side \n of the spaceship, sparkles off his visor. Dawn, after a very \n long night indeed. He whispers lovingly, under his breath.", "EXT. MARS. THE FACE. LATE DAY", "EXT. MARS. THE FACE. LATE DAY", "EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY", "EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY", "EXT. MARS. THE FACE. PLAINS OF CYDONIA. NIGHT" ], [ "The Martian stops, turns, facing them. The astronauts stop, \n too, uncertain what they're meant to do. Then the Martian \n gestures again.", "Is in wondrous awe, his whole face radiant with joy. It's \n the first time we've ever seen him utterly without sadness \n or reserve. Staring at the Martian, he understands.", "They walk forward slowly, carrying their helmets, up the \n ramp and into the tunnel of light, following the Martian, \n who retreats before them. They go through the hatch and \n disappear inside.", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "her glowing form, and Terri and Luke are at either side. The \n Martian reaches her arms out, inviting them to link hands.", "As they do so, the Martian seems to be staring directly into \n McConnell's eyes.", "He looks a question at Luke and Terri, one after the other. \n Their eyes, tense but excited, signal agreement.", "Look at each other. They're awed into silence, and still \n tense, but now more out of excitement and anticipation than \n fear. Their eyes agree: Let's go.", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "He turns to look at...\n\n MARS\n\n Right below him, filling his field of view. A long beat.", "top starts to bend, angling like a telescope towards a \n specific point in the stars. Then the Martian ship -- a \n rounded darker form, little more than a blip within the vast,", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "Stares down at Mars, enthralled, as sunlight floods the side \n of the spaceship, sparkles off his visor. Dawn, after a very \n long night indeed. He whispers lovingly, under his breath.", "They start towards the four-man rover. Dust is swirling more \n thickly through the air, and the WIND IS LOUDER NOW. Phil \n stands watching them go, a lone, rather forlorn figure.", "INT. MARS ONE HAB. DAY\n\n McConnell, Luke, Terri and Phil stare at this phenomenon, \n awed. They're barely breathing.", "Phil steps from the umber sand onto the ERV's ladder, begins \n to climb. The four-man rover is nearby, sand drifted high \n against its tires.", "Following the Martian, they find themselves in a round, open \n space, defined by light, with a smooth matte-metallic floor, \n but without apparent walls.", "McConnell, moved by this honor, nods. He reaches out to throw \n the switch himself.\n\n MCCONNELL\n Let's go to Mars.", "TERRI\n Dear God. Look at that.\n\n Through their cockpit window, they watch the Martian ship \n hurtle by them at a hundred times their speed." ], [ "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "On the center screen, a giant image of Mars. A frantic flow \n of green numbers crawls above and below this, and the site \n of the Mars One Base Camp is marked in blinking red.", "A tiny reddish dot hovers there, glowing steadily. Mars \n itself, a tantalizing prize. But for him now, more distant \n than ever. For him, perhaps, never to be attained.", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "An orange dot can be seen in its orbital ellipse around Mars, \n leaving a glowing electronic trail. This dot gets isolated", "Stares down at Mars, enthralled, as sunlight floods the side \n of the spaceship, sparkles off his visor. Dawn, after a very \n long night indeed. He whispers lovingly, under his breath.", "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere.", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "The stream of Martian ships grows smaller and smaller as it \n continues on its epic voyage towards a new solar system. \n Then we zero in on\n\n ONE PARTICULAR ROCKETSHIP", "As we see the Mars One Base Camp: silent, very still. In the \n distance, the massive ERV still looms, perched for takeoff, \n the bottom rungs of its ladder buried.\n\n PANNING", "Is now several kilometers below and behind them. It's glowing \n red... then orange... then white. Then it erupts into a giant \n fireball, devoured by friction with Mars' atmosphere.", "Is past the REMO, freefalling toward Mars.\n\n BACK ON MCCONNELL, TERRI AND PHIL\n\n As Terri screams.", "beyond it, we see an eerie and beautiful sight: a bright \n streak of red as the REMO slashes down into the Martian \n atmosphere, like a shooting star, finally disappearing behind", "disaster, the probable end of the Mars Program, and the \n certain end of his own career. He doesn't, at first, even \n hear the nearby VOICE.", "The REMO is now on the night side of Mars. Cargo boxes, \n packing cases and assorted equipment containers float outside. \n The hatch is sealed.", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "Woody takes a final look at the charred, doomed Mars Recovery. \n The only home they've known for six months. He exchanges a", "TERRI\n Dear God. Look at that.\n\n Through their cockpit window, they watch the Martian ship \n hurtle by them at a hundred times their speed.", "THE LONE MARTIAN SHIP\n\n Makes a fiery streak through Earth's atmosphere and plunges \n into the ocean." ], [ "EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY\n\n Willis, Cote, and Kirov get the radar gun up and running.", "LUKE\n The Plains of Cydonia. So?\n (pause)\n Oh no. You're not telling me --", "EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE\n\n As the Face burns away around us, the Martian ship begins to \n rise and spin.", "Set down their helmets, then cautiously converge around this \n column, forming a loose triangle. As they stare into it, the \n myriad lights are reflected off their own eyes and their \n spacesuits.", "Martian ship. It is a flattened convex circle whose matte-\n metallic angles replicate the \"Face\" imagery.", "EXT. PLAINS OF CYDONIA. DUSK", "EXT. PLAINS OF CYDONIA. NIGHT", "EXT. PLAINS OF CYDONIA. NIGHT", "EXT. PLAINS OF CYDONIA. NIGHT", "In a WIDE SHOT, we see the rover approaching the Face, across \n the plains. The sky beyond the Face is almost black, as the", "top starts to bend, angling like a telescope towards a \n specific point in the stars. Then the Martian ship -- a \n rounded darker form, little more than a blip within the vast,", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "As seen through the cockpit windows. Huge, beautiful, MUCH \n CLOSER now. We can make out swirling pink clouds, large \n surface features. It's just before Martian dawn, the next \n morning.", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "MCCONNELL\n Ah, we're all pretty stoked about \n that formation you spotted, Mars", "vast plain of rust-orange soil. Countless craters. Boulders \n the size of houses, tossed about by the hands of gods. Twin", "As they reach the rover, they hear, even in this chaos, that \n the deep pulsing tone of the Face has started again. They", "beyond it, we see an eerie and beautiful sight: a bright \n streak of red as the REMO slashes down into the Martian \n atmosphere, like a shooting star, finally disappearing behind", "It's a color, high-resolution satellite image of the Mars \n One Base Camp. Ghostly, dust-covered. No signs of life.\n\n WOODY\n Looks deserted.", "The crew of Mars One - Kirov, Willis, and Cote -- have joined \n Luke, gathered around some display monitors. They're in NASA" ], [ "DISSOLVE TO:\n\n INT. MARS TWO (DOCKED). COCKPIT. DAY", "Mars Two is already positioned for its eventual flight. We \n hear LUKE'S EXCITED VOICE, over speakers.", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "We're inside the Mars Two spacecraft, which is still in its \n docked position alongside the Space Station.", "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere.", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "INT. MARS RECOVERY. LOWER HAB. NIGHT", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "INT. MARS RECOVERY. EVA AIRLOCK. DAY", "Looks are exchanged among the Mars Two crew.\n\n TERRI\n What about the crew?", "Then all the jets fire in unison, braking the REMO, as it \n falls away from us, towards Mars at night.\n\n INT. REMO. HIGH ATMOSPHERE. NIGHT", "LUKE\n Oh, man, three commanders, on the \n same ship? If they sent us off to \n Mars together, there wouldn't be \n enough fuel to lift all those egos.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "In his white pressure suit, staring back at him from the \n screen of a video monitor. Above this is perched the camera \n the Mars One astronauts used for their comm packets.", "The crew of Mars One - Kirov, Willis, and Cote -- have joined \n Luke, gathered around some display monitors. They're in NASA", "Sits at the center console, wearing a headset. He's now the \n Mars One CAPCOM (Capsule Communicator), and his manner is", "Sequence omitted from original script.\n\n INT. MARTIAN SPACESHIP. NIGHT", "LAUGHTER and GROANS from the staff in MMCR.\n\n EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY", "INT. MARS ONE HAB. ANOTHER SECTION. NEXT MORNING" ], [ "They walk forward slowly, carrying their helmets, up the \n ramp and into the tunnel of light, following the Martian, \n who retreats before them. They go through the hatch and \n disappear inside.", "Is in wondrous awe, his whole face radiant with joy. It's \n the first time we've ever seen him utterly without sadness \n or reserve. Staring at the Martian, he understands.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "The Martian stops, turns, facing them. The astronauts stop, \n too, uncertain what they're meant to do. Then the Martian \n gestures again.", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "The stream of Martian ships grows smaller and smaller as it \n continues on its epic voyage towards a new solar system. \n Then we zero in on\n\n ONE PARTICULAR ROCKETSHIP", "invitation. To follow them. To follow \n them home.", "her glowing form, and Terri and Luke are at either side. The \n Martian reaches her arms out, inviting them to link hands.", "McConnell, moved by this honor, nods. He reaches out to throw \n the switch himself.\n\n MCCONNELL\n Let's go to Mars.", "Look at each other. They're awed into silence, and still \n tense, but now more out of excitement and anticipation than \n fear. Their eyes agree: Let's go.", "top starts to bend, angling like a telescope towards a \n specific point in the stars. Then the Martian ship -- a \n rounded darker form, little more than a blip within the vast,", "Of Woody leading them away from the crippled spaceship, \n against the magnificent backdrop of the blood-red planet \n below. Four tiny figures, all alone in space.", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "Woody takes a final look at the charred, doomed Mars Recovery. \n The only home they've known for six months. He exchanges a", "AMBASSADOR\n Will he be going to Mars, too?\n\n BECK\n Ah, no. This is as close as he gets.", "TERRI\n Dear God. Look at that.\n\n Through their cockpit window, they watch the Martian ship \n hurtle by them at a hundred times their speed.", "He looks a question at Luke and Terri, one after the other. \n Their eyes, tense but excited, signal agreement.", "They start towards the four-man rover. Dust is swirling more \n thickly through the air, and the WIND IS LOUDER NOW. Phil \n stands watching them go, a lone, rather forlorn figure.", "LUKE\n None of us ever wanted Mars the way \n you two did. Not even Woody. Twelve \n years of hoping for this assignment, \n training for it --", "want any peace at all on Mars Two, \n I'm gonna be saying a lot of \"Yes, \n dears.\"" ], [ "Grabs at his wrist, restraining this suicidal courage. They \n stare at each other. McConnell wrenches his hand free, half-\n maddened, agonized, staring after Terri.", "LUKE\n They all died, but I was spared. \n Why? Had to be for a reason. Then, \n all of a sudden, I knew why I was \n spared.", "His eyes remain tightly shut, bubbles are streaming from his \n lips. His last breath is nearly exhausted, it's being shaken \n from his lungs.\n\n OMITTED", "PHIL\n Is that him?\n\n Luke nods. Their eyes are glistening. Luke's voice is a \n whisper, both of prayer and farewell.", "As they share a brief, loving glance, but there's no time \n for words. She tightens his helmet ring, and he brushes his", "Squeezes his eyes shut, holding his breath. Not so much \n fighting this anymore as simply floating in place, waiting \n for his inevitable death...", "DEBRA\n Up in his fort.\n\n He kisses her again, then goes. Debra's eyes follow him, \n with a mixture of pride and sadness.", "His eyes widen in surprise and understanding. He can breathe \n it! This fluid will keep him alive! His whole body relaxes,", "Willis's spacesuit explodes, his entire body disintegrating \n into a million bits, which instantly disappear into the \n hellish maelstrom. And then that maelstrom itself, just as \n abruptly...", "In some mysterious way, this reminder of Woody's death seems \n to bring him fully back into himself. He takes Terri by the \n shoulders, deeply saddened. She meets his gaze.", "We see a flash of uncertainty in Luke's eyes. Then he yanks \n his arm free, and his hammer arcs up even higher, trembles \n in the air.", "Terri and McConnell look at each other. Tears of relief in \n her eyes. He is exhausted, nearly spent, but manages a grin.", "TERRI\n No. It just means there was nobody \n left to bury him.\n\n This quiets everyone for a long moment.", "And Phil chokes back a sob. Blinking back the tears, he tries \n to compose himself, then keys his mike.", "Terri turns, excited by McConnell's triumph; she's just in \n time to see him collapse to the floor below her, as he starts \n to lose consciousness. He's deathly pale.", "Tries his suit jets again -- they're empty.\n\n HIS POV\n\n Falling away from the REMO.\n\n MCCONNELL AND THE OTHERS", "BECK\n He washed himself out. He only had \n to pass a few more psych evaluations, \n but he refused to take them.", "He and his crew lean in, blow out the candle. They laugh and \n applaud, then wave goodbye.", "WOODY\n His wife wasted away in front of his \n eyes. What was he supposed to do?", "His voice is unexpectedly fierce. He's fighting back tears. \n Luke is moved. Another brief silence." ], [ "As Ray Beck addresses them. Other NASA STAFFERS, twenty or \n more, have crowded in behind him, and we sense their great \n hopefulness and high spirits; the whole team's triumph is \n tantalizingly close now.", "BECK\n The message is almost indecipherable. \n Two teams are still working on it. \n You better see for yourselves.\n\n INT. MMCR. DAY", "The crew is gathered around a display screen. The lights are \n dim, reflecting up off their faces. By their expressions, we \n can tell the news is not good.\n\n CLOSE ON THE SCREEN", "McConnell kneels beside Luke, signalling to Terri and Phil \n that it's okay to let him go. They stand back, pulling off \n their helmets. Everyone is panting, out of breath.", "Look at each other. They're awed into silence, and still \n tense, but now more out of excitement and anticipation than \n fear. Their eyes agree: Let's go.", "And then, from the direction of the nearby mountain, we hear \n another sound: the deep bass pulsing rumble returns.\n\n INT. MMCR. DAY", "The technician nods, hurries away. McConnell, sharing the \n intense excitement of those around him, stares up at\n\n THE SCREEN", "As they are stunned by the immensity of the scene, the cosmic \n mystery before them. Luke and Terri look at McConnell. Another \n moment of critical decision. He keys his mike.", "They walk forward slowly, carrying their helmets, up the \n ramp and into the tunnel of light, following the Martian, \n who retreats before them. They go through the hatch and \n disappear inside.", "He types another command. They all look at the monitor, the \n glow reflecting on their faces. They are amazed again.\n\n CLOSE ON THE MONITOR", "McConnell punches buttons, MUTING THE ALARMS, and they all \n strain to listen, faces tense and sweating. A long beat. But", "MCCONNELL\n We know Luke survived for at least a \n few hours. Question is, are there \n any signs of recent activity?\n\n They all scan the screen. Phil spots something.", "They stand looking down at the three long mounds of dirt, as \n Luke completes his account of the disaster.", "Beck and McConnell are huddled together at the CAPCOM's \n console. Other personnel have moved away, giving them room.", "seems to happen. Moving further, he takes his place on the \n indigo circle at their core. He looks at", "As they reach the rover, they hear, even in this chaos, that \n the deep pulsing tone of the Face has started again. They", "The lights and computer screens are flickering back on. All \n of them! The cockpit lights up like a Christmas tree. Phil \n bounces up and down like a madman, babbling in triumph.", "After a split-second they get it, and the whole crew roars \n with LAUGHTER, which builds and builds; they're almost giddy \n with the relief of the tension...", "The crew of Mars One - Kirov, Willis, and Cote -- have joined \n Luke, gathered around some display monitors. They're in NASA", "INT. MARS RECOVERY. LOWER HAB. DAY\n\n McConnell and crew are eating dinner while they watch a taped \n message from MMCR." ], [ "The crew is gathered around a display screen. The lights are \n dim, reflecting up off their faces. By their expressions, we \n can tell the news is not good.\n\n CLOSE ON THE SCREEN", "The lights and computer screens are flickering back on. All \n of them! The cockpit lights up like a Christmas tree. Phil \n bounces up and down like a madman, babbling in triumph.", "After a split-second they get it, and the whole crew roars \n with LAUGHTER, which builds and builds; they're almost giddy \n with the relief of the tension...", "Phil punches buttons. ON THE SCREEN a second ellipse appears: \n a blinking orange dot labelled \"REMO.\" It appears to be soon \n intersecting with their own trajectory.", "PUSHING IN QUICKLY ON THIS.\n\n We see three figures in the cockpit.\n\n OMITTED\n\n Sequence omitted from original script.", "Suddenly the BELL-LIKE TONE REPEATS, at a lower register, \n with a more sustained note, and simultaneously, the last of \n the yellow circles of light begins to fade, as", "As he keys his mike urgently.\n\n PHIL\n Get back in here, guys!\n\n EXT. SPACE. NIGHT", "As they reach the rover, they hear, even in this chaos, that \n the deep pulsing tone of the Face has started again. They", "As the countdown indicator reaches \"0000.00.00\", a final \n signal PINGS, and he flips the switch.\n\n EXT. MARS RECOVERY. DAY", "As they are stunned by the immensity of the scene, the cosmic \n mystery before them. Luke and Terri look at McConnell. Another \n moment of critical decision. He keys his mike.", "A few moments of silence while they try to absorb this.\n\n MCCONNELL\n What about the sound? That signal \n you heard before the explosion?", "BECK\n The message is almost indecipherable. \n Two teams are still working on it. \n You better see for yourselves.\n\n INT. MMCR. DAY", "Set down their helmets, then cautiously converge around this \n column, forming a loose triangle. As they stare into it, the \n myriad lights are reflected off their own eyes and their \n spacesuits.", "McConnell punches buttons, MUTING THE ALARMS, and they all \n strain to listen, faces tense and sweating. A long beat. But", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "The technician nods, hurries away. McConnell, sharing the \n intense excitement of those around him, stares up at\n\n THE SCREEN", "Stare at the ominous sight. They're all more nervous than \n they want to show. Luke's fingers delicately work a joystick \n as he maneuvers the remote surveyor.", "From the radar gun on Ares-8's back, a sharp, high-pitched \n electronic burst is emitted, pulsating like a tuning fork as \n it's fired towards the Face. After a few seconds it stops.", "He and his crew lean in, blow out the candle. They laugh and \n applaud, then wave goodbye.", "Look at each other. They're awed into silence, and still \n tense, but now more out of excitement and anticipation than \n fear. Their eyes agree: Let's go." ], [ "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere.", "LUKE\n Oh, man, three commanders, on the \n same ship? If they sent us off to \n Mars together, there wouldn't be \n enough fuel to lift all those egos.", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "INT. MARS RECOVERY. LOWER HAB. NIGHT", "On the center screen, a giant image of Mars. A frantic flow \n of green numbers crawls above and below this, and the site \n of the Mars One Base Camp is marked in blinking red.", "INT. MARS ONE HAB. ANOTHER SECTION. NEXT MORNING", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "In his white pressure suit, staring back at him from the \n screen of a video monitor. Above this is perched the camera \n the Mars One astronauts used for their comm packets.", "INT. MARS ONE HAB. MOMENTS LATER", "INT. MARS RECOVERY. EVA AIRLOCK. DAY", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "Then all the jets fire in unison, braking the REMO, as it \n falls away from us, towards Mars at night.\n\n INT. REMO. HIGH ATMOSPHERE. NIGHT", "Sits at the center console, wearing a headset. He's now the \n Mars One CAPCOM (Capsule Communicator), and his manner is", "DISSOLVE TO:\n\n INT. MARS TWO (DOCKED). COCKPIT. DAY", "The crew of Mars One - Kirov, Willis, and Cote -- have joined \n Luke, gathered around some display monitors. They're in NASA", "He turns to look at...\n\n MARS\n\n Right below him, filling his field of view. A long beat.", "EXT. MARS ONE BASE CAMP. LATE DAY", "LAUGHTER and GROANS from the staff in MMCR.\n\n EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY" ], [ "The crew of Mars One - Kirov, Willis, and Cote -- have joined \n Luke, gathered around some display monitors. They're in NASA", "LUKE\n None of us ever wanted Mars the way \n you two did. Not even Woody. Twelve \n years of hoping for this assignment, \n training for it --", "On a large CENTER DISPLAY SCREEN, we see Luke and the Mars \n One crew, sitting around their kitchen table in the Hab, \n finishing lunch while taping this VIDEO MESSAGE.", "Luke, now in a patched-up pressure suit and grubby-looking \n helmet, stands peering down unhappily at the improvised", "LUKE\n When you guys land, it'll prove once \n and for all there's no intelligent \n life on Mars.", "LUKE\n Checking video feed...\n\n INT. MARS ONE HAB. LATE DAY", "The hanger-like hatch has reopened, and Luke and Terri, \n helmeted again, emerge from the Face. The leading edge of", "INT. MARS ONE HAB. DAY\n\n As Luke and Terri look tensely at McConnell.\n\n TERRI\n Four.", "Luke sits up, slowly studying their features, one after \n another, as if still not quite certain whether they might \n vanish. His voice is hoarse, rusty from disuse.", "MCCONNELL\n (softly)\n My money's on Luke.\n\n INT. MARS RECOVERY. EVA AIRLOCK. NEXT MORNING", "Luke looks at his sleeve. McConnell's right.\n\n TERRI\n Above Mars atmospheric? That's \n impossible.", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "LUKE\n Yeah. It's Mars.\n\n SUDDENLY A HUGE ASTEROID\n\n Tumbles through space towards the planet...", "INT. MARS ONE HAB. DAY\n\n McConnell, Luke, Terri and Phil stare at this phenomenon, \n awed. They're barely breathing.", "Mars Two is already positioned for its eventual flight. We \n hear LUKE'S EXCITED VOICE, over speakers.", "The rover, with Luke and Terri inside, races away towards \n the safety of the ERV, as the maelstrom boils over the Face", "THE ROVER appears out of the dust and sand, the immense storm \n seeming to chase it from behind. Luke and Terri climb out,", "The others nod in weary agreement. As they start out, towards \n the relative warmth of the greenhouse, Terri looks at Luke,", "They walk forward slowly, carrying their helmets, up the \n ramp and into the tunnel of light, following the Martian, \n who retreats before them. They go through the hatch and \n disappear inside.", "McConnell kneels beside Luke, signalling to Terri and Phil \n that it's okay to let him go. They stand back, pulling off \n their helmets. Everyone is panting, out of breath." ], [ "the tension draining from his head and shoulders, as he fully \n trusts this launch for the first time. And then, with his \n eyes wide open, he sees, from memory, one final image...", "Then just as the outer edge of the hab starts to pass him, \n the thrusters kick back in. Woody grabs the edge, starts to \n move to the hole. Woody lets out a breath.", "Phil waits a second, then reaches slowly for a blinking red \n switch that reads \"LAUNCH.\" He hesitates, then actually has", "He sweeps Terri gallantly about the little cabin, pushing \n off from every handy surface, even guiding her into some \n passable twirls and dips. She laughs, shaking her head.", "His eyes widen in surprise and understanding. He can breathe \n it! This fluid will keep him alive! His whole body relaxes,", "PHIL\n Yeah, Jim. Your signal's breaking up \n a little in the storm, but I read \n you.\n\n EXT. THE FACE. DUSK", "Woody jets back towards the open EVA hatch. But as he reaches \n this, about to re-enter the ship, he's captured momentarily \n by a breathtakingly beautiful sight below him.", "He unscrews the ring, pops the seal. The outrush of air pushes \n his helmet all the way off. Woody shuts his eyes and opens \n his mouth.", "Look at each other. They're awed into silence, and still \n tense, but now more out of excitement and anticipation than \n fear. Their eyes agree: Let's go.", "He unlatches a panel, grips the emergency lever inside, tugs \n it. After a seeming eternity, the door groans and creaks \n open. Little puffs of dust and sand swirl about, settle.", "TERRI\n No. More like an invitation.\n\n LUKE\n Or another test...", "As he smiles. Then he starts towards them, with a new energy \n in his step, a new sense of confidence and purpose. And as \n he WALKS TOWARDS US, PASSING OUT OF FRAME...", "Abruptly opens, and he slides into a fissure. Scrabbling \n frantically with his gloved hands, he manages to momentarily", "But still stares up, transfixed, like a man face to face \n with a cobra. Luke follows the young astronaut's frightened \n gaze, and his own eyes widen as he sees", "Terri and Luke see this.\n\n TERRI\n (alarmed)\n Jim, what're you doing? You'll \n depressurize!", "We see a flash of uncertainty in Luke's eyes. Then he yanks \n his arm free, and his hammer arcs up even higher, trembles \n in the air.", "struggle towards him through the wind. Phil grips their hands, \n helping them over to the ladder. He looks back, confused.", "He rises quickly and scuttles off, waving an impatient hand, \n without waiting to see if they'll follow. McConnell, Terri \n and Phil stare after him for a long moment. Phil breaks the \n silence.", "Is in wondrous awe, his whole face radiant with joy. It's \n the first time we've ever seen him utterly without sadness \n or reserve. Staring at the Martian, he understands.", "seems to happen. Moving further, he takes his place on the \n indigo circle at their core. He looks at" ], [ "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere.", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "EXT. MARS. CHRYSE PLANITIA. DAY", "EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY\n\n Willis, Cote, and Kirov get the radar gun up and running.", "INT. MARS ONE HAB. DAY\n\n McConnell, Luke, Terri and Phil stare at this phenomenon, \n awed. They're barely breathing.", "On the center screen, a giant image of Mars. A frantic flow \n of green numbers crawls above and below this, and the site \n of the Mars One Base Camp is marked in blinking red.", "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "INT. MARS RECOVERY. LOWER HAB. NIGHT", "Woody spots a tiny geyser of brownish ice crystals spouting \n out of the hull of the lower Hab. It's some distance away \n from him, but clearly visible.", "EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE\n\n As the Face burns away around us, the Martian ship begins to \n rise and spin.", "As seen through the cockpit windows. Huge, beautiful, MUCH \n CLOSER now. We can make out swirling pink clouds, large \n surface features. It's just before Martian dawn, the next \n morning.", "As we see the Mars One Base Camp: silent, very still. In the \n distance, the massive ERV still looms, perched for takeoff, \n the bottom rungs of its ladder buried.\n\n PANNING", "INT. MARS ONE HAB. ANOTHER SECTION. NEXT MORNING", "EXT. MARS ONE BASE CAMP. LATE DAY", "Following the Martian, they find themselves in a round, open \n space, defined by light, with a smooth matte-metallic floor, \n but without apparent walls.", "INT. MARS ONE HAB. MOMENTS LATER", "EXT. MARS. THE FACE. LATE DAY", "EXT. MARS. THE FACE. LATE DAY" ], [ "The crew is gathered around a display screen. The lights are \n dim, reflecting up off their faces. By their expressions, we \n can tell the news is not good.\n\n CLOSE ON THE SCREEN", "Willis's spacesuit explodes, his entire body disintegrating \n into a million bits, which instantly disappear into the \n hellish maelstrom. And then that maelstrom itself, just as \n abruptly...", "He and his crew lean in, blow out the candle. They laugh and \n applaud, then wave goodbye.", "then, with horrifying precision, it locks in on the little \n group of astronauts. And lunges towards them...", "After a split-second they get it, and the whole crew roars \n with LAUGHTER, which builds and builds; they're almost giddy \n with the relief of the tension...", "PUSHING IN QUICKLY ON THIS.\n\n We see three figures in the cockpit.\n\n OMITTED\n\n Sequence omitted from original script.", "Beck stands by a viewport, staring out into space. He's just \n lost four good friends, and also knows he is seeing, in this", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "another. The supporting metal struts are vaporized. The solar \n panels are snapped off. Two of the huge engine bells are \n smashed sideways, out of alignment, while the third, trailing", "Feeble starlight from the viewports. McConnell and Terri, \n drifting side by side, stare at one another, expecting to \n die within seconds. It feels like an agonizing eternity.", "Swirling ever tighter, has formed a whirlpool that's now \n being sucked out through the breach hole in the hull. She \n can now see the ugly puncture for the first time.", "We see the effect of the incredible g-forces: faces distorted, \n unable to focus their eyes. Each of them thinking, once again: \n Now I'm going to die...\n\n OMITTED", "They stare at Woody. We feel the full, terrible weight of \n his responsibility. Four lives hang on his call.\n\n WOODY\n Prepare to abandon ship.", "Look at each other. They're awed into silence, and still \n tense, but now more out of excitement and anticipation than \n fear. Their eyes agree: Let's go.", "In the maelstrom of flying debris, they can barely make out \n Cote and Kirov, still retreating, leaning back with all their \n strength against the suction, while staring up, aghast.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "The lights and computer screens are flickering back on. All \n of them! The cockpit lights up like a Christmas tree. Phil \n bounces up and down like a madman, babbling in triumph.", "McConnell punches buttons, MUTING THE ALARMS, and they all \n strain to listen, faces tense and sweating. A long beat. But", "All four astronauts fire a brief, simultaneous burst from \n the tiny attitude control thrusters in their suits. This \n stops their rotation, bringing their travel under control. \n The ship continues spinning in the background." ], [ "The yard is nearly deserted. The \"Bon Voyage\" banner has \n torn loose at one end and flutters limply. Here and there a \n napkin blows across the ground.", "behind them. The sky is purplish black, thick with flying \n debris and eerie lightning flashes. Towering billows of dust \n chase them over the plain, nearly enveloping them as they", "LUKE\n How far away is it?\n\n KIROV\n Sixteen kilometers northeast. Take \n us twenty minutes to get there.", "Still sits there, eerily, with its stub of burned-out candle. \n Half-finished, frozen cups of coffee. Suddenly, out of the", "Look at each other. They're awed into silence, and still \n tense, but now more out of excitement and anticipation than \n fear. Their eyes agree: Let's go.", "In the back corner of the yard, where it's quieter, he passes \n Willis, who's sitting on a blanket, murmuring soulfully to \n PRETTY GIRL #2.", "The others turn, looking at him. Luke is aiming an electric \n space heater at his computer. As the coils glow red, he rubs \n his hands together, poised over the keyboard.", "decades. We're it, guys.\n (pause)\n We're it.", "Lies on his cot in his own cubicle, with the door closed. \n The lower hab has artificial gravity (AG) and McConnell can \n move normally. Hands behind his head, he stares at his bureau.", "Phil is now strapped into the pilot's seat. He's scared, \n sweating hard, but concentrating fiercely as his one good \n hand works a battery-powered screwdriver.", "TERRI AND WOODY\n\n Are on the same trajectory, going the same speed, and only \n about a hundred meters apart. But it might as well be \n infinity.", "In an otherwise empty lounge, the astronauts clutch Styrofoam \n coffee cups. Beck stands nearby. Through a large viewport \n behind them, stars glitter against the inky blackness.", "As he smiles. Then he starts towards them, with a new energy \n in his step, a new sense of confidence and purpose. And as \n he WALKS TOWARDS US, PASSING OUT OF FRAME...", "THE END", "Is a study in conflicting emotions. But after a moment he \n masters his feelings, turns back toward Beck. A few more", "The others nod in weary agreement. As they start out, towards \n the relative warmth of the greenhouse, Terri looks at Luke,", "Looks back at her, nods his understanding. For the first \n time she seems to smile. Benevolence, reassurance. Then as \n abruptly as she first appeared, she fades away. Vanishes.", "Takes a step forward, staring helplessly at the screen. His \n face goes pale, stricken. His worst nightmare is taking place, \n right before his eyes -- and for the second mission in a \n row...", "They stand looking down at the three long mounds of dirt, as \n Luke completes his account of the disaster.", "the last to go, is just departing on his motorcycle. Perched \n behind him, arms around his waist, is PRETTY GIRL #3. They" ], [ "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "PHIL\n Oh Jesus, look! The ship!\n\n Phil points. McConnell and Terri look.\n\n THE MARS RECOVERY COCKPIT", "Of Woody leading them away from the crippled spaceship, \n against the magnificent backdrop of the blood-red planet \n below. Four tiny figures, all alone in space.", "(McConnell gestures \n at the ship around \n them)\n You were right Terri. This is an", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "They stare at Woody. We feel the full, terrible weight of \n his responsibility. Four lives hang on his call.\n\n WOODY\n Prepare to abandon ship.", "Then, as the ship begins to MOVE OUT OF FRAME...", "The crew is gathered around a display screen. The lights are \n dim, reflecting up off their faces. By their expressions, we \n can tell the news is not good.\n\n CLOSE ON THE SCREEN", "The astronauts climb in through the hatch. The last one in \n pulls it shut behind him and locks the latches. We see Cote", "A vast, impressive, MULTI-SECTIONED SPACECRAFT is drifting \n majestically above Earth. The main hull displays both NASA \n and U.N. flag decals.", "Luke, Terri and Phil are strapped in, with their acceleration \n just starting to level off, when suddenly their cockpit", "Beck stands by a viewport, staring out into space. He's just \n lost four good friends, and also knows he is seeing, in this", "PUSHING IN QUICKLY ON THIS.\n\n We see three figures in the cockpit.\n\n OMITTED\n\n Sequence omitted from original script.", "MCCONNELL\n We are in a ship. This is a ship. \n And the countdown has already started.\n\n Terri looks at Luke, alarmed.", "They have dragged along with them from their landing site a \n crude sledge, improvised from the REMO's hatch cover and \n some cargo straps. On this, their meager supplies.", "Feeble starlight from the viewports. McConnell and Terri, \n drifting side by side, stare at one another, expecting to \n die within seconds. It feels like an agonizing eternity.", "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "The crew of Mars One - Kirov, Willis, and Cote -- have joined \n Luke, gathered around some display monitors. They're in NASA", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement." ], [ "Feeble starlight from the viewports. McConnell and Terri, \n drifting side by side, stare at one another, expecting to \n die within seconds. It feels like an agonizing eternity.", "The crew is gathered around a display screen. The lights are \n dim, reflecting up off their faces. By their expressions, we \n can tell the news is not good.\n\n CLOSE ON THE SCREEN", "We see the effect of the incredible g-forces: faces distorted, \n unable to focus their eyes. Each of them thinking, once again: \n Now I'm going to die...\n\n OMITTED", "Beck stands by a viewport, staring out into space. He's just \n lost four good friends, and also knows he is seeing, in this", "The crew of Mars One - Kirov, Willis, and Cote -- have joined \n Luke, gathered around some display monitors. They're in NASA", "PUSHING IN QUICKLY ON THIS.\n\n We see three figures in the cockpit.\n\n OMITTED\n\n Sequence omitted from original script.", "He and his crew lean in, blow out the candle. They laugh and \n applaud, then wave goodbye.", "Look at each other. They're awed into silence, and still \n tense, but now more out of excitement and anticipation than \n fear. Their eyes agree: Let's go.", "Have stopped in place, wobbling eerily as perfect spheres in \n the zero-G. Then suddenly they start moving again, faster", "Set down their helmets, then cautiously converge around this \n column, forming a loose triangle. As they stare into it, the \n myriad lights are reflected off their own eyes and their \n spacesuits.", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "The astronauts climb in through the hatch. The last one in \n pulls it shut behind him and locks the latches. We see Cote", "Of Woody leading them away from the crippled spaceship, \n against the magnificent backdrop of the blood-red planet \n below. Four tiny figures, all alone in space.", "Luke, Terri and Phil are strapped in, with their acceleration \n just starting to level off, when suddenly their cockpit", "They have dragged along with them from their landing site a \n crude sledge, improvised from the REMO's hatch cover and \n some cargo straps. On this, their meager supplies.", "After a split-second they get it, and the whole crew roars \n with LAUGHTER, which builds and builds; they're almost giddy \n with the relief of the tension...", "They walk forward slowly, carrying their helmets, up the \n ramp and into the tunnel of light, following the Martian, \n who retreats before them. They go through the hatch and \n disappear inside.", "They stare at Woody. We feel the full, terrible weight of \n his responsibility. Four lives hang on his call.\n\n WOODY\n Prepare to abandon ship.", "All four astronauts fire a brief, simultaneous burst from \n the tiny attitude control thrusters in their suits. This \n stops their rotation, bringing their travel under control. \n The ship continues spinning in the background.", "The astronauts, restrained on the floor by Terri's jury-rigged \n strap system, hold on for dear life. The buffeting through \n the atmosphere is shaking them violently." ], [ "Set down their helmets, then cautiously converge around this \n column, forming a loose triangle. As they stare into it, the \n myriad lights are reflected off their own eyes and their \n spacesuits.", "the way and the astronauts climb out. They all look up in \n awe. We hear their voices ON RADIOS.", "LUKE\n This is a truly anomalous formation. \n Looks like nothing we've seen so", "Woody spots a tiny geyser of brownish ice crystals spouting \n out of the hull of the lower Hab. It's some distance away \n from him, but clearly visible.", "INT. MARS ONE HAB. DAY\n\n McConnell, Luke, Terri and Phil stare at this phenomenon, \n awed. They're barely breathing.", "As they are stunned by the immensity of the scene, the cosmic \n mystery before them. Luke and Terri look at McConnell. Another \n moment of critical decision. He keys his mike.", "Look at each other. They're awed into silence, and still \n tense, but now more out of excitement and anticipation than \n fear. Their eyes agree: Let's go.", "Appears through the glare, soaring up before their startled \n eyes. White, metallic, composed of complexly-linked bands,", "Have stopped in place, wobbling eerily as perfect spheres in \n the zero-G. Then suddenly they start moving again, faster", "He looks at his crew. They beam like cats who ate canaries.\n\n LUKE\n ...then we've found the key to \n permanent human colonization.", "interior is starkly bathed in white light. They wince at the \n unearthly radiance, shielding their faceplates with gloved \n hands.", "MCCONNELL, TERRI AND PHIL IN DEEP SPACE\n\n Are all staring at this, awed, when McConnell happens to \n look up again. He sees something alarming.", "But still stares up, transfixed, like a man face to face \n with a cobra. Luke follows the young astronaut's frightened \n gaze, and his own eyes widen as he sees", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "The entire \"ceiling\" of the Face is becoming translucent. He \n can see the dust storm, boiling overhead. And now, rising", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "Of Woody leading them away from the crippled spaceship, \n against the magnificent backdrop of the blood-red planet \n below. Four tiny figures, all alone in space.", "They have dragged along with them from their landing site a \n crude sledge, improvised from the REMO's hatch cover and \n some cargo straps. On this, their meager supplies.", "A cylindrical holographic column appears, rising from the \n floor in front of the astronauts. Inside it, a swirl of eerie \n lights, millions of them, like cosmic fireflies...", "Debris in every direction, NEAT SPIRALS of it now, dropped \n uncannily into place, like some massive earth sculpture. As" ], [ "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere.", "PHIL\n Oh Jesus, look! The ship!\n\n Phil points. McConnell and Terri look.\n\n THE MARS RECOVERY COCKPIT", "TERRI\n Dear God. Look at that.\n\n Through their cockpit window, they watch the Martian ship \n hurtle by them at a hundred times their speed.", "DISSOLVE TO:\n\n INT. MARS TWO (DOCKED). COCKPIT. DAY", "Glides INTO VIEW. \"MARS RECOVERY\" (formerly Mars Two) looks \n much like its sister craft on Mars: a conical cockpit mounted \n above a \"tuna can\" crew Hab module.", "We're inside the Mars Two spacecraft, which is still in its \n docked position alongside the Space Station.", "TERRI\n There she is!\n\n THEIR POV\n\n The black outline of the little cargo craft drifts against \n the red of Mars.", "The stream of Martian ships grows smaller and smaller as it \n continues on its epic voyage towards a new solar system. \n Then we zero in on\n\n ONE PARTICULAR ROCKETSHIP", "Stares down at Mars, enthralled, as sunlight floods the side \n of the spaceship, sparkles off his visor. Dawn, after a very \n long night indeed. He whispers lovingly, under his breath.", "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "On the center screen, a giant image of Mars. A frantic flow \n of green numbers crawls above and below this, and the site \n of the Mars One Base Camp is marked in blinking red.", "Mars Two is already positioned for its eventual flight. We \n hear LUKE'S EXCITED VOICE, over speakers.", "Attitude control thrusters on the hull begin firing in pulses. \n The rotation of the lower Hab deck immediately starts to \n slow down. The great red ball of Mars drifts by.", "Sequence omitted from original script.\n\n INT. MARTIAN SPACESHIP. NIGHT", "A vast, impressive, MULTI-SECTIONED SPACECRAFT is drifting \n majestically above Earth. The main hull displays both NASA \n and U.N. flag decals.", "Then all the jets fire in unison, braking the REMO, as it \n falls away from us, towards Mars at night.\n\n INT. REMO. HIGH ATMOSPHERE. NIGHT" ], [ "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "Is now several kilometers below and behind them. It's glowing \n red... then orange... then white. Then it erupts into a giant \n fireball, devoured by friction with Mars' atmosphere.", "Attitude control thrusters on the hull begin firing in pulses. \n The rotation of the lower Hab deck immediately starts to \n slow down. The great red ball of Mars drifts by.", "another. The supporting metal struts are vaporized. The solar \n panels are snapped off. Two of the huge engine bells are \n smashed sideways, out of alignment, while the third, trailing", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "Then all the jets fire in unison, braking the REMO, as it \n falls away from us, towards Mars at night.\n\n INT. REMO. HIGH ATMOSPHERE. NIGHT", "EXT. SPACE. DAY\n\n Mars Recovery is speeding ever closer to Mars, which now \n looms large, a dusty red mysterious sphere.", "In the windows, Mars goes crazily in and out of view. The \n astronauts, flung this way, then that, are all fighting \n against unconsciousness.", "An orange dot can be seen in its orbital ellipse around Mars, \n leaving a glowing electronic trail. This dot gets isolated", "DISSOLVE TO:\n\n INT. MARS TWO (DOCKED). COCKPIT. DAY", "Which is flickering crazily. It shows the ship moving much \n closer to its critical MOI point, indicated by a flashing \n red triangle aimed down at the Martian surface.", "EXT. REMO. MARS ORBIT. NIGHT. (MINUTES LATER)\n\n Small thrusters are firing, getting the REMO into position \n for entry into the atmosphere.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "REVEAL A BREECH IN THE HULL. Jagged metal edges, dangling \n insulation. The blood droplets are whirling out through here, \n going into the vacuum of space.", "what's left of the ship -- mainly the EVA chamber and cockpit -- \n to tumble end over end, cartwheeling down towards Mars.", "We're inside the Mars Two spacecraft, which is still in its \n docked position alongside the Space Station.", "Glides INTO VIEW. \"MARS RECOVERY\" (formerly Mars Two) looks \n much like its sister craft on Mars: a conical cockpit mounted \n above a \"tuna can\" crew Hab module.", "INT. COCKPIT. DAY\n\n All four astronauts are strapped in, fully suited and \n helmeted. Mars looms through the cockpit windows. The \n atmosphere is electric with excitement.", "beyond it, we see an eerie and beautiful sight: a bright \n streak of red as the REMO slashes down into the Martian \n atmosphere, like a shooting star, finally disappearing behind", "For a moment nothing happens.\n\n Then the deep bass rumbling stops as well. The only remaining \n sound is of WIND, stirring up dust on the Martian plains." ], [ "Slowly reaches up, unsealing the neck ring of his helmet. He \n hesitates, then lifts it off. Takes a deep, quenching lungful", "Set down their helmets, then cautiously converge around this \n column, forming a loose triangle. As they stare into it, the \n myriad lights are reflected off their own eyes and their \n spacesuits.", "Terri starts taking off her helmet. In a few moments, all \n three helmets are off. They hold them, glowing softly, against", "He unscrews the ring, pops the seal. The outrush of air pushes \n his helmet all the way off. Woody shuts his eyes and opens \n his mouth.", "They walk forward slowly, carrying their helmets, up the \n ramp and into the tunnel of light, following the Martian, \n who retreats before them. They go through the hatch and \n disappear inside.", "The hanger-like hatch has reopened, and Luke and Terri, \n helmeted again, emerge from the Face. The leading edge of", "Terri nods. McConnell starts unscrewing his helmet ring. \n Luke follows suit.", "Inside her helmet, is streaming with tears. She turns herself \n around, reluctantly. Heads slowly back towards the REMO.\n\n INT. INTERNATIONAL SPACE STATION. MMCR. DAY", "As in the Science Area, this space has enough thin oxygen \n for the astronauts to remain unhelmeted. McConnell and Luke \n are still going through what few supplies were salvaged from \n the REMO.", "McConnell, once again helmeted, emerges from the Hab airlock. \n Luke, Terri and Phil are coming out behind him. The wind has", "of pure air. Holds it in. Lets it slowly out. For a moment \n he doesn't trust his own voice. Then speaks softly towards \n his helmet.", "McConnell kneels beside Luke, signalling to Terri and Phil \n that it's okay to let him go. They stand back, pulling off \n their helmets. Everyone is panting, out of breath.", "The three scared, helmeted faces seem to float in the \n brightness, some twenty feet apart.", "She scoops up Luke's helmet, tosses it to him. As he catches \n it, she's already starting back out, in the direction they", "Phil is watching as Terri drops towards the distant twinkle \n of Woody's suit lights. The airlock door hangs open. Phil \n looks at McConnell, anguished.", "In the cockpit, Woody and McConnell are in the pilot and co-\n pilot's wearing space suits but not yet helmets. AS CAMERA", "Following the Martian, they find themselves in a round, open \n space, defined by light, with a smooth matte-metallic floor, \n but without apparent walls.", "McConnell is staring at his spacesuit's sleeve. He can see \n that the suit material is starting to deflate, revealing the", "Perched atop the ERV's ladder, Phil, using a battery-powered \n drill, is just removing the final screw from the hatch cover. \n He lifts off the heavy cover, lets it tumble to the sand.", "Luke, still staring in fascination, becomes aware of sand \n and pebbles flashing past his helmet. From behind. He turns.\n\n SAND PATTERS AGAINST HIS FACEPLATE" ], [ "They walk forward slowly, carrying their helmets, up the \n ramp and into the tunnel of light, following the Martian, \n who retreats before them. They go through the hatch and \n disappear inside.", "Looking through the cockpit window we see the Martian ship \n receding into the infinite distance of space -- a long blue-\n white scratch that in moments begins to fade. Finally it is", "Is in wondrous awe, his whole face radiant with joy. It's \n the first time we've ever seen him utterly without sadness \n or reserve. Staring at the Martian, he understands.", "The Martian stops, turns, facing them. The astronauts stop, \n too, uncertain what they're meant to do. Then the Martian \n gestures again.", "As the Martian ship flashes by us, it passes another ship, \n much smaller and slower, rising through the storm clouds on \n a different trajectory. We recognize the familiar, comfortable \n sight of the ERV.", "The stream of Martian ships grows smaller and smaller as it \n continues on its epic voyage towards a new solar system. \n Then we zero in on\n\n ONE PARTICULAR ROCKETSHIP", "her glowing form, and Terri and Luke are at either side. The \n Martian reaches her arms out, inviting them to link hands.", "McConnell, moved by this honor, nods. He reaches out to throw \n the switch himself.\n\n MCCONNELL\n Let's go to Mars.", "Woody takes a final look at the charred, doomed Mars Recovery. \n The only home they've known for six months. He exchanges a", "From further away, the charred remainder of the ship can be \n seen spinning down towards Mars, which now fills the screen,", "want any peace at all on Mars Two, \n I'm gonna be saying a lot of \"Yes, \n dears.\"", "He looks a question at Luke and Terri, one after the other. \n Their eyes, tense but excited, signal agreement.", "Of Woody leading them away from the crippled spaceship, \n against the magnificent backdrop of the blood-red planet \n below. Four tiny figures, all alone in space.", "MCCONNELL, PHIL AND TERRI (INT. MARS ONE HAB.)\n\n They are stunned. Can hardly believe their eyes.\n\n PHIL\n Jesus...", "Look at each other. They're awed into silence, and still \n tense, but now more out of excitement and anticipation than \n fear. Their eyes agree: Let's go.", "AMBASSADOR\n Will he be going to Mars, too?\n\n BECK\n Ah, no. This is as close as he gets.", "invitation. To follow them. To follow \n them home.", "On the center screen, a giant image of Mars. A frantic flow \n of green numbers crawls above and below this, and the site \n of the Mars One Base Camp is marked in blinking red.", "TERRI\n Dear God. Look at that.\n\n Through their cockpit window, they watch the Martian ship \n hurtle by them at a hundred times their speed.", "They start towards the four-man rover. Dust is swirling more \n thickly through the air, and the WIND IS LOUDER NOW. Phil \n stands watching them go, a lone, rather forlorn figure." ] ]

[ "What did the Mars I crew discover on the Martian surface?", "What does the Mars I crew think the crystalline structure is made of?", "As the vortex leaves, what is seen in the mountainside?", "What does the Mars I crew think that the noise is that is interfering with their communications?", "According to the Martian, where did humans come from?", "What kind of invitation does the Martian offer the crew?", "According to the Martian, what was the surface of Mars originally covered with?", "What caused Mars to be uninhabitable?", "Who accepts the Martian's invitation?", "In what year did the Mars I spacecraft depart for Mars?", "What type of formation did the team discover in the Cydonia region? ", "Who was the commander of the Mars II?", "Who accepted the invitation from the Martians to their new home?", "Who killed himself to save his wife?", "Where does the team report their findings?", "What/who does the crew dispatch to reproduce the completed signal?", "Who was the commander of Mars I? ", "When the survivors make it to Mars, where do they find Luke living?", "When Jim accepts the invitation to stay, what is he launched out of? ", "What region of Mars does the crew find the crystalline formation?", "What kills the first crew?", "What year does the story take place?", "What is the name of the ship the first crew was aboard?", "What was the first crew doing before they died?", "What does the first crew think created the crystalline formation?", "What is the name of the spaceship the second crew travels to Mars in?", "What breaches the hull of the Mars II as it enters Mars' orbit?", "Who takes off their helmet in open space?", "Who accepts the Martians' invitation to live on the Martians' new home?" ]

[ [ "a crystalline formation", "A crystalline formation in the Cydonia region. " ], [ "water", "Water from underground" ], [ "a face", "A face" ], [ "interference from their rover", "Interference from a rover" ], [ "they are descendants of Martians", "Mars" ], [ "to follow the Martian to their new home", "To follow to the Martians new home" ], [ "water", "water" ], [ "it was hit by an asteroid", "It was struck by a large asteroid." ], [ "Jim", "Jim" ], [ "2020", "2020" ], [ "crystalline formation", "A crystalline formation. " ], [ "Woody Blake", "Woody" ], [ "Jim", "Jim" ], [ "Woody", "Woody" ], [ "The world space station ", "the World Space Station" ], [ "a robotic rover ", "A robotic rover. " ], [ "Luke Graham ", "Luke Graham" ], [ "a greenhouse ", "They find Luke living on the produce of a greenhouse." ], [ "an oxygenated capsule ", "An oxygenated capsule" ], [ "Cydonia region", "They find it in the Cyadonia region of Mars." ], [ "A large vortex", "a vortex" ], [ "2020", "2020" ], [ "Mars I", "The Mars I spacecraft." ], [ "Scanning the formation with radar", "Scanning the crystalline formation. " ], [ "Subsurface geothermal water", "water" ], [ "Mars II", "Mars II" ], [ "Micrometeoroids", "micrometeoroids" ], [ "Woody", "Woody removes his helmet in open space." ], [ "Jim", "Jim accepts the invitation to live on the Martians new home." ] ]

[ [ "\"You dig around in dumpsters for a living,\" Alan said. \"Aren't you\nimmune to germs?\"", "\"The cop,\" Kurt said. \"Right.\"\n\n\"That's the story about the cop in the dumpster, huh?\" Alan said.", "\"Do you know that for sure?\"\n\n\"Yes. He has dinner with a woman, then he takes her dumpster diving and\ncomes home and goes to bed. I can see that.\"", "Alan nodded. \"So what's your point -- that companies' dumpsters are\nbeing napstered by people like you?\" A napsterized Inventory. Alan felt\nthe *rightness* of it.", "dumpsters going to the landfill every night without his expert picking\nover. Alan visited him every day and listened raptly while Kurt gave him\nthe stats for the day's network usage, and Kurt beamed proud the whole", "Alan tried to climb the dumpster's sticky walls, but couldn't get a\npurchase. Kurt, standing on something in the dumpster that crackled,", "Kurt turned at Baldwin, and Alan followed. \"I don't eat garbage, I pick\nit,\" he said. He sounded angry.\n\n\"Hey, sorry,\" Alan said. \"Sorry. I didn't mean to imply --\"", "\"Oh, you dive?\" Alan said. \"I used to dive.\" It was mostly true. Alan\nhad always been a picker, always on the lookout for bargoons, even if", "\"I'm Adrian,\" Alan said.\n\n\"I'm Kurt,\" the crusty-punk said. \"Buy me a beer, Adrian?\"", "They slid along the alley's length, headed for the gloom of the\nback. Something skittered away from Alan's shoe and he bent down, but", "\"It's all dumpstered,\" Kurt said casually.", "\"Sure, I know it. I scored some great plumbing fixtures out of the\ndumpster there last winter.\"\n\n\"You're welcome,\" Alan said.", "\"But then a couple nights later, I go back and there's someone in the\ndumpster, up to his nipples in hockey cards.\"\n\n\"The cop,\" Alan said.", "\"Oh, that's just fun,\" she said. \"I went along on a couple of dumpster\nruns with the gang. I found the most amazing cosmetics baskets at the", "\"Saw you and that fat guy,\" Krishna said. \"Saw you rooting around in the\npark. Saw him disappear down the fountain.\"\n\n\"He's my brother,\" Alan said.", "\"Her?\"\n\n\"Trying not to be sexist,\" Kurt said.\n\n\"Are there female dumpster divers?\"", "Alan gawped. The dumpster was seven feet cubed, the duckies a few inches\non a side. There were thousands and thousands of duckies in the", "\"You look totally disreputable,\" Alan said, hefting the tub of their\naccess points into the bed of his truck and pulling the bungees tight\naround it. \"Punk as fuck.\"", "\"Hi, Dave,\" Alan said. \"What's going on?\"\n\n\"They're stupid here. I hate them.\" He gave the sofa a particularly\nvicious punch.", "Alan looked to his neighbors' porch. Krishna stood there, stock still,\nagainst the wall.\n\n\"Friend of yours, huh?\" Krishna said. \"Boyfriend?\"" ], [ "\"Alan,\" Marci's father croaked. Mr. Davenport held up a hand to silence\nhim.\n\n\"Alan,\" Mr. Davenport said. \"Have you seen Marci?\"", "Her breathing stilled again.\n\n\"Alan,\" his father said.", "Alan looked at them and listened to the mountain breathe around them. It\nhad been years since his father had had anything to say to them. It had", "Alan's father was a mountain, and his mother was a washing machine -- he\nkept a roof over their heads and she kept their clothes clean. His", "\"We want to understand, Father,\" Alan whispered. \"What am I?\" It was the\nquestion he'd never asked. Now that he'd asked it, he felt like a fool:", "Alan's father, the mountain, had many golems that called him home. They\nlived round the other side of his father and left Alan and his brothers", "\"I don't know,\" Alan said. \"Out.\"\n\n\"Is this what your family is like?\"\n\n\"Yeah,\" Alan said. \"This is what they're like.\"", "Alan laughed. Worry for Edward and Frederick and George nagged at him,\nimpotent anxiety, but this was just so fascinating. Fascinating and", "Alan had left his father and his family the next morning, carrying a\nrucksack heavy with gold from under the mountain and walked down to the", "dove for his father's seed and fed it up his mother's intake. Alan's\nlife was full of mysteries, and he'd long since learned to keep his", "\"Alan, talk to him,\" Fred said. \"He's nuts.\"", "\"Oh, aye,\" her father said. \"Retire. Your life is an awful one, it\nis. Junior high is a terrible hardship, I know.\"\n\nAlan found himself grinning.", "\"I don't think the little ones really remember him -- he's more like a\nbad dream to them. But he was real, wasn't he?\"\n\n\"Yeah,\" Alan said. \"But he's gone now.\"", "\"That's my Da,\" she said. \"Come down and introduce yourself to Alan,\nDa,\" she said. \"You're not the voice of God, so you can bloody well turn\nup and show your face.\"", "\"Alan's more like them than he is like us,\" Frederick said. \"We're not\nlike them. We can't pass for them.\"", "Alan waited. He was trembling inside. He'd done the right thing. He'd\nsaved his family. He knew that. But for six years, he'd found himself", "Davey's roar did not abate. Alan thought he could hear the whispers and\ngroans of their father in the wind, but he couldn't make it", "Mr. Davenport scowled and stared hard at him. Alan met his stare and\nsmiled. \"It's time for classes,\" he said. \"Can I go?\"", "Alan hurried past him, his shoulders and fists clenched. Krishna\nchuckled nastily and Alan thought he knew who got the job of sawing off", "\"Your father is sad,\" it said. Its voice was slow and grinding, like an\navalanche. \"Our side grows cold.\"" ], [ "\"What are we, Alan?\" Edward said it, but Frederick and George mouthed\nthe words after he'd said them.\n\n\"You're my brothers,\" he said. \"You're. . .\"", "\"Three of my brothers have gone missing,\" Alan said. \"That's why I was\nso upset. One disappeared a couple of weeks ago, another last night, and", "\"Someone is stalking my brothers,\" Alan said. \"Someone very strong and\nvery cunning. Three are gone that I know about. There are others, but I\ncould be next.\"\n\n\"Stalking?\" Natalie said.", "Alan laughed. Worry for Edward and Frederick and George nagged at him,\nimpotent anxiety, but this was just so fascinating. Fascinating and", "The two older brothers looked balefully at him, then mutely appealed to\nAlan. This was new -- since infancy, Earl-Frank-Geoff had acted with", "Alan stared blankly as the brothers tidied up the cave and made piles of\ntheir belongings. The little ones looked scared, without any of the\nhardness he remembered from that day when they'd fought it out on the\nhillside.", "Alan shook his head. \"How long has he been gone?\"\n\n\"Three weeks,\" Edward whispered. \"I'm so hungry, Alan.\"\n\n\"How did it happen?\"", "\"My boys,\" the voice said, their father said. \"My sons. David, Alan. You\nmust not fight like this.\"\n\n\"He --!\" Davey began, the echoes of his outburst scattering their\nfather's voice.", "Frederick and George were in there feeding, too. Alan waited patiently\nfor Edward to finish feeding, then put him over his shoulder and joggled", "But Frederick kept his lips stubbornly together, and Alan tired of the\nterrible business and set the boy with the newest brother within down on", "George had come to visit him once before, not long after Alan'd moved to\nToronto. He couldn't come without bringing down Elliot and Ferdinand, of", "Alan looked to his brothers, then he got up and left the cave without a\nlook back. He wasn't going to wait for Davey to come to him.", "\"That's your brother?\"\n\nAlan nodded.\n\n\"Well, I see why you didn't want me to come home with you, then.\"\n\n#", "Mimi looked down at him. \"Ugly sumbitch, whoever he was.\"\n\n\"My brother,\" Alan said.", "Davey approached them, a beatific smile on his angelic face.\n\n\"This is my brother, Daniel,\" Alan said. \"The one I told you about.\"", "Alan's jaw hung slack. Handicapped? Passing? Like them? Not like them?\nHe'd never thought of his brothers this way. They were just his", "\"Alan's more like them than he is like us,\" Frederick said. \"We're not\nlike them. We can't pass for them.\"", "\"You can dance?\" Alan asked.\n\n\"We can!\" Ed said.\n\n\"We learned in gym,\" Greg said, with the softest, proudest voice, deep\nwithin them.", "The vice principal's lips tightened. \"Alan,\" he said quietly, \"take your\nbrother into the hallway. I am going to write a note that your mother", "\"Brothers,\" Natalie said, and walked away briskly.\n\n#\n\nAlan was the oldest of the brothers, and that meant that he was the one\nwho blazed all the new trails in the family." ], [ "Alan's mother rocked harder, and her exhaust hose dislodged itself. A\nhigh-pressure jet of cold, soapy water spurted from her back parts,", "resonated through Alan's milk teeth and made his testicles shrivel up\ninto hard stones. Alan knew his mother liked to be left alone when she", "They filed out and Alan spared Davey a look over his shoulder as they\nslipped away, head down on his knees, rocking in time with their mother.\n\n#", "With a trembling hand, Alan opened his mother's door and extracted\nlittle Frederick. The baby was small and cyanotic blue. Alan tipped the", "And then, it stopped. His mother stopped rocking, stopped shaking. The\nstream trailed off into a trickle. Alan stopped crying, and soon the", "Alan,\" she said. \"Is it true? Is it really how you say it is? Did I see\nwhat I saw?\"", "Alan's father was a mountain, and his mother was a washing machine -- he\nkept a roof over their heads and she kept their clothes clean. His", "\"I don't know,\" Alan said. \"Out.\"\n\n\"Is this what your family is like?\"\n\n\"Yeah,\" Alan said. \"This is what they're like.\"", "Her breathing stilled again.\n\n\"Alan,\" his father said.", "\"Alan,\" she breathed. Her fingers went slack. She pulled her hand free.\n\nSuddenly Alan was cold, too. The scant inches between them felt like an\nunbridgeable gap.", "The details of her conception were always mysterious to Alan. He'd been\nwalking down into town to attend day school for five years, and he'd", "Alan whirled and shrieked, a wordless, contorted war cry, a sound from\nhis bestial guts. As his eyes swam back into focus, he saw Mimi standing", "Thirty days later, Alan came home from school to find the younger kids\nsurrounding his mother as she rocked from side to side, actually popping\nfree of the grooves her small metal feet had worn in the cave floor over\nthe years.", "\"Where is she?\" Alan said, after he'd taken hold of Davey's hair and,\nwithout fanfare, smashed his face into the cold stone floor hard enough", "\"Where is she?\" Alan said, knowing.\n\n\"With Caleb,\" Davey said. \"I buried her in Caleb.\"", "\"You're getting enough to eat at home? There's a quiet place where you\ncan work?\"\n\n\"Yes,\" Alan said, squirming. \"It's fine, now that Mom is home.\"", "dove for his father's seed and fed it up his mother's intake. Alan's\nlife was full of mysteries, and he'd long since learned to keep his", "\"Alan,\" Marci's father croaked. Mr. Davenport held up a hand to silence\nhim.\n\n\"Alan,\" Mr. Davenport said. \"Have you seen Marci?\"", "\"Mom's still real sick,\" Alan said, sticking to his traditional story.", "As the eldest, Alan was the first to recognize the early signs of her\npregnancy. The laundry loads of diapers and play clothes he fed into her" ], [ "Some part of Alan knew that this person was laughable, a Renfield eating\nbugs. But that voice of reason was too quiet to be heard over the animal\nscreech that was trying to work its way free of his throat.", "In his hands, the thing squirmed and made a small, hurt sound. \"Shhh,\"\nAlan said. The sound it made was like sobbing, but small, so small. And\nweak.", "of Alan's experience. He had a foxy little face and shaggy blond hair,\nall clever smiles and awkward winks, and for all that he was still a\nmonster.", "Holding his breath, Alan lifted the Allen gently, cradling it in his\npalms. It squirmed and thrashed weakly. \"Shh,\" he said again. His hands", "The creature that had howled at Krishna before scrambled for purchase in\nAlan's chest. Alan averted his eyes from Krishna's shit-eating,", "The Allen was quaking now, and Alan cooed to it.\n\n\"It's hurt,\" Mimi said.\n\n\"A long time ago,\" Andreas said.", "Alan whirled and shrieked, a wordless, contorted war cry, a sound from\nhis bestial guts. As his eyes swam back into focus, he saw Mimi standing", "\"It's not stupid,\" Alan said, calming a little. \"It's...*slow*. It\nthinks slowly and acts slowly. But it's not stupid.\" He paused for a\nmoment. \"It taught me to speak,\" he said.", "Alan nodded. \"Probably,\" he said. \"Probably I am. Not a human, maybe not\na person. Not a real person. But if I'm bad, he's a thousand times", "Alan smelled him now, a stink like a mouse dead between the gyprock in\nthe walls, the worst smell imaginable. He felt Mimi breathing behind", "Alan wasn't listening. He knelt down and touched George's cheek. The\nskin was soft and spongy, porous and saturated. Cold. His fingertips", "Darren bared his teeth and growled, jerking his head forward and\nsnapping at Alan's crotch, heedless of the painful thuds his head made\nwhen it hit the ground after each lunge.", "exactly at Alan's crotch height and he'd greet his brother on his return\nfrom school by charging at full speed into Alan's nuts, propelled at\nunlikely speed on his thin legs.", "Alan laughed. Worry for Edward and Frederick and George nagged at him,\nimpotent anxiety, but this was just so fascinating. Fascinating and", "Alan, barefoot, ran to the dividing fence and threw himself at it going\nup it like a cat, landing hard and painfully, feeling something small", "Alan's stomach clenched in on itself, and his butt and thighs ached\nsuddenly, like he'd been running hard. He thought about his protégés", "slowly. It seemed to Alan that he could see the stump of bone protruding\nfrom the wound. He was amazed to see his bones, to get a look at a", "\"Where is he, Billy?\" Alan called. \"Tell me, godfuckit!\"\n\nBilly looked down from him perch with his sad, hollow eyes -- had he\nbeen forgetting to eat again? -- and shook his head.", "As Billy lay supine in the dirt, Alan heard a distant howl, not like a\nwolf, but like a thing that a wolf had caught and is savaging with its", "Alan breathed himself into a semblance of composure. \"I...\" he started,\nthen trailed off. Krishna was watching from his porch, grinning\nferociously, holding a cordless phone." ], [ "\"Mimi,\" he said. He felt angry at her. How could she be so selfish as to\nhave a crisis *now*, *here*, at this place that meant so much to him?", "\"Mimi --\" he began, then stopped himself. \"I don't think so. I mean, I\nlike you --\"\n\n\"Good,\" she said. \"No falling in love, all right?\"\n\n#", "Mimi, in her outsized blazer and track pants, touched him on his bare\nshoulder. He suddenly felt terribly naked. He backed out of the", "Mimi.\n\nPacing her garden, neatly tended vegetable beds, some flowering\nbulbs. Skirt and a cream linen blazer that rucked up over her shoulders,\nmoving restlessly. Powerfully.", "\"Mimi --\" he began. \"Mimi, it's okay. You don't need to go in there for\nme. I know it's hard for you --\"", "\"Oh, I'm retired, Mimi,\" he said.\n\n\"Mimi?\" she said.\n\n\"Why not? It's as good a name as any.\"", "He stepped cautiously into the living room and saw there, in the\ncurtained twilight, Mimi. She was topless, heavy breasts marked red with", "\"Mimi?\" he breathed.\n\nShe squeezed her eyes shut, her face turning into a fright mask.\n\n\"Abel,\" she said. \"Nice day.\"", "\"Yeah,\" Mimi said, but she didn't. She stayed out there for ten minutes,\nthen twenty, and when Alan looked out his window at her, he saw she was\nstill staring up at Krishna, mesmerized.", "Alan hardly knew where he was anymore. The card was in Mimi's hand,\nthough, and he reached for it, making a keening noise deep in his\nthroat.", "August nodded. He closed his eyes.\n\n\"She's very pretty,\" Barry said. \"Prettier than Mimi.\"\n\n\"If you say so.\"", "\"Her name is --\" Link started to say, but she cut him off.\n\n\"Mimi is as good a name as any. I'm unemployed. Krishna's a bartender.\"", "\"Mimi,\" he said, and swallowed his anger.\n\n#", "Alan whirled and shrieked, a wordless, contorted war cry, a sound from\nhis bestial guts. As his eyes swam back into focus, he saw Mimi standing", "Mimi came down while he was holding the note, staring at the few spare\nwords there. She was draped in her wings.\n\n\"Where did he go?\"", "\"Mimi!\" he cried.\n\nShe climbed unsteadily onto the windowsill, perched there for a\nmoment. Then she leaned forward, ducked her head, and slipped into the\nsky.", "\"I'm going to cover him up,\" Mimi said.\n\n\"Good, fine,\" Alan said.\n\n\"Are you going to be okay?\"\n\n\"Yes, fine,\" Alan said.", "\"What're you doing?\" Mimi said, squinting up at him.", "Mimi shook him by the shoulder hard, and he realized she'd been shaking\nhim for some time. \"You can't do that here,\" she said. \"Would you listen", "Mimi was back in bed when they got home. Alan took a shower and scrubbed\nat his feet, then padded silently around the shuttered bedroom, dressing\nin the dark. Mimi made a sleepful noise." ], [ "Mimi.\n\nPacing her garden, neatly tended vegetable beds, some flowering\nbulbs. Skirt and a cream linen blazer that rucked up over her shoulders,\nmoving restlessly. Powerfully.", "He stepped cautiously into the living room and saw there, in the\ncurtained twilight, Mimi. She was topless, heavy breasts marked red with", "Mimi, in her outsized blazer and track pants, touched him on his bare\nshoulder. He suddenly felt terribly naked. He backed out of the", "August nodded. He closed his eyes.\n\n\"She's very pretty,\" Barry said. \"Prettier than Mimi.\"\n\n\"If you say so.\"", "smiled and padded off to the toilet. He came back to find Mimi splayed\nacross the whole bed, occupying its length and breadth, a faintly", "himself there. He turned his head from side to side, expecting to see\nMimi, and wanting to rush out and shield her from the sight, but she was", "Mimi came down while he was holding the note, staring at the few spare\nwords there. She was draped in her wings.\n\n\"Where did he go?\"", "\"Mimi --\" he began, then stopped himself. \"I don't think so. I mean, I\nlike you --\"\n\n\"Good,\" she said. \"No falling in love, all right?\"\n\n#", "He stared at his mother, enraptured, mesmerized. Mimi stole alongside of\nhim and he noticed that she'd taken off her jacket and the sweatshirt,\nsplaying out her wings around her.", "\"Mimi,\" he said. He felt angry at her. How could she be so selfish as to\nhave a crisis *now*, *here*, at this place that meant so much to him?", "Mimi scrunched her eyelids and flung an arm over her face, but he hardly\nnoticed, even when she gave an outraged groan. He was looking at the", "Mimi shook him by the shoulder hard, and he realized she'd been shaking\nhim for some time. \"You can't do that here,\" she said. \"Would you listen", "\"Mimi!\" he cried.\n\nShe climbed unsteadily onto the windowsill, perched there for a\nmoment. Then she leaned forward, ducked her head, and slipped into the\nsky.", "Mimi sat on her hunkers before him and took his hand and tried to tilt\nhis chin up with one finger, but he resisted her pull and she rose and", "\"Yeah,\" Mimi said, but she didn't. She stayed out there for ten minutes,\nthen twenty, and when Alan looked out his window at her, he saw she was\nstill staring up at Krishna, mesmerized.", "\"Mimi?\" he breathed.\n\nShe squeezed her eyes shut, her face turning into a fright mask.\n\n\"Abel,\" she said. \"Nice day.\"", "\"What makes you say that?\" Mimi said, making a dare of it with hipshot\nbody language. \"Get changed and we'll go together. You'll have to pay to\nget in, though.\"", "\"Oh, I'm retired, Mimi,\" he said.\n\n\"Mimi?\" she said.\n\n\"Why not? It's as good a name as any.\"", "and bounded back down the stairs. He was convinced that Mimi would be\nlong gone by the time he got back out front, but she was still there,\nthe stripes in her stockings glowing in the slanting light.", "Mimi kept her own schedule, mostly nocturnal, padding quietly around his\nhouse while he slept, coming silently to bed after he rose, while he was" ], [ "\"Mimi?\" he breathed.\n\nShe squeezed her eyes shut, her face turning into a fright mask.\n\n\"Abel,\" she said. \"Nice day.\"", "\"Mimi,\" he said. He felt angry at her. How could she be so selfish as to\nhave a crisis *now*, *here*, at this place that meant so much to him?", "\"Mimi --\" he began, then stopped himself. \"I don't think so. I mean, I\nlike you --\"\n\n\"Good,\" she said. \"No falling in love, all right?\"\n\n#", "\"Mimi --\" he began. \"Mimi, it's okay. You don't need to go in there for\nme. I know it's hard for you --\"", "\"Her name is --\" Link started to say, but she cut him off.\n\n\"Mimi is as good a name as any. I'm unemployed. Krishna's a bartender.\"", "Mimi, in her outsized blazer and track pants, touched him on his bare\nshoulder. He suddenly felt terribly naked. He backed out of the", "Mimi looked down at him. \"Ugly sumbitch, whoever he was.\"\n\n\"My brother,\" Alan said.", "Mimi said, \"I think I'm going to be sick.\"\n\n\"Yeah,\" Brian said. \"Yeah, I can see that.\"", "Mimi shook him by the shoulder hard, and he realized she'd been shaking\nhim for some time. \"You can't do that here,\" she said. \"Would you listen", "himself there. He turned his head from side to side, expecting to see\nMimi, and wanting to rush out and shield her from the sight, but she was", "\"Oh, I'm retired, Mimi,\" he said.\n\n\"Mimi?\" she said.\n\n\"Why not? It's as good a name as any.\"", "\"I'm going to cover him up,\" Mimi said.\n\n\"Good, fine,\" Alan said.\n\n\"Are you going to be okay?\"\n\n\"Yes, fine,\" Alan said.", "Alan whirled and shrieked, a wordless, contorted war cry, a sound from\nhis bestial guts. As his eyes swam back into focus, he saw Mimi standing", "When he got to the living room, Mimi was bent over a suitcase, forcing\nit closed. Two more were lined up beside the door, along with three\nshopping bags filled with tupperwares and ziplocs of food from his\nfridge.", "\"Yeah,\" Mimi said, but she didn't. She stayed out there for ten minutes,\nthen twenty, and when Alan looked out his window at her, he saw she was\nstill staring up at Krishna, mesmerized.", "Alan hardly knew where he was anymore. The card was in Mimi's hand,\nthough, and he reached for it, making a keening noise deep in his\nthroat.", "\"Mimi,\" he said, and swallowed his anger.\n\n#", "\"But I'm with her,\" Alan said, gesturing in the direction Mimi had\ngone. \"I'm Krishna's and her neighbor.\"", "He stepped cautiously into the living room and saw there, in the\ncurtained twilight, Mimi. She was topless, heavy breasts marked red with", "Mimi.\n\nPacing her garden, neatly tended vegetable beds, some flowering\nbulbs. Skirt and a cream linen blazer that rucked up over her shoulders,\nmoving restlessly. Powerfully." ], [ "And Krishna went. Slowly. Painfully. He stood and hobbled toward the\nfront door.\n\nMimi watched him go, and she smiled once he was gone.", "Alan nodded. \"Krishna beat Mimi up,\" he said.\n\n\"I know it,\" she said. \"I heard it. I didn't do anything, goddamn me,\nbut I heard it happen.\"", "\"But I'm with her,\" Alan said, gesturing in the direction Mimi had\ngone. \"I'm Krishna's and her neighbor.\"", "Natalie nodded enthusiastically, her shaved head whipping up and down on\nher thin neck precariously. Mimi glared at Natalie and Link. \"I'll ask\nKrishna,\" she said.", "\"I know what that's like,\" Mimi said. \"I hadn't spoken more than three\nwords in the six months before I met Krishna. I worked at a direct-mail", "beside Krishna, barefoot in a faded housecoat. Her eyes were very wide,\nand as she turned away from him, he saw that her stubby wings were", "Mimi, in his doorway, across the fence, made a sound that was half a\nmoan.\n\nKrishna lay still for a moment, then slowly struggled to his knees and\nthen his feet.", "Mimi was in awfully good spirits, considering what she'd been through\nwith Krishna. He tried to think about it, trying to make sense of the\nday and the girl, but the splashing from the tub kept intruding on his\nthoughts.", "\"Do you want to tell me about them?\"\n\n\"It's been bad ever since -- ever since Mimi left. All of a sudden,\nKrishna's Link's best friend. He follows him around.\"", "inside of Krishna's wrist. \"You're very clever that way, you are.\"\nKrishna closed his eyes and breathed heavily through his nose, as though", "\"We going to do anything about that?\" he said, jerking his head toward\nthe steps. Krishna had his hand down the little girl's top now, cupping\nher breast, then laughing when she slapped it away.", "Krishna had his own little girl between *his* knees, with heart-shaped\nlips and thick matte concealer over her zits. His hand lay casually on\nher shoulder, and she brushed her cheek against it.", "\"Yeah,\" Mimi said, but she didn't. She stayed out there for ten minutes,\nthen twenty, and when Alan looked out his window at her, he saw she was\nstill staring up at Krishna, mesmerized.", "\"You do. But what Billy didn't tell you is that Krishna's out there with\nother women, I saw him today. With a girl. Young. Pretty. Normal. If he", "She snugged her mouth up against his collarbone. \"Krishna does,\" she\nwhispered into his skin. She tugged at the skin with her teeth. \"What\nabout your family?\"", "\"Because I don't want to watch you self-destruct, Mimi. Stay here. We'll\nsort out Krishna together. And my brother. Billy's here now, that means\nthey can't sneak up on us.\"", "Then he grabbed Krishna's wrist and pulled hard, yanking the boy off his\nfeet, slamming his chest into the railing hard enough to shower dried\nspider's nests and flakes of paint to the porch floor.", "\"I should go,\" she said. Krishna's hand was still down the little girl's\ntop, and he jiggled her breast at Alan.\n\n#", "Mimi's wings when they grew too long, and thought, too, that Krishna\nmust relish the task.", "Krishna sat with his back against the cinderblock wall near Kurt's back\ndoor, knees and hands splayed, head down in a posture of" ], [ "They ran, the two of them, up Augusta, leaving Mimi behind, wrapped in\nher blanket. They could smell the smoke as soon as they crossed", "They walked down slowly, him leaning on her arm like an old man, steps\nfaltering in the scree on the slope. They came to the road and stood\nbefore the trunk as the cars whizzed past them. He opened the trunk and\nlooked down.", "Bradley watched a girl walk past, a cute thing with red hair and\nfreckles and a skinny rawboned look, and Alan remembered that she'd been", "Freddy tipped to one side and there was George, short and delicately\nformed and pale as a frozen french fry. He grabbed Freddy's hips like", "He puffed and shook his head and stared up the street at the distant\nlights of College Street, then turned back to his porch.\n\n\"Hello, Albert,\" two voices said in unison, speaking from the shadows on\nhis porch.", "And then he knew who his rescuer was. He stood up silently and gave\nBilly a long hug. He was as skinny as death.\n\n#", "\"I haven't gotten your name yet,\" Alan said.\n\n\"Right,\" the other one said. \"You sure haven't.\"", "I remembered their names, then. Oliver and Patricia. They'd been my\nmother and father for a few years. Set me up with my first\napartment. This had been their house.", "They both stared at the girl, who noticed them now, and blushed and\nlooked confused. Bradley looked away, but Alvin held his gaze on her,", "\"I don't like to give out my name,\" the anarchist said. \"Call me Waldo,\nall right?\"", "He returned to her arms and they kissed. \"No falling in love,\" she said.\n\n\"Perish the thought,\" he said.", "\"She said, 'Don't hurt me.' She said, 'Please.' Over and over. He said\nit, too, and he laughed at her.\" Benny chanted it at him, standing just", "\"I'm Adrian,\" Alan said.\n\n\"I'm Kurt,\" the crusty-punk said. \"Buy me a beer, Adrian?\"", "She bit his lip and he bit hers and they kissed again, and then he was\nasleep, and at peace.\n\n\n=== Bio ===", "\"We're going to die, aren't we?\" Frederick said. \"We're going to starve\nto death.\"", "They stepped out into the sunlight and Bert started to walk slowly\naway. Alan caught up with him and Bert took his arm with long bony\nfingers, leaning on him. He had a slight limp.", "She let him guide her by the elbow, then crossed decisively to the\nwindows and drew the curtains, bringing on twilight. He moved aside his\npiles of clothes and stacked up the suitcases in a corner.", "\"It's a secret,\" he said.\n\n\"Oooh, a secret,\" she said. \"What kind of secret?\"", "\"Be careful, it's all rotten up there,\" Kurt called. Alan nodded.\n\n\"Sure, thank you,\" he said, hearing himself say it as though from very\nfar away.", "\"Hey, Kurt,\" she said looking away. It was clear even to Alan that they\nknew each other already. The other bookstore people were looking on with\nsuspicion, drinking their beer out of refillable coffee-store thermos\ncups." ], [ "They ran, the two of them, up Augusta, leaving Mimi behind, wrapped in\nher blanket. They could smell the smoke as soon as they crossed", "\"Krishna knows,\" she said. \"And you.\" She looked out into the\nnight. \"The family in Oakville. If I could remember where they lived,", "Saturday night arrived faster than Alan could have imagined. He spent\nSaturday morning in the woods, picking mushrooms and checking his\nsnares, then headed down to town on Saturday afternoon to get a haircut\nand to haunt the library.", "As he watched them go past, he had an idea that he'd better write his\nstory soon, or maybe never. Maybe never nothing: Maybe this was his last", "That was five miles away, a good forty minute walk in the night and the\ncold and the dark. Greg pried off his sneakers with his toes and then", "\"Here,\" he said, crossing to the fiction section. The fiction section at\nthe library in town had fit into three spinner racks. Here, it occupied", "\"Across the street,\" he said. They helped him to his feet and supported\nhim as he tottered, weak and heaving, to his porch. Krishna was gone\nonce they got there.", "way down to the business district. The Market was quite restful. It\nshuffled like an old man in carpet slippers, setting up streetside\nproduce tables, twiddling the dials of its many radios looking for", "Alan sanded the house on Wales Avenue. It took six months, and the whole\ntime it was the smell of the sawdust, ancient and sweet, and the reek of\nchemical stripper and the damp smell of rusting steel wool.", "They blew through Kapuskasing at ten a.m., on a grey morning that dawned\nwith drizzle and bad-tempered clouds low overhead. The little main drag", "\"Fuck off about the play, okay?\" she said, and spat on the sidewalk.\n\n\"All right, then,\" he said. \"I'm going to start writing my story\ntomorrow,\" he said.", "They'd carved his cradle. Fed him. Taught him to talk and to walk. In\nsome sense, they were his fathers, as much as the mountain was.", "\"Neither is Alan,\" George said. \"And here he is, in the big city, living\nwith them. Working. Meeting people. Out of the mountain.\"", "moved into the house, he'd felt the shape of that story. All the while\nthat he'd sanded and screwed in bookcases, it had floated just below the", "She caught him in the schoolyard on Monday and dragged him by one ear\nout to the marshy part. She pinned him down and straddled his chest and", "us that he took off his clothes and waded in and started whispering.\"\nLike most of the boys, George had believed that their father was most\naware in his very middle, where he could direct the echoes of the", "\"Watching you,\" he said. \"Of course. When I came to the city, I worked\nout at the racetrack for a week and made enough money to live off of for", "When they cleared the city limits and drove under the viaduct at\nDanforth Avenue, getting into the proper downtown, he eased off the", "\"God,\" he said. She moved to him, put her arm around his shoulder.\n\n\"You're being brave,\" she said.\n\n\"God,\" he said again.", "\"They are. But they're up on the northern edge. From the bell-tower of\nthat church, I bet you could shoot half the houses on the west side of\nOxford Street, along with the backs of all the shops on Augusta.\"" ], [ "\"Hello, neighbor,\" he said as Alan came up the walkway. \"Good evening?\"", "Alan looked to his neighbors' porch. Krishna stood there, stock still,\nagainst the wall.\n\n\"Friend of yours, huh?\" Krishna said. \"Boyfriend?\"", "Alan said, \"I'm going to pour myself a glass of wine. Would you like\none?\"\n\nKrishna grinned hard and mirthless. \"Sure, neighbor, that sounds\nlovely.\"", "\"Just moved in on July first,\" Alan said. \"Still getting settled in.\"\n\n\"Which house?\"\n\n\"The blue one, with the big porch, on the corner.\"", "\"Neither is Alan,\" George said. \"And here he is, in the big city, living\nwith them. Working. Meeting people. Out of the mountain.\"", "Alan, though, solemnly shook each of their hands in turn, and thanked\nthem. When he was done, he felt as though a weight had been lifted from\nhim. Next door, Mimi's window slammed shut.", "\"Alan,\" Marci's father croaked. Mr. Davenport held up a hand to silence\nhim.\n\n\"Alan,\" Mr. Davenport said. \"Have you seen Marci?\"", "\"Wait,\" Alan called. \"Natalie, Link, wait.\" He smiled apologetically at\nKurt. \"My neighbors,\" he said.\n\nNatalie and Link had stopped and turned around. Alan and Kurt walked to\nthem.", "Alan breathed himself into a semblance of composure. \"I...\" he started,\nthen trailed off. Krishna was watching from his porch, grinning\nferociously, holding a cordless phone.", "Though their porches adjoined, Alan walked down his steps and crossed\nover the lawn next door, held the glass out to Krishna. He took it and", "Alan,\" she said. \"Is it true? Is it really how you say it is? Did I see\nwhat I saw?\"", "Alan wasn't listening. He knelt down and touched George's cheek. The\nskin was soft and spongy, porous and saturated. Cold. His fingertips", "Mr. Davenport scowled and stared hard at him. Alan met his stare and\nsmiled. \"It's time for classes,\" he said. \"Can I go?\"", "Alan looked around. Benny was still on his side of the fence. Mimi's\nface poked out from around the door. The sound of another hard punch", "\"I ain't neither,\" she said. \"At least ten. It was a grand flat and they\nwere all in alphabetical order, too.\"\n\n\"Can we go see?\" Alan asked, getting up from the sofa.", "\"Good morning!\" Alan said. \"I'm Alan, and I just moved in next\ndoor. I've brought coffee!\" He hefted his sack in her direction.", "\"Alan, talk to him,\" Fred said. \"He's nuts.\"", "Krishna held still. Alan felt like an idiot, standing there, his\nneighbor laid out across the railing that divided their porches, the", "Alan laughed. Worry for Edward and Frederick and George nagged at him,\nimpotent anxiety, but this was just so fascinating. Fascinating and", "Alan met Krishna the next morning at ten a.m., as Alan was running a\ntable saw on the neighbors' front lawn, sawing studs up to fit the" ], [ "Kurt was picking up the boxes and shaking them, listening for the\nrattle. \"This place is an import/export wholesaler. They throw out a lot", "\"Kurt,\" Alan said.\n\n\"Right, Kurt,\" he said. \"Sorry.\"", "\"Alan?\" It was Kurt.\n\n\"Kurt, up here, he's got a knife!\"", "As he got closer to Kurt's storefront, he slowed down. The crowds were\nthick, laughing suburban kids and old men in buttoned-up cardigans and", "\"Don't worry,\" Bert said. \"Kurt's safe tonight.\"", "\"Hey, Kurt,\" she said looking away. It was clear even to Alan that they\nknew each other already. The other bookstore people were looking on with\nsuspicion, drinking their beer out of refillable coffee-store thermos\ncups.", "Kurt opened and shut his mouth a few times, and Lyman slapped his palm\ndown on the table. \"You look like you're going to bust something,\" he", "Kurt looked at him in alarm. He moaned. \"Jesus, Adam --\"", "Kurt lived in the back of a papered-over storefront on Oxford. The front\ntwo-thirds were a maze of peeling, stickered-over stamped-metal shelving", "He tried slapping Kurt a couple times, but he would not be roused. His\nbreath came in tiny puffs. Alan took his hand, then the other hand, and", "Kurt shrank back, looking as though he'd been slapped. He moved as if in\na dream, opening the toolbox and pawing through it until he came up with\na scarred hammer, one claw snapped off.", "Kurt sniffed at his armpit. \"Whew,\" he said. \"Yeah, okay.\"", "\"You're a good man, Kurt. Don't forget it.\"\n\nKurt ground his fists into his eyes and groaned. \"I'm such a fuck-up,\"\nhe said.", "\"Kurt's awake.\"\n\n\"Yeah?\"\n\n\"Yeah. You could introduce me to him.\"", "Alan cocked his head at Kurt. He was about thirty, old for a punk, and\nhad a kind of greasy sheen about him, like he didn't remember to wash", "\"It's not,\" Kurt said.\n\n\"Well, that's why I don't usually tell others. You're only the second\nperson to believe it.\"", "Alan laughed as he touched down, thinking that Kurt's heart was aburst\nwith the feeling of having finished, at last, at last. But then he\ncaught sight of Kurt's face, ashen, wide-eyed.", "Kurt looked at his expression, then said, \"What happened?\" He had his\nfists at his sides, he looked tensed to run. Alan felt that he was\nwaiting for an order.\n\n\"He got away.\"", "He got lost again, and the floor was hot enough to raise blisters. When\nhe emerged with Kurt, he heard the sirens. He breathed hard in the night\nair.", "Kurt. But it wasn't until he couldn't take it anymore and was ready to\ngo and find him, bring him home if necessary, that Billy had come to\ntalk to him." ], [ "Alan didn't know what to say to that. This was bound to come up someday.\n\n\"Where are you from?\"\n\n\"Up north. Near Kapuskasing,\" he said. \"A little town.\"", "\"Neither is Alan,\" George said. \"And here he is, in the big city, living\nwith them. Working. Meeting people. Out of the mountain.\"", "Alan waited. He was trembling inside. He'd done the right thing. He'd\nsaved his family. He knew that. But for six years, he'd found himself", "\"I taught the littler ones as best as I could,\" Alan said. He liked\nMr. Davenport, understood him. He had a job to do, and needed everything", "\"I must have been a weird kid,\" he said. \"All that quiet.\"\n\n\"You were a great kid,\" Alan said. \"It was a lot of fun back then,\nmostly.\"", "\"I don't know,\" Alan said. \"Out.\"\n\n\"Is this what your family is like?\"\n\n\"Yeah,\" Alan said. \"This is what they're like.\"", "Alan laughed. Worry for Edward and Frederick and George nagged at him,\nimpotent anxiety, but this was just so fascinating. Fascinating and", "Alan looked at them and listened to the mountain breathe around them. It\nhad been years since his father had had anything to say to them. It had", "Alan left him alone during the days, in the company of their parents and\nthe golems, went down the mountain to school, and when he got back, he'd", "The details of her conception were always mysterious to Alan. He'd been\nwalking down into town to attend day school for five years, and he'd", "Saturday night arrived faster than Alan could have imagined. He spent\nSaturday morning in the woods, picking mushrooms and checking his\nsnares, then headed down to town on Saturday afternoon to get a haircut\nand to haunt the library.", "resonated through Alan's milk teeth and made his testicles shrivel up\ninto hard stones. Alan knew his mother liked to be left alone when she", "\"Just moved in on July first,\" Alan said. \"Still getting settled in.\"\n\n\"Which house?\"\n\n\"The blue one, with the big porch, on the corner.\"", "\"My family is a little strange,\" Alan said. \"I grew up in the north\ncountry, and things are different there. You've heard of blood feuds?\"\n\nNatalie and Link exchanged a significant look.", "\"Where is she?\" Alan said, after he'd taken hold of Davey's hair and,\nwithout fanfare, smashed his face into the cold stone floor hard enough", "Alan was still young and had a penchant for the dramatic, so he went\naround to the kitchen and pulled a bottle of vodka out of the freezer", "Davey haunted the schoolyard. Alan had always treated the school and its\ngrounds as a safe haven, a place where he could get away from the\ninexplicable, a place where he could play at being normal.", "Before Alan knew it, they were nearly upon him, walking back down the\nalley straight toward his hiding place. Blood roared in his ears and he", "\"You get used to it,\" Alan said. \"I can't explain it all, and the parts\nthat I can explain, you wouldn't believe. But you've been to my home\nnow, Marci. I've shown you where I live.\"", "\"Well,\" Alan said. He didn't know what to say. High\nschool. Dancing. Invited to parties. No one had invited him to parties" ], [ "\"Just moved in on July first,\" Alan said. \"Still getting settled in.\"\n\n\"Which house?\"\n\n\"The blue one, with the big porch, on the corner.\"", "\"You get used to it,\" Alan said. \"I can't explain it all, and the parts\nthat I can explain, you wouldn't believe. But you've been to my home\nnow, Marci. I've shown you where I live.\"", "Alan waited. He was trembling inside. He'd done the right thing. He'd\nsaved his family. He knew that. But for six years, he'd found himself", "Alan fumbled for his keys and let them into the house, where they\nsettled into the corners of his old overstuffed horsehide sofa. He", "Alan, though, solemnly shook each of their hands in turn, and thanked\nthem. When he was done, he felt as though a weight had been lifted from\nhim. Next door, Mimi's window slammed shut.", "He was drunk on the wood, of course, and would have paid much more had\nthe realtor noticed this, but Alan had spent his whole life drunk on", "\"You're getting enough to eat at home? There's a quiet place where you\ncan work?\"\n\n\"Yes,\" Alan said, squirming. \"It's fine, now that Mom is home.\"", "Mimi was back in bed when they got home. Alan took a shower and scrubbed\nat his feet, then padded silently around the shuttered bedroom, dressing\nin the dark. Mimi made a sleepful noise.", "Alan sanded the house on Wales Avenue. It took six months, and the whole\ntime it was the smell of the sawdust, ancient and sweet, and the reek of\nchemical stripper and the damp smell of rusting steel wool.", "Alan worked through the long Toronto winter at his sanding. The house\nhad been gutted by the previous owners, who'd had big plans for the", "\"How the hell did you find that?\" Alan said, looking at the darkened\nwindow. There was a chain-link gate at the side of the house, and in the\nback an aboveground pool.", "Alan made his way down to the living room, the floor streaked with mud\nand water. He went into the kitchen and filled a bucket with soapy water", "Alan didn't know what to say to that. This was bound to come up someday.\n\n\"Where are you from?\"\n\n\"Up north. Near Kapuskasing,\" he said. \"A little town.\"", "Alan took possession of the house on January 1, and paid for it in full\nby means of an e-gold transfer. He had to do a fair bit of hand-holding", "He and Tony didn't speak much. Tony was thinking about whatever people\nwho drive moving vans think about, and Alan was thinking about the story\nhe was building the house to write in.", "Alan breathed himself into a semblance of composure. \"I...\" he started,\nthen trailed off. Krishna was watching from his porch, grinning\nferociously, holding a cordless phone.", "Alan grinned. He and Kurt hadn't had an evening chatting together in\nsome time. When Kurt suggested that they go for a ride, Alan had been", "\"Neither is Alan,\" George said. \"And here he is, in the big city, living\nwith them. Working. Meeting people. Out of the mountain.\"", "\"Why do you think?\" she said. \"I followed you home. Where do you live,\nAlan? Why can't I even see where you live?\"", "Link and Natalie exchanged a raised eyebrow, but Alan was already headed\nfor his place, fumbling for his keys. He bounded up the stairs, swiped a" ], [ "\"I know it,\" he said. \"Partners.\" He clapped Kurt on the shoulder,\nignoring the damp gray grimy feeling of the clammy T-shirt under his\npalm.", "Kurt was picking up the boxes and shaking them, listening for the\nrattle. \"This place is an import/export wholesaler. They throw out a lot", "\"Kurt,\" Alan said.\n\n\"Right, Kurt,\" he said. \"Sorry.\"", "\"Alan?\" It was Kurt.\n\n\"Kurt, up here, he's got a knife!\"", "\"Hey, Kurt,\" she said looking away. It was clear even to Alan that they\nknew each other already. The other bookstore people were looking on with\nsuspicion, drinking their beer out of refillable coffee-store thermos\ncups.", "Once they were seated, Alan snuck a look at Kurt, who had narrowed his\neyes and cast his gaze down onto the business cards he'd been", "The Greek gave him half a smile, which was his version of roaring\nhilarity.\n\n\"Here's the pitch. Me and that punk kid, Kurt, we're working on a\ncommunity Internet project for the Market.\"", "He tottered to his feet and went out to find Kurt, bare feet jammed into\nsneakers, bare chest and bandages covered up with a jacket. He found\nKurt cutting through the park, dragging his heels in the bloody dawn\nlight.", "Tears were streaming freely down his face, and between them and the\nsmoke, he could barely see. He drew closer to the shop's rear, nearly\nthere, and then he was there, looking for Kurt.", "\"Kurt's awake.\"\n\n\"Yeah?\"\n\n\"Yeah. You could introduce me to him.\"", "\"I'm going to throw a party,\" Kurt said. \"Here, in the shop. No, I'll\nrent out one of the warehouses on Oxford. I'll invite them, the kids,", "\"Natalie, Link, this is Kurt,\" he said. They shook hands all around.", "When Kurt emerged from the front door of his storefront ten minutes\nlater, he looked like he'd at least made an effort. His mohawk and its", "As he got closer to Kurt's storefront, he slowed down. The crowds were\nthick, laughing suburban kids and old men in buttoned-up cardigans and", "He tried slapping Kurt a couple times, but he would not be roused. His\nbreath came in tiny puffs. Alan took his hand, then the other hand, and", "\"You're shitting me, right?\" Kurt said.\n\n\"You asked me for advice --\" Lyman said, mildly.", "Kurt visibly inflated. \"Thanks, man.\" They gripped one another's hands\nfor a moment. Kurt swiped at his moist eyes with the sleeve of his", "Alan grinned. He and Kurt hadn't had an evening chatting together in\nsome time. When Kurt suggested that they go for a ride, Alan had been", "\"All right,\" the other said, and they slouched away.\n\n\"Word of mouth,\" Kurt said, with a jingling shrug. \"Kids just turn up,\nlooking for work with the trash.\"", "\"I work with these guys!\" He turned to Arnold and Kurt. \"This is my\ncousin Sara,\" he said. \"These are Albert and Kurt. I'm helping them\nout.\"\n\n\"Hi, Sara,\" Kurt said." ], [ "\"Look at that,\" Darrel said. \"Look at him talking to them, his little\narmy, like a general giving them a pep talk. He got that from my", "\"Absolutely. Thanks for setting them up.\"\n\n\"It was about time I did some of the work, after you got the nut-shop\nand the cheese place and the Salvadoran pupusa place.\"", "got himself warmed up to a good oration, but in truth very little ever\nescaped his attention. His customers loved his little talks, loved the", "new venture, rising early, dossing late, always doing two or three\nthings at once: setting up meetings, sweet-talking merchants, debugging\nhis process on the fly.", "way down to the business district. The Market was quite restful. It\nshuffled like an old man in carpet slippers, setting up streetside\nproduce tables, twiddling the dials of its many radios looking for", "\"I think I would,\" Alan said. \"I suspect it's a possibility. We can\nstart with the shopkeepers, though.\"", "They are stared at him.\n\n\"This is a limited-time offer,\" Alan said. \"I had other plans tonight,\nyou know. Going once, going twice --\"", "\"Every night, so long as he keeps selling the cheapest beer in the\nMarket,\" Wes said, winking at Alan.", "Once the little rush at the counter was cleared, he eased himself into\nthe shop. Natalie *was* working for him, of course, in the impromptu", "\"All right,\" the other said, and they slouched away.\n\n\"Word of mouth,\" Kurt said, with a jingling shrug. \"Kids just turn up,\nlooking for work with the trash.\"", "shoppers mouthed, \"So cute,\" to each other. Moms with babies in snuglis\nbent to chuckle them under their chins. Store owners spontaneously gave", "efficiently taking people's money, answering their questions, handing\nthem receipts, counting out change... He would have loved to have had\nsomeone like her working for him in one of his shops.", "still running a shop. He liked to hire sharp kids like her, get to know\nthem, try to winkle out their motives and emotions through observation.", "stores and his person, giving him unsolicited advice on the care and\nfeeding of his shops based on the kind of useless book-learning and", "\"I knew where you were, of course. Always knew where you were. I could\nsee you whenever I closed my eyes. I knew when you opened your shops and", "She looked askance at him, but Lyman interposed himself. \"Now, Sara,\nthese guys really, really wanted to talk something over with you all,\nbut they've been having a hard time getting a hearing.\"", "\"It's all politics with them. Everything. You should hear them argue\nabout whether it's cool to feed meat to the store cat! Who was working\nbehind the counter?\"", "\"Da,\" she said in a sweet voice, \"I love you Da,\" she said, wrapping her\narms around his trim waist.", "explaining each item on the shelf to the solemn child, and everyone got\nan immediate attitude adjustment. Shopkeepers smiled and nodded,", "Blake walked confidently into the shop, through Kurt's nest, and to the\nback door. He opened it and smiled at Adam. \"Come on in,\" he said.\n\n\"Right,\" Alan said. \"How was the movie?\"" ], [ "The two older brothers looked balefully at him, then mutely appealed to\nAlan. This was new -- since infancy, Earl-Frank-Geoff had acted with", "\"Someone is stalking my brothers,\" Alan said. \"Someone very strong and\nvery cunning. Three are gone that I know about. There are others, but I\ncould be next.\"\n\n\"Stalking?\" Natalie said.", "\"What are we, Alan?\" Edward said it, but Frederick and George mouthed\nthe words after he'd said them.\n\n\"You're my brothers,\" he said. \"You're. . .\"", "Alan laughed. Worry for Edward and Frederick and George nagged at him,\nimpotent anxiety, but this was just so fascinating. Fascinating and", "\"You can feel the rules, brother,\" he said. He couldn't look Alan in the\neye, he never did. This was a major speech, coming from Bobby.", "\"Brothers,\" Natalie said, and walked away briskly.\n\n#\n\nAlan was the oldest of the brothers, and that meant that he was the one\nwho blazed all the new trails in the family.", "Alan got the lights and rolled his brother over, looked into his mad\neyes. Dale was trying to scream, but with his jaw hanging limp and his", "\"Three of my brothers have gone missing,\" Alan said. \"That's why I was\nso upset. One disappeared a couple of weeks ago, another last night, and", "\"Alan, talk to him,\" Fred said. \"He's nuts.\"", "\"Alan's more like them than he is like us,\" Frederick said. \"We're not\nlike them. We can't pass for them.\"", "Mimi looked down at him. \"Ugly sumbitch, whoever he was.\"\n\n\"My brother,\" Alan said.", "Alan's jaw hung slack. Handicapped? Passing? Like them? Not like them?\nHe'd never thought of his brothers this way. They were just his", "While Kurt was upstairs, Alan unwrapped his brother. Danny's eyes were\nclosed, his jaw hanging askew, his wrists bound behind him. Alan leaned", "Alan got the rest of his brothers enrolled, taking their forms home and\nforging indecipherable scrawls that satisfied the office ladies. His own", "Alan shook his head. \"How long has he been gone?\"\n\n\"Three weeks,\" Edward whispered. \"I'm so hungry, Alan.\"\n\n\"How did it happen?\"", "Davey approached them, a beatific smile on his angelic face.\n\n\"This is my brother, Daniel,\" Alan said. \"The one I told you about.\"", "Alan waited. He was trembling inside. He'd done the right thing. He'd\nsaved his family. He knew that. But for six years, he'd found himself", "\"That's your brother?\"\n\nAlan nodded.\n\n\"Well, I see why you didn't want me to come home with you, then.\"\n\n#", "But a lot of time had gone by and the brothers weren't kids\nanymore. Alan was nineteen, ready to move to Toronto and start scouting", "But Frederick kept his lips stubbornly together, and Alan tired of the\nterrible business and set the boy with the newest brother within down on" ], [ "\"But I'm with her,\" Alan said, gesturing in the direction Mimi had\ngone. \"I'm Krishna's and her neighbor.\"", "\"Because I don't want to watch you self-destruct, Mimi. Stay here. We'll\nsort out Krishna together. And my brother. Billy's here now, that means\nthey can't sneak up on us.\"", "Mimi was in awfully good spirits, considering what she'd been through\nwith Krishna. He tried to think about it, trying to make sense of the\nday and the girl, but the splashing from the tub kept intruding on his\nthoughts.", "Alan nodded. \"Krishna beat Mimi up,\" he said.\n\n\"I know it,\" she said. \"I heard it. I didn't do anything, goddamn me,\nbut I heard it happen.\"", "And Krishna went. Slowly. Painfully. He stood and hobbled toward the\nfront door.\n\nMimi watched him go, and she smiled once he was gone.", "\"Yeah,\" Mimi said, but she didn't. She stayed out there for ten minutes,\nthen twenty, and when Alan looked out his window at her, he saw she was\nstill staring up at Krishna, mesmerized.", "Mimi, in his doorway, across the fence, made a sound that was half a\nmoan.\n\nKrishna lay still for a moment, then slowly struggled to his knees and\nthen his feet.", "\"I know what that's like,\" Mimi said. \"I hadn't spoken more than three\nwords in the six months before I met Krishna. I worked at a direct-mail", "\"Oh,\" she said.\n\nWas Krishna home? She was rooting in her purse now, and he knew that she\nwas looking for her knife.\n\n\"You staying with me?\" he said.", "Natalie nodded enthusiastically, her shaved head whipping up and down on\nher thin neck precariously. Mimi glared at Natalie and Link. \"I'll ask\nKrishna,\" she said.", "\"Do you want to tell me about them?\"\n\n\"It's been bad ever since -- ever since Mimi left. All of a sudden,\nKrishna's Link's best friend. He follows him around.\"", "beside Krishna, barefoot in a faded housecoat. Her eyes were very wide,\nand as she turned away from him, he saw that her stubby wings were", "\"Mimi,\" he said. He felt angry at her. How could she be so selfish as to\nhave a crisis *now*, *here*, at this place that meant so much to him?", "Allen down in the earth gently as putting it to bed, and Alan filled the\nhole back up. Mimi looked back up at the window, eyes locked on\nKrishna's.", "\"So you hate monsters, Krishna, all except for the ones you sleep with\nand the ones you work for?\"\n\n\"I don't work for anyone,\" he said. \"Except me.\"", "\"You do. But what Billy didn't tell you is that Krishna's out there with\nother women, I saw him today. With a girl. Young. Pretty. Normal. If he", "\"No,\" she said. \"No, that's okay.\" She looked over his shoulder and her\neyes widened. He turned around and saw that Krishna and Link had spotted", "Mimi shook him by the shoulder hard, and he realized she'd been shaking\nhim for some time. \"You can't do that here,\" she said. \"Would you listen", "\"I called the cops,\" Krishna said. \"I called them again and they're on\ntheir way. Let me go, freak show.\"", "smiled and padded off to the toilet. He came back to find Mimi splayed\nacross the whole bed, occupying its length and breadth, a faintly" ], [ "And Krishna went. Slowly. Painfully. He stood and hobbled toward the\nfront door.\n\nMimi watched him go, and she smiled once he was gone.", "Alan nodded. \"Krishna beat Mimi up,\" he said.\n\n\"I know it,\" she said. \"I heard it. I didn't do anything, goddamn me,\nbut I heard it happen.\"", "\"I know what that's like,\" Mimi said. \"I hadn't spoken more than three\nwords in the six months before I met Krishna. I worked at a direct-mail", "Mimi was in awfully good spirits, considering what she'd been through\nwith Krishna. He tried to think about it, trying to make sense of the\nday and the girl, but the splashing from the tub kept intruding on his\nthoughts.", "\"But I'm with her,\" Alan said, gesturing in the direction Mimi had\ngone. \"I'm Krishna's and her neighbor.\"", "Mimi, in his doorway, across the fence, made a sound that was half a\nmoan.\n\nKrishna lay still for a moment, then slowly struggled to his knees and\nthen his feet.", "Natalie nodded enthusiastically, her shaved head whipping up and down on\nher thin neck precariously. Mimi glared at Natalie and Link. \"I'll ask\nKrishna,\" she said.", "Mimi's wings when they grew too long, and thought, too, that Krishna\nmust relish the task.", "\"Do you want to tell me about them?\"\n\n\"It's been bad ever since -- ever since Mimi left. All of a sudden,\nKrishna's Link's best friend. He follows him around.\"", "Allen down in the earth gently as putting it to bed, and Alan filled the\nhole back up. Mimi looked back up at the window, eyes locked on\nKrishna's.", "beside Krishna, barefoot in a faded housecoat. Her eyes were very wide,\nand as she turned away from him, he saw that her stubby wings were", "\"Yeah,\" Mimi said, but she didn't. She stayed out there for ten minutes,\nthen twenty, and when Alan looked out his window at her, he saw she was\nstill staring up at Krishna, mesmerized.", "Krishna had his own little girl between *his* knees, with heart-shaped\nlips and thick matte concealer over her zits. His hand lay casually on\nher shoulder, and she brushed her cheek against it.", "Mimi kept her own schedule, mostly nocturnal, padding quietly around his\nhouse while he slept, coming silently to bed after he rose, while he was", "Krishna sat with his back against the cinderblock wall near Kurt's back\ndoor, knees and hands splayed, head down in a posture of", "\"Because I don't want to watch you self-destruct, Mimi. Stay here. We'll\nsort out Krishna together. And my brother. Billy's here now, that means\nthey can't sneak up on us.\"", "inside of Krishna's wrist. \"You're very clever that way, you are.\"\nKrishna closed his eyes and breathed heavily through his nose, as though", "\"Krishna knows,\" she said. \"And you.\" She looked out into the\nnight. \"The family in Oakville. If I could remember where they lived,", "\"We going to do anything about that?\" he said, jerking his head toward\nthe steps. Krishna had his hand down the little girl's top now, cupping\nher breast, then laughing when she slapped it away.", "Krishna took another step toward Alan and then Natalie, moving so fast\nthat she was a blur, streaked out of the back door, leaping onto" ], [ "\"Just moved in on July first,\" Alan said. \"Still getting settled in.\"\n\n\"Which house?\"\n\n\"The blue one, with the big porch, on the corner.\"", "\"You get used to it,\" Alan said. \"I can't explain it all, and the parts\nthat I can explain, you wouldn't believe. But you've been to my home\nnow, Marci. I've shown you where I live.\"", "Alan waited. He was trembling inside. He'd done the right thing. He'd\nsaved his family. He knew that. But for six years, he'd found himself", "Alan, though, solemnly shook each of their hands in turn, and thanked\nthem. When he was done, he felt as though a weight had been lifted from\nhim. Next door, Mimi's window slammed shut.", "\"Neither is Alan,\" George said. \"And here he is, in the big city, living\nwith them. Working. Meeting people. Out of the mountain.\"", "\"You're getting enough to eat at home? There's a quiet place where you\ncan work?\"\n\n\"Yes,\" Alan said, squirming. \"It's fine, now that Mom is home.\"", "Alan fumbled for his keys and let them into the house, where they\nsettled into the corners of his old overstuffed horsehide sofa. He", "He was drunk on the wood, of course, and would have paid much more had\nthe realtor noticed this, but Alan had spent his whole life drunk on", "Mimi was back in bed when they got home. Alan took a shower and scrubbed\nat his feet, then padded silently around the shuttered bedroom, dressing\nin the dark. Mimi made a sleepful noise.", "\"How the hell did you find that?\" Alan said, looking at the darkened\nwindow. There was a chain-link gate at the side of the house, and in the\nback an aboveground pool.", "Alan made his way down to the living room, the floor streaked with mud\nand water. He went into the kitchen and filled a bucket with soapy water", "Alan sanded the house on Wales Avenue. It took six months, and the whole\ntime it was the smell of the sawdust, ancient and sweet, and the reek of\nchemical stripper and the damp smell of rusting steel wool.", "Alan breathed himself into a semblance of composure. \"I...\" he started,\nthen trailed off. Krishna was watching from his porch, grinning\nferociously, holding a cordless phone.", "Alan worked through the long Toronto winter at his sanding. The house\nhad been gutted by the previous owners, who'd had big plans for the", "\"It's okay,\" Alan said. \"We can celebrate at home. Don't let them get to\nyou.\"\n\n\"We can't go?\" Ed suddenly looked a little panicked.", "Alan took possession of the house on January 1, and paid for it in full\nby means of an e-gold transfer. He had to do a fair bit of hand-holding", "\"You don't have a home,\" Alan said, pressing the hilt of the knife over\nthe wound in his bicep, the feeling like biting down on a cracked\ntooth. \"You're not welcome.\"", "Alan didn't know what to say to that. This was bound to come up someday.\n\n\"Where are you from?\"\n\n\"Up north. Near Kapuskasing,\" he said. \"A little town.\"", "Alan felt a sob well up in his chest and swallowed it down\nagain. \"Thanks,\" he managed to say.\n\n\"When are you leaving?\"", "\"Why do you think?\" she said. \"I followed you home. Where do you live,\nAlan? Why can't I even see where you live?\"" ], [ "\"It's all dumpstered,\" Kurt said casually.", "Kurt was picking up the boxes and shaking them, listening for the\nrattle. \"This place is an import/export wholesaler. They throw out a lot", "Kurt's grin widened. \"Yeah. From the trash, mostly. I dumpster-dive for\n'em.\"\n\nThey grinned back. \"That's very hot,\" Lyman said.", "\"The cop,\" Kurt said. \"Right.\"\n\n\"That's the story about the cop in the dumpster, huh?\" Alan said.", "dumpsters going to the landfill every night without his expert picking\nover. Alan visited him every day and listened raptly while Kurt gave him\nthe stats for the day's network usage, and Kurt beamed proud the whole", "of junk from Kurt's diving runs and researching them for eBay\nlistings. It made him feel good -- great, even. It was like watching an\nInventory being assembled from out of chaos.", "Kurt turned at Baldwin, and Alan followed. \"I don't eat garbage, I pick\nit,\" he said. He sounded angry.\n\n\"Hey, sorry,\" Alan said. \"Sorry. I didn't mean to imply --\"", "\"Her?\"\n\n\"Trying not to be sexist,\" Kurt said.\n\n\"Are there female dumpster divers?\"", "\"Better situated,\" Kurt said. \"If you're going dumpster diving\nafterward. I'm gonna take your cherry, buddy.\" He clapped a hand on", "\"Do you know that for sure?\"\n\n\"Yes. He has dinner with a woman, then he takes her dumpster diving and\ncomes home and goes to bed. I can see that.\"", "Kurt lived in the back of a papered-over storefront on Oxford. The front\ntwo-thirds were a maze of peeling, stickered-over stamped-metal shelving", "Alan tried to climb the dumpster's sticky walls, but couldn't get a\npurchase. Kurt, standing on something in the dumpster that crackled,", "He realized with a brief shudder that Kurt probably used this flashlight\nwhile nipple-deep in dumpsters, had an image of Kurt transferring it", "As if reading his mind, Kurt said, \"You see those old rum-dums pushing a\nshopping cart filled with empty cans down Spadina? Fucking *morons* --", "He pocketed the tooth before Kurt saw it and delved farther, approaching\nthe alley's end, which was carpeted with a humus of moldering cardboard,", "I love this. It's like Napster for dumpsters.\"", "\"You dig around in dumpsters for a living,\" Alan said. \"Aren't you\nimmune to germs?\"", "dozen times -- he thought he understood that this ritual was about Kurt\nassuring himself that he was not sinking down to the level of rummies\nand other garbage pickers.", "\"Here's the thing,\" Kurt said as they drank their coffees at the Vesta\nLunch, a grimy 24-hour diner that Alan only seemed to visit during the", "\"Oh, that's just fun,\" she said. \"I went along on a couple of dumpster\nruns with the gang. I found the most amazing cosmetics baskets at the" ], [ "\"Kurt,\" Alan said.\n\n\"Right, Kurt,\" he said. \"Sorry.\"", "\"Alan?\" It was Kurt.\n\n\"Kurt, up here, he's got a knife!\"", "\"I really think you should,\" Alan said. \"It's a poor use of time.\"\n\nKurt looked ready to cry again. Adam had no idea what to say.", "Alan grinned. He and Kurt hadn't had an evening chatting together in\nsome time. When Kurt suggested that they go for a ride, Alan had been", "\"Alan,\" Kurt croaked. Somehow, he'd followed them back into the\nyard. \"Alan.\" He held out his hand, which glowed blue-white. Alan looked", "Alan had started off frustrated and angry with Kurt, but this drew him\nup and turned him around. \"That is a *fine* idea,\" he said. \"We'll\ninvite Lyman.\"\n\n#", "\"God,\" Alan said. \"This is so sudden.\" But he was happy about it. He'd\ntried to picture what Kurt actually *did* any number of times, but he", "Alan laughed as he touched down, thinking that Kurt's heart was aburst\nwith the feeling of having finished, at last, at last. But then he\ncaught sight of Kurt's face, ashen, wide-eyed.", "\"How come you're being so nice to us?\" Kurt said. \"You guys are The\nMan.\" He shrugged at Alan. \"Someone had to say it.\"", "He tried slapping Kurt a couple times, but he would not be roused. His\nbreath came in tiny puffs. Alan took his hand, then the other hand, and", "Kurt looked at his expression, then said, \"What happened?\" He had his\nfists at his sides, he looked tensed to run. Alan felt that he was\nwaiting for an order.\n\n\"He got away.\"", "\"You okay?\" Kurt said, crouching down beside him, putting a hand on his\nshoulder. \"Need a doctor?\"\n\n\"No doctors,\" Alan said. \"No doctors. I'll be okay.\"", "Alan picked his way delicately through the store and found himself a\nseat on an upturned milk crate. Kurt sat on the bed and grinned\nexpectantly.\n\n\"So?\" he said.", "Once they were seated, Alan snuck a look at Kurt, who had narrowed his\neyes and cast his gaze down onto the business cards he'd been", "Kurt drummed his fingers nervously on his palms the whole way to Bell\noffices. Alan grabbed his hand and stilled it. \"Stop worrying,\" he\nsaid. \"This is going to go great.\"", "Kurt and Alan traded uneasy glances. They'd carefully planned out a\nsubtle easeway into this conversation, but Lyman was running with it.\n\n\"You didn't know that I was involved, huh?\"", "But Alan knew their secrets. He'd seen the aerial maps, and he'd\nclambered their length and breadth and height with Kurt, checking sight", "While Kurt was upstairs, Alan unwrapped his brother. Danny's eyes were\nclosed, his jaw hanging askew, his wrists bound behind him. Alan leaned", "Alan didn't even have to explain it to Kurt, who got it\nimmediately. They were close now, thinking together in the feverish\ndrive-time on the night-dark streets.", "\"It was nice to meet you, Kurt,\" Alan said, and shook his hand.\n\n#" ], [ "Alan's mother rocked harder, and her exhaust hose dislodged itself. A\nhigh-pressure jet of cold, soapy water spurted from her back parts,", "resonated through Alan's milk teeth and made his testicles shrivel up\ninto hard stones. Alan knew his mother liked to be left alone when she", "With a trembling hand, Alan opened his mother's door and extracted\nlittle Frederick. The baby was small and cyanotic blue. Alan tipped the", "\"Where is she?\" Alan said, after he'd taken hold of Davey's hair and,\nwithout fanfare, smashed his face into the cold stone floor hard enough", "And then, it stopped. His mother stopped rocking, stopped shaking. The\nstream trailed off into a trickle. Alan stopped crying, and soon the", "\"Where is she?\" Alan said, knowing.\n\n\"With Caleb,\" Davey said. \"I buried her in Caleb.\"", "Alan,\" she said. \"Is it true? Is it really how you say it is? Did I see\nwhat I saw?\"", "\"Alan,\" she breathed. Her fingers went slack. She pulled her hand free.\n\nSuddenly Alan was cold, too. The scant inches between them felt like an\nunbridgeable gap.", "Alan whirled and shrieked, a wordless, contorted war cry, a sound from\nhis bestial guts. As his eyes swam back into focus, he saw Mimi standing", "They filed out and Alan spared Davey a look over his shoulder as they\nslipped away, head down on his knees, rocking in time with their mother.\n\n#", "Her breathing stilled again.\n\n\"Alan,\" his father said.", "\"I don't know,\" Alan said. \"Out.\"\n\n\"Is this what your family is like?\"\n\n\"Yeah,\" Alan said. \"This is what they're like.\"", "Alan hardly knew where he was anymore. The card was in Mimi's hand,\nthough, and he reached for it, making a keening noise deep in his\nthroat.", "Alan's father was a mountain, and his mother was a washing machine -- he\nkept a roof over their heads and she kept their clothes clean. His", "that had made him easy for the young Alan to care for. Carlos, the\nisland, had crawled out of their mother's womb and pulled himself to the", "\"Alan,\" Marci's father croaked. Mr. Davenport held up a hand to silence\nhim.\n\n\"Alan,\" Mr. Davenport said. \"Have you seen Marci?\"", "Alan waited. He was trembling inside. He'd done the right thing. He'd\nsaved his family. He knew that. But for six years, he'd found himself", "\"You're getting enough to eat at home? There's a quiet place where you\ncan work?\"\n\n\"Yes,\" Alan said, squirming. \"It's fine, now that Mom is home.\"", "dove for his father's seed and fed it up his mother's intake. Alan's\nlife was full of mysteries, and he'd long since learned to keep his", "Alan wasn't listening. He knelt down and touched George's cheek. The\nskin was soft and spongy, porous and saturated. Cold. His fingertips" ], [ "recursion of Renfields, each nesting inside the last like Russian dolls\nin reverse: Big Link inside medium Krishna inside the stump that\nremained of Darrel.", "brothers were: a dead man, a trio of nesting dolls, a fortune teller,\nand an island. He only had two or three family portraits, but he", "The old Russian lady took me out for walks in a big black baby buggy the\nsize of a bathtub. She tucked me in tight so that my wings were pinned", "\"Jesus,\" he said, and hit the remote on his keyring that switched on the\nporch light. It was his brother Edward, the eldest of the nesting dolls,", "beneath me. But when we were at home, in her little apartment with the\nwind-up Sputnik that played \"The Internationale,\" she would let my wings", "He'd laid her out before my mother, and placed her fingernails at the\nexact tips of her fingerbones. The floor was dirty and littered with", "On the night that Alan and Natalie put the first coat of paint on the\nwall, Mimi came down in a little baby-doll dress, thigh-high striped\ntights, and chunky shoes, her face painted with swaths of glitter.", "\"Do you know that for sure?\"\n\n\"Yes. He has dinner with a woman, then he takes her dumpster diving and\ncomes home and goes to bed. I can see that.\"", "The Russian boy's face was screwed up and blotchy and streaked with\ntears, and it made him look even more like Doug, who'd always been a", "girls with process waves in their hair, everyone looking like they'd\nbeen stuffed and mounted. I guess they were her relatives, because if\nyou squinted at them and cocked your head, you could kind of see her", "Kurt was picking up the boxes and shaking them, listening for the\nrattle. \"This place is an import/export wholesaler. They throw out a lot", "He found her halfway up the staircase with one of the shallow\nbric-a-brac cabinets open before her. She was holding a", "She didn't speak much English, so I grew up speaking a creole of\nRussian, Ukrainian, Polish and English, and I used my words to ask her,\nwith more and more insistence, when I'd get to go to class.", "The pictures were stiff and mysterious. Faces loomed out of featureless\nblack backgrounds: pop-eyed, jug-eared Russian farm boys, awkward farm", "She was strong, in that slow old Russian lady way, strong enough to\ngrunt ten sacks of groceries in a bundle-buggy up the stairs to the", "I knew what it meant to be different: It meant living in the second\nfloor with the old Russian Auntie, away from the crowds and their", "\"See boxes?\"\n\n\"Yes,\" Alan said. \"And look inside. We could unbox them after dinner,\nokay?\"", "\"He taught me the ritual with your thumbtip, how to make the little you,\nand then he took it away from me for safekeeping. He kept it in one of", "spied her. The ground had frozen over and the rushes and reeds were\nstubble, poking out of the snow. He took her mittened hands in his and\nwaited for her to stop squirming.", "\"To see my family,\" he said. She smiled and her lip cracked anew,\ndripping a single dark droplet of blood onto the gleaming wood of the\nfloor, where it beaded like water on wax paper." ], [ "\"Alan's more like them than he is like us,\" Frederick said. \"We're not\nlike them. We can't pass for them.\"", "\"It's real, Larry,\" Alan said. \"Freaky, huh?\"", "\"Alan, talk to him,\" Fred said. \"He's nuts.\"", "Alan nodded. \"Probably,\" he said. \"Probably I am. Not a human, maybe not\na person. Not a real person. But if I'm bad, he's a thousand times", "\"That's him,\" Alan said. \"I guess you believe me now, huh?\"", "Alan wasn't listening. He knelt down and touched George's cheek. The\nskin was soft and spongy, porous and saturated. Cold. His fingertips", "Alan laughed. Worry for Edward and Frederick and George nagged at him,\nimpotent anxiety, but this was just so fascinating. Fascinating and", "\"I taught the littler ones as best as I could,\" Alan said. He liked\nMr. Davenport, understood him. He had a job to do, and needed everything", "Alan nodded. \"Yeah,\" he said.\n\n\"You're watching. You're doing what I'm doing. You're watching them to\nfigure out what they're doing.\"", "\"Someone is stalking my brothers,\" Alan said. \"Someone very strong and\nvery cunning. Three are gone that I know about. There are others, but I\ncould be next.\"\n\n\"Stalking?\" Natalie said.", "Alan waited. He was trembling inside. He'd done the right thing. He'd\nsaved his family. He knew that. But for six years, he'd found himself", "\"You get used to it,\" Alan said. \"I can't explain it all, and the parts\nthat I can explain, you wouldn't believe. But you've been to my home\nnow, Marci. I've shown you where I live.\"", "\"Yeah, we're going to get this down to a science someday,\" Alan\nsaid. \"Something we can teach anyone to do.\"", "Holding his breath, Alan lifted the Allen gently, cradling it in his\npalms. It squirmed and thrashed weakly. \"Shh,\" he said again. His hands", "Alan tugged Kurt's hand away from his face. \"Stop that. You're an\nextraordinary person. I've never met anyone who has the gifts you", "\"Alan,\" Marci's father croaked. Mr. Davenport held up a hand to silence\nhim.\n\n\"Alan,\" Mr. Davenport said. \"Have you seen Marci?\"", "Alan got the lights and rolled his brother over, looked into his mad\neyes. Dale was trying to scream, but with his jaw hanging limp and his", "the reason for his long, long silences. Alan knew that sometimes he\ncouldn't tell what it was that he knew that others didn't. But he didn't\ncare, then.", "Alan, though, solemnly shook each of their hands in turn, and thanked\nthem. When he was done, he felt as though a weight had been lifted from\nhim. Next door, Mimi's window slammed shut.", "\"Give it to me,\" Alan said. The boy's eyes, wide with shock, began to\nscrew shut with pain. Alan let go his wrists, and the kid chafed them,\nbacking away another step." ], [ "\"What are we, Alan?\" Edward said it, but Frederick and George mouthed\nthe words after he'd said them.\n\n\"You're my brothers,\" he said. \"You're. . .\"", "Alan laughed. Worry for Edward and Frederick and George nagged at him,\nimpotent anxiety, but this was just so fascinating. Fascinating and", "The two older brothers looked balefully at him, then mutely appealed to\nAlan. This was new -- since infancy, Earl-Frank-Geoff had acted with", "Alan stared blankly as the brothers tidied up the cave and made piles of\ntheir belongings. The little ones looked scared, without any of the\nhardness he remembered from that day when they'd fought it out on the\nhillside.", "\"Neither is Alan,\" George said. \"And here he is, in the big city, living\nwith them. Working. Meeting people. Out of the mountain.\"", "Alan looked at them and listened to the mountain breathe around them. It\nhad been years since his father had had anything to say to them. It had", "Alan looked to his brothers, then he got up and left the cave without a\nlook back. He wasn't going to wait for Davey to come to him.", "Alan didn't know what to say to that. This was bound to come up someday.\n\n\"Where are you from?\"\n\n\"Up north. Near Kapuskasing,\" he said. \"A little town.\"", "\"Someone is stalking my brothers,\" Alan said. \"Someone very strong and\nvery cunning. Three are gone that I know about. There are others, but I\ncould be next.\"\n\n\"Stalking?\" Natalie said.", "\"My boys,\" the voice said, their father said. \"My sons. David, Alan. You\nmust not fight like this.\"\n\n\"He --!\" Davey began, the echoes of his outburst scattering their\nfather's voice.", "Alan's jaw hung slack. Handicapped? Passing? Like them? Not like them?\nHe'd never thought of his brothers this way. They were just his", "Alan kept silent through those months, becoming almost nocturnal,\nrefusing to talk to any brother who dared to talk to him. When", "\"I must have been a weird kid,\" he said. \"All that quiet.\"\n\n\"You were a great kid,\" Alan said. \"It was a lot of fun back then,\nmostly.\"", "Alan got the lights and rolled his brother over, looked into his mad\neyes. Dale was trying to scream, but with his jaw hanging limp and his", "His brothers filed out of the room. and Alan shuffled nervously, looking\nat the class ring on Mr. Davenport's hairy finger, remembering the time", "\"Three of my brothers have gone missing,\" Alan said. \"That's why I was\nso upset. One disappeared a couple of weeks ago, another last night, and", "But a lot of time had gone by and the brothers weren't kids\nanymore. Alan was nineteen, ready to move to Toronto and start scouting", "Alan waited. He was trembling inside. He'd done the right thing. He'd\nsaved his family. He knew that. But for six years, he'd found himself", "\"I don't think the little ones really remember him -- he's more like a\nbad dream to them. But he was real, wasn't he?\"\n\n\"Yeah,\" Alan said. \"But he's gone now.\"", "Alan's father, the mountain, had many golems that called him home. They\nlived round the other side of his father and left Alan and his brothers" ] ]

[ "What is Alans dumster diving friends name?", "What is Alans father?", "What are Alans 3 youngest brothers?", "What is Alans mother?", "What animal is Alan compared to in the story?", "Who is Mimi?", "What physical attribute does Mimi have?", "What is Mimis boyfriends name?", "What does Krishna do to Mimi every 3 months?", "What are the two main characters names?", "What Providence does the story take place?", "What is Alan's neigbor's name?", "What is Kurt's occupation?", "Where did Alan grow up?", "Where did Alan buy a home?", "Who does Kurt form a partnership with?", "Who sweet talks the local buisness owners?", "What power does Alan's oldest brother have?", "Why does Mimi stay with her boyfriend Krishna?", "What does Krishna do for Mimi every three months?", "Where does Alan buy a home?", "Why does Kurt run a dumpster diving operation?", "How does Alan help Kurt with his plan?", "Who/what is Alan's mother?", "Why are the Russian nesting dolls important?", "What is Alan's special ability?", "Where did Alan and his brothers grow up?" ]

[ [ "Kurt", "Kurt" ], [ "A mountian", "A mountain." ], [ "Russian nesting dolls", "They are a set of Russian nesting dolls." ], [ "A washing machine.", "A washing machine" ], [ "An earthworm", "Earthworm" ], [ "Alans neighbor.", "One of Alan's not quite human neighbors." ], [ "Wings on her back.", "She has wings." ], [ "Krishna", "Krishna" ], [ "He amputates her wings.", "Cuts off her wings" ], [ "Alan, Kurt", "Alan and Kurt" ], [ "Ontario", "Ontario." ], [ "Mimi", "Mimi." ], [ "dumpster-diver", "Dumpster Diver." ], [ "Kapuskasing", "A remote town near Kapuskasing" ], [ "Kensington Market", "Toronto" ], [ "Alan", "Alan" ], [ "Kurt", "Alan sweet talks them." ], [ "Premonition", "He can see the future." ], [ "She believes he is the only one who can make her \"normal\"", "she believes he is the only one willing and able to make her normal" ], [ "He amputates her wings", "He amputates Mimi's wings." ], [ "Kensington Market", "The Kensington Market neighborhood in Toronto." ], [ "He wants to provide free and secure WiFi to the whole neighborhood", "to blanket the neighborhood with secure and free internet access" ], [ "Alan is more professional and convinces many local owners to allow Kurt to set up access points", "Convincing store owners to buy in." ], [ "Washing machine", "a washing machine" ], [ "They are Alan's three youngest brothers", "They are Alan's three youngest brothers." ], [ "He can heal rapidly and regrow severed limbs.", "Heals fast. and can rejuvinate cut off parts, which can copy himself with. " ], [ "Outside Kapuskasing", "Kapuskasing" ] ]

[ [ "ERICA, also 19, is Mark's date. She has a girl-next-door face\n that makes her easy to fall for. At this point in the", "ERICA\n I'm not your girlfriend anymore,\n\n MARK\n Is this a joke?\n\n ERICA\n No, I'm sorry, it's not.", "MARK\n You're breaking up with me?\n\n ERICA\n You're going to introduce me to people I\n wouldn't normally get to meet? What the\n fuck is that supposed to mean?", "MARK\n Erica?\n ERICA, from the opening scene, turns her head and looks up to", "15,\n\n MARK\n Wardo.\n\n EDUARDO\n Did you and Erica split up?", "ERICA\n\n (SMILES)\n You would do that for me?\n\n MARK\n You're my girlfriend.", "MARK\n I don't want to.\n\n REGGIE (A FRIEND OF ERICA'S)\n Erica, is there a problem?", "ERICA\n I was honestly just asking. Okay? I was\n asking just to ask. Mark, I'm not\n speaking in code.\n\n MARK\n Erica--", "MARK\n Would you rather talk about something\n else?\n\n ERICA\n It's just that since the beginning of\n the conversation about finals clubs I\n think I may have had a birthday.", "ERICA\n Yeah.\n\n MARK\n I'm sorry and I mean it..\n\n ERICA\n I appreciate that but--", "MARK\n No, back, I mean--That's--back at the bar\n with Erica Albright. She said all that?\n That I said that stuff to her?", "MARK (CONT'D)\n\n (BEAT)\n I don't know if you heard about this new\n website I launched.\n\n ERICA\n No.", "ERICA\n What?\n\n MARK\n why would you ask me that?\n\n ERICA\n I was just asking.", "ERICA\n I think we should just be friends.\n\n MARK\n I don't need friends.", "Erica's name and picture come up, along with Boston\n University, '07. Mark smiles. She's on Facebook.", "MARK\n Come on.\n\n ERICA\n ---I have to study.\n\n MARK\n You don't have to study. Let's just talk.", "ERICA\n Hey Mark. A year from now you won't\n remember this conversation and you won't\n remember me.", "ERICA (V.O. )\n That can't be true.\n\n MARK (V.O.)\n it is true.", "ERICA\n I can't..\n\n MARK\n Why?", "MARK\n You're really leaving.\n ERICA takes MARK's hand and looks at him tenderly..\n\n ERICA" ], [ "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "MARK\n Yes, the grounds are theFacebook is cool.\n and popular and sexy and\n HarvardConnection is lame. I didn't use", "right after them, we made a list of every\n school within a hundred miles and put\n theFacebook on those campuses first.\n Pretty soon all the Baylor kids were", "AMY\n 'iheFacebook? It. started at Harvard and\n standford's had it for about two weeks", "theFacebook.com. He said he anticipated\n that 900 students would have joined the\n site by this morning.\"", "and violating individual privacy by\n creating the website, WWW.FACEMASH.COM.\n You're also charged with being in\n violation of the university's policy on", "GRETCHEN\n I'm asking when you came to Eduardo with\n the idea for Facebook.\n\n MARK\n It was called TheFacebook back then.", "Harvard computers, he'd beaten the Ad\n Board and he made the girls mad. Facemash\n did what he wanted it to do.", "Unfortunately, Harvard doesn't keep a\n public centralized facebook so I'm going\n to have to get all the images from the\n individual houses that people are in. Let", "CAMERON\n Well we've been working for a while on an\n idea. It's called HarvardConnecti.on. You\n create your own page, Picture, bio,\n interests, friends.", "MARK\n We're expanding theFacebook to Yale and\n Columbia. Dustin, I want you to share. the", "(PAUSE)\n They have Facebook at Cambridge?", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it", "CRIMSON)\n \"As of yesterday evening, Zuckerberg said\n over 650 students had registered to use", "EDUARDO\n They're saying we stole theFacebook from\n Divya Narendra and the Wink—\n\n MARX\n I know what it says.", "TYLER\n This site would be based on the idea that\n girls want to meet guys who go to\n Harvard. The difference between what\n we're talking about and MySpace,", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "MARK and EDUARDO come outside and are immediately met by the\n freezing cold air.\n\n MARK\n People came to Facemash in a stampede,\n right?", "DIVYA\n Everyone on campus was using it.\n \"Facebook me\" was a common expression\n after two weeks.\n\n SY\n And Mark?", "already put Facebook and different pins showing the schools\n they're going for.\n As MARK walks to the door, he walks past ANDREW, who's sitting" ], [ "Harvard computers, he'd beaten the Ad\n Board and he made the girls mad. Facemash\n did what he wanted it to do.", "FACEMASH\n MARK makes a few more keystrokes and two pictures of two\n Harvard girls come up on the screen.\n After a moment...", "MARK and EDUARDO come outside and are immediately met by the\n freezing cold air.\n\n MARK\n People came to Facemash in a stampede,\n right?", "DIVYA\n We were really impressed with Facemash\n and then we checked you out and you also\n built CourseMatch.", "and violating individual privacy by\n creating the website, WWW.FACEMASH.COM.\n You're also charged with being in\n violation of the university's policy on", "MARK\n Yes, the grounds are theFacebook is cool.\n and popular and sexy and\n HarvardConnection is lame. I didn't use", "DIVYA\n He set up a website where you vote on the\n hotness of female Harvard undergrads.\n What were we doing that none of us heard\n about this?", "would jump at the chance to rehabilitate\n his image after the Facemash thing but\n Mark didn't want to rehabilitate\n anything. With Facemash he'd beaten the", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\".", "right after them, we made a list of every\n school within a hundred miles and put\n theFacebook on those campuses first.\n Pretty soon all the Baylor kids were", "your friends relive the party on\n Facebook. And tagging. The idea that you\n could tag anyone you wanted in those\n pictures so that people could find", "theFacebook.com. He said he anticipated\n that 900 students would have joined the\n site by this morning.\"", "(INTO PHONE)\n It's titled, \"Hundreds Register for New\n Facebook Website\" and then the sub-\n headline is \"Facemash creator seeks new\n reputation with latest online project.\"", "of these people have pretty horrendous\n f acebook-pics. Billy Olson's sitting here\n and had the idea of putting some of these", "was no reason to hack, people were going\n to put their own pictures up. What they\n were interested in, what they were\n looking for, what classes they were", "TYLER\n This site would be based on the idea that\n girls want to meet guys who go to\n Harvard. The difference between what\n we're talking about and MySpace,", "represent each person's hotness like they\n do on hotornot.com. The first thing we're\n going to need is a lot of pictures.", "CAMERON\n Well we've been working for a while on an\n idea. It's called HarvardConnecti.on. You\n create your own page, Picture, bio,\n interests, friends.", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "at it, then\n He hits a. link and FACEMASH opens. He looks" ], [ "MARK\n A half a million dollars and he's setting\n us up in an office. They want to re-\n incorporate the company, they want to", "But I was out of the company. I'm not\n done with Moritz and Sequoia Capital yet.\n I swear to God, Mark, before I'm 25 I'm", "MARK\n I already found a house for rent on a\n street two-blocks.from the Stanford\n campus. It's a piece of junk but it's\n perfect and it's got a pool.", "MARK\n You gotta move out here, Wardo, this is\n where it's all happening.\n\n EDUARDO\n Did you hear what I just said?", "MARK (CONT'D)\n The rest of my attention is back at the\n offices of Facebook where my employees\n and I are doing things that no one in", "EDUARDO\n What is it?\n\n MARK\n Peter Thiel's just made an angel\n investment of a half a million dollars..\n\n EDUARDO", "MARK\n (nodding toward the door)\n He's here.\n SEAN PARKER has stepped into the restaurant and is. saying\n hello to the hostess while hugging a waitress.", "dinner. He picked up the check, told Mark\n they'd talk again soon and was gone. But\n not before he made his biggest\n contribution to the company.", "MARK\n Yeah, we had a zip line to the pool.\n\n SEAN\n You came to California.\n\n MARK\n Yeah.", "MARK\n\n (PAUSE)\n Okay.\n MARK heads into the office building.", "2:08 AM\n And now anew guy walks into Mark's room. This is EDUARDO\n SAVERIN--a sweet looking Brazilian sophomore who almost always\n wears a three--piece suit.", "MARK\n That's right. It is. Maybe if you'd spent\n a little less time with your new friends\n and a little more time with the company\n\n THIS--€¢Â€¢", "EDUARDO (V.O.)\n And he told story after story about life\n in Silicon Valley, parties at Stanford", "MARK\n Good boy.\n MARK gets to the door and opens it.\n He's stunned to see SEAN PARKER standing there with his", "EDUARDO\n In late November I got the e-mail from\n Mark telling me to come out for the\n millionth member party.", "MARK is working at a station. We can see through the windows\n that it's a frigid, snowy February day in Cambridge but MARK'::", "And it's clear that we're in the offices of a new, high-tech,\n very successful internet company. The Facebook logo in blue\n metallic letters on the wall, the maple desks, new computer", "(BEAT)\n He was obsessed with the guy from Sequoia\n Capital. He was followed by private\n detectives.\n\n MARK\n Who came up with nothing.", "MARK\n (pause---then smiles a little)\n Yeah, I've got a minute.\n\n CUT TO:\n\n INT. PORCELLIAN CLUB - DAY", "The room is glass on two sides and through the windows we can\n see the behemoths of Silicon valley--Oracle, SunMicrosystems,\n Google, etc." ], [ "GAGE\n We recognize that you're a plaintiff in\n one suit involving Facebook and a witness\n in another.\n\n EDUARDO\n Yes sir,", "Eduardo Saverin received an unknown Gash settlement. His name\n has been restored to the Facebook masthead as a founder.\n MARK is settling into his chair. He'll wait all night if he\n has to.", "and violating individual privacy by\n creating the website, WWW.FACEMASH.COM.\n You're also charged with being in\n violation of the university's policy on", "EDUARDO\n They're saying we stole theFacebook from\n Divya Narendra and the Wink—\n\n MARX\n I know what it says.", "\"Kirkland Facebook\". He clicks and opens it. A menu of photos\n appear. He blogs again.", "MARK (CONT'D)\n The rest of my attention is back at the\n offices of Facebook where my employees\n and I are doing things that no one in", "himself as the business head of Facebook.\n I've been at the front of two of the\n biggest things in the history of the\n internet and I can tell you that nothing,", "EDUARDO\n Yes. Also I'm breaking up with you.\n\n CUT TO:\n\n INT. FACEBOOK OFFICE - DAY", "MARK\n ThePacebook?\n\n ERICA\n You called me a bitch on the internet,\n Mark.\n\n MARK\n I'm really sorry about that.", "EDUARDO\n They're saying--the Winklevoss twins are\n saying you stole their idea.\n\n MARK\n I find that to be mildly annoying.", "GAGE\n Were you aware that while Mr. Zuckerberg\n was building TheFacebook, he was leading\n the plaintiffs to believe he was building\n Harvard Connection?", "MARK\n You know you really don't need a damn\n forensic team to get to the bottom of\n this. If you guys were the inventors of\n Facebook you'd have invented Facebook.", "THE SOCIAL NETWORK\n\n\n\n Written by\n\n Aaron Sorkin", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "And it's clear that we're in the offices of a new, high-tech,\n very successful internet company. The Facebook logo in blue\n metallic letters on the wall, the maple desks, new computer", "MARK\n I invented Facebook.\n\n \n\n \n\n \n\n \n\n 160.", "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "(READING)\n Mark Zuck'erberg to Tyler and Cameron\n Winklevoss and Divya Narendra. December", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "MARK\n Yes, the grounds are theFacebook is cool.\n and popular and sexy and\n HarvardConnection is lame. I didn't use" ], [ "EDUARDO\n What is it?\n\n MARK\n Peter Thiel's just made an angel\n investment of a half a million dollars..\n\n EDUARDO", "EDUARDO\n It wasn't.\n\n €¢GRETCHEN\n What was your ownership share diluted\n down to?\n\n EDUARDO", "EDUARDO\n It wasn't.\n\n GRETCHEN\n What was Sean Parker's ownership share\n diluted down to?", "EDUARDO\n It wasn't.\n\n GRETCHEN\n What was Peter Thief's ownership share\n diluted down. to?", "EDUARDO\n Jesus Christ.\n\n LAWYER\n That's a 34.4% ownership share. Why the\n rise from the original 30%?", "EDUARDO\n\n (TO MARK)\n Why's he setting up meetings?\n\n MARK\n Thiel may want to make an angel,\n investment.", "MARK\n Because I do. Here's the business\n arrangement. Eduardo's CFO and owns 30%", "148\n\n EDUARDO\n How much were your shares diluted? How\n much were his?!\n\n CUT TO:", "EDUARDO\n It wa �\n\n GRETCHEN\n What was Mr. Moskowitz's ownership share\n diluted down to?", "GRETCHEN\n At this point your thousand dollars was\n the only money that had been put into the\n company.\n\n EDUARDO\n Yes.", "SEAN\n Forget the wall, tell him about the\n meeting I've got set up with Peter Thiel.\n\n (TO EDUARDO)\n You know Peter Thiel?", "EDUARDO\n How many shares of stock will I own?\n\n LAWYER\n\n 1,328,334.", "139.\n\n EDUARDO (CONT'D)", "THIEL\n Now lemme ask you something. Who's\n Eduardo Saverin?\n\n CUT TO:", "EDUARDO\n Yes.\n\n GRETCHEN\n A total of $19,000 now.\n\n EDUARDO\n Yes.", "EDUARDO\n No.\n\n SEAN\n Why would you? He just runs a two-billion\n dollar hedge fund called Clarium Capital\n and was the money behind PayPal.", "EDUARDO\n They're saying we stole theFacebook from\n Divya Narendra and the Wink—\n\n MARX\n I know what it says.", "LAWYER\n Dustin Moskowitz owns 6.81%, Sean Parker\n 6-.47h__\n\n EDUARDO\n I can live with that.", "EDUARDO\n And I'll bet you just hated that they\n identified me as a co-founder of Facebook-", "Mark Zuckerberg, 30 percent for Eduardo\n Saverin and 5 percent for Dustin\n Mosokowitz ." ], [ "A box comes up that reads: \"Your request to add Erica Albright\n as a friend has been sent.\"\n\n Then MARK clicks to his homepage and waits for the response.\n And waits...", "MARK sits down at the computer. He logs on to Facebook.\n He -types a name in the-search box: \"Erica Albright\".", "Erica's name and picture come up, along with Boston\n University, '07. Mark smiles. She's on Facebook.", "He moves the mouse back and forth between two boxes: \"Send a\n Message.\" and \"Add as a Friend\".\n\n He clicks on \"Add as a Friend\".", "\"Kirkland Facebook\". He clicks and opens it. A menu of photos\n appear. He blogs again.", "52,\n MARK's in his own world as he sits at the computer and calls\n up theFacebook. The home page fills the screen.\n\n EDUARDO (CONT'D)", "The laptop springs to life and is open to something SEAN's\n never seen before--a Facebook page.;\n He sees AMY's picture and a short profile: Her major at", "MARK\n ThePacebook?\n\n ERICA\n You called me a bitch on the internet,\n Mark.\n\n MARK\n I'm really sorry about that.", "MARK (CONT'D)\n The rest of my attention is back at the\n offices of Facebook where my employees\n and I are doing things that no one in", "relationship status is on Facebook.\n Please let me give you your present.\n EDUARDO's cell phone RINGS--", "EDUARDO\n She said \"Facebook me\" and we can all\n have a drink later. Which is stunningly", "MARK\n welcome to Facebook.\n The place ERUPTS. The pretty ASIAN GIRL hits an mp3 player", "(DONE)\n Okay.\n He hits \"Send\".\n\n MARK (CONT'D)\n The site's live.\n\n EDUARDO", "already put Facebook and different pins showing the schools\n they're going for.\n As MARK walks to the door, he walks past ANDREW, who's sitting", "MARYLIN (CONT'D)\n They don't have roads but they have\n Facebook?\n MARK nods..,", "MARK clicks the phone shut. He sits there a moment.\n He looks at the small package. that Ashleigh dropped on his\n desk earlier. He opens up the brown paper wrapping and there's", "EDUARDO\n Who are you gonna send it to?\n MARK's made the link to e-mail and hits send.", "we've gotta be almost there.\n A young employee hits a remote and a few keys on his computer\n and a huge flat-screen displays a Facebook page with a read-", "in his hoodie and cargo shorts nonetheless. It looks like he\n hasn't slept in days.. On his monitor we can see that he's\n working on the profile page for theFacebook.", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it" ], [ "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "(PAUSE)\n They have Facebook at Cambridge?", "TYLER (CONT'D)\n Cam, this guy hacked into the facebooks\n of seven houses in two hours. He set up\n the whole site in one night while he was\n drunk.", "CUT TO:\n\n INT, CAMERON AND TYLER'S DORM ROOM - NIGHT\n CAMERON, TYLER and DIVYA are reading the e-mail.", "CUT TO:\n\n INT. CAMERON AND TYLER'S DORM ROOM - NIGHT\n\n\n DIVYA", "(CALMLY)\n Okay. I just wanted to let you know\n Zuckerberg stole our website.\n TYLER stops rowing and then CAMERON. They look at DIVYA...", "CAMERON's looking at his e-mail.\n\n CAMERON\n what in the hell is this?\n\n TYLER\n What?", "The laptop springs to life and is open to something SEAN's\n never seen before--a Facebook page.;\n He sees AMY's picture and a short profile: Her major at", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "CAMERON\n CourseMatch. You go online, you get to\n see what courses your friends are taking?\n\n MARK\n Yeah.", "CAMERON\n Well we've been working for a while on an\n idea. It's called HarvardConnecti.on. You\n create your own page, Picture, bio,\n interests, friends.", "INT. CAMERON AND TYLER' S DORM ROOM - NIGHT", "(READING)\n Mark Zuck'erberg to Tyler and Cameron\n Winklevoss and Divya Narendra. December", "right after them, we made a list of every\n school within a hundred miles and put\n theFacebook on those campuses first.\n Pretty soon all the Baylor kids were", "SECRETARY (CONT'D)\n You can go in now.\n She points to a door and CAMERON and TYLER get up, quickly\n straighten themselves, and walk into", "CAMERON\n (he's already seen it)\n It says \"A Mark Zuckerberg Production\".\n\n DIVYA\n On the home page?", "the race, which ended just, a half-hour\n ago, via their computers. A new website\n called Facebook. Do you have this in\n America?", "theFacebook.com. He said he anticipated\n that 900 students would have joined the\n site by this morning.\"", "AMY\n 'iheFacebook? It. started at Harvard and\n standford's had it for about two weeks", "CAMERON\n What my brother means is that if Mark\n Zuckerberg walked into our dorm room and\n stole our computer it would be a\n university issue, right?" ], [ "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "changed the name to ConnectU--and Mark\n Zuckerberg stole that idea and--", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\".", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it", "GRETCHEN\n I'm asking when you came to Eduardo with\n the idea for Facebook.\n\n MARK\n It was called TheFacebook back then.", "MARK\n Yes, the grounds are theFacebook is cool.\n and popular and sexy and\n HarvardConnection is lame. I didn't use", "MARK\n I invented Facebook.\n\n \n\n \n\n \n\n \n\n 160.", "third page and titles it \"TheFacebook\".\n Then he makes the decision to turn the capital \"T\" into a\n lower case \"t\" and it becomes \"theFacebook\" as we", "would jump at the chance to rehabilitate\n his image after the Facemash thing but\n Mark didn't want to rehabilitate\n anything. With Facemash he'd beaten the", "himself as the business head of Facebook.\n I've been at the front of two of the\n biggest things in the history of the\n internet and I can tell you that nothing,", "(READING)\n Mark Zuck'erberg to Tyler and Cameron\n Winklevoss and Divya Narendra. December", "when he's standing in front of you for an\n hour?/Mark Zuckerberg now thinks we got\n into Harvard on a dimwit scholarship./I'm", "DIVYA\n Everyone on campus was using it.\n \"Facebook me\" was a common expression\n after two weeks.\n\n SY\n And Mark?", "Harvard computers, he'd beaten the Ad\n Board and he made the girls mad. Facemash\n did what he wanted it to do.", "EDUARDO\n They're saying we stole theFacebook from\n Divya Narendra and the Wink—\n\n MARX\n I know what it says.", "EDUARDO\n They're saying--the Winklevoss twins are\n saying you stole their idea.\n\n MARK\n I find that to be mildly annoying.", "MARK -\n Somebody at the newspaper will be a\n computer science major and they will have\n heard of me. Tell 'em Mark Zuckerberg\n will do 10 hours of free programming for\n theno ." ], [ "Eduardo Saverin received an unknown Gash settlement. His name\n has been restored to the Facebook masthead as a founder.\n MARK is settling into his chair. He'll wait all night if he\n has to.", "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "(READING)\n Mark Zuck'erberg to Tyler and Cameron\n Winklevoss and Divya Narendra. December", "MARK\n You know you really don't need a damn\n forensic team to get to the bottom of\n this. If you guys were the inventors of\n Facebook you'd have invented Facebook.", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "(CALMLY)\n Okay. I just wanted to let you know\n Zuckerberg stole our website.\n TYLER stops rowing and then CAMERON. They look at DIVYA...", "himself as the business head of Facebook.\n I've been at the front of two of the\n biggest things in the history of the\n internet and I can tell you that nothing,", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\".", "(RE: MARK)\n And I see we have our first surrender.\n Don't worry, Mr. Zuckerber�, brighter, men\n than you have tried and failed at this\n class.", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "EDUARDO\n They're saying--the Winklevoss twins are\n saying you stole their idea.\n\n MARK\n I find that to be mildly annoying.", "CAMERON\n (he's already seen it)\n It says \"A Mark Zuckerberg Production\".\n\n DIVYA\n On the home page?", "(TO EDUARDO)\n After expressing misgivings about Mr.\n Zuckerberg 'taking the company and moving", "EDUARDO\n They're saying we stole theFacebook from\n Divya Narendra and the Wink—\n\n MARX\n I know what it says.", "(BEAT)\n Okay. Eduardo? Did Mr. Zuckerberg saying\n anything to you after you signed the\n papers?", "JENNY\n\n (WHISPERING)\n Your friend--isn't that Mark Zuckerberg?\n\n EDUARDO", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it", "of code so I wondered why'he was coming\n to me and not his roommates. Dustin\n Moskowitz and Chris Hughes were\n programmers.", "EDUARDO\n And I'll bet you just hated that they\n identified me as a co-founder of Facebook-", "(READING)\n \"Eduardo Saverin, Co-Founder and CFO.\"\n\n MARK\n Yeah." ], [ "MARK sits down at the computer. He logs on to Facebook.\n He -types a name in the-search box: \"Erica Albright\".", "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "A box comes up that reads: \"Your request to add Erica Albright\n as a friend has been sent.\"\n\n Then MARK clicks to his homepage and waits for the response.\n And waits...", "Erica's name and picture come up, along with Boston\n University, '07. Mark smiles. She's on Facebook.", "GRETCHEN\n Eduardo, spring break, you and Mr.\n Zuckerberg took a trip to New York.\n\n EDUARDO\n Yes.", "MARK\n ThePacebook?\n\n ERICA\n You called me a bitch on the internet,\n Mark.\n\n MARK\n I'm really sorry about that.", "when he's standing in front of you for an\n hour?/Mark Zuckerberg now thinks we got\n into Harvard on a dimwit scholarship./I'm", "in his hoodie and cargo shorts nonetheless. It looks like he\n hasn't slept in days.. On his monitor we can see that he's\n working on the profile page for theFacebook.", "MARK\n No, back, I mean--That's--back at the bar\n with Erica Albright. She said all that?\n That I said that stuff to her?", "(CALMLY)\n Okay. I just wanted to let you know\n Zuckerberg stole our website.\n TYLER stops rowing and then CAMERON. They look at DIVYA...", "JENNY\n\n (WHISPERING)\n Your friend--isn't that Mark Zuckerberg?\n\n EDUARDO", "CAMERON\n (he's already seen it)\n It says \"A Mark Zuckerberg Production\".\n\n DIVYA\n On the home page?", "2:08 AM\n And now anew guy walks into Mark's room. This is EDUARDO\n SAVERIN--a sweet looking Brazilian sophomore who almost always\n wears a three--piece suit.", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it", "EDUARDO\n Yes. Also I'm breaking up with you.\n\n CUT TO:\n\n INT. FACEBOOK OFFICE - DAY", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\".", "(RE: MARK)\n And I see we have our first surrender.\n Don't worry, Mr. Zuckerber�, brighter, men\n than you have tried and failed at this\n class.", "(BEAT)\n You know Mark?\n\n JENNY\n Didn't he make theFacebook?\n EDUARDO smiles a little ...this has just never happened--", "ERICA, also 19, is Mark's date. She has a girl-next-door face\n that makes her easy to fall for. At this point in the" ], [ "changed the name to ConnectU--and Mark\n Zuckerberg stole that idea and--", "(INTO PHONE)\n It's titled, \"Hundreds Register for New\n Facebook Website\" and then the sub-\n headline is \"Facemash creator seeks new\n reputation with latest online project.\"", "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "GRETCHEN\n I'm asking when you came to Eduardo with\n the idea for Facebook.\n\n MARK\n It was called TheFacebook back then.", "and violating individual privacy by\n creating the website, WWW.FACEMASH.COM.\n You're also charged with being in\n violation of the university's policy on", "CAMERON\n Well we've been working for a while on an\n idea. It's called HarvardConnecti.on. You\n create your own page, Picture, bio,\n interests, friends.", "DIVYA (CONT'D)\n Mark Zuckerberg stole our website. It's\n been live for over 36 hours.\n\n CUT TO-", "third page and titles it \"TheFacebook\".\n Then he makes the decision to turn the capital \"T\" into a\n lower case \"t\" and it becomes \"theFacebook\" as we", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "In the exact time it takes him to pour the vodka and orange\n juice over ice, the website he's just called up gets loaded\n onto the screen.\n Zuckonit.com", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "CAMERON\n Well I think it's pretty self-\n explanatory. We had an idea for a website\n called HarvardConnection--we've since", "MARK\n Yes, the grounds are theFacebook is cool.\n and popular and sexy and\n HarvardConnection is lame. I didn't use", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\".", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "MARK -\n Somebody at the newspaper will be a\n computer science major and they will have\n heard of me. Tell 'em Mark Zuckerberg\n will do 10 hours of free programming for\n theno .", "Harvard computers, he'd beaten the Ad\n Board and he made the girls mad. Facemash\n did what he wanted it to do.", "theFacebook.com. He said he anticipated\n that 900 students would have joined the\n site by this morning.\"", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it", "himself as the business head of Facebook.\n I've been at the front of two of the\n biggest things in the history of the\n internet and I can tell you that nothing," ], [ "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "COX\n Mr. Zuckerberg, I'm in charge of security\n for all computers on the Harvard system.\n I can assure you of its sophistication", "CAMERON\n What my brother means is that if Mark\n Zuckerberg walked into our dorm room and\n stole our computer it would be a\n university issue, right?", "GRETCHEN\n Eduardo, spring break, you and Mr.\n Zuckerberg took a trip to New York.\n\n EDUARDO\n Yes.", "Harvard computers, he'd beaten the Ad\n Board and he made the girls mad. Facemash\n did what he wanted it to do.", "MARK -\n Somebody at the newspaper will be a\n computer science major and they will have\n heard of me. Tell 'em Mark Zuckerberg\n will do 10 hours of free programming for\n theno .", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\".", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "and violating individual privacy by\n creating the website, WWW.FACEMASH.COM.\n You're also charged with being in\n violation of the university's policy on", "of code so I wondered why'he was coming\n to me and not his roommates. Dustin\n Moskowitz and Chris Hughes were\n programmers.", "TYLER (CONT'D)\n Cam, this guy hacked into the facebooks\n of seven houses in two hours. He set up\n the whole site in one night while he was\n drunk.", "2:08 AM\n And now anew guy walks into Mark's room. This is EDUARDO\n SAVERIN--a sweet looking Brazilian sophomore who almost always\n wears a three--piece suit.", "EDUARDO\n They're saying--the Winklevoss twins are\n saying you stole their idea.\n\n MARK\n I find that to be mildly annoying.", "when he's standing in front of you for an\n hour?/Mark Zuckerberg now thinks we got\n into Harvard on a dimwit scholarship./I'm", "MARK\n You know you really don't need a damn\n forensic team to get to the bottom of\n this. If you guys were the inventors of\n Facebook you'd have invented Facebook.", "was no reason to hack, people were going\n to put their own pictures up. What they\n were interested in, what they were\n looking for, what classes they were", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "(RE: MARK)\n And I see we have our first surrender.\n Don't worry, Mr. Zuckerber�, brighter, men\n than you have tried and failed at this\n class.", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "EDUARDO\n They're saying we stole theFacebook from\n Divya Narendra and the Wink—\n\n MARX\n I know what it says." ], [ "GRETCHEN\n Not anymore.\n\n SY\n We just went through this on the--\n nevermind. Mr. Saverin, what happened\n after the initial--", "GRETCHEN\n I'm sorry, Sy, would you mind addressing\n him as Mr. Saverin?\n\n SY\n They're best friends, Gretchen.", "EDUARDO\n What is it?\n\n MARK\n Peter Thiel's just made an angel\n investment of a half a million dollars..\n\n EDUARDO", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "2:08 AM\n And now anew guy walks into Mark's room. This is EDUARDO\n SAVERIN--a sweet looking Brazilian sophomore who almost always\n wears a three--piece suit.", "GRETCHEN\n At this point your thousand dollars was\n the only money that had been put into the\n company.\n\n EDUARDO\n Yes.", "THIEL\n Now lemme ask you something. Who's\n Eduardo Saverin?\n\n CUT TO:", "Eduardo Saverin received an unknown Gash settlement. His name\n has been restored to the Facebook masthead as a founder.\n MARK is settling into his chair. He'll wait all night if he\n has to.", "(READING)\n \"Eduardo Saverin, Co-Founder and CFO.\"\n\n MARK\n Yeah.", "Mark Zuckerberg, 30 percent for Eduardo\n Saverin and 5 percent for Dustin\n Mosokowitz .", "generous grant from the Eduardo Saverin\n Foundation.'", "IN\n I opened a new account and put $18,000\n it. Will that get you through the summer?\n MARK looks at EDUARDO...\n Suddenly two of the candidates hands shoot up almost at the", "EDUARDO\n\n (TO MARK)\n Why's he setting up meetings?\n\n MARK\n Thiel may want to make an angel,\n investment.", "SENIOR\n Take your pants off.\n\n EDUARDO\n I know.\n\n SENIOR\n Mr. Saverin.", "SUMMERS\n Millions of dollars?\n\n CAMERON\n Yes.\n\n SUMMERS\n You might be letting your imagination run\n away with you.", "EDUARDO\n Yes.\n\n GRETCHEN\n A total of $19,000 now.\n\n EDUARDO\n Yes.", "MARK\n --one of the founders of Facebook.\n \"Junior Eduardo Saverin, co-founder of", "(TO SY)\n Do you have anything here?\n\n SY\n Yes, thanks, Mr. Saverin, have you ever\n done anything that would be considered\n legitimate grounds for termination?", "EDUARDO\n Yes.\n\n GRETCHEN\n In addition to the $1000 you'd already\n put up.", "AMY\n I just slept with Sean Parker?\n\n SEAN\n All night long, Sister Souljah.\n\n AMY\n You're a millionaire." ], [ "GRETCHEN\n Eduardo, spring break, you and Mr.\n Zuckerberg took a trip to New York.\n\n EDUARDO\n Yes.", "when he's standing in front of you for an\n hour?/Mark Zuckerberg now thinks we got\n into Harvard on a dimwit scholarship./I'm", "2:08 AM\n And now anew guy walks into Mark's room. This is EDUARDO\n SAVERIN--a sweet looking Brazilian sophomore who almost always\n wears a three--piece suit.", "Harvard computers, he'd beaten the Ad\n Board and he made the girls mad. Facemash\n did what he wanted it to do.", "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "(BEAT)\n I was a Harvard business major.\n (then to MARK)\n I was your only friend. You had one\n friend.", "FACEMASH\n MARK makes a few more keystrokes and two pictures of two\n Harvard girls come up on the screen.\n After a moment...", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\".", "MARK -\n Somebody at the newspaper will be a\n computer science major and they will have\n heard of me. Tell 'em Mark Zuckerberg\n will do 10 hours of free programming for\n theno .", "right after them, we made a list of every\n school within a hundred miles and put\n theFacebook on those campuses first.\n Pretty soon all the Baylor kids were", "of code so I wondered why'he was coming\n to me and not his roommates. Dustin\n Moskowitz and Chris Hughes were\n programmers.", "already put Facebook and different pins showing the schools\n they're going for.\n As MARK walks to the door, he walks past ANDREW, who's sitting", "MARK\n No. That's it. Yale and Columbia, let's\n go.", "in his hoodie and cargo shorts nonetheless. It looks like he\n hasn't slept in days.. On his monitor we can see that he's\n working on the profile page for theFacebook.", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "would jump at the chance to rehabilitate\n his image after the Facemash thing but\n Mark didn't want to rehabilitate\n anything. With Facemash he'd beaten the", "from the privacy of your dorm room. I'm\n not talking about a dating site. I'm\n talking about taking the entire social\n structure of college and putting it", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "MARK and EDUARDO come outside and are immediately met by the\n freezing cold air.\n\n MARK\n People came to Facemash in a stampede,\n right?", "In the exact time it takes him to pour the vodka and orange\n juice over ice, the website he's just called up gets loaded\n onto the screen.\n Zuckonit.com" ], [ "EDUARDO\n Well?\n\n MARK\n Six months academic probation.\n They walk out onto--\n\n EXT. QUAD - CONTINUOUS", "GRETCHEN\n Sy?\n\n SY\n You can answer the question.\n\n MARK\n It was at a party at Alpha Epsilon Pi.", "TYLER\n Of course it's a University issue.\n There's a code of ethics and an honor\n code and he violated them both.", "GRETCHEN\n Eduardo, spring break, you and Mr.\n Zuckerberg took a trip to New York.\n\n EDUARDO\n Yes.", "hours and frankly you did spend an awful\n lot of time embarrassing Mr. Zuckerberg\n with the girl's testimony in the bar.", "and violating individual privacy by\n creating the website, WWW.FACEMASH.COM.\n You're also charged with being in\n violation of the university's policy on", "when he's standing in front of you for an\n hour?/Mark Zuckerberg now thinks we got\n into Harvard on a dimwit scholarship./I'm", "GRETCHEN\n What's that?\n\n MARK\n The Jewish fraternity. It was Caribbean\n Night.\n\n CUT TO:", "CAMERON\n What my brother means is that if Mark\n Zuckerberg walked into our dorm room and\n stole our computer it would be a\n university issue, right?", "two weeks. He doesn't answer when we\n knock on his door at Kirkland and the\n closest we've come to talking face to", "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "(BEAT)\n --will result in disciplinary action,\n including the requirement to withdraw\n from the College.\" That's what is says in\n the handbook.", "2:08 AM\n And now anew guy walks into Mark's room. This is EDUARDO\n SAVERIN--a sweet looking Brazilian sophomore who almost always\n wears a three--piece suit.", "CAMERON V\n Well sir, in The Harvard Student\n Handbook, which is distributed to each\n freshman--under the heading \"Standards of", "(BEAT)\n These two things are what drive life at\n college. Are you having sex or aren't\n you. It's why people take certain", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\".", "SUMMERS\n What do you want me to do about it?\n CAMERON points to a row of Harvard Student Handbooks on the\n bookshelf behind SUMMERS.", "(PAUSE)\n What the fuck is he talking about?\n I didn't.\n\n EDUARDO\n You had me accused of animal cruelty.", "MARK\n Would you rather talk about something\n else?\n\n ERICA\n It's just that since the beginning of\n the conversation about finals clubs I\n think I may have had a birthday.", "In the exact time it takes him to pour the vodka and orange\n juice over ice, the website he's just called up gets loaded\n onto the screen.\n Zuckonit.com" ], [ "seeing their friends on our site and we\n were in.", "Mark, Dustin and the new interns could\n work on the site while I worked on\n generating advertiser interest in New York.", "EDUARDO\n Yes. He said they'd asked him to work on\n their site but that he'd looked at what", "(DONE)\n Okay.\n He hits \"Send\".\n\n MARK (CONT'D)\n The site's live.\n\n EDUARDO", "SEAN\n I've spent hours watching what people do\n when they log on.", "(READING)\n \"When we met in January, I expressed my\n doubts about the site--where it stood\n with graphics, how much programming was\n left that I had not anticipated--\n\n CUT TO:", "EDUARDO\n Yeah.\n MARK opens up an e-mail and is writing a short message, then\n includes a link to the site--\n\n MARK\n These guys.", "(READING)\n \"---the lack of hardware we had to deal\n with, the lack of promotion that was\n needed to successfully launch the website--\n\n CUT TO:", "(READING)\n \"I'm still a little skeptical that we\n have enough functionality in the site to\n really draw the attention and gain the\n critical mass necessary to get a site\n like this to run.\"", "they had and decided it wasn't worth his\n time. Uhh, he said even his most pathetic\n friends knew more about getting people\n interested in a website than these guys.", "The place is computer geek paradise. Computers are everywhere,\n along with some of the empty boxes they came in. Pizza boxes,\n Chinese food containers, empty beer bottles and white boards", "74-\n\n GAGE\n In the 32nd e-mail you raised concerns\n about the site's functionality. Were you\n leading them on for six weeks?", "MARK\n --it would be exclusive. You'd have to\n know the people on the site to get in.\n Like getting punched.", "(LISTENS)\n You won't be able to get on the site\n yourself.\n (beat--.a little uncomfortable)\n\n (MORE)", "MARK\n About 10 days ago. Right after we\n launched the site.\n\n EDUARDO\n Jesus Christ.\n\n MARK\n I liked th shorter one.", "2:55 AM\n MARK makes a few last key strokes and a new website comes up\n on the screen .", "A website called Network Solutions is up on Mark's screen. He\n hits a couple of keys and waits intently.\n Then the computer shows him what he wanted to see--", "was no reason to hack, people were going\n to put their own pictures up. What they\n were interested in, what they were\n looking for, what classes they were", "In the exact time it takes him to pour the vodka and orange\n juice over ice, the website he's just called up gets loaded\n onto the screen.\n Zuckonit.com", "friends, why can't I build a website that\n offers that? An online community of\n friends. Pictures, profiles, whatever you\n can click into, visit, browse around. All" ], [ "great for two reasons. One, she said\n \"Facebook me\". Right? And the other is\n that, you know--", "EDUARDO\n She said \"Facebook me\" and we can all\n have a drink later. Which is stunningly", "AMY\n Yeah. After you went unconscious last\n night I went on theFacebook for a while.\n\n SEAN\n What's that?", "MARK\n I invented Facebook.\n\n \n\n \n\n \n\n \n\n 160.", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it", "\"Kirkland Facebook\". He clicks and opens it. A menu of photos\n appear. He blogs again.", "the race, which ended just, a half-hour\n ago, via their computers. A new website\n called Facebook. Do you have this in\n America?", "(WHISPERING)\n Facebook me when you get home. Maybe we\n can all go out for a drink later.\n\n EDUARDO", "The laptop springs to life and is open to something SEAN's\n never seen before--a Facebook page.;\n He sees AMY's picture and a short profile: Her major at", "MARK\n ThePacebook?\n\n ERICA\n You called me a bitch on the internet,\n Mark.\n\n MARK\n I'm really sorry about that.", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "GRETCHEN\n I'm asking when you came to Eduardo with\n the idea for Facebook.\n\n MARK\n It was called TheFacebook back then.", "DIVYA\n Everyone on campus was using it.\n \"Facebook me\" was a common expression\n after two weeks.\n\n SY\n And Mark?", "your friends relive the party on\n Facebook. And tagging. The idea that you\n could tag anyone you wanted in those\n pictures so that people could find", "right after them, we made a list of every\n school within a hundred miles and put\n theFacebook on those campuses first.\n Pretty soon all the Baylor kids were", "himself as the business head of Facebook.\n I've been at the front of two of the\n biggest things in the history of the\n internet and I can tell you that nothing,", "MARK\n Yes, the grounds are theFacebook is cool.\n and popular and sexy and\n HarvardConnection is lame. I didn't use", "we've gotta be almost there.\n A young employee hits a remote and a few keys on his computer\n and a huge flat-screen displays a Facebook page with a read-", "STUART\n Awesome job with theFacebook.\n\n VIKRAM\n Awesome job.\n\n MARK\n Thanks." ], [ "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "2:08 AM\n And now anew guy walks into Mark's room. This is EDUARDO\n SAVERIN--a sweet looking Brazilian sophomore who almost always\n wears a three--piece suit.", "CAMERON\n What my brother means is that if Mark\n Zuckerberg walked into our dorm room and\n stole our computer it would be a\n university issue, right?", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it", "when he's standing in front of you for an\n hour?/Mark Zuckerberg now thinks we got\n into Harvard on a dimwit scholarship./I'm", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "GRETCHEN\n Eduardo, spring break, you and Mr.\n Zuckerberg took a trip to New York.\n\n EDUARDO\n Yes.", "(PAUSE)\n They have Facebook at Cambridge?", "MARK -\n Somebody at the newspaper will be a\n computer science major and they will have\n heard of me. Tell 'em Mark Zuckerberg\n will do 10 hours of free programming for\n theno .", "already put Facebook and different pins showing the schools\n they're going for.\n As MARK walks to the door, he walks past ANDREW, who's sitting", "MARK\n Yes, the grounds are theFacebook is cool.\n and popular and sexy and\n HarvardConnection is lame. I didn't use", "COX\n Mr. Zuckerberg, I'm in charge of security\n for all computers on the Harvard system.\n I can assure you of its sophistication", "JENNY\n\n (WHISPERING)\n Your friend--isn't that Mark Zuckerberg?\n\n EDUARDO", "Erica's name and picture come up, along with Boston\n University, '07. Mark smiles. She's on Facebook.", "(RE: MARK)\n And I see we have our first surrender.\n Don't worry, Mr. Zuckerber�, brighter, men\n than you have tried and failed at this\n class.", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "in his hoodie and cargo shorts nonetheless. It looks like he\n hasn't slept in days.. On his monitor we can see that he's\n working on the profile page for theFacebook.", "(READING)\n Mark Zuck'erberg to Tyler and Cameron\n Winklevoss and Divya Narendra. December", "INT. HARVARD COMMUNICATIONS OFFICE - SAME TIME\n\n A tired GRAD STUDENT who spends the night monitoring the\n campus computer system is looking at his computer.", "CAMERON\n (he's already seen it)\n It says \"A Mark Zuckerberg Production\".\n\n DIVYA\n On the home page?" ], [ "and violating individual privacy by\n creating the website, WWW.FACEMASH.COM.\n You're also charged with being in\n violation of the university's policy on", "DIVYA\n He set up a website where you vote on the\n hotness of female Harvard undergrads.\n What were we doing that none of us heard\n about this?", "\"Kirkland Facebook\". He clicks and opens it. A menu of photos\n appear. He blogs again.", "TYLER (CONT'D)\n Cam, this guy hacked into the facebooks\n of seven houses in two hours. He set up\n the whole site in one night while he was\n drunk.", "CAMERON\n Well I think it's pretty self-\n explanatory. We had an idea for a website\n called HarvardConnection--we've since", "Harvard computers, he'd beaten the Ad\n Board and he made the girls mad. Facemash\n did what he wanted it to do.", "from the privacy of your dorm room. I'm\n not talking about a dating site. I'm\n talking about taking the entire social\n structure of college and putting it", "INT. HARVARD COMMUNICATIONS OFFICE - SAME TIME\n\n A tired GRAD STUDENT who spends the night monitoring the\n campus computer system is looking at his computer.", "was no reason to hack, people were going\n to put their own pictures up. What they\n were interested in, what they were\n looking for, what classes they were", "MARK\n It was because I put up pictures of girls\n that people knew. So if people Want to go\n on the internet and check out their", "INT. MARK'S DORM ROOM - NIGHT\n\n As sets of photos go flying by on his computer screen.", "your friends relive the party on\n Facebook. And tagging. The idea that you\n could tag anyone you wanted in those\n pictures so that people could find", "CAMERON\n Well we've been working for a while on an\n idea. It's called HarvardConnecti.on. You\n create your own page, Picture, bio,\n interests, friends.", "Erica's name and picture come up, along with Boston\n University, '07. Mark smiles. She's on Facebook.", "right after them, we made a list of every\n school within a hundred miles and put\n theFacebook on those campuses first.\n Pretty soon all the Baylor kids were", "FACEMASH\n MARK makes a few more keystrokes and two pictures of two\n Harvard girls come up on the screen.\n After a moment...", "EDUARDO\n Yeah.\n MARK opens up an e-mail and is writing a short message, then\n includes a link to the site--\n\n MARK\n These guys.", "CAMERON\n What my brother means is that if Mark\n Zuckerberg walked into our dorm room and\n stole our computer it would be a\n university issue, right?", "Unfortunately, Harvard doesn't keep a\n public centralized facebook so I'm going\n to have to get all the images from the\n individual houses that people are in. Let", "CUT TO:\n\n INT. CAMPUS PUB - NIGHT" ], [ "EDUARDO\n Well?\n\n MARK\n Six months academic probation.\n They walk out onto--\n\n EXT. QUAD - CONTINUOUS", "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "when he's standing in front of you for an\n hour?/Mark Zuckerberg now thinks we got\n into Harvard on a dimwit scholarship./I'm", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "2:08 AM\n And now anew guy walks into Mark's room. This is EDUARDO\n SAVERIN--a sweet looking Brazilian sophomore who almost always\n wears a three--piece suit.", "(READING)\n Mark Zuck'erberg to Tyler and Cameron\n Winklevoss and Divya Narendra. December", "GRETCHEN\n Eduardo, spring break, you and Mr.\n Zuckerberg took a trip to New York.\n\n EDUARDO\n Yes.", "in his hoodie and cargo shorts nonetheless. It looks like he\n hasn't slept in days.. On his monitor we can see that he's\n working on the profile page for theFacebook.", "(RE: MARK)\n And I see we have our first surrender.\n Don't worry, Mr. Zuckerber�, brighter, men\n than you have tried and failed at this\n class.", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\".", "two weeks. He doesn't answer when we\n knock on his door at Kirkland and the\n closest we've come to talking face to", "MARK -\n Somebody at the newspaper will be a\n computer science major and they will have\n heard of me. Tell 'em Mark Zuckerberg\n will do 10 hours of free programming for\n theno .", "CAMERON\n What my brother means is that if Mark\n Zuckerberg walked into our dorm room and\n stole our computer it would be a\n university issue, right?", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "SUMMERS\n Yes. And if you have a goddam problem\n with that, Mr. Winklevoss, the courts are\n always at your disposal. Athletes don't\n get special treatment at this school.", "would jump at the chance to rehabilitate\n his image after the Facemash thing but\n Mark didn't want to rehabilitate\n anything. With Facemash he'd beaten the", "and violating individual privacy by\n creating the website, WWW.FACEMASH.COM.\n You're also charged with being in\n violation of the university's policy on", "hours and frankly you did spend an awful\n lot of time embarrassing Mr. Zuckerberg\n with the girl's testimony in the bar.", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "GAGE\n 39 days after Mr. •Zuokerberg's initial\n meeting with my clients and he still\n hadn't completed work on\n HarvardConnection. But on January 11," ], [ "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "MARK\n Yes, the grounds are theFacebook is cool.\n and popular and sexy and\n HarvardConnection is lame. I didn't use", "theFacebook.com. He said he anticipated\n that 900 students would have joined the\n site by this morning.\"", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it", "AMY\n 'iheFacebook? It. started at Harvard and\n standford's had it for about two weeks", "right after them, we made a list of every\n school within a hundred miles and put\n theFacebook on those campuses first.\n Pretty soon all the Baylor kids were", "CAMERON\n Well we've been working for a while on an\n idea. It's called HarvardConnecti.on. You\n create your own page, Picture, bio,\n interests, friends.", "the race, which ended just, a half-hour\n ago, via their computers. A new website\n called Facebook. Do you have this in\n America?", "TYLER\n This site would be based on the idea that\n girls want to meet guys who go to\n Harvard. The difference between what\n we're talking about and MySpace,", "and violating individual privacy by\n creating the website, WWW.FACEMASH.COM.\n You're also charged with being in\n violation of the university's policy on", "(PAUSE)\n They have Facebook at Cambridge?", "from the privacy of your dorm room. I'm\n not talking about a dating site. I'm\n talking about taking the entire social\n structure of college and putting it", "SEAN\n Neither of you. TheFacebook is cool,\n that's what it's got going for it.\n\n MART\n Yes.", "CRIMSON)\n \"As of yesterday evening, Zuckerberg said\n over 650 students had registered to use", "MARK\n We're expanding theFacebook to Yale and\n Columbia. Dustin, I want you to share. the", "MARK\n --it would be exclusive. You'd have to\n know the people on the site to get in.\n Like getting punched.", "himself as the business head of Facebook.\n I've been at the front of two of the\n biggest things in the history of the\n internet and I can tell you that nothing,", "FRIENDSTER---\n\n MARK\n --is exclusivity,\n\n (BEAT)\n Right?\n\n TYLER", "(INTO PHONE)\n It's titled, \"Hundreds Register for New\n Facebook Website\" and then the sub-\n headline is \"Facemash creator seeks new\n reputation with latest online project.\"", "The whiteboard is filled with diagrams now under the heading\n \"theFacebook\"--login page,, profile page, create account-We" ], [ "CAMERON and TYLER, in dark suits, are waiting to see the\n president of Harvard,\n The President's office is in one of the two oldest university", "CLUB PRESIDENT\n One of the oldest, one of the most\n exclusive clubs--not just at Harvard but\n in the world--and I want to welcome you\n to this year-'s first--", "buildings in the country, and the SECRETARY sitting at the\n desk i ven older. You get the sense that she thinks Harvard\n would be d -better place if it weren't for all, these students.", "and to any women at Harvard who might\n have been insulted as I take it they were\n by the things that have been said tome\n in the last week. As for any charges", "SUMMERS\n What do you want me to do about it?\n CAMERON points to a row of Harvard Student Handbooks on the\n bookshelf behind SUMMERS.", "CUT TO:\n EXT./EST. AUDITORIUMi - NIGHT\n The lamps in Harvard Yard light the snow falling.", "business skills. Eduardo was president of\n the Harvard Investors Association and he\n was my best friend.", "DIVYA\n Say it. Why not?\n\n CAMERON\n Because we're gentlemen of Harvard.", "INT. HARVARD COMMUNICATIONS OFFICE - SAME TIME\n\n A tired GRAD STUDENT who spends the night monitoring the\n campus computer system is looking at his computer.", "CUT TO:\n\n INT. HARVARD DORM ROOM - NIGHT\n\n\n STUDENTS\n The left!", "SENIOR\n As the plaque reads, this is John\n Harvard, founder of Harvard University in\n 1638. It's also called The Statue of\n Three Lies. What are the three lies?", "Harvard as a senior announces--", "(BEAT)\n This is Harvard. You don't plant stories\n and you don't sue people.", "EDUARDO\n 1) Harvard was founded in 1636, not 1638.\n 2) Harvard wasn't founded by John Harvard\n and 3) That's not John Harvard.", "CAMERON V\n Well sir, in The Harvard Student\n Handbook, which is distributed to each\n freshman--under the heading \"Standards of", "(CALMLY)\n Cam.\n (he recites from the Crimson\n thout having to read it)", "(BEAT)\n I was a Harvard business major.\n (then to MARK)\n I was your only friend. You had one\n friend.", "AIDE\n His Royal Highness, Prince Albert. Sir,\n may I present Mr. Cameron Winklevoss and\n Mr. Tyler. Winklevoss of Harvard\n University.", "MARX is in his Operating Systems class. This is considered the\n hardest class at Harvard and MARK is one of the 50 students\n with their laptops open as the professor takes them through an\n impossibly difficult lesson,", "CUT TO:\n\n INT. FINAL CLUB - NIGL'3T\n\n The CLUB PRESIDENT is addressing the GUESTS from the top of" ], [ "great for two reasons. One, she said\n \"Facebook me\". Right? And the other is\n that, you know--", "EDUARDO\n She said \"Facebook me\" and we can all\n have a drink later. Which is stunningly", "\"Kirkland Facebook\". He clicks and opens it. A menu of photos\n appear. He blogs again.", "(WHISPERING)\n Facebook me when you get home. Maybe we\n can all go out for a drink later.\n\n EDUARDO", "The laptop springs to life and is open to something SEAN's\n never seen before--a Facebook page.;\n He sees AMY's picture and a short profile: Her major at", "AMY\n Yeah. After you went unconscious last\n night I went on theFacebook for a while.\n\n SEAN\n What's that?", "He moves the mouse back and forth between two boxes: \"Send a\n Message.\" and \"Add as a Friend\".\n\n He clicks on \"Add as a Friend\".", "A box comes up that reads: \"Your request to add Erica Albright\n as a friend has been sent.\"\n\n Then MARK clicks to his homepage and waits for the response.\n And waits...", "we've gotta be almost there.\n A young employee hits a remote and a few keys on his computer\n and a huge flat-screen displays a Facebook page with a read-", "52,\n MARK's in his own world as he sits at the computer and calls\n up theFacebook. The home page fills the screen.\n\n EDUARDO (CONT'D)", "MARK\n ThePacebook?\n\n ERICA\n You called me a bitch on the internet,\n Mark.\n\n MARK\n I'm really sorry about that.", "lie. So what if it's not even 10PM and\n it's a Tuesday night? The Kirkland\n Facebook is open on my desktop and some", "EDUARDO\n Is that a Facebook page?", "(PAUSE)\n They have Facebook at Cambridge?", "relationship status is on Facebook.\n Please let me give you your present.\n EDUARDO's cell phone RINGS--", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "EDUARDO\n Yes. Also I'm breaking up with you.\n\n CUT TO:\n\n INT. FACEBOOK OFFICE - DAY", "GRETCHEN\n I'm asking when you came to Eduardo with\n the idea for Facebook.\n\n MARK\n It was called TheFacebook back then." ], [ "third page and titles it \"TheFacebook\".\n Then he makes the decision to turn the capital \"T\" into a\n lower case \"t\" and it becomes \"theFacebook\" as we", "GRETCHEN\n I'm asking when you came to Eduardo with\n the idea for Facebook.\n\n MARK\n It was called TheFacebook back then.", "talking a lot about a universal .facebook\n within 1 arvard', he says\"--he meaning\n Mark--\"I think it's kind of silly that it", "EDUARDO\n They're saying we stole theFacebook from\n Divya Narendra and the Wink—\n\n MARX\n I know what it says.", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "SEAN\n (signing the check)\n Oh Hey. Drop the \"the\". Just Facebook,\n It's cleaner.\n And SEAN heads out, patting backs and kissing waitresses along\n the way.", "changed the name to ConnectU--and Mark\n Zuckerberg stole that idea and--", "TYLER\n (reading off the computer)\n \"Welcome to theFacebook, TheFacebook is\n an online directory that connects people\n through social networks. You must have a\n Harvard.edu address to register.\"", "Eduardo Saverin received an unknown Gash settlement. His name\n has been restored to the Facebook masthead as a founder.\n MARK is settling into his chair. He'll wait all night if he\n has to.", "himself as the business head of Facebook.\n I've been at the front of two of the\n biggest things in the history of the\n internet and I can tell you that nothing,", "SEAN\n It's not. gonna be like you're not part of\n Facebook, you're not part of Facebook.\n\n EDUARDO\n My name's on the masthead.", "EDUARDO\n They're saying--the Winklevoss twins are\n saying you stole their idea.\n\n MARK\n I find that to be mildly annoying.", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "MARK\n ThePacebook?\n\n ERICA\n You called me a bitch on the internet,\n Mark.\n\n MARK\n I'm really sorry about that.", "JENNY\n\n (WHISPERING)\n Your friend--isn't that Mark Zuckerberg?\n\n EDUARDO", "(READING)\n Mark Zuck'erberg to Tyler and Cameron\n Winklevoss and Divya Narendra. December", "EDUARDO\n Settle an argument for us, would you? I\n say it's time to start making money from\n theFacebook but Mark doesn't want\n advertising. Who's right?", "MARK\n Yes, the grounds are theFacebook is cool.\n and popular and sexy and\n HarvardConnection is lame. I didn't use", "in his hoodie and cargo shorts nonetheless. It looks like he\n hasn't slept in days.. On his monitor we can see that he's\n working on the profile page for theFacebook.", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\"." ], [ "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "(READING)\n Mark Zuck'erberg to Tyler and Cameron\n Winklevoss and Divya Narendra. December", "(RE: MARK)\n And I see we have our first surrender.\n Don't worry, Mr. Zuckerber�, brighter, men\n than you have tried and failed at this\n class.", "(CALMLY)\n Okay. I just wanted to let you know\n Zuckerberg stole our website.\n TYLER stops rowing and then CAMERON. They look at DIVYA...", "EDUARDO\n They're saying--the Winklevoss twins are\n saying you stole their idea.\n\n MARK\n I find that to be mildly annoying.", "DIVYA (CONT'D)\n Mark Zuckerberg stole our website. It's\n been live for over 36 hours.\n\n CUT TO-", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "Eduardo Saverin received an unknown Gash settlement. His name\n has been restored to the Facebook masthead as a founder.\n MARK is settling into his chair. He'll wait all night if he\n has to.", "you. For the one-hundreth time. Let's\n take the considerable-resources at our\n disposal and sue him in a federal. court.", "(BEAT)\n Okay. Eduardo? Did Mr. Zuckerberg saying\n anything to you after you signed the\n papers?", "himself as the business head of Facebook.\n I've been at the front of two of the\n biggest things in the history of the\n internet and I can tell you that nothing,", "They wr \"Zuckerberg said that he\n hoped the prly options would help to\n restore his reputation following student\n outrage over Facemash.com\".", "90,\n\n SEAN (CONT'D)\n .Mark Zuckerberg.\n\n CUT TO:", "GRETCHEN\n Eduardo, spring break, you and Mr.\n Zuckerberg took a trip to New York.\n\n EDUARDO\n Yes.", "GAGE\n We recognize that you're a plaintiff in\n one suit involving Facebook and a witness\n in another.\n\n EDUARDO\n Yes sir,", "when he's standing in front of you for an\n hour?/Mark Zuckerberg now thinks we got\n into Harvard on a dimwit scholarship./I'm", "JENNY\n\n (WHISPERING)\n Your friend--isn't that Mark Zuckerberg?\n\n EDUARDO", "MARK\n You know you really don't need a damn\n forensic team to get to the bottom of\n this. If you guys were the inventors of\n Facebook you'd have invented Facebook.", "hours and frankly you did spend an awful\n lot of time embarrassing Mr. Zuckerberg\n with the girl's testimony in the bar.", "CUT TO:\n\n INT. FIRST DEPOSITION ROOM - DAY\n\n\n GRETCHEN\n Mr. 2uckerberg was cheating on his final\n exam?" ], [ "EDUARDO\n They're saying--the Winklevoss twins are\n saying you stole their idea.\n\n MARK\n I find that to be mildly annoying.", "EDUARDO\n They're saying we stole theFacebook from\n Divya Narendra and the Wink—\n\n MARX\n I know what it says.", "(READING)\n Mark Zuck'erberg to Tyler and Cameron\n Winklevoss and Divya Narendra. December", "(CALMLY)\n Okay. I just wanted to let you know\n Zuckerberg stole our website.\n TYLER stops rowing and then CAMERON. They look at DIVYA...", "changed the name to ConnectU--and Mark\n Zuckerberg stole that idea and--", "MARK\n Yeah.\n\n CAMERON\n I'm Cameron winklevoss.\n\n MARK", "DIVYA (CONT'D)\n Mark Zuckerberg stole our website. It's\n been live for over 36 hours.\n\n CUT TO-", "(READING)\n From mark Zuckerberg to Tyler Winklevoss.\n November 30, 2003.\n\n (MORE)", "MARK\n You know you really don't need a damn\n forensic team to get to the bottom of\n this. If you guys were the inventors of\n Facebook you'd have invented Facebook.", "EDUARDO\n It was the Winklevosses, Mark!\n\n MARK\n Bang on.", "GRETCHEN\n When did you approach Mr. Saverin with\n the idea for TheFacebook?\n\n MARK\n I wouldn't say I approached him.", "(PAUSE)\n The Winklevi aren't suing me for\n intellectual property-theft. They're", "CAMERON\n Good morning, s_ir. I'm Cameron Winklevoss\n and this is my brother, Tyler.", "MARYLIN (CONT'D)\n You really hate the Winklevoss twins,\n don't you.\n\n MARX\n I don't hate anybody.", "3-1\n The fourth boat is being crewed by CAMERON and TYLER\n WINKLEVOSS----identical twins who stepped out of an ad for", "TITLE:\n Cameron and Tyler Winklevoss received a settlement of 65\n million dollars and signed a non-disclosure agreement,\n They rowed for the U.S. Olympic Team in Beijing and placed sixth.", "GAGE\n At any time in the three weeks prior to\n Mark telling you his idea, did he mention\n Tyler Winklevoss, Cameron Winklevoss,\n Divya Narendra or HarvardConnection?", "GAGE\n Mark Zuckerberg to Cameron Winklevoss.\n December 1, 2003. \"Sorry I was", "AIDE\n His Royal Highness, Prince Albert. Sir,\n may I present Mr. Cameron Winklevoss and\n Mr. Tyler. Winklevoss of Harvard\n University.", "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye" ], [ "He moves the mouse back and forth between two boxes: \"Send a\n Message.\" and \"Add as a Friend\".\n\n He clicks on \"Add as a Friend\".", "The door closes behind DUSTIN MOSKOWITZ and CHRIS HUGHES. MARK\n and EDUARDO are waiting and JENNY and ALICE are sitting on the", "A box comes up that reads: \"Your request to add Erica Albright\n as a friend has been sent.\"\n\n Then MARK clicks to his homepage and waits for the response.\n And waits...", "(BEAT)\n Okay. Eduardo? Did Mr. Zuckerberg saying\n anything to you after you signed the\n papers?", "(TO EDUARDO)\n After expressing misgivings about Mr.\n Zuckerberg 'taking the company and moving", "(RE: MARK)\n And I see we have our first surrender.\n Don't worry, Mr. Zuckerber�, brighter, men\n than you have tried and failed at this\n class.", "(READING)\n Mark Zuck'erberg to Tyler and Cameron\n Winklevoss and Divya Narendra. December", "CUT TO:\n\n INT. NEW FACEBOOK OFFICES - NIGHT", "already put Facebook and different pins showing the schools\n they're going for.\n As MARK walks to the door, he walks past ANDREW, who's sitting", "MARYLIN\n Mark?\n MARK looks up at her...\n\n MARYLIN (CONT'D)\n Everyone's gone,\n MARK doesn't say anything...", "MARK (CONT'D)\n The rest of my attention is back at the\n offices of Facebook where my employees\n and I are doing things that no one in", "in his hoodie and cargo shorts nonetheless. It looks like he\n hasn't slept in days.. On his monitor we can see that he's\n working on the profile page for theFacebook.", "(CALMLY)\n Okay. I just wanted to let you know\n Zuckerberg stole our website.\n TYLER stops rowing and then CAMERON. They look at DIVYA...", "GRETCHEN\n Eduardo, spring break, you and Mr.\n Zuckerberg took a trip to New York.\n\n EDUARDO\n Yes.", "(WHISPERING)\n Facebook me when you get home. Maybe we\n can all go out for a drink later.\n\n EDUARDO", "MARK\n (nodding toward the door)\n He's here.\n SEAN PARKER has stepped into the restaurant and is. saying\n hello to the hostess while hugging a waitress.", "MARK ZUCKERBERG is a sweet looking 19 year old whose lack of\n any physically intimidating attributes masks a very\n complicated and dangerous anger. He has trouble making eye", "CAMERON\n (he's already seen it)\n It says \"A Mark Zuckerberg Production\".\n\n DIVYA\n On the home page?", "(DONE)\n Okay.\n He hits \"Send\".\n\n MARK (CONT'D)\n The site's live.\n\n EDUARDO", "EDUARDO\n Yes. Also I'm breaking up with you.\n\n CUT TO:\n\n INT. FACEBOOK OFFICE - DAY" ] ]

[ "How old was Mark when Erica broke up with him?", "Which four educational institutions were the first to have access to Thefacebook?", "What were visitors to Facemash rating?", "When did Mark move his company to Palo Alto?", "Who sues Facebook?", "How much did Eduardo's ownership shares drop to after an investment from Thiel?", "Who does Mark send a Facebook request to as the story ends?", "When did Tyler and Cameron find out that Facebook was available to students at Cambridge?", "What Inpired Zuckerberg to create what would later become facebook?", "Why is Zuckerberg advised to settle with the cofounders of facebook?", "What does Zuckerberg do that makes you think he might still have feelings for Erica Albright?", "What was the name of the website Zuckerberg first created called?", "Why did Zuchberg hack into college data bank?", "How much money did Saverin give as investment?", "What college was Zuchberg going to when he created Fashmash?", "Wha incident is the cause of Zuchberg getting six months academic probation?", "When the site first started what did the visitors on site do?", "Who coined the phrase \"Facebook me\"?", "What university does Zukerberg attend?", "What was the name of the campus website with hacked photos?", "How many months academic probation does Zuckerberg receive?", "Who would thefacebook be exclusive to?", "Who is the harvard President?", "Who asks to \"Facebook me\"? ", "Who suggests removing 'The' from thefacebook?", "Who vows to sue zuckerberg?", "Which twins claimed Zuckerberg stole their idea?", "Who does Zuckerberg send a request to after everyone leaves?" ]

[ [ "19", "19" ], [ "Harvard, Yale, Columbia, and Stanfdord", "Harvard, Oxford, Cambridge and LSE" ], [ "the attractiveness of female students", "site visitors to zuckerbergs blog" ], [ "After Sean Parker suggested it", "when Parker suggested it" ], [ "the Winklevoss twins and Eduardo Saverin", "Saverin" ], [ "0.03%", "From 34% to .03%" ], [ "Erica Albright", "Erica Albright" ], [ "While competing in a regatta", "during the Henley Royal Regatta" ], [ "He was dumped by Erica Albright.", "the Winklevoss brothers' idea to create an online social network called Harvard Connection" ], [ "He is informed that the story of how facebook was formed and his beginning actions would not cause a jury to be sympathic to him.", "his callous attitude" ], [ "He sends her a friends request.", "He looks her up on FB, request her as a friend and then repeatedly refreshes the page to see if she accepted." ], [ "Facemash", "facemash" ], [ "To get pictures of female students.", "to steal photos of female students" ], [ "1000", "$1,000" ], [ "Harvard", "Harvard" ], [ "His site crashes part of the Harvard's computer servers", "he hacked into the Harvard database and then traffic to his site crashes the network" ], [ "They rated how attractive they thought the female students were.", "they crashed Harvard's computer network" ], [ "A fellow student Christy Lee", "Christy Lee" ], [ "Harvard", "Harvard" ], [ "Facemash", "Facemash" ], [ "6 months", "Six" ], [ "Ivy League Students", "Ivy League students" ], [ "Larry Summers", "larry summers" ], [ "Christy Lee", "Christy Lee" ], [ "Parker", "sean parker" ], [ "Saverin", "Tyler and Cameron Winklevoss" ], [ "Winklevoss Twins", "the Winklevoss twins" ], [ "Albright", "Erica Albright" ] ]

[ [ "The fight has not yet started.\n DREW\n Did you think he would get into the finals?\n SAN DE", "The crowd, who has seen Drew and heard about him for quite a while,\nwarms to the prospect. They start cheering for the American Shaolin\nto face Trevor.", "Trevor dumps Drew and scores the final point, just as time runs out.\nA buzzer goes off, signaling the end of the round.", "DREW (CONT'D)\n Then I must pass this final test. Furthermore, I request\n that I be the first one through.\n SAN DE\n (very proud)\n Your request is granted.", "He runs to his backpack and pulls out a boom box with speakers, and\nputs on some good old American Rock 'N' Roll.\nEveryone, but Gao, is moving in time with the music. Drew is the most", "Drew watching, as he wins again.\nDREW AGAIN\nWinning. The stage is set for the finals.\nANGLE ON THE RING", "Who could know? He fights the winner of the Western\n countries, which is why I wanted you here.\n DREW\n I'll help any way I can.", "ANNOUNCER\n\n Fighting for the Grand Championship: Trevor Gottitall and\n Drew Carson. 3 rounds, max point. Gentlemen, bow to the\n ref, to each other...", "It's his turn. He walks to the waterfall and goes in. He picks up an\numbrella he stashed behind the waterfall (imprinted with a \"NEW YORK\nGIANTS NFL\" logo on it ­ unmistakably American).", "It's not over, American.\nINT. MAIN CHAMBER ­ MORNING\nESTABLISHING SHOT OF CHAMBER FULL OF FIGHTING MONKS, ALL GOING", "Hey, Trevor! What's the 2nd uniform for?\n TREVOR\n The finals.\n COMPETITOR\n (after he's gone)", "Drew is next in line, and he moves through the techniques without a\nmistake. When he gets to the end of the routine, he breaks into a", "Drew's shoulders slump even more.\n ASHEMA (CONT'D)\n Maybe it's for the best, Drew. You belong in America. New", "Drew holds out his hand for the tape, and Kwan slaps it into his\nhand. Drew smiles a defeated smile and turns toward the VCR, when", "Drew blocks, his pants begin to sag. Trevor, not trying to score,\njust trying to keep Drew's hands busy, keeps coming.\nDrew's pants drop lower and lower.", "My turn.\nHe attacks, and Drew gets to the final technique. He blocks the way\nhe did before, and he gets slammed brutally by Gao.\nGao stands over him, smiling.", "Finally, after a high arcing back throw, a real thumper, the worst of\nall of them, the D.S. calls it a day.\n\n D.S.", "SHU\n Poor guy.\n GAO\n He just wasn't good enough. I wouldn't be surprised if", "2nd round: Drew's getting beaten worse than the first round. Nothing\nhe tries works. The score at the end of the round is 15 - 4, in favor\nof Trevor.\nROUNDBREAK", "to the crazy American. Drew has become an attraction!\nANGLE ON DREW, SURROUNDED BY OLD MEN\nThey are marveling at his perserverance." ], [ "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "DREW\n\n It's just not the way I was taught...", "Trevor looks into Drew's face, wondering why Drew would do such a\nthing. When he sees Drew's friendly face, he knows.\n\nTo teach him a lesson.", "DREW (CONT'D)\n\n So, I didn't fail, huh?\n\n (beat)\n\n I can ask my question, then?", "DREW\n\n (after a beat)\n\n Deformed.\n\nHe opens his hand, letting it go limp.", "DREW (CONT'D)\n Disciple Gao was better than me.\nDrew pauses, and Gao is even more surprised at the revelation.", "underneath that is \"Drew Carson\". Kwan takes in the entire outfit,\nwhile the rest of the class is gathering around to have a look. They\nare all very impressed.", "and he sees Drew sitting there. His eyes widen in shock, then he\nquickly disappears inside.\nAlmost immediately, the door opens again, and the Admissions Monk is", "It is the same school where Drew first met Ashema. The guys, still\nhappy, arrive at the school, and the realization of what they are\nabout to do sinks in.", "DREW (CONT'D)\n ASHEMA! Here!\nShe looks at Drew again, and this time recognizes him. Drew arrives", "DREW (CONT'D)\n Not this time.\nDrew quickly walks through the door.\nEXT. TEMPLE ­ SAME DAY", "DREW (CONT'D)\n Again, deformed.\nThe D.S. nods and walks off, leaving Drew to stare questioningly at", "ANGLE ON THE MAN\nScreaming for help.\n DREW (CONT'D)\n Hold on...\nDrew hears the headmaster's voice.", "DREW\n (eyes intent)", "showing it to Drew.\n SAN DE", "Drew?\n\n DREW\n\n Hi.\n\nDrew sits down heavily, putting his pack down next to him.", "He scans the group, and then points to Drew. Drew smiles ruefully,\nwalks to the front and bows to D.S.\n\n D.S.", "He turns to Ashema, who has now backed off a little bit and is\nlooking at Drew, a smile on her face, but is pretending that she is\nembarrassed. The other girls are gathered around, giggling." ], [ "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)\n I lost my temper. He was only defending himself.", "DREW (CONT'D)\n\n So, I didn't fail, huh?\n\n (beat)\n\n I can ask my question, then?", "DREW (CONT'D)\n Disciple Gao was better than me.\nDrew pauses, and Gao is even more surprised at the revelation.", "DREW (CONT'D)\n I didn't say I wasn't going to eat it... Geez!\nHe turns to the rest of the disciples.", "DREW\n (eyes intent)", "DREW (CONT'D)\n Not this time.\nDrew quickly walks through the door.\nEXT. TEMPLE ­ SAME DAY", "showing it to Drew.\n SAN DE", "DREW\n\n It's just not the way I was taught...", "DREW (CONT'D)\n\n Of course, you're right. No excuses...", "He pauses again, looking at Drew. Drew meets his gaze, wondering why\nhe is telling him this story.", "In the b.g. comes Drew, dressed in his monastic robes, no hat on his\nhead. He is making no attempt to hide the fact that he is a monk.", "(beat)\n\n Tell me what happened.\n\nDrew looks at Gao, and Gao looks at Drew. There is a pause, one that\nis very uncomfortable. Finally, Drew speaks.", "DREW\n\n It was my fault. I started it.\n\nANGLE ON GAO\n\nSurprised at Drew's confession.", "DREW\n\n (after a beat)\n\n Deformed.\n\nHe opens his hand, letting it go limp.", "DREW (CONT'D)\n\n Hit it!\n\nINSERT of Ashema's finger on the tape player \"PLAY\" button.\n\nANGLE ON THE ROOM", "DREW (CONT'D)\n What can I do for you?\n TOUGH", "DREW (CONT'D)\n Again, deformed.\nThe D.S. nods and walks off, leaving Drew to stare questioningly at" ], [ "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)\n Not this time.\nDrew quickly walks through the door.\nEXT. TEMPLE ­ SAME DAY", "DREW\n No. It is my choice, and my responsibility. I'm sorry...\nHe embraces her for the last time, and she openly begins to cry. He", "Drew watches the countryside go by. Temples, farms and rice paddies\nslide by, with an occasionally glimpse of the Great Wall.\nEXT. GREAT WALL ­ DAY", "EXT. COUNTRYSIDE ­ DAY\nANGLE ON DREW WALKING THROUGH THE COUNTRYSIDE. HE STOPS AT A CROSSING", "Drew looks at her, then back to San De, but he is already gone. They\nare alone.", "They all agree that Drew should leave, and for a moment the sound of\nthe three of them agreeing fills the room (ad libs).\nANGLE ON DREW", "He bows to San De and then leaves the chamber.\n\nEXT. CHAMBER ­ SAME NIGHT\n\nDREW COMES OUT, FINDING GAO AND LI WAITING FOR HIM.", "He walks off, and Drew, who still hasn't said a word, stares after", "As he packs for China.\nANGLE ON KWAN AND DREW\nAs Kwan drops drew off at the AIRPORT. Drew takes his suitcase and", "Drew's shoulders slump even more.\n ASHEMA (CONT'D)\n Maybe it's for the best, Drew. You belong in America. New", "Drew looks behind him, then starts to walk. He goes cautiously,\nexpecting a trap or a trick.\n\nNothing happens.", "Gao and Li nod, and Drew walks with them, shaking his head.\n\nEXT. COUNTRYSIDE ­ MORNING", "statues. Drew is sitting with his eyes closed, oblivious to his\nsurroundings.\nEXT. MOUNTAINSIDE ­ NEXT DAY", "San De walks away, and Drew follows him.\nINT. SAN DE'S CHAMBERS ­ SAME NIGHT", "Everyone is gone already, their beds made up. Drew gets up quickly\nand gathers up his few things. He puts on his New\n\nYork Yankees cap and shoulders his back pack, then looks around the\nroom one last time.", "ANGLE ON DREW\n\nAs he packs up his stuff.\n\n DISSOLVE TO:\n\nEXT. NEW YORK BRIDGE ­ NIGHT", "Next to him is an old man, his teeth red and rotted from betel nut\njuice. The man smiles at Drew.\nEXT. CHINA COUNTRYSIDE ­ DAY" ], [ "Drew is there each time to embrace them and congratulate them.\n\nEXT. TEMPLE ­ SAME DAY", "Drew turns back to stare at the front of the temple. He is letting it\nall sink in.", "EXT. TEMPLE STAND ­ EVENING\nESTABLISHING SHOT OF DREW, ASHEMA AND OLD MAN, STILL SITTING AT THE", "ANGLE ON DREW\nSame as the first shot, all alone in the temple.\n DISSOLVE TO:", "EXT. TEMPLE ­ NIGHT\nESTABLISHING SHOT OF DREW WALKING THROUGH THE COURTYARDS OF THE\nTEMPLE.\nHe is going nowhere in particular, just walking and thinking.", "temple.\nDrew sits there, thinking, letting it all soak in. He then gets up\nand smiles.\n DREW", "Drew's form is firm and solid, the determination in his eyes easily\nseen as he stares at the moon. He will see this through.\nEXT. TEMPLE ­ DAY", "EXT. TEMPLE ­ MONTAGE SECTION\nANGLE ON DREW SWEATING IN THE HOT SUNSHINE", "Gao and Li run up next to Drew, and together they go back to the\ntemple. When they stop outside the temple, they are breathing\nheavily. finally catching his breath, Gao turns to Drew.", "backpack and starts towards the temple, limping from sitting for so\nlong.\nThe crowd goes crazy, clapping and yelling.\nDrew runs into the temple. The door closes behind him.", "EXT. SHAOLIN TEMPLE ­ SAME DAY\nESTABLISHING SHOT OF DREW FILLING THE BUCKETS IN THE STREAM.", "the door to the temple opens again. The Drill Sergeant appears in the\ndoorway and impatiently motions for Drew to come in.\nThe crowd has stopped and is watching the drama unfold.", "DREW (CONT'D)\n Not this time.\nDrew quickly walks through the door.\nEXT. TEMPLE ­ SAME DAY", "ANGLE ON DREW\nAs he leaves the temple. He pauses for a moment with the door open,\nthen shuts it sadly. He looks out over the courtyard, which is", "He goes over the path to the temple, having to negotiate logs over\nchasms, etc. After various trials and tribulations, Drew arrives at\nthe temple, his arms incredibly tired. The D.S. is there waiting for\nhim.", "Drew watches the countryside go by. Temples, farms and rice paddies\nslide by, with an occasionally glimpse of the Great Wall.\nEXT. GREAT WALL ­ DAY", "They pass the monk who was sweeping up in the back of the temple. He\nwatches with interest as they open the door and force Drew through\nit, out of the temple.\nHe smiles.", "As he comes out of the temple, chasing away the kids.\n\nWhen they are gone, he turns to Drew.\n\n DRILL SERGEANT", "EXT. SHAOLIN TEMPLE ­ SAME DAY\nESTABLISHING SHOT OF COURTYARD, DREW ALL ALONE.\nThe door to the temple opens and out comes San De, alone this time.", "ESTABLISHING SHOT OF VERY ORNATE TEMPLE.\n\nDrew walks up to the front of the temple, looks around for a moment,\nthen takes a drink of water from the well out front." ], [ "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "and he sees Drew sitting there. His eyes widen in shock, then he\nquickly disappears inside.\nAlmost immediately, the door opens again, and the Admissions Monk is", "DREW (CONT'D)\n Not this time.\nDrew quickly walks through the door.\nEXT. TEMPLE ­ SAME DAY", "DREW\n How long?\n ASHEMA\n A long time ­ through the worst weather. He just sat", "(beat)\n\n Tell me what happened.\n\nDrew looks at Gao, and Gao looks at Drew. There is a pause, one that\nis very uncomfortable. Finally, Drew speaks.", "The group gasps, knowing how much Drew must be hurting, admiring him\nfor his guts. Even Gao is impressed.", "INT. DORM ROOM ­ SAME NIGHT\nESTABLISHING SHOT OF DREW WITH THE OTHER GUYS AROUND HIM.", "INT. DREW GARAGE ­ SAME NIGHT\nESTABLISHING SHOT OF INTERIOR.", "He pauses again, looking at Drew. Drew meets his gaze, wondering why\nhe is telling him this story.", "Drew?\n\n DREW\n\n Hi.\n\nDrew sits down heavily, putting his pack down next to him.", "Drew sits, trying to think of nothing. He is not succeeding.\n\nINT. DINING AREA ­ NIGHT", "DREW (CONT'D)\n ASHEMA! Here!\nShe looks at Drew again, and this time recognizes him. Drew arrives", "DREW\n\n (after a beat)\n\n Deformed.\n\nHe opens his hand, letting it go limp.", "He surveys the room, seeing the tableau of frozen monks, with Drew\nlying on his bed.\nANGLE ON DREW\nWho waves to the D.S.", "DREW\n No. It is my choice, and my responsibility. I'm sorry...\nHe embraces her for the last time, and she openly begins to cry. He", "Drew looks behind him, then starts to walk. He goes cautiously,\nexpecting a trap or a trick.\n\nNothing happens.", "The door opens and Drew walks in, the D.S. can be seen in the b.g.\nSan De indicates one of the chairs for him to sit in. He does.\n\n SAN DE", "Working hard.\n\nINT. DORM AREA ­ NIGHT\n\nANGLE ON DREW\n\nWho is holding court.\n\n DREW" ], [ "violence. He has a cause, and he's enjoying every minute of the\nfight. It is over quickly, as Drew is a superb fighter, using", "His face calm.\n DREW\n No, master. I will not fight for personal glory, or for\n my ego.\n SAN DE", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)\n (to himself)\n This humble, not fighting stuff is harder, and more\n painful, than it looks!", "DREW\n\n It's just not the way I was taught...", "DREW\n No. It is my choice, and my responsibility. I'm sorry...\nHe embraces her for the last time, and she openly begins to cry. He", "DREW (CONT'D)\n I lost my temper. He was only defending himself.", "Drew gets up, wincing, not really ready to fight.\n\n DREW (CONT'D)\n\n Can't we talk this over?", "He walks away, and Drew reluctantly gives up his backpack.\nDrew lines back up, and is about to get his robes, when Gao slides\nover and takes them from him. Drew immediately shoves him and tries", "bothering to defend himself.\nDrew grabs Trevor by the front of his uniform and pulls back his\nright hand in a fist. He is going to put him out with a good old-", "In the b.g. comes Drew, dressed in his monastic robes, no hat on his\nhead. He is making no attempt to hide the fact that he is a monk.", "He pauses again, looking at Drew. Drew meets his gaze, wondering why\nhe is telling him this story.", "Drew doesn't jump, but just calmly avoids it. The staff WHOOSHES over\nhis head. Drew stands up, and the staff comes again, from a different\ndirection. Drew avoids, and the staff finds empty air again.", "we all have to fight against.\nSan De looks pointedly at Drew, who doesn't meet his eyes.\n SAN DE (CONT'D)", "He walks over to where Drew is, stares at him for a moment, then sits\ndown across from him.\nDrew tries not to look at him.", "DREW (CONT'D)\n I didn't say I wasn't going to eat it... Geez!\nHe turns to the rest of the disciples.", "Trevor looks into Drew's face, wondering why Drew would do such a\nthing. When he sees Drew's friendly face, he knows.\n\nTo teach him a lesson.", "It's getting good now.\nThe fight starts, and this time Drew is unencumbered by vows of non-" ], [ "The crowd, who has seen Drew and heard about him for quite a while,\nwarms to the prospect. They start cheering for the American Shaolin\nto face Trevor.", "violence. He has a cause, and he's enjoying every minute of the\nfight. It is over quickly, as Drew is a superb fighter, using", "The group gasps, knowing how much Drew must be hurting, admiring him\nfor his guts. Even Gao is impressed.", "It's getting good now.\nThe fight starts, and this time Drew is unencumbered by vows of non-", "The referee gives them a signal and the fight begins. Drew is holding\nhis own, but Trevor is scoring. After several flashy moves, the round\nis over.", "No answer from the man, who is now pushing Drew to go faster. He is\ninching up closer to him, and occassionally kicking him to go\nquicker.", "As he wins a fight.\nANGLE ON DREW\nAs he wins.\nANGLE ON TREVOR", "It's your call.\nDrew nods, then turns to face the ring, where Trevor is still\nstanding, trying to get someone to fight him.", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "bothering to defend himself.\nDrew grabs Trevor by the front of his uniform and pulls back his\nright hand in a fist. He is going to put him out with a good old-", "The tough pulls his fist back to strike Drew, who has been grabbed by\ntwo other toughs, his arms pinned behind his back.\n\nSuddenly, a figure FLIES in and SLAMS the tough to the ground.", "Trevor looks into Drew's face, wondering why Drew would do such a\nthing. When he sees Drew's friendly face, he knows.\n\nTo teach him a lesson.", "Instead, however, Drew smiles and lifts Trevor up and shakes his\nhand, putting an arm around him to steady him in front of the crowd.", "Drew blocks the arm, and a pushing and shoving match starts.\n\n GAO\n\n You're trying to get us all kicked out!\n\n DREW", "... I'm going to enjoy it.\nThey back up, and the fight begins.\nTrevor attacks hard, but Drew avoids easily, using all soft gong fu.", "goes after Trevor, and it is immediately obvious that Trevor is\ncompletely outclassed. Drew scores on Trevor at will, and soon has", "DREW (CONT'D)\n I'm gonna get you, man. Oh, yeah...\nGao is laughing as he watches Drew go.", "this situation.\nThe thugs come after Drew, and the leader throws a roundhouse punch,\nhitting Drew square in the jaw. They continue to attack, while Drew" ], [ "San De and D.S. are dressed in elaborate ceremonial robes.\n\nAfter he goes through some complicated ceremonial movements,\nincluding the waving of smoking incense over them, San De spreads his\nhands", "SAN DE\n You are now Shaolin. We welcome you into our ranks as\n fighting monks...\nA roar rises from the assembled monks, and fireworks go off all\naround.\nANGLE ON REAR OF COURTYARD", "Gao has no play on the throw, and Drew catches it in stride.\nSan De immediately returns to his meditation, while Drew and the\nothers stand around dumbstruck.", "SAN DE\n\n Do these disciples accept the authority of the Shaolin\n Temple?\n\n DRILL SERGEANT\n\n Yes, without pause, Master San De.", "San De looks at Drew long and hard.\n SAN DE\n There are some times when a Shaolin must fight, and some\n people who will not learn until they are taught a lesson.", "The crowd whispered \"Shaolin\", and he bowed to us,\n touched my cheek and smiled, then just walked on. I\n watched him until he disappeared in the distance. He was", "A whisper is going through the crowd: \"Shaolin\".\nDrew touches the boy's cheek, smiles, then stands up and bows. He\nmoves on, the crowd watching him walk away.", "did it.\nSan De, watching Drew intently, smiles at this last. He stands up and\nbows to Drew. Drew bows back, from his seated position.", "the raised platform in the center.\nDrew, also bowed down, sneaks a peak at the figure.\nIt is San De!", "Who rises to the challenge.\n\n DREW\n\n Master San De, I am part of the disciple class, am I not?\n\nSan De nods.", "San De pauses, letting this remark sink in.\n\n SAN DE (CONT'D)", "He is pointing at Li and Gao and the others, who are itching to climb\ninto the ring. Gao goes over to San De, and shoots a questioning look\nat Drew.\n\n GAO", "San De catches his eye and smiles slightly. He winks at Drew, then\nclears his throat.\nEveryone stands up again.", "Quite a show of solidarity, yes?\n\nDrew nods, trying to hide a smile. He is trying his best to appear\nhumble.\n\n SAN DE (CONT'D)", "out. He takes off sprinting, with Gao covering him like a blanket.\nSan De throws the ball to him in a perfect spiral, to a spot where", "No, really, I want to...\nSan De holds up his hand. He is the final authority.\n SAN DE\n Here at the temple, we use a period of intense physical", "wish, and he must answer it.\nSan De takes out a map of the area.\n SAN DE (CONT'D)", "He is dirty, weary but triumphant. As he walks back through the\ntemple to San De's chambers to report, he sees a group of people\nwalking out the other way.", "goofing... I apologize, master. I didn't mean to make fun\n of you...\nSan De shrugs it off. Apology accepted.", "I will, Master.\n SAN DE\n If you deliver this, you may ask this master, the most\n advanced monk of the Shaolin tradition, any question you" ], [ "underneath that is \"Drew Carson\". Kwan takes in the entire outfit,\nwhile the rest of the class is gathering around to have a look. They\nare all very impressed.", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "(imitating an announcer)\n Presenting, the greatest fighter in the history of the\n Shaolin temple... Drew Carson!", "ANNOUNCER\n\n Fighting for the Grand Championship: Trevor Gottitall and\n Drew Carson. 3 rounds, max point. Gentlemen, bow to the\n ref, to each other...", "Carson! Drew Carson! I can't believe it! I come half way\n around the world, and run into you! I heard you left the", "goes after Trevor, and it is immediately obvious that Trevor is\ncompletely outclassed. Drew scores on Trevor at will, and soon has", "The crowd, who has seen Drew and heard about him for quite a while,\nwarms to the prospect. They start cheering for the American Shaolin\nto face Trevor.", "around Drew's waist and pulls.\nThey face off (\"20 seconds\" comes the call), and Trevor charges. As", "When they get around his knees, he finally notices them, and reaches\ndown to get them. Trevor drives and picks him up in a throw,\neffectively showing Drew's bare ass to the world.", "The referee gives them a signal and the fight begins. Drew is holding\nhis own, but Trevor is scoring. After several flashy moves, the round\nis over.", "Instead, however, Drew smiles and lifts Trevor up and shakes his\nhand, putting an arm around him to steady him in front of the crowd.", "DREW (CONT'D)\n Not this time.\nDrew quickly walks through the door.\nEXT. TEMPLE ­ SAME DAY", "Drew evades, their movements matching the movements on the TV almost\nmove for move. It is a beautiful ballet, and Drew ends it by sweeping", "Drew watching, as he wins again.\nDREW AGAIN\nWinning. The stage is set for the finals.\nANGLE ON THE RING", "INT. DREW GARAGE ­ SAME NIGHT\nESTABLISHING SHOT OF INTERIOR.", "No answer from the man, who is now pushing Drew to go faster. He is\ninching up closer to him, and occassionally kicking him to go\nquicker.", "Trevor dumps Drew and scores the final point, just as time runs out.\nA buzzer goes off, signaling the end of the round.", "Who climbs the ropes and goes into the ring. The crowd is going\ncrazy, eager to see the match. Drew, oblivious to the crowd, walks\nover to Trevor." ], [ "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "underneath that is \"Drew Carson\". Kwan takes in the entire outfit,\nwhile the rest of the class is gathering around to have a look. They\nare all very impressed.", "Carson! Drew Carson! I can't believe it! I come half way\n around the world, and run into you! I heard you left the", "INT. DREW GARAGE ­ SAME NIGHT\nESTABLISHING SHOT OF INTERIOR.", "DREW (CONT'D)\n Not this time.\nDrew quickly walks through the door.\nEXT. TEMPLE ­ SAME DAY", "(imitating an announcer)\n Presenting, the greatest fighter in the history of the\n Shaolin temple... Drew Carson!", "He scans the group, and then points to Drew. Drew smiles ruefully,\nwalks to the front and bows to D.S.\n\n D.S.", "D.S.\n Just Drew.\nDrew looks at them and shrugs, then follows the D.S.\nINT. SAN DE CHAMBER ­ EVENING", "DREW (CONT'D)\n ASHEMA! Here!\nShe looks at Drew again, and this time recognizes him. Drew arrives", "Trevor looks into Drew's face, wondering why Drew would do such a\nthing. When he sees Drew's friendly face, he knows.\n\nTo teach him a lesson.", "INT. DORM ROOM ­ SAME NIGHT\nESTABLISHING SHOT OF DREW WITH THE OTHER GUYS AROUND HIM.", "He pauses again, looking at Drew. Drew meets his gaze, wondering why\nhe is telling him this story.", "Drew?\n\n DREW\n\n Hi.\n\nDrew sits down heavily, putting his pack down next to him.", "DREW\n\n You have a car?\n\n ASHEMA\n\n The next best thing.\n\n (beat)", "The D.S. in the b.g. comes up and corrects his technique, and Drew\nimmediately does it his way.\nEXT. POLE AREA ­ EVENING", "They look at each other, honestly not knowing what to do.\nEXT. DREW GARAGE ­ SAME NIGHT\nESTABLISHING SHOT OF OLD GARAGE.", "DREW (CONT'D)\n Again, deformed.\nThe D.S. nods and walks off, leaving Drew to stare questioningly at", "DREW (CONT'D)\n Play this when I signal, OK?\nShe nods and walks off. Drew motions for Gao and the guys to come" ], [ "ANNOUNCER\n\n Fighting for the Grand Championship: Trevor Gottitall and\n Drew Carson. 3 rounds, max point. Gentlemen, bow to the\n ref, to each other...", "Trevor listens to this, nods his head once, and when Pfeelgut goes to\nleave, Trevor pushes him into the pool.", "The next guy comes up, but before they can start, the psychologist,\nDR. PFEELGUT, calls for \"Time\" and motions Trevor over.\n\n PFEELGUT", "GET HIM! NOW!!\nTrevor looks at him for a moment, not really understanding, then sees\nwhat the psychologist is saying. He lunges immediately forward and", "Trevor goes back to the ring. He really takes it to this guy,\nalternately playing with him and hurting him. As the guy tries to", "Drew is dumbstruck, and Trevor takes advantage of it.", "Trevor looks into Drew's face, wondering why Drew would do such a\nthing. When he sees Drew's friendly face, he knows.\n\nTo teach him a lesson.", "Trevor dumps Drew and scores the final point, just as time runs out.\nA buzzer goes off, signaling the end of the round.", "goes after Trevor, and it is immediately obvious that Trevor is\ncompletely outclassed. Drew scores on Trevor at will, and soon has", "Do you turn away from him out of fear?\nANGLE ON TREVOR\nWho is seething.\n\n TREVOR", "ANGLE ON TREVOR'S CORNER\nThe psychologist is exhorting him to destroy Drew. Trevor leans back\non his padded stool, smiling.", "(Psychologist, therapist, masseur, etc.) who are cheering Trevor on.\nANGLE ON TREVOR\nAs he plays with the next fighter.", "When they get around his knees, he finally notices them, and reaches\ndown to get them. Trevor drives and picks him up in a throw,\neffectively showing Drew's bare ass to the world.", "ANGLE ON PFEELGUT\nToweling off, who is yelling to Trevor.\n PFEELGUT (CONT'D)", "bothering to defend himself.\nDrew grabs Trevor by the front of his uniform and pulls back his\nright hand in a fist. He is going to put him out with a good old-", "ESTABLISHING SHOT OF TREVOR BEING PAMPERED BY HIS ENTOURAGE\nThe masseur is massaging his shoulders, a woman is doing a pedicure", "DISSOLVE TO:\n\nANGLE ON TREVOR\n\nAs he is being interviewed by tv reporters.\n\n TREVOR", "ANGLE ON TREVOR\nMaking his entrance. He is in a perfectly laundered and pressed suit,\nand his assistant is carrying another suit pressed and ready to go.\n COMPETITOR", "The referee comes over to Trevor, and raises his fist up in victory.\nTrevor tears his arm away and SCREAMS TO THE CROWD:\n\n TREVOR (CONT'D)", "I want HIM!\n\nHe points right at Drew.\n\n TREVOR (CONT'D)" ], [ "As he packs for China.\nANGLE ON KWAN AND DREW\nAs Kwan drops drew off at the AIRPORT. Drew takes his suitcase and", "Next to him is an old man, his teeth red and rotted from betel nut\njuice. The man smiles at Drew.\nEXT. CHINA COUNTRYSIDE ­ DAY", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "Drew watches the countryside go by. Temples, farms and rice paddies\nslide by, with an occasionally glimpse of the Great Wall.\nEXT. GREAT WALL ­ DAY", "nods his head, then bows in the traditional Chinese manner.\n DREW\n Master...\nMONTAGE OF DEPARTURE", "Hop on.\n\nDrew does, and they take off, the girls from the school tittering as\nthey drive off.\n\nEXT. CHINESE STREETS ­ SAME DAY", "He bows to San De and then leaves the chamber.\n\nEXT. CHAMBER ­ SAME NIGHT\n\nDREW COMES OUT, FINDING GAO AND LI WAITING FOR HIM.", "while Drew is doing his best to stay on the bike.\n DISSOLVE TO:\nEXT. CHINESE STREETS ­ SAME DAY", "Drew returns his bow.\nEXT. SHAOLIN TEMPLE ­ DAY", "INT. LUOYANG TRAIN STATION ­ DAY\nESTABLISHING SHOT OF DREW GETTING OFF THE TRAIN.", "China.\n DREW\n You mean... all the stories...?\n KWAN\n (nodding)", "DREW (CONT'D)\n Not this time.\nDrew quickly walks through the door.\nEXT. TEMPLE ­ SAME DAY", "Gao and Li run up next to Drew, and together they go back to the\ntemple. When they stop outside the temple, they are breathing\nheavily. finally catching his breath, Gao turns to Drew.", "Drew's head snaps up at the words \"morals charge\"\n POLICE LIEUTENANT\n We demand that he leaves the temple, and China!", "him into motion. Drew walks on, passing a sign that reads \"Luoyang\".\nEXT. CHINESE STREETS ­ DAY", "DREW (CONT'D)\n Disciple Gao was better than me.\nDrew pauses, and Gao is even more surprised at the revelation.", "(beat)\n\n Tell me what happened.\n\nDrew looks at Gao, and Gao looks at Drew. There is a pause, one that\nis very uncomfortable. Finally, Drew speaks.", "EXT. SHAOLIN TEMPLE ­ SAME DAY\nESTABLISHING SHOT OF COURTYARD, DREW ALL ALONE.\nThe door to the temple opens and out comes San De, alone this time." ], [ "TREVOR\n\n They said you were good... ha!\n\nHe knocks the guy out with a picture perfect kick. There is no\ndenying that he's a superior fighter.", "Trevor goes back to the ring. He really takes it to this guy,\nalternately playing with him and hurting him. As the guy tries to", "The referee gives them a signal and the fight begins. Drew is holding\nhis own, but Trevor is scoring. After several flashy moves, the round\nis over.", "Trevor totally confused and helpless with a mixture of high kicks,\ntakedowns, flips and punches.\nTrevor drops to one knee, his hands down at his side, note even", "Drew and Trevor are already inside, waiting. Drew fights in a mish\nmosh of gear (different colors, different makes), while Trevor is\ndecked out in designer, personalized gear.", "As Trevor and the Shaolin entry bow to each other. The fight begins.\nIt isn't even close. Trevor is better than he ever was. He is", "bothering to defend himself.\nDrew grabs Trevor by the front of his uniform and pulls back his\nright hand in a fist. He is going to put him out with a good old-", "goes after Trevor, and it is immediately obvious that Trevor is\ncompletely outclassed. Drew scores on Trevor at will, and soon has", "ANGLE ON TREVOR\nAs he knocks out an opponent.\nANGLE ON CROWD\nApplauding.", "Stay still, dammit! Stand and fight!\nAnd he dances out of the way. Trevor is getting more and more angry.\nSoon, Drew tires of this game and decides to end this quickly. He", "... I'm going to enjoy it.\nThey back up, and the fight begins.\nTrevor attacks hard, but Drew avoids easily, using all soft gong fu.", "He continues to attack, throwing flashy technique after flashy\ntechnique, but he can't touch Drew.\n TREVOR", "Trevor looks into Drew's face, wondering why Drew would do such a\nthing. When he sees Drew's friendly face, he knows.\n\nTo teach him a lesson.", "The referee comes over to Trevor, and raises his fist up in victory.\nTrevor tears his arm away and SCREAMS TO THE CROWD:\n\n TREVOR (CONT'D)", "ANGLE ON TREVOR\nTaunting a different opponent. Trevor executes a beautiful technique\nand puts the guy down and out.\nANGLE ON TEAM", "It's your call.\nDrew nods, then turns to face the ring, where Trevor is still\nstanding, trying to get someone to fight him.", "Trevor dumps Drew and scores the final point, just as time runs out.\nA buzzer goes off, signaling the end of the round.", "Drew is dumbstruck, and Trevor takes advantage of it.", "2nd round: Drew's getting beaten worse than the first round. Nothing\nhe tries works. The score at the end of the round is 15 - 4, in favor\nof Trevor.\nROUNDBREAK", "When they get around his knees, he finally notices them, and reaches\ndown to get them. Trevor drives and picks him up in a throw,\neffectively showing Drew's bare ass to the world." ], [ "Trevor goes back to the ring. He really takes it to this guy,\nalternately playing with him and hurting him. As the guy tries to", "bothering to defend himself.\nDrew grabs Trevor by the front of his uniform and pulls back his\nright hand in a fist. He is going to put him out with a good old-", "It's your call.\nDrew nods, then turns to face the ring, where Trevor is still\nstanding, trying to get someone to fight him.", "TREVOR\n\n They said you were good... ha!\n\nHe knocks the guy out with a picture perfect kick. There is no\ndenying that he's a superior fighter.", "Stay still, dammit! Stand and fight!\nAnd he dances out of the way. Trevor is getting more and more angry.\nSoon, Drew tires of this game and decides to end this quickly. He", "The crowd, who has seen Drew and heard about him for quite a while,\nwarms to the prospect. They start cheering for the American Shaolin\nto face Trevor.", "The referee gives them a signal and the fight begins. Drew is holding\nhis own, but Trevor is scoring. After several flashy moves, the round\nis over.", "goes after Trevor, and it is immediately obvious that Trevor is\ncompletely outclassed. Drew scores on Trevor at will, and soon has", "The referee comes over to Trevor, and raises his fist up in victory.\nTrevor tears his arm away and SCREAMS TO THE CROWD:\n\n TREVOR (CONT'D)", "Trevor listens to this, nods his head once, and when Pfeelgut goes to\nleave, Trevor pushes him into the pool.", "around Drew's waist and pulls.\nThey face off (\"20 seconds\" comes the call), and Trevor charges. As", "Trevor looks into Drew's face, wondering why Drew would do such a\nthing. When he sees Drew's friendly face, he knows.\n\nTo teach him a lesson.", "... I'm going to enjoy it.\nThey back up, and the fight begins.\nTrevor attacks hard, but Drew avoids easily, using all soft gong fu.", "Drew and Trevor are already inside, waiting. Drew fights in a mish\nmosh of gear (different colors, different makes), while Trevor is\ndecked out in designer, personalized gear.", "The next guy comes up, but before they can start, the psychologist,\nDR. PFEELGUT, calls for \"Time\" and motions Trevor over.\n\n PFEELGUT", "Trevor totally confused and helpless with a mixture of high kicks,\ntakedowns, flips and punches.\nTrevor drops to one knee, his hands down at his side, note even", "ANGLE ON TREVOR\nAs he knocks out an opponent.\nANGLE ON CROWD\nApplauding.", "Do you turn away from him out of fear?\nANGLE ON TREVOR\nWho is seething.\n\n TREVOR", "Drew is dumbstruck, and Trevor takes advantage of it.", "2nd round: Drew's getting beaten worse than the first round. Nothing\nhe tries works. The score at the end of the round is 15 - 4, in favor\nof Trevor.\nROUNDBREAK" ], [ "He comes at Gao, and they start fighting again, throwing all kinds of\nacrobatic kicks and techniques.", "Suddenly, out of nowhere, comes the staff and the ATTACK.\nDrew calmly avoids the first few strikes, blocks a couple more, then", "They are expert fighters now, and they move through the complicated\nroutines with ease.", "Drew, however, is prepared (both mentally and physically).\nHe blocks, avoids, rolls, jumps and redirects the attacks on him,\nmaking his way across.", "As he continues to move around the workout area, his arms and body\nmoving as he tries to match the movements on the TV.\nSuddenly, Kwan jumps out of the shadows, attacking. Drew reacts", "Now it's Drew's turn to strike, and he tries to hit Gao with the same\namount of force as he did, but Gao avoids his attack, throwing him", "As Trevor and the Shaolin entry bow to each other. The fight begins.\nIt isn't even close. Trevor is better than he ever was. He is", "His body moves with the wind, bending and swaying. Another monk is\nattacking him with a hard style, and the soft style is very\neffective.", "violence. He has a cause, and he's enjoying every minute of the\nfight. It is over quickly, as Drew is a superb fighter, using", "Drew is next in line, and he moves through the techniques without a\nmistake. When he gets to the end of the routine, he breaks into a", "DREW (CONT'D)\n I am a Shaolin monk.\nHe enters the chamber again, and the attacks start again.", "It is Gao, and he immediately sets on the other toughs. The room\nERUPTS in a melee as the disciples go at it with the village toughs.\n\nThe girls are SCREAMING as the boys kick and punch.", "Trevor goes back to the ring. He really takes it to this guy,\nalternately playing with him and hurting him. As the guy tries to", "You got it.\nBefore he can move, however, Gao attacks, slamming him full power in\nthe face. Drew almost falls to the ground, then attacks him and the", "He is throwing kicks and going through his routines, concentrating on\nhis breathing. As he finishes a particularly strenuous series, he\nstrips off his clothes and dives into the lake.", "His attacker has vanished, leaving Drew alternately moaning from the\npain, and chuckling at himself in the bamboo.\nEXT. TRAINING AREA ­ DAY", "At Shaolin Temple, in misty Songshan mountains, We monks\n trained in iron palm until our hands bled...\n (beat)", "times demanded action, we developed Shaolin style wu shu\n from these exercises.\nHe goes through a couple of martial movements.\n MONK (CONT'D)", "As he goes through a thicket of bamboo. as he gets to the center, he\nis attacked! The staff comes out, but Drew manages to block it with", "a weapon and starts to spin it, going through a martial arts form,\nhis feet moving naturally into the depressions in the floor.\nHe finishes with a flourish, having moved into a shadowy area in a" ], [ "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)\n Then I must pass this final test. Furthermore, I request\n that I be the first one through.\n SAN DE\n (very proud)\n Your request is granted.", "DREW (CONT'D)\n\n So, I didn't fail, huh?\n\n (beat)\n\n I can ask my question, then?", "DREW (CONT'D)\n Not this time.\nDrew quickly walks through the door.\nEXT. TEMPLE ­ SAME DAY", "Drew, however, is prepared (both mentally and physically).\nHe blocks, avoids, rolls, jumps and redirects the attacks on him,\nmaking his way across.", "DREW\n With pleasure.\nDrew tries another kip, pushing his feet towards the D.S.' chest. He\nlands on his feet easily, surprised.", "DREW (CONT'D)\n Again, deformed.\nThe D.S. nods and walks off, leaving Drew to stare questioningly at", "showing it to Drew.\n SAN DE", "DREW (CONT'D)\n Disciple Gao was better than me.\nDrew pauses, and Gao is even more surprised at the revelation.", "He pauses again, looking at Drew. Drew meets his gaze, wondering why\nhe is telling him this story.", "The group gasps, knowing how much Drew must be hurting, admiring him\nfor his guts. Even Gao is impressed.", "Some are getting it, some aren't.\n\nDrew, used to a more individualized type of training, isn't getting\nit.\n\nEXT. TRAINING AREA ­ DAY", "DREW\n (eyes intent)", "(beat)\n\n Tell me what happened.\n\nDrew looks at Gao, and Gao looks at Drew. There is a pause, one that\nis very uncomfortable. Finally, Drew speaks.", "INT. DORM ROOM ­ SAME NIGHT\nESTABLISHING SHOT OF DREW WITH THE OTHER GUYS AROUND HIM.", "violence. He has a cause, and he's enjoying every minute of the\nfight. It is over quickly, as Drew is a superb fighter, using", "and he sees Drew sitting there. His eyes widen in shock, then he\nquickly disappears inside.\nAlmost immediately, the door opens again, and the Admissions Monk is", "Congratulations.\n\n DREW\n\n I wouldn't have made it through without you.\n\n (beat)" ], [ "Drew turns back to stare at the front of the temple. He is letting it\nall sink in.", "Drew is there each time to embrace them and congratulate them.\n\nEXT. TEMPLE ­ SAME DAY", "the door to the temple opens again. The Drill Sergeant appears in the\ndoorway and impatiently motions for Drew to come in.\nThe crowd has stopped and is watching the drama unfold.", "with the suitcase. He looks at Drew, a little surprise showing in his\nface at seeing the American still there. He doesn't stop, though. He\ngoes into the temple, shaking his head.", "No tourists! Temple closed!\n\n DREW\n\n So you can see me?!?\n\nSeveral monks rush up and start herding Drew towards the exit.", "ANGLE ON DREW\nSame as the first shot, all alone in the temple.\n DISSOLVE TO:", "ANGLE ON DREW\nAs he leaves the temple. He pauses for a moment with the door open,\nthen shuts it sadly. He looks out over the courtyard, which is", "They pass the monk who was sweeping up in the back of the temple. He\nwatches with interest as they open the door and force Drew through\nit, out of the temple.\nHe smiles.", "EXT. TEMPLE ­ NIGHT\nESTABLISHING SHOT OF DREW WALKING THROUGH THE COURTYARDS OF THE\nTEMPLE.\nHe is going nowhere in particular, just walking and thinking.", "(alarmed)\n\n We are not allowed to have contact with females. It is\n the most serious rule of the temple.\n\n DREW", "As he comes out of the temple, chasing away the kids.\n\nWhen they are gone, he turns to Drew.\n\n DRILL SERGEANT", "EXT. TEMPLE STAND ­ EVENING\nESTABLISHING SHOT OF DREW, ASHEMA AND OLD MAN, STILL SITTING AT THE", "DREW (CONT'D)\n Not this time.\nDrew quickly walks through the door.\nEXT. TEMPLE ­ SAME DAY", "backpack and starts towards the temple, limping from sitting for so\nlong.\nThe crowd goes crazy, clapping and yelling.\nDrew runs into the temple. The door closes behind him.", "He goes over the path to the temple, having to negotiate logs over\nchasms, etc. After various trials and tribulations, Drew arrives at\nthe temple, his arms incredibly tired. The D.S. is there waiting for\nhim.", "Gao and Li run up next to Drew, and together they go back to the\ntemple. When they stop outside the temple, they are breathing\nheavily. finally catching his breath, Gao turns to Drew.", "ESTABLISHING SHOT OF TEMPLE INTERIOR AS DREW OPENS THE HEAVY DOOR.", "Drew's form is firm and solid, the determination in his eyes easily\nseen as he stares at the moon. He will see this through.\nEXT. TEMPLE ­ DAY", "San De stands and bows to Drew. Drew returns the bow, takes the map\nand the box, then leaves the chamber.\n\nEXT. TEMPLE ­ EARLY MORNING", "temple.\nDrew sits there, thinking, letting it all soak in. He then gets up\nand smiles.\n DREW" ], [ "Who sees that and is hurrying.\n\nThe rope is fraying more, and when Drew is almost there, the rope\nsnaps and they both go swinging into the side of the mountain.", "Drew, groggy from the impact, manages to lash out and PIN the scroll\nto the cliff wall with the BACK of his hand.\n\nANGLE ON MAN", "The tough pulls his fist back to strike Drew, who has been grabbed by\ntwo other toughs, his arms pinned behind his back.\n\nSuddenly, a figure FLIES in and SLAMS the tough to the ground.", "The tough spins Drew around and pushes him HARD. One of the toughs\nhas already gotten behind him, on his knees, and Drew goes flipping", "Immediately, his hands is locked in and a panel in the ceiling DROPS\nright onto his arm, forcing it down. Drew fights back with his", "Gao starts to pull down, gently at first, but when he sees that the\nold monk's arm is not bending, stronger, until finally he is putting", "As Drew pulls him up onto his back, and carries him up the rope to\nthe other side of the gorge.\n\nINT. MAN'S HOUSE ­ SAME DAY", "Gao pulls down, while the D.S. tries to fight back with his muscles,\nbut finally, after great strain, his arm bends. A cheer goes up from\nthe group.", "Drew is caught off guard, and is hit several times, driven back to\nthe door of the chamber. The statues stop moving.", "Trevor goes back to the ring. He really takes it to this guy,\nalternately playing with him and hurting him. As the guy tries to", "Drew down almost on his head. Luckily, Drew is able to twist at the\nlast moment and take the impact on his already bruised shoulder. He\nmoans and groans and lies there.", "in the leg with a leg sweep. Drew tries to keep his balance, and\nfights a valient, but losing battle. He falls over the side, the dirt", "Driven back to the door, Drew slumps against the wall. His face is\nalready bruised and bleeding.\n DREW", "around to see a man RIGHT BEHIND HIM.\n DREW\n Is this rope strong enough for both of us?", "off balance. He throws another punch out, and Gao grabs it and pulls.", "tries to avoid getting hit. Drew catches a haymaker, and he spins and\ndrops, and the thugs laugh, kick him a couple of times, and then kick", "He hit you so hard, you're delirious. I'll get a cold\n cloth.\nHe starts to get up, but Drew grabs his arm and forces him back down.", "When they get around his knees, he finally notices them, and reaches\ndown to get them. Trevor drives and picks him up in a throw,\neffectively showing Drew's bare ass to the world.", "around Drew's waist and pulls.\nThey face off (\"20 seconds\" comes the call), and Trevor charges. As", "The group gets started doing the drill, and Gao is almost caving\nDrew's chest in with his blows. He is so close to Drew that Drew" ], [ "goes after Trevor, and it is immediately obvious that Trevor is\ncompletely outclassed. Drew scores on Trevor at will, and soon has", "When they get around his knees, he finally notices them, and reaches\ndown to get them. Trevor drives and picks him up in a throw,\neffectively showing Drew's bare ass to the world.", "The referee gives them a signal and the fight begins. Drew is holding\nhis own, but Trevor is scoring. After several flashy moves, the round\nis over.", "The group laughs a little at that, and Drew's manhood is now\nchallenged.", "He starts in again, and the attacks come again, but they are\ndifferent this time.\n\nDrew is clobbered.", "Drew holds out his hand for the tape, and Kwan slaps it into his\nhand. Drew smiles a defeated smile and turns toward the VCR, when", "2nd round: Drew's getting beaten worse than the first round. Nothing\nhe tries works. The score at the end of the round is 15 - 4, in favor\nof Trevor.\nROUNDBREAK", "The group gasps, knowing how much Drew must be hurting, admiring him\nfor his guts. Even Gao is impressed.", "violence. He has a cause, and he's enjoying every minute of the\nfight. It is over quickly, as Drew is a superb fighter, using", "No answer from the man, who is now pushing Drew to go faster. He is\ninching up closer to him, and occassionally kicking him to go\nquicker.", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "He turns to Ashema, who has now backed off a little bit and is\nlooking at Drew, a smile on her face, but is pretending that she is\nembarrassed. The other girls are gathered around, giggling.", "My turn.\nHe attacks, and Drew gets to the final technique. He blocks the way\nhe did before, and he gets slammed brutally by Gao.\nGao stands over him, smiling.", "Drew bows to the Bau Bau, then slips off his hat, rubbing his bald\nhead for Bau Bau to see. Bau Bau laughs, and the rest of the guys\nrush up to Drew, forcing his hat back on his head.", "The 3rd round starts. In this round, Trevor is destroying Drew,\nmaking him look ridiculous. A clinch comes, and\n(INSERT HERE) before they can break, Trevor grabs the drawstring", "He scans the group, and then points to Drew. Drew smiles ruefully,\nwalks to the front and bows to D.S.\n\n D.S.", "Trevor dumps Drew and scores the final point, just as time runs out.\nA buzzer goes off, signaling the end of the round.", "He walks away, and Drew reluctantly gives up his backpack.\nDrew lines back up, and is about to get his robes, when Gao slides\nover and takes them from him. Drew immediately shoves him and tries" ], [ "goes after Trevor, and it is immediately obvious that Trevor is\ncompletely outclassed. Drew scores on Trevor at will, and soon has", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "The referee gives them a signal and the fight begins. Drew is holding\nhis own, but Trevor is scoring. After several flashy moves, the round\nis over.", "The group laughs a little at that, and Drew's manhood is now\nchallenged.", "2nd round: Drew's getting beaten worse than the first round. Nothing\nhe tries works. The score at the end of the round is 15 - 4, in favor\nof Trevor.\nROUNDBREAK", "The tourist runs up to where Drew is and stands next to him. The\ncameras click and whirr, and Drew is thoroughly embarrassed. When the", "Drew holds out his hand for the tape, and Kwan slaps it into his\nhand. Drew smiles a defeated smile and turns toward the VCR, when", "When they get around his knees, he finally notices them, and reaches\ndown to get them. Trevor drives and picks him up in a throw,\neffectively showing Drew's bare ass to the world.", "Drew blocks, his pants begin to sag. Trevor, not trying to score,\njust trying to keep Drew's hands busy, keeps coming.\nDrew's pants drop lower and lower.", "violence. He has a cause, and he's enjoying every minute of the\nfight. It is over quickly, as Drew is a superb fighter, using", "Drew is getting tagged, hard, while the points he scores are all\nrelatively controlled. After one particularly powerful shot, Drew\nstops.\n\n DREW", "He turns to Ashema, who has now backed off a little bit and is\nlooking at Drew, a smile on her face, but is pretending that she is\nembarrassed. The other girls are gathered around, giggling.", "No answer from the man, who is now pushing Drew to go faster. He is\ninching up closer to him, and occassionally kicking him to go\nquicker.", "DREW (CONT'D)\n Disciple Gao was better than me.\nDrew pauses, and Gao is even more surprised at the revelation.", "As he wins a fight.\nANGLE ON DREW\nAs he wins.\nANGLE ON TREVOR", "Now it's Drew's turn to strike, and he tries to hit Gao with the same\namount of force as he did, but Gao avoids his attack, throwing him", "The 3rd round starts. In this round, Trevor is destroying Drew,\nmaking him look ridiculous. A clinch comes, and\n(INSERT HERE) before they can break, Trevor grabs the drawstring", "bothering to defend himself.\nDrew grabs Trevor by the front of his uniform and pulls back his\nright hand in a fist. He is going to put him out with a good old-" ], [ "DREW (CONT'D)\n\n Master Kwan! I'm sorry, very sorry!\n\n KWAN\n (blustering)", "ANGLE ON DREW\n\nWho, for the first time, sees that it is Kwan.\n\n DREW\n\n MASTER KWAN!", "A whisper is going through the crowd: \"Shaolin\".\nDrew touches the boy's cheek, smiles, then stands up and bows. He\nmoves on, the crowd watching him walk away.", "KWAN (CONT'D)\n What?\n DREW\n\n If you are not a Shaolin warrior, then I will become one.\n KWAN", "As he continues to move around the workout area, his arms and body\nmoving as he tries to match the movements on the TV.\nSuddenly, Kwan jumps out of the shadows, attacking. Drew reacts", "KWAN\n No.\nDrew nods, an idea forming in his head. A slight smile forms on his\nface. Kwan was expecting him to be angry, he never expected this.", "Each time Li throws the final kick, Drew gets hit, HARD.\n\nHis block isn't working. A monk comes up to him.\n\n MONK", "master, and then moves to the side of the workout room. Kwan doesn't\nknow he's gone. Kwan turns around, forgetting for a moment what he is", "DREW (CONT'D)\n Disciple Gao was better than me.\nDrew pauses, and Gao is even more surprised at the revelation.", "Kwan takes the needle out of Drew's arm, and then rubs the spot where\nit was with a cotton ball.\n\n KWAN (CONT'D)", "underneath that is \"Drew Carson\". Kwan takes in the entire outfit,\nwhile the rest of the class is gathering around to have a look. They\nare all very impressed.", "DREW (CONT'D)\n I am a Shaolin monk.\nHe enters the chamber again, and the attacks start again.", "San De looks at Drew long and hard.\n SAN DE\n There are some times when a Shaolin must fight, and some\n people who will not learn until they are taught a lesson.", "So you're not a Shaolin?\n\n KWAN\n\n No.\n\n DREW\n Never were?", "DREW\n I came to the Shaolin Temple because of you, Trevor. You\n humiliated me, and I wanted to make sure it could never\n happen again.", "people.\n DREW\n Why are you telling me this?\n KWAN", "ANGLE ON DREW AND LI\nAs they go through a very intricate, beautifully staged series of\ntechniques. The last technique is a very powerful kick, and one which\nDrew is to block using the blocking technique he refused to learn\nbefore.", "They are not talking, they are just walking, Drew kicking a can and\ncontemplating the future, and the past.\nINT. KWAN HOUSE ­ SAME NIGHT", "(beat)\n\n Tell me what happened.\n\nDrew looks at Gao, and Gao looks at Drew. There is a pause, one that\nis very uncomfortable. Finally, Drew speaks.", "(whisper)\n Drunken Kung Fu...\nDrew nods and leads them out of the temple." ], [ "DREW\n I came to the Shaolin Temple because of you, Trevor. You\n humiliated me, and I wanted to make sure it could never\n happen again.", "DREW (CONT'D)\n I am a Shaolin monk.\nHe enters the chamber again, and the attacks start again.", "EXT. SHAOLIN TEMPLE ­ SAME DAY\nESTABLISHING SHOT OF COURTYARD, DREW ALL ALONE.\nThe door to the temple opens and out comes San De, alone this time.", "EXT. SHAOLIN TEMPLE ­ SAME DAY\nESTABLISHING SHOT OF DREW FILLING THE BUCKETS IN THE STREAM.", "The sounds of training can be heard O.S. Drew stops to listen to\nthose sounds for a moment, then heads for the door.\nEXT. SHAOLIN TEMPLE ­ SAME DAY", "San De looks at Drew long and hard.\n SAN DE\n There are some times when a Shaolin must fight, and some\n people who will not learn until they are taught a lesson.", "DREW\n I didn't come all this way, from America, to get turned\n away. I want in. I want to become a Shaolin monk.", "DREW (CONT'D)\n The Shaolin Temple? How hard can that be? Geez, doesn't\n anyone speak English here?", "EXT. SHAOLIN TEMPLE ­ DAY\n\nESTABLISHING SHOT OF COURTYARD, DREW ALL ALONE.\n\nO.S. comes the sounds of gongs and drums.", "This is it ­ the temple he came halfway around the world to see. The\nShaolin Temple, the birthplace of the martial arts.\n DREW\n Whoa!", "A whisper is going through the crowd: \"Shaolin\".\nDrew touches the boy's cheek, smiles, then stands up and bows. He\nmoves on, the crowd watching him walk away.", "The crowd, who has seen Drew and heard about him for quite a while,\nwarms to the prospect. They start cheering for the American Shaolin\nto face Trevor.", "DREW\n\n I hate long goodbyes anyway...\n\nHe exits the room.\n\nEXT. SHAOLIN COURTYARD ­ SAME DAY", "Drew returns his bow.\nEXT. SHAOLIN TEMPLE ­ DAY", "DREW\n Where is the Shaolin Temple? Shaolin?", "As they go through forms or free sparring. There are SHOTS of monks\nthrowing stars, working with weapons, etc. It is all very exciting.\n\nANGLE ON DREW", "Why did you come to the Shaolin Temple?\n\n DREW\n\n (caught off guard)\n\n To train, Master.", "makes his way past, weaving and throwing kicks and punches. It is a\ntense moment as the monk comes uncomfortably close to where Drew and\nGao are standing, but he walks on.", "(imitating an announcer)\n Presenting, the greatest fighter in the history of the\n Shaolin temple... Drew Carson!", "I thought the Shaolin monks were warriors, not babies!\n Look at him ­ he is too scared to face me!\nANGLE ON DREW" ], [ "Much of the training at the temple is in that direction ­\n self sacrifice. Tell me more.\n\n DREW\n At first I was really bored, and very lonely. But then,", "Drew turns back to stare at the front of the temple. He is letting it\nall sink in.", "He goes over the path to the temple, having to negotiate logs over\nchasms, etc. After various trials and tribulations, Drew arrives at\nthe temple, his arms incredibly tired. The D.S. is there waiting for\nhim.", "Drew is there each time to embrace them and congratulate them.\n\nEXT. TEMPLE ­ SAME DAY", "Drew's form is firm and solid, the determination in his eyes easily\nseen as he stares at the moon. He will see this through.\nEXT. TEMPLE ­ DAY", "backpack and starts towards the temple, limping from sitting for so\nlong.\nThe crowd goes crazy, clapping and yelling.\nDrew runs into the temple. The door closes behind him.", "ANGLE ON DREW\nSame as the first shot, all alone in the temple.\n DISSOLVE TO:", "They pass the monk who was sweeping up in the back of the temple. He\nwatches with interest as they open the door and force Drew through\nit, out of the temple.\nHe smiles.", "EXT. TEMPLE ­ NIGHT\nESTABLISHING SHOT OF DREW WALKING THROUGH THE COURTYARDS OF THE\nTEMPLE.\nHe is going nowhere in particular, just walking and thinking.", "temple.\nDrew sits there, thinking, letting it all soak in. He then gets up\nand smiles.\n DREW", "the door to the temple opens again. The Drill Sergeant appears in the\ndoorway and impatiently motions for Drew to come in.\nThe crowd has stopped and is watching the drama unfold.", "Gao and Li run up next to Drew, and together they go back to the\ntemple. When they stop outside the temple, they are breathing\nheavily. finally catching his breath, Gao turns to Drew.", "EXT. TEMPLE STAND ­ EVENING\nESTABLISHING SHOT OF DREW, ASHEMA AND OLD MAN, STILL SITTING AT THE", "In the b.g. comes Drew, dressed in his monastic robes, no hat on his\nhead. He is making no attempt to hide the fact that he is a monk.", "As he comes out of the temple, chasing away the kids.\n\nWhen they are gone, he turns to Drew.\n\n DRILL SERGEANT", "DREW\n I came to the Shaolin Temple because of you, Trevor. You\n humiliated me, and I wanted to make sure it could never\n happen again.", "EXT. SHAOLIN TEMPLE ­ SAME DAY\nESTABLISHING SHOT OF COURTYARD, DREW ALL ALONE.\nThe door to the temple opens and out comes San De, alone this time.", "EXT. TEMPLE ­ MONTAGE SECTION\nANGLE ON DREW SWEATING IN THE HOT SUNSHINE", "ANGLE ON DREW\nAs he leaves the temple. He pauses for a moment with the door open,\nthen shuts it sadly. He looks out over the courtyard, which is", "The line of disciples has stopped, waiting for Drew. Drew, back pack\nin hand, takes his place at the end of the line.\n\nThey parade past a line of monks assembled in the courtyard inside\nthe temple." ], [ "They pass the monk who was sweeping up in the back of the temple. He\nwatches with interest as they open the door and force Drew through\nit, out of the temple.\nHe smiles.", "and he sees Drew sitting there. His eyes widen in shock, then he\nquickly disappears inside.\nAlmost immediately, the door opens again, and the Admissions Monk is", "It is Drew, backpack at his side.\nThe front door opens and a monk pokes his head out to look around,", "In the b.g. comes Drew, dressed in his monastic robes, no hat on his\nhead. He is making no attempt to hide the fact that he is a monk.", "Drew stops their progress and makes sure he has the monk's attention.\n DREW (CONT'D)", "ESTABLISHING SHOT OF DREW STILL SITTING IN THE COURTYARD.\nThe old monk, San De, comes back, the same monk following behind him", "The line of disciples has stopped, waiting for Drew. Drew, back pack\nin hand, takes his place at the end of the line.\n\nThey parade past a line of monks assembled in the courtyard inside\nthe temple.", "Drew turns back to stare at the front of the temple. He is letting it\nall sink in.", "Drew stands next to the monk, watching him intently. Again, the monk\ntakes no notice of him.\n\n DREW", "Drew pauses for a moment, examining the room. It is filled with\nwooden statues of monks, all in different fighting positions. The\ncarvings are precise and incredibly beautiful. Their arms, open", "D.S. smiles and motions for an old monk standing near him to take his\nplace. the old man puts his arm up on Gao's shoulder, and takes a", "As it is flooded with monks. Some of them are massaging Drew\n(painfully), others are stretching his legs out, others waving towels\nto bring air to him, etc.", "Drew shoots Li and Gao a questioning look. Drunk? In the temple?\nThey take refuge behind a couple of the columns and watch as the monk", "distance. At the end of the path, a monk, SAN DE, is sweeping up the\npath.\nDrew walks up to the monk and bows.", "As they walk by, some of the monks look nonplused, while a few are\nput out by the fact that Drew is among them.", "Drew is there each time to embrace them and congratulate them.\n\nEXT. TEMPLE ­ SAME DAY", "He surveys the room, seeing the tableau of frozen monks, with Drew\nlying on his bed.\nANGLE ON DREW\nWho waves to the D.S.", "EXT. SHAOLIN TEMPLE ­ SAME DAY\nESTABLISHING SHOT OF DREW FILLING THE BUCKETS IN THE STREAM.", "makes his way past, weaving and throwing kicks and punches. It is a\ntense moment as the monk comes uncomfortably close to where Drew and\nGao are standing, but he walks on.", "Much of the training at the temple is in that direction ­\n self sacrifice. Tell me more.\n\n DREW\n At first I was really bored, and very lonely. But then," ], [ "He walks away, and Drew reluctantly gives up his backpack.\nDrew lines back up, and is about to get his robes, when Gao slides\nover and takes them from him. Drew immediately shoves him and tries", "It is the same school where Drew first met Ashema. The guys, still\nhappy, arrive at the school, and the realization of what they are\nabout to do sinks in.", "INT. DORM ROOM ­ SAME NIGHT\nESTABLISHING SHOT OF DREW WITH THE OTHER GUYS AROUND HIM.", "They are no longer tormenting him, they are playing around and with\nhim. Drew is not moving, but he is part of their group.", "He walks over to where Drew is, stares at him for a moment, then sits\ndown across from him.\nDrew tries not to look at him.", "Instead, however, Drew smiles and lifts Trevor up and shakes his\nhand, putting an arm around him to steady him in front of the crowd.", "Trevor looks into Drew's face, wondering why Drew would do such a\nthing. When he sees Drew's friendly face, he knows.\n\nTo teach him a lesson.", "DREW (CONT'D)", "DREW (CONT'D)", "DREW (CONT'D)", "Drew?\n\n DREW\n\n Hi.\n\nDrew sits down heavily, putting his pack down next to him.", "and he sees Drew sitting there. His eyes widen in shock, then he\nquickly disappears inside.\nAlmost immediately, the door opens again, and the Admissions Monk is", "He turns to Ashema, who has now backed off a little bit and is\nlooking at Drew, a smile on her face, but is pretending that she is\nembarrassed. The other girls are gathered around, giggling.", "He scans the group, and then points to Drew. Drew smiles ruefully,\nwalks to the front and bows to D.S.\n\n D.S.", "No answer from the man, who is now pushing Drew to go faster. He is\ninching up closer to him, and occassionally kicking him to go\nquicker.", "Drew takes it and San De bows to him. Drew can't stand it anymore,\nand rushes up to San De. He gives him a hug.\nANGLE ON SAN DE", "Drew and the others spot the cops, and walk quickly to their dorm\nroom.\nINT. DORM ROOM ­ SAME DAY", "DREW (CONT'D)\n ASHEMA! Here!\nShe looks at Drew again, and this time recognizes him. Drew arrives", "violence. He has a cause, and he's enjoying every minute of the\nfight. It is over quickly, as Drew is a superb fighter, using", "Working hard.\n\nINT. DORM AREA ­ NIGHT\n\nANGLE ON DREW\n\nWho is holding court.\n\n DREW" ], [ "DREW (CONT'D)\n I am a Shaolin monk.\nHe enters the chamber again, and the attacks start again.", "DREW (CONT'D)\n Then I must pass this final test. Furthermore, I request\n that I be the first one through.\n SAN DE\n (very proud)\n Your request is granted.", "makes his way past, weaving and throwing kicks and punches. It is a\ntense moment as the monk comes uncomfortably close to where Drew and\nGao are standing, but he walks on.", "The sounds of training can be heard O.S. Drew stops to listen to\nthose sounds for a moment, then heads for the door.\nEXT. SHAOLIN TEMPLE ­ SAME DAY", "EXT. SHAOLIN TEMPLE ­ SAME DAY\nESTABLISHING SHOT OF COURTYARD, DREW ALL ALONE.\nThe door to the temple opens and out comes San De, alone this time.", "As they go through forms or free sparring. There are SHOTS of monks\nthrowing stars, working with weapons, etc. It is all very exciting.\n\nANGLE ON DREW", "EXT. SHAOLIN TEMPLE ­ SAME DAY\nESTABLISHING SHOT OF DREW FILLING THE BUCKETS IN THE STREAM.", "DREW\n I didn't come all this way, from America, to get turned\n away. I want in. I want to become a Shaolin monk.", "Each time Li throws the final kick, Drew gets hit, HARD.\n\nHis block isn't working. A monk comes up to him.\n\n MONK", "San De looks at Drew long and hard.\n SAN DE\n There are some times when a Shaolin must fight, and some\n people who will not learn until they are taught a lesson.", "A whisper is going through the crowd: \"Shaolin\".\nDrew touches the boy's cheek, smiles, then stands up and bows. He\nmoves on, the crowd watching him walk away.", "Drew returns his bow.\nEXT. SHAOLIN TEMPLE ­ DAY", "DREW\n\n I hate long goodbyes anyway...\n\nHe exits the room.\n\nEXT. SHAOLIN COURTYARD ­ SAME DAY", "They pass the monk who was sweeping up in the back of the temple. He\nwatches with interest as they open the door and force Drew through\nit, out of the temple.\nHe smiles.", "At the beginning of your training, you were to obey\n without question. Now, as you become a Shaolin, you must\n learn to question everything, and obey yourself.", "Do you accept the shr fu at the Shaolin Temple as your\n spiritual leaders?\n DREW\n Yes, without pause.\nThe Drill Sergeant nods his head.\n MONK", "Drew pauses for a moment, examining the room. It is filled with\nwooden statues of monks, all in different fighting positions. The\ncarvings are precise and incredibly beautiful. Their arms, open", "EXT. SHAOLIN TEMPLE ­ DAY\n\nESTABLISHING SHOT OF COURTYARD, DREW ALL ALONE.\n\nO.S. comes the sounds of gongs and drums.", "DREW\n I came to the Shaolin Temple because of you, Trevor. You\n humiliated me, and I wanted to make sure it could never\n happen again.", "and they have a short conversation in Chinese.\n ADMISSIONS MONK\n That's not possible.\n DREW" ], [ "around Drew's waist and pulls.\nThey face off (\"20 seconds\" comes the call), and Trevor charges. As", "goes after Trevor, and it is immediately obvious that Trevor is\ncompletely outclassed. Drew scores on Trevor at will, and soon has", "The referee gives them a signal and the fight begins. Drew is holding\nhis own, but Trevor is scoring. After several flashy moves, the round\nis over.", "The crowd, who has seen Drew and heard about him for quite a while,\nwarms to the prospect. They start cheering for the American Shaolin\nto face Trevor.", "Trevor dumps Drew and scores the final point, just as time runs out.\nA buzzer goes off, signaling the end of the round.", "Trevor smiles and holds up Drew's hand as the champion.\n\nThe crowd goes crazy.\n\nANGLE ON LI AND GAO", "Trevor looks into Drew's face, wondering why Drew would do such a\nthing. When he sees Drew's friendly face, he knows.\n\nTo teach him a lesson.", "Drew and Trevor are already inside, waiting. Drew fights in a mish\nmosh of gear (different colors, different makes), while Trevor is\ndecked out in designer, personalized gear.", "Instead, however, Drew smiles and lifts Trevor up and shakes his\nhand, putting an arm around him to steady him in front of the crowd.", "Who climbs the ropes and goes into the ring. The crowd is going\ncrazy, eager to see the match. Drew, oblivious to the crowd, walks\nover to Trevor.", "When they get around his knees, he finally notices them, and reaches\ndown to get them. Trevor drives and picks him up in a throw,\neffectively showing Drew's bare ass to the world.", "bothering to defend himself.\nDrew grabs Trevor by the front of his uniform and pulls back his\nright hand in a fist. He is going to put him out with a good old-", "Drew is dumbstruck, and Trevor takes advantage of it.", "Who spots drew standing near the ring. He walks past him, trying to\nplace his face. Then, he comes back and walks right up to Drew and\nslaps him on the back.\n\n TREVOR", "He continues to attack, throwing flashy technique after flashy\ntechnique, but he can't touch Drew.\n TREVOR", "... I'm going to enjoy it.\nThey back up, and the fight begins.\nTrevor attacks hard, but Drew avoids easily, using all soft gong fu.", "Drew is there each time to embrace them and congratulate them.\n\nEXT. TEMPLE ­ SAME DAY", "It's your call.\nDrew nods, then turns to face the ring, where Trevor is still\nstanding, trying to get someone to fight him.", "The party is raging, while Gao and Drew are the only ones static, set\nto do battle.", "Trevor thrusts his fists into the air in celebration. Drew tries to\ncrawl out of the ring, and everyone is watching him." ], [ "A whisper is going through the crowd: \"Shaolin\".\nDrew touches the boy's cheek, smiles, then stands up and bows. He\nmoves on, the crowd watching him walk away.", "This is it ­ the temple he came halfway around the world to see. The\nShaolin Temple, the birthplace of the martial arts.\n DREW\n Whoa!", "The crowd whispered \"Shaolin\", and he bowed to us,\n touched my cheek and smiled, then just walked on. I\n watched him until he disappeared in the distance. He was", "At the beginning of your training, you were to obey\n without question. Now, as you become a Shaolin, you must\n learn to question everything, and obey yourself.", "times demanded action, we developed Shaolin style wu shu\n from these exercises.\nHe goes through a couple of martial movements.\n MONK (CONT'D)", "I will, Master.\n SAN DE\n If you deliver this, you may ask this master, the most\n advanced monk of the Shaolin tradition, any question you", "Shaolin Temple, but do not forget that you are. Dzai\n Jyan.\nThey file out.\nEXT. SHAOLIN TEMPLE ­ SAME DAY", "As Trevor and the Shaolin entry bow to each other. The fight begins.\nIt isn't even close. Trevor is better than he ever was. He is", "San De looks at Drew long and hard.\n SAN DE\n There are some times when a Shaolin must fight, and some\n people who will not learn until they are taught a lesson.", "Do you accept the shr fu at the Shaolin Temple as your\n spiritual leaders?\n DREW\n Yes, without pause.\nThe Drill Sergeant nods his head.\n MONK", "DREW (CONT'D)\n I am a Shaolin monk.\nHe enters the chamber again, and the attacks start again.", "At the Shaolin temple, we forge our bodies in the fire of\n our wills. We adhere to a vow of non-violence, unless\n someone else is in danger... Follow my movements...", "I won't sleep next to the American.\n D.S.\n We are no longer Chinese or Americans, Han or Mongol. We\n are Shaolin. Everyone is a monk.\n GAO (CONT'D)", "Great, just great.\n\nThey are motioned to follow Gao out of the courtyard and into the\ntemple proper.\n\nINT. SHAOLIN TEMPLE ­ SAME DAY", "(imitating an announcer)\n Presenting, the greatest fighter in the history of the\n Shaolin temple... Drew Carson!", "SAN DE\n\n Do these disciples accept the authority of the Shaolin\n Temple?\n\n DRILL SERGEANT\n\n Yes, without pause, Master San De.", "Don't you see? You said yourself I needed the right\n training ­ where better than the Shaolin Temple? What's", "I... I mean we, just wanted to... thank you for the\n opportunity to be part of the illustrious history of the\n Shaolin Temple.", "KWAN (CONT'D)\n\n (shaking his head)\n\n A Shaolin warrior lets nothing intrude. Continue, never\n mind.", "This is Shaolin Wu Shu. Continue." ] ]

[ "Who was the American finalist?", "What was Drew's teachers name?", "What did Drew claim to be?", "Where country does Drew depart?", "What Temple does Drew go to?", "How long does Drew wait before being admitted?", "On what principle does Drew refuse to fight?", "Who encourages Drew to fight?", "What does Master San De declare after the crowd goes wild?", "Who was Drew Carson tournament with?", "Who is Drew Carson?", "Who isTrevor Gottitall?", "When Drew departed from China where did he arrived?", "What kind of fighter Trevor was?", "Who did Trevor demand a fight against?", "Who improved his fighting skills?", "What are the two test Drew passed?", "Who didn't let Drew enter into the Temple?", "Who was pinned against the rope?", "Who humiliates Drew during the opening tournament?", "How is Drew embarrassed during the first tournament by his opponent?", "What secret does Master Kwan reveal to Drew after the tournament?", "Where does Drew go to learn Shaolin fighting techniques 'for real'?", "What does Drew do in order to be accepted into the Temple for training?", "What position does the old monk who gives Drew adivce hold at the Temple?", "Although they do not get along at first, which student does Drew become friends with?", "What are the final two tests Drew passes to become a full member of the Shaolin Monastary?", "Where is the tournament that Drew and Trevor face each other once again?", "Who says 'this is the future of Shaolin'?" ]

[ [ "Drew Carson", "Drew Carson" ], [ "Master Kwan", "Master San De" ], [ "A shaolin monk", "American Shaolin" ], [ "China", "America" ], [ "Shaolin Temple", "Shaolin" ], [ "A week", "one week" ], [ "non-violence and selflessness", "Nonviolence and selflessness" ], [ "Master San De", "Master San De" ], [ "This is the future of Shaolin", ":This is the future of Shaolin\"" ], [ "Trevor Gottitall.", "Trevor Gottitall" ], [ "Martial art of American finalist. ", "American kickboxer" ], [ "Kickboxer.", "kickboxer" ], [ "Shaolin Temple.", "Shanghai" ], [ "Trevor was a dirty fighter.", "Dirty" ], [ "american Shaolin.", "Drew" ], [ "Drew.", "Drew" ], [ "Spiritually and Chamber test.", "Test o fSpiritualityand Test of the Chamber" ], [ "The Monks.", "The monks" ], [ "Gao.", "Gao" ], [ "Trevor Gottitall", "Trevor Gotail" ], [ "He is pantsed (has his pants pulled down).", "Trevor pantsed him" ], [ "That he is not a Shaolin Monk.", "That Master Kwan is not really a Shaolin monk" ], [ "China (the Shaolin Temple)", "China" ], [ "Waits outside the Temple for one week.", "he waits outside the temple for a week" ], [ "Abbot", "the abbot" ], [ "Gao", "Gao" ], [ "Test of Spirituality and Test of the Chamber", "The Test of Spirituality and the Test of the Chamber" ], [ "Shanghai", "Shangai" ], [ "Master San De", "Master San De" ] ]

[ [ "ACKERMAN (CONT'D)\n Don't try to get clever:\n remember that Pearce is smarter", "There was no time. Besides Pearce\n is too smart for that; he would\n have spotted the agent a mile\n away.", "case against Pearce. It took. He\n hired her as an assistant.\n \n She turns her face and smiles at an UNSEEN MAN.", "raid last year. If there's\n anything hidden there, only Pearce\n knows where it is.\n \n He picks up his coat.", "Because Pearce was cleverer than\n all of us.\n \n CUT TO:", "We've questioned the ones we could\n find, and the only thing we\n learned is that Pearce apparently\n arranged it so even his own people", "Good bye Mr. Pearce.\n \n At this moment, Cara fills her lungs and screams:\n \n CARA", "Frank places a plate before Cara who sits with her wine\n at Pearce's oak table. She looks appreciatively at her\n plate.", "understand... how did Pearce manage\n to get here and open that safe\n without anybody noticing? And\n where did he go?", "felt sure Pearce would show up\n today.\n \n CARA\n What makes you think he didn't?", "JONES\n Pearce's own villa? Why would he\n risk going back there? He must\n know we'd be watching.", "INT. PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n It is completely dark inside. The two of them maneuver", "INT. KITCHEN, PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n The apartment appears as if it was leased, stocked and", "QUINN\n How do you know about it?\n \n ACKERMAN\n Pearce worked with no more than a", "DEMIDOV (CONT'D)\n And it's bad business to let\n somebody make a fool of you. If\n Pearce gets away with it, what", "...Pearce laundered over a billion\n dollars for Demidov. At some\n point Pearce decided he'd rather\n steal from Demidov than help him", "The surveillance techs begin madly punching buttons, etc.\n \n JONES\n Was that Pearce?", "(under his breath)\n Just so long as they don't beat us\n to Pearce when the real one\n arrives.", "DEMIDOV\n You know, Mr. Pearce, I thought I\n was finished with this sort of\n thing. But in your case, I've", "INT. DINING AREA, PEARCE'S \"SAFE HOUSE\" - LATER" ], [ "Frank's eyes drift open. He glances out the window and\n as his vision comes into focus he sees that the train is\n stopped. He sits bolt upright.", "Cara turns abruptly to Frank and presses her body against\n his. He's taken by surprise but willingly responds to\n her advance, wrapping his arms around her back.", "Frank crawls across the room and presses a hidden latch\n on a built-in bookshelf. It swings out of the way to", "The thugs push Frank to his knees.\n \n But he's barely paying attention to them. His eyes are\n locked on Cara.", "Frank nods. Ackerman sits down next to Frank as if he\n were an old pal instead of a quasi-captive.", "An idea comes into Frank's head... he looks around. Nobody\n is watching him. He glances at the inscription on the\n WATCH...", "Cara stares slack-jawed at Frank.\n \n He has given himself a complete make-over. New haircut.\n Pearce's suit fits him well.", "bullet for him, didn't he?\n \n Frank works himself up, drawing courage from his anger.\n \n FRANK (CONT'D)", "Frank hangs up, shaking his head.\n \n In the restful silence he hears a DISTANT BANG. A", "Cara watches him with thinly veiled contempt. Frank is a\n man of average size, average build... she peers over her\n glasses at him. And her expression slowly changes. She", "FRANK (CONT'D)\n What's he like?\n \n A beat.\n \n CARA", "Frank lies on the bed. There are clean bandages on his\n injuries.\n 44.", "FRANK\n Maybe.\n \n CUT TO:", "Frank nods, matter-of-fact.\n \n FRANK\n No travel insurance. No refund on", "Frank doesn't respond.\n \n CARA (CONT'D)\n I picked you because of your", "Frank... Frank.\n \n He's snoring. She pinches his nose closed...", "Frank sits alone with a blanket over his shoulders. Most\n of the blood has been wiped from his wound and he has a\n rough bandage on his head.", "behind her and we hear the click of the lock.\n \n Frank remains standing alone, immobile.", "FRANK\n My name is Frank.\n \n CARA\n Cara.", "FRANK (CONT'D)\n He told you to pick out some\n random sap on the train to take a" ], [ "case against Pearce. It took. He\n hired her as an assistant.\n \n She turns her face and smiles at an UNSEEN MAN.", "There was no time. Besides Pearce\n is too smart for that; he would\n have spotted the agent a mile\n away.", "We have a location and time for\n the next meet. Pearce's villa.\n Eight o'clock. We have to move\n fast--", "You should leave Venice tomorrow.\n (softer)\n It's a city for lovers Frank; no\n place to recover from a failed", "Frank places a plate before Cara who sits with her wine\n at Pearce's oak table. She looks appreciatively at her\n plate.", "Good bye Mr. Pearce.\n \n At this moment, Cara fills her lungs and screams:\n \n CARA", "away from Venice. You'll be safe.\n (scribbles his\n number)\n Any worry, you call me. I give", "ACKERMAN (CONT'D)\n Don't try to get clever:\n remember that Pearce is smarter", "What takes you to Venice?\n \n She nods toward his well-thumbed paperback.\n \n CARA", "along the Palazzo Vendramin en route to the Cipriani.\n She checks her watch. Then walks faster.", "Because Pearce was cleverer than\n all of us.\n \n CUT TO:", "raid last year. If there's\n anything hidden there, only Pearce\n knows where it is.\n \n He picks up his coat.", "We've questioned the ones we could\n find, and the only thing we\n learned is that Pearce apparently\n arranged it so even his own people", "JONES\n Pearce's own villa? Why would he\n risk going back there? He must\n know we'd be watching.", "understand... how did Pearce manage\n to get here and open that safe\n without anybody noticing? And\n where did he go?", "In an echo of their first meeting on the train (but\n without the false flirtation) she turns to him and hands\n him a piece of tape.", "I could get used to this.\n \n A movement in the street down below catches her eye. She\n studies the Ponte del Vin intently, seeing something.", "The principal apartment of a Venetian palazzo, looking\n out over the Grand Canal.\n \n Cara holds her cell phone to her ear as she walks.", "DEMIDOV (CONT'D)\n And it's bad business to let\n somebody make a fool of you. If\n Pearce gets away with it, what", "...Pearce laundered over a billion\n dollars for Demidov. At some\n point Pearce decided he'd rather\n steal from Demidov than help him" ], [ "He looks up and sees: the scowling face of an Italian\n WOMAN peering out over her window box.\n \n Frank raises a desperate finger to his lips. A prayer", "The thugs push Frank to his knees.\n \n But he's barely paying attention to them. His eyes are\n locked on Cara.", "Ok Signor... you can come with us\n now.\n \n Frank looks at the two big men on either side of him.", "Frank waits for the surprise.\n \n \n INT. INTERPOL FIELD HQ, VENICE - NIGHT", "Somebody tried to kill me.\n \n Domenico picks up Frank's statement and glances at it.\n \n DOMENICO", "FRANK (CONT'D)\n Police... better than the\n alternative I suppose.", "FRANK\n Um... thanks. Where are we going?\n \n DOMENICO\n I'm taking you to the hospital,", "EXT. INTERPOL FIELD HQ, VENICE - DAY\n \n Frank stands on a balcony overlooking a waterway.", "INT. INTERPOL FIELD HQ, VENICE - DAY\n \n Ackerman leads Frank through the maze of desks and", "A MOMENTARY BLACKOUT\n \n Frank opens his eyes and sees two pairs of black boots\n that belong to... A PAIR OF CARBINIERI who stand over him.", "the Palazzo Vendramin.\n \n In the midst of his scuffle, Frank looks around and\n realizes she's gone.", "INT. INTERROGATION ROOM - DAY\n \n Frank sits alone in the sparsely furnished, windowless", "Mr. Taylor... you're free to go.\n \n He looks at Frank with a measure of begrudging respect.", "FRANK\n I didn't \"scopata\" anybody!\n \n DOMENICO", "Frank doesn't respond.\n \n CARA (CONT'D)\n I picked you because of your", "Frank examines the second row. One of the young women\n is... CARA MASON. Her hair is pulled back. She looks more\n the determined police cadet than the sexy siren... but", "CUT TO:\n \n \n INT. POLIZIA \"QUESTURA\" (POLICE STATION) - DAY", "Frank, you have no idea what\n you're sticking your nose into.\n \n FRANK\n Probably not. But I'm doing it", "As Frank looks up.\n \n The Englishman has already turned away, but the\n Undercover Waiter is moving quickly toward Cara's table.", "WAITER\n Pardone Signore. Good morning.\n \n Frank stares in surprise at the food spread out before" ], [ "In an echo of their first meeting on the train (but\n without the false flirtation) she turns to him and hands\n him a piece of tape.", "her without a trace of deception. She believes.\n \n They hear voices on the stairs below.\n \n Frank holds up a finger to her-- wait.", "helps her secure the microphone and do up her shirt.\n \n FRANK\n Ackerman told me everything.", "None of this is your business\n anymore. Now get back inside\n Frank!\n \n Just as she raises her voice a door opens below them in", "takes her by surprise. She's strangely moved by it.\n \n She brushes her hand affectionately over his cheek.\n \n CARA", "Cara's bedroom door is ajar. Frank struggles not to\n notice. He turns to his bed and begins folding sheets.", "Cara lies on her side at Demidov's feet. Blood trickles\n from the side of her mouth.\n \n Her eyes are clouded with fear and pain as she views the", "behind her and we hear the click of the lock.\n \n Frank remains standing alone, immobile.", "that she won't give him away.\n \n She looks at him disapprovingly. Then disappears back\n inside.", "This is exactly what she did not want. But she controls\n her annoyance, nods in greeting and continues towards the\n front door.", "She crosses her legs. He glances up.\n \n Slowly, nonchalantly, she takes her coat off. Then the\n headscarf tied around her neck.", "ACKERMAN (CONT'D)\n She explains it now as the\n confusion of her new life outside", "Cara narrows her focus. She walks away from Frank,\n stealing away into the bedroom. Her heart is beating.\n \n CARA", "at all.\n \n ACKERMAN\n She's the worst combination:\n stunning looks and a brilliant", "Cara turns abruptly to Frank and presses her body against\n his. He's taken by surprise but willingly responds to\n her advance, wrapping his arms around her back.", "shakes out the contents. There is a ticket for the\n Orient Express and a handwritten letter...\n \n She spreads it out on the table like a precious treasure", "She blows right past him. Ackerman calls out after her.\n \n ACKERMAN (CONT'D)\n Cara...", "Hurriedly, Frank reverses back into the elevator.\n \n FRANK\n (to the Nurse)\n Wrong floor.", "He turns to REVEAL... that he is the \"ENGLISHMAN\" we've\n seen throughout the movie. He and Frank look at one\n another for a moment.", "beside her are keys, a wallet and an expensive MAN'S\n WATCH.\n \n Cara pauses; she's heard something." ], [ "Frank SHOVES him back.\n 74.\n \n \n FRANK (CONT'D)", "The thugs push Frank to his knees.\n \n But he's barely paying attention to them. His eyes are\n locked on Cara.", "Ackerman smiles. Frank remains defiant. He jerks his\n head toward the mirror confidently.\n \n FRANK (CONT'D)", "Frank stares at him blankly...\n \n FRANK\n How...?\n \n ACKERMAN", "bullet for him, didn't he?\n \n Frank works himself up, drawing courage from his anger.\n \n FRANK (CONT'D)", "Demidov just has time to process the fact that Frank is\n the one who shot him before the life drains from his eyes\n and he topples...", "Frank, you have no idea what\n you're sticking your nose into.\n \n FRANK\n Probably not. But I'm doing it", "helps her secure the microphone and do up her shirt.\n \n FRANK\n Ackerman told me everything.", "FRANK\n Cara!\n \n Cara says nothing. She just shoots Frank an angry glance", "Frank falls silent. Ackerman puts an arm around his\n shoulder and leads him away from the others.\n \n ACKERMAN (CONT'D)", "Frank nods. Ackerman sits down next to Frank as if he\n were an old pal instead of a quasi-captive.", "Frank shrinks down in his chair.\n \n A beat. Ackerman turns back to the rest of the room.", "Mr. Taylor... you're free to go.\n \n He looks at Frank with a measure of begrudging respect.", "Then, just before the doors close, Scarface turns... his\n eyes meet Frank's. He starts towards the elevator... but\n the doors shut first.", "FRANK (CONT'D)\n He told you to pick out some\n random sap on the train to take a", "CARA\n Why?\n \n FRANK\n You said I'd told so many lies,", "EXT. BALCONY - RESUME SCENE\n \n Ackerman turns to Frank.", "He turns to REVEAL... that he is the \"ENGLISHMAN\" we've\n seen throughout the movie. He and Frank look at one\n another for a moment.", "Then FRANK steps in front of The Undercover Waiter,\n mistaking him for Pearce.\n \n FRANK (CONT'D)", "Frank walks across to the door. There is a small spyhole\n and he looks through it. The porter stands there with a\n trolley. Frank opens the door." ], [ "JOHN ACKERMAN moves down the hall with purpose. British,\n Interpol chief inspector. He's the kind of man who\n commands respect (think Tommy Lee Jones in The Fugitive.)", "Every cop in the room is clenching his weapon. Desperate\n for the order to move. To jump in and stop this.", "Frank walks across to the door. There is a small spyhole\n and he looks through it. The porter stands there with a\n trolley. Frank opens the door.", "Cité. A convoy of black Mercedes arrives.\n \n \n INT. INTERPOL OFFICES, PARIS - EVENING", "Ackerman betrays no impatience. He knows better than to\n rush the professionals. He simply nods.\n \n The Specialist opens a tool box filled with sophisticated", "this is a police officer. He needs\n to briefly examine the room.\n \n DEMIDOV\n Of course.", "The Englishman opens the door to the cabin for them.\n \n A bottle of Crystal Champagne and two glasses are set out", "The lift stops again. The doors open on the first tier of\n the subterranean car park.\n \n Frank leaps off.", "Doges flank a vast, hooded fireplace. The porter is\n showing them round the huge apartment, opening and\n closing doors.\n \n PORTER", "Undercover agents converge as well, closing the\n perimeter.", "As Frank looks up.\n \n The Englishman has already turned away, but the\n Undercover Waiter is moving quickly toward Cara's table.", "of the patrol boat.\n \n Ackerman steps off, pulling on a vest. He nods to Goyal.\n \n ACKERMAN", "Then a wind picks up and blows the mist clear.\n \n REVEAL an undercover POLICEMAN with an earpiece walking a\n dog a block away...", "They watch the BLACK CAR slowly descend the ramp. The\n Russian with the gun in his hand walks carefully\n alongside.", "The Undercover Waiter picks up speed, changing course\n slightly. WE SEE he's after The Englishman who is about\n to enter the restaurant kitchen...", "He stand motionless in the doorway, surprisingly calm.\n \n Demidov turns.\n \n DEMIDOV", "Then he's safely out of the way.\n \n CUT TO:", "They approach. Goyal kneels to pick it up with a plastic\n bag.\n \n GOYAL", "One of them holds a nightstick.\n \n They stare down at the bloodied tourist in his underpants\n lying at their feet. They've seen stranger things.", "INT. INTERPOL FIELD HQ, VENICE - DAY\n \n CAMERA TRACKS WITH GOYAL as he weaves through a sprawling" ], [ "58.\n \n \n IN THE SAFE HOUSE", "reveal a hidden safe built into the floor.\n \n Frank removes the fitted floor boards. There is a\n sophisticated BIO-METRIC LOCK -- just like the one at the", "INT. MASTER BEDROOM, \"SAFE HOUSE\" - DAY\n \n In the closets are dozens of flawless, custom-tailored\n suits.", "Sir... over here. Take a look at\n this!\n \n Goyal has found the safe. Ackerman comes over and looks.", "INSERT CLOSE UP - the only thing in the safe is a single\n FLASH DRIVE.\n \n Goyal signals to one of the TECHS. He opens a laptop on", "Ackerman looks around.\n \n \n INT. BEDROOM, \"SAFE HOUSE\" - NIGHT", "Then he's safely out of the way.\n \n CUT TO:", "INT. KITCHEN, PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n The apartment appears as if it was leased, stocked and", "Kevlar vest and follows, racing down the steps...\n \n \n INT. BEDROOM, \"SAFE HOUSE\" - CONTINUOUS", "INT. PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n It is completely dark inside. The two of them maneuver", "crowd.\n \n \n INT. BEDROOM, \"SAFE HOUSE\" - NIGHT\n \n Cara speaks urgently.", "INT. DINING AREA, PEARCE'S \"SAFE HOUSE\" - LATER", "INT. BEDROOM, \"SAFE HOUSE\" - CONTINUOUS\n \n Cara holds one finger in her ear, listening intently.", "INT. BATHROOM, \"SAFE HOUSE\" - DAY\n \n Frank examines a sleek, tiny electric razor that", "Jones looks on eagerly as numbers fill the screen.\n \n GOYAL\n Account numbers... access codes...\n unless I'm mistaken... he left the", "INT. KITCHEN, \"SAFE HOUSE\" - DAY\n \n Paging through the cookbook, Frank locates the page. He", "off its hooks and sets it on the floor.\n \n Nothing but plain wall underneath. Ackerman sits back\n down. Frank is a little bit chastened.", "INT. SITTING ROOM, \"SAFE HOUSE\" - MORNING\n \n With an unfamiliar gentleness, Cara approaches Frank", "No sign of anything underneath.\n \n Frank is practically sweating.\n \n Finally he uncovers fabric. He finishes unzipping the", "Frank crawls across the room and presses a hidden latch\n on a built-in bookshelf. It swings out of the way to" ], [ "There was no time. Besides Pearce\n is too smart for that; he would\n have spotted the agent a mile\n away.", "Because Pearce was cleverer than\n all of us.\n \n CUT TO:", "raid last year. If there's\n anything hidden there, only Pearce\n knows where it is.\n \n He picks up his coat.", "ACKERMAN (CONT'D)\n Don't try to get clever:\n remember that Pearce is smarter", "JONES\n Pearce's own villa? Why would he\n risk going back there? He must\n know we'd be watching.", "We've questioned the ones we could\n find, and the only thing we\n learned is that Pearce apparently\n arranged it so even his own people", "FRANK\n You didn't get to arrest Alexander\n Pearce...\n \n CARA", "The surveillance techs begin madly punching buttons, etc.\n \n JONES\n Was that Pearce?", "understand... how did Pearce manage\n to get here and open that safe\n without anybody noticing? And\n where did he go?", "DEMIDOV (CONT'D)\n And it's bad business to let\n somebody make a fool of you. If\n Pearce gets away with it, what", "QUINN\n How do you know about it?\n \n ACKERMAN\n Pearce worked with no more than a", "Good bye Mr. Pearce.\n \n At this moment, Cara fills her lungs and screams:\n \n CARA", "trust in Alexander Pearce. He\n betrayed that trust.\n \n Quinn smiles tightly. He's ready to get out of there.", "An INTERPOL OFFICER from Germany raises his hand.\n \n GERMAN INTERPOL\n Has Mr. Pearce ever been in", "Then FRANK steps in front of The Undercover Waiter,\n mistaking him for Pearce.\n \n FRANK (CONT'D)", "case against Pearce. It took. He\n hired her as an assistant.\n \n She turns her face and smiles at an UNSEEN MAN.", "INT. PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n It is completely dark inside. The two of them maneuver", "INT. KITCHEN, PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n The apartment appears as if it was leased, stocked and", "might have escaped justice.\n \n He turns to Jones with a smile.\n \n ACKERMAN (CONT'D)", "...Pearce laundered over a billion\n dollars for Demidov. At some\n point Pearce decided he'd rather\n steal from Demidov than help him" ], [ "follow...\n \n \n INT. HOSPITAL ROOM, PADUA - NIGHT", "stick and take forever.\n \n He opens the door a crack and looks down the ward.\n Nothing. He moves along the passage, slipping into", "He follows her past abandoned tricycles and very old men\n sitting on stone steps.\n \n FRANK", "The Undercover Waiter picks up speed, changing course\n slightly. WE SEE he's after The Englishman who is about\n to enter the restaurant kitchen...", "follows.\n \n DEMIDOV\n You're waiting for someone, Ms.\n Mason?", "Frank falls silent. Ackerman puts an arm around his\n shoulder and leads him away from the others.\n \n ACKERMAN (CONT'D)", "Frank and Cara trail the porter across the marble floor.\n \n Frank glances about, dazed with delight and amazement.", "Because Pearce was cleverer than\n all of us.\n \n CUT TO:", "He glances in the mirror periodically, suspicious.\n \n The door opens and Ackerman enters. He pulls up one of", "right back.\n \n He leaves Frank alone again.\n \n Frank stands and half-heartedly follows him to the\n doorway.", "Cara no sooner reads it than the Thin Waiter, who we now\n see is THE ENGLISHMAN...", "None of this is your business\n anymore. Now get back inside\n Frank!\n \n Just as she raises her voice a door opens below them in", "Frank nods. Ackerman sits down next to Frank as if he\n were an old pal instead of a quasi-captive.", "As Frank looks up.\n \n The Englishman has already turned away, but the\n Undercover Waiter is moving quickly toward Cara's table.", "her without a trace of deception. She believes.\n \n They hear voices on the stairs below.\n \n Frank holds up a finger to her-- wait.", "Ackerman betrays no impatience. He knows better than to\n rush the professionals. He simply nods.\n \n The Specialist opens a tool box filled with sophisticated", "behind her and we hear the click of the lock.\n \n Frank remains standing alone, immobile.", "Then FRANK steps in front of The Undercover Waiter,\n mistaking him for Pearce.\n \n FRANK (CONT'D)", "Frank examines the second row. One of the young women\n is... CARA MASON. Her hair is pulled back. She looks more\n the determined police cadet than the sexy siren... but", "surveillance.\n \n The meeting breaks up. Everybody jumps into action.\n \n ON QUINN as he slips out a side door." ], [ "been cheated out of the revenue.\n (beat)\n We calculate that Mr. Pearce's tax\n bill currently stands at $743.7", "That's his tax bill.\n \n She holds out her hand to the TECH who has just removed\n the FLASH DRIVE.", "million dollars.\n \n Jean Luc leans toward his colleague.\n \n JEAN LUC", "Mr. Pearce has some other debts as\n well. Most of you will recognize\n Ivan Demidov...", "Yes, but now the money is legal.\n \n JONES\n Not quite legal. The I.R.S. has", "...Pearce laundered over a billion\n dollars for Demidov. At some\n point Pearce decided he'd rather\n steal from Demidov than help him", "Looks like 744 million.\n \n JONES\n That's no mistake...\n (walks over)", "He's a tourist. Member of the\n teacher's union. Pays his taxes.\n Has bad luck.\n \n ACKERMAN", "Evidently. He had a pair of\n Russian hit men after him. Are\n you still going to tell me Demidov\n is clean?", "Jones looks on eagerly as numbers fill the screen.\n \n GOYAL\n Account numbers... access codes...\n unless I'm mistaken... he left the", "There is nothing common about\n Alexander Pearce. Quiet simply,\n he has turned money laundering\n into an art form. His greatest", "You've assembled quite a task\n force to catch a common money\n launderer, Mr. Ackerman.\n \n ACKERMAN", "in the Cayman Islands.\n (MORE)\n 12.\n \n ACKERMAN (CONT'D)", "-- from behind he looks like a man defeated.\n \n JONES (CONT'D)\n Well John... with the funds", "then never set foot in again. Brand new appliances that\n have never been used.\n \n Frank walks over to a flat screen TV and curiously peels", "might have escaped justice.\n \n He turns to Jones with a smile.\n \n ACKERMAN (CONT'D)", "left it all for them.\n \n CARA\n What about Demidov's money?\n \n FRANK", "Ackerman stands at the window with his hands behind his\n back. For the briefest of moments, Frank looks back up\n at him and their eyes connect.", "SCAR on his face gives Quinn an envelope filled with\n cash.\n \n Quinn tucks it away discreetly, as if embarrassed by the", "Ackerman regards him with aplomb.\n \n ACKERMAN\n His girlfriend was recently\n released from custody. He'll come" ], [ "station. The gleaming train stretches out behind her.\n \n \n INT. TRAIN CAR - SAME", "In an echo of their first meeting on the train (but\n without the false flirtation) she turns to him and hands\n him a piece of tape.", "tourist. Open face, completely lacking in guile.\n \n Frank continues to mutter apologies as he walks gingerly\n around Cara and boards the train.", "follows him onto the train.\n \n ANGLE ON\n \n A GOOD-LOOKING ENGLISHMAN loitering further down the", "EXT. PARIS - DAY\n \n The gleaming Orient Express pulls out of the station and\n gets underway.", "platform, reading the Herald Tribune. Or rather, not\n reading it. He's been watching Cara. He lowers the\n paper and climbs onto the train through a different door.", "CARA'S POV\n \n Men of various shapes and sizes are boarding \"The Orient\n Express.\" She pauses only long enough to assess and", "Frank's eyes drift open. He glances out the window and\n as his vision comes into focus he sees that the train is\n stopped. He sits bolt upright.", "INT. GARE DE L'EST, PARIS - DAY\n \n WE FOLLOW the legs up the steps, across the concourse,\n through the station. Men turn and stare.", "Frank brushes past the GOOD-LOOKING ENGLISHMAN from the\n Paris station. Finally he spots her...", "Cara stops short, irritated. The MAN behind her boarding\n the train is fumbling with his suitcase and doesn't\n notice. BAM he walks straight into her.", "INT. ORIENT EXPRESS - AFTERNOON\n \n The train is moving.", "INT. GARE DE L'EST STATION - MOMENTS LATER\n \n As Cara walks toward the platform...", "glass window of the train. Adjusts her hair and dress.\n \n Satisfied with what she sees, she turns and starts toward", "EXT. VENICE TRAIN STATION - MORNING\n \n CARA stands alone on the platform amid the bustle of the", "shakes out the contents. There is a ticket for the\n Orient Express and a handwritten letter...\n \n She spreads it out on the table like a precious treasure", "Wrapping a towel around herself, CARA MASON, the girl\n from the train, stares at herself in the bathroom mirror\n for a beat. So do we.", "The Orient Express plows through the Alps. PUSH IN ON a\n window where we see Frank and Cara sitting at a romantic,\n candlelit table eating dinner.", "sweater, pills, etc.\n 18.\n \n \n INT. TRAIN AISLE - MOMENTS LATER", "EXT. VENICE TRAIN STATION - MORNING\n \n Frank steps off the train and glances about at the hive\n of activity." ], [ "case against Pearce. It took. He\n hired her as an assistant.\n \n She turns her face and smiles at an UNSEEN MAN.", "There was no time. Besides Pearce\n is too smart for that; he would\n have spotted the agent a mile\n away.", "ACKERMAN (CONT'D)\n Don't try to get clever:\n remember that Pearce is smarter", "Because Pearce was cleverer than\n all of us.\n \n CUT TO:", "Frank sits in a daze. He turns to her.\n \n FRANK\n Do I look that much like Alexander\n Pearce?", "Then FRANK steps in front of The Undercover Waiter,\n mistaking him for Pearce.\n \n FRANK (CONT'D)", "Frank places a plate before Cara who sits with her wine\n at Pearce's oak table. She looks appreciatively at her\n plate.", "Good bye Mr. Pearce.\n \n At this moment, Cara fills her lungs and screams:\n \n CARA", "raid last year. If there's\n anything hidden there, only Pearce\n knows where it is.\n \n He picks up his coat.", "We've questioned the ones we could\n find, and the only thing we\n learned is that Pearce apparently\n arranged it so even his own people", "DEMIDOV (CONT'D)\n And it's bad business to let\n somebody make a fool of you. If\n Pearce gets away with it, what", "...Pearce laundered over a billion\n dollars for Demidov. At some\n point Pearce decided he'd rather\n steal from Demidov than help him", "INT. KITCHEN, PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n The apartment appears as if it was leased, stocked and", "FRANK\n For Alexander Pearce?\n \n She doesn't answer. Which is an answer.", "Mr. Pearce has some other debts as\n well. Most of you will recognize\n Ivan Demidov...", "felt sure Pearce would show up\n today.\n \n CARA\n What makes you think he didn't?", "Alexander Pearce.\n \n Ackerman smiles coolly at her.\n \n ACKERMAN\n Of course.", "QUINN\n How do you know about it?\n \n ACKERMAN\n Pearce worked with no more than a", "JONES\n Pearce's own villa? Why would he\n risk going back there? He must\n know we'd be watching.", "The surveillance techs begin madly punching buttons, etc.\n \n JONES\n Was that Pearce?" ], [ "The thugs push Frank to his knees.\n \n But he's barely paying attention to them. His eyes are\n locked on Cara.", "Then, just before the doors close, Scarface turns... his\n eyes meet Frank's. He starts towards the elevator... but\n the doors shut first.", "Ackerman stands at the window with his hands behind his\n back. For the briefest of moments, Frank looks back up\n at him and their eyes connect.", "Evidently. He had a pair of\n Russian hit men after him. Are\n you still going to tell me Demidov\n is clean?", "(beat)\n Given Demidov's ties to organized\n crime, I'd say that was a mistake.\n \n JONES", "Frank is frozen.\n \n Scarface takes out a silenced PISTOL and mutters\n something in Russian to his partner. He produces a LOCK", "Ackerman regards him with aplomb.\n \n ACKERMAN\n His girlfriend was recently\n released from custody. He'll come", "The Undercover Waiter's earpiece falls out in the melee...\n Frank sees it and hesitates. Maybe this guy isn't\n Pearce.", "He turns to REVEAL... that he is the \"ENGLISHMAN\" we've\n seen throughout the movie. He and Frank look at one\n another for a moment.", "stands aside to allow Frank to leave. Frank takes a step\n out...\n \n ...and sees SCARFACE talking to the receptionist.", "The Undercover Waiter picks up speed, changing course\n slightly. WE SEE he's after The Englishman who is about\n to enter the restaurant kitchen...", "The Undercover Waiter tries to move past Frank.\n \n FRANK\n You hide out poolside and send\n your girlfriend and a total", "Somebody tried to kill me.\n \n Domenico picks up Frank's statement and glances at it.\n \n DOMENICO", "Domenico gets down on his hands and knees and looks\n around. He spots something under the sofa and fishes it\n out with his penknife... a spent bullet casing.", "BANG! The gunshot takes him by surprise. He turns to\n see...\n \n FRANK holds Scarface's smoking pistol in his hand.", "Frank nods. Ackerman sits down next to Frank as if he\n were an old pal instead of a quasi-captive.", "He looks up and sees: the scowling face of an Italian\n WOMAN peering out over her window box.\n \n Frank raises a desperate finger to his lips. A prayer", "He looks Frank up and down.\n \n ACKERMAN (CONT'D)\n Nice suit.", "Demidov finishes attaching the silencer. He points the\n gun at the back of Frank's head.\n \n DEMIDOV", "The doors open. Frank is about to enter it, when\n suddenly SOMEBODY STEPS OUT...\n \n An ORDERLY exits and brushes past." ], [ "We barely have time to read this before Cara's perfectly\n manicured hand crumples the letter, places it in a saucer\n and sets fire to it.", "CARA\n Oui.\n \n As the messenger walks away she opens the folder and", "In an echo of their first meeting on the train (but\n without the false flirtation) she turns to him and hands\n him a piece of tape.", "shakes out the contents. There is a ticket for the\n Orient Express and a handwritten letter...\n \n She spreads it out on the table like a precious treasure", "This is exactly what she did not want. But she controls\n her annoyance, nods in greeting and continues towards the\n front door.", "JONES (CONT'D)\n I'll take that.\n \n She slips it into her pocket, then turns to Ackerman.", "that she won't give him away.\n \n She looks at him disapprovingly. Then disappears back\n inside.", "behind her and we hear the click of the lock.\n \n Frank remains standing alone, immobile.", "He flips it open and examines the contents. WE GLIMPSE a\n photo of CARA and some text.\n \n DEMIDOV", "her without a trace of deception. She believes.\n \n They hear voices on the stairs below.\n \n Frank holds up a finger to her-- wait.", "She blows right past him. Ackerman calls out after her.\n \n ACKERMAN (CONT'D)\n Cara...", "Cara scans the rest of the letter.\n \n CAMERA glides down to see the signature at the bottom:\n \"Love, Alexander.\"", "None of this is your business\n anymore. Now get back inside\n Frank!\n \n Just as she raises her voice a door opens below them in", "takes her by surprise. She's strangely moved by it.\n \n She brushes her hand affectionately over his cheek.\n \n CARA", "He notices a newspaper... a copy of The International\n Herald Tribune is open on her bedside table. He lifts it\n to see what Cara had been reading.", "Cara's bedroom door is ajar. Frank struggles not to\n notice. He turns to his bed and begins folding sheets.", "Her CELL PHONE RINGS. A special ring.\n \n She answers right away.", "Hurriedly, Frank reverses back into the elevator.\n \n FRANK\n (to the Nurse)\n Wrong floor.", "beside her are keys, a wallet and an expensive MAN'S\n WATCH.\n \n Cara pauses; she's heard something.", "After several moments he sits on the sofa. There are two\n folded blankets and a pillow.\n \n From within Cara's bedroom we can hear her voice, muffled" ], [ "INT. DOGE'S SUITE - DAY\n \n Under a gilded and coffered ceiling, portraits of the", "22.\n \n \n INT. DOGE'S SUITE - DAY", "INT. CIPRIANI HOTEL - DAY\n \n From a second story SUITE of rooms, The ENGLISHMAN peers", "REALITY:\n \n \n INT. DOGE'S SUITE - MORNING", "Demidov steps back, holding the door open.\n \n \n INT. DOGE'S SUITE, DANIELI - EVENING", "She steps out into the lofty master bedroom suite.\n \n In the dressing room, Cara calls out to someone in the\n next room.", "to the Danieli. You are in the\n Doge's-- our premiere suite.\n (pause)\n Is there anything special you", "INT. DOGE'S SUITE - CONTINUOUS\n \n Cara closes the curtains. She pulls away from him.", "sofa.\n \n \n INT. DOGE'S SUITE - MORNING", "The bedroom is through here. You\n have two bathrooms, here and here.\n There is a small kitchen which...", "Domenico whistles as a hotel clerk escorts him to to the\n Doge's suite.\n \n CLERK\n (in Italian)", "IN THE SUITE\n \n The two TOUGHS rapidly move through the room, searching.\n Nyet, Nyet.", "Doges flank a vast, hooded fireplace. The porter is\n showing them round the huge apartment, opening and\n closing doors.\n \n PORTER", "INT. DOGE'S SUITE - NIGHT\n \n The key sounds in the lock and the door swings open.\n Frank and Cara tumble in together, laughing, a little", "SLAMS the oaken door of the master bedroom suite in\n Ackerman's face, locking it.\n \n She calls out...", "INT. ALEXANDER'S VILLA, PENTHOUSE - NIGHT\n \n Demidov circles Cara dangerously close.", "Frank bypasses the sofa-bed and follows her outside.\n \n \n EXT. BALCONY - NIGHT", "FRANK\n When she...?\n \n He looks around the suite. He is alone. He nods.", "The principal apartment of a Venetian palazzo, looking\n out over the Grand Canal.\n \n Cara holds her cell phone to her ear as she walks.", "INT. ALEXANDER'S VILLA, PENTHOUSE - CONTINUOUS\n \n The huge, plate glass window shatters as the high powered" ], [ "In an echo of their first meeting on the train (but\n without the false flirtation) she turns to him and hands\n him a piece of tape.", "station. The gleaming train stretches out behind her.\n \n \n INT. TRAIN CAR - SAME", "This is exactly what she did not want. But she controls\n her annoyance, nods in greeting and continues towards the\n front door.", "None of this is your business\n anymore. Now get back inside\n Frank!\n \n Just as she raises her voice a door opens below them in", "her without a trace of deception. She believes.\n \n They hear voices on the stairs below.\n \n Frank holds up a finger to her-- wait.", "ACKERMAN (CONT'D)\n She explains it now as the\n confusion of her new life outside", "She crosses her legs. He glances up.\n \n Slowly, nonchalantly, she takes her coat off. Then the\n headscarf tied around her neck.", "helps her secure the microphone and do up her shirt.\n \n FRANK\n Ackerman told me everything.", "Cara's bedroom door is ajar. Frank struggles not to\n notice. He turns to his bed and begins folding sheets.", "beside her are keys, a wallet and an expensive MAN'S\n WATCH.\n \n Cara pauses; she's heard something.", "shakes out the contents. There is a ticket for the\n Orient Express and a handwritten letter...\n \n She spreads it out on the table like a precious treasure", "behind her and we hear the click of the lock.\n \n Frank remains standing alone, immobile.", "another place?\n \n FRANK\n She's in Pennsylvania.\n \n Off her questioning look...", "He notices a newspaper... a copy of The International\n Herald Tribune is open on her bedside table. He lifts it\n to see what Cara had been reading.", "She frowns into her empty wine glass. Frank slides a\n little closer.\n \n FRANK\n (soft)", "Frank brushes past the GOOD-LOOKING ENGLISHMAN from the\n Paris station. Finally he spots her...", "back in her chair, pleased with herself.\n \n He looks up and sees her smiling at him.\n \n FRANK (CONT'D)", "Cara has poured herself a glass of wine.\n \n CARA\n He goes Marlin fishing. You catch", "She walks across the tiled floor to the balcony\n overlooking the elevator entrance.\n \n She freezes; six tactics OFFICERS face her with guns", "at all.\n \n ACKERMAN\n She's the worst combination:\n stunning looks and a brilliant" ], [ "He walks toward CARA, now in custody. He holds her\n defiant gaze for a moment.\n 16.", "Quinn is taken completely off guard. Before he can move,\n Goyal and another agent have placed him in handcuffs.\n \n ACKERMAN (CONT'D)", "Every cop in the room is clenching his weapon. Desperate\n for the order to move. To jump in and stop this.", "The fence whirs at head height and keeps lowering. The\n black car is closing in behind them.", "He falls to his knees.\n \n The car skids to a stop.", "There's nowhere to go.\n \n Frank bolts for the balcony in his bare feet.\n \n He scrambles outside as...", "move down the hall, slowly fading away.\n \n Frank punches in the policeman's number and grips the\n receiver. It rings.", "TWO of ACKERMAN'S MEN are right there.\n \n They pin his arms forcefully.\n \n AGENT", "The thugs push Frank to his knees.\n \n But he's barely paying attention to them. His eyes are\n locked on Cara.", "Hold on.\n \n Cara revs the car and pulls out fast, cutting off the\n Nurse's car. He leans on the horn.", "tremendous CLANG! Traps it.\n \n Cara presses her foot all the way down on the\n accelerator. Smoke pours from the tires.", "GOYAL\n The local police picked him up.\n \n ACKERMAN", "In an echo of their first meeting on the train (but\n without the false flirtation) she turns to him and hands\n him a piece of tape.", "Run faster, man!\n \n The Russians force their way past the pedestrians. They\n have almost caught him when...", "Demidov's men take Frank by either arm and roughly drag\n him forward.\n \n Cara lifts her head with an effort.", "The Undercover Waiter picks up speed, changing course\n slightly. WE SEE he's after The Englishman who is about\n to enter the restaurant kitchen...", "black car is trapped. The Russians can only watch as\n Cara speeds away.\n \n CUT TO:", "Frank examines the second row. One of the young women\n is... CARA MASON. Her hair is pulled back. She looks more\n the determined police cadet than the sexy siren... but", "Goyal raises an eyebrow, but does as he's told. A few\n moments later a photo of POLICE RECRUITS in uniform comes\n up on screen.", "Demidov's other bodyguard fires out the windows wildly\n and makes a run for it. Glass flies everywhere.\n \n Frank throws his body over Cara to protect her." ], [ "JONES (CONT'D)\n I'll take that.\n \n She slips it into her pocket, then turns to Ackerman.", "might have escaped justice.\n \n He turns to Jones with a smile.\n \n ACKERMAN (CONT'D)", "JONES (CONT'D)\n I'm sorry you didn't get your man.\n \n Then Ackerman turns... a big smile on his face.", "They are all looking to Ackerman to give the order.\n \n As the silence wears on, even Jones starts to waver. She\n speaks quietly to Ackerman.", "JONES\n Pearce's own villa? Why would he\n risk going back there? He must\n know we'd be watching.", "Ms. Jones gives him a glacial stare.\n \n JONES\n Exactement, monsieur.", "Jones looks on eagerly as numbers fill the screen.\n \n GOYAL\n Account numbers... access codes...\n unless I'm mistaken... he left the", "101.\n \n \n JONES\n There's something I don't", "JONES\n I never said he is clean. I just\n said he isn't our target.", "-- from behind he looks like a man defeated.\n \n JONES (CONT'D)\n Well John... with the funds", "JONES\n What if he doesn't come?\n \n Ackerman doesn't respond.", "Ackerman's shoulders are slumped, staring at Demidov's\n dead body on the ground. Jones puts a hand on his back,\n consoling him.", "The surveillance techs begin madly punching buttons, etc.\n \n JONES\n Was that Pearce?", "Ackerman is tilted back with his eyes closed like he has\n a headache.\n \n Jones enters with a file labelled: \"Frank Taylor\".", "JONES\n He's taking out the entire\n surveillance system--\n \n ACKERMAN", "Ackerman betrays no impatience. He knows better than to\n rush the professionals. He simply nods.\n \n The Specialist opens a tool box filled with sophisticated", "something of value still there.\n He left in a hurry after all.\n \n JONES\n Call in a search team.", "(beat)\n Given Demidov's ties to organized\n crime, I'd say that was a mistake.\n \n JONES", "Jones is the only woman nearby...\n 64.\n \n \n JONES", "It's Ivan Demidov.\n \n Jones looks at him.\n \n JONES\n (uncertainly)" ], [ "FRANK (CONT'D)\n When I first saw the name I got\n scared: \"Alexander Pearce.\" He\n even sounds like some super cool", "ALEXANDER PEARCE\n \n He stares at the name for a moment, then unzips his", "There is nothing common about\n Alexander Pearce. Quiet simply,\n he has turned money laundering\n into an art form. His greatest", "trust in Alexander Pearce. He\n betrayed that trust.\n \n Quinn smiles tightly. He's ready to get out of there.", "anyway. Alexander Pearce nearly\n got me killed. It was his idea,\n right?\n (MORE)\n 72.", "Alexander Pearce.\n \n Ackerman smiles coolly at her.\n \n ACKERMAN\n Of course.", "What does this Alexander Pearce\n look like?\n \n CUT TO:", "ALEXANDER PEARCE.\n \n An immediate hit in the data base. Alexander Pearce's\n page fills the screen. The caption reads:", "Our target's name is Alexander\n Pearce. British citizen, born in\n London into an ordinary middle\n class family. The only thing", "CARA\n That's not Alexander Pearce.\n \n Demidov ignores her and walks up to Frank.", "I'm not Alexander Pearce.\n \n ACKERMAN\n I know that.\n \n Frank looks up.", "question... Why do you care so much\n about Alexander Pearce? I mean,\n you've come here yourself... as if\n it were personal.", "anymore. Except Alexander Pearce.\n No lines to tap. No signals to\n intercept.\n (admiringly)", "There was no time. Besides Pearce\n is too smart for that; he would\n have spotted the agent a mile\n away.", "Frank sits in a daze. He turns to her.\n \n FRANK\n Do I look that much like Alexander\n Pearce?", "FRANK\n For Alexander Pearce?\n \n She doesn't answer. Which is an answer.", "CARA\n He is NOT Alexander Pearce!\n \n Demidov begins screwing the silencer onto the barrel.", "We're going to wait for Alexander\n Pearce. Just like them.\n \n \n EXT. ROOFTOP - NIGHT", "raid last year. If there's\n anything hidden there, only Pearce\n knows where it is.\n \n He picks up his coat.", "FRANK\n You didn't get to arrest Alexander\n Pearce...\n \n CARA" ], [ "FRANK\n My name is Frank.\n \n CARA\n Cara.", "Just as he's about to close the door again, Frank notices\n that there is a label stuck there with his name on it,\n just above the room number.", "who can identify them.\n \n Something occurs to Frank.\n \n FRANK (CONT'D)", "An idea comes into Frank's head... he looks around. Nobody\n is watching him. He glances at the inscription on the\n WATCH...", "Frank nods. Ackerman sits down next to Frank as if he\n were an old pal instead of a quasi-captive.", "The thugs push Frank to his knees.\n \n But he's barely paying attention to them. His eyes are\n locked on Cara.", "He turns to REVEAL... that he is the \"ENGLISHMAN\" we've\n seen throughout the movie. He and Frank look at one\n another for a moment.", "Cara stares slack-jawed at Frank.\n \n He has given himself a complete make-over. New haircut.\n Pearce's suit fits him well.", "Frank sits alone with a blanket over his shoulders. Most\n of the blood has been wiped from his wound and he has a\n rough bandage on his head.", "Domenico looks at mild-mannered Frank sitting there in\n his boxers. The story seems unlikely.\n \n FRANK", "FRANK (CONT'D)\n When I first saw the name I got\n scared: \"Alexander Pearce.\" He\n even sounds like some super cool", "The elegant man is FRANK.\n \n \n IN THE TRANSPORTO", "Frank crawls across the room and presses a hidden latch\n on a built-in bookshelf. It swings out of the way to", "Frank walks across to the door. There is a small spyhole\n and he looks through it. The porter stands there with a\n trolley. Frank opens the door.", "Cara Mason?\n \n Frank is quiet. Domenico playfully points at him.\n \n DOMENICO (CONT'D)", "Cara turns abruptly to Frank and presses her body against\n his. He's taken by surprise but willingly responds to\n her advance, wrapping his arms around her back.", "ACKERMAN (CONT'D)\n Take a good look.\n \n Frank peers at the screen. He spots the instructor--", "Ackerman stands at the window with his hands behind his\n back. For the briefest of moments, Frank looks back up\n at him and their eyes connect.", "FRANK\n Maybe.\n \n CUT TO:", "Frank hangs up, shaking his head.\n \n In the restful silence he hears a DISTANT BANG. A" ], [ "JOHN ACKERMAN moves down the hall with purpose. British,\n Interpol chief inspector. He's the kind of man who\n commands respect (think Tommy Lee Jones in The Fugitive.)", "Ackerman stands at the window with his hands behind his\n back. For the briefest of moments, Frank looks back up\n at him and their eyes connect.", "Frank nods. Ackerman sits down next to Frank as if he\n were an old pal instead of a quasi-captive.", "Ackerman is tilted back with his eyes closed like he has\n a headache.\n \n Jones enters with a file labelled: \"Frank Taylor\".", "He's not going anywhere.\n \n Ackerman peers directly out the window, as if he's going\n to see something different.", "Ackerman betrays no impatience. He knows better than to\n rush the professionals. He simply nods.\n \n The Specialist opens a tool box filled with sophisticated", "-- from behind he looks like a man defeated.\n \n JONES (CONT'D)\n Well John... with the funds", "He glances in the mirror periodically, suspicious.\n \n The door opens and Ackerman enters. He pulls up one of", "A dozen heads turn to look at him.\n \n ACKERMAN\n If I needed your advice Mr.\n Taylor, I'd ask.", "Ackerman's shoulders are slumped, staring at Demidov's\n dead body on the ground. Jones puts a hand on his back,\n consoling him.", "Ackerman turns to face the study.\n \n On the desk is a cup of coffee with steam gently rising\n from its surface. A cigarette sits lit in an ashtray,", "INT. CHURCH - CONTINUOUS\n \n Ackerman and his team have set up a make-shift", "Ackerman looks around.\n \n \n INT. BEDROOM, \"SAFE HOUSE\" - NIGHT", "Ackerman smiles.\n \n FRANK (CONT'D)\n You're in for a disappointment.", "INT. INTERPOL FIELD HQ, VENICE - DAY\n \n Ackerman sits in an office chair, gently revolving.", "Ackerman sees it:\n \n The Englishman's CELL PHONE, sitting on the cobblestones.\n 61.", "ACKERMAN (CONT'D)\n Take a good look.\n \n Frank peers at the screen. He spots the instructor--", "might have escaped justice.\n \n He turns to Jones with a smile.\n \n ACKERMAN (CONT'D)", "Ackerman stares out the tinted window.\n \n ACKERMAN'S POV - he can just see Cara sitting at the\n table.", "Ackerman's face lights up...\n \n CUT TO:" ], [ "been cheated out of the revenue.\n (beat)\n We calculate that Mr. Pearce's tax\n bill currently stands at $743.7", "Because Pearce was cleverer than\n all of us.\n \n CUT TO:", "...Pearce laundered over a billion\n dollars for Demidov. At some\n point Pearce decided he'd rather\n steal from Demidov than help him", "ACKERMAN (CONT'D)\n Don't try to get clever:\n remember that Pearce is smarter", "raid last year. If there's\n anything hidden there, only Pearce\n knows where it is.\n \n He picks up his coat.", "There was no time. Besides Pearce\n is too smart for that; he would\n have spotted the agent a mile\n away.", "Jones looks on eagerly as numbers fill the screen.\n \n GOYAL\n Account numbers... access codes...\n unless I'm mistaken... he left the", "Good bye Mr. Pearce.\n \n At this moment, Cara fills her lungs and screams:\n \n CARA", "case against Pearce. It took. He\n hired her as an assistant.\n \n She turns her face and smiles at an UNSEEN MAN.", "DEMIDOV (CONT'D)\n And it's bad business to let\n somebody make a fool of you. If\n Pearce gets away with it, what", "Looks like 744 million.\n \n JONES\n That's no mistake...\n (walks over)", "Finally Frank takes the hint and gives the man a one Euro\n tip. He takes it with disdain and leaves.\n \n Frank throws off his blanket and sits up.", "Mr. Pearce has some other debts as\n well. Most of you will recognize\n Ivan Demidov...", "We've questioned the ones we could\n find, and the only thing we\n learned is that Pearce apparently\n arranged it so even his own people", "QUINN\n How do you know about it?\n \n ACKERMAN\n Pearce worked with no more than a", "understand... how did Pearce manage\n to get here and open that safe\n without anybody noticing? And\n where did he go?", "JONES\n Pearce's own villa? Why would he\n risk going back there? He must\n know we'd be watching.", "There is nothing common about\n Alexander Pearce. Quiet simply,\n he has turned money laundering\n into an art form. His greatest", "trust in Alexander Pearce. He\n betrayed that trust.\n \n Quinn smiles tightly. He's ready to get out of there.", "Ackerman sees it:\n \n The Englishman's CELL PHONE, sitting on the cobblestones.\n 61." ], [ "...Pearce laundered over a billion\n dollars for Demidov. At some\n point Pearce decided he'd rather\n steal from Demidov than help him", "raid last year. If there's\n anything hidden there, only Pearce\n knows where it is.\n \n He picks up his coat.", "Because Pearce was cleverer than\n all of us.\n \n CUT TO:", "We've questioned the ones we could\n find, and the only thing we\n learned is that Pearce apparently\n arranged it so even his own people", "ACKERMAN (CONT'D)\n Don't try to get clever:\n remember that Pearce is smarter", "Mr. Pearce has some other debts as\n well. Most of you will recognize\n Ivan Demidov...", "There was no time. Besides Pearce\n is too smart for that; he would\n have spotted the agent a mile\n away.", "QUINN\n How do you know about it?\n \n ACKERMAN\n Pearce worked with no more than a", "There is nothing common about\n Alexander Pearce. Quiet simply,\n he has turned money laundering\n into an art form. His greatest", "case against Pearce. It took. He\n hired her as an assistant.\n \n She turns her face and smiles at an UNSEEN MAN.", "been cheated out of the revenue.\n (beat)\n We calculate that Mr. Pearce's tax\n bill currently stands at $743.7", "DEMIDOV (CONT'D)\n And it's bad business to let\n somebody make a fool of you. If\n Pearce gets away with it, what", "Then FRANK steps in front of The Undercover Waiter,\n mistaking him for Pearce.\n \n FRANK (CONT'D)", "understand... how did Pearce manage\n to get here and open that safe\n without anybody noticing? And\n where did he go?", "INT. PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n It is completely dark inside. The two of them maneuver", "ACKERMAN (CONT'D)\n Pearce sets up two companies: one\n is a Casino in Arizona for example\n and the other is a shell company", "JONES\n Pearce's own villa? Why would he\n risk going back there? He must\n know we'd be watching.", "ALEXANDER PEARCE\n \n He stares at the name for a moment, then unzips his", "Good bye Mr. Pearce.\n \n At this moment, Cara fills her lungs and screams:\n \n CARA", "The surveillance techs begin madly punching buttons, etc.\n \n JONES\n Was that Pearce?" ], [ "...Pearce laundered over a billion\n dollars for Demidov. At some\n point Pearce decided he'd rather\n steal from Demidov than help him", "been cheated out of the revenue.\n (beat)\n We calculate that Mr. Pearce's tax\n bill currently stands at $743.7", "Because Pearce was cleverer than\n all of us.\n \n CUT TO:", "raid last year. If there's\n anything hidden there, only Pearce\n knows where it is.\n \n He picks up his coat.", "ACKERMAN (CONT'D)\n Don't try to get clever:\n remember that Pearce is smarter", "There was no time. Besides Pearce\n is too smart for that; he would\n have spotted the agent a mile\n away.", "case against Pearce. It took. He\n hired her as an assistant.\n \n She turns her face and smiles at an UNSEEN MAN.", "We've questioned the ones we could\n find, and the only thing we\n learned is that Pearce apparently\n arranged it so even his own people", "understand... how did Pearce manage\n to get here and open that safe\n without anybody noticing? And\n where did he go?", "Good bye Mr. Pearce.\n \n At this moment, Cara fills her lungs and screams:\n \n CARA", "There is nothing common about\n Alexander Pearce. Quiet simply,\n he has turned money laundering\n into an art form. His greatest", "QUINN\n How do you know about it?\n \n ACKERMAN\n Pearce worked with no more than a", "DEMIDOV (CONT'D)\n And it's bad business to let\n somebody make a fool of you. If\n Pearce gets away with it, what", "INT. KITCHEN, PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n The apartment appears as if it was leased, stocked and", "INT. PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n It is completely dark inside. The two of them maneuver", "Frank places a plate before Cara who sits with her wine\n at Pearce's oak table. She looks appreciatively at her\n plate.", "innovation: The False Lawsuit.\n \n He clicks through a series of flashy Powerpoint slides\n illustrating Pearce's financial dealings.", "Jones looks on eagerly as numbers fill the screen.\n \n GOYAL\n Account numbers... access codes...\n unless I'm mistaken... he left the", "Mr. Pearce has some other debts as\n well. Most of you will recognize\n Ivan Demidov...", "ACKERMAN (CONT'D)\n Pearce sets up two companies: one\n is a Casino in Arizona for example\n and the other is a shell company" ], [ "raid last year. If there's\n anything hidden there, only Pearce\n knows where it is.\n \n He picks up his coat.", "Because Pearce was cleverer than\n all of us.\n \n CUT TO:", "There was no time. Besides Pearce\n is too smart for that; he would\n have spotted the agent a mile\n away.", "We've questioned the ones we could\n find, and the only thing we\n learned is that Pearce apparently\n arranged it so even his own people", "case against Pearce. It took. He\n hired her as an assistant.\n \n She turns her face and smiles at an UNSEEN MAN.", "INT. KITCHEN, PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n The apartment appears as if it was leased, stocked and", "understand... how did Pearce manage\n to get here and open that safe\n without anybody noticing? And\n where did he go?", "ACKERMAN (CONT'D)\n Don't try to get clever:\n remember that Pearce is smarter", "INT. PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n It is completely dark inside. The two of them maneuver", "JONES\n Pearce's own villa? Why would he\n risk going back there? He must\n know we'd be watching.", "Then FRANK steps in front of The Undercover Waiter,\n mistaking him for Pearce.\n \n FRANK (CONT'D)", "INT. DINING AREA, PEARCE'S \"SAFE HOUSE\" - LATER", "Good bye Mr. Pearce.\n \n At this moment, Cara fills her lungs and screams:\n \n CARA", "...Pearce laundered over a billion\n dollars for Demidov. At some\n point Pearce decided he'd rather\n steal from Demidov than help him", "felt sure Pearce would show up\n today.\n \n CARA\n What makes you think he didn't?", "(under his breath)\n Just so long as they don't beat us\n to Pearce when the real one\n arrives.", "Then a wind picks up and blows the mist clear.\n \n REVEAL an undercover POLICEMAN with an earpiece walking a\n dog a block away...", "ALEXANDER PEARCE\n \n He stares at the name for a moment, then unzips his", "The surveillance techs begin madly punching buttons, etc.\n \n JONES\n Was that Pearce?", "QUINN\n How do you know about it?\n \n ACKERMAN\n Pearce worked with no more than a" ], [ "He follows her past abandoned tricycles and very old men\n sitting on stone steps.\n \n FRANK", "Now it just so happened this boy\n was a friend of mine. I did not\n want to do this terrible thing.\n But when you come from the", "You should leave Venice tomorrow.\n (softer)\n It's a city for lovers Frank; no\n place to recover from a failed", "Ackerman sees it:\n \n The Englishman's CELL PHONE, sitting on the cobblestones.\n 61.", "Frank's eyes drift open. He glances out the window and\n as his vision comes into focus he sees that the train is\n stopped. He sits bolt upright.", "None of this is your business\n anymore. Now get back inside\n Frank!\n \n Just as she raises her voice a door opens below them in", "A light mist. The sound of water lapping against the\n shore. The scene is familiar... almost identical to the\n night of the raid just over a year ago.", "from the dock and sails out into the lagoon.\n \n \n IN THE BEDROOM", "In an echo of their first meeting on the train (but\n without the false flirtation) she turns to him and hands\n him a piece of tape.", "He cries out. The awning rips and dumps him down hard\n onto the cobblestones below...", "Ackerman turns to face the study.\n \n On the desk is a cup of coffee with steam gently rising\n from its surface. A cigarette sits lit in an ashtray,", "I could get used to this.\n \n A movement in the street down below catches her eye. She\n studies the Ponte del Vin intently, seeing something.", "tourist. Open face, completely lacking in guile.\n \n Frank continues to mutter apologies as he walks gingerly\n around Cara and boards the train.", "He startles awake. She smiles mischievously.\n \n \n ON A SIDE STREET", "then never set foot in again. Brand new appliances that\n have never been used.\n \n Frank walks over to a flat screen TV and curiously peels", "CARA\n Here we are.\n \n She pauses before a run-down palazzo.", "Rrrrrip! A black cylinder, like the barrel of a gun,\n tears through the awning fabric inches from his Frank's\n head.", "Domenico looks at mild-mannered Frank sitting there in\n his boxers. The story seems unlikely.\n \n FRANK", "At the top of the exit ramp, the metal parking gate is\n slowly being lowered.\n \n She weaves around the black car, deliberately heading for", "The lift stops again. The doors open on the first tier of\n the subterranean car park.\n \n Frank leaps off." ], [ "JOHN ACKERMAN moves down the hall with purpose. British,\n Interpol chief inspector. He's the kind of man who\n commands respect (think Tommy Lee Jones in The Fugitive.)", "You are a good detective.\n \n DOMENICO\n I do my best.", "QUINN is the Swiss Interpol liaison. He speaks with the\n crisp accent of a man who is fluent in several languages.\n \n QUINN", "Our target's name is Alexander\n Pearce. British citizen, born in\n London into an ordinary middle\n class family. The only thing", "Cité. A convoy of black Mercedes arrives.\n \n \n INT. INTERPOL OFFICES, PARIS - EVENING", "He ushers in Quinn, the Swiss Interpol agent.\n \n DEMIDOV\n Take a seat, Mr. Quinn. Can I", "CUT TO:\n \n \n INT. POLIZIA \"QUESTURA\" (POLICE STATION) - DAY", "No names. Not on the phone.\n \n \n INT. INTERPOL FIELD HQ, VENICE - EVENING", "INT. INTERPOL FIELD HQ, VENICE - DAY\n \n CAMERA TRACKS WITH GOYAL as he weaves through a sprawling", "The Undercover Waiter picks up speed, changing course\n slightly. WE SEE he's after The Englishman who is about\n to enter the restaurant kitchen...", "JEAN LUC (French Interpol liaison) looks up skeptically.\n 11.", "Then a wind picks up and blows the mist clear.\n \n REVEAL an undercover POLICEMAN with an earpiece walking a\n dog a block away...", "You have a booking in the name of\n Mason.\n \n RECEPTIONIST\n Si, Signorina.", "who can identify them.\n \n Something occurs to Frank.\n \n FRANK (CONT'D)", "Goyal raises an eyebrow, but does as he's told. A few\n moments later a photo of POLICE RECRUITS in uniform comes\n up on screen.", "Frank walks across to the door. There is a small spyhole\n and he looks through it. The porter stands there with a\n trolley. Frank opens the door.", "Venice in the morning.\n \n \n INT. INTERPOL CENTRAL BRIEFING ROOM, PARIS - EVENING", "GOYAL\n The local police picked him up.\n \n ACKERMAN", "Frank examines the second row. One of the young women\n is... CARA MASON. Her hair is pulled back. She looks more\n the determined police cadet than the sexy siren... but", "Evidently. He had a pair of\n Russian hit men after him. Are\n you still going to tell me Demidov\n is clean?" ], [ "There was no time. Besides Pearce\n is too smart for that; he would\n have spotted the agent a mile\n away.", "case against Pearce. It took. He\n hired her as an assistant.\n \n She turns her face and smiles at an UNSEEN MAN.", "Then FRANK steps in front of The Undercover Waiter,\n mistaking him for Pearce.\n \n FRANK (CONT'D)", "raid last year. If there's\n anything hidden there, only Pearce\n knows where it is.\n \n He picks up his coat.", "Our target's name is Alexander\n Pearce. British citizen, born in\n London into an ordinary middle\n class family. The only thing", "Because Pearce was cleverer than\n all of us.\n \n CUT TO:", "ACKERMAN (CONT'D)\n Don't try to get clever:\n remember that Pearce is smarter", "INT. KITCHEN, PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n The apartment appears as if it was leased, stocked and", "JONES\n Pearce's own villa? Why would he\n risk going back there? He must\n know we'd be watching.", "QUINN\n How do you know about it?\n \n ACKERMAN\n Pearce worked with no more than a", "...Pearce laundered over a billion\n dollars for Demidov. At some\n point Pearce decided he'd rather\n steal from Demidov than help him", "Good bye Mr. Pearce.\n \n At this moment, Cara fills her lungs and screams:\n \n CARA", "We've questioned the ones we could\n find, and the only thing we\n learned is that Pearce apparently\n arranged it so even his own people", "Mr. Pearce has some other debts as\n well. Most of you will recognize\n Ivan Demidov...", "INT. PEARCE'S \"SAFE HOUSE\" - NIGHT\n \n It is completely dark inside. The two of them maneuver", "The surveillance techs begin madly punching buttons, etc.\n \n JONES\n Was that Pearce?", "Frank places a plate before Cara who sits with her wine\n at Pearce's oak table. She looks appreciatively at her\n plate.", "Frank sits in a daze. He turns to her.\n \n FRANK\n Do I look that much like Alexander\n Pearce?", "DEMIDOV (CONT'D)\n And it's bad business to let\n somebody make a fool of you. If\n Pearce gets away with it, what", "INT. DINING AREA, PEARCE'S \"SAFE HOUSE\" - LATER" ] ]

[ "What were Pearce's written instructions to Elise?", "What did Frank do for a living?", "Once Elise got to Venice, what new instructions did Pearce give to her?", "Why did the Italian Police say they were detaining Frank?", "What is revealed about Elise?", "What does Frank tell Shaw when he confronts him?", "What does the Chief Inspector order his men to do when he arrives on the scene?", "What is in the safe?", "Why don't the Police chase Pearce after he escapes?", "Who follows Ward?", "Who owes Millions in taxes?", "To Where does Elise board the train?", "Who does Elise choose to pose as Pearce?", "Who is the mobster?", "What does Elise do with the note?", "Where is Elise's suite?", "What is revealed about Elise's occupation ?", "Who is held handcuffed by police during the chase?", "What does Jones order about the case?", "What is the name of the agent who has spent years hunting Alexander Pearce?", "What is Frank Tupelo's real name?", "What is John Acheson's job?", "Why, at the end of the story, does Pearce leave the police a check for exactly 744 million pounds?", "What is the name of the mobster that Pearce stole money from?", "How much money do Pearce and Elise get away with?", "At the beginning of the story, how has Pearce hidden himself from the police?", "What city is this story set in?", "What is the name of the Chief Inspector?", "What is the name of the undercover agent who is in love with Pearce?" ]

[ [ "Board the train to Venice, pick out a man and make the Police believe that he is Pearce.", "take a train and fool police" ], [ "He was a math teacher at a community college in America.", "Teacher for a community college" ], [ "Pearce told Elise to attend a ball.", "Pick out a random man and let the police know that the person is Alexander Pearce." ], [ "They detained him for his own safety.", "For his own safety." ], [ "She is an undercover Scotland Yard Agent who is under suspension because of her suspected relationship with Pearce.", "She is undercover for the Scotland Yard" ], [ "That he is really Pearce, not an American Tourist.", "He reveals that he is actually Pearce, and bargains for Elise's life by offering to open the safe." ], [ "He orders the snipers to fire.", "He orders the snipers to kill Shaw and his men" ], [ "The money that was needed to pay back the taxes.", "A cheque worth 744 million pounds." ], [ "Because the back taxes were now paid up.", "because he'd paid the tax bill in full, and his only remaining crime was stealing money from a gangster who is now dead." ], [ "French police", "French Police, led by Acheson" ], [ "Pearce", "Pearce" ], [ "Venice", "Probably in Paris. The train heads to Venice." ], [ "Frank", "Frank Tupelo" ], [ "Reginald Shaw", "Reginald Shaw" ], [ "Burns it", "burn it" ], [ "Hotel Danielli", "Hotel Danieli" ], [ "She is an undercover Yard Agent", "scotland yard secret agent" ], [ "Frank", "Frank" ], [ "It be closed", "He orders snipers to kill Shaw and his men." ], [ "John Acheson", "John Acheson" ], [ "Alexander Pearce", "Alexander Pearce" ], [ "He is an Inspector at Scotland Yard.", "Inspector for Scotland Yard" ], [ "That is the amount of money he owes the government in back-taxes.", "He owes that much in back taxes." ], [ "Reginald Shaw", "Reginald Shaw" ], [ "$2.3 billion", "$2.3 billion" ], [ "He has had plastic surgery to change his face.", "by having a plastic surgery" ], [ "Venice", "Venice" ], [ "Jones", "Jones" ], [ "Elise Clifton-Ward", "Elise Clifton-Ward" ] ]

[ [ "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "towards their lurking-place. And those he saw were a good many, and they\nwere mostly of the dastards of the Goths; but with them was a Captain of", "forth from its sides and made on toward the Goths, and in three or four\nminutes were within bowshot of them. Then the bowmen of the Goths", "CHAPTER XXIV--THE GOTHS ARE OVERTHROWN BY THE ROMANS", "victory rang around us, and the earth shook, and past the place of the\nslaughter rushed the riders of the Goths; for they had sent horsemen to", "dwelt among those hills who were alien from the Goths, and great foes to\nthe Markmen; and how that on a time they came down from their hills with", "Goths, and we left them for the wolves to deal with. And twenty-five men\nof the Romans we took alive to be for hostages if need should be, and", "\"Now could it be seen how the Goths gave way before them to let them into\nthe trap, and then closed around again, and the axes and edge weapons", "hard on the place where it should spread itself out to storm down on the\nfoe, and the Goths beset by the Romans made them ready to fall on from", "I see the slain-heaps rising and the alien folk prevail,\n And the Goths give back before them on the ridge o'er the treeless\n vale.", "\"Men of the Goths, will ye mount your horses again and ride into the wood\nand let it cover you, or will ye fight these Romans?\" They answered him", "Romans there were, and amongst them men in the attire of the Goths,\nbusied about the river banks, as though they were going to try the ford.", "the Goths who were their guides and scouts: furthermore the wood was at\nhand, and they knew not what it held; and with all this and above it all,", "them as they were dear to the Goths; and the Gods of their foemen seemed\nto be lying in wait to fall upon them, even if they should slay every man\nof the kindreds.", "Most valiantly they fought; but the fury of their despair could not deal\nwith the fearless hope of the Goths, and as rank after rank of them took", "Goths, and they advanced boldly enough, a great cloud of men in loose\narray who fell to with arrows and slings on the wedge-array and slew and", "them were gathering more and more every minute, and they faced the Goths\nsteadily with their hard brown visages and gleaming eyes above their iron-", "Scarce had a score of minutes passed, and the Romans before them, who\nwere now gathered thick behind those dastards of the Goths, had not", "for the Romans, they had had no mercy, and now looked for none: and they\nremembered their dealings with the Goths, and saw before them, as it", "image of the garth-gate which was behind them; and they stumbled against\neach other as they were driven sideways against the onrush of the Goths," ], [ "them as they were dear to the Goths; and the Gods of their foemen seemed\nto be lying in wait to fall upon them, even if they should slay every man\nof the kindreds.", "The God of this mighty people and the Markmen and their kin?\n Lo, this is the weird of the world, and what may we do herein?\"", "these parts before the Sons of the Goths. Now will I drink.\"", "\"Arinbiorn,\" said Thiodolf, \"where didst thou hear tell of me that I had\nmade myself the thrall of the Gods? The oath that I sware was sworn when", "\"Soon was that storm over, and we saw the Goths tossing up their spears\nover the slain, and horses running loose and masterless adown over the", "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "For then 'midst the toil and the turmoil shall we sow the seeds of\n peace,\n And the Kindreds' long endurance, and the Goth-folk's great increase.\"", "them, and they knew that the doom had gone forth against them.\nNevertheless they were not men to faint and die because the Gods were\nbecome their foes, but they were resolved rather to fight it out to the", "\"They have an altar in the midst of their burg, and thereon they\nsacrifice to their God, who is none other than their banner of war, which", "towards their lurking-place. And those he saw were a good many, and they\nwere mostly of the dastards of the Goths; but with them was a Captain of", "Thus these poor people thought of the Gods whom they worshipped, and the\nfriends whom they loved, and could not choose but be heavy-hearted when", "moved, when back comes Fox and tells how he has come upon a great company\nof the Romans led by their thralls of the Goths who were just entering\nthe wood, away there towards the Thing-stead.", "victory rang around us, and the earth shook, and past the place of the\nslaughter rushed the riders of the Goths; for they had sent horsemen to", "an Hundred of the Romans, and some others of his kindred; and Thiodolf\ndeemed that the Goths had been bidden to gather up some of the", "\"Now could it be seen how the Goths gave way before them to let them into\nthe trap, and then closed around again, and the axes and edge weapons", "the Goths who were their guides and scouts: furthermore the wood was at\nhand, and they knew not what it held; and with all this and above it all,", "the Goths, yet shall to-morrow morn be happier.\"", "the place of those who were hewn down by Thiodolf and the Kindred, they\nfell in their turn, and slowly the Goths cleared a space within the", "Thiodolf stayed a moment, and even therewith they looked, and lo! the\nRomans giving back before the Goths and the Goths following up the chase,", "from them, for they did as the Hall-Sun bade them, when they knew that\nthey would be questioned with torments, and smiting themselves each with\na little sharp knife, so went their ways to the Gods." ], [ "them as they were dear to the Goths; and the Gods of their foemen seemed\nto be lying in wait to fall upon them, even if they should slay every man\nof the kindreds.", "victory rang around us, and the earth shook, and past the place of the\nslaughter rushed the riders of the Goths; for they had sent horsemen to", "Goths, and we left them for the wolves to deal with. And twenty-five men\nof the Romans we took alive to be for hostages if need should be, and", "these parts before the Sons of the Goths. Now will I drink.\"", "So at the sun-rising they sacrificed to the Gods twenty chieftains of the\nAliens whom they had taken, and therewithal a maiden of their own", "\"Now could it be seen how the Goths gave way before them to let them into\nthe trap, and then closed around again, and the axes and edge weapons", "the Goths, yet shall to-morrow morn be happier.\"", "\"Soon was that storm over, and we saw the Goths tossing up their spears\nover the slain, and horses running loose and masterless adown over the", "from them, for they did as the Hall-Sun bade them, when they knew that\nthey would be questioned with torments, and smiting themselves each with\na little sharp knife, so went their ways to the Gods.", "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "given to the Gods for a happy day of battle. Even the war-horses of the\nhost they must leave in the wood without the wood-lawn, and all men were\nafoot who were there.", "the Goths, and their sharp arrows, knew not which way to turn, and a\ngreat slaughter befell amongst them, and they of them were the happiest\nwho might save themselves by their feet.", "For then 'midst the toil and the turmoil shall we sow the seeds of\n peace,\n And the Kindreds' long endurance, and the Goth-folk's great increase.\"", "blood of the Gods'-gifts over the Folk, as was the custom of those days.", "exceeding valour, and when they had driven off the Goths some of them\nbrought him dead inside their garth, for they would know the name and\ndignity of so valorous a man.", "the Goths who were their guides and scouts: furthermore the wood was at\nhand, and they knew not what it held; and with all this and above it all,", "for the Romans, they had had no mercy, and now looked for none: and they\nremembered their dealings with the Goths, and saw before them, as it", "Thiodolf stayed a moment, and even therewith they looked, and lo! the\nRomans giving back before the Goths and the Goths following up the chase,", "\"They have an altar in the midst of their burg, and thereon they\nsacrifice to their God, who is none other than their banner of war, which", "the thicket, and said that it was certainly the sound of the Goths' horn,\nand the note agreed on. Therefore I sent a messenger at once to the" ], [ "So fell the whole host into due array, and they were somewhat over three\nthousand warriors, all good and tried men and meet to face the uttermost", "\"They have captains of tens and of hundreds over them, and that war-duke\nover all; he goeth to and fro with gold on his head and his breast, and", "\"Men of the kindreds, I am your War-duke to-day; but it is oftenest the\ncustom when ye go to war to choose you two dukes, and I would it were so", "\"But, War-duke,\" says he, \"I came also across our own folk of the second\nbattle duly ordered in the wood ready to meet them; and they shall be\nwell dealt with, and the sun shall rise for us and not for them.\"", "But amidst all this there was a little stir outside that biggest ring,\nand men parted, and through them came a swain amongst the chiefs, and\nsaid, \"Who will lead me to the War-duke?\"", "\"Children of Tyr, what man will ye have for a leader and a duke of war?\"\n\nThen a great shout sprang up from amidst the swords: \"We will have\nThiodolf; Thiodolf the Wolfing!\"", "Therewith he and the two War-dukes came down from the hill; and stood\nbefore the altar; and the nine warriors of the Daylings stood forth with", "warriors would not leave their War-duke among the foemen, so they lifted\nhim, and gathered about him a goodly band that held its own against all", "bid men choose a War-duke if none gainsay it.\"", "War-dukes we have gotten, since each thinketh of the same wisdom. Now\ntake we counsel together as to what we shall do; whether we shall go back", "Now all those round about him heard his words, for he spake with a loud\nvoice; and they knew what the bidding of the War-duke would be; so they", "\"Hail to thine hand, War-duke!\" said Arinbiorn joyously; \"there is no\nmore to do but to take thy word concerning the order wherein we shall\nwend; for all men are armed and ready.\"", "kissed and said to him, \"Brother, go help those who are quenching the\nfire; this is the bidding of the War-duke.\"", "mote and the oath of the War-duke, and how they had chosen Otter to be\ntheir leader. Howbeit, man looked askance at man, as if in shame to be\nleft behind.", "garth and into the Great Roof of the Daylings; and amongst these were the\ntwo War-dukes.", "Who hath known the heart of the War-dukes, and the deeds their hands\n have done,\n Will not the word be with him, while yet your hearts are hot,", "them. So went the freemen of the Houses into the Hall, following the\nHall-Sun, and the bearers of the War-dukes; but the banners abode without", "\"As they stood there, not out of earshot of a man speaking in his wonted\nvoice, our War-duke made a sign to those about him, and we spread very", "spreading out from right and left of the War-duke till we were facing\nthem in a long line: one minute we abode thus, and then ran forth through", "War-duke, beside whom went Fox, who hath seen the Romans. We were all\nafoot; for there is no wide way through the Wood, nor would we have it" ], [ "\"I am Otter of the Laxings: now needeth but few words till the War-duke\nis chosen, and we get ready to wend our ways in arms. Here have ye heard", "\"Men of the kindreds, I am your War-duke to-day; but it is oftenest the\ncustom when ye go to war to choose you two dukes, and I would it were so", "them. So went the freemen of the Houses into the Hall, following the\nHall-Sun, and the bearers of the War-dukes; but the banners abode without", "\"Children of Tyr, what man will ye have for a leader and a duke of war?\"\n\nThen a great shout sprang up from amidst the swords: \"We will have\nThiodolf; Thiodolf the Wolfing!\"", "\"So the kindreds drew lots, and the lot fell first to the Elkings, who\nare a great company, as ye know; and then to the Hartings, the Beamings,", "\"War-duke and ye chieftains, thus saith the Hall-Sun: 'I know that by\nthis time Otter hath been slain and many another, and ye have been", "Now all those round about him heard his words, for he spake with a loud\nvoice; and they knew what the bidding of the War-duke would be; so they", "Therewith he and the two War-dukes came down from the hill; and stood\nbefore the altar; and the nine warriors of the Daylings stood forth with", "close on sunset three young men, two of the Laxings and one of the\nShieldings, and a grey old thrall of that same House, were shooting a", "In the west gate Thiodolf the War-duke gave one mighty cry like the roar\nof an angry lion, and cleared a space before him for the wielding of", "the Elkings, for thy sisters, our wives, are fain of thee. Come thou,\nValtyr of the Laxings, brother's son of Otter; do thou for the War-duke", "was Heriulf to them, that none would have named Otter had it not been\nmostly their custom not to choose both War-dukes from one House.", "the Laxings, or Heriulf of the Wolfings. True it is that Otter was a\nvery wise warrior, and well known to all the men of the Mark; yet so dear", "\"We, the Shieldings, with the Geirings, the Hrossings, and the Wolfings,\nthree hundred warriors and more, were led into the Wood by Thiodolf the", "and Valtyr of the Laxings, Geirbald of the Shieldings, Agni of the\nDaylings, Angantyr of the Bearings, Geirodd of the Beamings, Gunbald of", "\"Hither, hither, O men in this hall, for the War-duke of the Markmen is\ndead! O ye people, Hearken! Thiodolf the Mighty, the Wolfing is dead!\"", "\"As they stood there, not out of earshot of a man speaking in his wonted\nvoice, our War-duke made a sign to those about him, and we spread very", "mote and the oath of the War-duke, and how they had chosen Otter to be\ntheir leader. Howbeit, man looked askance at man, as if in shame to be\nleft behind.", "Then she spake again: \"O War-duke, thy mouth is silent; speak to this\nwarrior of the Bearings that he bid the host what to do; for wise are ye", "CHAPTER IV--THE HOUSE FARETH TO THE WAR" ], [ "the Goths who were their guides and scouts: furthermore the wood was at\nhand, and they knew not what it held; and with all this and above it all,", "moved, when back comes Fox and tells how he has come upon a great company\nof the Romans led by their thralls of the Goths who were just entering\nthe wood, away there towards the Thing-stead.", "but on the east the thicket came close up to them and edged them away.\nTherein lay the Goths.", "\"Men of the Goths, will ye mount your horses again and ride into the wood\nand let it cover you, or will ye fight these Romans?\" They answered him", "towards their lurking-place. And those he saw were a good many, and they\nwere mostly of the dastards of the Goths; but with them was a Captain of", "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "the thicket, and said that it was certainly the sound of the Goths' horn,\nand the note agreed on. Therefore I sent a messenger at once to the", "dwelt among those hills who were alien from the Goths, and great foes to\nthe Markmen; and how that on a time they came down from their hills with", "field sloped up toward the Wolfing dwelling; and they gathered heart when\nthey saw that the Goths tarried and forbore them. But the sun was\nsinking, and the evening was hard at hand.", "forth from its sides and made on toward the Goths, and in three or four\nminutes were within bowshot of them. Then the bowmen of the Goths", "The tale tells that in times long past there was a dwelling of men beside\na great wood. Before it lay a plain, not very great, but which was, as", "victory rang around us, and the earth shook, and past the place of the\nslaughter rushed the riders of the Goths; for they had sent horsemen to", "But that swelling of the meadow where the Goths had their overthrow at\nthe hands of the Romans, and Thiodolf fell to earth unwounded, got a name", "So fiercely on that fair morning burned the hatred of men about the\ndwellings of the children of the Wolf of the Goths, wherein the children\nof the Wolf of Rome were shut up as in a penfold of slaughter.", "So they abode together in that wood-lawn till the twilight was long gone,\nand the sun arisen for some while. And when Thiodolf stepped out of the", "So now having driven back the Goths to that height over the ford, which\nindeed was no stronghold, no mountain, scarce a hill even, nought but a", "Of a sudden one of the dastards of the Goths who was close to the Captain\ncried out that he heard horse coming; but because he spake in the Gothic", "The dawn was coming on apace, but the wood was yet dark. But whereas the\nWolfings led, and each man of them knew the wood like his own hand, there", "Said he: \"The tidings are as yesterday, save that Thiodolf will lead the\nhost through the wild-wood to look for the Romans beyond it: therefore", "Thiodolf turned toward the wood, and walked steadily through the\nscattered hazel-trees, and thereby into the thick of the beech-trees," ], [ "Such then was Thiodolf, and ever was he the chosen leader of the Wolfings\nand often the War-duke of the whole Folk.", "\"Children of Tyr, what man will ye have for a leader and a duke of war?\"\n\nThen a great shout sprang up from amidst the swords: \"We will have\nThiodolf; Thiodolf the Wolfing!\"", "Now the name of this House was the Wolfings, and they bore a Wolf on\ntheir banners, and their warriors were marked on the breast with the", "But the name of the dark-haired chief was Thiodolf (to wit Folk-wolf) and\nhe was deemed the wisest man of the Wolfings, and the best man of his", "Then said Thiodolf: \"We shall order us into three battles; the Wolfings\nand the Bearings to lead the first, for this is our business; but others", "And to follow with the Wolfings and thrust the war-beast forth.\n And so good men deem the tidings that they bid them journey north", "Wolfings in the wild-wood behind the Wolfing dwellings, for we hear tell\nthat the War-duke would not that the Hall-Sun should hold the Hall\nagainst the whole Roman host.\"", "passed. Albeit one very old man, who sat in a chair near to the edge of\nthe sheer hill looking on the war array, when he saw the Wolfing banner", "\"O warriors, the Wolfing kindred shall live or it shall die;\n And alive it shall be as the oak-tree when the summer storm goes by;", "\"O Warriors of the Wolfings by the token of the flame\n That here in my right hand flickers, come aback to the House of the\n Name!", "the Laxings, or Heriulf of the Wolfings. True it is that Otter was a\nvery wise warrior, and well known to all the men of the Mark; yet so dear", "up with us in a day or two. And if he come not, then will I bring him\nover to the Wolfings when the battle is done.\"", "And therewith he gat him down and went a-foot to the head of the Wolfing\nband, a great shout going with him, which was mingled with the voice of\nthe war-horn that bade away.", "wherein was wrought the image of the Wolf, but red of hue as a token of\nwar, and with his mouth open and gaping upon the foemen. Also whereas", "\"O warriors of the Wolfings, by the token of the flame\n That here in my right hand flickers, ye are back at the House of the\n Name,", "foremost in falling upon the foemen, for he longeth sorely for his seat\non the days of the Wolfing Hall.\"", "\"Now, now, ye War-sons!\n Now the Wolf waketh!\n Lo how the Wood-beast\n Wendeth in onset.\n E'en as his feet fare\n Fall on and follow!\"", "Captain staggered forward on to the next man following, which was\nWolfkettle the eager warrior, who thrust him through with his sword and", "\"We, the Shieldings, with the Geirings, the Hrossings, and the Wolfings,\nthree hundred warriors and more, were led into the Wood by Thiodolf the", "On Wolf-stead he yearneth; for there without doubt\n Dwells the death-fashioned story, the flower of all fame.\n Come hither new Glory, come Crown of the Name!'\"" ], [ "Now when he named the Hall-Sun Thiodolf started and looked up, and\nturning to his left-hand said, \"And what sayeth thy daughter?\"", "that is ours with ourselves also. For there is the Hall-Sun under the\nGreat Roof, and there hath Thiodolf, our War-duke, his dwelling-place;", "Then went Thiodolf to the Hall-Sun and kissed and embraced her fondly,\nand she gave the horn into his hands, and he went forth and up on to the", "Hall-Sun were stayed by the command of Thiodolf on the crown of the slope\nabove the dwellings, and stood round about the Speech-Hill, on the", "But yet sat Thiodolf under the Hall-Sun for a while as one in deep\nthought; till at last as he stirred, his sword clattered on him; and then", "she took Thiodolf's hand in hers, while she looked with eyes of love upon\nthe Hall-Sun, and Thiodolf laid his cheek to her cheek, and though he", "Then came forth Thiodolf into the sun, and took up the gold ring from\nwhere it lay, and did it on his arm. And this was the ring of the leader", "\"Sooth is that,\" said the Hall-Sun. \"But wise art thou by seeming. Hast\nthou come to tell me of what kindred I am, and who is my father and who\nis my mother?\"", "of all. Then came forth Thiodolf from the midst of his kindred, and they\nraised him upon a great war-shield upheld by many men, and he stood\nthereon and spake:", "hands, and of heart most dauntless. Beside him sat the fair woman called\nthe Hall-Sun; for she was his foster-daughter before men's eyes; and she", "CHAPTER XXX--THIODOLF IS BORNE OUT OF THE HALL AND OTTER IS LAID BESIDE\nHIM", "back, having with him three strong warriors of the Wolfings, and he\nbrought them before the Hall-Sun, who said to them:", "Thiodolf; and indeed so huge was his stature, that he seemed to be of the\nkindred of the Mountain Giants; and his bodily might went with his", "Thiodolf, who was close beside the lad, answered never a word; but\nArinbiorn said; \"This man here sitting is the War-duke: speak to him, for\nhe may hearken to thee: but first who art thou?\"", "who were appointed as watchers of the night, and Arinbiorn and Thiodolf\nand the Hall-Sun; they three yet stood together; and Arinbiorn said:", "Therewith he ceased, and let his head fall again, and the Hall-Sun looked\nat him askance. But Arinbiorn clomb the Speech-Hill and said:", "Long were the kindreds entering, and when they were under the Roof of the\nWolfings, they looked and beheld Thiodolf set in his chair once more, and", "So Thiodolf knew that all was ready for departure, and it wanted but an\nhour of high-noon; so he turned about and went into the Hall, and there", "But when those twain were all alone again, the Wood-Sun spoke: \"O\nThiodolf canst thou hear me and understand?\"", "But Thiodolf said: \"O Wood-Sun, this thou hast a right to ask of me, why\nI have not worn in the battle thy gift, the Treasure of the World, the" ], [ "days when it had been first settled, and had abided aloof for many\ngenerations of men; and so at last had come back again to the Mark, and", "War. For long had they abided there in the Mark, and the life was sweet\nto them which they knew, and the life which they knew not was bitter to", "into every House of the Mark. Now therefore fetch a compass and come\ninto the wood on the north-west of the houses and make your way to the", "The house, that is to say the Roof, of the Wolfings of the Mid-mark stood\non the topmost of the slope aforesaid with its back to the wild-wood and", "And they wot of the well-grassed meadows, and the acres of the Mark,\n And our life amidst of the wild-wood like a candle in the dark;", "\"But we who were wearier, when we had done our work, stood still between\nthe living and the dead, between the freemen of the Mark and their war-", "and the Nether-mark: and all these three were inhabited by men of one\nfolk and one kindred, which was called the Mark-men, though of many", "For this was the Thing-stead of the Upper-mark, and the holiest place of\nthe Markmen, and no beast, either neat, sheep, or horse might pasture", "had but of late years become a House of the Markmen. Their banner-wain\nwas drawn by white horses, fleet and strong, and they were no great band,", "dwelt among those hills who were alien from the Goths, and great foes to\nthe Markmen; and how that on a time they came down from their hills with", "been a time when the Elking House had been established by men from out of\nthe Wolfing kindred, and how they had wandered away from the Mark in the", "The tale tells that in times long past there was a dwelling of men beside\na great wood. Before it lay a plain, not very great, but which was, as", "Mark as were not so close akin to the blood of the Wolf; and this was a\nlaw that none dreamed of breaking. Thus then dwelt this Folk and such\nwas their Custom.", "Therewith fell their talk awhile, and as they rode they came to where the\nwood drew nigher to the river, and thus the Mid-mark had an end; for", "Thereby was the ford, which was firm and good and changed little from\nyear to year, so that all Markmen knew it well and it was called", "yet singeth, and which ye have heard wide about in the Mark; for this is\nthe same folk of which a many of them tell, making up that story-lay", "allied to them. They had come into those parts later than the Markmen,\nas the old tales told; which said moreover that in days gone by a folk", "Upper-mark, and the dwellings of the kindred therein all girdled about by\nthe wild-wood; and beyond, the blue hills of the herdsmen, and beyond", "As she made an end of singing, those about her understood her words, that\nshe was foretelling victory, and the peace of the Mark, and for joy they", "That still upon the Markmen and the Mark they set their thought;\n For they questioned this man and others through a go-between in words" ], [ "them as they were dear to the Goths; and the Gods of their foemen seemed\nto be lying in wait to fall upon them, even if they should slay every man\nof the kindreds.", "towards their lurking-place. And those he saw were a good many, and they\nwere mostly of the dastards of the Goths; but with them was a Captain of", "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "exceeding valour, and when they had driven off the Goths some of them\nbrought him dead inside their garth, for they would know the name and\ndignity of so valorous a man.", "the Goths who were their guides and scouts: furthermore the wood was at\nhand, and they knew not what it held; and with all this and above it all,", "\"Soon was that storm over, and we saw the Goths tossing up their spears\nover the slain, and horses running loose and masterless adown over the", "victory rang around us, and the earth shook, and past the place of the\nslaughter rushed the riders of the Goths; for they had sent horsemen to", "\"Now could it be seen how the Goths gave way before them to let them into\nthe trap, and then closed around again, and the axes and edge weapons", "Goths, and we left them for the wolves to deal with. And twenty-five men\nof the Romans we took alive to be for hostages if need should be, and", "these parts before the Sons of the Goths. Now will I drink.\"", "Howbeit the array of the Goths was broken and many were slain, and\nperforce they must give back, and it seemed as if they would be driven\ninto the river and all be lost.", "but on the east the thicket came close up to them and edged them away.\nTherein lay the Goths.", "the thicket, and said that it was certainly the sound of the Goths' horn,\nand the note agreed on. Therefore I sent a messenger at once to the", "Thiodolf stayed a moment, and even therewith they looked, and lo! the\nRomans giving back before the Goths and the Goths following up the chase,", "Of a sudden one of the dastards of the Goths who was close to the Captain\ncried out that he heard horse coming; but because he spake in the Gothic", "the Goths, yet shall to-morrow morn be happier.\"", "the Goths, and their sharp arrows, knew not which way to turn, and a\ngreat slaughter befell amongst them, and they of them were the happiest\nwho might save themselves by their feet.", "the place of those who were hewn down by Thiodolf and the Kindred, they\nfell in their turn, and slowly the Goths cleared a space within the", "\"I went from him and went all about that garth espying everything,\nfearing nothing; albeit there were divers woful captives of the Goths,", "\"Tells the Lay, that none abode the Goths and their fellowship, but such\nas were mighty enough to fall before them, and the rest, both man and" ], [ "them as they were dear to the Goths; and the Gods of their foemen seemed\nto be lying in wait to fall upon them, even if they should slay every man\nof the kindreds.", "victory rang around us, and the earth shook, and past the place of the\nslaughter rushed the riders of the Goths; for they had sent horsemen to", "\"Now could it be seen how the Goths gave way before them to let them into\nthe trap, and then closed around again, and the axes and edge weapons", "the Goths who were their guides and scouts: furthermore the wood was at\nhand, and they knew not what it held; and with all this and above it all,", "towards their lurking-place. And those he saw were a good many, and they\nwere mostly of the dastards of the Goths; but with them was a Captain of", "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "\"Soon was that storm over, and we saw the Goths tossing up their spears\nover the slain, and horses running loose and masterless adown over the", "the Goths, and their sharp arrows, knew not which way to turn, and a\ngreat slaughter befell amongst them, and they of them were the happiest\nwho might save themselves by their feet.", "\"They have an altar in the midst of their burg, and thereon they\nsacrifice to their God, who is none other than their banner of war, which", "exceeding valour, and when they had driven off the Goths some of them\nbrought him dead inside their garth, for they would know the name and\ndignity of so valorous a man.", "these parts before the Sons of the Goths. Now will I drink.\"", "were looking on the battle with eager eyes, there came an answering shout\ndown the wind, which they knew for the voice of the Goths amid the", "but on the east the thicket came close up to them and edged them away.\nTherein lay the Goths.", "Romans there were, and amongst them men in the attire of the Goths,\nbusied about the river banks, as though they were going to try the ford.", "from them, for they did as the Hall-Sun bade them, when they knew that\nthey would be questioned with torments, and smiting themselves each with\na little sharp knife, so went their ways to the Gods.", "Howbeit the array of the Goths was broken and many were slain, and\nperforce they must give back, and it seemed as if they would be driven\ninto the river and all be lost.", "hearts of the Goths sank, for they deemed that their leader was slain,\nand those who were nearest to him raised him up and bore him hastily", "light-armed. And this indeed was the goodhap of the Goths; for they were\nsomewhat disordered by their chase of the light-armed, and they smote and", "and slew both men and horses of the Goths as those rode along their front\ncasting their javelins, and shooting here and there from behind their", "field sloped up toward the Wolfing dwelling; and they gathered heart when\nthey saw that the Goths tarried and forbore them. But the sun was\nsinking, and the evening was hard at hand." ], [ "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "but on the east the thicket came close up to them and edged them away.\nTherein lay the Goths.", "dwelt among those hills who were alien from the Goths, and great foes to\nthe Markmen; and how that on a time they came down from their hills with", "towards their lurking-place. And those he saw were a good many, and they\nwere mostly of the dastards of the Goths; but with them was a Captain of", "CHAPTER XXIV--THE GOTHS ARE OVERTHROWN BY THE ROMANS", "victory rang around us, and the earth shook, and past the place of the\nslaughter rushed the riders of the Goths; for they had sent horsemen to", "Goths, and we left them for the wolves to deal with. And twenty-five men\nof the Romans we took alive to be for hostages if need should be, and", "forth from its sides and made on toward the Goths, and in three or four\nminutes were within bowshot of them. Then the bowmen of the Goths", "\"Tells the Lay, that none abode the Goths and their fellowship, but such\nas were mighty enough to fall before them, and the rest, both man and", "But that swelling of the meadow where the Goths had their overthrow at\nthe hands of the Romans, and Thiodolf fell to earth unwounded, got a name", "\"Soon was that storm over, and we saw the Goths tossing up their spears\nover the slain, and horses running loose and masterless adown over the", "Of a sudden one of the dastards of the Goths who was close to the Captain\ncried out that he heard horse coming; but because he spake in the Gothic", "the Goths, yet shall to-morrow morn be happier.\"", "Howbeit the array of the Goths was broken and many were slain, and\nperforce they must give back, and it seemed as if they would be driven\ninto the river and all be lost.", "Folk were but just astir in the Hall, and there came an old woman to him,\nand looked on him and saw by his attire that he was a man of the Goths", "Romans there were, and amongst them men in the attire of the Goths,\nbusied about the river banks, as though they were going to try the ford.", "\"I went from him and went all about that garth espying everything,\nfearing nothing; albeit there were divers woful captives of the Goths,", "exceeding valour, and when they had driven off the Goths some of them\nbrought him dead inside their garth, for they would know the name and\ndignity of so valorous a man.", "Yet though the Romans were gone, the Goth-folk were very hard bested.\nThey had been overthrown, not sorely maybe if they had been in an alien", "the Goths who were their guides and scouts: furthermore the wood was at\nhand, and they knew not what it held; and with all this and above it all," ], [ "days when it had been first settled, and had abided aloof for many\ngenerations of men; and so at last had come back again to the Mark, and", "That still upon the Markmen and the Mark they set their thought;\n For they questioned this man and others through a go-between in words", "the water to be in the second, and with them the more part of the Nether-\nmark; but the men of Up-mark to be in the third, and the stay-at-homes to", "All this the Romans noted, and they saw how that the Markmen were now\nvery many, and they knew that they were men no less valiant than", "In this, the first onset of the Morning Battle, some of the Markmen had\nfallen, but not many, since but a few had entered outright into the Roman", "Therefore, whereas the Markmen were far fewer in all than the Roman main-\nbattle, and whereas this same host was in very good array, no doubt there", "As she made an end of singing, those about her understood her words, that\nshe was foretelling victory, and the peace of the Mark, and for joy they", "and the Nether-mark: and all these three were inhabited by men of one\nfolk and one kindred, which was called the Mark-men, though of many", "fair offing so as to disentangle themselves and array themselves in good\norder side by side; and whereas the Markmen were fleet of foot, and in", "War. For long had they abided there in the Mark, and the life was sweet\nto them which they knew, and the life which they knew not was bitter to", "But there were gathered of the Markmen to that place some four thousand\nmen, all chosen warriors and doughty men; and of the thralls and aliens", "Thus went forth the host of the Markmen, faring along both sides of the\nwater into the Upper-mark; and on the west side, where went the Wolfings,", "banner the image of the rising sun. Thereabout was the Mark somewhat\nmore hilly and broken than in the Mid-mark, so that the Great Roof of the", "God's gifts from the Markmen houses where the tables never lack.\n O Markmen, take the God-gifts that came on their own feet", "allied to them. They had come into those parts later than the Markmen,\nas the old tales told; which said moreover that in days gone by a folk", "Now in the Mid-mark itself were many Houses of men; for by that word had\nthey called for generations those who dwelt together under one token of", "each was beset by the best of the Markmen. Thiodolf and his men beset\nthe western gate where they had made that fierce onset. And the northern", "yet singeth, and which ye have heard wide about in the Mark; for this is\nthe same folk of which a many of them tell, making up that story-lay", "Thereby was the ford, which was firm and good and changed little from\nyear to year, so that all Markmen knew it well and it was called", "tell of. And from the beginning this clearing in the wood they called\nthe Mid-mark: for you shall know that men might journey up and down the" ], [ "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "towards their lurking-place. And those he saw were a good many, and they\nwere mostly of the dastards of the Goths; but with them was a Captain of", "Of a sudden one of the dastards of the Goths who was close to the Captain\ncried out that he heard horse coming; but because he spake in the Gothic", "Folk were but just astir in the Hall, and there came an old woman to him,\nand looked on him and saw by his attire that he was a man of the Goths", "\"Men of the Goths, will ye mount your horses again and ride into the wood\nand let it cover you, or will ye fight these Romans?\" They answered him", "Goths, and we left them for the wolves to deal with. And twenty-five men\nof the Romans we took alive to be for hostages if need should be, and", "forth from its sides and made on toward the Goths, and in three or four\nminutes were within bowshot of them. Then the bowmen of the Goths", "\"Tells the Lay, that none abode the Goths and their fellowship, but such\nas were mighty enough to fall before them, and the rest, both man and", "them as they were dear to the Goths; and the Gods of their foemen seemed\nto be lying in wait to fall upon them, even if they should slay every man\nof the kindreds.", "for the Romans, they had had no mercy, and now looked for none: and they\nremembered their dealings with the Goths, and saw before them, as it", "the thicket, and said that it was certainly the sound of the Goths' horn,\nand the note agreed on. Therefore I sent a messenger at once to the", "Romans there were, and amongst them men in the attire of the Goths,\nbusied about the river banks, as though they were going to try the ford.", "the Goths who were their guides and scouts: furthermore the wood was at\nhand, and they knew not what it held; and with all this and above it all,", "Goths, and they advanced boldly enough, a great cloud of men in loose\narray who fell to with arrows and slings on the wedge-array and slew and", "\"I went from him and went all about that garth espying everything,\nfearing nothing; albeit there were divers woful captives of the Goths,", "Most valiantly they fought; but the fury of their despair could not deal\nwith the fearless hope of the Goths, and as rank after rank of them took", "the Goths, yet shall to-morrow morn be happier.\"", "hearts of the Goths sank, for they deemed that their leader was slain,\nand those who were nearest to him raised him up and bore him hastily", "Thiodolf stayed a moment, and even therewith they looked, and lo! the\nRomans giving back before the Goths and the Goths following up the chase,", "was Fox; but he was clad in the raiment of the dastard of the Goths whom\nhe had slain. I tell you my heart beat, for I saw that the others were" ], [ "bid men choose a War-duke if none gainsay it.\"", "\"Men of the kindreds, I am your War-duke to-day; but it is oftenest the\ncustom when ye go to war to choose you two dukes, and I would it were so", "was Heriulf to them, that none would have named Otter had it not been\nmostly their custom not to choose both War-dukes from one House.", "\"Children of Tyr, what man will ye have for a leader and a duke of war?\"\n\nThen a great shout sprang up from amidst the swords: \"We will have\nThiodolf; Thiodolf the Wolfing!\"", "Now all those round about him heard his words, for he spake with a loud\nvoice; and they knew what the bidding of the War-duke would be; so they", "But amidst all this there was a little stir outside that biggest ring,\nand men parted, and through them came a swain amongst the chiefs, and\nsaid, \"Who will lead me to the War-duke?\"", "Who hath known the heart of the War-dukes, and the deeds their hands\n have done,\n Will not the word be with him, while yet your hearts are hot,", "\"They have captains of tens and of hundreds over them, and that war-duke\nover all; he goeth to and fro with gold on his head and his breast, and", "Such then was Thiodolf, and ever was he the chosen leader of the Wolfings\nand often the War-duke of the whole Folk.", "Thiodolf, who was close beside the lad, answered never a word; but\nArinbiorn said; \"This man here sitting is the War-duke: speak to him, for\nhe may hearken to thee: but first who art thou?\"", "them. So went the freemen of the Houses into the Hall, following the\nHall-Sun, and the bearers of the War-dukes; but the banners abode without", "Now while all looked on, he went to the place where lay the bodies of the\nWar-dukes, and looked down on the face of Otter and said:", "mote and the oath of the War-duke, and how they had chosen Otter to be\ntheir leader. Howbeit, man looked askance at man, as if in shame to be\nleft behind.", "garth and into the Great Roof of the Daylings; and amongst these were the\ntwo War-dukes.", "\"As they stood there, not out of earshot of a man speaking in his wonted\nvoice, our War-duke made a sign to those about him, and we spread very", "\"Hail to thine hand, War-duke!\" said Arinbiorn joyously; \"there is no\nmore to do but to take thy word concerning the order wherein we shall\nwend; for all men are armed and ready.\"", "Therewith he and the two War-dukes came down from the hill; and stood\nbefore the altar; and the nine warriors of the Daylings stood forth with", "\"But, War-duke,\" says he, \"I came also across our own folk of the second\nbattle duly ordered in the wood ready to meet them; and they shall be\nwell dealt with, and the sun shall rise for us and not for them.\"", "No voice gainsaid him: then said the Dayling: \"Come forth thou War-duke\nof the Markmen! take up the gold ring from the horns of the altar, set it\non thine arm and come up hither!\"", "Otter drew rein, and the lad said to him: \"Art thou the War-duke?\" \"Yea,\"\nsaid Otter." ], [ "bid men choose a War-duke if none gainsay it.\"", "\"Men of the kindreds, I am your War-duke to-day; but it is oftenest the\ncustom when ye go to war to choose you two dukes, and I would it were so", "But amidst all this there was a little stir outside that biggest ring,\nand men parted, and through them came a swain amongst the chiefs, and\nsaid, \"Who will lead me to the War-duke?\"", "Now while all looked on, he went to the place where lay the bodies of the\nWar-dukes, and looked down on the face of Otter and said:", "\"But, War-duke,\" says he, \"I came also across our own folk of the second\nbattle duly ordered in the wood ready to meet them; and they shall be\nwell dealt with, and the sun shall rise for us and not for them.\"", "Now all those round about him heard his words, for he spake with a loud\nvoice; and they knew what the bidding of the War-duke would be; so they", "Therewith he and the two War-dukes came down from the hill; and stood\nbefore the altar; and the nine warriors of the Daylings stood forth with", "mote and the oath of the War-duke, and how they had chosen Otter to be\ntheir leader. Howbeit, man looked askance at man, as if in shame to be\nleft behind.", "them. So went the freemen of the Houses into the Hall, following the\nHall-Sun, and the bearers of the War-dukes; but the banners abode without", "\"Hail to thine hand, War-duke!\" said Arinbiorn joyously; \"there is no\nmore to do but to take thy word concerning the order wherein we shall\nwend; for all men are armed and ready.\"", "\"As they stood there, not out of earshot of a man speaking in his wonted\nvoice, our War-duke made a sign to those about him, and we spread very", "garth and into the Great Roof of the Daylings; and amongst these were the\ntwo War-dukes.", "Who hath known the heart of the War-dukes, and the deeds their hands\n have done,\n Will not the word be with him, while yet your hearts are hot,", "kissed and said to him, \"Brother, go help those who are quenching the\nfire; this is the bidding of the War-duke.\"", "War-dukes we have gotten, since each thinketh of the same wisdom. Now\ntake we counsel together as to what we shall do; whether we shall go back", "was Heriulf to them, that none would have named Otter had it not been\nmostly their custom not to choose both War-dukes from one House.", "\"Children of Tyr, what man will ye have for a leader and a duke of war?\"\n\nThen a great shout sprang up from amidst the swords: \"We will have\nThiodolf; Thiodolf the Wolfing!\"", "Such then was Thiodolf, and ever was he the chosen leader of the Wolfings\nand often the War-duke of the whole Folk.", "No voice gainsaid him: then said the Dayling: \"Come forth thou War-duke\nof the Markmen! take up the gold ring from the horns of the altar, set it\non thine arm and come up hither!\"", "warriors would not leave their War-duke among the foemen, so they lifted\nhim, and gathered about him a goodly band that held its own against all" ], [ "Such then was Thiodolf, and ever was he the chosen leader of the Wolfings\nand often the War-duke of the whole Folk.", "\"Children of Tyr, what man will ye have for a leader and a duke of war?\"\n\nThen a great shout sprang up from amidst the swords: \"We will have\nThiodolf; Thiodolf the Wolfing!\"", "Then said Thiodolf: \"We shall order us into three battles; the Wolfings\nand the Bearings to lead the first, for this is our business; but others", "Now the name of this House was the Wolfings, and they bore a Wolf on\ntheir banners, and their warriors were marked on the breast with the", "\"Men of the kindreds, I am your War-duke to-day; but it is oftenest the\ncustom when ye go to war to choose you two dukes, and I would it were so", "was Heriulf to them, that none would have named Otter had it not been\nmostly their custom not to choose both War-dukes from one House.", "Wolfings in the wild-wood behind the Wolfing dwellings, for we hear tell\nthat the War-duke would not that the Hall-Sun should hold the Hall\nagainst the whole Roman host.\"", "In the west gate Thiodolf the War-duke gave one mighty cry like the roar\nof an angry lion, and cleared a space before him for the wielding of", "they had affinity with the Wolfings. But old men of the House remembered\nhow they had heard their grandsires and very old men tell that there had", "So were the men of the three kindreds somewhat mingled together on the\nway. The Wolfings were the tallest and the biggest made; but of those", "\"We, the Shieldings, with the Geirings, the Hrossings, and the Wolfings,\nthree hundred warriors and more, were led into the Wood by Thiodolf the", "bid men choose a War-duke if none gainsay it.\"", "Now all those round about him heard his words, for he spake with a loud\nvoice; and they knew what the bidding of the War-duke would be; so they", "And to follow with the Wolfings and thrust the war-beast forth.\n And so good men deem the tidings that they bid them journey north", "mote and the oath of the War-duke, and how they had chosen Otter to be\ntheir leader. Howbeit, man looked askance at man, as if in shame to be\nleft behind.", "Therewith he and the two War-dukes came down from the hill; and stood\nbefore the altar; and the nine warriors of the Daylings stood forth with", "them. So went the freemen of the Houses into the Hall, following the\nHall-Sun, and the bearers of the War-dukes; but the banners abode without", "\"They have captains of tens and of hundreds over them, and that war-duke\nover all; he goeth to and fro with gold on his head and his breast, and", "\"O warriors of the Wolfings, by the token of the flame\n That here in my right hand flickers, ye are back at the House of the\n Name,", "Thiodolf, who was close beside the lad, answered never a word; but\nArinbiorn said; \"This man here sitting is the War-duke: speak to him, for\nhe may hearken to thee: but first who art thou?\"" ], [ "bid men choose a War-duke if none gainsay it.\"", "\"Men of the kindreds, I am your War-duke to-day; but it is oftenest the\ncustom when ye go to war to choose you two dukes, and I would it were so", "\"They have captains of tens and of hundreds over them, and that war-duke\nover all; he goeth to and fro with gold on his head and his breast, and", "But amidst all this there was a little stir outside that biggest ring,\nand men parted, and through them came a swain amongst the chiefs, and\nsaid, \"Who will lead me to the War-duke?\"", "\"Children of Tyr, what man will ye have for a leader and a duke of war?\"\n\nThen a great shout sprang up from amidst the swords: \"We will have\nThiodolf; Thiodolf the Wolfing!\"", "garth and into the Great Roof of the Daylings; and amongst these were the\ntwo War-dukes.", "was Heriulf to them, that none would have named Otter had it not been\nmostly their custom not to choose both War-dukes from one House.", "Now all those round about him heard his words, for he spake with a loud\nvoice; and they knew what the bidding of the War-duke would be; so they", "Such then was Thiodolf, and ever was he the chosen leader of the Wolfings\nand often the War-duke of the whole Folk.", "Therewith he and the two War-dukes came down from the hill; and stood\nbefore the altar; and the nine warriors of the Daylings stood forth with", "them. So went the freemen of the Houses into the Hall, following the\nHall-Sun, and the bearers of the War-dukes; but the banners abode without", "mote and the oath of the War-duke, and how they had chosen Otter to be\ntheir leader. Howbeit, man looked askance at man, as if in shame to be\nleft behind.", "Now while all looked on, he went to the place where lay the bodies of the\nWar-dukes, and looked down on the face of Otter and said:", "War-dukes we have gotten, since each thinketh of the same wisdom. Now\ntake we counsel together as to what we shall do; whether we shall go back", "So fell the whole host into due array, and they were somewhat over three\nthousand warriors, all good and tried men and meet to face the uttermost", "warriors would not leave their War-duke among the foemen, so they lifted\nhim, and gathered about him a goodly band that held its own against all", "\"But, War-duke,\" says he, \"I came also across our own folk of the second\nbattle duly ordered in the wood ready to meet them; and they shall be\nwell dealt with, and the sun shall rise for us and not for them.\"", "Who hath known the heart of the War-dukes, and the deeds their hands\n have done,\n Will not the word be with him, while yet your hearts are hot,", "\"Hail to thine hand, War-duke!\" said Arinbiorn joyously; \"there is no\nmore to do but to take thy word concerning the order wherein we shall\nwend; for all men are armed and ready.\"", "\"As they stood there, not out of earshot of a man speaking in his wonted\nvoice, our War-duke made a sign to those about him, and we spread very" ], [ "And one that I may not tell of, who in God-home hath his place,\n And who changed his shape to beget thee in the wild-wood's leafy roof.", "\"Sooth is that,\" said the Hall-Sun. \"But wise art thou by seeming. Hast\nthou come to tell me of what kindred I am, and who is my father and who\nis my mother?\"", "As the bones of the giants' father when the Gods first fared to\n fight.\"", "of the Elkings: and I, who am a daughter of the Gods of thy kindred, and\na Chooser of the Slain! Yea, and that upon the eve of battle and the", "He laid his hand fondly on her head, and spake smiling: \"Such is the wont\nof the God-kin, because they know not the hearts of men. Tell me all the\ntruth of it now at last.\"", "They gave me a foster-mother an ancient dame and good,\n And a glorious foster-father the best of all the blood.\"", "them as hath befallen afterwards, but all they of one blood were brethren\nand of equal dignity. Howbeit they had servants or thralls, men taken in", "\"Thou sayest sooth, O daughter: I am no God of might,\n Yet I am of their race, and I think with their thoughts and see with\n their sight,", "She said: \"How then if I lied that night?\"\n\nSaid he; \"It is the wont of the Gods to lie, and be unashamed, and men-\nfolk must bear with it.\"", "That the seed of the Ancient Fathers and a woman of their kin\n With her all unfading beauty must blend herself therein?\n Are they fearing lest the kindreds should grow too fair and great,", "and his name was Agni, so that the tofts where he fell have since been\ncalled Agni's Tofts. So that day they fought all over the plain, and a", "since now at last she herself foresaw nothing of it, though she was of\nthe kindred of the Gods and the Fathers of the Goths. So when she had", "Still bidding me remember that I come of the God-folk's kin,\n And yet for all my godhead no love of thee may win.\"", "\"Wouldest thou die at my bidding?\"\n\n\"Yea,\" said he, \"not because thou art of the Gods, but because thou hast\nbecome a woman to me, and I love thee.\"", "And the God-folk and the Fathers, as these cross the tinkling bridge,\n Crowd round and crave for stories of the Battle on the Ridge.\"", "the Laxings, or Heriulf of the Wolfings. True it is that Otter was a\nvery wise warrior, and well known to all the men of the Mark; yet so dear", "to her place, and stood under her namesake, the wondrous lamp of ancient\ndays. And thus she spake:", "\"Yet art thou no older than in days bygone,\" said he. \"Is it so, O\nDaughter of the Gods, that thou wert never born, but wert from before the", "\"Lo thou, is not this the Thiodolf whom thou hast loved? no changeling of\nthe Gods, but the man in whom men have trusted, the friend of Earth, the\ngiver of life, the vanquisher of death?\"", "friends of the Almighty God of the Earth. How camest thou to meet the\nRomans and know of their ways and to live thereafter?\"" ], [ "Now the name of this House was the Wolfings, and they bore a Wolf on\ntheir banners, and their warriors were marked on the breast with the", "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "So came the Wolfings and their fellows up to the dwellings of the\nnorthernmost kindred, who were called the Daylings, and bore on their", "crossed the water, and had fallen upon the dwellings of the Wolfings; but\nthat the old men and younglings and thralls of the House had come upon", "Wolfings in the wild-wood behind the Wolfing dwellings, for we hear tell\nthat the War-duke would not that the Hall-Sun should hold the Hall\nagainst the whole Roman host.\"", "\"But know ye that the Romans shall fall with all their power on the\nWolfing dwellings, deeming that when they have that, they shall have all", "Then said Thiodolf: \"We shall order us into three battles; the Wolfings\nand the Bearings to lead the first, for this is our business; but others", "\"O warriors of the Wolfings, by the token of the flame\n That here in my right hand flickers, ye are back at the House of the\n Name,", "they had affinity with the Wolfings. But old men of the House remembered\nhow they had heard their grandsires and very old men tell that there had", "And to follow with the Wolfings and thrust the war-beast forth.\n And so good men deem the tidings that they bid them journey north", "\"From a far folk have I wandered and I come of an alien blood,\n But I know all tales of the Wolfings and their evil and their good;", "The house, that is to say the Roof, of the Wolfings of the Mid-mark stood\non the topmost of the slope aforesaid with its back to the wild-wood and", "In the ancient House of the Wolfings, though love was warm therein.\"", "then come, told how the Markmen had been worsted by the Romans, and had\ngiven back from the Wolfing dwellings, and were making a stand against", "up with us in a day or two. And if he come not, then will I bring him\nover to the Wolfings when the battle is done.\"", "Now when all this was done, and the warriors of the kindreds were\ndeparted each to his own stead, the Wolfings gathered in wheat-harvest,", "So here am I abiding, and of things to be I tell,\n Yet know not what shall befall me nor why with the Wolfings I dwell.\"", "So were the men of the three kindreds somewhat mingled together on the\nway. The Wolfings were the tallest and the biggest made; but of those", "\"O Warriors of the Wolfings by the token of the flame\n That here in my right hand flickers, come aback to the House of the\n Name!", "door to the same chamber standeth open before us? This House of the\nWolfings is the door to the treasure chamber of the Markmen; let us fall\non that at once rather than have many battles for other lesser matters," ], [ "and though the beasts and the Romans were dwelling in their old places,\nyet should these kindreds make new clearings in the Wild-wood; and they", "The tale tells that in times long past there was a dwelling of men beside\na great wood. Before it lay a plain, not very great, but which was, as", "moved, when back comes Fox and tells how he has come upon a great company\nof the Romans led by their thralls of the Goths who were just entering\nthe wood, away there towards the Thing-stead.", "\"We, the Shieldings, with the Geirings, the Hrossings, and the Wolfings,\nthree hundred warriors and more, were led into the Wood by Thiodolf the", "about with great oak-trees and grass thereunder, which I knew well; and\nthereof the tale tells that it was a holy place of the folk who abided in", "Said he: \"The tidings are as yesterday, save that Thiodolf will lead the\nhost through the wild-wood to look for the Romans beyond it: therefore", "Wolfings in the wild-wood behind the Wolfing dwellings, for we hear tell\nthat the War-duke would not that the Hall-Sun should hold the Hall\nagainst the whole Roman host.\"", "'Twixt each tree a warrior standeth come back from the spear-strewn\n way,\n And forth they come from the wild-wood and a little band are they.\"", "The dawn was coming on apace, but the wood was yet dark. But whereas the\nWolfings led, and each man of them knew the wood like his own hand, there", "the Goths who were their guides and scouts: furthermore the wood was at\nhand, and they knew not what it held; and with all this and above it all,", "Cast down the tree of the Wolfings on the roots that spread so far?\n O friend, thou art wise and mighty, but other men have lived", "\"O warriors, the Wolfing kindred shall live or it shall die;\n And alive it shall be as the oak-tree when the summer storm goes by;", "For alive with men is the wild-wood and shineth with the steel,\n And hath a voice most merry to tell of the Kindreds' weal,", "Which unto the Wild-wood clearing with the kin of the Wolfings came\n And shall wend with their departure to the limits of the earth;", "\"I am Bork, a man of the Geirings of the Upper-mark: two days ago I and\nfive others were in the wild-wood a-hunting, and we wended through the", "dwelt among those hills who were alien from the Goths, and great foes to\nthe Markmen; and how that on a time they came down from their hills with", "of yew trees, low, but growing thick together, and great grey stones were\nscattered up and down on the short grass of the dale. Thiodolf went down", "Thiodolf turned toward the wood, and walked steadily through the\nscattered hazel-trees, and thereby into the thick of the beech-trees,", "And there shall we make our wain-burg on the edges of the wood,\n Where in the days past over at last the aliens stood,", "So they abode together in that wood-lawn till the twilight was long gone,\nand the sun arisen for some while. And when Thiodolf stepped out of the" ], [ "scattered trees, mostly quicken-trees grew here and there on the very\nwater side. But Mirkwood-water ran deep swift and narrow between high", "Mirkwood-water, and half a day's ride up or down they would come on\nanother clearing or island in the woods, and these were the Upper-mark", "another long dale. Looking north we saw the outer edge of Mirkwood but a\nlittle way from us, and we were glad thereof; because ere we left our", "CHAPTER XII--TIDINGS OF THE BATTLE IN MIRKWOOD", "So wended the Markmen between wood and stream on either side of Mirkwood-\nwater, till now at last the night grew deep and the moon set, and it was", "toward the downward course of Mirkwood-water; and he set the horn to his\nlips, and blew a long blast, and then again, and yet again the third", "it a name, and called it the Dusky, and the Glassy, and the\nMirkwood-water; for the names of it changed with the generations of man.", "Nevertheless they bore their crests high as they followed the Wolf down\ninto the meadow, where all was now ready for departure. There they\narrayed themselves and went down to the lip of Mirkwood-water; and such", "\"I am, as many know, a hunter of Mirkwood, and I know all its ways and\nthe passes through the thicket somewhat better than most.", "So after they had rested there a short hour, and had eaten what was easy\nfor them to get, they crossed the ford, and wended along Mirkwood-water", "thick wood by day-dawn: and whereas they rode hard, and Viglund knew the\nways well, they came to Mirkwood-water before the day was old, and saw", "Mirkwood-water. The Romans tarried there but a little hour, and then\nwent their ways; but Otter sent a man on a swift horse to watch them, and", "into every House of the Mark. Now therefore fetch a compass and come\ninto the wood on the north-west of the houses and make your way to the", "\"We, the Shieldings, with the Geirings, the Hrossings, and the Wolfings,\nthree hundred warriors and more, were led into the Wood by Thiodolf the", "went their ways, down the water: one pair went on the western side, and\nthe other crossed Mirkwood-water at the shallows (for being Midsummer the", "In such wise that Folk had made an island amidst of the Mirkwood, and\nestablished a home there, and upheld it with manifold toil too long to", "mighty of body, he escaped all perils and came to us through the\nMirkwood. But we saw that he was no liar, and had been very evilly", "Roof lay up Mirkwood-water next to the Roof of the Wolfings.", "Otter and his folk rode their ways along Mirkwood-water, and made no\nstay, except now and again to breathe their horses, till they came to", "out of the woodland way into Mid-mark; and at once as soon as the whole\nplain of the Mark opened out before them, they saw what most of them" ], [ "The tale tells that in times long past there was a dwelling of men beside\na great wood. Before it lay a plain, not very great, but which was, as", "On the left are the days forgotten, on the right the days to come,\n And another folk and their story in the stead of the Wolfing home.", "dwelt among those hills who were alien from the Goths, and great foes to\nthe Markmen; and how that on a time they came down from their hills with", "about with great oak-trees and grass thereunder, which I knew well; and\nthereof the tale tells that it was a holy place of the folk who abided in", "and though the beasts and the Romans were dwelling in their old places,\nyet should these kindreds make new clearings in the Wild-wood; and they", "So here am I abiding, and of things to be I tell,\n Yet know not what shall befall me nor why with the Wolfings I dwell.\"", "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "Wolfings in the wild-wood behind the Wolfing dwellings, for we hear tell\nthat the War-duke would not that the Hall-Sun should hold the Hall\nagainst the whole Roman host.\"", "and guarded by some of their thralls; and there would abide the onset of\nthose who had thrust them back in the field. And this garth they called\nthe Wain-burg.", "in the garth made by the Romans; and the thralls arrayed a feast for\nthemselves about the wains of the kindreds in the open place before their", "They made stay at last on the rising ground, all trampled and in parts\nbloody, where yesterday Thiodolf had come on the fight between the", "Upper-mark, and the dwellings of the kindred therein all girdled about by\nthe wild-wood; and beyond, the blue hills of the herdsmen, and beyond", "now dwelt a folk somewhat scattered and feeble; hunters and herdsmen,\nwith little tillage about their abodes, a folk akin to the Markmen and", "and Fox who had seen the Roman Garth, and many others. It was night now,\nand men had lighted fires about the host, for they said that the Romans", "of yew trees, low, but growing thick together, and great grey stones were\nscattered up and down on the short grass of the dale. Thiodolf went down", "moved, when back comes Fox and tells how he has come upon a great company\nof the Romans led by their thralls of the Goths who were just entering\nthe wood, away there towards the Thing-stead.", "So came the Wolfings and their fellows up to the dwellings of the\nnorthernmost kindred, who were called the Daylings, and bore on their", "As to the Roof of the Wolfings, it was a great hall and goodly, after the\nfashion of their folk and their day; not built of stone and lime, but", "\"But know ye that the Romans shall fall with all their power on the\nWolfing dwellings, deeming that when they have that, they shall have all", "to them, as their dwellings are but poor, and for the most part they have\nno tillage. Now of these men, we met not a few who had been in battle" ], [ "The God of this mighty people and the Markmen and their kin?\n Lo, this is the weird of the world, and what may we do herein?\"", "them as they were dear to the Goths; and the Gods of their foemen seemed\nto be lying in wait to fall upon them, even if they should slay every man\nof the kindreds.", "them, and they knew that the doom had gone forth against them.\nNevertheless they were not men to faint and die because the Gods were\nbecome their foes, but they were resolved rather to fight it out to the", "For 'tis I and I that love them, and my sorrow would I give,\n And thy life, thou God of battle, that the Wolfing House might live.\"", "blood of the Gods'-gifts over the Folk, as was the custom of those days.", "As the bones of the giants' father when the Gods first fared to\n fight.\"", "\"Arinbiorn,\" said Thiodolf, \"where didst thou hear tell of me that I had\nmade myself the thrall of the Gods? The oath that I sware was sworn when", "given to the Gods for a happy day of battle. Even the war-horses of the\nhost they must leave in the wood without the wood-lawn, and all men were\nafoot who were there.", "mountains where none dwell now but the Gods of their kindreds; and many\nof these tales told of their woes and their wars as they went from river", "that they loved and the kine that they had reared, and the sheep that\nthey guarded from the Wolf of the Wild-wood: and they worshipped the kind", "For then 'midst the toil and the turmoil shall we sow the seeds of\n peace,\n And the Kindreds' long endurance, and the Goth-folk's great increase.\"", "\"They have an altar in the midst of their burg, and thereon they\nsacrifice to their God, who is none other than their banner of war, which", "And to follow with the Wolfings and thrust the war-beast forth.\n And so good men deem the tidings that they bid them journey north", "And evermore to love thee who hast given me second birth.\n And by the sword I swear it, and by the Holy Earth,\n To live for the House of the Wolfings, and at last to die for their", "Thus these poor people thought of the Gods whom they worshipped, and the\nfriends whom they loved, and could not choose but be heavy-hearted when", "from them, for they did as the Hall-Sun bade them, when they knew that\nthey would be questioned with torments, and smiting themselves each with\na little sharp knife, so went their ways to the Gods.", "but turned about at once, crying out that the Gods of the Kindreds were\ncome to aid and none could withstand them. But these fleers thrust", "\"From a far folk have I wandered and I come of an alien blood,\n But I know all tales of the Wolfings and their evil and their good;", "of the Elkings: and I, who am a daughter of the Gods of thy kindred, and\na Chooser of the Slain! Yea, and that upon the eve of battle and the", "The Gods hearken and hear\n The long rumour of fear\n From the meadows beneath\n Running fierce o'er the heath," ], [ "blood of the Gods'-gifts over the Folk, as was the custom of those days.", "given to the Gods for a happy day of battle. Even the war-horses of the\nhost they must leave in the wood without the wood-lawn, and all men were\nafoot who were there.", "them as they were dear to the Goths; and the Gods of their foemen seemed\nto be lying in wait to fall upon them, even if they should slay every man\nof the kindreds.", "So at the sun-rising they sacrificed to the Gods twenty chieftains of the\nAliens whom they had taken, and therewithal a maiden of their own", "Then they cut up the carcases and burned on the altar the share of the\nGods, and Agni and the War-dukes tasted thereof, and the rest they bore", "\"They have an altar in the midst of their burg, and thereon they\nsacrifice to their God, who is none other than their banner of war, which", "from them, for they did as the Hall-Sun bade them, when they knew that\nthey would be questioned with torments, and smiting themselves each with\na little sharp knife, so went their ways to the Gods.", "For 'tis I and I that love them, and my sorrow would I give,\n And thy life, thou God of battle, that the Wolfing House might live.\"", "axes to hew the horses and with copper bowls wherein to catch the blood\nof them, and each hewed down his horse to the Gods, but the two War-dukes", "them, and they knew that the doom had gone forth against them.\nNevertheless they were not men to faint and die because the Gods were\nbecome their foes, but they were resolved rather to fight it out to the", "The God of this mighty people and the Markmen and their kin?\n Lo, this is the weird of the world, and what may we do herein?\"", "For then 'midst the toil and the turmoil shall we sow the seeds of\n peace,\n And the Kindreds' long endurance, and the Goth-folk's great increase.\"", "these parts before the Sons of the Goths. Now will I drink.\"", "As the bones of the giants' father when the Gods first fared to\n fight.\"", "And to follow with the Wolfings and thrust the war-beast forth.\n And so good men deem the tidings that they bid them journey north", "that they loved and the kine that they had reared, and the sheep that\nthey guarded from the Wolf of the Wild-wood: and they worshipped the kind", "Now when all this was done, and the warriors of the kindreds were\ndeparted each to his own stead, the Wolfings gathered in wheat-harvest,", "\"O warriors, the Wolfing kindred shall live or it shall die;\n And alive it shall be as the oak-tree when the summer storm goes by;", "\"May we be here to-night, O Hall-Sun, thou lovely Seeress of the mighty\nWolfings? may a wandering woman sit amongst you and eat the meat of the\nWolfings?\"", "And evermore to love thee who hast given me second birth.\n And by the sword I swear it, and by the Holy Earth,\n To live for the House of the Wolfings, and at last to die for their" ], [ "Said the carline: \"Art thou not also wise? Is it not so that the Hall-\nSun of the Wolfings seeth things that are to come?\"", "\"May we be here to-night, O Hall-Sun, thou lovely Seeress of the mighty\nWolfings? may a wandering woman sit amongst you and eat the meat of the\nWolfings?\"", "\"Lo you, neighbour, if thy Vala hath seen nought, yet hath this old man\nseen somewhat, and that somewhat even as the little lad saw it. Many a\nmother's son shall fall before the Welshmen.\"", "\"But know ye that the Romans shall fall with all their power on the\nWolfing dwellings, deeming that when they have that, they shall have all", "come should learn of it; for to them yet living it had spoken time and\nagain, and had told them what their fathers had not told them, and it\nheld the memories of the generations and the very life of the Wolfings", "For then 'midst the toil and the turmoil shall we sow the seeds of\n peace,\n And the Kindreds' long endurance, and the Goth-folk's great increase.\"", "And to follow with the Wolfings and thrust the war-beast forth.\n And so good men deem the tidings that they bid them journey north", "So here am I abiding, and of things to be I tell,\n Yet know not what shall befall me nor why with the Wolfings I dwell.\"", "The God of this mighty people and the Markmen and their kin?\n Lo, this is the weird of the world, and what may we do herein?\"", "Sits gazing through the hall-reek and sees across the board\n A vision of the reaping of the harvest of the sword,\n There shall Thiodolf be sitting; e'en there shall the youngling be", "\"From a far folk have I wandered and I come of an alien blood,\n But I know all tales of the Wolfings and their evil and their good;", "So they all gathered thereto, and she stood in her place and spake.\n\n\"Women and elders of the Wolfings, is it so that I spake somewhat of\ntidings last night?\"", "She said: \"I fare as the bearer of evil tidings. Bid thy folk do on\ntheir war-gear and saddle their horses, and make no delay; for now\npresently shall the Roman host be in Mid-mark!\"", "Till again it seeth the mighty and the men to be gleaned from the\n fight.\n So wend ye as weird willeth and let your hearts be light;", "Now as the riders of the Goths came over against the dwellings of the\nWithings, they saw people, mostly women, driving up the beasts from the", "\"Yet,\" said a third, \"Asmund is foreseeing; and may be, Thiodolf, thou\nwilt wot of the drift of these words, and tell us thereof.\"", "For 'tis I and I that love them, and my sorrow would I give,\n And thy life, thou God of battle, that the Wolfing House might live.\"", "\"'Have ye not heard\n Of the ways of Weird?\n How the folk fared forth\n Far away from the North?", "them as they were dear to the Goths; and the Gods of their foemen seemed\nto be lying in wait to fall upon them, even if they should slay every man\nof the kindreds.", "of the Great Roof of the Wolfings, he will wake and come forth from the\nHowe for their helping. But none have dared to break open that Howe and\nbehold what is therein." ], [ "and the warriors gathered together from out of the mixed throngs, and\ncame from the Roof and the Man's-door and all set their faces toward the\nHill of Speech.", "In the House that we builded they sit at the board;\n Come, war-children, gather, come swarm o'er the wall\n For the feast of War-father to sweep out the Hall!\"", "\"Men of the kindreds, I am your War-duke to-day; but it is oftenest the\ncustom when ye go to war to choose you two dukes, and I would it were so", "CHAPTER IV--THE HOUSE FARETH TO THE WAR", "\"But they told us that they were a house of the folk of the herdsmen, and\nthat there was war in the land, and that the people thereof were fleeing", "\"Children of Tyr, what man will ye have for a leader and a duke of war?\"\n\nThen a great shout sprang up from amidst the swords: \"We will have\nThiodolf; Thiodolf the Wolfing!\"", "Then said Thiodolf: \"We shall order us into three battles; the Wolfings\nand the Bearings to lead the first, for this is our business; but others", "Within under the Hall-Sun, amidst the woven stories of time past, sat the\nelders and chief warriors on the dais, and amidst of all a big strong man", "'Twixt each tree a warrior standeth come back from the spear-strewn\n way,\n And forth they come from the wild-wood and a little band are they.\"", "As warriors after the battle are ever wont to do.\n Then I knew them for the foemen and their deeds to be I knew,\n And I gathered the reins together to ride down the hill amain,", "Hill of Speech, and blew thence a short blast on the horn, and then came\nall the Warriors flocking to the Hill of Speech, each man stark in his\nharness, alert and joyous.", "itself, and the woodwork of it painted red with vermilion. There then\nstood the Banner of the House of the Wolfings awaiting the departure of\nthe warriors to the hosting.", "\"So the kindreds drew lots, and the lot fell first to the Elkings, who\nare a great company, as ye know; and then to the Hartings, the Beamings,", "of war came from the North. But the western companies stayed on the brow\nof that low hill till all the eastern men were over the river, and on\ntheir way to the Thing-stead, and then they moved on.", "them. And mighty men among them ordain where they shall dwell, and what\nshall be their meat, and how long they shall labour after they are weary,", "\"O kindreds, here before you two mighty bodies lie;\n Henceforth no man shall see them in house and field go by", "But amidst all this there was a little stir outside that biggest ring,\nand men parted, and through them came a swain amongst the chiefs, and\nsaid, \"Who will lead me to the War-duke?\"", "Now the name of this House was the Wolfings, and they bore a Wolf on\ntheir banners, and their warriors were marked on the breast with the", "them. So went the freemen of the Houses into the Hall, following the\nHall-Sun, and the bearers of the War-dukes; but the banners abode without", "So she spoke; and they made no delay but each one took what axe or spear\nor sword she liked best, and two had their bows and quivers of arrows;\nand so all folk went forth from the Hall." ], [ "Such then was Thiodolf, and ever was he the chosen leader of the Wolfings\nand often the War-duke of the whole Folk.", "Now the name of this House was the Wolfings, and they bore a Wolf on\ntheir banners, and their warriors were marked on the breast with the", "But the name of the dark-haired chief was Thiodolf (to wit Folk-wolf) and\nhe was deemed the wisest man of the Wolfings, and the best man of his", "\"Children of Tyr, what man will ye have for a leader and a duke of war?\"\n\nThen a great shout sprang up from amidst the swords: \"We will have\nThiodolf; Thiodolf the Wolfing!\"", "Then said Thiodolf: \"We shall order us into three battles; the Wolfings\nand the Bearings to lead the first, for this is our business; but others", "Long were the kindreds entering, and when they were under the Roof of the\nWolfings, they looked and beheld Thiodolf set in his chair once more, and", "Beneath the Wolfing roof-tree whereby the folk has thrived.\"", "the Laxings, or Heriulf of the Wolfings. True it is that Otter was a\nvery wise warrior, and well known to all the men of the Mark; yet so dear", "As to the Roof of the Wolfings, it was a great hall and goodly, after the\nfashion of their folk and their day; not built of stone and lime, but", "\"It is soon told,\" said he, \"I am a Wolfing hight Thorkettle, and I come\nto have away for Thiodolf the treasure of the world, the Dwarf-wrought", "and of the Wolfing kindred; so she greeted him kindly: but he said:", "For thou com'st to the peace of the Wolfings, and our very guest thou\n art,\n And meseems as I behold thee, that I look on a child of the Hart.\"", "On Wolf-stead he yearneth; for there without doubt\n Dwells the death-fashioned story, the flower of all fame.\n Come hither new Glory, come Crown of the Name!'\"", "His face grew troubled and he said: \"What is this word that I am no chief\nof the Wolfings?\"", "The dawn was coming on apace, but the wood was yet dark. But whereas the\nWolfings led, and each man of them knew the wood like his own hand, there", "So came the Wolfings and their fellows up to the dwellings of the\nnorthernmost kindred, who were called the Daylings, and bore on their", "of the Great Roof of the Wolfings, he will wake and come forth from the\nHowe for their helping. But none have dared to break open that Howe and\nbehold what is therein.", "So the Wolfings took their place there in the ring of men with the\nElkings on their right hand and the Beamings on their left. And in the", "foremost in falling upon the foemen, for he longeth sorely for his seat\non the days of the Wolfing Hall.\"", "Song of Triumph; and it was the Wolfing Song that we sang." ], [ "Thiodolf and stood above him, and looked down on his face a while: then\nshe put forth her hand and closed his eyes, and stooped down and kissed", "Then Thiodolf abode a while with his head down cast; his bosom heaved,\nand he set his left hand to his swordless scabbard, and his right to his", "Then his hands left Thiodolf's head, and strayed down to his shoulders\nand his breast, and he felt the cold rings of the hauberk, and let his", "Thiodolf's lips still smiled on the old man, but a shadow had come over\nhis eyes and his brow; and the chief of the Daylings and their mighty", "But the old man who had rebuked him stooped down and lifted the Hauberk\nfrom the ground, and cried out after him, \"O Thiodolf, and wilt thou go", "So at last Thiodolf led forward with Throng-plough held aloft in his\nright hand; but his left hand he held out by his side, as though he were", "Then came forth Thiodolf into the sun, and took up the gold ring from\nwhere it lay, and did it on his arm. And this was the ring of the leader", "Thiodolf; and indeed so huge was his stature, that he seemed to be of the\nkindred of the Mountain Giants; and his bodily might went with his", "Now was Thiodolf armed; and Arinbiorn, turning about before he went to\nhis place, beheld him and knit his brow, and said: \"What is this,", "\"Lo thou, is not this the Thiodolf whom thou hast loved? no changeling of\nthe Gods, but the man in whom men have trusted, the friend of Earth, the\ngiver of life, the vanquisher of death?\"", "of all. Then came forth Thiodolf from the midst of his kindred, and they\nraised him upon a great war-shield upheld by many men, and he stood\nthereon and spake:", "\"It is soon told,\" said he, \"I am a Wolfing hight Thorkettle, and I come\nto have away for Thiodolf the treasure of the world, the Dwarf-wrought", "But she leaned aside, and laid her cheek against Thiodolf's, and he took\nthe sword out of her hand and set it on his knees again, and laid his\nright hand on it, and said:", "\"Yea,\" he said, \"when thou speakest of certain matters, as of our love\ntogether, and of our daughter that came of our love.\"\n\n\"Thiodolf,\" she said, \"How long shall our love last?\"", "But now the word ran through the host that Thiodolf was certainly not\nslain. Slowly he had come to himself, and yet was not himself, for he", "Therewith he held out Throng-plough to him by the point, and Thiodolf\ntook hold of the hilts and handled it and said: \"Let us hasten, while the", "and caressed her; and Thiodolf's hand strayed, as it were, on to his\ndaughter's head, and he looked kindly on her, though scarce now as if he", "reached his hands out to Thiodolf's bare head, and handled his curls and\ncaressed them, as a mother does with her son, even if he be a grizzled-", "Now Thiodolf, as his wont was when he saw that all was going well, had\nrefrained himself of hand-strokes, but was here and there and everywhere", "Thiodolf, who was close beside the lad, answered never a word; but\nArinbiorn said; \"This man here sitting is the War-duke: speak to him, for\nhe may hearken to thee: but first who art thou?\"" ] ]

[ "What people are the Gothic tribes defending themselves from? ", "What Gods do the Goths worship? ", "What do the Goths sacrifice to the Gods?", "How many war dukes are chosen to fight against the enemy?", "How many war dukes are chosen from the House of the Laxings? ", "What forest do the Goths reside in? ", "What is the name of the Wolfing war leader? ", "How is Thiodolf related to Hall Sun?", "Who lives in the area called the Mark?", "Who did the Goth's worship?", "How did the Goths worsihp their gods?", "Where did the Goths from the story live?", "How many sections was the Mark divided into?", " Who did the Goths rely on to foretell the future?", "Who was in reponsible for choosing the War Dukes?", "What were the War Dukes chosen to do?", "How many War Dukes were chosen from the House of Wolfings?", "How many War Dukes were chosen in total?", "Who is believed to be of divine antecedents? ", "Who is attacking the Germanic tribes in the House of the Wolfings?", "In what forest are the Germanic tribes living?", "Into what three sections is the forest of Mirkwood divided into?", "What is the town like area that the Germanic tribes inhabit?", "What two Gods do the Germanic tribes worship?", "What do the Germanic tribes sacrifice to the Gods?", "What ability do the seers have that the Germanic tribes seek?", "From what two houses do the tribes choose warriors from?", "What is the name of the Wolfing's leader?", "What possession of Thiodolph's is actually cursed?" ]

[ [ "The Romans", "imperial Rome " ], [ "Odin and Tyr", "Odin and Tyr." ], [ "Horses", "Horses." ], [ "Two", "Two" ], [ "one", "one " ], [ "Mirkwood", "Mirkwood" ], [ "Thiodolf", "Thiodolf." ], [ "They are father and daughter", "He is her father " ], [ "The Goths", "Morris' Goths" ], [ "Their gods, Odin and Tyr.", "Odin and Tyr. " ], [ "They Goths worshiped their gods by sacrificing horses.", "By sacrificing horses." ], [ "On a river in the forest of Mirkwood called the Mark.", "The Mark in Mirkwood forest" ], [ "Three.", "Three sections" ], [ "They relied on seers and psychics.", "Seers" ], [ "The men of the Mark.", "The men of mark" ], [ "They were chosen to lead the men of the Marks against their enemies.", "To lead the men of Mark against their enemies." ], [ "One War Duke was chosen from the House of Wolfings.", "One." ], [ "Two War Dukes were chosen in total.", "Two" ], [ "The Wolfing war leader, Thiodolf.", "The Wolfing war leader." ], [ "Imperial Rome", "Rome." ], [ "The Forest of Mirkwood", "Mirkwood." ], [ "Upper-mark, Mid-mark and Nether-mark", "Upper, mid and nether mark" ], [ "Mark", "Mark." ], [ "Odin and Tyr", "Odin and Tyr" ], [ "horses", "horses" ], [ "a psychic ability", "They can see the future. " ], [ "The House of Wolfings and the House of Laxings", "The Wolfings and Laxings. " ], [ "Thiodolph", "Thiodolf." ], [ "a mail-shirt", "His dwarf-made mail-shirt" ] ]

[ [ "KIRILL\n Some bitch was out there saying\n you were the father of a baby.\n\n Semyon turns to Kirill, his face hardening...", "ANNA\n When he raped her she was a virgin.\n Then they gave her pills. Semyon\n has to be the father!", "KIRILL\n She's a little girl, Papa, a little\n sweet fucking girl...\n\n Kirill sobs then Christine cries...", "KIRILL (CONT'D)\n (pause)\n No, not the beach. It's an English", "KIRILL\n What did they want with you, papa?\n\n SEMYON\n To poison me.", "KIRILL (CONT'D)\n I'm recommending you to my dad. I\n want to make sure you're not a\n fucking queer.", "KIRILL (CONT'D)\n Papa, what business? His business\n is my business.\n\n Semyon stares at Kirill and Kirill knows the look.", "Kirill has his back turned, doesn't react. Semyon sits\n heavily. Finally...\n\n KIRILL\n Why would they want your blood,\n papa?", "Semyon has now lost all interest in Kirill and is\n concentrating on Nikolai. He laughs with incredulity.\n\n SEMYON\n My son commits a murder?\n (MORE)", "A confused pause. Kirill looks from Nikolai to his father.\n\n KIRILL\n What business?\n\n A pause as Kirill suddenly senses his exclusion.", "NIKOLAI (CONT'D)\n All you need is the baby and some\n of Semyon's DNA. For poetic reasons\n I suggest you take his blood.", "Kirill is reluctant to speak at first but eventually chances\n his arm.\n\n KIRILL\n Maybe it's about the baby.", "HELEN\n Anna. Haven't you had enough\n excitement?\n\n ANNA\n (deadpan)\n I think I've worked out who\n Christine's father is.", "SEMYON (CONT'D)\n I was shocked to discover... that\n my son Kirill is mentioned many\n times.\n\n Semyon appears to be fighting tears.", "Then we see a single light behind him. In a firework flash\n we see Nikolai and Anna climbing off the bike. They\n approach cautiously. Kirill stares at the man he loves.\n A pause. Christine begins to cry.", "A pause. Kirill dries his eyes and heads for the car.\n Nikolai looks at Anna, who is hugging the baby. He waits\n a long time before realizing he must leave her.", "STEPAN\n ...like potato sacks. Kirill came\n down after me and he hit me until\n I was bleeding. Then he tried to", "29 CONTINUED: 29\n\n Kirill studies the face and nods.\n\n KIRILL\n That's him.", "Kirill unzips the bag. When he looks inside Christine\n stops crying. He peers at her, wiping away tears.", "A pause. Stepan sips his vodka.\n\n STEPAN\n It is not natural to mix race and\n race. That is why your baby died\n inside you." ], [ "They're all clean. Now I'm going\n to watch you fuck one of these\n girls to prove to me that you ain't\n queer.", "The CHEMIST is delivering advice in Gujurati to a CUSTOMER.\n Tatiana wipes rain from her face and the Chemist and the\n customer react to her ragged appearance.", "NIKOLAI (CONT'D)\n When I found out what had happened,\n I did what I had to do to clean\n the situation up.", "The place is winding up. Chefs and waiters are cleaning\n surfaces and dishes. The only still point is Semyon, who", "when the door opens. We see SEMYON, a Russian man in his\n late sixties. He is wiping his hands on a tea towel,\n dressed in a spotlessly white apron. He has the sparkling", "In the background the two Chechens are coming closer. As\n Ekrem zips his flies, the Chechens are upon him. One of\n them grabs his Arsenal scarf and begins to strangle him.", "Nikolai pulls up beside a rusting crane on the abandoned\n dock in a dry-cleaner's van. Kirill watches as Nikolai", "are slipping and falling on the blood and hot water.\n Another slash of the razor cuts his thigh open. All the\n men are now covered in blood and Nikolai, with a final", "The customer looks at Tatiana's feet and reacts. We see\n blood trickling down her legs. Tatiana looks down, then\n faints onto the floor.", "There is a tension that builds until Nikolai's Mercedes\n suddenly looms into view, filling the street window of the\n burger bar. Nikolai gets out of his car, all shades and\n sharp suit.", "40A CONTINUED: 40A\n\n He then checks out the fingers in the torchlight and we\n glimpse that the finger tips have been sawn off.", "He gestures at the burger restaurant.\n\n NIKOLAI (CONT'D)\n You belong in there. With nice\n people. Stay away from people\n like me.", "Semyon leaves them. Kirill is angry, straightening his\n clothes. Finally he yells....\n\n KIRILL\n You heard him, patsan! Get these\n boxes out of sight.", "We cut close to an ancient-looking hair dryer from the\n shop downstairs being trained onto a human hand with a\n large eagle tattoo. We pull wide to reveal the full,\n gruesome scene.", "SEMYON\n (incredulous)\n I don't have to worry?\n\n NIKOLAI\n I disposed of the body myself. The\n police won't find a thing.", "her fifties. Nikolai goes to the other rear door. The\n portly figure of Ozim the barber emerges. As Ozim gets out\n he gives Nikolai a fifty-pound note.", "Inside the kitchen there are carcasses of lambs hanging\n from meat hooks. There are knives and skewers around the\n place. Ozim stops and locks the kitchen door behind them.", "She nods and Kirill blows another balloon. At that moment\n Kirill sees on the security monitor behind the bar that a\n police car is pulling up outside the restaurant. His face\n clouds as another pulls up beside it.", "the hair dryer back on and blows some hot air onto the\n crisply bloody chest of Soyka. He tugs at the frozen lapel\n of the jacket and blows air into the inside pocket. Within", "He sees a shape... a clothed body. He realizes immediately.\n Suddenly one of the brothers is upon him and has him in a" ], [ "Then Stepan steps forward and spits in Nikolai's face,\n delivering a Russian curse as he does so. Nikolai almost\n reacts out of instinct but stops himself.", "NIKOLAI (CONT'D)\n I was told to get rid of him. I\n was meant to send him to heaven", "NIKOLAI (CONT'D)\n And I see you brought along a body\n guard. Also very wise.\n\n Stepan is shaking with emotion and hisses something in\n Russian.", "we see that Nikolai is watching him from the driver's seat\n of his Mercedes. Once Stepan has disappeared into his\n flat, Nikolai gets out of the car and approaches Stepan's", "STEPAN\n (whispers, in Russian)\n When I was in the KGB, we knew how\n to deal with scum like you.\n\n Nikolai smiles.", "NIKOLAI\n I don't know what you're talking\n about.\n\n Nikolai calmly heads for the door. Stepan hisses.", "NIKOLAI\n (in Russian)\n It was nothing important.\n\n SEMYON\n Kirill had him killed for nothing\n important?", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles.", "STEPAN\n ...like potato sacks. Kirill came\n down after me and he hit me until\n I was bleeding. Then he tried to", "He goes for Anna again, and this time Nikolai shoves Kirill\n to the wet ground. He looks up at Nikolai and slowly gets\n to his feet. He wipes his hands then stares into Nikolai's\n eyes.", "KIRILL (CONT'D)\n That's an order.\n\n Nikolai peers at Anna for a moment. Anna's voice is defiant\n but cracking with fear.", "Nikolai climbs the steps. Kirill is left to swig his brandy\n and stare into the darkness. He wipes his eyes angrily\n with his sleeve.", "ANNA (CONT'D)\n Stepan said you were kind to him.\n He said you were risking your own\n life to keep him alive.\n\n Nikolai laughs.", "Nikolai casually hits the key fob of his car.\n\n ANNA (CONT'D)\n You murdered her! You bastards\n murdered her!", "all his might. Nikolai is shocked, and grabs Semyon's\n arm. A hand laid upon him is like deadly poison. Kirill\n grunts and moans.", "NIKOLAI (CONT'D)\n It was a matter of honor. Soyka\n was spreading lies about Kirill.\n About your family.\n (in Russian)\n Kirill did the right thing.", "Semyon has now lost all interest in Kirill and is\n concentrating on Nikolai. He laughs with incredulity.\n\n SEMYON\n My son commits a murder?\n (MORE)", "Semyon hisses with fury and grabs Nikolai.\n\n SEMYON\n I decide what is right and what is\n wrong. You do not kill a vor for\n no reason.", "Nikolai sighs, sits back down on the bed. He finally speaks\n softly.\n\n NIKOLAI\n Your uncle knew too much.\n\n Nikolai shrugs.", "65 CONTINUED: (2) 65\n\n Nikolai heads for the steps." ], [ "A large public housing estate is being swept by rain.\n Christmas lights glow in the windows of the dilapidated\n tower blocks. Stepan is walking against the wind, carrying", "we see that Nikolai is watching him from the driver's seat\n of his Mercedes. Once Stepan has disappeared into his\n flat, Nikolai gets out of the car and approaches Stepan's", "Stepan arrives at the front garden of his small, ground-\n floor council flat. As he fumbles for his keys in the cold", "Helen enters looking anxious. We see Stepan hovering in\n the background.\n\n HELEN (CONT'D)\n Stepan, come here. Tell her what\n you told me.", "STEPAN\n ...like potato sacks. Kirill came\n down after me and he hit me until\n I was bleeding. Then he tried to", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles.", "47 CONTINUED: (4) 47\n\n Stepan stares at them both for a long time. Finally he\n gets to his feet and points to the diary.", "He sees a shape... a clothed body. He realizes immediately.\n Suddenly one of the brothers is upon him and has him in a", "from his face and put on a pair of sunglasses as he emerges\n into daylight. He steps into a small courtyard, where a", "Silence.\n\n ANNA (CONT'D)\n The man from the restaurant. He\n came to the hospital.\n\n Stepan leaps to his feet.", "and a burger. He sits, and Anna and Helen glance uneasily\n at each other. Stepan begins to eat noisily.", "STEPAN\n Black men always run away.\n\n HELEN\n Oh Stepan!\n\n STEPAN\n What? I am allowed to be honest?", "ANNA\n That's their driver.\n\n Stepan very deliberately slides his hand into his inside\n pocket.", "NIKOLAI (CONT'D)\n And I see you brought along a body\n guard. Also very wise.\n\n Stepan is shaking with emotion and hisses something in\n Russian.", "HELEN\n (softly)\n For as long as you want.\n\n STEPAN\n I knew he would run away from you.", "Nikolai nods, not liking the information but hiding it.\n Nikolai comes close and gently uncovers Christine's face.\n He smiles. Kirill is hooting the car horn.", "He disappears. Anna and Helen are left in awkward silence.\n Anna buries the diary in her dressing table drawer. Helen\n looks at her with anxiety.", "Stepan explodes.", "HELEN (CONT'D)\n I tried to get hold of Stepan for\n you.\n\n A pause.", "Stepan leaves in a huff. Anna picks up the diary and begins\n to study it. She sees the `Trans-Siberian' business card\n between the pages." ], [ "Nikolai is amused by the three of them. Anna produces\n Tatiana's diary and hands it to Nikolai. Nikolai studies\n it and nods. He gets to his feet...", "Nikolai is alone, sitting at a candlelit table, reading\n Tatiana's diary. We hear Tatiana in voice-over...", "A pause.\n\n ANNA\n You read the diary?\n\n Nikolai looks all around. Anna studies him, unsure.", "Semyon knocks back his vodka and Nikolai does the same.\n Semyon picks up the diary and holds it into the flame of", "SEMYON (CONT'D)\n Perhaps you can deal with him.\n\n Semyon leaves Nikolai to stare into the flames of the\n burning diary.", "47 CONTINUED: (4) 47\n\n Stepan stares at them both for a long time. Finally he\n gets to his feet and points to the diary.", "SEMYON (CONT'D)\n She said he has read the diary.\n\n A pause.", "Stepan leaves in a huff. Anna picks up the diary and begins\n to study it. She sees the `Trans-Siberian' business card\n between the pages.", "41 CONTINUED: 41\n\n HELEN\n You wanted him to translate it.\n\n Anna gets up to grab the diary.", "way to sit opposite Nikolai. Nikolai pushes the diary\n across the table. Semyon pours two drinks.", "Anna is reading the translation of the diary by lamplight.\n Tatiana's voice over continues.", "NIKOLAI (CONT'D)\n He is of the old school. He\n understood the situation. Exile", "He sees Semyon approaching from the kitchen and closes the\n diary. Semyon grabs a bottle of vodka from the bar on his", "Nikolai sighs, sits back down on the bed. He finally speaks\n softly.\n\n NIKOLAI\n Your uncle knew too much.\n\n Nikolai shrugs.", "A pause. Nikolai gasps in pain as he raises himself up.\n Anna sees the wounds on his arms and glimpses the tattoos\n on his chest, scaring her even more.", "There is the tiniest of changes in Semyon's manner. He\n lays his heavy pot down.\n\n ANNA\n I found her diary in her bag.", "Nikolai can't answer truthfully, though he longs to do so.\n There is a long pause before he manages to finds a suitable\n lie.", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles.", "Nikolai nods, not liking the information but hiding it.\n Nikolai comes close and gently uncovers Christine's face.\n He smiles. Kirill is hooting the car horn.", "NIKOLAI (CONT'D)\n I got that address you wanted.\n\n Anna turns and sees Nikolai is offering a scrap of paper." ], [ "For a moment we believe he is going to throw her into the\n water. Instead he begins to sing a lullaby to her and her\n crying stops.", "NIKOLAI\n Kirill, a vor doesn't kill little\n babies.\n\n Kirill is motionless.", "A pause. Kirill dries his eyes and heads for the car.\n Nikolai looks at Anna, who is hugging the baby. He waits\n a long time before realizing he must leave her.", "Then we hear a baby crying. Anna goes to a small crib and\n lifts a six-month-old Christine out. She hands her to", "ANNA\n Kirill, let me take the baby.\n\n KIRILL\n You stay where you are.\n\n ANNA\n She's cold, Kirill.", "Kirill is reluctant to speak at first but eventually chances\n his arm.\n\n KIRILL\n Maybe it's about the baby.", "Kirill lifts her out of the bag and holds her close to\n him, fireworks still illuminating the London skyline. He\n looks down at the freezing cold water, utterly confused.\n He whispers...", "He goes for Anna again, and this time Nikolai shoves Kirill\n to the wet ground. He looks up at Nikolai and slowly gets\n to his feet. He wipes his hands then stares into Nikolai's\n eyes.", "NIKOLAI (CONT'D)\n (in Russian)\n It's our turn now.\n\n Nikolai steps forward slowly. As he gets closer Kirill\n hugs the baby.", "Then we see a single light behind him. In a firework flash\n we see Nikolai and Anna climbing off the bike. They\n approach cautiously. Kirill stares at the man he loves.\n A pause. Christine begins to cry.", "Kirill suddenly screams as another barrage of fireworks\n explodes. Nikolai doesn't move. Kirill is dangerously\n close to the edge of the dock. Maybe he'll throw himself\n in too.", "all his might. Nikolai is shocked, and grabs Semyon's\n arm. A hand laid upon him is like deadly poison. Kirill\n grunts and moans.", "KIRILL\n Some bitch was out there saying\n you were the father of a baby.\n\n Semyon turns to Kirill, his face hardening...", "Anna studies him, unsure. More New Year fireworks explode\n over the river. Kirill yells from the car...", "Anna stands over the baby, her face full of emotion. There\n we see pain, loss, shame, emptiness, isolation. Tears begin\n to roll from her eyes, and then she is sobbing soundlessly.", "Nikolai emerges from the embrace with Christine in his\n arms. He quickly hands her to Anna who hugs her close.\n Kirill turns to Nikolai.", "KIRILL (CONT'D)\n Be quiet baby. Quiet baby. It's\n OK.\n PINK Revision - 11/12/06 102.", "A long pause. This is what Kirill wanted, but now it feels\n like a stab in the back. Finally Kirill swallows a huge", "Semyon has now lost all interest in Kirill and is\n concentrating on Nikolai. He laughs with incredulity.\n\n SEMYON\n My son commits a murder?\n (MORE)", "Semyon grabs the bottle of champagne and smashes it on the\n floor. Kirill recoils in terror. Nikolai straightens,\n faces up." ], [ "Semyon steps up to where Kirill is lying and stands over\n him for a moment. Then he kicks him hard in the guts with", "SEMYON\n Your friend Soyka is dead.\n\n KIRILL\n Yeah? So what? What's that got\n to do with me?", "Nikolai smiles and then leaves. Semyon watches him go\n then peers at his drunken, sleeping son with something\n approaching compassion.", "Semyon has now lost all interest in Kirill and is\n concentrating on Nikolai. He laughs with incredulity.\n\n SEMYON\n My son commits a murder?\n (MORE)", "SEMYON\n (softly, in Russian)\n My only son.\n\n They both knock their drinks back. Semyon looks suddenly\n angry as he peers out of the window.", "There is a knock at the door and Semyon looks up sharply.\n His eyes glisten. He puts his novel aside.", "Semyon kicks him hard in the guts again.\n\n NIKOLAI\n I think he's had enough.", "SEMYON (CONT'D)\n I have known for some years that\n he has strayed from the path I set\n out for him. His mother died when\n he was very young.", "Semyon looks down at the drunken Kirill and slams the door\n of the restaurant. Nikolai sighs, then turns to Kirill\n and starts to go through his pockets.", "SEMYON (CONT'D)\n Perhaps you can deal with him.\n\n Semyon leaves Nikolai to stare into the flames of the\n burning diary.", "Semyon suddenly breaks the neck of the bottle and holds\n the jagged edge to Ozim's throat. The dog snarls at\n Semyon's feet.", "SEMYON\n Shut up!\n\n Kirill is hurt that Semyon seems only to be interested in\n Nikolai. After studying Nikolai for a while...", "SEMYON (CONT'D)\n (in Russian)\n Do you understand me?\n\n Semyon gets to his feet and smiles.", "Nikolai doesn't respond. It is obvious that Semyon half\n knows already. He shrugs...", "SEMYON\n I said, don't lie to me!\n\n Semyon slams Kirill hard against the wall again. Suddenly\n Nikolai steps forward.", "SEMYON (CONT'D)\n Anna, I'm so sorry I couldn't help.\n It is sad.", "SEMYON (CONT'D)\n If you are so well informed, you\n will know Soyka has brothers.", "Semyon is silent throughout but listens attentively.\n Towards the end of the interview there is the ghost of a\n smile on the Gypsy's face and this pleases Semyon.", "SEMYON (CONT'D)\n Nasdrovia.\n\n NIKOLAI\n Nasdrovia.\n\n After a moment.", "SEMYON (CONT'D)\n But Anna please. Let me deal with\n him. If the diary should find its\n way to the police...\n\n Semyon wipes his eyes." ], [ "Semyon steps up to where Kirill is lying and stands over\n him for a moment. Then he kicks him hard in the guts with", "Semyon has now lost all interest in Kirill and is\n concentrating on Nikolai. He laughs with incredulity.\n\n SEMYON\n My son commits a murder?\n (MORE)", "SEMYON (CONT'D)\n If you are so well informed, you\n will know Soyka has brothers.", "SEMYON (CONT'D)\n Nasdrovia.\n\n NIKOLAI\n Nasdrovia.\n\n After a moment.", "SEMYON\n Shut up!\n\n Kirill is hurt that Semyon seems only to be interested in\n Nikolai. After studying Nikolai for a while...", "Nikolai smiles and then leaves. Semyon watches him go\n then peers at his drunken, sleeping son with something\n approaching compassion.", "SEMYON (CONT'D)\n I have known for some years that\n he has strayed from the path I set\n out for him. His mother died when\n he was very young.", "SEMYON (CONT'D)\n Perhaps you can deal with him.\n\n Semyon leaves Nikolai to stare into the flames of the\n burning diary.", "SEMYON\n Then tell them you will deliver\n Kirill to them.\n\n Ozim is stunned. He stares at Semyon as if he were insane.", "SEMYON\n (softly, in Russian)\n My only son.\n\n They both knock their drinks back. Semyon looks suddenly\n angry as he peers out of the window.", "SEMYON\n I said, don't lie to me!\n\n Semyon slams Kirill hard against the wall again. Suddenly\n Nikolai steps forward.", "SEMYON (CONT'D)\n I was shocked to discover... that\n my son Kirill is mentioned many\n times.\n\n Semyon appears to be fighting tears.", "NIKOLAI (CONT'D)\n And you can tell them I'm going to\n replace Semyon at the head of the\n London organization.\n\n Yuri laughs.", "SEMYON (CONT'D)\n And also... the KGB would be waiting\n for me.\n\n Nikolai smiles ruefully and glances at Semyon.", "Nikolai heaves Kirill into a chair. Semyon is back at his\n novel and watches as Kirill attempts to get to his feet", "Semyon knocks back his vodka and Nikolai does the same.\n Semyon picks up the diary and holds it into the flame of", "Semyon is silent throughout but listens attentively.\n Towards the end of the interview there is the ghost of a\n smile on the Gypsy's face and this pleases Semyon.", "SEMYON (CONT'D)\n (in Russian)\n Do you understand me?\n\n Semyon gets to his feet and smiles.", "Nikolai senses a change of attitude towards him. As if\n Semyon were beginning to accept him into the fold. Semyon\n raises a toast.", "NIKOLAI (CONT'D)\n But she had Semyon's baby. If you\n prove the baby is his and prove" ], [ "There is the tiniest of changes in Semyon's manner. He\n lays his heavy pot down.\n\n ANNA\n I found her diary in her bag.", "Stepan leaves in a huff. Anna picks up the diary and begins\n to study it. She sees the `Trans-Siberian' business card\n between the pages.", "ANNA\n That's OK. I'll probably find out\n more when I get her diary\n translated.\n\n SEMYON\n Her diary?", "Semyon knocks back his vodka and Nikolai does the same.\n Semyon picks up the diary and holds it into the flame of", "47 CONTINUED: (4) 47\n\n Stepan stares at them both for a long time. Finally he\n gets to his feet and points to the diary.", "The living room table is laid for dinner. Uncle Stepan is\n early seventies, Russian. He is reading the tiny diary\n that Anna found in Tatiana's bag. Anna breezes in.", "41 CONTINUED: 41\n\n HELEN\n You wanted him to translate it.\n\n Anna gets up to grab the diary.", "Anna is reading the translation of the diary by lamplight.\n Tatiana's voice over continues.", "third man, a specialist from the Russian desk (YURI), who\n is not dressed for the weather. He has obviously been\n dragged out of bed. He is led to the side of the body.", "Nikolai is amused by the three of them. Anna produces\n Tatiana's diary and hands it to Nikolai. Nikolai studies\n it and nods. He gets to his feet...", "He disappears. Anna and Helen are left in awkward silence.\n Anna buries the diary in her dressing table drawer. Helen\n looks at her with anxiety.", "He sees Semyon approaching from the kitchen and closes the\n diary. Semyon grabs a bottle of vodka from the bar on his", "A pause.\n\n ANNA\n You read the diary?\n\n Nikolai looks all around. Anna studies him, unsure.", "Nikolai is alone, sitting at a candlelit table, reading\n Tatiana's diary. We hear Tatiana in voice-over...", "so he was already buried when he\n died. We were all buried there.\n Buried under the soil of Russia.\n That is why I left to find a better", "Yuri studies the tattoo, then borrows a torch. He crouches\n to push up the wet trouser leg on the corpse's right leg.", "ANNA\n I told you, Uncle Stepan, I found\n it in the handbag of a girl who\n died in my ward.", "SEMYON (CONT'D)\n She said he has read the diary.\n\n A pause.", "Stepan is sitting at the kitchen table, translating\n Tatiana's diary aloud, as Helen transcribes it onto a note", "SEMYON\n Why did you not tell me you found\n a diary?\n\n He peers at her for a moment, his eyes hardening a little." ], [ "51 CONTINUED: 51\n\n ANNA\n She was fourteen! Read the diary!\n She was fourteen when he raped\n her!", "47 CONTINUED: (4) 47\n\n Stepan stares at them both for a long time. Finally he\n gets to his feet and points to the diary.", "sheets. She has photocopied the pages of the diary and\n they are laid out in segments on each page.", "41 CONTINUED: 41\n\n HELEN\n You wanted him to translate it.\n\n Anna gets up to grab the diary.", "He disappears. Anna and Helen are left in awkward silence.\n Anna buries the diary in her dressing table drawer. Helen\n looks at her with anxiety.", "HELEN\n Hello dear. How was your night?\n\n Anna sees the tears in both their eyes. She sees the diary\n and the transcription and sits down.", "Anna is reading the translation of the diary by lamplight.\n Tatiana's voice over continues.", "SEMYON (CONT'D)\n She said he has read the diary.\n\n A pause.", "There is the tiniest of changes in Semyon's manner. He\n lays his heavy pot down.\n\n ANNA\n I found her diary in her bag.", "Stepan hands the diary to Anna and then turns.\n\n STEPAN (CONT'D)\n I go to wash my hands.", "22 CONTINUED: 22\n\n ANNA\n It's Christmas. I'm thirty-one.", "necklace and a tiny battered diary. Anna grabs the diary.", "ANNA\n That's OK. I'll probably find out\n more when I get her diary\n translated.\n\n SEMYON\n Her diary?", "SEMYON (CONT'D)\n I translated the diary...\n\n A baby begins to cry and is comforted somewhere across the\n ward.", "11 CONTINUED: 11\n\n ANNA\n Stepan, is there an address?\n\n Stepan lays the diary aside, obstinate and prim.", "SEMYON (CONT'D)\n OK, Anna, this is how it will be.\n You will bring the diary here and", "NIKOLAI\n I am dead already. I died when I\n was fifteen. Now I live in the\n zone all the time.", "Nikolai is amused by the three of them. Anna produces\n Tatiana's diary and hands it to Nikolai. Nikolai studies\n it and nods. He gets to his feet...", "Stepan leaves in a huff. Anna picks up the diary and begins\n to study it. She sees the `Trans-Siberian' business card\n between the pages.", "SEMYON\n Why did you not tell me you found\n a diary?\n\n He peers at her for a moment, his eyes hardening a little." ], [ "He disappears. Anna and Helen are left in awkward silence.\n Anna buries the diary in her dressing table drawer. Helen\n looks at her with anxiety.", "47 CONTINUED: (4) 47\n\n Stepan stares at them both for a long time. Finally he\n gets to his feet and points to the diary.", "41 CONTINUED: 41\n\n HELEN\n You wanted him to translate it.\n\n Anna gets up to grab the diary.", "HELEN\n Hello dear. How was your night?\n\n Anna sees the tears in both their eyes. She sees the diary\n and the transcription and sits down.", "Stepan leaves in a huff. Anna picks up the diary and begins\n to study it. She sees the `Trans-Siberian' business card\n between the pages.", "51 CONTINUED: 51\n\n ANNA\n She was fourteen! Read the diary!\n She was fourteen when he raped\n her!", "Anna is reading the translation of the diary by lamplight.\n Tatiana's voice over continues.", "SEMYON (CONT'D)\n She said he has read the diary.\n\n A pause.", "There is the tiniest of changes in Semyon's manner. He\n lays his heavy pot down.\n\n ANNA\n I found her diary in her bag.", "so he was already buried when he\n died. We were all buried there.\n Buried under the soil of Russia.\n That is why I left to find a better", "necklace and a tiny battered diary. Anna grabs the diary.", "sheets. She has photocopied the pages of the diary and\n they are laid out in segments on each page.", "Stepan hands the diary to Anna and then turns.\n\n STEPAN (CONT'D)\n I go to wash my hands.", "ANNA\n That's OK. I'll probably find out\n more when I get her diary\n translated.\n\n SEMYON\n Her diary?", "11 CONTINUED: 11\n\n ANNA\n Stepan, is there an address?\n\n Stepan lays the diary aside, obstinate and prim.", "SEMYON\n Why did you not tell me you found\n a diary?\n\n He peers at her for a moment, his eyes hardening a little.", "NIKOLAI\n I am dead already. I died when I\n was fifteen. Now I live in the\n zone all the time.", "Semyon knocks back his vodka and Nikolai does the same.\n Semyon picks up the diary and holds it into the flame of", "ANNA\n I told you, Uncle Stepan, I found\n it in the handbag of a girl who\n died in my ward.", "A pause.\n\n ANNA\n You read the diary?\n\n Nikolai looks all around. Anna studies him, unsure." ], [ "Anna arrives outside the `Trans-Siberian' restaurant. It\n has a Russian-themed frontage in blue and gold, expensively\n and recently finished.", "37 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 37", "33 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 33", "66 EXT. TRANS-SIBERIAN RESTAURANT. TWO DAYS LATER - NIGHT 66\n\n Sweet Russian choral music covers the next four scenes.", "The Trans-Siberian restaurant is smoky with cigarettes and\n cigars. The party is in full swing with two dozen guests", "35 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 35", "18 INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY 18", "23 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 23", "67 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 67", "38 EXT. TRANS-SIBERIAN RESTAURANT - NIGHT 38", "56 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 56", "36 EXT. TRANS-SIBERIAN RESTAURANT - NIGHT 36", "63 EXT. TRANS-SIBERIAN RESTAURANT - NIGHT 63", "20 EXT. TRANS-SIBERIAN RESTAURANT - DAY 20", "57 INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - NIGHT 57", "89 INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY 89", "16 INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY 16", "15 INT. TRANS-SIBERIAN RESTAURANT - DAY 15", "52 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 52", "49 EXT. TRANS-SIBERIAN RESTAURANT. BACK DELIVERY AREA - DAY 49" ], [ "NIKOLAI (CONT'D)\n Oh, and... your uncle.\n\n Nikolai smiles.", "Nikolai sighs, sits back down on the bed. He finally speaks\n softly.\n\n NIKOLAI\n Your uncle knew too much.\n\n Nikolai shrugs.", "A summer's day. Anna, Helen and Uncle Stepan are preparing\n to eat Sunday lunch. Stepan is carving. The conversation\n is jovial as Anna and Helen bring dishes of food to the\n table.", "SEMYON (CONT'D)\n The midwife said she had an uncle.\n A Russian.\n\n NIKOLAI\n I met him.", "EKREM\n (hesitantly\n interrupting)\n Uncle Ozim.......\n\n We see for the first time that Ekrem is shaking with fear\n as well as cold.", "Nikolai smiles, but Anna is trying hard to even out her\n fear and anger.\n\n ANNA\n My uncle....\n\n Nikolai tries to sit up and registers pain.", "NIKOLAI (CONT'D)\n Ozim's nephew slit Soyka's throat.\n Kirill paid him to do it.", "The living room table is laid for dinner. Uncle Stepan is\n early seventies, Russian. He is reading the tiny diary\n that Anna found in Tatiana's bag. Anna breezes in.", "He sees a shape... a clothed body. He realizes immediately.\n Suddenly one of the brothers is upon him and has him in a", "Ekrem nods and hugs Ozim. We realize he is slightly\n deranged. Finally he lets Ozim go and leaves. Kirill\n watches him go.", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles.", "All the girls apart from one immediately get to their feet\n and begin to dance to the music, their bodies moving\n awkwardly and painfully. The Albanian approaches the one\n girl who refused to stand and yanks her to her feet.", "In the background the two Chechens are coming closer. As\n Ekrem zips his flies, the Chechens are upon him. One of\n them grabs his Arsenal scarf and begins to strangle him.", "STEPAN\n You have an uncle who doesn't steal\n things from the dead. Not even\n their secrets.", "are slipping and falling on the blood and hot water.\n Another slash of the razor cuts his thigh open. All the\n men are now covered in blood and Nikolai, with a final", "Semyon looks down at the drunken Kirill and slams the door\n of the restaurant. Nikolai sighs, then turns to Kirill\n and starts to go through his pockets.", "There is a tension that builds until Nikolai's Mercedes\n suddenly looms into view, filling the street window of the\n burger bar. Nikolai gets out of his car, all shades and\n sharp suit.", "third man, a specialist from the Russian desk (YURI), who\n is not dressed for the weather. He has obviously been\n dragged out of bed. He is led to the side of the body.", "The tables are set for a huge party. Kirill is now on\n step ladders, fixing some Christmas decorations. Other\n relatives are getting the place ready. Semyon hurries\n through the restaurant, leading Anna by the hand.", "Finally Nikolai reaches Kirill and hugs him. As he does\n he edges him away from the dockside. The three of them are\n locked in a long embrace." ], [ "Nikolai casually hits the key fob of his car.\n\n ANNA (CONT'D)\n You murdered her! You bastards\n murdered her!", "In the background the two Chechens are coming closer. As\n Ekrem zips his flies, the Chechens are upon him. One of\n them grabs his Arsenal scarf and begins to strangle him.", "KIRILL\n What did they want with you, papa?\n\n SEMYON\n To poison me.", "NIKOLAI (CONT'D)\n I was told to get rid of him. I\n was meant to send him to heaven", "A pause. Yuri is still overwhelmed.\n\n YURI\n They are bound to ask... who did\n you kill?\n\n A pause.", "There is a tension that builds until Nikolai's Mercedes\n suddenly looms into view, filling the street window of the\n burger bar. Nikolai gets out of his car, all shades and\n sharp suit.", "NIKOLAI\n (in Russian)\n It was nothing important.\n\n SEMYON\n Kirill had him killed for nothing\n important?", "STEPAN\n ...like potato sacks. Kirill came\n down after me and he hit me until\n I was bleeding. Then he tried to", "He goes for Anna again, and this time Nikolai shoves Kirill\n to the wet ground. He looks up at Nikolai and slowly gets\n to his feet. He wipes his hands then stares into Nikolai's\n eyes.", "He sees a shape... a clothed body. He realizes immediately.\n Suddenly one of the brothers is upon him and has him in a", "Kirill reaches into his pocket and produces an envelope\n which he hands to Ozim. As Ozim opens the envelope and\n begins to count the huge wad of cash, Kirill turns to\n Nikolai.", "SEMYON\n (incredulous)\n I don't have to worry?\n\n NIKOLAI\n I disposed of the body myself. The\n police won't find a thing.", "The customer looks at Tatiana's feet and reacts. We see\n blood trickling down her legs. Tatiana looks down, then\n faints onto the floor.", "Semyon hisses with fury and grabs Nikolai.\n\n SEMYON\n I decide what is right and what is\n wrong. You do not kill a vor for\n no reason.", "Anna has already taken a dislike to this man. He is\n arrogant and looks potentially violent. His shades, suit\n and tattoos say it all.", "and then stumbles to the floor. He slumps down, now\n totally unconscious, breathing deeply. Nikolai smiles.", "Semyon takes a swig of vodka. Ozim looks severely nervous.\n\n OZIM\n They were going to kill me. Those\n Chechens are savages.", "Kirill cuts the call and nods to Ozim, who stubs his cigar.\n Semyon notices their silent communication, then turns to", "He is standing in the shadows, a Bavarian trilby in his\n hands. Anna gasps with shock. Semyon speaks softly...\n\n SEMYON\n Hello Anna. I came on tiptoes.", "29 CONTINUED: 29\n\n Kirill studies the face and nods.\n\n KIRILL\n That's him." ], [ "41 CONTINUED: 41\n\n HELEN\n You wanted him to translate it.\n\n Anna gets up to grab the diary.", "HELEN\n Hello dear. How was your night?\n\n Anna sees the tears in both their eyes. She sees the diary\n and the transcription and sits down.", "Anna is reading the translation of the diary by lamplight.\n Tatiana's voice over continues.", "Stepan is sitting at the kitchen table, translating\n Tatiana's diary aloud, as Helen transcribes it onto a note", "He disappears. Anna and Helen are left in awkward silence.\n Anna buries the diary in her dressing table drawer. Helen\n looks at her with anxiety.", "ANNA\n That's OK. I'll probably find out\n more when I get her diary\n translated.\n\n SEMYON\n Her diary?", "Stepan leaves in a huff. Anna picks up the diary and begins\n to study it. She sees the `Trans-Siberian' business card\n between the pages.", "47 CONTINUED: (4) 47\n\n Stepan stares at them both for a long time. Finally he\n gets to his feet and points to the diary.", "Nikolai is amused by the three of them. Anna produces\n Tatiana's diary and hands it to Nikolai. Nikolai studies\n it and nods. He gets to his feet...", "pad. Stepan's translation breaks up with emotion but he\n tries to remain detached. Helen also tries hard to\n concentrate on her task but wipes away a tear as she writes.", "There is the tiniest of changes in Semyon's manner. He\n lays his heavy pot down.\n\n ANNA\n I found her diary in her bag.", "Semyon knocks back his vodka and Nikolai does the same.\n Semyon picks up the diary and holds it into the flame of", "Anna looks at Helen, then digs out the diary and hands it\n to her.\n\n ANNA\n Tell him I've heard bad words\n before.", "SEMYON (CONT'D)\n I translated the diary...\n\n A baby begins to cry and is comforted somewhere across the\n ward.", "Nikolai is alone, sitting at a candlelit table, reading\n Tatiana's diary. We hear Tatiana in voice-over...", "SEMYON (CONT'D)\n She said he has read the diary.\n\n A pause.", "ANNA\n The diary. In return he'll give\n us an address for Tatiana's family.\n For Christine's family.\n\n A pause. They all look to each other.", "sheets. She has photocopied the pages of the diary and\n they are laid out in segments on each page.", "Stepan hands the diary to Anna and then turns.\n\n STEPAN (CONT'D)\n I go to wash my hands.", "SEMYON (CONT'D)\n OK, Anna, this is how it will be.\n You will bring the diary here and" ], [ "He sees a shape... a clothed body. He realizes immediately.\n Suddenly one of the brothers is upon him and has him in a", "As the Chechens slump to the floor, Nikolai fumbles in the\n bloody water for the razor, finds it, kneels, and slashes", "In the background the two Chechens are coming closer. As\n Ekrem zips his flies, the Chechens are upon him. One of\n them grabs his Arsenal scarf and begins to strangle him.", "Suddenly he kicks the razor guy in the balls and uses a\n martial arts chop to free himself from the other brother.\n In the steam there are boots and bare feet and knees and", "Ozim and Nikolai are undressing. The place is deserted\n apart from an OLD TURKISH BATH-HOUSE ATTENDANT who is\n distributing towels. Ozim is unbuttoning his shirt.", "Ozim disappears into a steam room, naked. Nikolai watches\n him go, a private agenda bubbling beneath the surface.", "are slipping and falling on the blood and hot water.\n Another slash of the razor cuts his thigh open. All the\n men are now covered in blood and Nikolai, with a final", "Suddenly Nikolai is slashed across the arm by the razor\n and blood oozes into the steam and hot water. All the men", "After a moment the two Chechen brothers who killed Ekrem\n enter the changing room. They swagger up to Ozim.", "Nikolai pulls up in his Mercedes.\n\n72 INT. TURKISH BATHS. CHANGING ROOM - DAY 72", "Ozim slaps his chest to denote the place where they will\n see the vor tattoo. They head towards the steam room as\n Ozim grabs his shoes and hurries towards the exit.", "their throats. He lurches to his feet, drops the razor,\n and staggers out of the steam room.", "Semyon emerges into the wine crates and beer bottles in\n the yard at the back of the restaurant where the Doberman", "Semyon steps up to where Kirill is lying and stands over\n him for a moment. Then he kicks him hard in the guts with", "Semyon returns to smoke and steam and yelling. As he\n prepares to take a drink one of the young dishwashers\n approaches.", "debris of the night before. As they walk through, Ekrem\n suddenly leaps out of the darkness with a yell. Kirill\n and Nikolai both react with instinctive aggression.", "He goes for Anna again, and this time Nikolai shoves Kirill\n to the wet ground. He looks up at Nikolai and slowly gets\n to his feet. He wipes his hands then stares into Nikolai's\n eyes.", "We are in St. Pancras, North London.\n\n More rain. Ozim is waiting nervously, blowing into his\n hands against the cold. The Turkish bath building is a\n Victorian red-brick edifice.", "All the girls apart from one immediately get to their feet\n and begin to dance to the music, their bodies moving\n awkwardly and painfully. The Albanian approaches the one\n girl who refused to stand and yanks her to her feet.", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles." ], [ "Nikolai is followed by KIRILL, who is a little younger,\n slim and pretty but hard-looking too. Kirill is dressed in", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles.", "Finally Nikolai reaches Kirill and hugs him. As he does\n he edges him away from the dockside. The three of them are\n locked in a long embrace.", "NIKOLAI\n Good.\n\n Nikolai is now dressed, his cut and tattooed arms still\n showing.", "NIKOLAI (CONT'D)\n And I see you brought along a body\n guard. Also very wise.\n\n Stepan is shaking with emotion and hisses something in\n Russian.", "As he dries, Nikolai takes a sip of coffee. Ozim is\n watching this scene with horror. Kirill has his arms\n folded, mightily impressed.", "65 CONTINUED: (2) 65\n\n Nikolai heads for the steps.", "Then Nikolai takes off his jacket and removes his tie. He\n then takes off his shirt, to reveal that his upper body is\n decorated with elaborate tattoos (details to follow).", "Nikolai climbs the steps. Kirill is left to swig his brandy\n and stare into the darkness. He wipes his eyes angrily\n with his sleeve.", "Nikolai emerges from the embrace with Christine in his\n arms. He quickly hands her to Anna who hugs her close.\n Kirill turns to Nikolai.", "Nikolai is sitting in a banquette at the back, wearing\n only his underpants. We circle Nikolai as the tattooist\n begins to work on his knees, preparing Nikolai's knee caps\n for the tattoos.", "NIKOLAI\n I know, Kirill.\n\n Kirill is about to fly into a rage but Nikolai gets to his\n feet.", "43 CONTINUED: 43\n\n Kirill pushes his way inside and Nikolai follows.", "Nikolai nods, not liking the information but hiding it.\n Nikolai comes close and gently uncovers Christine's face.\n He smiles. Kirill is hooting the car horn.", "Nikolai is being hurried down the corridor, his face covered\n with an oxygen mask. He is covered with a surgical gown\n which is covered in blood. His arm flops out from under", "Nikolai senses a change of attitude towards him. As if\n Semyon were beginning to accept him into the fold. Semyon\n raises a toast.", "NIKOLAI\n I'm just enjoying myself, man...\n\n Kirill suddenly stops dancing and stares at Nikolai. He\n yells again over the music.", "NIKOLAI (CONT'D)\n He is of the old school. He\n understood the situation. Exile", "Nikolai heaves Kirill into a chair. Semyon is back at his\n novel and watches as Kirill attempts to get to his feet", "Nikolai manages to lift him to his feet again. As they\n head towards the restaurant, Anna emerges. Nikolai looks" ], [ "Then we hear a baby crying. Anna goes to a small crib and\n lifts a six-month-old Christine out. She hands her to", "A pause. Kirill dries his eyes and heads for the car.\n Nikolai looks at Anna, who is hugging the baby. He waits\n a long time before realizing he must leave her.", "Anna stands over the baby, her face full of emotion. There\n we see pain, loss, shame, emptiness, isolation. Tears begin\n to roll from her eyes, and then she is sobbing soundlessly.", "In a private room in the Special Care Baby Unit, Anna\n approaches Tatiana's baby's plastic crib. The baby is\n tightly bundled up, sound asleep. Through the windows of", "Finally she lays a sleeping Christine back in her crib.\n She sits down on the bed where the mother should be. She\n curses herself silently and gets to her feet, determined\n to pull herself together.", "HELEN\n Anna, she isn't your responsibility.\n\n ANNA\n The baby is my responsibility until\n I hand her over to the mother.\n The mother is dead.", "ANNA\n Kirill, let me take the baby.\n\n KIRILL\n You stay where you are.\n\n ANNA\n She's cold, Kirill.", "SEMYON (CONT'D)\n Anna, I have made some inquiries\n and I have found out an address\n for Tatiana's family in Russia.\n That's where the baby belongs, no?", "We hear... a baby cry. Anna's face appears in our framed\n shot of Tatiana's face. She gently kisses Tatiana's cheek.", "NIKOLAI (CONT'D)\n So the baby's still in England.\n\n A pause. Anna nods.", "Anna leaves the labor ward, putting on her crash helmet.\n She emerges out into the crisp, sunny morning. Aziz hurries\n to catch her up and hands her a wrapped gift.", "Then we see a single light behind him. In a firework flash\n we see Nikolai and Anna climbing off the bike. They\n approach cautiously. Kirill stares at the man he loves.\n A pause. Christine begins to cry.", "A doctor and two nurses are settling Nikolai's vital signs,\n moving around him, checking his temperature. Finally they\n clear the bed and through the glass of the room we see\n Anna, standing outside, staring in at Nikolai.", "Semyon stares at her for a moment.\n\n SEMYON\n So what will happen to the poor\n child?", "NIKOLAI (CONT'D)\n (in Russian)\n It's our turn now.\n\n Nikolai steps forward slowly. As he gets closer Kirill\n hugs the baby.", "46 CONTINUED: (3) 46\n\n A pause.\n\n ANNA\n I don't care about him. I care\n about the baby.", "at Christine's private room. She tiptoes into the room\n and goes to the crib. She finds it empty - except for a\n bunch of red roses. Outside the ward is now filling up", "A sheet is pulled over Tatiana's face. A nurse weighs the\n screaming baby. Anna wipes her brow with the back of her\n bloody wrist.", "In the half-lit private room, Anna is dancing with Christine\n in her arms. She is singing a lullaby softly to her. The\n door is open to the rest of the ward and all the other\n babies are silent.", "He disappears. Anna and Helen are left in awkward silence.\n Anna buries the diary in her dressing table drawer. Helen\n looks at her with anxiety." ], [ "Stepan leaves in a huff. Anna picks up the diary and begins\n to study it. She sees the `Trans-Siberian' business card\n between the pages.", "A doctor and two nurses are settling Nikolai's vital signs,\n moving around him, checking his temperature. Finally they\n clear the bed and through the glass of the room we see\n Anna, standing outside, staring in at Nikolai.", "Anna reaches into her pocket and produces the `Trans-\n Siberian' business card she found in Tatiana's bag. Semyon\n angles his head to look as he stirs.", "We hear... a baby cry. Anna's face appears in our framed\n shot of Tatiana's face. She gently kisses Tatiana's cheek.", "A pause. Nikolai gasps in pain as he raises himself up.\n Anna sees the wounds on his arms and glimpses the tattoos\n on his chest, scaring her even more.", "There is the tiniest of changes in Semyon's manner. He\n lays his heavy pot down.\n\n ANNA\n I found her diary in her bag.", "Nikolai casually hits the key fob of his car.\n\n ANNA (CONT'D)\n You murdered her! You bastards\n murdered her!", "Semyon disappears into the shadows of the ward. As Anna\n reacts we hear Tatiana in V.O.", "He goes for Anna again, and this time Nikolai shoves Kirill\n to the wet ground. He looks up at Nikolai and slowly gets\n to his feet. He wipes his hands then stares into Nikolai's\n eyes.", "Nikolai is alone, sitting at a candlelit table, reading\n Tatiana's diary. We hear Tatiana in voice-over...", "Then we see a single light behind him. In a firework flash\n we see Nikolai and Anna climbing off the bike. They\n approach cautiously. Kirill stares at the man he loves.\n A pause. Christine begins to cry.", "Nikolai steps out from behind the screen, the baggy jeans\n tightly belted, his chest bare. For the first time Anna\n sees the extent of Nikolai's body tattoos and reacts....", "The customer looks at Tatiana's feet and reacts. We see\n blood trickling down her legs. Tatiana looks down, then\n faints onto the floor.", "All hell is let loose. As the Caesarean process begins at\n frantic speed, we slowly zoom in on Tatiana's unconscious", "Cut to Anna at Tatiana's head. Anna strokes her face and\n speaks softly.\n\n ANNA\n Darling... darling, can you hear\n me?", "A sheet is pulled over Tatiana's face. A nurse weighs the\n screaming baby. Anna wipes her brow with the back of her\n bloody wrist.", "Helen who hugs her. Over this happy scene we hear Tatiana\n in V.O., a repeat of the first words we heard her say.", "In a private room in the Special Care Baby Unit, Anna\n approaches Tatiana's baby's plastic crib. The baby is\n tightly bundled up, sound asleep. Through the windows of", "ANNA\n She was fourteen! She was a child!\n\n Kirill slaps Anna hard. Nikolai grabs Kirill and pulls\n him away.", "Kirill grabs Nikolai's arm, and after peering at Anna for\n a moment, he turns to go with Kirill. Anna gathers her\n courage." ], [ "As the Chechens slump to the floor, Nikolai fumbles in the\n bloody water for the razor, finds it, kneels, and slashes", "NIKOLAI (CONT'D)\n Albanians, Chechens, Russians.\n They deliver packages. Anything.\n Anywhere.\n\n A pause.", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles.", "Nikolai nods, not liking the information but hiding it.\n Nikolai comes close and gently uncovers Christine's face.\n He smiles. Kirill is hooting the car horn.", "In the background the two Chechens are coming closer. As\n Ekrem zips his flies, the Chechens are upon him. One of\n them grabs his Arsenal scarf and begins to strangle him.", "A pause. Nikolai gasps in pain as he raises himself up.\n Anna sees the wounds on his arms and glimpses the tattoos\n on his chest, scaring her even more.", "Nikolai is playing chess against himself, sitting on the\n bed, trying hard to concentrate. There is a knock and\n Anna enters, carrying an old shopping bag. She takes out", "we see that Nikolai is watching him from the driver's seat\n of his Mercedes. Once Stepan has disappeared into his\n flat, Nikolai gets out of the car and approaches Stepan's", "Then Stepan steps forward and spits in Nikolai's face,\n delivering a Russian curse as he does so. Nikolai almost\n reacts out of instinct but stops himself.", "Finally Nikolai reaches Kirill and hugs him. As he does\n he edges him away from the dockside. The three of them are\n locked in a long embrace.", "Nikolai pulls up beside a rusting crane on the abandoned\n dock in a dry-cleaner's van. Kirill watches as Nikolai", "Nikolai emerges from the embrace with Christine in his\n arms. He quickly hands her to Anna who hugs her close.\n Kirill turns to Nikolai.", "Semyon takes a swig of vodka. Ozim looks severely nervous.\n\n OZIM\n They were going to kill me. Those\n Chechens are savages.", "SEMYON\n So you know what he looks like.\n\n Semyon peers at Nikolai.", "He goes for Anna again, and this time Nikolai shoves Kirill\n to the wet ground. He looks up at Nikolai and slowly gets\n to his feet. He wipes his hands then stares into Nikolai's\n eyes.", "Nikolai climbs the steps. Kirill is left to swig his brandy\n and stare into the darkness. He wipes his eyes angrily\n with his sleeve.", "Nikolai smiles and then leaves. Semyon watches him go\n then peers at his drunken, sleeping son with something\n approaching compassion.", "Nikolai turns and slowly pulls open the overcoat and the\n thin hospital gown beneath it.\n\n He reveals the eight-pointed star tattoos on his chest and\n Yuri reacts with absolute astonishment.", "NIKOLAI\n What are you talking about?!\n\n Anna studies Nikolai's face and sees his genuine confusion.\n She calms down a little.", "NIKOLAI (CONT'D)\n And I see you brought along a body\n guard. Also very wise.\n\n Stepan is shaking with emotion and hisses something in\n Russian." ], [ "In a private room in the Special Care Baby Unit, Anna\n approaches Tatiana's baby's plastic crib. The baby is\n tightly bundled up, sound asleep. Through the windows of", "SEMYON (CONT'D)\n Anna, I have made some inquiries\n and I have found out an address\n for Tatiana's family in Russia.\n That's where the baby belongs, no?", "We hear... a baby cry. Anna's face appears in our framed\n shot of Tatiana's face. She gently kisses Tatiana's cheek.", "A pause. Kirill dries his eyes and heads for the car.\n Nikolai looks at Anna, who is hugging the baby. He waits\n a long time before realizing he must leave her.", "Helen who hugs her. Over this happy scene we hear Tatiana\n in V.O., a repeat of the first words we heard her say.", "A sheet is pulled over Tatiana's face. A nurse weighs the\n screaming baby. Anna wipes her brow with the back of her\n bloody wrist.", "Then we hear a baby crying. Anna goes to a small crib and\n lifts a six-month-old Christine out. She hands her to", "Nikolai is alone, sitting at a candlelit table, reading\n Tatiana's diary. We hear Tatiana in voice-over...", "NIKOLAI (CONT'D)\n So the baby's still in England.\n\n A pause. Anna nods.", "TATIANA (V.O.)\n My name is Tatiana. My father\n died in the mines in my village,", "ANNA\n Kirill, let me take the baby.\n\n KIRILL\n You stay where you are.\n\n ANNA\n She's cold, Kirill.", "TATIANA (V.O.)\n My name is Tatiana. My father\n died in the mines in my village,\n so he was already buried when he\n died...", "Nikolai is sitting at a window table, alone, sipping vodka,\n staring back across the park. He peers out at ordinary\n life going on in the streets outside. Tatiana's V.O.\n continues...", "Maybe with you. Why not? Tatiana's\n family don't sound like the kind\n of people who'd want another mouth\n to feed.", "Nikolai is amused by the three of them. Anna produces\n Tatiana's diary and hands it to Nikolai. Nikolai studies\n it and nods. He gets to his feet...", "ANNA\n Tell Semyon the baby I delivered\n on Christmas Eve is his daughter.", "Semyon disappears into the shadows of the ward. As Anna\n reacts we hear Tatiana in V.O.", "All hell is let loose. As the Caesarean process begins at\n frantic speed, we slowly zoom in on Tatiana's unconscious", "A tiny brown handbag is being shaken empty by a nurse.\n Tatiana is being prepared for an emergency Caesarean. The\n theater is full of people in scrubs, including an", "ANNA (CONT'D)\n Did you ever meet a girl called\n Tatiana?\n\n NIKOLAI\n I meet lots of girls called Tatiana." ], [ "we see that Nikolai is watching him from the driver's seat\n of his Mercedes. Once Stepan has disappeared into his\n flat, Nikolai gets out of the car and approaches Stepan's", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles.", "Stepan leaves in a huff. Anna picks up the diary and begins\n to study it. She sees the `Trans-Siberian' business card\n between the pages.", "Helen enters looking anxious. We see Stepan hovering in\n the background.\n\n HELEN (CONT'D)\n Stepan, come here. Tell her what\n you told me.", "STEPAN\n ...like potato sacks. Kirill came\n down after me and he hit me until\n I was bleeding. Then he tried to", "Then Stepan steps forward and spits in Nikolai's face,\n delivering a Russian curse as he does so. Nikolai almost\n reacts out of instinct but stops himself.", "Stepan arrives at the front garden of his small, ground-\n floor council flat. As he fumbles for his keys in the cold", "Stepan explodes.", "STEPAN\n Black men always run away.\n\n HELEN\n Oh Stepan!\n\n STEPAN\n What? I am allowed to be honest?", "and a burger. He sits, and Anna and Helen glance uneasily\n at each other. Stepan begins to eat noisily.", "NIKOLAI (CONT'D)\n And I see you brought along a body\n guard. Also very wise.\n\n Stepan is shaking with emotion and hisses something in\n Russian.", "ANNA\n That's their driver.\n\n Stepan very deliberately slides his hand into his inside\n pocket.", "11 CONTINUED: 11\n\n ANNA\n Stepan, is there an address?\n\n Stepan lays the diary aside, obstinate and prim.", "Silence.\n\n ANNA (CONT'D)\n The man from the restaurant. He\n came to the hospital.\n\n Stepan leaps to his feet.", "Stepan hands the diary to Anna and then turns.\n\n STEPAN (CONT'D)\n I go to wash my hands.", "When he hears the voice, Kirill glances at his father and\n moves quickly out of earshot. Semyon notices but hides", "47 CONTINUED: (4) 47\n\n Stepan stares at them both for a long time. Finally he\n gets to his feet and points to the diary.", "ANNA (CONT'D)\n Stepan said you were kind to him.\n He said you were risking your own\n life to keep him alive.\n\n Nikolai laughs.", "NIKOLAI\n I don't know what you're talking\n about.\n\n Nikolai calmly heads for the door. Stepan hisses.", "Stepan stands primly in the doorway, strangely defiant.\n\n ANNA\n What?\n (pause)\n Stepan, what? I'm late for work." ], [ "SEMYON\n Shut up!\n\n Kirill is hurt that Semyon seems only to be interested in\n Nikolai. After studying Nikolai for a while...", "Semyon steps up to where Kirill is lying and stands over\n him for a moment. Then he kicks him hard in the guts with", "all his might. Nikolai is shocked, and grabs Semyon's\n arm. A hand laid upon him is like deadly poison. Kirill\n grunts and moans.", "SEMYON\n I said, don't lie to me!\n\n Semyon slams Kirill hard against the wall again. Suddenly\n Nikolai steps forward.", "Semyon has now lost all interest in Kirill and is\n concentrating on Nikolai. He laughs with incredulity.\n\n SEMYON\n My son commits a murder?\n (MORE)", "Nikolai nods.\n\n A pause. Semyon looks up and fixes Nikolai with a stare.", "Nikolai smiles and then leaves. Semyon watches him go\n then peers at his drunken, sleeping son with something\n approaching compassion.", "SEMYON\n (softly, in Russian)\n My only son.\n\n They both knock their drinks back. Semyon looks suddenly\n angry as he peers out of the window.", "SEMYON\n What are you talking about?\n\n Semyon approaches and Kirill gets scared.\n\n KIRILL\n It was nothing. Just some bitch...", "Nikolai steps in between Semyon and Kirill. Semyon is\n shocked that anyone should face him like this.\n\n SEMYON\n Who... the fuck... are you to tell\n me enough?", "When he hears the voice, Kirill glances at his father and\n moves quickly out of earshot. Semyon notices but hides", "KIRILL (CONT'D)\n Papa, what business? His business\n is my business.\n\n Semyon stares at Kirill and Kirill knows the look.", "Nikolai heaves Kirill into a chair. Semyon is back at his\n novel and watches as Kirill attempts to get to his feet", "SEMYON (CONT'D)\n Nasdrovia.\n\n NIKOLAI\n Nasdrovia.\n\n After a moment.", "A pause. Anna almost begins to buy his sorrow...\n\n ANNA\n What does it say about him?\n\n Semyon looks up, his eyes filled with tears.", "Semyon shoots Kirill a hard look: he's talking too much\n and too loudly. Kirill ignores the look.", "Then Stepan steps forward and spits in Nikolai's face,\n delivering a Russian curse as he does so. Nikolai almost\n reacts out of instinct but stops himself.", "Semyon swigs his vodka and Nikolai swigs his. Semyon pours\n two more. Semyon has to stare out of the window to hide\n his emotion.", "Kirill has his back turned, doesn't react. Semyon sits\n heavily. Finally...\n\n KIRILL\n Why would they want your blood,\n papa?", "STEPAN\n ...like potato sacks. Kirill came\n down after me and he hit me until\n I was bleeding. Then he tried to" ], [ "Semyon takes a swig of vodka. Ozim looks severely nervous.\n\n OZIM\n They were going to kill me. Those\n Chechens are savages.", "In the background the two Chechens are coming closer. As\n Ekrem zips his flies, the Chechens are upon him. One of\n them grabs his Arsenal scarf and begins to strangle him.", "Ekrem chokes for a while and the Chechen loosens the knot.\n The second Chechen pulls out an open razor. Ekrem struggles\n to escape...", "YURI\n He is actually a Chechen. He is\n also a member of the vory v zakone.\n The stars on the knees mean he\n would never kneel before anyone.", "Semyon steps up to where Kirill is lying and stands over\n him for a moment. Then he kicks him hard in the guts with", "As the Chechens slump to the floor, Nikolai fumbles in the\n bloody water for the razor, finds it, kneels, and slashes", "NIKOLAI\n The vory code says you don't talk\n to anybody about your captain.\n Kirill is my captain.\n\n Semyon circles Nikolai.", "CHECHEN\n For my brother...\n\n The Chechen cuts Ekrem's throat then drops him onto the\n grave stone.", "After a moment the two Chechen brothers who killed Ekrem\n enter the changing room. They swagger up to Ozim.", "SEMYON\n (incredulous)\n I don't have to worry?\n\n NIKOLAI\n I disposed of the body myself. The\n police won't find a thing.", "NIKOLAI\n Yes. I have no mother and no\n father. There is only the code,\n the vory v zakone code which I\n have always followed.", "all his might. Nikolai is shocked, and grabs Semyon's\n arm. A hand laid upon him is like deadly poison. Kirill\n grunts and moans.", "He goes for Anna again, and this time Nikolai shoves Kirill\n to the wet ground. He looks up at Nikolai and slowly gets\n to his feet. He wipes his hands then stares into Nikolai's\n eyes.", "STEPAN\n I dealt with the vory v zakone\n when I worked for the KGB.\n\n ANNA\n You never worked for the fucking\n KGB!", "When he hears the voice, Kirill glances at his father and\n moves quickly out of earshot. Semyon notices but hides", "Nikolai pulls up beside a rusting crane on the abandoned\n dock in a dry-cleaner's van. Kirill watches as Nikolai", "KIRILL\n You bet it's fucking good...\n\n Nikolai hands the bottle back. As he does, one of the van\n doors is kicked closed revealing Semyon, suddenly upon\n them.", "Semyon hisses with fury and grabs Nikolai.\n\n SEMYON\n I decide what is right and what is\n wrong. You do not kill a vor for\n no reason.", "NIKOLAI\n (in Russian)\n It was nothing important.\n\n SEMYON\n Kirill had him killed for nothing\n important?", "Semyon suddenly breaks the neck of the bottle and holds\n the jagged edge to Ozim's throat. The dog snarls at\n Semyon's feet." ], [ "Anna arrives outside the `Trans-Siberian' restaurant. It\n has a Russian-themed frontage in blue and gold, expensively\n and recently finished.", "37 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 37", "33 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 33", "66 EXT. TRANS-SIBERIAN RESTAURANT. TWO DAYS LATER - NIGHT 66\n\n Sweet Russian choral music covers the next four scenes.", "The Trans-Siberian restaurant is smoky with cigarettes and\n cigars. The party is in full swing with two dozen guests", "35 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 35", "18 INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY 18", "23 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 23", "67 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 67", "38 EXT. TRANS-SIBERIAN RESTAURANT - NIGHT 38", "56 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 56", "36 EXT. TRANS-SIBERIAN RESTAURANT - NIGHT 36", "63 EXT. TRANS-SIBERIAN RESTAURANT - NIGHT 63", "20 EXT. TRANS-SIBERIAN RESTAURANT - DAY 20", "57 INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - NIGHT 57", "89 INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY 89", "16 INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY 16", "15 INT. TRANS-SIBERIAN RESTAURANT - DAY 15", "52 INT. TRANS-SIBERIAN RESTAURANT - NIGHT 52", "49 EXT. TRANS-SIBERIAN RESTAURANT. BACK DELIVERY AREA - DAY 49" ], [ "A doctor and two nurses are settling Nikolai's vital signs,\n moving around him, checking his temperature. Finally they\n clear the bed and through the glass of the room we see\n Anna, standing outside, staring in at Nikolai.", "ANNA\n I'd like to speak to the Manager.\n\n Semyon studies the name on the ID.\n\n SEMYON\n Khitrova?", "ANNA\n Ivan.\n\n SEMYON\n So, you are Anna Ivanovna.", "Anna walks around the two of them, watching the undignified\n struggle as Nikolai finds Kirill's keys. Nikolai smiles\n at her.", "Anna is reading the translation of the diary by lamplight.\n Tatiana's voice over continues.", "Anna is walking in the opposite direction. Then, as\n Nikolai's trolley passes, Anna sees Nikolai's arm, flopping", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles.", "ANNA\n She was fourteen! She was a child!\n\n Kirill slaps Anna hard. Nikolai grabs Kirill and pulls\n him away.", "At the same time Kirill yells in Russian.\n\n KIRILL\n (in Russian)\n What did she say?!\n\n Anna is terrified but angry too. She yells.", "Anna is lying awake, her curtains drawn against the\n daylight. Helen knocks and enters with a cup of tea, just\n as in the opening scenes. Anna sits up.", "Anna stares back. Nikolai peers at her for a moment before\n grabbing Kirill and pulling him away towards the restaurant.", "Anna arrives outside the `Trans-Siberian' restaurant. It\n has a Russian-themed frontage in blue and gold, expensively\n and recently finished.", "Anna is standing in the falling rain, staring over at the\n trans-Siberian restaurant. The restaurant is busy, with\n the noise of revelers swelling every time the door is\n opened.", "Semyon disappears into the shadows of the ward. As Anna\n reacts we hear Tatiana in V.O.", "The tables are set for a huge party. Kirill is now on\n step ladders, fixing some Christmas decorations. Other\n relatives are getting the place ready. Semyon hurries\n through the restaurant, leading Anna by the hand.", "Kirill grabs Nikolai's arm, and after peering at Anna for\n a moment, he turns to go with Kirill. Anna gathers her\n courage.", "Anna exits, pulling on her coat against the cold. She\n stops in her tracks when she sees her unchained motorbike\n parked in the parking bay. She hears Nikolai's voice over\n her shoulder.", "Semyon and Anna are sitting down at the candlelit table.\n Anna fumbles in her bag and produces a sheaf of photocopied", "Passers-by stare at Anna. Helen and Stepan have come out\n of the restaurant to restrain her. Nikolai stops and judges\n the fury on Anna's face. He speaks calmly.", "KIRILL (CONT'D)\n That's an order.\n\n Nikolai peers at Anna for a moment. Anna's voice is defiant\n but cracking with fear." ], [ "38 CONTINUED: (2) 38\n\n NIKOLAI (CONT'D)\n Get a bus.", "NIKOLAI (CONT'D)\n He is of the old school. He\n understood the situation. Exile", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles.", "Nikolai can't answer truthfully, though he longs to do so.\n There is a long pause before he manages to finds a suitable\n lie.", "NIKOLAI\n Good.\n\n Nikolai is now dressed, his cut and tattooed arms still\n showing.", "Nikolai heaves Kirill into a chair. Semyon is back at his\n novel and watches as Kirill attempts to get to his feet", "NIKOLAI\n I know, Kirill.\n\n Kirill is about to fly into a rage but Nikolai gets to his\n feet.", "Nikolai nods, not liking the information but hiding it.\n Nikolai comes close and gently uncovers Christine's face.\n He smiles. Kirill is hooting the car horn.", "we see that Nikolai is watching him from the driver's seat\n of his Mercedes. Once Stepan has disappeared into his\n flat, Nikolai gets out of the car and approaches Stepan's", "65 CONTINUED: (2) 65\n\n Nikolai heads for the steps.", "NIKOLAI (CONT'D)\n He's in Scotland. In Edinburgh.\n In a five-star hotel.", "Nikolai nods.\n\n A pause. Semyon looks up and fixes Nikolai with a stare.", "Nikolai finishes his drink.\n\n\n\n\n THE END", "Nikolai smiles and then leaves. Semyon watches him go\n then peers at his drunken, sleeping son with something\n approaching compassion.", "NIKOLAI\n What are you talking about?!\n\n Anna studies Nikolai's face and sees his genuine confusion.\n She calms down a little.", "A confused pause. Kirill looks from Nikolai to his father.\n\n KIRILL\n What business?\n\n A pause as Kirill suddenly senses his exclusion.", "Nikolai is followed by KIRILL, who is a little younger,\n slim and pretty but hard-looking too. Kirill is dressed in", "A doctor and two nurses are settling Nikolai's vital signs,\n moving around him, checking his temperature. Finally they\n clear the bed and through the glass of the room we see\n Anna, standing outside, staring in at Nikolai.", "Nikolai manages to lift him to his feet again. As they\n head towards the restaurant, Anna emerges. Nikolai looks", "Nikolai pulls up beside a rusting crane on the abandoned\n dock in a dry-cleaner's van. Kirill watches as Nikolai" ], [ "Nikolai is alone, sitting at a candlelit table, reading\n Tatiana's diary. We hear Tatiana in voice-over...", "Nikolai is amused by the three of them. Anna produces\n Tatiana's diary and hands it to Nikolai. Nikolai studies\n it and nods. He gets to his feet...", "SEMYON (CONT'D)\n Perhaps you can deal with him.\n\n Semyon leaves Nikolai to stare into the flames of the\n burning diary.", "NIKOLAI (CONT'D)\n I was told to get rid of him. I\n was meant to send him to heaven", "A pause.\n\n ANNA\n You read the diary?\n\n Nikolai looks all around. Anna studies him, unsure.", "Semyon knocks back his vodka and Nikolai does the same.\n Semyon picks up the diary and holds it into the flame of", "Nikolai can't answer truthfully, though he longs to do so.\n There is a long pause before he manages to finds a suitable\n lie.", "NIKOLAI (CONT'D)\n He is of the old school. He\n understood the situation. Exile", "Nikolai finishes his drink.\n\n\n\n\n THE END", "38 CONTINUED: (2) 38\n\n NIKOLAI (CONT'D)\n Get a bus.", "39 CONTINUED: (3) 39\n\n NIKOLAI\n Christmas present.", "Nikolai heaves Kirill into a chair. Semyon is back at his\n novel and watches as Kirill attempts to get to his feet", "A pause. Nikolai gasps in pain as he raises himself up.\n Anna sees the wounds on his arms and glimpses the tattoos\n on his chest, scaring her even more.", "NIKOLAI\n What are you talking about?!\n\n Anna studies Nikolai's face and sees his genuine confusion.\n She calms down a little.", "Nikolai turns and slowly pulls open the overcoat and the\n thin hospital gown beneath it.\n\n He reveals the eight-pointed star tattoos on his chest and\n Yuri reacts with absolute astonishment.", "A pause. Yuri looks shocked and slightly horrified.\n Nikolai too suddenly seems almost ashamed that he has got\n this far. After a long silence Nikolai mumbles.", "Nikolai climbs the steps. Kirill is left to swig his brandy\n and stare into the darkness. He wipes his eyes angrily\n with his sleeve.", "Nikolai nods, not liking the information but hiding it.\n Nikolai comes close and gently uncovers Christine's face.\n He smiles. Kirill is hooting the car horn.", "Nikolai is being hurried down the corridor, his face covered\n with an oxygen mask. He is covered with a surgical gown\n which is covered in blood. His arm flops out from under", "Nikolai enters the restaurant and spots Anna. He comes\n and sits at the table beside Stepan, opposite Anna. It's\n a tight squeeze. Anna and Helen are stiff with terror.\n Nikolai smiles." ] ]

[ "Why was it determined Krill was not the father?", "What does a \"cleaner\" do?", "Who ordered Nikolai to kill Stephen?", "Where was Stephen hiding?", "Why was Nikolai able to read the diary?", "Why didn't Krill throw the baby in the river?", "What happened to Semyon?", "Who succeeded Semyon?", "Whose body is the Russian-language diary found on?", "How old was the person who wrote the diary?", "How did the person that had the diary die?", "Who owns the Trans-Siberian Restaurant?", "What group did the main characters uncle belong to?", "Who is the hitman ordered to kill?", "Who helps the main character with the translation of the diary?", "Who attacks at the bathhouse?", "What group is Nikolai a part of?", "Who gains custody of the baby at the end of the story?", "What did Anna Khitrova find on the body of Tatiana?", "Who do the Chechens mistake Nikolai for?", "What is the name of Tatiana's baby?", "Where does Stepan hide?", "What word describes the relationship between Semyon and Stepan?", "Who authorized a hit on a rival Chechen vory leader?", "Who owns the Trans-Siberian Restaurant?", "What is Anna Khitrova's occupation?", "What is Nikolai's occupation?", "What did Nikolai read before it was destroyed?" ]

[ [ "Krill was impotent. ", "Krill is impotent." ], [ "Dump murdered bodies in the river", "A cleaner dumps murdered bodies in the River Thames." ], [ "Semyon", "Semyon" ], [ "In a 5 star hotel in Edinburgh.", "Stepan is hiding in a hotel in Edinburgh." ], [ "It was part of his undercover duties.", "It was part of his undercover duties." ], [ "He was persuaded by Nikolai and Anna not to.", "he was persuaded by nikolai and anna" ], [ "Arrested for rape.", "he is (will be) arrested for statutory rape" ], [ "Nikolai", "Nikolai" ], [ "Tatiana", "Tatiana" ], [ "Fourteen", "14" ], [ "Childbirth", "Childbirth." ], [ "Semyon", "Semyon, an old vor in the Russian Mafia." ], [ "The KGB", "KGB" ], [ "Stepan", "Stephan" ], [ "Stepan", "stepan" ], [ "The Chechens", "The Chechens." ], [ "The FSB", "the FSB" ], [ "Anna", "Anna." ], [ "diary and card", "russian diary" ], [ "Kirill", "Kirill." ], [ "Christine", "Christine" ], [ "hotel in Edinburgh", "in a hotel in Edinburgh" ], [ "distrust", "Distrustful" ], [ "Semyon's son", "Kirill" ], [ "Semyon", "Semyon, an old vor in the Russian Mafia." ], [ "midwife", "She's a midwife." ], [ "FSB agent", "He is actually an FSB agent." ], [ "Tatiana's diary", "Tatiana's diary." ] ]

[ [ "\"Forrest's the real wooz,\" Naismith nodded. \"He's the brains that picks\nbrains. He could run an army, a campaign, a government, or even a\nthree-ring circus.\"", "Forrest nodded.\n\n\"The other has worked for us two years, but he's drinking now, and he\ntakes his hang-overs out on his horses--\"", "Forrest,\" although she called them by their first names. There was\nnothing affected about it. Quite unconsciously did they, who respected\nfew things under the sun, and among such few things not even", "\"And,\" Forrest concluded, relapsing into his natural voice and\nenunciation, having reached the limit of extemporization,--\"and if you", "Dick Forrest was the son of his father. Lucky Richard, a man of\nboundless energy and enterprise, though twice married and twice\nwidowed, had not been blessed with children. His third marriage", "\"I've been watching him,\" Forrest concluded. \"He was a good man at\nfirst, but he's slipped a cog recently. Sure, send him down the hill.", "\"I want to apologize, Forrest,\" he said. \"I was rather off for the\nmoment. I found you here, and I thought you were here when it happened.\nIt must have been an accident.'\"", "Forrest went on. \"As I had already enunciated before I was so rudely\ninterrupted, the one thing only that can balm and embalm this savage", "\"I ain't no knight,\" Forrest announced in his deepest bass. \"I'm an\nogre, a filthy, debased and altogether unregenerate ogre. I was born in", "Forrest prepared for battle, then held up his hand for parley.\n\n\"'Fraid cat!\" they taunted, in several at first, and then in chorus.\n\nHe shook his head emphatically.", "\"Well, anyway,\" Forrest broke in on their babel, \"Bert, the sweet\ninnocent, doesn't think you are up yet.\"", "Forrest, who, on hands and knees, stamped loudly with the palms of his\nhands on the hardwood floor, rolled his head savagely, and emitted\nbull-like roars.", "Forrest's pleasure in his wife's pleasure, in her young enthusiasm and\njoy of life, was clear to Graham's observation. \"Lucky devil,\" was", "\"Mister Forrest,\" she began haltingly, \"maybe you think me fool, but I\nlike say something. You very kind man. You very kind my old mother. You\nvery kind me long long time...\"", "\"No fear,\" was Forrest's reply from the door. \"We're on business.\nBesides, you can't pry Rita from Ernestine with block-and-tackle.\"", "Receiver to ear, he turned to look at Paula. Graham, bending over her\nbut not touching her, met his eyes.\n\n\"Forrest,\" he began, \"if you have done--\"", "And Forrest, with sobs and slubberings, with realistic shudders and\nkicks and a great jingling of spurs, lay down on the floor and expired.", "CHAPTER X\n\n\n\nIt was a stag lunch. As Forrest explained, the girls were\n\"hen-partying.\"", "Dick Forrest's name began to appear in the newspapers with appalling\nfrequency. He leaped to instant fame by being the first man in", "Forrest lifted his right hand, the quirt dangling from wrist, the\nstraight forefinger touching the rim of his Baden Powell in\nsemi-military salute." ], [ "\"The music is my own,\" he murmured apologetically, \"the way I think it\nought to have sounded. You see, no man lives who ever heard it sung.", "\"When anybody has had enough of my song, throw something at me. I am\nproud. I am tireless. I can sing on forever. I shall sing on forever.", "\"I will sing you a song, my haughty moon. It is not my song. It is the\nMountain Lad's. It is what he nickers. Listen! He sings it again. This", "\"I've a little song I want to sing to you, Paul,\" he said, then chanted\nthe old negro 'spiritual':", "\"And that other line,\" Leo said. \"From the same sonnet,\" he explained\nto Graham. \"Listen to the sound of it: 'To hear what song the star of", "\"I'll sing him Mountain Lad's song,\" Dick bullied, a whimsical sparkle\nin his eyes. He stamped his feet, pranced, nickered a not bad imitation\nof Mountain Lad, tossed an imaginary mane, and cried:", "They thrilled together as they sang, and the thought and the sure\nknowledge of it added fuel to his own madness till his voice warmed\nunconsciously to the daring of the last lines, as, voices and thrills\nblending, they sang:", "\"And now, Red Cloud! the Song of the Acorn!\" Dick glanced half absently\nto her from the pamphlet folded on his finger, and then, with equal\npitch of gaiety, sang:", "Trail.'--Why, I was singing it with you less than an hour ago. Think of\nit! Do, Evan, please.\"", "much in the fashion of the nursery game of \"Bean Porridge Hot.\" Then he\nsang the song, which was short and which she quickly picked up, singing", "\"Those youngsters certainly put Mountain Lad on his mettle,\" Dick\nlaughed. \"Listen to his song:", "\"Hear me! I am Eros! I stamp upon the hills!\"\n\n\"The Acorn Song,\" Paula interrupted quickly and quietly, with just the\nhint of steel in her voice.", "Dick heard her voice, for she awoke, like a bird, with song. He heard\nher trilling, in and out through open windows, all down the long wing", "off his prodigious amount of work as usual, played as usual, chanted\nhis songs, and was the happy good fellow. She tried to imagine an added", "And again, in Indian falsetto, ringing with triumph, vernal and\nbursting, slapping his thighs and stamping his feet to the accent, Dick\nsang:", "While Paula sang the _Gloria,_ he sat on one of the couches, sipping\nhis drink and remembering keenly. Once before he had heard her sing", "\"And nothing remains but to prove our words,\" he volunteered. \"There's\na duet we sang the other evening--\" He glanced at Paula for a sign.", "In the midst of it, Forrest sat up, protesting. Also, he was guilty of\na significant and privy wink to Lute.\n\n\"The hero!\" he cried. \"Forget him not. Crown him with flowers.\"", "Nor did he unclench his hands during all the time they sang. And they\nsang the mad, reckless song clear through to its mad reckless end. And", "\"'The white moth to the closing vine, the bee to the opening clover,'\"\nshe hummed another line of the song, while The Fop nearly got his teeth" ], [ "\"Was the man a fool?\" was Graham's thought. \"And a man with a wife like\nthat.\"", "He brought his fist down on the desk. No, by God, he was no coward to\nrun away with his wife for fear of any man. And would it be fair to her", "\"Jong-Keena, Jong-Keena,\" she chanted on with her husband. The\nrepetition, at first slow, had accelerated steadily, so that now they", "feelings. He's come to expect it as a matter of course. And when a\nfond, proud husband gets a habit like that, it must hurt terribly to\nsee his wife not appreciated.\"", "And while Graham exchanged reminiscences of Mokpo with her, he cudgeled\nhis brain to try and decide whether her continual reference to her\nhusband was deliberate.", "And, glowing with appreciation, he stood and watched his wife and\nGraham finish the dance, while he knew that Lottie, beside him,\nstealing side glances at him, was having her suspicions allayed.", "husband, who, himself desperately busy with his thousand plans and\nprojects, was seeing less and less of his company. He always appeared\nat lunch, but it was a rare afternoon when he could go out with his", "Graham looked quickly at her, and although she had asked the question\nof her husband, her head turned to the turn of his head, so that he", "He caressed her and called her his armful of dearest woman, although\nshe detected his eye roving impatiently to the phonograph with its\nunfinished letter.", "you find in me compared with him. This is honest. He is a great man to\nme, and Great Heart is his name--\" she rewarded him with a smile and", "Well Paula knew her husband's hours. Scribbled secretly in the back of\nthe note-book that lay always on the reading stand by her couch were", "Forrest's pleasure in his wife's pleasure, in her young enthusiasm and\njoy of life, was clear to Graham's observation. \"Lucky devil,\" was", "And she slipped away, leaving Graham to his fate. He watched her,\nwatched the perfect knee-lift of her draperies as she crossed to Mrs.\nMason and set about arranging bridge quartets, while dimly he could\nhear Terrence beginning:", "She was proud of him--a goodly, eye-filling figure of a man to any\nwoman; but she no longer felt sorry for him. They were right. It was a", "California with a wife to whom, as he announced, he had been married\nseveral years, and whom all his three guardians found they knew. Mr.\nSlocum had dropped eight hundred thousand along with the totality of", "bottom, it came to him that he did not know anything about her. She was\nDick Forrest's wife. That was all he knew. How she had been born, how", "Paula yielded and fought at the same time.\n\n\"I love my husband--never forget that,\" she would warn Graham, and\nwithin the minute be in his arms.", "name was alien to their lips. By such tokens Evan Graham was not slow\nin learning that Dick Forrest's wife had a way with her, compounded of\nsheerest democracy and equally sheer royalty.", "\"I do truly love the woman, the one woman,\" Dick repeated. \"After a\ndozen years of possession I do love her quite madly, oh, so sweetly\nmadly.\"", "\"And Dick hushed her up there, and took all of five minutes more in\ngetting rid of her. Her great fear was that her husband would lose his" ], [ "Paula--herself past one of her white nights, she said, although no sign\nof it showed on her fresh skin and color. Graham had to struggle to", "longer wringing her hands, but holding them so tightly clasped that the\nfinger-tips and nails showed white. To the rear, at Paula's dressing", "Not until eleven minutes had elapsed did the smiling face of Paula\nbreak the surface. Simulating exhaustion, she slowly crawled out and", "save Paula had strayed off. He could hear their distant laughter from\nacross the patio. But Paula! He surprised the look on her face, in her", "Paula seemed everywhere, bubbling over with more outrageous spirits\nthan any of them. From this group or that, from one corner or another,\nher laugh rang out. And her laugh fascinated Graham. There was a", "Graham ran toward their end like a foot-racer, while Paula darted up\nthe high dive. By the time she had gained the top platform, his hands", "His next start was determined, and Paula, poised for her dive, could\nnot send him scuttling back. He raced upward to gain the thirty-foot", "\"Paula is a remarkable woman,\" Mrs. Tully said proudly, her eyes\nfluttering between the second hand of the watch and the unbroken", "As he put up his lips, Paula bent her head forward, and, nicely\ndirected, from the indented crown of her hat canted a glassful of water\ninto his face.", "Her face brightened joyously.\n\n\"Then we'll meet at the tank. It must be the same party. Paula said\nswimming at five.\"", "\"She must have been a weak sister,\" Graham commented; while he\nstruggled with a wanton desire for a match so that he could strike it\nand see how Paula Forrest looked paddling there beside him to keep\nafloat.", "lurked the woman. Paula Forrest was splendidly, deliciously woman, all\nwoman, unusually woman. From the blow between the eyes of his first", "It was not as if Graham had kissed her, he pondered. It was Paula who\nhad kissed Graham. That was love, and passion. He had seen it, and as", "Her hand in his, swinging his, hopping and skipping and all a-chatter\nin simulation of a little girl with a grown-up, Paula went on with", "Still in her riding habit, Paula sat down on the concrete, facing her\nhusband, in the center of the sitting audience. Under his direction,", "glanced at Dick, who turned off bowl after bowl of mellow light till\nPaula sat in an oasis of soft glow that brought out the dull gold\nlights in her dress and hair.", "His examination was quick. Paula breathed, although she was\nunconscious. From front to back, on the left side, the bullet had torn", "lights, and found himself between cool sheets in the wakeful dark.\nAgain he heard Paula Forrest laugh; again he sensed her in terms of\nsilver and steel and strength; again, against the dark, he saw that", "asked herself. And something was wrong with Paula now. She was worried,\ndisturbed, and not in the way to be expected from the announcement of", "That Paula sometimes went for long solitary rides, Graham knew, and,\nonce, he caught her dismounting from the Fawn at the hitching rails." ], [ "asked herself. And something was wrong with Paula now. She was worried,\ndisturbed, and not in the way to be expected from the announcement of", "His examination was quick. Paula breathed, although she was\nunconscious. From front to back, on the left side, the bullet had torn", "\"But he didn't,\" Dick answered placidly. \"That's Paula's luck. She's\ntough to kill. Why, I've had her under shell-fire where she was", "\"Paula is a woman who finds herself very good company,\" Ernestine\nexplained, \"and she often goes in for periods of aloneness, when Dick\nis the only person who sees her.\"", "Paula--herself past one of her white nights, she said, although no sign\nof it showed on her fresh skin and color. Graham had to struggle to", "longer wringing her hands, but holding them so tightly clasped that the\nfinger-tips and nails showed white. To the rear, at Paula's dressing", "\"No good,\" she flung over her shoulder, more loudly, still more\nharshly, as she continued down the room and out of sight on Paula's\nsleeping porch.", "himself. But how long could that continue? Not long, he was certain.\nPaula was not sufficiently the actress. And were she a master at", "\"Paula, Paula,\" he said aloud, \"are you surprising yourself and me\nafter all these years? Are you turning madcap at sober middle age?\"", "\"I'm afraid I didn't stay down ten minutes,\" Paula said. \"But I wasn't\nmuch under that, was I, Aunt Martha?\"", "It was not as if Graham had kissed her, he pondered. It was Paula who\nhad kissed Graham. That was love, and passion. He had seen it, and as", "It was impossible. She seemed almost a girl, petulant and flushed over\nsome school task. Then he remembered Mrs. Tully's remark that Paula was\nthe most mature child she had ever known.", "Paula was disturbed. What had happened? Why had Dick lied? He had known\nof Jeremy's death for two days. And she had never known anybody's death", "\"Oh!\" she cried. \"I never meant it that way. You will find we are very\nfrank here. Everybody knows Paula's age. She tells it herself. I'm", "Back to Paula, Graham stepped aside as Dick, on his knees, bent over\nher. His examination was brief. He looked up at Graham with a shake of\nthe head and said:\n\n\"It's too ticklish to fool with.\"", "lurked the woman. Paula Forrest was splendidly, deliciously woman, all\nwoman, unusually woman. From the blow between the eyes of his first", "\"Paula is a remarkable woman,\" Mrs. Tully said proudly, her eyes\nfluttering between the second hand of the watch and the unbroken", "\"Which means a very sick O'Hay next day,\" Paula continued her gurgles\nof anticipation.\n\n\"I'll tell him to do it!\" exclaimed Lute.", "her is a low type woman. No high type man beats the woman he loves. No\nhigh type woman,\" and all unconsciously Leo's eyes roved to Paula,\n\"could love a man who beats her.\"", "Paula yielded and fought at the same time.\n\n\"I love my husband--never forget that,\" she would warn Graham, and\nwithin the minute be in his arms." ], [ "\"And the one with a beard--Aaron Hancock. Like Terrence, he won't work.\nAaron's a Southerner. Says none of his people ever did work, and that", "\"You've met Aaron Hancock here. He was one of the philosophers, and to\nthis day he swaggers that he owed Dick a bigger bill that never was", "\"It's just supposing, Leo,\" Hancock urged.\n\nThe boy's embarrassment was pitiful, and his voice quivered, but he\nturned bravely to Dick and said:", "\"Whom do you choose?\" Dick urged.\n\n\"As if, after that, there were any choice about it,\" Hancock returned\njauntily. \"I kiss my lady--the Little Lady.\"", "\"But women are beautiful,\" the boy stammered.\n\n\"Oh, ho!\" Hancock broke in, his black eyes gleaming wickedly. \"So, Leo,\nyou identify woman with beauty?\"", "\"And of much foolishness,\" Hancock added.\n\n\"Of much fine foolishness,\" Dick gravely amended.", "Ernestine had enabled Aaron Hancock to fling the first bomb into the\nthick of O'Hay's deepest convictions. Dar Hyal, a willing and eager", "Hagan, reading the same while they lay in the grass by some water-tank,\nbranded forever the mind of Young Dick with the fact that honor beyond", "\"Atavistic!\" Aaron Hancock snorted. \"The cave-men, the monkey-folk, and\nthe ancestral bog-men of Terrence did that sort of thing--\"", "often startling in their thoroughness and correctness. But Dick, his\nshoulder toward her, laughing over some quip of Hancock, was just\nturning his laughter-crinkled eyes toward her as he started to", "\"So at last you believe in God?\" the man, addressed Aaron, genially\nsneered back. He was a slender, long-faced olive-brunette, with\nbrilliant black eyes and the blackest of long black beards.", "\"Dick, boy, it's Laura Marholm Aaron's been just reading. He can spout\nher chapter and verse.\"", "\"Now the South speaks, Aaron,\" Dick retorted with a smile. \"Prejudice,\nnot of birth, but of early environment, is too strong for all your", "and Aaron Hancock fell into a heated argument over the music of\nfuturism. And Graham was saved from the Japanese situation with Mr.", "\"The half-sex,\" Hancock gibed. \"As if the hand of God had been\nwithdrawn midway in the making, leaving her but a half-soul, a groping\nsoul at best.\"", "\"And it is good,\" Dick assured him. \"As representing the ranch in its\nfairest aspects, they are to administer the kiss of welcome. Make your\nchoice, Aaron.\"", "Aaron, with a quick whirl to catch some possible lurking disaster at\nhis back, demanded, \"They are all three to kiss me?\"\n\n\"No, make your choice which is to give you the kiss.\"", "Aaron Hancock enunciating Bergsonian dogmas, the frayed coat-cuffs of\nTerrence McFane articulating thanks to God for the two-legged", "\"But Hancock's objection is solid,\" Martinez ventured. \"It would be a\nmean and profitless world without mystery. Dick sees no mystery.\"", "\"You heard Aaron complaining at table, and Terrence explaining, his\nsureness. Nothing terrible has ever happened to him in his life. He has\nnever been overthrown. His sureness has always been vindicated. As" ], [ "Ah Ha served cocktails around, and was kept busy, for Hancock and\nFroelig followed along. Terrence impartially drank stiff highballs of", "few others ever get under the surface of him. He's a real philosopher,\nand he has the control of a stoic or an Englishman, and he can play-act\nto fool the world.\"", "well. The Outlaw would bear the blame. And he would have an\neye-witness, either Froelig or Martinez. But not both of them. One pair", "\"So at last you believe in God?\" the man, addressed Aaron, genially\nsneered back. He was a slender, long-faced olive-brunette, with\nbrilliant black eyes and the blackest of long black beards.", "the whistling. He was debating on possible adjacent places where Tim\nHagan might be, when Tim himself appeared around the corner, bearing a", "\"That's Dar Hyal. He's their guest. The three of them invited him up,\njust as Aaron first invited Terrence, and as Aaron and Terrence invited", "\"And the one with a beard--Aaron Hancock. Like Terrence, he won't work.\nAaron's a Southerner. Says none of his people ever did work, and that", "Dick ceased and idly watched the expressionless Ah Ha and Ah Me who\nchanced at the moment to be serving opposite him. Their faces did not", "out in the morning. I sailed in that afternoon. I never did deliver\nthose letters in person, and the next time I laid eyes on him was at\nthe Café Venus two years ago.\"", "already drawn by Oh My. A dozen minutes afterward, shaved as well, he\nwas back in bed, reading his frog book while Oh My, punctual to the\nminute, massaged his legs.", "\"Oh, I can manage him,\" she breathed between tight teeth, as, with ears\nback and vicious-gleaming eyes, The Fop bared his teeth in a bite that", "began. Well, he did it. He became tradition. As long as the kanakas of\nHuahoa survive he will remain tradition--Get ready, Rita. Start on the\nfull minute.\"", "But at that moment Paula Forrest, unaware of her audience, with a sharp\ncry of command and a cavalier thrust of sharp spurs into The Fop's", "\"You met him once two years ago, in Santiago, at the Café Venus. He had\ndinner with us.\"\n\n\"Oh, one of those naval officers?\"\n\nDick shook his head.", "discussion, each isolating himself in a capacious chair. Graham,\nseeming least attracted, browsed in a current magazine, but Dick\nobserved that he quickly ceased turning the pages. Nor did Dick fail to", "imagination. Once again, and yet again, many times, he saw the slender\nfingers of Dar Hyal weaving argument in the air, the black whiskers of", "And send that other fellow--Hopkins, you said?--along with him. By the\nway, Mr. Hennessy.\" As he spoke, Forrest drew forth his pad book, tore", "A sudden, joyous nicker from without put the match between the pages of\nthe frog book, and, while Oh My proceeded partly to dress his master in", "floor. He scanned them suspiciously, and insisted upon walking around\nbehind them. But there seemed nothing unusual about them save that each\nwore a man's felt hat.", "In the midst of it, Forrest sat up, protesting. Also, he was guilty of\na significant and privy wink to Lute.\n\n\"The hero!\" he cried. \"Forget him not. Crown him with flowers.\"" ], [ "Dick's boisterousness waxed apace. His was the most care-free seeming\nin the world as he measured Froelig and Martinez against the door to", "Ah Ha served cocktails around, and was kept busy, for Hancock and\nFroelig followed along. Terrence impartially drank stiff highballs of", "A sudden, joyous nicker from without put the match between the pages of\nthe frog book, and, while Oh My proceeded partly to dress his master in", "well. The Outlaw would bear the blame. And he would have an\neye-witness, either Froelig or Martinez. But not both of them. One pair", "In the midst of it, Forrest sat up, protesting. Also, he was guilty of\na significant and privy wink to Lute.\n\n\"The hero!\" he cried. \"Forget him not. Crown him with flowers.\"", "Quickly the mounts were decided upon, Froelig and Martinez agreeing to\ngo, but promising neither to shoot well nor ride well.", "The same afternoon, while Dick was out and away with Froelig and\nMartinez and Graham, Paula stole a pilgrimage to Dick's quarters. Out", "he made out that they came from some valley town thirty miles away\ncalled Wickenberg, and that they were of the small-town banking,\nprofessional, and wealthy-farmer class. They were full of spirits,", "Four horses, bunched, crossed his field of vision. Paula, teasing the\npair of them, was between Martinez and Froelig, old friends of Dick, a", "\"Wait till I rush the beer to the old man,\" said Tim, inspecting the\nstate of the foam in the lard-can with an experienced eye. \"He'll roar\nhis head off if it comes in flat.\"", "his hair and called her \"Good morning, merry gentleman,\" she evaded the\nhungry sweep of his arm and laughed her way out. What affected him as\nstrongly as the disappointment was the happiness he had seen in her", "into waiting manure-spreaders. Several times, business-looking men,\ncollege-marked, astride horses or driving carts, stopped him and", "off his prodigious amount of work as usual, played as usual, chanted\nhis songs, and was the happy good fellow. She tried to imagine an added", "already drawn by Oh My. A dozen minutes afterward, shaved as well, he\nwas back in bed, reading his frog book while Oh My, punctual to the\nminute, massaged his legs.", "Crellin smiled to himself as his employer diminished down the road; for\nCrellin knew his Kipling, and the thought that caused the smile was:", "Forrest's pleasure in his wife's pleasure, in her young enthusiasm and\njoy of life, was clear to Graham's observation. \"Lucky devil,\" was", "with them. The last fly was gone ere Forrest had sipped his last sip of\ncoffee, marked \"Commercial Breeding of Frogs\" with a match, and taken\nup his proofsheets.", "At this stage, Forrest slid out of bed in his pajamas, slipped his feet\ninto the slippers, and strode through the French windows to the bath,", "And Dick, in the midst of the confusion of settling such an influx of\nguests, still maintaining his exuberant jolly pose, waited for that", "\"I never knew a man to be so sure of himself,\" Paula replied warmly;\n\"and I never knew a man with half the warrant. I know him. He is a" ], [ "THE END", "And Jeremy was dead. The room seemed suddenly to have grown cold. She\nshivered. It was the way of life--death always at the end of the road.", "\"There is one little thing I almost forgot to tell you,\" she said, very\nsoftly, very slowly, very clearly. \"I do love you. I have never loved", "\"It will work out,\" she assured him gravely. \"It will have to work out\nsomehow. Dick says all things work out. All is change. What is static\nis dead, and we're not dead, any of us... are we?\"", "\"Well, first of all, beginning at the end, he's broke--that is, for\nhim, he's broke. He's got an income of several thousand a year left,", "Graham knocked out his pipe, took a final sweeping survey of the\nstrange room which was the last word in comfort, pressed off the", "\"This is the last year of her,\" Dick announced. \"She's indomitable.\nI've worked two years on her without the slightest improvement. She", "themselves must it be settled. Some one would be hurt. But life was\nhurt. Success in living was the minimizing of pain. Dick believed that", "At the end of three years, nearly sixteen, hard of body, weighing a\nhundred and thirty pounds, he judged it time to go home and open the", "the fact that he did not know how lucky he was. His guardians forgave\nhim all his wildness. He had made good. At last he had performed a", "And she slipped away, leaving Graham to his fate. He watched her,\nwatched the perfect knee-lift of her draperies as she crossed to Mrs.\nMason and set about arranging bridge quartets, while dimly he could\nhear Terrence beginning:", "His victim was now at the edge of the grain. He pulled trigger. The\ncreature fell over, lay still a moment, then ran in quick awkward", "\"Well, they'll have to keep on dying as they have always died in the\npast,\" Dick answered grimly. \"And no blame attaches anywhere for their\ndeaths. We are so made that our hearts sometimes stray.\"", "\"Nothing to be done,\" he said. \"It is a matter of hours, maybe of\nminutes.\" He hesitated, studying Dick's face for a moment. \"I can ease", "\"Oh, Dick,\" she breathed, after silence had grown painful, \"I do love\nyou, I shall always love you. You are my Red Cloud. Why, do you know,", "Dear knew. Soon more would know, all would know. And in a way he was\nglad of it, glad that the torment of suspense would endure but little\nlonger.", "She played on and sang on interminably, until at last he fell asleep.\nWhen he awoke he was alone in the room. Paula and the sages had gone", "himself, thanks be. The three of them believed it. And it was nothing\nnew under the sun. The countless triangles of the countless generations\nhad all been somehow solved. This, then, would be solved. All human", "And Forrest, with sobs and slubberings, with realistic shudders and\nkicks and a great jingling of spurs, lay down on the floor and expired.", "\"And so,\" he concluded, with a pressure of his arms about her that\nseemed to hint that her moment with him was over and she must go, \"that\nmeans the afternoon. None will stop over. And they'll be off and away\nbefore dinner.\"" ], [ "ranch. He's pretty faithful, and the ranch _is_ his first love. He had\nit all planned and started before he ever met me or knew I existed.\"", "The Big House was the hub of the ranch organization. Half a mile from\nit, it was encircled by the various ranch centers. Dick Forrest,", "\"The ranch certainly spells fecundity,\" Graham smiled. \"I never before\nwas so impressed with the flowering and fruiting of life. Everything\nhere prospers and multiplies--\"", "\"Nothing,\" he answered sadly. \"The ranch is depleted. Three hundred\nbeautiful young bulls depart to-morrow for South America, and", "of other cattle ranches as far away as the Black River and beyond. John\nChisum was a cattle king who had foreseen the coming of the farmer and", "business, I thought, and they would soon be gone. So I waited. It _was_\nranch business, but it was so interesting, so, what Hancock would call,", "portion of the ranch, so that the air was filled with shrill nickerings\nand squealings and answering whinneys, while Mountain Lad, beside", "She can stick around the ranch and get half a dozen columns out of any\nof half a dozen subjects, while the writer chap can get the dope on", "as pasture expert, and who was reputed to know, not only every blade of\ngrass on the ranch, but the length of every blade of grass and its age\nfrom seed-germination as well.", "\"About how large a ranch will you start with?\" Mr. Davidson asked.", "\"Soon as I'm done with cow college,\" was his answer. \"Then I'm going to\nbuy, and stock, and start a ranch that'll be a ranch. And then I'll set\nout after my careening riot.\"", "Graham's thought, not because of his host's vast ranch and the success\nand achievement of it, but because of the possession of a wonder-woman\nwho could look unabashed and appreciative into his eyes as the Little", "\"And leave all this?\" he lied, with a gesture that embraced the ranch\nand all its projects. \"And that book on in-and-in-breeding? And my\nfirst annual home sale of stock just ripe to come off?\"", "\"And it is good,\" Dick assured him. \"As representing the ranch in its\nfairest aspects, they are to administer the kiss of welcome. Make your\nchoice, Aaron.\"", "down the hill, not because you climbed over another man's fence--that's\nyour business and his; but because you were guilty of causing a\ndisturbance that is an impairment of ranch efficiency.'", "\"You'll have to get used to us, old man,\" Dick was explaining. \"We run\nthe ranch like clockwork, and the servants are wonders; but we allow", "often, before I knew you, I used to puzzle whether he cared more for\nthe ranch or more for me.\"", "The three men took a cross-ranch road for half a mile, turned up a\nwooded canyon where ran a spring-trickle of stream, and emerged on a", "last rancheria is not. You plowed it under, Mr. Crockett, with you\nbonanza gang-plowing, plow-soling farming. And I got the song from a", "\"That's just why,\" Graham answered. \"I've got to get it finished. It\ndoesn't seem I can work like you do. The ranch is too alluring. I can't" ], [ "\"Play the game,\" he muttered. And then, after a pause, as he turned to\ngo: \"A free field and no favor ... and no favor.\"\n\n * * * * *", "\"We're not... to him,\" one of the dancers, a vivacious young Venus,\nretorted. \"Nor are we to you either. So run along, little boy. Run\nalong.\"", "\"Oh, but she isn't,\" the boy answered quietly, with an air of superior\nknowledge. \"That is just some of your Shaw nonsense.\"\n\n\"Bravo, Leo,\" Paula applauded.", "Terrence, and more. Mountain Lad doesn't moon about the loved one. He\ndoesn't moon at all. He incarnates love, and rears right up in meeting", "was an Oxford man, an English gentleman, and a real scholar. Her name\nwas Nomare. She was Queen of Huahoa. She was barbaric. He was young", "brotherhood of lovers. And the lady of our hearts is all the one--the\nLittle Lady. We, who merely talk and dream our days away, and who would", "\"'--comrades--\n Old playmates on new seas--\n When as we traded orpiment\n Among the savages--", "few others ever get under the surface of him. He's a real philosopher,\nand he has the control of a stoic or an Englishman, and he can play-act\nto fool the world.\"", "\"This is the last year of her,\" Dick announced. \"She's indomitable.\nI've worked two years on her without the slightest improvement. She", "\"I must not stay,\" Graham reiterated for the thousandth time. \"Oh, I\nhave kissed behind doors, and been guilty of all the rest of the silly\nrubbish,\" he complained. \"But this is you, and this is Dick.\"", "\"Woman has certainly found her St. George tonight,\" Graham\ncomplimented. \"Leo, you shame me. Here I sit quietly by while you fight\nthree dragons.\"", "The combat ebbed away from Leo, and Dar Hyal and Hancock beset Dick.\n\n\"What do you mean by 'playing the game'?\" Dar Hyal asked.", "\"Then am I thy dragon,\" Forrest announced with due humility. \"Spare\nthis ancient, honorable, and only neck I have.\"\n\n\"Off with his head!\" the young things encouraged.", "\"The metaphor is mixed,\" said Terrence. \"Yet have they acted well. 'Tis\nthe rule--Dick's rule--and a good rule it is: no petticoats in the", "\"It's the old game, the white man's game,\" Dick laughed. \"She's not\nafraid of him, and he knows it. She outgames him, out-savages him,", "\"And that other line,\" Leo said. \"From the same sonnet,\" he explained\nto Graham. \"Listen to the sound of it: 'To hear what song the star of", "The land is filled with fatness, and the sap is in the trees. It is the\nspring. The spring is mine. I am monarch of my kingdom of the spring.", "The land is filled with fatness, and the sap is in the trees. It is the\nspring. The spring is mine. I am monarch of my kingdom of the spring.", "\"And how men can live for them, and love them, the lovely things,\"\nTerrence added. \"Listen, Mr. Graham, and I'll tell you a secret. We", "out quietly. He looked at his watch. It marked one o'clock. She had\nplayed unusually late, he knew; for he knew she had just gone. It was" ], [ "Graham looked quickly at her, and although she had asked the question\nof her husband, her head turned to the turn of his head, so that he", "And, glowing with appreciation, he stood and watched his wife and\nGraham finish the dance, while he knew that Lottie, beside him,\nstealing side glances at him, was having her suspicions allayed.", "\"Was the man a fool?\" was Graham's thought. \"And a man with a wife like\nthat.\"", "Paula yielded and fought at the same time.\n\n\"I love my husband--never forget that,\" she would warn Graham, and\nwithin the minute be in his arms.", "And she slipped away, leaving Graham to his fate. He watched her,\nwatched the perfect knee-lift of her draperies as she crossed to Mrs.\nMason and set about arranging bridge quartets, while dimly he could\nhear Terrence beginning:", "\"Jong-Keena, Jong-Keena,\" she chanted on with her husband. The\nrepetition, at first slow, had accelerated steadily, so that now they", "And while Graham exchanged reminiscences of Mokpo with her, he cudgeled\nhis brain to try and decide whether her continual reference to her\nhusband was deliberate.", "feelings. He's come to expect it as a matter of course. And when a\nfond, proud husband gets a habit like that, it must hurt terribly to\nsee his wife not appreciated.\"", "Forrest's pleasure in his wife's pleasure, in her young enthusiasm and\njoy of life, was clear to Graham's observation. \"Lucky devil,\" was", "\"I do truly love the woman, the one woman,\" Dick repeated. \"After a\ndozen years of possession I do love her quite madly, oh, so sweetly\nmadly.\"", "And Paula pressed closer to her husband, and was pressed, as her lips\ntouched his forehead, and as the pair of them, gazing at the empty road", "\"It was the wife of one of the workmen Dick had on the carpet. Such\nthings do arise on a large place like this. I wouldn't know the woman", "\"And Dick hushed her up there, and took all of five minutes more in\ngetting rid of her. Her great fear was that her husband would lose his", "He caressed her and called her his armful of dearest woman, although\nshe detected his eye roving impatiently to the phonograph with its\nunfinished letter.", "\"'The youth new-taught of longing,\n The widow curbed and wan--\n The good wife proud at season,", "wife?' 'Yes, sir.'", "bottom, it came to him that he did not know anything about her. She was\nDick Forrest's wife. That was all he knew. How she had been born, how", "She hesitated, moistening her frightened lips with her tongue, then\nbraved her eyes to his and proceeded.\n\n\"Mrs. Forrest, she, I think...\"", "Well Paula knew her husband's hours. Scribbled secretly in the back of\nthe note-book that lay always on the reading stand by her couch were", "So he lay and pondered. She did not speak. She was not restless. He\ncould hear no movement. When he glanced to the side at her he saw her\nlying on her back, eyes closed, arms outstretched, as if tired." ], [ "That Paula sometimes went for long solitary rides, Graham knew, and,\nonce, he caught her dismounting from the Fawn at the hitching rails.", "\"Look at her,\" Paula whispered to Dick, in order not to alarm the saucy\nchestnut filly. \"Isn't she wonderful! That's what I've been working", "Paula on the Fawn, and Dick on the Outlaw, rode out from the Big House\nas nearly side by side as the Outlaw's wicked perversity permitted. The", "All were in laughter as Paula nodded to the grooms to release the\nhorses' heads, took the feel of the four mouths on her hands, and", "The latter swiftly adjusted the halter with a turn of chain between the\njaws. But Paula, still astride, leaned forward, imperiously took the", "As Mrs. Tully told Graham: \"And that is a concession I make to no woman\nsave Paula. She is the only woman I can trust myself to with horses.", "Still in her riding habit, Paula sat down on the concrete, facing her\nhusband, in the center of the sitting audience. Under his direction,", "Selim warned him by nickering. Came an answering nicker from close at\nhand. The trail was wide and easy, and Graham put his mount into a fox\ntrot, swung a wide bend, and overtook Paula on the Fawn.", "* * * * *\n\nAt the long hitching rails under the oaks, where the dismounting party\ngathered, Paula was in gales of laughter.", "Four horses, bunched, crossed his field of vision. Paula, teasing the\npair of them, was between Martinez and Froelig, old friends of Dick, a", "for Paula, whether she had designed her habit for the mare, or had\nselected one most peculiarly appropriate, had achieved a triumph.", "Three hours later, returning from the Buckeye, Dick noted that for the\nfirst time Paula and Graham had gone riding together alone.\n\n * * * * *", "present--Paula, there, with the reins of four slashing horses in her\nhands, her foot on the brake, swinging tally-ho along a mountain road.\"", "Paula gathered her reins in signal for a gallop, but first, with a\nroguish smile, she acknowledged.\n\n\"I do want them there, dear trespasser.\"", "But at that moment Paula Forrest, unaware of her audience, with a sharp\ncry of command and a cavalier thrust of sharp spurs into The Fop's", "striking sight of her, swimming the great stallion in the pool, she had\ncontinued to witch-ride his man's imagination. He was anything but", "\"Don't you think you are spoiling that mare for riding in company?\" he\ntwitted.\n\nPaula laughed and shook her head.", "Almost as an echo, from afar off, came a thin-sweet answering whinney.\n\n\"It is the Fotherington Princess,\" Paula breathed softly.", "knew Paula was wrong. But look at it! She bred a rickety old\nthoroughbred, that we wanted to put out of her old age, to a standard", "He saw stallion and rider sink beneath the water, and rise again, a\nflurry of foam and floundering of hoofs, and a woman's face that" ], [ "directly personal affairs. And now, if you want to hear about the last\nthree years, I'll spin the yarn for you.\"", "Dear knew. Soon more would know, all would know. And in a way he was\nglad of it, glad that the torment of suspense would endure but little\nlonger.", "already drawn by Oh My. A dozen minutes afterward, shaved as well, he\nwas back in bed, reading his frog book while Oh My, punctual to the\nminute, massaged his legs.", "\"There is one little thing I almost forgot to tell you,\" she said, very\nsoftly, very slowly, very clearly. \"I do love you. I have never loved", "night after Forrest had gone to bed. He tore the right-hand ends across\nand glanced at the contents of all but one with speed. The latter he", "\"Dick, boy, it's Laura Marholm Aaron's been just reading. He can spout\nher chapter and verse.\"", "\"I am ready, Dick,\" she said faintly, still with closed eyes. \"I want\nto make my sleepy, sleepy noise. Is the doctor ready? Come closer. Hold\nmy hand like you did before in the little death.\"", "This was Paula's maid, Oh Dear, so named by Dick, many years before,\nbecause of a certain solicitous contraction of her delicate brows that", "Well Paula knew her husband's hours. Scribbled secretly in the back of\nthe note-book that lay always on the reading stand by her couch were", "She nodded. \"Cross my heart, solemnly, hope to die. It was with Dick in\nthe _All Away_ and in the long ago. It might almost be said we\nhoneymooned in Mokpo.\"", "\"Something happened to you last night,\" she probed, and he could not\nfail to see the same compassion in her eyes that he had seen in Oh\nDear's. \"Everybody remarked your expression. What was it?\"", "Paula was disturbed. What had happened? Why had Dick lied? He had known\nof Jeremy's death for two days. And she had never known anybody's death", "discussion, each isolating himself in a capacious chair. Graham,\nseeming least attracted, browsed in a current magazine, but Dick\nobserved that he quickly ceased turning the pages. Nor did Dick fail to", "But Dick did put in work that nobody saw. His collateral reading was\nwide and deep, and when he went on his first summer cruise in the", "She caressed, the backs of the books with her palm, pressed her cheek\nagainst them and leaned with closed eyes. Oh, Dick, Dick--a thought", "When her eyes fluttered open, Dick nodded Graham up beside him. At\nfirst bewilderment was all she betrayed, then her eyes focused first on", "had been reading alone. After a time he returned to his magazine with\nsuch absorption that he forgot those about him until an awareness of\nsilence penetrated to his consciousness. He looked up. All the others", "Dick Forrest had been right when he told his guardians that his mind\nwas acid and would bite into the books. Never was there such an", "\"Oh, yes, there was more. But I've given you the main of it. You see\nDick's code there. And he lives his code. He accords latitude to the", "\"I must not stay,\" Graham reiterated for the thousandth time. \"Oh, I\nhave kissed behind doors, and been guilty of all the rest of the silly\nrubbish,\" he complained. \"But this is you, and this is Dick.\"" ], [ "...\" She hesitated and could not utter the word \"triangle\" which he saw\nforming on her lips. \"The situation,\" her voice trailed away. \"We'll", "himself, thanks be. The three of them believed it. And it was nothing\nnew under the sun. The countless triangles of the countless generations\nhad all been somehow solved. This, then, would be solved. All human", "But I can't make up my mind. The triangle, as you call it, must be\nsolved for me. I can't solve it myself. I compare the two of you, weigh", "stallion. When she started forward, he could not fail to see the\ninimitable way she carried the cling and weight of her draperies with\nher knees--round knees, he knew, that he had seen press desperately", "\"Woman has certainly found her St. George tonight,\" Graham\ncomplimented. \"Leo, you shame me. Here I sit quietly by while you fight\nthree dragons.\"", "She had always depended upon him as the doer. Graham had called the\nsituation a triangle. Well, Dick could solve it. He could solve\nanything. Then why didn't he?", "\"In a way the patteran is speech,\" he answered. \"But it always says one\nthing: 'This way I have passed.' Two sprigs, crossed in certain ways", "Her breasts heaved from the exertion, and he marked the pulsating of\nthe shimmering cherry-colored silk with delight as he flung his glance\naround to the other two girls similarly breathing.", "triangulation. And he couldn't do it legitimately or technically with a\nswan-dive, because he had to clear two lower ledges while he was in the", "His examination was quick. Paula breathed, although she was\nunconscious. From front to back, on the left side, the bullet had torn", "was joy. But he was dissatisfied with both conclusions, and knew he had\nnot put his finger on her. And then it came to him--pride. That was it!", "\"No, no; listen,\" she rushed over Graham's attempt to interrupt. \"I\nwant to tell you more. There is a secret staircase that goes up from", "other women on the chance of catching them tripping--except in relation\nto him. And he grinned again at the deliciousness of the affair with", "sex decreed that often the same men should love the one woman, and\ntherefore that perfidy should immediately enter into such a\ntriangle--surely, it was the lesser evil to be perfidious to the man", "confronted him. He knew her trick of copying the pose and lines from a\nphotograph and filling in from memory. The particular photograph she\nwas using had been a fortunate snapshop of him on horseback. The", "She pressed the button that swung aside a section of filled\nbook-shelves and revealed the tiny spiral of steel steps that led up to", "\"All three shall kiss me and thus shall paradise be thrice multiplied,\"\nwas Terrence's way out of the difficulty; and simultaneously he\nreceived three crowns of water for his gallantry.", "come from Paula's wing above, and he identified it as her 30-30 as he\ndashed across the patio. _She beat me to it,_ was his next thought, and", "\"She had the grit, she had the grit,\" he muttered to himself with\nquivering lips. \"Poor kid. She couldn't decide between the two, and so\nshe solved it this way.\"", "In a breath, or the half of a breath, Graham saw the whole breathless\nsituation, realized that the white wonderful creature was a woman, and" ], [ "\"And the one with a beard--Aaron Hancock. Like Terrence, he won't work.\nAaron's a Southerner. Says none of his people ever did work, and that", "\"You've met Aaron Hancock here. He was one of the philosophers, and to\nthis day he swaggers that he owed Dick a bigger bill that never was", "Ernestine had enabled Aaron Hancock to fling the first bomb into the\nthick of O'Hay's deepest convictions. Dar Hyal, a willing and eager", "\"It's just supposing, Leo,\" Hancock urged.\n\nThe boy's embarrassment was pitiful, and his voice quivered, but he\nturned bravely to Dick and said:", "and Aaron Hancock fell into a heated argument over the music of\nfuturism. And Graham was saved from the Japanese situation with Mr.", "\"Whom do you choose?\" Dick urged.\n\n\"As if, after that, there were any choice about it,\" Hancock returned\njauntily. \"I kiss my lady--the Little Lady.\"", "\"And it is good,\" Dick assured him. \"As representing the ranch in its\nfairest aspects, they are to administer the kiss of welcome. Make your\nchoice, Aaron.\"", "Aaron, with a quick whirl to catch some possible lurking disaster at\nhis back, demanded, \"They are all three to kiss me?\"\n\n\"No, make your choice which is to give you the kiss.\"", "\"Now the South speaks, Aaron,\" Dick retorted with a smile. \"Prejudice,\nnot of birth, but of early environment, is too strong for all your", "\"And of much foolishness,\" Hancock added.\n\n\"Of much fine foolishness,\" Dick gravely amended.", "\"But women are beautiful,\" the boy stammered.\n\n\"Oh, ho!\" Hancock broke in, his black eyes gleaming wickedly. \"So, Leo,\nyou identify woman with beauty?\"", "Hancock, Dick's arm guiding him, came down the room to confront Paula\nand her sisters standing in a row on three chairs in the middle of the", "The combat ebbed away from Leo, and Dar Hyal and Hancock beset Dick.\n\n\"What do you mean by 'playing the game'?\" Dar Hyal asked.", "often startling in their thoroughness and correctness. But Dick, his\nshoulder toward her, laughing over some quip of Hancock, was just\nturning his laughter-crinkled eyes toward her as he started to", "\"Dick, boy, it's Laura Marholm Aaron's been just reading. He can spout\nher chapter and verse.\"", "\"All right, Aaron,\" they heard Dick Forrest's voice rising, in a lull,\nfrom the other end of the table. \"Here's something from Phillips Brooks", "After parting from Tim Hagan Young Dick spent a busy hour or so looking\nup one, Marcovich, a Slavonian schoolmate whose father ran a chop-house", "Hagan, reading the same while they lay in the grass by some water-tank,\nbranded forever the mind of Young Dick with the fact that honor beyond", "\"So at last you believe in God?\" the man, addressed Aaron, genially\nsneered back. He was a slender, long-faced olive-brunette, with\nbrilliant black eyes and the blackest of long black beards.", "business, I thought, and they would soon be gone. So I waited. It _was_\nranch business, but it was so interesting, so, what Hancock would call," ], [ "\"Whom do you choose?\" Dick urged.\n\n\"As if, after that, there were any choice about it,\" Hancock returned\njauntily. \"I kiss my lady--the Little Lady.\"", "\"It's just supposing, Leo,\" Hancock urged.\n\nThe boy's embarrassment was pitiful, and his voice quivered, but he\nturned bravely to Dick and said:", "\"And of much foolishness,\" Hancock added.\n\n\"Of much fine foolishness,\" Dick gravely amended.", "\"And the one with a beard--Aaron Hancock. Like Terrence, he won't work.\nAaron's a Southerner. Says none of his people ever did work, and that", "\"But women are beautiful,\" the boy stammered.\n\n\"Oh, ho!\" Hancock broke in, his black eyes gleaming wickedly. \"So, Leo,\nyou identify woman with beauty?\"", "\"The half-sex,\" Hancock gibed. \"As if the hand of God had been\nwithdrawn midway in the making, leaving her but a half-soul, a groping\nsoul at best.\"", "often startling in their thoroughness and correctness. But Dick, his\nshoulder toward her, laughing over some quip of Hancock, was just\nturning his laughter-crinkled eyes toward her as he started to", "\"You've met Aaron Hancock here. He was one of the philosophers, and to\nthis day he swaggers that he owed Dick a bigger bill that never was", "\"But Hancock's objection is solid,\" Martinez ventured. \"It would be a\nmean and profitless world without mystery. Dick sees no mystery.\"", "Hagan, reading the same while they lay in the grass by some water-tank,\nbranded forever the mind of Young Dick with the fact that honor beyond", "\"And I am to conclude,\" Hancock broke in, \"that a Hottentot is as good\nas a white man?\"", "\"He made a heavenly image of her,\" Hancock kept on. \"He idealized her\ngood qualities, and put her so far away that her bad qualities couldn't", "\"Looks good to me,\" Hancock announced, as he stood on the floor before\nthem and looked up at them.", "\"It is a complicated free love that you stand for,\" Hancock criticised.\n\"True, and for the reason that man, living in society, is a most\ncomplicated animal.\"", "\"Let us bring the argument right home,\" Hancock said. \"We'll suppose\nyou're in love with Mrs. Forrest, and Mrs. Forrest is in love with you,\nand you run away together in the big limousine--\"", "The combat ebbed away from Leo, and Dar Hyal and Hancock beset Dick.\n\n\"What do you mean by 'playing the game'?\" Dar Hyal asked.", "confronted him. He knew her trick of copying the pose and lines from a\nphotograph and filling in from memory. The particular photograph she\nwas using had been a fortunate snapshop of him on horseback. The", "few others ever get under the surface of him. He's a real philosopher,\nand he has the control of a stoic or an Englishman, and he can play-act\nto fool the world.\"", "Hancock, Dick's arm guiding him, came down the room to confront Paula\nand her sisters standing in a row on three chairs in the middle of the", "\"But here, with us, you two pound your brass tacks, Terrence does a\nGreek dance of epicurean anarchism, Hancock waves the glittering veils" ], [ "longer wringing her hands, but holding them so tightly clasped that the\nfinger-tips and nails showed white. To the rear, at Paula's dressing", "asked herself. And something was wrong with Paula now. She was worried,\ndisturbed, and not in the way to be expected from the announcement of", "Paula yielded and fought at the same time.\n\n\"I love my husband--never forget that,\" she would warn Graham, and\nwithin the minute be in his arms.", "His examination was quick. Paula breathed, although she was\nunconscious. From front to back, on the left side, the bullet had torn", "severely about her by her own waist-pressing arm. Lute, cornered behind\nthe piano, attempted to run but was driven back by the menace of", "himself. But how long could that continue? Not long, he was certain.\nPaula was not sufficiently the actress. And were she a master at", "\"Paula is a remarkable woman,\" Mrs. Tully said proudly, her eyes\nfluttering between the second hand of the watch and the unbroken", "and spur and win to a bite of Paula's leg or the Fawn's sleek flank,\nand with every defeat the pink flushed and faded in the whites of her", "After having learned the wide scope of her interests and talents,\nGraham was nevertheless surprised one day at finding Paula all by\nherself in a corner of a window-seat, completely absorbed in her work\non a piece of fine embroidery.", "\"But he didn't,\" Dick answered placidly. \"That's Paula's luck. She's\ntough to kill. Why, I've had her under shell-fire where she was", "three times, solidly, with careful, delicate hand on the bitter bit,\nPaula Forrest dealt him double spurs in the ribs, till he stood,", "\"Paula is a woman who finds herself very good company,\" Ernestine\nexplained, \"and she often goes in for periods of aloneness, when Dick\nis the only person who sees her.\"", "made up. Paula was at the piano. As he approached he caught the quick\nexpression of pleasure in her eyes at sight of him, which as quickly\nvanished. She made a slight movement as if to rise, which did not", "lurked the woman. Paula Forrest was splendidly, deliciously woman, all\nwoman, unusually woman. From the blow between the eyes of his first", "\"Ah, now you are pounding your favorite brass tack,\" Paula smiled. \"And\nDar Hyal, with a few arm-wavings and word-whirrings, will show that all", "That Paula sometimes went for long solitary rides, Graham knew, and,\nonce, he caught her dismounting from the Fawn at the hitching rails.", "\"Paula had always been passionately fond of music, painting, drawing.\nAs a little girl she could be traced around the house and grounds by", "Her hand in his, swinging his, hopping and skipping and all a-chatter\nin simulation of a little girl with a grown-up, Paula went on with", "Paula--herself past one of her white nights, she said, although no sign\nof it showed on her fresh skin and color. Graham had to struggle to", "The latter swiftly adjusted the halter with a turn of chain between the\njaws. But Paula, still astride, leaned forward, imperiously took the" ], [ "It was not as if Graham had kissed her, he pondered. It was Paula who\nhad kissed Graham. That was love, and passion. He had seen it, and as", "If Dick had had any reason to doubt his suspicion of the state of\nPaula's heart, that reason vanished with the return of Graham. He need", "And while Dick talked, building the fabric of the lie so that even\nGraham should be fooled, to himself he was understanding how well Paula", "\"This, Paula. I lose. Graham is the winner. Don't you see. Here am I,\neven with him, even and no more, while my advantage over him is our", "When Graham had finished, Paula thanked him with her eyes, closed them,\nand lay still for a space.", "\"Graham?--Graham?\" Paula queried aloud of her memory. \"Do I know him?\"", "That Paula sometimes went for long solitary rides, Graham knew, and,\nonce, he caught her dismounting from the Fawn at the hitching rails.", "Paula feigned a cheerful interest while the exposition went on. She did\nnot appear bored, but to Graham's sympathetic eyes she seemed inwardly", "\"He has conceived a grand passion for Paula,\" Ernestine told Graham as\nthey passed out from the dining room.\n\nGraham raised his eyebrows.", "Paula's encouragement to Graham to stay on--mere stereotyped,\nuninterested phrases--was music to Dick. His heart leapt. After all,", "Paula yielded and fought at the same time.\n\n\"I love my husband--never forget that,\" she would warn Graham, and\nwithin the minute be in his arms.", "Not until dinner did Graham see Paula again, and he found her the very\nusual Paula. Not even his eye, keen with knowledge, could detect any", "Once down the length of the room, the two were in full accord. Paula,\nwith the sympathy Graham recognized that made her the exceptional", "Paula was disturbed. What had happened? Why had Dick lied? He had known\nof Jeremy's death for two days. And she had never known anybody's death", "More, much more, Graham learned about Paula in various chats with her\naunt. Of Philip Desten, Paula's father, Mrs. Tully could never say", "Receiver to ear, he turned to look at Paula. Graham, bending over her\nbut not touching her, met his eyes.\n\n\"Forrest,\" he began, \"if you have done--\"", "From the tail of his eye he saw Graham rush into the room and on to\nPaula.", "Nor did Graham, nor even Paula, imagine that Dick--the keen one, the\ndeep one, who could see and sense things yet to occur and out of", "Paula--herself past one of her white nights, she said, although no sign\nof it showed on her fresh skin and color. Graham had to struggle to", "Dick and Graham stood apart from Paula while Doctor Robinson made his\nexamination. When he arose with an air of finality, Dick looked his\nquestion. Robinson shook his head." ], [ "themselves must it be settled. Some one would be hurt. But life was\nhurt. Success in living was the minimizing of pain. Dick believed that", "\"Oh, yes, there was more. But I've given you the main of it. You see\nDick's code there. And he lives his code. He accords latitude to the", "\"There is one little thing I almost forgot to tell you,\" she said, very\nsoftly, very slowly, very clearly. \"I do love you. I have never loved", "\"He and Aaron quarrel tremendously--that is, on philosophical matters.\nAnd now--\" Paula sighed and erased the sigh with her smile--\"and now,", "\"'Fer itself, fer itself,\n Fer itself, fer itself,\n Every soul got ter confess\n Fer itself.'\n\n\"And I want you to tell me again, fer yourself, fer yourself, what you\njust told me.\"", "directly personal affairs. And now, if you want to hear about the last\nthree years, I'll spin the yarn for you.\"", "\"Look here, Lute,\" Forrest began sternly. \"Just because I am a decrepit\nold man, and just because you are eighteen, just eighteen, and happen", "His victim was now at the edge of the grain. He pulled trigger. The\ncreature fell over, lay still a moment, then ran in quick awkward", "reached until they had first lain on the ground in nausea and\nexhaustion and with streaming eyes wept their rage and defiance at each\nother. After that, they became chums and between them ruled the", "for there wasn't any. It was the noise. Also, it was the excitement.\nShe was too busy living. And when it was almost all over, I actually\nsaw her asleep for the first time in my life.\"", "\"She had the grit, she had the grit,\" he muttered to himself with\nquivering lips. \"Poor kid. She couldn't decide between the two, and so\nshe solved it this way.\"", "A small head, the color of the dry soil of its home, peeped from a\nhole. Dick waited long minutes, until, assured that no danger lurked,", "\"I had something else in view,\" he told her. \"You know the mountain\npasture above Sycamore Creek. Three yearlings have been killed there in\nthe last ten days.\"\n\n\"Mountain lions!\" Paula cried.", "But Young Dick was no cool-head. His blood was hot. He had passion, and\nfire, and male pride. Ready to cry from twenty hours in the saddle, he", "He never moved after he struck. The seventy-foot fall broke his neck\nand crushed his skull. And right there Young Dick learned death--not\nthe ordered, decent death of civilization, wherein doctors and nurses", "\"No, no,\" she cried in sudden panic. \"You must go away.\" Again her\nvoice trailed off, as she said, \"But I can't let you go.\"\n\n * * * * *", "She had always depended upon him as the doer. Graham had called the\nsituation a triangle. Well, Dick could solve it. He could solve\nanything. Then why didn't he?", "At the end of three years, nearly sixteen, hard of body, weighing a\nhundred and thirty pounds, he judged it time to go home and open the", "you. Don't you see? Your actions decide against me. You have decided,\nthough you may not know it. Your very flesh has decided. You can bear\nhis arms. The thought of mine you cannot bear.\"", "THE END" ], [ "She was proud of him--a goodly, eye-filling figure of a man to any\nwoman; but she no longer felt sorry for him. They were right. It was a", "In the midst of it, Forrest sat up, protesting. Also, he was guilty of\na significant and privy wink to Lute.\n\n\"The hero!\" he cried. \"Forget him not. Crown him with flowers.\"", "\"She had the grit, she had the grit,\" he muttered to himself with\nquivering lips. \"Poor kid. She couldn't decide between the two, and so\nshe solved it this way.\"", "\"There is one little thing I almost forgot to tell you,\" she said, very\nsoftly, very slowly, very clearly. \"I do love you. I have never loved", "\"I've been watching him,\" Forrest concluded. \"He was a good man at\nfirst, but he's slipped a cog recently. Sure, send him down the hill.", "And she slipped away, leaving Graham to his fate. He watched her,\nwatched the perfect knee-lift of her draperies as she crossed to Mrs.\nMason and set about arranging bridge quartets, while dimly he could\nhear Terrence beginning:", "Here's the report on him: willing, eager to please, not bright, not\nstrong, an indifferent workman at best. Yet you have to go down the\nhill, and I am very, very sorry.'", "At the end of three years, nearly sixteen, hard of body, weighing a\nhundred and thirty pounds, he judged it time to go home and open the", "themselves must it be settled. Some one would be hurt. But life was\nhurt. Success in living was the minimizing of pain. Dick believed that", "She had always depended upon him as the doer. Graham had called the\nsituation a triangle. Well, Dick could solve it. He could solve\nanything. Then why didn't he?", "His victim was now at the edge of the grain. He pulled trigger. The\ncreature fell over, lay still a moment, then ran in quick awkward", "At first, and for the five days that he lingered, the young violinist\nmonopolized nearly her entire time of visibility. Often Graham strayed", "It was a real world, he pondered as he rode slowly along; and Paula,\nand Dick, and he were real persons in it, were themselves conscious", "\"This is the last year of her,\" Dick announced. \"She's indomitable.\nI've worked two years on her without the slightest improvement. She", "And Graham, gazing at her face in profile, at her crown of gold-brown\nhair, at her singing throat, felt the old ache at the heart, the hunger", "stallion. When she started forward, he could not fail to see the\ninimitable way she carried the cling and weight of her draperies with\nher knees--round knees, he knew, that he had seen press desperately", "\"It's this way,\" he said. \"I am not a fool. I know what I want, and I\nwant what I want. I am alone in the world, outside of good friends like", "But she was not prepared for what came next. He abruptly drew his chair\nclose, till his knees touched hers, and, leaning forward, quickly but\ngently prisoned her hands in his resting on her knees.", "He marveled at the proteanness of her, at visions of those nimble\nfingers guiding and checking The Fop, swimming and paddling in", "He lighted a cigarette and waited.\n\n\"But you have not told me what is in your heart, all of it,\" he chided\nfinally.\n\n\"I do love you,\" she repeated." ], [ "Dick Forrest was the son of his father. Lucky Richard, a man of\nboundless energy and enterprise, though twice married and twice\nwidowed, had not been blessed with children. His third marriage", "Dick Forrest's name began to appear in the newspapers with appalling\nfrequency. He leaped to instant fame by being the first man in", "For Dick Forrest was the center of a system which he himself had built\nand of which he was secretly very proud. Important letters and", "\"I am Dick Forrest, son of Richard the Lucky, Son of Jonathan the\nPuritan, son of John who was a sea-rover, as his father Albert before", "\"If I thought this was one of your tricks, Dick Forrest,\" she began.\n\nBut Dick, paying no attention, acting preternaturally calmly, was\ndirecting the men loudly enough for her to hear.", "Dick Forrest had been right when he told his guardians that his mind\nwas acid and would bite into the books. Never was there such an", "And Dick Forrest had married the daughter of Philip Desten! It was not\na case of wishing Dick luck. It was a case of garrulous insistence on", "Five feet, ten inches in height, weighing a clean-muscled one hundred\nand eighty pounds, Dick Forrest was anything but insignificant for a", "Mr. Dick Forrest, I'm divided between blowing up your dairy, or\nhamstringing Mountain Lad. Maybe I'll do both. In the meantime I am\ngoing out to kick that mare you ride.\"", "Once again Dick Forrest delayed ere he gained the Big House. The man he\nstopped he addressed as Mendenhall, who was his horse-manager as well", "But this was only one of Dick Forrest's similar dissipations. He stole\nfrom the Federal Government, at a prodigal increase of salary, its star", "Dick Forrest proved himself no prodigy at the university, save that he\ncut more lectures the first year than any other student. The reason for", "Graham learned that Dick Forrest never appeared for breakfast, that he\nworked in bed from terribly wee small hours, had coffee at six, and\nonly on unusual occasions appeared to his guests before the", "\"'Never mind all that,' Dick stopped him. 'It's not essential.' 'But it\nis, Mr. Forrest, if I am to clear myself,' Smith insisted.", "Dick Forrest, turning off lights as he went, penetrated the library,\nand, while selecting half a dozen reference volumes on mechanics and", "Dick Forrest meditated.\n\n\"What names have we already?\" he asked.", "Dick Forrest was guilty of many similar follies in those first months\nof his majority. But the most unthinkable folly of all was, after he", "One thing Graham noted as the dinner proceeded. The sages called Dick\nForrest by his first name; but they always addressed Paula as \"Mrs.", "hours of sleep he took up, without effort, the interrupted tale of his\ndays. He knew himself to be Dick Forrest, the master of broad acres,\nwho had fallen asleep hours before after drowsily putting a match", "even severe with Dick. They warned him of the extreme value of his\ntreasure, of the sacred duty such wedlock imposed on him, of all the\ntraditions and virtues of the Desten and Forrest blood, until Dick" ], [ "asked herself. And something was wrong with Paula now. She was worried,\ndisturbed, and not in the way to be expected from the announcement of", "\"You understand the point I am making,\" Paula took up. \"Here are the\npair of you. Neither will see forty again. You're a pair of hard-bitten", "Paula--herself past one of her white nights, she said, although no sign\nof it showed on her fresh skin and color. Graham had to struggle to", "Once down the length of the room, the two were in full accord. Paula,\nwith the sympathy Graham recognized that made her the exceptional", "generation, and who but Paula, and in full measure, received that same\ninheritance in her generation. Though Lute and Ernestine are her\nhalf-sisters, no one would imagine one drop of the common blood was", "longer wringing her hands, but holding them so tightly clasped that the\nfinger-tips and nails showed white. To the rear, at Paula's dressing", "His examination was quick. Paula breathed, although she was\nunconscious. From front to back, on the left side, the bullet had torn", "\"Paula is a remarkable woman,\" Mrs. Tully said proudly, her eyes\nfluttering between the second hand of the watch and the unbroken", "\"But he didn't,\" Dick answered placidly. \"That's Paula's luck. She's\ntough to kill. Why, I've had her under shell-fire where she was", "It was not as if Graham had kissed her, he pondered. It was Paula who\nhad kissed Graham. That was love, and passion. He had seen it, and as", "Back to Paula, Graham stepped aside as Dick, on his knees, bent over\nher. His examination was brief. He looked up at Graham with a shake of\nthe head and said:\n\n\"It's too ticklish to fool with.\"", "Paula seemed everywhere, bubbling over with more outrageous spirits\nthan any of them. From this group or that, from one corner or another,\nher laugh rang out. And her laugh fascinated Graham. There was a", "quickened them to love or hate. Therein Paula differs, being a woman, I\nsuppose, and not enjoying man's prerogative of tilting at windmills. I", "and spur and win to a bite of Paula's leg or the Fawn's sleek flank,\nand with every defeat the pink flushed and faded in the whites of her", "That Paula sometimes went for long solitary rides, Graham knew, and,\nonce, he caught her dismounting from the Fawn at the hitching rails.", "Paula yielded and fought at the same time.\n\n\"I love my husband--never forget that,\" she would warn Graham, and\nwithin the minute be in his arms.", "Paula's hands, open or closed, at the instant of uttering hoy, should\nmatch Dick's. Thus, the first time, she did match him, both his and her", "blood, they saw till they were wearied, and new-born kids and lambs,\nand rotund does and ewes. From center to center, Paula kept the", "\"Paula is a woman who finds herself very good company,\" Ernestine\nexplained, \"and she often goes in for periods of aloneness, when Dick\nis the only person who sees her.\"", "Paula on the Fawn, and Dick on the Outlaw, rode out from the Big House\nas nearly side by side as the Outlaw's wicked perversity permitted. The" ], [ "\"And the one with a beard--Aaron Hancock. Like Terrence, he won't work.\nAaron's a Southerner. Says none of his people ever did work, and that", "often startling in their thoroughness and correctness. But Dick, his\nshoulder toward her, laughing over some quip of Hancock, was just\nturning his laughter-crinkled eyes toward her as he started to", "\"So at last you believe in God?\" the man, addressed Aaron, genially\nsneered back. He was a slender, long-faced olive-brunette, with\nbrilliant black eyes and the blackest of long black beards.", "\"You've met Aaron Hancock here. He was one of the philosophers, and to\nthis day he swaggers that he owed Dick a bigger bill that never was", "cheek-bones were more pronounced. Both noses were large-nostriled and\nsensitive. And both mouths, while generously proportioned, carried the", "\"But women are beautiful,\" the boy stammered.\n\n\"Oh, ho!\" Hancock broke in, his black eyes gleaming wickedly. \"So, Leo,\nyou identify woman with beauty?\"", "forehead, was light brown to chestnut. Under the forehead, the cheeks\nshowed high-boned, with underneath the slight hollows that necessarily\naccompany such formation. The jaws were strong without massiveness, the", "\"And it is good,\" Dick assured him. \"As representing the ranch in its\nfairest aspects, they are to administer the kiss of welcome. Make your\nchoice, Aaron.\"", "\"Looks good to me,\" Hancock announced, as he stood on the floor before\nthem and looked up at them.", "Before Blake returned, Dick found time to study his face in the glass.\nPrinted there was the expression that had startled his company the", "\"Yes, my face,\" he nodded. \"I was looking at it while I shaved. The\nexpression won't come off.\"", "droop of lids. His nose hinted that it was a shade straighter as well\nas larger than Dick's, and his lips were a shade thicker, a shade", "\"It's just supposing, Leo,\" Hancock urged.\n\nThe boy's embarrassment was pitiful, and his voice quivered, but he\nturned bravely to Dick and said:", "\"The half-sex,\" Hancock gibed. \"As if the hand of God had been\nwithdrawn midway in the making, leaving her but a half-soul, a groping\nsoul at best.\"", "the firmness to which the lips could set on due provocation. The skin\nwas smooth and well-tanned, although, midway between eyebrows and hair,\nthe tan of forehead faded in advertisement of the rim of the Baden", "Laughter lurked in the mouth corners and eye-corners, and there were\ncheek lines about the mouth that would seem to have been formed by", "of shoulders. As he drew near to her, she centered her gaze on the long\ngray eyes whose hint of drooping lids hinted of boyish sullenness. She", "silk had it not been burned almost to sandiness by the sun. The cheeks\nof both were high-boned, although the hollows under Forrest's", "With a start he looked more closely. Was that expression of the eyes,\nof the whole face, his? He glanced at the photograph. It was not there.", "Aaron, with a quick whirl to catch some possible lurking disaster at\nhis back, demanded, \"They are all three to kiss me?\"\n\n\"No, make your choice which is to give you the kiss.\"" ], [ "\"So at last you believe in God?\" the man, addressed Aaron, genially\nsneered back. He was a slender, long-faced olive-brunette, with\nbrilliant black eyes and the blackest of long black beards.", "\"Now, Aaron. He's not in form. You start it. You know how. Begin: 'As\nBergson so well has said, with the utmost refinement of philosophic\nspeech allied with the most comprehensive intellectual outlook\nthat....'\"", "\"He and Aaron quarrel tremendously--that is, on philosophical matters.\nAnd now--\" Paula sighed and erased the sigh with her smile--\"and now,", "\"A lyrical metaphysician,\" Terrence defined instantly. \"_That_ you must\nacknowledge, Aaron.\"\n\n\"And Swinburne?\" Aaron demanded, with a significance that tokened\nformer arguments.", "\"You've met Aaron Hancock here. He was one of the philosophers, and to\nthis day he swaggers that he owed Dick a bigger bill that never was", "\"Your Bergson is a charlatan philosopher, Aaron,\" Dick concluded. \"He\nhas the same old medicine-man's bag of metaphysical tricks, all decked\nout and frilled with the latest ascertained facts of science.\"", "\"You heard Aaron complaining at table, and Terrence explaining, his\nsureness. Nothing terrible has ever happened to him in his life. He has\nnever been overthrown. His sureness has always been vindicated. As", "\"Yes, and what of it?\" Terrence was demanding, as they came up side by\nside. \"I defy you, Aaron, I defy you, to get one thought out of Bergson", "\"Aaron is a philosopher. He cannot carry peanuts. Ernestine is a\nblonde. She cannot carry peanuts. Evan is a sportsman. He drops", "\"Wait a wee, Aaron. 'Tis a thought I have glimmered. Let me catch it\nbefore it flutters away into the azure. Dick's caught Bergson with the", "few others ever get under the surface of him. He's a real philosopher,\nand he has the control of a stoic or an Englishman, and he can play-act\nto fool the world.\"", "\"And that England had to win to its sensuous delight in rhythm through\nMilton and Shelley--\"\n\n\"Who was a metaphysician.\" Aaron broke in.", "\"Dick, boy, it's Laura Marholm Aaron's been just reading. He can spout\nher chapter and verse.\"", "\"And the one with a beard--Aaron Hancock. Like Terrence, he won't work.\nAaron's a Southerner. Says none of his people ever did work, and that", "Aaron, with a quick whirl to catch some possible lurking disaster at\nhis back, demanded, \"They are all three to kiss me?\"\n\n\"No, make your choice which is to give you the kiss.\"", "\"But wait,\" Paula urged. \"It's his conclusions and methods and\nprocesses. Also, there he disagrees with you, Aaron, fundamentally. He\nquoted Pater's 'that all art aspires toward music'--\"", "Aaron Hancock enunciating Bergsonian dogmas, the frayed coat-cuffs of\nTerrence McFane articulating thanks to God for the two-legged", "like that, was suppressed here in California, and why he narrowly\nescaped being deported; and that's why he's up here just now, devoting\nhimself to formulating his philosophy.", "\"Now the South speaks, Aaron,\" Dick retorted with a smile. \"Prejudice,\nnot of birth, but of early environment, is too strong for all your", "intellectually. He is an evenly forged chain. He has no massive links,\nno weak links.\"" ], [ "painter and sculptor respectively, who had arrived on an early train.\nGraham, on Selim, made the fourth, and was slightly edged toward the", "true had been the sculptor, that the illusion was of life. No cherubs\nthese, but live warm human babies.", "Ah Ha served cocktails around, and was kept busy, for Hancock and\nFroelig followed along. Terrence impartially drank stiff highballs of", "In the midst of it, Forrest sat up, protesting. Also, he was guilty of\na significant and privy wink to Lute.\n\n\"The hero!\" he cried. \"Forget him not. Crown him with flowers.\"", "confronted him. He knew her trick of copying the pose and lines from a\nphotograph and filling in from memory. The particular photograph she\nwas using had been a fortunate snapshop of him on horseback. The", "well. The Outlaw would bear the blame. And he would have an\neye-witness, either Froelig or Martinez. But not both of them. One pair", "The same afternoon, while Dick was out and away with Froelig and\nMartinez and Graham, Paula stole a pilgrimage to Dick's quarters. Out", "\"'Shall he tread down the altars of their night,'\" Terrence completed\nthe passage. \"The man who wrote that is a great man. He is Leo's\nfriend, and Dick's friend, and proud am I that he is my friend.\"", "Martinez was more emotional than the sculptor and would therefore make\na more satisfactory witness, Dick decided. Him would he maneuver to", "already drawn by Oh My. A dozen minutes afterward, shaved as well, he\nwas back in bed, reading his frog book while Oh My, punctual to the\nminute, massaged his legs.", "Dick's boisterousness waxed apace. His was the most care-free seeming\nin the world as he measured Froelig and Martinez against the door to", "Oh My, immobile-faced, a statue, stood in the far doorway awaiting\ncommands. Oh Dear, grief-stricken, stood at her mistress's head, no", "delicate as shell. Over these basins rollicked and frolicked life-sized\nbabies wrought from pink marble by no mean hand. Some peered over the", "by an ice-machine and a dynamo. On the floor, in greasy overalls,\nsquatted a greasy little man to whom his employer nodded.", "the books, and all the rest. He's an artist, too, and pretty well\nall-around. And he's good fun. Have you noticed his smile? It's", "A sudden, joyous nicker from without put the match between the pages of\nthe frog book, and, while Oh My proceeded partly to dress his master in", "\"Behold,\" he said, \"the one-man and no-horse farm where the farmer sits\non the porch. Please imagine the porch.\"", "few others ever get under the surface of him. He's a real philosopher,\nand he has the control of a stoic or an Englishman, and he can play-act\nto fool the world.\"", "himself that all this was mental on her part--purely delighted\nappreciation of the other's artistry. Nevertheless, being man, it hurt,\nand continued to hurt, until he could no longer suffer himself to", "\"Little Leo--the boy poet you remember last night,\" she rattled on in a\npatent attempt to escape from her confusion. \"He's madly in love with" ], [ "Mexican scene by Xavier Martinez, of a peon, with a crooked-stick plow\nand two bullocks, turning a melancholy furrow across the foreground of", "Martinez was more emotional than the sculptor and would therefore make\na more satisfactory witness, Dick decided. Him would he maneuver to", "\"You met him once two years ago, in Santiago, at the Café Venus. He had\ndinner with us.\"\n\n\"Oh, one of those naval officers?\"\n\nDick shook his head.", "\"Well, Martinez, old man,\" he addressed the empty air, \"this afternoon\nyou'll be defrauded out of as fine a histrionic stunt as you will never\nknow you've missed.\"", "\"But Hancock's objection is solid,\" Martinez ventured. \"It would be a\nmean and profitless world without mystery. Dick sees no mystery.\"", "Also, it would excite Martinez's horse, and, therefore, excite Martinez\nso that he would not see occurrences too clearly.", "of painters, proteges of Paula, arrived the same day. But they were\nlittle in evidence, spending long days in the hills with a trap and\ndriver and smoking long pipes in the stag room.", "the books, and all the rest. He's an artist, too, and pretty well\nall-around. And he's good fun. Have you noticed his smile? It's", "and face. Not content, he returned to the easel and verified it. Paula\nknew. Paula knew that he knew. She had learned it from him, stolen it", "As a matter of course, he looked to her easel with the expectation of\nfinding no new work, but was disappointed; for a portrait of himself", "confronted him. He knew her trick of copying the pose and lines from a\nphotograph and filling in from memory. The particular photograph she\nwas using had been a fortunate snapshop of him on horseback. The", "himself that all this was mental on her part--purely delighted\nappreciation of the other's artistry. Nevertheless, being man, it hurt,\nand continued to hurt, until he could no longer suffer himself to", "\"But you don't know him,\" Dicked argued. \"And you don't value my\ncigars. I tell you he is a swimmer. He's drowned kanakas, and you know\nwhat that means.\"", "The same afternoon, while Dick was out and away with Froelig and\nMartinez and Graham, Paula stole a pilgrimage to Dick's quarters. Out", "The girl at the piano discovered him, winked, and played on. Not for\nanother minute did the dancers spy him. They gave startled cries,", "painter and sculptor respectively, who had arrived on an early train.\nGraham, on Selim, made the fourth, and was slightly edged toward the", "\"The civilian. Don't you remember that big blond fellow--you talked\nmusic with him for half an hour while Captain Joyce talked our heads\noff to prove that the United States should clean Mexico up and out with\nthe mailed fist.\"", "He shrugged his shoulders. \"It has been coming on for some time,\" he\nevaded, remembering that the first hint of it had been given him by\nPaula's portrait of him. \"You've noticed it?\" he inquired casually.", "State Veterinary; a Mr. Deacon, a portrait painter of evident note on\nthe Coast; and a Captain Lester, then captain of a Pacific Mail liner,", "Four horses, bunched, crossed his field of vision. Paula, teasing the\npair of them, was between Martinez and Froelig, old friends of Dick, a" ], [ "asked herself. And something was wrong with Paula now. She was worried,\ndisturbed, and not in the way to be expected from the announcement of", "\"But he didn't,\" Dick answered placidly. \"That's Paula's luck. She's\ntough to kill. Why, I've had her under shell-fire where she was", "His examination was quick. Paula breathed, although she was\nunconscious. From front to back, on the left side, the bullet had torn", "himself. But how long could that continue? Not long, he was certain.\nPaula was not sufficiently the actress. And were she a master at", "\"She had the grit, she had the grit,\" he muttered to himself with\nquivering lips. \"Poor kid. She couldn't decide between the two, and so\nshe solved it this way.\"", "Paula yielded and fought at the same time.\n\n\"I love my husband--never forget that,\" she would warn Graham, and\nwithin the minute be in his arms.", "longer wringing her hands, but holding them so tightly clasped that the\nfinger-tips and nails showed white. To the rear, at Paula's dressing", "It was not as if Graham had kissed her, he pondered. It was Paula who\nhad kissed Graham. That was love, and passion. He had seen it, and as", "Paula was disturbed. What had happened? Why had Dick lied? He had known\nof Jeremy's death for two days. And she had never known anybody's death", "\"Paula is a woman who finds herself very good company,\" Ernestine\nexplained, \"and she often goes in for periods of aloneness, when Dick\nis the only person who sees her.\"", "Nor was Dick ever to know that Paula had come so near to him with her\nneed and gone away. Again, not aimlessly, but to run through for the", "She played on and sang on interminably, until at last he fell asleep.\nWhen he awoke he was alone in the room. Paula and the sages had gone", "\"No good,\" she flung over her shoulder, more loudly, still more\nharshly, as she continued down the room and out of sight on Paula's\nsleeping porch.", "Not until eleven minutes had elapsed did the smiling face of Paula\nbreak the surface. Simulating exhaustion, she slowly crawled out and", "Paula sighed, but so poor an actress was she that in the sigh, intended\nfor him as a customary reluctant yielding of his company, he could not\nfail to detect the relief at his decision.", "\"Oh!\" she cried. \"I never meant it that way. You will find we are very\nfrank here. Everybody knows Paula's age. She tells it herself. I'm", "His next start was determined, and Paula, poised for her dive, could\nnot send him scuttling back. He raced upward to gain the thirty-foot", "made up. Paula was at the piano. As he approached he caught the quick\nexpression of pleasure in her eyes at sight of him, which as quickly\nvanished. She made a slight movement as if to rise, which did not", "That Paula sometimes went for long solitary rides, Graham knew, and,\nonce, he caught her dismounting from the Fawn at the hitching rails.", "As he put up his lips, Paula bent her head forward, and, nicely\ndirected, from the indented crown of her hat canted a glassful of water\ninto his face." ], [ "\"And you were a royal lover.\"\n\n\"I loved you first, Paula, and, though you did respond, it was not in\nthe same way. I never took you off your feet. It seems pretty clear\nthat Evan has.\"", "It was not as if Graham had kissed her, he pondered. It was Paula who\nhad kissed Graham. That was love, and passion. He had seen it, and as", "Paula yielded and fought at the same time.\n\n\"I love my husband--never forget that,\" she would warn Graham, and\nwithin the minute be in his arms.", "much that he wanted to know of Paula), had gone after only a several\ndays' stay. There was vague talk of her return for a longer stay; but,", "the arms and a second kiss long on the lips. Nor this time did Paula\nflame in anger. Instead, she commanded:", "\"He has conceived a grand passion for Paula,\" Ernestine told Graham as\nthey passed out from the dining room.\n\nGraham raised his eyebrows.", "Scarcely had he hung up, when the bell rang again. This time it was\nPaula.", "\"This, Paula. I lose. Graham is the winner. Don't you see. Here am I,\neven with him, even and no more, while my advantage over him is our", "her is a low type woman. No high type man beats the woman he loves. No\nhigh type woman,\" and all unconsciously Leo's eyes roved to Paula,\n\"could love a man who beats her.\"", "This had been Dick's one great gift to Paula. It was love-lavish as\nonly a king of fortune could make it. He had given her a free hand with", "himself. But how long could that continue? Not long, he was certain.\nPaula was not sufficiently the actress. And were she a master at", "Paula was disturbed. What had happened? Why had Dick lied? He had known\nof Jeremy's death for two days. And she had never known anybody's death", "The same afternoon, while Dick was out and away with Froelig and\nMartinez and Graham, Paula stole a pilgrimage to Dick's quarters. Out", "Paula seemed everywhere, bubbling over with more outrageous spirits\nthan any of them. From this group or that, from one corner or another,\nher laugh rang out. And her laugh fascinated Graham. There was a", "save Paula had strayed off. He could hear their distant laughter from\nacross the patio. But Paula! He surprised the look on her face, in her", "The bronze gong rang out its second call, and Paula, one arm around\nDick, the other around Rita, led the way into the house, while,", "\"Paula is a remarkable woman,\" Mrs. Tully said proudly, her eyes\nfluttering between the second hand of the watch and the unbroken", "\"Paula, of course,\" said Lottie.", "\"But he didn't,\" Dick answered placidly. \"That's Paula's luck. She's\ntough to kill. Why, I've had her under shell-fire where she was", "\"Graham?--Graham?\" Paula queried aloud of her memory. \"Do I know him?\"" ] ]

[ "What is Forrest's profession?", "What play does his song recall?", "What is his wife's name?", "What color is Paula's bathing suit?", "What medical disorder afflicts Paula?", "Who does Aaron Hancock resemble?", "Who does Haakan Frolich make an appearance as?", "What is Froelig's profession?", "How does the novel end?", "Who is the rancher?", "What is the London play called?", "Who is the wife?", "Where does Paula ride the stallion?", "Whose Diary is read?", "What does Stasz Identify about the triangle?", "Who is Aaron Hancock?", "Who does Hancock resemble?", "What doe Paula wound herself with?", "What does graham believe about Paula's death?", "What is the main conflict of the story?", "Who is the protagonist?", "What is Dick Forrest's profession?", "What physical disorders does Paula and Charmian have in common?", "What distinct facial figure does Aaron Hancock have?", "Which philosopher is Aaron thought to resemble?", "Who is \"the sculptor Froelig\"?", "What character does painter Xavier Martinez appear as?", "How does Paula kill herself?", "What is the name of Paula's second lover?" ]

[ [ "He is a rancher.", "a rancher" ], [ "The acorn planters.", "The Acorn Planters" ], [ "Paula.", "Paula." ], [ "White.", "White" ], [ "Insomnia.", "insomnia" ], [ "Frank Strawn- Hamilton.", "bearded hobo philosopher frank strawn-hamilton" ], [ "Froelig.", "the sculptor froelig " ], [ "Sculptor", "sculptor" ], [ "Paula wounds herself with a rifle.", "She shoots herself with a rifle." ], [ "DIck Forrest", "Dick Forrest" ], [ "The Acorn Planters", "the acorn planters" ], [ "Paula", "Paula" ], [ "Into a swimming take", "in to a swimming tank" ], [ "Charmian's", "Charmians" ], [ "Evan", "third vertex Evan Graham" ], [ "A hobo philosopher", "One of the men that character Evan Graham is based upon" ], [ "Frank Strawn ", "Frank Strawn-Hamilton" ], [ "A rifle", "rifle" ], [ "It is a Suicide", "it was a suicide" ], [ "The love triangle ", "A love triangle" ], [ "Dick Forrest", "Dick Forrest" ], [ "A Rancher", "He's a rancher." ], [ "Insomnia and the inability to have kids", "Insomnia and they can't have kids." ], [ "A long beard", "a long beard " ], [ "Frank Strawn-Hamilton", "Frank Strawn-Hamilton" ], [ "Haakan Frolich", "sculptor haakan frolich" ], [ "\"Xavier Martinez!\"", "Xavier Martinez." ], [ "Shooting herself with a rifle", "with a rifle " ], [ "Evan Graham", "Evan Graham" ] ]

[ [ "Mrs. Royall died seven or eight years later; and by that time Charity\nhad taken the measure of most things about her. She knew that Mrs.", "Mr. Royall made no answer. He sat and pondered with sunken head, his\nveined hands clasped about the arms of his chair. Age seemed to have", "Mr. Royall lifted his head and looked at her. His face had grown quiet\nand almost gentle, as she remembered seeing it sometimes when she was a\nlittle girl, before Mrs. Royall died.", "Mr. Royall had grown exceedingly pale. When she ended he stood up\nponderously, leaning against the desk; and for a second or two they\nlooked at each other.", "with Mr. Royall, who, in pursuance of her plan, departed one day for\nStarkfield to visit the institution she recommended. He came back the", "no sign of Mr. Royall about the house and the hours passed without his\nreappearing. Charity had gone up to her room, and sat there listlessly,", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "Mr. Royall went out early, and did not return till Verena had set the\ntable for the midday meal. When he came in he went straight to the", "Mr. Royall did not move while she spoke. His face was ash-coloured and\nhis black eyebrows quivered as though the blaze of her scorn had blinded\nhim. When she ceased he held up his hand.", "After supper she went up to her room. She heard Mr. Royall cross the\npassage, and presently the sounds below her window showed that he", "Mr. Royall rose from his seat. \"See here, Charity Royall: I had a\nshameful thought once, and you've made me pay for it. Isn't that score", "After Mrs. Royall's death there was some talk of sending her to a\nboarding-school. Miss Hatchard suggested it, and had a long conference", "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "to her of marriage till Mr. Royall had forced the word from his lips;\nthough she had not had the strength to shake off the spell that bound\nher to him she had lost all spontaneity of feeling, and seemed to", "Mr. Royall seldom spoke, but his silent presence gave her, for the first\ntime, a sense of peace and security. She knew that where he was there", "After a while Mr. Royall pushed back his chair. \"Now, then,\" he said,\n\"if you're a mind to go along----\" She did not move, and he continued:", "wrong. He had made no allusion to what had passed between Mr. Royall and\nhimself, but had simply let it appear that he had left because means of", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"" ], [ "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "Harney's eyes had dropped under the old man's gaze; but he raised them\npresently, and looking steadily at Mr. Royall, said: \"Miss Royall is not", "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "venture. And her dread of Mr. Royall's intervention gave a sharpened\njoy to the hours she spent with young Harney, and made her, at the same\ntime, shy of being too generally seen with him.", "Charity raised her eyes and met Mr. Royall's. They were still looking\nat her kindly and steadily. \"I will!\" she heard him say a moment later,", "Mr. Royall rose from his seat. \"See here, Charity Royall: I had a\nshameful thought once, and you've made me pay for it. Isn't that score", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "Mr. Royall's was full of a sonorous satisfaction. It was a long time\nsince he had had anyone of Lucius Harney's quality to talk to: Charity", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "There was another laugh, followed by a pause of curiosity, during which\nMr. Royall continued to glare at Charity. At length his twitching", "his and they stood thus, without speaking, till Mr. Royall said gravely:\n\"Charity--was you looking for me?\"", "\"Oh----\" she said in a gasp of misery; and releasing herself from\nHarney's arm she went straight up to Mr. Royall.", "Royall. Charity was instinctively aware that few things concerning her\nescaped the eyes of the silent man under whose roof she lived; and in", "Charity (in the white church at the other end of the village) to\ncommemorate Mr. Royall's disinterestedness in \"bringing her down,\" and", "VI\n\n\nThat evening after supper Charity sat alone in the kitchen and listened\nto Mr. Royall and young Harney talking in the porch." ], [ "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "its corners. \"We must have something to eat,\" Harney said; and the next\nmoment Charity found herself in a dressing-room all looking-glass and", "\"Lucky we're here after all,\" Harney laughed. He fastened the horse\nunder a half-roofless shed, and wrapping Charity in his coat ran with", "Charity saw the force of the argument; but if she acquiesced it was\nnot so much because of that as because it was Harney's wish. Since that", "At the edge of the wood, half a mile from North Dormer, Harney jumped\nfrom his bicycle, took Charity in his arms for a last kiss, and then\nwaited while she went on alone.", "At last the train rumbled in, and engulfed the waiting multitude. Harney\nswept Charity up on to the first car and they captured a bench for", "The business on which Harney had come was authentic; Charity had seen\nthe letter from a New York publisher commissioning him to make a study\nof the eighteenth century houses in the less familiar districts of New", "Harney was to leave the next morning early. He asked Charity to say\nnothing of their plans till his return, and, strangely even to herself,", "Harney had found an old bench at the back door and dragged it into the\nhouse. Charity sat on it, leaning her head against the wall in a state", "The morning hours of the next day dragged by without incident. Charity\nhad imagined that, in some way or other, she would learn whether Harney", "Harney and Charity sat down on a bench made of a board resting on two\nstarch boxes. They faced a door hanging on a broken hinge, and through", "absorbed expression she had seen in his eyes after they had kissed on\nthe stand at Nettleton. He was the new Harney again, the Harney abruptly", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "Harney jumped down and helped Charity out; and as he did so the rain\nbroke on them. It came slant-wise, on a furious gale, laying shrubs and", "Charity threw a startled glance at him. \"I presume she's waiting for Mr.\nHarney.\"", "It was on the fourth day that Charity returned for the first time to the\nlittle house. She had not seen Harney alone since they had parted at the", "workers; but the furniture had not been moved, and as Charity sat there\nshe had perpetually before her the vision she had looked in on from the\nmidnight garden. The table at which Harney had sat was the one about", "THE Lake at last--a sheet of shining metal brooded over by drooping\ntrees. Charity and Harney had secured a boat and, getting away from the", "Harney had asked her to take him to the brown house under Porcupine,\nand then around by Hamblin; and as the trip was a long one they were to", "Charity was silent. She had been so steeped in the dreamy remembrance of\nyoung Harney's visit that she had forgotten having deserted her post as\nsoon as he had left the library." ], [ "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "\"Oh----\" she said in a gasp of misery; and releasing herself from\nHarney's arm she went straight up to Mr. Royall.", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "There was another laugh, followed by a pause of curiosity, during which\nMr. Royall continued to glare at Charity. At length his twitching", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "Harney's eyes had dropped under the old man's gaze; but he raised them\npresently, and looking steadily at Mr. Royall, said: \"Miss Royall is not", "Mr. Royall rose from his seat. \"See here, Charity Royall: I had a\nshameful thought once, and you've made me pay for it. Isn't that score", "his and they stood thus, without speaking, till Mr. Royall said gravely:\n\"Charity--was you looking for me?\"", "Mr. Royall's was full of a sonorous satisfaction. It was a long time\nsince he had had anyone of Lucius Harney's quality to talk to: Charity", "venture. And her dread of Mr. Royall's intervention gave a sharpened\njoy to the hours she spent with young Harney, and made her, at the same\ntime, shy of being too generally seen with him.", "Harney jumped down and helped Charity out; and as he did so the rain\nbroke on them. It came slant-wise, on a furious gale, laying shrubs and", "VI\n\n\nThat evening after supper Charity sat alone in the kitchen and listened\nto Mr. Royall and young Harney talking in the porch.", "Lawyer Royall was waiting for Charity in the porch when she returned\nfrom this visit. He had shaved, and brushed his black coat, and looked a\nmagnificent monument of a man; at such moments she really admired him.", "The sleeping man stirred, lifted his head and opened his eyes. They\nrested vacantly for a moment on Charity and Harney, and then closed" ], [ "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "Charity threw a startled glance at him. \"I presume she's waiting for Mr.\nHarney.\"", "its corners. \"We must have something to eat,\" Harney said; and the next\nmoment Charity found herself in a dressing-room all looking-glass and", "Charity saw the force of the argument; but if she acquiesced it was\nnot so much because of that as because it was Harney's wish. Since that", "Charity thought she detected a look of constraint in Harney's eyes. She\nfancied he did not want to be alone with her; and with a sudden pang she", "Harney jumped down and helped Charity out; and as he did so the rain\nbroke on them. It came slant-wise, on a furious gale, laying shrubs and", "therefore, in the outward course of events to raise in Charity's breast\nthe hopes with which it trembled. But beneath the visible incidents\nresulting from Lucius Harney's arrival there ran an undercurrent as", "workers; but the furniture had not been moved, and as Charity sat there\nshe had perpetually before her the vision she had looked in on from the\nmidnight garden. The table at which Harney had sat was the one about", "The sleeping man stirred, lifted his head and opened his eyes. They\nrested vacantly for a moment on Charity and Harney, and then closed", "The morning hours of the next day dragged by without incident. Charity\nhad imagined that, in some way or other, she would learn whether Harney", "It was on the fourth day that Charity returned for the first time to the\nlittle house. She had not seen Harney alone since they had parted at the", "Springfield, looking \"extremely handsome\"... perhaps Mr. Miles had seen\nher there at the very moment when Charity and Harney were sitting in the", "Mr. Miles's pictures had been shown in an austere Y.M.C.A. hall,\nwith white walls and an organ; but Harney led Charity to a glittering", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "of Annabel Balch: from the moment it had been mentioned she fancied\nthat Harney's expression had altered. Annabel Balch at a garden-party at", "At last the train rumbled in, and engulfed the waiting multitude. Harney\nswept Charity up on to the first car and they captured a bench for", "Harney had found an old bench at the back door and dragged it into the\nhouse. Charity sat on it, leaning her head against the wall in a state", "\"Lucky we're here after all,\" Harney laughed. He fastened the horse\nunder a half-roofless shed, and wrapping Charity in his coat ran with", "At the edge of the wood, half a mile from North Dormer, Harney jumped\nfrom his bicycle, took Charity in his arms for a last kiss, and then\nwaited while she went on alone." ], [ "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "\"Oh----\" she said in a gasp of misery; and releasing herself from\nHarney's arm she went straight up to Mr. Royall.", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "no sign of Mr. Royall about the house and the hours passed without his\nreappearing. Charity had gone up to her room, and sat there listlessly,", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "Charity went down the steps Mr. Royall called after her: \"Where you\ngoing?\" She could easily have answered: \"To Orma's,\" or \"Down to the", "Charity raised her eyes and met Mr. Royall's. They were still looking\nat her kindly and steadily. \"I will!\" she heard him say a moment later,", "VI\n\n\nThat evening after supper Charity sat alone in the kitchen and listened\nto Mr. Royall and young Harney talking in the porch.", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "Charity threw a startled glance at him. \"I presume she's waiting for Mr.\nHarney.\"", "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "Mr. Royall rose from his seat. \"See here, Charity Royall: I had a\nshameful thought once, and you've made me pay for it. Isn't that score", "There was another laugh, followed by a pause of curiosity, during which\nMr. Royall continued to glare at Charity. At length his twitching", "venture. And her dread of Mr. Royall's intervention gave a sharpened\njoy to the hours she spent with young Harney, and made her, at the same\ntime, shy of being too generally seen with him.", "boarding at the red house in his cousin's absence, Charity had trembled\nlest Mr. Royall should refuse. There had been no question of lodging" ], [ "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "Harney was to leave the next morning early. He asked Charity to say\nnothing of their plans till his return, and, strangely even to herself,", "of Charity's class knew about before she left school. It was what had\nhappened to Ally Hawes's sister Julia, and had ended in her going to", "Ally held out the letter, looking at Charity with piercing sympathy.\nSince the scene of the torn blouse there had been a new and fearful\nadmiration in the eyes she bent on her friend.", "Charity threw a startled glance at him. \"I presume she's waiting for Mr.\nHarney.\"", "Charity thought she detected a look of constraint in Harney's eyes. She\nfancied he did not want to be alone with her; and with a sudden pang she", "step. At the sight Charity recovered her severed contact with reality.\nShe divined that Ally was coming to hear about her day: no one else", "The morning hours of the next day dragged by without incident. Charity\nhad imagined that, in some way or other, she would learn whether Harney", "After he had gone there was a long silence. Charity waited for Harney to\nspeak; but he seemed at first not to find anything to say. At length he\nbroke out irrelevantly: \"I wonder how he found out?\"", "\"Oh, Charity----\" Ally cried, springing up. For a long interval the two\ngirls faced each other across the ruined garment. Ally burst into tears.", "\"Lucky we're here after all,\" Harney laughed. He fastened the horse\nunder a half-roofless shed, and wrapping Charity in his coat ran with", "its corners. \"We must have something to eat,\" Harney said; and the next\nmoment Charity found herself in a dressing-room all looking-glass and", "Ally did not answer. She bent above the blouse, and began picking out a\nbasting thread with the point of the scissors.\n\n\"Why should I know?\" Charity repeated harshly.", "Charity again lifted her heavy lids and stared at Ally's pale pointed\nface, which moved to and fro above her moving fingers.\n\n\"Is she going to get married?\"", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "CHARITY sat before the mirror trying on a hat which Ally Hawes, with\nmuch secrecy, had trimmed for her. It was of white straw, with a", "Charity saw the force of the argument; but if she acquiesced it was\nnot so much because of that as because it was Harney's wish. Since that", "Charity gazed at her with dazzled eyes. \"Oh, it's lovely,\" she said, and\nhastened away without listening to Ally's protest. She wanted her dress", "Harney and Charity sat down on a bench made of a board resting on two\nstarch boxes. They faced a door hanging on a broken hinge, and through" ], [ "Dr. Merkle, still smiling, also rose. \"Why do you run off in such a\nhurry? You can stretch out right here on my sofa....\" She paused, and", "summoned to Dr. Merkle's office. The doctor received her without\nsurprise, and led her into the inner plush sanctuary.", "all the marks of her state that she herself would never have noticed,\nbut that Dr. Merkle's diagnosis had made plain to her. She could not\nhope that those signs would escape the watchful village; even before her", "Dr. Merkle looked up at her pleasantly from the plush sofa. \"It seems\nyou got married yesterday, up to the 'Piscopal church; I heard all about", "Charity remained silent, puzzled and half-convinced by the argument,\nand Dr. Merkle promptly followed up her advantage. \"I didn't ask you for", "Charity had reached the door. \"I don't want to stay. I don't want to\ncome back here,\" she stammered, her hand on the knob; but with a swift\nmovement, Dr. Merkle edged her from the threshold.", "quickly down the main street to the brick building on the corner of\nLake Avenue. There she paused to look cautiously up and down the\nthoroughfare, and then climbed the brass-bound stairs to Dr. Merkle's", "frames. Dr. Merkle was a plump woman with small bright eyes, an immense\nmass of black hair coming down low on her forehead, and unnaturally", "Dr. Merkle gave a short laugh which did not show her teeth, and inquired\nwith concision if Charity supposed she ran the establishment for her own", "\"Your brooch?\" Dr. Merkle appeared not to remember. \"My, yes--I get so\nmany things of that kind. Well, my dear, you'll have to wait while I get", "When she came out of the glazed door Dr. Merkle followed, and led her\ninto another room, smaller, and still more crowded with plush and gold", "\"Yes, that's all.\"\n\n\"Well--I'll wait.\"\n\nHe turned away slowly, but as he did so the thing she had been waiting\nfor happened; the door opened again and Harney entered.", "\"You lost girl... you... you.... Oh, my God, why did you tell me?\" he\nbroke out, dropping into his chair, his head bowed down like an old\nman's.", "Her heart was beating so violently that she was afraid to speak, and\nstood looking at him with tear-dilated eyes; then she became aware of\nwhat her silence must betray, and said quickly: \"Yes: come in.\"", "\"Never.\"\n\nMr. Miles was silent again, then he said: \"I'm glad you're coming with\nme now. Perhaps we may find your mother alive, and she may know that you\nhave come.\"", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "and swords, Charity looked up and saw on the corner a brick house with\na conspicuous black and gold sign across its front. \"Dr. Merkle; Private", "for Verena. I guess he's the kind that's heard the same thing before.\nAnyhow, he took it quietly enough. He said his job here was about done,", "just as if they was there themselves.\" The two stared at each other\nagain over this avowal, till Charity brought out, in a gasp of anguish:", "\"Change? What'd I want to have change for? I only see two twenties\nthere,\" Dr. Merkle answered brightly." ], [ "He turned to her with eyes full of reproach. \"Oh, Charity----\" It was\nthe first time he had ever called her by her name. Her misery welled\nover.", "ought to marry, at least the kind of girl it would be natural for him to\nmarry. Charity had never been able to picture herself as his wife; had\nnever been able to arrest the vision and follow it out in its daily", "It did not, of course, always end so sensationally; nor, perhaps, on the\nwhole, so untragically. Charity had always suspected that the shunned", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "\"Lucky we're here after all,\" Harney laughed. He fastened the horse\nunder a half-roofless shed, and wrapping Charity in his coat ran with", "Charity raised her eyes and met Mr. Royall's. They were still looking\nat her kindly and steadily. \"I will!\" she heard him say a moment later,", "bitter end. At last he stirred and changed his attitude slightly, and\nCharity's heart began to tremble. But he only flung out his arms and", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Charity again lifted her heavy lids and stared at Ally's pale pointed\nface, which moved to and fro above her moving fingers.\n\n\"Is she going to get married?\"", "Mr. Miles had been getting into his coat again. He came up to Charity,\nwho had remained passively kneeling by the rough mound of earth.\n\n\"My child, you must come. It's very late.\"", "\"Don't cry, Charity,\" he exclaimed in a shaken voice. She looked up,\nstartled at his emotion, and their eyes met.", "Charity knew that what had happened on that hateful night would not\nhappen again. She understood that, profoundly as she had despised Mr.", "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "Then he turned to Charity. \"Don't take things hard, my dear; don't take\nthings hard. Come down and see Mrs. Miles and me some day at Hepburn,\"", "\"Charity,\" he said, \"you look fair done up, and North Dormer's a goodish\nway off. I've figured out that we'd do better to stop here long enough", "Charity, who went to the white church (like all the best people in North\nDormer), admired Mr. Miles, and had even, during the memorable trip to", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "THE Town Hall was crowded and exceedingly hot. As Charity marched into\nit third in the white muslin file headed by Orma Fry, she was conscious", "Charity saw the force of the argument; but if she acquiesced it was\nnot so much because of that as because it was Harney's wish. Since that", "\"No, she hasn't,\" said Charity, wishing she could have said: \"Yes, she\nhas.\"" ], [ "to the conclusion that no one who lived in North Dormer could hope to\nmodify them. But to Charity, in the reaction from her mood of passionate", "She knew that, compared to the place she had come from, North Dormer\nrepresented all the blessings of the most refined civilization. Everyone\nin the village had told her so ever since she had been brought there as", "the damp shelves. Yet Charity Royall had always been told that she ought\nto consider it a privilege that her lot had been cast in North Dormer.", "\"wore out\" when she came to North Dormer made it only too easy to\npicture her in her splendour. Charity understood what associations the\nname must have called up, and felt the uselessness of struggling against", "represented North Dormer, with all its mean curiosities, its furtive\nmalice, its sham unconsciousness of evil. Charity knew that, although", "\"Charity,\" he said, \"you look fair done up, and North Dormer's a goodish\nway off. I've figured out that we'd do better to stop here long enough", "of a school at Nettleton, and to say that this time a friend of hers\nwould \"make the necessary arrangements,\" Charity cut her short with the\nannouncement that she had decided not to leave North Dormer.", "North Dormer had ever shown her. He was at once simpler and more\ndeferential than any one she had known; and sometimes it was just when\nhe was simplest that she most felt the distance between them. Education", "though everybody spoke of her as Charity Royall; and she knew why he had\ncome back to live at North Dormer, instead of practising at Nettleton,\nwhere he had begun his legal career.", "A few days later North Dormer learned with surprise that Charity had\nbeen appointed librarian of the Hatchard Memorial at a salary of eight", "At the edge of the wood, half a mile from North Dormer, Harney jumped\nfrom his bicycle, took Charity in his arms for a last kiss, and then\nwaited while she went on alone.", "Such had been the sole link between North Dormer and literature, a\nlink piously commemorated by the erection of the monument where Charity\nRoyall, every Tuesday and Thursday afternoon, sat at her desk under a", "was still away; but even had she been at North Dormer she was the last\nperson to whom Charity would have turned, since one of the motives", "from North Dormer intended to venture so far it was not likely that her\nabsence from the festivity would be reported. Besides, if it were she\nwould not greatly care. She was determined to assert her independence,", "She stared. \"Old houses? Everything's old in North Dormer, isn't it? The\nfolks are, anyhow.\"\n\nHe laughed, and wandered away again.", "Charity, who went to the white church (like all the best people in North\nDormer), admired Mr. Miles, and had even, during the memorable trip to", "She remembered, the last time she had picked it up, wondering how anyone\ncould have taken the trouble to write a book about North Dormer and its", "everything--and in spite even of Miss Hatchard--lawyer Royall ruled in\nNorth Dormer; and Charity ruled in lawyer Royall's house. She had never", "in a familiar place. What, she wondered, did North Dormer look like to\npeople from other parts of the world? She herself had lived there\nsince the age of five, and had long supposed it to be a place of some", "Harney had overtaken her on her way to the Mountain, she had lived at\nNorth Dormer as if she were suspended in the void. She had come back" ], [ "\"No, she hasn't,\" said Charity, wishing she could have said: \"Yes, she\nhas.\"", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "Charity again lifted her heavy lids and stared at Ally's pale pointed\nface, which moved to and fro above her moving fingers.\n\n\"Is she going to get married?\"", "She turned her eyes away from him and looked at Charity.\n\n\"You're the girl from Royall's, ain't you?\"", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "Mrs. Royall died seven or eight years later; and by that time Charity\nhad taken the measure of most things about her. She knew that Mrs.", "The two girls sat upstairs in Charity's room. Charity, her idle hands in\nher lap, was sunk in a kind of leaden dream, through which she was only", "anything about him. She, Charity Royall, was the only being on earth\nwho really knew him, knew him from the soles of his feet to the rumpled", "\"Charity,\" he said, \"you look fair done up, and North Dormer's a goodish\nway off. I've figured out that we'd do better to stop here long enough", "Charity felt her sobs rising and tried to stifle them in words. \"I don't\ncare what you say you told her. All I know is she thinks it's all my", "Charity gazed at her with dazzled eyes. \"Oh, it's lovely,\" she said, and\nhastened away without listening to Ally's protest. She wanted her dress", "Suddenly Charity heard a woman's laugh behind her. The sound was\nfamiliar, and she turned to look. A band of showily dressed girls and", "A few minutes later Charity went out, too. She had watched to see in\nwhat direction he was going, and she took the opposite way and walked", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "He turned to her with eyes full of reproach. \"Oh, Charity----\" It was\nthe first time he had ever called her by her name. Her misery welled\nover.", "Charity knew that what had happened on that hateful night would not\nhappen again. She understood that, profoundly as she had despised Mr.", "Charity's bewildered brain laboured with the attempt to picture her\nmother's past, and to relate it in any way to the designs of a just but", "The colour rose in Charity's face. \"I'm Charity Royall,\" she said, as\nif asserting her right to the name in the very place where it might have\nbeen most open to question.", "Harney had found an old bench at the back door and dragged it into the\nhouse. Charity sat on it, leaning her head against the wall in a state", "\"Don't cry, Charity,\" he exclaimed in a shaken voice. She looked up,\nstartled at his emotion, and their eyes met." ], [ "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "Harney's eyes had dropped under the old man's gaze; but he raised them\npresently, and looking steadily at Mr. Royall, said: \"Miss Royall is not", "Mr. Royall rose from his seat. \"See here, Charity Royall: I had a\nshameful thought once, and you've made me pay for it. Isn't that score", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "venture. And her dread of Mr. Royall's intervention gave a sharpened\njoy to the hours she spent with young Harney, and made her, at the same\ntime, shy of being too generally seen with him.", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "Charity raised her eyes and met Mr. Royall's. They were still looking\nat her kindly and steadily. \"I will!\" she heard him say a moment later,", "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "\"Oh----\" she said in a gasp of misery; and releasing herself from\nHarney's arm she went straight up to Mr. Royall.", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "There was another laugh, followed by a pause of curiosity, during which\nMr. Royall continued to glare at Charity. At length his twitching", "Royall. Charity was instinctively aware that few things concerning her\nescaped the eyes of the silent man under whose roof she lived; and in", "Charity (in the white church at the other end of the village) to\ncommemorate Mr. Royall's disinterestedness in \"bringing her down,\" and", "boarding at the red house in his cousin's absence, Charity had trembled\nlest Mr. Royall should refuse. There had been no question of lodging", "Lawyer Royall was waiting for Charity in the porch when she returned\nfrom this visit. He had shaved, and brushed his black coat, and looked a\nmagnificent monument of a man; at such moments she really admired him.", "Mr. Royall's was full of a sonorous satisfaction. It was a long time\nsince he had had anyone of Lucius Harney's quality to talk to: Charity" ], [ "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "\"Oh----\" she said in a gasp of misery; and releasing herself from\nHarney's arm she went straight up to Mr. Royall.", "Harney's arm and sobbing desperately. Mr. Royall had disappeared, and in\nthe distance she heard the receding sound of Julia's laugh.", "She had not seen Mr. Royall on her return to the red house. The morning\nafter her parting from Harney, when she came down from her room, Verena", "venture. And her dread of Mr. Royall's intervention gave a sharpened\njoy to the hours she spent with young Harney, and made her, at the same\ntime, shy of being too generally seen with him.", "with Mr. Royall, who, in pursuance of her plan, departed one day for\nStarkfield to visit the institution she recommended. He came back the", "Harney's eyes had dropped under the old man's gaze; but he raised them\npresently, and looking steadily at Mr. Royall, said: \"Miss Royall is not", "no sign of Mr. Royall about the house and the hours passed without his\nreappearing. Charity had gone up to her room, and sat there listlessly,", "VI\n\n\nThat evening after supper Charity sat alone in the kitchen and listened\nto Mr. Royall and young Harney talking in the porch.", "Mr. Royall went out early, and did not return till Verena had set the\ntable for the midday meal. When he came in he went straight to the", "Harney had asked her to take him to the brown house under Porcupine,\nand then around by Hamblin; and as the trip was a long one they were to", "After Harney's departure she had returned her bicycle to its owner at\nCreston, and she was not sure of being able to walk all the way to the", "\"Well, I'll go,\" she said suddenly. \"I'll go right off.\"\n\n\"Go where?\" She heard the startled note in Mr. Royall's voice.", "wrong. He had made no allusion to what had passed between Mr. Royall and\nhimself, but had simply let it appear that he had left because means of", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "he said, pressing her hand and waving a farewell to Mamie Targatt. He\nwent out of the library, and Harney followed him.", "swept down again and out into the street. If Mr. Royall heard her go\nhe made no motion to detain her: his sudden rages probably made him\nunderstand the uselessness of reasoning with hers.", "Mr. Royall's was full of a sonorous satisfaction. It was a long time\nsince he had had anyone of Lucius Harney's quality to talk to: Charity", "At the edge of the wood, half a mile from North Dormer, Harney jumped\nfrom his bicycle, took Charity in his arms for a last kiss, and then\nwaited while she went on alone.", "having left Creston River, where he was said to have been staying, and\ngone away from the neighbourhood for good. Soon after Miss Hatchard's" ], [ "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "with Mr. Royall, who, in pursuance of her plan, departed one day for\nStarkfield to visit the institution she recommended. He came back the", "though everybody spoke of her as Charity Royall; and she knew why he had\ncome back to live at North Dormer, instead of practising at Nettleton,\nwhere he had begun his legal career.", "Lawyer Royall was waiting for Charity in the porch when she returned\nfrom this visit. He had shaved, and brushed his black coat, and looked a\nmagnificent monument of a man; at such moments she really admired him.", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "his and they stood thus, without speaking, till Mr. Royall said gravely:\n\"Charity--was you looking for me?\"", "Charity raised her eyes and met Mr. Royall's. They were still looking\nat her kindly and steadily. \"I will!\" she heard him say a moment later,", "pictures flashed on the screen at Nettleton. For an instant Mr. Royall's\ncountenance detached itself from the general blur. He had resumed his", "There was another laugh, followed by a pause of curiosity, during which\nMr. Royall continued to glare at Charity. At length his twitching", "When the train reached Nettleton and she walked out into the square at\nMr. Royall's side the sense of unreality grew more overpowering. The", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "plate was in its usual place, but Mr. Royall offered no explanation\nof his absence, and Charity asked none. The feverish exaltation of the", "After a while Mr. Royall pushed back his chair. \"Now, then,\" he said,\n\"if you're a mind to go along----\" She did not move, and he continued:", "no sign of Mr. Royall about the house and the hours passed without his\nreappearing. Charity had gone up to her room, and sat there listlessly,", "He helped her up to the seat at his side, Liff Hyatt clambered in at\nthe back, and they drove off toward Hamblin. At first Charity had", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "The next outstanding incident of her life had happened two years later,\nwhen she was seventeen. Lawyer Royall, who hated to go to Nettleton," ], [ "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "At the edge of the wood, half a mile from North Dormer, Harney jumped\nfrom his bicycle, took Charity in his arms for a last kiss, and then\nwaited while she went on alone.", "It was on the fourth day that Charity returned for the first time to the\nlittle house. She had not seen Harney alone since they had parted at the", "lips were pressed on hers. With sudden vehemence he wound his arms about\nher, holding her head against his breast while she gave him back his\nkisses. An unknown Harney had revealed himself, a Harney who dominated", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "its corners. \"We must have something to eat,\" Harney said; and the next\nmoment Charity found herself in a dressing-room all looking-glass and", "Harney jumped down and helped Charity out; and as he did so the rain\nbroke on them. It came slant-wise, on a furious gale, laying shrubs and", "\"Lucky we're here after all,\" Harney laughed. He fastened the horse\nunder a half-roofless shed, and wrapping Charity in his coat ran with", "At last the train rumbled in, and engulfed the waiting multitude. Harney\nswept Charity up on to the first car and they captured a bench for", "when she and Harney had sat embraced in the shadowy room, and the noise\nof summer showers on the roof had rustled through their kisses. At\nlength she understood that if she stayed any longer the rain might", "Harney and Charity sat down on a bench made of a board resting on two\nstarch boxes. They faced a door hanging on a broken hinge, and through", "Harney was to leave the next morning early. He asked Charity to say\nnothing of their plans till his return, and, strangely even to herself,", "sandwiches. Darkness had descended in the little room, and Harney's face\nwas a dim blur to Charity. Suddenly he leaned across the table and laid\nhis hand on hers.", "than Harney's endearments were the words that were a part of them. She\nhad always thought of love as something confused and furtive, and he\nmade it as bright and open as the summer air.", "Charity saw the force of the argument; but if she acquiesced it was\nnot so much because of that as because it was Harney's wish. Since that", "The sleeping man stirred, lifted his head and opened his eyes. They\nrested vacantly for a moment on Charity and Harney, and then closed", "Harney had found an old bench at the back door and dragged it into the\nhouse. Charity sat on it, leaning her head against the wall in a state", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Harney took the cup and put his lips to it. When he had set it down\nCharity saw him feel in his pocket and draw out a dollar; he hesitated", "He turned to her with eyes full of reproach. \"Oh, Charity----\" It was\nthe first time he had ever called her by her name. Her misery welled\nover." ], [ "Harney was to leave the next morning early. He asked Charity to say\nnothing of their plans till his return, and, strangely even to herself,", "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "As she read the letter over Charity understood what it must have cost\nhim to write it. He was not trying to evade an importunate claim; he was", "Harney. But the letters were never put on paper, for she did not know\nhow to express what she wanted to tell him. So she waited. Since her", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "The conviction gradually strengthened her, and she began to form in her\nmind the first words of the letter she meant to write to Harney. She", "Harney might, after all, free himself and come back to her. It was a\npossibility which had never occurred to her during the dreadful hours\nafter she had received his letter; only when the decisive step she had", "Charity saw the force of the argument; but if she acquiesced it was\nnot so much because of that as because it was Harney's wish. Since that", "At the edge of the wood, half a mile from North Dormer, Harney jumped\nfrom his bicycle, took Charity in his arms for a last kiss, and then\nwaited while she went on alone.", "Harney's first letter came after he had been gone about ten days. It was\ntender but grave, and bore no resemblance to the gay little notes he had", "Charity snatched the letter with a laugh. \"Oh, thank you--good-night,\"\nshe called out over her shoulder as she ran up the path. If she had\nlingered a moment she knew she would have had Ally at her heels.", "The business on which Harney had come was authentic; Charity had seen\nthe letter from a New York publisher commissioning him to make a study\nof the eighteenth century houses in the less familiar districts of New", "Ally held out the letter, looking at Charity with piercing sympathy.\nSince the scene of the torn blouse there had been a new and fearful\nadmiration in the eyes she bent on her friend.", "Charity thought she detected a look of constraint in Harney's eyes. She\nfancied he did not want to be alone with her; and with a sudden pang she", "The morning hours of the next day dragged by without incident. Charity\nhad imagined that, in some way or other, she would learn whether Harney", "its corners. \"We must have something to eat,\" Harney said; and the next\nmoment Charity found herself in a dressing-room all looking-glass and", "Charity was silent. She had been so steeped in the dreamy remembrance of\nyoung Harney's visit that she had forgotten having deserted her post as\nsoon as he had left the library.", "marry her. His look seemed to say that he knew she had taken the paper\nto write to her lover, who had left her as he had warned her she would", "Charity threw a startled glance at him. \"I presume she's waiting for Mr.\nHarney.\"", "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this" ], [ "Charity had reached the door. \"I don't want to stay. I don't want to\ncome back here,\" she stammered, her hand on the knob; but with a swift\nmovement, Dr. Merkle edged her from the threshold.", "Dr. Merkle gave a short laugh which did not show her teeth, and inquired\nwith concision if Charity supposed she ran the establishment for her own", "Charity remained silent, puzzled and half-convinced by the argument,\nand Dr. Merkle promptly followed up her advantage. \"I didn't ask you for", "quickly down the main street to the brick building on the corner of\nLake Avenue. There she paused to look cautiously up and down the\nthoroughfare, and then climbed the brass-bound stairs to Dr. Merkle's", "Charity looked helplessly at the doctor's tight lips and rigid face.\nHer last savings had gone in repaying Ally for the cost of Miss Balch's", "Anger flamed up in Charity, and for an instant she thought of abandoning\nthe brooch and letting Dr. Merkle do her worst. But how could she leave", "summoned to Dr. Merkle's office. The doctor received her without\nsurprise, and led her into the inner plush sanctuary.", "Then Mr. Miles said: \"You look ill, my dear, and it's a long way. Do you\nthink it's wise?\"\n\nCharity stood up. \"I've got to go to her.\"", "and swords, Charity looked up and saw on the corner a brick house with\na conspicuous black and gold sign across its front. \"Dr. Merkle; Private", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "all the marks of her state that she herself would never have noticed,\nbut that Dr. Merkle's diagnosis had made plain to her. She could not\nhope that those signs would escape the watchful village; even before her", "He turned to her with eyes full of reproach. \"Oh, Charity----\" It was\nthe first time he had ever called her by her name. Her misery welled\nover.", "Dr. Merkle, still smiling, also rose. \"Why do you run off in such a\nhurry? You can stretch out right here on my sofa....\" She paused, and", "A few minutes later Charity went out, too. She had watched to see in\nwhat direction he was going, and she took the opposite way and walked", "\"Don't let's go on like this, Charity. It can't do any good to either of\nus. You were seen going into that fellow's house... you were seen coming", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "Charity felt her sobs rising and tried to stifle them in words. \"I don't\ncare what you say you told her. All I know is she thinks it's all my", "anything about him. She, Charity Royall, was the only being on earth\nwho really knew him, knew him from the soles of his feet to the rumpled", "Charity was not very clear about the Mountain; but she knew it was a bad\nplace, and a shame to have come from, and that, whatever befell her", "Then he turned to Charity. \"Don't take things hard, my dear; don't take\nthings hard. Come down and see Mrs. Miles and me some day at Hepburn,\"" ], [ "Charity had reached the door. \"I don't want to stay. I don't want to\ncome back here,\" she stammered, her hand on the knob; but with a swift\nmovement, Dr. Merkle edged her from the threshold.", "Charity remained silent, puzzled and half-convinced by the argument,\nand Dr. Merkle promptly followed up her advantage. \"I didn't ask you for", "Dr. Merkle gave a short laugh which did not show her teeth, and inquired\nwith concision if Charity supposed she ran the establishment for her own", "Dr. Merkle looked up at her pleasantly from the plush sofa. \"It seems\nyou got married yesterday, up to the 'Piscopal church; I heard all about", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "summoned to Dr. Merkle's office. The doctor received her without\nsurprise, and led her into the inner plush sanctuary.", "\"No, she hasn't,\" said Charity, wishing she could have said: \"Yes, she\nhas.\"", "anything about him. She, Charity Royall, was the only being on earth\nwho really knew him, knew him from the soles of his feet to the rumpled", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "just as if they was there themselves.\" The two stared at each other\nagain over this avowal, till Charity brought out, in a gasp of anguish:", "\"Charity,\" he said, \"he'll be here in a minute. Let me talk to you\nfirst.\"\n\n\"You've got no right to talk to me. I can do what I please.\"", "She shook her head, and he did not insist: but after a while he said, in\nthe same low tone, so that they should not be overheard: \"Charity, what\ndo you know of your childhood, before you came down to North Dormer?\"", "Charity raised her eyes and met Mr. Royall's. They were still looking\nat her kindly and steadily. \"I will!\" she heard him say a moment later,", "Dr. Merkle, still smiling, also rose. \"Why do you run off in such a\nhurry? You can stretch out right here on my sofa....\" She paused, and", "Charity felt her sobs rising and tried to stifle them in words. \"I don't\ncare what you say you told her. All I know is she thinks it's all my", "and swords, Charity looked up and saw on the corner a brick house with\na conspicuous black and gold sign across its front. \"Dr. Merkle; Private", "\"Charity! What on earth are you doing here?\" Mr. Miles exclaimed,\nthrowing the reins on the horse's back and scrambling down from the\nbuggy.", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "it was done.\" Charity was silent, and he added: \"After all, perhaps it's\njust as well. No one else could have done it.\"", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew" ], [ "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "Charity raised her eyes and met Mr. Royall's. They were still looking\nat her kindly and steadily. \"I will!\" she heard him say a moment later,", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "Mr. Royall rose from his seat. \"See here, Charity Royall: I had a\nshameful thought once, and you've made me pay for it. Isn't that score", "Charity (in the white church at the other end of the village) to\ncommemorate Mr. Royall's disinterestedness in \"bringing her down,\" and", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "though everybody spoke of her as Charity Royall; and she knew why he had\ncome back to live at North Dormer, instead of practising at Nettleton,\nwhere he had begun his legal career.", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "I'm married to Mr. Royall. I'll always remember you. CHARITY.", "anything about him. She, Charity Royall, was the only being on earth\nwho really knew him, knew him from the soles of his feet to the rumpled", "Mrs. Royall died seven or eight years later; and by that time Charity\nhad taken the measure of most things about her. She knew that Mrs.", "Lawyer Royall was waiting for Charity in the porch when she returned\nfrom this visit. He had shaved, and brushed his black coat, and looked a\nmagnificent monument of a man; at such moments she really admired him.", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "There was another laugh, followed by a pause of curiosity, during which\nMr. Royall continued to glare at Charity. At length his twitching", "to her of marriage till Mr. Royall had forced the word from his lips;\nthough she had not had the strength to shake off the spell that bound\nher to him she had lost all spontaneity of feeling, and seemed to", "Royall. Charity was instinctively aware that few things concerning her\nescaped the eyes of the silent man under whose roof she lived; and in", "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "his and they stood thus, without speaking, till Mr. Royall said gravely:\n\"Charity--was you looking for me?\"" ], [ "\"No, she hasn't,\" said Charity, wishing she could have said: \"Yes, she\nhas.\"", "Charity gazed at her with dazzled eyes. \"Oh, it's lovely,\" she said, and\nhastened away without listening to Ally's protest. She wanted her dress", "A few minutes later Charity went out, too. She had watched to see in\nwhat direction he was going, and she took the opposite way and walked", "Mrs. Royall died seven or eight years later; and by that time Charity\nhad taken the measure of most things about her. She knew that Mrs.", "She turned her eyes away from him and looked at Charity.\n\n\"You're the girl from Royall's, ain't you?\"", "The two girls sat upstairs in Charity's room. Charity, her idle hands in\nher lap, was sunk in a kind of leaden dream, through which she was only", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "Charity knew that what had happened on that hateful night would not\nhappen again. She understood that, profoundly as she had despised Mr.", "CHARITY lay on the floor on a mattress, as her dead mother's body had\nlain. The room in which she lay was cold and dark and low-ceilinged, and", "Suddenly Charity heard a woman's laugh behind her. The sound was\nfamiliar, and she turned to look. A band of showily dressed girls and", "Charity's bewildered brain laboured with the attempt to picture her\nmother's past, and to relate it in any way to the designs of a just but", "Harney had found an old bench at the back door and dragged it into the\nhouse. Charity sat on it, leaning her head against the wall in a state", "\"Poor Julia!\" Charity sighed from the height of her purity and her\nsecurity. She had a friend whom she trusted and who respected her.", "It did not, of course, always end so sensationally; nor, perhaps, on the\nwhole, so untragically. Charity had always suspected that the shunned", "Charity's heart grew cold. She understood that Miss Hatchard had no\nhelp to give her and that she would have to fight her way out of her", "Charity took no notice. Her soul was still winging through the forest.\nShe washed her plate and tumbler, and then felt her way up the dark", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "The colour rose in Charity's face. \"I'm Charity Royall,\" she said, as\nif asserting her right to the name in the very place where it might have\nbeen most open to question.", "Charity felt her sobs rising and tried to stifle them in words. \"I don't\ncare what you say you told her. All I know is she thinks it's all my", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew" ], [ "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "wrong. He had made no allusion to what had passed between Mr. Royall and\nhimself, but had simply let it appear that he had left because means of", "venture. And her dread of Mr. Royall's intervention gave a sharpened\njoy to the hours she spent with young Harney, and made her, at the same\ntime, shy of being too generally seen with him.", "Harney's eyes had dropped under the old man's gaze; but he raised them\npresently, and looking steadily at Mr. Royall, said: \"Miss Royall is not", "\"To get away?\" Miss Hatchard's puzzled wrinkles deepened, and there was\na distressful pause. \"You want to leave Mr. Royall?\"", "Mr. Royall's was full of a sonorous satisfaction. It was a long time\nsince he had had anyone of Lucius Harney's quality to talk to: Charity", "with Mr. Royall, who, in pursuance of her plan, departed one day for\nStarkfield to visit the institution she recommended. He came back the", "\"Oh----\" she said in a gasp of misery; and releasing herself from\nHarney's arm she went straight up to Mr. Royall.", "She had not seen Mr. Royall on her return to the red house. The morning\nafter her parting from Harney, when she came down from her room, Verena", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "boarding at the red house in his cousin's absence, Charity had trembled\nlest Mr. Royall should refuse. There had been no question of lodging", "with burning eagerness, awaited young Harney's comment; but the young\nman seemed more concerned to hear Mr. Royall's views than to express his\nown.", "Harney's arm and sobbing desperately. Mr. Royall had disappeared, and in\nthe distance she heard the receding sound of Julia's laugh.", "Mr. Royall went out early, and did not return till Verena had set the\ntable for the midday meal. When he came in he went straight to the", "Harney, however, once satisfied of her security, had found plenty of\nreasons for urging her to return. The first, and the most unanswerable,", "She sat at table till the meal was over, lest Mr. Royall should remark\non her leaving; but when he stood up she rose also, without waiting to\nhelp Verena. She had her foot on the stairs when he called to her to\ncome back.", "After a while Mr. Royall pushed back his chair. \"Now, then,\" he said,\n\"if you're a mind to go along----\" She did not move, and he continued:", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "VI\n\n\nThat evening after supper Charity sat alone in the kitchen and listened\nto Mr. Royall and young Harney talking in the porch." ], [ "Charity raised her eyes and met Mr. Royall's. They were still looking\nat her kindly and steadily. \"I will!\" she heard him say a moment later,", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Charity (in the white church at the other end of the village) to\ncommemorate Mr. Royall's disinterestedness in \"bringing her down,\" and", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "Mr. Royall rose from his seat. \"See here, Charity Royall: I had a\nshameful thought once, and you've made me pay for it. Isn't that score", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "though everybody spoke of her as Charity Royall; and she knew why he had\ncome back to live at North Dormer, instead of practising at Nettleton,\nwhere he had begun his legal career.", "I'm married to Mr. Royall. I'll always remember you. CHARITY.", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "Mrs. Royall died seven or eight years later; and by that time Charity\nhad taken the measure of most things about her. She knew that Mrs.", "to her of marriage till Mr. Royall had forced the word from his lips;\nthough she had not had the strength to shake off the spell that bound\nher to him she had lost all spontaneity of feeling, and seemed to", "anything about him. She, Charity Royall, was the only being on earth\nwho really knew him, knew him from the soles of his feet to the rumpled", "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "Lawyer Royall was waiting for Charity in the porch when she returned\nfrom this visit. He had shaved, and brushed his black coat, and looked a\nmagnificent monument of a man; at such moments she really admired him.", "Charity went down the steps Mr. Royall called after her: \"Where you\ngoing?\" She could easily have answered: \"To Orma's,\" or \"Down to the", "The colour rose in Charity's face. \"I'm Charity Royall,\" she said, as\nif asserting her right to the name in the very place where it might have\nbeen most open to question.", "history of her origin related to the one being in whose eyes she longed\nto appear superior to the people about her! She had noticed that Mr.\nRoyall had not named her, had even avoided any allusion that might" ], [ "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "Harney's eyes had dropped under the old man's gaze; but he raised them\npresently, and looking steadily at Mr. Royall, said: \"Miss Royall is not", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Charity raised her eyes and met Mr. Royall's. They were still looking\nat her kindly and steadily. \"I will!\" she heard him say a moment later,", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "\"Oh----\" she said in a gasp of misery; and releasing herself from\nHarney's arm she went straight up to Mr. Royall.", "Charity threw a startled glance at him. \"I presume she's waiting for Mr.\nHarney.\"", "The colour rose in Charity's face. \"I'm Charity Royall,\" she said, as\nif asserting her right to the name in the very place where it might have\nbeen most open to question.", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "venture. And her dread of Mr. Royall's intervention gave a sharpened\njoy to the hours she spent with young Harney, and made her, at the same\ntime, shy of being too generally seen with him.", "Mr. Royall rose from his seat. \"See here, Charity Royall: I had a\nshameful thought once, and you've made me pay for it. Isn't that score", "\"I didn't know but what... folks here say she's engaged to Mr. Harney.\"\n\nCharity stood up with a laugh, and stretched her arms lazily above her\nhead.", "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "Mrs. Royall died seven or eight years later; and by that time Charity\nhad taken the measure of most things about her. She knew that Mrs.", "his and they stood thus, without speaking, till Mr. Royall said gravely:\n\"Charity--was you looking for me?\"" ], [ "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "\"Charity--Charity Royall, you listen----\" he began, getting heavily out\nof his chair; but she waved him aside, and walked out of the room.", "Charity raised her eyes and met Mr. Royall's. They were still looking\nat her kindly and steadily. \"I will!\" she heard him say a moment later,", "The clergyman opened a book and signed to Charity and Mr. Royall to\napproach. Mr. Royall advanced a few steps, and Charity followed him as", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "Mr. Royall rose from his seat. \"See here, Charity Royall: I had a\nshameful thought once, and you've made me pay for it. Isn't that score", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Mrs. Royall died seven or eight years later; and by that time Charity\nhad taken the measure of most things about her. She knew that Mrs.", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "Charity (in the white church at the other end of the village) to\ncommemorate Mr. Royall's disinterestedness in \"bringing her down,\" and", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "The colour rose in Charity's face. \"I'm Charity Royall,\" she said, as\nif asserting her right to the name in the very place where it might have\nbeen most open to question.", "Lawyer Royall was waiting for Charity in the porch when she returned\nfrom this visit. He had shaved, and brushed his black coat, and looked a\nmagnificent monument of a man; at such moments she really admired him.", "Charity went down the steps Mr. Royall called after her: \"Where you\ngoing?\" She could easily have answered: \"To Orma's,\" or \"Down to the", "clever fingers had made for her. All of the ten dollars Mr. Royall had\ngiven her, and a part of her own savings as well, had been spent on", "anything about him. She, Charity Royall, was the only being on earth\nwho really knew him, knew him from the soles of his feet to the rumpled", "There was another laugh, followed by a pause of curiosity, during which\nMr. Royall continued to glare at Charity. At length his twitching", "Royall. Charity was instinctively aware that few things concerning her\nescaped the eyes of the silent man under whose roof she lived; and in", "She turned her eyes away from him and looked at Charity.\n\n\"You're the girl from Royall's, ain't you?\"", "no sign of Mr. Royall about the house and the hours passed without his\nreappearing. Charity had gone up to her room, and sat there listlessly," ], [ "Charity looked helplessly at the doctor's tight lips and rigid face.\nHer last savings had gone in repaying Ally for the cost of Miss Balch's", "She paused, and Charity, seized with a desperate longing to escape, rose\nto her feet and held out one of the bills.\n\n\"Will you take that?\" she asked.", "Charity drew the money from her breast. \"I've come to get my blue\nbrooch,\" she said, flushing.", "ain't got enough to settle her own bills....\" She paused, and fixed\nher eyes on the brooch with a blue stone that Charity had pinned to her\nblouse.", "Charity had reached the door. \"I don't want to stay. I don't want to\ncome back here,\" she stammered, her hand on the knob; but with a swift\nmovement, Dr. Merkle edged her from the threshold.", "Charity paused, disconcerted. \"I thought... you said it was five dollars\na visit....\"", "Dr. Merkle gave a short laugh which did not show her teeth, and inquired\nwith concision if Charity supposed she ran the establishment for her own", "\"No, she hasn't,\" said Charity, wishing she could have said: \"Yes, she\nhas.\"", "Harney had found an old bench at the back door and dragged it into the\nhouse. Charity sat on it, leaning her head against the wall in a state", "A few minutes later Charity went out, too. She had watched to see in\nwhat direction he was going, and she took the opposite way and walked", "CHARITY lay on the floor on a mattress, as her dead mother's body had\nlain. The room in which she lay was cold and dark and low-ceilinged, and", "She smiled on Charity with all her faultless teeth. \"Sit down, my\ndear. Wouldn't you like a little drop of something to pick you", "Charity, half unconsciously, found herself getting out of the buggy and\nfollowing him in at the open door. They entered a decent kitchen with a", "Charity stood gazing at all the outspread whiteness. It recalled a\nvision that had come to her in the night after her first meeting with", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "Charity took no notice. Her soul was still winging through the forest.\nShe washed her plate and tumbler, and then felt her way up the dark", "The colour rose in Charity's face. \"I'm Charity Royall,\" she said, as\nif asserting her right to the name in the very place where it might have\nbeen most open to question.", "Charity's heart grew cold. She understood that Miss Hatchard had no\nhelp to give her and that she would have to fight her way out of her", "Then Mr. Miles said: \"You look ill, my dear, and it's a long way. Do you\nthink it's wise?\"\n\nCharity stood up. \"I've got to go to her.\"" ], [ "Charity had reached the door. \"I don't want to stay. I don't want to\ncome back here,\" she stammered, her hand on the knob; but with a swift\nmovement, Dr. Merkle edged her from the threshold.", "Charity looked helplessly at the doctor's tight lips and rigid face.\nHer last savings had gone in repaying Ally for the cost of Miss Balch's", "Charity knew that what had happened on that hateful night would not\nhappen again. She understood that, profoundly as she had despised Mr.", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "\"No, she hasn't,\" said Charity, wishing she could have said: \"Yes, she\nhas.\"", "Charity felt her sobs rising and tried to stifle them in words. \"I don't\ncare what you say you told her. All I know is she thinks it's all my", "of Charity's class knew about before she left school. It was what had\nhappened to Ally Hawes's sister Julia, and had ended in her going to", "Mrs. Royall died seven or eight years later; and by that time Charity\nhad taken the measure of most things about her. She knew that Mrs.", "He turned to her with eyes full of reproach. \"Oh, Charity----\" It was\nthe first time he had ever called her by her name. Her misery welled\nover.", "She shook her head, and he did not insist: but after a while he said, in\nthe same low tone, so that they should not be overheard: \"Charity, what\ndo you know of your childhood, before you came down to North Dormer?\"", "Charity was trembling with apprehension. Something had happened--she was\nsure of it now--and Mr. Royall knew what it was. But not for the world", "Charity's heart grew cold. She understood that Miss Hatchard had no\nhelp to give her and that she would have to fight her way out of her", "anything about him. She, Charity Royall, was the only being on earth\nwho really knew him, knew him from the soles of his feet to the rumpled", "Charity stood gazing at all the outspread whiteness. It recalled a\nvision that had come to her in the night after her first meeting with", "Then Mr. Miles said: \"You look ill, my dear, and it's a long way. Do you\nthink it's wise?\"\n\nCharity stood up. \"I've got to go to her.\"", "Charity sat down obediently, and Mr. Royall, his hands behind his back,\npaced slowly up and down the room. As he turned and faced Charity, she", "It did not, of course, always end so sensationally; nor, perhaps, on the\nwhole, so untragically. Charity had always suspected that the shunned", "Charity made no movement. Nothing in his appeal reached her heart, and\nshe thought only of words to wound and wither. But a growing lassitude", "Mr. Royall drew a heavy breath. \"But, then--if he wasn't there, what\nwere you doing there all that time?--Charity, for pity's sake, tell me.\nI've got to know, to stop their talking.\"", "Charity remained silent, puzzled and half-convinced by the argument,\nand Dr. Merkle promptly followed up her advantage. \"I didn't ask you for" ], [ "\"Your mother is dead, Charity; you'd better come with me,\" he said.", "CHARITY lay on the floor on a mattress, as her dead mother's body had\nlain. The room in which she lay was cold and dark and low-ceilinged, and", "Mrs. Royall died seven or eight years later; and by that time Charity\nhad taken the measure of most things about her. She knew that Mrs.", "Well! after all, was her mother so much to blame? Charity, since that\nday, had always thought of her as destitute of all human feeling; now", "Charity's bewildered brain laboured with the attempt to picture her\nmother's past, and to relate it in any way to the designs of a just but", "\"No, she hasn't,\" said Charity, wishing she could have said: \"Yes, she\nhas.\"", "It did not, of course, always end so sensationally; nor, perhaps, on the\nwhole, so untragically. Charity had always suspected that the shunned", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "Charity knew that what had happened on that hateful night would not\nhappen again. She understood that, profoundly as she had despised Mr.", "The old woman and the children were still sleeping when Charity rose\nfrom her mattress. Her body was stiff with cold and fatigue, and she", "Charity was not very clear about the Mountain; but she knew it was a bad\nplace, and a shame to have come from, and that, whatever befell her", "Charity's heart grew cold. She understood that Miss Hatchard had no\nhelp to give her and that she would have to fight her way out of her", "She shook her head and rose from her knees. The group about the grave\nhad scattered in the darkness, but the old woman with the lantern stood\nwaiting. Her mournful withered face was not unkind, and Charity went up\nto her.", "Charity felt her sobs rising and tried to stifle them in words. \"I don't\ncare what you say you told her. All I know is she thinks it's all my", "she seemed merely pitiful. What mother would not want to save her child\nfrom such a life? Charity thought of the future of her own child, and", "Charity made no movement. Nothing in his appeal reached her heart, and\nshe thought only of words to wound and wither. But a growing lassitude", "of Charity's class knew about before she left school. It was what had\nhappened to Ally Hawes's sister Julia, and had ended in her going to", "The two girls sat upstairs in Charity's room. Charity, her idle hands in\nher lap, was sunk in a kind of leaden dream, through which she was only", "Charity gazed at her with dazzled eyes. \"Oh, it's lovely,\" she said, and\nhastened away without listening to Ally's protest. She wanted her dress", "Charity took no notice. Her soul was still winging through the forest.\nShe washed her plate and tumbler, and then felt her way up the dark" ], [ "Charity had often had visions of this ascent of the Mountain but she\nhad not known it would reveal so wide a country, and the sight of", "Charity was not very clear about the Mountain; but she knew it was a bad\nplace, and a shame to have come from, and that, whatever befell her", "Charity listened with a throbbing heart. \"That's the only time I ever\nwent up the Mountain,\" he concluded.", "Charity shot a sideward look at him. It was the first time he had spoken\nof the Mountain except as a feature of the landscape. What else did he", "wandering along the yoke of the Eagle Ridge, far above the misty blue\nvalleys that swept away east and west between the endless hills. And in\nthe afternoon Charity came to him.", "The nights were cold, with a dry glitter of stars so high up that they\nseemed smaller and more vivid. Sometimes, as Charity lay sleepless on", "Charity knew that what had happened on that hateful night would not\nhappen again. She understood that, profoundly as she had despised Mr.", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "Mr. Royall saw her, and touched the horse with the whip. A minute or two\nlater he was abreast of Charity; their eyes met, and without speaking he\nleaned over and helped her up into the buggy.", "Charity stood gazing at all the outspread whiteness. It recalled a\nvision that had come to her in the night after her first meeting with", "Charity's heart grew cold. She understood that Miss Hatchard had no\nhelp to give her and that she would have to fight her way out of her", "\"Don't cry, Charity,\" he exclaimed in a shaken voice. She looked up,\nstartled at his emotion, and their eyes met.", "Charity took no notice. Her soul was still winging through the forest.\nShe washed her plate and tumbler, and then felt her way up the dark", "She shook her head and rose from her knees. The group about the grave\nhad scattered in the darkness, but the old woman with the lantern stood\nwaiting. Her mournful withered face was not unkind, and Charity went up\nto her.", "Charity had, in truth, never felt any desire to visit her birthplace.\nShe did not care to have it known that she was of the Mountain, and was", "Charity, that it was Mr. Royall who brought you down from the Mountain.\"\nCharity went home and opened the door of Mr. Royall's \"office.\" He was", "He turned to her with eyes full of reproach. \"Oh, Charity----\" It was\nthe first time he had ever called her by her name. Her misery welled\nover.", "She hated more than ever the fact of coming from the Mountain; but it\nwas no longer indifferent to her. Everything that in any way affected\nher was alive and vivid: even the hateful things had grown interesting\nbecause they were a part of herself.", "Charity had lain there a long time, passive and sun-warmed as the slope\non which she lay, when there came between her eyes and the dancing\nbutterfly the sight of a man's foot in a large worn boot covered with\nred mud.", "and be thankful. She looked up at the Mountain, thinking of these\nthings, and tried as usual to be thankful. But the sight of the young" ], [ "\"I didn't know but what... folks here say she's engaged to Mr. Harney.\"\n\nCharity stood up with a laugh, and stretched her arms lazily above her\nhead.", "from his companions. He had seen Charity at once, and his glance passed\nslowly from her to Harney, whose arm was still about her. He stood", "thought had occurred to her. Harney would never buy her an engagement\nring: they were friends and comrades, but no more. He had been perfectly", "Charity threw a startled glance at him. \"I presume she's waiting for Mr.\nHarney.\"", "Harney had asked her to take him to the brown house under Porcupine,\nand then around by Hamblin; and as the trip was a long one they were to", "Lucius Harney would certainly have laughed at her fears. He glanced\nabout the room, uttered a general \"How are you?\" to which no one\nresponded, and then asked the younger woman if they might take shelter\ntill the storm was over.", "\"My God, how ghastly,\" Harney murmured; and Charity, choking with\nhumiliation, sprang to her feet and ran upstairs. She knew at last: knew", "there because Harney, after appearing to agree to the impossibility of\nher doing so, had ended by persuading her that any other course would\nbe madness. She had nothing further to fear from Mr. Royall. Of this", "Charity saw the force of the argument; but if she acquiesced it was\nnot so much because of that as because it was Harney's wish. Since that", "Harney's eyes had dropped under the old man's gaze; but he raised them\npresently, and looking steadily at Mr. Royall, said: \"Miss Royall is not", "Harney, however, once satisfied of her security, had found plenty of\nreasons for urging her to return. The first, and the most unanswerable,", "\"Yes, that's all.\"\n\n\"Well--I'll wait.\"\n\nHe turned away slowly, but as he did so the thing she had been waiting\nfor happened; the door opened again and Harney entered.", "Harney. But the letters were never put on paper, for she did not know\nhow to express what she wanted to tell him. So she waited. Since her", "Harney was still unaware of her presence. He sat without moving, moodily\nstaring before him at the same spot in the wall-paper. He had not even", "\"Where shall we go first?\" Harney asked; but as she turned her happy\neyes on him he guessed the answer and said: \"We'll take a look round,\nshall we?\"", "Harney might, after all, free himself and come back to her. It was a\npossibility which had never occurred to her during the dreadful hours\nafter she had received his letter; only when the decisive step she had", "The morning hours of the next day dragged by without incident. Charity\nhad imagined that, in some way or other, she would learn whether Harney", "than Harney's endearments were the words that were a part of them. She\nhad always thought of love as something confused and furtive, and he\nmade it as bright and open as the summer air.", "Charity thought she detected a look of constraint in Harney's eyes. She\nfancied he did not want to be alone with her; and with a sudden pang she", "The business on which Harney had come was authentic; Charity had seen\nthe letter from a New York publisher commissioning him to make a study\nof the eighteenth century houses in the less familiar districts of New" ] ]

[ "What did Mr. Royall do after the death of his wife?", "What does Mr. Royall tell Harney when he notices how close Harney and Charity become?", "On a trip to Nettleton, what present does Harney buy for Charity?", "When Harney and Charity run into a drunk Mr. Royall, who is with him?", "During which event does Charity see Harney with Annabel?", "After seeing Harney and Annabel, where does Charity go and unexpectedly run into Mr Royall?", "What secret does Ally accidentally share with Charity about Harney?", "Which suspicion does Dr. Merkel confirm?", "Who does Charity marry in the end?", "How does Charity feel about her life in North Dormer at first?", "What does Charity do for a living?", "What does Mr.Royall do when he notices Charity getting closer to Harney?", "Where did Harney go after leaving Mr.Royall's home?", "Who was Mr.Rroyall accompanied by when Charity and Haney ran into him after the trip to Nettleton?", "When did Harney and Charity kiss for the first time?", "What did Charity tell Harney to do on the letter she wrote him when he left?", "Why does Charity go to Dr.Merkle?", "What big news did Dr.Merkle confirm to Charity?", "Why did Mr.Royall marry Charity?", "What did Charity do for her job?", "Why did Mr. Royall want Harney to leave his home?", "Why did Mr. Royall marry Chartiy?", "How did Chartiy reveal to Harney that she had married Mr. Royall?", "What did Charity do when Mr. Royall gave her money for clothes?", "How did Charity pay for her doctor visit?", "What did Charity learn while at the doctor?", "What happened to Charity's mother?", "What did Charity realize once on the mountain?", "Who was Harney engaged to?" ]

[ [ "Tried to force himself into Charity's bedroom and asks her to marry him.", "Ask Charity to marry him." ], [ "Mr. Royall tells Harney he may no longer board with him.", "He can no longer live in his house." ], [ "A brooch", "A brooch." ], [ "Prostitutes.", "Prostitutes." ], [ "Old Home Week", "A charity during Old Home's Week" ], [ "An abandoned house", "An abandoned house." ], [ "That he is engaged to Annabel", "She tells Charity Harney left with Annabel, whom he is engaged to be married." ], [ "That Charity is pregnant.", "Ruth is pregnant." ], [ "Mr. Royall", "Mr. Royall." ], [ "She feels bored.", "Charity is bored with life in North Dormer at first." ], [ "She is a librarian.", "A librarian." ], [ "He tells Harney that he can no longer with with him.", "Get upset." ], [ "To a nearby village.", "A nearby village." ], [ "He was accompanied by prostitutes.", "Several prostitutes." ], [ "On the trip to Nettleton.", "On a trip to Nettleton" ], [ "She told him to marry Annabel.", "To marry Annabel." ], [ "She wasn't feeling well.", "She has been feeling unwell." ], [ "That she was pregnant.", "Charity is pregnant." ], [ "To protect her because he knew she was pregnant.", "To protect her" ], [ "Librarian.", "Charity was a librarian and ward of Mr. Royall." ], [ "He noticed a closeness of him and Charity.", "Mr. Royall notices his and Charity's growing closeness." ], [ "To protect her because she was pregnant.", "He married her to protect her." ], [ "In a letter.", "She reveals that information to Harney in a letter." ], [ "Went to the doctor to get her brooch back.", "She takes it to Dr. Merkle to get her brooch back." ], [ "With the brooch that Harney gave her.", "She gave the doctor her brooch" ], [ "That she was pregnant.", "She is pregnant" ], [ "She died.", "Charity's mother dies." ], [ "That she did not want to raise her child in poverty.", "She sees the adject poverty and resolves not to raise her child there." ], [ "Annabel.", "Annabel Balch." ] ]

[ [ "Cody: (Marahute's screech is heard at a distance) Marahute?! It can't be!\n\nBianca: Oh Cody, Cody wait!!", "Cody: (sees Marahute) She's alive!!\n\nBianca: Cody please!! You MUST listen!!", "at it, plays with it, and puts it back. Marahute picks it up and gives\n it to Cody and he gives her a hug.)", "Cody on Marahute and stand in awe; Marahute files over several rock\n formations; the fly up above the clouds; Cody looks at his reflection in\n Marahute's eye.)", "(Cody and Marahute look at each other; Cody falls over as he attempts to\n look at Marahute upside down. Marahute moves some grass and feathers to\n show Cody her eggs)", "(Marahute and Cody are now on the ground; Marahute takes off and Cody\n runs around making flying noises)", "(Cody cuts two ropes. Cody cuts the last rope to free Marahute.)\n\n You're free!!", "Marahute nose dives towards the ground and a stream; she holds Cody just\n high enough above the water so that he is water skiing; they approach a", "(Cody gets out his knife; Marahute sees the glint of the knife and\n begins to struggle and scream)\n\n No wait! I'm here to help you... easy!... easy!", "(As Marahute spreads her wings to fly, she knocks Cody off the cliff.)\n\n Aaaiigh!", "(Cody falls; Marahute dives down to catch him; she catches him just\n before he hits the ground; they begin to fly around; the animals see", "(Cody reaches the top and sees the eagle.)\n\nCody: Marahute!", "(Cody looks at the eagle; he approaches her slowly; she hears him and\n wakes up; Marahute screeches and struggles to get free.)", "(to Faloo) Who's caught this time?\n\nFaloo: You don't know her, Cody, her name is Marahute, the great golden\n eagle.", "(Cody give Marahute an affectionate stroke; as they fix the covering on\n the eggs, the wind picks up and blows a feather in Cody's face; he looks", "Cody: (looks up and sees McLeach's truck) (begins to yell and plead)\n Marahute, NO!!! Turn back!! Turn back!! Stay away!! It's a\n trap!!", "put Cody right in front of her, on her beak (pushing him from behind);\n they go over the egde of a waterfall; Marahute catches Cody again; this", "(Cody mocks an eagle screech; he laughs as Marahute tickles him; they\n cruise above the clouds which eventually open up to show the ground;", "(reassuring) Calm down, calm down. I'm not gonna hurt you. (Cody\n strokes Marahute on the head) That's a girl.\n Stay still... it's o.k.", "Cody: Come on Marahute, let's all go home.\n\n (Marhute flies higher and the four of them cruise off into the clouds\n and the moon.)" ], [ "(Cody continues to run through the forest with all of the animals\n following him.)\n\n (Cody arrives at the tree where Faloo has been sounding the call.)", "(Cody falls; Marahute dives down to catch him; she catches him just\n before he hits the ground; they begin to fly around; the animals see", "Cody: Help!! Help!!\n\n (Bernard swims for shore; he ties Cody's rope around a tree limb.)", "(scene: Cody runs toward the forest; Faloo's call is heard in the\n background. He runs past some rock formations and enters the\n woods. Birds follow him; and squak at him.)", "Cody: (to the birds) I know, I'm coming.\n\n (Cody jumps over a hollow log)\n Hustle up Nelson, Faloo's sounding the call!", "Cody: (from inside McLeach's cage) Help! Help!", "Cody: (mocks eagle screech) (looking around; sees Bernard clinging to\n the rope.) It's o.k. Come on.... (to Bernard) Thanks little\n mate.", "(Cody hops onto Faloo and they travel through the forest and along a\n stream/river; more scenes of animals and the forest.)\n\n (They arrive at the cliff.)", "(Cody breaks free from McLeach by slipping out of his backpack.)\n\nCody: NO!!\n\nMcLeach: Joanna, sick 'em!", "Cody: (pounding on the cage) Lemme outta here!! Lemme go!! You can't\n do this!! Help! Help! Help!", "Cody: I'll get her loose.\n\nFaloo: Right-oh, hop on, no time to lose.", "(Cody slides through a log, picks up a stick, and beats on the roof of\n the wombats home.)\n C'mon little wombats, hurry!", "Cody: Where is she?\n\nFaloo: She's caught, high on a cliff in a poacher's trap. You're the\n only one who can reach her.", "(scene: just inside the forest. A wanted poster of McLeach is posted on a\n tree; A mouse is tied up with a bell attached to it that rings as\n it struggles; Cody hears the bell and goes over to the mouse.)", "Cody: No wait, he's right. If we could get these long pieces of\n wood.... (Cody strains to reach some long pieces of wood through\n his cage)", "(Cody tries to climb out; he gets halfway up, grabs a tree root; it\n breaks and he falls; the baitmouse begins to lower a vine down to help\n Cody)", "(the rope breaks and Cody falls into the water)\n\nBianca: Bernard the boy!!\n\n (Bernard dives into the water to get Cody; they both surface.)", "Cody: Maybe we could.... (a bird in a \"tire cage\" helps knock the wood\n so Cody can reach it.) that's right just a little more... there,", "Cody: Help I'm slipping!\n\nBianca: Cody, don't move!!\n\n (Jake throws a rope and lassos Cody's foot.)", "(pointing up towards the cliff) She's up on top of that ridge. Be\n careful lit'l friend.\n\n(scene: various \"time lapse\" views of Cody climbing up the cliff.)" ], [ "(scene: Bernard on the trail of McLeach's truck.)", "Bernard: Hold it, not, not yet!! (Bernard gets launched into a patch of\n briars.)\n\n(scene: McLeach's hideout)", "(McLeach looks inside the truck cab.) Hey, what happened to them\n keys? (fishing around the floor; Bernard is hiding underneath the", "(another shot goes off; this time, it hits the rope and severs it most\n of the way; Bernard kicks Joanna; runs for McLeach.)\n\n Thhpppt.", "(Bernard is seen running along the trail of McLeach's truck; after\n turning a \"corner\" he realizes just how far he has to go; he sighs in\n disbelief).", "(Bernard pushes McLeach over with one finger) (screams and falls into\n the water)", "(a rumble is heard and the ground begins to shake.)\n\nBaitmouse: Uh-oh.\n\n (view of McLeach's vehicle trampling through the forest disturbing\n everything)", "Bernard: That's right, Mc.. McLeach is on the cliff.", "(Bernard runs up McLeach just as he takes aim again; Joanna follows and\n tackles McLeach.)\n\nMcLeach: Hey, get off me!! Joanna! What are ya.....", "(scene: McLeach driving his vehicle with Cody in the cage in the\n Australian outback.)", "(scene: McLeach's vehicle)\n\nMcLeach: Well Joanna, it looks like lady luck has finally decided to smile\n on us. Everything's going our way. (laughs to himself).", "McLeach: (throwing Cody out) Get out of here!! Go on! Git!!\n\nBianca: Look Bernard, it's the boy!", "Cody: (looks up and sees McLeach's truck) (begins to yell and plead)\n Marahute, NO!!! Turn back!! Turn back!! Stay away!! It's a\n trap!!", "McLeach: Blasted!!\n\nBernard: Oh my gosh! I hope I know what I'm doing!", "(Bernard is having obvious trouble with his bug; he hits a dandelion,\n attempts to sneeze, but goes underwater instead.)\n\n(scene: the hospital wagon)", "McLeach: (grumbles)... Meddlin' brat. Gonna get rid of him for good.\n\n (McLeach tries to shake Cody off.)", "(scene: McLeach's truck; the radar has a blip on the screen.)\n\nMcLeach: (laughs) Got one!!", "(scene: just inside the forest. A wanted poster of McLeach is posted on a\n tree; A mouse is tied up with a bell attached to it that rings as\n it struggles; Cody hears the bell and goes over to the mouse.)", "What the blazes going on here? (McLeach looks down over truck;\n sees a razorback running out of the truck cab).", "(McLeach pulls out his truck with himself and Joanna in the cab.)\n\nMcLeach: (laughs) I didn't make it all the way through third grade for\n nothing." ], [ "don't!! (Joanna laughs) (McLeach laughs) (McLeach throws Cody's\n backpack into the river) My poor baby boy got eaten by the", "(Cody breaks free from McLeach by slipping out of his backpack.)\n\nCody: NO!!\n\nMcLeach: Joanna, sick 'em!", "she tries to get out of his view; as she does this, McLeach spots the\n feather in Cody's pack; he picks up Cody by his backpack.)", "McLeach: (grumbles)... Meddlin' brat. Gonna get rid of him for good.\n\n (McLeach tries to shake Cody off.)", "McLeach: (throwing Cody out) Get out of here!! Go on! Git!!\n\nBianca: Look Bernard, it's the boy!", "McLeach: (laughing/singing) Now, this is MY idea of FUN. (begins to play\n with the hoist controls; dunks Cody in the water and pulls him", "backpack was found near Crocodile Falls, and local rangers believe\n he was yet another victim of crocodile attack.\n (scene transitions to McLeach's hideout)", "McLeach: (throwing Cody's knife at Cody's feet) It's all over boy... your\n bird's dead. Someone shot her... shot her, right outta the sky,", "McLeach: (Cody has been tied up to a hoist and hook) Are ya ready boy?\n It's time you learned how to fish for crocs! (laughs) They like it", "(The mouse ducks back into the backpack; Joanna jumps on Cody, knocking\n McLeach into the hole; his gun goes off; Joanna begins to attach Cody's\n backpack.)", "(scene: McLeach's animal prison; Mcleach throws Cody into a cage.)", "(scene: McLeach driving his vehicle with Cody in the cage in the\n Australian outback.)", "(Bernard pushes McLeach over with one finger) (screams and falls into\n the water)", "Cody: You won't have any money after the rangers get through with you.\n\nMcLeach: (growls in anger) (he kicks over the kettle of water in the fire).", "McLeach: (unseen, approaching the trap) Well Joanna, what'd we get today?\n A dingo, a fat ol' razorback, or a nice big.... (he sees Cody)\n boy?!?", "Cody: (looks up and sees McLeach's truck) (begins to yell and plead)\n Marahute, NO!!! Turn back!! Turn back!! Stay away!! It's a\n trap!!", "(The vine is severed as McLeach's truck comes to a screeching halt; Cody\n falls; the truck opens; Joanna leans over pit and growls; Cody yells)", "headed for the waterfall and tries to swim back; Joanna waves\n goodbye) NOO!!!! (McLeach goes over the edge of the waterfall.)", "McLeach: (hitting the crocodiles) Get back, get back, go on, get away from\n me, get away from me.... (the crocs retreat) (laughs) HA! I", "(Joanna continues to attack the backpack; McLeach picks up his gun; he\n points it at Joanna; looking through gun scope McLeach aims at Joanna," ], [ "(the scene changes to outside and we hear the gun fire.)\n\nWilbur: Ow, ow, oh. ooo......", "(A waiter cricket comes along and picks up the soup; the scene changes\n to the chandelier over the restaurant and we see a mini-restaurant above\n the real one.)", "(The telegraph mouse begins typing the message in morse code; camera\n pans up to roof, where other mice aim the antenna; message is seen being\n relayed to the Marshall Islands)", "(Bernard is having obvious trouble with his bug; he hits a dandelion,\n attempts to sneeze, but goes underwater instead.)\n\n(scene: the hospital wagon)", "McLeach: (sharpening a knife) Well boy, let's see if we can do something to\n refresh that rusty old memory of yours. Is she on Satan's Ridge?", "spreads its wings to fly, we are whisked along the Australian\n outback and prairie by Ayers rock and eventually slow down as we\n approach Cody's house.)", "backpack was found near Crocodile Falls, and local rangers believe\n he was yet another victim of crocodile attack.\n (scene transitions to McLeach's hideout)", "neck like he was slashing a throat). He, he he. You just tell me\n where momma and those little eggs are.", "Doctor: Aim!!\n\nWilbur: (crying) please don't do this to me......\n\nDoctor: FIRE!!", "Announcer: (heard from inside of plane) Ladies and gentlemen, Flight 12 is\n now approaching Sydney airport, make sure you pick up your parcels\n and packages and enjoy your stay in Australia.", "Red: The keys Frank, give us the keys!! Frank, over here!! Give us\n the keys!! (they disappear behind some junk; Frank emerges riding", "Announcer: ... those particular areas, in other news, authorities in Mugwomp\n Flats have called off the search for the missing boy. His", "Bianca: (reading message) Oh the poor boy. This is dreadful. Now where\n is Bernard I must tell him at once!\n\nFrancois: Allow me madame, I will tell him immediately.", "might hear ya. Now sit down and relax, enjoy the view. (laughs)\n Nothin' but abandoned opal mines as far as the eye can see. And", "(Cody runs through forest with Joanna close behind; he enters an open\n area where we see a waterfall and water; Cody stops right at the edge of", "THE END", "it, jumps out of bed, and runs to the window. He puts on his\n shirt and grabs his knife.)", "Doctor: (consoling) Now, now, my dear. Keep a stiff upper lip. They all\n come in with a whimper, and leave with a grin. Off with you now.", "(Cody hops onto Faloo and they travel through the forest and along a\n stream/river; more scenes of animals and the forest.)\n\n (They arrive at the cliff.)", "Wilbur: Oh no, what now? (in the background the heart monitor begins to\n beep faster and faster throughout this part)\n\nDoctor: Spinal stretch-u-lator." ], [ "Bianca: Oh Mister Jake, will you guide us?", "Jake: I don't know where he's going, but he can't let him get away.\n Hurry up you two!! (he jumps onto the truck.)", "Bianca: It's alright Bernard, Jake has everything under control.\n\nBernard: (disappointed and sarcastic) Yeah, I noticed.", "Jake: At your service! (he bows and shoves the map behind him into\n Bernard's gut.) Here better take my arm miss it's gonna be a", "Jake: LOOK OUT!!! (Jake bursts through the two of them; Bianca screams)\n No mice for you Twister not today!! (Jake proceeds to lasso the", "Jake) Hold this for me will ya pal? (Wilbur \"hands\" him the bra\n which launches Jake backwards.)", "Bernard: Jake's been gone... ow.... been gone a long time... maybe I should\n go, oh! Maybe I should go look for him.", "Bernard: (whispering) Why is he letting him go??\n\nJake: It's gotta be a trick.", "Bianca: Oh don't you worry about Jake, he can handle himself.\n\nBernard: Yeah, I... I noticed.", "(scene: Mugwomp flats \"control tower\". Jake and Sparky are playing\n checkers.)", "Jake: It don't look good Miss B. I can't see any way out of this one.\n\nBianca: (to the air) Oh Bernard, please hurry!", "Jake: (assertively) I've been looking all over for you. Now look... we\n got a long way to go, and you're gonna take us there, and you're", "Jake: Hmmm... wise fly. (Sparky laughs)", "Jake: (aside to Sparky) Crazy Yanks. They think they can do any fool\n thing, without regard for.....", "Jake: Hop on Miss B.!!\n\n (they fly towards Cody)\n\nCody: Help! Help! (Cody goes over the waterfall with Bernard)", "Jake: Well Sparky, you've had this comin' for a long time. And now,\n you're gonna get it. Ha!", "Jake: Hold tight you two, we're going for a ride!\n\n (Bernard misses the rope)\n\nBernard: Bianca!!", "Jake: And McLeach.", "Jake: Bloke oughtta have his wings clipped.\n\nWilbur: You captain thanks you for flying Albatross Airlines.....", "Jake: (he bumps Bernard out of the way) (whispering to Bianca) You'll\n find it's tough to keep secrets in the outback miss. (outloud)" ], [ "Bernard: (rushed) Miss Bianca, before anything else happens... (sighs; gets\n out the ring and gets on one knee).... will you marry me?", "Bianca I.... (he gets down on one knee) I would be... (he takes\n her hand) most honored... if.. if...", "Bianca: Oh it doesn't matter, I think it's a marvelous idea.\n\nBernard: (shocked) You do? I mean, you... you really want to?", "Bianca: To my dear Bernard, and our wonderful partnership.\n\nBernard: (nervous and fumbling) Ah... yeah.. yeah.. ah.. won... wonderful.", "Bernard: (he walks over to Bianca) Well, it's uh.... it's like this... Miss", "Francois: (French accent) Pardonnez moi, mademoiselle Bianca, I have\n important news. (He hands her a piece of paper.)", "Bianca: (shocked) Bernard! Of COURSE, I will! (hugs Bernard.)\n\nJake: Well done mate. (Jake gives Bernard the thumbs up sign.)", "Bianca: (hugging Bernard) Oh Bernard you are magnificent, you are\n absolutely the hero of the day.", "Bernard: (practicing) Miss Bianca, will you marry me? Miss Bianca, will\n you please marry me?", "Bianca: Heavens no! We must act immediately, tonight! (she leaves the\n restaurant with Bernard close behind)", "Bianca: I am just sure he'll be back in no time.\n\n (Bernard reaches into his pocket and pulls out the ring to make sure\n it's still there.)", "Bianca: Yes darling?", "Bernard: Tonight? But, but, ah.. wait! Uh, Bianca, this is so sudden, I\n mean, don't you at least need a gown or something?", "Bianca: (reading message) Oh the poor boy. This is dreadful. Now where\n is Bernard I must tell him at once!\n\nFrancois: Allow me madame, I will tell him immediately.", "Bernard: I... Miss Bianca would you.... would you... (the ring falls\n through a hole in Bernard's pocket onto the floor) would you\n excuse me for a minute?", "Bianca: He was kidnapped.", "Bianca: Yes? What is it?", "Bianca: Oh look Bernard! (reading the sign) Under new management, see\n Wilbur. C'mon darling, let's get a move out!", "Bianca: I wasn't bluffing. You don't know Bernard like I do. He'll never\n give up. (looking back out over the trail)", "Bianca: You've been very quiet this evening, is there something on your\n mind?\n\nBernard: Well, ummm... actually... I, ah... I was wondering.... (he reaches\n into his pocket.)" ], [ "(Joanna goes down to eat the eggs; she searches the nest for them; finds\n the eggs; takes a bite of one; it is rock hard; she tries another with", "(to Joanna) Did you take one of my eggs? Open your mouth. These\n are NOT Joanna eggs. Let's see ummm... the boy's got the eagle...", "(Joanna opens the tool box, takes an egg and puts it in her mouth;\n throughout this scene, Joanna steals McLeach's eggs as he is talking out", "abruptly).... (whispers) the eagle's eggs! That's it! That's the\n boy's weak spot! (Joanna whimpers in corner)", "(screaming from on top of cliff) JOANNA!! You hurry up and eat\n those eggs and get your tail up here! MOVE IT!!", "peabrain. (opens case, realizes all the eggs are gone) (calmy at\n first, then more angry) (Joanna runs away and hides) Joanna.... I", "McLeach: (aside to Joanna, but loud enough for Cody to hear) Too bad about\n those eggs, eh Joanna? They'll never survive without their", "Bernard: (to the eggs) O.k. you guys, she fell for it. Looks like the\n coast is clear.", "neck like he was slashing a throat). He, he he. You just tell me\n where momma and those little eggs are.", "(Joanna moves the \"eggs\" to the edge; knocks them over the cliff with\n her tail; she yanks on the rope for McLeach to bring he up; as she does,", "Can't think on an empty stomach... gotta have protein... gotta\n have.... eggs. (Joanna perks up at the word \"eggs\").", "Joanna! Joanna!! You stupid rodent! Get off me! You idiot!\n Get off of me! No! No! (begins to beat away crocodiles with his\n gun.)", "(the sound of eggs breaking open and chirping is heard) (to the\n eggs) Aww no... stay in those eggs! That's a direct order! (in a", "Bianca: Bird?\n\nBernard: Eggs?\n\nJake: Shh! Listen.", "(announcing) I got what I want. Now, what does Joanna want? Does\n she wanna make sure that bird... STAYS rare? (egging her on) How", "(Joanna comes in, discovers keys, destroys pole, returns keys to hook,\n and leaves through the animal door.)", "Joanna? (McLeach climbs down) Did you know, there was a razorback\n in my truck? (she shakes her head yes at first) Did ya? Did ya??", "(Cody and Marahute look at each other; Cody falls over as he attempts to\n look at Marahute upside down. Marahute moves some grass and feathers to\n show Cody her eggs)", "(to Joanna) Let go!! Hey get off of me!!", "Bernard: Wilbur am I glad to see you! Give me a hand with these eggs will\n ya? (rolling the eggs out of hiding.)" ], [ "(Joanna goes down to eat the eggs; she searches the nest for them; finds\n the eggs; takes a bite of one; it is rock hard; she tries another with", "(Joanna opens the tool box, takes an egg and puts it in her mouth;\n throughout this scene, Joanna steals McLeach's eggs as he is talking out", "abruptly).... (whispers) the eagle's eggs! That's it! That's the\n boy's weak spot! (Joanna whimpers in corner)", "(to Joanna) Did you take one of my eggs? Open your mouth. These\n are NOT Joanna eggs. Let's see ummm... the boy's got the eagle...", "peabrain. (opens case, realizes all the eggs are gone) (calmy at\n first, then more angry) (Joanna runs away and hides) Joanna.... I", "Bernard: (to the eggs) O.k. you guys, she fell for it. Looks like the\n coast is clear.", "(Joanna moves the \"eggs\" to the edge; knocks them over the cliff with\n her tail; she yanks on the rope for McLeach to bring he up; as she does,", "neck like he was slashing a throat). He, he he. You just tell me\n where momma and those little eggs are.", "McLeach: (aside to Joanna, but loud enough for Cody to hear) Too bad about\n those eggs, eh Joanna? They'll never survive without their", "Bernard: Wilbur am I glad to see you! Give me a hand with these eggs will\n ya? (rolling the eggs out of hiding.)", "(Cody arrives at the nest; sees the eggs; checks them out; he covers\n them up, and places one of the golden feathers on them.)\n\nBianca: Cody!", "(screaming from on top of cliff) JOANNA!! You hurry up and eat\n those eggs and get your tail up here! MOVE IT!!", "(Cody and Marahute look at each other; Cody falls over as he attempts to\n look at Marahute upside down. Marahute moves some grass and feathers to\n show Cody her eggs)", "(Joanna comes in, discovers keys, destroys pole, returns keys to hook,\n and leaves through the animal door.)", "(the sound of eggs breaking open and chirping is heard) (to the\n eggs) Aww no... stay in those eggs! That's a direct order! (in a", "(Joanna continues to chase Bernard; Bernard tricks Joanna into biting\n her tail; he hides in a log; Bianca and Jake continue to work the keys\n up the cage; a gunshot is heard; Marahute screeches.)", "Wilbur: Huh? What?!\n\nBernard: Now listen! (Bernard points to the eggs) There's some chicks\n right here that need your help.", "Joanna? (McLeach climbs down) Did you know, there was a razorback\n in my truck? (she shakes her head yes at first) Did ya? Did ya??", "Wilbur: Really? (Bernard sits on an egg, and pats it.) Oh no.... wait a\n minute... hold it.... I know what you're thinkin' and you're", "mother. Oh well, survival of the fittest, I guess. (watches Cody\n run off) (whispers) Bingo! (laughs) (Joanna also laughs)" ], [ "(scene: McLeach driving his vehicle with Cody in the cage in the\n Australian outback.)", "McLeach: (unseen, approaching the trap) Well Joanna, what'd we get today?\n A dingo, a fat ol' razorback, or a nice big.... (he sees Cody)\n boy?!?", "(Cody slides through a log, picks up a stick, and beats on the roof of\n the wombats home.)\n C'mon little wombats, hurry!", "Cody: Help!! Help!!\n\n (Bernard swims for shore; he ties Cody's rope around a tree limb.)", "(Cody breaks free from McLeach by slipping out of his backpack.)\n\nCody: NO!!\n\nMcLeach: Joanna, sick 'em!", "Cody: Where is she?\n\nFaloo: She's caught, high on a cliff in a poacher's trap. You're the\n only one who can reach her.", "Cody: (mocks eagle screech) (looking around; sees Bernard clinging to\n the rope.) It's o.k. Come on.... (to Bernard) Thanks little\n mate.", "spreads its wings to fly, we are whisked along the Australian\n outback and prairie by Ayers rock and eventually slow down as we\n approach Cody's house.)", "Cody: (from inside McLeach's cage) Help! Help!", "(scene: just inside the forest. A wanted poster of McLeach is posted on a\n tree; A mouse is tied up with a bell attached to it that rings as\n it struggles; Cody hears the bell and goes over to the mouse.)", "Cody: (pounding on the cage) Lemme outta here!! Lemme go!! You can't\n do this!! Help! Help! Help!", "that Cody can grab it) Well c'mon, grab ahold. We'll get you out\n of this little ol' lizard hole and you can just run along home.", "(Cody falls; Marahute dives down to catch him; she catches him just\n before he hits the ground; they begin to fly around; the animals see", "(scene: Cody runs toward the forest; Faloo's call is heard in the\n background. He runs past some rock formations and enters the\n woods. Birds follow him; and squak at him.)", "Jake: This is how we get around in the outback Miss B. (shouting) The\n only way to travel, eh Berno?", "Cody: I'll get her loose.\n\nFaloo: Right-oh, hop on, no time to lose.", "(Cody hops onto Faloo and they travel through the forest and along a\n stream/river; more scenes of animals and the forest.)\n\n (They arrive at the cliff.)", "(Cody continues to run through the forest with all of the animals\n following him.)\n\n (Cody arrives at the tree where Faloo has been sounding the call.)", "Cody: (humbly) It was a present.\n\nMcLeach: (coddling) Oh, that's real nice. Who gave it to ya?", "(pointing up towards the cliff) She's up on top of that ridge. Be\n careful lit'l friend.\n\n(scene: various \"time lapse\" views of Cody climbing up the cliff.)" ], [ "backpack was found near Crocodile Falls, and local rangers believe\n he was yet another victim of crocodile attack.\n (scene transitions to McLeach's hideout)", "McLeach: (unseen, approaching the trap) Well Joanna, what'd we get today?\n A dingo, a fat ol' razorback, or a nice big.... (he sees Cody)\n boy?!?", "(scene: McLeach driving his vehicle with Cody in the cage in the\n Australian outback.)", "whooped ya! I whooped ya all! You'll think twice before messin'\n with Percival C. McLeach!! (laughs) Woah! (realizes that he is", "McLeach: I got her!!! I got her!!! Did you see that? (laughs) Perfect\n shot!! Per-fect shot! She's mine!! (laughs) All mine!!!!", "McLeach: (Cody has been tied up to a hoist and hook) Are ya ready boy?\n It's time you learned how to fish for crocs! (laughs) They like it", "McLeach: (on speaker) Breaker, breaker, little mate. I forgot to tell ya\n around here, you need to be QUIET!! (Cody trips) Or the rangers", "Cody: You won't have any money after the rangers get through with you.\n\nMcLeach: (growls in anger) (he kicks over the kettle of water in the fire).", "McLeach: You're comin' with me boy.\n\nCody: My mom'll call the rangers!", "McLeach: (hitting the crocodiles) Get back, get back, go on, get away from\n me, get away from me.... (the crocs retreat) (laughs) HA! I", "McLeach: (throwing Cody's knife at Cody's feet) It's all over boy... your\n bird's dead. Someone shot her... shot her, right outta the sky,", "McLeach: That's no secret boy, you see, (menacing) I already got the\n father. (makes a cutting sound and draws a feather across his", "Percival McLeach (George C. Scott)\n Minor characters\n Joanna (Frank Welker)\n Frank (Wayne Robson)", "(a rumble is heard and the ground begins to shake.)\n\nBaitmouse: Uh-oh.\n\n (view of McLeach's vehicle trampling through the forest disturbing\n everything)", "McLeach: I'm gonna kill her. (climbing out of the hole) I'm gonna kill\n that dumb, slimey, egg-sucking salamander.", "McLeach: (sarcastically) Oh no.... not the rangers, what'll I do??\n What'll I do??! Don't let your mom call the rangers!! Please", "(scene: just inside the forest. A wanted poster of McLeach is posted on a\n tree; A mouse is tied up with a bell attached to it that rings as\n it struggles; Cody hears the bell and goes over to the mouse.)", "(Cody breaks free from McLeach by slipping out of his backpack.)\n\nCody: NO!!\n\nMcLeach: Joanna, sick 'em!", "McLeach: (grumbles)... Meddlin' brat. Gonna get rid of him for good.\n\n (McLeach tries to shake Cody off.)", "(scene: the rangers are at Crocodile Falls searching the water; then we\n see Bernard, Miss Bianca and Jake on a wombat in a tree getting\n ready to jump.)" ], [ "McLeach: Don't you realize a bird that size is worth a fortune?? (in\n Cody's face) I'll split the money with you fifty-fifty, you can't\n get a better offer than that boy.", "McLeach: (grumbles)... Meddlin' brat. Gonna get rid of him for good.\n\n (McLeach tries to shake Cody off.)", "McLeach: (throwing Cody's knife at Cody's feet) It's all over boy... your\n bird's dead. Someone shot her... shot her, right outta the sky,", "McLeach: (aside to Joanna, but loud enough for Cody to hear) Too bad about\n those eggs, eh Joanna? They'll never survive without their", "she tries to get out of his view; as she does this, McLeach spots the\n feather in Cody's pack; he picks up Cody by his backpack.)", "Cody: (looks up and sees McLeach's truck) (begins to yell and plead)\n Marahute, NO!!! Turn back!! Turn back!! Stay away!! It's a\n trap!!", "McLeach: (Cody has been tied up to a hoist and hook) Are ya ready boy?\n It's time you learned how to fish for crocs! (laughs) They like it", "McLeach: (unseen, approaching the trap) Well Joanna, what'd we get today?\n A dingo, a fat ol' razorback, or a nice big.... (he sees Cody)\n boy?!?", "(scene: McLeach driving his vehicle with Cody in the cage in the\n Australian outback.)", "McLeach: I got her!!! I got her!!! Did you see that? (laughs) Perfect\n shot!! Per-fect shot! She's mine!! (laughs) All mine!!!!", "McLeach: That's no secret boy, you see, (menacing) I already got the\n father. (makes a cutting sound and draws a feather across his", "Cody: (from inside McLeach's cage) Help! Help!", "McLeach: (laughing/singing) Now, this is MY idea of FUN. (begins to play\n with the hoist controls; dunks Cody in the water and pulls him", "McLeach: Hmmm.... good girl Joanna. (Joanna looks up and grins happily.)\n\n (to Cody) Say where'd you get this pretty feather boy?", "McLeach: I'm gonna kill her. (climbing out of the hole) I'm gonna kill\n that dumb, slimey, egg-sucking salamander.", "(Cody breaks free from McLeach by slipping out of his backpack.)\n\nCody: NO!!\n\nMcLeach: Joanna, sick 'em!", "(scene: just inside the forest. A wanted poster of McLeach is posted on a\n tree; A mouse is tied up with a bell attached to it that rings as\n it struggles; Cody hears the bell and goes over to the mouse.)", "McLeach: Trap?! Where'd you get an idea like that?? Boy I think you've\n been down in that hole for too long. (he holds his gun out so", "Cody: (humbly) It was a present.\n\nMcLeach: (coddling) Oh, that's real nice. Who gave it to ya?", "Cody: You won't have any money after the rangers get through with you.\n\nMcLeach: (growls in anger) (he kicks over the kettle of water in the fire)." ], [ "(The telegraph mouse begins typing the message in morse code; camera\n pans up to roof, where other mice aim the antenna; message is seen being\n relayed to the Marshall Islands)", "(Message then journeys across the ocean to Los Angeles, then to Denver,\n St. Louis, Chicago, Washington D. C. and then New York.)", "(scene: It is winter in New York; through the clouds, the camera descends\n upon the UN building; a mouse is listening to the transmission at\n the RAS headquarters in New York)", "(The baitmouse sees Cody in the cage; he runs to the local RAS telegraph\n office; it begins to rain and wind is blowing; he bursts through the\n door as the telegraph mouse is eating.)", "(Message is seen being relayed to Hawaii. Screens fill with RAS RAS\n RAS. Mice are watching through binoculars in the back. The send a", "Bianca: (reading message) Oh the poor boy. This is dreadful. Now where\n is Bernard I must tell him at once!\n\nFrancois: Allow me madame, I will tell him immediately.", "(In a wrecked plane on the Marshall Islands, a mouse listens to the\n morse code message; he recognizes the distress call, activates the\n controls on the plane, and relays message to Hawaii.)", "message. \"RAS... RAS... ATTENTION BOY KIDNAPPED IN AUSTRALIA IMMEDIATE\n ACTION REQUIRED\" They type \"Relay to New York\".)", "Wilbur: (over radio) Mugwomp tower, Mugwomp tower, this is Albatross One\n Three requesting permission to land. Over?", "Bianca: No, it's urgent that we leave immediately!\n\nWilbur: (disappointed) Nothing? Nothing at all?", "Bianca: Heavens no! We must act immediately, tonight! (she leaves the\n restaurant with Bernard close behind)", "Francois: (French accent) Pardonnez moi, mademoiselle Bianca, I have\n important news. (He hands her a piece of paper.)", "Red: The keys Frank, give us the keys!! Frank, over here!! Give us\n the keys!! (they disappear behind some junk; Frank emerges riding", "(Bernard is having obvious trouble with his bug; he hits a dandelion,\n attempts to sneeze, but goes underwater instead.)\n\n(scene: the hospital wagon)", "(Wilbur screams and breaks free; the nursemice set off an alarm and sign\n that says \"Patient Escaping.\")\n\nDoctor: Mr. Albatross we haven't operated yet!", "Bianca: Yes Francois? What is it?\n\nFrancois: You and Bernard have been asked to accept a dangerous mission to\n Australia.", "Wilbur: Ugh... I feel like I got my head in a vise. (zoom out to see\n Wilbur's head in a vise) Unh...\n\nDoctor: Are we ready nurse?", "neck like he was slashing a throat). He, he he. You just tell me\n where momma and those little eggs are.", "Bianca: Oh look Bernard! (reading the sign) Under new management, see\n Wilbur. C'mon darling, let's get a move out!", "Wilbur: Oh no, what now? (in the background the heart monitor begins to\n beep faster and faster throughout this part)\n\nDoctor: Spinal stretch-u-lator." ], [ "Bernard: (he walks over to Bianca) Well, it's uh.... it's like this... Miss", "Bianca: (hugging Bernard) Oh Bernard you are magnificent, you are\n absolutely the hero of the day.", "Bianca: (reading message) Oh the poor boy. This is dreadful. Now where\n is Bernard I must tell him at once!\n\nFrancois: Allow me madame, I will tell him immediately.", "Bianca: To my dear Bernard, and our wonderful partnership.\n\nBernard: (nervous and fumbling) Ah... yeah.. yeah.. ah.. won... wonderful.", "Bianca: Heavens no! We must act immediately, tonight! (she leaves the\n restaurant with Bernard close behind)", "Bianca: Oh look Bernard! (reading the sign) Under new management, see\n Wilbur. C'mon darling, let's get a move out!", "Bernard: Look out!! Excuse me!\n\nBianca: Bernard DO something! He can't hear us!", "Bianca: I wasn't bluffing. You don't know Bernard like I do. He'll never\n give up. (looking back out over the trail)", "Bianca: It's alright Bernard, Jake has everything under control.\n\nBernard: (disappointed and sarcastic) Yeah, I noticed.", "Bianca: Oh it doesn't matter, I think it's a marvelous idea.\n\nBernard: (shocked) You do? I mean, you... you really want to?", "Bianca: Look, it's Bernard!\n\nJake: I don't believe it! Way to go mate!", "Bernard: I... Miss Bianca would you.... would you... (the ring falls\n through a hole in Bernard's pocket onto the floor) would you\n excuse me for a minute?", "Bianca: No, just a pair of khaki shorts and some hiking boots!\n\nBernard: Hiking boots?\n\n(scene: in the RAS meeting hall)", "Bianca: (shocked) Bernard! Of COURSE, I will! (hugs Bernard.)\n\nJake: Well done mate. (Jake gives Bernard the thumbs up sign.)", "Bernard: (handing her a stick) Here, here Miss Bianca, start digging.", "(Bernard chases the ring across the floor; he crawls around, sees it,\n and just as he goes to grab it, a waiter kicks it under another table;\n Francois arrives at their table.)", "Bianca: I know exactly what you're going to say. Francois told me all\n about it.\n\nBernard: He did? How, how... how did he ...", "Bianca: Bernard, did you talk to Francois?\n\nBernard: Ah yes, but uh.. there's... there's something I want ......", "Bianca: Bernard!! (scodling) This is no time to play in the snow.\n\nBernard: I wasn't playing in the snow. It... it was an avalanche.", "(Miss Bianca wakes up, gives Bernard a kiss to wake him up.)\n\nBernard: (just waking up) (yawns) Are we there yet?" ], [ "McLeach: (throwing Cody's knife at Cody's feet) It's all over boy... your\n bird's dead. Someone shot her... shot her, right outta the sky,", "Cody: (looks up and sees McLeach's truck) (begins to yell and plead)\n Marahute, NO!!! Turn back!! Turn back!! Stay away!! It's a\n trap!!", "McLeach: (grumbles)... Meddlin' brat. Gonna get rid of him for good.\n\n (McLeach tries to shake Cody off.)", "McLeach: (aside to Joanna, but loud enough for Cody to hear) Too bad about\n those eggs, eh Joanna? They'll never survive without their", "McLeach: (Cody has been tied up to a hoist and hook) Are ya ready boy?\n It's time you learned how to fish for crocs! (laughs) They like it", "McLeach: Don't you realize a bird that size is worth a fortune?? (in\n Cody's face) I'll split the money with you fifty-fifty, you can't\n get a better offer than that boy.", "Cody: (from inside McLeach's cage) Help! Help!", "(scene: McLeach driving his vehicle with Cody in the cage in the\n Australian outback.)", "McLeach: (unseen, approaching the trap) Well Joanna, what'd we get today?\n A dingo, a fat ol' razorback, or a nice big.... (he sees Cody)\n boy?!?", "(Cody breaks free from McLeach by slipping out of his backpack.)\n\nCody: NO!!\n\nMcLeach: Joanna, sick 'em!", "McLeach: (laughing/singing) Now, this is MY idea of FUN. (begins to play\n with the hoist controls; dunks Cody in the water and pulls him", "she tries to get out of his view; as she does this, McLeach spots the\n feather in Cody's pack; he picks up Cody by his backpack.)", "McLeach: (on speaker) Breaker, breaker, little mate. I forgot to tell ya\n around here, you need to be QUIET!! (Cody trips) Or the rangers", "McLeach: Hmmm.... good girl Joanna. (Joanna looks up and grins happily.)\n\n (to Cody) Say where'd you get this pretty feather boy?", "Cody: (humbly) It was a present.\n\nMcLeach: (coddling) Oh, that's real nice. Who gave it to ya?", "(The vine is severed as McLeach's truck comes to a screeching halt; Cody\n falls; the truck opens; Joanna leans over pit and growls; Cody yells)", "McLeach: That's no secret boy, you see, (menacing) I already got the\n father. (makes a cutting sound and draws a feather across his", "McLeach: I got her!!! I got her!!! Did you see that? (laughs) Perfect\n shot!! Per-fect shot! She's mine!! (laughs) All mine!!!!", "(scene: just inside the forest. A wanted poster of McLeach is posted on a\n tree; A mouse is tied up with a bell attached to it that rings as\n it struggles; Cody hears the bell and goes over to the mouse.)", "Cody: You won't have any money after the rangers get through with you.\n\nMcLeach: (growls in anger) (he kicks over the kettle of water in the fire)." ], [ "(scene: just inside the forest. A wanted poster of McLeach is posted on a\n tree; A mouse is tied up with a bell attached to it that rings as\n it struggles; Cody hears the bell and goes over to the mouse.)", "Cody: Help!! Help!!\n\n (Bernard swims for shore; he ties Cody's rope around a tree limb.)", "Cody: No wait, he's right. If we could get these long pieces of\n wood.... (Cody strains to reach some long pieces of wood through\n his cage)", "(Cody continues to run through the forest with all of the animals\n following him.)\n\n (Cody arrives at the tree where Faloo has been sounding the call.)", "McLeach: (Cody has been tied up to a hoist and hook) Are ya ready boy?\n It's time you learned how to fish for crocs! (laughs) They like it", "Cody: (to the birds) I know, I'm coming.\n\n (Cody jumps over a hollow log)\n Hustle up Nelson, Faloo's sounding the call!", "Cody: Maybe we could.... (a bird in a \"tire cage\" helps knock the wood\n so Cody can reach it.) that's right just a little more... there,", "Cody: (pounding on the cage) Lemme outta here!! Lemme go!! You can't\n do this!! Help! Help! Help!", "in chains. I cut through their sides, and I rip off their hides.\n And the next day I do it again. Everybody! Home, home on the\n range.....", "Cody: NO!!!\n\n (Cody jumps for the trap/bundle as it is hoisted up; Jake lassos Cody's\n foot.)", "(Cody falls; Marahute dives down to catch him; she catches him just\n before he hits the ground; they begin to fly around; the animals see", "(the animals have constructed a long pole held up and together with rope\n and shoelaces; they begin to use their \"pole\" to get the keys.)\n\nCody: Almost.... a little further...", "(scene: Cody runs toward the forest; Faloo's call is heard in the\n background. He runs past some rock formations and enters the\n woods. Birds follow him; and squak at him.)", "(scene: inside Cody's room. The camera pans around to show Cody sleeping\n in his hammock. The sound of Faloo's call is heard. Cody hears", "(Cody looks at the eagle; he approaches her slowly; she hears him and\n wakes up; Marahute screeches and struggles to get free.)", "(Cody hops onto Faloo and they travel through the forest and along a\n stream/river; more scenes of animals and the forest.)\n\n (They arrive at the cliff.)", "Cody: I'll get her loose.\n\nFaloo: Right-oh, hop on, no time to lose.", "Bianca: Bernard!\n\n (Cody begins to cut the ropes on the trap.)", "(The vine is severed as McLeach's truck comes to a screeching halt; Cody\n falls; the truck opens; Joanna leans over pit and growls; Cody yells)", "McLeach: (throwing Cody's knife at Cody's feet) It's all over boy... your\n bird's dead. Someone shot her... shot her, right outta the sky," ], [ "(scene: Crocodile falls)", "backpack was found near Crocodile Falls, and local rangers believe\n he was yet another victim of crocodile attack.\n (scene transitions to McLeach's hideout)", "the small cliff that drops into the water (Crocodile Falls); Joanna\n follows close behind; Cody reaches into his pocket and pulls out his", "(scene: the rangers are at Crocodile Falls searching the water; then we\n see Bernard, Miss Bianca and Jake on a wombat in a tree getting\n ready to jump.)", "headed for the waterfall and tries to swim back; Joanna waves\n goodbye) NOO!!!! (McLeach goes over the edge of the waterfall.)", "Joanna! Joanna!! You stupid rodent! Get off me! You idiot!\n Get off of me! No! No! (begins to beat away crocodiles with his\n gun.)", "Joanna? Yeah, that's it... right smack dab in the middle at Croc\n Falls! (throws another knife) (to Cody) Am I gettin' warm??", "(Cody is still hanging just above the water; the crocodiles jump for\n him; Bernard jumps out of the truck cab with the keys; he tiptoes\n underneath the truck; Joanna follows him and then chases him.)", "McLeach: (throwing Cody's knife at Cody's feet) It's all over boy... your\n bird's dead. Someone shot her... shot her, right outta the sky,", "McLeach: (hitting the crocodiles) Get back, get back, go on, get away from\n me, get away from me.... (the crocs retreat) (laughs) HA! I", "Announcer: ... thundershowers are expected in the Crocodile Falls area and\n some of the surrounding gullies so take out your...", "(the rope breaks and Cody falls into the water)\n\nBianca: Bernard the boy!!\n\n (Bernard dives into the water to get Cody; they both surface.)", "(another shot goes off; this time, it hits the rope and severs it most\n of the way; Bernard kicks Joanna; runs for McLeach.)\n\n Thhpppt.", "McLeach: (Cody has been tied up to a hoist and hook) Are ya ready boy?\n It's time you learned how to fish for crocs! (laughs) They like it", "McLeach: (mocking) Why, whatever is the matter Joanna?? (She points down;\n McLeach kicks her over the edge). Git!!", "Bianca: Quickly Bernard, NOW!!\n\n (They all jump; Bianca and Bernard miss and slide down onto the treads)", "McLeach: That's no secret boy, you see, (menacing) I already got the\n father. (makes a cutting sound and draws a feather across his", "(The vine is severed as McLeach's truck comes to a screeching halt; Cody\n falls; the truck opens; Joanna leans over pit and growls; Cody yells)", "(Cody runs through forest with Joanna close behind; he enters an open\n area where we see a waterfall and water; Cody stops right at the edge of", "McLeach: I got her!!! I got her!!! Did you see that? (laughs) Perfect\n shot!! Per-fect shot! She's mine!! (laughs) All mine!!!!" ], [ "Bernard: (rushed) Miss Bianca, before anything else happens... (sighs; gets\n out the ring and gets on one knee).... will you marry me?", "Bianca I.... (he gets down on one knee) I would be... (he takes\n her hand) most honored... if.. if...", "Bernard: (practicing) Miss Bianca, will you marry me? Miss Bianca, will\n you please marry me?", "Bianca: Oh it doesn't matter, I think it's a marvelous idea.\n\nBernard: (shocked) You do? I mean, you... you really want to?", "Bianca: To my dear Bernard, and our wonderful partnership.\n\nBernard: (nervous and fumbling) Ah... yeah.. yeah.. ah.. won... wonderful.", "Bernard: (he walks over to Bianca) Well, it's uh.... it's like this... Miss", "Bianca: Yes darling?", "Bianca: You've been very quiet this evening, is there something on your\n mind?\n\nBernard: Well, ummm... actually... I, ah... I was wondering.... (he reaches\n into his pocket.)", "Bianca: (shocked) Bernard! Of COURSE, I will! (hugs Bernard.)\n\nJake: Well done mate. (Jake gives Bernard the thumbs up sign.)", "Bianca: (hugging Bernard) Oh Bernard you are magnificent, you are\n absolutely the hero of the day.", "Bianca: Yes? What is it?", "Bernard: I... Miss Bianca would you.... would you... (the ring falls\n through a hole in Bernard's pocket onto the floor) would you\n excuse me for a minute?", "Bernard: Tonight? But, but, ah.. wait! Uh, Bianca, this is so sudden, I\n mean, don't you at least need a gown or something?", "Bianca: I am just sure he'll be back in no time.\n\n (Bernard reaches into his pocket and pulls out the ring to make sure\n it's still there.)", "Bianca: He was kidnapped.", "Bianca: Heavens no! We must act immediately, tonight! (she leaves the\n restaurant with Bernard close behind)", "Francois: (French accent) Pardonnez moi, mademoiselle Bianca, I have\n important news. (He hands her a piece of paper.)", "Bianca: I wasn't bluffing. You don't know Bernard like I do. He'll never\n give up. (looking back out over the trail)", "Bianca: (reading message) Oh the poor boy. This is dreadful. Now where\n is Bernard I must tell him at once!\n\nFrancois: Allow me madame, I will tell him immediately.", "Bianca: I know exactly what you're going to say. Francois told me all\n about it.\n\nBernard: He did? How, how... how did he ..." ], [ "(Cody and Marahute look at each other; Cody falls over as he attempts to\n look at Marahute upside down. Marahute moves some grass and feathers to\n show Cody her eggs)", "(Marahute ruffles her neck feathers in an affectionate manner; she sits\n on the eggs and then looks out \"over her domain\".)", "(Cody give Marahute an affectionate stroke; as they fix the covering on\n the eggs, the wind picks up and blows a feather in Cody's face; he looks", "(As Marahute spreads her wings to fly, she knocks Cody off the cliff.)\n\n Aaaiigh!", "(Joanna goes down to eat the eggs; she searches the nest for them; finds\n the eggs; takes a bite of one; it is rock hard; she tries another with", "(Joanna opens the tool box, takes an egg and puts it in her mouth;\n throughout this scene, Joanna steals McLeach's eggs as he is talking out", "Bernard: (to the eggs) O.k. you guys, she fell for it. Looks like the\n coast is clear.", "(scene: high on the cliff at Marahute's nest)", "time he rides by standing on her back; they arrive at Marahute's nest)", "Jake: He's going down the cliff! C'mon, we gotta warn him!\n\n(scene: over the cliff; at Marahute's nest.)", "(Marahute and Cody are now on the ground; Marahute takes off and Cody\n runs around making flying noises)", "(everyone disappears into the mist of the waterfall; a few seconds\n later, we see all four on Marahute flying away triumphantly into the sky\n and clouds.)", "neck like he was slashing a throat). He, he he. You just tell me\n where momma and those little eggs are.", "(Cody looks at the eagle; he approaches her slowly; she hears him and\n wakes up; Marahute screeches and struggles to get free.)", "Where's the daddy eagle? (Marahute drops her head) Oh... my dad's\n gone too.", "Cody: (Marahute's screech is heard at a distance) Marahute?! It can't be!\n\nBianca: Oh Cody, Cody wait!!", "(Joanna continues to chase Bernard; Bernard tricks Joanna into biting\n her tail; he hides in a log; Bianca and Jake continue to work the keys\n up the cage; a gunshot is heard; Marahute screeches.)", "at it, plays with it, and puts it back. Marahute picks it up and gives\n it to Cody and he gives her a hug.)", "(Cody falls; Marahute dives down to catch him; she catches him just\n before he hits the ground; they begin to fly around; the animals see", "(to Faloo) Who's caught this time?\n\nFaloo: You don't know her, Cody, her name is Marahute, the great golden\n eagle." ], [ "McLeach: That's no secret boy, you see, (menacing) I already got the\n father. (makes a cutting sound and draws a feather across his", "McLeach: I'm gonna kill her. (climbing out of the hole) I'm gonna kill\n that dumb, slimey, egg-sucking salamander.", "McLeach: (mocking) Why, whatever is the matter Joanna?? (She points down;\n McLeach kicks her over the edge). Git!!", "Doctor: Aim!!\n\nWilbur: (crying) please don't do this to me......\n\nDoctor: FIRE!!", "Jake: (going into a story again) You know Miss Bianca, truth be told, I\n used to be quite a dingo wrestler. Yeah, there was this one time,", "Baitmouse: (very fast and excited) Help, help, help!! Someone help! McLeach\n took the boy. He took the little boy. Send for help!!", "(Cody breaks free from McLeach by slipping out of his backpack.)\n\nCody: NO!!\n\nMcLeach: Joanna, sick 'em!", "(The vine is severed as McLeach's truck comes to a screeching halt; Cody\n falls; the truck opens; Joanna leans over pit and growls; Cody yells)", "McLeach: I'll give you a night down here to think it over. But tomorrow,\n no more Mr. Nice Guy. (McLeach slams the door, Joanna gets her", "(a rumble is heard and the ground begins to shake.)\n\nBaitmouse: Uh-oh.\n\n (view of McLeach's vehicle trampling through the forest disturbing\n everything)", "McLeach: (sharpening a knife) Well boy, let's see if we can do something to\n refresh that rusty old memory of yours. Is she on Satan's Ridge?", "(Joanna has spotted the baitmouse on Cody's backpack. She hisses and\n makes a face.)\n\nCody: This IS a poacher's trap and YOU'RE a poacher.", "McLeach: I got her!!! I got her!!! Did you see that? (laughs) Perfect\n shot!! Per-fect shot! She's mine!! (laughs) All mine!!!!", "abruptly).... (whispers) the eagle's eggs! That's it! That's the\n boy's weak spot! (Joanna whimpers in corner)", "the eagle is. But the boy's only got ONE weak spot, and that IS\n the eagle. (aside/thinking out loud) Maybe if I stuck him in a", "backpack was found near Crocodile Falls, and local rangers believe\n he was yet another victim of crocodile attack.\n (scene transitions to McLeach's hideout)", "headed for the waterfall and tries to swim back; Joanna waves\n goodbye) NOO!!!! (McLeach goes over the edge of the waterfall.)", "(another shot goes off; this time, it hits the rope and severs it most\n of the way; Bernard kicks Joanna; runs for McLeach.)\n\n Thhpppt.", "Bernard: Look out!! Excuse me!\n\nBianca: Bernard DO something! He can't hear us!", "(Joanna continues to attack the backpack; McLeach picks up his gun; he\n points it at Joanna; looking through gun scope McLeach aims at Joanna," ], [ "(the scene changes to outside and we hear the gun fire.)\n\nWilbur: Ow, ow, oh. ooo......", "(Bernard is having obvious trouble with his bug; he hits a dandelion,\n attempts to sneeze, but goes underwater instead.)\n\n(scene: the hospital wagon)", "(A waiter cricket comes along and picks up the soup; the scene changes\n to the chandelier over the restaurant and we see a mini-restaurant above\n the real one.)", "THE END", "Doctor: Aim!!\n\nWilbur: (crying) please don't do this to me......\n\nDoctor: FIRE!!", "Bianca: (reading message) Oh the poor boy. This is dreadful. Now where\n is Bernard I must tell him at once!\n\nFrancois: Allow me madame, I will tell him immediately.", "(The telegraph mouse begins typing the message in morse code; camera\n pans up to roof, where other mice aim the antenna; message is seen being\n relayed to the Marshall Islands)", "Wilbur: Oh no, what now? (in the background the heart monitor begins to\n beep faster and faster throughout this part)\n\nDoctor: Spinal stretch-u-lator.", "Red: The keys Frank, give us the keys!! Frank, over here!! Give us\n the keys!! (they disappear behind some junk; Frank emerges riding", "neck like he was slashing a throat). He, he he. You just tell me\n where momma and those little eggs are.", "Doctor: (consoling) Now, now, my dear. Keep a stiff upper lip. They all\n come in with a whimper, and leave with a grin. Off with you now.", "(The baitmouse sees Cody in the cage; he runs to the local RAS telegraph\n office; it begins to rain and wind is blowing; he bursts through the\n door as the telegraph mouse is eating.)", "(Bernard is seen under a table retrieving ring; the ring finds its way\n onto the foot of a rather large woman mouse who is having dinner with a", "(scene: Crocodile falls)", "Bernard: (knocks slightly) (quickly) Well, nobody's home, let's go.\n\n (Bernard gets buried with snow)", "McLeach: (sharpening a knife) Well boy, let's see if we can do something to\n refresh that rusty old memory of yours. Is she on Satan's Ridge?", "backpack was found near Crocodile Falls, and local rangers believe\n he was yet another victim of crocodile attack.\n (scene transitions to McLeach's hideout)", "might hear ya. Now sit down and relax, enjoy the view. (laughs)\n Nothin' but abandoned opal mines as far as the eye can see. And", "spreads its wings to fly, we are whisked along the Australian\n outback and prairie by Ayers rock and eventually slow down as we\n approach Cody's house.)", "Announcer: (heard from inside of plane) Ladies and gentlemen, Flight 12 is\n now approaching Sydney airport, make sure you pick up your parcels\n and packages and enjoy your stay in Australia." ], [ "(Message is seen being relayed to Hawaii. Screens fill with RAS RAS\n RAS. Mice are watching through binoculars in the back. The send a", "(scene: It is winter in New York; through the clouds, the camera descends\n upon the UN building; a mouse is listening to the transmission at\n the RAS headquarters in New York)", "(the delegates have been assembling as the announcement was being made)\n\n(scene: inside the RAS meeting hall)", "Bernard: In fact we're, we're here on a, a top ah.. secret mission.\n Very... very.. hush, hush.", "message. \"RAS... RAS... ATTENTION BOY KIDNAPPED IN AUSTRALIA IMMEDIATE\n ACTION REQUIRED\" They type \"Relay to New York\".)", "Red: The keys Frank, give us the keys!! Frank, over here!! Give us\n the keys!! (they disappear behind some junk; Frank emerges riding", "(scene: the rangers are at Crocodile Falls searching the water; then we\n see Bernard, Miss Bianca and Jake on a wombat in a tree getting\n ready to jump.)", "Australia. (delegates gasp) A young boy needs our help. This is\n a mission requiring our very finest, and I know we are all", "Krebbs (Douglas Seale)\n Chairmouse (Bernard Fox)\n Doctor (Bernard Fox)\n Red (Peter Firth)", "(The baitmouse sees Cody in the cage; he runs to the local RAS telegraph\n office; it begins to rain and wind is blowing; he bursts through the\n door as the telegraph mouse is eating.)", "Doctor: (giving directions to aim the gun.) Three degrees right.\n\nWilbur: Come on!!\n\nNursemice: Three degrees right.", "Bianca: Quickly Bernard, NOW!!\n\n (They all jump; Bianca and Bernard miss and slide down onto the treads)", "(The telegraph mouse begins typing the message in morse code; camera\n pans up to roof, where other mice aim the antenna; message is seen being\n relayed to the Marshall Islands)", "Bianca: Yes Francois? What is it?\n\nFrancois: You and Bernard have been asked to accept a dangerous mission to\n Australia.", "(another shot goes off; this time, it hits the rope and severs it most\n of the way; Bernard kicks Joanna; runs for McLeach.)\n\n Thhpppt.", "Krebbs: Absolutely. (cocky) You'll go as a wallet, you'll go as a belt,\n and our dear Frank....", "Red: Shhhhh!!! Joanna'll hear!\n\nKrebbs: Double or nothin' he's caught in five minutes.\n\nCody: Calm down little mate.", "Bernard: (to the eggs) O.k. you guys, she fell for it. Looks like the\n coast is clear.", "Bianca: Heavens no! We must act immediately, tonight! (she leaves the\n restaurant with Bernard close behind)", "(Bernard chases the ring across the floor; he crawls around, sees it,\n and just as he goes to grab it, a waiter kicks it under another table;\n Francois arrives at their table.)" ], [ "I want the eagle... the boy won't give me the eagle... if I could\n just find the boy's weak spot, I could get him to tell me where", "McLeach: That's no secret boy, you see, (menacing) I already got the\n father. (makes a cutting sound and draws a feather across his", "(Bernard chases the ring across the floor; he crawls around, sees it,\n and just as he goes to grab it, a waiter kicks it under another table;\n Francois arrives at their table.)", "McLeach: I got her!!! I got her!!! Did you see that? (laughs) Perfect\n shot!! Per-fect shot! She's mine!! (laughs) All mine!!!!", "Bianca: I wasn't bluffing. You don't know Bernard like I do. He'll never\n give up. (looking back out over the trail)", "Cricket: Oh.... pea soup.\n\n (With an elaborate contraption, he launches the pea up the column where\n it drops into a thimble-pot of the cook)", "the eagle is. But the boy's only got ONE weak spot, and that IS\n the eagle. (aside/thinking out loud) Maybe if I stuck him in a", "Red: The keys Frank, give us the keys!! Frank, over here!! Give us\n the keys!! (they disappear behind some junk; Frank emerges riding", "(announcing) I got what I want. Now, what does Joanna want? Does\n she wanna make sure that bird... STAYS rare? (egging her on) How", "(A waiter cricket comes along and picks up the soup; the scene changes\n to the chandelier over the restaurant and we see a mini-restaurant above\n the real one.)", "whooped ya! I whooped ya all! You'll think twice before messin'\n with Percival C. McLeach!! (laughs) Woah! (realizes that he is", "Cody: Where is she?\n\nFaloo: She's caught, high on a cliff in a poacher's trap. You're the\n only one who can reach her.", "(Bernard is having obvious trouble with his bug; he hits a dandelion,\n attempts to sneeze, but goes underwater instead.)\n\n(scene: the hospital wagon)", "Doctor: (consoling) Now, now, my dear. Keep a stiff upper lip. They all\n come in with a whimper, and leave with a grin. Off with you now.", "it, jumps out of bed, and runs to the window. He puts on his\n shirt and grabs his knife.)", "abruptly).... (whispers) the eagle's eggs! That's it! That's the\n boy's weak spot! (Joanna whimpers in corner)", "Bianca: You've been very quiet this evening, is there something on your\n mind?\n\nBernard: Well, ummm... actually... I, ah... I was wondering.... (he reaches\n into his pocket.)", "Bernard: I... Miss Bianca would you.... would you... (the ring falls\n through a hole in Bernard's pocket onto the floor) would you\n excuse me for a minute?", "(to Joanna) Did you take one of my eggs? Open your mouth. These\n are NOT Joanna eggs. Let's see ummm... the boy's got the eagle...", "(the scene changes to outside and we hear the gun fire.)\n\nWilbur: Ow, ow, oh. ooo......" ], [ "Cody: (yelling) I'll NEVER tell you where she is! Never! Never!", "(scene: McLeach's animal prison; Mcleach throws Cody into a cage.)", "Cody: (pounding on the cage) Lemme outta here!! Lemme go!! You can't\n do this!! Help! Help! Help!", "Cody: No wait, he's right. If we could get these long pieces of\n wood.... (Cody strains to reach some long pieces of wood through\n his cage)", "(Frank drops the keys; Cody picks them up and lets himself out.)\n\n (Joanna runs after Frank towards the cage) Let me in! Let me in!!", "Cody: Take it easy, I'll get you loose. (twists Frank back through the\n cage) There ya go. (deliberately) Now go get the keys.", "Bianca: Bernard!\n\n (Cody begins to cut the ropes on the trap.)", "Frank: (mimicking Cody) Yeah, never tell! You'll have to drag it out of\n us!\n\nCody: Hey, where did you come from?", "Frank: (sticks his head through the cage) Look at me, I'm free!\n\nCody: Frank, get the keys.", "Cody: Let me go, let go, let go!!!!", "(scene: McLeach driving his vehicle with Cody in the cage in the\n Australian outback.)", "(Joanna has spotted the baitmouse on Cody's backpack. She hisses and\n makes a face.)\n\nCody: This IS a poacher's trap and YOU'RE a poacher.", "McLeach: (Cody has been tied up to a hoist and hook) Are ya ready boy?\n It's time you learned how to fish for crocs! (laughs) They like it", "Cody: Help!! Help!!\n\n (Bernard swims for shore; he ties Cody's rope around a tree limb.)", "Cody: NO!!!\n\n (Cody jumps for the trap/bundle as it is hoisted up; Jake lassos Cody's\n foot.)", "Cody: (stumbling) It's a s... secret.", "(Cody gets out his knife; Marahute sees the glint of the knife and\n begins to struggle and scream)\n\n No wait! I'm here to help you... easy!... easy!", "Cody: Where is she?\n\nFaloo: She's caught, high on a cliff in a poacher's trap. You're the\n only one who can reach her.", "Cody: (from inside McLeach's cage) Help! Help!", "Cody: (as the mouse is speaking) Don't worry, I'll get you loose. Woah!\n (Cody falls into the trap. He looks up to see a blinking light\n and the alarm.)" ], [ "(scene: McLeach's animal prison)", "Wilbur: Kidnapped? (remorseful) Aw... that... that's awful. Lockin' up a\n little kid. A kid should be free. Free to run wild through the", "Frank: (still trying to open lock with his tail). Push it in a little\n bit farther..... (mumbling).... (Frank opens the cage without", "in chains. I cut through their sides, and I rip off their hides.\n And the next day I do it again. Everybody! Home, home on the\n range.....", "(scene: McLeach's animal prison; Mcleach throws Cody into a cage.)", "Cody: No wait, he's right. If we could get these long pieces of\n wood.... (Cody strains to reach some long pieces of wood through\n his cage)", "(Joanna continues to chase Bernard; Bernard tricks Joanna into biting\n her tail; he hides in a log; Bianca and Jake continue to work the keys\n up the cage; a gunshot is heard; Marahute screeches.)", "to grab the keys, Joanna enters the prison room through the animal\n door.)", "Cody: (pounding on the cage) Lemme outta here!! Lemme go!! You can't\n do this!! Help! Help! Help!", "McLeach: I got her!!! I got her!!! Did you see that? (laughs) Perfect\n shot!! Per-fect shot! She's mine!! (laughs) All mine!!!!", "Frank: (sticks his head through the cage) Look at me, I'm free!\n\nCody: Frank, get the keys.", "McLeach: Trap?! Where'd you get an idea like that?? Boy I think you've\n been down in that hole for too long. (he holds his gun out so", "Wilbur: Ugh... I feel like I got my head in a vise. (zoom out to see\n Wilbur's head in a vise) Unh...\n\nDoctor: Are we ready nurse?", "McLeach: That's no secret boy, you see, (menacing) I already got the\n father. (makes a cutting sound and draws a feather across his", "(the \"back brace\" (a cane) is \"launched\" to immobilize Wilbur's back.)", "(Wilbur screams and breaks free; the nursemice set off an alarm and sign\n that says \"Patient Escaping.\")\n\nDoctor: Mr. Albatross we haven't operated yet!", "neck like he was slashing a throat). He, he he. You just tell me\n where momma and those little eggs are.", "McLeach: Well, there's more than one way to skin a cat. (getting out his\n gun) (laughs)\n\n (Jake and Bianca work the keys up the cage)", "cage?!? (Frank goes back into his cage.) Uhhh.... that's better.\n C'mon boy, (laughs) say goodbye to your little friends.... it's", "Doctor: Aim!!\n\nWilbur: (crying) please don't do this to me......\n\nDoctor: FIRE!!" ], [ "(Cody and Marahute look at each other; Cody falls over as he attempts to\n look at Marahute upside down. Marahute moves some grass and feathers to\n show Cody her eggs)", "(Cody give Marahute an affectionate stroke; as they fix the covering on\n the eggs, the wind picks up and blows a feather in Cody's face; he looks", "(Cody looks at the eagle; he approaches her slowly; she hears him and\n wakes up; Marahute screeches and struggles to get free.)", "Cody: (to the birds) I know, I'm coming.\n\n (Cody jumps over a hollow log)\n Hustle up Nelson, Faloo's sounding the call!", "(scene: Cody runs toward the forest; Faloo's call is heard in the\n background. He runs past some rock formations and enters the\n woods. Birds follow him; and squak at him.)", "(Cody gets out his knife; Marahute sees the glint of the knife and\n begins to struggle and scream)\n\n No wait! I'm here to help you... easy!... easy!", "(Cody mocks an eagle screech; he laughs as Marahute tickles him; they\n cruise above the clouds which eventually open up to show the ground;", "(scene: inside Cody's room. The camera pans around to show Cody sleeping\n in his hammock. The sound of Faloo's call is heard. Cody hears", "Cody: (Marahute's screech is heard at a distance) Marahute?! It can't be!\n\nBianca: Oh Cody, Cody wait!!", "at it, plays with it, and puts it back. Marahute picks it up and gives\n it to Cody and he gives her a hug.)", "(Marahute and Cody are now on the ground; Marahute takes off and Cody\n runs around making flying noises)", "(scene: high on the cliff at Marahute's nest)", "(As Marahute spreads her wings to fly, she knocks Cody off the cliff.)\n\n Aaaiigh!", "Marahute nose dives towards the ground and a stream; she holds Cody just\n high enough above the water so that he is water skiing; they approach a", "Cody: (looks up and sees McLeach's truck) (begins to yell and plead)\n Marahute, NO!!! Turn back!! Turn back!! Stay away!! It's a\n trap!!", "(Cody reaches the top and sees the eagle.)\n\nCody: Marahute!", "Cody on Marahute and stand in awe; Marahute files over several rock\n formations; the fly up above the clouds; Cody looks at his reflection in\n Marahute's eye.)", "(Cody continues to run through the forest with all of the animals\n following him.)\n\n (Cody arrives at the tree where Faloo has been sounding the call.)", "(Cody arrives at the nest; sees the eggs; checks them out; he covers\n them up, and places one of the golden feathers on them.)\n\nBianca: Cody!", "McLeach: (throwing Cody's knife at Cody's feet) It's all over boy... your\n bird's dead. Someone shot her... shot her, right outta the sky," ], [ "(McLeach looks inside the truck cab.) Hey, what happened to them\n keys? (fishing around the floor; Bernard is hiding underneath the", "Bernard: Hold it, not, not yet!! (Bernard gets launched into a patch of\n briars.)\n\n(scene: McLeach's hideout)", "(scene: Bernard on the trail of McLeach's truck.)", "(Bernard pushes McLeach over with one finger) (screams and falls into\n the water)", "(another shot goes off; this time, it hits the rope and severs it most\n of the way; Bernard kicks Joanna; runs for McLeach.)\n\n Thhpppt.", "(Bernard is seen running along the trail of McLeach's truck; after\n turning a \"corner\" he realizes just how far he has to go; he sighs in\n disbelief).", "(Bernard runs up McLeach just as he takes aim again; Joanna follows and\n tackles McLeach.)\n\nMcLeach: Hey, get off me!! Joanna! What are ya.....", "Bernard: That's right, Mc.. McLeach is on the cliff.", "(McLeach pulls out his truck with himself and Joanna in the cab.)\n\nMcLeach: (laughs) I didn't make it all the way through third grade for\n nothing.", "(a rumble is heard and the ground begins to shake.)\n\nBaitmouse: Uh-oh.\n\n (view of McLeach's vehicle trampling through the forest disturbing\n everything)", "McLeach: Blasted!!\n\nBernard: Oh my gosh! I hope I know what I'm doing!", "(scene: McLeach driving his vehicle with Cody in the cage in the\n Australian outback.)", "(scene: McLeach's vehicle)\n\nMcLeach: Well Joanna, it looks like lady luck has finally decided to smile\n on us. Everything's going our way. (laughs to himself).", "McLeach: (throwing Cody out) Get out of here!! Go on! Git!!\n\nBianca: Look Bernard, it's the boy!", "(McLeach's truck begins to leave.)", "(Bernard is having obvious trouble with his bug; he hits a dandelion,\n attempts to sneeze, but goes underwater instead.)\n\n(scene: the hospital wagon)", "backpack was found near Crocodile Falls, and local rangers believe\n he was yet another victim of crocodile attack.\n (scene transitions to McLeach's hideout)", "McLeach: Trap?! Where'd you get an idea like that?? Boy I think you've\n been down in that hole for too long. (he holds his gun out so", "knife; he drops it; McLeach steps on his hand.)", "(The vine is severed as McLeach's truck comes to a screeching halt; Cody\n falls; the truck opens; Joanna leans over pit and growls; Cody yells)" ], [ "(Joanna goes down to eat the eggs; she searches the nest for them; finds\n the eggs; takes a bite of one; it is rock hard; she tries another with", "(Joanna opens the tool box, takes an egg and puts it in her mouth;\n throughout this scene, Joanna steals McLeach's eggs as he is talking out", "abruptly).... (whispers) the eagle's eggs! That's it! That's the\n boy's weak spot! (Joanna whimpers in corner)", "(to Joanna) Did you take one of my eggs? Open your mouth. These\n are NOT Joanna eggs. Let's see ummm... the boy's got the eagle...", "(screaming from on top of cliff) JOANNA!! You hurry up and eat\n those eggs and get your tail up here! MOVE IT!!", "peabrain. (opens case, realizes all the eggs are gone) (calmy at\n first, then more angry) (Joanna runs away and hides) Joanna.... I", "Can't think on an empty stomach... gotta have protein... gotta\n have.... eggs. (Joanna perks up at the word \"eggs\").", "McLeach: (aside to Joanna, but loud enough for Cody to hear) Too bad about\n those eggs, eh Joanna? They'll never survive without their", "(Joanna moves the \"eggs\" to the edge; knocks them over the cliff with\n her tail; she yanks on the rope for McLeach to bring he up; as she does,", "Bernard: (to the eggs) O.k. you guys, she fell for it. Looks like the\n coast is clear.", "Joanna! Joanna!! You stupid rodent! Get off me! You idiot!\n Get off of me! No! No! (begins to beat away crocodiles with his\n gun.)", "Cody: NO!! Please!!\n\n (Joanna runs for the cliff, sees how far down it is and balks in fear.)", "(the sound of eggs breaking open and chirping is heard) (to the\n eggs) Aww no... stay in those eggs! That's a direct order! (in a", "neck like he was slashing a throat). He, he he. You just tell me\n where momma and those little eggs are.", "(to Joanna) Let go!! Hey get off of me!!", "(scene changes to Wilbur sitting on the eggs) Aww... nuts!\n (sigh)... (to himself) Gotta learn to be more assertive. No is no", "(Joanna gets a gun) No, no, no!!!! (etc.)\n\n (Joanna shoots the gun at Frank who is standing against a wall. He is\n in a fancy position.)", "(Joanna comes in, discovers keys, destroys pole, returns keys to hook,\n and leaves through the animal door.)", "McLeach: (mocking) Why, whatever is the matter Joanna?? (She points down;\n McLeach kicks her over the edge). Git!!", "(announcing) I got what I want. Now, what does Joanna want? Does\n she wanna make sure that bird... STAYS rare? (egging her on) How" ], [ "Bernard: (rushed) Miss Bianca, before anything else happens... (sighs; gets\n out the ring and gets on one knee).... will you marry me?", "Bianca: (shocked) Bernard! Of COURSE, I will! (hugs Bernard.)\n\nJake: Well done mate. (Jake gives Bernard the thumbs up sign.)", "Bianca: To my dear Bernard, and our wonderful partnership.\n\nBernard: (nervous and fumbling) Ah... yeah.. yeah.. ah.. won... wonderful.", "Bernard: (he walks over to Bianca) Well, it's uh.... it's like this... Miss", "Bianca: (hugging Bernard) Oh Bernard you are magnificent, you are\n absolutely the hero of the day.", "Bianca: Heavens no! We must act immediately, tonight! (she leaves the\n restaurant with Bernard close behind)", "Bernard: (practicing) Miss Bianca, will you marry me? Miss Bianca, will\n you please marry me?", "Bianca: Oh it doesn't matter, I think it's a marvelous idea.\n\nBernard: (shocked) You do? I mean, you... you really want to?", "Bianca: I wasn't bluffing. You don't know Bernard like I do. He'll never\n give up. (looking back out over the trail)", "Bernard: I... Miss Bianca would you.... would you... (the ring falls\n through a hole in Bernard's pocket onto the floor) would you\n excuse me for a minute?", "Bianca: I am just sure he'll be back in no time.\n\n (Bernard reaches into his pocket and pulls out the ring to make sure\n it's still there.)", "Bianca: You've been very quiet this evening, is there something on your\n mind?\n\nBernard: Well, ummm... actually... I, ah... I was wondering.... (he reaches\n into his pocket.)", "Bianca: (reading message) Oh the poor boy. This is dreadful. Now where\n is Bernard I must tell him at once!\n\nFrancois: Allow me madame, I will tell him immediately.", "Bernard: Tonight? But, but, ah.. wait! Uh, Bianca, this is so sudden, I\n mean, don't you at least need a gown or something?", "Bianca: No, just a pair of khaki shorts and some hiking boots!\n\nBernard: Hiking boots?\n\n(scene: in the RAS meeting hall)", "Bianca: Bernard, did you talk to Francois?\n\nBernard: Ah yes, but uh.. there's... there's something I want ......", "Bianca: Oh look Bernard! (reading the sign) Under new management, see\n Wilbur. C'mon darling, let's get a move out!", "Bianca: Bernard!! (scodling) This is no time to play in the snow.\n\nBernard: I wasn't playing in the snow. It... it was an avalanche.", "Bernard: You know... now that we're alone, (nervous) there's... there's\n something that I've, I've been wanting to uh... to.. to ask you.", "Bianca: Look, it's Bernard!\n\nJake: I don't believe it! Way to go mate!" ] ]

[ "What does Marahute show Cody?", "What kind of animals come to Cody's rescue?", "What does Bernard ride in on when he disables McLeach's vehicle?", "Why did McLeach throw Cody's backpack into the water?", "Where does the story take place?", "Who is Jake?", "Who does Bianca get engaged to?", "What were the eggs that Joanna tried to eat?", "Who hid the eggs from Joanna?", "What kind of animal does Cody rescue and befriend in the Australian Outback?", "Why was Percival C. McLeach a wanted man by the Australian Rangers?", "What does McLeach think will happen to him if he finds an eagle like the one Cody did?", "What headquarters was the telegram sent to in New York City?", "Who acts as a tour guide to both Bianca and Bernard?", "What lie ultimately led Cody to bringing McLeach to the eagles nest?", "What group of animals was Cody tied up and hung over?", "Who died at Crocodile Falls?", "Who proposed to Bianca?", "What ultimately happened to Marahute's eggs?", "Who is the main antagonist in the story?", "What is the setting of the story?", "Who are all three of the RAS operatives?", "What is the prize Percival is after?", "Why did Percival imprison Cody?", "Why does Percival imprison animals?", "How does Percival get Cody to reveal the location of Maharute's nest?", "How did Bernard disable McLeach's vehicle?", "Why did Joanna fail at eating the eggs?", "Did Bernard eventually propose to Bianca?" ]

[ [ "her nest and eggs", "Her nest and eggs." ], [ "mice", "Mice and an albatross " ], [ "a wild razorback", "A wild razorback pig" ], [ "to make people think he had died", "To trick the Rangers into thinking that Cody was dead." ], [ "Austrailia", "The Australian outback." ], [ "Bianca and Bernard's guide and protector", "a hopping mouse who works for RAS" ], [ "Bernard", "Bernard" ], [ "rocks", "Rocks." ], [ "Bernard", "Bernard" ], [ "A rare giant eagle", "A rare giant eagle." ], [ "He was a poacher", "He's a local poacher" ], [ "He would become rich", "He'll be rich. " ], [ "The Rescue Aid Society", "Rescue Aid Society" ], [ "Jake", "Jake the hopping mouse." ], [ "He was told that Marahute has died", "A trick that makes Cody think Marahute is died." ], [ "Crocodiles", "The animals in a dungeon at the McLeach ranch." ], [ "McLeach", "McLeach" ], [ "Bernard", "Bernard" ], [ "They hatched", "They hatch" ], [ "Percival C. McLeach", "Percival McLeach" ], [ "The Australian Outback", "The Australian Outback." ], [ "Bernard, Bianca, and Jake", "Bernard, Bianca and Jake." ], [ "Maharute and her nest", "an eagle" ], [ "Because Cody was protecting Maharute", "Cody won't tell him where Marahute is." ], [ "He is a poacher and exploits animals for profit", "Refusing to give Marahute's whereabouts" ], [ "Percival tricks Cody into thinking Maharute is dead", "tricks him" ], [ "Bernard used a wild razorback pig to follow and disable McLeach's vehicle", "Using a razorback pig he was riding." ], [ "Bernard hid the eggs and used rocks as decoys.", "they were actually stones" ], [ "At the end of the movie, Bernard did propose to Bianca.", "Yes." ] ]

[ [ "Paul backs his Ford Taurus up to the dumpster, pops the trunk, checks to\n make sure he's alone then steps up on the rear bumper, opens the lid and\n clambers inside.", "Paul back in his office, staring out the window with a perfect view of the\n dumpster. He can't take his eyes off it.", "A SHOUT as Paul jumps back from the dumpster. The lid CRASHES down as\n he scrambles/slides away. He takes a moment to compose himself, then\n realizes his phone is still in there.", "Paul, muttering, leans in to get it. He pushes aside an orange garbage bag,\n guided by the faint sound of the other person STILL TALKING. And then--", "He opens the dumpster lid and very quickly reaches in, grabs his cell and\n hurries off. The lid CRASHES shut.\n\n PAUL\n (into the phone)\n Hello?", "JIMBO\n Do you remember a dead man you found in the\n dumpster behind your office?\n\n Paul, shocked, tries to hold it together.", "Paul at his desk, watching the video on a small TV in the wall unit. He turns his\n attention to a large cardboard box filled with documents, souvenirs, old report\n cards...", "Paul puts the gun back. Not sure of his next move, he spots the beat up clock\n radio lying next to his brother.", "Black. Paul opens the lid. The phone is cradled in his neck, he checks each\n soggy page to make sure he's not tossing anything important.", "Paul, still on the phone, carries the papers to the dumpster.\n\n PAUL\n Yes, and that check went out a week ago. I watched\n my secretary write it up.", "Paul feels around the bullet hole and pulls out a stack of money, now\n embedded with the slug from the Raymond's gun. He starts to weep tears of\n relief.", "Paul looks over to see some MEN from Rodney's Repo Ranch walking up to\n the front door of his office. Distracted for a moment, the phone slips and falls\n into the trash.", "Hung up. Paul dials 911, looks back at the dumpster, thinks for a second, then\n hits END. He stands there, thinking.", "travel agency. We might notice a big trash dumpster in the corner. Paul's car,\n a Ford Taurus, pulls onto the parking pad.", "comes to him. Paul picks up a plastic picnic plate to use as a shield from the\n blow back.", "Paul puts a hand to his chest. Suddenly dizzy, he drops to his knees and starts\n to RETCH. Tears well up in his eyes. After a few moments, the storm passes.", "The dumpster lid opens on a bitterly cold, gray winter's day in an Alaskan city. A\n chunky, shivering HAIR STYLIST with jet black bangs shakes out a box of\n conditioning samples.", "Paul turns to look at Ted. He has a large band-aid on his forehead, scratches\n and bruises on his face. It takes a second for the dime to drop.", "The lights are back on as Paul, wearing his oversized red parka comes\n through the front door carrying his sack of cash. Avis looks up.", "Paul gets out of his car carrying a K-Mart bag. He looks like he's been\n CRYING. Mrs. Wherry waves from her deck." ], [ "Dave keeps backing up. As he takes the corner and bumps over the curb, the\n momentum sends the half-eaten body (that Gary and Jimbo stuffed into the\n backseat) to an upright position.", "Black. The trunk lid opens as Bill and Arnith dump a well-wrapped body\n unceremoniously into the trunk. Arnith and Bill look at each other. Bill closes\n the lid. Black.", "At Jimbo's car, Gary is folding the corpse into the trunk as Jimbo pulls Margaret\n upright from the backseat and tugs down her gag. She smiles at him as, with", "Black. The lid opens. Jimbo, Gary and Paul look in at the frozen body. Jimbo\n recoils at the mangled mess before him. Gary reaches down and touches the\n well-chewed body.", "JIMBO\n Do you remember a dead man you found in the\n dumpster behind your office?\n\n Paul, shocked, tries to hold it together.", "JIMBO\n I was following orders. And if you hadn't started a\n screaming match, no one would have called the\n cops and we wouldn't have had to dump his --", "Boyle pulls the cover back over the body. Boyle hands Barnell a clear baggie\n with the dead man's wallet inside.", "The lifeless body of a fair-sized man comes CRASHING into the garbage.\n SIRENS closer. A man seen only in silhouette leans in to pull some garbage", "Paul backs his Ford Taurus up to the dumpster, pops the trunk, checks to\n make sure he's alone then steps up on the rear bumper, opens the lid and\n clambers inside.", "TED\n Kind of understandable I guess. Seeing as how you\n killed that man and dumped his body out in the\n woods.\n\n PAUL\n You mean Raymond?", "As Ted gets his last shot, Boyle covers the body back up and slides the drawer\n shut with a loud CLANG. Black.", "The corpse, now in Raymond's clothing and the blue parka, lies face up on the\n Aloha Airlines promotional surfboard being lurched forward by Paul, who wears", "DAVE\n Show me what? An empty trash dumpster? It was\n supposed to look like an accident. I was hoping to\n see it in the paper. So help me, if this guy pops up\n somewhere...", "He opens the dumpster lid and very quickly reaches in, grabs his cell and\n hurries off. The lid CRASHES shut.\n\n PAUL\n (into the phone)\n Hello?", "Jodie, an annoyingly small dog, enters the garage from the house and starts\n sniffing around the body. A new chew toy!", "The corpse is covered with a tarp. The area is littered with blood, animal tracks\n and bits of blue parka. POLICE OFFICERS and tough looking LOCAL", "Margaret SIGHS, tries to push the fridge door closed, but the body is in the way.\n She gives the door a hip check. The door latches shut while something frozen", "The dumpster lid opens on a bitterly cold, gray winter's day in an Alaskan city. A\n chunky, shivering HAIR STYLIST with jet black bangs shakes out a box of\n conditioning samples.", "4 INT. INSIDE A TRASH DUMPSTER - NIGHT 4\n\n The lid reopens. SIRENS off in the distance...", "He SHOOS the dog back into the house. Paul moves back to the fridge, opens\n the door and, with great effort picks up the dead man and tries to stuff him\n inside. Only problem..." ], [ "MARGARET\n I'm not crazy, Paul. Something's really wrong with\n me.\n\n He takes her to a small sofa, cradles her in his arms.", "MARGARET\n I'm sick! I'm really, really sick!", "MARGARET\n I have a psychiatric disorder.\n (to Gary, in the bathroom)\n And so do you!", "MARGARET\n On the left. (beat) And I'm not... crazy, it's a physical\n disease. Sometimes I can control it, and\n sometimes --", "MARGARET\n They say you can't get it all of a sudden but I did. I\n really, really did.\n\n PAUL\n I know. They just don't --", "MARGARET\n It's a disease. It's called Tourette Syndrome. I can't\n control what I say. Turnip.", "Margaret smiles and totters off.\n\n PAUL\n She's under a little strain right now.", "Paul looks nervously at Margaret, who is about to reply. As her mouth\n engages, a gust of wind obliterates most of her words, except for...", "MARGARET\n (muffled)\n Oh fucking hell... I can't... breath.", "MARGARET\n I'll kill myself. Then they'll see.\n\n PAUL\n That is nonsense talk.", "MARGARET\n (smiling/whisper)\n Does food poisoning count? Have you been eating?\n\n PAUL\n You know me when I get busy.", "and brittle inside CRACKS. Margaret, oblivious, walks away.", "MARGARET (cont'd)\n You put that down now you little bitch, or so help me,\n I'll start yelling so loud you'll have to shoot me.", "HIGH ANGLE ON: Paul and Margaret in bed. Margaret takes up more than her\n share of the bed, her arm tossed over her husband. Paul, on his third of the", "Paul looks up to see Margaret. Dressed in a coat, she is standing in the\n middle of the living room, now empty save for a few boxes and a very ugly floor\n lamp.", "Margaret washes down some pills with her morning coffee as she looks at a\n fawn in the backyard, nibbling on a bush.", "Margaret looks at him, crestfallen.\n\n PAUL (cont'd)\n I'm sorry. I'm just really tired.", "Margaret, eyes wide with fear, unleashes a hailstorm of soda cans,\n knickknacks, gardening implements and anything else she can lay her hands\n on.", "MARGARET\n Blow me. Dinner's almost ready. You feel like some\n wine? I feel like some wine.", "inches to the right and shoots Margaret in the back. She drops face first into\n the snow." ], [ "PAUL (cont'd)\n It's really all we have left. He'd been gone for five\n years. We'd given him up--", "Paul puts the gun back. Not sure of his next move, he spots the beat up clock\n radio lying next to his brother.", "A younger, somewhat tipsy Paul comes into frame, puts an arm around his\n brother and smiles.\n\n PAUL\n What'cha saying there Raymond? Wha'cha saying\n 'bout me?", "PAUL\n I just thought, well, it's pretty unlikely he's still alive.\n My Dad always wanted us to be able to look after", "But shooting your brother is tougher than it looks. Paul opens his eyes.\n Raymond tries to pull the trigger again, but can't. He moves the barrel six", "The crowd LAUGHS as Paul reaches over and musses up his brother's hair.\n Raymond, furious, grabs his brother by the lapels and throws him roughly to\n the floor. The laughter stops.", "Raymond, an enigma, looks at Paul, then grins -- just kidding. Paul relaxes.\n Raymond tenses -- not really. Paul's not sure how to read his brother as they", "looks almost angelic. Paul stares at his brother.", "PAUL (cont'd)\n Disinterment order. Got it from the coroner's office.\n My brother didn't want to be buried.", "Paul, almost crazed with grief, cradles his wife's body.\n\n PAUL\n Oh God... Oh Jesus...", "PAUL\n Dead? No. I mean, they said he hadn't been gone\n long enough.\n\n AVIS\n (smiling warmly)\n Good thing in hindsight.", "PAUL (cont'd)\n I've had some dealings with, diseases of the mind,\n and I can tell you he is not well.\n\n Branch, obviously worried, stands.", "Raymond is about to kick him once more, but Paul puts up a hand, begging\n him to stop. Raymond, relents, then bends over and helps his brother to a\n sitting position.", "PAUL\n (picking it up)\n It was a gift from Raymond. He bought it for me from\n Florida. It's all we have to remember him by.", "PAUL\n (to himself)\n Let's see if anyone's missing you.\n\n He flips through each section. There's nothing. Paul walks to the fridge.", "With that, Raymond kicks his brother hard in the ribs. Paul doubles over,\n gasping for breath.", "PAUL (cont'd)\n (to the corpse)\n I don't know what kind of man let's himself just", "PAUL\n You taped my brother's body, in the morgue?\n\n Paul stands and grabs the photo from off the desk.", "PAUL\n Yes, Raymond. You see, as I've already explained to\n Mr. Branch, he's been gone for five years now, and I\n thought it might be time to... move on.", "Paul, muttering, leans in to get it. He pushes aside an orange garbage bag,\n guided by the faint sound of the other person STILL TALKING. And then--" ], [ "PAUL\n Mr. Watters, I love my wife. Very much.\n\n Ted can't help but look confused by this simple, yet sincere declaration.", "Ted and Mrs. Wherry sit on plastic covered furniture. The mounted heads of\n several dozen dead animals, foxes, wolves, elk, surround them. Ted takes\n notes.", "unload a new snowmobile from the back of his pickup. TED WATTERS (late\n 20s) half hidden under a heavy dress coat, walks down the street. He stops by", "Ted walks in, throwing his coat over the wall of his cubicle and is about to sit\n down when he notices Paul in his boss' office. Ted moves closer.", "TED\n Watters, claims. Yeah, hang on...\n (to Cam)\n It's personal. I promise.", "Ted, pulls on his boots and his jacket. In his hand, an address scribbled down\n on a piece of note paper. Tiffany watches, not happy.", "BRANCH\n Watters. Glad you're... Mr. Barnell was just telling\n me about the... meeting you two had.\n\n TED\n I caught that, yes.", "Tiffany and Ted drive. Ted has just finished. Tiffany has been paying rapt\n attention.", "The snow clears. Paul, a pillar of strength, discreetly checks his watch then\n sneaks a concerned look at Margaret who busily grins at everyone in sight.\n Ted's car pulls into the parking area.", "PAUL\n Mr. Watters. You said on the phone something\n about a resolution in our claim?\n\n TED\n Mr. Barnell. Why are you staying out here?", "Ted drives home through a wooded section of town.\n\nA18 INT. TED'S CAR - CONTINUOUS A18", "Ted slides the papers across to Paul, then gets up and moves around over\n Paul's shoulder.", "TED\n Yeah, hi, it's Ted Watters from Fidelity Mutual. (beat)\n I need a complete credit work up on a Raymond", "TED (cont'd)\n Claims, Ted Watters. Sure.\n\n A final key stroke separates one last zombie from its entrails.", "TED\n I meant ours. Ours, ours, ours.\n\n Tiffany returns to her call, but keeps looking at Ted.", "Ted opens the door to his boss' office. Paul doesn't notice.", "TED\n Any idea what he was doing out there?\n\n PAUL\n He'd go for walks. Hikes, I mean. Hiking.", "TIGHT ON: WATTERS at his nearby cubicle, typing frenetically on his computer.", "Ted backs to his car, gets in and drives off. Paul brushes the snow from his\n jacket, reaches up, touches his bleeding forehead (the fall having reopened the\n wound).", "PAUL\n That's... quite the fish.\n\n Branch is about to answer when Ted enters with a slim file.\n\n BRANCH\n Paul Barnell, Ted Watters." ], [ "GARY\n Really?\n\n MARGARET\n You've taken a handicapped person hostage. I hope\n you're proud of yourself.", "One bullet bounces off Paul's car. One hits Raymond. With a quizzical look on\n his face, he drops to his knees. A large crimson stain forms on his jacket.", "As Jimbo and Gary drive away, Paul brings Margaret to his vehicle. Spotting\n Raymond, he walks over, kicks the gun away, then leans down. Raymond's not\n dead, but he's close.", "Gary, suddenly tense, puts down his spoon and picks up his gun.\n\n GARY\n Hey! Keep your voice down or the gag goes back.", "TIFFANY\n Something about the gay mafia taking her to a park\n to kill her. Can you hand me my Help Line list?\n\n TED\n What... Wha...", "Gary and Jimbo, with Margaret, hands bound, walk into the garage. Jodie (the\n dog) runs out after them. Margaret looks at Jimbo, who takes the dog and\n gently puts him back inside.", "At Jimbo's car, Gary is folding the corpse into the trunk as Jimbo pulls Margaret\n upright from the backseat and tugs down her gag. She smiles at him as, with", "The car is still in the parking area. Paul and a bloody, beaten Ted sit up front\n with Margaret and Tiffany in the back. No one speaks, until...", "Margaret and Tiffany jump in, trying to pull the two men apart.\n\n163 INT. PAUL'S CAR - LATER 163", "But shooting your brother is tougher than it looks. Paul opens his eyes.\n Raymond tries to pull the trigger again, but can't. He moves the barrel six", "Gary walks in on Jimbo and Margaret, still gagged.\n\n JIMBO\n He gone?\n\n Gary nods, well pleased with himself.", "Jimbo mimics snapping someone's neck. It's clearly not a gesture he enjoys.\n As Gary looks at him, a Cadillac pulls up beside them. Behind the wheel is", "Margaret sits taped to a Lazy-Boy recliner. Gary, who's still bleeding from the\n nose, sits across from her.", "Raymond is passed out on the sofa. Paul sits, gun in hand, the barrel pointed\n at Raymond's forehead. His finger grazes the trigger... but it's suddenly all too", "Paul is about to lunge at the men when Gary slides his gun into view. He\n stops.\n\n PAUL (cont'd)\n What are you people doing in my house?", "Gary and Jimbo look over at Paul, somewhat confused. Raymond's ten yards\n out, and they can now see he's taken out his gun. He's aiming it at Paul.", "GARY\n You know, it's always you quiet guys. Here's how it's\n going to work. We stay here with your wife, you go\n get our guy.", "Raymond reaches Paul, takes the gun and points it at the top of his head.\n Paul's eyes shut tight, expecting the worst.\n\n PAUL\n Raymond... please.", "Before he can finish, Raymond hits him with an elbow to the temple. Ted\n drops to his knees, but even as Raymond tries to walk off, Ted manages to\n grab his ankle.", "Dave keeps backing up. As he takes the corner and bumps over the curb, the\n momentum sends the half-eaten body (that Gary and Jimbo stuffed into the\n backseat) to an upright position." ], [ "The punch hits Paul on the top of his head. He stumbles back, but Ted is on\n him before he can move out of range. It's a strange looking fight between the", "Raymond is about to kick him once more, but Paul puts up a hand, begging\n him to stop. Raymond, relents, then bends over and helps his brother to a\n sitting position.", "Paul turns to look at Ted. He has a large band-aid on his forehead, scratches\n and bruises on his face. It takes a second for the dime to drop.", "The crowd LAUGHS as Paul reaches over and musses up his brother's hair.\n Raymond, furious, grabs his brother by the lapels and throws him roughly to\n the floor. The laughter stops.", "With that, Raymond kicks his brother hard in the ribs. Paul doubles over,\n gasping for breath.", "Raymond walks over to Paul. Paul tenses, expecting to be hit. Raymond\n moves right by to refill his drink.", "Paul, looking like a man who recently took a beating, shovels the light snow\n cover that blankets the drive. He looks as Ted's car pulls up. As Ted walks\n toward him...", "Paul fights nausea. But with the leg now out of joint, the man fits. Paul,\n breathing heavy, leans against the door.", "Paul leans in-- the man's face is hamburger. Paul nods.\n\n PAUL\n They chewed his ears off. What kind of animal does\n something like that?", "Paul puts a hand to his chest. Suddenly dizzy, he drops to his knees and starts\n to RETCH. Tears well up in his eyes. After a few moments, the storm passes.", "Paul's world ends.\n\n Ears RINGING, he rushes toward his wife.\n\n Jimbo can't believe it as Gary holds him back.", "Paul gently turns her over. Margaret, alive, unharmed but winded, tries to catch\n her breath.\n\n MARGARET (cont'd)\n Paul... Someone kicked me.", "As he opens the door a crack, a gloved hand shoves it open. The force of the\n blow sends Paul staggering backward, landing in a heap against the wall", "Paul has to turn away.\n\n RAYMOND\n (laboured)\n Look at me, you little...", "PAUL\n Just a little.\n (to Jimbo)\n Hey, we're gonna get...\n\n That's when Paul sees what Jimbo and Gary are watching.", "Ted backs to his car, gets in and drives off. Paul brushes the snow from his\n jacket, reaches up, touches his bleeding forehead (the fall having reopened the\n wound).", "PAUL\n It's all over honey. It's all over. Did they hurt you?", "One bullet bounces off Paul's car. One hits Raymond. With a quizzical look on\n his face, he drops to his knees. A large crimson stain forms on his jacket.", "Paul comes around the corner. He extends his hand, shocked to see the\n bruises on Ted's face but knowing exactly where they came from.\n\n TED\n Mr. Barnell. I have your check.", "Raymond kicks Ted in the head, turns, spots Paul and breaks into a run.\n\n Paul seems frozen, but just for a moment.\n\n JIMBO\n Who the hell is that?" ], [ "Raymond is about to kick him once more, but Paul puts up a hand, begging\n him to stop. Raymond, relents, then bends over and helps his brother to a\n sitting position.", "Raymond reaches Paul, takes the gun and points it at the top of his head.\n Paul's eyes shut tight, expecting the worst.\n\n PAUL\n Raymond... please.", "With that, Raymond kicks his brother hard in the ribs. Paul doubles over,\n gasping for breath.", "Paul has to turn away.\n\n RAYMOND\n (laboured)\n Look at me, you little...", "Raymond, an enigma, looks at Paul, then grins -- just kidding. Paul relaxes.\n Raymond tenses -- not really. Paul's not sure how to read his brother as they", "Raymond walks over to Paul. Paul tenses, expecting to be hit. Raymond\n moves right by to refill his drink.", "Paul, agitated, pulls the blinds shut.\n\n PAUL\n You can't do that, Raymond. If someone sees you...", "RAYMOND\n Ya know, I been thinking there, Paulie.\n\n PAUL\n About what?", "RAYMOND (cont'd)\n But then I start to think, Paul's no idiot. He woulda\n told 'em it's not me. Unless...", "RAYMOND\n What you get?\n\n Paul considers whether or not Raymond would even remember.\n\n PAUL\n Fifty thousand.", "PAUL\n There's actually something we need to talk about.\n It's about Raymond. He's back.", "Paul beats a hasty retreat, stumbling through the mobile home with Raymond\n right on his heels.\n\n PAUL\n Raymond, let me tell you what happened here. We\n all thought you were...", "PAUL\n Well, they've been asking me to talk some more\n about Raymond. I thought now might be an\n appropriate time.", "RAYMOND\n Hey Paul. Took care of our little problem today. We\n should see some serious money any time, soon.\n\n PAUL\n Could... I have a word with you?", "PAUL\n Oh I see. No, you see that must have been\n Raymond. (beat) Very much so. No, no one was", "PAUL\n Uh huh. Well anyway last night there's a knock on\n the door and there's Raymond, just... standing there\n on the doorstep.", "A younger, somewhat tipsy Paul comes into frame, puts an arm around his\n brother and smiles.\n\n PAUL\n What'cha saying there Raymond? Wha'cha saying\n 'bout me?", "Raymond, a momentary flash of anger, sits on the bed beside his brother.\n Paul does his best not to flinch.\n\n RAYMOND\n I always knew she was a fucking tease.", "But shooting your brother is tougher than it looks. Paul opens his eyes.\n Raymond tries to pull the trigger again, but can't. He moves the barrel six", "Paul turns back, not angry, not frightened, just a little sad. Raymond, taken\n aback for a moment, tries for one last verbal shot, but all he can manage is..." ], [ "PAUL\n It's OK. We just wrapped up. This is my wife,\n Margaret.\n\n As they shake hands, and Margaret opens her mouth to speak...", "As Jimbo and Gary drive away, Paul brings Margaret to his vehicle. Spotting\n Raymond, he walks over, kicks the gun away, then leans down. Raymond's not\n dead, but he's close.", "Paul flips Margaret's letter over, and we now see it is the faded Hawaiian Hilton\n postcard from the box in his den.", "MARGARET\n Paul?\n\n Paul discretely takes off his red parka and drapes it over Margaret's shoulders.", "RAYMOND (cont'd)\n So what is it? Frame job, lawsuit...\n\n PAUL\n Life insurance.", "Paul feels around the bullet hole and pulls out a stack of money, now\n embedded with the slug from the Raymond's gun. He starts to weep tears of\n relief.", "Paul looks up to see Margaret. Dressed in a coat, she is standing in the\n middle of the living room, now empty save for a few boxes and a very ugly floor\n lamp.", "Paul looks nervously at Margaret, who is about to reply. As her mouth\n engages, a gust of wind obliterates most of her words, except for...", "Paul gets out of his car, as do Jimbo and Gary. Paul looks for Margaret in the\n back of Jimbo's car, but she remains lying down on the backseat.", "HIGH ANGLE ON: Paul and Margaret in bed. Margaret takes up more than her\n share of the bed, her arm tossed over her husband. Paul, on his third of the", "HIGH ANGLE ON: Paul lying in bed, wide awake, but in the same position\n we've seen him in when he sleeps with Margaret. An electric heater glows\n beside him.", "Paul gently turns her over. Margaret, alive, unharmed but winded, tries to catch\n her breath.\n\n MARGARET (cont'd)\n Paul... Someone kicked me.", "MARGARET\n I'm not crazy, Paul. Something's really wrong with\n me.\n\n He takes her to a small sofa, cradles her in his arms.", "MARGARET\n I'll kill myself. Then they'll see.\n\n PAUL\n That is nonsense talk.", "Paul puts aside a faded hotel postcard from Hawaii and digs out an insurance\n policy out of the box. On the last page is a list of the payouts. Loss of a limb:", "Ted glares at Tiffany, but her look instantly softens him. Ted looks at Margaret,\n who looks expectantly at Paul. Ted shrugs.\n\n TED\n Knock yourself out.", "PAUL (cont'd)\n Why don't you wait in the car, sweetheart?\n\n MARGARET\n Okee dokee, smokee.", "Margaret has just dialed another number. It RINGS on the other end... And\n RINGS... And connects.\n\n MARGARET\n Paul?", "Paul walks in from the garage, pulling off his blue parka. Margaret enters from\n the living room. (Paul still has the pillow taped to his front, which Margaret\n happily pokes with a finger but never mentions.)", "Margaret looks at him, crestfallen.\n\n PAUL (cont'd)\n I'm sorry. I'm just really tired." ], [ "travel agency. We might notice a big trash dumpster in the corner. Paul's car,\n a Ford Taurus, pulls onto the parking pad.", "Paul backs his Ford Taurus up to the dumpster, pops the trunk, checks to\n make sure he's alone then steps up on the rear bumper, opens the lid and\n clambers inside.", "JIMBO\n Do you remember a dead man you found in the\n dumpster behind your office?\n\n Paul, shocked, tries to hold it together.", "He opens the dumpster lid and very quickly reaches in, grabs his cell and\n hurries off. The lid CRASHES shut.\n\n PAUL\n (into the phone)\n Hello?", "Paul back in his office, staring out the window with a perfect view of the\n dumpster. He can't take his eyes off it.", "66 INT. \"BARNELL GREAT ESCAPES TRAVEL\" - DAY 66\n\n Ted sits across the desk from Paul. As per usual, the place is a tomb.", "Paul, still on the phone, carries the papers to the dumpster.\n\n PAUL\n Yes, and that check went out a week ago. I watched\n my secretary write it up.", "Paul, muttering, leans in to get it. He pushes aside an orange garbage bag,\n guided by the faint sound of the other person STILL TALKING. And then--", "A SHOUT as Paul jumps back from the dumpster. The lid CRASHES down as\n he scrambles/slides away. He takes a moment to compose himself, then\n realizes his phone is still in there.", "Boyle pulls the cover back over the body. Boyle hands Barnell a clear baggie\n with the dead man's wallet inside.", "Paul at his desk, watching the video on a small TV in the wall unit. He turns his\n attention to a large cardboard box filled with documents, souvenirs, old report\n cards...", "Black. Paul opens the lid. The phone is cradled in his neck, he checks each\n soggy page to make sure he's not tossing anything important.", "PAUL\n Who is it?\n\n MAN'S VOICE (O.S.)\n State Police. Is there a Mr. Barnell here?", "Paul looks over to see some MEN from Rodney's Repo Ranch walking up to\n the front door of his office. Distracted for a moment, the phone slips and falls\n into the trash.", "PAUL\n No, I can't say that... I mean that would probably stick\n in my mind a... dead body.\n\n GARY\n Think hard Mr. Barnell.", "Looking down he sees a photo of Raymond Barnell, on the beach in swim\n trunks. Must have fallen. Ted pockets it and moves on.", "Paul flips Margaret's letter over, and we now see it is the faded Hawaiian Hilton\n postcard from the box in his den.", "Black. The lid opens. Jimbo, Gary and Paul look in at the frozen body. Jimbo\n recoils at the mangled mess before him. Gary reaches down and touches the\n well-chewed body.", "The corpse, now in Raymond's clothing and the blue parka, lies face up on the\n Aloha Airlines promotional surfboard being lurched forward by Paul, who wears", "117 INT. \"BARNELL GREAT ESCAPES TRAVEL\" - LATER 117" ], [ "Boyle pulls the cover back over the body. Boyle hands Barnell a clear baggie\n with the dead man's wallet inside.", "Black. The lid opens. Jimbo, Gary and Paul look in at the frozen body. Jimbo\n recoils at the mangled mess before him. Gary reaches down and touches the\n well-chewed body.", "The corpse, now in Raymond's clothing and the blue parka, lies face up on the\n Aloha Airlines promotional surfboard being lurched forward by Paul, who wears", "The corpse is covered with a tarp. The area is littered with blood, animal tracks\n and bits of blue parka. POLICE OFFICERS and tough looking LOCAL", "At Jimbo's car, Gary is folding the corpse into the trunk as Jimbo pulls Margaret\n upright from the backseat and tugs down her gag. She smiles at him as, with", "There, hanging off the frosty inside, is a chunk of the dead man's hair and\n scalp. Gary pulls it off, not sure what it means, but sure it means something.", "Black. The trunk lid opens as Bill and Arnith dump a well-wrapped body\n unceremoniously into the trunk. Arnith and Bill look at each other. Bill closes\n the lid. Black.", "Ted walks down to the head of the victim, pulls out a camcorder and starts to\n tape the body.\n\n TED\n Detective, we're an insurance company, not the\n Salvation Army.", "Dave keeps backing up. As he takes the corner and bumps over the curb, the\n momentum sends the half-eaten body (that Gary and Jimbo stuffed into the\n backseat) to an upright position.", "Jodie, an annoyingly small dog, enters the garage from the house and starts\n sniffing around the body. A new chew toy!", "Margaret SIGHS, tries to push the fridge door closed, but the body is in the way.\n She gives the door a hip check. The door latches shut while something frozen", "Ted, Cam and Detective Boyle stand at the end near the feet. A white sheet\n covers most of the deceased.\n\n DETECTIVE BOYLE\n That's him. Raymond Barnell.", "SNOWMOBILERS mill about the corpse, taking turns lifting the tarp that covers\n the body. A few yards away, DETECTIVE BOYLE (60s) talks to a seemingly", "TED\n Kind of understandable I guess. Seeing as how you\n killed that man and dumped his body out in the\n woods.\n\n PAUL\n You mean Raymond?", "Paul nods. They make their way over to the tarp. Boyle pulls it back.\n\n DETECTIVE BOYLE (cont'd)\n Is that your brother, sir?", "THE BACON HAT -- as Paul pulls it snug on the corpse's head. He pulls the\n bloody steaks from the shopping bag and starts to smear them on the corpse's", "Paul and Branch listen intently as Ted paces, the TV/VCR plays shots of the\n dead body in the background.", "The lifeless body of a fair-sized man comes CRASHING into the garbage.\n SIRENS closer. A man seen only in silhouette leans in to pull some garbage", "DETECTIVE BOYLE\n Anonymous phone tip from some Jamaican guy.\n (Paul shows no reaction)\n Said he saw what looked like a body. We tracked\n you through his ID.", "FEMALE COP\n You want an autopsy?\n\n DETECTIVE BOYLE\n On what?\n\n FEMALE COP\n Derek found this." ], [ "TIFFANY\n And if Paul Barnell already killed his brother...\n\n TED\n Maybe his wife is next.", "Paul, almost crazed with grief, cradles his wife's body.\n\n PAUL\n Oh God... Oh Jesus...", "HIGH ANGLE ON: Paul and Margaret in bed. Margaret takes up more than her\n share of the bed, her arm tossed over her husband. Paul, on his third of the", "And with that, Paul disappears into the back bedroom.\n\n114 INT. BARNELL MOBILE HOME / BACK BEDROOM - MOMENTS LATER 114", "HIGH ANGLE ON: Paul lying in bed, wide awake, but in the same position\n we've seen him in when he sleeps with Margaret. An electric heater glows\n beside him.", "PAUL\n It's OK. We just wrapped up. This is my wife,\n Margaret.\n\n As they shake hands, and Margaret opens her mouth to speak...", "Paul waves as he enters the mobile home, closing the door behind him. A\n light goes on. It starts to snow.\n\n90 INT. BARNELL MOBILE HOME - NIGHT 90", "PAUL\n Who is it?\n\n MAN'S VOICE (O.S.)\n State Police. Is there a Mr. Barnell here?", "Paul's world ends.\n\n Ears RINGING, he rushes toward his wife.\n\n Jimbo can't believe it as Gary holds him back.", "PAUL (cont'd)\n I've had some dealings with, diseases of the mind,\n and I can tell you he is not well.\n\n Branch, obviously worried, stands.", "Paul looks nervously at Margaret, who is about to reply. As her mouth\n engages, a gust of wind obliterates most of her words, except for...", "104 INT. BARNELL MOBILE HOME / KITCHEN - CONTINUOUS 104\n\n Paul pulls the sliding door closed behind Raymond.", "PAUL\n No, I can't say that... I mean that would probably stick\n in my mind a... dead body.\n\n GARY\n Think hard Mr. Barnell.", "Ted, with his hands still on Paul, turns to see -- Mrs. Wherry, from her porch, a\n compound bow aimed at his forehead.", "Paul fights nausea. But with the leg now out of joint, the man fits. Paul,\n breathing heavy, leans against the door.", "Paul smiles bravely as he shuts the oven door. Behind the chicken, Margaret\n doesn't look happy as Paul starts to explain. She rushes from the room.", "Barnell... and Paul, a Paul Barnell too... sure, I'll hold.", "MARGARET\n I'm not crazy, Paul. Something's really wrong with\n me.\n\n He takes her to a small sofa, cradles her in his arms.", "AVIS\n Well that's great. You and Mrs. Barnell will have\n some company for a bit I guess. How is she?", "JIMBO\n Mr. Barnell. I'll assume you've got our friend back\n there?\n\n PAUL\n Yes. You can let her go now." ], [ "Dave keeps backing up. As he takes the corner and bumps over the curb, the\n momentum sends the half-eaten body (that Gary and Jimbo stuffed into the\n backseat) to an upright position.", "Black. The lid opens. Jimbo, Gary and Paul look in at the frozen body. Jimbo\n recoils at the mangled mess before him. Gary reaches down and touches the\n well-chewed body.", "Boyle pulls the cover back over the body. Boyle hands Barnell a clear baggie\n with the dead man's wallet inside.", "At Jimbo's car, Gary is folding the corpse into the trunk as Jimbo pulls Margaret\n upright from the backseat and tugs down her gag. She smiles at him as, with", "The corpse, now in Raymond's clothing and the blue parka, lies face up on the\n Aloha Airlines promotional surfboard being lurched forward by Paul, who wears", "Ted walks down to the head of the victim, pulls out a camcorder and starts to\n tape the body.\n\n TED\n Detective, we're an insurance company, not the\n Salvation Army.", "SNOWMOBILERS mill about the corpse, taking turns lifting the tarp that covers\n the body. A few yards away, DETECTIVE BOYLE (60s) talks to a seemingly", "There, hanging off the frosty inside, is a chunk of the dead man's hair and\n scalp. Gary pulls it off, not sure what it means, but sure it means something.", "Paul and Branch listen intently as Ted paces, the TV/VCR plays shots of the\n dead body in the background.", "He SHOOS the dog back into the house. Paul moves back to the fridge, opens\n the door and, with great effort picks up the dead man and tries to stuff him\n inside. Only problem...", "PAUL (cont'd)\n (to the corpse)\n I don't know what kind of man let's himself just", "PAUL'S POV: down at the corpse, exactly as it was last night.\n\n PAUL\n Well come on! How much easier do I have to make\n this?", "The corpse is covered with a tarp. The area is littered with blood, animal tracks\n and bits of blue parka. POLICE OFFICERS and tough looking LOCAL", "THE BACON HAT -- as Paul pulls it snug on the corpse's head. He pulls the\n bloody steaks from the shopping bag and starts to smear them on the corpse's", "PAUL (cont'd)\n Disinterment order. Got it from the coroner's office.\n My brother didn't want to be buried.", "GARY\n Fifteen!\n (grabs the phone)\n The body. Have you -- (beat) No, I'm the other guy.\n Have you got the body?", "TIFFANY\n Something about the gay mafia taking her to a park\n to kill her. Can you hand me my Help Line list?\n\n TED\n What... Wha...", "The lifeless body of a fair-sized man comes CRASHING into the garbage.\n SIRENS closer. A man seen only in silhouette leans in to pull some garbage", "But shooting your brother is tougher than it looks. Paul opens his eyes.\n Raymond tries to pull the trigger again, but can't. He moves the barrel six", "Jodie, an annoyingly small dog, enters the garage from the house and starts\n sniffing around the body. A new chew toy!" ], [ "But shooting your brother is tougher than it looks. Paul opens his eyes.\n Raymond tries to pull the trigger again, but can't. He moves the barrel six", "One bullet bounces off Paul's car. One hits Raymond. With a quizzical look on\n his face, he drops to his knees. A large crimson stain forms on his jacket.", "TIFFANY\n Something about the gay mafia taking her to a park\n to kill her. Can you hand me my Help Line list?\n\n TED\n What... Wha...", "Stalking toward his car, he checks the pistol in his side pocket, then, almost as\n an afterthought, opens the clip. No bullets. He smiles.", "RAYMOND\n Ya know, I been thinking there, Paulie.\n\n PAUL\n About what?", "Paul leans in-- the man's face is hamburger. Paul nods.\n\n PAUL\n They chewed his ears off. What kind of animal does\n something like that?", "Gary, suddenly tense, puts down his spoon and picks up his gun.\n\n GARY\n Hey! Keep your voice down or the gag goes back.", "Black. The lid opens. Jimbo, Gary and Paul look in at the frozen body. Jimbo\n recoils at the mangled mess before him. Gary reaches down and touches the\n well-chewed body.", "Gary and Jimbo look over at Paul, somewhat confused. Raymond's ten yards\n out, and they can now see he's taken out his gun. He's aiming it at Paul.", "Jimbo mimics snapping someone's neck. It's clearly not a gesture he enjoys.\n As Gary looks at him, a Cadillac pulls up beside them. Behind the wheel is", "Raymond is passed out on the sofa. Paul sits, gun in hand, the barrel pointed\n at Raymond's forehead. His finger grazes the trigger... but it's suddenly all too", "Paul drapes the steaks on the body, tucking one under an arm, the other\n hanging from a pocket. He pauses for moment, then pulls out a container of", "DAVE\n Show me what? An empty trash dumpster? It was\n supposed to look like an accident. I was hoping to\n see it in the paper. So help me, if this guy pops up\n somewhere...", "Dave keeps backing up. As he takes the corner and bumps over the curb, the\n momentum sends the half-eaten body (that Gary and Jimbo stuffed into the\n backseat) to an upright position.", "RAYMOND\n You crossed over into the bigs now, Paulie. Fraud.\n Consorting with felons. Got to \"cowboy up.\"", "At Jimbo's car, Gary is folding the corpse into the trunk as Jimbo pulls Margaret\n upright from the backseat and tugs down her gag. She smiles at him as, with", "Black. The trunk lid opens as Bill and Arnith dump a well-wrapped body\n unceremoniously into the trunk. Arnith and Bill look at each other. Bill closes\n the lid. Black.", "He drops to his knees, grabbing his nose, which is now gushing blood.\n Margaret reaches for her portable phone and starts punching numbers.\n\n MARGARET\n You are in so much trouble.", "He gets ready to fire again, then makes the mistake of looking at Raymond.\n Maybe it's the light... maybe it's the small puddle of drool on the cushion, but he", "The lifeless body of a fair-sized man comes CRASHING into the garbage.\n SIRENS closer. A man seen only in silhouette leans in to pull some garbage" ], [ "HIGH ANGLE ON: Paul and Margaret in bed. Margaret takes up more than her\n share of the bed, her arm tossed over her husband. Paul, on his third of the", "PAUL\n It's OK. We just wrapped up. This is my wife,\n Margaret.\n\n As they shake hands, and Margaret opens her mouth to speak...", "Paul looks up to see Margaret. Dressed in a coat, she is standing in the\n middle of the living room, now empty save for a few boxes and a very ugly floor\n lamp.", "MARGARET\n Paul?\n\n Paul discretely takes off his red parka and drapes it over Margaret's shoulders.", "Paul looks nervously at Margaret, who is about to reply. As her mouth\n engages, a gust of wind obliterates most of her words, except for...", "Paul flips Margaret's letter over, and we now see it is the faded Hawaiian Hilton\n postcard from the box in his den.", "Paul walks in from the garage, pulling off his blue parka. Margaret enters from\n the living room. (Paul still has the pillow taped to his front, which Margaret\n happily pokes with a finger but never mentions.)", "Paul gently turns her over. Margaret, alive, unharmed but winded, tries to catch\n her breath.\n\n MARGARET (cont'd)\n Paul... Someone kicked me.", "Margaret has just dialed another number. It RINGS on the other end... And\n RINGS... And connects.\n\n MARGARET\n Paul?", "PAUL\n That was lovely, thank you so much.\n\n MINISTER\n Margaret, Paul, you two get some sleep.", "Margaret nods, kisses her husband quickly on the cheek, then starts to walk\n off.\n\n Paul, Gary and Jimbo watch, transfixed at the down-parka'd shit-storm that is\n headed their way.", "Paul gets out of his car, as do Jimbo and Gary. Paul looks for Margaret in the\n back of Jimbo's car, but she remains lying down on the backseat.", "PAUL (cont'd)\n Why don't you wait in the car, sweetheart?\n\n MARGARET\n Okee dokee, smokee.", "On the TV playing behind him (the second part of the tape), Margaret is pictured\n on a cruise ship, sunning herself. Paul, obviously behind the camera, watches", "Margaret appears in the doorway.\n\n MARGARET\n Paul?\n\n PAUL\n (startled)\n Holy-- Margaret, you scared the wits out of me.", "Paul feels around the bullet hole and pulls out a stack of money, now\n embedded with the slug from the Raymond's gun. He starts to weep tears of\n relief.", "As Jimbo and Gary drive away, Paul brings Margaret to his vehicle. Spotting\n Raymond, he walks over, kicks the gun away, then leans down. Raymond's not\n dead, but he's close.", "HIGH ANGLE ON: Paul lying in bed, wide awake, but in the same position\n we've seen him in when he sleeps with Margaret. An electric heater glows\n beside him.", "MARGARET\n Pretty damn good.\n\n PAUL\n I can tell.\n\n MARGARET\n Can you?", "PAUL\n How did you get them here?\n\n Raymond pulls out the credit card Paul got for him." ], [ "RAYMOND\n You crossed over into the bigs now, Paulie. Fraud.\n Consorting with felons. Got to \"cowboy up.\"", "PAUL\n (not quite trusting him)\n Okay. Sure.\n (changing the subject)\n You look good. Lost some weight?", "RAYMOND (cont'd)\n So what is it? Frame job, lawsuit...\n\n PAUL\n Life insurance.", "PAUL\n How did you get them here?\n\n Raymond pulls out the credit card Paul got for him.", "Paul sits in the manager's office, signing forms. A large BANK GUARD stands\n nearby. The reason? One million dollars in hundred dollar bills neatly stacked\n on the desk.", "Good point. Paul hands him the ransom money.\n\n155 OMITTED 155", "PAUL\n I really think you should go now.\n\n TED\n You are a liar and thief.", "PAUL\n I'm... I... I don't know. He said some things. He said\n he was joking, but I... I think he might.", "RAYMOND\n Hey Paul. Took care of our little problem today. We\n should see some serious money any time, soon.\n\n PAUL\n Could... I have a word with you?", "PAUL (cont'd)\n I've had some dealings with, diseases of the mind,\n and I can tell you he is not well.\n\n Branch, obviously worried, stands.", "PAUL (cont'd)\n OK then. OK.", "PAUL\n I'm not sure I appreciate your tone.\n\n TED\n My tone, Mr. Barnell? You are going to jail. I will\n personally see to that.", "Paul fights nausea. But with the leg now out of joint, the man fits. Paul,\n breathing heavy, leans against the door.", "Paul thinks for a moment, digs into his pocket pulls out five crisp, new hundred\n dollar bills and SLAMS them on the table.", "PAUL\n Thank you, I appreciate that.\n (an awkward pause)\n Please, sit.\n\n Ted sits at Paul desk, reaches into his brief case and pulls out an envelope\n and several forms.", "PAUL\n Ya know, I don't mean to be rude here, but I'm not\n sure this is any of your business.\n\n ARNITH\n That's entirely possible.", "PAUL (cont'd)\n (to the corpse)\n I don't know what kind of man let's himself just", "Paul, almost crazed with grief, cradles his wife's body.\n\n PAUL\n Oh God... Oh Jesus...", "PAUL (cont'd)\n Great. I was told to give you this.", "TED\n Oh for... he's lying. It's obvious he...\n\n Paul, feigning fear, shrinks back into the corner." ], [ "inches to the right and shoots Margaret in the back. She drops face first into\n the snow.", "Margaret, eyes wide with fear, unleashes a hailstorm of soda cans,\n knickknacks, gardening implements and anything else she can lay her hands\n on.", "One bullet bounces off Paul's car. One hits Raymond. With a quizzical look on\n his face, he drops to his knees. A large crimson stain forms on his jacket.", "As Jimbo and Gary drive away, Paul brings Margaret to his vehicle. Spotting\n Raymond, he walks over, kicks the gun away, then leans down. Raymond's not\n dead, but he's close.", "Paul feels around the bullet hole and pulls out a stack of money, now\n embedded with the slug from the Raymond's gun. He starts to weep tears of\n relief.", "Margaret nods, kisses her husband quickly on the cheek, then starts to walk\n off.\n\n Paul, Gary and Jimbo watch, transfixed at the down-parka'd shit-storm that is\n headed their way.", "Paul gently turns her over. Margaret, alive, unharmed but winded, tries to catch\n her breath.\n\n MARGARET (cont'd)\n Paul... Someone kicked me.", "Margaret hears the shower stop running.\n\n MARGARET\n Shit on toast.\n\n She hangs up, places the gag back in her mouth and hustles back into place.", "Margaret, still taped to a chair, sits at the kitchen table. By the stove, Gary is\n cooking, an apron tied like a bath towel around his waist.", "Paul looks up to see Margaret. Dressed in a coat, she is standing in the\n middle of the living room, now empty save for a few boxes and a very ugly floor\n lamp.", "MARGARET (cont'd)\n You put that down now you little bitch, or so help me,\n I'll start yelling so loud you'll have to shoot me.", "MARGARET\n Well you should know, fuck-wit. You know there's a\n man with a gun in my shower, right now?", "Gary stands, pissed off, gun aimed at Margaret's head.\n\n GARY\n Lady, so help me I --", "Paul looks nervously at Margaret, who is about to reply. As her mouth\n engages, a gust of wind obliterates most of her words, except for...", "MARGARET\n Paul?\n\n Paul discretely takes off his red parka and drapes it over Margaret's shoulders.", "Gary and Jimbo, with Margaret, hands bound, walk into the garage. Jodie (the\n dog) runs out after them. Margaret looks at Jimbo, who takes the dog and\n gently puts him back inside.", "Paul walks in from the garage, pulling off his blue parka. Margaret enters from\n the living room. (Paul still has the pillow taped to his front, which Margaret\n happily pokes with a finger but never mentions.)", "PAUL\n It's OK. We just wrapped up. This is my wife,\n Margaret.\n\n As they shake hands, and Margaret opens her mouth to speak...", "He drops to his knees, grabbing his nose, which is now gushing blood.\n Margaret reaches for her portable phone and starts punching numbers.\n\n MARGARET\n You are in so much trouble.", "Margaret, now gagged, sits where we last saw her. She tries to talk through\n the gag.\n\n Gary's staring at his watch, calling out seconds." ], [ "One bullet bounces off Paul's car. One hits Raymond. With a quizzical look on\n his face, he drops to his knees. A large crimson stain forms on his jacket.", "RAYMOND (cont'd)\n Puddles.\n\n And Raymond dies.", "RAYMOND\n Dead? Yeah, I got that impression.\n\n PAUL\n But you had dropped off the face of the earth.", "TED\n Kind of understandable I guess. Seeing as how you\n killed that man and dumped his body out in the\n woods.\n\n PAUL\n You mean Raymond?", "RAYMOND (cont'd)\n So what is it? Frame job, lawsuit...\n\n PAUL\n Life insurance.", "But shooting your brother is tougher than it looks. Paul opens his eyes.\n Raymond tries to pull the trigger again, but can't. He moves the barrel six", "He gets ready to fire again, then makes the mistake of looking at Raymond.\n Maybe it's the light... maybe it's the small puddle of drool on the cushion, but he", "As Jimbo and Gary drive away, Paul brings Margaret to his vehicle. Spotting\n Raymond, he walks over, kicks the gun away, then leans down. Raymond's not\n dead, but he's close.", "RAYMOND\n Go away, now.\n\n Raymond walks on. Ted, realizing he has no choice, runs and jumps in front of\n Raymond, blocking his way.", "Raymond reaches Paul, takes the gun and points it at the top of his head.\n Paul's eyes shut tight, expecting the worst.\n\n PAUL\n Raymond... please.", "Raymond is passed out on the sofa. Paul sits, gun in hand, the barrel pointed\n at Raymond's forehead. His finger grazes the trigger... but it's suddenly all too", "RAYMOND (cont'd)\n But then I start to think, Paul's no idiot. He woulda\n told 'em it's not me. Unless...", "JIMBO\n Hey! What the fuck!!\n\n Raymond, a look of relief on his face, turns to Jimbo.", "The corpse, now in Raymond's clothing and the blue parka, lies face up on the\n Aloha Airlines promotional surfboard being lurched forward by Paul, who wears", "RAYMOND\n Ya know, I been thinking there, Paulie.\n\n PAUL\n About what?", "Raymond is about to kick him once more, but Paul puts up a hand, begging\n him to stop. Raymond, relents, then bends over and helps his brother to a\n sitting position.", "PAUL\n Oh I see. No, you see that must have been\n Raymond. (beat) Very much so. No, no one was", "With that, Raymond kicks his brother hard in the ribs. Paul doubles over,\n gasping for breath.", "TED\n (confused)\n You're... You're dead?\n\n Raymond shoots him a look... Clearly this was taken as a threat. Ted can't\n help but step back.", "But even before Raymond can raise his weapon, Gary pulls his gun and gets it\n pointed (shakily) at Raymond.\n\n RAYMOND (cont'd)\n Oh put it down, Nancy." ], [ "The crowd LAUGHS as Paul reaches over and musses up his brother's hair.\n Raymond, furious, grabs his brother by the lapels and throws him roughly to\n the floor. The laughter stops.", "With that, Raymond kicks his brother hard in the ribs. Paul doubles over,\n gasping for breath.", "Raymond is about to kick him once more, but Paul puts up a hand, begging\n him to stop. Raymond, relents, then bends over and helps his brother to a\n sitting position.", "But shooting your brother is tougher than it looks. Paul opens his eyes.\n Raymond tries to pull the trigger again, but can't. He moves the barrel six", "Paul puts the gun back. Not sure of his next move, he spots the beat up clock\n radio lying next to his brother.", "PAUL (cont'd)\n Disinterment order. Got it from the coroner's office.\n My brother didn't want to be buried.", "PAUL\n You taped my brother's body, in the morgue?\n\n Paul stands and grabs the photo from off the desk.", "A younger, somewhat tipsy Paul comes into frame, puts an arm around his\n brother and smiles.\n\n PAUL\n What'cha saying there Raymond? Wha'cha saying\n 'bout me?", "PAUL (cont'd)\n It's really all we have left. He'd been gone for five\n years. We'd given him up--", "Not wanting to use his brother's real name.\n\n PAUL (cont'd)\n Richard! What in the blazes are you doing?", "Paul puts a hand to his chest. Suddenly dizzy, he drops to his knees and starts\n to RETCH. Tears well up in his eyes. After a few moments, the storm passes.", "PAUL (cont'd)\n I've had some dealings with, diseases of the mind,\n and I can tell you he is not well.\n\n Branch, obviously worried, stands.", "PAUL\n There's actually something we need to talk about.\n It's about Raymond. He's back.", "Raymond, a momentary flash of anger, sits on the bed beside his brother.\n Paul does his best not to flinch.\n\n RAYMOND\n I always knew she was a fucking tease.", "Paul nods. They make their way over to the tarp. Boyle pulls it back.\n\n DETECTIVE BOYLE (cont'd)\n Is that your brother, sir?", "Raymond, an enigma, looks at Paul, then grins -- just kidding. Paul relaxes.\n Raymond tenses -- not really. Paul's not sure how to read his brother as they", "The lights are back on as Paul, wearing his oversized red parka comes\n through the front door carrying his sack of cash. Avis looks up.", "Paul has to turn away.\n\n RAYMOND\n (laboured)\n Look at me, you little...", "Paul beats a hasty retreat, stumbling through the mobile home with Raymond\n right on his heels.\n\n PAUL\n Raymond, let me tell you what happened here. We\n all thought you were...", "Paul turns to look at Ted. He has a large band-aid on his forehead, scratches\n and bruises on his face. It takes a second for the dime to drop." ], [ "Paul backs his Ford Taurus up to the dumpster, pops the trunk, checks to\n make sure he's alone then steps up on the rear bumper, opens the lid and\n clambers inside.", "JIMBO\n Do you remember a dead man you found in the\n dumpster behind your office?\n\n Paul, shocked, tries to hold it together.", "Paul back in his office, staring out the window with a perfect view of the\n dumpster. He can't take his eyes off it.", "He opens the dumpster lid and very quickly reaches in, grabs his cell and\n hurries off. The lid CRASHES shut.\n\n PAUL\n (into the phone)\n Hello?", "Paul, muttering, leans in to get it. He pushes aside an orange garbage bag,\n guided by the faint sound of the other person STILL TALKING. And then--", "A SHOUT as Paul jumps back from the dumpster. The lid CRASHES down as\n he scrambles/slides away. He takes a moment to compose himself, then\n realizes his phone is still in there.", "Paul at his desk, watching the video on a small TV in the wall unit. He turns his\n attention to a large cardboard box filled with documents, souvenirs, old report\n cards...", "Paul waves as he enters the mobile home, closing the door behind him. A\n light goes on. It starts to snow.\n\n90 INT. BARNELL MOBILE HOME - NIGHT 90", "And with that, Paul disappears into the back bedroom.\n\n114 INT. BARNELL MOBILE HOME / BACK BEDROOM - MOMENTS LATER 114", "PAUL\n Who is it?\n\n MAN'S VOICE (O.S.)\n State Police. Is there a Mr. Barnell here?", "Black. Paul opens the lid. The phone is cradled in his neck, he checks each\n soggy page to make sure he's not tossing anything important.", "Paul looks over to see some MEN from Rodney's Repo Ranch walking up to\n the front door of his office. Distracted for a moment, the phone slips and falls\n into the trash.", "Looking down he sees a photo of Raymond Barnell, on the beach in swim\n trunks. Must have fallen. Ted pockets it and moves on.", "83 EXT. BARNELL HOME - NIGHT 83\n\n Paul pulls up, hits the garage door opener and drives in.", "PAUL\n No, I can't say that... I mean that would probably stick\n in my mind a... dead body.\n\n GARY\n Think hard Mr. Barnell.", "Black. The lid opens. Jimbo, Gary and Paul look in at the frozen body. Jimbo\n recoils at the mangled mess before him. Gary reaches down and touches the\n well-chewed body.", "Boyle pulls the cover back over the body. Boyle hands Barnell a clear baggie\n with the dead man's wallet inside.", "The dumpster lid opens on a bitterly cold, gray winter's day in an Alaskan city. A\n chunky, shivering HAIR STYLIST with jet black bangs shakes out a box of\n conditioning samples.", "Paul feels around the bullet hole and pulls out a stack of money, now\n embedded with the slug from the Raymond's gun. He starts to weep tears of\n relief.", "Paul at the top of a 25 foot drop. He rolls the corpse, now wearing the other set\n of snowshoes, over the side. It BOUNCES down, landing in the snow with a\n soft WHUMPH!" ], [ "Dave keeps backing up. As he takes the corner and bumps over the curb, the\n momentum sends the half-eaten body (that Gary and Jimbo stuffed into the\n backseat) to an upright position.", "JIMBO\n Do you remember a dead man you found in the\n dumpster behind your office?\n\n Paul, shocked, tries to hold it together.", "Paul backs his Ford Taurus up to the dumpster, pops the trunk, checks to\n make sure he's alone then steps up on the rear bumper, opens the lid and\n clambers inside.", "The lifeless body of a fair-sized man comes CRASHING into the garbage.\n SIRENS closer. A man seen only in silhouette leans in to pull some garbage", "Boyle pulls the cover back over the body. Boyle hands Barnell a clear baggie\n with the dead man's wallet inside.", "Black. The lid opens. Jimbo, Gary and Paul look in at the frozen body. Jimbo\n recoils at the mangled mess before him. Gary reaches down and touches the\n well-chewed body.", "Black. The trunk lid opens as Bill and Arnith dump a well-wrapped body\n unceremoniously into the trunk. Arnith and Bill look at each other. Bill closes\n the lid. Black.", "At Jimbo's car, Gary is folding the corpse into the trunk as Jimbo pulls Margaret\n upright from the backseat and tugs down her gag. She smiles at him as, with", "There, hanging off the frosty inside, is a chunk of the dead man's hair and\n scalp. Gary pulls it off, not sure what it means, but sure it means something.", "The corpse, now in Raymond's clothing and the blue parka, lies face up on the\n Aloha Airlines promotional surfboard being lurched forward by Paul, who wears", "JIMBO\n I was following orders. And if you hadn't started a\n screaming match, no one would have called the\n cops and we wouldn't have had to dump his --", "The dumpster lid opens on a bitterly cold, gray winter's day in an Alaskan city. A\n chunky, shivering HAIR STYLIST with jet black bangs shakes out a box of\n conditioning samples.", "DAVE\n Show me what? An empty trash dumpster? It was\n supposed to look like an accident. I was hoping to\n see it in the paper. So help me, if this guy pops up\n somewhere...", "The corpse is covered with a tarp. The area is littered with blood, animal tracks\n and bits of blue parka. POLICE OFFICERS and tough looking LOCAL", "Jodie, an annoyingly small dog, enters the garage from the house and starts\n sniffing around the body. A new chew toy!", "Margaret SIGHS, tries to push the fridge door closed, but the body is in the way.\n She gives the door a hip check. The door latches shut while something frozen", "TED\n Kind of understandable I guess. Seeing as how you\n killed that man and dumped his body out in the\n woods.\n\n PAUL\n You mean Raymond?", "He opens the dumpster lid and very quickly reaches in, grabs his cell and\n hurries off. The lid CRASHES shut.\n\n PAUL\n (into the phone)\n Hello?", "Black. The dumpster reopens. Morning now. A Korean-American TEENAGER\n wearing an apron and headphones sings along to an old KISS tune as he\n deposits two large orange garbage bags.", "4 INT. INSIDE A TRASH DUMPSTER - NIGHT 4\n\n The lid reopens. SIRENS off in the distance..." ], [ "MARGARET (cont'd)\n You put that down now you little bitch, or so help me,\n I'll start yelling so loud you'll have to shoot me.", "Paul looks nervously at Margaret, who is about to reply. As her mouth\n engages, a gust of wind obliterates most of her words, except for...", "PAUL\n It's OK. We just wrapped up. This is my wife,\n Margaret.\n\n As they shake hands, and Margaret opens her mouth to speak...", "MARGARET\n Promise?", "Margaret nods, kisses her husband quickly on the cheek, then starts to walk\n off.\n\n Paul, Gary and Jimbo watch, transfixed at the down-parka'd shit-storm that is\n headed their way.", "MARGARET\n ...nun banger.\n\n The Minister smiles, he must have misunderstood.\n\n MINISTER\n Absolutely.", "Paul looks up to see Margaret. Dressed in a coat, she is standing in the\n middle of the living room, now empty save for a few boxes and a very ugly floor\n lamp.", "MARGARET\n I'll kill myself. Then they'll see.\n\n PAUL\n That is nonsense talk.", "Margaret, still taped to a chair, sits at the kitchen table. By the stove, Gary is\n cooking, an apron tied like a bath towel around his waist.", "inches to the right and shoots Margaret in the back. She drops face first into\n the snow.", "MARGARET\n Ass-rimming ball-sucker.", "Margaret appears in the doorway.\n\n MARGARET\n Paul?\n\n PAUL\n (startled)\n Holy-- Margaret, you scared the wits out of me.", "MARGARET\n Paul?\n\n Paul discretely takes off his red parka and drapes it over Margaret's shoulders.", "MARGARET\n Then you can go off and...\n (sobbing again)\n ...marry someone normal.\n\n PAUL\n You're the most normal girl I know.", "MARGARET\n I have a psychiatric disorder.\n (to Gary, in the bathroom)\n And so do you!", "Margaret smiles and totters off.\n\n PAUL\n She's under a little strain right now.", "MARGARET\n I'm not crazy, Paul. Something's really wrong with\n me.\n\n He takes her to a small sofa, cradles her in his arms.", "On the TV playing behind him (the second part of the tape), Margaret is pictured\n on a cruise ship, sunning herself. Paul, obviously behind the camera, watches", "MARGARET\n I'm sick! I'm really, really sick!", "MARGARET\n Paul? Are you entertaining?\n\n PAUL\n (a wave of relief)\n Oh God, oh Jesus... Margaret, are you okay?" ], [ "MARGARET\n I'm sick! I'm really, really sick!", "MARGARET\n On the left. (beat) And I'm not... crazy, it's a physical\n disease. Sometimes I can control it, and\n sometimes --", "MARGARET\n It's a disease. It's called Tourette Syndrome. I can't\n control what I say. Turnip.", "MARGARET\n They say you can't get it all of a sudden but I did. I\n really, really did.\n\n PAUL\n I know. They just don't --", "MARGARET\n I'm not crazy, Paul. Something's really wrong with\n me.\n\n He takes her to a small sofa, cradles her in his arms.", "MARGARET\n I have a psychiatric disorder.\n (to Gary, in the bathroom)\n And so do you!", "MARGARET\n (smiling/whisper)\n Does food poisoning count? Have you been eating?\n\n PAUL\n You know me when I get busy.", "Paul looks nervously at Margaret, who is about to reply. As her mouth\n engages, a gust of wind obliterates most of her words, except for...", "MARGARET\n I'll kill myself. Then they'll see.\n\n PAUL\n That is nonsense talk.", "MARGARET (cont'd)\n You put that down now you little bitch, or so help me,\n I'll start yelling so loud you'll have to shoot me.", "MARGARET\n (muffled)\n Oh fucking hell... I can't... breath.", "inches to the right and shoots Margaret in the back. She drops face first into\n the snow.", "HIGH ANGLE ON: Paul and Margaret in bed. Margaret takes up more than her\n share of the bed, her arm tossed over her husband. Paul, on his third of the", "MARGARET\n He's a little over tired.\n\n JIMBO\n It's been a rough week.", "Margaret smiles and totters off.\n\n PAUL\n She's under a little strain right now.", "Margaret nods, kisses her husband quickly on the cheek, then starts to walk\n off.\n\n Paul, Gary and Jimbo watch, transfixed at the down-parka'd shit-storm that is\n headed their way.", "MARGARET\n Blow me. Dinner's almost ready. You feel like some\n wine? I feel like some wine.", "as Margaret takes a tropical drink from a WAITER'S tray, who promptly dumps it\n all over her. But instead of the expected burst of profanity, Margaret just\n LAUGHS.", "PAUL\n It's OK. We just wrapped up. This is my wife,\n Margaret.\n\n As they shake hands, and Margaret opens her mouth to speak...", "Margaret looks at him, crestfallen.\n\n PAUL (cont'd)\n I'm sorry. I'm just really tired." ], [ "PAUL\n Mr. Watters, I love my wife. Very much.\n\n Ted can't help but look confused by this simple, yet sincere declaration.", "TED\n Watters, claims. Yeah, hang on...\n (to Cam)\n It's personal. I promise.", "Ted and Mrs. Wherry sit on plastic covered furniture. The mounted heads of\n several dozen dead animals, foxes, wolves, elk, surround them. Ted takes\n notes.", "BRANCH\n Watters. Glad you're... Mr. Barnell was just telling\n me about the... meeting you two had.\n\n TED\n I caught that, yes.", "TED (cont'd)\n Claims, Ted Watters. Sure.\n\n A final key stroke separates one last zombie from its entrails.", "unload a new snowmobile from the back of his pickup. TED WATTERS (late\n 20s) half hidden under a heavy dress coat, walks down the street. He stops by", "Ted walks in, throwing his coat over the wall of his cubicle and is about to sit\n down when he notices Paul in his boss' office. Ted moves closer.", "TED\n Any idea what he was doing out there?\n\n PAUL\n He'd go for walks. Hikes, I mean. Hiking.", "PAUL\n Mr. Watters. You said on the phone something\n about a resolution in our claim?\n\n TED\n Mr. Barnell. Why are you staying out here?", "TED\n Yeah, hi, it's Ted Watters from Fidelity Mutual. (beat)\n I need a complete credit work up on a Raymond", "Ted, pulls on his boots and his jacket. In his hand, an address scribbled down\n on a piece of note paper. Tiffany watches, not happy.", "Ted pretends to do just that, drawing a giggle from Tiffany before he walks off.", "MRS. WHERRY\n No. Only saw him the once. Never spoke. Waved to\n him.\n\n TED\n Waved?", "Ted backs to his car, gets in and drives off. Paul brushes the snow from his\n jacket, reaches up, touches his bleeding forehead (the fall having reopened the\n wound).", "PAUL\n That's... quite the fish.\n\n Branch is about to answer when Ted enters with a slim file.\n\n BRANCH\n Paul Barnell, Ted Watters.", "TED\n Could you?\n\n Boyle moves toward the head and pulls back the covering. Ted recoils. Cam\n leans in for a closer look.", "Paul turns to see Ted approaching. A blast of snow obscures his view. When\n Ted reappears, he's just a few steps away.", "Tiffany and Ted drive. Ted has just finished. Tiffany has been paying rapt\n attention.", "Ted slides the papers across to Paul, then gets up and moves around over\n Paul's shoulder.", "TED\n I meant ours. Ours, ours, ours.\n\n Tiffany returns to her call, but keeps looking at Ted." ], [ "TIFFANY\n (hugging him harder)\n Nope.\n\n He turns, LAUGHING. They kiss as she playfully starts to grope him.", "Tiffany at her computer, enters the name \"Margaret Barnell\" into her database.\n Tiffany works a \"mute\" button as she points back to the magazine.", "TIFFANY (cont'd)\n What?\n\n TED\n That was...\n\n TIFFANY\n Who?", "TIFFANY\n I like it when you try, though.\n\n Tiffany gives him a peck and flits back to a nearby chair. He hits one, skying it\n into a low hanging light.", "TIFFANY (cont'd)\n Psychic Buddies. How are you Mr. Bennett? I think\n she'd be fine with you remarrying, but hang on, let\n me concentrate.", "Tiffany hangs up and walks out. Ted tries to catch her eye and let her know he\n was just kidding. He can't. She goes.", "TIFFANY (cont'd)\n Psychic... Uhm, sorry, hello? Yeah. Look, is this a\n matter of life and death, because right now he's...", "TIFFANY (cont'd)\n Don't ya just love this weather?\n\n Ted stares at her.\n\n TED\n Learning to.", "Tiffany smiles, genuinely touched.", "TIFFANY (cont'd)\n Don't be late, OK?\n\n TED\n You won't even know I'm gone.", "TIFFANY\n (touched)\n Listen to me, Carlos. Your wife is an incredibly lucky", "TIFFANY\n They're concentrating.\n\n Ted grabs a fork, takes the pot and sits at the table. Tiffany goes back to her\n desk and flips through her magazine.", "TIFFANY\n Okay, it's called the listening game. You talk, I listen,\n and I can't interrupt. Then we switch.", "TIFFANY (cont'd)\n Tourists.\n\n Ted, a confused look on his face, looks over as Raymond gets out of his\n vehicle.", "TIFFANY\n Something about the gay mafia taking her to a park\n to kill her. Can you hand me my Help Line list?\n\n TED\n What... Wha...", "TIFFANY\n Now you get tough. And remember, this call is for\n entertainment purposes only. Call me back and let\n me know how it goes.", "TIFFANY\n If you're going to be sarcastic.\n\n TED\n I'm not being anything. Swear to God.", "TIFFANY\n (into the phone)\n Mr. Bennett, she's totally cool with it. but listen,\n you're gonna have to call back... I gotta go help my\n boyfriend.", "Tiffany and Ted drive. Ted has just finished. Tiffany has been paying rapt\n attention.", "TIFFANY\n They call this the listening game. Mr. Barnell, you\n get to go first." ], [ "PAUL\n We, we had a life insurance policy\n on my brother. It was for... 100,000 dollars.", "Paul puts aside a faded hotel postcard from Hawaii and digs out an insurance\n policy out of the box. On the last page is a list of the payouts. Loss of a limb:", "RAYMOND (cont'd)\n So what is it? Frame job, lawsuit...\n\n PAUL\n Life insurance.", "PAUL\n I had to borrow money for the casket, Mr. Ted.\n\n TED\n You are breaking my heart.", "Paul face lets Gary know he's dead on.\n\n GARY (cont'd)\n So what'd you collect?", "But shooting your brother is tougher than it looks. Paul opens his eyes.\n Raymond tries to pull the trigger again, but can't. He moves the barrel six", "PAUL (cont'd)\n It's really all we have left. He'd been gone for five\n years. We'd given him up--", "PAUL\n You taped my brother's body, in the morgue?\n\n Paul stands and grabs the photo from off the desk.", "Paul thinks for a moment, digs into his pocket pulls out five crisp, new hundred\n dollar bills and SLAMS them on the table.", "Paul feels around the bullet hole and pulls out a stack of money, now\n embedded with the slug from the Raymond's gun. He starts to weep tears of\n relief.", "PAUL (cont'd)\n Disinterment order. Got it from the coroner's office.\n My brother didn't want to be buried.", "RAYMOND\n What you get?\n\n Paul considers whether or not Raymond would even remember.\n\n PAUL\n Fifty thousand.", "Paul puts the gun back. Not sure of his next move, he spots the beat up clock\n radio lying next to his brother.", "Paul nods. They make their way over to the tarp. Boyle pulls it back.\n\n DETECTIVE BOYLE (cont'd)\n Is that your brother, sir?", "The crowd LAUGHS as Paul reaches over and musses up his brother's hair.\n Raymond, furious, grabs his brother by the lapels and throws him roughly to\n the floor. The laughter stops.", "Good point. Paul hands him the ransom money.\n\n155 OMITTED 155", "TED\n Yeah. The life policy was written on his brother, and\n he did, you know, die. I may be rationalizing a bit, but\n ethically I think I'm okay.", "Paul sits in the manager's office, signing forms. A large BANK GUARD stands\n nearby. The reason? One million dollars in hundred dollar bills neatly stacked\n on the desk.", "TED\n Would it surprise you to learn his brother tried to\n cash in his policy two weeks ago?", "Paul, with his sack of one million dollars at his feet, is calmly trying on new\n winter coats with a CLERK. He feels each one, checking the amount of" ], [ "RAYMOND (cont'd)\n Puddles.\n\n And Raymond dies.", "RAYMOND (cont'd)\n But then I start to think, Paul's no idiot. He woulda\n told 'em it's not me. Unless...", "RAYMOND\n Dead? Yeah, I got that impression.\n\n PAUL\n But you had dropped off the face of the earth.", "PAUL\n Oh I see. No, you see that must have been\n Raymond. (beat) Very much so. No, no one was", "Raymond, an enigma, looks at Paul, then grins -- just kidding. Paul relaxes.\n Raymond tenses -- not really. Paul's not sure how to read his brother as they", "RAYMOND\n Go away, now.\n\n Raymond walks on. Ted, realizing he has no choice, runs and jumps in front of\n Raymond, blocking his way.", "PAUL\n Well, they've been asking me to talk some more\n about Raymond. I thought now might be an\n appropriate time.", "Raymond is about to kick him once more, but Paul puts up a hand, begging\n him to stop. Raymond, relents, then bends over and helps his brother to a\n sitting position.", "Raymond steps around Ted. Ted stays with him.", "RAYMOND\n Ya know, I been thinking there, Paulie.\n\n PAUL\n About what?", "RAYMOND (cont'd)\n So what is it? Frame job, lawsuit...\n\n PAUL\n Life insurance.", "He gets ready to fire again, then makes the mistake of looking at Raymond.\n Maybe it's the light... maybe it's the small puddle of drool on the cushion, but he", "RAYMOND\n Wow. Sucks to be you.\n\n PAUL\n Shut up.", "RAYMOND\n He left it in a letter.\n\n ARNITH\n And you just got it now?", "One bullet bounces off Paul's car. One hits Raymond. With a quizzical look on\n his face, he drops to his knees. A large crimson stain forms on his jacket.", "JIMBO\n Hey! What the fuck!!\n\n Raymond, a look of relief on his face, turns to Jimbo.", "RAYMOND\n (serious)\n Prostitutes?\n (laughing)", "RAYMOND\n What you get?\n\n Paul considers whether or not Raymond would even remember.\n\n PAUL\n Fifty thousand.", "PAUL\n Uh huh. Well anyway last night there's a knock on\n the door and there's Raymond, just... standing there\n on the doorstep.", "With that, Raymond kicks his brother hard in the ribs. Paul doubles over,\n gasping for breath." ], [ "One bullet bounces off Paul's car. One hits Raymond. With a quizzical look on\n his face, he drops to his knees. A large crimson stain forms on his jacket.", "But shooting your brother is tougher than it looks. Paul opens his eyes.\n Raymond tries to pull the trigger again, but can't. He moves the barrel six", "He gets ready to fire again, then makes the mistake of looking at Raymond.\n Maybe it's the light... maybe it's the small puddle of drool on the cushion, but he", "Raymond reaches Paul, takes the gun and points it at the top of his head.\n Paul's eyes shut tight, expecting the worst.\n\n PAUL\n Raymond... please.", "As Jimbo and Gary drive away, Paul brings Margaret to his vehicle. Spotting\n Raymond, he walks over, kicks the gun away, then leans down. Raymond's not\n dead, but he's close.", "But even before Raymond can raise his weapon, Gary pulls his gun and gets it\n pointed (shakily) at Raymond.\n\n RAYMOND (cont'd)\n Oh put it down, Nancy.", "Raymond is passed out on the sofa. Paul sits, gun in hand, the barrel pointed\n at Raymond's forehead. His finger grazes the trigger... but it's suddenly all too", "Gary and Jimbo look over at Paul, somewhat confused. Raymond's ten yards\n out, and they can now see he's taken out his gun. He's aiming it at Paul.", "RAYMOND (cont'd)\n Puddles.\n\n And Raymond dies.", "JIMBO\n Hey! What the fuck!!\n\n Raymond, a look of relief on his face, turns to Jimbo.", "TED\n (confused)\n You're... You're dead?\n\n Raymond shoots him a look... Clearly this was taken as a threat. Ted can't\n help but step back.", "Jimbo lunges for cover as Raymond FIRES back. Gary, truly terrified, closes\n his eyes as he squeezes off shots on the run -- BANGBANGBANGBANG.", "RAYMOND\n Go away, now.\n\n Raymond walks on. Ted, realizing he has no choice, runs and jumps in front of\n Raymond, blocking his way.", "RAYMOND (cont'd)\n So what is it? Frame job, lawsuit...\n\n PAUL\n Life insurance.", "A beautiful winter's night, the soft snowy silence broken only by Raymond's\n drunken shot of...\n\n RAYMOND (O.S.)\n Pussy!!!", "Paul feels around the bullet hole and pulls out a stack of money, now\n embedded with the slug from the Raymond's gun. He starts to weep tears of\n relief.", "RAYMOND\n Dead? Yeah, I got that impression.\n\n PAUL\n But you had dropped off the face of the earth.", "RAYMOND (cont'd)\n But then I start to think, Paul's no idiot. He woulda\n told 'em it's not me. Unless...", "TED\n Kind of understandable I guess. Seeing as how you\n killed that man and dumped his body out in the\n woods.\n\n PAUL\n You mean Raymond?", "RAYMOND\n Ya know, I been thinking there, Paulie.\n\n PAUL\n About what?" ], [ "On the TV playing behind him (the second part of the tape), Margaret is pictured\n on a cruise ship, sunning herself. Paul, obviously behind the camera, watches", "Paul looks nervously at Margaret, who is about to reply. As her mouth\n engages, a gust of wind obliterates most of her words, except for...", "Paul looks up to see Margaret. Dressed in a coat, she is standing in the\n middle of the living room, now empty save for a few boxes and a very ugly floor\n lamp.", "PAUL\n It's OK. We just wrapped up. This is my wife,\n Margaret.\n\n As they shake hands, and Margaret opens her mouth to speak...", "MARGARET\n Paul?\n\n Paul discretely takes off his red parka and drapes it over Margaret's shoulders.", "MARGARET\n I'm not crazy, Paul. Something's really wrong with\n me.\n\n He takes her to a small sofa, cradles her in his arms.", "Paul gets out of his car, as do Jimbo and Gary. Paul looks for Margaret in the\n back of Jimbo's car, but she remains lying down on the backseat.", "PAUL (cont'd)\n Why don't you wait in the car, sweetheart?\n\n MARGARET\n Okee dokee, smokee.", "Paul sits beside his desk, flipping through travel brochures. Margaret enters,\n teetering in the doorway. Paul looks up.\n\n PAUL\n Hey. How's my Princess?", "Paul looks over his shoulder at Margaret, who's having some trouble making it\n up a snow covered hill.", "HIGH ANGLE ON: Paul and Margaret in bed. Margaret takes up more than her\n share of the bed, her arm tossed over her husband. Paul, on his third of the", "Paul flips Margaret's letter over, and we now see it is the faded Hawaiian Hilton\n postcard from the box in his den.", "MARGARET\n (smiling/whisper)\n Does food poisoning count? Have you been eating?\n\n PAUL\n You know me when I get busy.", "Margaret looks at him, crestfallen.\n\n PAUL (cont'd)\n I'm sorry. I'm just really tired.", "MARGARET\n They say you can't get it all of a sudden but I did. I\n really, really did.\n\n PAUL\n I know. They just don't --", "MARGARET\n When he's around, it just brings back... Fuck.\n\n PAUL\n I know. He, he said he's probably gonna head back\n down South soon.", "Margaret nods, kisses her husband quickly on the cheek, then starts to walk\n off.\n\n Paul, Gary and Jimbo watch, transfixed at the down-parka'd shit-storm that is\n headed their way.", "As Jimbo and Gary drive away, Paul brings Margaret to his vehicle. Spotting\n Raymond, he walks over, kicks the gun away, then leans down. Raymond's not\n dead, but he's close.", "Paul gently turns her over. Margaret, alive, unharmed but winded, tries to catch\n her breath.\n\n MARGARET (cont'd)\n Paul... Someone kicked me.", "Margaret smiles and totters off.\n\n PAUL\n She's under a little strain right now." ] ]

[ "What does Paul find in a dumpster?", "Who was responsible for putting the body in the dumpster?", "What does Margaret medically suffer from?", "What does Paul wish to inherit from his missing brother?", "What is Ted Waters' occupation?", "Who do the mafia hitmen take hostage?", "Who beats up Paul?", "What does Raymond demand from Paul?", "What does Paul end up doing for Margaret with the insurance money?", "What did travel agent Paul Barnell found in a dumpster?", "Who was responsible for the body found the travel agent?", "Paul Barnell's wife is suffering from what kind of illness?", "Why do Mafia hitmen want to get the corpse?", "What did the Mafia hitmen do to make sure they will get the body?", "How did Paul and Margaret use the money?", "For what purpose Paul committed fraud?", "Margaret was saved from getting killed by which item that stopped the bullet?", "Who killed Raymond?", "When Paul's brother returned, what did he demand from him?", "What did Paul Barnell found in a dumpster?", "Who left the dead body in a dumpster?", "Who was Margaret?", "What kind of disease Margaret had?", "Who was Ted Waters?", "Who was Tiffany?", "How much Paul collected for his brother life insurance?", "Who was Raymond?", "Who shot Raymond?", "What kind of vacation Paul took Margaret?" ]

[ [ "A body", "a body" ], [ "Mafia hitmen", "the mafia" ], [ "Tourette Syndrome", "Tourette's Syndrome" ], [ "Cash from his life insurance policy", "life insurance money" ], [ "Insurance agent", "insurance agent" ], [ "Margaret", "Margaret" ], [ "Raymond", "raymond" ], [ "A portion of the insurance money", "a share of the insurance money" ], [ "Takes her on a tropical vacation", "He takes her on vacation" ], [ "Body", "a body" ], [ "Mafia hitmen", "The Mafia." ], [ "Tourette Syndrome", "Tourrette's Syndrome" ], [ "For proof to collect their payment.", "so they can get payment for a hit" ], [ "They took Margaret as their hostage.", "kidnap Margaret" ], [ "They used it on a tropical vacation.", "They go on a tropical vacation." ], [ "He did it out of love for his wife.", "To help his wife." ], [ "The insurance money that she placed in her jacket.", "Insurance money " ], [ "One of the hit-men. (Tim Nelson)", "a hit-man" ], [ "Raymond demanded a portion of the insurance money.", "A portion of the insurance money." ], [ "Dead body", "a body, killed by the mafia" ], [ "Mafia hitmen", "mafia hitman" ], [ "Paul's wife.", "Paul's wife." ], [ "Tourette Syndrome.", "tourette syndrome" ], [ "Insurance agent.", "an insurance agent" ], [ "Ted Waters girlfriend.", "Ted Waters' girlfriend" ], [ "One million dollar.", "One million dollars" ], [ "Paul's brother", "Paul's brother" ], [ "One of the hitmen", "one of the hit men" ], [ "Tropical vacation.", "Tropical" ] ]

[ [ "'Ah--and Cytherea,' said Miss Aldclyffe, catching at the idea raised\nby the name. 'That he loved Cytherea--yes and loves her now, wildly and", "'She did, Cytherea. And she sent me a letter--a love-letter, you wrote\nto Mr. Manston.'\n\n'A love-letter I wrote?'", "'Cytherea!'\n\n'Yes, Cytherea.'\n\n'You have been loving Cytherea all the while?'\n\n'Yes.'", "Manston did not see him; Cytherea did. The healing effect upon her heart\nof a year's silence--a year and a half's separation--was undone in", "Thus the touch of clothes, which was nothing to Manston, sent a thrill\nthrough Cytherea, seeing, moreover, that he was of the nature of a", "said. \"Cytherea,\" he said. What was the story? I asked then. He then\ntold me that when he was a young man in London he borrowed a few pounds", "He moved himself round immediately to the front of her, and held her\nhand more firmly, as he continued, 'Cytherea, why do you say \"It would,\"", "subject occupying him so thoroughly. Cytherea, he knew, was still\nbeloved by this solitary woman. Miss Aldclyffe had made several private", "'Cytherea,' he whispered, kissing her. She awoke with a start, and\nvented an exclamation before recovering her judgment. 'He's gone!' she\nsaid.", "'Cytherea! Why, you had grown to love--like--Mr. Manston, and how could\nyou be anything to me--or care for me? Surely I acted naturally?'", "'Cytherea,' he said, 'I know the cause of this emotion of yours. But\nremember this, there was no excuse for it. You should have been woman", "Cytherea, upon the whole, was rather discomposed at this change of\ntreatment; and, discomposed or no, her passions were not so impetuous as", "'What was your father's trade?'\n\nCytherea thought it would be useless to attempt to conceal facts any\nlonger. 'His was not a trade,' she said. 'He was an architect.'", "'Yes; lady's-maid. 'Tis an honest profession,' said Cytherea bravely.\n\n'But _you_, Cytherea?'\n\n'Yes, I--who am I?'", "It was a horrible supposition for a man who loved Cytherea to entertain;\nbut Springrove could not resist its influence. He started off for\nTolchurch.", "sorrow--that he paid Cytherea no attention whatever. His conduct was\nuniformly kind and respectful, but little more. Then, as the date of the", "'Miss Graye, I believe?' he said, lifting his hat.\n\n'Yes,' said Cytherea, colouring, and trying not to look guilty of a\nsurreptitious knowledge of him.", "He then, step by step, recalled all the conversation on the subject of\nCytherea's feelings that had passed between himself and Miss Aldclyffe", "'O, he's not at home? Cytherea, I can't live without you! All my sin has\nbeen because I love you so! Will you fly with me? I have money enough\nfor us both--only come with me.'", "Cytherea's lips did not move, nor did any sound escape her; but could\nshe help singing the words in the depths of her being, although the man\nto whom she applied them sat at her rival's side?" ], [ "'Ah, but look at this. Miss Aldclyffe is the woman our father first\nloved, and I have come to Miss Aldclyffe's; you can't get over that.'", "When Cytherea had again been watched out of the room, Miss Aldclyffe\nasked for writing materials, that she might at once communicate with Mr.", "'No! And is it really? And you knew that face I showed you? Yes, I see\nyou did.' Miss Aldclyffe stopped, and closed her lips impassibly. She\nwas a little agitated.", "'It is the body of his first wife,' he said quietly. 'He murdered her,\nas Mr. Springrove and the rector suspected--but how and when, God only\nknows.'", "'I waited out of bed till you came up,' she said, 'it being your first\nnight, in case you should be at a loss for anything. How have you got on\nwith Miss Aldclyffe?'", "On coming into Miss Aldclyffe's presence Cytherea told her of the\nincident, not without a fear that she would burst into one of her", "Till this instant Miss Aldclyffe had forgotten the reason of Cytherea's\nseclusion in her own room. So had Cytherea herself. The fact now\nrecurred to both in one moment.", "subject occupying him so thoroughly. Cytherea, he knew, was still\nbeloved by this solitary woman. Miss Aldclyffe had made several private", "necessary to give way, Aldclyffe as she was. She wrote a short answer\nto Mrs. Manston, saying civilly that Mr. Manston's possession of such", "peaceful warmth had given place to a sweat. At the maiden's touch, Miss\nAldclyffe awoke with a low scream.", "Miss Aldclyffe's sobs choked her utterance, and she became painfully\nagitated. Cytherea, pale and amazed at what she heard, wept for her,", "'Ah--and Cytherea,' said Miss Aldclyffe, catching at the idea raised\nby the name. 'That he loved Cytherea--yes and loves her now, wildly and", "'DEAR MISS GRAYE,--Miss Aldclyffe is ill, though not dangerously. She\ncontinually repeats your name, and now wishes very much to see you.", "'Not at all, Miss Aldclyffe! Miss Graye desired that we should be\nstrangers to each other for the simple practical reason that intimacy\ncould only make wretched complications worse, not from lack of\nlove--love is only suppressed.'", "'You know where,' said Miss Aldclyffe. 'And how could you, a man, act a\ndouble deceit like this?'\n\n'Men do strange things sometimes.'", "were distinct in her. It was the first time Miss Aldclyffe had seen her\nin a passionate mood, and wearing that expression which was invariably", "Miss Aldclyffe continued impressively, 'You did not say \"Old Christmas\nEve\" as a fiancee should have said the words: and you don't receive my", "increasing infirmities, had not yet made his appearance. Cytherea\nentered. Miss Aldclyffe was looking out of the window, watching a trail", "'No.' Fearing his courtesy arose from a belief that he was addressing a\nwoman of higher station than was hers, she added, 'I am Miss Aldclyffe's\ncompanion. I don't mind the loneliness.'", "'Yes, dead,' murmured Miss Aldclyffe solemnly. 'He died alone, though\nwithin a few feet of me. The room we slept in is exactly over his own.'" ], [ "Manston was a villain, who at some earlier time had discovered that\nhis wife lived, and had bribed her to keep out of sight, that he might", "It was perfectly true: Manston was dead.\n\nThe previous day he had been allowed the use of writing-materials, and\nhad occupied himself for nearly seven hours in preparing the following\nconfession:--", "If Mrs. Manston was murdered, as some said, on the night of the fire,\nCytherea was the steward's lawful wife. Manston at bay, and reckless of\nresults, might rush to his wife and harm her.", "Thus it was that when, in the evening of the same day, Mrs. Manston\nreached Carriford Road Station, her husband was still at Chettlewood,", "This was the last of the letters from the wife to the husband. One\nother, in Mrs. Manston's handwriting, and in the same packet, was\ndifferently addressed.", "The next thing Anne Seaway perceived was that the fragmentary story she\nhad coaxed out of Manston, to the effect that his wife had left England", "Her terror of him did not decrease. They sat down to supper, Manston\nstill talking cheerfully. But what is keener than the eye of a", "'I have done it,' said Manston. 'If ever a man on the face of this earth\nhas done his duty towards an absent wife, I have towards her--living or", "She had not once regarded Manston as a lover since his wife's sudden\nappearance and subsequent death. The death of a wife, and such a death,\nwas an overwhelming matter in her ideas of things.", "first Mrs. Manston lost her life as supposed, notwithstanding the\ninquest and verdict. Was it possible that the real Mrs. Manston, who", "There could no longer be a shadow of doubt that if the first Mrs.\nManston lived, her husband was ignorant of the fact. What he could have", "asked. He felt that he was outwitted. Manston and his wife had been\nthere before him, clearing the ground of all traces.", "Springrove had told Cytherea of Manston's crime in a few short words. He\nnow said solemnly, 'He is to die.'", "Was she still Manston's wife--that was the terrible supposition, and\nher future seemed still a possible misery to her. For, on account of the", "The letters from his wife were next examined. They were dated back as\nfar as Eunice's first meeting with Manston, and the early ones before", "at that time, and offered to go himself. The witness here repeated\nthe conversation he had had with Mrs. Manston during their walk, and\ntestified to having left her at the door of the Three Tranters Inn, Mr.", "of Mrs. Manston as it was possible to get at second-hand, and by\nhearsay. She was a tall woman, wide at the shoulders, and full-chested,", "Manston--that she was burnt after all--and that I am _his wife_!'", "'Are you really sorry for your poor wife, Mr. Manston?' she said.\n\n'Well, I am,' he answered shortly.\n\n'But only as for any human being who has met with a violent death?'", "Her voice had trembled more and more at each answer she gave, but\nnothing could induce her to come out and confront him. Hating scenes,\nManston went back to the sitting-room, greatly irritated and perplexed." ], [ "Manston was a villain, who at some earlier time had discovered that\nhis wife lived, and had bribed her to keep out of sight, that he might", "Manston was very friendly that evening. It was evident to her, now\nthat she was behind the scenes, that he was making desperate efforts to\ndisguise the real state of his mind.", "escape other than his own legs, and drove on thus with his prisoner to\nthe county-town. Arrived there, he lodged her in the police-station, and\nthen took immediate steps for the capture of Manston.", "Manston, and her labours to induce himself to marry his cousin. Taken in\nconnection with her apparent interest in, if not love for, Cytherea, her", "He shaped a plan. It might by chance be effectual; if otherwise, it\nwould not reveal his intention to her. When Mrs. Manston was within\nspeaking distance, he went up to her and said--", "Manston played the same game, but more palpably. The meal was nearly\nover when he seemed possessed of a new idea of how his object might be", "'Of course I shall! Manston has no right to carry off my sister unless\nhe's her husband,' said Owen. 'I shall go and separate them.'\n\n'Certainly you will,' said the rector.", "is, the man walking immediately behind Manston, now fell back,\nwhen Manston's housekeeper, knowing the ground pretty well, dived\ncircuitously among the trees and got directly behind the steward, who,", "If he had entered the thicket on a search unaided, Manston might have\nstepped unobserved from behind a bush and murdered him with the\ngreatest ease. Indeed, there were such strong reasons for the exploit in", "Manston did not answer for some time. His face was worn and haggard;\nlatterly his head had not been carried so uprightly as of old. 'If they\nprove you to be--who you are.... Yes, if they do,' he murmured.", "'Who?'\n\n'Mr. Manston.'\n\n'Good--! I can't listen to you for an instant, madam; why, she hadn't\nseen him!'", "was raised--they searched the town high and low--no Manston. All\nthis morning they have been searching, but there's not a sign of him\nanywhere. However, he has lost his last chance of getting across", "When Manston was persuaded, by the feigned heaviness of her breathing,\nthat Anne Seaway was asleep, he softly arose, and dressed himself in the", "Mr. Raunham at length divined that her love for Manston, if it had ever\nexisted, had transmuted itself into a very different feeling now.", "'No--I have not,' said Manston absently. 'But I am going to set about\nit.' He hesitated, as if ashamed of some weakness he was about to", "Her terror of him did not decrease. They sat down to supper, Manston\nstill talking cheerfully. But what is keener than the eye of a", "Whatever Manston's original feelings had been, all in him now gave way\nto irritation, and irritation to rage. He paced up and down the room\ntill he had mastered it; then said in ordinary tones--", "Springrove had told Cytherea of Manston's crime in a few short words. He\nnow said solemnly, 'He is to die.'", "Manston once more repeated his offer; and once more she refused, but\nthis time weakly, and with signs of an internal struggle. Manston's eye", "Manston's wife, the poor little bird endeavoured to find out from\nMiss Aldclyffe whether it was likely Owen would be well treated in the\nhospital." ], [ "backwardness at the visit to Hoxton with Manston, and of her appearance\nand distress at the present moment, Graye had a conviction that the\nwoman was an impostor.", "which she had been known as Mrs. Manston), and found that no great\ndifficulties stood in the way of a personation. And thus favouring\ncircumstances determined my course. I visited Anne Seaway, made love to", "Manston was a villain, who at some earlier time had discovered that\nhis wife lived, and had bribed her to keep out of sight, that he might", "Then came the old and harassing question, what was Manston's real motive\nin risking his name on the deception he was practising as regarded Anne.", "Manston was very friendly that evening. It was evident to her, now\nthat she was behind the scenes, that he was making desperate efforts to\ndisguise the real state of his mind.", "He shaped a plan. It might by chance be effectual; if otherwise, it\nwould not reveal his intention to her. When Mrs. Manston was within\nspeaking distance, he went up to her and said--", "If he had entered the thicket on a search unaided, Manston might have\nstepped unobserved from behind a bush and murdered him with the\ngreatest ease. Indeed, there were such strong reasons for the exploit in", "'Stranger! well, perhaps not; but, Mr. Manston, why did you choose to\nconceal it, I ask again? I have a perfect right to ask this question, as\nyou will perceive, if you consider the terms of my advertisement.'", "Manston played the same game, but more palpably. The meal was nearly\nover when he seemed possessed of a new idea of how his object might be", "It was perfectly true: Manston was dead.\n\nThe previous day he had been allowed the use of writing-materials, and\nhad occupied himself for nearly seven hours in preparing the following\nconfession:--", "came a man as boldly as possible. The gait was Manston's, but not the\nclothes. He passed over to the shaded part of the street: heads were", "Manston did not attempt to conceal the subject of the letter, or the\nname of the writer. First glancing the pages through, he read aloud as\nfollows:--", "Manston did not answer for some time. His face was worn and haggard;\nlatterly his head had not been carried so uprightly as of old. 'If they\nprove you to be--who you are.... Yes, if they do,' he murmured.", "Manston could form no reason for Owen's presence, but intuitively linked\nit with Cytherea's seclusion. 'Altogether this is most unseemly,' he\nsaid, 'whatever it may mean.'", "that without which all persuasion would have been as air, was added by\nmy miserable conviction that you were false; that did it, that turned\nme! You were to be considered as nobody to me, and Mr. Manston was", "is, the man walking immediately behind Manston, now fell back,\nwhen Manston's housekeeper, knowing the ground pretty well, dived\ncircuitously among the trees and got directly behind the steward, who,", "Manston, and her labours to induce himself to marry his cousin. Taken in\nconnection with her apparent interest in, if not love for, Cytherea, her", "When Manston was persuaded, by the feigned heaviness of her breathing,\nthat Anne Seaway was asleep, he softly arose, and dressed himself in the", "first Mrs. Manston lost her life as supposed, notwithstanding the\ninquest and verdict. Was it possible that the real Mrs. Manston, who", "Thus the conversation was begun, and the postman proceeded to narrate\nthe different strange events that marked his experience. Manston grew\nvery friendly." ], [ "There was no time to lose if he would speak to Cytherea before Manston\ncame. He turned the handle of the door and looked in. The lamp on the", "Springrove had told Cytherea of Manston's crime in a few short words. He\nnow said solemnly, 'He is to die.'", "Manston did not see him; Cytherea did. The healing effect upon her heart\nof a year's silence--a year and a half's separation--was undone in", "Manston could form no reason for Owen's presence, but intuitively linked\nit with Cytherea's seclusion. 'Altogether this is most unseemly,' he\nsaid, 'whatever it may mean.'", "'Yes, yes,' said Manston, who had completely recovered his\nself-possession and common-sense; 'let it all be settled by herself.'\nTurning to Cytherea he whispered so softly that Owen did not hear the\nwords--", "Manston was in the timber-yard, looking at the sawyers as they worked.\nCytherea came up to him hesitatingly. Till within a distance of a few", "If Mrs. Manston was murdered, as some said, on the night of the fire,\nCytherea was the steward's lawful wife. Manston at bay, and reckless of\nresults, might rush to his wife and harm her.", "This done, Cytherea, still in a practical mood, upbraided herself with\nweakness in allowing a stranger like Mr. Manston to influence her as he", "The envelope contained another envelope in Cytherea's handwriting,\naddressed to '---- Manston, Esq., Old Manor House.' Inside this was the\nnote she had written to the steward after her detention in his house by\nthe thunderstorm--", "'She did, Cytherea. And she sent me a letter--a love-letter, you wrote\nto Mr. Manston.'\n\n'A love-letter I wrote?'", "Thus the touch of clothes, which was nothing to Manston, sent a thrill\nthrough Cytherea, seeing, moreover, that he was of the nature of a", "From Cytherea's frequent description of how and where herself and others\nused to sit, he knew where to look for Manston's seat; and after two", "escape other than his own legs, and drove on thus with his prisoner to\nthe county-town. Arrived there, he lodged her in the police-station, and\nthen took immediate steps for the capture of Manston.", "His own answer reminded Manston that Cytherea must, by some inscrutable\nmeans, have had an inkling of the event.\n\nOwen had gone to the door of Cytherea's room.", "'Cytherea!' he said softly.\n\nShe let drop her hand, and turned her head, evidently thinking that her\nvisitor could be no other than Manston, yet puzzled at the voice.", "was, as stated, Mr. Manston's restored wife? Cytherea was perfectly safe\nas a single woman whose marriage had been void. And if it turned out", "very day that Manston (her love-child) married Miss Cytherea Graye. And\nthis is what that deep woman did. Deep? she was as deep as the North", "Manston found himself alone a few minutes later. He buried his face in\nhis hands, and murmured, 'O my lost one! O my Cytherea! That it should", "question Manston or interfere between him and Cytherea as husband\nand wife. He now saw the wisdom of the rector in obtaining a signed\nconfession from the porter. The document would not be a death-bed", "possess Cytherea. The wish was--to proceed at once by this very train\nthat was starting, find Manston before he would expect from the words" ], [ "at that time, and offered to go himself. The witness here repeated\nthe conversation he had had with Mrs. Manston during their walk, and\ntestified to having left her at the door of the Three Tranters Inn, Mr.", "The woman left the room, and Mrs. Manston locked the door. Before\nthe servant had gone down more than two or three stairs, Mrs. Manston\nunfastened the door again, and held it ajar.", "Thus it was that when, in the evening of the same day, Mrs. Manston\nreached Carriford Road Station, her husband was still at Chettlewood,", "The next thing Anne Seaway perceived was that the fragmentary story she\nhad coaxed out of Manston, to the effect that his wife had left England", "This was the last of the letters from the wife to the husband. One\nother, in Mrs. Manston's handwriting, and in the same packet, was\ndifferently addressed.", "When Manston was persuaded, by the feigned heaviness of her breathing,\nthat Anne Seaway was asleep, he softly arose, and dressed himself in the", "'Is there an inn in the village?' said Mrs. Manston, after the fourth\nand loudest rapping upon the iron-studded old door had resulted only in\nthe fourth and loudest echo from the passages inside.", "and doubt. But Manston was not such a husband, and he was, moreover,\ncalmly attending to his business at the other end of the manor.", "After admitting Mrs. Manston to his house in the evening, and hearing\nher retire, Mr. Springrove returned to the front door to listen for a", "'Yes. Did Mrs. Manston leave anything, such as papers, when she left\nthese lodgings originally?' said Edward, though his heart sank as he", "house for Mrs. Manston's expected return on Monday night. Mr. Manston\ntold her that himself and Mrs. Manston would be home late, not till", "'Yes, you told me so yourself--that you went first to the only lodging\nin which your wife had been known as Mrs. Manston, and when you found", "'I have done it,' said Manston. 'If ever a man on the face of this earth\nhas done his duty towards an absent wife, I have towards her--living or", "Manston was a villain, who at some earlier time had discovered that\nhis wife lived, and had bribed her to keep out of sight, that he might", "On Manston's return from this interview at the rectory, he passed the\ndoor of the Rising Sun Inn. Finding he had no light for his cigar,", "They went to the door, Mrs. Manston shivering; but less from the cold,\nthan from the dreariness of her emotions. Neglect is the coldest of\nwinter winds.", "Her voice had trembled more and more at each answer she gave, but\nnothing could induce her to come out and confront him. Hating scenes,\nManston went back to the sitting-room, greatly irritated and perplexed.", "with the original Mrs. Manston. She could see no loophole of escape\nfor the man who supported her. True, in her own estimation, his worst\nalternative was not so very bad after all--the getting the name of", "They soon reached the quiet old inn, which had been selected for them\nby the forethought of the man who loved her well. Here they installed\nthemselves for the night, arranging to go to Budmouth by the first train\nthe next day.", "escape other than his own legs, and drove on thus with his prisoner to\nthe county-town. Arrived there, he lodged her in the police-station, and\nthen took immediate steps for the capture of Manston." ], [ "It was perfectly true: Manston was dead.\n\nThe previous day he had been allowed the use of writing-materials, and\nhad occupied himself for nearly seven hours in preparing the following\nconfession:--", "Manston was a villain, who at some earlier time had discovered that\nhis wife lived, and had bribed her to keep out of sight, that he might", "Springrove had told Cytherea of Manston's crime in a few short words. He\nnow said solemnly, 'He is to die.'", "If he had entered the thicket on a search unaided, Manston might have\nstepped unobserved from behind a bush and murdered him with the\ngreatest ease. Indeed, there were such strong reasons for the exploit in", "Manston was very friendly that evening. It was evident to her, now\nthat she was behind the scenes, that he was making desperate efforts to\ndisguise the real state of his mind.", "Whatever Manston's original feelings had been, all in him now gave way\nto irritation, and irritation to rage. He paced up and down the room\ntill he had mastered it; then said in ordinary tones--", "Manston was on his legs again in an instant. A fiery glance on the one\nside, a glance of pitiless justice on the other, passed between them.", "Her terror of him did not decrease. They sat down to supper, Manston\nstill talking cheerfully. But what is keener than the eye of a", "'Who?'\n\n'Mr. Manston.'\n\n'Good--! I can't listen to you for an instant, madam; why, she hadn't\nseen him!'", "Manston did not answer for some time. His face was worn and haggard;\nlatterly his head had not been carried so uprightly as of old. 'If they\nprove you to be--who you are.... Yes, if they do,' he murmured.", "If Mrs. Manston was murdered, as some said, on the night of the fire,\nCytherea was the steward's lawful wife. Manston at bay, and reckless of\nresults, might rush to his wife and harm her.", "Mr. Raunham at length divined that her love for Manston, if it had ever\nexisted, had transmuted itself into a very different feeling now.", "paper. The paper contained a verse or two in a man's handwriting. He\nrecognized it as Manston's, having seen notes and bills from him at his", "'I'll tell you what we had better do,' said Manston. 'I shall be back\nthis way in an hour or so, and since it was all my fault, I'll look", "'No--I have not,' said Manston absently. 'But I am going to set about\nit.' He hesitated, as if ashamed of some weakness he was about to", "The steward stood in the office. One passenger alighted, gave up his\nticket, and crossed the room in front of Manston: a young man with a", "The remark of Miss Aldclyffe to Manston had plainly been concerning the\nfirst watcher, for Manston, with his spade in his hand, instantly rushed", "Manston reined in his horse on the summit of a hill, and considered.\n\n'It is a rick-yard on fire,' he thought; 'no house could produce such a\nraging flame so suddenly.'", "is, the man walking immediately behind Manston, now fell back,\nwhen Manston's housekeeper, knowing the ground pretty well, dived\ncircuitously among the trees and got directly behind the steward, who,", "When Manston was persuaded, by the feigned heaviness of her breathing,\nthat Anne Seaway was asleep, he softly arose, and dressed himself in the" ], [ "During their walk he inquired the particulars of her brother's illness,\nand with an irresistible desire to pour out her trouble to some one,", "'Yes, needlessly. Why should you be separated from your brother so much,\nwhen you might have him to stay with you till he is well?'\n\n'That can't be,' she said, turning away.", "It was in the grey time of dawn. She trembled in a sweat of disquiet,\nand not being able to endure the thought of her brother being asleep,\nshe went and tapped at his door.\n\n'Owen!'", "'Yes; and they tell me that she is very ill, and I am sorry to say,\nlikely to be for some days.'\n\n'Surely, surely, I must go and see her!' Manston cried.", "Her state was in this wise, when one afternoon, having been with her\nbrother, she met the surgeon, and begged him to tell the actual truth\nconcerning Owen's condition.", "brother's illness had taken. Miss Aldclyffe at once said that Cytherea\nmight go, and offered to do anything to assist her which lay in her", "His sister descended the creaking old steps with a faltering tread,\nand stood in the firelight from the hearth. She extended her hand", "The Friday of the next week brought another letter from her brother. In\nthis he informed her that, in absolute grief lest he should distress her", "'\"Why have you not brought him?\"\n\n'\"He is ill; he is not likely to live through the night.\"", "Her brother Owen was staying with Manston at the Old House. Contrary\nto the opinion of the doctors, the wound had healed after the first", "In her complicated distress at the news brought by her brother,\nCytherea's thoughts at length reverted to her friend, the Rector of", "own house by her brother and an older man. Recollection of what had\npassed evolved itself an instant later, and just as they entered the\ndoor--through which another and sadder burden had been carried but a few", "'The first. My visitor, whilst expressing by words his great anxiety to\ndo everything for her recovery, showed plainly by his bearing that he\nwas convinced he should never see her again.", "'And without your brother--fie! There, there, don't let that little\nheart beat itself to death: throb, throb: it shakes the bed, you silly", "Cytherea was frequently at her brother's elbow during these\nexaminations. She often remarked sadly--", "Had his defenceless sister been trifled with? that was the question\nwhich affected him. Her refusal of Edward as a husband was, he knew,", "Cytherea's interest to know how her brother had been received at Mr.\nGradfield's broke forth into words at once. Almost before they had sat\ndown to table, she began cross-examining him in the regular sisterly\nway.", "She went to Budmouth, passed the day with her brother, and returned to\nKnapwater wretched and full of foreboding. Owen had looked startlingly", "to tell. The actual marriage filled him with remorse. He says your\nsister's kindness afterwards was like a knife going through his heart.\nHe thought he had ruined her.'", "the marriage of his sister with a little too much peremptoriness. Taking\nup his crutches he went out of doors and wandered about the muddy roads\nwith no object in view save that of getting rid of time." ], [ "beside her, on the other she drew him dying, wholly by reason of her\nself-enforced poverty. To marry this man was obviously the course of", "poverty, and with means to aid her brother Owen. This was to be Mr.\nManston's wife.", "than the poor at last pinches like this. Perhaps the greatest of all\nthe reconcilers of a thoughtful man to poverty--and I speak from\nexperience--is the grand quiet it fills him with when the uncertainty of", "But she considered; in the first place she was a homeless dependent;\nand what did practical wisdom tell her to do under such desperate\ncircumstances? To provide herself with some place of refuge from", "'I am to blame, Edward, I am,' she said mournfully; 'I was taught to\ndread pauperism; my nights were made sleepless; there was continually\nreiterated in my ears till I believed it--", "farthing of his money and ran into debt with his neighbours--that the\ndaughter had been brought up to no profession--that the son who had, had", "The following story, the first published by the author, was written\nnineteen years ago, at a time when he was feeling his way to a", "and sank into desperate circumstances. A few chairs and a table were\nthe chief articles of furniture in the third-floor back room which they", "position, as regarded her future subsistence. She was not the best kind\nof woman for the scheme; but there was no alternative. One quality of", "how much she would like to share his trouble--how well she could endure\npoverty with him--and wondered what his trouble was. But all would be\nexplained at last, she knew.", "In the long and intricately inwrought chain of circumstance which\nrenders worthy of record some experiences of Cytherea Graye, Edward\nSpringrove, and others, the first event directly influencing the issue\nwas a Christmas visit.", "Third, that these failures had left him burdened with debts he\n knew not how to meet; so that at the time of his death even the few\n pounds lying to his account at the bank were his only in name.", "'Years and years afterwards, when she became mistress of a fortune and\nestates by her father's death, she formed the weak scheme of having near", "Mrs. Higgins was the wife of a carpenter who from want of employment\none winter had decided to marry. Afterwards they both took to drink,", "It was a laugh full of character; the low forced laugh which seeks to\nhide the painful perception of a humiliating position under the mask of\nindifference.", "'We can put up with being poor,' she said, 'if they only give us work\nto do.... Yes, we desire as a blessing what was given us as a curse, and\neven that is denied. However, be cheerful, Owen, and never mind!'", "drop from the sight of acquaintances, gossips, harsh critics, and bitter\ncreditors of whose misfortune he was not the cause, and escape the\nposition which galled him by the only road their great poverty left open", "'Never mind that--scratch out \"inexperienced.\" We are poor, Cytherea,\naren't we?' he murmured, after a silence, 'and it seems that the two\nmonths will close my engagement here.'", "extent, lost upon her eyes. She was thinking that nothing seemed worth\nwhile; that it was possible she might die in a workhouse; and what did", "1. THE FIFTH OF JANUARY. BEFORE DAWN\n\nWe pass over the intervening weeks. The time of the story is thus\nadvanced more than a quarter of a year." ], [ "Before reflecting any further upon the subject Graye led her upstairs\nand got her to lie down. Then he went to the window and stared out of", "answered any inquiry Graye made by letter respecting her. But very poor\nfood to a lover is intelligence of a mistress filtered through a friend.\nHuntway could tell nothing definitely. He said he believed there had", "This second young lady and Graye were married. That he did not, first\nor last, love his wife as he should have done, was known to all; but", "came out to Graye in the passage. Owen explained who and what he was,\nand asked the man if he would oblige him by turning to his notes of", "'You inserted the advertisement for a situation as lady's-maid giving\nthe address, G., Cross Street?'\n\n'Yes, madam. Graye.'", "position, as regarded her future subsistence. She was not the best kind\nof woman for the scheme; but there was no alternative. One quality of", "Then Graye told him the whole story, reminding him that their first\nsuspicions had been of a totally different nature, and that in", "through the mind of the maiden, which Graye hoped would be a preface to\nher complete restoration. She felt ready and willing to live the whole\nremainder of her days in the retirement of their present quarters: she", "The young lady, their daughter, seemed to Graye by far the most\nbeautiful and queenly being he had ever beheld. She was about nineteen", "that circumstances had rendered Graye's attachment more hopeless still.\nCytherea's mother had unexpectedly inherited a large fortune and estates\nin the west of England by the rapid fall of some intervening lives. This", "and who had for some time been the housekeeper of a lady in London. On\naccount of this lady's sudden death, Anne stood in rather a precarious", "Graye's whole impassioned dream terminated in a sad and unaccountable\nepisode. After passing through three weeks of sweet experience, he had", "'But will you not try again to get on in your profession? Try once\nmore; do try once more,' she murmured. 'I am going to try again. I have\nadvertised for something to do.'", "'He has told me all,' said Graye soothingly. 'He is going off early\nto-morrow morning. 'Twas a shame of him to win you away from me, and\ncruel of you to keep the growth of this attachment a secret.'", "'Miss Graye, I believe?' he said, lifting his hat.\n\n'Yes,' said Cytherea, colouring, and trying not to look guilty of a\nsurreptitious knowledge of him.", "any rate, for a good many years, and I know Miss Graye particularly\nwell, and her state of mind with regard to this matter.'", "The young girl was Cytherea Graye; her age was now about eighteen.\nDuring her entry, and at various times whilst sitting in her seat and", "Manston's figure appeared on the other side of her. In two glances Graye\nread thus many of her characteristics, and in the following order:--", "'You must remember,' she added more suasively, 'that Miss Graye has a\nperfect right to do what she likes with her own--her heart, that is to\nsay.'", "At the first opening of the doors, Graye left the church and wandered\naway into the fields to ponder on another scheme. He could not call" ], [ "came out to Graye in the passage. Owen explained who and what he was,\nand asked the man if he would oblige him by turning to his notes of", "Then one of them turned; it was Mr. Graye. Again he stood motionless,\nwith attention to the operations of the others. He appeared to be lost\nin reflection, and had directed his face towards a new stone they were\nlifting.", "After some doubts, Graye ventured to write to this gentleman, asking the\nnecessary question, shortly alluding to his father's death, and stating", "answered any inquiry Graye made by letter respecting her. But very poor\nfood to a lover is intelligence of a mistress filtered through a friend.\nHuntway could tell nothing definitely. He said he believed there had", "'He has told me all,' said Graye soothingly. 'He is going off early\nto-morrow morning. 'Twas a shame of him to win you away from me, and\ncruel of you to keep the growth of this attachment a secret.'", "Then Graye told him the whole story, reminding him that their first\nsuspicions had been of a totally different nature, and that in", "This second young lady and Graye were married. That he did not, first\nor last, love his wife as he should have done, was known to all; but", "The answer from Mr. Gradfield stated that he was not in want of a\npupil who would serve the remainder of his time on the terms Mr. Graye", "Graye was handsome, frank, and gentle. He had a quality of thought\nwhich, exercised on homeliness, was humour; on nature, picturesqueness;", "In a wild fever Graye went home and watched for the next morning. Who\nshall express his misery and wonder when a note containing these words\nwas put into his hand?", "'The whole town is looking out for us,' had been Graye's impression\nthroughout the day. He called upon Mr. Gradfield--the only man who had", "Graye was lost in a long consideration. 'Ah!' he said, 'it would be\ndifficult to prove anything of that sort now. The writing could not be\nsworn to, and if he is guilty the letter is destroyed.'", "Graye had been requested by the architect to survey a plot of land\nnearly twenty miles off, which, with the journey to and fro, would", "came out from the inner apartment in Graye's company, answering an\nexpression of obligation from Owen with the words that it was no\ntrouble. At the moment of his speech, he closed behind him the door", "The young lady, their daughter, seemed to Graye by far the most\nbeautiful and queenly being he had ever beheld. She was about nineteen", "any rate, for a good many years, and I know Miss Graye particularly\nwell, and her state of mind with regard to this matter.'", "'About the Grayes and Manston?'\n\n'Yes. That woman is not Mrs. Manston.'\n\n'Prove it.'", "On their arrival at the door of the hotel, it was arranged between\nSpringrove and Graye that the latter only should enter, Edward waiting\noutside. Owen had remembered continually what his friend had frequently", "The letter was brought to Owen Graye, the same afternoon, by one of the\nvicar's servants who had been to the box with a duplicate key, as usual,", "Before reflecting any further upon the subject Graye led her upstairs\nand got her to lie down. Then he went to the window and stared out of" ], [ "This second young lady and Graye were married. That he did not, first\nor last, love his wife as he should have done, was known to all; but", "The young lady, their daughter, seemed to Graye by far the most\nbeautiful and queenly being he had ever beheld. She was about nineteen", "Young Graye concluded that his Cytherea had forgotten him and his love.\nBut he could not forget her.\n\n2. FROM 1843 TO 1861", "In the above-mentioned year, 1835, Ambrose Graye, a young architect who\nhad just begun the practice of his profession in the midland town of", "accident and a lover's contrivance brought them together as frequently\nthe week following. The parents liked young Graye, and having few\nfriends (for their equals in blood were their superiors in position), he", "The love affair which had been Ambrose Graye's disheartening blow was\nprecisely of that nature which lads take little account of, but girls\nponder in their hearts.", "Manston was silent awhile. Then he said impetuously: 'Miss Graye, I will\nnot mince matters--I love you--you know it. Stratagem they say is fair", "The four working-men in white were three masons and a mason's labourer.\nThe fifth man was the architect, Mr. Graye. He had been giving", "Graye had been requested by the architect to survey a plot of land\nnearly twenty miles off, which, with the journey to and fro, would", "'He has told me all,' said Graye soothingly. 'He is going off early\nto-morrow morning. 'Twas a shame of him to win you away from me, and\ncruel of you to keep the growth of this attachment a secret.'", "Graye's whole impassioned dream terminated in a sad and unaccountable\nepisode. After passing through three weeks of sweet experience, he had", "very day that Manston (her love-child) married Miss Cytherea Graye. And\nthis is what that deep woman did. Deep? she was as deep as the North", "Graye was handsome, frank, and gentle. He had a quality of thought\nwhich, exercised on homeliness, was humour; on nature, picturesqueness;", "came out to Graye in the passage. Owen explained who and what he was,\nand asked the man if he would oblige him by turning to his notes of", "answered any inquiry Graye made by letter respecting her. But very poor\nfood to a lover is intelligence of a mistress filtered through a friend.\nHuntway could tell nothing definitely. He said he believed there had", "Before reflecting any further upon the subject Graye led her upstairs\nand got her to lie down. Then he went to the window and stared out of", "A week from that day Ambrose Graye left his friend Huntway's house\nand saw no more of the Love he mourned. From time to time his friend", "Manston's figure appeared on the other side of her. In two glances Graye\nread thus many of her characteristics, and in the following order:--", "'Miss Graye, I believe?' he said, lifting his hat.\n\n'Yes,' said Cytherea, colouring, and trying not to look guilty of a\nsurreptitious knowledge of him.", "Both faces also unconsciously stated that their owners had been much in\neach other's thoughts of late. Owen had talked to the young architect of\nhis sister as freely as to Cytherea of the young architect." ], [ "This second young lady and Graye were married. That he did not, first\nor last, love his wife as he should have done, was known to all; but", "'Mrs. Graye,' said the handmaid.\n\n'Then tell them not to do any such absurd thing--not but that it is\nquite according to usage; but you are too young yet.'", "'He has told me all,' said Graye soothingly. 'He is going off early\nto-morrow morning. 'Twas a shame of him to win you away from me, and\ncruel of you to keep the growth of this attachment a secret.'", "very day that Manston (her love-child) married Miss Cytherea Graye. And\nthis is what that deep woman did. Deep? she was as deep as the North", "Before reflecting any further upon the subject Graye led her upstairs\nand got her to lie down. Then he went to the window and stared out of", "His face bent closer and closer to hers, and the last words sank to a\nwhisper as weak as the emotion inspiring it was strong.\n\nShe said firmly and distinctly, 'Yes, I will.'", "even in name. \"'Tis yours, Miss Graye,\" says he. \"No, 'tis yours,\" says\nshe. \"'Tis'n' mine,\" says he. The Crown had cast his eyes upon the case,", "He loosened her hand, gave her his arm, and dragged her out of the\ngrove--making her run beside him till they had reached the rectory. A", "He came so close that their clothes touched. 'Will you try to love me?\nDo try to love me!' he said, in a whisper, taking her hand. He had never", "reached the landing-steps. He took her hand as before, and found it as\ncold as the water about them. It was not relinquished till he reached", "She breathed more quickly and warmly: he took her right hand in his own\nright: it was not withdrawn. He put his left hand behind her neck till", "'I married Cytherea Graye, and never did a bridegroom leave the church\nwith a heart more full of love and happiness, and a brain more fixed on\ngood intentions, than I did on that morning.", "called her Miss Graye after wishing her good-bye as Mrs. Manston at\nthe wedding. Cytherea saw the motive and appreciated it, nevertheless\nreplying evasively--", "He took her hand in both his, and looked down upon the lids of her eyes.\n\n'I pity you sometimes,' he said more emphatically.", "came out to Graye in the passage. Owen explained who and what he was,\nand asked the man if he would oblige him by turning to his notes of", "'Miss Graye, I believe?' he said, lifting his hat.\n\n'Yes,' said Cytherea, colouring, and trying not to look guilty of a\nsurreptitious knowledge of him.", "'At any rate,' he said, as he took his leave and mounted his mare, 'I\nwill see about it. Rest content, Miss Graye, and depend upon it that I\nwill not lead you into difficulty.'", "He came forward with the money and dropped it into her hand. His\nthoughts were still with Edward, and he absently took her little fingers\nin his as he said, earnestly and ingenuously--", "He gave her hand a gentle pressure, and relinquished it.\n\nThen it seemed as if he were coming to the point again. No, he was not\ngoing to urge his suit that evening. Another respite.", "through the mind of the maiden, which Graye hoped would be a preface to\nher complete restoration. She felt ready and willing to live the whole\nremainder of her days in the retirement of their present quarters: she" ], [ "came out to Graye in the passage. Owen explained who and what he was,\nand asked the man if he would oblige him by turning to his notes of", "Then Graye told him the whole story, reminding him that their first\nsuspicions had been of a totally different nature, and that in", "When Graye spoke the name of his sister, Manston, who was just coming\nout from an interview with Miss Aldclyffe, passed him in the vestibule", "This second young lady and Graye were married. That he did not, first\nor last, love his wife as he should have done, was known to all; but", "Presently she heard Owen Graye's footsteps in her rear, his quickened\npace implying that he had parted from his sister. The woman thereupon", "Then one of them turned; it was Mr. Graye. Again he stood motionless,\nwith attention to the operations of the others. He appeared to be lost\nin reflection, and had directed his face towards a new stone they were\nlifting.", "After some doubts, Graye ventured to write to this gentleman, asking the\nnecessary question, shortly alluding to his father's death, and stating", "'He has told me all,' said Graye soothingly. 'He is going off early\nto-morrow morning. 'Twas a shame of him to win you away from me, and\ncruel of you to keep the growth of this attachment a secret.'", "Graye was lost in a long consideration. 'Ah!' he said, 'it would be\ndifficult to prove anything of that sort now. The writing could not be\nsworn to, and if he is guilty the letter is destroyed.'", "'What nonsense, Cytherea!' said her brother, going to the door.\n\nEdward Springrove stood in the grey light outside.", "We pass over two years in order to reach the next cardinal event of\nthese persons' lives. The scene is still the Grayes' native town of\nHocbridge, but as it appeared on a Monday afternoon in the month of\nOctober.", "On their arrival at the door of the hotel, it was arranged between\nSpringrove and Graye that the latter only should enter, Edward waiting\noutside. Owen had remembered continually what his friend had frequently", "even in name. \"'Tis yours, Miss Graye,\" says he. \"No, 'tis yours,\" says\nshe. \"'Tis'n' mine,\" says he. The Crown had cast his eyes upon the case,", "Graye was handsome, frank, and gentle. He had a quality of thought\nwhich, exercised on homeliness, was humour; on nature, picturesqueness;", "answered any inquiry Graye made by letter respecting her. But very poor\nfood to a lover is intelligence of a mistress filtered through a friend.\nHuntway could tell nothing definitely. He said he believed there had", "In a wild fever Graye went home and watched for the next morning. Who\nshall express his misery and wonder when a note containing these words\nwas put into his hand?", "All this feigning was most distasteful to Graye. The riddle having\nbeen solved, he unconsciously assumed his natural look before she had", "'The whole town is looking out for us,' had been Graye's impression\nthroughout the day. He called upon Mr. Gradfield--the only man who had", "Manston's figure appeared on the other side of her. In two glances Graye\nread thus many of her characteristics, and in the following order:--", "Thus Ambrose Graye's good intentions with regard to the reintegration of\nhis property had scarcely taken tangible form when his sudden death put\nthem for ever out of his power." ], [ "There was in Edward's bearing that entire unconsciousness of himself\nwhich, natural to wild animals, only prevails in a sensitive man at\nmoments of extreme intentness. The rector saw that he had no trivial\nstory to communicate, whatever the story was.", "Edward was impatient, and to a certain extent still a countryman, who\nhad not, after the manner of city men, subdued the natural impulse to", "His father looked up when Edward entered, and wearily spoke to the young\nman as his face came into the faint light.\n\n'Edward, why did you get up so early?'", "Edward Springrove was in London, attending to the duties of his\nnew office, and it had become known throughout the neighbourhood of", "Edward Springrove the elder, the landlord, now more particularly a\nfarmer, and for two months in the year a cider-maker, was an employer of", "'Uncertain--but soon, I suppose. Edward, you see, can do anything pretty\nnearly, and yet can't get a straightforward living. I wish sometimes I", "Edward took the parchment, and read quickly and indistinctly for some\ntime; then aloud and slowly as follows:--", "The same minute saw two persons sit down in the rectory-house to\nshare the rector's usually solitary dinner. One was a man of official\nappearance, commonplace in all except his eyes. The other was Edward\nSpringrove.", "But the real state of the case was that a tall man had stood against the\nopposite wall and watched the whole of his proceeding. When Edward came", "Five minutes before this point of time, Edward Springrove was looking\nover one of his father's fields at an outlying hamlet of three or four", "The carrier paid his dues, came up to Edward, and spoke ten words in a\nconfidential whisper: then sprang upon the shafts of his vehicle, gave a\nclinching nod of significance to Springrove, and rattled away.", "His father looked absently at him and turned away again. Shortly\nafterwards they retired for the night. Alone in his bedroom Edward\nopened and read what he had not dared to refer to in their presence.", "A conviction suddenly broke in upon Edward's mind; then a wish\noverwhelmed him. The conviction--as startling as it was sudden--was that", "Edward looked down the pavement in the direction pointed out by the\nwoman, and saw a man approaching. He proceeded a few steps to meet him.", "intentions. At the name of Edward she stammered, and her voice sank to\nthe faintest whisper in spite of her.", "Edward in the meantime had reached the auction-room. He found some\ndifficulty, on account of the inertness of those whose only inducement", "and his mysterious repression of it, afterwards explained by his\nmarriage. That marriage was now nought. Edward realized the man's newly\nacquired freedom, and felt an instinctive enmity towards him--he would", "A quarter of an hour later, whilst she was sitting in a partially\nrecovered, half-dozing state in an arm-chair, Edward beside her waiting", "of an hour passed. Then Edward arose, came out of the rector's study and\nagain flung his cloak around him. Instead of going thence homeward,", "She endured her solitude for another half-hour, and then could endure no\nlonger. She had hoped--while affecting to fear--that Edward would have" ], [ "first Mrs. Manston lost her life as supposed, notwithstanding the\ninquest and verdict. Was it possible that the real Mrs. Manston, who", "backwardness at the visit to Hoxton with Manston, and of her appearance\nand distress at the present moment, Graye had a conviction that the\nwoman was an impostor.", "which she had been known as Mrs. Manston), and found that no great\ndifficulties stood in the way of a personation. And thus favouring\ncircumstances determined my course. I visited Anne Seaway, made love to", "The woman left the room, and Mrs. Manston locked the door. Before\nthe servant had gone down more than two or three stairs, Mrs. Manston\nunfastened the door again, and held it ajar.", "'That's not it--I wish it was no more. My suspicion is, first, that the\nwoman living at the Old House is not Mr. Manston's wife.'\n\n'Not--Mr. Manston's wife?'", "of Mrs. Manston as it was possible to get at second-hand, and by\nhearsay. She was a tall woman, wide at the shoulders, and full-chested,", "If Mrs. Manston was murdered, as some said, on the night of the fire,\nCytherea was the steward's lawful wife. Manston at bay, and reckless of\nresults, might rush to his wife and harm her.", "He shaped a plan. It might by chance be effectual; if otherwise, it\nwould not reveal his intention to her. When Mrs. Manston was within\nspeaking distance, he went up to her and said--", "with the original Mrs. Manston. She could see no loophole of escape\nfor the man who supported her. True, in her own estimation, his worst\nalternative was not so very bad after all--the getting the name of", "It was bad policy now to attempt disguise. 'I am the supposed Mrs.\nManston,' she said. 'Who are you?'", "After admitting Mrs. Manston to his house in the evening, and hearing\nher retire, Mr. Springrove returned to the front door to listen for a", "as she went in or out. This confusing remark was added. The woman had\nalmost recognized Mrs. Manston when she had called with her husband\nlately, but she had kept her veil down. Her residence, before she came", "Mr. Raunham--that if the announcement of the man Chinney were true,\nit seemed extremely probable that Mrs. Manston left her watch and keys\nbehind on purpose to blind people as to her escape; and that therefore", "And now, in spite of what Mr. Brown's neighbours had said about nearly\nrecognizing Mrs. Manston on her recent visit--which might have meant", "Outside the door, when it was closed upon her, the maid paused to listen\nfor an instant. She heard Mrs. Manston talking to herself.\n\n'This is welcome home!' she said.", "Manston was a villain, who at some earlier time had discovered that\nhis wife lived, and had bribed her to keep out of sight, that he might", "and asking to see Mrs. Manston point-blank. But he had drawn near the\nplace, and was standing still in the public path, from which a partial\nview of the front of the building could be obtained, when the bells", "'Who?'\n\n'Mr. Manston.'\n\n'Good--! I can't listen to you for an instant, madam; why, she hadn't\nseen him!'", "This was the last of the letters from the wife to the husband. One\nother, in Mrs. Manston's handwriting, and in the same packet, was\ndifferently addressed.", "Mr. Raunham at length divined that her love for Manston, if it had ever\nexisted, had transmuted itself into a very different feeling now." ], [ "It was perfectly true: Manston was dead.\n\nThe previous day he had been allowed the use of writing-materials, and\nhad occupied himself for nearly seven hours in preparing the following\nconfession:--", "If he had entered the thicket on a search unaided, Manston might have\nstepped unobserved from behind a bush and murdered him with the\ngreatest ease. Indeed, there were such strong reasons for the exploit in", "If Mrs. Manston was murdered, as some said, on the night of the fire,\nCytherea was the steward's lawful wife. Manston at bay, and reckless of\nresults, might rush to his wife and harm her.", "Springrove had told Cytherea of Manston's crime in a few short words. He\nnow said solemnly, 'He is to die.'", "first Mrs. Manston lost her life as supposed, notwithstanding the\ninquest and verdict. Was it possible that the real Mrs. Manston, who", "'The name of my man,' said Miss Aldclyffe, looking at her letter in\nturn; 'is, I think--yes--AEneas Manston.'\n\n5. SEPTEMBER THE THIRD", "Manston was a villain, who at some earlier time had discovered that\nhis wife lived, and had bribed her to keep out of sight, that he might", "Manston was very friendly that evening. It was evident to her, now\nthat she was behind the scenes, that he was making desperate efforts to\ndisguise the real state of his mind.", "The discovery of the carefully-concealed letters rankled in the mind of\nAnne Seaway. Her woman's nature insisted that Manston had no right to", "Manston could form no reason for Owen's presence, but intuitively linked\nit with Cytherea's seclusion. 'Altogether this is most unseemly,' he\nsaid, 'whatever it may mean.'", "paper. The paper contained a verse or two in a man's handwriting. He\nrecognized it as Manston's, having seen notes and bills from him at his", "Her terror of him did not decrease. They sat down to supper, Manston\nstill talking cheerfully. But what is keener than the eye of a", "Manston now knew that there had been photographs of some kind in his\nwife's workbox, and though he had not been near enough to see them, he\nguessed whose they were. The least reflection told him to whom they had\nbeen sent.", "At last, then, her curiosity was slightly rewarded. For the right of the\nmatter was that Anne had been incited to this exploration of Manston's", "Mr. Raunham at length divined that her love for Manston, if it had ever\nexisted, had transmuted itself into a very different feeling now.", "The remark of Miss Aldclyffe to Manston had plainly been concerning the\nfirst watcher, for Manston, with his spade in his hand, instantly rushed", "Manston did not answer for some time. His face was worn and haggard;\nlatterly his head had not been carried so uprightly as of old. 'If they\nprove you to be--who you are.... Yes, if they do,' he murmured.", "asked. He felt that he was outwitted. Manston and his wife had been\nthere before him, clearing the ground of all traces.", "His own answer reminded Manston that Cytherea must, by some inscrutable\nmeans, have had an inkling of the event.\n\nOwen had gone to the door of Cytherea's room.", "Her mind was ill at ease. More than ever she wished that she had never\nseen Manston. Where the person suspected of mysterious moral obliquity" ], [ "It was perfectly true: Manston was dead.\n\nThe previous day he had been allowed the use of writing-materials, and\nhad occupied himself for nearly seven hours in preparing the following\nconfession:--", "complained of fulness and heat in the chest. This morning the maid ran\nin and told her suddenly that Manston had killed himself in gaol--she", "When Manston was persuaded, by the feigned heaviness of her breathing,\nthat Anne Seaway was asleep, he softly arose, and dressed himself in the", "Manston found himself alone a few minutes later. He buried his face in\nhis hands, and murmured, 'O my lost one! O my Cytherea! That it should", "Manston was very friendly that evening. It was evident to her, now\nthat she was behind the scenes, that he was making desperate efforts to\ndisguise the real state of his mind.", "Thus it was that when, in the evening of the same day, Mrs. Manston\nreached Carriford Road Station, her husband was still at Chettlewood,", "The steward stood in the office. One passenger alighted, gave up his\nticket, and crossed the room in front of Manston: a young man with a", "Manston reined in his horse on the summit of a hill, and considered.\n\n'It is a rick-yard on fire,' he thought; 'no house could produce such a\nraging flame so suddenly.'", "'Yes, dead,' murmured Miss Aldclyffe solemnly. 'He died alone, though\nwithin a few feet of me. The room we slept in is exactly over his own.'", "Manston then retired to his office, and shut himself up for the\nremainder of the evening.\n\n\n\n\nXIX. THE EVENTS OF A DAY AND NIGHT", "On Manston's return from this interview at the rectory, he passed the\ndoor of the Rising Sun Inn. Finding he had no light for his cigar,", "This was the last of the letters from the wife to the husband. One\nother, in Mrs. Manston's handwriting, and in the same packet, was\ndifferently addressed.", "Manston then turned his back upon the town, and walked slowly on. In two\nminutes a flickering light shone upon his form, and the postman overtook\nhim.", "The scene and the sentiment dropped into the past. Meanwhile, Manston\ncontinued visibly before her. He, though quiet and subdued in his", "Her terror of him did not decrease. They sat down to supper, Manston\nstill talking cheerfully. But what is keener than the eye of a", "She grew perceptibly weaker, in body and mind. Manston still persisted\nin his suit, but with more of his former indirectness, now that he saw", "When Mr. Springrove came from the door of the Rising Sun at the end of\nthe inquiry, Manston walked by his side as far as the stile to the park,\na distance of about a stone's-throw.", "Manston went to his desk and thought of Cytherea's beauty with the\nbitterest, wildest regret. After the lapse of a few minutes he calmed", "paper. The paper contained a verse or two in a man's handwriting. He\nrecognized it as Manston's, having seen notes and bills from him at his", "was raised--they searched the town high and low--no Manston. All\nthis morning they have been searching, but there's not a sign of him\nanywhere. However, he has lost his last chance of getting across" ], [ "Manston saw that he was one of the villagers: a small farmer originally,\nwho had drunk himself down to a day-labourer and reputed poacher.", "It was perfectly true: Manston was dead.\n\nThe previous day he had been allowed the use of writing-materials, and\nhad occupied himself for nearly seven hours in preparing the following\nconfession:--", "If he had entered the thicket on a search unaided, Manston might have\nstepped unobserved from behind a bush and murdered him with the\ngreatest ease. Indeed, there were such strong reasons for the exploit in", "Springrove had told Cytherea of Manston's crime in a few short words. He\nnow said solemnly, 'He is to die.'", "Manston was a villain, who at some earlier time had discovered that\nhis wife lived, and had bribed her to keep out of sight, that he might", "Thus the conversation was begun, and the postman proceeded to narrate\nthe different strange events that marked his experience. Manston grew\nvery friendly.", "paper. The paper contained a verse or two in a man's handwriting. He\nrecognized it as Manston's, having seen notes and bills from him at his", "One of the two he recognized as a well-known night-poacher, the man\nwho had met him with tidings of his wife's death on the evening of the", "is, the man walking immediately behind Manston, now fell back,\nwhen Manston's housekeeper, knowing the ground pretty well, dived\ncircuitously among the trees and got directly behind the steward, who,", "If Mrs. Manston was murdered, as some said, on the night of the fire,\nCytherea was the steward's lawful wife. Manston at bay, and reckless of\nresults, might rush to his wife and harm her.", "The remark of Miss Aldclyffe to Manston had plainly been concerning the\nfirst watcher, for Manston, with his spade in his hand, instantly rushed", "Her terror of him did not decrease. They sat down to supper, Manston\nstill talking cheerfully. But what is keener than the eye of a", "Manston did not answer for some time. His face was worn and haggard;\nlatterly his head had not been carried so uprightly as of old. 'If they\nprove you to be--who you are.... Yes, if they do,' he murmured.", "Manston was very friendly that evening. It was evident to her, now\nthat she was behind the scenes, that he was making desperate efforts to\ndisguise the real state of his mind.", "asked. He felt that he was outwitted. Manston and his wife had been\nthere before him, clearing the ground of all traces.", "Whatever Manston's original feelings had been, all in him now gave way\nto irritation, and irritation to rage. He paced up and down the room\ntill he had mastered it; then said in ordinary tones--", "at that time, and offered to go himself. The witness here repeated\nthe conversation he had had with Mrs. Manston during their walk, and\ntestified to having left her at the door of the Three Tranters Inn, Mr.", "Manston was on his legs again in an instant. A fiery glance on the one\nside, a glance of pitiless justice on the other, passed between them.", "Manston reined in his horse on the summit of a hill, and considered.\n\n'It is a rick-yard on fire,' he thought; 'no house could produce such a\nraging flame so suddenly.'", "At last, then, her curiosity was slightly rewarded. For the right of the\nmatter was that Anne had been incited to this exploration of Manston's" ], [ "After admitting Mrs. Manston to his house in the evening, and hearing\nher retire, Mr. Springrove returned to the front door to listen for a", "The woman left the room, and Mrs. Manston locked the door. Before\nthe servant had gone down more than two or three stairs, Mrs. Manston\nunfastened the door again, and held it ajar.", "Outside the door, when it was closed upon her, the maid paused to listen\nfor an instant. She heard Mrs. Manston talking to herself.\n\n'This is welcome home!' she said.", "by Manston himself, from which position she could distinctly hear him\nbreathe between each exertion, although it was far too dark to discern\nanything of him.", "He shaped a plan. It might by chance be effectual; if otherwise, it\nwould not reveal his intention to her. When Mrs. Manston was within\nspeaking distance, he went up to her and said--", "and asking to see Mrs. Manston point-blank. But he had drawn near the\nplace, and was standing still in the public path, from which a partial\nview of the front of the building could be obtained, when the bells", "When Manston was persuaded, by the feigned heaviness of her breathing,\nthat Anne Seaway was asleep, he softly arose, and dressed himself in the", "front room where Manston stood, but a space round the fire was screened\noff from the remainder, and inside the high oak settle, forming a part\nof the screen, he heard voices conversing. The speakers had not noticed", "'Who?'\n\n'Mr. Manston.'\n\n'Good--! I can't listen to you for an instant, madam; why, she hadn't\nseen him!'", "Her voice had trembled more and more at each answer she gave, but\nnothing could induce her to come out and confront him. Hating scenes,\nManston went back to the sitting-room, greatly irritated and perplexed.", "saw to be Manston and his wife. Manston was wearing his old garden-hat,\nand carried one of the monthly magazines under his arm. Immediately", "Her terror of him did not decrease. They sat down to supper, Manston\nstill talking cheerfully. But what is keener than the eye of a", "Whatever Manston's original feelings had been, all in him now gave way\nto irritation, and irritation to rage. He paced up and down the room\ntill he had mastered it; then said in ordinary tones--", "and doubt. But Manston was not such a husband, and he was, moreover,\ncalmly attending to his business at the other end of the manor.", "She could now tell by the noises that Manston had completed his\nre-erection of the cupboard. She heard him replacing the articles it had", "Thus it was that when, in the evening of the same day, Mrs. Manston\nreached Carriford Road Station, her husband was still at Chettlewood,", "at that time, and offered to go himself. The witness here repeated\nthe conversation he had had with Mrs. Manston during their walk, and\ntestified to having left her at the door of the Three Tranters Inn, Mr.", "It was impossible that Manston should not soon notice her. At the\ncompletion of his labour he turned, and did so.\n\n'Ho--you here!' he exclaimed.", "'Have a tall gentleman named Manston, and a young wife arrived here this\nevening?' he asked again, in words which had grown odd to his ears from\nvery familiarity.\n\n'A new-married couple, did you say?'", "of Mrs. Manston as it was possible to get at second-hand, and by\nhearsay. She was a tall woman, wide at the shoulders, and full-chested," ], [ "'Yes, dead,' murmured Miss Aldclyffe solemnly. 'He died alone, though\nwithin a few feet of me. The room we slept in is exactly over his own.'", "murder, and all that led to it. So there's an end of him.'", "morning. He had hung himself behind the door of his cell, in some way,\nby a handkerchief and some strips of his clothes. The turnkey says his", "It was perfectly true: Manston was dead.\n\nThe previous day he had been allowed the use of writing-materials, and\nhad occupied himself for nearly seven hours in preparing the following\nconfession:--", "But she continually repressed her misery and bitterness of heart till\nthe effort to do so showed signs of lessening. At length she even tried\nto hope that her lost lover and her rival would love one another very\ndearly.", "He rushed out of the house, but no further. The boast was his last. In\none half-minute more he was helpless in the hands of his pursuers.", "Anne Seaway was about to run away likewise, when she turned and looked\nat the fallen man. He lay on his face, motionless.", "complained of fulness and heat in the chest. This morning the maid ran\nin and told her suddenly that Manston had killed himself in gaol--she", "She endured her solitude for another half-hour, and then could endure no\nlonger. She had hoped--while affecting to fear--that Edward would have", "'Yes, sir. He wished he was dead, he said, and he's almost out of his\nmind wi' wishen it so much. That was before Mr. Raunham came.'\n\n'Who is he?' said Owen.", "There was nothing but misery to come now. They would step ashore; he\nwould say good-night, go to London to-morrow, and the miserable She", "Two days later the official inquiry into the cause of her death was held\nat the Rising Sun Inn, before Mr. Floy, the coroner, and a jury of the", "When she had returned to her room she sat down and penned a farewell\nletter to Edward Springrove, as little able as any other excitable", "'The clinching and triumphant deed would be to take the body and place\nit among the ruins of the destroyed house. But I could not do this, on\naccount of the men who were watching against an outbreak of the fire.\nOne remedy remained.", "burning them. By the slight noise of his footsteps on the uncarpeted\nfloor, she at length imagined that he was approaching the door. She\nflitted upstairs again and crept into bed.", "The funeral had taken place. Depressed, yet resolved in his demeanour,\nOwen Graye sat before his father's private escritoire, engaged", "Gathering up her skirt decisively she renounced all further hope, and\nhurried along the ditch till she had dropped into a valley, and came to", "First, an agony of face told of the suppressed misery within her, which\npresently could be suppressed no longer. When they were coming out of", "beside her, on the other she drew him dying, wholly by reason of her\nself-enforced poverty. To marry this man was obviously the course of", "She did not reply, and they moved away. The church was nearly dark now,\nand melancholy in the extreme. She stood beside him while he locked" ], [ "He shaped a plan. It might by chance be effectual; if otherwise, it\nwould not reveal his intention to her. When Mrs. Manston was within\nspeaking distance, he went up to her and said--", "'Of course I shall! Manston has no right to carry off my sister unless\nhe's her husband,' said Owen. 'I shall go and separate them.'\n\n'Certainly you will,' said the rector.", "Manston, and her labours to induce himself to marry his cousin. Taken in\nconnection with her apparent interest in, if not love for, Cytherea, her", "Manston did not answer for some time. His face was worn and haggard;\nlatterly his head had not been carried so uprightly as of old. 'If they\nprove you to be--who you are.... Yes, if they do,' he murmured.", "Whatever Manston's original feelings had been, all in him now gave way\nto irritation, and irritation to rage. He paced up and down the room\ntill he had mastered it; then said in ordinary tones--", "Even he, at that heated moment, could not endure the expression of\nunutterable agony which shone from that extraordinary gaze of hers.\nIt had surely been given her by God as a means of defence. Manston\ncontinued his pursuit with a lowered eye.", "Mr. Raunham at length divined that her love for Manston, if it had ever\nexisted, had transmuted itself into a very different feeling now.", "1. FROM THE SIXTH TO THE THIRTEENTH OF JANUARY\n\nManston had evidently resolved to do nothing in a hurry.", "Her terror of him did not decrease. They sat down to supper, Manston\nstill talking cheerfully. But what is keener than the eye of a", "'Who?'\n\n'Mr. Manston.'\n\n'Good--! I can't listen to you for an instant, madam; why, she hadn't\nseen him!'", "Thus it was that when, in the evening of the same day, Mrs. Manston\nreached Carriford Road Station, her husband was still at Chettlewood,", "'No--I have not,' said Manston absently. 'But I am going to set about\nit.' He hesitated, as if ashamed of some weakness he was about to", "escape other than his own legs, and drove on thus with his prisoner to\nthe county-town. Arrived there, he lodged her in the police-station, and\nthen took immediate steps for the capture of Manston.", "Springrove had told Cytherea of Manston's crime in a few short words. He\nnow said solemnly, 'He is to die.'", "Her voice had trembled more and more at each answer she gave, but\nnothing could induce her to come out and confront him. Hating scenes,\nManston went back to the sitting-room, greatly irritated and perplexed.", "The steward stood in the office. One passenger alighted, gave up his\nticket, and crossed the room in front of Manston: a young man with a", "Manston was very friendly that evening. It was evident to her, now\nthat she was behind the scenes, that he was making desperate efforts to\ndisguise the real state of his mind.", "was raised--they searched the town high and low--no Manston. All\nthis morning they have been searching, but there's not a sign of him\nanywhere. However, he has lost his last chance of getting across", "paper. The paper contained a verse or two in a man's handwriting. He\nrecognized it as Manston's, having seen notes and bills from him at his", "Thus the conversation was begun, and the postman proceeded to narrate\nthe different strange events that marked his experience. Manston grew\nvery friendly." ], [ "He shaped a plan. It might by chance be effectual; if otherwise, it\nwould not reveal his intention to her. When Mrs. Manston was within\nspeaking distance, he went up to her and said--", "Manston was very friendly that evening. It was evident to her, now\nthat she was behind the scenes, that he was making desperate efforts to\ndisguise the real state of his mind.", "Manston played the same game, but more palpably. The meal was nearly\nover when he seemed possessed of a new idea of how his object might be", "Manston had arrived on the estate, in the capacity of steward, three or\nfour days previously, and occupied the old manor-house, which had been\naltered and repaired for his reception.", "Whatever Manston's original feelings had been, all in him now gave way\nto irritation, and irritation to rage. He paced up and down the room\ntill he had mastered it; then said in ordinary tones--", "It was perfectly true: Manston was dead.\n\nThe previous day he had been allowed the use of writing-materials, and\nhad occupied himself for nearly seven hours in preparing the following\nconfession:--", "When Manston was persuaded, by the feigned heaviness of her breathing,\nthat Anne Seaway was asleep, he softly arose, and dressed himself in the", "Manston was on his legs again in an instant. A fiery glance on the one\nside, a glance of pitiless justice on the other, passed between them.", "Manston was a villain, who at some earlier time had discovered that\nhis wife lived, and had bribed her to keep out of sight, that he might", "If he had entered the thicket on a search unaided, Manston might have\nstepped unobserved from behind a bush and murdered him with the\ngreatest ease. Indeed, there were such strong reasons for the exploit in", "by Manston himself, from which position she could distinctly hear him\nbreathe between each exertion, although it was far too dark to discern\nanything of him.", "Her terror of him did not decrease. They sat down to supper, Manston\nstill talking cheerfully. But what is keener than the eye of a", "is, the man walking immediately behind Manston, now fell back,\nwhen Manston's housekeeper, knowing the ground pretty well, dived\ncircuitously among the trees and got directly behind the steward, who,", "and doubt. But Manston was not such a husband, and he was, moreover,\ncalmly attending to his business at the other end of the manor.", "'No--I have not,' said Manston absently. 'But I am going to set about\nit.' He hesitated, as if ashamed of some weakness he was about to", "paper. The paper contained a verse or two in a man's handwriting. He\nrecognized it as Manston's, having seen notes and bills from him at his", "Mr. Raunham at length divined that her love for Manston, if it had ever\nexisted, had transmuted itself into a very different feeling now.", "Manston reined in his horse on the summit of a hill, and considered.\n\n'It is a rick-yard on fire,' he thought; 'no house could produce such a\nraging flame so suddenly.'", "Coming and going from church was his grand opportunity. Manston was very\nreligious now. It is commonly said that no man was ever converted by", "Manston did not answer for some time. His face was worn and haggard;\nlatterly his head had not been carried so uprightly as of old. 'If they\nprove you to be--who you are.... Yes, if they do,' he murmured." ], [ "and his mysterious repression of it, afterwards explained by his\nmarriage. That marriage was now nought. Edward realized the man's newly\nacquired freedom, and felt an instinctive enmity towards him--he would", "'Yes, Edward Springrove,' she said quietly. 'I know it, I did once want\nto see them married; they have had a slight quarrel, and it will soon be", "Then she thought of the misrepresentation and scandal that would\nensue if she were no wife. One cause for thankfulness accompanied the\nreflection; Edward knew the truth.", "'Edward, I can never be anybody's wife,' she then said sadly, and with\nfirmness.", "Had his defenceless sister been trifled with? that was the question\nwhich affected him. Her refusal of Edward as a husband was, he knew,", "She endured her solitude for another half-hour, and then could endure no\nlonger. She had hoped--while affecting to fear--that Edward would have", "Edward was nearest, and spoke first. He said in a low voice: 'Your\nsister is not legally married! His first wife is still living! How it\ncomes out I don't know!'", "one parting word. He came closer, gazed into the stream, and walked very\nslowly. She was almost certain that it was Edward. She kept more safely", "'But I will say nothing about who influenced--who persuaded. The act\nis mine, after all. Edward, I married to escape dependence for my bread", "With the death (to her) of Edward her heart's occupation was gone. Was\nit necessary or even right for her to tend it and take care of it as she\nused to in the old time, when it was still a capable minister?", "his wife, the truth being that Edward's lateness was owing to the\nsimplest of all causes, his temporary want of money, which led him to", "intentions. At the name of Edward she stammered, and her voice sank to\nthe faintest whisper in spite of her.", "Miss Aldclyffe reflected a moment. 'Don't you want to tell me who Edward\nis?' she said at last, in a tone of meaning.\n\n'I don't mind telling; only....'", "the world.' It was perfectly true, and somehow Edward felt more bound up\nwith her after that remark.", "'But, Edward, what's that, what's that!' she cried, in an agony of\nreproach. 'Why did you leave me to return to her? Why did you write me\nthat cruel, cruel letter that nearly killed me!'", "The whole chain of incidents that drew her there was plain, and there\nwas no such thing as chance in the matter. It was all Edward's doing.", "As for the poor maiden who had received the news, she knew not what to\nthink. She listened till the echo of Edward's footsteps had died away,", "'Please to leave me--we will be friends, Edward--but don't press me--my\nmind is made up--I cannot--I will not marry you or any man under the\npresent ambiguous circumstances--never will I--I have said it: never!'", "But things are not what they seem. A responsive love for Edward\nSpringrove had made its appearance in Cytherea's bosom with all the", "'No, thank you, Mr. Springrove. Good evening,' she said in a low voice,\nand hurried away. One thought still possessed her; Edward had trifled\nwith her love." ], [ "very day that Manston (her love-child) married Miss Cytherea Graye. And\nthis is what that deep woman did. Deep? she was as deep as the North", "Manston did not see him; Cytherea did. The healing effect upon her heart\nof a year's silence--a year and a half's separation--was undone in", "'She did, Cytherea. And she sent me a letter--a love-letter, you wrote\nto Mr. Manston.'\n\n'A love-letter I wrote?'", "She knew by several proofs, that before his marriage with Cytherea, and\nup to the time of the porter's confession, Manston believed--honestly", "'Cytherea! Why, you had grown to love--like--Mr. Manston, and how could\nyou be anything to me--or care for me? Surely I acted naturally?'", "If Mrs. Manston was murdered, as some said, on the night of the fire,\nCytherea was the steward's lawful wife. Manston at bay, and reckless of\nresults, might rush to his wife and harm her.", "Manston could form no reason for Owen's presence, but intuitively linked\nit with Cytherea's seclusion. 'Altogether this is most unseemly,' he\nsaid, 'whatever it may mean.'", "This done, Cytherea, still in a practical mood, upbraided herself with\nweakness in allowing a stranger like Mr. Manston to influence her as he", "was, as stated, Mr. Manston's restored wife? Cytherea was perfectly safe\nas a single woman whose marriage had been void. And if it turned out", "called her Miss Graye after wishing her good-bye as Mrs. Manston at\nthe wedding. Cytherea saw the motive and appreciated it, nevertheless\nreplying evasively--", "Was it possible that Manston was sensuous villain enough to have\ncontemplated, at any moment before the marriage with Cytherea, the", "'Why do I marry him?' she said to herself. 'Because Owen, dear Owen my\nbrother, wishes me to marry him. Because Mr. Manston is, and has been,", "'Yes, yes,' said Manston, who had completely recovered his\nself-possession and common-sense; 'let it all be settled by herself.'\nTurning to Cytherea he whispered so softly that Owen did not hear the\nwords--", "Thus the touch of clothes, which was nothing to Manston, sent a thrill\nthrough Cytherea, seeing, moreover, that he was of the nature of a", "conscientiously marry any one else. Suppose that Cytherea were Manston's\nwife--i.e., that the first wife was really burnt? The adultery of", "Manston, and her labours to induce himself to marry his cousin. Taken in\nconnection with her apparent interest in, if not love for, Cytherea, her", "Cytherea's experience at that moment was probably as trying a one as\never fell to the lot of a gentlewoman to endure. She recognized in the\npeering face that of the man she had married.", "Cytherea was embarrassed, and her embarrassment arose from the following\nconjuncture of affairs. Since she had loved Edward Springrove, she had", "Springrove had told Cytherea of Manston's crime in a few short words. He\nnow said solemnly, 'He is to die.'", "He moved himself round immediately to the front of her, and held her\nhand more firmly, as he continued, 'Cytherea, why do you say \"It would,\"" ], [ "'Ah--and Cytherea,' said Miss Aldclyffe, catching at the idea raised\nby the name. 'That he loved Cytherea--yes and loves her now, wildly and", "'Cytherea!'\n\n'Yes, Cytherea.'\n\n'You have been loving Cytherea all the while?'\n\n'Yes.'", "'Cytherea,' he whispered, kissing her. She awoke with a start, and\nvented an exclamation before recovering her judgment. 'He's gone!' she\nsaid.", "Manston did not see him; Cytherea did. The healing effect upon her heart\nof a year's silence--a year and a half's separation--was undone in", "was received on very generous terms. His passion for Cytherea grew not\nonly strong, but ineffably exalted: she, without positively encouraging", "He moved himself round immediately to the front of her, and held her\nhand more firmly, as he continued, 'Cytherea, why do you say \"It would,\"", "'She did, Cytherea. And she sent me a letter--a love-letter, you wrote\nto Mr. Manston.'\n\n'A love-letter I wrote?'", "of giving trouble to people richer than himself, and especially to their\nmen-servants, who looked down upon him as a hybrid monster in social\nposition. Cytherea proposed to walk a little way with him.", "he uses for a time. But here was Cytherea, in the bottom of her heart\nalmost indifferent to life, yet possessing an instinct with which her\nheart had nothing to do, the instinct to be particularly regardful of", "'You know, without my saying it, that I love Cytherea as dearly as\never.... I think she loves me too,--does she really?'", "subject occupying him so thoroughly. Cytherea, he knew, was still\nbeloved by this solitary woman. Miss Aldclyffe had made several private", "'I love you, and you love me, Cytherea!' he whispered.", "Cytherea was embarrassed, and her embarrassment arose from the following\nconjuncture of affairs. Since she had loved Edward Springrove, she had", "towards an unusually handsome and gifted man, even though she may not be\ninclined to love him. Hence Cytherea was not so alarmed at the sight of", "The matter was Miss Aldclyffe's mention of the young man as Cytherea's\nlover, which, indeed, had scarcely ever been absent from his thoughts.", "Cytherea's experience at that moment was probably as trying a one as\never fell to the lot of a gentlewoman to endure. She recognized in the\npeering face that of the man she had married.", "frequently walked beside Cytherea till she reached the gate at\nwhich residents in the House turned into the shrubbery. By degrees a\nconjecture grew to a certainty. She knew that he loved her.", "Cytherea, upon the whole, was rather discomposed at this change of\ntreatment; and, discomposed or no, her passions were not so impetuous as", "'What's his name?' said Cytherea flatly. Her breath and heart had begun\ntheir old tricks, and came and went hotly. Miss Hinton could not see her\nface.", "He kissed her once, twice, three times, and arose to his feet, slowly\nwithdrawing himself from her side towards the door. Cytherea remained" ], [ "Aldclyffe, Miss Aldclyffe herself seemed unpractised to Mr. Nyttleton's\nexperienced old eyes.", "Miss Aldclyffe reflected a moment. 'Don't you want to tell me who Edward\nis?' she said at last, in a tone of meaning.\n\n'I don't mind telling; only....'", "'You are to have an interview with Miss Aldclyffe here?' the landlady\ninquired.\n\n'Yes.'", "nearly the same peculiarities as this man evinced now. The lady was Miss\nAldclyffe.", "exercise a secret power over Miss Aldclyffe. And she always shuns me as\nif I shared the power. A poor, ill-used creature like me sharing power,\nindeed!'", "Miss Aldclyffe's face kindled into intense interest at once. 'Is it\nindeed? When is it to be?'\n\n'On Old Christmas Eve.'", "He looked Miss Aldclyffe full in the face. It was plain that she spoke\nhonestly. She had not the slightest notion that the woman who lived with", "other as man and wife, and that Miss Aldclyffe was the only one in the\nparish who took no interest in bringing about the match.", "When Cytherea had again been watched out of the room, Miss Aldclyffe\nasked for writing materials, that she might at once communicate with Mr.", "Miss Aldclyffe glanced towards Cytherea, who was getting red and pale by\nturns. She looked imploringly at Miss Aldclyffe.", "On coming into Miss Aldclyffe's presence Cytherea told her of the\nincident, not without a fear that she would burst into one of her", "Miss Aldclyffe was disconcerted at this unexpected show of spirit, and\nashamed of her unladylike impulse now it was put into words. She sank", "'No.' Fearing his courtesy arose from a belief that he was addressing a\nwoman of higher station than was hers, she added, 'I am Miss Aldclyffe's\ncompanion. I don't mind the loneliness.'", "'DEAR MISS GRAYE,--Miss Aldclyffe is ill, though not dangerously. She\ncontinually repeats your name, and now wishes very much to see you.", "'Ah, but look at this. Miss Aldclyffe is the woman our father first\nloved, and I have come to Miss Aldclyffe's; you can't get over that.'", "'Miss Aldclyffe's carriage!' they all exclaimed.\n\nOwen went out. 'Is Miss Graye at home?' said the man. 'A note for her,\nand I am to wait for an answer.'", "were distinct in her. It was the first time Miss Aldclyffe had seen her\nin a passionate mood, and wearing that expression which was invariably", "Till this instant Miss Aldclyffe had forgotten the reason of Cytherea's\nseclusion in her own room. So had Cytherea herself. The fact now\nrecurred to both in one moment.", "to Anne, and that only inductively--that Miss Aldclyffe, from what he\nhad revealed to her, was going to scheme body and soul on Manston's\nbehalf.", "'No! And is it really? And you knew that face I showed you? Yes, I see\nyou did.' Miss Aldclyffe stopped, and closed her lips impassibly. She\nwas a little agitated." ] ]

[ "What is the profession of the man Cytherea is in love with?", "How did the first wife of Miss Adclyffe's illegitimate son die?", "When did Manston kill his wife?", "Who does Manston try to kidnap?", "Why did Manston introduce an imposter?", "Who stop Manston from kidnapping Cytherea?", "When did the wife of Manston leave the inn?", "Who kills Manston?", "Whose sibling is suffering from an illness?", "Which character is forced into poverty at the beginning of the story?", "What job does Graye take to help her financial situation?", "Who is Grayes' employer?", "Who is the young architect that Grayes' loves?", "Whose hand does Grayes reluctantly take in marriage? ", "Who is Grayes' brother?", "What is Edwards profession? ", "Who suspects that Mrs. Manston is an imposter?", "Who suspected Aeneas Manston of murder?", "Where does Aeneas Manston commit suicide?", "Who did manston killed and why according to the poacher?", "Who heard the argument betwwen manston and his wife?", "Who commits sucide in the end and where?", "Who did manston attempt to kidnap in the end and was stopped by whom?", "What was manstons plan?", "Who does edward marry in the end?", "Why did cytherea marry manston?", "Who does cytherea love and what is his profession?", "Who is Miss aldclyffe?" ]

[ [ "Architect.", "Architect" ], [ "In a fire.", "She was killed by Aeneas Manston in an argument." ], [ "After the wife left the inn.", "After she left the inn." ], [ "Cytherea.", "Cytherea" ], [ "To prevent a prosecution of himself.", "To avoid being prosecuted for murder." ], [ "Edward.", "Edward" ], [ "Before the inn caught fire.", "She left before the fire started" ], [ "Himself.", "manston kills himself" ], [ "Cytherea's brother.", "Cytherea" ], [ "Cytherea Graye", "Cytherea Grave." ], [ "Lady's maid", "Lady's maid" ], [ "Miss Aldclyffe", "Miss Aldclyffe" ], [ "Edward Springlove", "Edward Springrove" ], [ "Aeneas Manston", "Aeneas Manston." ], [ "Edward", "the local rector" ], [ "Local rector", "Architect" ], [ "Edward", "Edward" ], [ "A poacher", "Edward." ], [ "His cell", "in his cell" ], [ "manston killed his wife after an argument ", "He killed his wife and brought the impostor in to avoid being prosecuted." ], [ "the poacher heard the agrument", "A poacher" ], [ "manston commits sucide in his cell.", "Manston in jail" ], [ "manston attempts to kidnap Cytherea and is stopped by Edward.", "Cytherea and Edward." ], [ "he planned to go to the police if his wife didnot turn up alive.", "he brought an imposter to avoid being prosecuted" ], [ "edward marries cytherea.", "Cytherea." ], [ "she married him to help his sick brother.", "she has a sick brother" ], [ "cytherea loves edward and he is an architect", "Cythera loves Edward and is a maid." ], [ "the woman who loved cythereas father but was unable to marry him.", "Miss Aldclyffe is a woman Cytherea father was in love with." ] ]

[ [ "and helps Hal up. From here, the rest of the range looms\n large. Even in the continuing snowstorm, it's a spectacular", "Hal and Gabe start howling -- that hysterical, giddy laugh\n that only comes from just missing a violent end.\n\n WIDE SHOT ON MOUNTAIN - THE TWO LEDGES", "down beyond a facing, taller mountain. Ryan is huffing and\n puffing -- the altitude and exertion are getting to him. Hal\n allows himself a smile at his discomfort.", "EXT. FACING MOUNTAIN - WIDE SHOT\n\n Hal and Gabe lead the \"expedition\" down a steep, but passable,\n descent, leading to --", "Hal and Gabe are tired, but get a second wind from the\n excitement of being almost on top. Gabe stops, breathless for\n a second, then goes on. Hal lags a little behind.", "EXT. MOUNTAIN SLOPE - HAL", "Hal's aplomb suggests he's a veteran climber -- Susan's\n worried look shows she isn't. Hal and Susan huddle together,", "Hal and the rest of the expedition is totally exposed as they\n climb in single file up to the top. Terrain is flat enough\n that the climb amount to an uphill run on all fours.", "HAL\n (beat)\n I need your help. A plane's gone down\n on Comb Bluff. This storm would blow\n a copter all over the place -- but we\n can climb up to it.", "HAL\n Come on -- tourists take this trail.\n\n Qualen pokes Hal with the gun -- he moves on ahead.\n\n EXT. THE SUMMIT - DUSK", "The gang and Hal watch the mountain top, with very different\n expectations and hopes -- their vantage point keeps them from\n seeing where the crack actually comes out.", "the mound of snow shifts as Hal climbs out, silently shaking\n off the cover -- the snow hid him not only from Delmer, but\n from the heat scope as well --\n\n TRAVERS IN HELICOPTER", "Hal runs to the radio and keys the mike.\n\n HAL\n Rocky Mountain Rescue -- come in,\n mayday --\n\n INT. COCKPIT", "ELSEWHERE ON MOUNTAIN - HAL\n\n tears into a clearing, trying to put some distance between him\n and Delmer -- as soon as he's out in the open, though,", "HAL\n (grim)\n That's it.\n\n Hal and Gabe run into the wooded area and follow the\n wreckage -- felled trees, a smashed wing -- and reach", "Hal is surprised to see Kynette pull a harness out of his pack\n -- the one Travers used earlier. Disappointed, Hal leads the\n downward climb, looking several hundred yards to\n\n THE CRACK", "Travers shoves Hal toward a sketchy \"YOU ARE HERE\" map of the\n mountain range, and hands him the tracer monitor.\n\n TRAVERS\n Still interested in staying alive?", "HAL\n Forget it -- downdrafts would wipe her\n all over the peaks --\n (Travers starts to argue)", "The ground is one slip and five thousand feet away. Gabe\n fumbles desperately with the buckles on the crampons -- but\n both his fingers, and the buckles, are frozen stiff --", "away into the snow. Before Hal can swing again, Delmer\n brutally punches Hal in the face -- stunned, Hal drops the\n sign --" ], [ "Susan is gone. Her SCREAM, cut short, echoes -- the \"safety\"\n harness spirals down after her like a carefree bird --\n\n SMASH CUT TO:", "Gabe and Maggie fuse together in a tight embrace -- a final\n embrace. But Gabe opens his eyes as the rope, still in\n Maggie's hand, brushes his cheek. The end is frayed.", "urgently pulls himself along the line faster, trying not to\n shake the line. As he gets closer and closer to a terrified\n Susan, his eyes lock on hers --", "Gabe's eyes light up. Inspiration. Gabe breaks off the embrace\n and snatches the rope from her -- he pulls at the end and\n furiously starts unravelling it.", "Gabe stares at the other edge for a moment. Immobile.\n Remembering Susan's death. Gabe shakes out of it when --", "Frank lands near her, and rushes over to her. Frank turns her\n over and breaks a capsule under her nose. She \"wakes up\" with\n a start and looks \"terrified\".", "INSERT - THE TOP CLIP\n\n that's keeping Susan alive surrenders the knot -- it passes\n through, and\n\n SUSAN\n\n falls --", "TRAVERS\n No such luck.\n (to Hal, smiling)\n Cheer up. Everyone should die in a\n spot this beautiful.", "Maggie, tired, gets near the top and collapses, resting for a\n moment, her arms on the edge -- Maggie looks up and is very\n surprised to see Kynette, standing over her, smiling, his gun\n aimed down at her.", "Frank and Maggie look down in horror, but neither look as\n anguished as Hal --\n\n LONG SHOT - SUSAN", "All of this in a split second. Maggie hangs from Gabe's arm,\n locked in terror -- but skill wins out over fear. She finds a", "who knows it and pulls himself the rest of the way, a little\n faster, almost bridging the gap --\n\n ON SUSAN\n\n staring desperately at Gabe, holding on --", "MAGGIE\n (turns to Gabe)\n Yes. Yes, I do.\n\n But she answered a half beat too slow. The helicopter touches\n ground.", "Finally Maggie tumbles out of the cave-in -- gasping and\n coughing, but alive. Gabe catches her and brushes the dirt\n off her face.", "Travers looks up and raises his gun at Gabe -- but Gabe fires\n first -- the bolt imbeds itself high in Travers' chest.", "GABE'S POV - SUSAN\n\n is just out of reach -- her hand is still stretched out, her\n eyes still locked on\n\n GABE", "trembling with fury and grief, bent over Frank's body as the\n last trace of vapor -- his breath -- trails from his lips.\n He's gone. Hal gently closes the eyes of his friend.", "-- his hand gropes out -- and with some difficulty, he digs\n himself out, gasping and coughing. Gabe, coated with snow,\n leans against the wall and rests. Alive.", "struggles with the stuck knife as the cave-in knocks him off\n the wall and buries him instantly --\n\n GABE AND MAGGIE", "out of town.\n (takes a breath)\n We lost her. Whatever anybody says\n about cold stress and the clip, you" ], [ "Gabe walks past Hal. Furious, Hal spins Gabe around.\n\n HAL\n Play it again, Gabe, about how we\n killed her. I was there too, remember?", "HAL\n (right back)\n -- and I was the one who had to deal\n with her family when you fucking tore", "HAL\n\n reacts and attacks Travers.\n\n HAL\n You son of a bitch --", "Hal, stunned, looks at the radio, realizing Qualen tricked\n him into detonating the bomb. Travers, grinning, takes the\n radio from Hal and pats him on the back.", "Hal's answer is a stony, loathing stare. He gets up. But --\n\n INSERT - HAL'S HAND", "HAL\n I think I'll wait here. You just\n murdered three of my friends. Sooner", "HAL\n (quiet)\n Goodbye, Frank.\n\n Travers moves up behind Hal and kicks him.", "HAL\n (grim)\n That's it.\n\n Hal and Gabe run into the wooded area and follow the\n wreckage -- felled trees, a smashed wing -- and reach", "Hal sobers -- shakes his head no. A cloud passes over Gabe's\n face.\n\n HAL\n It's not over, Gabe. Travers took the\n helicopter.", "Delmer backs Hal up at gunpoint. Hal deliberately moves in a\n semi-circle, putting Delmer's back to the rocks.", "trembling with fury and grief, bent over Frank's body as the\n last trace of vapor -- his breath -- trails from his lips.\n He's gone. Hal gently closes the eyes of his friend.", "HAL\n (beat)\n I need your help. A plane's gone down\n on Comb Bluff. This storm would blow\n a copter all over the place -- but we\n can climb up to it.", "Gabe gets out of the copter, and Hal sees him for the first\n time. Unlike the last time we saw them, neither man is glad to\n see the other. Hal turns on Maggie.", "Frank and Maggie look down in horror, but neither look as\n anguished as Hal --\n\n LONG SHOT - SUSAN", "On the heat scope. The blip that represents Hal -- vanishes.\n Delmer, who has caught up, is at the edge of the tree-lined\n area -- he looks up at Travers.", "HAL\n\n is helpless, and can only watch as\n\n SUSAN", "A gun barrel moves INTO VIEW as it presses against Hal's neck.\n Heldon and Ryan are right behind him. Travers instantly drops\n his act.", "Travers, furious, takes the gun out of Hal's face.\n\n TRAVERS\n (to Hal)\n Get us out of here.", "TRAVERS\n No such luck.\n (to Hal, smiling)\n Cheer up. Everyone should die in a\n spot this beautiful.", "Hal has led the rest of the gang up to the edge. Travers\n approaches him, furious.\n\n TRAVERS\n I thought you said there was an easy\n way across." ], [ "Susan is gone. Her SCREAM, cut short, echoes -- the \"safety\"\n harness spirals down after her like a carefree bird --\n\n SMASH CUT TO:", "urgently pulls himself along the line faster, trying not to\n shake the line. As he gets closer and closer to a terrified\n Susan, his eyes lock on hers --", "falls back, desperately grabbing at the walls to stop himself\n from going all the way down -- as he weakly tries to get up --\n\n KYNETTE", "maintains his grip on Maggie's hand, but her weight nearly\n pulls him off the ledge -- Maggie drags him down, the window\n goes out of his chest when it collides with the ledge's\n bottom, but their grip holds.", "Gabe stares at the other edge for a moment. Immobile.\n Remembering Susan's death. Gabe shakes out of it when --", "A steep two hundred yard downhill climb leads to a wire that\n bridges the two mountains. The same wire we saw at the\n beginning -- left behind from Susan Collins' botched rescue.", "As if to punctuate this, Frank -- and the now ruined pilot\n side door -- fall to the ground. The radio continues to squawk\n as Travers grabs Frank's discarded gun.", "The snow FALLS AWAY, revealing nothing but stark rock. Gabe\n has been swept away.", "who knows it and pulls himself the rest of the way, a little\n faster, almost bridging the gap --\n\n ON SUSAN\n\n staring desperately at Gabe, holding on --", "suspended over the drop, as what's left of Ryan, still\n SCREAMING, shoots over the edge --", "-- to the slope's bottom. Gabe painfully lifts himself up and\n moves through the woods, coming out of the trees to\n\n THE LAKE", "Gabe and Maggie fuse together in a tight embrace -- a final\n embrace. But Gabe opens his eyes as the rope, still in\n Maggie's hand, brushes his cheek. The end is frayed.", "KRISTEL\n You've worn that one out, Walker --\n (snaps back bolt)\n -- I'll find my own way down.", "throws himself down, aims quickly but carefully, and FIRES\n twenty rounds towards Evan's falling figure --\n\n EVAN - FALLING", "GABE\n Cheer up. It's a beautiful spot to\n die.\n\n Travers slides off and away --\n\n THE FALL - LONG SHOT", "falls the long, full five thousand feet, desperately,\n uselessly, pulling in the lines of the tattered chute until\n he's tangled in it like a shroud --\n\n GABE", "-- which is tied in a standard climber's slipknot and comes\n undone with a final tug -- the rope, freed of the piton, falls\n down, but Kynette firmly grabs hold of the end --", "THE WIRE\n\n which was tight as a bowstring fires out into the chasm --\n Maggie, stunned and without options, lets go two feet short\n of the ledge --", "QUALEN (O.S.)\n No. Walker has.\n\n Travers, furious, flings the door aside, jumps into the copter\n and starts the rotor.", "Gabe gently pulls himself up on the line, crosses his ankles\n on it, and clips himself on with a three foot safety line.\n Gabe starts smoothly, quickly pulling himself out, but --\n\n SUSAN" ], [ "IN QUALEN'S JET\n\n Qualen and Travers are watching the whole plan unravel --", "TRAVERS\n (smiling)\n This way.\n\n Qualen shines a light -- all of them push their way through\n the trees.\n\n TRAVERS", "Travers shoves his way through the branches, and heads for the\n light -- but something's wrong -- Qualen comes up behind\n Travers and shines the light on\n\n A SNOWMAN", "Qualen smiles in reply. No. Maybe he wouldn't.\n\n IN THE TREASURY PLANE COCKPIT\n\n The pilot locks the controls and rushes back to the cabin.", "Travers, Qualen and the rest of the expedition head out of the\n shack, a little groggy. Odds are no one got much sleep.", "Travers moves back into the cabin.\n\n INSIDE QUALEN'S JET", "is flying a parallel course to the Treasury jet, and is just\n one hundred yards away. Close enough to see Eric Qualen's face\n in one of the windows.\n\n INSIDE THE PLANE", "INSIDE QUALEN'S JET\n\n TRAVERS\n (shouting)\n Lower! Get underneath it!\n\n INSIDE TREASURY JET", "Qualen's jet is now flying parallel to, and slightly above,\n the Treasury jet. The door in Qualen's jet is open, and we get\n our first good look at --", "Qualen is staring at his watch, but pointing the others toward\n the buttress.\n\n GABE (O.S.)\n (via radio)\n Come in, Frank -- over --", "TRAVERS, QUALEN AND HAL\n\n are safe at their vantage, but stunned at the sight of --\n\n THE AVALANCHE", "EXT. WOODS - THE BANG\n\n runs into the woods -- Qualen and Kristel, hearing Hal's noisy\n retreat, run after him. But Travers stops for a second -- he\n has spotted", "Qualen gestures helplessly, putting the radio in Hal's reach.\n Hal takes advantage of this, throws off Travers, and grabs the\n radio.", "Hal, stunned, looks at the radio, realizing Qualen tricked\n him into detonating the bomb. Travers, grinning, takes the\n radio from Hal and pats him on the back.", "THE TWO PLANES\n\n Qualen's jet lowers the cable into the Treasury jet -- it\n looks like an Air Force midair refuelling -- difficult and\n dangerous. After about thirty feet of line is lowered --", "This \"expedition\" reaches the top -- Hal is in the lead, with\n Qualen just inches behind. Qualen shoves Hal forward.\n\n TRAVERS\n Is this it?", "QUALEN\n He doesn't have one. Just a wallet.\n\n Qualen tosses it to Travers, who glances through it.", "The expedition has holed up here for the night -- Travers and\n Qualen look upset. Things aren't going as well as they'd", "Travers takes a couple of heavy swings at the connecting bolt\n with Hal's axe. Qualen grabs his arm before he can take a\n third swing -- and looks at his watch.", "Travers shoves Hal toward a sketchy \"YOU ARE HERE\" map of the\n mountain range, and hands him the tracer monitor.\n\n TRAVERS\n Still interested in staying alive?" ], [ "Travers opens one of the cases, which is identical to the\n others -- except that it's full of one dollar bills. He's\n thought of everything.", "has now been packed into a trio of metal briefcases -- ten \n thousand $5,000 bills. Travers shuts the cases in turn, and", "Travers runs over to the case, furious, and opens it. It's\n empty -- except for a single $5000 bill. Travers picks it\n up -- scrawled on the margin is \"LET'S TRADE.\"", "Travers pulls a tracking device about the size of a watchman\n out of his jacket pocket. The small screen shows three red\n blips at rest -- matching the three currency cases.", "(beat)\n This is the most protected shipment\n we've got -- and the most useless for\n a thief. Those bills aren't in", "Travers, now in a harness like the one seen earlier -- uncuffs\n the money cases from the agents.\n\n TRAVERS\n (into radio)\n On my way.", "plane, their arms chained to the currency cases. Matheson is\n edgy. Another AGENT offers some condescending reassurance.", "If you have a good imagination, this corner of charcoal looks\n like it could have been --\n\n WRIGHT (O.S.)\n One of the currency cases.", "circulation. You think five thousand\n dollar bills are easy to pass? Who the\n fuck would try?", "The $5000s are there -- but they've been shredded by\n Qualen's earlier blast of gunfire. Few, if any, of the bills\n are passable.\n\n TRAVERS", "THE BILLS\n\n are something a banker could work a lifetime without seeing,\n but are real nonetheless -- $5,000 bills, banded here in\n hundreds. The band is put back in the growing stack by", "off the money case that's underneath. It's battered from the\n fall, but is still barely holding together. Gabe manages to\n force open the trashed locks -- he looks inside the case, and", "Travers pulls the two dead FBI agents out of the\n compartment -- one is dressed in a flying suit like the pilot,\n one in a suit like Travers.", "The pilot gathers the cases and uses their cuffs to attach\n them to the cable -- but as he steps past the bodies of --\n\n THE AGENTS", "Gabe rushes down behind a rock and starts gathering the\n cash -- soaked by the snow, they've frozen into ice bricks. As", "dozen guys who were smart enough to\n steal fifty million bucks, but dumb\n enough to drop it all over the range.", "Wright, Davis and Stuart look at the billowing flames of the\n wreck -- even from here, the burning money is visible,\n drifting up in the smoke. Wright turns to Stuart.", "-- the cases, torn by the wind, work their way loose one at a\n time and drop -- one -- two -- three -- into the snowy\n mountains below!\n\n IN THE CABIN", "MATHESON (O.S.)\n (shouting, rushed)\n -- the money's been stolen -- Travers", "(finds three suitcases)\n -- and just enough of the right kind\n of ash." ], [ "Travers opens one of the cases, which is identical to the\n others -- except that it's full of one dollar bills. He's\n thought of everything.", "Travers pulls a tracking device about the size of a watchman\n out of his jacket pocket. The small screen shows three red\n blips at rest -- matching the three currency cases.", "has now been packed into a trio of metal briefcases -- ten \n thousand $5,000 bills. Travers shuts the cases in turn, and", "Travers runs over to the case, furious, and opens it. It's\n empty -- except for a single $5000 bill. Travers picks it\n up -- scrawled on the margin is \"LET'S TRADE.\"", "Travers, now in a harness like the one seen earlier -- uncuffs\n the money cases from the agents.\n\n TRAVERS\n (into radio)\n On my way.", "plane, their arms chained to the currency cases. Matheson is\n edgy. Another AGENT offers some condescending reassurance.", "Travers pulls the two dead FBI agents out of the\n compartment -- one is dressed in a flying suit like the pilot,\n one in a suit like Travers.", "If you have a good imagination, this corner of charcoal looks\n like it could have been --\n\n WRIGHT (O.S.)\n One of the currency cases.", "off the money case that's underneath. It's battered from the\n fall, but is still barely holding together. Gabe manages to\n force open the trashed locks -- he looks inside the case, and", "(beat)\n This is the most protected shipment\n we've got -- and the most useless for\n a thief. Those bills aren't in", "The $5000s are there -- but they've been shredded by\n Qualen's earlier blast of gunfire. Few, if any, of the bills\n are passable.\n\n TRAVERS", "The pilot gathers the cases and uses their cuffs to attach\n them to the cable -- but as he steps past the bodies of --\n\n THE AGENTS", "WRIGHT AND DAVIS\n\n are standing over some of the wreckage. One of the suits bags\n and tags the \"briefcase\".", "Wright, Davis and Stuart look at the billowing flames of the\n wreck -- even from here, the burning money is visible,\n drifting up in the smoke. Wright turns to Stuart.", "As promised, the Treasury jet is now plummetting as if it had\n no wings at all, levelling the angle between the planes -- the\n cases dangle precariously on the wire --", "GABE\n (shows money in his pack)\n This. That plane crash -- it's a half", "MATHESON (O.S.)\n (shouting, rushed)\n -- the money's been stolen -- Travers", "MATHESON\n We got word that somebody's been\n observing your currency shipments --\n this load, the $5,000s -- over the\n last three deliveries.", "(finds three suitcases)\n -- and just enough of the right kind\n of ash.", "GABE\n (shouting)\n Don't you want to count it?\n\n Puzzled, Travers takes his gun hand and rips open\n\n THE PACK" ], [ "the fire's dying down. Gabe tosses a fresh band of bills on\n the flame. Gabe cools the knife in some snow, saws off a rat\n leg, and chews unhappily.", "Gabe and Maggie fuse together in a tight embrace -- a final\n embrace. But Gabe opens his eyes as the rope, still in\n Maggie's hand, brushes his cheek. The end is frayed.", "Travers runs over to the case, furious, and opens it. It's\n empty -- except for a single $5000 bill. Travers picks it\n up -- scrawled on the margin is \"LET'S TRADE.\"", "GABE\n (shows money in his pack)\n This. That plane crash -- it's a half", "GABE\n -- but the second you slow me down,\n I'm leaving --\n (slips on sore leg,\n Maggie catches him)\n -- I'm leaving you behind. Understood?", "GABE\n (over radio)\n Remember that bet you made? About\n whether I could find the money for you\n or not?\n (holds pack over drop)\n You won.", "GABE\n\n deliberately lets go of the main line and launches himself\n at Susan --\n\n THEIR HANDS\n\n miss --", "Gabe reaches in the stash and finds an ancient half-full pint\n of Jack Daniels. The first thing to go right all day. Gabe", "Gabe has his pack on one arm -- the money is visible. Gabe\n levels Qualen's emptied gun on Travers and the copter -- this\n bluff is all he has left.", "GABE\n (mumbling)\n Forget it. No fucking way. I'm staying", "We can see what Gabe couldn't -- the timer has about two\n minutes left -- 1:59 -- 1:58 --\n\n GABE AND MAGGIE - AT THE CRACK'S EDGE", "Gabe lightly kisses Maggie -- he doesn't want to turn this\n into a farewell kiss, afraid that that's really what it might\n be. They stand -- and separate. Gabe moves away.", "Gabe takes the now cooked rat carcass -- properly skinned and\n butchered -- off his knife blade. We can see from flickering\n shadows that a small fire is now burning in a cave -- we\n pull back to see", "GABE\n (further up)\n Tell you what, Hal -- if we're still\n alive tomorrow morning, I'll give you\n the twenty bucks back, okay?", "GABE (O.S.)\n (pause)\n I've got the money. Fly to the lake.\n And if you touch her --", "GABE\n Ready?\n\n SUSAN\n (scared but tough)\n Okay --", "No answer. Gabe takes a look around the living room. His face\n tells us, without a doubt, this used to be his home. Gabe", "(beat)\n You don't live here any more, Gabe.\n Your choice, remember? But this is\n my home. I'm not leaving. You can", "Maggie runs for the trees. When Gabe is sure she's safe, he\n throws the gun away -- but keeps the pack suspended over the\n edge.", "moves inside, pausing at a mantle. Two framed photos -- Gabe\n and Maggie sleeping together in a hammock, bolted to a sheer" ], [ "Frank, obviously, is surprised by the nearby explosion.\n\n FRANK\n What the fuck --", "Frank lands near her, and rushes over to her. Frank turns her\n over and breaks a capsule under her nose. She \"wakes up\" with\n a start and looks \"terrified\".", "Frank is practically there, heading toward the buttress and\n the facing Tower.\n\n FRANK\n (over radio)\n Come in, Maggie, over --", "MAGGIE\n (shouting, waving)\n Frank! Down here! Frank!", "The radio is reading Gabe loud, if not clear -- the\n interference of solid rock is garbling it. But we can see out\n the window that Frank is now between radios, carefully", "FRANK\n (unconcerned)\n Hal, when you've been in this line as\n long as I have --\n\n The station's scanner radio barks to life.", "trembling with fury and grief, bent over Frank's body as the\n last trace of vapor -- his breath -- trails from his lips.\n He's gone. Hal gently closes the eyes of his friend.", "As if to punctuate this, Frank -- and the now ruined pilot\n side door -- fall to the ground. The radio continues to squawk\n as Travers grabs Frank's discarded gun.", "HAL\n (quiet)\n Goodbye, Frank.\n\n Travers moves up behind Hal and kicks him.", "Frank is now flying the helicopter -- a body bag is stashed in\n the back, and Maggie is in the passenger seat.", "comes out of hiding and empties a clip from his automatic into\n Frank. Frank is pinned to the door by the fusillade before he\n can even get a shot off. Travers runs over to Delmer and\n shoves the barrel up.", "FRANK\n (steering Gabe away)\n Gabe! Long time, son -- why don't you\n come meet some of the new guys --", "Frank stops wheeling the gurney and looks up at the far-off\n blast, and the smoke, amazed.\n\n FRANK\n Jesus -- that's some flare.", "FRANK\n (not unkindly)\n Damn fool. Why would anybody try that\n in the middle of a storm.", "of the line, where Frank catches him and pulls him out. Hal\n gets out of the harness, checks every stitch of it, signals\n thumbs-up, and sends it back.", "Frank hesitates, but climbs in the other side. The helicopter\n lifts off and heads toward the mountain range.\n\n EXT. MOUNTAIN - AERIAL SHOT - DAY", "GABE (O.S.)\n (over radio, broken up)\n -- Come in, Frank --\n\n INT. BUTTRESS CRACK/CHIMNEY", "FRANK (O.S.)\n He's signalling \"okay.\"\n\n MAGGIE (O.S.)\n Where's Gabe?", "Frank recognizes the pilot's voice from the \"distress call\".\n\n FRANK\n (over radio)\n I copy, Charlie Niner -- what's your\n position -- over --", "Frank's call is heard on the radio. Travers takes it, and\n takes charge." ], [ "Hal runs to the radio and keys the mike.\n\n HAL\n Rocky Mountain Rescue -- come in,\n mayday --\n\n INT. COCKPIT", "HAL\n (grim)\n That's it.\n\n Hal and Gabe run into the wooded area and follow the\n wreckage -- felled trees, a smashed wing -- and reach", "Travers, furious, takes the gun out of Hal's face.\n\n TRAVERS\n (to Hal)\n Get us out of here.", "Travers sees that Hal is gone -- he's escaped in the\n confusion.\n\n IN THE WOODS - HAL", "Hal and Gabe start howling -- that hysterical, giddy laugh\n that only comes from just missing a violent end.\n\n WIDE SHOT ON MOUNTAIN - THE TWO LEDGES", "Hal and Gabe are tired, but get a second wind from the\n excitement of being almost on top. Gabe stops, breathless for\n a second, then goes on. Hal lags a little behind.", "With that, Hal pulls himself hand-over-hand across the sloping\n line -- Hal makes a point of looking down --\n\n HAL'S POV -- THE DROP", "HAL\n (beat)\n I need your help. A plane's gone down\n on Comb Bluff. This storm would blow\n a copter all over the place -- but we\n can climb up to it.", "Hal climbs up the rope, finally reaching another ledge\n slightly below Gabe's. Hal leans against the wall, gasping, as\n Gabe clips the gun to his pack.", "lives. Hal stands, and smiles -- he walks toward the Treasury\n agents, who are scrambling out of the helicopter. Hal starts\n an explanation that's going to take a long, long time as --", "Qualen gestures helplessly, putting the radio in Hal's reach.\n Hal takes advantage of this, throws off Travers, and grabs the\n radio.", "Hal and Maggie are both winded from the effort as they haul\n Gabe onto the top. Gabe unties himself, and collapses into\n Maggie's lap.", "are closer now -- but as they move down, Hal freezes in place\n as he sees the \"Bitker\" sign some distance ahead. The sign is\n out of place. A signal from Gabe -- he is alive. And here.", "HAL\n Come on -- tourists take this trail.\n\n Qualen pokes Hal with the gun -- he moves on ahead.\n\n EXT. THE SUMMIT - DUSK", "Evan snatches the parachute and runs off. Hal, wasting no\n time, runs in the opposite direction, deliberately making as\n much noise as he can, slapping branches, stomping on rocks.", "Hal and the rest of the expedition is totally exposed as they\n climb in single file up to the top. Terrain is flat enough\n that the climb amount to an uphill run on all fours.", "Delmer backs Hal up at gunpoint. Hal deliberately moves in a\n semi-circle, putting Delmer's back to the rocks.", "the mound of snow shifts as Hal climbs out, silently shaking\n off the cover -- the snow hid him not only from Delmer, but\n from the heat scope as well --\n\n TRAVERS IN HELICOPTER", "away into the snow. Before Hal can swing again, Delmer\n brutally punches Hal in the face -- stunned, Hal drops the\n sign --", "Hal's aplomb suggests he's a veteran climber -- Susan's\n worried look shows she isn't. Hal and Susan huddle together," ], [ "Gabe walks past Hal. Furious, Hal spins Gabe around.\n\n HAL\n Play it again, Gabe, about how we\n killed her. I was there too, remember?", "Gabe stares at the other edge for a moment. Immobile.\n Remembering Susan's death. Gabe shakes out of it when --", "HAL\n (right back)\n -- and I was the one who had to deal\n with her family when you fucking tore", "Susan is gone. Her SCREAM, cut short, echoes -- the \"safety\"\n harness spirals down after her like a carefree bird --\n\n SMASH CUT TO:", "She speaks for all of them -- especially a still-seething\n Qualen. Travers pulls out the tracer monitor for the cases.\n The tracer screen shows three distinct blips -- the tracers\n have survived the fall.", "They now think Matheson is crazy too -- he looks nuts -- the\n other agents move behind him. Matheson gets even more frantic\n and point his gun at them.", "GABE\n (shakes head)\n If I did, I'd have to listen to you\n tell me one more time that it wasn't\n my fault.", "GABE\n -- If I did everything right, Susan\n Collins would still be alive.\n\n THE HELICOPTER", "bruised and bloody, who has survived the earlier fall and made\n his way out. His look is not a forgiving one.\n\n KYNETTE\n Miss me?", "trembling with fury and grief, bent over Frank's body as the\n last trace of vapor -- his breath -- trails from his lips.\n He's gone. Hal gently closes the eyes of his friend.", "GABE\n (bends down, eyes wound)\n Poachers?\n (Maggie nods)\n Bastards...", "Frank and Maggie look down in horror, but neither look as\n anguished as Hal --\n\n LONG SHOT - SUSAN", "out of town.\n (takes a breath)\n We lost her. Whatever anybody says\n about cold stress and the clip, you", "Gabe's eyes light up. Inspiration. Gabe breaks off the embrace\n and snatches the rope from her -- he pulls at the end and\n furiously starts unravelling it.", "Travers looks up and raises his gun at Gabe -- but Gabe fires\n first -- the bolt imbeds itself high in Travers' chest.", "MAGGIE\n Why would anybody try at all.\n (sighs)\n Get the bag.\n\n INT. BLUFF CRACK/CHIMNEY", "TRAVERS\n (incredulous)\n He's still alive.\n (furious)", "urgently pulls himself along the line faster, trying not to\n shake the line. As he gets closer and closer to a terrified\n Susan, his eyes lock on hers --", "more have been freed tonight.\" No one\n could find the route. It made me look\n bad.\n (beat)", "TRAVERS\n No such luck.\n (to Hal, smiling)\n Cheer up. Everyone should die in a\n spot this beautiful." ], [ "lives. Hal stands, and smiles -- he walks toward the Treasury\n agents, who are scrambling out of the helicopter. Hal starts\n an explanation that's going to take a long, long time as --", "mid-thirties, a tough, imposing Treasury agent -- he regards\n the fortune piling up in front of him with only cold,", "Travers runs over to the case, furious, and opens it. It's\n empty -- except for a single $5000 bill. Travers picks it\n up -- scrawled on the margin is \"LET'S TRADE.\"", "Travers FIRES his gun three times, one for each agent's\n chest -- the agents are cut down, realizing too late what's", "EXT. TREASURY PLANE CRASH SITE - DAY\n\n Treasury agents sift debris as Davis runs up to Stuart.", "plane, their arms chained to the currency cases. Matheson is\n edgy. Another AGENT offers some condescending reassurance.", "Travers pulls the two dead FBI agents out of the\n compartment -- one is dressed in a flying suit like the pilot,\n one in a suit like Travers.", "professional interest. Travers is flanked by a trio of equally\n tough TREASURY AGENTS -- he turns to flunky DAVIS (20s). It's", "Travers, now in a harness like the one seen earlier -- uncuffs\n the money cases from the agents.\n\n TRAVERS\n (into radio)\n On my way.", "is flying a parallel course to the Treasury jet, and is just\n one hundred yards away. Close enough to see Eric Qualen's face\n in one of the windows.\n\n INSIDE THE PLANE", "The other two agents get behind Matheson and rapidly disarm\n him. Travers pulls out his gun with a slow, leisurely move.\n\n TRAVERS\n Don't make me laugh.", "Travers opens one of the cases, which is identical to the\n others -- except that it's full of one dollar bills. He's\n thought of everything.", "MATHESON\n Walter Wright?\n (flashes badge)\n Matheson. FBI. We need to talk.\n\n PRINTING COMPOUND - THE MONEY", "Qualen smiles in reply. No. Maybe he wouldn't.\n\n IN THE TREASURY PLANE COCKPIT\n\n The pilot locks the controls and rushes back to the cabin.", "Travers puts his hands out and walks forward -- slowly,\n backing Matheson into the cabin. Not in surrender, but as if\n he's calming a nutcase. The other agents see this and don't\n know which way to jump.", "Travers pulls a tracking device about the size of a watchman\n out of his jacket pocket. The small screen shows three red\n blips at rest -- matching the three currency cases.", "Qualen's jet lowers itself, banking to the side -- the\n Treasury jet raises itself. Both are now flying side by side,\n with the cable serving as a thirty foot bridge.", "Stuart clicks the recorder on with a flourish, but his smug\n look melts as the voice of FBI agent Matheson explains --", "A frenzy of activity, as several dozen Treasury agents sift\n through the snow for the wreckage of the CT-39, some taking", "Qualen's jet is now flying parallel to, and slightly above,\n the Treasury jet. The door in Qualen's jet is open, and we get\n our first good look at --" ], [ "Travers pulls a tracking device about the size of a watchman\n out of his jacket pocket. The small screen shows three red\n blips at rest -- matching the three currency cases.", "Travers opens one of the cases, which is identical to the\n others -- except that it's full of one dollar bills. He's\n thought of everything.", "Travers pulls the two dead FBI agents out of the\n compartment -- one is dressed in a flying suit like the pilot,\n one in a suit like Travers.", "The pilot gathers the cases and uses their cuffs to attach\n them to the cable -- but as he steps past the bodies of --\n\n THE AGENTS", "WRIGHT AND DAVIS\n\n are standing over some of the wreckage. One of the suits bags\n and tags the \"briefcase\".", "Travers, now in a harness like the one seen earlier -- uncuffs\n the money cases from the agents.\n\n TRAVERS\n (into radio)\n On my way.", "(finds three suitcases)\n -- and just enough of the right kind\n of ash.", "-- the cases, torn by the wind, work their way loose one at a\n time and drop -- one -- two -- three -- into the snowy\n mountains below!\n\n IN THE CABIN", "has now been packed into a trio of metal briefcases -- ten \n thousand $5,000 bills. Travers shuts the cases in turn, and", "off the money case that's underneath. It's battered from the\n fall, but is still barely holding together. Gabe manages to\n force open the trashed locks -- he looks inside the case, and", "MATHESON (O.S.)\n (shouting, rushed)\n -- the money's been stolen -- Travers", "plane, their arms chained to the currency cases. Matheson is\n edgy. Another AGENT offers some condescending reassurance.", "As promised, the Treasury jet is now plummetting as if it had\n no wings at all, levelling the angle between the planes -- the\n cases dangle precariously on the wire --", "TRAVERS\n Too bad. Let me tell you what's on for\n today. We'd like you to help settle a\n wager. You see, we lost some\n luggage --", "Travers runs over to the case, furious, and opens it. It's\n empty -- except for a single $5000 bill. Travers picks it\n up -- scrawled on the margin is \"LET'S TRADE.\"", "The pilot clicks the last of the three cases onto the cable\n and is about to put his harness on -- but behind him, Matheson", "If you have a good imagination, this corner of charcoal looks\n like it could have been --\n\n WRIGHT (O.S.)\n One of the currency cases.", "Qualen's jet sharply dips down and the cases start to slide\n over -- but at the same time --\n\n INSIDE THE TREASURY JET", "The climbers have reached a point of comparative comfort on\n the wall -- the ledge is now two feet wide. Travers takes out\n the tracer monitor -- the monitor shows that the first case is\n just above them.", "She speaks for all of them -- especially a still-seething\n Qualen. Travers pulls out the tracer monitor for the cases.\n The tracer screen shows three distinct blips -- the tracers\n have survived the fall." ], [ "Travers FIRES his gun three times, one for each agent's\n chest -- the agents are cut down, realizing too late what's", "Travers looks up and raises his gun at Gabe -- but Gabe fires\n first -- the bolt imbeds itself high in Travers' chest.", "comes out of hiding and empties a clip from his automatic into\n Frank. Frank is pinned to the door by the fusillade before he\n can even get a shot off. Travers runs over to Delmer and\n shoves the barrel up.", "happened. A fourth SHOT knocks Matheson over a seat as if he'd\n been kicked. Travers puts his gun away and puts on a radio\n headset as he goes to a window.", "FIRES until his clip is empty -- he heads for the end of the\n tree line as his target comes out, skidding to a stop in the\n snow. Travers gleefully moves lower down for a closer look\n but is shocked to see", "throws himself down, aims quickly but carefully, and FIRES\n twenty rounds towards Evan's falling figure --\n\n EVAN - FALLING", "Travers helplessly flies in low, tight circles over Gabe and\n the spur -- if he shoots Gabe, the money falls too, Travers\n presses his gun at Maggie.", "As if to punctuate this, Frank -- and the now ruined pilot\n side door -- fall to the ground. The radio continues to squawk\n as Travers grabs Frank's discarded gun.", "DELMER\n What about him?\n\n QUALEN\n (over his shoulder)\n Kill him! Now!", "shakily crawls to his feet, draws his gun, and SHOOTS the\n pilot in the back twice.", "They now think Matheson is crazy too -- he looks nuts -- the\n other agents move behind him. Matheson gets even more frantic\n and point his gun at them.", "starts running, but it's useless. Nowhere to hide. Travers\n hovers over her, FIRING ahead of her, FIRING behind her, not\n to kill, just to make a point. He's in charge.", "GABE\n When he comes back, he's going to\n shoot you and the other guy, grab the\n money, and take off with Travers.", "Delmer backs Hal up at gunpoint. Hal deliberately moves in a\n semi-circle, putting Delmer's back to the rocks.", "QUALEN (O.S.)\n You've come a long way to die.\n\n QUALEN\n\n enjoying himself, slams a fresh clip into his machine gun.", "Nearby, the helicopter radio crackles to life. Frank backs\n toward the helicopter, keeping the gun trained on Kristel.\n\n But Frank only gets to the helicopter door before --", "easily mows down Brett with his machine gun, riddling him with\n at least thirty rounds at close range. Brett falls dead into", "Travers' fusillade have made it inoperable. Hal tosses it\n aside and checks Delmer's bloody pockets for more weapons.", "Travers turns and pins Hal against the wall with the gun,\n ready to kill him too. But he's stopped by Qualen.", "is right behind him, and has slapped a fresh clip in place,\n but before he can shoot --\n\n EVAN\n\n dives off the edge and clasps the third buckle --" ], [ "Travers runs over to the case, furious, and opens it. It's\n empty -- except for a single $5000 bill. Travers picks it\n up -- scrawled on the margin is \"LET'S TRADE.\"", "(beat)\n This is the most protected shipment\n we've got -- and the most useless for\n a thief. Those bills aren't in", "Travers opens one of the cases, which is identical to the\n others -- except that it's full of one dollar bills. He's\n thought of everything.", "Wright, Davis and Stuart look at the billowing flames of the\n wreck -- even from here, the burning money is visible,\n drifting up in the smoke. Wright turns to Stuart.", "tracks -- they lead up to the replanted \"BITKER\" sign. Just\n big enough to hide behind. Delmer smiles, and advances toward\n the sign --", "urgently pulls himself along the line faster, trying not to\n shake the line. As he gets closer and closer to a terrified\n Susan, his eyes lock on hers --", "HAL\n There was a vacancy. Maybe you heard\n about it. The last guy lost his nerve\n and lit out of town.", "happened. A fourth SHOT knocks Matheson over a seat as if he'd\n been kicked. Travers puts his gun away and puts on a radio\n headset as he goes to a window.", "Delmer grins as he aims at Hal.\n\n DELMER\n Tell me -- where would you like the\n first half dozen shots to go?", "HAL\n I think I'll wait here. You just\n murdered three of my friends. Sooner", "time he got someone through, he'd\n radio us at midnight to let us know\n how many. \"Five tonight.\" \"Eight", "say \"seven\" before the explosion.\n (beat)\n They pulled eight bodies out of the\n tunnel, and I was promoted to", "are closer now -- but as they move down, Hal freezes in place\n as he sees the \"Bitker\" sign some distance ahead. The sign is\n out of place. A signal from Gabe -- he is alive. And here.", "TRAVERS\n (facing down Matheson)\n I haven't lost a bill in eight years.\n And I'm not scrubbing this shipment\n because you scare easily.", "TRAVERS\n (shouting too)\n Somehow, I didn't think you'd have\n waited for me if I'd sent it first.", "watches the chaos with a grin from a slightly elevated vantage\n point -- he can see the flashlight beams, all headed in the\n wrong direction. But he doesn't see", "TRAVERS\n (showing them the blips)\n See these? Now I've bet the gentlemen", "Travers pulls a tracking device about the size of a watchman\n out of his jacket pocket. The small screen shows three red\n blips at rest -- matching the three currency cases.", "Gabe walks past Hal. Furious, Hal spins Gabe around.\n\n HAL\n Play it again, Gabe, about how we\n killed her. I was there too, remember?", "Hal, agitated, paces in the main office -- Frank, unconcerned,\n puts a coat hanger and some aluminum foil on a little TV to\n drag in the fading signal of a Broncos game." ], [ "Travers opens one of the cases, which is identical to the\n others -- except that it's full of one dollar bills. He's\n thought of everything.", "Travers runs over to the case, furious, and opens it. It's\n empty -- except for a single $5000 bill. Travers picks it\n up -- scrawled on the margin is \"LET'S TRADE.\"", "off the money case that's underneath. It's battered from the\n fall, but is still barely holding together. Gabe manages to\n force open the trashed locks -- he looks inside the case, and", "Travers pulls a tracking device about the size of a watchman\n out of his jacket pocket. The small screen shows three red\n blips at rest -- matching the three currency cases.", "has now been packed into a trio of metal briefcases -- ten \n thousand $5,000 bills. Travers shuts the cases in turn, and", "-- the cases, torn by the wind, work their way loose one at a\n time and drop -- one -- two -- three -- into the snowy\n mountains below!\n\n IN THE CABIN", "If you have a good imagination, this corner of charcoal looks\n like it could have been --\n\n WRIGHT (O.S.)\n One of the currency cases.", "The money cases are still, barely, holding on, the cuffs\n caught on the broken clip at the end --\n\n QUALEN AND TRAVERS", "Travers, now in a harness like the one seen earlier -- uncuffs\n the money cases from the agents.\n\n TRAVERS\n (into radio)\n On my way.", "which shows he's practically on top of the case -- finally\n\n TRAVERS", "Wright, Davis and Stuart look at the billowing flames of the\n wreck -- even from here, the burning money is visible,\n drifting up in the smoke. Wright turns to Stuart.", "As promised, the Treasury jet is now plummetting as if it had\n no wings at all, levelling the angle between the planes -- the\n cases dangle precariously on the wire --", "The pilot clicks the last of the three cases onto the cable\n and is about to put his harness on -- but behind him, Matheson", "(finds three suitcases)\n -- and just enough of the right kind\n of ash.", "plane, their arms chained to the currency cases. Matheson is\n edgy. Another AGENT offers some condescending reassurance.", "case, which took a tough landing on one rock -- it's shattered\n into halves, and the bands of $5000s are scattered around in\n the snow.", "Travers FIRES his gun three times, one for each agent's\n chest -- the agents are cut down, realizing too late what's", "GABE\n (over radio)\n Remember that bet you made? About\n whether I could find the money for you\n or not?\n (holds pack over drop)\n You won.", "is right behind him, and has slapped a fresh clip in place,\n but before he can shoot --\n\n EVAN\n\n dives off the edge and clasps the third buckle --", "GABE\n (shows money in his pack)\n This. That plane crash -- it's a half" ], [ "Hal and Gabe are tired, but get a second wind from the\n excitement of being almost on top. Gabe stops, breathless for\n a second, then goes on. Hal lags a little behind.", "are closer now -- but as they move down, Hal freezes in place\n as he sees the \"Bitker\" sign some distance ahead. The sign is\n out of place. A signal from Gabe -- he is alive. And here.", "Hal and Gabe's friendship is starting to resurface -- their\n LAUGHTER is nearly louder than the wind, as we --\n\n DISSOLVE TO:", "HAL\n I think I'll wait here. You just\n murdered three of my friends. Sooner", "FRANK\n Wait a minute -- there's Hal.\n (beat)\n And his date.\n\n BINOCULAR POV - A LEDGE", "With that, Hal pulls himself hand-over-hand across the sloping\n line -- Hal makes a point of looking down --\n\n HAL'S POV -- THE DROP", "trembling with fury and grief, bent over Frank's body as the\n last trace of vapor -- his breath -- trails from his lips.\n He's gone. Hal gently closes the eyes of his friend.", "Travers sees that Hal is gone -- he's escaped in the\n confusion.\n\n IN THE WOODS - HAL", "Delmer backs Hal up at gunpoint. Hal deliberately moves in a\n semi-circle, putting Delmer's back to the rocks.", "A gun barrel moves INTO VIEW as it presses against Hal's neck.\n Heldon and Ryan are right behind him. Travers instantly drops\n his act.", "Delmer grins as he aims at Hal.\n\n DELMER\n Tell me -- where would you like the\n first half dozen shots to go?", "As we've caught Hal in mid-crossing, he's looking from whence\n he came -- the opposite side of the buttress, where Travers\n has a gun trained on him --\n\n HAL", "HAL\n (quiet)\n Goodbye, Frank.\n\n Travers moves up behind Hal and kicks him.", "lives. Hal stands, and smiles -- he walks toward the Treasury\n agents, who are scrambling out of the helicopter. Hal starts\n an explanation that's going to take a long, long time as --", "Hal and Gabe start howling -- that hysterical, giddy laugh\n that only comes from just missing a violent end.\n\n WIDE SHOT ON MOUNTAIN - THE TWO LEDGES", "HAL\n (grim)\n That's it.\n\n Hal and Gabe run into the wooded area and follow the\n wreckage -- felled trees, a smashed wing -- and reach", "CLOSER ON HAL AND GANG\n\n Hal leads the gang forward -- and keeps casting anxious\n glances back at them. And beyond them. Travers notices this.", "Hal looks back. Travers is right. There's absolutely no way\n Gabe can come up behind them without being seen.\n\n LOWER DOWN ON BLUFF", "Hal climbs up the rope, finally reaching another ledge\n slightly below Gabe's. Hal leans against the wall, gasping, as\n Gabe clips the gun to his pack.", "sight -- but Gabe and Hal don't pause to enjoy it. This isn't\n a trip for sport. Hal looks off into the trees, and sees the\n torn tree stumps from the plane crash." ], [ "Frank is now flying the helicopter -- a body bag is stashed in\n the back, and Maggie is in the passenger seat.", "INT. HELICOPTER\n\n -- Travers, who has been shaken to the opposite side of the\n copter, reaches into his jacket and pulls out the pistol he\n took from Frank -- he aims at Gabe --", "Maggie's hands are cuffed to a bar on the helicopter's roof.\n Travers keys his headset radio while piloting the copter.", "Nearby, the helicopter radio crackles to life. Frank backs\n toward the helicopter, keeping the gun trained on Kristel.\n\n But Frank only gets to the helicopter door before --", "By now, the others have come out of hiding and up to the\n helicopter. Kristel grabs some papers from a plastic packet on\n the helicopter seat -- and keys the mike.", "Travers helplessly flies in low, tight circles over Gabe and\n the spur -- if he shoots Gabe, the money falls too, Travers\n presses his gun at Maggie.", "Frank hesitates, but climbs in the other side. The helicopter\n lifts off and heads toward the mountain range.\n\n EXT. MOUNTAIN - AERIAL SHOT - DAY", "EXT. MOUNTAIN TRAIL\n\n Maggie finally stops -- Travers lands the copter and opens the\n passenger door, keeping his gun trained on her.", "GABE\n (into radio)\n Now come and get it. My arm's getting\n tired.\n\n EXT. HELICOPTER", "THE HELICOPTER\n\n has circled back around, stopping at a hover far back in the\n clearing -- Travers intends to not just run Gabe over, but to\n run him off the edge as well --", "MAGGIE\n Frank! Down here!\n\n The helicopter moves down until Maggie can see --\n\n TRAVERS\n\n is at the controls.", "Wright, Davis and the pilot scramble into a helicopter --\n Stuart pauses, but goes after them.", "THE HELICOPTER\n\n skid meant to impale Gabe catches the top two rungs of the\n cable ladder --\n\n WIDE SHOT - THE HELICOPTER", "Winds or not, Maggie is untying the helicopter's rotor from\n the bolts on the helipad. Frank, who has obviously just\n awakened, rushes out of the station.", "Gabe stares in horror at the stalling rotor -- if it were\n possible for him to grip the ladder tighter, he'd do it now --\n\n ON THE HELICOPTER", "Travers has no choice but to give in -- he gives Maggie the\n handcuff key, and she frees herself as he flies away from the\n spur, touching the copter down on the mountain top.", "All of this in a split second. Maggie hangs from Gabe's arm,\n locked in terror -- but skill wins out over fear. She finds a", "is flying a parallel course to the Treasury jet, and is just\n one hundred yards away. Close enough to see Eric Qualen's face\n in one of the windows.\n\n INSIDE THE PLANE", "hears the helicopter, and turns around -- she has no way of\n knowing it isn't Frank, so she takes off her jacket and waves\n it as a signal --", "near a helicopter, look down with disgust. Davis turns away.\n\n WRIGHT\n I give up. What was it?\n\n A SEARCH PILOT zips the bag back up." ], [ "Frank hesitates, but climbs in the other side. The helicopter\n lifts off and heads toward the mountain range.\n\n EXT. MOUNTAIN - AERIAL SHOT - DAY", "EXT. RESCUE HELICOPTER - DAY\n\n Maggie and Frank are flying low and fast, over treetops and\n snow -- both are intently staring down --", "Wright, Davis and the pilot scramble into a helicopter --\n Stuart pauses, but goes after them.", "RESCUE STATION\n\n Frank, having lain Evan's body to rest, runs back to the\n helicopter, starts it up and takes off.", "MAGGIE\n Frank! Down here!\n\n The helicopter moves down until Maggie can see --\n\n TRAVERS\n\n is at the controls.", "Frank is now flying the helicopter -- a body bag is stashed in\n the back, and Maggie is in the passenger seat.", "near a helicopter, look down with disgust. Davis turns away.\n\n WRIGHT\n I give up. What was it?\n\n A SEARCH PILOT zips the bag back up.", "HELICOPTER - MOVING OVER MOUNTAINS\n\n Frank is in the air, heading back out toward the range,\n frantically working the radio.", "THE HELICOPTER", "Frank recognizes the pilot's voice from the \"distress call\".\n\n FRANK\n (over radio)\n I copy, Charlie Niner -- what's your\n position -- over --", "The pilot, KRISTEL, is a woman. Her skill, like her hard\n beauty, can be measured in a glance: she's a lot calmer than\n her counterpart in the Treasury plane.", "By now, the others have come out of hiding and up to the\n helicopter. Kristel grabs some papers from a plastic packet on\n the helicopter seat -- and keys the mike.", "looks down at the burning wreck and clings to the ladder,\n closing his eyes for a moment in exhaustion. But the WHOPPING\n of another helicopter makes him look up --", "Maggie pilots the copter, heading out toward the mountain\n range. Gabe fiddles with some of the equipment inside. Both\n grope for a way to start the conversation.", "THE HELICOPTER\n\n flies forward, skids just inches over the snow --\n\n HAL", "EXT. HELICOPTER\n\n flying over the mountains.\n\n INT. HELICOPTER", "INSIDE HELICOPTER\n\n Visibility is near zero. Maggie keys the radio.\n\n MAGGIE\n Rescue One to base, over.", "EXT. RESCUE HELICOPTER - NEAR BLUFF'S BASE - DAY", "MAGGIE\n If you're in that much of a hurry, why\n don't you ride with me?\n\n INT. RESCUE HELICOPTER - DAY", "Travers recognizes the voice -- frowning, he snaps off the\n radio and banks the helicopter up over the top --\n\n TRAVERS IN HELICOPTER - TRAVERS POV" ], [ "Qualen is staring at his watch, but pointing the others toward\n the buttress.\n\n GABE (O.S.)\n (via radio)\n Come in, Frank -- over --", "Qualen hustles Gabe inside the plane -- his hands are on his\n head, and his pack has been removed. Qualen throws the pack", "Gabe pulls himself through the girders to Qualen and punches\n him with his good arm, but Qualen is unfazed -- neither are in", "Hal and Maggie are both winded from the effort as they haul\n Gabe onto the top. Gabe unties himself, and collapses into\n Maggie's lap.", "GABE\n\n who is on a rise behind a rock, watches Qualen's futile\n pursuit from a distance, amused. Amused, until --", "Hal climbs up the rope, finally reaching another ledge\n slightly below Gabe's. Hal leans against the wall, gasping, as\n Gabe clips the gun to his pack.", "A THICK WOODED AREA\n\n which is very temporary refuge -- Qualen will be down in\n seconds. Gabe looks down the slope. Running is impractical. So\n he sits down.", "is beside and slightly below Gabe -- at the other end of the\n fifty foot rope. Hal cautiously pulls himself along the line", "-- but now at the center of the whirlpool, Qualen is drawn\n into the vortex --\n\n GABE\n\n struggles to his feet and looks down, wincing --", "Gabe dangles just over the water, raising his legs above it as\n Qualen tries to kick him off -- -- Gabe holds onto Qualen's", "GABE\n\n begins climbing down to level ground so he can circle closer\n to where Travers is holding Hal -- before he can get far --", "Qualen stops, staring down. Through the gaps, Gabe's parka is\n visible. Right where the blood trail ends.", "appears at the edge of the hole -- before Qualen can react,\n Gabe swings up with his ice axe, hooking it around the", "leg, and swings on it like a pendulum -- Gabe twists the leg\n -- Qualen loses his grip on the icy steel and lets go --\n both", "good position, it's like a fistfight on a jungle gym -- --\n Qualen steadies himself to savagely punch Gabe in his", "the ice hard, his chest hanging over the side -- Qualen moves\n in to shove him off -- but their combined weight on the same\n side of the ice starts to tip it over -- Gabe viciously", "QUALEN, KRISTEL AND KYNETTE\n\n look down -- Ryan's death scream is still echoing. Qualen is\n furious -- Gabe has escaped with the second case.", "gets more pull than he counted on and takes a head first fall\n into the crack, disappearing with a scream -- Qualen has just\n arrived in time to see this --\n\n GABE", "QUALEN\n\n arrives where Gabe was and looks down the slope --\n\n QUALEN'S POV - GABE", "Gabe, with Hal right behind, leads them up the wall -- it's\n not a straight climb, but there's a series of zig-zagging" ], [ "Frank is now flying the helicopter -- a body bag is stashed in\n the back, and Maggie is in the passenger seat.", "Frank hesitates, but climbs in the other side. The helicopter\n lifts off and heads toward the mountain range.\n\n EXT. MOUNTAIN - AERIAL SHOT - DAY", "As if to punctuate this, Frank -- and the now ruined pilot\n side door -- fall to the ground. The radio continues to squawk\n as Travers grabs Frank's discarded gun.", "Nearby, the helicopter radio crackles to life. Frank backs\n toward the helicopter, keeping the gun trained on Kristel.\n\n But Frank only gets to the helicopter door before --", "HELICOPTER - MOVING OVER MOUNTAINS\n\n Frank is in the air, heading back out toward the range,\n frantically working the radio.", "RESCUE STATION\n\n Frank, having lain Evan's body to rest, runs back to the\n helicopter, starts it up and takes off.", "MAGGIE\n Frank! Down here!\n\n The helicopter moves down until Maggie can see --\n\n TRAVERS\n\n is at the controls.", "FRANK\n Still a little breezy out, Mag --\n\n Maggie gets into the helicopter and starts the rotor.", "EXT. RESCUE HELICOPTER - DAY\n\n Maggie and Frank are flying low and fast, over treetops and\n snow -- both are intently staring down --", "INT. HELICOPTER\n\n -- Travers, who has been shaken to the opposite side of the\n copter, reaches into his jacket and pulls out the pistol he\n took from Frank -- he aims at Gabe --", "near a helicopter, look down with disgust. Davis turns away.\n\n WRIGHT\n I give up. What was it?\n\n A SEARCH PILOT zips the bag back up.", "Frank recognizes the pilot's voice from the \"distress call\".\n\n FRANK\n (over radio)\n I copy, Charlie Niner -- what's your\n position -- over --", "hears the helicopter, and turns around -- she has no way of\n knowing it isn't Frank, so she takes off her jacket and waves\n it as a signal --", "Frank lands near her, and rushes over to her. Frank turns her\n over and breaks a capsule under her nose. She \"wakes up\" with\n a start and looks \"terrified\".", "Wright, Davis and the pilot scramble into a helicopter --\n Stuart pauses, but goes after them.", "The copter touches down -- Frank doesn't turn it off. Maggie\n jumps out with a walkie talkie. Frank makes another try.\n\n FRANK\n Maggie, this is dumb --", "Winds or not, Maggie is untying the helicopter's rotor from\n the bolts on the helipad. Frank, who has obviously just\n awakened, rushes out of the station.", "THE HELICOPTER\n\n quickly begins to spiral down in wide, aimless circles --\n Travers has clearly lost control --\n\n GABE", "-- until the helicopter explodes when it hits the ground far\n below, and the fireball engulfs Travers just before he\n impacts into the explosion!\n\n GABE", "trembling with fury and grief, bent over Frank's body as the\n last trace of vapor -- his breath -- trails from his lips.\n He's gone. Hal gently closes the eyes of his friend." ], [ "Hal and Gabe start howling -- that hysterical, giddy laugh\n that only comes from just missing a violent end.\n\n WIDE SHOT ON MOUNTAIN - THE TWO LEDGES", "and helps Hal up. From here, the rest of the range looms\n large. Even in the continuing snowstorm, it's a spectacular", "GABE\n (smiles)\n Thanks for asking. I forgot how much I\n enjoyed rescue work.\n\n Gabe limps toward the mountain's edge as Hal runs into the\n woods.", "HAL\n Rescue One -- please remind me to tell\n you about the time I hauled your hero\n here down Mt. Huntington on my back,\n over --", "EXT. FACING MOUNTAIN - WIDE SHOT\n\n Hal and Gabe lead the \"expedition\" down a steep, but passable,\n descent, leading to --", "A steep two hundred yard downhill climb leads to a wire that\n bridges the two mountains. The same wire we saw at the\n beginning -- left behind from Susan Collins' botched rescue.", "Hal and Gabe are tired, but get a second wind from the\n excitement of being almost on top. Gabe stops, breathless for\n a second, then goes on. Hal lags a little behind.", "EXT. MOUNTAIN SLOPE - HAL", "The gang and Hal watch the mountain top, with very different\n expectations and hopes -- their vantage point keeps them from\n seeing where the crack actually comes out.", "down beyond a facing, taller mountain. Ryan is huffing and\n puffing -- the altitude and exertion are getting to him. Hal\n allows himself a smile at his discomfort.", "Hal runs to the radio and keys the mike.\n\n HAL\n Rocky Mountain Rescue -- come in,\n mayday --\n\n INT. COCKPIT", "the mound of snow shifts as Hal climbs out, silently shaking\n off the cover -- the snow hid him not only from Delmer, but\n from the heat scope as well --\n\n TRAVERS IN HELICOPTER", "Hal and the rest of the expedition is totally exposed as they\n climb in single file up to the top. Terrain is flat enough\n that the climb amount to an uphill run on all fours.", "Hal's aplomb suggests he's a veteran climber -- Susan's\n worried look shows she isn't. Hal and Susan huddle together,", "HAL\n Come on -- tourists take this trail.\n\n Qualen pokes Hal with the gun -- he moves on ahead.\n\n EXT. THE SUMMIT - DUSK", "Hal is surprised to see Kynette pull a harness out of his pack\n -- the one Travers used earlier. Disappointed, Hal leads the\n downward climb, looking several hundred yards to\n\n THE CRACK", "With that, Hal pulls himself hand-over-hand across the sloping\n line -- Hal makes a point of looking down --\n\n HAL'S POV -- THE DROP", "wall over a 2,000 foot drop. Gabe, Hal and Maggie, all\n younger, all sporting drunken grins, in a mountain cave. Gabe", "ELSEWHERE ON MOUNTAIN - HAL\n\n tears into a clearing, trying to put some distance between him\n and Delmer -- as soon as he's out in the open, though,", "HAL\n (beat)\n I need your help. A plane's gone down\n on Comb Bluff. This storm would blow\n a copter all over the place -- but we\n can climb up to it." ], [ "Travers opens one of the cases, which is identical to the\n others -- except that it's full of one dollar bills. He's\n thought of everything.", "-- the cases, torn by the wind, work their way loose one at a\n time and drop -- one -- two -- three -- into the snowy\n mountains below!\n\n IN THE CABIN", "case, which took a tough landing on one rock -- it's shattered\n into halves, and the bands of $5000s are scattered around in\n the snow.", "Gabe rushes down behind a rock and starts gathering the\n cash -- soaked by the snow, they've frozen into ice bricks. As", "off the money case that's underneath. It's battered from the\n fall, but is still barely holding together. Gabe manages to\n force open the trashed locks -- he looks inside the case, and", "above finally give way, dropping an avalanche on\n\n GABE\n\n who drops the case and hugs the wall --", "Travers runs over to the case, furious, and opens it. It's\n empty -- except for a single $5000 bill. Travers picks it\n up -- scrawled on the margin is \"LET'S TRADE.\"", "-- then: quiet. The avalanche ends as abruptly as it started.\n The rumble dies down to complete silence.\n\n TRAVERS", "-- his hand gropes out -- and with some difficulty, he digs\n himself out, gasping and coughing. Gabe, coated with snow,\n leans against the wall and rests. Alive.", "Travers pulls a tracking device about the size of a watchman\n out of his jacket pocket. The small screen shows three red\n blips at rest -- matching the three currency cases.", "Gabe, wedged near the top of the crack, is ready to dig\n through the snow -- but he hears the sound, muffled and", "GABE\n You've also got all the money. And I\n can show you how to get off the\n mountain with it. Right now.", "Travers, now in a harness like the one seen earlier -- uncuffs\n the money cases from the agents.\n\n TRAVERS\n (into radio)\n On my way.", "GABE\n (shows money in his pack)\n This. That plane crash -- it's a half", "Powdery snow is settling from the avalanche. From a cave in\n the rocks, Brett and Evan crawl out a little timidly.\n\n EVAN\n What the hell --", "The snow FALLS AWAY, revealing nothing but stark rock. Gabe\n has been swept away.", "If you have a good imagination, this corner of charcoal looks\n like it could have been --\n\n WRIGHT (O.S.)\n One of the currency cases.", "A steep two hundred yard downhill climb leads to a wire that\n bridges the two mountains. The same wire we saw at the\n beginning -- left behind from Susan Collins' botched rescue.", "Wright, Davis and Stuart look at the billowing flames of the\n wreck -- even from here, the burning money is visible,\n drifting up in the smoke. Wright turns to Stuart.", "The money cases are still, barely, holding on, the cuffs\n caught on the broken clip at the end --\n\n QUALEN AND TRAVERS" ], [ "Qualen is as deadly as advertised -- 150 mph winds are tearing\n at him through the open door, but he is unfazed and\n unfrightened.\n\n TRAVERS", "Qualen smiles in reply. No. Maybe he wouldn't.\n\n IN THE TREASURY PLANE COCKPIT\n\n The pilot locks the controls and rushes back to the cabin.", "Hal, stunned, looks at the radio, realizing Qualen tricked\n him into detonating the bomb. Travers, grinning, takes the\n radio from Hal and pats him on the back.", "QUALEN'S JET\n\n where he's pulled in and unclipped by Qualen.", "Travers turns and pins Hal against the wall with the gun,\n ready to kill him too. But he's stopped by Qualen.", "Gabe pulls himself through the girders to Qualen and punches\n him with his good arm, but Qualen is unfazed -- neither are in", "gets more pull than he counted on and takes a head first fall\n into the crack, disappearing with a scream -- Qualen has just\n arrived in time to see this --\n\n GABE", "QUALEN\n No. We need him to get the rest of the\n money.\n (he isn't backing down)\n If he dies we lose everything", "Qualen is staring at his watch, but pointing the others toward\n the buttress.\n\n GABE (O.S.)\n (via radio)\n Come in, Frank -- over --", "-- but now at the center of the whirlpool, Qualen is drawn\n into the vortex --\n\n GABE\n\n struggles to his feet and looks down, wincing --", "He's still alive!\n (to Qualen and the\n others)\n He can't be far away -- spread out!", "QUALEN, KRISTEL AND KYNETTE\n\n look down -- Ryan's death scream is still echoing. Qualen is\n furious -- Gabe has escaped with the second case.", "TOWER FACE\n\n Hal, shocked, stares at the enormity of the explosion. Qualen\n looks serenely satisfied.", "GABE\n\n who is on a rise behind a rock, watches Qualen's futile\n pursuit from a distance, amused. Amused, until --", "checks the monitor -- the relative position shows they're --\n\n QUALEN\n Almost there.\n\n -- but Qualen's grin is wiped away as he looks down at --", "QUALEN'S POV - UNDERWATER\n\n Qualen is shoved with incredible force and speed through the\n lake's tunnel drain --", "earful of gun barrel from Qualen, who is behind him.", "Qualen manages to snatch it up -- Qualen scythes it down at\n Gabe, slamming the blade into the ice as Gabe rolls away --", "QUALEN (O.S.)\n You've come a long way to die.\n\n QUALEN\n\n enjoying himself, slams a fresh clip into his machine gun.", "QUALEN\n\n has just hit the top of the slope and spotted him -- Qualen's\n gun BLAZES down --\n\n GABE" ], [ "SUSAN\n Yeah.\n (beat)\n I have always depended on the kindness\n of Rangers.", "A gun barrel moves INTO VIEW as it presses against Hal's neck.\n Heldon and Ryan are right behind him. Travers instantly drops\n his act.", "TRAVERS\n Now -- we call the police.\n\n INT. RANGER STATION - DAY", "EVAN\n Brett -- you're not going to believe\n this -- but a couple of guys are\n holding a gun on Hal and forcing him\n up the bluff --", "Delmer backs Hal up at gunpoint. Hal deliberately moves in a\n semi-circle, putting Delmer's back to the rocks.", "HAL\n (breaking in)\n Forget about it, Maggie, that's an\n order -- acknowledge --\n\n INT. RANGER STATION", "Travers puts his hands out and walks forward -- slowly,\n backing Matheson into the cabin. Not in surrender, but as if\n he's calming a nutcase. The other agents see this and don't\n know which way to jump.", "They now think Matheson is crazy too -- he looks nuts -- the\n other agents move behind him. Matheson gets even more frantic\n and point his gun at them.", "INT. RANGER STATION - DAY\n\n Maggie is on the phone, pacing, as Frank is slumped in front\n of the radio scanner. Suddenly, the radio comes to life.", "INT. RANGER STATION\n\n Very quiet in here. Frank is snoring, slumped over the radio.\n Maggie is wide awake and obviously hasn't slept -- her\n attention is fixed out the window.", "THE TREASURY JET\n\n makes a one point landing nose first into the wilderness,\n cartwheeling into a FIREBALL!\n\n INT./EXT. RANGER STATION", "Hal, stunned, looks at the radio, realizing Qualen tricked\n him into detonating the bomb. Travers, grinning, takes the\n radio from Hal and pats him on the back.", "EXT. RANGER STATION\n\n Hal, wearing Sheriff's garb, storms towards Maggie's side of\n the copter as the engine shuts off and the rotor dies.", "Qualen gestures helplessly, putting the radio in Hal's reach.\n Hal takes advantage of this, throws off Travers, and grabs the\n radio.", "Travers helplessly flies in low, tight circles over Gabe and\n the spur -- if he shoots Gabe, the money falls too, Travers\n presses his gun at Maggie.", "On top, Hal reluctantly leads the gang away -- below, we can\n see Gabe start out on a parallel path along the ledges.\n\n EXT. RANGER STATION - HELIPAD - DAY", "Nearby, the helicopter radio crackles to life. Frank backs\n toward the helicopter, keeping the gun trained on Kristel.\n\n But Frank only gets to the helicopter door before --", "Travers, furious, takes the gun out of Hal's face.\n\n TRAVERS\n (to Hal)\n Get us out of here.", "Travers looks up at Matheson, who has just arrived with\n Wright. Travers is instantly furious at the challenge to his\n authority.", "Hal is led over to the spur, with the other gang members\n behind him. Hal looks as angry as Gabe.\n\n QUALEN\n Was that Walker?" ], [ "QUALEN'S JET\n\n where he's pulled in and unclipped by Qualen.", "Gabe pulls himself through the girders to Qualen and punches\n him with his good arm, but Qualen is unfazed -- neither are in", "Travers has no choice but to give in -- he gives Maggie the\n handcuff key, and she frees herself as he flies away from the\n spur, touching the copter down on the mountain top.", "QUALEN, KRISTEL AND KYNETTE\n\n look down -- Ryan's death scream is still echoing. Qualen is\n furious -- Gabe has escaped with the second case.", "Qualen smiles in reply. No. Maybe he wouldn't.\n\n IN THE TREASURY PLANE COCKPIT\n\n The pilot locks the controls and rushes back to the cabin.", "Qualen is as deadly as advertised -- 150 mph winds are tearing\n at him through the open door, but he is unfazed and\n unfrightened.\n\n TRAVERS", "Qualen gestures helplessly, putting the radio in Hal's reach.\n Hal takes advantage of this, throws off Travers, and grabs the\n radio.", "gets more pull than he counted on and takes a head first fall\n into the crack, disappearing with a scream -- Qualen has just\n arrived in time to see this --\n\n GABE", "QUALEN'S POV - UNDERWATER\n\n Qualen is shoved with incredible force and speed through the\n lake's tunnel drain --", "Qualen is staring at his watch, but pointing the others toward\n the buttress.\n\n GABE (O.S.)\n (via radio)\n Come in, Frank -- over --", "Kynette pulls the harness back and hands it to Qualen, who's\n standing next to Travers.\n\n KYNETTE\n (motioning up)\n I'm going back.", "QUALEN\n\n stops firing and kicks away the planks, which are a tangle of\n toothpicks at this point -- Qualen bends down --", "Qualen's jet is now flying parallel to, and slightly above,\n the Treasury jet. The door in Qualen's jet is open, and we get\n our first good look at --", "GABE\n\n who is on a rise behind a rock, watches Qualen's futile\n pursuit from a distance, amused. Amused, until --", "Qualen's jet lowers itself, banking to the side -- the\n Treasury jet raises itself. Both are now flying side by side,\n with the cable serving as a thirty foot bridge.", "INT. QUALEN'S JET - THE COCKPIT - KRISTEL\n\n levels off the plane, but it's still in trouble --", "earful of gun barrel from Qualen, who is behind him.", "She speaks for all of them -- especially a still-seething\n Qualen. Travers pulls out the tracer monitor for the cases.\n The tracer screen shows three distinct blips -- the tracers\n have survived the fall.", "He's still alive!\n (to Qualen and the\n others)\n He can't be far away -- spread out!", "Travers turns and pins Hal against the wall with the gun,\n ready to kill him too. But he's stopped by Qualen." ], [ "-- to the slope's bottom. Gabe painfully lifts himself up and\n moves through the woods, coming out of the trees to\n\n THE LAKE", "Gabe stares at the other edge for a moment. Immobile.\n Remembering Susan's death. Gabe shakes out of it when --", "eyes widening with realization. Gabe gets up from the spur and\n starts running back towards the woods -- several hundred yards\n from safety -- before he can get very far --\n\n THE HELICOPTER", "almost long enough to get to the shelter. Gabe leans against\n the crack wall, drained. Now what?", "No answer. Gabe takes a look around the living room. His face\n tells us, without a doubt, this used to be his home. Gabe", "GABE\n (smiles)\n Thanks for asking. I forgot how much I\n enjoyed rescue work.\n\n Gabe limps toward the mountain's edge as Hal runs into the\n woods.", "-- his hand gropes out -- and with some difficulty, he digs\n himself out, gasping and coughing. Gabe, coated with snow,\n leans against the wall and rests. Alive.", "GABE\n About four months, right?\n (Maggie nods)\n Christ -- it must have been just about\n his -- I mean her -- first flight --", "A RABBIT\n\n that's landed in the snow and looks a lot more frightened than\n Gabe was. Gabe leans back, relieved. For now.", "the fire's dying down. Gabe tosses a fresh band of bills on\n the flame. Gabe cools the knife in some snow, saws off a rat\n leg, and chews unhappily.", "And Maggie is in the middle of it. Gabe unsheaths his ice axe\n and starts hacking up to get at Maggie. Dirt and rocks fall in\n his face as he digs --", "Gabe takes the now cooked rat carcass -- properly skinned and\n butchered -- off his knife blade. We can see from flickering\n shadows that a small fire is now burning in a cave -- we\n pull back to see", "All of this in a split second. Maggie hangs from Gabe's arm,\n locked in terror -- but skill wins out over fear. She finds a", "Gabe repeats this until he has his hands on the curved edge\n where the crack snakes into a sideways passage. But there are\n no handholds that will allow Gabe to get a grip and simply\n swing over and climb up.", "GABE\n\n brushes some of the falling snow away from the marker. He lays\n down his flowers and pauses for a moment -- then gets into the\n Bronco and drives away.", "where Gabe was. Nothing is stirring. Until, there's some\n movement ten feet from where Gabe was hugging the wall.", "Gabe inches on to the side. Looks up to see if the crack has\n gotten wider. It hasn't. Gabe mumbles something phonetically\n near \"motherfucker\" around the flashlight, aiming it up --", "very scared. Gabe recovers the harness, rigs Susan into it,\n and meticulously re-checks it.", "-- and sees there's nothing in the parka except for Gabe's\n back. Qualen's face registers anger and surprise as -- -- Gabe", "Gabe, wedged near the top of the crack, is ready to dig\n through the snow -- but he hears the sound, muffled and" ], [ "Qualen is staring at his watch, but pointing the others toward\n the buttress.\n\n GABE (O.S.)\n (via radio)\n Come in, Frank -- over --", "GABE\n\n who is on a rise behind a rock, watches Qualen's futile\n pursuit from a distance, amused. Amused, until --", "Gabe pulls himself through the girders to Qualen and punches\n him with his good arm, but Qualen is unfazed -- neither are in", "GABE\n I have no fucking idea.\n (holds Qualen's gun)\n Empty.\n\n HAL\n (smiling)\n Not for long.", "Gabe has his pack on one arm -- the money is visible. Gabe\n levels Qualen's emptied gun on Travers and the copter -- this\n bluff is all he has left.", "QUALEN, KRISTEL AND KYNETTE\n\n look down -- Ryan's death scream is still echoing. Qualen is\n furious -- Gabe has escaped with the second case.", "GABE (O.S.)\n (over radio)\n -- Come in, Rescue One --\n\n Travers stares daggers at Qualen. Qualen looks to his watch.", "Qualen hustles Gabe inside the plane -- his hands are on his\n head, and his pack has been removed. Qualen throws the pack", "-- and sees there's nothing in the parka except for Gabe's\n back. Qualen's face registers anger and surprise as -- -- Gabe", "QUALEN\n (wiping the gash)\n Stalemate, isn't it?\n\n GABE\n (winded)\n Not any more.", "Qualen stops, staring down. Through the gaps, Gabe's parka is\n visible. Right where the blood trail ends.", "Gabe's radio calls continue as Qualen extends his arm towards\n the buttress and starts a silent hand countdown, stage manager\n style -- five -- four -- three --\n\n INSERT - TIMER", "GABE\n Get on the trail and stay out of\n sight.\n (beat)\n I'll see you on the ground.", "GABE\n (shaken, voice gone)\n Anchored --\n (shouts this time)\n Anchored!\n\n HAL", "Gabe and Maggie fuse together in a tight embrace -- a final\n embrace. But Gabe opens his eyes as the rope, still in\n Maggie's hand, brushes his cheek. The end is frayed.", "GABE\n (over radio)\n Remember that bet you made? About\n whether I could find the money for you\n or not?\n (holds pack over drop)\n You won.", "-- but now at the center of the whirlpool, Qualen is drawn\n into the vortex --\n\n GABE\n\n struggles to his feet and looks down, wincing --", "GABE\n We'd make better time walking straight\n ahead. Qualen's not going to be\n hopping down the bunny trail too much\n longer.", "GABE\n (shows money in his pack)\n This. That plane crash -- it's a half", "gets more pull than he counted on and takes a head first fall\n into the crack, disappearing with a scream -- Qualen has just\n arrived in time to see this --\n\n GABE" ], [ "Frank is now flying the helicopter -- a body bag is stashed in\n the back, and Maggie is in the passenger seat.", "Gabe has his pack on one arm -- the money is visible. Gabe\n levels Qualen's emptied gun on Travers and the copter -- this\n bluff is all he has left.", "Travers helplessly flies in low, tight circles over Gabe and\n the spur -- if he shoots Gabe, the money falls too, Travers\n presses his gun at Maggie.", "Frank hesitates, but climbs in the other side. The helicopter\n lifts off and heads toward the mountain range.\n\n EXT. MOUNTAIN - AERIAL SHOT - DAY", "Nearby, the helicopter radio crackles to life. Frank backs\n toward the helicopter, keeping the gun trained on Kristel.\n\n But Frank only gets to the helicopter door before --", "banks the helicopter around and up for another pass.\n\n EXT. ANOTHER PART OF THE MOUNTAIN/TOWER WOODS - QUALEN", "near a helicopter, look down with disgust. Davis turns away.\n\n WRIGHT\n I give up. What was it?\n\n A SEARCH PILOT zips the bag back up.", "is trying to repair the helicopter door when the call comes.\n\n TRAVERS\n Have you found the money?", "lives. Hal stands, and smiles -- he walks toward the Treasury\n agents, who are scrambling out of the helicopter. Hal starts\n an explanation that's going to take a long, long time as --", "INT. HELICOPTER\n\n -- Travers, who has been shaken to the opposite side of the\n copter, reaches into his jacket and pulls out the pistol he\n took from Frank -- he aims at Gabe --", "GABE\n (into radio)\n Now come and get it. My arm's getting\n tired.\n\n EXT. HELICOPTER", "and the pilot were in on it -- the\n pilot's dead, but Travers took the\n cash and made a mid-air transfer to a", "Wright, Davis and Stuart look at the billowing flames of the\n wreck -- even from here, the burning money is visible,\n drifting up in the smoke. Wright turns to Stuart.", "plane, their arms chained to the currency cases. Matheson is\n edgy. Another AGENT offers some condescending reassurance.", "By now, the others have come out of hiding and up to the\n helicopter. Kristel grabs some papers from a plastic packet on\n the helicopter seat -- and keys the mike.", "Travers pulls the two dead FBI agents out of the\n compartment -- one is dressed in a flying suit like the pilot,\n one in a suit like Travers.", "INSIDE THE HELICOPTER\n\n -- the makeshift bomb bounces to the floor of the cockpit --\n Travers sees it and looks down, but --", "Travers falls back in his seat and loses control of the\n helicopter -- it spins around, and Gabe has to instantly\n flatten to avoid the tail when it swings at him -- Gabe looks\n down as --", "THE HELICOPTER\n\n quickly begins to spiral down in wide, aimless circles --\n Travers has clearly lost control --\n\n GABE", "THE TREASURY HELICOPTER\n\n has shown up, a little too late to be of any help.\n\n INSIDE THE TREASURY COPTER" ] ]

[ "In which mountains are Hal and Sarah stranded?", "How does Sarah die?", "Who does Hal blame for Sarah's death?", "What does Walker do after Sarah falls to her death?", "What are Qualen and Travers trying to locate after their plane crashes into the mountains?", "How many suitcases full of stolen, uncirculated bills are missing?", "How much money is in the missing suitcases?", "What do Gabe and Jessie write on the single bill they leave in the second suitcase?", "Who is Frank?", "Where did Hal and Sarah need rescuing from?", "Who is blamed for Sarah's death?", "What was the name of the U.S. treasury agent?", "How many suitcases were stolen?", "Who is shot by one of the mercenaries and dies?", "What was the taunting message left on the single bill?", "What happens to the money in the third case?", "What are the names of the two friends Hal sees?", "Who holds Jessie hostage on board the helicopter?", "What is the name of the rescue helicopter pilot?", "Where did Qualen dell Gabe and Hal he was holding Jessie?", "What happened to Frank, the helicopter pilot?", "From what mountain chain were Hal and Sarah rescued?", "What happened to the money in the first case after the avalanche?", "What ultimately happens to Qualen in the story?", "Who took the Rangers hostage?", "How was Jessie released from Qualen?", "How long did it take Gabe to return to the Ranger Station after Sarah's death?", "What message did Gabe and Jessie leave Qualen written on a single bill?", "Who threw the 2nd bag of money into the helicopter rotors?" ]

[ [ "The Colorado Rockies.", "The Colorado Rockies." ], [ "Her safety harness breaks and she falls to her death.", "She falls to her death after her harness breaks." ], [ "Gabriel \"Gabe\" Walker.", "Gabe." ], [ "He takes an extended leave.", "Goes on leave from job" ], [ "Suitcases full of stolen money.", "Three suitcases that together contain over 100 million dollars." ], [ "Three.", "Three suitcases are missing." ], [ "Over one hundred million dollars.", "Over $100 million." ], [ "Want to trade?", "Want to trade?" ], [ "The ranger's rescue helicopter pilot?", "Rescue helicopter pilot" ], [ " a peak in the Colorado Rockies", "The Colorado Rockies." ], [ "Gabe", "Gabe Walker." ], [ "Richard Travers", "Richard Travers." ], [ "3", "Three." ], [ "Frank", "Frank is killed by one of the mercenaries." ], [ "Want to Trade?", "\"Want to trade?\"" ], [ "Shredded by the rotors", "It gets shredded in the helicopter's rotors." ], [ "Evan and Brett", "Gabe and Jessie." ], [ "Qualen", "Qualen does." ], [ "Frank", "Frank." ], [ "On board the helicopter", "On board the helicopter." ], [ "He is shot and killed.", "He contacts authorities" ], [ "Colorado Rocky Mountains", "The Colorado Rockies." ], [ "Flutters away", "If flutters away and out of the suitcase." ], [ "He dies", "Qualen falls to his death from the mountain." ], [ "Eric Qualen and several mercenaries", "Mercenaries" ], [ "lowered to ground on a winch", "Gabe forces Qualen to release her in exchange for his precious money." ], [ "Eight months", "A total of eight months." ], [ "\"Want to trade?", "They left the message \"Want to trade?\"" ], [ "Gabe", "Gabe" ] ]

[ [ "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "CARVER\n You are. If you want to be.\n (off Stevens)\n Most undercover guys don't know what", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "CARVER\n You can tell he's a cop?\n\n Stevens laughs: it's obvious.", "STEVENS\n He's a snitch.", "CARVER\n Why'd you join the force?\n\n STEVENS\n (awkward, but felt)\n I wanted to be of use.", "You've got the ability and the \n personality to go underground and \n blend in completely. That's what the", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "STEVENS\n (focussed on Taft)\n Who is he?\n\n CARVER\n Charles Taft. LAPD Narcotics.", "STEVENS\n He's a good cop.", "STEVENS\n I don't believe that.\n\n But he does.", "STEVENS\n He keeps looking for his back-up. \n Now, the other guy knows it, too.\n\n CARVER\n Then why's he taking him to the room?", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that.", "STEVENS\n The nigger's the one who falls for \n your bullshit.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "STEVENS\n (continuing)\n Too late.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "STEVENS\n (uncomfortable)\n I can't do that. I've got a wife and \n kids.", "Stevens is trying to seem interested in Carmen's little \n drawings.\n\n STEVENS\n They're real nice, honey. Is that a \n horse?" ], [ "STEVENS\n (continuing)\n Too late.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "STEVENS\n I don't believe that.\n\n But he does.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that.", "STEVENS\n (instantly outraged)\n He hit you?!\n (up in a fury)\n God damn it, what's he doing touching \n her? I'm gonna...", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "CARVER\n You can tell he's a cop?\n\n Stevens laughs: it's obvious.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "Over her shoulder he sees Terry sitting with a subdued Joe-\n J. Her face seems to say, \"See, I told you...\" Avoiding this \n accusation, Stevens notices a bruise on Carmen's arm.", "Stevens looks at Carmen who giggles. He's humiliated by his \n own temper, attempts to calm himself. Terry puts a sympathetic \n hand on his shoulder.\n\n DISSOLVE TO:", "Stevens is trying to seem interested in Carmen's little \n drawings.\n\n STEVENS\n They're real nice, honey. Is that a \n horse?", "Meanwhile, his wife, TERRY (Southern white) has come out the \n screen door. She and Stevens bristle at each other.", "CARVER\n You're separated from your wife, \n she's filled for divorce. You see \n your kids every other weekend.\n\n Stevens takes a breath: this is awkward to explain.", "Hull reaches the steps again and starts down, keeping his \n eye on Ivy. The number ends. In the pause before the next \n one, Ivy can be seen excusing himself, heading toward the \n rear of the club.", "STEVENS\n (displeased)\n Your mom lets you play with them?\n\n JOE-J & CARMEN\n Yes, sir... Yes, sir.", "STEVENS\n I thought we talked about this. The \n older brother up there's got a sheet \n with --", "Joe Jr. stares, silent; Joe Jr.'s about to hit him.\n\n JOE STEVENS\n (continuing)\n You hear me, goddam it?", "STEVENS\n (uncomfortable)\n I can't do that. I've got a wife and \n kids." ], [ "ELIAS\n I had him!\n\n HULL\n You want to kill a cop?? Don't be \n stupid.\n\n The limo speeds away.", "He SHOOTS him in the head. Hernandez slumps against the wheel. \n The woman screams. Molto walks away.", "ELIAS\n Felix, if he's a problem, we'll kill \n him. I'll kill him myself.", "He brings up the gun and SHOOTS Gallegos in the head.", "GALLEGOS\n (continuing)\n When you killed him, you bought the", "He waves at the helicopter which goes away, kneels over Hull \n who is twitching spastically on the ground, gasping for air. \n Hernandez arrives carrying the Fed Ex envelope.", "Carver produces a photo of a handsome Latin in his 50s, pins \n it on the board above Elias.\n\n CARVER\n Barbosa, Felix.", "STEVENS\n (focussed on Taft)\n Who is he?\n\n CARVER\n Charles Taft. LAPD Narcotics.", "Hull goes to Elias who's dead. A POLICEMAN pulls him off, \n beating him with a gun.\n\n POLICEMAN\n Fucking nigger...", "ELIAS\n (beat; watches him)\n Eddie, forget this guy, he's a cop.\n\n He gets up, walks away.\n\n ON HULL", "Hull is stunned he did it. And this finally attracts the \n police who see a black man with a gun who just shot a white \n man.", "ELIAS\n John, that's a cop. He tried to kill \n you.\n\n HULL\n He didn't know.", "As he does, Hull checks his gun, walks around behind the \n vehicle and prepares to shoot Elias in the back of the head", "GALLEGOS\n (continuing)\n Felix owed me one million eight \n hundred thousand dollars.\n\n He addresses this to Hull; Elias feels left out.", "Elias SHOOTS him in the butt. He shrieks, jerks forward. The \n cops are getting close behind.\n\n Other cops waiting at the far end of the tunnel.", "And she disappears into the night. Elias watches her go. \n Hull resumes driving.\n\n ELIAS\n She knows too much. We have to kill \n her.", "Three men: FELIX BARBOSA (whose photo we saw in Carver's \n office). Barbosa is a veteran of the coke business, but he's", "HERNANDEZ\n Felix, I keep telling them, \"I have \n informants down there, I'm working", "At the last instant, the van swerves away, but:\n\n ELIAS AIMING AT TAFT\n\n Taft sees the gun too late. He can do nothing.", "Hernandez jumps out of an unmarked and races after him. Taft \n speeds the car out onto the street.\n\n HULL" ], [ "He walks up to a dealer, makes a quick buy and keeps going. \n But he sees them and is seen.\n\n INT. AN OFFICE - NIGHT", "Money is exchanged. The money is stuffed in a satchel.\n\n INT. A LAW OFFICE - DAY", "He throws the money in the limo truck, slams the lid. He's \n running the show now, and everyone knows it. He's winging \n it, but confident and strangely calm.", "He climbs into the BMW, tosses Eddie a brown envelope; money \n spills onto his lap. Eddie does a quick count, produces the \n Fed Ex envelope. The usual white stuff.", "Elias hands him a key, points to a different Winnebago. Molto \n takes the key, unlocks the back: money. He signals okay to \n Guzman.", "He closes the door, takes the money Carver gave him out from \n behind the mirror, dashes back outside. As he rushes by:", "Outside, Elias is talking and laughing with the prostitutes. \n We see them point. He gives them money, kisses. They laugh. \n He gets back in the car.", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "ELIAS\n And, also, your business. All this. \n Your money, your dope, everything.\n\n Hull looks at Elias; what's going on?", "As they go in, Elias switches the OPEN sign to CLOSED and \n turns the latch. The store is filled with Latin American \n folk art, particularly masks which line the walls.", "A satchel stuffed with money is latched, set next to another \n latched one. A third is opened, money and jewelry dumped in.\n\n EXT. STREET - NIGHT", "Hull starts to place stacks of cash in a briefcase. He's \n momentarily mesmerized by all the money.", "money, but we'll make a deal for \n ourselves. We'll get what we need \n for the synthetic drugs. I've thought", "Those dealers not at car windows, gather around. He never \n speaks to them, goes on declaiming as he exchanges drugs for \n money.", "INT. HULL'S MOTEL - OFFICE - DAY\n\n Hull in a new, expensive suit, gives the big Blonde Woman \n cash.", "TAFT\n I got every money transfer, every \n phone call, all your laundry tickets.\n\n MCCUTCHEON\n (miserable)\n What do you want?", "They pass the club, other store fronts... Turn at the \n corner... Turn into an alley... Down the alley past the same", "ELIAS\n (continuing)\n We've still got the money. We put it", "Carver shrugs: these things happen. He hands Hull a lot of \n cash, much more than expected. Hull does understand.\n\n CARVER\n Get to Elias. Then to Barbosa.", "Gallegos is stern for a moment, then laughs.\n\n GALLEGOS\n Big brass balls. Collecting money \n makes you strong." ], [ "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "He SHOOTS him in the head. Hernandez slumps against the wheel. \n The woman screams. Molto walks away.", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "STEVENS\n He's a snitch.", "STEVENS\n (focussed on Taft)\n Who is he?\n\n CARVER\n Charles Taft. LAPD Narcotics.", "Hernandez jumps out of an unmarked and races after him. Taft \n speeds the car out onto the street.\n\n HULL", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "He waves at the helicopter which goes away, kneels over Hull \n who is twitching spastically on the ground, gasping for air. \n Hernandez arrives carrying the Fed Ex envelope.", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that.", "CARVER\n You can tell he's a cop?\n\n Stevens laughs: it's obvious.", "HERNANDEZ\n I just want money.\n\n And he's gone.", "ELIAS\n The cops made you give them somebody. \n We know it.", "Hernandez comes out of a bodega with groceries, wine and a \n woman. He nuzzles her as he lets her into his car. As he's", "Barbosa, Gopher with Hernandez, Taft's partner. Now we know \n Hernandez is corrupt: that's how they knew Eddie was talking.", "Stevens looks at Carmen who giggles. He's humiliated by his \n own temper, attempts to calm himself. Terry puts a sympathetic \n hand on his shoulder.\n\n DISSOLVE TO:", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "Stevens is trying to seem interested in Carmen's little \n drawings.\n\n STEVENS\n They're real nice, honey. Is that a \n horse?", "HERNANDEZ\n (whispering into radio)\n Here they are. Nobody move until we \n see the green suitcase.\n\n EXT. PARKING LOT - NIGHT", "STEVENS\n He keeps looking for his back-up. \n Now, the other guy knows it, too.\n\n CARVER\n Then why's he taking him to the room?" ], [ "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "CARVER\n You can tell he's a cop?\n\n Stevens laughs: it's obvious.", "A SHOTGUN BLAST. Joe Stevens' guts splatter onto the car \n windshield. A look of terrible amazement; he sinks to his \n knees.", "He says it pleasantly, without belligerence. Carver smiles: \n he's found his man. He offers his hand.", "STEVENS\n He keeps looking for his back-up. \n Now, the other guy knows it, too.\n\n CARVER\n Then why's he taking him to the room?", "CARVER\n You are. If you want to be.\n (off Stevens)\n Most undercover guys don't know what", "you decided you wouldn't be like \n that.\n (off Stevens' surprise, \n Carver grins)", "CARVER\n Thanks for coming in.\n\n Nonplussed by this cool dismissal, Winston stalks out. Carver \n picks up the next file, unfazed.", "Carver smiles, shakes his head. He likes a good joke. Hull \n punches him so hard in the stomach that he goes to his knees.", "Stevens looks at Carmen who giggles. He's humiliated by his \n own temper, attempts to calm himself. Terry puts a sympathetic \n hand on his shoulder.\n\n DISSOLVE TO:", "CARVER\n You're separated from your wife, \n she's filled for divorce. You see \n your kids every other weekend.\n\n Stevens takes a breath: this is awkward to explain.", "CARVER\n (continuing)\n I'm God, remember?\n\n He beckons him. He walks him over to a cell. Through a one-\n way window they see:", "Carver peels away fast. He's very angry, frightened, too, \n but that's hidden.\n\n CARVER\n Where the hell have you been?", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "He walks away. Still on his knees, doubled over, Carver \n whispers after him:\n\n CARVER\n Don't blow your cover.\n\n FADE OUT.", "Surprised, Carver reaches for the flask. As he does, Hull \n grabs him, pushes him out over the edge of the building, \n holds him there.", "STEVENS\n (continuing)\n Too late." ], [ "Elias hands him a key, points to a different Winnebago. Molto \n takes the key, unlocks the back: money. He signals okay to \n Guzman.", "pulls up in a Jaguar. He and Elias go through a door adjacent \n to the club.", "Money is exchanged. The money is stuffed in a satchel.\n\n INT. A LAW OFFICE - DAY", "He walks up to a dealer, makes a quick buy and keeps going. \n But he sees them and is seen.\n\n INT. AN OFFICE - NIGHT", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that.", "ELIAS\n He wouldn't.\n\n They pull into the lot of a boarded up restaurant where \n Barbosa and Chino stand outside of a limousine.", "He hands a copy to Guzman and the lawyer.", "He waves at the helicopter which goes away, kneels over Hull \n who is twitching spastically on the ground, gasping for air. \n Hernandez arrives carrying the Fed Ex envelope.", "The house lights come on revealing Ramon Gallegos as the \n only spectator in the theater. He beckons. Molto and the \n guard bring Hull and Elias down the aisle to him.", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "A satchel stuffed with money is latched, set next to another \n latched one. A third is opened, money and jewelry dumped in.\n\n EXT. STREET - NIGHT", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "Hull leads Elias to the door right past Gallegos. Their gazes \n meet again. As they go out they hear Gallegos BERATING Barbosa \n in furious Spanish.", "He closes the door, takes the money Carver gave him out from \n behind the mirror, dashes back outside. As he rushes by:", "STEVENS\n He keeps looking for his back-up. \n Now, the other guy knows it, too.\n\n CARVER\n Then why's he taking him to the room?", "HERNANDEZ\n (whispering into radio)\n Here they are. Nobody move until we \n see the green suitcase.\n\n EXT. PARKING LOT - NIGHT", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "A Technicolor Spanish melodrama is winding to its lurid end. \n A door in back opens, and a burst of daylight reveals Hull \n and Elias being brought in by a guard and met by Molto.", "ELIAS\n We have a proposal to make. We regret \n what happened to your nephew...\n\n GUZMAN\n Say what you have to say.", "steps forward out of the shadows. He is young, mid-30's, \n handsome, European features, beautifully dressed, accompanied \n by a guard we'll know as MOLTO. Someone murmurs to someone \n else:" ], [ "STEVENS\n (continuing)\n Too late.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "STEVENS\n (instantly outraged)\n He hit you?!\n (up in a fury)\n God damn it, what's he doing touching \n her? I'm gonna...", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "STEVENS\n (uncomfortable)\n I can't do that. I've got a wife and \n kids.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "Joe Jr. stares, silent; Joe Jr.'s about to hit him.\n\n JOE STEVENS\n (continuing)\n You hear me, goddam it?", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that.", "Puzzled, Hull sees the back of a suit conferring with a \n PROSECUTOR. The suit turns. It's DAVID ELIAS who smiles,", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "STEVENS\n I don't believe that.\n\n But he does.", "Hull is surprised at this news. The Judge looks to the \n Prosecutor who waives objection. Gavel.", "CARVER\n You're separated from your wife, \n she's filled for divorce. You see \n your kids every other weekend.\n\n Stevens takes a breath: this is awkward to explain.", "CARVER\n You can tell he's a cop?\n\n Stevens laughs: it's obvious.", "STEVENS\n Not grass. Not nothing. I never even \n had a drink.\n (his motto)", "STEVENS\n The nigger's the one who falls for \n your bullshit.", "Stevens is trying to seem interested in Carmen's little \n drawings.\n\n STEVENS\n They're real nice, honey. Is that a \n horse?", "STEVENS\n What were you doing with those kids?\n\n JOE-J & CARMEN\n Playing..." ], [ "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "STEVENS\n (continuing)\n Too late.", "Stevens is trying to seem interested in Carmen's little \n drawings.\n\n STEVENS\n They're real nice, honey. Is that a \n horse?", "He walks away. Still on his knees, doubled over, Carver \n whispers after him:\n\n CARVER\n Don't blow your cover.\n\n FADE OUT.", "STEVENS\n (almost a confession)\n All my life I've stayed away from \n that stuff. I've never touched drugs.", "STEVENS\n Not grass. Not nothing. I never even \n had a drink.\n (his motto)", "STEVENS\n (uncomfortable)\n I can't do that. I've got a wife and \n kids.", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "Hull reaches the steps again and starts down, keeping his \n eye on Ivy. The number ends. In the pause before the next \n one, Ivy can be seen excusing himself, heading toward the \n rear of the club.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "CARVER\n You're separated from your wife, \n she's filled for divorce. You see \n your kids every other weekend.\n\n Stevens takes a breath: this is awkward to explain.", "When everyone is gone, Hull approaches the grave. From his \n pocket, he removes the four blood-soaked bills his father \n gave him, and wedges these among the stems of flowers that \n already cover the plot.", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that.", "CARVER\n You are. If you want to be.\n (off Stevens)\n Most undercover guys don't know what", "Joe Jr. stares, silent; Joe Jr.'s about to hit him.\n\n JOE STEVENS\n (continuing)\n You hear me, goddam it?", "He barely whispers, but it's like a shout. Hull, who'd been \n avoiding his gaze, forces himself to look. Elias's humiliation \n is so profound it almost ennobles him. Finally:", "I'm God, I know everything. You wanted \n to be a good boy, so you became a \n cop. Hiding out in uniform... That's", "In all these scenes, Hull acts indifferent to the horror, \n but here the effort costs him. He masters his disgust with a \n joke." ], [ "A SHOTGUN BLAST. Joe Stevens' guts splatter onto the car \n windshield. A look of terrible amazement; he sinks to his \n knees.", "Joe Jr. stares, silent; Joe Jr.'s about to hit him.\n\n JOE STEVENS\n (continuing)\n You hear me, goddam it?", "The man dies on his feet. As he falls backward, he pulls the \n trigger, the BLAST shattering the car windows.", "STEVENS\n (continuing)\n Too late.", "Hull walks past him and out the back door. From inside we \n see Hull go down three steps, stumble in the drive and fall \n to his knees, the gun CLATTERING away from him.", "JOE STEVENS\n Fifty bucks... fifty goddam bucks.\n (looks up at his son)\n I'm sorry...", "JOE STEVENS\n Your mother okay?\n\n JOE JR.\n Yes, sir.", "They stop at a light. Joe Stevens tries to furtively snort a \n little something. He spots Joe Jr. watching.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "Meanwhile, his wife, TERRY (Southern white) has come out the \n screen door. She and Stevens bristle at each other.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "He SHOOTS him in the head. Hernandez slumps against the wheel. \n The woman screams. Molto walks away.", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that.", "As he does, Hull checks his gun, walks around behind the \n vehicle and prepares to shoot Elias in the back of the head", "Rain. Christmas lights. A rusted out '56 Lincoln rattles \n down the bleak boulevard. In it: JOE STEVENS, an angry, black", "STEVENS\n (instantly outraged)\n He hit you?!\n (up in a fury)\n God damn it, what's he doing touching \n her? I'm gonna...", "stole things.\n (laughs to himself)\n My father died when I was ten. Right \n in front of me.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information." ], [ "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "CARVER\n You are. If you want to be.\n (off Stevens)\n Most undercover guys don't know what", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "Joe Jr. stares, silent; Joe Jr.'s about to hit him.\n\n JOE STEVENS\n (continuing)\n You hear me, goddam it?", "STEVENS\n (focussed on Taft)\n Who is he?\n\n CARVER\n Charles Taft. LAPD Narcotics.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "(beat)\n I want you to come to Los Angeles on \n loan to the Justice Department as a \n federal agent. Your experience there", "CARVER\n You're separated from your wife, \n she's filled for divorce. You see \n your kids every other weekend.\n\n Stevens takes a breath: this is awkward to explain.", "CARVER\n Why'd you join the force?\n\n STEVENS\n (awkward, but felt)\n I wanted to be of use.", "CARVER\n You can tell he's a cop?\n\n Stevens laughs: it's obvious.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that.", "STEVENS\n (continuing)\n Too late.", "STEVENS\n (uncomfortable)\n I can't do that. I've got a wife and \n kids.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "JOE STEVENS\n Your mother okay?\n\n JOE JR.\n Yes, sir.", "STEVENS\n He's a snitch.", "They stop at a light. Joe Stevens tries to furtively snort a \n little something. He spots Joe Jr. watching.", "Elias studies Eddie: is he a rat? Elias hopes not, but he's \n going to find out. He hands a fat Federal Express envelope \n through the window." ], [ "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "STEVENS\n (focussed on Taft)\n Who is he?\n\n CARVER\n Charles Taft. LAPD Narcotics.", "CARVER\n You are. If you want to be.\n (off Stevens)\n Most undercover guys don't know what", "CARVER\n You can tell he's a cop?\n\n Stevens laughs: it's obvious.", "A real DRUG DEALER joins the cop. UNDERCOVER COP: \"You got \n it?\" DEALER: \"In the motel, right over here...\" The Cop's", "ON SCREEN: The figures disappear into the motel. We hear \n their voices. DEALER: \"Here, try some of it.\" UNDERCOVER", "STEVENS\n He's a snitch.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "He walks up to a dealer, makes a quick buy and keeps going. \n But he sees them and is seen.\n\n INT. AN OFFICE - NIGHT", "STORE OWNER\n (enraged, almost to \n tears)\n Fuckin' niggers... fuckin' niggers...\n\n JOE STEVENS", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that.", "STEVENS\n The nigger's the one who falls for \n your bullshit.", "STEVENS\n He's a good cop.", "Carver watches Stevens watch Taft, smiles at something.\n\n STEVENS\n But the cops aren't getting it done \n here, are they? Gotta try something \n new...", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "They stop at a light. Joe Stevens tries to furtively snort a \n little something. He spots Joe Jr. watching.", "CARVER\n Why'd you join the force?\n\n STEVENS\n (awkward, but felt)\n I wanted to be of use.", "The Dealer nods. Across the street Hull sees:\n\n A blue sedan. Taft and Hernandez. Taft gives Hull a little \n nod and grin.", "CARVER\n You're a drug dealer, John. Deal \n drugs.\n\n Hull just looks at him. Carver doesn't blink." ], [ "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "STEVENS\n (almost a confession)\n All my life I've stayed away from \n that stuff. I've never touched drugs.", "GALLEGOS\n (continuing)\n When you killed him, you bought the", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "Barbosa faces his cocaine. He tries to resist the pull, then \n yields. He does another line. It's his friend. He loves it. \n He picks up a cellular phone, dials.", "STEVENS\n (continuing)\n Too late.", "He walks up to a dealer, makes a quick buy and keeps going. \n But he sees them and is seen.\n\n INT. AN OFFICE - NIGHT", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "She produces a vial of coke, looks questioningly at Elias.\n\n ELIAS\n By all means.\n\n She draws out six lines. Elias does two.", "Eddie folded over his wounded nuts. Hernandez and Taft sit \n on crates to either side. The drugs they've taken from him \n are neatly arranged on a garbage can lid.", "Hull. Hull looks inside. White powder. He tastes. Real. He \n hefts the bag.", "They stop at a light. Joe Stevens tries to furtively snort a \n little something. He spots Joe Jr. watching.", "Those dealers not at car windows, gather around. He never \n speaks to them, goes on declaiming as he exchanges drugs for \n money.", "STEVENS\n Not grass. Not nothing. I never even \n had a drink.\n (his motto)", "He's filling glass vials with crack. Hundreds of them. It's \n tedious work. He spills some, curses. He stops. He can't", "HULL\n (to himself)\n Fifty bucks, fifty fucking bucks...\n\n ELIAS\n You sold it all?\n\n Hull nods.", "He climbs into the BMW, tosses Eddie a brown envelope; money \n spills onto his lap. Eddie does a quick count, produces the \n Fed Ex envelope. The usual white stuff.", "Stevens is trying to seem interested in Carmen's little \n drawings.\n\n STEVENS\n They're real nice, honey. Is that a \n horse?" ], [ "ELIAS\n Go fuck yourself.\n\n Barbosa laughs.\n\n HULL\n I'm with David.", "BARBOSA\n He's crazy, David. I thought you \n were the crazy one, but it's him.\n\n Hull puts the gun to Barbosa's head, addresses Chino:", "BARBOSA\n (taunting)\n Nobody said you had to do the dirty \n work, David. I'll take care of --", "ELIAS\n (to Barbosa)\n Get out of the car.\n\n He starts to open the door.\n\n HULL\n David, not now.", "BARBOSA\n We've got a problem, David.\n\n ELIAS\n Call me on the phone.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "Three men: FELIX BARBOSA (whose photo we saw in Carver's \n office). Barbosa is a veteran of the coke business, but he's", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "BARBOSA\n David, you're awake, I'm impressed... \n I'm sorry about what happened...", "Puzzled, Hull sees the back of a suit conferring with a \n PROSECUTOR. The suit turns. It's DAVID ELIAS who smiles,", "BARBOSA\n You should kill a man some day, David, \n it's liberating...\n (walking out)", "He comes down the stairs, offers his hand. Elias will never \n forget about it, but he silently takes the hand, holds them \n in his own bloody paws, looking directly into Barbosa's face.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "Carver produces a photo of a handsome Latin in his 50s, pins \n it on the board above Elias.\n\n CARVER\n Barbosa, Felix.", "Barbosa becomes uneasy, manages to extract his hand. Elias \n and Hull continue down and out the door. Gopher gushes to \n Barbosa.", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "ELIAS\n (amused, jealous)\n Having fun?\n (neither answers; to \n Hull)\n I talked to Barbosa. He'll see us \n now.", "BARBOSA\n (continuing)\n They busted him, and he's dealing to \n save his ass.", "Elias covers Barbosa's hands. Barbosa tenses. Elias holds \n firm, and Barbosa quickly slaps both hands, hard. Elias \n doubles over, holding his hands in pain.", "BARBOSA\n Six... seven...\n (to Elias)\n You want to do it, David?" ], [ "EDDIE\n Felix, I need time. I --\n\n BARBOSA\n One... two...", "As if it were a fly bite, Barbosa flings the table aside \n and, with a long knife already in his hand, guts Eddie from \n groin to breast bone. Eddie falls like a suddenly emptied \n sack.", "BARBOSA\n Piece of shit!\n\n Elias stares at Eddie's body, transfixed. Horrified, \n fascinated, afraid, in awe. Barbosa turns to Hull.", "EDDIE\n Never.\n (turns to Barbosa)\n Never, Felix, never. Come on, man, \n you know I'd never...", "BARBOSA\n Why? You don't owe me anything.\n\n EDDIE\n Another twenty-six grand... Just to \n show you... Fifty.", "Barbosa's impassive.\n\n EDDIE\n (continuing)\n Okay, a hundred.\n\n BARBOSA\n Give it.", "EDDIE\n Dudley, Dudley, Fo-Fudley...\n\n ELIAS\n Surprised to see him, Eddie?", "BARBOSA\n Why not a hundred?\n\n EDDIE\n (that's so much)\n A hundred??? Felix...", "EDDIE\n Tomorrow. Twenty-four hours.\n\n BARBOSA\n Now. Ten seconds.", "BARBOSA\n He's crazy, David. I thought you \n were the crazy one, but it's him.\n\n Hull puts the gun to Barbosa's head, addresses Chino:", "Carver produces a photo of a handsome Latin in his 50s, pins \n it on the board above Elias.\n\n CARVER\n Barbosa, Felix.", "EDDIE\n (continuing)\n How you doin', Dudley...\n\n Tries to remember name.\n\n HULL\n John.", "GALLEGOS\n (continuing)\n When you killed him, you bought the", "EDDIE\n He's no cop, David. He's an animal. \n You see his eyes? You never see a", "BARBOSA\n You should kill a man some day, David, \n it's liberating...\n (walking out)", "ELIAS\n Go fuck yourself.\n\n Barbosa laughs.\n\n HULL\n I'm with David.", "He brings up the gun and SHOOTS Gallegos in the head.", "EDDIE\n My man, Dudley, he's so fud-ley...", "He SHOOTS him in the head. Hernandez slumps against the wheel. \n The woman screams. Molto walks away.", "EDDIE\n (sadly)\n He done done, ain't he?\n\n EXT. LEWAZZ - NIGHT" ], [ "GUZMAN\n (continuing; anger)\n You set this up.\n\n HULL\n They're after us, not you.", "Hernandez jumps out of an unmarked and races after him. Taft \n speeds the car out onto the street.\n\n HULL", "CARVER\n (continuing)\n I told you, Gallegos's uncle is a \n big deal down there.\n\n HULL\n Guzman.", "Hull is stunned he did it. And this finally attracts the \n police who see a black man with a gun who just shot a white \n man.", "A long look between them, broken when Elias takes Hull's \n arm, leads him away. Elias cheerfully greets a couple of \n hookers waiting arraignment. Hull furtively grabs his sleeve.", "He pulls at Hull who won't go. Hull does mouth-to-mouth. \n Taft opens his eyes, looks up at him.", "of him. However, his uncle is Hector \n Guzman, an important Latin American \n political figure. Gallegos uses", "ELIAS\n I had him!\n\n HULL\n You want to kill a cop?? Don't be \n stupid.\n\n The limo speeds away.", "If Gallegos got busted here, it would \n hurt Guzman's political career there. \n It's politics, John, not drugs.", "HULL\n Oh, Jesus, no...\n\n He drops to his knees. Blood oozes from Taft's chest.", "He waves at the helicopter which goes away, kneels over Hull \n who is twitching spastically on the ground, gasping for air. \n Hernandez arrives carrying the Fed Ex envelope.", "HULL\n (continuing)\n You're protecting him. You're \n protecting Gallegos.\n\n Carver snorts: ridiculous.", "ELIAS\n (beat; watches him)\n Eddie, forget this guy, he's a cop.\n\n He gets up, walks away.\n\n ON HULL", "Cops push through to the body. As the crowd disperses, Hull \n can't take his eyes off the boy. When he finally does, he", "But Taft clearly thinks there's something different about \n Hull. He's not sure what, but it troubles him. (NOTE: Hull", "He SHOOTS him in the head. Hernandez slumps against the wheel. \n The woman screams. Molto walks away.", "He puts a gun to Taft's head and FIRES. In a reflex, Hull \n draws his own gun, SHOOTS Elias in the stomach. Stunned, he", "The Dealer nods. Across the street Hull sees:\n\n A blue sedan. Taft and Hernandez. Taft gives Hull a little \n nod and grin.", "GALLEGOS\n (continuing)\n When you killed him, you bought the", "As he does, Hull checks his gun, walks around behind the \n vehicle and prepares to shoot Elias in the back of the head" ], [ "Stevens is trying to seem interested in Carmen's little \n drawings.\n\n STEVENS\n They're real nice, honey. Is that a \n horse?", "Embarrassed, she looks away. He takes her hand, and at his \n touch something yields to her. She lets him draw her to him.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "He hugs her, kisses her, much more openly affectionate than \n Hull was with his own children. Hull notices that.", "STEVENS\n (continuing)\n Too late.", "STEVENS\n (instantly outraged)\n He hit you?!\n (up in a fury)\n God damn it, what's he doing touching \n her? I'm gonna...", "Meanwhile, his wife, TERRY (Southern white) has come out the \n screen door. She and Stevens bristle at each other.", "STEVENS\n I don't believe that.\n\n But he does.", "chemistry. He's struck. Her features open, grow sensual for \n a moment, but then, as if seeing something she doesn't like,", "STEVENS\n Not grass. Not nothing. I never even \n had a drink.\n (his motto)", "STEVENS\n (almost a confession)\n All my life I've stayed away from \n that stuff. I've never touched drugs.", "Over her shoulder he sees Terry sitting with a subdued Joe-\n J. Her face seems to say, \"See, I told you...\" Avoiding this \n accusation, Stevens notices a bruise on Carmen's arm.", "Through the door we see him emerge from a bedroom stepping \n into his loafers, buttoning his shirt. He gives the woman \n along, dark kiss, caressing her body.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "CARVER\n You're separated from your wife, \n she's filled for divorce. You see \n your kids every other weekend.\n\n Stevens takes a breath: this is awkward to explain.", "His kiss is strangely tender, searching. It turns Betty on \n incredibly. She melts into him.", "Stevens looks at Carmen who giggles. He's humiliated by his \n own temper, attempts to calm himself. Terry puts a sympathetic \n hand on his shoulder.\n\n DISSOLVE TO:", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that." ], [ "Elias hands him a key, points to a different Winnebago. Molto \n takes the key, unlocks the back: money. He signals okay to \n Guzman.", "Hull starts to place stacks of cash in a briefcase. He's \n momentarily mesmerized by all the money.", "GALLEGOS\n (continuing)\n When you killed him, you bought the", "GALLEGOS\n (continuing)\n Felix owed me one million eight \n hundred thousand dollars.\n\n He addresses this to Hull; Elias feels left out.", "Molto just glares at him. Elias smiles, takes the shoes and \n socks and all the contents of Molto's into the Winnebago, \n and he and Hull drive away, leaving the car behind.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "JOE STEVENS\n Fifty bucks... fifty goddam bucks.\n (looks up at his son)\n I'm sorry...", "A satchel stuffed with money is latched, set next to another \n latched one. A third is opened, money and jewelry dumped in.\n\n EXT. STREET - NIGHT", "Hull looking into the trunk. Elias is beat.\n\n HULL\n Where the hell is all the money? \n We're still a million short.", "Winnebago. With a tire iron, Hull snaps off the padlock that \n holds the rear door closed. He opens the door. Money gushes \n out. He slams it closed.", "He closes the door, takes the money Carver gave him out from \n behind the mirror, dashes back outside. As he rushes by:", "He brings up the gun and SHOOTS Gallegos in the head.", "Gallegos is stern for a moment, then laughs.\n\n GALLEGOS\n Big brass balls. Collecting money \n makes you strong.", "He throws the money in the limo truck, slams the lid. He's \n running the show now, and everyone knows it. He's winging \n it, but confident and strangely calm.", "HULL\n (to himself)\n Fifty bucks, fifty fucking bucks...\n\n ELIAS\n You sold it all?\n\n Hull nods.", "HULL\n Something's wrong. What's that van \n doing there?\n\n Everyone looks. They can barely see the van. Hull pulls a \n gun.", "At the last instant, the van swerves away, but:\n\n ELIAS AIMING AT TAFT\n\n Taft sees the gun too late. He can do nothing.", "HERNANDEZ\n (whispering into radio)\n Here they are. Nobody move until we \n see the green suitcase.\n\n EXT. PARKING LOT - NIGHT", "A car SQUEALS to a stop. Molto and three thugs smash through \n the glass door. They disappear into the store where things", "INT. VAN - NIGHT\n\n Taft hurling Hernandez against the wall.\n\n TAFT\n Goddam it, what the hell are you \n doing?" ], [ "GALLEGOS\n (continuing)\n When you killed him, you bought the", "GALLEGOS\n (continuing)\n Felix owed me one million eight \n hundred thousand dollars.\n\n He addresses this to Hull; Elias feels left out.", "Joe Jr. stares, silent; Joe Jr.'s about to hit him.\n\n JOE STEVENS\n (continuing)\n You hear me, goddam it?", "HULL\n It isn't one eight.\n (off Gallegos)\n It's a million one. That's all Barbosa \n owed, it's all we're paying.", "ELIAS\n (continuing)\n We've still got the money. We put it", "Hull leads Elias to the door right past Gallegos. Their gazes \n meet again. As they go out they hear Gallegos BERATING Barbosa \n in furious Spanish.", "Gallegos is stern for a moment, then laughs.\n\n GALLEGOS\n Big brass balls. Collecting money \n makes you strong.", "CARVER\n He vanished, thank God, or we'd both \n be in deep doo-doo. At least you got \n Gallegos.", "JOE STEVENS\n Fifty bucks... fifty goddam bucks.\n (looks up at his son)\n I'm sorry...", "He brings up the gun and SHOOTS Gallegos in the head.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "Everybody relaxes. Gallegos scribbles something on a piece \n of paper, hands it to the guard who feeds it into a fax \n machine.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "CARVER\n (continuing)\n How're we coming on Gallegos?", "HULL\n (uncomprehending)\n I'm going to have Gallegos in two \n days.\n\n Carver says nothing. Suddenly Hull understands.", "HULL\n (continuing)\n You're protecting him. You're \n protecting Gallegos.\n\n Carver snorts: ridiculous.", "Elias hands him a key, points to a different Winnebago. Molto \n takes the key, unlocks the back: money. He signals okay to \n Guzman.", "GALLEGOS\n (smiles)\n You're tougher than I thought, but \n not that tough.\n\n ELIAS\n How tough is enough?", "GALLEGOS\n So, how can I express my gratitude \n for a job well done?\n\n ELIAS\n We want Barbosa's business.", "HULL\n Don't be a shmuck, Gerry. I'm talking \n to Gallegos. I'm collecting his money." ], [ "Joe Jr. stares, silent; Joe Jr.'s about to hit him.\n\n JOE STEVENS\n (continuing)\n You hear me, goddam it?", "stole things.\n (laughs to himself)\n My father died when I was ten. Right \n in front of me.", "JOE STEVENS\n Your mother okay?\n\n JOE JR.\n Yes, sir.", "A SHOTGUN BLAST. Joe Stevens' guts splatter onto the car \n windshield. A look of terrible amazement; he sinks to his \n knees.", "JOE STEVENS\n Fifty bucks... fifty goddam bucks.\n (looks up at his son)\n I'm sorry...", "They stop at a light. Joe Stevens tries to furtively snort a \n little something. He spots Joe Jr. watching.", "STEVENS\n (continuing)\n Too late.", "CARVER\n You're separated from your wife, \n she's filled for divorce. You see \n your kids every other weekend.\n\n Stevens takes a breath: this is awkward to explain.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "CARVER\n What's to understand? You saw your \n father killed when you were ten, and", "JOE STEVENS\n (continuing; charged \n up)\n What do you want for Christmas?\n\n JOE JR.\n I don't know.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "at his father and the store owner, dead together. ON HIS \n EYES:", "His father comes out the door clutching money in one hand. \n He strides toward the car with a reckless pride. He doesn't \n notice:\n\n The liquor store door opens behind him.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "Rain. Christmas lights. A rusted out '56 Lincoln rattles \n down the bleak boulevard. In it: JOE STEVENS, an angry, black", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "The man dies on his feet. As he falls backward, he pulls the \n trigger, the BLAST shattering the car windows.", "STEVENS\n (instantly outraged)\n He hit you?!\n (up in a fury)\n God damn it, what's he doing touching \n her? I'm gonna...", "Hull walks past him and out the back door. From inside we \n see Hull go down three steps, stumble in the drive and fall \n to his knees, the gun CLATTERING away from him." ], [ "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "CARVER\n You are. If you want to be.\n (off Stevens)\n Most undercover guys don't know what", "STEVENS\n (focussed on Taft)\n Who is he?\n\n CARVER\n Charles Taft. LAPD Narcotics.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "ON SCREEN: The figures disappear into the motel. We hear \n their voices. DEALER: \"Here, try some of it.\" UNDERCOVER", "STEVENS\n He's a snitch.", "A real DRUG DEALER joins the cop. UNDERCOVER COP: \"You got \n it?\" DEALER: \"In the motel, right over here...\" The Cop's", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "(beat)\n I want you to come to Los Angeles on \n loan to the Justice Department as a \n federal agent. Your experience there", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "He waves at the helicopter which goes away, kneels over Hull \n who is twitching spastically on the ground, gasping for air. \n Hernandez arrives carrying the Fed Ex envelope.", "Elias studies Eddie: is he a rat? Elias hopes not, but he's \n going to find out. He hands a fat Federal Express envelope \n through the window.", "CARVER\n That's the drug game. Plus a change... \n I want you to come back to work for", "He walks up to a dealer, makes a quick buy and keeps going. \n But he sees them and is seen.\n\n INT. AN OFFICE - NIGHT", "BARBOSA\n (continuing)\n They busted him, and he's dealing to \n save his ass.", "CARVER\n You can tell he's a cop?\n\n Stevens laughs: it's obvious.", "ELIAS\n And, also, your business. All this. \n Your money, your dope, everything.\n\n Hull looks at Elias; what's going on?", "STEVENS\n (uncomfortable)\n I can't do that. I've got a wife and \n kids.", "STEVENS\n (continuing)\n Who's John Hull?" ], [ "GALLEGOS\n (continuing)\n Felix owed me one million eight \n hundred thousand dollars.\n\n He addresses this to Hull; Elias feels left out.", "GALLEGOS\n (continuing)\n When you killed him, you bought the", "Molto just glares at him. Elias smiles, takes the shoes and \n socks and all the contents of Molto's into the Winnebago, \n and he and Hull drive away, leaving the car behind.", "He closes the door, takes the money Carver gave him out from \n behind the mirror, dashes back outside. As he rushes by:", "Elias hands him a key, points to a different Winnebago. Molto \n takes the key, unlocks the back: money. He signals okay to \n Guzman.", "HULL\n (to himself)\n Fifty bucks, fifty fucking bucks...\n\n ELIAS\n You sold it all?\n\n Hull nods.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "Gallegos is stern for a moment, then laughs.\n\n GALLEGOS\n Big brass balls. Collecting money \n makes you strong.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "stole things.\n (laughs to himself)\n My father died when I was ten. Right \n in front of me.", "Hull doesn't answer, collects the rest of his things, \n including the bloody money, stuffs it back in the envelope.", "HULL\n It isn't one eight.\n (off Gallegos)\n It's a million one. That's all Barbosa \n owed, it's all we're paying.", "Hull reaches the steps again and starts down, keeping his \n eye on Ivy. The number ends. In the pause before the next \n one, Ivy can be seen excusing himself, heading toward the \n rear of the club.", "He throws the money in the limo truck, slams the lid. He's \n running the show now, and everyone knows it. He's winging \n it, but confident and strangely calm.", "Hull looking into the trunk. Elias is beat.\n\n HULL\n Where the hell is all the money? \n We're still a million short.", "Hull starts to place stacks of cash in a briefcase. He's \n momentarily mesmerized by all the money.", "HERNANDEZ\n I just want money.\n\n And he's gone.", "Money is exchanged. The money is stuffed in a satchel.\n\n INT. A LAW OFFICE - DAY", "ELIAS\n (continuing)\n We've still got the money. We put it", "Hull leads Elias to the door right past Gallegos. Their gazes \n meet again. As they go out they hear Gallegos BERATING Barbosa \n in furious Spanish." ], [ "HULL\n You're a lawyer??\n\n ELIAS\n I'm your lawyer.\n\n HULL\n Who hired you?", "STEVENS\n (instantly outraged)\n He hit you?!\n (up in a fury)\n God damn it, what's he doing touching \n her? I'm gonna...", "Hull is listening to this when a BAILIFF taps his shoulder.\n\n BAILIFF\n You've got counsel. Over there.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "STEVENS\n (continuing)\n Too late.", "Puzzled, Hull sees the back of a suit conferring with a \n PROSECUTOR. The suit turns. It's DAVID ELIAS who smiles,", "CARVER\n You can tell he's a cop?\n\n Stevens laughs: it's obvious.", "GERALD CARVER, 36, an ambitious government lawyer with a \n relaxed, vaguely hip manner, looks over the file of the \n ingratiating BLACK OFFICER sitting across the desk from him.", "Money is exchanged. The money is stuffed in a satchel.\n\n INT. A LAW OFFICE - DAY", "GOPHER\n Oh Gawd...\n\n BARBOSA\n How about a lawyer?", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "Stevens looks at Carmen who giggles. He's humiliated by his \n own temper, attempts to calm himself. Terry puts a sympathetic \n hand on his shoulder.\n\n DISSOLVE TO:", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "STEVENS\n He's a snitch.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "Joe Jr. stares, silent; Joe Jr.'s about to hit him.\n\n JOE STEVENS\n (continuing)\n You hear me, goddam it?", "He hands a copy to Guzman and the lawyer.", "A well-dressed lawyer (30's) talking with clients, a \n distinguished couple in their 60's.", "CARVER\n You're separated from your wife, \n she's filled for divorce. You see \n your kids every other weekend.\n\n Stevens takes a breath: this is awkward to explain." ], [ "Stevens is trying to seem interested in Carmen's little \n drawings.\n\n STEVENS\n They're real nice, honey. Is that a \n horse?", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "STEVENS\n (continuing)\n Too late.", "He hugs her, kisses her, much more openly affectionate than \n Hull was with his own children. Hull notices that.", "Meanwhile, his wife, TERRY (Southern white) has come out the \n screen door. She and Stevens bristle at each other.", "STEVENS\n (instantly outraged)\n He hit you?!\n (up in a fury)\n God damn it, what's he doing touching \n her? I'm gonna...", "Over her shoulder he sees Terry sitting with a subdued Joe-\n J. Her face seems to say, \"See, I told you...\" Avoiding this \n accusation, Stevens notices a bruise on Carmen's arm.", "STEVENS\n What were you doing with those kids?\n\n JOE-J & CARMEN\n Playing...", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "Stevens looks at Carmen who giggles. He's humiliated by his \n own temper, attempts to calm himself. Terry puts a sympathetic \n hand on his shoulder.\n\n DISSOLVE TO:", "Stevens parks outside a small, well-maintained house. As he \n gets out, he spots a GROUP OF KIDS (black and Hispanic) \n playing down the street. He's not pleased about that.", "CARVER\n You're separated from your wife, \n she's filled for divorce. You see \n your kids every other weekend.\n\n Stevens takes a breath: this is awkward to explain.", "STEVENS\n (calls to them)\n Joe-J, Carmen...", "Embarrassed, she looks away. He takes her hand, and at his \n touch something yields to her. She lets him draw her to him.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "STEVENS\n I don't believe that.\n\n But he does.", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "Hernandez comes out of a bodega with groceries, wine and a \n woman. He nuzzles her as he lets her into his car. As he's", "STEVENS\n (displeased)\n Your mom lets you play with them?\n\n JOE-J & CARMEN\n Yes, sir... Yes, sir." ], [ "GALLEGOS\n (continuing)\n Felix owed me one million eight \n hundred thousand dollars.\n\n He addresses this to Hull; Elias feels left out.", "When everyone is gone, Hull approaches the grave. From his \n pocket, he removes the four blood-soaked bills his father \n gave him, and wedges these among the stems of flowers that \n already cover the plot.", "HULL\n (to himself)\n Fifty bucks, fifty fucking bucks...\n\n ELIAS\n You sold it all?\n\n Hull nods.", "ELIAS\n Felix, if he's a problem, we'll kill \n him. I'll kill him myself.", "I like to be among the dead. They \n never interrupt you.\n (turning to them)\n Felix Barbosa started out as a skinny", "HULL\n It isn't one eight.\n (off Gallegos)\n It's a million one. That's all Barbosa \n owed, it's all we're paying.", "HERNANDEZ\n I just want money.\n\n And he's gone.", "Hull looking into the trunk. Elias is beat.\n\n HULL\n Where the hell is all the money? \n We're still a million short.", "BARBOSA\n Why not a hundred?\n\n EDDIE\n (that's so much)\n A hundred??? Felix...", "EDDIE\n Felix, no. Don't be... I'm worth \n money to you. Let me give you money.", "GALLEGOS\n (continuing)\n When you killed him, you bought the", "debt; now you owe it to me; you get \n to keep thirty percent, like he did. \n You have three days.", "ELIAS\n (continuing)\n We've still got the money. We put it", "daughter, had to die because that's \n the rule. And you were vulgar about \n my wife, Felix, so at the very least", "GOPHER\n I told you everyone. Everyone who \n owed him, everyone he... One eight? \n He's lying. Barbosa barely owed him \n a million.", "Hull doesn't answer, collects the rest of his things, \n including the bloody money, stuffs it back in the envelope.", "He leaves. Hull turns to Betty who is still holding the photo \n of his children. He gently takes it, looks at it, seems to \n draw both succor and pain from it.", "(off Hull's shock)\n Or maybe four thousand. I couldn't \n give up my boy for less than four \n thousand...", "Hull reaches the steps again and starts down, keeping his \n eye on Ivy. The number ends. In the pause before the next \n one, Ivy can be seen excusing himself, heading toward the \n rear of the club.", "stole things.\n (laughs to himself)\n My father died when I was ten. Right \n in front of me." ], [ "He SHOOTS him in the head. Hernandez slumps against the wheel. \n The woman screams. Molto walks away.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "A SHOTGUN BLAST. Joe Stevens' guts splatter onto the car \n windshield. A look of terrible amazement; he sinks to his \n knees.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "Joe Jr. stares, silent; Joe Jr.'s about to hit him.\n\n JOE STEVENS\n (continuing)\n You hear me, goddam it?", "STEVENS\n (continuing)\n Too late.", "And she disappears into the night. Elias watches her go. \n Hull resumes driving.\n\n ELIAS\n She knows too much. We have to kill \n her.", "GALLEGOS\n (continuing)\n When you killed him, you bought the", "STEVENS\n (instantly outraged)\n He hit you?!\n (up in a fury)\n God damn it, what's he doing touching \n her? I'm gonna...", "STEVENS\n What were you doing with those kids?\n\n JOE-J & CARMEN\n Playing...", "puts it in the underside of Ivy's jaw and SHOOTS twice. Ivy's \n brains spray upward onto the wall, and he slides straight to", "As he does, Hull checks his gun, walks around behind the \n vehicle and prepares to shoot Elias in the back of the head", "He puts a gun to Taft's head and FIRES. In a reflex, Hull \n draws his own gun, SHOOTS Elias in the stomach. Stunned, he", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "He brings up the gun and SHOOTS Gallegos in the head.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "STEVENS\n He keeps looking for his back-up. \n Now, the other guy knows it, too.\n\n CARVER\n Then why's he taking him to the room?", "STEVENS\n (uncomfortable)\n I can't do that. I've got a wife and \n kids.", "HULL\n (distraught)\n He's dying.\n\n ELIAS\n Let him die. Let him die twice. Come \n one.", "MCCUTCHEON\n (appalled)\n About what?\n\n ELIAS\n He said I should kill a man. He was \n right." ], [ "Elias hands him a key, points to a different Winnebago. Molto \n takes the key, unlocks the back: money. He signals okay to \n Guzman.", "ELIAS\n We're prepared to give you 80% of \n the money. The remainder you invest \n in our business with proceeds paid \n out according to the figures there.", "ELIAS\n We have a proposal to make. We regret \n what happened to your nephew...\n\n GUZMAN\n Say what you have to say.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "Joe Jr. stares, silent; Joe Jr.'s about to hit him.\n\n JOE STEVENS\n (continuing)\n You hear me, goddam it?", "He hands a copy to Guzman and the lawyer.", "JOE STEVENS\n Fifty bucks... fifty goddam bucks.\n (looks up at his son)\n I'm sorry...", "GALLEGOS\n (continuing)\n Felix owed me one million eight \n hundred thousand dollars.\n\n He addresses this to Hull; Elias feels left out.", "HULL\n (to himself)\n Fifty bucks, fifty fucking bucks...\n\n ELIAS\n You sold it all?\n\n Hull nods.", "STEVENS\n (uncomfortable)\n I can't do that. I've got a wife and \n kids.", "Barbosa's impassive.\n\n EDDIE\n (continuing)\n Okay, a hundred.\n\n BARBOSA\n Give it.", "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "BARBOSA\n Why? You don't owe me anything.\n\n EDDIE\n Another twenty-six grand... Just to \n show you... Fifty.", "BARBOSA\n Why not a hundred?\n\n EDDIE\n (that's so much)\n A hundred??? Felix...", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "GUZMAN\n (to Molto, teasing \n Elias)\n The racist Americans just want to \n cut us poor Hispanics out of the \n market.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "STEVENS\n (displeased)\n Your mom lets you play with them?\n\n JOE-J & CARMEN\n Yes, sir... Yes, sir.", "HULL\n It isn't one eight.\n (off Gallegos)\n It's a million one. That's all Barbosa \n owed, it's all we're paying." ], [ "STEVENS\n (why else?)\n To rip him off.\n\n Carver studies Stevens in the darkness, impressed.", "STEVENS\n What does he have to do?\n\n CARVER\n Buy drugs. Sell drugs. Feed me \n information.", "Joe Stevens watches Carver reading his file and waiting for \n an answer. When none is forthcoming, Carver glances up, finds \n Stevens looking right back at him.", "CARVER\n Betty walked out of court free this \n morning. That's my side of the deal.", "Stevens raises his eyebrows: what?\n\n CARVER\n (continuing)\n Don't blow your cover.", "Hull drives off, leaving Carver alone on the roof.\n\n INT. BETTY'S APARTMENT - NIGHT\n\n She lets him in, sees the distress in his face.", "CARVER\n You're separated from your wife, \n she's filled for divorce. You see \n your kids every other weekend.\n\n Stevens takes a breath: this is awkward to explain.", "He snatches away the photo, but not before Betty sees it. \n She reaches out her hand. He reluctantly turns it over to \n her.", "Carver hands him the scores which are, of course, just \n clusters of numbers. Stevens is upset, though oddly \n unsurprised, as if this only confirmed his secret fears.", "He laughs. They begin to make love again. Suddenly: AN EXTRA \n HAND stroking Betty's hair. She gasps. A gun in Hull's ear. \n Another in her face. Guns all around.", "CARVER\n You stay away. We're going to take \n them down.\n\n HULL\n Who? Elias and Betty? Don't be silly.", "GERALD CARVER, 36, an ambitious government lawyer with a \n relaxed, vaguely hip manner, looks over the file of the \n ingratiating BLACK OFFICER sitting across the desk from him.", "STEVENS\n (continuing)\n What happened to you there, baby?\n\n CARMEN\n Tito did it.", "CARVER\n You are. If you want to be.\n (off Stevens)\n Most undercover guys don't know what", "Hull puts the satchel on a display case. Betty still won't \n look at him, opens the satchel, begins a quick count. She \n does this with a speed and sureness that suggests high test \n scores.", "His kiss is strangely tender, searching. It turns Betty on \n incredibly. She melts into him.", "Hull jacked up, excited, pleased with himself. As he paces, \n Carver observes his beautiful suit, shoes, expensive watch. \n He looks much better than Carver.", "CARVER\n You can tell he's a cop?\n\n Stevens laughs: it's obvious.", "STEVENS\n He keeps looking for his back-up. \n Now, the other guy knows it, too.\n\n CARVER\n Then why's he taking him to the room?", "CARVER\n Go back to work, she walks out of \n here. Otherwise, she's up on multiple \n counts, and I'll see to it the judge \n runs them consecutively." ], [ "GALLEGOS\n (continuing)\n When you killed him, you bought the", "CARVER\n (continuing)\n I told you, Gallegos's uncle is a \n big deal down there.\n\n HULL\n Guzman.", "If Gallegos got busted here, it would \n hurt Guzman's political career there. \n It's politics, John, not drugs.", "He brings up the gun and SHOOTS Gallegos in the head.", "but Gallegos will approach me soon \n on his own. We're going to get him, \n Gerry. We're going to bring him and", "HULL\n Eddie something... a motormouth... \n he supplies the street dealers... \n buys from him...", "HULL\n I do. We've got a bigger territory, \n we need more product. I want to deal \n directly with Gallegos. It would \n save us money.", "of him. However, his uncle is Hector \n Guzman, an important Latin American \n political figure. Gallegos uses", "Everybody relaxes. Gallegos scribbles something on a piece \n of paper, hands it to the guard who feeds it into a fax \n machine.", "more... interesting.\n (sits back)\n There's a man named Ramon Gallegos \n who supplies 60% of the cocaine to", "Gallegos is stern for a moment, then laughs.\n\n GALLEGOS\n Big brass balls. Collecting money \n makes you strong.", "HULL\n (imploring)\n I'll get him something. Give me ten \n days, and I'll get him Gallegos on a \n plate.", "SOMEONE\n Gallegos...\n\n Hull reacts. Their eyes meet.", "GALLEGOS\n So, how can I express my gratitude \n for a job well done?\n\n ELIAS\n We want Barbosa's business.", "GALLEGOS\n (smiles)\n You're tougher than I thought, but \n not that tough.\n\n ELIAS\n How tough is enough?", "Hull leads Elias to the door right past Gallegos. Their gazes \n meet again. As they go out they hear Gallegos BERATING Barbosa \n in furious Spanish.", "CARVER\n (continuing)\n How're we coming on Gallegos?", "The Dealer nods. Across the street Hull sees:\n\n A blue sedan. Taft and Hernandez. Taft gives Hull a little \n nod and grin.", "Gallegos gestures to Molto to give them the guns.\n\n GALLEGOS\n Done. Of course.", "HULL\n (uncomprehending)\n I'm going to have Gallegos in two \n days.\n\n Carver says nothing. Suddenly Hull understands." ] ]

[ "Why is Stevens selected to go undercover?", "Why is Steven's arrainment dismissed?", "Who was working for the LAPD that is killed by Felix?", "What serves as a money-laundering front?", "Who gives up Stevens to Detective Hernandez?", "What does Stevens discover after disarming Carver?", "Where do Stevens and Jason meet with Guzman to exchange money?", "Whose prosecution does Stevens prevent?", "What secret is Stevens hiding from everyone at the end?", "How does Russell Stevens, Sr. die?", "What agency recruits Russell Stevens, Jr.?", "What name does Officer Stevens use when he goes undercover as a drug dealer?", "What did Stevens learn he had actually purchased instead of cocaine?", "What did David Jason do when Stevens exposed Felix Barbossa as an informant?", "Why did Felix Barbossa kill Eddie Dudley?", "Why did Detective Tate not arrest Hector Guzman?", "Who does Stevens develop a romantic relationship with?", "How much money was in the van that Stevens and Jason stole from Gallagos?", "How much of Gallegos' money did Rusell Stevens Jr secretly keep?", "How did Russell Stevens Jr.'s father died?", "Who contacted Russell Steven's about undercover work with the DEA?", "How much of Gallago's money did Steven's secretly take?", "Who was Steven's self appointed lawyer?", "Who was Steven's romatically involved with?", "How much debt did Felix leave behind?", "Who did Stevens and Jason kill to avoid death?", "What percentage of the stolen money did Jason and Stevens agree to return to Guzman?", "What charge did Carver threatened to place on Betty to gain leverage with Stevens?", "Who is Gallegos' low-level street supplier?" ]

[ [ "Because of his criminal-like traits he possesses", "Considering his criminal-like character traits." ], [ "Because he was sold baby laxative instead of cocaine", "He was sold mannitol instead of drugs." ], [ "Eddie", "Eddie" ], [ "An art dealership.", "An art dealership." ], [ "Felix", "Felix." ], [ "That Gallegos and Guzman are being left alone by the State Department", "The State Department does not plan to arrest Gallegos and Guzman" ], [ "In a shipyard", "in a shipyard" ], [ "Betty's", "Betty McCutcheon's." ], [ "That he has 11 million of Gallego's money secretly stored away", "He has $11 million of Gallegos' money." ], [ "He is killed while robbing a liquor store.", "He is killed when he robs a liquor store." ], [ "DEA", "The DEA." ], [ "John Hull", "John Hull" ], [ "Mannitol - baby laxative", "\"Baby laxative\"-mannitol" ], [ "David Jason killed Felix Barbossa", "Kill Felix" ], [ "He found out Eddie was working for the LAPD", "Eddie was working with the police" ], [ "Hector Guzman had diplomatic status", "Because of Hector's diplomatic status." ], [ "Betty McCutcheon", "Betty McCutcheon." ], [ "Over $100 million", "$100 million" ], [ "$11 million", "11 million" ], [ "Killed during robbery", "He was killed while robbing a liquor store." ], [ "Special Agent Gerald Carver", "Gerald Carver." ], [ "11 million dollars", "$11 million." ], [ "David Jason", "David Jason." ], [ "Betty McCutcheon", "Betty McCutcheon" ], [ "1.8 million dollars", "$1.8 million" ], [ "Anton Gallegos", "Gallegos" ], [ "80%", "80." ], [ "Several Bank fraud violations", "Bank fraud." ], [ "Eddie Dudley", "Eddie Dudley." ] ]

[ [ "JAY CLIFFORD, Marie's chisel-jawed stepfather in his late\n thirties, focuses a DIGITAL VIDEO CAMERA on Marie from the front", "even help Jay. Remember your loving\n stepfather? You want to help him, don't\n you?\n \n MARIE", "Marie makes her way down the sleek white corridors inside the\n opulent Clifford Mansion, past framed family photos, of Jay, Marie\n and the late Julie...", "Jay stands, shakes Morrison's hand.\n \n MORRISON\n (to Marie)\n Would you mind waiting outside while me", "Beside her, Marie lies dead, her chest a gaping crimson mess,\n Jay's gun still clutched tightly in her cold, dead hands.", "MARIE\n Jay?\n H\n e's nowhere to be found. Frustrated, Marie finds herself alone in", "Clifford remained defiant. It's thought\n that his stepdaughter, Marie Clifford\n will testify in his defense tomorrow. And", "KRISTEN\n Jay told me. But why? They were your\n inheritance.\n \n MARIE", "Marie looks round to her stepfather, shakes her head, bringing a\n bemused look to Jay's face.\n \n JAY", "J\n ay appears in the doorway, sweat cascading from his brow.\n \n JAY\n Marie! Shouldn't you be with your", "What the hell's going on here?\n \n And that stops the fight right there and then. Marie looks up to\n see a red faced Jay standing over her.", "and your stepdad have a little chat...\n \n Marie looks to Jay, doesn't want to leave.\n \n JAY", "Marie now, huh?\n \n He hauls Marie to her feet, thrusts her towards the mansion.\n \n JAY", "it is if somehow getting Jay released\n from prison would spoil the plan.\n \n MARIE\n What plan?", "MARIE\n Jay, what's going on?\n \n Entwistle puts a powerful hand on Jay, leads him to the first", "personal affairs, fighting...\n \n MARIE\n But they're mine. Mom left them to me.", "Tears well in Marie's eyes...\n \n JAY\n And that's why, on your eighteenth", "MARIE\n But, Jay...they're my diamonds...\n \n JAY", "Marie shoots an uncomfortable look to Theo, then back at Jay,\n uncertain what to say.\n \n MARIE", "of reporters...\n \n MARIE\n Jay...is innocent...\n \n Says it like she means it..." ], [ "JAY (CONT'D)\n Fuck me...\n \n ELENA (O.S.)\n Any time. Any place...", "Jay turns around, smiles at Elena as she holds out his drink.\n \n ELENA\n Here you go, Mr. Clifford.", "ELENA\n Lighten up, Jay.\n \n Jay takes the bottle from her, sets it down on the concrete floor.", "A hand reaches out from behind the video camera and grabs Elena,\n throws her violently against a concrete wall.\n \n JAY (O.S. ON TAPE)", "And they kiss again, lips locked tighter than Jay's jail cell...\n \n EXT. ELENA'S TRAILER - NIGHT", "JAY\n We?\n \n Elena walks seductively into the unfinished office. It's on.", "JAY\n That'd be fine, just fine.\n \n He hands Elena his empty glass, then kisses Kristen tenderly.", "JAY\n Is that my...camera?\n \n Elena thrusts the bottle of beer at Jay.", "ELENA\n Come get it.\n \n Jay's reaching his elastic limit. He reaches for the camera, but", "Elena thinks for a second, glances back at Jay with a big smile.\n \n ELENA", "She's halfway down the hallway when Mr. Barajas and Cicatriz exit\n Jay's study. She turns, tries to look innocent as the Cuban\n 'businessmen' stare her down.", "Kristen doesn't reply. Just smiles, watches Elena over by the\n outside bar, mixing Jay's drink...\n \n JAY", "ELENA\n ...But you'll never forget.\n \n Jay tries to take a step forward. He stumbles. Tries in vain to", "Through stifled sobs, Elena states...\n \n ELENA\n It was Jay Clifford. He raped me...", "ELENA\n Nice take off. Gotta work on the landing.\n \n They stand back, watching Jay's pancaked body draining its", "Jay glances at Elena, as he downs the last drops from his drink.\n \n 03/22/2004 93.", "Elena focuses the video camera on Jay's crotch. Makes him\n incredibly uncomfortable, obviously.", "Jay laughs, as he sits across from Marie and Elena, separated by\n an inch of bullet proof glass. Theo stands by the door.\n \n JAY", "JAY\n (to Marie)\n Just try to keep those legs together.\n \n ELENA (O.S.)", "An imposing Cuban businessman, MR. BARAJAS, stands threateningly\n over a visibly frightened Jay. Another man, CICATRIZ, dressed in" ], [ "Marie looks at her stepfather, nods tentatively, but then notices\n the incongruous figure of Elena, sidling up to him...", "Elena lets out an anguished wail.\n \n MARIE (V.O.)\n Keep it down, my headache's bad enough as", "Marie's slightly drunken eyes narrow. Elena brings the bike to a\n screeching halt inches from the surprised guests. The ultimate\n partycrasher...", "She hears a scream, a girl's scream...\n \n ELENA\n Marie!", "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "This brings a teasing pout to Elena's lips.\n \n ELENA\n Is that any way to treat Marie's new best", "MARIE\n This is a private party...\n \n ELENA\n Don't mind me. I ain't here for your", "Elena can barely bring herself to look inside. Marie shoves her in\n the back, pushing her towards the open driver's side door. Elena", "Elena and Marie stare each other down. You could cut the tension\n with a chainsaw, until...\n \n MARIE\n Who invited you?", "leads them into her bedroom...\n \n MARIE\n Let's just get this over with.\n (to Elena)", "ELENA\n You okay?\n \n Marie stops screaming, her face contorting in anger...", "MARIE (O.S.)\n It's already done.\n \n Elena looks up guiltily. Marie is standing by the side of the", "Marie looks back, to the far reaches of the auditorium where the\n freaks and geeks crowd round Elena, worshipping her like the\n Goddess she is...", "ELENA\n (sarcastic)\n Really?\n \n MARIE", "MARIE\n Get the hell outta here! NOW!\n \n Marie stumbles after Elena, grabbing her from behind, holding her", "ELENA (V.O.)\n (over headphones)\n Marie! Please, I can't do this...", "MARIE\n I'm gonna kill him.\n \n Elena's breath catches in her throat. Marie disappears into the", "ELENA\n Mother and Daughter...\n \n This brings a mile-wide smile to Marie as she dances into Elena's", "MARIE\n Okay, talk...\n \n ELENA (V.O.)\n Not over the phone. We gotta meet.", "Elena tries to pull away, but Marie drags her back until their\n faces are inches apart.\n \n MARIE\n You're trembling." ], [ "JAY (CONT'D)\n Fuck me...\n \n ELENA (O.S.)\n Any time. Any place...", "Through stifled sobs, Elena states...\n \n ELENA\n It was Jay Clifford. He raped me...", "A hand reaches out from behind the video camera and grabs Elena,\n throws her violently against a concrete wall.\n \n JAY (O.S. ON TAPE)", "JAY\n That'd be fine, just fine.\n \n He hands Elena his empty glass, then kisses Kristen tenderly.", "And they kiss again, lips locked tighter than Jay's jail cell...\n \n EXT. ELENA'S TRAILER - NIGHT", "Jay turns around, smiles at Elena as she holds out his drink.\n \n ELENA\n Here you go, Mr. Clifford.", "I'm going to the condos. Sleep it off,\n whydontcha?\n \n Elena watches Jay stride away, like a lioness stalking her prey...", "JAY\n We?\n \n Elena walks seductively into the unfinished office. It's on.", "Morrison sprints over to the building site, leaving Kristen in the\n car, alone.\n \n INT. JAY'S OFFICE - NIGHT", "ELENA\n Lighten up, Jay.\n \n Jay takes the bottle from her, sets it down on the concrete floor.", "JAY\n Is that my...camera?\n \n Elena thrusts the bottle of beer at Jay.", "Elena comes walking out of the building site, and the two girls\n lock eyes. There's an uncomfortable moment before Elena flashes a\n satisfied smile and walks away...", "out.\n \n ELENA\n Jay's got cash. At the building site. I\n saw it.", "Jay walks out of his office, into the half-finished top floor of\n the condos. Exposed beams and drying cement reveal how far behind\n schedule Jay really is...\n J", "ELENA\n ...But you'll never forget.\n \n Jay tries to take a step forward. He stumbles. Tries in vain to", "He and Elena help Marie out of her blouse while Elena runs her\n hands all over him...\n \n INT. ELENA'S TRAILER - NIGHT", "JAY\n She had my camcorder. Recorded what\n happened. It should still be at the\n construction site. It'll clear my name...", "Elena focuses the video camera on Jay's crotch. Makes him\n incredibly uncomfortable, obviously.", "JAY\n They're yours when I say they're yours.\n For the time being, I've got some major\n problems at the construction site.", "ELENA\n Nice take off. Gotta work on the landing.\n \n They stand back, watching Jay's pancaked body draining its" ], [ "MARIE\n (into phone)\n Chad fucked us.\n \n ELENA (V.O.)", "Why'd you do it? Why'd Chad have to die?\n \n Marie slides up against Elena, fluttering the cash over her in the", "MARIE\n What the hell, Chad? \n Chad fidgets nervously.\n \n CHAD", "Bet you choke.\n \n Stops Marie in her tracks.\n \n MARIE", "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "He walks away and a smile creeps across Marie's face.\n \n FADE TO BLACK:", "MARIE\n You stupid fucking Sherbert. You think\n you could sell me out?\n \n ELENA", "MARIE \n You're gonna be the death of me... \n She slugs the rest of the drink, strides away and Chad follows", "'m not gonna hurt him. No way...\n \n Marie stalks down the path Chad's car took off the dirt road...", "Marie enters the lavish kitchen, stops in her tracks when she sees\n Chad standing at the full bar, mixing the strongest drink known to\n man.", "I'll tell you the truth. I'll tell you\n what happened. She killed him, and took\n the diamonds. Marie, it was Marie", "MARIE\n Jay?\n H\n e's nowhere to be found. Frustrated, Marie finds herself alone in", "Beside her, Marie lies dead, her chest a gaping crimson mess,\n Jay's gun still clutched tightly in her cold, dead hands.", "Chad, and now...\n \n MARIE\n (sotto)\n 99. A very good year...", "even help Jay. Remember your loving\n stepfather? You want to help him, don't\n you?\n \n MARIE", "Chad uses Jay's teeth mouldings to bite Elena, as Marie trains\n Jay's video camera on her, wailing on her in a drunken stupor.", "Marie walks over to his desk, opens a draw. Removes a metallic \n lock box. \n CHAD", "MARIE\n But you'll never forget.\n \n Damn straight.\n \n (", "MARIE\n How'd you like to make some real cash?\n \n CHAD\n Chad likes the sound of that.", "MARIE\n Calm down. It's just blood.\n \n EXT. CHAD'S CAR - AFTERNOON" ], [ "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "Beside her, Marie lies dead, her chest a gaping crimson mess,\n Jay's gun still clutched tightly in her cold, dead hands.", "MARIE\n (into phone)\n Chad fucked us.\n \n ELENA (V.O.)", "MARIE \n You're gonna be the death of me... \n She slugs the rest of the drink, strides away and Chad follows", "Why'd you do it? Why'd Chad have to die?\n \n Marie slides up against Elena, fluttering the cash over her in the", "MARIE\n Calm down. It's just blood.\n \n EXT. CHAD'S CAR - AFTERNOON", "Elena and Marie, soaked to the bone, drag Chad's cold, dead corpse\n out of the trees. Marie drops the body, heads straight for her", "'m not gonna hurt him. No way...\n \n Marie stalks down the path Chad's car took off the dirt road...", "Marie enters the lavish kitchen, stops in her tracks when she sees\n Chad standing at the full bar, mixing the strongest drink known to\n man.", "I'll tell you the truth. I'll tell you\n what happened. She killed him, and took\n the diamonds. Marie, it was Marie", "MARIE\n What the hell, Chad? \n Chad fidgets nervously.\n \n CHAD", "MARIE\n I'm gonna kill him.\n \n Elena's breath catches in her throat. Marie disappears into the", "He walks away and a smile creeps across Marie's face.\n \n FADE TO BLACK:", "Chad uses Jay's teeth mouldings to bite Elena, as Marie trains\n Jay's video camera on her, wailing on her in a drunken stupor.", "Marie walks over to his desk, opens a draw. Removes a metallic \n lock box. \n CHAD", "Marie, please...\n \n There's no stopping her now. Red-faced, she lashes out at the\n display case with a devastating kick, the glass SHATTERING...", "Marie shakes her head.\n \n MARIE\n The combination's the day Mom died, you\n sick fuck?", "something incriminating from Marie's perfect lips.\n \n ELENA\n I told you not to kill Chad. I'll tell it", "MARIE\n No, I'm pretty damn far from okay...\n \n She points to the front seat of the crashed car...", "Marie now, huh?\n \n He hauls Marie to her feet, thrusts her towards the mansion.\n \n JAY" ], [ "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "MARIE\n You stupid fucking Sherbert. You think\n you could sell me out?\n \n ELENA", "MARIE\n How?\n \n ELENA\n I don't know for sure...but I think that", "She hears a scream, a girl's scream...\n \n ELENA\n Marie!", "MARIE (O.S.)\n It's already done.\n \n Elena looks up guiltily. Marie is standing by the side of the", "MARIE\n I'm gonna kill him.\n \n Elena's breath catches in her throat. Marie disappears into the", "leads them into her bedroom...\n \n MARIE\n Let's just get this over with.\n (to Elena)", "MARIE\n Get the hell outta here! NOW!\n \n Marie stumbles after Elena, grabbing her from behind, holding her", "MARIE\n Okay, talk...\n \n ELENA (V.O.)\n Not over the phone. We gotta meet.", "Elena lets out an anguished wail.\n \n MARIE (V.O.)\n Keep it down, my headache's bad enough as", "ELENA\n (sarcastic)\n Really?\n \n MARIE", "Marie looks at her stepfather, nods tentatively, but then notices\n the incongruous figure of Elena, sidling up to him...", "This brings a teasing pout to Elena's lips.\n \n ELENA\n Is that any way to treat Marie's new best", "ELENA\n You okay?\n \n Marie stops screaming, her face contorting in anger...", "MARIE\n Believe it. I'm leaving. Tonight.\n \n ELENA (V.O.)", "Lying bitch!\n \n Marie has to be restrained, trying to break through the crowds to\n claw Elena's tear stained eyes out...", "Elena can barely bring herself to look inside. Marie shoves her in\n the back, pushing her towards the open driver's side door. Elena", "Why'd you do it? Why'd Chad have to die?\n \n Marie slides up against Elena, fluttering the cash over her in the", "MARIE\n (into phone)\n Chad fucked us.\n \n ELENA (V.O.)", "ELENA\n Please. Just one last time.\n \n MARIE (V.O.)" ], [ "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "leads them into her bedroom...\n \n MARIE\n Let's just get this over with.\n (to Elena)", "MARIE\n You stupid fucking Sherbert. You think\n you could sell me out?\n \n ELENA", "Marie looks at her stepfather, nods tentatively, but then notices\n the incongruous figure of Elena, sidling up to him...", "MARIE\n Okay, talk...\n \n ELENA (V.O.)\n Not over the phone. We gotta meet.", "MARIE (O.S.)\n It's already done.\n \n Elena looks up guiltily. Marie is standing by the side of the", "MARIE\n How?\n \n ELENA\n I don't know for sure...but I think that", "He and Elena help Marie out of her blouse while Elena runs her\n hands all over him...\n \n INT. ELENA'S TRAILER - NIGHT", "MARIE\n Two down.\n \n Elena stands in the makeshift office doorway, trying to coax", "Elena can barely bring herself to look inside. Marie shoves her in\n the back, pushing her towards the open driver's side door. Elena", "She hears a scream, a girl's scream...\n \n ELENA\n Marie!", "MARIE\n I'm gonna kill him.\n \n Elena's breath catches in her throat. Marie disappears into the", "Elena stands with her hands up, an ugly bullet hole in the wall\n just beside her. Marie keeps Jay's gun trained on her as she\n unloads the cash from the safe...", "Elena jumps down the bleachers, sits down next to Marie.\n \n ELENA\n So you take it, one way or another...", "This brings a teasing pout to Elena's lips.\n \n ELENA\n Is that any way to treat Marie's new best", "Elena tries to pull away, but Marie drags her back until their\n faces are inches apart.\n \n MARIE\n You're trembling.", "MARIE\n Get the hell outta here! NOW!\n \n Marie stumbles after Elena, grabbing her from behind, holding her", "ELENA\n (sarcastic)\n Really?\n \n MARIE", "MARIE\n Believe it. I'm leaving. Tonight.\n \n ELENA (V.O.)", "Elena lets out an anguished wail.\n \n MARIE (V.O.)\n Keep it down, my headache's bad enough as" ], [ "Kristen's rape: \"Police unable to find frat house rapist,\"\n \"Teenage victim wants 'justice' in rape case,\" \"'You may not", "Through stifled sobs, Elena states...\n \n ELENA\n It was Jay Clifford. He raped me...", "KRISTEN\n And then, one night at some pathetic frat\n party, someone slipped a roofie in my", "Kristen, waiting patiently for him.\n \n CHAD\n Miss...Richards. Is...Is there something\n I can do for you?", "Morrison turns around, sees Kristen approaching, still visibly\n shaken.\n \n K", "Who?\n \n MORRISON\n Kristen Richards. She's one of your", "He motions behind him to KRISTEN RICHARDS, early 30's, a natural\n beauty who's doing her best to hide behind a bland gray suit and", "I'm sorry?\n \n KRISTEN\n Maybe he recorded the rape.", "Morrison's heart is beating a mile a minute.\n \n MORRISON\n Holy shit. Kristen...", "There's a quiet knock on the door and Elena quickly lowers her\n hand, looks round...\n \n Kristen Richards, the young Parole Officer who so heart", "Chad has no answer to that. He can only blink stupidly and pray\n his silence doesn't incriminate him further. Kristen heads for the\n door...", "drink...and raped me.\n \n This quiets the auditorium.\n \n KRISTEN", "other than Kristen Richards, soaking up rays.\n \n At her side is a PAPER SHREDDER, and between sips from a piña", "She offers her hand, and Morrison shakes it.\n \n KRISTEN\n Miss Richards. Kristen. Miami Parole. Was", "KRISTEN\n Good morning, my name is Kristen\n Richards. I'm an officer for the Miami", "THEO\n (into phone)\n Mr. Clifford, this is Kristen Richards,\n Elena Sandoval's probation officer.", "MORRISON\n This couldn't wait 'til morning, Miss\n Richards?\n \n KRISTEN", "Miss Sandoval was found to have numerous\n bite marks on her upper torso that\n occurred during the rape.", "Most teens like Ms. Richards never get\n their lives together. The physical scars\n may go away, but the emotional damage\n stays forever.", "KRISTEN\n Uh, no, actually, I was never able to\n make a positive ID. All I remember was\n his alcohol-soaked breath whispering in" ], [ "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "Beside her, Marie lies dead, her chest a gaping crimson mess,\n Jay's gun still clutched tightly in her cold, dead hands.", "MARIE\n I'm gonna kill him.\n \n Elena's breath catches in her throat. Marie disappears into the", "I'll tell you the truth. I'll tell you\n what happened. She killed him, and took\n the diamonds. Marie, it was Marie", "She hears a scream, a girl's scream...\n \n ELENA\n Marie!", "He walks away and a smile creeps across Marie's face.\n \n FADE TO BLACK:", "Marie shakes her head.\n \n MARIE\n The combination's the day Mom died, you\n sick fuck?", "MARIE\n \n scours the bizarre darkness, hears a sound. BOOM! The orange\n muzzle flash illuminates the floor briefly as Marie shoots", "MARIE\n Blah, blah, blah. Get over it. He's dead.\n Now you told me you had a plan. Spit it", "Marie now, huh?\n \n He hauls Marie to her feet, thrusts her towards the mansion.\n \n JAY", "(to Marie)\n Did your stepfather rape that girl? How\n could he do something like that? \n Marie stops in her tracks, wheels around and addresses the throng", "MARIE\n Jay?\n H\n e's nowhere to be found. Frustrated, Marie finds herself alone in", "Marie, please...\n \n There's no stopping her now. Red-faced, she lashes out at the\n display case with a devastating kick, the glass SHATTERING...", "Marie, utter disbelief on his face. The tears well in her eyes...\n \n The Judge bangs his gavel in a vain attempt to regain control.", "... and hurries after them. Marie is left dumbfounded. So close,\n but so far...\n \n MARIE", "Marie bursts into the Museum, and he strides up to meet her,\n shocked when he sees Marie's covered in blood, sweat and guilt...\n \n CURATOR", "She rolls her eyes.\n \n MARIE\n Useless bitch...", "Marie just stands there incredulous for a moment.\n \n MARIE\n Take your sorry ass back to the swamps.", "MARIE\n But you'll never forget.\n \n Damn straight.\n \n (", "MARIE\n No, I'm pretty damn far from okay...\n \n She points to the front seat of the crashed car..." ], [ "Kristen is taken aback by Elena's insensitivity, stumbles over her\n words, finally spitting out the sad, sorry truth...", "Elena to her feet.\n \n KRISTEN\n Yeah. Yeah you will.\n \n ELENA", "KRISTEN\n I told you.\n \n Elena looks up, tears streaking her mascara.", "INT. ELENA'S TRAILER - NIGHT\n \n Kristen moves slowly into Elena's bedroom, shines her light on the", "wrenchingly told her story at Blue Bay High earlier, comes quietly\n into the gray room.\n \n KRISTEN\n Elena.", "EXT. PARADISE - DAY\n \n Elena and Kristen lay side-by-side on loungers, soaking in the", "Kristen stands in the darkened doorway of Elena's less-than-\n welcoming trailer. She knocks.\n \n KRISTEN", "Kristen doesn't reply. Just smiles, watches Elena over by the\n outside bar, mixing Jay's drink...\n \n JAY", "KRISTEN\n You may not remember...\n \n A broad grin stretches across Elena's lips as she finishes...", "see Kristen come out, walk towards her, followed by someone.\n Marie's view is blocked by Kristen until the Parole Officer passes\n her and reveals...Elena.", "Elena nods slowly. Morrison turns to Kristen.\n \n MORRISON\n You thinking what I'm thinking?\n K", "ELENA\n I'll do whatever you want.\n \n Kristen stops. Thinks for a moment. Nods to Morrison as he drags", "Kristen looks over at Elena, equally stunning in a matching\n bikini.\n \n KRISTEN", "ELENA\n The mother.\n \n Kristen picks up the smaller diamond, hands it to Elena.", "KRISTEN\n They want me to bring Elena back to Miami\n in the morning.\n \n She hesitates...", "INT. BLUE BAY PD INTERVIEW ROOM - NIGHT\n \n Elena sits with her head in her hands, across from Kristen in an\n anonymous interview room.", "Elena just looks up at her pitifully.\n \n KRISTEN\n Could you tell me what happened?", "Morrison and Kristen's flashlights cut through the darkness as\n they move back into Elena's bedroom.\n \n MORRISON", "There's a quiet knock on the door and Elena quickly lowers her\n hand, looks round...\n \n Kristen Richards, the young Parole Officer who so heart", "Kristen sits beside Elena at the prosecution table.\n C\n had is on the stand as ARLO MEESE, 35, the slick District\n Attorney, steps forward." ], [ "Kristen's rape: \"Police unable to find frat house rapist,\"\n \"Teenage victim wants 'justice' in rape case,\" \"'You may not", "Through stifled sobs, Elena states...\n \n ELENA\n It was Jay Clifford. He raped me...", "KRISTEN\n And then, one night at some pathetic frat\n party, someone slipped a roofie in my", "I'm sorry?\n \n KRISTEN\n Maybe he recorded the rape.", "Morrison turns around, sees Kristen approaching, still visibly\n shaken.\n \n K", "Morrison's heart is beating a mile a minute.\n \n MORRISON\n Holy shit. Kristen...", "drink...and raped me.\n \n This quiets the auditorium.\n \n KRISTEN", "Chad has no answer to that. He can only blink stupidly and pray\n his silence doesn't incriminate him further. Kristen heads for the\n door...", "KRISTEN\n Uh, no, actually, I was never able to\n make a positive ID. All I remember was\n his alcohol-soaked breath whispering in", "in and just takes them. With your help,\n no less.\n \n Kristen moves in for the kill.", "(to Marie)\n Did your stepfather rape that girl? How\n could he do something like that? \n Marie stops in her tracks, wheels around and addresses the throng", "bagged and tagged as evidence...\n \n KRISTEN (O.S.)\n Sexual predators often keep a trophy...", "Kristen calls back up at him.\n \n KRISTEN\n That's just the roofies talking...", "KRISTEN (CONT'D)\n Call Detective Morrison. Now...\n \n SCENE OMITTED", "Kristen sits beside Elena at the prosecution table.\n C\n had is on the stand as ARLO MEESE, 35, the slick District\n Attorney, steps forward.", "JAY\n What? What the hell do you mean?\n \n Kristen calmly reaches into her purse, pulls out a handful of", "Elena just looks up at her pitifully.\n \n KRISTEN\n Could you tell me what happened?", "Kristen, waiting patiently for him.\n \n CHAD\n Miss...Richards. Is...Is there something\n I can do for you?", "INT. BLUE BAY PD INTERVIEW ROOM - NIGHT\n \n Kristen is listening in on the whole conversation. She cups her", "No reply.\n \n The Detective heads back to his car, stops for a second, reaches\n into his pocket and pulls out Kristen's already-dog eared card. He" ], [ "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "MARIE\n I'm gonna kill him.\n \n Elena's breath catches in her throat. Marie disappears into the", "This brings a teasing pout to Elena's lips.\n \n ELENA\n Is that any way to treat Marie's new best", "Marie now, huh?\n \n He hauls Marie to her feet, thrusts her towards the mansion.\n \n JAY", "MARIE\n Get the hell outta here! NOW!\n \n Marie stumbles after Elena, grabbing her from behind, holding her", "Chad uses Jay's teeth mouldings to bite Elena, as Marie trains\n Jay's video camera on her, wailing on her in a drunken stupor.", "leads them into her bedroom...\n \n MARIE\n Let's just get this over with.\n (to Elena)", "He and Elena help Marie out of her blouse while Elena runs her\n hands all over him...\n \n INT. ELENA'S TRAILER - NIGHT", "Marie looks at her stepfather, nods tentatively, but then notices\n the incongruous figure of Elena, sidling up to him...", "JAY\n (to Marie)\n Just try to keep those legs together.\n \n ELENA (O.S.)", "MARIE\n Jay?\n H\n e's nowhere to be found. Frustrated, Marie finds herself alone in", "ELENA (V.O.)\n (over headphones)\n Marie! Please, I can't do this...", "She hears a scream, a girl's scream...\n \n ELENA\n Marie!", "And that's it. Marie lashes out with a haymaker punch. Connects on\n Elena's jaw and she goes reeling back. But it's ignited the street", "Elena stands with her hands up, an ugly bullet hole in the wall\n just beside her. Marie keeps Jay's gun trained on her as she\n unloads the cash from the safe...", "Elena lets out an anguished wail.\n \n MARIE (V.O.)\n Keep it down, my headache's bad enough as", "I was just...\n \n Cicatriz takes a step towards her.\n \n JAY\n (to Marie)", "Elena jumps down the bleachers, sits down next to Marie.\n \n ELENA\n So you take it, one way or another...", "MARIE\n Okay, talk...\n \n ELENA (V.O.)\n Not over the phone. We gotta meet.", "Jay stands, shakes Morrison's hand.\n \n MORRISON\n (to Marie)\n Would you mind waiting outside while me" ], [ "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "MARIE\n Get the hell outta here! NOW!\n \n Marie stumbles after Elena, grabbing her from behind, holding her", "And that's it. Marie lashes out with a haymaker punch. Connects on\n Elena's jaw and she goes reeling back. But it's ignited the street", "MARIE\n I'm gonna kill him.\n \n Elena's breath catches in her throat. Marie disappears into the", "ELENA\n You okay?\n \n Marie stops screaming, her face contorting in anger...", "She hears a scream, a girl's scream...\n \n ELENA\n Marie!", "Elena can barely bring herself to look inside. Marie shoves her in\n the back, pushing her towards the open driver's side door. Elena", "Lying bitch!\n \n Marie has to be restrained, trying to break through the crowds to\n claw Elena's tear stained eyes out...", "Elena lets out an anguished wail.\n \n MARIE (V.O.)\n Keep it down, my headache's bad enough as", "He and Elena help Marie out of her blouse while Elena runs her\n hands all over him...\n \n INT. ELENA'S TRAILER - NIGHT", "leads them into her bedroom...\n \n MARIE\n Let's just get this over with.\n (to Elena)", "This brings a teasing pout to Elena's lips.\n \n ELENA\n Is that any way to treat Marie's new best", "Marie, the BLOODY TIRE IRON in hand...\n \n Marie reaches out a hand, pulls Elena out of the water. She", "Marie looks at her stepfather, nods tentatively, but then notices\n the incongruous figure of Elena, sidling up to him...", "ELENA\n I don't...I don't have a clue...\n \n Marie spins round, a vicious look in her eyes. She holds the blood", "MARIE\n You stupid fucking Sherbert. You think\n you could sell me out?\n \n ELENA", "Elena tries to pull away, but Marie drags her back until their\n faces are inches apart.\n \n MARIE\n You're trembling.", "MARIE\n How?\n \n ELENA\n I don't know for sure...but I think that", "ELENA\n Hey, that hurt!\n \n MARIE\n Shut it, bitch. No pain, no gain...", "MARIE (O.S.)\n It's already done.\n \n Elena looks up guiltily. Marie is standing by the side of the" ], [ "Through stifled sobs, Elena states...\n \n ELENA\n It was Jay Clifford. He raped me...", "A hand reaches out from behind the video camera and grabs Elena,\n throws her violently against a concrete wall.\n \n JAY (O.S. ON TAPE)", "JAY (CONT'D)\n Fuck me...\n \n ELENA (O.S.)\n Any time. Any place...", "Elena focuses the video camera on Jay's crotch. Makes him\n incredibly uncomfortable, obviously.", "JAY\n Is that my...camera?\n \n Elena thrusts the bottle of beer at Jay.", "ELENA\n Come get it.\n \n Jay's reaching his elastic limit. He reaches for the camera, but", "We'll let Jay's videotape do the talking.\n \n ELENA\n But, we got rid of the real one...", "ELENA\n Lighten up, Jay.\n \n Jay takes the bottle from her, sets it down on the concrete floor.", "ELENA\n ...But you'll never forget.\n \n Jay tries to take a step forward. He stumbles. Tries in vain to", "JAY\n That'd be fine, just fine.\n \n He hands Elena his empty glass, then kisses Kristen tenderly.", "ELENA\n Nice take off. Gotta work on the landing.\n \n They stand back, watching Jay's pancaked body draining its", "Elena covers her mouth, as if to cough...\n \n ELENA\n (through fake coughs)\n ...whore...", "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "Elena thinks for a second, glances back at Jay with a big smile.\n \n ELENA", "ELENA (CONT'D)\n Good luck in court.\n \n INT. BLUE BAY COURTROOM - DAY", "Jay turns around, smiles at Elena as she holds out his drink.\n \n ELENA\n Here you go, Mr. Clifford.", "(slyly)\n Ooopppps.\n \n Elena runs her finger under Jay's chin, then turns and walks away,", "KRISTEN\n But what I don't get is, why wouldn't\n Elena do what Jay asked, clear his name?", "It was my birthday. Jay left the party\n before giving me my present.\n \n THEO\n And you say you saw Miss Sandoval", "Chad uses Jay's teeth mouldings to bite Elena, as Marie trains\n Jay's video camera on her, wailing on her in a drunken stupor." ], [ "Morrison's heart is beating a mile a minute.\n \n MORRISON\n Holy shit. Kristen...", "KRISTEN\n And then, one night at some pathetic frat\n party, someone slipped a roofie in my", "Morrison turns around, sees Kristen approaching, still visibly\n shaken.\n \n K", "KRISTEN\n But that's not what brings me here today.\n When I heard about Principal Mosster's\n sex education program I thought I'd", "KRISTEN\n It was like being awake though an\n operation. I could feel everything\n happening, but I couldn't do anything to", "Chad has no answer to that. He can only blink stupidly and pray\n his silence doesn't incriminate him further. Kristen heads for the\n door...", "Elena nods slowly. Morrison turns to Kristen.\n \n MORRISON\n You thinking what I'm thinking?\n K", "INT. BLUE BAY PD INTERVIEW ROOM - NIGHT\n \n Kristen is listening in on the whole conversation. She cups her", "JAY\n What? What the hell do you mean?\n \n Kristen calmly reaches into her purse, pulls out a handful of", "KRISTEN\n She might not be lying, you know.", "Kristen smiles, enters Morrison's cluttered office.\n \n KRISTEN\n Used to play at being a spider when I was", "Kristen is taken aback by Elena's insensitivity, stumbles over her\n words, finally spitting out the sad, sorry truth...", "KRISTEN\n Been there. Done that.\n \n INT. CLIFFORD MANSION - NIGHT", "wrenchingly told her story at Blue Bay High earlier, comes quietly\n into the gray room.\n \n KRISTEN\n Elena.", "MORRISON\n What makes you think that?\n \n KRISTEN\n Just a look in her eye. I...I have some", "Elena just looks up at her pitifully.\n \n KRISTEN\n Could you tell me what happened?", "Miss Richards and Dr. Borman are here to\n tell you about the pitfalls first hand...\n \n Kristen steps up to the lectern.", "Kristen flips on a light switch. The room is illuminated for a\n split second before the bulb surges and burns out, leaving Kristen", "How'd you...how'd you know all this...\n \n KRISTEN\n It's what we do.", "in and just takes them. With your help,\n no less.\n \n Kristen moves in for the kill." ], [ "(to Marie)\n Did your stepfather rape that girl? How\n could he do something like that? \n Marie stops in her tracks, wheels around and addresses the throng", "KRISTEN\n But that's not what brings me here today.\n When I heard about Principal Mosster's\n sex education program I thought I'd", "Marie looks at her stepfather, nods tentatively, but then notices\n the incongruous figure of Elena, sidling up to him...", "He and Elena help Marie out of her blouse while Elena runs her\n hands all over him...\n \n INT. ELENA'S TRAILER - NIGHT", "party earlier that night?\n \n Marie squirms.\n \n MARIE", "walking slowly, seductively, up to Jay, intoxicating him...\n \n Marie blocks out the distraction, concentrates at the task at", "Marie looks back, to the far reaches of the auditorium where the\n freaks and geeks crowd round Elena, worshipping her like the\n Goddess she is...", "INT. LOCKER ROOM - DAY\n \n Marie sits in the bleachers by the side of the school dive pool,", "And as exquisite as these girls are, they pale in comparison to\n absolutely sweet Marie, stunning in her nearly see-through white\n bathing suit.", "Marie steers her BMW into the showroom-like parking lot of Blue\n Bay High School.\n \n INT. MARIE'S BMW - MORNING", "leads them into her bedroom...\n \n MARIE\n Let's just get this over with.\n (to Elena)", "Theo paces in front of Marie, running her through a series of well-\n rehearsed questions.\n \n THEO", "MARIE\n School swimming pool. One hour.\n \n INT. BLUE BAY PD INTERVIEW ROOM - NIGHT", "03/22/2004 53.\n \n \n \n Marie watches in fascination as Kristen presses the top of the", "MARIE\n Jay?\n H\n e's nowhere to be found. Frustrated, Marie finds herself alone in", "He walks away and a smile creeps across Marie's face.\n \n FADE TO BLACK:", "This brings a teasing pout to Elena's lips.\n \n ELENA\n Is that any way to treat Marie's new best", "03/22/2004 29.\n \n \n \n Marie can barely breathe...", "MARIE\n (into phone)\n Chad fucked us.\n \n ELENA (V.O.)", "She rolls her eyes.\n \n MARIE\n Useless bitch..." ], [ "Jay sits at the defendant's table, suit impeccable, hair\n immaculate, game face on. Theo sits beside him, scribbling notes.", "even help Jay. Remember your loving\n stepfather? You want to help him, don't\n you?\n \n MARIE", "JAY (O.S.)\n You really think you're ready for your\n inheritance?", "Jay's jaw drops to the ground.\n \n JAY\n There must be some mistake, this isn't\n possible...", "That's it. The Court erupts, flashbulbs exploding. Jay slumps back\n in his chair, his air of cool gone in an instant. He looks back at", "03/22/2004 19.\n \n \n \n JAY", "Jay hesitates, unsure how, or if, to proceed. Theo shifts\n nervously. Jay gives J\n up.\n \n AY", "03/22/2004 22.\n \n \n \n JAY", "that to a friend. Especially one going\n through such a nasty divorce.\n \n They look up to see Jay, standing before them in a pair of", "KRISTEN\n Jay told me. But why? They were your\n inheritance.\n \n MARIE", "Jay takes a seat on an uncomfortable metal chair in front of\n bullet-proof glass. He's half the man he used to be, broken,", "Jay stands, shakes Morrison's hand.\n \n MORRISON\n (to Marie)\n Would you mind waiting outside while me", "JAY\n You've noticed some inconsistencies?\n \n JAY", "He takes a seat next to Jay, whispers in his ear. D.A. Meese\n starts his cross-examination.\n \n D.A. MEESE", "The courtroom is packed with journalists, TV cameras and nosey\n neighbors. Everyone wants a piece of this story. At the\n defendant's table, Jay, slick once more in Armani, watches Theo", "never forget.\"\n \n That's it. The court goes berserk, flashbulbs exploding, along\n with the veins in Jay's head.", "it is if somehow getting Jay released\n from prison would spoil the plan.\n \n MARIE\n What plan?", "Jay sits back down. Morrison takes a chair opposite.\n \n JAY\n How's the divorce treating you?", "responsible. If there's anything I...\n \n Jay shakes his head.\n \n JAY", "JUDGE WILCOX\n \n (to Jay)\n If I were you I would seriously consider" ], [ "(re: diamonds)\n Two beauties...\n (turning to Marie and Elena)\n Two beauties...", "Elena watches as Marie and Theo drive away, then turns to the\n glistening Mother Daughter diamonds. She opens a case with two", "Marie, tears welling in her eyes, takes a hold of the diamonds,\n carefully takes them from the case.", "She reaches down and grabs the diamonds. Dances past Marie...\n \n THEO\n May I suggest a little discretion, Miss", "Theo nudges Marie. She sighs, holds out the Mother diamond in the\n other hand. A broad grin stretches across Elena's face.\n \n F", "MARIE\n But, Jay...they're my diamonds...\n \n JAY", "You got diamonds on the mind.\n \n JAY (O.S.)\n Have either of you seen my video camera?", "contents of a velvet pouch onto a table.\n T\n he Mother-Daughter diamonds are radiant in the bright sunlight.", "They gather the diamonds, walk away as the pool turns crimson\n red...\n \n THE END\n \n As the credits roll....", "The diamonds are your inheritance. You\n deserve them...\n \n MARIE\n My fucking Step-Monster'll never give me", "Marie finally pulls out two blood soaked Diamonds from her bag,\n thrusts them at the Curator. He screws up his wrinkled face,\n afraid to touch them...", "diamonds?\n \n This time Marie can't hide her shock.\n \n MARIE\n How...", "I wanna see 'em. The diamonds. Make \n sure they're safe.", "revealing the Mother-Daughter diamonds, resting on velvet lining. \n \n The sparkling diamonds seem to have a calming effect on Chad. He", "A sinister grin spreads across Elena's face as she holds up the\n breathtaking Mother-Daughter diamonds, reflecting an unearthly\n glow under the UV lights.", "The diamonds...If that's what it takes,\n then that's what it takes...", "MARIE\n Very funny. Did you know the diamonds\n were fakes?\n \n Jay nods slowly.", "She reaches out tentatively towards the glass case. Not to touch\n the diamonds, but to run her fingers over a picture that's mounted", "Tounted on crushed velvet, the identical diamonds are on a glass\n covered pedal stool in the middle of a vast, marble MUSEUM HALL.", "Chad's face is drained of color as he runs through the dense\n swampland, hugging the priceless diamonds. Sweat cascades from his" ], [ "(re: diamonds)\n Two beauties...\n (turning to Marie and Elena)\n Two beauties...", "She reaches down and grabs the diamonds. Dances past Marie...\n \n THEO\n May I suggest a little discretion, Miss", "Elena watches as Marie and Theo drive away, then turns to the\n glistening Mother Daughter diamonds. She opens a case with two", "The diamonds are your inheritance. You\n deserve them...\n \n MARIE\n My fucking Step-Monster'll never give me", "Theo nudges Marie. She sighs, holds out the Mother diamond in the\n other hand. A broad grin stretches across Elena's face.\n \n F", "Marie finally pulls out two blood soaked Diamonds from her bag,\n thrusts them at the Curator. He screws up his wrinkled face,\n afraid to touch them...", "MARIE\n Very funny. Did you know the diamonds\n were fakes?\n \n Jay nods slowly.", "MARIE\n But, Jay...they're my diamonds...\n \n JAY", "ELENA\n Give us back the diamonds!\n \n Chad's heart stops.\n \n CHAD", "diamonds?\n \n This time Marie can't hide her shock.\n \n MARIE\n How...", "They gather the diamonds, walk away as the pool turns crimson\n red...\n \n THE END\n \n As the credits roll....", "The Curator hovers his heel over the biggest Diamond. Marie\n screams out!\n \n MARIE\n NO!", "Marie, tears welling in her eyes, takes a hold of the diamonds,\n carefully takes them from the case.", "You got diamonds on the mind.\n \n JAY (O.S.)\n Have either of you seen my video camera?", "ELENA\n The mother.\n \n Kristen picks up the smaller diamond, hands it to Elena.", "inally, with a very heavy heart, Marie hands over the diamonds.\n \n THEO\n When this is all over, you'll leave town.", "She reaches out tentatively towards the glass case. Not to touch\n the diamonds, but to run her fingers over a picture that's mounted", "We are prepared to make it worth your\n while.\n \n She holds the Daughter diamond in front of Elena's greedy little\n eyes.", "UNCLE MARTY\n Shame. Guess all good things come to an\n end. So, the diamonds...", "A sinister grin spreads across Elena's face as she holds up the\n breathtaking Mother-Daughter diamonds, reflecting an unearthly\n glow under the UV lights." ], [ "Chad steps to the podium.\n \n CHAD\n Thank you, Miss Richards. My name's Dr.", "KRISTEN\n Good morning, my name is Kristen\n Richards. I'm an officer for the Miami", "Kristen, waiting patiently for him.\n \n CHAD\n Miss...Richards. Is...Is there something\n I can do for you?", "Miss Richards and Dr. Borman are here to\n tell you about the pitfalls first hand...\n \n Kristen steps up to the lectern.", "Chad has no answer to that. He can only blink stupidly and pray\n his silence doesn't incriminate him further. Kristen heads for the\n door...", "CHAD\n No problemo. It'll only take a minute.\n \n While Chad goes about his work, Kristen begins nosing around the", "INT. BLUE BAY PD INTERVIEW ROOM - NIGHT\n \n Kristen is listening in on the whole conversation. She cups her", "INT. BLUE BAY PD OFFICES - DAY\n \n Kristen is sitting at Detective Morrison's cluttered desk, her", "office. Chad looks over his shoulder.\n \n CHAD\n Be careful, I got lots of evidence here.", "KRISTEN\n But that's not what brings me here today.\n When I heard about Principal Mosster's\n sex education program I thought I'd", "She offers her hand, and Morrison shakes it.\n \n KRISTEN\n Miss Richards. Kristen. Miami Parole. Was", "MORRISON\n This couldn't wait 'til morning, Miss\n Richards?\n \n KRISTEN", "Morrison sprints over to the building site, leaving Kristen in the\n car, alone.\n \n INT. JAY'S OFFICE - NIGHT", "There's a quiet knock on the door and Elena quickly lowers her\n hand, looks round...\n \n Kristen Richards, the young Parole Officer who so heart", "Chad Borman. I run the forensics lab at\n the police department, where my work has\n helped convict hundreds of sex offenders.", "KRISTEN\n Been there. Done that.\n \n INT. CLIFFORD MANSION - NIGHT", "INT. MORRISON'S POLICE CAR - NIGHT\n \n A piercing feedback forces Kristen to throw aside the headphones.", "Morrison grumbles as he scans his key card, opening the wire mesh\n door to the evidence locker. He picks up a box and enters,\n Kristen, also carrying a box, a step behind.", "INT. CHAD'S OFFICE - DAY\n \n Behind closed doors, Chad's completing yet another dubious\n transaction, handing over a bag of roofies. The buyer this", "drink...and raped me.\n \n This quiets the auditorium.\n \n KRISTEN" ], [ "Through stifled sobs, Elena states...\n \n ELENA\n It was Jay Clifford. He raped me...", "Elena comes walking out of the building site, and the two girls\n lock eyes. There's an uncomfortable moment before Elena flashes a\n satisfied smile and walks away...", "A hand reaches out from behind the video camera and grabs Elena,\n throws her violently against a concrete wall.\n \n JAY (O.S. ON TAPE)", "Elena covers her mouth, as if to cough...\n \n ELENA\n (through fake coughs)\n ...whore...", "What...did you just say?\n \n ELENA\n He didn't just sexually assault me. He", "He reels around, sees Elena moving toward him, brushing aside the\n thick plastic sheeting. She has a bottle of beer in one hand, a", "Elena just looks up at her pitifully.\n \n KRISTEN\n Could you tell me what happened?", "ELENA\n It was...it was an accident...\n \n The flames reflect in her tear-filled eyes.", "Elena's face is pressed against the concrete wall...\n \n INT. BLUE BAY FORENSICS LAB - NIGHT", "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "Elena gets out the car, feeling decidedly sick. She circuitously\n adjusts the microphone taped to her chest, then follows Marie into\n the dark, unfinished building", "ELENA\n When they found the scumbag who took your\n precious flower of virginity, you sued\n his sorry ass, right?", "Elena's lips move hungrily across Chad's face, until they find his\n mouth. They kiss deeply.", "He and Elena help Marie out of her blouse while Elena runs her\n hands all over him...\n \n INT. ELENA'S TRAILER - NIGHT", "S\n he rips the microphone from Elena's chest. Stands there with the\n dangling cord in her hands, her face caught in a permanent snarl.", "ELENA\n I was messed up, alright. In fact, only\n two things I remember. One was that", "ELENA\n Told me what?\n \n KRISTEN\n That if you were telling the truth I'd", "out.\n \n ELENA\n Jay's got cash. At the building site. I\n saw it.", "With trembling hands, Elena opens the trunk of Chad's crashed car.\n She pulls out a plastic gas container, sloshing the fuel around", "wrenchingly told her story at Blue Bay High earlier, comes quietly\n into the gray room.\n \n KRISTEN\n Elena." ], [ "MARIE\n But, Jay...they're my diamonds...\n \n JAY", "MARIE\n Very funny. Did you know the diamonds\n were fakes?\n \n Jay nods slowly.", "She reaches down and grabs the diamonds. Dances past Marie...\n \n THEO\n May I suggest a little discretion, Miss", "The diamonds are your inheritance. You\n deserve them...\n \n MARIE\n My fucking Step-Monster'll never give me", "I'll tell you the truth. I'll tell you\n what happened. She killed him, and took\n the diamonds. Marie, it was Marie", "inally, with a very heavy heart, Marie hands over the diamonds.\n \n THEO\n When this is all over, you'll leave town.", "Theo nudges Marie. She sighs, holds out the Mother diamond in the\n other hand. A broad grin stretches across Elena's face.\n \n F", "You got diamonds on the mind.\n \n JAY (O.S.)\n Have either of you seen my video camera?", "JAY (CONT'D)\n Fuck me...\n \n ELENA (O.S.)\n Any time. Any place...", "INT. JAY'S OFFICE - NIGHT\n \n Marie's working the safe combination like a master thief, spinning\n it nimbly between her buffed nails. CLICK...", "JAY\n That'd be fine, just fine.\n \n He hands Elena his empty glass, then kisses Kristen tenderly.", "A sinister grin spreads across Elena's face as she holds up the\n breathtaking Mother-Daughter diamonds, reflecting an unearthly\n glow under the UV lights.", "Elena watches as Marie and Theo drive away, then turns to the\n glistening Mother Daughter diamonds. She opens a case with two", "Cicatriz runs the steel blade across Jay's thumb. Marie has to\n cover her mouth from screaming as she sees a trickle of blood\n stain the spotless white carpet.", "Beside her, Marie lies dead, her chest a gaping crimson mess,\n Jay's gun still clutched tightly in her cold, dead hands.", "Jay stands, shakes Morrison's hand.\n \n MORRISON\n (to Marie)\n Would you mind waiting outside while me", "He and Elena help Marie out of her blouse while Elena runs her\n hands all over him...\n \n INT. ELENA'S TRAILER - NIGHT", "She leans in, kisses him sweetly on the lips. Morrison watches her\n walk away. In spite of all the shit that's gone down, he's", "She's halfway down the hallway when Mr. Barajas and Cicatriz exit\n Jay's study. She turns, tries to look innocent as the Cuban\n 'businessmen' stare her down.", "Inside are stacks of CASH, piled high, along with a shiny new\n HANDGUN. Jay flicks through the money, shaking his head..." ], [ "Theo nudges Marie. She sighs, holds out the Mother diamond in the\n other hand. A broad grin stretches across Elena's face.\n \n F", "Elena watches as Marie and Theo drive away, then turns to the\n glistening Mother Daughter diamonds. She opens a case with two", "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "MARIE\n I'm gonna kill him.\n \n Elena's breath catches in her throat. Marie disappears into the", "Elena stands with her hands up, an ugly bullet hole in the wall\n just beside her. Marie keeps Jay's gun trained on her as she\n unloads the cash from the safe...", "MARIE\n Get the hell outta here! NOW!\n \n Marie stumbles after Elena, grabbing her from behind, holding her", "Marie, the BLOODY TIRE IRON in hand...\n \n Marie reaches out a hand, pulls Elena out of the water. She", "hen they pull apart, Chad helps Elena pull off her T-top, as\n Marie runs her hands up and down Elena's bare back. Elena turns", "ELENA\n Give us back the diamonds!\n \n Chad's heart stops.\n \n CHAD", "I'll tell you the truth. I'll tell you\n what happened. She killed him, and took\n the diamonds. Marie, it was Marie", "Elena and Marie, soaked to the bone, drag Chad's cold, dead corpse\n out of the trees. Marie drops the body, heads straight for her", "He and Elena help Marie out of her blouse while Elena runs her\n hands all over him...\n \n INT. ELENA'S TRAILER - NIGHT", "She reaches down and grabs the diamonds. Dances past Marie...\n \n THEO\n May I suggest a little discretion, Miss", "Chad uses Jay's teeth mouldings to bite Elena, as Marie trains\n Jay's video camera on her, wailing on her in a drunken stupor.", "Marie looks at her stepfather, nods tentatively, but then notices\n the incongruous figure of Elena, sidling up to him...", "This brings a teasing pout to Elena's lips.\n \n ELENA\n Is that any way to treat Marie's new best", "Marie comes running up to join Elena, a tire iron in hand...\n \n ELENA\n (sternly)", "ELENA\n You blow this dive, I get those diamonds\n of yours.", "leads them into her bedroom...\n \n MARIE\n Let's just get this over with.\n (to Elena)", "And that's it. Marie lashes out with a haymaker punch. Connects on\n Elena's jaw and she goes reeling back. But it's ignited the street" ], [ "THEO\n (into phone)\n Mr. Clifford, this is Kristen Richards,\n Elena Sandoval's probation officer.", "Elena's lips move hungrily across Chad's face, until they find his\n mouth. They kiss deeply.", "There's a quiet knock on the door and Elena quickly lowers her\n hand, looks round...\n \n Kristen Richards, the young Parole Officer who so heart", "Elena smiles wryly.\n \n ELENA\n You will be.\n \n And she means it...", "ELENA\n And such.\n \n She continues to pace as Chad makes his way into the room, rounds", "S\n he rips the microphone from Elena's chest. Stands there with the\n dangling cord in her hands, her face caught in a permanent snarl.", "Elena covers her mouth, as if to cough...\n \n ELENA\n (through fake coughs)\n ...whore...", "He reels around, sees Elena moving toward him, brushing aside the\n thick plastic sheeting. She has a bottle of beer in one hand, a", "She offers her hand, and Morrison shakes it.\n \n KRISTEN\n Miss Richards. Kristen. Miami Parole. Was", "Elena reaches over, carefully closes Chad's bloodshot eyes.\n Satisfied, she turns to get out, only to find the passenger side\n door LOCKED...", "Marie looks at her stepfather, nods tentatively, but then notices\n the incongruous figure of Elena, sidling up to him...", "He motions behind him to KRISTEN RICHARDS, early 30's, a natural\n beauty who's doing her best to hide behind a bland gray suit and", "Elena's face is pressed against the concrete wall...\n \n INT. BLUE BAY FORENSICS LAB - NIGHT", "He and Elena help Marie out of her blouse while Elena runs her\n hands all over him...\n \n INT. ELENA'S TRAILER - NIGHT", "ELENA\n Pull over!\n \n INT. CHAD'S CAR - DAY", "Miss Sandoval. You're on thin ice, young\n lady!\n \n Like Elena cares. She leans back, nods. Job done.", "ELENA (CONT'D)\n Good luck in court.\n \n INT. BLUE BAY COURTROOM - DAY", "Elena gets to her feet, licks the blood from her split lip.\n \n ELENA\n Mr. Clifford. Betcha proud of little", "Elena gets hesitantly to her feet, slides a stack of $100s in her\n pocket for good measure.", "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the" ], [ "Elena watches as Marie and Theo drive away, then turns to the\n glistening Mother Daughter diamonds. She opens a case with two", "Elena reaches down, pulls the diamonds from the sand. Hands them\n over and is about to take the case of money when...\n \n UNCLE MARTY", "ELENA\n You blow this dive, I get those diamonds\n of yours.", "A sinister grin spreads across Elena's face as she holds up the\n breathtaking Mother-Daughter diamonds, reflecting an unearthly\n glow under the UV lights.", "ELENA\n Give us back the diamonds!\n \n Chad's heart stops.\n \n CHAD", "inally, with a very heavy heart, Marie hands over the diamonds.\n \n THEO\n When this is all over, you'll leave town.", "(re: diamonds)\n Two beauties...\n (turning to Marie and Elena)\n Two beauties...", "Theo nudges Marie. She sighs, holds out the Mother diamond in the\n other hand. A broad grin stretches across Elena's face.\n \n F", "She reaches down and grabs the diamonds. Dances past Marie...\n \n THEO\n May I suggest a little discretion, Miss", "We are prepared to make it worth your\n while.\n \n She holds the Daughter diamond in front of Elena's greedy little\n eyes.", "ELENA\n The mother.\n \n Kristen picks up the smaller diamond, hands it to Elena.", "She reaches out tentatively towards the glass case. Not to touch\n the diamonds, but to run her fingers over a picture that's mounted", "Marie finally pulls out two blood soaked Diamonds from her bag,\n thrusts them at the Curator. He screws up his wrinkled face,\n afraid to touch them...", "Chad's face is drained of color as he runs through the dense\n swampland, hugging the priceless diamonds. Sweat cascades from his", "The Curator hovers his heel over the biggest Diamond. Marie\n screams out!\n \n MARIE\n NO!", "I'll tell you the truth. I'll tell you\n what happened. She killed him, and took\n the diamonds. Marie, it was Marie", "The Curator paces back and forth, like an expectant father, in\n front of the empty glass case that used to house the diamonds.", "Elena gets hesitantly to her feet, slides a stack of $100s in her\n pocket for good measure.", "INT. MUSEUM - AFTERNOON\n \n The Curator carefully sets down the diamonds on the marble floor.\n Marie looks at him like he's mad.", "Marie, tears welling in her eyes, takes a hold of the diamonds,\n carefully takes them from the case." ], [ "Beside her, Marie lies dead, her chest a gaping crimson mess,\n Jay's gun still clutched tightly in her cold, dead hands.", "MARIE\n \n scours the bizarre darkness, hears a sound. BOOM! The orange\n muzzle flash illuminates the floor briefly as Marie shoots", "BOOM! A bullet sparks off rebar inches from her foot. She looks up\n to see the barrel of Jay's gun. Marie's face is contorted", "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "She hears a scream, a girl's scream...\n \n ELENA\n Marie!", "Elena lets out an anguished wail.\n \n MARIE (V.O.)\n Keep it down, my headache's bad enough as", "MARIE\n No, I'm pretty damn far from okay...\n \n She points to the front seat of the crashed car...", "MARIE\n He bolted...", "INT. MARIE'S BMW - CONTINUOUS\n \n Marie slams on her brakes, brings her BMW to a skidding halt on", "Elena can barely bring herself to look inside. Marie shoves her in\n the back, pushing her towards the open driver's side door. Elena", "The usual assortment of paparazzi and spectators crowd into the\n small courtroom.\n \n Marie is on the witness stand, staring straight ahead at her", "Marie, please...\n \n There's no stopping her now. Red-faced, she lashes out at the\n display case with a devastating kick, the glass SHATTERING...", "Elena stands with her hands up, an ugly bullet hole in the wall\n just beside her. Marie keeps Jay's gun trained on her as she\n unloads the cash from the safe...", "Marie is in the front row of the gallery, surrounded by her\n coiffured peers. She tries to smile stoically at Jay...", "MARIE\n Get the hell outta here! NOW!\n \n Marie stumbles after Elena, grabbing her from behind, holding her", "Marie now, huh?\n \n He hauls Marie to her feet, thrusts her towards the mansion.\n \n JAY", "Marie looks at her stepfather, nods tentatively, but then notices\n the incongruous figure of Elena, sidling up to him...", "Marie falls flat on her face, her world crashing to BLACK.\n \n FADE IN:", "... and hurries after them. Marie is left dumbfounded. So close,\n but so far...\n \n MARIE", "Marie shakes her head.\n \n MARIE\n The combination's the day Mom died, you\n sick fuck?" ], [ "to the police.\n \n Marie doesn't even look round, concentrating on the job at hand.\n Elena's reeling.", "Then I suggest you get to work...\n \n She fires up the powerful engine, speeds away in a cloud of dust,\n leaving Elena the most deeply unpleasant task of her young life...", "ELENA\n Listen to me. We go to the jail, tell him\n we'll come clean, tell the police\n everything, if he gives us the", "INT. BLUE BAY PD INTERVIEW ROOM - DAY\n \n Elena paces the sterile interview room like a caged tiger. She", "With trembling hands, Elena opens the trunk of Chad's crashed car.\n She pulls out a plastic gas container, sloshing the fuel around", "ELENA\n It was...it was an accident...\n \n The flames reflect in her tear-filled eyes.", "Elena's face is pressed against the concrete wall...\n \n INT. BLUE BAY FORENSICS LAB - NIGHT", "kinds of dirt. And you'll have to testify\n in court, face the man you're accusing...\n \n Crocodile tears roll down Elena's cheeks.", "Elena just looks up at her pitifully.\n \n KRISTEN\n Could you tell me what happened?", "Maybe so, but that's not good enough. Why\n were you set up? What would Elena\n Sandoval have gained from all this?", "Elena gets hesitantly to her feet, slides a stack of $100s in her\n pocket for good measure.", "You killed him, Marie. You murdered him\n in cold blood...\n \n Marie presses up against Elena, pushing her up against the", "Elena covers her mouth, as if to cough...\n \n ELENA\n (through fake coughs)\n ...whore...", "Elena gets out the car, feeling decidedly sick. She circuitously\n adjusts the microphone taped to her chest, then follows Marie into\n the dark, unfinished building", "EXT. OFFICE - MORNING\n \n Elena gets into a waiting car outside the bank. The getaway", "Elena smiles wryly.\n \n ELENA\n You will be.\n \n And she means it...", "S\n he rips the microphone from Elena's chest. Stands there with the\n dangling cord in her hands, her face caught in a permanent snarl.", "Elena reaches over, carefully closes Chad's bloodshot eyes.\n Satisfied, she turns to get out, only to find the passenger side\n door LOCKED...", "Elena lets out an anguished wail.\n \n MARIE (V.O.)\n Keep it down, my headache's bad enough as", "Elena can't help but hear the unmistakable sound of FLAMES\n CRACKLING. Through the smashed rear window she sees the line of" ], [ "Jay takes a seat on an uncomfortable metal chair in front of\n bullet-proof glass. He's half the man he used to be, broken,", "The courtroom is packed with journalists, TV cameras and nosey\n neighbors. Everyone wants a piece of this story. At the\n defendant's table, Jay, slick once more in Armani, watches Theo", "it is if somehow getting Jay released\n from prison would spoil the plan.\n \n MARIE\n What plan?", "Jay's led away in shackles...\n \n EXT. BLUE BAY STREETS - NIGHT", "for Jay Clifford. It took less than an\n hour for the jury to deliberate and\n sentence Mr. Clifford to 15 years.\n T", "Jay sits at the defendant's table, suit impeccable, hair\n immaculate, game face on. Theo sits beside him, scribbling notes.", "the County Jail. The gate slowly opens and guards lead a dazed Jay\n Clifford outside, wincing from the bright sunlight.", "V cameras witness Jay being led away in handcuffs...\n \n JAY (ON TV)\n You can't do this to me! You can't...YOU", "TV news gleefully reports Jay's trial like a sordid soap opera...\n \n REPORTER (ON TV)\n ...in the face of damning evidence, Jay", "never forget.\"\n \n That's it. The court goes berserk, flashbulbs exploding, along\n with the veins in Jay's head.", "That's it. The Court erupts, flashbulbs exploding. Jay slumps back\n in his chair, his air of cool gone in an instant. He looks back at", "the offer. \n INT. COUNTY JAIL VISITING ROOM - DAY\n \n In the cold stone jail visiting room, Jay sits behind the wire", "He takes a seat next to Jay, whispers in his ear. D.A. Meese\n starts his cross-examination.\n \n D.A. MEESE", "Her arrest doesn't guarantee Jay'll be\n cleared, you know that. You need Marie,\n you need the proof they set him up...", "Through stifled sobs, Elena states...\n \n ELENA\n It was Jay Clifford. He raped me...", "JAY\n I didn't do anything, I swear.\n \n OFFICER ENTWISTLE", "03/22/2004 19.\n \n \n \n JAY", "JAY\n (sotto)\n Not enough. Just not enough...\n \n A clanking noise from outside has him quickly snatching the gun", "A PRISON GUARD puts a massive hand on Jay's shoulder...\n P\n RISON GUARD\n Time's up, Mr. Clifford.", "JAY\n Ain't got nowhere to go...\n \n Morrison watches sadly as Jay stumbles past him, walking to" ] ]

[ "For what reason does Jay Clifton challenge the will of Marie's mother?", "Where does Jay first meet Elena?", "How does Marie react to Elena's presense at her birthday party?", "What happened as a result of Jay taking Elena to the construction site for privacy after leaving the party?", "Why did Chad betray Marie?", "How did Marie kill Chad?", "Why did Elena betray Marie?", "How do Morrison and Richards persuade Elena to betray Marie?", "Which character was Kristen Richards's rapist?", "Who kills Marie?", "What is Kristen's and Elena's relationship?", "Who was the man that raped Kristen?", "What does Marie tell Jay to do to Elena?", "Why does Marie assault Elena?", "What did Elena allege that Jay did?", "What does Kristen reveal at the seminar?", "Who presents the sexual education seminar at Marie's school?", "Why does Jay challenge the will?", "What are the diamonds nicknamed?", "What are the two nicknames of the Diamonds?", "At what type of seminar did Dr. Chad Johnson and officer Kristen Richards speak at?", "Who does Elena allege raped her at the construction site?", "Which 3 characters are in a sexual relationship together and scheme to get the diamonds from Jay?", "What type of weapon does Elena use to threaten Marie once they steal the diamonds from Chad?", "What is the relationship between Richards and Elena?", "Why did Richards escort Elena away from the scene after the claim that there were no diamonds?", "Where was Marie shot?", "In an effort to get a lessor sentence, what does Elena do to help the police?", "Why is Jay sent to prison?" ]

[ [ "He claims that Marie is not ready for the responsibility.", "He claims Marie is not mature enough, but it's actually that he wants the diamonds himself" ], [ "At Marie's swim meet.", "Marie's swim-meet." ], [ "She assaults Elena and tells her she is not welcome.", "She assaults her " ], [ "Elena alleged that she was raped by him.", "Jay raped her." ], [ "He was questioned by Morrison and Richards.", "Because he thinks Richards and Morrison suspect him " ], [ "She followed him into the woods and killed him with a tire iron.", "A tire iron." ], [ "She was caught by Morrison and Richards.", "to get a lessor sentence" ], [ "They would lessen her charges if she wore a wire and tried to get Marie to confess.", "Offer to get the charges against her lessened." ], [ "Jay Clifton", "Jay Clifton." ], [ "Kristen.", "Richards." ], [ "They are mother and daughter.", "Mother and daughter." ], [ "Jay.", "Jay Clifton" ], [ "Pay her off.", "Sell the diamonds to pay her off " ], [ "Because she says she is not welcome at her birthday party.", "she doesn't want her at her birthday party" ], [ "She said that he raped her.", "Rape her " ], [ "She was raped.", "That she had been raped." ], [ "Dr. Chad Johnson and probation officer Kristen Richards.", "Chad Johnson and Kristen Richards." ], [ "He says Marie isn't ready for the responsibility and wants the diamonds for himself.", "he says Marie isn't mature enough yet, but really wants the diamonds for himself" ], [ "Mother and daughter.", "Mother and daughter." ], [ "The mother and daughter", "mother and daughter" ], [ "A sexual education seminar", "sexual education" ], [ "Jay", "Jay Clifton." ], [ "Elena, Chad and Marie", "Elena, Marie, and Chad " ], [ "A gun", "a gun" ], [ "They are mother and daughter", "Mother and daughter." ], [ "Because Richards and Elena had a plan from the beginning to steal the diamonds. They were in it together", "He had just shot Marie." ], [ "At the construction site", "In the chest." ], [ "Wear a wire to try to get Marie to confess", "She wears a wire" ], [ "Jay threatened to kill Elena", "raping and threatening to kill elena" ] ]

[ [ "\"All the same it's a fact. She'll tell you the story herself, and you'll\nbelieve her quick enough. But to prepare your mind I'll just give you a\nsketch of the events of the last few days.\"", "Presently they heard her story. Her name was Morran, and she had been a\nwidow these ten years. Of her family her son was in South Africa, one", "\"I called this place Paradise four hours ago,\" he said. \"So it is, but I\nfancy it is next door to Hell. There is something devilish going on\ninside that park wall and I mean to get to the bottom of it.\"", "Street. For a moment the sight of the familiar place struck a pang to\nhis breast, but he choked down unavailing regrets. He ordered a great", "called Darkwater, and there's no sich place in the countryside. I\nbelieve he meant Dalquharter. I believe he's the man she's feared of.\"", "other, solid as ever, was just a shade less black. He lifted his eyes\nand saw in the near distance the corner of the road which led to his\nhome. \"I must decide before I reach that corner,\" he told himself.", "The bivouac was a cheerful place in the wet night. A great fire of pine\nroots and old paling posts hissed in the fine rain, and around it", "The two were about thirty yards from Heritage's window. Léon was telling\nsome story volubly, pointing now to the Tower and now towards the sea.", "hereaways, and everybody in the parish will be sitting indoors by the\nfire.\" He looked at his watch. \"In half an hour it'll be light. Haste", "very clearly. She spoke of a place called Darkwater, and I have been\nhunting half Scotland for it. It was only last night that I heard of", "The door shut behind them and Dickson found himself with his two charges\nin a world dim with fog and rain and the still lingering darkness. The", "of further proceedings. He was dragged into a cubby-hole, which had once\nbeen used for coats and rugs, and the door locked on him. Then the light", "I've lost things. Drive me to West George Street and look sharp.\" And he\nslammed the door with the violence of an angry man.", "If any one had told him a week ago that he would be in so strange a\nworld he would have quarrelled violently with his informant. A week ago", "taking their places. There was Thomas Yownie, the Chief of Staff, with a\nwrist wound up in the handkerchief which he had borrowed from his neck.", "\"Tell me again,\" she said. \"You have locked all the three up, and they\nare now the imprisoned?\"\n\n\"Well, it was the boys that, properly speaking, did the locking up.\"", "Then he forgot about the bicycle and twisted his neck to watch the\nstation. It was less than a mile off now, and they had no time to", "The time was January, 1916, and the place a room in the great Nirski\nPalace. No hint of war, no breath from the snowy streets, entered that", "They selected a cottage whiter and neater than the others, which stood\nat a corner, where a narrow lane turned southward. Its thatched roof had", "had gone to find. The minutes passed, and soon it was three o'clock, and\nfrom the window he saw only the top of the gaunt shuttered House, now" ], [ "\"You're an impident laddie,\" said the outraged Dickson. \"It's no' likely\nwe're coming with you. Breaking into other folks' houses! It's a job for\nthe police!\"", "attended to the kitchen entrance, while he himself made a tour of the\nground-floor windows. For half an hour the empty house was loud with\nstrange sounds. McGuffog, who was a giant in strength, filled the", "he had burglariously entered and made free of a strange house; he had\nplayed hide-and-seek at the risk of his neck and had wrestled in the", "out of the question had worked a change in his views. Somehow it seemed\nto him less burglarious to enter by a verandah. He felt very frightened\nbut--for the moment--quite resolute.", "oursels, now. Forward, men, forward.\" He tried the handle of the house\ndoor and led the way in.", "\"Into the House,\" he cried, as he picked up the ladder and tossed it\nover the wall on the pack surging below. He was only just in time, for", "\"The three o' them is approachin' the kitchen door,\" whispered the\nChieftain. \"I seen them from a spy-hole I made out o' a ventilator.\"", "overture of his goddess. He was ashamed and angry, but what else was\nthere to do? Burglary in the company of a queer poet and a queerer\nurchin? It was unthinkable.", "other, solid as ever, was just a shade less black. He lifted his eyes\nand saw in the near distance the corner of the road which led to his\nhome. \"I must decide before I reach that corner,\" he told himself.", "in the stones, and he could be heard trying the handle of the door into\nthe House. He was absent for about five minutes and then his head peeped\nover the edge accompanied by the hooks of an iron ladder. \"From the", "hereaways, and everybody in the parish will be sitting indoors by the\nfire.\" He looked at his watch. \"In half an hour it'll be light. Haste", "beyond their reach. When they had settled with him they would no doubt\nburn the House down, but that would serve them little. From his airy", "\"Now for the Hoose, men,\" said Dougal. They stole over the downs to the\nshrubbery, and Dickson found himself almost in the same place as he had", "on urgent business. Sir Archibald was at home, he was told, and had just\nfinished breakfast. The two were led into a large bare chamber which had", "elsewhere; and that'll want savage thinkin'. Ye'll have to be ay on the\nmove, Mem, and keep me informed. If they break in at two bits, we're", "House. It was Spidel, who limped round the Tower, tried the door, and\ncame to a halt below the window. Heritage stuck out his head and wished", "Dougal squatted again on the hearth-rug, and gathered the eyes of his\naudience. He was enjoying himself.\n\n\"This day,\" he said slowly, \"I got inside the Hoose.\"", "\"It's gettin' dark,\" he said, \"and the enemy are that busy tryin' to\nbreak into the Hoose that they'll no' be thinkin' o' their rear. The", "Then Thomas Yownie spoke. So far he had been silent, but under his\ntangled thatch of hair, his mind had been busy. Jaikie's report seemed\nto bring him to a decision.", "He returned in three minutes. \"Coast's clear,\" he whispered. \"The\ntinklers are eatin' their breakfast. They're late at their meat though\nthey're up early seekin' it.\"" ], [ "he had burglariously entered and made free of a strange house; he had\nplayed hide-and-seek at the risk of his neck and had wrestled in the", "\"Into the House,\" he cried, as he picked up the ladder and tossed it\nover the wall on the pack surging below. He was only just in time, for", "attended to the kitchen entrance, while he himself made a tour of the\nground-floor windows. For half an hour the empty house was loud with\nstrange sounds. McGuffog, who was a giant in strength, filled the", "in the stones, and he could be heard trying the handle of the door into\nthe House. He was absent for about five minutes and then his head peeped\nover the edge accompanied by the hooks of an iron ladder. \"From the", "out of the question had worked a change in his views. Somehow it seemed\nto him less burglarious to enter by a verandah. He felt very frightened\nbut--for the moment--quite resolute.", "oursels, now. Forward, men, forward.\" He tried the handle of the house\ndoor and led the way in.", "As if in ironical answer came a great crashing at the verandah door, and\nthe twanging of chords cruelly mishandled. The grand piano was suffering\ninternally from the assaults of the boiler-house ladder.", "\"The three o' them is approachin' the kitchen door,\" whispered the\nChieftain. \"I seen them from a spy-hole I made out o' a ventilator.\"", "shuffle sounded on its tiled floor, and then he entered the door\nadmitting from the verandah to the House. It was clearly unlocked for\nthere came no sound of a turning key.", "\"You're an impident laddie,\" said the outraged Dickson. \"It's no' likely\nwe're coming with you. Breaking into other folks' houses! It's a job for\nthe police!\"", "time. If they can't get in at the kitchen door, they'll send one o' them\nround to get in by another door and open to them. That gives us a chance", "and made the ascent. The six scouts followed, and the ladder was pulled\nup and hidden among the verandah litter. For a second the whole eight\nstood still and listened. There was no sound except the murmur of the", "enter, but he got as far as the garden-room, in whose dark corners he\nmade havoc. Indeed he was almost too successful, for he created panic", "Up that broken hillside they crawled, well in the cover of the tumbled\nstones, till they reached a low wall which was the boundary of the", "Paterson and me had the barricade down. As we expected, Spittal tried\nthe key again and it opens quite easy. He comes in and locks it behind", "and the back door beside the kitchen, and I'm not at all sure that\nthere's not a way in by the boiler-house. You understand. We're holding", "the west door yielded. In two steps he had followed McGuffog through the\nchink into the passage, and the concussion of the grand piano pushed\nhard against the verandah door from within coincided with the first", "thought that they were about to try to force an entrance. They tugged\nand hammered at the great oak door, which he had further strengthened by", "So intent was the gaze of the others on him, that they did not see a\nsecond figure ascending the stairs. Just as Alexis flung himself before", "Now that the expected had come at last Heritage's nerves grew calmer. He\nmade out that the newcomers were trying the door, and he waited to hear\nit fall, for such a mob could soon force it. But instead a voice called\nfrom beneath." ], [ "\"Well, I never!\" said Dickson. \"Is there any law in Scotland, think you,\nthat forbids a man to stop a day or two with his auntie?\"\n\n\"Ye'll stay?\"", "Writers to the Signet. \"Sich notions of business!\" he murmured. \"I\nwonder that there's a single county family in Scotland no' in the", "\"By God, we won't!\" said the Poet fervently. \"Dogson, it's up to you.\nYou march off to Glasgow in double quick time and place the stuff in", "Europe, and your police, as I thought, do not permit evil men to be\ntheir own law. But especially I had a friend, a Scottish gentleman, whom", "troubles. He was called Quentin Kennedy, and now he is dead. He told me\nthat in Scotland he had a lonely château where I could hide secretly and", "Glasgow, Mr. Caw, will have been stirring him up yesterday, and you two\nshould complete the job.... But what I'm feared is that he'll not be in", "\"I must thank you for your generous donation, McCunn. Those boys will\nget a little fresh air and quiet after the smoke and din of Glasgow. A\nlittle country peace to smooth out the creases in their poor little\nsouls.\"", "for the roadside. He did not want anything Scots, for he was of opinion\nthat Spring came more richly in England and that English people had a", "\"If you'll take my advice,\" said Dickson slowly, \"you'll get them\ndeposited in a bank and take a receipt for them. A Scotch bank is no' in\na hurry to surrender a deposit without it gets the proper authority.\"", "will along Scotch roads. But the sea's a different matter. If they've\ngot a fast boat they could be out of the Firth and away beyond the law", "\"I want you to telephone through to them and inquire about a place in\nCarrick called Huntingtower, near the village of Dalquharter. I\nunderstand it's to let, and I'm thinking of taking a lease of it.\"", "\"You're a precise, pragmatical Scot,\" was the answer. \"Hang it, man,\ndon't remind me that I'm inconsistent. I've a poet's licence to play the", "Dougal crept up behind Sir Archie. \"Here, I think it's the polis.\nThey're whistlin' outbye, and I hear folk cryin' to each other--no' the\nforeigners.\"", "Sir Archie nodded. \"But why put ourselves in their power at all? They're\nat present barking up the wrong tree. Let them bark up another wrong", "Then Dougal broke in and his voice was excited. \"It's no whaups. That's\nour patrol signal. Man, there's hope for us yet. I believe it's the\npolis.\"", "\"Tuts, that's no' the way to talk, man. Time enough to speak about dying\nwhen there's no other way out. I'm looking at this thing in a business\nway. We'd better be seeing the ladies.\"", "\"All quiet,\" the Chieftain reported. \"Far ower quiet. I don't like it.\nThe enemy's no' puttin' out his strength yet. The Russian says a' the", "thing to do. We must get inside the Hoose and put it in a state of\ndefence. Heritage has McCunn's pistol, and he'll keep them busy for a", "\"Proley Tarians, arise!\n Wave the Red Flag to the skies,\n Heed nae mair the Fat Man's lees,", "\"We don't want any shootin' if we can avoid it,\" said Sir Archie, who\nfound his distaste for Dougal growing, though he was under the spell of\nthe one being there who knew precisely his own mind." ], [ "Street. For a moment the sight of the familiar place struck a pang to\nhis breast, but he choked down unavailing regrets. He ordered a great", "Presently they heard her story. Her name was Morran, and she had been a\nwidow these ten years. Of her family her son was in South Africa, one", "\"I'm from Glasgow. My name's Dickson McCunn.\" He had a faint hope that\nthe announcement might affect the other as it had affected the bagman at\nKilchrist.", "But as it rumbled over the river bridge and slowed down before the\nterminus, his vitality suddenly revived. He was a business man, and\nthere was now something for him to do.", "\"They call me Saskia. This,\" nodding to the chair, \"is my cousin\nEugènie.... We are in very great trouble. But why should I tell you? I\ndo not know you. You cannot help me.\"", "version, but she told it differently, for she was telling it to one who\nmore or less belonged to her own world. She mentioned names at which the", "to a gentleman from London. \"The strength of this city,\" he had said,\ntapping his eyeglasses on his knuckles, \"does not lie in its dozen very", "other, solid as ever, was just a shade less black. He lifted his eyes\nand saw in the near distance the corner of the road which led to his\nhome. \"I must decide before I reach that corner,\" he told himself.", "\"All the same it's a fact. She'll tell you the story herself, and you'll\nbelieve her quick enough. But to prepare your mind I'll just give you a\nsketch of the events of the last few days.\"", "\"I called this place Paradise four hours ago,\" he said. \"So it is, but I\nfancy it is next door to Hell. There is something devilish going on\ninside that park wall and I mean to get to the bottom of it.\"", "\"This is a pretty rotten show for you,\" he told her. \"It strikes me as a\nrather unpleasant brand of nightmare.\"\n\n\"I have been living with nightmares for three years,\" she said wearily.", "called Darkwater, and there's no sich place in the countryside. I\nbelieve he meant Dalquharter. I believe he's the man she's feared of.\"", "\"You can see the top of the old Tower, and part of the sea,\" she said.\n\"I know it well, for it was my only amusement to look at it. On clear", "The rain had stopped, and, as the car moved down the dreary vista of\nEglinton Street, the sky opened into fields of blue and the April sun", "Dobson, for he had tell-tale stuff on his person. The morning was wet,\nso he wore his waterproof, which concealed his odd tendency to stoutness\nabout the middle.", "A week ago----! He groaned at the remembrance of that sunny garden. In\nseven days he had found a new world and tried a new life, and had come", "The girl came into the room with a darting movement like a swallow,\nlooked round her with the same birdlike quickness, and then ran across\nthe polished floor to where a young man sat on a sofa with one leg laid\nalong it.", "The time was January, 1916, and the place a room in the great Nirski\nPalace. No hint of war, no breath from the snowy streets, entered that", "fellow who set out a week ago on his travels. He has now assurance of\nhimself, assurance of his faith. Romance, he sees, is one and\nindivisible....", "pretty well pleased with myself and enjoying life.... In the place where\nI stayed there was a girl. She was a Russian, a princess of a great\nfamily, but a refugee and of course as poor as sin.... I remember how" ], [ "\"Who bides in the Big House?\" he asked. \"Huntingtower is the name, isn't\nit?\"", "HUNTINGTOWER\n\n\n\n\nPROLOGUE", "The old keep of Huntingtower stood some three hundred yards from the\nedge of the cliffs, a gnarled wood of hazels and oaks protecting it from", "\"I've come to see you about Huntingtower House,\" he began.", "look of it. You see, I want a quiet bit a good long way from a town, and\nat the same time a house with all modern conveniences. I suppose\nHuntingtower has that?\"", "Above them hung the sheer cliffs of the Huntingtower cape, so sheer that\na man below was completely hidden from any watcher on the top. Dickson's", "With a piece of chalk he drew on the kitchen floor a rough sketch of the\nenvirons of Huntingtower. Peter Paterson was to move from the", "once quarrelled and revelled and plotted here, and now here he was at\nthe same game. Present and past joined hands over the gulf of years. The\nsaga of Huntingtower was not ended.", "After that Dickson leaves him and wanders among the thickets on the edge\nof the Huntingtower policies above the Laver glen. He feels childishly", "\"Now for the Tower,\" Sir Archie had observed cheerfully. \"We should be a\nmatch for the three watchers, my lad, and it's time that poor devil\nWhat's-his-name was relieved.\"", "\"I want you to telephone through to them and inquire about a place in\nCarrick called Huntingtower, near the village of Dalquharter. I\nunderstand it's to let, and I'm thinking of taking a lease of it.\"", "\"Oh, I'm a free man now and I took a fancy to this place. An idle body\nhas nothing to do but please himself.\"\n\n\"I hear ye're taking a lease of Huntingtower?\"", "It was the lame man whom Dougal had called Spittal, the dweller in the\nSouth Lodge. Seen at closer quarters he was an odd-looking being, lean", "of the old Huntingtower on the short thymy turf which ran seaward to the\ncliffs. Dougal led them along a sunk fence which divided the downs from", "Might not this be the long-awaited friend, for whose sake she was rooted\nto Huntingtower with all its terrors?", "Tower and the House, the other on the side nearest the Laver glen. These\nwere their posts, but they did sentry-go around the building, and passed", "The Chieftain, having located the three watchers, proceeded to give an\nexhibition of his prowess for the benefit of the lonely inmate of the", "is a passion for Huntingtower, and the Kennedys have always humoured her\nand had her to stay every spring. When the House was shut up that became", "House. It was Spidel, who limped round the Tower, tried the door, and\ncame to a halt below the window. Heritage stuck out his head and wished", "happening, and of them she was a part. Dickson's anxiety was hers, to\nbring things to a business-like conclusion. The honour of Huntingtower" ], [ "Dickson's first impression was of a tall child. The pose, startled and\nwild and yet curiously stiff and self-conscious, was that of a child", "thing about him was his face, which was decorated with features so tiny\nas to give the impression of a monstrous child. Each in itself was well", "that the fringe of it could be seen, and, when Léon appeared below, he\nwas in the shadow talking rapid French in a very fair imitation of the", "\"You're wrong.\" And he told of Léon's mistaken confidences to him in\nthe darkness. \"They are coming from the sea, just like the old pirates.\"", "Léon was by his side now--Léon and Spidel, imploring him to do something\nwhich he angrily refused. Outside there was a new clamour, faces showing", "After that a good many things all seemed to happen at once. There was a\nsudden light, which showed Léon blinking with a short loaded", "furious charge upset him, and for a moment he thought he had been\ndiscovered. But it was only Dobson rushing to Léon, who was leading the", "It was a stunted boy, who from his face might have been fifteen years\nold, but had the stature of a child of twelve. He had a thatch of fiery", "After him came a lean tall boy who answered to the name of Napoleon.\nThere was a midget of a child, desperately sooty in the face either from", "\"Dobson I do not know. Léon was there. He is no Russian, but a Belgian\nwho was a valet in my father's service till he joined the Bolsheviki.", "two seconds there was a desperate silent combat. It ended with Léon's\nhead meeting the floor so violently that its possessor became oblivious", "limped a boy. Never was there seen so ruinous a child. He was dripping\nwet, his shirt was all but torn off his back, his bleeding nose was", "must be drawn somewhere. \"The man's a child,\" he decided, \"and not like\nto grow up. The way he's besotted on everything daftlike, if it's only", "Her voice had trailed off into flat weariness. Again Dickson was\nreminded of a child, for her arms hung limp by her side; and her slim", "glimpse of his face, thought he looked both evil and furious. Then came\nsome anxious moments, for had the man glanced back when he was once", "Léon laid a hand on the leader's arm and was roughly shaken off. Spidel\nfared no better, and the little group on the upper landing saw the two", "The two were about thirty yards from Heritage's window. Léon was telling\nsome story volubly, pointing now to the Tower and now towards the sea.", "leaden little figure which simpered and preened itself and was hollow as\na rotten nut. And he hated it.", "\"Did she say what he was like in appearance?\"\n\n\"A face like an angel--a lost angel, she says.\"\n\nDickson suddenly had an inspiration.", "which woke the latter to activity. The innkeeper shouted to Léon and\nSpidel, and the tinkler was excitedly questioned. Dobson laughed and" ], [ "was at stake and of the old Kennedys. She was carrying out Mr. Quentin's\ncommands, the dead boy who used to clamour for her treacle scones. And", "Kennedys, as I have said, are--well, not exactly like other people, and\nI have the strictest orders not to let any one visit the house without", "troubles. He was called Quentin Kennedy, and now he is dead. He told me\nthat in Scotland he had a lonely château where I could hide secretly and", "Kennedys, and, like a' the rale gentry, maist mindfu' o' them that\nserved them. Sic' merry nichts I've seen in the auld Hoose, at", "is a passion for Huntingtower, and the Kennedys have always humoured her\nand had her to stay every spring. When the House was shut up that became", "attended to the kitchen entrance, while he himself made a tour of the\nground-floor windows. For half an hour the empty house was loud with\nstrange sounds. McGuffog, who was a giant in strength, filled the", "\"Quentin Kennedy--the fellow in the Tins?\" Heritage asked. \"I saw him in\nRome when he was with the Mission.\"", "a lease. Of course they have the general purpose of letting, but--well,\nthey're queer folk the Kennedys,\" and his face wore the half-embarrassed", "with which he had been fobbed off about the half-witted Kennedy\nrelative. Would Dobson refer to that?", "family lawyer. Now, I am going to tell you the truth and take you into\nour confidence, for I know we are safe with you. The Kennedys", "The boy turned his head to the still open back door, where Mrs. Morran\ncould be heard at her labours. He stepped across and shut it. \"I'm no'", "face in her apron and rocked. Heritage, descending, found her struggling\nto regain composure. \"D'ye ken his wife's name?\" she gasped. \"I ca'ed", "\"Then I will tell you what I told Captain Kennedy.\" Saskia, looking into\nthe heart of the peats, began the story of which we have already heard a", "He cast his eyes round the room. \"I think the Kennedys were mad to build\nthis confounded barrack. I've always disliked it, and old Quentin hadn't", "\"Mistress, you're my auntie,\" Dickson informed Mrs. Morran as she set\nthe porridge on the table. \"This gentleman has just been telling the man\nat the inn that you're my Auntie Phemie.\"", "daughter a lady's maid in London, and the other married to a\nschoolmaster in Kyle. The son had been in France fighting, and had come", "About four o'clock Dougal presented himself in the back kitchen. He was\nan even wilder figure than usual, for his bare legs were mud to the", "Kennedys, and my man Dauvit Morran was gemkeeper to them, and afore I\nmairried I was ane o' the table-maids. They were kind folk, the", "Then Heritage stepped forward. \"We have met before, Mademoiselle,\" he\nsaid. \"Do you remember Easter in 1918--in the house in the Trinitá dei\nMonte?\"", "Mrs. Morran's tone grew tragic. \"It's a queer warld wi'out the auld\ngentry. My faither and my guidsire and his faither afore him served the" ], [ "\"You do not understand,\" she said. \"I cannot make any one\nunderstand--except a Russian. My country has been broken to pieces, and", "\"Tell me again,\" she said. \"You have locked all the three up, and they\nare now the imprisoned?\"\n\n\"Well, it was the boys that, properly speaking, did the locking up.\"", "Presently they heard her story. Her name was Morran, and she had been a\nwidow these ten years. Of her family her son was in South Africa, one", "In no way discomposed by Heritage's fierce interrogatory air, he\ncontinued: \"She's either foreign or English, for she couldn't understand", "\"They call me Saskia. This,\" nodding to the chair, \"is my cousin\nEugènie.... We are in very great trouble. But why should I tell you? I\ndo not know you. You cannot help me.\"", "\"We have been long separated, because it was her will. She had work to\ndo and disappeared from me, though I searched all Europe for her. Then", "CHAPTER V\n\nOF THE PRINCESS IN THE TOWER", "have lamented. \"A dingy body,\" was Mrs. Morran's comment, but she\nlaboured in kindness. Unhappily they had no common language, and it was", "pretty well pleased with myself and enjoying life.... In the place where\nI stayed there was a girl. She was a Russian, a princess of a great\nfamily, but a refugee and of course as poor as sin.... I remember how", "\"All the same it's a fact. She'll tell you the story herself, and you'll\nbelieve her quick enough. But to prepare your mind I'll just give you a\nsketch of the events of the last few days.\"", "mercy,\" he said. \"Pray God your police come soon.\" He forbade shooting\nyet awhile. \"The lady is our strong card,\" he said. \"They won't use", "The shrouded figure in the chair burst suddenly into rapid hysterical\ntalk in some foreign tongue which Dickson suspected of being French.\nHeritage replied in the same language, and the girl joined in with sharp\nquestions. Then the Poet turned to Dickson.", "version, but she told it differently, for she was telling it to one who\nmore or less belonged to her own world. She mentioned names at which the", "of further proceedings. He was dragged into a cubby-hole, which had once\nbeen used for coats and rugs, and the door locked on him. Then the light", "\"Go ahead. A good story is just what I want this vile mornin'.\"\n\n\"I'm not here alone. I've a lady with me.\"\n\n\"God bless my soul! A lady!\"", "it she stopped. \"I had forgotten,\" she said. \"Paul is there. I had\nforgotten.\" After that she was very quiet, but she redoubled her labours\nat the barricade.", "\"Our enemies soon discovered me,\" she went on. \"Oh, but they are very\nclever, these enemies, and they have all the criminals of the world to", "Listen, then. I am a Russian and for two years have been an exile. I\nwill not speak of my house, for it is no more, or how I escaped, for it", "She remained where she was, so that the Poet, when a few minutes later\nhe woke, found himself lying with his head in her lap. She spoke first,", "She shook her head. \"You do not understand. You cannot understand. We\nare a very old and strong people with roots deep, deep in the earth.\"" ], [ "Listen, then. I am a Russian and for two years have been an exile. I\nwill not speak of my house, for it is no more, or how I escaped, for it", "\"You do not understand,\" she said. \"I cannot make any one\nunderstand--except a Russian. My country has been broken to pieces, and", "\"She has told me about her family,\" he said, turning to Dickson. \"It is\namong the greatest in Russia, the very greatest after the throne.\"\nDickson could only stare.", "formerly been honoured by his patronage. Nor did all the Russians\nperish. Three were found skulking next morning in the woods, starving\nand ignorant of any tongue but their own, and five more came ashore much", "\"Oh, what nonsense, Quentin dear! Where should I be safe if not in my\nown Russia, where I have friends--oh, so many, and tribes and tribes of", "\"No,\" is the answer. \"You will not find him in Russia. He is what we\ncall the middle-class, which we who were foolish used to laugh at. But", "\"They call me Saskia. This,\" nodding to the chair, \"is my cousin\nEugènie.... We are in very great trouble. But why should I tell you? I\ndo not know you. You cannot help me.\"", "I knew in the days when we Russians were still a nation. I saw him again\nin Italy, and since he was kind and brave I told him some part of my", "\"In my own country I was called Alexis Nicolaevitch, for I am a Russian.\nBut for some years I have made my home with your folk, and I call myself", "The other laughed also, as a young man in the uniform of the\nPreobrajenski Guard approached to claim the girl. \"Even a nut-tree may\nbe a shelter in a storm,\" he said.", "worked with the police of all others. To-day that is true about\ncriminals. After a war evil passions are loosed, and, since Russia is\nbroken, in her they can make their headquarters.... It is not", "pretty well pleased with myself and enjoying life.... In the place where\nI stayed there was a girl. She was a Russian, a princess of a great\nfamily, but a refugee and of course as poor as sin.... I remember how", "\"I thought you were a Russian, name of Paul,\" he groaned.\n\n\"Paul! Paul who?\"\n\n\"Just Paul. A Bolshevik and an awful bad lot.\"", "\"Dobson I do not know. Léon was there. He is no Russian, but a Belgian\nwho was a valet in my father's service till he joined the Bolsheviki.", "\"They're foreigners.\"\n\n\"One of them is--a Belgian refugee that Lady Morewood took an interest\nin. But the other--Spittal, they call him--I thought he was Scotch.\"", "cause. So I was set my task and it was very hard.... There were jewels\nwhich once belonged to my Emperor--they had been stolen by the brigands\nand must be recovered. There were others still hidden in Russia which", "to be repaid their debts out of the property of the Russian Crown which\nmight be found in the West. But behind them were the Jews, and behind", "The reply was in Russian. Alexis' voice was as cool as the other's, and\nit seemed to wake him to anger. He replied in a rapid torrent of words,", "He said something to Saskia in Russian and she smiled assent and went to\nSir Archie's side. \"You and I must keep this door,\" she said.", "Loudon's special henchman, working directly under him. _Secondly_, the\nimmediate object had been the jewels, and they were happily safe in the" ], [ "THE END\n\n\n\n\n\nEnd of the Project Gutenberg EBook of Huntingtower, by John Buchan", "HUNTINGTOWER\n\n JOHN BUCHAN\n\n\n\n\n_By_ JOHN BUCHAN", "HUNTINGTOWER\n\n\n\n\nPROLOGUE", "\"Who bides in the Big House?\" he asked. \"Huntingtower is the name, isn't\nit?\"", "With a piece of chalk he drew on the kitchen floor a rough sketch of the\nenvirons of Huntingtower. Peter Paterson was to move from the", "The old keep of Huntingtower stood some three hundred yards from the\nedge of the cliffs, a gnarled wood of hazels and oaks protecting it from", "HUNTINGTOWER. II\n\n PRINTED IN THE UNITED STATES OF AMERICA\n\n\n\n\nTO", "Above them hung the sheer cliffs of the Huntingtower cape, so sheer that\na man below was completely hidden from any watcher on the top. Dickson's", "GUTENBERG EBOOK HUNTINGTOWER ***", "\"I want you to telephone through to them and inquire about a place in\nCarrick called Huntingtower, near the village of Dalquharter. I\nunderstand it's to let, and I'm thinking of taking a lease of it.\"", "look of it. You see, I want a quiet bit a good long way from a town, and\nat the same time a house with all modern conveniences. I suppose\nHuntingtower has that?\"", "\"I've come to see you about Huntingtower House,\" he began.", "once quarrelled and revelled and plotted here, and now here he was at\nthe same game. Present and past joined hands over the gulf of years. The\nsaga of Huntingtower was not ended.", "of the old Huntingtower on the short thymy turf which ran seaward to the\ncliffs. Dougal led them along a sunk fence which divided the downs from", "is a passion for Huntingtower, and the Kennedys have always humoured her\nand had her to stay every spring. When the House was shut up that became", "happening, and of them she was a part. Dickson's anxiety was hers, to\nbring things to a business-like conclusion. The honour of Huntingtower", "be a great house, for the map showed large policies--was Huntingtower.", "pinnacle he could see the whole sea-front of Huntingtower, a blur in the\ndusk but for the ghostly eyes of its white-shuttered windows.", "\"Oh, I'm a free man now and I took a fancy to this place. An idle body\nhas nothing to do but please himself.\"\n\n\"I hear ye're taking a lease of Huntingtower?\"", "book to Project Gutenberg, it was verified by the content provider that\nthere is no frontispiece in this particular edition of Huntingtower." ], [ "\"Who bides in the Big House?\" he asked. \"Huntingtower is the name, isn't\nit?\"", "\"I've come to see you about Huntingtower House,\" he began.", "\"I want you to telephone through to them and inquire about a place in\nCarrick called Huntingtower, near the village of Dalquharter. I\nunderstand it's to let, and I'm thinking of taking a lease of it.\"", "\"Oh, I'm a free man now and I took a fancy to this place. An idle body\nhas nothing to do but please himself.\"\n\n\"I hear ye're taking a lease of Huntingtower?\"", "With a piece of chalk he drew on the kitchen floor a rough sketch of the\nenvirons of Huntingtower. Peter Paterson was to move from the", "once quarrelled and revelled and plotted here, and now here he was at\nthe same game. Present and past joined hands over the gulf of years. The\nsaga of Huntingtower was not ended.", "look of it. You see, I want a quiet bit a good long way from a town, and\nat the same time a house with all modern conveniences. I suppose\nHuntingtower has that?\"", "The old keep of Huntingtower stood some three hundred yards from the\nedge of the cliffs, a gnarled wood of hazels and oaks protecting it from", "HUNTINGTOWER\n\n\n\n\nPROLOGUE", "\"When I was a lassie they ca'ed it Dalquharter Hoose, and Huntingtower", "is a passion for Huntingtower, and the Kennedys have always humoured her\nand had her to stay every spring. When the House was shut up that became", "Above them hung the sheer cliffs of the Huntingtower cape, so sheer that\na man below was completely hidden from any watcher on the top. Dickson's", "be a great house, for the map showed large policies--was Huntingtower.", "It was the lame man whom Dougal had called Spittal, the dweller in the\nSouth Lodge. Seen at closer quarters he was an odd-looking being, lean", "After that Dickson leaves him and wanders among the thickets on the edge\nof the Huntingtower policies above the Laver glen. He feels childishly", "Might not this be the long-awaited friend, for whose sake she was rooted\nto Huntingtower with all its terrors?", "happening, and of them she was a part. Dickson's anxiety was hers, to\nbring things to a business-like conclusion. The honour of Huntingtower", "troubles. He was called Quentin Kennedy, and now he is dead. He told me\nthat in Scotland he had a lonely château where I could hide secretly and", "bore the name of Dalquharter, and the uncouth syllables awoke some vague\nrecollection in his mind. The great house in the trees beyond--it must", "of the old Huntingtower on the short thymy turf which ran seaward to the\ncliffs. Dougal led them along a sunk fence which divided the downs from" ], [ "\"Did she say what he was like in appearance?\"\n\n\"A face like an angel--a lost angel, she says.\"\n\nDickson suddenly had an inspiration.", "\"Dobson I do not know. Léon was there. He is no Russian, but a Belgian\nwho was a valet in my father's service till he joined the Bolsheviki.", "\"Ay, it's me,\" he whispered.\n\nHis voice and accent were Scotch, like Dobson's, and Léon suspected\nnothing.", "the kind of person he would have liked to resemble. He was tall and\nfree from any superfluous flesh; his face was lean, fine-drawn and", "ascent.... It could only be one person--Léon. He must have discovered\ntheir visit to the House yesterday and be on the way to warn Dobson. If", "That was the last he saw of the Chieftain, but presently he realised\nwhat was the booty he had annexed. It must be Léon's life-preserver,", "an air of genial ferocity. \"Dashed fine position I call this,\" said Sir\nArchie. Only Alexis was silent and preoccupied. \"We are still at their", "troubles. He was called Quentin Kennedy, and now he is dead. He told me\nthat in Scotland he had a lonely château where I could hide secretly and", "glimpse of his face, thought he looked both evil and furious. Then came\nsome anxious moments, for had the man glanced back when he was once", "thing about him was his face, which was decorated with features so tiny\nas to give the impression of a monstrous child. Each in itself was well", "face. I once seen the same kind o' scoondrel at the Picters. When he\nopened his mouth to swear, I kenned he was a foreigner, like the lads", "\"You're wrong.\" And he told of Léon's mistaken confidences to him in\nthe darkness. \"They are coming from the sea, just like the old pirates.\"", "reputation for cunning. He shaved clean, and looked uncommonly like a\nwise, plump schoolboy. As he gazed at his simulacrum he stopped", "Then Heritage stepped forward. \"We have met before, Mademoiselle,\" he\nsaid. \"Do you remember Easter in 1918--in the house in the Trinitá dei\nMonte?\"", "The two were about thirty yards from Heritage's window. Léon was telling\nsome story volubly, pointing now to the Tower and now towards the sea.", "It was not an old face. The sandy hair was a little thin on the top and\na little grey at the temples, the figure was perhaps a little too full", "and the pale eyes singularly childlike. They were a little weak, those\neyes, and had some difficulty in looking for long at the same object, so", "felt the incrustation of it beginning on his cheeks. There was a\ntremendous noise all around him, and he traced this to the swaying of", "A slow smile crumpled Mr. Heritage's face. \"There's a fire in the\nsmoking-room,\" he observed as he rose. \"We'd better bag the armchairs", "combatants. He felt for a head, found Léon's, and gripped the neck so\nsavagely that the owner loosened his hold on Dickson. The last-named" ], [ "\"All the same it's a fact. She'll tell you the story herself, and you'll\nbelieve her quick enough. But to prepare your mind I'll just give you a\nsketch of the events of the last few days.\"", "Presently they heard her story. Her name was Morran, and she had been a\nwidow these ten years. Of her family her son was in South Africa, one", "\"In my own country I was called Alexis Nicolaevitch, for I am a Russian.\nBut for some years I have made my home with your folk, and I call myself", "\"I always meant to come to England, for I thought it the sanest place in\na mad world. Also it is a good country to hide in, for it is apart from", "troubles. He was called Quentin Kennedy, and now he is dead. He told me\nthat in Scotland he had a lonely château where I could hide secretly and", "country. The late April noon gleamed like a frosty morning, but the air,\nthough tonic, was kind. The road ran over sweeps of moorland where", "\"You do not understand,\" she said. \"I cannot make any one\nunderstand--except a Russian. My country has been broken to pieces, and", "\"Oh, what nonsense, Quentin dear! Where should I be safe if not in my\nown Russia, where I have friends--oh, so many, and tribes and tribes of", "and I'm thinking of finding a country place. I used to have the big\nprovision shop in Mearns Street--now the United Supply Stores, Limited.\nYou've maybe heard of it?\"", "Listen, then. I am a Russian and for two years have been an exile. I\nwill not speak of my house, for it is no more, or how I escaped, for it", "of further proceedings. He was dragged into a cubby-hole, which had once\nbeen used for coats and rugs, and the door locked on him. Then the light", "is the common tale of all of us. I have seen things more terrible than\nany dream and yet lived, but I have paid a price for such experience.\nFirst I went to Italy where there were friends, and I wished only to", "The time was January, 1916, and the place a room in the great Nirski\nPalace. No hint of war, no breath from the snowy streets, entered that", "the country, a common little man on a prosaic errand. But the passer-by\nwould have been wrong, for he could not see into the heart. The plump", "\"They call me Saskia. This,\" nodding to the chair, \"is my cousin\nEugènie.... We are in very great trouble. But why should I tell you? I\ndo not know you. You cannot help me.\"", "\"I called this place Paradise four hours ago,\" he said. \"So it is, but I\nfancy it is next door to Hell. There is something devilish going on\ninside that park wall and I mean to get to the bottom of it.\"", "him in possession of the main facts of the story. He told of how he and\nHeritage had come to Dalquharter, of the first meeting with Saskia, of", "\"I cannot leave. I will tell you why. When I came to this country I\nappointed one to meet me here. He is a kinsman who knows England well,", "fleeing and hiding. They have tried to kidnap me many times, and once\nthey have tried to kill me, but I, too, have become very clever--oh,\nvery clever. And I have learned not to fear.\"", "pretty well pleased with myself and enjoying life.... In the place where\nI stayed there was a girl. She was a Russian, a princess of a great\nfamily, but a refugee and of course as poor as sin.... I remember how" ], [ "Above them hung the sheer cliffs of the Huntingtower cape, so sheer that\na man below was completely hidden from any watcher on the top. Dickson's", "The old keep of Huntingtower stood some three hundred yards from the\nedge of the cliffs, a gnarled wood of hazels and oaks protecting it from", "\"We must create a diversion,\" he said. \"I'm for the Tower, and you\nladdies must come with me. We'll maybe see a chance. Oh, but I wish I\nhad my wee pistol.\"", "his isolation. His job was to make a fight for it. He ran up the\nstaircase which led to the attics of the Tower, for he recollected that", "With a piece of chalk he drew on the kitchen floor a rough sketch of the\nenvirons of Huntingtower. Peter Paterson was to move from the", "The smoke was less thick in the attic, and with his handkerchief wet\nwith the rain and bound across his mouth he made a dash for the ground", "After that Dickson leaves him and wanders among the thickets on the edge\nof the Huntingtower policies above the Laver glen. He feels childishly", "\"Now for the Tower,\" Sir Archie had observed cheerfully. \"We should be a\nmatch for the three watchers, my lad, and it's time that poor devil\nWhat's-his-name was relieved.\"", "beyond their reach. When they had settled with him they would no doubt\nburn the House down, but that would serve them little. From his airy", "in the stones, and he could be heard trying the handle of the door into\nthe House. He was absent for about five minutes and then his head peeped\nover the edge accompanied by the hooks of an iron ladder. \"From the", "was clearly the devil to pay there, and yet here he was helplessly\nstuck.... Setting his teeth, he started to ascend again. Better the fire\nthan this cold breakneck emptiness.", "Arrived at the foot of the verandah wall there remained the problem of\nthe escalade. Dougal clambered up like a squirrel by the help of cracks", "once quarrelled and revelled and plotted here, and now here he was at\nthe same game. Present and past joined hands over the gulf of years. The\nsaga of Huntingtower was not ended.", "in the vicinity of the House and would presently be engaged with the old\nTower. But he realised, too, that speed on his errand was vital, for at\nany moment the Unknown might arrive from the sea.", "was full of smoke which sought in vain to escape by the narrow window.\nVolumes of it were pouring up the stairs, and when he attempted to\ndescend he found himself choked and blinded. He rushed gasping to the", "McGuffog's great hands reached down and seized her and swung her into\nsafety. Up the wall, by means of cracks and tufts, was shinning a small\nboy.", "space, while the enemy plans, moving like clock-work, were approaching\ntheir consummation. For a second he thought of leaving the Tower and\nhiding somewhere in the cliffs. He dismissed the notion unwillingly, for", "The next thing he saw was one of the tinklers running hard towards the\nTower. He cried something to Dobson, which Heritage could not catch, but", "\"I've come to see you about Huntingtower House,\" he began.", "towards them along the corridor. \"Upstairs,\" he shouted. \"Come on,\nMcGuffog. Lead on, Princess.\" He dashed out the lamp, and the place was\nin darkness." ], [ "\"All the same it's a fact. She'll tell you the story herself, and you'll\nbelieve her quick enough. But to prepare your mind I'll just give you a\nsketch of the events of the last few days.\"", "him in possession of the main facts of the story. He told of how he and\nHeritage had come to Dalquharter, of the first meeting with Saskia, of", "other, solid as ever, was just a shade less black. He lifted his eyes\nand saw in the near distance the corner of the road which led to his\nhome. \"I must decide before I reach that corner,\" he told himself.", "Dobson, for he had tell-tale stuff on his person. The morning was wet,\nso he wore his waterproof, which concealed his odd tendency to stoutness\nabout the middle.", "\"This is a pretty rotten show for you,\" he told her. \"It strikes me as a\nrather unpleasant brand of nightmare.\"\n\n\"I have been living with nightmares for three years,\" she said wearily.", "them. But I know that the same notion was at this moment of crisis\nconceived by Thomas Yownie, whom no parents acknowledged, who slept\nusually in a coal cellar, and who had picked up his education among", "fellow who set out a week ago on his travels. He has now assurance of\nhimself, assurance of his faith. Romance, he sees, is one and\nindivisible....", "Presently they heard her story. Her name was Morran, and she had been a\nwidow these ten years. Of her family her son was in South Africa, one", "\"We have been long separated, because it was her will. She had work to\ndo and disappeared from me, though I searched all Europe for her. Then", "It was a stunted boy, who from his face might have been fifteen years\nold, but had the stature of a child of twelve. He had a thatch of fiery", "The Die-Hard, who was Wee Jaikie, did not delay. His eyes had filled\nwith tears at her news, which we know to have been his habit. When Mrs.", "But chiefly would I celebrate Thomas Yownie, for it was he who brought\nfear into the heart of Dobson. He had a voice of singular compass, and", "But the figure on the stairs held them motionless. They could not see\nhis face, but by instinct they knew that it was distraught with fury and", "As Dickson struggled against the wind and stared, his heart melted and a\ngreat awe fell upon him. He may have wept; it is certain that he prayed.", "fleeing and hiding. They have tried to kidnap me many times, and once\nthey have tried to kill me, but I, too, have become very clever--oh,\nvery clever. And I have learned not to fear.\"", "His words were unheeded, for the figures below drew apart and a young\nman came through them. His beautifully-shaped dark head was bare, and as", "Suddenly she caught his arm. \"I see a man,\" she whispered. \"There! He is\nbehind those far bushes. There is his head again!\"", "The girl shook her head again, gently but decisively. \"It was our\narrangement. I cannot break it. Besides, I am sure that he will come in\ntime, for he has never failed----\"", "\"Go ahead. A good story is just what I want this vile mornin'.\"\n\n\"I'm not here alone. I've a lady with me.\"\n\n\"God bless my soul! A lady!\"", "weekly which reached her every Saturday, and concluded with a chapter or\ntwo of the Bible. But to-day something had gone wrong with her mind. She\ncould not follow the thread of the Reverend Doctor MacMichael's" ], [ "thing to do. We must get inside the Hoose and put it in a state of\ndefence. Heritage has McCunn's pistol, and he'll keep them busy for a", "\"Now for the Hoose, men,\" said Dougal. They stole over the downs to the\nshrubbery, and Dickson found himself almost in the same place as he had", "Tower and the House, the other on the side nearest the Laver glen. These\nwere their posts, but they did sentry-go around the building, and passed", "certain briskness. It was all nonsense that the law of Scotland could\nnot be summoned to the defence. The jewels had been safely got rid of,", "\"They were four muckle men against six laddies, and they thought they\nhad an easy job! Little they kenned the Gorbals Die-Hards! I had been", "\"What for? Because they're frightened to death o' onybody going near\ntheir auld Hoose. They're a pair of deevils, worse nor any Red Indian,", "\"Ay. They turned up about ten o'clock, no doubt intendin' murder. I left\nWee Jaikie to watch developments. They fund him sittin' on a stone,", "\"By God, we won't!\" said the Poet fervently. \"Dogson, it's up to you.\nYou march off to Glasgow in double quick time and place the stuff in", "\"These men wanted to rob you. Why didn't they do it between here and\nAuchenlochan? You had no chance to hide them on the journey. Why did", "\"Sensible to the last, Dougal,\" said Dickson approvingly. \"That's just\nwhat I'm saying. I'm strong for a fight, but put the ladies in a safe\nbit first, for they're our weak point.\"", "The odd thing was that the retreating force were in good heart. The\nthree men from the Mains were warming to their work, and McGuffog wore", "\"They'll never get in,\" he assured her. \"Dougal said the place could\nhold out for hours.\"\n\nAnother shot followed and presently a third. She twined her hands and\nher eyes were wild.", "Sir Archie was growing acutely anxious--the anxiety of the defender of a\nstraggling fortress which is vulnerable at a dozen points. It seemed to", "\"I've listened to them crackin' thegither.\"\n\n\"But what for did the man want to shoot at you?\" asked the scandalised\nDickson.", "but the defence was soon aware that the place was thick with men.\nPresently there came a scuffling from Carfrae's post towards the back", "\"Well, I never!\" said Dickson. \"Is there any law in Scotland, think you,\nthat forbids a man to stop a day or two with his auntie?\"\n\n\"Ye'll stay?\"", "will along Scotch roads. But the sea's a different matter. If they've\ngot a fast boat they could be out of the Firth and away beyond the law", "flittin' to the old Tower. They'll no ken where we are for a long time,\nand anyway yon place will be far easier to defend. Without they kindle", "crashed, but two scrambled to their feet and made for the girl. Sir\nArchie met the first with his fist, a clean drive on the jaw, followed", "Dickson's pistol ready with the firm intention of shooting them if\nnecessary. But they did nothing, except to hold a conference in the\nhazel clump a hundred yards to the north, when Dobson seemed to be" ], [ "\"Mistress, you're my auntie,\" Dickson informed Mrs. Morran as she set\nthe porridge on the table. \"This gentleman has just been telling the man\nat the inn that you're my Auntie Phemie.\"", "Mrs. Morran's tone grew tragic. \"It's a queer warld wi'out the auld\ngentry. My faither and my guidsire and his faither afore him served the", "\"Megsty! Phemie Morran!\" she shrilled. \"Wha wad ettle to see ye on a day", "Mrs. Morran walked well, with the steady long paces of the Scots\ncountrywoman. She left the Auchenlochan road and took the side path", "\"Well, good-bye, Auntie Phemie,\" he said. \"I'm sure you've been awful\nkind to me, and I don't know how to thank you for all you're sending.\"", "Presently they heard her story. Her name was Morran, and she had been a\nwidow these ten years. Of her family her son was in South Africa, one", "Mrs. Morran for the first time seemed to lose hope. \"Eh, the puir\nlassie!\" she wailed, and sinking on a chair covered her face with her\nshawl.", "Mrs. Morran meditated. \"Whae in the world can be lyin' there? The man\nbides his lane. He got a lassie frae Auchenlochan to cook, but she and", "\"wad never be auld wi' sae muckle honesty.\" Indeed it was very clear\nthat Mrs. Morran approved of her nephew.", "\"Auntie Phemie,\" said Dickson a few minutes later, \"will you oblige me\nby coming for a short walk?\"\n\n\"The man's daft,\" was the answer.", "Morran, after indulging in a moment of barbaric keening, looked back the\nroad she had come, she saw a small figure trotting up the hill like a", "\"I'm for Glasgow to-morrow, Auntie Phemie,\" he cried. \"I want you to\nloan me a wee trunk with a key, and steek the doors and windows, for\nI've a lot to tell you.\"", "Mrs. Morran, a figure like an ancient prophetess, with her tartan shawl\nlashing in the gale, clutched him by the shoulder.", "Mrs. Morran played her part well, with all the becoming gravity of an\naffectionate aunt, but so soon as the post-cart turned the bend of the", "\"She is my kinswoman. She is also my affianced wife.\"\n\n\"Keep us!\" Dickson exclaimed, with a doleful thought of Heritage. \"What\nailed you then no' to look after her better?\"", "Kennedys, and my man Dauvit Morran was gemkeeper to them, and afore I\nmairried I was ane o' the table-maids. They were kind folk, the", "\"Let's have Mrs. Morran in,\" he ventured. \"She's a wise old body and I'd\nlike to hear her opinion of this business. We'll get common sense from\nher.\"", "\"Auntie Phemie, hearken to me. We've taken on too big a job for two men\nand six laddies, and help we've got to get, and that this very morning.", "\"Very pleased to meet you, Mem. I'm Mr. McCunn from Glasgow.\"\n\n\"You don't even know my name,\" she said.\n\n\"We don't,\" said Heritage.", "\"The Bible's whiles richt,\" Mrs. Morran answered drily. \"Come on, for\nthere's no time to lose.\"" ], [ "\"All the same it's a fact. She'll tell you the story herself, and you'll\nbelieve her quick enough. But to prepare your mind I'll just give you a\nsketch of the events of the last few days.\"", "CHAPTER II\n\nOF MR. JOHN HERITAGE AND THE DIFFERENCE IN POINTS OF VIEW", "\"This is a pretty rotten show for you,\" he told her. \"It strikes me as a\nrather unpleasant brand of nightmare.\"\n\n\"I have been living with nightmares for three years,\" she said wearily.", "\"Look, Saskia! If you were living inside that box you would think it\nvery secure. You would note the thickness of the walls and the hardness", "He points to the figures now silhouetted against the further sea. \"How\ndoes it go, Dogson?\" he cries. \"'And on her lover's arm she leant'--what\nnext? You know the thing.\"", "\"Tuts, that's no' the way to talk, man. Time enough to speak about dying\nwhen there's no other way out. I'm looking at this thing in a business\nway. We'd better be seeing the ladies.\"", "The horrid truth burst on him that Heritage had been right. He only\nplayed with life. That imbecile image was a mere spectator, content to", "\"Things,\" said Dougal solemnly, \"has come to a bonny cripus. This very\nnight we've been in a battle.\"\n\nHe spat fiercely, and the light of war burned in his eyes.", "\"You're wrong.\" And he told of Léon's mistaken confidences to him in\nthe darkness. \"They are coming from the sea, just like the old pirates.\"", "But the other, in the flood-tide of his argument, ignored the\ninterruption. \"That's the value of the war,\" he went on. \"It has burst", "Dobson, for he had tell-tale stuff on his person. The morning was wet,\nso he wore his waterproof, which concealed his odd tendency to stoutness\nabout the middle.", "\"They're beaten off for the night, anyway?\"\n\n\"Ay, for the night. But they'll come back, never fear. That's why I said\nthat things had come to a cripus.\"", "\"Tell me again,\" she said. \"You have locked all the three up, and they\nare now the imprisoned?\"\n\n\"Well, it was the boys that, properly speaking, did the locking up.\"", "\"No,\" said Dickson emphatically. \"The moral is that we must shift the\nladies. We've got the chance while Dobson and his friends are locked up.", "\"The moral,\" said Heritage, \"is that there can be no surrender. We've\ngot to stick it out in this old place at all costs.\"", "they've got hold of the right end of the stick. They seek truth and\nreality.\" The reply from the Poet was an angry shrug.", "\"What's that you say?\"\n\n\"Who goes there?\" The point of a pole was held firmly against his chest.\n\n\"I'm Mr. McCunn, a friend of Dougal's.\"", "Now Dickson was a practical man and this view of the case brought him\ninto a world which he understood. \"It's fair ridiculous,\" he reflected.", "\"Happy!\" Her voice had a thrill in it like music, frosty music. \"The\ndays are far too short. I grudge the hours when I must sleep. They say", "\"Because it's all pure pride and joy for me to be here. Good God, I\nwouldn't be elsewhere for worlds. It's the great hour of my life. I\nwould gladly die for her.\"" ], [ "version, but she told it differently, for she was telling it to one who\nmore or less belonged to her own world. She mentioned names at which the", "\"All the same it's a fact. She'll tell you the story herself, and you'll\nbelieve her quick enough. But to prepare your mind I'll just give you a\nsketch of the events of the last few days.\"", "Presently they heard her story. Her name was Morran, and she had been a\nwidow these ten years. Of her family her son was in South Africa, one", "them. But I know that the same notion was at this moment of crisis\nconceived by Thomas Yownie, whom no parents acknowledged, who slept\nusually in a coal cellar, and who had picked up his education among", "called. Not a soul should ever hear of it, but he saw himself in the\nfuture tramping green roads or sitting by his winter fireside pleasantly\nretelling himself the tale.", "\"I have been back among fairy tales,\" she says. \"I do not quite\nunderstand, Alesha. Those gallant little boys! They are youth, and youth", "\"Go ahead. A good story is just what I want this vile mornin'.\"\n\n\"I'm not here alone. I've a lady with me.\"\n\n\"God bless my soul! A lady!\"", "fleeing and hiding. They have tried to kidnap me many times, and once\nthey have tried to kill me, but I, too, have become very clever--oh,\nvery clever. And I have learned not to fear.\"", "\"Tell me again,\" she said. \"You have locked all the three up, and they\nare now the imprisoned?\"\n\n\"Well, it was the boys that, properly speaking, did the locking up.\"", "\"There,\" said Mr. Heritage, nodding after the departing figure. \"I dare\nsay you have been telling yourself stories about that chap--life in the", "\"They're off their gawrd,\" he announced. \"Thomas Yownie has been\nshadowin' them since skreigh o' day, and he reports that Dobson and Lean", "about eleven. Then he explored her library, and settled himself by the\nfire with a volume of Covenanting tales, entitled _Gleanings among the", "_If the Professor of Poetry in the University of Oxford has not\nforgotten the rock whence he was hewn, this simple story may give him an", "\"It was the tinklers from the Garple Dean. They yokit on us about seven\no'clock, just at the darkenin'. First they tried to bounce us. We", "boatloads of blagyirds landing from the sea. Help me up, man, for I must\nbe off. The story will keep. Losh, it's very near the darkening. If", "soul. \"You flatter yourself you have done your share,\" he was saying.\n\"You will make pretty stories about it to yourself, and some day you may", "TRANSCRIBER'S NOTE:", "\"But have you not seen him? A tall man with a yellow beard, who bears\nhimself proudly. Being of my mother's race he has eyes like mine.\"", "There was a burly lad who wore trousers much too large for him, and who\nwas known as Peer Pairson, a contraction presumably for Peter Paterson.", "\"I don't know about They. But I've got a notion that some devilish queer\nthings will happen before to-morrow morning.\"\n\n\n\n\nCHAPTER IX" ], [ "\"But have you not seen him? A tall man with a yellow beard, who bears\nhimself proudly. Being of my mother's race he has eyes like mine.\"", "His words were unheeded, for the figures below drew apart and a young\nman came through them. His beautifully-shaped dark head was bare, and as", "\"Did she say what he was like in appearance?\"\n\n\"A face like an angel--a lost angel, she says.\"\n\nDickson suddenly had an inspiration.", "But he could scarcely fit his neighbour into even his haziest picture of\nwar. The young man was tall and a little round-shouldered; he had", "Dickson's first impression was of a tall child. The pose, startled and\nwild and yet curiously stiff and self-conscious, was that of a child", "After him came a lean tall boy who answered to the name of Napoleon.\nThere was a midget of a child, desperately sooty in the face either from", "red hair above a pale freckled countenance. His nose was snub, his eyes\na sulky grey-green, and his wide mouth disclosed large and damaged", "\"One o' them is dead auld, as auld as the wife here. She didn't look to\nme very right in the head.\"\n\n\"And the other?\"", "The girl came into the room with a darting movement like a swallow,\nlooked round her with the same birdlike quickness, and then ran across\nthe polished floor to where a young man sat on a sofa with one leg laid\nalong it.", "throat rises bare from his voluminous shirt. All that can be said for\nhim is that he is appreciably cleaner. He comes to a standstill and\nsalutes with a special formality.", "Dobson, for he had tell-tale stuff on his person. The morning was wet,\nso he wore his waterproof, which concealed his odd tendency to stoutness\nabout the middle.", "when we first saw him, nor is he more cheerful of countenance. He has\none arm in a sling made out of his neckerchief, and his scraggy little", "There was a rustle among the rhododendrons and the fiery face of Dougal\nappeared. He lay between the other two, his chin on his hands, and\ngrunted out his report.", "It was the lame man whom Dougal had called Spittal, the dweller in the\nSouth Lodge. Seen at closer quarters he was an odd-looking being, lean", "comprehensively kicked and scratched. Limpingly he entered, yet with a\nkind of pride, like some small cock-sparrow who has lost most of his\nplumage but has vanquished his adversary.", "\"Is the old lady a wee wizened body, with a black cap and something like\na white cashmere shawl round her shoulders?\"\n\n\"You describe her exactly,\" Mr. Loudon replied eagerly.", "in ragged tweeds, with a bloody brow and long smears of blood on his\ncheeks. The next second he observed the threat of attack, and ducked his", "Suddenly she caught his arm. \"I see a man,\" she whispered. \"There! He is\nbehind those far bushes. There is his head again!\"", "The noise brought a man to the lodge door. He was a sturdy fellow in a\nsuit of black clothes which had not been made for him. He might have", "cuffs of his shirt was as brawny as a blacksmith's. He had rather pale\nblue eyes, which seemed to have looked much at the sun, and a small" ], [ "hereaways, and everybody in the parish will be sitting indoors by the\nfire.\" He looked at his watch. \"In half an hour it'll be light. Haste", "of further proceedings. He was dragged into a cubby-hole, which had once\nbeen used for coats and rugs, and the door locked on him. Then the light", "The Chieftain, having located the three watchers, proceeded to give an\nexhibition of his prowess for the benefit of the lonely inmate of the", "No one of the party will ever forget the ensuing minutes. After the\nhubbub of the barricades the ominous silence was like icy water,", "to the smoking-room. It was a dangerous thing to do, for suddenly a\nmatch was lit a yard from him. He had the sense to drop low, and so was", "on urgent business. Sir Archibald was at home, he was told, and had just\nfinished breakfast. The two were led into a large bare chamber which had", "sitting round him. Somewhere about the place there's the Princess and\nSir Archibald and three men with guns from the Mains. Dougal and his", "There was a sound of furniture scraped violently on the floor. A gurgle\nfrom Dickson served as a guide, and the Poet suddenly cascaded over the", "\"We go together,\" said the other quietly. \"You can sit behind me and\nhang on to my waist. Before you turned up I had pretty well got the\nthing in order.\"", "The door shut behind them and Dickson found himself with his two charges\nin a world dim with fog and rain and the still lingering darkness. The", "The girl came into the room with a darting movement like a swallow,\nlooked round her with the same birdlike quickness, and then ran across\nthe polished floor to where a young man sat on a sofa with one leg laid\nalong it.", "In the garden-room the feeble lamp showed a strange grouping. Saskia had\nsunk into a chair to get her breath, and seemed too dazed to be aware of", "He found himself ushered into a fair-sized room where a bright fire was\nburning. On a table lay the remains of breakfast, and the odour of food", "taking their places. There was Thomas Yownie, the Chief of Staff, with a\nwrist wound up in the handkerchief which he had borrowed from his neck.", "They made an odd group in that cheerful place, where the new-lit fire\nwas crackling in the big grate--the wet undignified form of Dickson,", "\"I called this place Paradise four hours ago,\" he said. \"So it is, but I\nfancy it is next door to Hell. There is something devilish going on\ninside that park wall and I mean to get to the bottom of it.\"", "There was a rustle among the rhododendrons and the fiery face of Dougal\nappeared. He lay between the other two, his chin on his hands, and\ngrunted out his report.", "About four o'clock Dougal presented himself in the back kitchen. He was\nan even wilder figure than usual, for his bare legs were mud to the", "in the afternoon, when he is revealed seated on a milestone examining\nhis map. For he had come, all unwitting, to a turning of the ways, and\nhis choice is the cause of this veracious history.", "\"They're a' round the Hoose,\" he croaked. \"I was up a tree forenent the\nverandy and seen them. The lassie ran oot and cried on them from the top" ], [ "In no way discomposed by Heritage's fierce interrogatory air, he\ncontinued: \"She's either foreign or English, for she couldn't understand", "Presently they heard her story. Her name was Morran, and she had been a\nwidow these ten years. Of her family her son was in South Africa, one", "\"All the same it's a fact. She'll tell you the story herself, and you'll\nbelieve her quick enough. But to prepare your mind I'll just give you a\nsketch of the events of the last few days.\"", "the lady set free to do what she likes. That is, if these folks are\nreally molesting her, which is not yet quite clear to my mind.\"", "charge of them was laid on me. Who would suspect, they said, a foolish\ngirl? But our enemies were very clever, and soon the hunt was cried", "\"It would be Spittal, who acts as caretaker.\"\n\n\"It was not. It was a woman. I saw her on the verandah.\"", "shielding her eyes from the sting of the rain. He heard her cry, as\nHeritage had heard her, but since the wind was blowing towards him the", "\"We have been long separated, because it was her will. She had work to\ndo and disappeared from me, though I searched all Europe for her. Then", "\"Go ahead. A good story is just what I want this vile mornin'.\"\n\n\"I'm not here alone. I've a lady with me.\"\n\n\"God bless my soul! A lady!\"", "woman stood before him. She had a sharply-cut face, the rudiments of a\nbeard, big spectacles on her nose, and an old-fashioned lace cap on her", "\"Then there is something more which you haven't told us?\" Heritage\nasked.\n\nWas there the faintest shadow of a blush on her cheek? \"There is\nsomething more,\" she said.", "version, but she told it differently, for she was telling it to one who\nmore or less belonged to her own world. She mentioned names at which the", "called Darkwater, and there's no sich place in the countryside. I\nbelieve he meant Dalquharter. I believe he's the man she's feared of.\"", "She remained where she was, so that the Poet, when a few minutes later\nhe woke, found himself lying with his head in her lap. She spoke first,", "Above the parapet he saw only her body from the waist up. She seemed to\nbe clad in bright colours, for something red was round her shoulders and", "\"Tell me again,\" she said. \"You have locked all the three up, and they\nare now the imprisoned?\"\n\n\"Well, it was the boys that, properly speaking, did the locking up.\"", "\"I will tell you all,\" and she looked straight at Heritage. \"I do not\nthink you would be cruel or false, for you have honourable faces....", "\"They call me Saskia. This,\" nodding to the chair, \"is my cousin\nEugènie.... We are in very great trouble. But why should I tell you? I\ndo not know you. You cannot help me.\"", "She seized his arm and he saw that her listlessness was gone. Her eyes\nwere shining.\n\n\"It is they,\" she cried. \"The nightmare is real at last. Do you doubt\nnow?\"", "She had a start of some fifty yards, and laboured to increase it, having\ndoubtless the verandah wall in mind. Sir Archie, sick with anxiety," ], [ "\"All the same it's a fact. She'll tell you the story herself, and you'll\nbelieve her quick enough. But to prepare your mind I'll just give you a\nsketch of the events of the last few days.\"", "\"This is a pretty rotten show for you,\" he told her. \"It strikes me as a\nrather unpleasant brand of nightmare.\"\n\n\"I have been living with nightmares for three years,\" she said wearily.", "of further proceedings. He was dragged into a cubby-hole, which had once\nbeen used for coats and rugs, and the door locked on him. Then the light", "\"Tell me again,\" she said. \"You have locked all the three up, and they\nare now the imprisoned?\"\n\n\"Well, it was the boys that, properly speaking, did the locking up.\"", "fleeing and hiding. They have tried to kidnap me many times, and once\nthey have tried to kill me, but I, too, have become very clever--oh,\nvery clever. And I have learned not to fear.\"", "\"Just what I say. You must expect a body to be suspicious, if you treat\nhim as you're treating me.\" Loudon must have told this man the story", "Now Dickson was a practical man and this view of the case brought him\ninto a world which he understood. \"It's fair ridiculous,\" he reflected.", "No one of the party will ever forget the ensuing minutes. After the\nhubbub of the barricades the ominous silence was like icy water,", "\"They're beaten off for the night, anyway?\"\n\n\"Ay, for the night. But they'll come back, never fear. That's why I said\nthat things had come to a cripus.\"", "\"It sounded like that,\" was the admission. \"But I'm thinking it might\nhave been a seagull.\"\n\n\"You're a fool,\" said the Poet rudely.", "\"We can try,\" said Heritage. \"Part of your trouble we know already\nthrough that boy. You are imprisoned in this place by scoundrels. We are", "for an instant dreamed of this cold, lonely, dreadful business. Last\nSunday, he remembered, he had been basking in the afternoon sun in his", "\"We go together,\" said the other quietly. \"You can sit behind me and\nhang on to my waist. Before you turned up I had pretty well got the\nthing in order.\"", "the way I read the thing is this. There's a plot to kidnap that lady,\nfor some infernal purpose, and it depends on the arrival of some person", "\"You're wrong.\" And he told of Léon's mistaken confidences to him in\nthe darkness. \"They are coming from the sea, just like the old pirates.\"", "been sold. \"Like schoolboys they who unaware\"--instead of two women they\nhad found a man with a gun. And the Princess was miles off and forever", "There was a sound of furniture scraped violently on the floor. A gurgle\nfrom Dickson served as a guide, and the Poet suddenly cascaded over the", "\"They're off their gawrd,\" he announced. \"Thomas Yownie has been\nshadowin' them since skreigh o' day, and he reports that Dobson and Lean", "them. But I know that the same notion was at this moment of crisis\nconceived by Thomas Yownie, whom no parents acknowledged, who slept\nusually in a coal cellar, and who had picked up his education among", "After that a good many things all seemed to happen at once. There was a\nsudden light, which showed Léon blinking with a short loaded" ], [ "Mr. McCunn, having delivered his defence of the bourgeoisie, rose\nabruptly and went to bed. He felt jarred and irritated. His innocent", "Mr. McCunn, in his new exhilaration, felt that he could not deny to\nothers what he proposed for himself. His last act before leaving was to\nsend Mackintosh ten pounds.", "CHAPTER VI\n\nHOW MR. McCUNN DEPARTED WITH RELIEF AND RETURNED WITH RESOLUTION", "McCunn had stumbled on the precious truth that the best way to be rid of\nquaking knees is to keep a busy mind.", "Sir Archie burst into uproarious laughter. \"Mr. McCunn, you're a man\nafter my own heart. I'm under your orders. If I had a boy I'd put him", "Mr. McCunn was deeply interested at this unexpected revelation of\nromance. \"Maybe it's being in love,\" he daringly observed.", "thing to do. We must get inside the Hoose and put it in a state of\ndefence. Heritage has McCunn's pistol, and he'll keep them busy for a", "It sounds a trivial resolve, but it quickened Mr. McCunn to the depths\nof his being. A holiday, and alone! On foot, of course, for he must", "exerted himself to draw out his companion, to have him refer to the\ngreat firm of D. McCunn, so that the innkeeper might be ashamed of his", "that \"There was life in the auld dowg yet.\" In that moment the soul of\nMr. McCunn conceived the Great Plan.", "Mr. McCunn, being a cautious and pious man, took the omens. He tossed a\npenny--heads go on, tails turn aside. It fell tails.", "Mr. McCunn read the dutiful pages and smiled. \"Mamma's enjoying herself\nfine,\" he observed to the teapot. He knew that for his wife the earthly", "The recognition was mutual. \"Mr. McCunn!\" the bagman exclaimed. \"My, but\nthat was running it fine! I hope you've had a pleasant holiday, sir?\"", "Tacitly the duty of envoy was entrusted to Mr. McCunn. Leaving the other\nat the gate, he advanced up the little path lined with quartz stones,", "\"Come in, Mr. McCunn. Very glad to see you. If, as I take it, you're the\ngrocer, you're a household name in these parts. I get all my supplies", "their predecessor, Mr. McCunn, whom he knew well by repute but had never\nmet. \"Yon's the clever one,\" he observed. \"I've always said there's no", "\"Then off with you. Mr. McCunn and I will explain matters to the\nladies.\"", "among books, and they had given him a world where he could shape his\ncareer according to his whimsical fancy. Not that Mr. McCunn was what is", "This was a new view to Mr. McCunn. \"I just once knew a paper-maker,\" he\nobserved reflectively. \"They called him Tosh. He drank a bit.\"", "\"I'm from Glasgow. My name's Dickson McCunn.\" He had a faint hope that\nthe announcement might affect the other as it had affected the bagman at\nKilchrist." ], [ "fight. Lord! Such men! Now and then you had a freak, but most looked\nlike Phoebus Apollo.\"", "\"Things,\" said Dougal solemnly, \"has come to a bonny cripus. This very\nnight we've been in a battle.\"\n\nHe spat fiercely, and the light of war burned in his eyes.", "boats had been launched and were plunging furiously, and on one of them\na lantern dipped and fell. By its light he could see men holding a", "land its men, and he would be left there as a burnt-offering to their\nwrath. There must have been an infernal muddle somewhere.... Anyhow the", "Against men in seaman's boots and heavy clothing she had a clear\nadvantage. But two shook themselves loose from the pack and began to", "The odd thing was that the retreating force were in good heart. The\nthree men from the Mains were warming to their work, and McGuffog wore", "\"They're beaten off for the night, anyway?\"\n\n\"Ay, for the night. But they'll come back, never fear. That's why I said\nthat things had come to a cripus.\"", "upon their rear. That brought Thomas up, and the tinklers had to face\nround about and fight a battle on two fronts. We charged them and they", "\"I think we are in for what you call a shindy. I am in command,\nremember. I order you to serve out the guns.\"", "Dickson needed no urging. His heart was hot within him, and the\nweariness and stiffness had gone from his limbs. He, too, tumbled over", "\"They were four muckle men against six laddies, and they thought they\nhad an easy job! Little they kenned the Gorbals Die-Hards! I had been", "But it reached the besiegers. There was a sudden silence in the din\nbelow him and then a confusion of shouting. The men seemed to be pouring", "The girl looked at Heritage, who nodded. \"It's the only way,\" he said.\n\"Get every man jack you can raise, and if it's humanly possible get a", "must make them. What is it the sodgers call it? Forcin' a battle? Now\nsee here! There's the two roads into this place, the back door and the", "But the other, in the flood-tide of his argument, ignored the\ninterruption. \"That's the value of the war,\" he went on. \"It has burst", "crashed, but two scrambled to their feet and made for the girl. Sir\nArchie met the first with his fist, a clean drive on the jaw, followed", "hang on to them till the polis comes. There's no way out o' this\nbusiness but a battle.\"", "and who was to dispute their possession? Not Dobson and his crew, who\nhad no sort of title, and were out for naked robbery. The girl had", "There was a swaying in the crowd and anxious faces. Men surged in,\nwhispered and went out, and a clamour arose which the leader stilled\nwith a fierce gesture.", "fighting than an old wife. We've seven desperate villains against us,\nand afore night they may be seventy. We've a fine old castle here, but" ] ]

[ "Where does the story take place?", "Who decides to break into a home?", "In what way do they break into the home?", "What country does Scotland want to stay neutral with?", "Who is the name of the city that the story is set in?", "What is the name of the first outsider of Huntingtower?", "What gave Leon the impression of being a monstrous child?", "What is the name of the domestic servant of the Kennedy family?", "In the story, what is the nationality of the imprisoned woman?", "In the story, what affiliation are the agents who captured and exiled the Russian noblewoman?", "Who wrote the novel Huntingtower?", "What is the first name of the man who was the first foreign resident of Huntingtower?", "Buchan describe's the character Leon's face as being similar to that of a \"monstrous\" what?", "In the story, what country is the main location of events?", "Who attempted to free-climb away from the burning Huntingtower?", "Who is the main character throughout the story?", "What exactly were the Scottsmen attempting to defend?", "To what family does Phemie Morran have lifelong loyalty toward?", "What is the point mainly about?", "Who is the originator of these stories?", "What is the description of one of the characters?", "Where does this situation take place?", "Where is the woman from who is being accused?", "What is this situation based on?", "How did Mccunn feel when he decided to take action?", "What were the men fighting for?" ]

[ [ "Scotland", "Scotland." ], [ "Dickson McCunn", "Dickson McCunn." ], [ "Via the veranda", "Veranda" ], [ "Russia", "Russia" ], [ "Huntingtower", "Glasgow" ], [ "Leon", "Leon" ], [ "His tiny features on his face", "Tiny facial features" ], [ "Phemie Morran", "Phemie Morran" ], [ "Russian", "Russian" ], [ "Bolshevik", "Bolshevick" ], [ "Buchan", "Buchan." ], [ "Leon", "Leon" ], [ "Child", "A monstrous child" ], [ "Scotland", "Scotland" ], [ "Heritage", "Heritage" ], [ "Dickson McCunn", "Dickson McCunn" ], [ "Scotland's neutrality against the Russian Bolsheviks", "The Scotland's neutrality against Russian's revolutionary struggle." ], [ "The Kennedy family", "To the Kennedy family." ], [ "It is about a woman who is falsely accused.", "The imprisonment under untrue statements of Bolshevik agents." ], [ "A person named Buchan.", "Buchan originates the stories." ], [ "There was a description of a man who is stocky and dowdy.", "A sturdy fellow." ], [ "Somewhere in Scotland.", "Huntingtower" ], [ "The woman is from Russia.", "She is from Russia." ], [ "The situation is based on class systems.", "Espionage and covert violence" ], [ "He was afraid but happy with his decision to move forward.", "Frightened, but resolute" ], [ "Fairness and justice.", "A shared belief in right and wrong." ] ]

[ [ "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "The institution was a very popular one. When the people gathered\ntogether on one of the great trial days, they never knew whether they\nwere to witness a bloody slaughter or a hilarious wedding. This", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was", "fate of the accused person would be decided in the king's arena, a\nstructure which well deserved its name, for, although its form and plan\nwere borrowed from afar, its purpose emanated solely from the brain of", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "The appointed day arrived. From far and near the people gathered, and\nthronged the great galleries of the arena, and crowds, unable to gain", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "admittance, massed themselves against its outside walls. The king and\nhis court were in their places, opposite the twin doors, those fateful\nportals, so terrible in their similarity.", "immediately sprang upon him and tore him to pieces as a punishment for\nhis guilt. The moment that the case of the criminal was thus decided,", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "place immediately, and in the arena. Another door opened beneath the\nking, and a priest, followed by a band of choristers, and dancing", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena." ], [ "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "fate of the accused person would be decided in the king's arena, a\nstructure which well deserved its name, for, although its form and plan\nwere borrowed from afar, its purpose emanated solely from the brain of", "Her decision had been indicated in an instant, but it had been made\nafter days and nights of anguished deliberation. She had known she", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "immediately sprang upon him and tore him to pieces as a punishment for\nhis guilt. The moment that the case of the criminal was thus decided,", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "The institution was a very popular one. When the people gathered\ntogether on one of the great trial days, they never knew whether they\nwere to witness a bloody slaughter or a hilarious wedding. This", "of unfairness against this plan, for did not the accused person have\nthe whole matter in his own hands?", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "Then it was that his quick and anxious glance asked the question:\n\"Which?\" It was as plain to her as if he shouted it from where he", "rewarded on the spot, whether he liked it or not. There was no escape\nfrom the judgments of the king's arena.", "answer it. And so I leave it with all of you: Which came out of the\nopened door,--the lady, or the tiger?", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "could select among his fair subjects, and to this lady he was\nimmediately married, as a reward of his innocence. It mattered not that\nhe might already possess a wife and family, or that his affections" ], [ "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "immediately sprang upon him and tore him to pieces as a punishment for\nhis guilt. The moment that the case of the criminal was thus decided,", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "could select among his fair subjects, and to this lady he was\nimmediately married, as a reward of his innocence. It mattered not that\nhe might already possess a wife and family, or that his affections", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "The institution was a very popular one. When the people gathered\ntogether on one of the great trial days, they never knew whether they\nwere to witness a bloody slaughter or a hilarious wedding. This", "the lady was. It was one of the fairest and loveliest of the damsels of\nthe court who had been selected as the reward of the accused youth,", "of unfairness against this plan, for did not the accused person have\nthe whole matter in his own hands?", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "rewarded on the spot, whether he liked it or not. There was no escape\nfrom the judgments of the king's arena.", "fate of the accused person would be decided in the king's arena, a\nstructure which well deserved its name, for, although its form and plan\nwere borrowed from afar, its purpose emanated solely from the brain of", "incorruptible chance. If he opened the one, there came out of it a\nhungry tiger, the fiercest and most cruel that could be procured, which" ], [ "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "immediately sprang upon him and tore him to pieces as a punishment for\nhis guilt. The moment that the case of the criminal was thus decided,", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "The institution was a very popular one. When the people gathered\ntogether on one of the great trial days, they never knew whether they\nwere to witness a bloody slaughter or a hilarious wedding. This", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "fate of the accused person would be decided in the king's arena, a\nstructure which well deserved its name, for, although its form and plan\nwere borrowed from afar, its purpose emanated solely from the brain of", "rewarded on the spot, whether he liked it or not. There was no escape\nfrom the judgments of the king's arena.", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "could select among his fair subjects, and to this lady he was\nimmediately married, as a reward of his innocence. It mattered not that\nhe might already possess a wife and family, or that his affections", "incorruptible chance. If he opened the one, there came out of it a\nhungry tiger, the fiercest and most cruel that could be procured, which", "Would it not be better for him to die at once, and go to wait for her\nin the blessed regions of semi-barbaric futurity?\n\nAnd yet, that awful tiger, those shrieks, that blood!", "Her decision had been indicated in an instant, but it had been made\nafter days and nights of anguished deliberation. She had known she", "of unfairness against this plan, for did not the accused person have\nthe whole matter in his own hands?" ], [ "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "This semi-barbaric king had a daughter as blooming as his most florid\nfancies, and with a soul as fervent and imperious as his own. As is", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "watching the course of events, which would determine whether or not the\nyoung man had done wrong in allowing himself to love the princess.", "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "her eyes to the loved one of the princess; and, with all the intensity\nof the savage blood transmitted to her through long lines of wholly\nbarbaric ancestors, she hated the woman who blushed and trembled behind", "could select among his fair subjects, and to this lady he was\nimmediately married, as a reward of his innocence. It mattered not that\nhe might already possess a wife and family, or that his affections", "fate of the accused person would be decided in the king's arena, a\nstructure which well deserved its name, for, although its form and plan\nwere borrowed from afar, its purpose emanated solely from the brain of", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "rewarded on the spot, whether he liked it or not. There was no escape\nfrom the judgments of the king's arena." ], [ "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "watching the course of events, which would determine whether or not the\nyoung man had done wrong in allowing himself to love the princess.", "her eyes to the loved one of the princess; and, with all the intensity\nof the savage blood transmitted to her through long lines of wholly\nbarbaric ancestors, she hated the woman who blushed and trembled behind", "upon yourself, but upon that hot-blooded, semi-barbaric princess, her\nsoul at a white heat beneath the combined fires of despair and\njealousy. She had lost him, but who should have him?", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "upon the person of her lover, and sometimes she thought these glances\nwere perceived, and even returned. Now and then she had seen them\ntalking together; it was but for a moment or two, but much can be said", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "When her lover turned and looked at her, and his eye met hers as she\nsat there, paler and whiter than any one in the vast ocean of anxious", "Her decision had been indicated in an instant, but it had been made\nafter days and nights of anguished deliberation. She had known she", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "her to know it. He understood her nature, and his soul was assured that\nshe would never rest until she had made plain to herself this thing,", "How often, in her waking hours and in her dreams, had she started in\nwild horror, and covered her face with her hands as she thought of her\nlover opening the door on the other side of which waited the cruel\nfangs of the tiger!", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "The question of her decision is one not to be lightly considered, and\nit is not for me to presume to set myself up as the one person able to" ], [ "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "watching the course of events, which would determine whether or not the\nyoung man had done wrong in allowing himself to love the princess.", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "her eyes to the loved one of the princess; and, with all the intensity\nof the savage blood transmitted to her through long lines of wholly\nbarbaric ancestors, she hated the woman who blushed and trembled behind", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "upon yourself, but upon that hot-blooded, semi-barbaric princess, her\nsoul at a white heat beneath the combined fires of despair and\njealousy. She had lost him, but who should have him?", "upon the person of her lover, and sometimes she thought these glances\nwere perceived, and even returned. Now and then she had seen them\ntalking together; it was but for a moment or two, but much can be said", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "the lady was. It was one of the fairest and loveliest of the damsels of\nthe court who had been selected as the reward of the accused youth,", "could select among his fair subjects, and to this lady he was\nimmediately married, as a reward of his innocence. It mattered not that\nhe might already possess a wife and family, or that his affections", "beautiful, fair, his appearance was greeted with a low hum of\nadmiration and anxiety. Half the audience had not known so grand a\nyouth had lived among them. No wonder the princess loved him! What a", "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was" ], [ "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who", "she saw his start of rapturous delight as he opened the door of the\nlady! How her soul had burned in agony when she had seen him rush to", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "How often, in her waking hours and in her dreams, had she started in\nwild horror, and covered her face with her hands as she thought of her\nlover opening the door on the other side of which waited the cruel\nfangs of the tiger!", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "her eyes to the loved one of the princess; and, with all the intensity\nof the savage blood transmitted to her through long lines of wholly\nbarbaric ancestors, she hated the woman who blushed and trembled behind", "upon the person of her lover, and sometimes she thought these glances\nwere perceived, and even returned. Now and then she had seen them\ntalking together; it was but for a moment or two, but much can be said", "upon yourself, but upon that hot-blooded, semi-barbaric princess, her\nsoul at a white heat beneath the combined fires of despair and\njealousy. She had lost him, but who should have him?", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly" ], [ "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "admittance, massed themselves against its outside walls. The king and\nhis court were in their places, opposite the twin doors, those fateful\nportals, so terrible in their similarity.", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "incorruptible chance. If he opened the one, there came out of it a\nhungry tiger, the fiercest and most cruel that could be procured, which", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "How often, in her waking hours and in her dreams, had she started in\nwild horror, and covered her face with her hands as she thought of her\nlover opening the door on the other side of which waited the cruel\nfangs of the tiger!", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "place immediately, and in the arena. Another door opened beneath the\nking, and a priest, followed by a band of choristers, and dancing", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "When all the people had assembled in the galleries, and the king,\nsurrounded by his court, sat high up on his throne of royal state on", "fate of the accused person would be decided in the king's arena, a\nstructure which well deserved its name, for, although its form and plan\nwere borrowed from afar, its purpose emanated solely from the brain of", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "The tiger-cages of the kingdom were searched for the most savage and\nrelentless beasts, from which the fiercest monster might be selected" ], [ "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "fate of the accused person would be decided in the king's arena, a\nstructure which well deserved its name, for, although its form and plan\nwere borrowed from afar, its purpose emanated solely from the brain of", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "immediately sprang upon him and tore him to pieces as a punishment for\nhis guilt. The moment that the case of the criminal was thus decided,", "rewarded on the spot, whether he liked it or not. There was no escape\nfrom the judgments of the king's arena.", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "could select among his fair subjects, and to this lady he was\nimmediately married, as a reward of his innocence. It mattered not that\nhe might already possess a wife and family, or that his affections", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "In the very olden time there lived a semi-barbaric king, whose ideas,\nthough somewhat polished and sharpened by the progressiveness of", "admittance, massed themselves against its outside walls. The king and\nhis court were in their places, opposite the twin doors, those fateful\nportals, so terrible in their similarity.", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "might be engaged upon an object of his own selection; the king allowed\nno such subordinate arrangements to interfere with his great scheme of\nretribution and reward. The exercises, as in the other instance, took" ], [ "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was", "incorruptible chance. If he opened the one, there came out of it a\nhungry tiger, the fiercest and most cruel that could be procured, which", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "answer it. And so I leave it with all of you: Which came out of the\nopened door,--the lady, or the tiger?", "she saw his start of rapturous delight as he opened the door of the\nlady! How her soul had burned in agony when she had seen him rush to", "admittance, massed themselves against its outside walls. The king and\nhis court were in their places, opposite the twin doors, those fateful\nportals, so terrible in their similarity.", "immediately sprang upon him and tore him to pieces as a punishment for\nhis guilt. The moment that the case of the criminal was thus decided,", "But how much oftener had she seen him at the other door! How in her\ngrievous reveries had she gnashed her teeth, and torn her hair, when", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "was fixed immovably upon that man. Without the slightest hesitation, he\nwent to the door on the right, and opened it.", "Would it not be better for him to die at once, and go to wait for her\nin the blessed regions of semi-barbaric futurity?\n\nAnd yet, that awful tiger, those shrieks, that blood!", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the" ], [ "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "incorruptible chance. If he opened the one, there came out of it a\nhungry tiger, the fiercest and most cruel that could be procured, which", "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was", "answer it. And so I leave it with all of you: Which came out of the\nopened door,--the lady, or the tiger?", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "was fixed immovably upon that man. Without the slightest hesitation, he\nwent to the door on the right, and opened it.", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "admittance, massed themselves against its outside walls. The king and\nhis court were in their places, opposite the twin doors, those fateful\nportals, so terrible in their similarity.", "Now, the point of the story is this: Did the tiger come out of that\ndoor, or did the lady?" ], [ "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "immediately sprang upon him and tore him to pieces as a punishment for\nhis guilt. The moment that the case of the criminal was thus decided,", "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "fate of the accused person would be decided in the king's arena, a\nstructure which well deserved its name, for, although its form and plan\nwere borrowed from afar, its purpose emanated solely from the brain of", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "rewarded on the spot, whether he liked it or not. There was no escape\nfrom the judgments of the king's arena.", "of unfairness against this plan, for did not the accused person have\nthe whole matter in his own hands?", "watching the course of events, which would determine whether or not the\nyoung man had done wrong in allowing himself to love the princess.", "The institution was a very popular one. When the people gathered\ntogether on one of the great trial days, they never knew whether they\nwere to witness a bloody slaughter or a hilarious wedding. This" ], [ "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "her eyes to the loved one of the princess; and, with all the intensity\nof the savage blood transmitted to her through long lines of wholly\nbarbaric ancestors, she hated the woman who blushed and trembled behind", "upon yourself, but upon that hot-blooded, semi-barbaric princess, her\nsoul at a white heat beneath the combined fires of despair and\njealousy. She had lost him, but who should have him?", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "This semi-barbaric king had a daughter as blooming as his most florid\nfancies, and with a soul as fervent and imperious as his own. As is", "watching the course of events, which would determine whether or not the\nyoung man had done wrong in allowing himself to love the princess.", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "beautiful, fair, his appearance was greeted with a low hum of\nadmiration and anxiety. Half the audience had not known so grand a\nyouth had lived among them. No wonder the princess loved him! What a", "upon the person of her lover, and sometimes she thought these glances\nwere perceived, and even returned. Now and then she had seen them\ntalking together; it was but for a moment or two, but much can be said", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "she had thought of nothing, night or day, but this great event and the\nvarious subjects connected with it. Possessed of more power, influence,\nand force of character than any one who had ever before been interested", "unsurpassed in all this kingdom, and she loved him with an ardor that\nhad enough of barbarism in it to make it exceedingly warm and strong.", "the lady was. It was one of the fairest and loveliest of the damsels of\nthe court who had been selected as the reward of the accused youth," ], [ "her eyes to the loved one of the princess; and, with all the intensity\nof the savage blood transmitted to her through long lines of wholly\nbarbaric ancestors, she hated the woman who blushed and trembled behind", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "upon yourself, but upon that hot-blooded, semi-barbaric princess, her\nsoul at a white heat beneath the combined fires of despair and\njealousy. She had lost him, but who should have him?", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who", "she saw his start of rapturous delight as he opened the door of the\nlady! How her soul had burned in agony when she had seen him rush to", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "the lady was. It was one of the fairest and loveliest of the damsels of\nthe court who had been selected as the reward of the accused youth,", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "But how much oftener had she seen him at the other door! How in her\ngrievous reveries had she gnashed her teeth, and torn her hair, when", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena." ], [ "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "was fixed immovably upon that man. Without the slightest hesitation, he\nwent to the door on the right, and opened it.", "she saw his start of rapturous delight as he opened the door of the\nlady! How her soul had burned in agony when she had seen him rush to", "her eyes to the loved one of the princess; and, with all the intensity\nof the savage blood transmitted to her through long lines of wholly\nbarbaric ancestors, she hated the woman who blushed and trembled behind", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and", "But how much oftener had she seen him at the other door! How in her\ngrievous reveries had she gnashed her teeth, and torn her hair, when", "place immediately, and in the arena. Another door opened beneath the\nking, and a priest, followed by a band of choristers, and dancing" ], [ "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "was fixed immovably upon that man. Without the slightest hesitation, he\nwent to the door on the right, and opened it.", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "she saw his start of rapturous delight as he opened the door of the\nlady! How her soul had burned in agony when she had seen him rush to", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "But how much oftener had she seen him at the other door! How in her\ngrievous reveries had she gnashed her teeth, and torn her hair, when", "admittance, massed themselves against its outside walls. The king and\nhis court were in their places, opposite the twin doors, those fateful\nportals, so terrible in their similarity.", "place immediately, and in the arena. Another door opened beneath the\nking, and a priest, followed by a band of choristers, and dancing", "incorruptible chance. If he opened the one, there came out of it a\nhungry tiger, the fiercest and most cruel that could be procured, which", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who", "Now, the point of the story is this: Did the tiger come out of that\ndoor, or did the lady?", "How often, in her waking hours and in her dreams, had she started in\nwild horror, and covered her face with her hands as she thought of her\nlover opening the door on the other side of which waited the cruel\nfangs of the tiger!" ], [ "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "rewarded on the spot, whether he liked it or not. There was no escape\nfrom the judgments of the king's arena.", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "In the very olden time there lived a semi-barbaric king, whose ideas,\nthough somewhat polished and sharpened by the progressiveness of", "Among the borrowed notions by which his barbarism had become semified\nwas that of the public arena, in which, by exhibitions of manly and\nbeastly valor, the minds of his subjects were refined and cultured.", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "the lady was. It was one of the fairest and loveliest of the damsels of\nthe court who had been selected as the reward of the accused youth," ], [ "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "admittance, massed themselves against its outside walls. The king and\nhis court were in their places, opposite the twin doors, those fateful\nportals, so terrible in their similarity.", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "was fixed immovably upon that man. Without the slightest hesitation, he\nwent to the door on the right, and opened it.", "place immediately, and in the arena. Another door opened beneath the\nking, and a priest, followed by a band of choristers, and dancing", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "How often, in her waking hours and in her dreams, had she started in\nwild horror, and covered her face with her hands as she thought of her\nlover opening the door on the other side of which waited the cruel\nfangs of the tiger!", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "But how much oftener had she seen him at the other door! How in her\ngrievous reveries had she gnashed her teeth, and torn her hair, when", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty," ], [ "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "Now, the point of the story is this: Did the tiger come out of that\ndoor, or did the lady?", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "upon the person of her lover, and sometimes she thought these glances\nwere perceived, and even returned. Now and then she had seen them\ntalking together; it was but for a moment or two, but much can be said", "them man and wife before her very eyes; and when she had seen them walk\naway together upon their path of flowers, followed by the tremendous\nshouts of the hilarious multitude, in which her one despairing shriek", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "place immediately, and in the arena. Another door opened beneath the\nking, and a priest, followed by a band of choristers, and dancing", "When her lover turned and looked at her, and his eye met hers as she\nsat there, paler and whiter than any one in the vast ocean of anxious", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "The appointed day arrived. From far and near the people gathered, and\nthronged the great galleries of the arena, and crowds, unable to gain", "Her decision had been indicated in an instant, but it had been made\nafter days and nights of anguished deliberation. She had known she", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "The institution was a very popular one. When the people gathered\ntogether on one of the great trial days, they never knew whether they\nwere to witness a bloody slaughter or a hilarious wedding. This", "THE LADY, OR THE TIGER?\n\nby\n\nFrank R. Stockton", "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and" ], [ "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "This semi-barbaric king had a daughter as blooming as his most florid\nfancies, and with a soul as fervent and imperious as his own. As is", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "her eyes to the loved one of the princess; and, with all the intensity\nof the savage blood transmitted to her through long lines of wholly\nbarbaric ancestors, she hated the woman who blushed and trembled behind", "upon yourself, but upon that hot-blooded, semi-barbaric princess, her\nsoul at a white heat beneath the combined fires of despair and\njealousy. She had lost him, but who should have him?", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "In the very olden time there lived a semi-barbaric king, whose ideas,\nthough somewhat polished and sharpened by the progressiveness of", "could select among his fair subjects, and to this lady he was\nimmediately married, as a reward of his innocence. It mattered not that\nhe might already possess a wife and family, or that his affections", "watching the course of events, which would determine whether or not the\nyoung man had done wrong in allowing himself to love the princess.", "unsurpassed in all this kingdom, and she loved him with an ardor that\nhad enough of barbarism in it to make it exceedingly warm and strong.", "might be engaged upon an object of his own selection; the king allowed\nno such subordinate arrangements to interfere with his great scheme of\nretribution and reward. The exercises, as in the other instance, took" ], [ "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "immediately sprang upon him and tore him to pieces as a punishment for\nhis guilt. The moment that the case of the criminal was thus decided,", "fate of the accused person would be decided in the king's arena, a\nstructure which well deserved its name, for, although its form and plan\nwere borrowed from afar, its purpose emanated solely from the brain of", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "with the workings of the tribunal, in which he took such great delight\nand satisfaction. No matter how the affair turned out, the youth would\nbe disposed of, and the king would take an aesthetic pleasure in", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "of unfairness against this plan, for did not the accused person have\nthe whole matter in his own hands?", "fervid soul would not allow her to be absent on an occasion in which\nshe was so terribly interested. From the moment that the decree had\ngone forth that her lover should decide his fate in the king's arena,", "answer it. And so I leave it with all of you: Which came out of the\nopened door,--the lady, or the tiger?", "This love affair moved on happily for many months, until one day the\nking happened to discover its existence. He did not hesitate nor waver\nin regard to his duty in the premises. The youth was immediately cast", "rewarded on the spot, whether he liked it or not. There was no escape\nfrom the judgments of the king's arena.", "Her decision had been indicated in an instant, but it had been made\nafter days and nights of anguished deliberation. She had known she", "into prison, and a day was appointed for his trial in the king's arena.\nThis, of course, was an especially important occasion, and his majesty,", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and" ], [ "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "admittance, massed themselves against its outside walls. The king and\nhis court were in their places, opposite the twin doors, those fateful\nportals, so terrible in their similarity.", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and", "some out of the other. The decisions of this tribunal were not only\nfair, they were positively determinate: the accused person was\ninstantly punished if he found himself guilty, and, if innocent, he was", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "This was the king's semi-barbaric method of administering justice. Its\nperfect fairness is obvious. The criminal could not know out of which", "When a subject was accused of a crime of sufficient importance to\ninterest the king, public notice was given that on an appointed day the", "was fixed immovably upon that man. Without the slightest hesitation, he\nwent to the door on the right, and opened it.", "place immediately, and in the arena. Another door opened beneath the\nking, and a priest, followed by a band of choristers, and dancing", "fate of the accused person would be decided in the king's arena, a\nstructure which well deserved its name, for, although its form and plan\nwere borrowed from afar, its purpose emanated solely from the brain of", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "incorruptible chance. If he opened the one, there came out of it a\nhungry tiger, the fiercest and most cruel that could be procured, which", "But how much oftener had she seen him at the other door! How in her\ngrievous reveries had she gnashed her teeth, and torn her hair, when" ], [ "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "answer it. And so I leave it with all of you: Which came out of the\nopened door,--the lady, or the tiger?", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "she saw his start of rapturous delight as he opened the door of the\nlady! How her soul had burned in agony when she had seen him rush to", "Now, the point of the story is this: Did the tiger come out of that\ndoor, or did the lady?", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and", "THE LADY, OR THE TIGER?\n\nby\n\nFrank R. Stockton", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who", "GUTENBERG EBOOK THE LADY, OR THE TIGER? ***\n\n\n\n\nProduced by Edward A. Malone.", "was fixed immovably upon that man. Without the slightest hesitation, he\nwent to the door on the right, and opened it.", "could select among his fair subjects, and to this lady he was\nimmediately married, as a reward of his innocence. It mattered not that\nhe might already possess a wife and family, or that his affections", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "incorruptible chance. If he opened the one, there came out of it a\nhungry tiger, the fiercest and most cruel that could be procured, which", "End of Project Gutenberg's The Lady, or the Tiger?, by Frank R. Stockton", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall," ], [ "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "her eyes to the loved one of the princess; and, with all the intensity\nof the savage blood transmitted to her through long lines of wholly\nbarbaric ancestors, she hated the woman who blushed and trembled behind", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "upon yourself, but upon that hot-blooded, semi-barbaric princess, her\nsoul at a white heat beneath the combined fires of despair and\njealousy. She had lost him, but who should have him?", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "the lady was. It was one of the fairest and loveliest of the damsels of\nthe court who had been selected as the reward of the accused youth,", "upon the person of her lover, and sometimes she thought these glances\nwere perceived, and even returned. Now and then she had seen them\ntalking together; it was but for a moment or two, but much can be said", "Her right arm lay on the cushioned parapet before her. She raised her\nhand, and made a slight, quick movement toward the right. No one but\nher lover saw her. Every eye but his was fixed on the man in the arena.", "her to know it. He understood her nature, and his soul was assured that\nshe would never rest until she had made plain to herself this thing,", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "she saw his start of rapturous delight as he opened the door of the\nlady! How her soul had burned in agony when she had seen him rush to", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after" ], [ "was fixed immovably upon that man. Without the slightest hesitation, he\nwent to the door on the right, and opened it.", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "she saw his start of rapturous delight as he opened the door of the\nlady! How her soul had burned in agony when she had seen him rush to", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "But how much oftener had she seen him at the other door! How in her\ngrievous reveries had she gnashed her teeth, and torn her hair, when", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "place immediately, and in the arena. Another door opened beneath the\nking, and a priest, followed by a band of choristers, and dancing", "admittance, massed themselves against its outside walls. The king and\nhis court were in their places, opposite the twin doors, those fateful\nportals, so terrible in their similarity.", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who", "incorruptible chance. If he opened the one, there came out of it a\nhungry tiger, the fiercest and most cruel that could be procured, which", "How often, in her waking hours and in her dreams, had she started in\nwild horror, and covered her face with her hands as she thought of her\nlover opening the door on the other side of which waited the cruel\nfangs of the tiger!", "Then it was that his quick and anxious glance asked the question:\n\"Which?\" It was as plain to her as if he shouted it from where he" ], [ "His eyes were fixed upon the princess, who sat to the right of her\nfather. Had it not been for the moiety of barbarism in her nature it is\nprobable that lady would not have been there, but her intense and", "him a different destiny. Of course, everybody knew that the deed with\nwhich the accused was charged had been done. He had loved the princess,", "hidden to all other lookers-on, even to the king. The only hope for the\nyouth in which there was any element of certainty was based upon the\nsuccess of the princess in discovering this mystery; and the moment he", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "her eyes to the loved one of the princess; and, with all the intensity\nof the savage blood transmitted to her through long lines of wholly\nbarbaric ancestors, she hated the woman who blushed and trembled behind", "upon yourself, but upon that hot-blooded, semi-barbaric princess, her\nsoul at a white heat beneath the combined fires of despair and\njealousy. She had lost him, but who should have him?", "should he be proved innocent of the crime of aspiring to one so far\nabove him; and the princess hated her. Often had she seen, or imagined\nthat she had seen, this fair creature throwing glances of admiration", "as well as all the people, was greatly interested in the workings and\ndevelopment of this trial. Never before had such a case occurred; never\nbefore had a subject dared to love the daughter of the king. In after", "This semi-barbaric king had a daughter as blooming as his most florid\nfancies, and with a soul as fervent and imperious as his own. As is", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "watching the course of events, which would determine whether or not the\nyoung man had done wrong in allowing himself to love the princess.", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who", "upon the person of her lover, and sometimes she thought these glances\nwere perceived, and even returned. Now and then she had seen them\ntalking together; it was but for a moment or two, but much can be said", "Her decision had been indicated in an instant, but it had been made\nafter days and nights of anguished deliberation. She had known she", "she had thought of nothing, night or day, but this great event and the\nvarious subjects connected with it. Possessed of more power, influence,\nand force of character than any one who had ever before been interested", "In the very olden time there lived a semi-barbaric king, whose ideas,\nthough somewhat polished and sharpened by the progressiveness of", "in a brief space; it may have been on most unimportant topics, but how\ncould she know that? The girl was lovely, but she had dared to raise", "beautiful, fair, his appearance was greeted with a low hum of\nadmiration and anxiety. Half the audience had not known so grand a\nyouth had lived among them. No wonder the princess loved him! What a", "her to know it. He understood her nature, and his soul was assured that\nshe would never rest until she had made plain to herself this thing," ], [ "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "admittance, massed themselves against its outside walls. The king and\nhis court were in their places, opposite the twin doors, those fateful\nportals, so terrible in their similarity.", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and", "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "was fixed immovably upon that man. Without the slightest hesitation, he\nwent to the door on the right, and opened it.", "place immediately, and in the arena. Another door opened beneath the\nking, and a priest, followed by a band of choristers, and dancing", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who", "But how much oftener had she seen him at the other door! How in her\ngrievous reveries had she gnashed her teeth, and torn her hair, when", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "she saw his start of rapturous delight as he opened the door of the\nlady! How her soul had burned in agony when she had seen him rush to", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "that silent door.", "How often, in her waking hours and in her dreams, had she started in\nwild horror, and covered her face with her hands as she thought of her\nlover opening the door on the other side of which waited the cruel\nfangs of the tiger!", "the mental energies of the people. This vast amphitheater, with its\nencircling galleries, its mysterious vaults, and its unseen passages," ], [ "door would come the lady; he opened either he pleased, without having\nthe slightest idea whether, in the next instant, he was to be devoured\nor married. On some occasions the tiger came out of one door, and on", "faces about her, he saw, by that power of quick perception which is\ngiven to those whose souls are one, that she knew behind which door\ncrouched the tiger, and behind which stood the lady. He had expected", "two rooms, that lay behind those doors, stood the cage of the tiger,\nwith its open front, and in which waited the lady. Through these thick\ndoors, heavily curtained with skins on the inside, it was impossible", "incorruptible chance. If he opened the one, there came out of it a\nhungry tiger, the fiercest and most cruel that could be procured, which", "How often, in her waking hours and in her dreams, had she started in\nwild horror, and covered her face with her hands as she thought of her\nlover opening the door on the other side of which waited the cruel\nfangs of the tiger!", "Now, the point of the story is this: Did the tiger come out of that\ndoor, or did the lady?", "answer it. And so I leave it with all of you: Which came out of the\nopened door,--the lady, or the tiger?", "opposite him, on the other side of the inclosed space, were two doors,\nexactly alike and side by side. It was the duty and the privilege of\nthe person on trial to walk directly to these doors and open one of", "Would it not be better for him to die at once, and go to wait for her\nin the blessed regions of semi-barbaric futurity?\n\nAnd yet, that awful tiger, those shrieks, that blood!", "that any noise or suggestion should come from within to the person who\nshould approach to raise the latch of one of them. But gold, and the\npower of a woman's will, had brought the secret to the princess.", "But, if the accused person opened the other door, there came forth from\nit a lady, the most suitable to his years and station that his majesty", "THE LADY, OR THE TIGER?\n\nby\n\nFrank R. Stockton", "in such a case, she had done what no other person had done,--she had\npossessed herself of the secret of the doors. She knew in which of the", "was fixed immovably upon that man. Without the slightest hesitation, he\nwent to the door on the right, and opened it.", "them. He could open either door he pleased; he was subject to no\nguidance or influence but that of the aforementioned impartial and", "she saw his start of rapturous delight as he opened the door of the\nlady! How her soul had burned in agony when she had seen him rush to", "one side of the arena, he gave a signal, a door beneath him opened, and\nthe accused subject stepped out into the amphitheater. Directly", "All was ready. The signal was given. A door beneath the royal party\nopened, and the lover of the princess walked into the arena. Tall,", "He turned, and with a firm and rapid step he walked across the empty\nspace. Every heart stopped beating, every breath was held, every eye", "And not only did she know in which room stood the lady ready to emerge,\nall blushing and radiant, should her door be opened, but she knew who" ] ]

[ "Where do the trials in the story take place?", "What choice must an accused person make in the trials?", "What is the outcome of a trail for someone deemed innocent?", "What is the outcome of a trial for someone deemed guilty?", "Why does the king make his daughter's lover stand trial?", "Why is the princess conflicted about whether to help her lover in his trial?", "What is the outcome of the princess's lover's trial?", "Which door does the princess instruct her lover to open during the trial?", "How does the king ensure the people standing trial can't hear the tiger behind the door?", "How is innocence and guilt determined in the kingdom?", "What must the prisoner endure if he chooses the guilty door?", "What must the prisoner do if he chooses the innocent door?", "Why has the prisoner been brought to trial?", "What does the princess use her influence to do?", "Why does the princess hate the lady behind the door at the trial?", "Which door does the princess discreetly indicate to the prisoner?", "Which door does the prisoner open?", "What status did the prisoner hold?", "How is the prisoner prevented from hearing behind the doors?", "Where does the story take place?", "Why does the king imprison his daughter's lover?", "What ultimately determines the accused person's fate?", "What will the accused person find behind each door? ", "What must the person do if he chooses the door with the lady behind it? ", "What does the princess learn about the lady?", "Which door does he open?", "What does the princess learn ahead of time through her influences as a princess? ", "What feature do the doors have? ", "What happens if the person opens the door with the tiger? " ]

[ [ "a public arena", "In a public arena." ], [ "choose between two doors", "a choice of two doors" ], [ "marraige", "Marriage" ], [ "death by tiger", "Be devoured by a tiger." ], [ "he is of a lower status", "he's below his daughter in social status " ], [ "he will either die or marry someone else", "Because she hates the lady behind a door." ], [ "the story doesn't reveal it", "It is not revealed." ], [ "the one on the right", "The door on his right." ], [ "he has the doors soundproofed.", "he soundproofs the doors" ], [ "A prisoner has to choose one of two doors.", "By chance, one door is innocent, the other is guilty." ], [ "He will be eaten by a hungry tiger. ", "He will be eaten by a lion" ], [ "Marry a lady the king has chosen. ", "Marry the woman behind it." ], [ "The prisoner and the king's daughter were having a love affair. ", "because he was the lover of the princess" ], [ "Learn the positions of the lady and the tiger on the day of the trial. ", "lead the guy to one door" ], [ "The princess sees her as competition for the prisoner's love. ", "She believes the lady likes the guy" ], [ "The door to the right.", "The door on his right." ], [ "The right door. ", "the door on his right" ], [ "He was of lower class than the princess. ", "his status was lower than the princess' status" ], [ "The doors are each heavily soundproofed. ", "They are heavily sound proofed." ], [ "In a land ruled by a semi barbaric king", "Land ruled by a semi-barbaric king" ], [ "Because he has a lower status than the princess", "He is of lower class." ], [ "Chance", "If the princess wants to lose him to marriage or death." ], [ "A lady and a tiger", "A lady or a tiger." ], [ "Marry her", "marry her" ], [ "The lady is someone she hates", "she hates her" ], [ "The right door", "The door on the right." ], [ "The positions of the lady and the door", "which door the lady will be behind" ], [ "Soundproofing ", "One has a lady and one has a tiger." ], [ "He is deemed guilty and dies", "He is deemed guilty." ] ]

[ [ "And then the long, dreary years of inaction between enemies where\ncontact required years of travel, even at nearly the speed of light.\nThe two systems were evenly matched. Screen against screen. Warship", "Reinhart nodded reluctantly. \"They're too timid, these\nparliamentarians. If they discover we have no SRB odds they'll want to\nshut down the war planning and go back to waiting.\"", "Kaplan was in a talkative mood. \"We design new offensive weapons, they\ncounter with improved defenses. And nothing is actually made!\nContinual improvement, but neither we nor Centaurus can stop designing\nlong enough to stabilize for production.\"", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "\"I have already empowered negotiators to arrange a truce,\" Margaret\nDuffe murmured. \"Orders have been sent out to Vice-Commander Jessup to", "only urging moderation. An inter-system war is a big thing. We're\ngoing to war because a machine says we have a statistical chance of\nwinning.\"", "\"If we went to war now,\" Reinhart said thoughtfully, \"we would lose.\nWe're not far enough along to risk an overt attack.\" A harsh, ruthless", "\"He's called off his guards. We've agreed to a truce. It's all over.\nNo more needed.\" Reinhart gasped for breath, wiping grime and sweat", "\"We don't want anything to happen to this,\" Sherikov said. \"Everything\ndepends on it.\" He put out his hand for the globe. Half way to it his\nhand stopped, striking against an invisible presence in the air.", "days. You said so yourself. Meanwhile, we're all working night and day\non the war effort. The warfleet is waiting near Proxima, taking up", "\"We have lost the war,\" Margaret Duffe stated quietly. \"But this is\nnot a day of defeat. It is a day of victory. The most incredible\nvictory Terra has ever had.\"", "The war would come soon. Reinhart knew it intuitively. The air was\nfull of tension, the _elan_. He left the SRB rooms and hurried down", "\"You won't,\" Margaret Duffe said. \"You might as well not even bother\nto think about it.\" She signalled to the troops and they pulled", "\"Because of the war we're mobilized on a twenty-four hour basis. There\nare seventy air units and about two hundred surface units. The balance\nof the Security forces have been transferred to the line, under\nmilitary control.\"", "Silence.\n\nCole opened his eyes slowly. The soldiers had regrouped. A huge man\nwas striding down the slope toward them, barking orders as he came.", "Reinhart moved close to the slender President of the Council. \"If you\ndon't approve the war, there probably will be mass rioting. Public\nreaction will be strong. Damn strong. And you know it.\"", "them tried on a treason count, later on.\" He smiled ironically as\nHarper's face blanched sickly pale. \"There's a war going on. You'll be", "\"Let's hope the war comes soon,\" Kaplan agreed. \"We're all on edge.\nThis damn waiting....\"", "On the ground, the surface cars halted beyond the danger area, waiting\nfor the missile attack to finish. When the eighth missile had struck,\nthe cars again moved forward. No more missiles fell.", "only describe. They're nothing more than mechanical onlookers. In\nthemselves, they don't affect the course of the war. _We_ make the\nwar. They only analyze.\"" ], [ "\"So this is our weapon,\" Reinhart said. \"A bomb. An immense bomb.\"", "\"That is--until Icarus. I saw the possibilities of a bomb, an\nincredibly powerful bomb to destroy Centaurus and all the Empire's", "\"A bomb, moving at a velocity greater than light. A bomb which will\nnot exist in our universe. The Centaurans won't be able to detect or", "\"It will end,\" Reinhart stated coldly, \"as soon as Terra turns out a\nweapon for which Centaurus can build no defense.\"", "\"To begin, I recall to you the original work behind the ftl bomb.\nJamison Hedge was the first human to propel an object at a speed", "\"We have lost the war,\" Margaret Duffe stated quietly. \"But this is\nnot a day of defeat. It is a day of victory. The most incredible\nvictory Terra has ever had.\"", "emergency session to deal with the problem of Terra's impending\nattack. Centauran relay couriers have reported to the High Council\nthat the Terran bomb Icarus is virtually complete. Work on the bomb", "through Reinhart. He had won. He had destroyed the man from the past\nand broken Peter Sherikov. The war had begun as planned. Terra was\nbreaking out. Reinhart smiled thinly. He had been completely", "\"The bomb came back, dropping below the ftl speed as soon as it\nentered the star Proxima. But it did not explode. There was no\ncataclysm. It reappeared and was absorbed by the sun, turned into gas\nat once.\"", "For a moment nothing happened. Then odds were put up, locking in\nplace.\n\nSherikov gasped. 99-2. In favor of Terra. \"That's wonderful! Now we--\"", "\"So I understand from Sherikov himself. Are you surprised the\nCentaurans know about the bomb? They have spies swarming over Terra.\nThat's no news.\"", "against power station. The Centauran Empire surrounded Terra, an iron\nring that couldn't be broken, rusty and corroded as it was. Radical", "As usual? Not exactly. The feeling was in the air, an expanding\nexcitement growing every day. Terra had waited a long time. The attack", "Kaplan was in a talkative mood. \"We design new offensive weapons, they\ncounter with improved defenses. And nothing is actually made!\nContinual improvement, but neither we nor Centaurus can stop designing\nlong enough to stabilize for production.\"", "new weapons had to be conceived, if Terra was to break out.", "planets--including their central hub-planet, Armun. There is no way\nthey can halt Icarus, once he has been launched. No defense is\npossible. Nothing can stop him. It is a real fact.\"", "older and less virile than Terra, was unable to match Terra's rate of\ntechnocratic advance. Terra was pulling ahead.", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "\"I'm telling you all these things because you must understand what\nwe're up against. Terra is hemmed in on all sides by the ancient", "\"Of course. It's been ready for several days. But I can't believe the\nbomb is ready so soon.\" Margaret Duffe moved numbly toward the door of" ], [ "\"That is--until Icarus. I saw the possibilities of a bomb, an\nincredibly powerful bomb to destroy Centaurus and all the Empire's", "planets--including their central hub-planet, Armun. There is no way\nthey can halt Icarus, once he has been launched. No defense is\npossible. Nothing can stop him. It is a real fact.\"", "The object gained speed. Faster and faster. Then it vanished. Icarus\nwas on his way. The attack had begun; it was too late to stop, now.\n\nAnd on the machines the odds read a hundred to one--for failure.", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "Nothing happened. Icarus disappeared into the star. There was no\nexplosion. The bomb failed to go off.", "room among the stars for ourselves. Icarus is the deciding weapon. The\ndata on Icarus tipped the SRB odds in our favor--for the first time in", "history. Success in the war against Centaurus will depend on Icarus,\nnot on the SRB machines. You see?\"", "\"But Icarus never came back,\" Reinhart cried. \"Cole altered the wiring\nso the bomb kept on going. It's probably still going.\"", "will be within the star only a matter of a microsecond. If the turret\ndoes not function exactly, Icarus will pass out the other side and\nshoot beyond the Centauran system.\"", "\"A bomb, moving at a velocity greater than light. A bomb which will\nnot exist in our universe. The Centaurans won't be able to detect or", "\"This is not a ship.\" Sherikov grinned slyly. \"Icarus is the first\npractical application of Hedge's principles. Icarus is a bomb.\"", "\"So this is our weapon,\" Reinhart said. \"A bomb. An immense bomb.\"", "emergency session to deal with the problem of Terra's impending\nattack. Centauran relay couriers have reported to the High Council\nthat the Terran bomb Icarus is virtually complete. Work on the bomb", "Sherikov beamed with expansive pride. \"He's done, Commissioner. Two\ndays ahead of time. Icarus is ready to be launched into space. I tried\nto call your office, but they told me--\"", "forces. The reappearance of Icarus would mean the annihilation of\ntheir System. As Hedge had shown, the object would re-enter space", "\"Icarus, we call him. Remember the Greek myth? The legend of Icarus.\nIcarus flew.... This Icarus is going to fly, one of these days.\"", "The robot cannon altered its course to take them on, and Cole escaped\naround a corner.\n\nHe was in the main lab, the big chamber where Icarus himself rose, the\nvast squat column.", "toward. Cole realized Icarus was actually an incomplete spaceship, not\na bomb at all. He saw what Hedge had seen, an ftl space drive. He set\nout to make Icarus work.\"", "\"And built from the designs of a man dead four years--who isn't here\nto correct us. We've made Icarus with our own hands, down here in the", "\"Icarus will be launched outside the lab, on the surface. He will\nalign himself with Proxima Centaurus, gaining speed rapidly. By the" ], [ "\"I see. A man from two centuries ago.\" The big Pole frowned. \"And with\na radically different Weltanschauung. No connection with our present", "\"The variable man. That's his name.\" The Pole turned his massive head\na little. \"He has a name.\"", "Dixon scanned the plate. \"Good news. The man from the past was sighted\nmoving away from Petersville, along highway 13, at about ten miles an", "back manually. At the moment the signal reached it, the bubble was\npassing through the spring of 1913. As it broke loose, it tore off a", "from the past got overzealous and cut the circuit too quickly. The\nbubble came back loaded--with a man from the twentieth century. A man\nfrom the past.\"", "material from the past was brought forward. This material\n included an individual from the early twentieth century who\n escaped from the lab immediately. He has not yet been taken", "\"It's--it's a variable.\" Kaplan was shaking, white-lipped and pale.\n\"Something from which no inference can be made. The man from the past.\nThe machines can't deal with him. The variable man!\"", "\"I mean a person like this coming into our own time is bad in itself,\nwar or no war. He's too different. He's oriented along different", "\"There haven't been any horses for over a hundred years.\" The man came\ntoward Cole. \"Who are you? Why are you dressed up like that? Where did\nyou get that vehicle and pair of horses?\"", "opened. The big Pole sat down at the desk and began to study the\ninterior of the box. \"You're sure it was the man from the past who\nrewired this?\"", "\"Who are you?\" Sally demanded, at last. \"Why do you have on those\nfunny clothes? Where did you come from?\"", "Genius, perhaps, to do a thing like this. Look at the period he came\nfrom, Dixon. The early part of the twentieth century. Before the wars", "nothing. He had already gone. An hour later we received a report from\na resident in Petersville, an official of the Stockpile Conservation\nDepartment. The man from the past had come to his door, looking for", "Reinhart grinned. \"Perplexed? I suppose so. In any case, they can't do\nanything with the data about this man. The variable man. No statistics", "One of the technicians looked slowly up. \"Back about two hundred\nyears. We're coming up with interesting data on the War of 1914.\nAccording to material the bubble has already brought up--\"", "\"You see?\" Sherikov snapped the screen off. \"You were down there, not\nso long ago. All that noise and smoke--all for you. All for you, Mr.", "that item I showed you. From histo-research. About the man from the\npast.\"", "Kaplan hurried over. Reinhart handed him the envelope, and moved over\nto the window, gazing down at the scene below. Men and cars scurried\nfrantically everywhere. Officials coming and going like ants, hurrying\nin all directions.", "\"The variable man?\"\n\n\"That comes next,\" Reinhart said grimly. He adjusted his gun tube. \"I\nwant you down here, for that part. I want you to be in on the kill.\"", "\"Thomas Cole is a strange person,\" Sherikov said, half to himself.\n\"Apparently he has a kind of intuition about machines, the way things" ], [ "\"The variable man. That's his name.\" The Pole turned his massive head\na little. \"He has a name.\"", "\"Thomas Cole is a strange person,\" Sherikov said, half to himself.\n\"Apparently he has a kind of intuition about machines, the way things", "Thomas Cole crouched over the fire he had built, warming his hands. It\nwas almost morning. The sky was turning violet gray. The mountain air\nwas crisp and chill. Cole shivered and pulled himself closer to the\nfire.", "Thomas Cole was sitting up in bed when Sherikov came to the door. Most\nof his awkward, hunched-over body was sealed in a thin envelope of", "In the dim light the big stooped figure of Thomas Cole seemed extra\nmenacing. His long arms hung down loosely at his sides. His face was", "But Thomas Cole wasn't listening. He was bent over the schematics, an\nintense frown on his weathered face. His long fingers moved restlessly\nover the schematics, tracing wiring and terminals. His lips moved as\nhe calculated.", "Thomas Cole sat huddled in a heap on the floor, his head sunk down\nagainst his chest. He did not stir. His bent body seemed more", "\"Because Thomas Cole solved Hedge's problem. He found a way to bring\nthe ftl object back into this universe without collision. Without an\nexplosion. The variable man found what Hedge was after....\"", "\"It's--it's a variable.\" Kaplan was shaking, white-lipped and pale.\n\"Something from which no inference can be made. The man from the past.\nThe machines can't deal with him. The variable man!\"", "Thomas Cole urged the team into life, moving forward. He sat hunched\nover in the seat, watching intently, as the Fixit cart rolled slowly\nacross the tangled grass, through the jungle of trees and flowers.", "Reinhart grinned. \"Perplexed? I suppose so. In any case, they can't do\nanything with the data about this man. The variable man. No statistics", "Thomas Cole came slowly toward the three children grouped around the\nguide-light. He moved with difficulty, his body sore and bent with\nfatigue. Night had come, but he was not safe yet.", "\"Cole?\" Reinhart advanced quickly into the room. He glanced around\nhim, suddenly alarmed. \"Where--\"\n\nThe room was empty. Thomas Cole was gone.", "\"The variable man?\"\n\n\"That comes next,\" Reinhart said grimly. He adjusted his gun tube. \"I\nwant you down here, for that part. I want you to be in on the kill.\"", "II\n\n\nThomas Cole was sharpening a knife with his whetstone when the tornado\nhit.", "The children watched silently until the figure of Thomas Cole had\ncompletely disappeared. Slowly, they turned and looked at each other.", "\"I doubt very much if Thomas Cole understood what would come about. He\nlooked into the globe, the control turret. He saw unfinished wiring\nand relays. He saw a job half done. An incomplete machine.\"", "Thomas Cole got slowly to his feet as Steven came into view. \"Here,\"\nSteven said. He dumped the food onto the curb, gasping for breath.\n\"Here's the food. Is it finished?\"", "\"No tricks.\" Sherikov nodded resignedly. \"Thomas Cole is by himself.\nIn a wing lab off the main rooms.\"\n\n\"Cole?\"", "\"I suppose you're right.\" The two men walked out into the hall. \"I'm\non edge. This variable man. I can't get him out of my mind.\"\n\n\"Has he done anything yet?\"" ], [ "\"Well?\" Sherikov demanded. \"You know what I want. I want you to wire\nthis damn thing up.\" Sherikov came close to Cole, his big face hard.", "toward. Cole realized Icarus was actually an incomplete spaceship, not\na bomb at all. He saw what Hedge had seen, an ftl space drive. He set\nout to make Icarus work.\"", "\"No.\" Cole shook his head vaguely. \"I'm reliable.\" His sensitive\nfingers found the studs that held the box together. He depressed the\nstuds, pushing them expertly in. The box opened, revealing its complex\ninterior.", "Cole relaxed. \"Fine. That's fine.\" He turned his attention back to the\nbox resting between his knees. \"Then I'll fix it for you. I'll fix it\nfor you good.\"", "\"Icarus went as expected. As _you_ expected.\" Sherikov leaned toward\nthe bed. \"Cole, I promised you something. I mean to keep my\npromise--as soon as you're well enough.\"", "\"Well?\" Cole said, at last. \"Does it work all right?\"\n\nAfter a moment Steven looked up at him. There was a strange expression\non his face. He nodded slowly. \"Yes. Yes, it works. It works fine.\"", "But Thomas Cole wasn't listening. He was bent over the schematics, an\nintense frown on his weathered face. His long fingers moved restlessly\nover the schematics, tracing wiring and terminals. His lips moved as\nhe calculated.", "Cole said nothing.\n\nSherikov reached into a drawer of the table before him. He carefully\nbrought out a small square box and held it out to Cole. \"You wired\nthis, didn't you?\"", "\"But Icarus never came back,\" Reinhart cried. \"Cole altered the wiring\nso the bomb kept on going. It's probably still going.\"", "Cole looked up. His faded blue eyes took in the sight of the three\nchildren standing before him in the gloom. \"I'll fix it for you. You\nsaid you wanted it fixed.\"", "\"Icarus, we call him. Remember the Greek myth? The legend of Icarus.\nIcarus flew.... This Icarus is going to fly, one of these days.\"", "\"My therapy?\"\n\n\"What do you do? Where do you work?\"\n\nCole took a deep breath and let it out again slowly. \"I fix things.\nAll kinds of things. Any kind.\"", "\"That is--until Icarus. I saw the possibilities of a bomb, an\nincredibly powerful bomb to destroy Centaurus and all the Empire's", "The robot cannon altered its course to take them on, and Cole escaped\naround a corner.\n\nHe was in the main lab, the big chamber where Icarus himself rose, the\nvast squat column.", "Cole took the box in his hands and held it. For a time his tired mind\nfailed to focus. What did he have? He concentrated on it. The box was\nthe children's toy. The inter-system vidsender, they had called it.", "Cole hurried away from the fire. He snatched up the rabbit and carried\nit along with him, into the tangled shelter he had built. He was\ninvisible, inside the shelter. No one could find him. But if they had\nseen the fire--", "Icarus alone. Nobody wanted to damage him. Cole evaded a lone guard\ntracking him and reached the far side of the lab.", "\"I'm looking for work,\" Cole murmured. \"Any kind of work. I can do\nanything, fix any kind of thing. I repair broken objects. Things that\nneed mending.\" His voice trailed off uncertainly. \"Anything at all.\"", "\"This is not a ship.\" Sherikov grinned slyly. \"Icarus is the first\npractical application of Hedge's principles. Icarus is a bomb.\"", "Cole listened for a time. Presently he lifted the transparent globe\nfrom the bench. With carefully controlled hands he held the globe up,\nrunning his fingers gently over the surface, his faded blue eyes" ], [ "restored. I then had Cole transferred there, put in Sherikov's safe\nkeeping. I want to make sure Cole recovers, so we can keep our promise", "\"At first. But they got over it--as soon as they understood what was\nahead. Too bad you won't be here to see it, Cole. A whole world", "Cole said nothing.\n\nSherikov reached into a drawer of the table before him. He carefully\nbrought out a small square box and held it out to Cole. \"You wired\nthis, didn't you?\"", "Cole looked up. His faded blue eyes took in the sight of the three\nchildren standing before him in the gloom. \"I'll fix it for you. You\nsaid you wanted it fixed.\"", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "\"We have lost the war,\" Margaret Duffe stated quietly. \"But this is\nnot a day of defeat. It is a day of victory. The most incredible\nvictory Terra has ever had.\"", "\"I don't believe it!\" Reinhart gasped. \"It isn't possible. If Cole\nsolved Hedge's problem that would mean--\" He broke off, staggered.", "Cole saw the shadow of the Security ship. He reacted at once. A second\nafter the shadow passed over him, Cole was out of the cart, running", "\"Because Thomas Cole solved Hedge's problem. He found a way to bring\nthe ftl object back into this universe without collision. Without an\nexplosion. The variable man found what Hedge was after....\"", "\"Now.\" Sherikov's hand closed over the globe. He lifted it carefully\nfrom its mount and brought it out for Cole to see. \"This is the", "Silence.\n\nCole opened his eyes slowly. The soldiers had regrouped. A huge man\nwas striding down the slope toward them, barking orders as he came.", "Cole threw himself down as a violet beam cut past his ear and\ndisintegrated the wall behind him. A Security policeman, wild-eyed,", "\"Over here. The turret.\" Sherikov led Cole over to one side of the\nroom. \"It's guarded. Centauran spies are swarming everywhere on Terra.", "Cole took the box in his hands and held it. For a time his tired mind\nfailed to focus. What did he have? He concentrated on it. The box was\nthe children's toy. The inter-system vidsender, they had called it.", "Cole hurried away from the fire. He snatched up the rabbit and carried\nit along with him, into the tangled shelter he had built. He was\ninvisible, inside the shelter. No one could find him. But if they had\nseen the fire--", "Cole rolled the tube up slowly, numbed with shock. Two hundred years.\nIt didn't seem possible. But things were beginning to make sense. He\nwas in the future, two hundred years in the future.", "Cole considered, his face dark and brooding.\n\n\"What do you have to lose? You'd already be dead, if we hadn't pulled\nyou out of those hills.\"", "Cole relaxed. \"Fine. That's fine.\" He turned his attention back to the\nbox resting between his knees. \"Then I'll fix it for you. I'll fix it\nfor you good.\"", "\"Well?\" Sherikov demanded. \"You know what I want. I want you to wire\nthis damn thing up.\" Sherikov came close to Cole, his big face hard.", "There was a blinding roar and flash of white light. A hot wind rolled\nover Cole, picking him up and tossing him like a leaf. He shut his" ], [ "Cole listened for a time. Presently he lifted the transparent globe\nfrom the bench. With carefully controlled hands he held the globe up,\nrunning his fingers gently over the surface, his faded blue eyes", "Cole looked up. His faded blue eyes took in the sight of the three\nchildren standing before him in the gloom. \"I'll fix it for you. You\nsaid you wanted it fixed.\"", "Cole came toward them. He bent down a little. The beam from the\nguide-light crossed his features. Lean, prominent nose, beak-like,\nfaded blue eyes--", "Cole considered. Clearly, he had been carried a long way. The\nhospital, the men with white faces, the odd lighting, the accented", "Cole lay, breathing shallowly, slowly. Time passed. The sun moved\nacross the sky with agonizing slowness. It was perhaps four in the", "Cole hurried away from the fire. He snatched up the rabbit and carried\nit along with him, into the tangled shelter he had built. He was\ninvisible, inside the shelter. No one could find him. But if they had\nseen the fire--", "Cole rolled the tube up slowly, numbed with shock. Two hundred years.\nIt didn't seem possible. But things were beginning to make sense. He\nwas in the future, two hundred years in the future.", "From the speaker came a low rumble, a deep-throated roar. After a time\nthe screen shifted, showing a slightly different view. Suddenly Cole\nstiffened.", "Cole said nothing.\n\nSherikov reached into a drawer of the table before him. He carefully\nbrought out a small square box and held it out to Cole. \"You wired\nthis, didn't you?\"", "There was a blinding roar and flash of white light. A hot wind rolled\nover Cole, picking him up and tossing him like a leaf. He shut his", "Cole got unsteadily to his feet. He wiped his face shakily. His body\nached and trembled. He spat a couple times, trying to clear his mouth.", "Thomas Cole was sitting up in bed when Sherikov came to the door. Most\nof his awkward, hunched-over body was sealed in a thin envelope of", "all sides. They studied him curiously, murmuring together. Cole shook\nhis head wearily and said nothing.", "Cole opened his eyes slowly. The cart was gone. A great hole gaped\nwhere it had been, a shattered sore in the center of the highway. An", "He got shakily to his feet. His head spun. He was weak, shattered,\ntrembling violently. The man was coming down the walk after him. Cole", "Cole considered, his face dark and brooding.\n\n\"What do you have to lose? You'd already be dead, if we hadn't pulled\nyou out of those hills.\"", "\"Wait.\" Cole smiled crookedly at them. His voice was dry and raspy.\n\"What do you have there?\" He pointed with his long, slender fingers.\n\"The box you're holding.\"", "Cole gasped, swaying back and forth. Sherikov caught hold of him. Cole\ngazed down into the globe, moving his head slightly, focussing the\nglasses.", "Cole felt fear. He kicked at the terrified horses. They reached a big\ndoor, crashing wildly against it. The door gave--and they were", "Cole was deep in thought, meditating over his situation. He had been\nin the mountains two nights and a day. The first night had been the" ], [ "Centauran Empire. It's been out there for centuries, thousands of\nyears. No one knows how long. It's old--crumbling and rotting. Corrupt", "Centauran system. Ship after ship flashed briefly and then faded to\nash. For a whole day the two fleets fought, strung out over millions\nof miles of space. Innumerable fighting men died--on both sides.", "universe. Right in the heart of the star. Then--no more Centaurus.\"\nSherikov beamed. \"And no more Armun.\"", "\"That is--until Icarus. I saw the possibilities of a bomb, an\nincredibly powerful bomb to destroy Centaurus and all the Empire's", "against power station. The Centauran Empire surrounded Terra, an iron\nring that couldn't be broken, rusty and corroded as it was. Radical", "\"We can go _beyond_ Centaurus,\" Dixon muttered. His lips twisted.\n\"Then the war was trivial. We can leave the Empire completely behind.\nWe can go beyond the galaxy.\"", "Centaurus of a Terran military attack. The ratio was based on the\ntotal information known to the SRB machines, on a gestalt of the vast\nflow of data that poured in endlessly from all sectors of the Sol and", "depended. Victory over Centaurus--or more waiting, bottled up in the\nSol System, surrounded by a rotting, hostile Empire, now sinking into\nruin and decay, yet still strong.", "seized. A good part of the Centauran fleet was destroyed. Many of the\ncaptive systems began to revolt, in the hope of throwing off the\nImperial bonds.", "will be within the star only a matter of a microsecond. If the turret\ndoes not function exactly, Icarus will pass out the other side and\nshoot beyond the Centauran system.\"", "on Proxima Centaurus had to come--and the sooner the better. The\nancient Centauran Empire hemmed in Terra, bottled the human race up in", "Centauran colonies. The whole Terran population has been mobilized.\nThe eight supply planets are pouring in material. All this is going on\nday and night, even without odds showing. Long before the attack comes", "At eight o'clock in the evening of May 15, 2136, Icarus was launched\ntoward the star Centaurus. A day later, while all Terra waited, Icarus", "production. With Armun out of the way we should be able to promote\nmass insurrection among the Centauran colonies. An inter-system Empire\nis hard to maintain, even with ships that approach light speed. Local", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "her office. \"This is a great day, Commissioner. An old era lies behind\nus. This time tomorrow Centaurus will be gone. And eventually the\ncolonies will be ours.\"", "\"Hang on,\" Dixon said. \"This is going to hit you hard. According to\nour agents on Armun, the Centauran High Council has called an", "it out here in the Sol system. One tiny mediocre sun, one dust mote\nout of a whole galaxy.\"", "same. So far so good. Did the Centaurans know about Icarus? No doubt;\nbut there wasn't anything they could do about it. At least, not in\neight days.", "\"Icarus will be launched outside the lab, on the surface. He will\nalign himself with Proxima Centaurus, gaining speed rapidly. By the" ], [ "\"The variable man. That's his name.\" The Pole turned his massive head\na little. \"He has a name.\"", "\"It's--it's a variable.\" Kaplan was shaking, white-lipped and pale.\n\"Something from which no inference can be made. The man from the past.\nThe machines can't deal with him. The variable man!\"", "\"The variable man?\"\n\n\"That comes next,\" Reinhart said grimly. He adjusted his gun tube. \"I\nwant you down here, for that part. I want you to be in on the kill.\"", "THE VARIABLE MAN\n\nBY PHILIP K. DICK", "Reinhart grinned. \"Perplexed? I suppose so. In any case, they can't do\nanything with the data about this man. The variable man. No statistics", "\"The variable man is still alive,\" Dixon murmured. \"I don't know how.\nOr why. There's nothing left of the Albertines. And how the hell did\nthe man get half way around the world?\"", "Variable Man from the past. Reinhart arranged that, to finish you off.\nI want you to understand that. It's very important that you realize\nthat.\"", "GUTENBERG EBOOK THE VARIABLE MAN ***\n\n\n\n\nProduced by Greg Weeks, Barbara Tozier and the Online\nDistributed Proofreading Team at http://www.pgdp.net", "\"I suppose you're right.\" The two men walked out into the hall. \"I'm\non edge. This variable man. I can't get him out of my mind.\"\n\n\"Has he done anything yet?\"", "End of the Project Gutenberg EBook of The Variable Man, by Philip K. Dick", "Peter Sherikov studied the variable man for a moment before he\nanswered. \"Where? I'm taking you to my labs. Under the Urals.\" He", "\"Fits the description.\" Dixon tore away a handful of burned clothing.\n\"This is the variable man. What's left of him, at least.\"", "You're vital to the war: I'm sorry you found out about the variable\nman. I admit we overlooked the Centauran espionage as a factor in\nthis. But now that you know about him--\"", "this man is beyond all prediction. He's a variable. It's contrary to\nscience.\"", "forthcoming. I gave him the exact hour. He had to get help--from the\nvariable man. He couldn't meet his promise otherwise.\"", "\"The other problem is that this man, this variable man, has escaped\ninto the Albertine Mountain range. Now we'll have one hell of a time", "\"Of course. On the spot. The boy damaged it playing. The variable man\ncame along and the boy asked him to fix it. He fixed it, all right.\"", "Gray-faced, Dixon mumbled an answer. \"The variable man must have\nsabotaged the turret. The SRB machines knew.... They analyzed the\ndata. _They knew!_ But it was too late.\"", "\"Why not?\"\n\n\"Because a variable factor has been introduced. A factor which the\nmachines can't handle. They can't make any predictions from it.\"", "Reinhart signalled to his police. \"Get ready. We're going into the\nlab. We may have to shoot our way in. The variable man should be in\nthe area of the bomb, working on the control turret.\"" ], [ "\"I'm telling you all these things because you must understand what\nwe're up against. Terra is hemmed in on all sides by the ancient", "its one system. A vast, suffocating net draped across the heavens,\ncutting Terra off from the bright diamonds beyond.... And it had to\nend.", "on Proxima Centaurus had to come--and the sooner the better. The\nancient Centauran Empire hemmed in Terra, bottled the human race up in", "and venal. But it holds most of the galaxy around us, and we can't\nbreak out of the Sol system. I told you about Icarus, and Hedge's work", "colonies can all collect. Our interest is more economic than\npolitical. They can have any kind of government they want, as long as\nthey act as supply areas for us. As our eight system planets act now.\"", "Centauran colonies. The whole Terran population has been mobilized.\nThe eight supply planets are pouring in material. All this is going on\nday and night, even without odds showing. Long before the attack comes", "against power station. The Centauran Empire surrounded Terra, an iron\nring that couldn't be broken, rusty and corroded as it was. Radical", "it out here in the Sol system. One tiny mediocre sun, one dust mote\nout of a whole galaxy.\"", "right, and in five days. Nobody else can. And if it's not wired up\nCentaurus will keep on running the galaxy and Terra will have to sweat", "older and less virile than Terra, was unable to match Terra's rate of\ntechnocratic advance. Terra was pulling ahead.", "Centaurus of a Terran military attack. The ratio was based on the\ntotal information known to the SRB machines, on a gestalt of the vast\nflow of data that poured in endlessly from all sectors of the Sol and", "And then the long, dreary years of inaction between enemies where\ncontact required years of travel, even at nearly the speed of light.\nThe two systems were evenly matched. Screen against screen. Warship", "First contact, a hundred years earlier, had ignited instant conflict\nbetween Proxima Centauran outposts and exploring Terran raiders. Flash\nfights, sudden eruptions of fire and energy beams.", "\"Over here. The turret.\" Sherikov led Cole over to one side of the\nroom. \"It's guarded. Centauran spies are swarming everywhere on Terra.", "Centauran Empire. It's been out there for centuries, thousands of\nyears. No one knows how long. It's old--crumbling and rotting. Corrupt", "planets--including their central hub-planet, Armun. There is no way\nthey can halt Icarus, once he has been launched. No defense is\npossible. Nothing can stop him. It is a real fact.\"", "\"Men?\"\n\n\"We have about five thousand men ready to go, still on Terra. Most of\nthem in the process of being transferred to military transports. I can\nhold it up at any time.\"", "Reinhart took Commander Carleton's place. \"I can report on the\neconomic situation. Every factory on Terra is converted to arms", "Kaplan was in a talkative mood. \"We design new offensive weapons, they\ncounter with improved defenses. And nothing is actually made!\nContinual improvement, but neither we nor Centaurus can stop designing\nlong enough to stabilize for production.\"", "could, with the skill he possessed. For us, that skill has opened up a\nwhole universe, endless galaxies and systems to explore. Worlds\nwithout end. Unlimited, _untouched_ worlds.\"" ], [ "Thomas Cole crouched over the fire he had built, warming his hands. It\nwas almost morning. The sky was turning violet gray. The mountain air\nwas crisp and chill. Cole shivered and pulled himself closer to the\nfire.", "Thomas Cole was sitting up in bed when Sherikov came to the door. Most\nof his awkward, hunched-over body was sealed in a thin envelope of", "\"Thomas Cole is a strange person,\" Sherikov said, half to himself.\n\"Apparently he has a kind of intuition about machines, the way things", "Thomas Cole sat huddled in a heap on the floor, his head sunk down\nagainst his chest. He did not stir. His bent body seemed more", "But Thomas Cole wasn't listening. He was bent over the schematics, an\nintense frown on his weathered face. His long fingers moved restlessly\nover the schematics, tracing wiring and terminals. His lips moved as\nhe calculated.", "Thomas Cole came slowly toward the three children grouped around the\nguide-light. He moved with difficulty, his body sore and bent with\nfatigue. Night had come, but he was not safe yet.", "The children watched silently until the figure of Thomas Cole had\ncompletely disappeared. Slowly, they turned and looked at each other.", "II\n\n\nThomas Cole was sharpening a knife with his whetstone when the tornado\nhit.", "In the dim light the big stooped figure of Thomas Cole seemed extra\nmenacing. His long arms hung down loosely at his sides. His face was", "Thomas Cole urged the team into life, moving forward. He sat hunched\nover in the seat, watching intently, as the Fixit cart rolled slowly\nacross the tangled grass, through the jungle of trees and flowers.", "\"Cole?\" Reinhart advanced quickly into the room. He glanced around\nhim, suddenly alarmed. \"Where--\"\n\nThe room was empty. Thomas Cole was gone.", "In the darkness, away from the beam of the guide-light, Thomas Cole\nsat crouched over the food. He ate gratefully, silently. It was good", "Thomas Cole got slowly to his feet as Steven came into view. \"Here,\"\nSteven said. He dumped the food onto the curb, gasping for breath.\n\"Here's the food. Is it finished?\"", "\"No tricks.\" Sherikov nodded resignedly. \"Thomas Cole is by himself.\nIn a wing lab off the main rooms.\"\n\n\"Cole?\"", "\"I doubt very much if Thomas Cole understood what would come about. He\nlooked into the globe, the control turret. He saw unfinished wiring\nand relays. He saw a job half done. An incomplete machine.\"", "Cole was deep in thought, meditating over his situation. He had been\nin the mountains two nights and a day. The first night had been the", "Cole reached the top of the hill. For a brief moment he halted to get\nhis breath and figure where he was. It was almost evening. The sun was", "Cole ran. He rolled down a slope, sliding and falling. At the bottom\nhe leaped to his feet and plunged into the brush. Vines and leaves", "Cole came toward them. He bent down a little. The beam from the\nguide-light crossed his features. Lean, prominent nose, beak-like,\nfaded blue eyes--", "Cole listened for a time. Presently he lifted the transparent globe\nfrom the bench. With carefully controlled hands he held the globe up,\nrunning his fingers gently over the surface, his faded blue eyes" ], [ "Cole rolled the tube up slowly, numbed with shock. Two hundred years.\nIt didn't seem possible. But things were beginning to make sense. He\nwas in the future, two hundred years in the future.", "\"Because Thomas Cole solved Hedge's problem. He found a way to bring\nthe ftl object back into this universe without collision. Without an\nexplosion. The variable man found what Hedge was after....\"", "Cole looked up. His faded blue eyes took in the sight of the three\nchildren standing before him in the gloom. \"I'll fix it for you. You\nsaid you wanted it fixed.\"", "There was a blinding roar and flash of white light. A hot wind rolled\nover Cole, picking him up and tossing him like a leaf. He shut his", "Cole said nothing.\n\nSherikov reached into a drawer of the table before him. He carefully\nbrought out a small square box and held it out to Cole. \"You wired\nthis, didn't you?\"", "Cole threw himself down as a violet beam cut past his ear and\ndisintegrated the wall behind him. A Security policeman, wild-eyed,", "\"Well?\" Sherikov demanded. \"You know what I want. I want you to wire\nthis damn thing up.\" Sherikov came close to Cole, his big face hard.", "Cole considered. Clearly, he had been carried a long way. The\nhospital, the men with white faces, the odd lighting, the accented", "Cole came toward them. He bent down a little. The beam from the\nguide-light crossed his features. Lean, prominent nose, beak-like,\nfaded blue eyes--", "Cole took the box in his hands and held it. For a time his tired mind\nfailed to focus. What did he have? He concentrated on it. The box was\nthe children's toy. The inter-system vidsender, they had called it.", "restored. I then had Cole transferred there, put in Sherikov's safe\nkeeping. I want to make sure Cole recovers, so we can keep our promise", "Cole headed the team toward the door. Hoofs thundered steel against\nsteel as they pounded through the doorway, scattering the astonished\nmen in all directions. He was out in a wide hall. A building, like a\nhospital.", "Cole hurried away from the fire. He snatched up the rabbit and carried\nit along with him, into the tangled shelter he had built. He was\ninvisible, inside the shelter. No one could find him. But if they had\nseen the fire--", "Cole's vision blurred. Everything spun and wavered around him.\nOctober, 2128. Could it be?", "Cole considered, his face dark and brooding.\n\n\"What do you have to lose? You'd already be dead, if we hadn't pulled\nyou out of those hills.\"", "\"I'll be going,\" Cole repeated, moving away.\n\nThe man whipped something from his belt, a thin metal tube. He stuck\nit toward Cole.", "Cole saw the shadow of the Security ship. He reacted at once. A second\nafter the shadow passed over him, Cole was out of the cart, running", "But he was not thinking that far ahead. Cole stood by the fire,\nstaring up at the sky, his hands on his hips. He squinted, suddenly", "\"Wait.\" Cole smiled crookedly at them. His voice was dry and raspy.\n\"What do you have there?\" He pointed with his long, slender fingers.\n\"The box you're holding.\"", "\"Well?\" Cole said, at last. \"Does it work all right?\"\n\nAfter a moment Steven looked up at him. There was a strange expression\non his face. He nodded slowly. \"Yes. Yes, it works. It works fine.\"" ], [ "\"Thomas Cole is a strange person,\" Sherikov said, half to himself.\n\"Apparently he has a kind of intuition about machines, the way things", "Cole came toward them. He bent down a little. The beam from the\nguide-light crossed his features. Lean, prominent nose, beak-like,\nfaded blue eyes--", "Cole listened for a time. Presently he lifted the transparent globe\nfrom the bench. With carefully controlled hands he held the globe up,\nrunning his fingers gently over the surface, his faded blue eyes", "Cole looked up. His faded blue eyes took in the sight of the three\nchildren standing before him in the gloom. \"I'll fix it for you. You\nsaid you wanted it fixed.\"", "But Cole was not listening. He had taken the globe from Sherikov and\nwas turning it over and over, running his hands over it, his face\nclose to its surface. He peered down into its interior, his face rapt\nand intent.", "Cole hurried away from the fire. He snatched up the rabbit and carried\nit along with him, into the tangled shelter he had built. He was\ninvisible, inside the shelter. No one could find him. But if they had\nseen the fire--", "But he was not thinking that far ahead. Cole stood by the fire,\nstaring up at the sky, his hands on his hips. He squinted, suddenly", "Cole ran. He rolled down a slope, sliding and falling. At the bottom\nhe leaped to his feet and plunged into the brush. Vines and leaves", "Cole tensed, suddenly alert. There was something in the man's eyes, a\nhardness, a piercing look. Cole moved back off the porch, onto the\npath. He had to be careful. Something was wrong.", "\"My therapy?\"\n\n\"What do you do? Where do you work?\"\n\nCole took a deep breath and let it out again slowly. \"I fix things.\nAll kinds of things. Any kind.\"", "Thomas Cole was sitting up in bed when Sherikov came to the door. Most\nof his awkward, hunched-over body was sealed in a thin envelope of", "Cole didn't hear him. Sudden need had roused him, getting him suddenly\nto his feet. \"You know any work I can find?\" he demanded. \"Things I", "Cole relaxed. \"Fine. That's fine.\" He turned his attention back to the\nbox resting between his knees. \"Then I'll fix it for you. I'll fix it\nfor you good.\"", "\"I'm looking for work,\" Cole murmured. \"Any kind of work. I can do\nanything, fix any kind of thing. I repair broken objects. Things that\nneed mending.\" His voice trailed off uncertainly. \"Anything at all.\"", "Thomas Cole urged the team into life, moving forward. He sat hunched\nover in the seat, watching intently, as the Fixit cart rolled slowly\nacross the tangled grass, through the jungle of trees and flowers.", "There was a blinding roar and flash of white light. A hot wind rolled\nover Cole, picking him up and tossing him like a leaf. He shut his", "Crouched in a heap, Cole bent over the generator, deft fingers flying.\nHe pulled the wiring to him and laid it out on the floor, tracing the\ncircuits with feverish haste.", "Cole turned a little as the huge Pole tossed down his briefcase and\nseated himself on the window ledge.\n\n\"How are you feeling?\" Sherikov asked him.\n\n\"Better.\"", "Cole was silent.", "Cole nodded." ], [ "\"Icarus, we call him. Remember the Greek myth? The legend of Icarus.\nIcarus flew.... This Icarus is going to fly, one of these days.\"", "The object gained speed. Faster and faster. Then it vanished. Icarus\nwas on his way. The attack had begun; it was too late to stop, now.\n\nAnd on the machines the odds read a hundred to one--for failure.", "\"This is not a ship.\" Sherikov grinned slyly. \"Icarus is the first\npractical application of Hedge's principles. Icarus is a bomb.\"", "Nothing happened. Icarus disappeared into the star. There was no\nexplosion. The bomb failed to go off.", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "toward. Cole realized Icarus was actually an incomplete spaceship, not\na bomb at all. He saw what Hedge had seen, an ftl space drive. He set\nout to make Icarus work.\"", "\"Icarus will be launched outside the lab, on the surface. He will\nalign himself with Proxima Centaurus, gaining speed rapidly. By the", "\"That is--until Icarus. I saw the possibilities of a bomb, an\nincredibly powerful bomb to destroy Centaurus and all the Empire's", "forces. The reappearance of Icarus would mean the annihilation of\ntheir System. As Hedge had shown, the object would re-enter space", "In the center of the lab Icarus rose up, the gray squat cylinder that\nsomeday would flash through space at a speed of thousands of times", "\"I'm coming down to see you. About Icarus. Have the tunnel opened for\nme at once.\"\n\n\"Exactly where are you, Commissioner?\"\n\n\"On the surface.\"", "\"And built from the designs of a man dead four years--who isn't here\nto correct us. We've made Icarus with our own hands, down here in the", "\"Icarus went as expected. As _you_ expected.\" Sherikov leaned toward\nthe bed. \"Cole, I promised you something. I mean to keep my\npromise--as soon as you're well enough.\"", "At eight o'clock in the evening of May 15, 2136, Icarus was launched\ntoward the star Centaurus. A day later, while all Terra waited, Icarus", "will be within the star only a matter of a microsecond. If the turret\ndoes not function exactly, Icarus will pass out the other side and\nshoot beyond the Centauran system.\"", "The robot cannon altered its course to take them on, and Cole escaped\naround a corner.\n\nHe was in the main lab, the big chamber where Icarus himself rose, the\nvast squat column.", "Reinhart eyed the big Pole critically. \"That reminds me. How is Icarus\ncoming? Have you continued to make progress on the control turret?\"", "Sherikov beamed with expansive pride. \"He's done, Commissioner. Two\ndays ahead of time. Icarus is ready to be launched into space. I tried\nto call your office, but they told me--\"", "planets--including their central hub-planet, Armun. There is no way\nthey can halt Icarus, once he has been launched. No defense is\npossible. Nothing can stop him. It is a real fact.\"", "Cole's lips moved. \"Icarus--\"" ], [ "At the same time the Terran warfleet engaged the Centauran outer\nfleet, sweeping down in a concentrated attack. Twenty major ships were", "At last the remains of the battered Terran fleet turned and limped\ntoward Armun--defeated. Little of the once impressive armada remained.\nA few blackened hulks, making their way uncertainly toward captivity.", "Centauran system. Ship after ship flashed briefly and then faded to\nash. For a whole day the two fleets fought, strung out over millions\nof miles of space. Innumerable fighting men died--on both sides.", "Centaurus of a Terran military attack. The ratio was based on the\ntotal information known to the SRB machines, on a gestalt of the vast\nflow of data that poured in endlessly from all sectors of the Sol and", "Centauran colonies. The whole Terran population has been mobilized.\nThe eight supply planets are pouring in material. All this is going on\nday and night, even without odds showing. Long before the attack comes", "\"We have lost the war,\" Margaret Duffe stated quietly. \"But this is\nnot a day of defeat. It is a day of victory. The most incredible\nvictory Terra has ever had.\"", "For a moment nothing happened. Then odds were put up, locking in\nplace.\n\nSherikov gasped. 99-2. In favor of Terra. \"That's wonderful! Now we--\"", "Two hours later the massed Centauran warfleet from Armun abruptly\nappeared and joined battle. The great struggle illuminated half the", "In the air, Sherikov's few defense ships were taking on the police\nraiders. Outnumbered, the defense ships darted rapidly, wildly,\nputting up a futile fight.", "First contact, a hundred years earlier, had ignited instant conflict\nbetween Proxima Centauran outposts and exploring Terran raiders. Flash\nfights, sudden eruptions of fire and energy beams.", "seized. A good part of the Centauran fleet was destroyed. Many of the\ncaptive systems began to revolt, in the hope of throwing off the\nImperial bonds.", "Carleton resumed his report. \"Once the Centauran fleet has been\nscattered we can begin the crucial stage of the war. The landing of", "\"I'm telling you all these things because you must understand what\nwe're up against. Terra is hemmed in on all sides by the ancient", "\"Men?\"\n\n\"We have about five thousand men ready to go, still on Terra. Most of\nthem in the process of being transferred to military transports. I can\nhold it up at any time.\"", "will be within the star only a matter of a microsecond. If the turret\ndoes not function exactly, Icarus will pass out the other side and\nshoot beyond the Centauran system.\"", "\"Missiles?\"\n\n\"Fortunately, the launching tubes have not yet been disassembled.\nThey're still here on Terra. In another few days they'll be moving out\nfor the Colonial fracas.\"", "\"It will end,\" Reinhart stated coldly, \"as soon as Terra turns out a\nweapon for which Centaurus can build no defense.\"", "The war was on. The signal had been sent out to the warfleet that had\nwaited so long near Proxima Centaurus. A feeling of triumph raced", "And then the long, dreary years of inaction between enemies where\ncontact required years of travel, even at nearly the speed of light.\nThe two systems were evenly matched. Screen against screen. Warship", "The odds vanished. New odds took their places. 97-4. In favor of\nCentaurus. Sherikov groaned in astonished dismay. \"Wait,\" Reinhart\nsaid to him. \"I don't think they'll last.\"" ], [ "At last the remains of the battered Terran fleet turned and limped\ntoward Armun--defeated. Little of the once impressive armada remained.\nA few blackened hulks, making their way uncertainly toward captivity.", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "The war was on. The signal had been sent out to the warfleet that had\nwaited so long near Proxima Centaurus. A feeling of triumph raced", "\"We can go _beyond_ Centaurus,\" Dixon muttered. His lips twisted.\n\"Then the war was trivial. We can leave the Empire completely behind.\nWe can go beyond the galaxy.\"", "\"Maybe not. Maybe the first ship will wind up on some dead world,\nnothing but sand and dried salt. But everybody wants to go. It's\nalmost like a holiday. People running around and shouting and throwing\nthings in the streets.", "At eight o'clock in the evening of May 15, 2136, Icarus was launched\ntoward the star Centaurus. A day later, while all Terra waited, Icarus", "Reinhart entered his ship and left the surface, rising rapidly into\nthe sky. A second ship followed after him, a military escort. Reinhart", "\"The bomb came back, dropping below the ftl speed as soon as it\nentered the star Proxima. But it did not explode. There was no\ncataclysm. It reappeared and was absorbed by the sun, turned into gas\nat once.\"", "Carleton resumed his report. \"Once the Centauran fleet has been\nscattered we can begin the crucial stage of the war. The landing of", "universe. Right in the heart of the star. Then--no more Centaurus.\"\nSherikov beamed. \"And no more Armun.\"", "For a moment nothing happened. Then odds were put up, locking in\nplace.\n\nSherikov gasped. 99-2. In favor of Terra. \"That's wonderful! Now we--\"", "Centauran colonies. The whole Terran population has been mobilized.\nThe eight supply planets are pouring in material. All this is going on\nday and night, even without odds showing. Long before the attack comes", "Through the windows of his office, Reinhart could see endless\nbuildings and streets, Terrans hurrying back and forth. Bright specks", "Comprehension was gradually beginning to settle over the room. \"Then\nit'll be possible to build ftl ships,\" Margaret Duffe murmured, dazed.\n\"And if we can do that--\"", "Dixon landed his ship expertly, bringing it to a halt in front of an\noverturned defense tower. He leaped out and hurried across the smoking\nground.", "space. It disappeared. However, the object had not been _destroyed_.\nIt continued on its way, gaining momentum each moment, moving in an\narc across the galaxy, away from the Sol system. Hedge's object", "\"We have lost the war,\" Margaret Duffe stated quietly. \"But this is\nnot a day of defeat. It is a day of victory. The most incredible\nvictory Terra has ever had.\"", "I--I got a ship of the line. A battleship, operating beyond Proxima\nCentaurus--over eight light years away. As far out as the actual\nvidsenders operate. Then I called Security. Right away.\"", "\"At first. But they got over it--as soon as they understood what was\nahead. Too bad you won't be here to see it, Cole. A whole world", "\"Over here. The turret.\" Sherikov led Cole over to one side of the\nroom. \"It's guarded. Centauran spies are swarming everywhere on Terra." ], [ "\"To begin, I recall to you the original work behind the ftl bomb.\nJamison Hedge was the first human to propel an object at a speed", "Comprehension was gradually beginning to settle over the room. \"Then\nit'll be possible to build ftl ships,\" Margaret Duffe murmured, dazed.\n\"And if we can do that--\"", "\"The interstellar vidcasts do! No, Hedge developed a valid ftl drive.\nHe managed to propel an object at fifty times the speed of light. But", "\"Faster than light drive can now be used for space travel,\" Sherikov\ncontinued, waving the noise down. \"As Hedge intended. My men have", "\"The bomb came back, dropping below the ftl speed as soon as it\nentered the star Proxima. But it did not explode. There was no\ncataclysm. It reappeared and was absorbed by the sun, turned into gas\nat once.\"", "in ftl flight. We must win the war against Centaurus. We've waited and\nworked a long time for this, the moment when we can break out and get", "way to slow the ftl object down, back to a sub-ftl speed, hence back\ninto our universe. This counterprinciple was eventually worked out.\"", "\"A bomb, moving at a velocity greater than light. A bomb which will\nnot exist in our universe. The Centaurans won't be able to detect or", "man who developed our instantaneous interstellar vidcasts forty years\nago. He was trying to find a method of faster than light travel when\nhe was killed, destroyed along with most of his work. After that ftl", "\"Because Thomas Cole solved Hedge's problem. He found a way to bring\nthe ftl object back into this universe without collision. Without an\nexplosion. The variable man found what Hedge was after....\"", "toward. Cole realized Icarus was actually an incomplete spaceship, not\na bomb at all. He saw what Hedge had seen, an ftl space drive. He set\nout to make Icarus work.\"", "time he reaches his destination he will be traveling at ftl-100.\nIcarus will be brought back to this universe within Centaurus itself.\nThe explosion should destroy the star and wash away most of its", "breaking loose. Bursting out into the universe. They want me to have\nan ftl ship ready by the end of the week! Thousands of applications\nare already on file, men and women wanting to get in on the initial", "\"I hope so. Call me as soon as it's done.\" Reinhart snapped off the\nconnection. If Sherikov let them down he'd have him taken out and\nshot. The whole war depended on the ftl bomb.", "I--I got a ship of the line. A battleship, operating beyond Proxima\nCentaurus--over eight light years away. As far out as the actual\nvidsenders operate. Then I called Security. Right away.\"", "would bring automatic destruction. Hedge had found his ftl drive and\nhis counterprinciple, but no one before this has been able to put them\nto any use.\"", "more days to complete the ftl bomb. During that time the fleet we have\nnear the Centauran system will take up positions. As the bomb goes off\nthe fleet will begin operations against the remaining Centauran ships.", "days. You said so yourself. Meanwhile, we're all working night and day\non the war effort. The warfleet is waiting near Proxima, taking up", "ship many millions of miles away. It was not far enough, however.\nOriginally, he had hoped his drive might be used for space travel. But\nafter his death the principle was abandoned.", "will be within the star only a matter of a microsecond. If the turret\ndoes not function exactly, Icarus will pass out the other side and\nshoot beyond the Centauran system.\"" ], [ "Centauran Empire. It's been out there for centuries, thousands of\nyears. No one knows how long. It's old--crumbling and rotting. Corrupt", "Centauran system. Ship after ship flashed briefly and then faded to\nash. For a whole day the two fleets fought, strung out over millions\nof miles of space. Innumerable fighting men died--on both sides.", "seized. A good part of the Centauran fleet was destroyed. Many of the\ncaptive systems began to revolt, in the hope of throwing off the\nImperial bonds.", "\"That is--until Icarus. I saw the possibilities of a bomb, an\nincredibly powerful bomb to destroy Centaurus and all the Empire's", "against power station. The Centauran Empire surrounded Terra, an iron\nring that couldn't be broken, rusty and corroded as it was. Radical", "depended. Victory over Centaurus--or more waiting, bottled up in the\nSol System, surrounded by a rotting, hostile Empire, now sinking into\nruin and decay, yet still strong.", "\"We can go _beyond_ Centaurus,\" Dixon muttered. His lips twisted.\n\"Then the war was trivial. We can leave the Empire completely behind.\nWe can go beyond the galaxy.\"", "on Proxima Centaurus had to come--and the sooner the better. The\nancient Centauran Empire hemmed in Terra, bottled the human race up in", "Centauran colonies. The whole Terran population has been mobilized.\nThe eight supply planets are pouring in material. All this is going on\nday and night, even without odds showing. Long before the attack comes", "Centaurus of a Terran military attack. The ratio was based on the\ntotal information known to the SRB machines, on a gestalt of the vast\nflow of data that poured in endlessly from all sectors of the Sol and", "universe. Right in the heart of the star. Then--no more Centaurus.\"\nSherikov beamed. \"And no more Armun.\"", "21-17 on the Centauran side. But a month ago it had been 24-18 in the\nenemy's favor. Things were improving, slowly but steadily. Centaurus,", "production. With Armun out of the way we should be able to promote\nmass insurrection among the Centauran colonies. An inter-system Empire\nis hard to maintain, even with ships that approach light speed. Local", "Carleton resumed his report. \"Once the Centauran fleet has been\nscattered we can begin the crucial stage of the war. The landing of", "\"Hang on,\" Dixon said. \"This is going to hit you hard. According to\nour agents on Armun, the Centauran High Council has called an", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "The odds vanished. New odds took their places. 97-4. In favor of\nCentaurus. Sherikov groaned in astonished dismay. \"Wait,\" Reinhart\nsaid to him. \"I don't think they'll last.\"", "At the same time the Terran warfleet engaged the Centauran outer\nfleet, sweeping down in a concentrated attack. Twenty major ships were", "same. So far so good. Did the Centaurans know about Icarus? No doubt;\nbut there wasn't anything they could do about it. At least, not in\neight days.", "Two hours later the massed Centauran warfleet from Armun abruptly\nappeared and joined battle. The great struggle illuminated half the" ], [ "First contact, a hundred years earlier, had ignited instant conflict\nbetween Proxima Centauran outposts and exploring Terran raiders. Flash\nfights, sudden eruptions of fire and energy beams.", "The war was on. The signal had been sent out to the warfleet that had\nwaited so long near Proxima Centaurus. A feeling of triumph raced", "on Proxima Centaurus had to come--and the sooner the better. The\nancient Centauran Empire hemmed in Terra, bottled the human race up in", "Centauran system. Ship after ship flashed briefly and then faded to\nash. For a whole day the two fleets fought, strung out over millions\nof miles of space. Innumerable fighting men died--on both sides.", "At the same time the Terran warfleet engaged the Centauran outer\nfleet, sweeping down in a concentrated attack. Twenty major ships were", "Centaurus of a Terran military attack. The ratio was based on the\ntotal information known to the SRB machines, on a gestalt of the vast\nflow of data that poured in endlessly from all sectors of the Sol and", "I--I got a ship of the line. A battleship, operating beyond Proxima\nCentaurus--over eight light years away. As far out as the actual\nvidsenders operate. Then I called Security. Right away.\"", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "only urging moderation. An inter-system war is a big thing. We're\ngoing to war because a machine says we have a statistical chance of\nwinning.\"", "And then the long, dreary years of inaction between enemies where\ncontact required years of travel, even at nearly the speed of light.\nThe two systems were evenly matched. Screen against screen. Warship", "Centauran colonies. The whole Terran population has been mobilized.\nThe eight supply planets are pouring in material. All this is going on\nday and night, even without odds showing. Long before the attack comes", "\"The bomb came back, dropping below the ftl speed as soon as it\nentered the star Proxima. But it did not explode. There was no\ncataclysm. It reappeared and was absorbed by the sun, turned into gas\nat once.\"", "seized. A good part of the Centauran fleet was destroyed. Many of the\ncaptive systems began to revolt, in the hope of throwing off the\nImperial bonds.", "\"It will end,\" Reinhart stated coldly, \"as soon as Terra turns out a\nweapon for which Centaurus can build no defense.\"", "days. You said so yourself. Meanwhile, we're all working night and day\non the war effort. The warfleet is waiting near Proxima, taking up", "\"We can go _beyond_ Centaurus,\" Dixon muttered. His lips twisted.\n\"Then the war was trivial. We can leave the Empire completely behind.\nWe can go beyond the galaxy.\"", "Dixon smiled grimly. \"You'll understand when you decode it. It's from\nProxima Centaurus.\"\n\n\"Centaurus!\"", "\"I'm telling you all these things because you must understand what\nwe're up against. Terra is hemmed in on all sides by the ancient", "\"We have lost the war,\" Margaret Duffe stated quietly. \"But this is\nnot a day of defeat. It is a day of victory. The most incredible\nvictory Terra has ever had.\"", "production. With Armun out of the way we should be able to promote\nmass insurrection among the Centauran colonies. An inter-system Empire\nis hard to maintain, even with ships that approach light speed. Local" ], [ "emergency session to deal with the problem of Terra's impending\nattack. Centauran relay couriers have reported to the High Council\nthat the Terran bomb Icarus is virtually complete. Work on the bomb", "\"The bomb came back, dropping below the ftl speed as soon as it\nentered the star Proxima. But it did not explode. There was no\ncataclysm. It reappeared and was absorbed by the sun, turned into gas\nat once.\"", "\"That is--until Icarus. I saw the possibilities of a bomb, an\nincredibly powerful bomb to destroy Centaurus and all the Empire's", "\"A bomb, moving at a velocity greater than light. A bomb which will\nnot exist in our universe. The Centaurans won't be able to detect or", "\"So this is our weapon,\" Reinhart said. \"A bomb. An immense bomb.\"", "\"To begin, I recall to you the original work behind the ftl bomb.\nJamison Hedge was the first human to propel an object at a speed", "First contact, a hundred years earlier, had ignited instant conflict\nbetween Proxima Centauran outposts and exploring Terran raiders. Flash\nfights, sudden eruptions of fire and energy beams.", "Centaurus of a Terran military attack. The ratio was based on the\ntotal information known to the SRB machines, on a gestalt of the vast\nflow of data that poured in endlessly from all sectors of the Sol and", "\"So I understand from Sherikov himself. Are you surprised the\nCentaurans know about the bomb? They have spies swarming over Terra.\nThat's no news.\"", "its one system. A vast, suffocating net draped across the heavens,\ncutting Terra off from the bright diamonds beyond.... And it had to\nend.", "At the same time the Terran warfleet engaged the Centauran outer\nfleet, sweeping down in a concentrated attack. Twenty major ships were", "more days to complete the ftl bomb. During that time the fleet we have\nnear the Centauran system will take up positions. As the bomb goes off\nthe fleet will begin operations against the remaining Centauran ships.", "Centauran system. Ship after ship flashed briefly and then faded to\nash. For a whole day the two fleets fought, strung out over millions\nof miles of space. Innumerable fighting men died--on both sides.", "Centauran colonies. The whole Terran population has been mobilized.\nThe eight supply planets are pouring in material. All this is going on\nday and night, even without odds showing. Long before the attack comes", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "\"Missiles?\"\n\n\"Fortunately, the launching tubes have not yet been disassembled.\nThey're still here on Terra. In another few days they'll be moving out\nfor the Colonial fracas.\"", "\"It will end,\" Reinhart stated coldly, \"as soon as Terra turns out a\nweapon for which Centaurus can build no defense.\"", "The war was on. The signal had been sent out to the warfleet that had\nwaited so long near Proxima Centaurus. A feeling of triumph raced", "toward. Cole realized Icarus was actually an incomplete spaceship, not\na bomb at all. He saw what Hedge had seen, an ftl space drive. He set\nout to make Icarus work.\"", "I--I got a ship of the line. A battleship, operating beyond Proxima\nCentaurus--over eight light years away. As far out as the actual\nvidsenders operate. Then I called Security. Right away.\"" ], [ "planets--including their central hub-planet, Armun. There is no way\nthey can halt Icarus, once he has been launched. No defense is\npossible. Nothing can stop him. It is a real fact.\"", "will be within the star only a matter of a microsecond. If the turret\ndoes not function exactly, Icarus will pass out the other side and\nshoot beyond the Centauran system.\"", "\"Icarus will be launched outside the lab, on the surface. He will\nalign himself with Proxima Centaurus, gaining speed rapidly. By the", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "history. Success in the war against Centaurus will depend on Icarus,\nnot on the SRB machines. You see?\"", "\"That is--until Icarus. I saw the possibilities of a bomb, an\nincredibly powerful bomb to destroy Centaurus and all the Empire's", "we can notify the fleet to prepare for the attack on Centaurus.\" He\nturned briefly back to Sherikov. \"When can Icarus be launched?\"", "same. So far so good. Did the Centaurans know about Icarus? No doubt;\nbut there wasn't anything they could do about it. At least, not in\neight days.", "\"The bomb came back, dropping below the ftl speed as soon as it\nentered the star Proxima. But it did not explode. There was no\ncataclysm. It reappeared and was absorbed by the sun, turned into gas\nat once.\"", "The object gained speed. Faster and faster. Then it vanished. Icarus\nwas on his way. The attack had begun; it was too late to stop, now.\n\nAnd on the machines the odds read a hundred to one--for failure.", "forces. The reappearance of Icarus would mean the annihilation of\ntheir System. As Hedge had shown, the object would re-enter space", "I--I got a ship of the line. A battleship, operating beyond Proxima\nCentaurus--over eight light years away. As far out as the actual\nvidsenders operate. Then I called Security. Right away.\"", "At eight o'clock in the evening of May 15, 2136, Icarus was launched\ntoward the star Centaurus. A day later, while all Terra waited, Icarus", "room among the stars for ourselves. Icarus is the deciding weapon. The\ndata on Icarus tipped the SRB odds in our favor--for the first time in", "The robot cannon altered its course to take them on, and Cole escaped\naround a corner.\n\nHe was in the main lab, the big chamber where Icarus himself rose, the\nvast squat column.", "Sherikov beamed with expansive pride. \"He's done, Commissioner. Two\ndays ahead of time. Icarus is ready to be launched into space. I tried\nto call your office, but they told me--\"", "First contact, a hundred years earlier, had ignited instant conflict\nbetween Proxima Centauran outposts and exploring Terran raiders. Flash\nfights, sudden eruptions of fire and energy beams.", "\"This is not a ship.\" Sherikov grinned slyly. \"Icarus is the first\npractical application of Hedge's principles. Icarus is a bomb.\"", "emergency session to deal with the problem of Terra's impending\nattack. Centauran relay couriers have reported to the High Council\nthat the Terran bomb Icarus is virtually complete. Work on the bomb", "Nothing happened. Icarus disappeared into the star. There was no\nexplosion. The bomb failed to go off." ], [ "\"The variable man. That's his name.\" The Pole turned his massive head\na little. \"He has a name.\"", "\"It's--it's a variable.\" Kaplan was shaking, white-lipped and pale.\n\"Something from which no inference can be made. The man from the past.\nThe machines can't deal with him. The variable man!\"", "\"The variable man?\"\n\n\"That comes next,\" Reinhart said grimly. He adjusted his gun tube. \"I\nwant you down here, for that part. I want you to be in on the kill.\"", "Reinhart grinned. \"Perplexed? I suppose so. In any case, they can't do\nanything with the data about this man. The variable man. No statistics", "THE VARIABLE MAN\n\nBY PHILIP K. DICK", "\"The variable man is still alive,\" Dixon murmured. \"I don't know how.\nOr why. There's nothing left of the Albertines. And how the hell did\nthe man get half way around the world?\"", "Variable Man from the past. Reinhart arranged that, to finish you off.\nI want you to understand that. It's very important that you realize\nthat.\"", "Peter Sherikov studied the variable man for a moment before he\nanswered. \"Where? I'm taking you to my labs. Under the Urals.\" He", "\"I suppose you're right.\" The two men walked out into the hall. \"I'm\non edge. This variable man. I can't get him out of my mind.\"\n\n\"Has he done anything yet?\"", "GUTENBERG EBOOK THE VARIABLE MAN ***\n\n\n\n\nProduced by Greg Weeks, Barbara Tozier and the Online\nDistributed Proofreading Team at http://www.pgdp.net", "End of the Project Gutenberg EBook of The Variable Man, by Philip K. Dick", "\"Fits the description.\" Dixon tore away a handful of burned clothing.\n\"This is the variable man. What's left of him, at least.\"", "You're vital to the war: I'm sorry you found out about the variable\nman. I admit we overlooked the Centauran espionage as a factor in\nthis. But now that you know about him--\"", "\"Of course. On the spot. The boy damaged it playing. The variable man\ncame along and the boy asked him to fix it. He fixed it, all right.\"", "\"The other problem is that this man, this variable man, has escaped\ninto the Albertine Mountain range. Now we'll have one hell of a time", "forthcoming. I gave him the exact hour. He had to get help--from the\nvariable man. He couldn't meet his promise otherwise.\"", "this man is beyond all prediction. He's a variable. It's contrary to\nscience.\"", "Gray-faced, Dixon mumbled an answer. \"The variable man must have\nsabotaged the turret. The SRB machines knew.... They analyzed the\ndata. _They knew!_ But it was too late.\"", "The globe was finished. A faint glow of pride moved through the\nvariable man. The globe was the finest job he had ever done.", "Reinhart signalled to his police. \"Get ready. We're going into the\nlab. We may have to shoot our way in. The variable man should be in\nthe area of the bomb, working on the control turret.\"" ], [ "Thomas Cole crouched over the fire he had built, warming his hands. It\nwas almost morning. The sky was turning violet gray. The mountain air\nwas crisp and chill. Cole shivered and pulled himself closer to the\nfire.", "Thomas Cole was sitting up in bed when Sherikov came to the door. Most\nof his awkward, hunched-over body was sealed in a thin envelope of", "\"Thomas Cole is a strange person,\" Sherikov said, half to himself.\n\"Apparently he has a kind of intuition about machines, the way things", "Thomas Cole sat huddled in a heap on the floor, his head sunk down\nagainst his chest. He did not stir. His bent body seemed more", "Thomas Cole came slowly toward the three children grouped around the\nguide-light. He moved with difficulty, his body sore and bent with\nfatigue. Night had come, but he was not safe yet.", "But Thomas Cole wasn't listening. He was bent over the schematics, an\nintense frown on his weathered face. His long fingers moved restlessly\nover the schematics, tracing wiring and terminals. His lips moved as\nhe calculated.", "The children watched silently until the figure of Thomas Cole had\ncompletely disappeared. Slowly, they turned and looked at each other.", "II\n\n\nThomas Cole was sharpening a knife with his whetstone when the tornado\nhit.", "In the dim light the big stooped figure of Thomas Cole seemed extra\nmenacing. His long arms hung down loosely at his sides. His face was", "Thomas Cole urged the team into life, moving forward. He sat hunched\nover in the seat, watching intently, as the Fixit cart rolled slowly\nacross the tangled grass, through the jungle of trees and flowers.", "\"Cole?\" Reinhart advanced quickly into the room. He glanced around\nhim, suddenly alarmed. \"Where--\"\n\nThe room was empty. Thomas Cole was gone.", "In the darkness, away from the beam of the guide-light, Thomas Cole\nsat crouched over the food. He ate gratefully, silently. It was good", "Thomas Cole got slowly to his feet as Steven came into view. \"Here,\"\nSteven said. He dumped the food onto the curb, gasping for breath.\n\"Here's the food. Is it finished?\"", "\"No tricks.\" Sherikov nodded resignedly. \"Thomas Cole is by himself.\nIn a wing lab off the main rooms.\"\n\n\"Cole?\"", "Cole was deep in thought, meditating over his situation. He had been\nin the mountains two nights and a day. The first night had been the", "\"I doubt very much if Thomas Cole understood what would come about. He\nlooked into the globe, the control turret. He saw unfinished wiring\nand relays. He saw a job half done. An incomplete machine.\"", "Cole reached the top of the hill. For a brief moment he halted to get\nhis breath and figure where he was. It was almost evening. The sun was", "Cole ran. He rolled down a slope, sliding and falling. At the bottom\nhe leaped to his feet and plunged into the brush. Vines and leaves", "Cole came toward them. He bent down a little. The beam from the\nguide-light crossed his features. Lean, prominent nose, beak-like,\nfaded blue eyes--", "Cole listened for a time. Presently he lifted the transparent globe\nfrom the bench. With carefully controlled hands he held the globe up,\nrunning his fingers gently over the surface, his faded blue eyes" ], [ "\"Thomas Cole is a strange person,\" Sherikov said, half to himself.\n\"Apparently he has a kind of intuition about machines, the way things", "Thomas Cole was sitting up in bed when Sherikov came to the door. Most\nof his awkward, hunched-over body was sealed in a thin envelope of", "But Thomas Cole wasn't listening. He was bent over the schematics, an\nintense frown on his weathered face. His long fingers moved restlessly\nover the schematics, tracing wiring and terminals. His lips moved as\nhe calculated.", "Thomas Cole urged the team into life, moving forward. He sat hunched\nover in the seat, watching intently, as the Fixit cart rolled slowly\nacross the tangled grass, through the jungle of trees and flowers.", "The children watched silently until the figure of Thomas Cole had\ncompletely disappeared. Slowly, they turned and looked at each other.", "Thomas Cole came slowly toward the three children grouped around the\nguide-light. He moved with difficulty, his body sore and bent with\nfatigue. Night had come, but he was not safe yet.", "\"Because Thomas Cole solved Hedge's problem. He found a way to bring\nthe ftl object back into this universe without collision. Without an\nexplosion. The variable man found what Hedge was after....\"", "Thomas Cole crouched over the fire he had built, warming his hands. It\nwas almost morning. The sky was turning violet gray. The mountain air\nwas crisp and chill. Cole shivered and pulled himself closer to the\nfire.", "Cole rolled the tube up slowly, numbed with shock. Two hundred years.\nIt didn't seem possible. But things were beginning to make sense. He\nwas in the future, two hundred years in the future.", "Thomas Cole sat huddled in a heap on the floor, his head sunk down\nagainst his chest. He did not stir. His bent body seemed more", "\"I doubt very much if Thomas Cole understood what would come about. He\nlooked into the globe, the control turret. He saw unfinished wiring\nand relays. He saw a job half done. An incomplete machine.\"", "In the dim light the big stooped figure of Thomas Cole seemed extra\nmenacing. His long arms hung down loosely at his sides. His face was", "\"Cole?\" Reinhart advanced quickly into the room. He glanced around\nhim, suddenly alarmed. \"Where--\"\n\nThe room was empty. Thomas Cole was gone.", "In the darkness, away from the beam of the guide-light, Thomas Cole\nsat crouched over the food. He ate gratefully, silently. It was good", "\"No tricks.\" Sherikov nodded resignedly. \"Thomas Cole is by himself.\nIn a wing lab off the main rooms.\"\n\n\"Cole?\"", "II\n\n\nThomas Cole was sharpening a knife with his whetstone when the tornado\nhit.", "Cole listened for a time. Presently he lifted the transparent globe\nfrom the bench. With carefully controlled hands he held the globe up,\nrunning his fingers gently over the surface, his faded blue eyes", "Thomas Cole got slowly to his feet as Steven came into view. \"Here,\"\nSteven said. He dumped the food onto the curb, gasping for breath.\n\"Here's the food. Is it finished?\"", "Cole hurried away from the fire. He snatched up the rabbit and carried\nit along with him, into the tangled shelter he had built. He was\ninvisible, inside the shelter. No one could find him. But if they had\nseen the fire--", "Cole opened his eyes slowly. The cart was gone. A great hole gaped\nwhere it had been, a shattered sore in the center of the highway. An" ], [ "Thomas Cole crouched over the fire he had built, warming his hands. It\nwas almost morning. The sky was turning violet gray. The mountain air\nwas crisp and chill. Cole shivered and pulled himself closer to the\nfire.", "\"Thomas Cole is a strange person,\" Sherikov said, half to himself.\n\"Apparently he has a kind of intuition about machines, the way things", "Thomas Cole was sitting up in bed when Sherikov came to the door. Most\nof his awkward, hunched-over body was sealed in a thin envelope of", "But Thomas Cole wasn't listening. He was bent over the schematics, an\nintense frown on his weathered face. His long fingers moved restlessly\nover the schematics, tracing wiring and terminals. His lips moved as\nhe calculated.", "Thomas Cole sat huddled in a heap on the floor, his head sunk down\nagainst his chest. He did not stir. His bent body seemed more", "In the dim light the big stooped figure of Thomas Cole seemed extra\nmenacing. His long arms hung down loosely at his sides. His face was", "Thomas Cole urged the team into life, moving forward. He sat hunched\nover in the seat, watching intently, as the Fixit cart rolled slowly\nacross the tangled grass, through the jungle of trees and flowers.", "II\n\n\nThomas Cole was sharpening a knife with his whetstone when the tornado\nhit.", "The children watched silently until the figure of Thomas Cole had\ncompletely disappeared. Slowly, they turned and looked at each other.", "Thomas Cole came slowly toward the three children grouped around the\nguide-light. He moved with difficulty, his body sore and bent with\nfatigue. Night had come, but he was not safe yet.", "\"Cole?\" Reinhart advanced quickly into the room. He glanced around\nhim, suddenly alarmed. \"Where--\"\n\nThe room was empty. Thomas Cole was gone.", "In the darkness, away from the beam of the guide-light, Thomas Cole\nsat crouched over the food. He ate gratefully, silently. It was good", "\"I doubt very much if Thomas Cole understood what would come about. He\nlooked into the globe, the control turret. He saw unfinished wiring\nand relays. He saw a job half done. An incomplete machine.\"", "Thomas Cole got slowly to his feet as Steven came into view. \"Here,\"\nSteven said. He dumped the food onto the curb, gasping for breath.\n\"Here's the food. Is it finished?\"", "\"No tricks.\" Sherikov nodded resignedly. \"Thomas Cole is by himself.\nIn a wing lab off the main rooms.\"\n\n\"Cole?\"", "Cole was deep in thought, meditating over his situation. He had been\nin the mountains two nights and a day. The first night had been the", "Cole ran. He rolled down a slope, sliding and falling. At the bottom\nhe leaped to his feet and plunged into the brush. Vines and leaves", "Cole listened for a time. Presently he lifted the transparent globe\nfrom the bench. With carefully controlled hands he held the globe up,\nrunning his fingers gently over the surface, his faded blue eyes", "Cole came toward them. He bent down a little. The beam from the\nguide-light crossed his features. Lean, prominent nose, beak-like,\nfaded blue eyes--", "But he was not thinking that far ahead. Cole stood by the fire,\nstaring up at the sky, his hands on his hips. He squinted, suddenly" ], [ "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "At the same time the Terran warfleet engaged the Centauran outer\nfleet, sweeping down in a concentrated attack. Twenty major ships were", "\"It will end,\" Reinhart stated coldly, \"as soon as Terra turns out a\nweapon for which Centaurus can build no defense.\"", "\"We have lost the war,\" Margaret Duffe stated quietly. \"But this is\nnot a day of defeat. It is a day of victory. The most incredible\nvictory Terra has ever had.\"", "Centauran system. Ship after ship flashed briefly and then faded to\nash. For a whole day the two fleets fought, strung out over millions\nof miles of space. Innumerable fighting men died--on both sides.", "seized. A good part of the Centauran fleet was destroyed. Many of the\ncaptive systems began to revolt, in the hope of throwing off the\nImperial bonds.", "Carleton resumed his report. \"Once the Centauran fleet has been\nscattered we can begin the crucial stage of the war. The landing of", "First contact, a hundred years earlier, had ignited instant conflict\nbetween Proxima Centauran outposts and exploring Terran raiders. Flash\nfights, sudden eruptions of fire and energy beams.", "The war was on. The signal had been sent out to the warfleet that had\nwaited so long near Proxima Centaurus. A feeling of triumph raced", "Centauran colonies. The whole Terran population has been mobilized.\nThe eight supply planets are pouring in material. All this is going on\nday and night, even without odds showing. Long before the attack comes", "positions for the attack on the Centaurans. All our war plants are\ngoing full blast. By the time the attack date comes we'll have a\nfull-sized invasion army ready to take off for the long trip to the", "Centaurus of a Terran military attack. The ratio was based on the\ntotal information known to the SRB machines, on a gestalt of the vast\nflow of data that poured in endlessly from all sectors of the Sol and", "Two hours later the massed Centauran warfleet from Armun abruptly\nappeared and joined battle. The great struggle illuminated half the", "against power station. The Centauran Empire surrounded Terra, an iron\nring that couldn't be broken, rusty and corroded as it was. Radical", "You're vital to the war: I'm sorry you found out about the variable\nman. I admit we overlooked the Centauran espionage as a factor in\nthis. But now that you know about him--\"", "on Proxima Centaurus had to come--and the sooner the better. The\nancient Centauran Empire hemmed in Terra, bottled the human race up in", "universe. Right in the heart of the star. Then--no more Centaurus.\"\nSherikov beamed. \"And no more Armun.\"", "\"We can go _beyond_ Centaurus,\" Dixon muttered. His lips twisted.\n\"Then the war was trivial. We can leave the Empire completely behind.\nWe can go beyond the galaxy.\"", "\"That is--until Icarus. I saw the possibilities of a bomb, an\nincredibly powerful bomb to destroy Centaurus and all the Empire's", "\"Over here. The turret.\" Sherikov led Cole over to one side of the\nroom. \"It's guarded. Centauran spies are swarming everywhere on Terra." ], [ "\"We have lost the war,\" Margaret Duffe stated quietly. \"But this is\nnot a day of defeat. It is a day of victory. The most incredible\nvictory Terra has ever had.\"", "through Reinhart. He had won. He had destroyed the man from the past\nand broken Peter Sherikov. The war had begun as planned. Terra was\nbreaking out. Reinhart smiled thinly. He had been completely", "Icarus had not functioned. Centaurus had not exploded. The attack was\na failure.\n\nThe war was over.", "Reinhart took Commander Carleton's place. \"I can report on the\neconomic situation. Every factory on Terra is converted to arms", "As usual? Not exactly. The feeling was in the air, an expanding\nexcitement growing every day. Terra had waited a long time. The attack", "older and less virile than Terra, was unable to match Terra's rate of\ntechnocratic advance. Terra was pulling ahead.", "But there was no doubt. 7-6. In Terra's favor. Reinhart hurried\nfrantically to get his papers in order, in time for the Council\nsession.", "For a moment nothing happened. Then odds were put up, locking in\nplace.\n\nSherikov gasped. 99-2. In favor of Terra. \"That's wonderful! Now we--\"", "new weapons had to be conceived, if Terra was to break out.", "\"It will end,\" Reinhart stated coldly, \"as soon as Terra turns out a\nweapon for which Centaurus can build no defense.\"", "\"We've lost the war,\" Margaret Duffe said in a small voice, wondering\nand awed. \"It's over. Finished.\"", "Carleton resumed his report. \"Once the Centauran fleet has been\nscattered we can begin the crucial stage of the war. The landing of", "The war was on. The signal had been sent out to the warfleet that had\nwaited so long near Proxima Centaurus. A feeling of triumph raced", "At last the remains of the battered Terran fleet turned and limped\ntoward Armun--defeated. Little of the once impressive armada remained.\nA few blackened hulks, making their way uncertainly toward captivity.", "against power station. The Centauran Empire surrounded Terra, an iron\nring that couldn't be broken, rusty and corroded as it was. Radical", "The remains of New York lay spread out, a twisted, blunted ruin\novergrown with weeds and grass. The great atomic wars of the twentieth\ncentury had turned virtually the whole seaboard area into an endless\nwaste of slag.", "\"I'm telling you all these things because you must understand what\nwe're up against. Terra is hemmed in on all sides by the ancient", "you probably realize. You've made it possible for us to actualize our\ngreatest dream. The whole planet is seething with excitement. We're\nchanging our economy over from war to--\"", "her office. \"This is a great day, Commissioner. An old era lies behind\nus. This time tomorrow Centaurus will be gone. And eventually the\ncolonies will be ours.\"", "\"You see we've quite advanced therapy. Your burns should be healed in\na few months.\"\n\n\"How is the war coming?\"\n\n\"The war is over.\"" ] ]

[ "What prevents either side from actually fighting during the war?", "What is the name of the unbeatable bomb that Terra develops?", "What makes the Icarus bomb unbeatable?", "What is the name of the man who is from 1913?", "Why is Thomas Cole called the Variable Man?", "What does Cole do to the Icarus bomb when he is asked to make it work?", "How does Cole prevent the need for future war?", "How was Cole brought into the present of the story?", "What is the name of the sun that the Centaurian Empire is built around?", "Who is \"The Variable Man\"?", "Who keeps humans from growing in the Terran system?", "Where is Thomas Cole from?", "What brings Cole to the future?", "What is Cole's talent?", "The Icarus is turned into what?", "Why do the Terran's lose a great number of forces?", "Where do the Terrans go at the end of the story?", "What does FTL stand for?", "What was Centaurin Empire?", "Why was Terran system at war with Proxima Centauri?", "What bomb did Terran system developed?", "Why was Proxima can not defend against Icarus?", "Who was the variable man?", "Where was Thomas Cole from?", "How did Thomas Cole travelled to the future?", "What was Thomas Cole specialty?", "What happen to Terra when they went to war with Centaurian?", "What was Terra able to do after the war?" ]

[ [ "Each side is more concerned with advancing their technology to be more powerful than the other.", "technological developments" ], [ "Icarus.", "The Icarus Bomb" ], [ "It travels at faster than light speeds.", "The Icarus bomb travels faster than the speed of light." ], [ "Thomas Cole.", "Thomas Cole" ], [ "Because he is from another time, and messes up the predictions of the war win probability computer.", "He was the unknown variable that confused the war win computer." ], [ "He rewires it to be a hyperdrive instead of a bomb.", "transformed larcus into a working hyperdrive" ], [ "By giving the Terrans the ability to travel past the Centaurians. ", "By transforming Icarus " ], [ "He was brought to the present as an accident with a Time Bubble that was used to study the past.", "a Time Bubble used to research the past" ], [ "Centaurus.", "Centarus" ], [ "Thomas Cole", "Thomas Cole" ], [ "The Centaurians", "Centaurian Empire" ], [ "1913, or the past", "1913" ], [ "A Time Bubble", "An accident via a time bubble used for research." ], [ "He's a natural genius and can invent and solve problems", "To fix things and make things work" ], [ "A working hyperdrive", "a working hyperdrive" ], [ "They already started to fight against the Centaurians before the hyperdrive was completed", "The Icarus bomb doesn't work correctly" ], [ "Beyond the Centaurian Empire's perimeter", "beyond the Centaurian Empire" ], [ "Faster Than Light", "Faster Than Light" ], [ "An old and corrupt Empire.", "It encircles the Terran system trapping the humans." ], [ " Terran system wanted to break from Centaurin.", "The Centaurian Empire will not let humans from Terra grow out of their current empire." ], [ "Icarus", "Icarus" ], [ "Proxima can not defend against Icarus because it faster than light.", "it travels faster than light speeds" ], [ "Thomas Cole", "Cole" ], [ "Thomas Cole was from the past.", "1913" ], [ "Thomas Cole travelled to the future through Time Bubble", "a Time Bubble used to research the past" ], [ "Thomas Cole can fix things and make things work", "fixing things and making them work" ], [ "Terra was defeated", "They were defeated and lost many ships " ], [ "Terra was able to travel beyond Centaurian", "travel beyond the Centurian" ] ]

[ [ "MORTIMER\n Elaine !\n\nElaine is crossing the churchyard to go to her father's house. She\nstops and turns around to look at Mortimer.", "MORTIMER\n Elaine !\nElaine, frightened, jumps up from the seat. Mortimer rushes to\nher.\n\n MORTIMER\n Will you get out of here ?", "MORTIMER\n Elaine ? What's the matter with her ?\n\nHe stands up and runs across the room to the window-seat.\n\n MORTIMER\n Oh, dear !", "ELAINE\n Mortimer ! Mortimer ! Mortimer ! It's true ! It's true ! I\n saw them. Mortimer, it's true.\n\nRooney and Saunders come out of the kitchen.", "MORTIMER\n No, no. I... Ohhh !\n\nMortimer hesitates a little and then gives a passionate kiss to\nElaine.", "ELAINE\n (voice over)\n Hey, you !\n\nWhen he hears Elaine's voice, Mortimer slams the lid down and sit\non the seat.", "Mortimer and Elaine are still kissing. Mortimer lets go of Elaine.\nHe puts her hat on her head.\n\n MORTIMER\n Go on, darling, the train leaves in an hour, and hurry.", "Mortimer comes out of the house, still carrying Elaine with his\nmouth pressed on her. O'Hara and the cab driver, who were chatting", "Mortimer turns his head and sees Elaine sitting on the window-\nseat. He drops the phone on the desk, and yells :", "Mortimer is still looking through the open window.\n\n MORTIMER\n Elaine !\n\nHe enters back into the room, and sits on the window-seat.", "ELAINE\n But, Mortimer...\n\n MORTIMER\n Goodbye !", "ELAINE\n Well, I just thought I saw Mortimer drive up. I suppose it\n was you.\n\nJonathan slams the door and locks it.", "MORTIMER\n Elaine ! Elaine ! Where are you ? Can you hear me ? I'm not\n really a Brewster ! I'm the son of a sea cook !", "MORTIMER\n Oh... Oh, Elaine, I didn't mean...", "MORTIMER\n Elaine, Elaine, darling, I love you so much, I can't go\n through with our marriage.\n\nShe goes slightly back into her room.", "ELAINE\n Mortimer, what is wrong ? Look at your hair.\nHe bends down for her to see his hair better.", "ELAINE\n What ?\n\n MORTIMER\n Yes, yes. Go home like a good girl. I got things to do.\n\nHe sits at the desk and starts dialing on the telephone.", "MORTIMER\n Hold on to your bustles. We're married. Elaine and I are\n married.\n\nThe two sisters hug and kiss Mortimer.", "Elaine is trying to avoid Mortimer by going around a tree.\n\n ELAINE\n He was against it.\n\n MORTIMER\n Ah ! But that was only Sunday.", "ELAINE\n Mortimer, what in the world is going on around here ? I\n don't even know where I stand !\n\n MORTIMER\n Anywhere, but don't stand there !" ], [ "MORTIMER\n (he yells)\n But there's a body in the window-seat !\n\n ABBY\n Yes, dear. We know.", "Mortimer, who had just heard the creaking of the lid of the\nwindow-seat, turns back toward the policeman.\n\n MORTIMER\n Well, you have ?", "The two men bend down to take the corpse out of the window-seat.\n\n MARTHA\n Oh ! He must mean Mister Hoskins.", "Mortimer is still looking through the open window.\n\n MORTIMER\n Elaine !\n\nHe enters back into the room, and sits on the window-seat.", "Mortimer suddenly realizes the corpse could be a «friend» of\nJonathan. He quickly closes the lid.", "MORTIMER\n Certainly not on the window-seat. I'm going to sleep on the\n window-seat.", "MORTIMER\n Nothing to...\n\nHe stops going upstairs\n\n MORTIMER\n Window-seat ?\n\nHe comes back downstairs.", "MORTIMER\n Elaine ? What's the matter with her ?\n\nHe stands up and runs across the room to the window-seat.\n\n MORTIMER\n Oh, dear !", "MORTIMER\n There !\n\nAbby walks to the window-seat and looks inside, surprised.\n\n ABBY\n Who can that be ?", "MORTIMER\n He is not Mister Hoskins !\n\nHe opens the window-seat wide and let the lid rest on the bottom\nof the window.", "MORTIMER\n You admitted to me you put Mister Hoskins in the window-\n seat.\n\n ABBY\n Yes, I did.", "MORTIMER\n How it would be marvelous if he wasn't there.\n\nHe slowly opens the lid of the seat. When the lid is a few inches\nopen, he peeks inside.", "lid. The lid creaks. Mortimer seems very surprised by what he sees\ninside the seat. He opens the lid completely and let it rest on\nthe bottom of the window.", "MORTIMER\n Look, Aunt Martha, men just don't get into window-seats and\n die.\n\n ABBY\n No, dear. He died first.", "While talking, he keeps on searching and opens the lid of the\nwindow-seat. He gives its insides a quick look and closes it back,\nand then moves away.\n\n MORTIMER\n The next thing...", "Mortimer hardly listens to her, but catches the last word.\n\n MORTIMER\n Window seat... Witherspoon. Darling, you'd better run along\n home.", "Mortimer starts dancing around the room. Then he hears a door\nclosing on the balcony, and he sits on the window-seat. We see\nJonathan on the balcony. He starts going downstairs. Mortimer goes\ntoward him.", "BREWSTER RESIDENCE - SITTING ROOM - INTERIOR NIGHT\n\nMortimer is standing by the window-seat. All the drapes are\nclosed. He bends down.", "MORTIMER\n Jonathan, let Aunt Martha see what's in the window-seat.\n\nJonathan's face shows that he is no more so sure of himself.", "Mortimer turns his head and sees Elaine sitting on the window-\nseat. He drops the phone on the desk, and yells :" ], [ "Mortimer turns around and looks, surprised, at his brother. Then\nhe comes into the room\n\n MORTIMER\n What are you two doing still here ? I thought I told you to\n beat it.", "MORTIMER\n Holy... What's that ? What's that thing there that looks\n like a cigar-store dummy ?\n\n ABBY\n It's your brother Jonathan, and this is Doctor Einstein.", "MORTIMER\n You ought to have my job a few nights. Listen to me,\n brother. When you get out of prison, you have yourself", "MORTIMER\n (voice over)\n No... Look, you see, brother Heidelberg, in a play or even", "MORTIMER\n No. No, no, Aunt Abby, don't...", "MORTIMER\n Yes, don't you see ? Take the name Brewster. Take away the\n «B» and what have you got ?\n TEDDY\n Rooster.", "Mortimer, who had also reached his door, stops and turns around.\n\n MORTIMER\n What ? Now ?\n\nHe starts running toward her, but she stops him.", "MORTIMER\n Oh, come on. What's the hurry ? Why don't you stick around\n until my brother leaves.", "MORTIMER\n Let me explain. The name Brewster is code for Roosevelt.\n\n TEDDY\n Code for Roosevelt ?", "Still seated on his step, Mortimer smiles.\n\n MORTIMER\n That's my brother !", "MORTIMER\n Oh, I know what his name is. I just want to know what we're\n going to do. We can't turn you over to the police.", "MORTIMER\n Now, he knows he's in the house with murderers. So he ought\n to know he's in danger. He's even been warned to get out of\n the house. And does he go ?", "MORTIMER\n Oh, Jonathan ? Oh, he's probably in prison or hanged or\n something by now.\n\nHe walks across the room and starts searching on the table.", "MORTIMER\n You see, I don't want this to get out for a while. I'm\n Mortimer Brewster.\n\n THE CLERK\n You're who ?", "Mortimer turns slightly on his chair, but without taking his eyes\noff Einstein, and, of course, without looking at his brother\nbehind him, quietly cutting the curtain cords with a jack-knife.", "MORTIMER\n You mean... you mean I'm not really a Brewster ?... Oh !\n\nHe almost falls backward. Both sisters catch him up.", "JONATHAN\n My brother, Mortimer.\n\nHe goes back down in the cellar toward Einstein, who has his\nbottle in his hand.", "MORTIMER\n Thank you very much. Yeah, that's fine.\nJonathan suddenly realizes what Mortimer is doing and turns his", "Mortimer looks embarrassed : he doesn't want to explain to the\ndoctor who Hoskins is.\n\n MORTIMER\n What ? What ? Did I say... Oh, I...", "The two sisters are eagerly waiting for Mortimer. Martha whispers.\n MARTHA\n Look surprised when he tells us.\n\nAbby laughs. They hear a door slamming in the next room." ], [ "Teddy crosses the room to the cellar door.\n\n ABBY\n And we'll come down later and hold services.\n\nTeddy opens the door, and turns around.", "Teddy comes in through the cellar door. He has his helmet back on\nhis head and wears heavy working gloves.\n\n TEDDY\n No visitors. It's going to be a private funeral.", "room, where we see some light underneath the cellar door. We hear\nsteps, and the door opens to reveal Teddy, still in his colonial\ncostume, but without the helmet. He stops a few seconds, then", "Teddy taps the side of his head with his finger, goes back into\nhis room, and closes the door. Mortimer tries to indicate by mime\nthat his aunts are crazy", "we guess Teddy has just opened it. Shuffling noises. Then we see\nthe shadow of Teddy carrying something apparently heavy. We hear\nthe cat screaming, and we guess Teddy must have stepped on its", "Mortimer closes the drapes between the sitting-room and the next\nroom. He then goes to the cellar door and opens the door ajar. A\ncat meows and comes out through the opening. We hear Teddy singing\ndown in the cellar.", "tail. When Teddy comes into the light from the open door of the\ncellar, we discover he is carrying a human body, which could only", "few seconds to close the door. Then we hear noises of something\nfalling, and we guess that Teddy must have missed a step and\nfallen all the way down to the cellar.", "Teddy then goes back into his room and slams the door. The grand-\nfather clock chimes once.\nMortimer seems very disappointed. He moves back and forth in his\nchair, moaning.", "Teddy comes out of his room on the balcony. He is dressed in full\ncolonial costume, complete with pith helmet. He is carrying a\nshovel and his bugle is stuck in his belt. He walks rapidly down\nthe stairs.", "He crosses his chest and spits on the floor. Then, he takes his\naunts in his arms.\n\n TEDDY\n Now, let's see. How are we going to keep it a secret ?", "ABBY\n Well, Teddy, I think you'd better get back down into the\n cellar. And then, when I turn out the lights, when", "Teddy comes out of his room on the balcony, in his President\nRoosevelt costume. He takes his bugle to his mouth, ready to play\nit. Mortimer comes out of the room and lowers the bugle.", "TEDDY\n Well, goodbye. I'm off to Panama.\n\nTeddy walks to the cellar door. Mortimer bends slightly.", "He knocks on Teddy's door. The papers are slid under the door.\nMortimer bends down to pick them up.", "He opens the door, and starts walking down the steps to the\ncellar. Before the door closes back, we can hear him singing :\n\n TEDDY\n «Oh, tell the news to Mother».", "LIEUTENANT ROONEY\n (voice over)\n No, he's come to take him. Teddy's been blowing his bugle\n again.", "TEDDY\n Charge !\n\nWhen he arrives on the balcony, on which open the bedroom doors,\nhe rushes into his room and slams the door.", "Teddy goes back into his room, slamming the door behind him. The\ngrandfather's clock chimes once, and the minute hand falls back to\nthe half-hour position. O'Hara jumps and looks at the clock.", "Teddy comes out of his room on the balcony. He is still wearing\nhis colonial costume. He has a book in his hand and a spare pith\nhelmet under his arm. He rushes down the stairs." ], [ "Einstein goes to the front door and switches the lights on.\n JONATHAN\n Doctor !\n\n DOCTOR EINSTEIN\n It's all right, Johnny. It's okay.", "Einstein has reached the bottom of the stairs and he is sneaking\nout through the front door.\n\n MORTIMER\n A doctor... Oh ! Doctor Einstein ! Come here and sign some\n papers, please.", "JONATHAN\n Come in, doctor.\n\nDoctor Einstein, who was waiting at the door, comes into the room,\nand closes the door behind him.", "Einstein turns around.\n\n DOCTOR EINSTEIN\n Good night.\n\n MORTIMER\n Come here, Doctor Einstein.", "WITHERSPOON\n A doctor ?\n\n MORTIMER\n Oh, yes, yes. Doctor Einstein almost operated on me earlier\n this evening. Come on, Doctor.", "DOCTOR EINSTEIN\n Yeah.\n\nJonathan moves to the front door, opens it, stops to look around,\nand then closes the door.\n\nEinstein walks slowly in the room.", "Einstein slams the front door with a very nervous punch, and walks\ntoward Mortimer. He mumbles incomprehensible words, probably in\nGerman.", "ELAINE\n Doctor Einstein ?\n\n JONATHAN\n A surgeon of great distinction. And something of a\n magician.", "Einstein peeks through the drapes to have a look at the outside of\nthe front door. He rushes to Jonathan.\n\n DOCTOR EINSTEIN\n Hey, Johnny, the cops !", "Einstein tries to stop Jonathan, but Jonathan pushes him away.\nEinstein takes off one of his shoes, and hits Jonathan very hard\non the head with it. Jonathan falls on the floor.", "DOCTOR EINSTEIN\n Yes, Johnny. I know exactly what I'm going to do.\n\nHe comes close to Jonathan and shows him on his face what he is\ngoing to do to it.", "Einstein takes his jacket off. He is almost crying.\n\n DOCTOR EINSTEIN\n All right. Let's get it over with. No, but, Johnny, I\n cannot see this without a drink.", "DOCTOR EINSTEIN\n No, no, no ! I am tired. You forget, I got to operate on\n your face tomorrow.\nHe sits down on the bottom steps of the stairs.", "DOCTOR EINSTEIN\n But what does he do ?", "JONATHAN\n Now, Doctor, we go to work.\n\nEinstein stands up.\n\n DOCTOR EINSTEIN\n Johnny, for me, please, the quick way. Please.", "DOCTOR EINSTEIN\n I tell you later about that, but you go now. Please listen\n to me.\n\nThey've reached the front door. Mortimer takes Einstein's hand out\nof his sleeve.", "He goes back into his room and closes the door. Einstein appears\nat the bottom of the stairs.\n DOCTOR EINSTEIN\n Hey, Mister Brewster.", "The door to the cellar is open. Einstein rushes up from the\ncellar. He looks a bit frightened.\n DOCTOR EINSTEIN\n Hey, Johnny, Johnny, come quick !", "DOCTOR EINSTEIN\n We've been chased all over the world, and they stay right\n here in Brooklyn, and they do just as good as you do.\n\n JONATHAN\n What ?", "He gets down from the window-seat. Then Einstein appears behind\nthe window, carrying a suitcase. Jonathan helps him to bring the\nsuitcase in the room." ], [ "MORTIMER\n Oh no, darling, no, no. It's way back before Teddy. No,\n this goes back to the first Brewster, the one who came over", "with him.\n (to Jonathan)\n Listen, Jonathan. You're my brother, you're a Brewster. So,", "We get a closer view of the front of the house. A large\nrectangular stone, with «Brewster» engraved on it. A group of\nchildren runs in front of the house.", "MORTIMER\n Let me explain. The name Brewster is code for Roosevelt.\n\n TEDDY\n Code for Roosevelt ?", "MORTIMER\n Now, tell me, who was the first one ?\n\n ABBY\n Mister Midgely. He was a Baptist.", "In another corner of the room, Abby Brewster is having tea with\nReverend Harper, Elaine's father. She looks like an old English\nlady, a bit like Agatha Christie's Miss Marple.", "They stop walking when they hear hymns sung by the Brewster\nsisters.\n\n MORTIMER\n There goes Hoskins.\n DOCTOR GILCHRIST\n Who ?", "MORTIMER\n You mean... you mean I'm not really a Brewster ?... Oh !\n\nHe almost falls backward. Both sisters catch him up.", "We hear very clearly the Brewster sisters singing their hymns.\n\n MORTIMER\n It practically gallops.", "MORTIMER\n Yes, don't you see ? Take the name Brewster. Take away the\n «B» and what have you got ?\n TEDDY\n Rooster.", "O'HARA\n Mister Brewster, you don't know what goes on in Brooklyn.\n\n MORTIMER\n Oh, I don't know.", "She moves away and exits into the kitchen.\n\n REVEREND HARPER\n Gentlemen, if I know what pure kindness and absolute\n generosity are, it's because I've known the Brewster\n sisters.", "JONATHAN\n I see you're still wearing the lovely garnet ring that\n Grandma Brewster bought in England. And you, Aunt Martha,\n still the high collar to hide the scar where Grandfather's\n acid burned you.", "WITHERSPOON\n Mr. Witherspoon speaking... Oh, how do you do, Mister\n Brewster ? How are you ?", "ELAINE\n Well, it is Harper. I mean, it's Brewster. I'm not very\n used to it. I'm a brand-new Brewster.", "MORTIMER\n No, no, you're Mister Witherspoon, I'm Mister Brewster.\n WITHERSPOON", "Yes, Mortimer. I realize now that it was you who brought me\n back to Brooklyn. We drink to you. Doctor ! To my dear,\n dead brother.", "Walking their beat, the two cops have come outside the Brewster\nsisters residence.\n\n O'HARA\n Are the original owners still over there ?", "BROPHY\n Good afternoon, Miss Brewster.\n\n MARTHA\n How do you do, Mr Brophy ?", "The Brewster sisters, who were bending out of their window to get\na better view of the scene, are coming back in, looking extremely\nhappy.\n\nThe cab driver gives his coat to Mortimer." ], [ "MORTIMER\n Oh, Jonathan ? Oh, he's probably in prison or hanged or\n something by now.\n\nHe walks across the room and starts searching on the table.", "MORTIMER\n No, no, I'm not a Brewster. I'm a son of a sea cook.", "MORTIMER\n No. No, no, Aunt Abby, don't...", "MORTIMER\n Oh, what does he do ? Well, the big chump sits there. This\n fellow's supposed to be bright. He sits there.", "MORTIMER\n Oh no, darling, no, no. It's way back before Teddy. No,\n this goes back to the first Brewster, the one who came over", "MORTIMER\n I'm a very lucky man to have caught you at home, Doctor\n Gilchrist.\n\n DOCTOR GILCHRIST\n This is most irregular, most irregular.", "MORTIMER\n Well, look, darlings. Look, I'm frightfully sorry, but I've\n got an awful shock for you.\n\nHe takes Abby's hands in his.", "MORTIMER\n Oh, papers ! Papers ! Yes.\n\nHe pulls the papers from his jacket pocket, and gives them to the\ndoctor.", "MORTIMER\n No, I thought I told you...\nHe closes the lid, kneels on the seat and looks through the open\nwindow.\n\n MORTIMER\n Jonathan ! Jonathan ! Jonathan !", "MORTIMER\n (whispering)\n Hasn't got it yet.\n\nHe resumes his walking downstairs.", "MORTIMER\n It's not a nice thing to do. People wouldn't understand.\n\nHe points to the front door and the departed Mr. Gibbs.", "Mortimer looks embarrassed : he doesn't want to explain to the\ndoctor who Hoskins is.\n\n MORTIMER\n What ? What ? Did I say... Oh, I...", "JONATHAN\n There's an elderly gentleman down there who seems to be\n very dead.\n\n MORTIMER\n What were you doing down the cellar ?", "MORTIMER\n Now, tell me, who was the first one ?\n\n ABBY\n Mister Midgely. He was a Baptist.", "MORTIMER\n Elaine !\n\nElaine is crossing the churchyard to go to her father's house. She\nstops and turns around to look at Mortimer.", "MORTIMER\n Thank you very much. Yeah, that's fine.\nJonathan suddenly realizes what Mortimer is doing and turns his", "MORTIMER\n No, no, you're Mister Witherspoon, I'm Mister Brewster.\n WITHERSPOON", "MORTIMER\n A total stranger. Aunt Abby, how can I believe you ? There\n are twelve men down there, some you admit you poisoned\n them !", "Mortimer, who had also reached his door, stops and turns around.\n\n MORTIMER\n What ? Now ?\n\nHe starts running toward her, but she stops him.", "MORTIMER\n Well, so far, so good.\n\nHe stands up.\n\n MORTIMER\n Not so good." ], [ "MORTIMER\n No. No, no, Aunt Abby, don't...", "O'HARA\n Of course she was. She was my mother.\n\n MORTIMER\n Oh, excuse me.", "MORTIMER\n Well, so, so...\n\nAbby whispers something in Martha's ear. Martha looks at Mortimer,\nsmiles, and whispers back in her sister's ear.", "MORTIMER\n Well, look, darlings. Look, I'm frightfully sorry, but I've\n got an awful shock for you.\n\nHe takes Abby's hands in his.", "MORTIMER\n A total stranger. Aunt Abby, how can I believe you ? There\n are twelve men down there, some you admit you poisoned\n them !", "Mortimer, who had also reached his door, stops and turns around.\n\n MORTIMER\n What ? Now ?\n\nHe starts running toward her, but she stops him.", "MORTIMER\n It's way past her bedtime.\nWith his mouth still pressed on her, he lifts her and carries her\nacross the room to the front door.\n\n MORTIMER\n Quiet !", "MORTIMER\n Oh, Jonathan ? Oh, he's probably in prison or hanged or\n something by now.\n\nHe walks across the room and starts searching on the table.", "MORTIMER\n There, you see ! You see ? That's what I mean. That's what\n I hate about women.\n\nMortimer kisses her.", "MORTIMER\n Where's my hat ? There it is.\n\nHe leaves them to pick up his hat.\n\n MARTHA\n But, Mortimer.", "MORTIMER\n You mean... you mean I'm not really a Brewster ?... Oh !\n\nHe almost falls backward. Both sisters catch him up.", "MORTIMER\n Elaine !\nElaine, frightened, jumps up from the seat. Mortimer rushes to\nher.\n\n MORTIMER\n Will you get out of here ?", "MORTIMER\n Oh no, darling, no, no. It's way back before Teddy. No,\n this goes back to the first Brewster, the one who came over", "MORTIMER\n Now, he knows he's in the house with murderers. So he ought\n to know he's in danger. He's even been warned to get out of\n the house. And does he go ?", "O'Hara picks up a cup on the table.\n\n O'HARA\n No. My mother was an actress.\n\n MORTIMER\n Oh ? Legitimate ?", "MORTIMER\n Hold on to your bustles. We're married. Elaine and I are\n married.\n\nThe two sisters hug and kiss Mortimer.", "MORTIMER\n Did you find those notes ?\n\nMortimer senses there is something wrong in his aunt's voice, and\nwalks to her.", "MORTIMER\n Yeah.\n\nHe turns around to listen to his aunts singing their hymns.\n\n MORTIMER\n Well, even they have their peculiarities.", "MORTIMER\n No, no, I'm not a Brewster. I'm a son of a sea cook.", "MORTIMER\n I'm a very lucky man to have caught you at home, Doctor\n Gilchrist.\n\n DOCTOR GILCHRIST\n This is most irregular, most irregular." ], [ "Mortimer turns around and looks, surprised, at his brother. Then\nhe comes into the room\n\n MORTIMER\n What are you two doing still here ? I thought I told you to\n beat it.", "MORTIMER\n You ought to have my job a few nights. Listen to me,\n brother. When you get out of prison, you have yourself", "MORTIMER\n Oh, come on. What's the hurry ? Why don't you stick around\n until my brother leaves.", "MORTIMER\n (voice over)\n No... Look, you see, brother Heidelberg, in a play or even", "Still seated on his step, Mortimer smiles.\n\n MORTIMER\n That's my brother !", "MORTIMER\n Now, he knows he's in the house with murderers. So he ought\n to know he's in danger. He's even been warned to get out of\n the house. And does he go ?", "MORTIMER\n A total stranger. Aunt Abby, how can I believe you ? There\n are twelve men down there, some you admit you poisoned\n them !", "Mortimer walks between Brophy and Jonathan, and tries to say\nsomething to Brophy through his gag. Saunders, behind Mortimer,\nkeeps on untying him.", "MORTIMER\n No. No, no, Aunt Abby, don't...", "Mortimer turns slightly on his chair, but without taking his eyes\noff Einstein, and, of course, without looking at his brother\nbehind him, quietly cutting the curtain cords with a jack-knife.", "The two sisters are eagerly waiting for Mortimer. Martha whispers.\n MARTHA\n Look surprised when he tells us.\n\nAbby laughs. They hear a door slamming in the next room.", "MORTIMER\n Holy... What's that ? What's that thing there that looks\n like a cigar-store dummy ?\n\n ABBY\n It's your brother Jonathan, and this is Doctor Einstein.", "JONATHAN\n Yes, Mortimer. I've been away for twenty years. But never,\n my dear brother, were you out of my mind.\n\nJonathan is lighting candles on the table.", "MORTIMER\n Yeah.\n\nHe turns around to listen to his aunts singing their hymns.\n\n MORTIMER\n Well, even they have their peculiarities.", "MORTIMER\n (whispering)\n Hasn't got it yet.\n\nHe resumes his walking downstairs.", "Mortimer, who had also reached his door, stops and turns around.\n\n MORTIMER\n What ? Now ?\n\nHe starts running toward her, but she stops him.", "MORTIMER\n You mean... you mean I'm not really a Brewster ?... Oh !\n\nHe almost falls backward. Both sisters catch him up.", "MORTIMER\n Oh, Jonathan ? Oh, he's probably in prison or hanged or\n something by now.\n\nHe walks across the room and starts searching on the table.", "Yes, Mortimer. I realize now that it was you who brought me\n back to Brooklyn. We drink to you. Doctor ! To my dear,\n dead brother.", "MORTIMER\n Certainly there's thirteen bodies down in the cellar. And\n there are hundreds more up in the attic, Captain !" ], [ "with him.\n (to Jonathan)\n Listen, Jonathan. You're my brother, you're a Brewster. So,", "MORTIMER\n Oh no, darling, no, no. It's way back before Teddy. No,\n this goes back to the first Brewster, the one who came over", "We get a closer view of the front of the house. A large\nrectangular stone, with «Brewster» engraved on it. A group of\nchildren runs in front of the house.", "In another corner of the room, Abby Brewster is having tea with\nReverend Harper, Elaine's father. She looks like an old English\nlady, a bit like Agatha Christie's Miss Marple.", "MORTIMER\n You mean... you mean I'm not really a Brewster ?... Oh !\n\nHe almost falls backward. Both sisters catch him up.", "ELAINE\n Oh, darling, all this doesn't prove a thing. Look at your\n aunts. They're Brewsters, aren't they ? They're the\n sweetest, sanest people I've ever known.", "MORTIMER\n Let me explain. The name Brewster is code for Roosevelt.\n\n TEDDY\n Code for Roosevelt ?", "They stop walking when they hear hymns sung by the Brewster\nsisters.\n\n MORTIMER\n There goes Hoskins.\n DOCTOR GILCHRIST\n Who ?", "On one of the tombstones is engraved the name «Amanda Brewster»\nand the dates : «1813-1863».", "WITHERSPOON\n Mr. Witherspoon speaking... Oh, how do you do, Mister\n Brewster ? How are you ?", "WITHERSPOON\n Oh, no ! No, no ! No ! Too dangerous. Dissension, jealousy.\n\nBREWSTER RESIDENCE - EXTERIOR NIGHT", "MARTHA\n You're not really a Brewster.", "MORTIMER\n Now, tell me, who was the first one ?\n\n ABBY\n Mister Midgely. He was a Baptist.", "JONATHAN\n I see you're still wearing the lovely garnet ring that\n Grandma Brewster bought in England. And you, Aunt Martha,\n still the high collar to hide the scar where Grandfather's\n acid burned you.", "Witherspoon is sitting behind his desk, the telephone receiver to\nhis ear.\n\n WITHERSPOON\n Yes, Mr. Brewster, yes.", "MORTIMER\n No, no, you're Mister Witherspoon, I'm Mister Brewster.\n WITHERSPOON", "We hear very clearly the Brewster sisters singing their hymns.\n\n MORTIMER\n It practically gallops.", "BROPHY\n Good afternoon, Miss Brewster.\n\n MARTHA\n How do you do, Mr Brophy ?", "O'HARA\n (to Jonathan)\n Oh, wait a minute, Mr. Brewster.", "Witherspoon looks at the scene with slightly anxious eyes.\n WITHERSPOON\n Oh, dear. And Happy Dale is full of staircases.\n\nBREWSTER RESIDENCE - EXTERIOR NIGHT" ], [ "THE OTHER JOURNALIST\n Hey, isn't that Mortimer Brewster?\n\n THE PHOTOGRAPHER\n Mortimer Brewster, the dramatic critic ?", "MORTIMER\n You see, I don't want this to get out for a while. I'm\n Mortimer Brewster.\n\n THE CLERK\n You're who ?", "The front door opens, and Elaine comes back inside the house.\n\n MORTIMER\n This is Mortimer Brewster. Look, Judge, I'll tell you why I\n called you. It's about Teddy.", "MORTIMER\n There, you see ! You see ? That's what I mean. That's what\n I hate about women.\n\nMortimer kisses her.", "MORTIMER\n Hello ? Oh, hello, Mr. Witherspoon ? This is Mortimer\n Brewster.\n\nWITHERSPOON'S OFFICE - INTERIOR NIGHT", "MORTIMER\n You mean... you mean I'm not really a Brewster ?... Oh !\n\nHe almost falls backward. Both sisters catch him up.", "Close-up on the book Reverend Harper just took on the table :\n«Marriage, a Fraud and a Failure, by Mortimer Brewster».\n REVEREND HARPER\n ...should take any man's daughter anyplace...", "MORTIMER\n Oh no, darling, no, no. It's way back before Teddy. No,\n this goes back to the first Brewster, the one who came over", "BREWSTER RESIDENCE - SITTING ROOM - INTERIOR NIGHT\n\nMortimer is standing by the window-seat. All the drapes are\nclosed. He bends down.", "Mortimer stops controlling himself and starts yelling\n\n MORTIMER\n Mortimer Brew...", "O'HARA\n I got to ring in, Mr. Brew... Say, you're not «the»\n Mortimer Brewster, the book-writer and the dramatic critic,", "MORTIMER\n Hold it. You see, Judge, it's his bugle blowing. Yes, the\n neighbors have been complaining, and the police are all set\n to throw him into a state institution.", "MORTIMER\n He what ?...\n\nMortimer looks at the papers with horror in his face and takes\nthem back.\nBREWSTER RESIDENCE - EXTERIOR NIGHT", "MORTIMER\n And don't «No, Mortimer» me, either ! Don't you see\n marriage is a superstition. It's old-fashioned. It's...\n a... a... Ohh !...", "MORTIMER\n Let me explain. The name Brewster is code for Roosevelt.\n\n TEDDY\n Code for Roosevelt ?", "O'HARA\n Mister Brewster, you don't know what goes on in Brooklyn.\n\n MORTIMER\n Oh, I don't know.", "MORTIMER\n Yes, don't you see ? Take the name Brewster. Take away the\n «B» and what have you got ?\n TEDDY\n Rooster.", "MORTIMER\n No, no, you're Mister Witherspoon, I'm Mister Brewster.\n WITHERSPOON", "MORTIMER\n Well, I'm going to burn all my books. And I'll let the\n Reverend Harper light the first match. Oh, by the way, did\n I leave some notes here for my new book ?", "MORTIMER\n (voice over)\n No... Look, you see, brother Heidelberg, in a play or even" ], [ "The front door opens, and Elaine comes back inside the house.\n\n MORTIMER\n This is Mortimer Brewster. Look, Judge, I'll tell you why I\n called you. It's about Teddy.", "MORTIMER\n Hold on to your bustles. We're married. Elaine and I are\n married.\n\nThe two sisters hug and kiss Mortimer.", "CAB DRIVER\n Yeah !\nMortimer runs across the churchyard to meet Elaine.\n\nWe see the two Brewster sisters peeking behind the curtains of\ntheir window.", "MORTIMER\n You see, I don't want this to get out for a while. I'm\n Mortimer Brewster.\n\n THE CLERK\n You're who ?", "Back to the line of people waiting in front of the counter. The\nmarriage clerk is standing behind a set of metal bars. A couple of\npeople leaves the counter. It's now Mortimer and Elaine's turn.\nThe marriage clerk sings :", "Elaine has now reached the Brewster house and opens a window. We\nhear Lieutenant Rooney's voice.\n\n LIEUTENANT ROONEY\n (voice over)\n Now, let's be sensible, ladies...", "MORTIMER\n Elaine !\nElaine, frightened, jumps up from the seat. Mortimer rushes to\nher.\n\n MORTIMER\n Will you get out of here ?", "Mortimer and Elaine are still kissing. Mortimer lets go of Elaine.\nHe puts her hat on her head.\n\n MORTIMER\n Go on, darling, the train leaves in an hour, and hurry.", "Close-up on the book Reverend Harper just took on the table :\n«Marriage, a Fraud and a Failure, by Mortimer Brewster».\n REVEREND HARPER\n ...should take any man's daughter anyplace...", "ELAINE\n But, darling, we were married today.\n\n MORTIMER\n All right, go home, go to bed, get some rest !\n\n ELAINE\n Rest ?", "MORTIMER\n Hello ? Oh, hello, Mr. Witherspoon ? This is Mortimer\n Brewster.\n\nWITHERSPOON'S OFFICE - INTERIOR NIGHT", "MORTIMER\n Oh, now, here, here, now ! Hello ?... Hello ? Benson's\n Florists ? This is Mortimer Brewster. Did you send those", "MORTIMER\n Elaine ! Elaine ! Where are you ? Can you hear me ? I'm not\n really a Brewster ! I'm the son of a sea cook !", "BREWSTER RESIDENCE - SITTING ROOM - INTERIOR NIGHT\n\nMortimer is back sitting at the desk and talking into the phone.\nIn the background, we hear Elaine's pounding on the door.", "MORTIMER\n Elaine !\n\nElaine is crossing the churchyard to go to her father's house. She\nstops and turns around to look at Mortimer.", "Elaine walks across the churchyard toward the Brewster's house.\nShe is wearing a coat over her nightdress.\n\nBREWSTER RESIDENCE - SITTING ROOM - INTERIOR NIGHT", "ELAINE\n It's true ! There are thirteen bodies down there !\n\nMortimer tries to make her shut up, and succeeds only by kissing\nher very passionately on the mouth.", "ABBY\n Happy bridegroom !\n\n MARTHA\n Congratulations, darling !\n\n MORTIMER\n Never mind that now. I know.", "MORTIMER\n No, no. I... Ohhh !\n\nMortimer hesitates a little and then gives a passionate kiss to\nElaine.", "MORTIMER\n Elaine, Elaine, darling, I love you so much, I can't go\n through with our marriage.\n\nShe goes slightly back into her room." ], [ "MORTIMER\n No, no. I... Ohhh !\n\nMortimer hesitates a little and then gives a passionate kiss to\nElaine.", "MORTIMER\n Elaine, Elaine, darling, I love you so much, I can't go\n through with our marriage.\n\nShe goes slightly back into her room.", "MORTIMER\n Elaine !\nElaine, frightened, jumps up from the seat. Mortimer rushes to\nher.\n\n MORTIMER\n Will you get out of here ?", "MORTIMER\n Hold on to your bustles. We're married. Elaine and I are\n married.\n\nThe two sisters hug and kiss Mortimer.", "Elaine drags Mortimer by the hand from behind the tree.\n ELAINE\n But, Mortimer, you're going to love me for my mind, too ?\n\n MORTIMER\n One thing at a time.", "MORTIMER\n Elaine !\n\nElaine is crossing the churchyard to go to her father's house. She\nstops and turns around to look at Mortimer.", "Elaine is trying to avoid Mortimer by going around a tree.\n\n ELAINE\n He was against it.\n\n MORTIMER\n Ah ! But that was only Sunday.", "ELAINE\n Mortimer ! Mortimer ! Mortimer ! It's true ! It's true ! I\n saw them. Mortimer, it's true.\n\nRooney and Saunders come out of the kitchen.", "She falls in his arms.\n\n ELAINE\n Mortimer !\n\n MORTIMER\n What's the matter, darling ?", "ELAINE\n Do you or do you not love me ?\n\n MORTIMER\n Oh, Elaine. Elaine, how can you say such a thing ? Darling,\n of course I love you.", "MORTIMER\n Elaine ? What's the matter with her ?\n\nHe stands up and runs across the room to the window-seat.\n\n MORTIMER\n Oh, dear !", "ELAINE\n Do you ?\n\nMortimer takes her in his arms.\n\n MORTIMER\n Yes, darling.", "Elaine, eventually, comes out of her hysteria. She puts her arms\naround Mortimer, and talks to him in a very sweet voice.\n\n ELAINE\n Oh, Mortimer.", "Mortimer and Elaine are still kissing. Mortimer lets go of Elaine.\nHe puts her hat on her head.\n\n MORTIMER\n Go on, darling, the train leaves in an hour, and hurry.", "ELAINE\n (voice over)\n Hey, you !\n\nWhen he hears Elaine's voice, Mortimer slams the lid down and sit\non the seat.", "MORTIMER\n Oh... Oh, Elaine, I didn't mean...", "MORTIMER\n If it does, we'll let it !\n ELAINE\n Now, wait a minute ! Listen. You can't marry me one minute\n and then throw me out the house the next !", "ELAINE\n Mortimer, what is wrong ? Look at your hair.\nHe bends down for her to see his hair better.", "We hear Elaine whistling. Mortimer tries to whistle back, but no\nsound comes from his mouth. He tries again, but with no more\nsuccess. He seems in shock.", "Back to the line of people waiting in front of the counter. The\nmarriage clerk is standing behind a set of metal bars. A couple of\npeople leaves the counter. It's now Mortimer and Elaine's turn.\nThe marriage clerk sings :" ], [ "Mortimer turns around and looks, surprised, at his brother. Then\nhe comes into the room\n\n MORTIMER\n What are you two doing still here ? I thought I told you to\n beat it.", "MORTIMER\n Holy... What's that ? What's that thing there that looks\n like a cigar-store dummy ?\n\n ABBY\n It's your brother Jonathan, and this is Doctor Einstein.", "MORTIMER\n You ought to have my job a few nights. Listen to me,\n brother. When you get out of prison, you have yourself", "MORTIMER\n (voice over)\n No... Look, you see, brother Heidelberg, in a play or even", "MORTIMER\n No. No, no, Aunt Abby, don't...", "MORTIMER\n Yes, don't you see ? Take the name Brewster. Take away the\n «B» and what have you got ?\n TEDDY\n Rooster.", "Mortimer, who had also reached his door, stops and turns around.\n\n MORTIMER\n What ? Now ?\n\nHe starts running toward her, but she stops him.", "MORTIMER\n Oh, come on. What's the hurry ? Why don't you stick around\n until my brother leaves.", "MORTIMER\n Let me explain. The name Brewster is code for Roosevelt.\n\n TEDDY\n Code for Roosevelt ?", "Still seated on his step, Mortimer smiles.\n\n MORTIMER\n That's my brother !", "MORTIMER\n Oh, I know what his name is. I just want to know what we're\n going to do. We can't turn you over to the police.", "MORTIMER\n Now, he knows he's in the house with murderers. So he ought\n to know he's in danger. He's even been warned to get out of\n the house. And does he go ?", "MORTIMER\n Oh, Jonathan ? Oh, he's probably in prison or hanged or\n something by now.\n\nHe walks across the room and starts searching on the table.", "MORTIMER\n You see, I don't want this to get out for a while. I'm\n Mortimer Brewster.\n\n THE CLERK\n You're who ?", "Mortimer turns slightly on his chair, but without taking his eyes\noff Einstein, and, of course, without looking at his brother\nbehind him, quietly cutting the curtain cords with a jack-knife.", "MORTIMER\n You mean... you mean I'm not really a Brewster ?... Oh !\n\nHe almost falls backward. Both sisters catch him up.", "JONATHAN\n My brother, Mortimer.\n\nHe goes back down in the cellar toward Einstein, who has his\nbottle in his hand.", "MORTIMER\n Thank you very much. Yeah, that's fine.\nJonathan suddenly realizes what Mortimer is doing and turns his", "Mortimer looks embarrassed : he doesn't want to explain to the\ndoctor who Hoskins is.\n\n MORTIMER\n What ? What ? Did I say... Oh, I...", "The two sisters are eagerly waiting for Mortimer. Martha whispers.\n MARTHA\n Look surprised when he tells us.\n\nAbby laughs. They hear a door slamming in the next room." ], [ "WITHERSPOON\n A doctor ?\n\n MORTIMER\n Oh, yes, yes. Doctor Einstein almost operated on me earlier\n this evening. Come on, Doctor.", "Einstein has reached the bottom of the stairs and he is sneaking\nout through the front door.\n\n MORTIMER\n A doctor... Oh ! Doctor Einstein ! Come here and sign some\n papers, please.", "ELAINE\n Doctor Einstein ?\n\n JONATHAN\n A surgeon of great distinction. And something of a\n magician.", "Einstein turns around.\n\n DOCTOR EINSTEIN\n Good night.\n\n MORTIMER\n Come here, Doctor Einstein.", "Einstein slams the front door with a very nervous punch, and walks\ntoward Mortimer. He mumbles incomprehensible words, probably in\nGerman.", "DOCTOR EINSTEIN\n No, no, no ! I am tired. You forget, I got to operate on\n your face tomorrow.\nHe sits down on the bottom steps of the stairs.", "DOCTOR EINSTEIN\n Well, I don't know.\n MORTIMER\n He sits down ! I remember what he did. He deliberately\n pulls up a chair like that and he sits down in it.", "DOCTOR EINSTEIN\n We've been chased all over the world, and they stay right\n here in Brooklyn, and they do just as good as you do.\n\n JONATHAN\n What ?", "JONATHAN\n Come in, doctor.\n\nDoctor Einstein, who was waiting at the door, comes into the room,\nand closes the door behind him.", "DOCTOR EINSTEIN\n But what does he do ?", "Einstein goes to the front door and switches the lights on.\n JONATHAN\n Doctor !\n\n DOCTOR EINSTEIN\n It's all right, Johnny. It's okay.", "DOCTOR EINSTEIN\n No.\n\n MORTIMER\n You stay out of this. All right, you asked for it.\n\nHe goes to the kitchen door, which he opens slightly.", "DOCTOR EINSTEIN\n Yes, Johnny. I know exactly what I'm going to do.\n\nHe comes close to Jonathan and shows him on his face what he is\ngoing to do to it.", "Einstein has breathing problems because of Jonathan's squeezing.\n\n DOCTOR EINSTEIN\n Johnny, Johnny ! You are home in this lovely house.", "DOCTOR EINSTEIN\n Yeah.\n\nJonathan moves to the front door, opens it, stops to look around,\nand then closes the door.\n\nEinstein walks slowly in the room.", "DOCTOR EINSTEIN\n Hey, Mister Brewster, you get out of this house.\n\n MORTIMER\n Can't you see I'm busy ?", "JONATHAN\n Doctor, this must be an artistic achievement.\n\n DOCTOR EINSTEIN\n Please.", "DOCTOR EINSTEIN\n I tell you later about that, but you go now. Please listen\n to me.\n\nThey've reached the front door. Mortimer takes Einstein's hand out\nof his sleeve.", "DOCTOR EINSTEIN\n (still whispering)\n Johnny's in a bad mood. You get out of here !\n\n MORTIMER\n Stop underplaying. I can't hear you.", "DOCTOR EINSTEIN\n I personally, I like it very much.\n\n O'HARA\n It's probably over his head, huh ?" ], [ "JONATHAN\n That's all he's got on us. We'll take Spenalzo and dump him\n in the bay. After that, we're coming back here. Then if he\n tries to interfere...", "JONATHAN\n Take his feet, Doctor. Mister Spenalzo and he will get\n along fine together. They're both dead.", "JONATHAN\n Yes, we can't just walk Mister Spenalzo in through the\n door. We'll bring the car up between the cemetery and the", "We see only shadows in the dark, but we guess Jonathan is handing\nMr. Spenalzo's corpse to Einstein, who will then put it in the\nwindow-seat.", "hole he's digging. Four feet wide, six feet long. He just\n fits ! You'd think he knew we were bringing Mister Spenalzo\n along. That's hospitality.", "JONATHAN\n Forget Mr. Spenalzo.", "JONATHAN\n Perish the thought, dear aunties. That was just Mortimer.\n And speaking of services, Aunt Martha, will you make us\n some coffee while we take Mister Spenalzo down to the\n cellar ?", "Mortimer suddenly realizes the corpse could be a «friend» of\nJonathan. He quickly closes the lid.", "They turn to Einstein, who has seated himself and is laughing his\nhead off.\n\n JONATHAN\n You've done all that right here in this house and buried\n them in the cellar ?", "JONATHAN\n What ?\n\n DOCTOR EINSTEIN\n What's going to happen to Mister Spenalzo ?", "MARTHA\n So, we all took him down to Panama, and put him in the lock\n and gave him a decent Christian burial. There, now you", "JONATHAN\n Thirteen bodies. I'll show you where they're buried.\n\n O'HARA\n Oh, yeah !", "JONATHAN\n There's Mister Spenalzo. Then the first one in London.\n\n DOCTOR EINSTEIN\n Yeah.", "ABBY\n Besides, there's no room for Mister Spenalzo. The cellar's\n crowded already.\n\n JONATHAN\n Crowded ? With what ?", "Abby quickly goes back into the room and closes the door. Jonathan\nresumes his climbing.\nThe camera moves down into total black darkness, and then into the", "LIEUTENANT ROONEY\n What ?\n\n ABBY\n There's one down there, a Mister Spenalzo...", "Jonathan enters through the front door left open by Elaine, closes\nit and locks it.", "Jonathan walks behind him, carrying a shovel. He puts the shovel\ndown against the wall and start mounting the stairs\n\n JONATHAN\n You're forgetting, Doctor.", "He stops when he realizes that Jonathan is sitting with him. He\nsuddenly understands the situation, and shows a broad smile to his\nbrother. He then stands up", "Jonathan throws Mortimer's money on the floor. Mortimer tries to\nstep on it, but instead, he steps on Jonathan's foot." ], [ "MORTIMER\n No. No, no, Aunt Abby, don't...", "MORTIMER\n Did you find those notes ?\n\nMortimer senses there is something wrong in his aunt's voice, and\nwalks to her.", "MORTIMER\n Yeah.\n\nHe turns around to listen to his aunts singing their hymns.\n\n MORTIMER\n Well, even they have their peculiarities.", "MORTIMER\n I remember now. He used to scare grownups with it.\n\nMortimer walks away from his aunt.", "MORTIMER\n A total stranger. Aunt Abby, how can I believe you ? There\n are twelve men down there, some you admit you poisoned\n them !", "MORTIMER\n Jonathan, let Aunt Martha see what's in the window-seat.\n\nJonathan's face shows that he is no more so sure of himself.", "MORTIMER\n Wait a minute !\n\nHe rushes to his aunts.", "MORTIMER\n Now, you look here, Aunt Abby. Don't you try to get out of\n this ! That's another one of your gentlemen, and you know\n it !", "MORTIMER\n Well, look, darlings. Look, I'm frightfully sorry, but I've\n got an awful shock for you.\n\nHe takes Abby's hands in his.", "MORTIMER\n (voice over)\n Aunt Abby, Aunt Martha !\n\nMortimer rushes into the room and throws his hat on a chair.", "MORTIMER\n Aunt Abby, darling, I owe you an apology.\n\nHe kisses her on the forehead.", "Mortimer is more and more shocked and his aunts, very calmly, keep\non putting plates and silverware on the table.\n MARTHA\n He died.", "MORTIMER\n (yelling)\n Forget ? Look, my dear aunt Martha, can't I make you\n realize that something has to be done ?", "Mortimer looks even more shocked than before. His two aunts keep\non setting the table as if nothing had happened.\n\n MORTIMER\n You know ?", "The two sisters are eagerly waiting for Mortimer. Martha whispers.\n MARTHA\n Look surprised when he tells us.\n\nAbby laughs. They hear a door slamming in the next room.", "MORTIMER\n Aunt Abby, didn't I tell you not to let anybody in the\n house ? Who did you say it was ?\n\n ABBY\n It's your brother, Jonathan !", "MARTHA\n Oh, yes, dear. That's what we did with the others.\n\n MORTIMER\n Look, here, Aunt Martha. You can't...", "Mortimer laughs and hugs his aunts.\n MORTIMER\n Come here. I've got the two nicest aunts in the world. Of\n course, you've got the nicest nephew in the world, too.", "MORTIMER\n Now, listen, darlings. Aunt Abby, Aunt Martha, you know how\n we've always planned to send Teddy to that Sanitarium,\n Happy Dale ?", "MORTIMER\n Look, Aunt Martha, men just don't get into window-seats and\n die.\n\n ABBY\n No, dear. He died first." ], [ "O'HARA\n Of course she was. She was my mother.\n\n MORTIMER\n Oh, excuse me.", "MORTIMER\n No. No, no, Aunt Abby, don't...", "MORTIMER\n It's way past her bedtime.\nWith his mouth still pressed on her, he lifts her and carries her\nacross the room to the front door.\n\n MORTIMER\n Quiet !", "MORTIMER\n Well, so, so...\n\nAbby whispers something in Martha's ear. Martha looks at Mortimer,\nsmiles, and whispers back in her sister's ear.", "MORTIMER\n Well, look, darlings. Look, I'm frightfully sorry, but I've\n got an awful shock for you.\n\nHe takes Abby's hands in his.", "O'Hara picks up a cup on the table.\n\n O'HARA\n No. My mother was an actress.\n\n MORTIMER\n Oh ? Legitimate ?", "MORTIMER\n Yeah.\n\nHe turns around to listen to his aunts singing their hymns.\n\n MORTIMER\n Well, even they have their peculiarities.", "MORTIMER\n Where's my hat ? There it is.\n\nHe leaves them to pick up his hat.\n\n MARTHA\n But, Mortimer.", "MORTIMER\n There, you see ! You see ? That's what I mean. That's what\n I hate about women.\n\nMortimer kisses her.", "Mortimer, who had also reached his door, stops and turns around.\n\n MORTIMER\n What ? Now ?\n\nHe starts running toward her, but she stops him.", "MORTIMER\n Did you find those notes ?\n\nMortimer senses there is something wrong in his aunt's voice, and\nwalks to her.", "MORTIMER\n Thank you very much. Yeah, that's fine.\nJonathan suddenly realizes what Mortimer is doing and turns his", "MORTIMER\n Now, he knows he's in the house with murderers. So he ought\n to know he's in danger. He's even been warned to get out of\n the house. And does he go ?", "MORTIMER\n Oh, Jonathan ? Oh, he's probably in prison or hanged or\n something by now.\n\nHe walks across the room and starts searching on the table.", "MORTIMER\n Teddy's killed a man, darlings !\n\nMartha laughs.\n\n MARTHA\n Nonsense !", "MORTIMER\n No, no, I'm not a Brewster. I'm a son of a sea cook.", "MORTIMER\n Elaine !\nElaine, frightened, jumps up from the seat. Mortimer rushes to\nher.\n\n MORTIMER\n Will you get out of here ?", "MORTIMER\n I remember now. He used to scare grownups with it.\n\nMortimer walks away from his aunt.", "MORTIMER\n Oh, darling, I'm not throwing you out of the house !\n\nHe lifts her and actually throws her out of the house", "The phone rings. Mortimer jumps up\n\n MORTIMER\n Oh ! Oh !\n\nHe pushes her out through the open door.\n MORTIMER\n You better go home !" ], [ "with him.\n (to Jonathan)\n Listen, Jonathan. You're my brother, you're a Brewster. So,", "MORTIMER\n Oh no, darling, no, no. It's way back before Teddy. No,\n this goes back to the first Brewster, the one who came over", "We get a closer view of the front of the house. A large\nrectangular stone, with «Brewster» engraved on it. A group of\nchildren runs in front of the house.", "MORTIMER\n Let me explain. The name Brewster is code for Roosevelt.\n\n TEDDY\n Code for Roosevelt ?", "MORTIMER\n You mean... you mean I'm not really a Brewster ?... Oh !\n\nHe almost falls backward. Both sisters catch him up.", "Witherspoon is sitting behind his desk, the telephone receiver to\nhis ear.\n\n WITHERSPOON\n Yes, Mr. Brewster, yes.", "MARTHA\n You're not really a Brewster.", "MORTIMER\n No, no, you're Mister Witherspoon, I'm Mister Brewster.\n WITHERSPOON", "WITHERSPOON\n Oh, no ! No, no ! No ! Too dangerous. Dissension, jealousy.\n\nBREWSTER RESIDENCE - EXTERIOR NIGHT", "On one of the tombstones is engraved the name «Amanda Brewster»\nand the dates : «1813-1863».", "ELAINE\n Oh, darling, all this doesn't prove a thing. Look at your\n aunts. They're Brewsters, aren't they ? They're the\n sweetest, sanest people I've ever known.", "MORTIMER\n Yes, don't you see ? Take the name Brewster. Take away the\n «B» and what have you got ?\n TEDDY\n Rooster.", "WITHERSPOON\n Mr. Witherspoon speaking... Oh, how do you do, Mister\n Brewster ? How are you ?", "In another corner of the room, Abby Brewster is having tea with\nReverend Harper, Elaine's father. She looks like an old English\nlady, a bit like Agatha Christie's Miss Marple.", "BROPHY\n Now, don't crack wise about the Brewster sisters. They're\n two of the dearest, sweetest, kindest old ladies that ever", "He goes out, slamming the door behind him. The Judge looks\npensively at the door Mortimer just closed.\n\n JUDGE CULLMAN\n I may be committing the wrong Brewster.", "Walking their beat, the two cops have come outside the Brewster\nsisters residence.\n\n O'HARA\n Are the original owners still over there ?", "Witherspoon looks at the scene with slightly anxious eyes.\n WITHERSPOON\n Oh, dear. And Happy Dale is full of staircases.\n\nBREWSTER RESIDENCE - EXTERIOR NIGHT", "We get a close-up of the face of the tall man, actually Jonathan\nBrewster. It's full of scars and it makes him look a bit like\nBoris Karloff in the Frankenstein films. He looks around the room.", "O'HARA\n (to Jonathan)\n Oh, wait a minute, Mr. Brewster." ], [ "MORTIMER\n Elaine !\n\nElaine is crossing the churchyard to go to her father's house. She\nstops and turns around to look at Mortimer.", "Elaine is appearing of her room in her father's house. She has got\nher purse and her gloves. She plays with a large artificial\nflower. She whistles.", "ELAINE\n Mortimer ! Mortimer ! Mortimer ! It's true ! It's true ! I\n saw them. Mortimer, it's true.\n\nRooney and Saunders come out of the kitchen.", "ELAINE\n Oh, just that there's another brother named Jonathan,\n that's all they say. Oh, that explains everything. Now that", "ELAINE\n Oh ! You're Jonathan.\n\nJonathan comes close to her and looks at her in such a strange way\nthat she starts walking backward.\n JONATHAN\n You've heard of me ?", "MORTIMER\n Elaine !\nElaine, frightened, jumps up from the seat. Mortimer rushes to\nher.\n\n MORTIMER\n Will you get out of here ?", "ELAINE\n What of it ? So your family's crazy. So you're crazy.\n That's the way I want you, the way I love you. I'm crazy\n too, but kiss me.", "ELAINE\n What ?\n\n MORTIMER\n Yes, yes. Go home like a good girl. I got things to do.\n\nHe sits at the desk and starts dialing on the telephone.", "ELAINE\n Father preached in sermon about it only last Sunday.\n MORTIMER\n He did ? He did ? What did he say ? What did he say ?", "Elaine, eventually, comes out of her hysteria. She puts her arms\naround Mortimer, and talks to him in a very sweet voice.\n\n ELAINE\n Oh, Mortimer.", "In another corner of the room, Abby Brewster is having tea with\nReverend Harper, Elaine's father. She looks like an old English\nlady, a bit like Agatha Christie's Miss Marple.", "ELAINE\n I almost got killed.\n\n MORTIMER\n Killed ? Aunt Abby, Aunt Martha !\n\n ABBY\n Oh, no !", "ELAINE\n Oh, I can handle Father. He's a dear.\n\n MORTIMER\n Look, why don't we wire him from Niagara Falls ?", "MORTIMER\n No, no. I... Ohhh !\n\nMortimer hesitates a little and then gives a passionate kiss to\nElaine.", "Elaine is trying to avoid Mortimer by going around a tree.\n\n ELAINE\n He was against it.\n\n MORTIMER\n Ah ! But that was only Sunday.", "ELAINE\n Now I suppose you're gonna tell me that you're Boris...\n\n JONATHAN\n (cutting her very harshly)\n I am Jonathan Brewster.", "Teddy stops a few steps from floor level.\n\n TEDDY\n Oh, that's my daughter, Alice.\n\n ELAINE\n Oh, no, Teddy ! Teddy !", "ELAINE\n Do you or do you not love me ?\n\n MORTIMER\n Oh, Elaine. Elaine, how can you say such a thing ? Darling,\n of course I love you.", "ELAINE\n I came here to see my husband, Mortimer.\n\n JONATHAN\n Why did you say your name was Harper ?", "ELAINE\n (looking frightened)\n Who is it ? Is that you, Teddy ?\n JONATHAN\n Who are you ?" ], [ "Mortimer is still looking through the open window.\n\n MORTIMER\n Elaine !\n\nHe enters back into the room, and sits on the window-seat.", "MORTIMER\n Nothing to...\n\nHe stops going upstairs\n\n MORTIMER\n Window-seat ?\n\nHe comes back downstairs.", "While talking, he keeps on searching and opens the lid of the\nwindow-seat. He gives its insides a quick look and closes it back,\nand then moves away.\n\n MORTIMER\n The next thing...", "MORTIMER\n (he yells)\n But there's a body in the window-seat !\n\n ABBY\n Yes, dear. We know.", "Mortimer, who had just heard the creaking of the lid of the\nwindow-seat, turns back toward the policeman.\n\n MORTIMER\n Well, you have ?", "MORTIMER\n There !\n\nAbby walks to the window-seat and looks inside, surprised.\n\n ABBY\n Who can that be ?", "BREWSTER RESIDENCE - SITTING ROOM - INTERIOR NIGHT\n\nMortimer is standing by the window-seat. All the drapes are\nclosed. He bends down.", "Mortimer goes back to his aunts, still sitting on the window-seat.", "MORTIMER\n He is not Mister Hoskins !\n\nHe opens the window-seat wide and let the lid rest on the bottom\nof the window.", "Mortimer turns his head and sees Elaine sitting on the window-\nseat. He drops the phone on the desk, and yells :", "MORTIMER\n Certainly not on the window-seat. I'm going to sleep on the\n window-seat.", "MORTIMER\n Elaine ? What's the matter with her ?\n\nHe stands up and runs across the room to the window-seat.\n\n MORTIMER\n Oh, dear !", "BREWSTER RESIDENCE - SITTING ROOM - INTERIOR NIGHT\n\nMortimer enters the empty sitting-room. He goes to the window-\nseat, opens it and talks to the corpse.", "MORTIMER\n Jonathan, let Aunt Martha see what's in the window-seat.\n\nJonathan's face shows that he is no more so sure of himself.", "Mortimer, half-seated on the telephone desk, comes out of his\ndream, and goes to the window. By signs only, he tries to explain", "lid. The lid creaks. Mortimer seems very surprised by what he sees\ninside the seat. He opens the lid completely and let it rest on\nthe bottom of the window.", "Mortimer starts dancing around the room. Then he hears a door\nclosing on the balcony, and he sits on the window-seat. We see\nJonathan on the balcony. He starts going downstairs. Mortimer goes\ntoward him.", "He crosses the room to sit on the window-seat.\n MORTIMER\n I'm going to sleep on the windows-eat from now on.\n\n ELAINE\n Mortimer !", "Mortimer hardly listens to her, but catches the last word.\n\n MORTIMER\n Window seat... Witherspoon. Darling, you'd better run along\n home.", "ABBY\n Martha, you come straight along here. You just look and see\n what's in that window-seat.\n\nJonathan and Mortimer both rushes across the room and sit on the\nwindow-seat" ], [ "MORTIMER\n Yeah.\n\nHe turns around to listen to his aunts singing their hymns.\n\n MORTIMER\n Well, even they have their peculiarities.", "Mortimer is more and more shocked and his aunts, very calmly, keep\non putting plates and silverware on the table.\n MARTHA\n He died.", "A glint of hope appears in Mortimer's eyes at the mention of his\naunts' wine.\n\nEinstein runs across the room to the shelves where the carafe of\npoisoned wine has been put away.", "He looks at the kitchen, then at the seat. There is horror on his\nface.\n\nHis two aunts come from the kitchen, singing and carrying things\nfor the celebration.\n\nMortimer shows a forced smile.", "MARTHA\n He was such a lonely, old gentleman, Mister Midgely was.\n\n ABBY\n All his kith and kin were dead.", "BROPHY\n Be careful what you say about your aunts, they happen to be\n friends of ours.\n\n JONATHAN\n I'll show them to you.", "made up our minds, then and there, that if we could help\n other lonely, old men to find that same peace, we would.\n MORTIMER", "MARTHA\n Oh, yes, dear. That's what we did with the others.\n\n MORTIMER\n Look, here, Aunt Martha. You can't...", "Mortimer goes back to his aunts, still sitting on the window-seat.", "Mortimer comes very close to Witherspoon, and tries, by mime only,\nto induce Witherspoon to take his aunts.", "He waves them goodbye and then follows Teddy downstairs.\n\nJonathan has remained seated, with both his aunts standing on the\nother side of the table.", "JONATHAN\n Perish the thought, dear aunties. That was just Mortimer.\n And speaking of services, Aunt Martha, will you make us\n some coffee while we take Mister Spenalzo down to the\n cellar ?", "Jonathan stands up and looks menacingly at his aunts. While\ntalking, he moves closer to them. They look frightened.", "Mortimer looks even more shocked than before. His two aunts keep\non setting the table as if nothing had happened.\n\n MORTIMER\n You know ?", "Mortimer laughs and hugs his aunts.\n MORTIMER\n Come here. I've got the two nicest aunts in the world. Of\n course, you've got the nicest nephew in the world, too.", "JONATHAN\n You think my aunts are sweet, charming old ladies, don't\n you ? Well, there's thirteen bodies buried in the cellar !\n Yes, thirteen.", "MORTIMER\n Wait a minute !\n\nHe rushes to his aunts.", "He sings the last words, trying again to mime to Rooney that his\ntwo aunts are crazy.", "Jonathan smiles and looks upstairs.\n\n JONATHAN\n Rather a good joke on my aunts. They're living in a house\n with a body buried in the cellar.\nEinstein laughs.", "He puts the telephone receiver back on his hook, and he turns on\nhis chair to face his aunts, his arms resting on the back of the\nchair." ], [ "JONATHAN\n Thirteen bodies. I'll show you where they're buried.\n\n O'HARA\n Oh, yeah !", "They turn to Einstein, who has seated himself and is laughing his\nhead off.\n\n JONATHAN\n You've done all that right here in this house and buried\n them in the cellar ?", "Mortimer suddenly realizes the corpse could be a «friend» of\nJonathan. He quickly closes the lid.", "MARTHA\n So, we all took him down to Panama, and put him in the lock\n and gave him a decent Christian burial. There, now you", "We see only shadows in the dark, but we guess Jonathan is handing\nMr. Spenalzo's corpse to Einstein, who will then put it in the\nwindow-seat.", "MORTIMER\n What ? You buried him ?", "MORTIMER\n Oh-oh !\n\n LIEUTENANT ROONEY\n Yeah, Teddy's been telling around there's thirteen bodies\n buried in the cellar.", "ELAINE\n It's true ! There are thirteen bodies down there !\n\nMortimer tries to make her shut up, and succeeds only by kissing\nher very passionately on the mouth.", "ABBY\n And then, you see, Teddy came up from digging in Panama,\n and he thought Mister Midgely was a yellow-fever victim.\n And that meant he had to be buried immediately.", "neighbors, what with that bugle and all. And that cockeyed\n story about thirteen bodies being buried...\nRooney stops, looks around with a suspicious eye and takes his hat\noff.", "ABBY\n There are twelve graves down there now.\n\nThe two men look at each other. Jonathan seems the most surprised.\n\n JONATHAN\n Twelve graves.", "tail. When Teddy comes into the light from the open door of the\ncellar, we discover he is carrying a human body, which could only", "ABBY\n No, no, you wouldn't have to dig. The graves are all\n marked. We put flowers on them every Sunday.\n\nMortimer walks downstairs.", "Jonathan smiles and looks upstairs.\n\n JONATHAN\n Rather a good joke on my aunts. They're living in a house\n with a body buried in the cellar.\nEinstein laughs.", "The two men bend down to take the corpse out of the window-seat.\n\n MARTHA\n Oh ! He must mean Mister Hoskins.", "JONATHAN\n Take his feet, Doctor. Mister Spenalzo and he will get\n along fine together. They're both dead.", "BROPHY\n He tried to get us to go down to the cellar. He says there\n are thirteen bodies buried down there.", "ABBY\n It's a terrible thing to do to bury a good Methodist with a\n foreigner.\n\nMortimer comes rushing into the room with the papers in his hand.", "MORTIMER\n I'll tell you what we'll do, Captain. I'll bring my bodies\n down from the attic and you get yours down from the cellar,", "ABBY\n Now, Mortimer, you behave yourself. You know very well\n there are thirteen bodies down in our cellar." ], [ "He stops when he realizes that Jonathan is sitting with him. He\nsuddenly understands the situation, and shows a broad smile to his\nbrother. He then stands up", "Jonathan.", "Mortimer walks closer to Jonathan.\n\n MORTIMER\n Holy mackerel ! It is Jonathan !\n\n JONATHAN\n I'm glad you remember, Mortimer.", "Jonathan enters through the front door left open by Elaine, closes\nit and locks it.", "JONATHAN\n I've come back home, Mortimer.\n\nAt the voice of Jonathan, the three women stop talking\n\n MORTIMER\n What ?", "He puts the phone down and turns to O'Hara, who has succeeded in\nwaking up Jonathan and getting him on his feet. Jonathan stares at\nBrophy. He thinks Brophy is talking about him.", "JONATHAN\n You saw someone at the car ?\n\n ELAINE\n Yes.\n\nEinstein starts walking behind Jonathan.", "Jonathan stands up and looks menacingly at his aunts. While\ntalking, he moves closer to them. They look frightened.", "Jonathan puts his hand to his pocket, to take his gun. The\ndoorbell rings and we see a policeman's shadow through the frosted\nglass. Jonathan stands up and Abby rushes to the door.", "Jonathan enters from the cellar, followed by Einstein.\n\n JONATHAN\n Yes, Mortimer.", "JONATHAN\n I'm Jonathan, you know. Your nephew, Jonathan.\n\nHe takes his hat off.", "with him.\n (to Jonathan)\n Listen, Jonathan. You're my brother, you're a Brewster. So,", "Jonathan walks behind him, carrying a shovel. He puts the shovel\ndown against the wall and start mounting the stairs\n\n JONATHAN\n You're forgetting, Doctor.", "Jonathan. Behind them, Mortimer is slowly getting up and getting\nrid of his ropes. Apparently, his fall has completely untied him.", "Brophy and O'Hara each take one arm of Jonathan.\n\n BROPHY & O'HARA\n Reward ?", "Jonathan is now just behind Mortimer's chair, with the cord ready\nin his hands.", "When he gets on floor level, he meets Jonathan.\n\n JONATHAN\n I'll open the window. You go round and hand him through.", "Knocking on the door. The door being open, O'Hara enters the room.\nHe spots Jonathan and Einstein.", "JONATHAN\n Yes, Mortimer. I've been away for twenty years. But never,\n my dear brother, were you out of my mind.\n\nJonathan is lighting candles on the table.", "JONATHAN\n Come in, doctor.\n\nDoctor Einstein, who was waiting at the door, comes into the room,\nand closes the door behind him." ], [ "JONATHAN\n We come to him for help and he tries to shake us down.\n Besides, he said I looked like Boris Karloff. That's your\n work, doctor. You did that to me.", "We get a close-up of the face of the tall man, actually Jonathan\nBrewster. It's full of scars and it makes him look a bit like\nBoris Karloff in the Frankenstein films. He looks around the room.", "Jonathan grabs Einstein's collar and squeezes it.\n\n JONATHAN\n You see, doctor, what you've done to me ? Even my own\n family think I'm...", "Einstein has his little bottle in one hand, and, with the finger\nof the other hand, he tries to explain to Jonathan that the corpse\nis safely in the window-seat.", "JONATHAN\n My face. Doctor Einstein is responsible for that. He's a\n plastic surgeon.", "Einstein has breathing problems because of Jonathan's squeezing.\n\n DOCTOR EINSTEIN\n Johnny, Johnny ! You are home in this lovely house.", "Close-up on Mortimer's frightened face.\n\nEinstein wipes his face with a napkin.\n\nJonathan takes a scalpel from the case and feels the sharpness of\nthe blade.", "Einstein gives a glass to Jonathan. Mortimer, who recognized the\ncarafe, is smiling behind his gag. Jonathan smells the glass.\nEinstein has his glass almost to his lips, when Jonathan stops\nhim.", "Einstein goes to the front door and switches the lights on.\n JONATHAN\n Doctor !\n\n DOCTOR EINSTEIN\n It's all right, Johnny. It's okay.", "Einstein tries to stop Jonathan, but Jonathan pushes him away.\nEinstein takes off one of his shoes, and hits Jonathan very hard\non the head with it. Jonathan falls on the floor.", "JONATHAN\n Oh, I forgot to tell you, Doctor Einstein and I are turning\n Grandfather's laboratory into an operating room. We expect\n to be very busy.\n\nHe goes to the cellar door.", "Einstein peeks through the drapes to have a look at the outside of\nthe front door. He rushes to Jonathan.\n\n DOCTOR EINSTEIN\n Hey, Johnny, the cops !", "DOCTOR EINSTEIN\n Yes, Johnny. I know exactly what I'm going to do.\n\nHe comes close to Jonathan and shows him on his face what he is\ngoing to do to it.", "JONATHAN\n (voice over. We just see his shadow on the wall behind\n Einstein)\n You are going to operate tomorrow, Doctor. But tonight we\n are taking care of Mortimer.", "DOCTOR EINSTEIN\n Yeah.\nO'Hara looks at Jonathan's face.\n\n O'HARA\n Where have I seen that face before ?", "JONATHAN\n Be careful.\n\n DOCTOR EINSTEIN\n Oh, but his shoe came off. Help me, Johnny. He's so heavy.\n Now I've got him !", "JONATHAN\n Now, Doctor, we go to work.\n\nEinstein stands up.\n\n DOCTOR EINSTEIN\n Johnny, for me, please, the quick way. Please.", "Einstein takes his jacket off. He is almost crying.\n\n DOCTOR EINSTEIN\n All right. Let's get it over with. No, but, Johnny, I\n cannot see this without a drink.", "Einstein, who has seen the knife, tries to stop Jonathan. But\nJonathan keeps on walking slowly downstairs.", "JONATHAN\n Doctor, this must be an artistic achievement.\n\n DOCTOR EINSTEIN\n Please." ], [ "He puts the phone down and turns to O'Hara, who has succeeded in\nwaking up Jonathan and getting him on his feet. Jonathan stares at\nBrophy. He thinks Brophy is talking about him.", "Hearing that, Jonathan screams, jumps on O'Hara and puts his hand\naround his throat.", "Jonathan puts his hand to his pocket, to take his gun. The\ndoorbell rings and we see a policeman's shadow through the frosted\nglass. Jonathan stands up and Abby rushes to the door.", "He stops when he realizes that Jonathan is sitting with him. He\nsuddenly understands the situation, and shows a broad smile to his\nbrother. He then stands up", "Jonathan stands up and looks menacingly at his aunts. While\ntalking, he moves closer to them. They look frightened.", "Einstein, who has seen the knife, tries to stop Jonathan. But\nJonathan keeps on walking slowly downstairs.", "At this moment, Jonathan comes smashing on the wall below the\nstaircase. He grabs the telephone and lifts it to throw it on the\ncops, bringing it within easy reach of Mortimer's hand.", "Jonathan.", "MORTIMER\n Thank you very much. Yeah, that's fine.\nJonathan suddenly realizes what Mortimer is doing and turns his", "JONATHAN\n I'll get every one of you ! I hate cops. I'll brain the\n first one that comes near me !\n\nMortimer picks up the telephone handset, and starts dialing.", "JONATHAN\n (voice over from the shadow on the wall)\n Look at me, Doctor. You can see that it's got to be done,\n can't you?", "JONATHAN\n Doctor, we've got a wonderful setup here. We can make a\n fortune. Two old ladies as a front. Only Mortimer stands in\n our way. I never did like Mortimer.", "Jonathan is now just behind Mortimer's chair, with the cord ready\nin his hands.", "Jonathan walks behind him, carrying a shovel. He puts the shovel\ndown against the wall and start mounting the stairs\n\n JONATHAN\n You're forgetting, Doctor.", "JONATHAN\n The more you struggle, Mortimer, the more you strangle\n yourself. Later on, you may consider that a blessing.\n\nHe takes a curved forceps from the case and plays with it.", "JONATHAN\n That's all he's got on us. We'll take Spenalzo and dump him\n in the bay. After that, we're coming back here. Then if he\n tries to interfere...", "with him.\n (to Jonathan)\n Listen, Jonathan. You're my brother, you're a Brewster. So,", "Einstein tries to stop Jonathan, but Jonathan pushes him away.\nEinstein takes off one of his shoes, and hits Jonathan very hard\non the head with it. Jonathan falls on the floor.", "JONATHAN\n I'm Jonathan, you know. Your nephew, Jonathan.\n\nHe takes his hat off.", "Both sisters go to the window-seat and are ready to lift the lid,\nwhen the drapes above the seat suddenly open wide, revealing a\nvery menacing Jonathan. The two sisters back off, frightened." ], [ "When Mortimer sees Witherspoon flipping the pages of his booklet,\na slightly frightened look comes to his face.", "MORTIMER\n Now, he knows he's in the house with murderers. So he ought\n to know he's in danger. He's even been warned to get out of\n the house. And does he go ?", "DOCTOR GILCHRIST\n Yes, indeed.\nThe doctor looks back at Mortimer, seeming a little frightened.", "MORTIMER\n (voice over)\n Oh, darling, don't worry about it. I'm here now. Now forget\n it.", "MORTIMER\n (whispering)\n Hasn't got it yet.\n\nHe resumes his walking downstairs.", "MORTIMER\n Darling, don't «ah-ah ah-ah», I'm nervous. Don't do this.", "MORTIMER\n Thank you very much. Yeah, that's fine.\nJonathan suddenly realizes what Mortimer is doing and turns his", "MORTIMER\n Oh, Jonathan ? Oh, he's probably in prison or hanged or\n something by now.\n\nHe walks across the room and starts searching on the table.", "Mortimer paces the kitchen, while his aunts are busy cooking.\n\n ABBY\n Yes. You just should get stop worrying about it.", "MORTIMER\n I remember now. He used to scare grownups with it.\n\nMortimer walks away from his aunt.", "ELAINE\n (voice over)\n Oh, Mortimer, I'm afraid of him.", "MORTIMER\n Well, look, darlings. Look, I'm frightfully sorry, but I've\n got an awful shock for you.\n\nHe takes Abby's hands in his.", "MORTIMER\n Oh, what does he do ? Well, the big chump sits there. This\n fellow's supposed to be bright. He sits there.", "MORTIMER\n Did you find those notes ?\n\nMortimer senses there is something wrong in his aunt's voice, and\nwalks to her.", "MORTIMER\n Jonathan, let Aunt Martha see what's in the window-seat.\n\nJonathan's face shows that he is no more so sure of himself.", "MORTIMER\n «There's that look again, Mortimer !» You better get used\n to it.\n\nHe becomes more serious and come closer to her.", "MORTIMER\n Oh !\n\nHe rushes out of the kitchen.\n\n ABBY\n Well, whatever is the matter with Mortimer today ?", "Mortimer starts dancing around the room. Then he hears a door\nclosing on the balcony, and he sits on the window-seat. We see\nJonathan on the balcony. He starts going downstairs. Mortimer goes\ntoward him.", "Mortimer, who had also reached his door, stops and turns around.\n\n MORTIMER\n What ? Now ?\n\nHe starts running toward her, but she stops him.", "MORTIMER\n How it would be marvelous if he wasn't there.\n\nHe slowly opens the lid of the seat. When the lid is a few inches\nopen, he peeks inside." ], [ "MORTIMER\n Elaine !\nElaine, frightened, jumps up from the seat. Mortimer rushes to\nher.\n\n MORTIMER\n Will you get out of here ?", "Mortimer turns to him.\n\n MORTIMER\n (to the cab driver)\n Oh, we're going to Niagara Falls. Call me a cab, dear.", "MORTIMER\n Hold on to your bustles. We're married. Elaine and I are\n married.\n\nThe two sisters hug and kiss Mortimer.", "MORTIMER\n Oh... Oh, Elaine, I didn't mean...", "ELAINE\n Mortimer ! Mortimer ! Mortimer ! It's true ! It's true ! I\n saw them. Mortimer, it's true.\n\nRooney and Saunders come out of the kitchen.", "Elaine, eventually, comes out of her hysteria. She puts her arms\naround Mortimer, and talks to him in a very sweet voice.\n\n ELAINE\n Oh, Mortimer.", "MORTIMER\n No, no. I... Ohhh !\n\nMortimer hesitates a little and then gives a passionate kiss to\nElaine.", "ELAINE\n (voice over)\n Hey, you !\n\nWhen he hears Elaine's voice, Mortimer slams the lid down and sit\non the seat.", "MORTIMER\n Elaine ? What's the matter with her ?\n\nHe stands up and runs across the room to the window-seat.\n\n MORTIMER\n Oh, dear !", "MORTIMER\n Huh ? Taxi ? Huh, huh, huh ?\n\nShe is pulling him toward the door.\n\n ELAINE\n Yeah, come on !", "We hear Elaine whistling. Mortimer tries to whistle back, but no\nsound comes from his mouth. He tries again, but with no more\nsuccess. He seems in shock.", "to Elaine that he's got a problem with the window-seat. We don't\nsee her, but we imagine she doesn't understand, because Mortimer\nrushes to the kitchen.", "Back to the line of people waiting in front of the counter. The\nmarriage clerk is standing behind a set of metal bars. A couple of\npeople leaves the counter. It's now Mortimer and Elaine's turn.\nThe marriage clerk sings :", "Mortimer and Elaine are still kissing. Mortimer lets go of Elaine.\nHe puts her hat on her head.\n\n MORTIMER\n Go on, darling, the train leaves in an hour, and hurry.", "Mortimer comes out of the house, still carrying Elaine with his\nmouth pressed on her. O'Hara and the cab driver, who were chatting", "JONATHAN\n I see. Is that why you came over here ?\n\n ELAINE\n Oh no, I came to see Mortimer. But if he's not home, I'll\n run...", "MORTIMER\n Elaine ! Elaine ! Where are you ? Can you hear me ? I'm not\n really a Brewster ! I'm the son of a sea cook !", "He walks away, leaving the doctor very shaken by the experience.\nThe doctor runs to Mortimer, still outside Elaine's window and\nkissing her passionately. The doctor clears loudly his throat to\nattract Mortimer's attention.", "Elaine tries to put a few words but Mortimer keeps on kissing her.\n\n ELAINE\n (mumbles through Mortimer's mouth)\n But I saw them...", "ELAINE\n Do you ?\n\nMortimer takes her in his arms.\n\n MORTIMER\n Yes, darling." ] ]

[ "Where did Mortimer and Elaine grow up?", "What does Mortimer think of the corpse in the window seat?", "What is the name of Mortimer's brother?", "What does Teddy belives he is doing in the basement?", "What is Dr. Einstein's occupation?", "How did the Bewster's come to America?", "What was the occupation of Mortimer's biological father?", "Who was Mortimer's biological mother?", "How many brother'sdoes Mortimer have?", "What religious identification did the Brewster family's ancestors belong to?", "What traditional societal value does Mortimer Brewster deride in his novels?", "On what day does Elaine and Mortimer Brewster marry?", "Why is it ironic that Mortimer falls in love and marry Elaine?", "What is the name of Mortimer's brother?", "What specific profession of doctoring does Dr. Herman Einstein practice?", "Where does Jonathan bury Spenalzo?", "What truth does Mortimer's Aunt's reveal to him?", "What did Mortimer's real mother do for a living? ", "The Brewster Family is direct descendants of whom? ", "Elaine is the daughter of who? ", "What does Mortimer find in the window seat?", "How did the aunts end the long suffering of old bachelors? ", "Who buries the bodies?", "Jonathan arrives with who?", "What monster does Jonathan resemble after it's altered by a drunk Dr. Einstein?", "Jonathan intends to kill who?", "What does Mortimer worry about a lot?", "What does Mortimer gleefully tell Elaine on the way to their honeymoon?" ]

[ [ "Brooklyn, NY", "Brooklyn" ], [ "He thinks his brother murdered the corpse.", "Mortimer think the corpse is kill by Teddy" ], [ "Teddy", "Jonathan." ], [ "Teddy belives he is digging locks for the Panama canal and buyring the bodies of yellow fever victims.", "DIGGIN PART OF THE PANAMA CANAL AND BURYING PEOPLE WHO DIED OF YELLOW FEVER" ], [ "Plastic surgeon", "Plastic Surgeon" ], [ "They came over on the Mayflower", "decendents from the Mayflower" ], [ "Chef", "He was a chef on a steamship." ], [ "Abby and Martha's cook", "The aunts' cook" ], [ "Two", "Two" ], [ "Protestantism ", "White Anglo - Saxon Protestant" ], [ "marriage", "marriage" ], [ "Halloween Day", "Halloween day" ], [ "because he has written several novels ridiculing marriage as \"old-fashioned superstition\"", "BECAUSE HE WRITES BOOKS RIDICULING MARRIAGE" ], [ "Jonathan", "Jonathan" ], [ "Plastic Surgery", "Plastic Surgery" ], [ "Cellar", "The cellar" ], [ "That he is not an actual Brewster by blood.", "THEY ARE KILLING ELDERLY MEN" ], [ "She was a sea cook", "cook" ], [ "White Anglo-Saxon Protestants", "Pilgrims" ], [ "The minister next door", "The minister who lives next door to the Brewsters." ], [ "A corpse", "A DEAD BODY" ], [ "Serving them elderberry wine with arsenic, strychnine, and a touch of cyanide. ", "they served them a drink made of elderberry wine, arsenic, strychnine and cyanide " ], [ "Teddy", "Mortimer" ], [ "His alcoholic accomplice, Dr. Herman Einstein", "DR HERMAN EINSTEIN" ], [ "Frankenstein ", "Frankenstein's monster" ], [ "Mortimer", "Mortimer." ], [ "That he will go insane just like the rest of his family.", "That he will go crazy like the rest of his family." ], [ "\"I'm not a Brewster, I'm the son of a sea cook!\"", "that the Brewsters have been crazy since they came to America on the Mayflower" ] ]

[ [ "a change in command. The men get a \n little loose. But I know I'm leaving \n them in good hands.", "He straightens up, dusts off his hands, and as he turns to \n take the letters, we see for the first time that he is General", "(Bob, grinning, hastily \n buttons his shirt)\n This division is now under the command \n of General Harold G. Carlton, and I", "Not all of this is heard, since the sound effects pick their \n spots, but the attention is on the General, who is watching", "BOB\n Thanks, fellows. I guess by now you \n know the Old Man's being replaced by", "The Sheriff watches them go, pleased. A pounding on the \n door recalls the Landlord, and he frowns. He strides to the \n door, takes out his key and opens it.", "ADJUTANT\n Yes, sir.\n\n Waverly and the Adjutant alight from the jeep.", "a new Commanding General fresh out \n of the Pentagon... this divisions's \n been awfully lucky so far, but tonight", "They look off through the exit and see a moving van unloading \n scenery, as the General arrives in his buggy.\n\n He steps down and looks with amazement at the scenery passing \n by.", "Through the window behind the General we have seen it begin \n to SNOW. The General notices it for the first time, and his \n face brightens.", "He takes the Adjutant by the arm and leads him toward the \n recreation area.\n\n RAISED PLATFORM - MED. SHOT", "BOB\n (Remembering)\n Oh, I beg your pardon, sir.\n (He pulls the letter", "He is staring off at the recreation area.\n\n GENERAL CARLTON\n (To Adjutant)\n What's this all about, Colonel?", "WAVERLY\n Well, to put it in one sentence, \n people don't expect major generals \n to carry firewood.\n\n Through the door comes Phil, fast, talking:", "The Sergeant looks at General Waverly.\n\n GENERAL WAVERLY\n Goodbye, Sergeant. Take the short \n cut.", "The General notices them - motions for them to sit down again, \n indicating he doesn't want attention called to himself.\n\n 5D.\n\n PLATFORM - FULL SHOT", "GENERAL CARLTON\n These men are moving up tonight. \n They should be lined up for full \n inspection!\n\n The jeep has come to a halt.", "SERGEANT\n Yes, sir!\n\n The jeep pulls off and makes a half circle. The Adjutant \n makes a gesture, as if to stop it. The General stops him.", "As it jounces along. General Waverly is weather-beaten and \n weary; his uniform, while neat, shows the effects of long", "WAVERLY\n (Pushing it aside)\n Never heard of anything so ridiculous.\n (Gets up)" ], [ "hair. Always smiling.\n (He parodies a smile)\n Lots of teeth. Sister acts have \n more teeth than anybody else. Two,", "She is looking toward the window. As the curtains billow \n outward we see a diffused figure of Bob, sitting on a fence,", "and slipper fellow. That's Bob, \n smoking a pipe and petting a cocker \n spaniel. Still, Phil could learn to", "Something bothers Bob about this story. He looks searchingly \n at Betty, puzzled. He does not notice Waverly, who watches \n him watching Betty.", "The Sheriff is in the room. He looks coolly at the boys, \n who are now in their own clothes. He stares at them. They \n stare at him. Recognition comes all at once.", "BOB\n I just don't see it. You' re skinny, \n you got a big nose, and you squint.\n\n PHIL\n Who? Me?", "tapping his forehead)\n Ticking away madly. Wheels within \n wheels. This is the brain that, in", "(Judy steps up to him \n and just pecks him \n on the cheek, then \n joins her sister in", "her! The girl in the oxygen tent! \n I told you about her! The road \n company of \"Student Prince.\" The", "Waverly. He looks through them, eagerly, then, downcast, \n shoves them in his overalls and goes back to his work.", "PHIL\n (To Bob)\n What a pretty name!\n\n BOB\n (They're off)\n Nicer than Dolores!", "PHIL\n Four feet two inches tall. Pudgy. \n Round races. Have big bows in their", "Betty turns and looks toward her. Since Judy does not see \n her, Betty's expression is a true reflection of how she feels.", "Phil assumes a pain-stricken face again and Judy throws her \n arms around him. Phil smiles over her shoulder at Waverly.\n\n DISSOLVE TO:", "Bob sees her emotion through the speech. Betty notices Judy \n upset, shaking off the people around her and running through \n the doorway to the kitchen.", "BOB\n Hiya, Ed.\n\n ED\n (He knows Betty)\n Betty.\n\n She nods, as Ed sits down.", "HANK\n This thing goes over a hundred an \n hour! Hold on!\n\n He starts with his red lights going, his siren screaming, \n and tires grinding.", "Anonymous?\n (She nods; he indicates \n Phil)\n Women Anonymous. Their biggest case.", "Waverly runs to the tangled Phil.\n\n PHIL\n My leg is broken! Ow, ow!", "who stops at the mirror in the corridor to wipe away a few \n tears. Bob comes into view in the mirror, entering the \n corridor from the living room." ], [ "It is alive with customers; couples are dancing on the floor, \n as a number ends. Bob enters, and is conducted to a ringside \n table by a maitre d'.", "CLUB - MED. SHOT\n\n as Bob watches her. When she finishes the number, Betty \n steps down from the platform and joins Bob.", "He enters the room, and watches. He looks intently at Phil. \n Phil and Judy dance closer to Bob. They see him. They continue \n dancing, talking as they do.", "BOB\n I'm low man. Bob.\n (He takes her arm, \n indicating Phil and \n Judy)\n Follow that couple.", "Betty looks up and the CAMERA FOLLOWS her look to Phil, who \n is dancing with Rita. Rita nestles up close to Phil. This \n is seen by Bob and Betty. Bob smiles.", "She turns away rather abruptly, since she is becoming \n emotional. Bob shakes his head, impressed with what he thinks \n is her devotion.", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "Bob takes Martha by the arm and seats her in the middle of \n the room as an audience of one. Phil looks up from the piano, \n puzzled. The sunset is visible through the window and there \n is a mood of quiet.", "As Phil comes to a portion where he speeds up his steps she \n unconsciously speeds up her knitting, Bob has seen her, and", "(HE GETS UP.)\n I'll bring her over.\n\n He goes, Bob watching, disgusted. NOVELLO, the owner of the \n Waterfront Inn, comes up.", "BOB\n (Eyeing her)\n They're kind of suited, in a lot of \n ways.\n\n BETTY\n Some people are.", "BOB\n She's fine. Couldn't be better.\n (Carefully)\n Playing footsie with Phil.", "Something bothers Bob about this story. He looks searchingly \n at Betty, puzzled. He does not notice Waverly, who watches \n him watching Betty.", "BOB\n All right, places for the next number!\n (He turns to Sylvia)\n You're next, Sylvia.", "and joining Bob. Bob takes her in his arms. At this point \n we are brought back to reality by the wind slamming a shutter.", "They dance away. Bob crosses to the piano and picks up the \n package Betty left for him. He opens it up and it is a single", "BOB\n Now that's very flattering. Tuna \n coming up.\n (He is occupied at", "She is looking toward the window. As the curtains billow \n outward we see a diffused figure of Bob, sitting on a fence,", "BETTY\n That's nice.\n\n BOB\n I think they like each other.\n\n BETTY\n I do, too.", "Bob sees her emotion through the speech. Betty notices Judy \n upset, shaking off the people around her and running through \n the doorway to the kitchen." ], [ "As Phil comes to a portion where he speeds up his steps she \n unconsciously speeds up her knitting, Bob has seen her, and", "JUDY\n The way Phil dances, and he's funny. \n It's easy to see yourself married to \n him.", "PHIL\n (To Judy)\n See you later.\n\n The girls go. Phil goes toward the piano, Bob goes toward \n Martha, who is on the phone, accepting reservations.", "BOB\n She's fine. Couldn't be better.\n (Carefully)\n Playing footsie with Phil.", "Phil and Judy are separated by the congratulators.\n\n Betty, hiding her emotion, grips Phil's arm.", "They all laugh. The girls enter their bungalow and put on \n the light. The boys head toward their bungalow. Phil enters", "JUDY\n Some people dance closer than others.\n\n Phil is delighted that she is jealous.", "He enters the room, and watches. He looks intently at Phil. \n Phil and Judy dance closer to Bob. They see him. They continue \n dancing, talking as they do.", "Phil enters the shot with Judy and Betty.\n\n PHIL\n Hello, Mister Novello.\n\n NOVELLO\n Good evening, Mister Davis.", "Phil is excited.\n\n PHIL\n Bob, just leave it to me! He won't \n get near a set if I have to break a \n leg... Goodbye, Bob!", "Betty looks up and the CAMERA FOLLOWS her look to Phil, who \n is dancing with Rita. Rita nestles up close to Phil. This \n is seen by Bob and Betty. Bob smiles.", "Phil assumes a pain-stricken face again and Judy throws her \n arms around him. Phil smiles over her shoulder at Waverly.\n\n DISSOLVE TO:", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "Still at the same camera distance, we see Betty turning Phil \n over to Judy.\n\n CLOSE SHOT - PHIL AND JUDY\n\n Judy is a little cool.", "Betty looks from the tickets and sees that Judy is covertly \n eyeing Phil. She leans forward.", "and Phil, individually. Toward the end of the vocal Phil \n dances Judy out to the terrace overlooking the water. This", "Everybody is so engaged, except those actively helping Phil \n and Judy rehearse. The attitude is slightly cool on Judy's \n part, but it is lover's coolness.", "Phil's feet. At the end of the number, which is applauded \n by the witnesses, Judy runs to Phil and hugs and kisses him,", "PHIL\n Betty get off all right?\n\n BOB\n (Slightly belligerent)\n Certainly.", "CLOSE SHOT - PHIL AND RITA\n\n On closer view, we can see that Rita is the aggressor." ], [ "JUDY\n That's how I started in Canton, Ohio.\n\n BETTY\n This is Vermont. Nothing can happen \n here.", "PHIL\n Where are you going to be for \n Christmas?\n\n JUDY\n We're booked in Vermont.", "BETTY\n (Through her tears)\n Where are Judy and Phil?\n\n BOB\n Probably in their rooms, crying.\n\n They start out.", "Betty looks from the tickets and sees that Judy is covertly \n eyeing Phil. She leans forward.", "Still at the same camera distance, we see Betty turning Phil \n over to Judy.\n\n CLOSE SHOT - PHIL AND JUDY\n\n Judy is a little cool.", "Judy is getting into bed. Betty, in her dressing gown, is \n looking out of the window toward the boys' bungalow.", "PHIL\n I've been looking for you, Judy.\n\n BETTY\n Excuse me.\n\n She goes through the corridor toward the living room.", "JUDY\n What are you doing here? What \n happened at The Carousel?\n\n BETTY\n I'm helping out here tomorrow.", "MED. CLOSE SHOT - BETTY AND JUDY\n\n They are a half dozen steps ahead of the boys.", "BETTY\n Then we dropped the bags out the \n window and checked them at the depot.\n\n JUDY\n What are we going to do now?", "plays, the boys eat. The table is close to the bar. On two \n stools sit JUDY and BETTY. Betty is wearing her glasses and", "BOB\n Business, business. Meeting a fellow \n here.\n\n BETTY\n Judy all right?", "PHIL\n Oh, what guests there are in the \n other hotels. They're pretty bored \n here without snow, and a New York \n show's kind of a novelty in Vermont.", "Betty turns and looks toward her. Since Judy does not see \n her, Betty's expression is a true reflection of how she feels.", "JUDY\n They're both very cute, aren't they?\n\n BETTY\n (Hiding her real \n interest)\n Both?", "BETTY\n Nothing else matters.\n\n JUDY\n We're not going to break up our act.\n\n Phil enters the kitchen.", "BETTY\n You can't have both. There's a law.\n\n JUDY\n Oh, we'll never meet them again, \n what does it matter?", "JUDY\n (Turning to her)\n I didn't know he was going to make \n that announcement, I swear I didn't.\n\n Betty puts one arm around her.", "MED. CLOSE SHOT - BETTY AND JUDY\n\n On her part, Judy is not absorbed in the tickets, but is \n unobtrusively sizing up Phil.", "Phil enters the shot with Judy and Betty.\n\n PHIL\n Hello, Mister Novello.\n\n NOVELLO\n Good evening, Mister Davis." ], [ "BOB\n Phil!\n (He takes a sheet of \n music out of his \n inside pocket)\n Look this over, I want to try \n something.", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "MED. SHOT - CAFE FLOOR\n\n Bob and Phil stand with their backs to the audience.\n\n They turn, face front, and we realize they are mouthing to a \n record.", "PHIL\n (To Judy)\n See you later.\n\n The girls go. Phil goes toward the piano, Bob goes toward \n Martha, who is on the phone, accepting reservations.", "She walks into sight, Bob following. Phil and Judy break, \n embarrassed.\n\n JUDY\n We were rehearsing for the show \n tomorrow night.", "The curtain is down, the boys come off, the curtain goes up \n on the next number, which is dancing. Phil and Bob are met \n by COOKE, the Company Manager.", "he thinks is unnecessary. Phil, ignoring Bob's hostile look, \n brightly continues with WHITE CHRISTMAS from where the song", "Phil evidently was trying to hide this from Bob and is self-\n conscious at being caught.\n\n PHIL\n It's a kind of new dance number.", "The company is rehearsing as Bob and Phil enter.\n\n BOB\n That's all for today, kids.", "BOB\n I'm low man. Bob.\n (He takes her arm, \n indicating Phil and \n Judy)\n Follow that couple.", "BOB\n All right kids! Places! Let's get \n going! Phil, you're on!\n\n Phil reacts.", "We HEAR Bob and Betty, off scene, continuing to the end of \n the second chorus, on which Phil, sotto voce, sings the last \n four bars.", "suddenly the picture comes to life and we are on the stage \n of the theatre where Bob and Phil are doing the production \n number \"BELLS\".", "MED. SHOT - CAFE FLOOR\n\n Bob and Phil do the number.\n\n MED. SHOT - AUDIENCE", "etc. Bob and Betty are seen singing. Throughout action of \n this number Phil and Judy dance. In addition there is staged", "Phil and Bob stiffen automatically.\n\n PHIL AND BOB\n Yes, sir!", "PHIL\n (Into phone)\n Hello.\n (He listens. To Bob \n and Cooke)\n Oscar.", "BOB\n She's fine. Couldn't be better.\n (Carefully)\n Playing footsie with Phil.", "He enters the room, and watches. He looks intently at Phil. \n Phil and Judy dance closer to Bob. They see him. They continue \n dancing, talking as they do.", "BOB\n I'm Bob Wallace -- this is Phil Davis --\n\n BETTY\n We're the Stewart sisters." ], [ "PHIL\n Oh, what guests there are in the \n other hotels. They're pretty bored \n here without snow, and a New York \n show's kind of a novelty in Vermont.", "enjoying the show, however. There are some vacant seats \n apparent. This theatre is a modern traveling tent show, \n such as have been playing in Florida in recent years, and", "and Davis sheets of previous shows are on the wall. It must \n be evident from their billing that the boys are important \n stars in New York.", "It is alive with customers; couples are dancing on the floor, \n as a number ends. Bob enters, and is conducted to a ringside \n table by a maitre d'.", "FIRST OWNER\n Great show, Waverly.\n\n WAVERLY\n Thank you.", "applauds. He can't believe it. He reaches his table, \n decorated with flowers, and recognizes he is the guest of", "They finish the number and are applauded enthusiastically, \n but the few people in the audience don't make for much \n clatter. One set of hands seems to be applauding loudest \n and clearest.", "and slipper fellow. That's Bob, \n smoking a pipe and petting a cocker \n spaniel. Still, Phil could learn to", "The number concludes to applause. Bob holds up his hand for \n silence. He removes his beard.", "He is profoundly moved and walks to the stage. The audience \n is seated. Waverly looks at the assembled crowd with great", "I mean with the show. We've got a \n lot of new material. You both are \n going to have to do a lot of", "Bob is on stage supervising the rehearsal. Judy is standing \n across from the piano. Betty is seated on the sidelines \n with her legs stretched over two chairs.", "hair. Always smiling.\n (He parodies a smile)\n Lots of teeth. Sister acts have \n more teeth than anybody else. Two,", "(He hears some figure. -\n It obviously is a \n very large number)\n Good night, Oscar.", "BOB AND PHIL\n Yes sir.\n\n WAVERLY\n Apparently there must be a lot about \n show business I don't understand.", "Ed is about to go on the air. Bob is opposite him, out of \n camera range, The technical crew are watching the hand of \n the dial approaching 60.", "He is the one doing the enthusiastic applauding. He walks \n toward the boys, still applauding. They applaud too. The \n girls enter the scene, to sit with the boys.", "MARTHA\n (Formally)\n There will be a celebration of the \n forthcoming event tonight after the \n show!\n (Everyone approves)", "BOB\n You're gonna read this little speech \n on your television show. People \n look at it, don't they?", "JUDY\n Some people dance closer than others.\n\n Phil is delighted that she is jealous." ], [ "he's written. He'll start in I'm \n only his housekeeper and that I found\n out through some chicanery or \n something.", "My housekeeper, Miss Martha Allen, \n my granddaughter, Susan Waverly.", "The women are becoming very nervous. Suddenly we HEAR off \n scene the most tremendous clatter dorm the stairway and Phil's \n shouting.", "Bob and Betty tiptoe through the entrance to the inn. In \n the semidarkness of the lobby we hear a \"sst - \", and Susan \n and Martha are revealed having been waiting for them.", "Bob sees her emotion through the speech. Betty notices Judy \n upset, shaking off the people around her and running through \n the doorway to the kitchen.", "Judy is getting into bed. Betty, in her dressing gown, is \n looking out of the window toward the boys' bungalow.", "In the background we see the General in the butler's pantry \n getting some drinks for the guests. He is not seen by Betty", "MARTHA\n Like any housekeeper -- I read the \n carbon paper.\n (She hands the mail \n to Susan)\n Bring him the mail.", "the draperies pulled back right and left and a side wall \n pushed back a little farther. There is hammering and painting \n going on in various parts of the room. Trunks have been", "Through the huge window behind Susan and Martha we see the \n figure of a man in overalls, bending over an incinerator, \n shoveling the ashes into a wheelbarrow.", "He takes a pillow from a nearby chair and puts it between \n her head and her chair. She waits, eyes closed, expectantly.", "This is the party later that evening. Some people are \n dancing. Others are grouped about, and there is a general \n home party atmosphere. The General, Martha and Susan are \n seen helping everyone to feel at home.", "and joining Bob. Bob takes her in his arms. At this point \n we are brought back to reality by the wind slamming a shutter.", "The Sheriff watches them go, pleased. A pounding on the \n door recalls the Landlord, and he frowns. He strides to the \n door, takes out his key and opens it.", "But Bob gets to his feet, and carefully tiptoes to the door \n and exits, closing it softly behind him. After a moment,", "He opens the door of the booth and hurries across the lobby \n toward Susan, who is at the desk, and BANGS on the bell, \n which is on the counter. Martha comes running from the \n kitchen.", "It is empty and most of the lights are out. At a considerable \n distance from CAMERA Martha extinguishes the last light,", "BOB\n Yes, sir.\n (Continuing)\n It certainly was a surprise hearing", "As Phil comes to a portion where he speeds up his steps she \n unconsciously speeds up her knitting, Bob has seen her, and", "Something bothers Bob about this story. He looks searchingly \n at Betty, puzzled. He does not notice Waverly, who watches \n him watching Betty." ], [ "There is a drum roll from the orchestra. Betty takes off \n her glasses and puts them in their case, on the bar. The \n bandleader's voice announces:", "He gives the downbeat, and Betty has no choice but to sing \n LOVE, YOU DIDN'T DO RIGHT BY ME. She is assisted in the \n second chorus by a vocal group.", "Music has underscored this scene. Betty is wide awake.", "BETTY\n (Stopping him, sotto)\n Let's not do the new number.\n\n LEADER\n What?", "BETTY\n Nothing else matters.\n\n JUDY\n We're not going to break up our act.\n\n Phil enters the kitchen.", "Betty is walking over to the dancing couple and deliberately \n cuts in on Rita, who is displeased, but can do nothing but", "Betty looks from the tickets and sees that Judy is covertly \n eyeing Phil. She leans forward.", "Betty turns and looks toward her. Since Judy does not see \n her, Betty's expression is a true reflection of how she feels.", "Betty looks up and the CAMERA FOLLOWS her look to Phil, who \n is dancing with Rita. Rita nestles up close to Phil. This \n is seen by Bob and Betty. Bob smiles.", "BETTY\n (Through her tears)\n Where are Judy and Phil?\n\n BOB\n Probably in their rooms, crying.\n\n They start out.", "Still at the same camera distance, we see Betty turning Phil \n over to Judy.\n\n CLOSE SHOT - PHIL AND JUDY\n\n Judy is a little cool.", "BETTY\n Now, baby! It's all right!\n\n PHIL\n Well, everything's fine now!", "They dance away. Bob crosses to the piano and picks up the \n package Betty left for him. He opens it up and it is a single", "Betty whirls around.\n\n MED. SHOT - BETTY AND BOB\n\n We see Bob is having a snack of his own.", "CLUB - MED. SHOT\n\n as Bob watches her. When she finishes the number, Betty \n steps down from the platform and joins Bob.", "realizes how fond she is of him but that he does not return, \n consciously, her affection. We hear Betty:", "BETTY\n (As Bob holds the \n chair)\n Well, surprise. What brought you to", "Betty and Bob shake hands. She holds his handshake a little \n longer than necessary, and Bob is forced to move along with \n the train. Finally she releases him, and Bob looks after", "STAGE - MED. CLOSE\n\n Betty is standing at the microphone ready to sing.\n\n She sees Bob. The Leader raises his baton.", "BETTY\n I'm Betty." ], [ "Through the window behind the General we have seen it begin \n to SNOW. The General notices it for the first time, and his \n face brightens.", "He hangs up the phone, and proudly, head erect, he walks \n through the lobby, smiling, eyes wet. He lifts the bell on \n the desk with a loud bang. Martha hurries in, startled.", "he's written. He'll start in I'm \n only his housekeeper and that I found\n out through some chicanery or \n something.", "He straightens up, dusts off his hands, and as he turns to \n take the letters, we see for the first time that he is General", "the draperies pulled back right and left and a side wall \n pushed back a little farther. There is hammering and painting \n going on in various parts of the room. Trunks have been", "The Sheriff watches them go, pleased. A pounding on the \n door recalls the Landlord, and he frowns. He strides to the \n door, takes out his key and opens it.", "PHIL\n Then he woke up, and nobody slept \n for the next forty-eight hours.", "Something bothers Bob about this story. He looks searchingly \n at Betty, puzzled. He does not notice Waverly, who watches \n him watching Betty.", "He opens the door of the booth and hurries across the lobby \n toward Susan, who is at the desk, and BANGS on the bell, \n which is on the counter. Martha comes running from the \n kitchen.", "PHIL\n Yes sir, and we also took the girls \n twice around the town for a little \n run. They were stiff from the train.\n In their practice clothes.", "Seated around the television set are Waverly, Martha and \n Susan. Martha and Susan look at their watches and each other, \n nervously. Waverly also looks at his watch.", "and joining Bob. Bob takes her in his arms. At this point \n we are brought back to reality by the wind slamming a shutter.", "WAVERLY\n (Solemn)\n This is the one.\n (He opens it, He", "tapping his forehead)\n Ticking away madly. Wheels within \n wheels. This is the brain that, in", "The General looks at her, questioningly.\n\n BETTY\n (Whispering, during a \n lull in the noise)\n I sent them a telegram this morning.", "She walks into sight, Bob following. Phil and Judy break, \n embarrassed.\n\n JUDY\n We were rehearsing for the show \n tomorrow night.", "The women are becoming very nervous. Suddenly we HEAR off \n scene the most tremendous clatter dorm the stairway and Phil's \n shouting.", "It is alive with customers; couples are dancing on the floor, \n as a number ends. Bob enters, and is conducted to a ringside \n table by a maitre d'.", "They all laugh. The girls enter their bungalow and put on \n the light. The boys head toward their bungalow. Phil enters", "BOB\n (To Albert)\n How long are we so far?\n\n ALBERT\n An hour and ten minutes." ], [ "BOB\n Phil!\n (He takes a sheet of \n music out of his \n inside pocket)\n Look this over, I want to try \n something.", "Phil evidently was trying to hide this from Bob and is self-\n conscious at being caught.\n\n PHIL\n It's a kind of new dance number.", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "She walks into sight, Bob following. Phil and Judy break, \n embarrassed.\n\n JUDY\n We were rehearsing for the show \n tomorrow night.", "he thinks is unnecessary. Phil, ignoring Bob's hostile look, \n brightly continues with WHITE CHRISTMAS from where the song", "BOB\n I'm low man. Bob.\n (He takes her arm, \n indicating Phil and \n Judy)\n Follow that couple.", "PHIL\n (To Judy)\n See you later.\n\n The girls go. Phil goes toward the piano, Bob goes toward \n Martha, who is on the phone, accepting reservations.", "BOB\n All right, bubble lover, stand up!\n\n PHIL\n What for? I just sat down.", "BOB\n She's fine. Couldn't be better.\n (Carefully)\n Playing footsie with Phil.", "The curtain is down, the boys come off, the curtain goes up \n on the next number, which is dancing. Phil and Bob are met \n by COOKE, the Company Manager.", "BOB\n All right kids! Places! Let's get \n going! Phil, you're on!\n\n Phil reacts.", "Phil enters the shot with Judy and Betty.\n\n PHIL\n Hello, Mister Novello.\n\n NOVELLO\n Good evening, Mister Davis.", "The company is rehearsing as Bob and Phil enter.\n\n BOB\n That's all for today, kids.", "Phil and Bob stiffen automatically.\n\n PHIL AND BOB\n Yes, sir!", "We HEAR Bob and Betty, off scene, continuing to the end of \n the second chorus, on which Phil, sotto voce, sings the last \n four bars.", "PHIL\n Never stopped dancing.\n\n Bob turns back to the table.\n\n BOB\n (To the girls)\n Can we help?", "MED. SHOT - CAFE FLOOR\n\n Bob and Phil stand with their backs to the audience.\n\n They turn, face front, and we realize they are mouthing to a \n record.", "PHIL\n (Into phone)\n Hello.\n (He listens. To Bob \n and Cooke)\n Oscar.", "BOB\n (Taking Phil by the \n arm)\n He isn't. Some business has come", "BOB\n I'm Bob Wallace -- this is Phil Davis --\n\n BETTY\n We're the Stewart sisters." ], [ "BOB\n (Remembering)\n Oh, I beg your pardon, sir.\n (He pulls the letter", "(Bob gives him his \n letter. There is a \n pause. An attempt \n at being light)", "BOB\n Phil!\n (He takes a sheet of \n music out of his \n inside pocket)\n Look this over, I want to try \n something.", "PHIL\n (To Judy)\n See you later.\n\n The girls go. Phil goes toward the piano, Bob goes toward \n Martha, who is on the phone, accepting reservations.", "She walks into sight, Bob following. Phil and Judy break, \n embarrassed.\n\n JUDY\n We were rehearsing for the show \n tomorrow night.", "They dance away. Bob crosses to the piano and picks up the \n package Betty left for him. He opens it up and it is a single", "The curtain is down, the boys come off, the curtain goes up \n on the next number, which is dancing. Phil and Bob are met \n by COOKE, the Company Manager.", "suddenly the picture comes to life and we are on the stage \n of the theatre where Bob and Phil are doing the production \n number \"BELLS\".", "PHIL\n (Into phone)\n Hello.\n (He listens. To Bob \n and Cooke)\n Oscar.", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "Bob takes Martha by the arm and seats her in the middle of \n the room as an audience of one. Phil looks up from the piano, \n puzzled. The sunset is visible through the window and there \n is a mood of quiet.", "BOB\n The train goes tonight.\n (Phil looks \n disconsolately at", "Phil enters the shot with Judy and Betty.\n\n PHIL\n Hello, Mister Novello.\n\n NOVELLO\n Good evening, Mister Davis.", "BOB\n No, sir.\n\n WAVERLY\n Let's mosey over to the post office, \n I'm expecting a letter any day.", "BOB\n I'm low man. Bob.\n (He takes her arm, \n indicating Phil and \n Judy)\n Follow that couple.", "He enters the room, and watches. He looks intently at Phil. \n Phil and Judy dance closer to Bob. They see him. They continue \n dancing, talking as they do.", "BOB\n She's fine. Couldn't be better.\n (Carefully)\n Playing footsie with Phil.", "And he holds his hand out, and they shake hands, still \n flustered.\n\n JUDY\n Good night, Phil. Good night, Bob.", "Rita shows up in front of Phil.\n\n RITA\n (Eagerly)\n You said you had something to rehearse \n with me after the show. What is it?", "The company is rehearsing as Bob and Phil enter.\n\n BOB\n That's all for today, kids." ], [ "Betty looks up and the CAMERA FOLLOWS her look to Phil, who \n is dancing with Rita. Rita nestles up close to Phil. This \n is seen by Bob and Betty. Bob smiles.", "She turns away rather abruptly, since she is becoming \n emotional. Bob shakes his head, impressed with what he thinks \n is her devotion.", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "She walks into sight, Bob following. Phil and Judy break, \n embarrassed.\n\n JUDY\n We were rehearsing for the show \n tomorrow night.", "As Phil comes to a portion where he speeds up his steps she \n unconsciously speeds up her knitting, Bob has seen her, and", "He enters the room, and watches. He looks intently at Phil. \n Phil and Judy dance closer to Bob. They see him. They continue \n dancing, talking as they do.", "She is looking toward the window. As the curtains billow \n outward we see a diffused figure of Bob, sitting on a fence,", "Bob takes Martha by the arm and seats her in the middle of \n the room as an audience of one. Phil looks up from the piano, \n puzzled. The sunset is visible through the window and there \n is a mood of quiet.", "Something bothers Bob about this story. He looks searchingly \n at Betty, puzzled. He does not notice Waverly, who watches \n him watching Betty.", "They dance away. Bob crosses to the piano and picks up the \n package Betty left for him. He opens it up and it is a single", "and joining Bob. Bob takes her in his arms. At this point \n we are brought back to reality by the wind slamming a shutter.", "Bob sees her emotion through the speech. Betty notices Judy \n upset, shaking off the people around her and running through \n the doorway to the kitchen.", "BOB\n There's nothing to cry about, is \n there?\n\n He looks to Susan and she begins to bawl.", "Bob looks from one to the other and their smiling shyness \n indicates pregnancy.\n\n BOB\n You're kidding!", "BOB\n (Eyeing her)\n They're kind of suited, in a lot of \n ways.\n\n BETTY\n Some people are.", "It is alive with customers; couples are dancing on the floor, \n as a number ends. Bob enters, and is conducted to a ringside \n table by a maitre d'.", "BOB\n She's fine. Couldn't be better.\n (Carefully)\n Playing footsie with Phil.", "He smiles at her, oblivious to the meaning behind her lines.\n\n BOB\n Would you like to know how I handle \n a situation like that...?", "Betty steps up to him and gives him the biggest smack.\n\n Bob is quite surprised.", "BOB\n All right, places for the next number!\n (He turns to Sylvia)\n You're next, Sylvia." ], [ "BOB\n Really, sir? That's great news!\n\n WAVERLY\n Yes. I miss the Army.", "BOB\n (Remembering)\n Oh, I beg your pardon, sir.\n (He pulls the letter", "BOB\n Yes, sir.\n (Continuing)\n It certainly was a surprise hearing", "BOB\n (Carefully)\n Ed, I saw the old man.\n\n ED\n Waverly? Where, in the Pentagon?", "BOB\n I'm low man. Bob.\n (He takes her arm, \n indicating Phil and \n Judy)\n Follow that couple.", "Bob has stopped. He looks at Phil, suspiciously.\n\n BOB\n I thought we watched you every minute.\n\n Phil holds up his hand in \"Scout's honor.\"", "BOB\n (Trapped, unhappy for \n him)\n No sir.\n (His nerve up)", "PHIL\n (Into phone)\n Hello.\n (He listens. To Bob \n and Cooke)\n Oscar.", "BOB\n (Taking Phil by the \n arm)\n He isn't. Some business has come", "(Bob gives him his \n letter. There is a \n pause. An attempt \n at being light)", "BOB\n No, sir.\n\n WAVERLY\n Let's mosey over to the post office, \n I'm expecting a letter any day.", "WAVERLY'S VOICE\n (A bellow)\n ATTENTION!\n\n Automatically, Bob stiffens. Phil does the same.", "BOB\n I'm fine, sir.\n (But he looks around \n questioningly, \n bewildered)", "BOB\n (To Albert)\n How long are we so far?\n\n ALBERT\n An hour and ten minutes.", "PHIL\n Pete!\n\n SHERIFF\n Phil! Bob!\n\n BOB\n Pete!", "WAVERLY\n The rest of the letter is about the \n family.\n (Bob looks at him,", "BOB\n A civilian M.P.! If the fellows \n ever saw you now! They'd skin you \n alive!", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "BOB\n The train goes tonight.\n (Phil looks \n disconsolately at", "WAVERLY\n I would think so.\n (He thinks)\n How will they know you're here?\n\n BOB\n Oh, word gets around." ], [ "DISSOLVE TO:\n\n FULL SHOT - COLUMBIA INN FLOOR - (DAY)", "MED. SHOT - INT. COLUMBIA INN\n\n MARTHA, a sixty year old spinsterish woman, good of heart, \n forbidding exterior, is occupied at the desk.", "Martha at the desk, and her eyes widen in surprise.\n\n MARTHA\n (Happily)\n Welcome to Columbia Inn. How do you \n do?", "BOB\n Well, if you say so.\n (Gesturing to the \n waiting Columbia Inn \n bus driver)\n Driver, your sleigh and reindeer.", "MED. SHOT - INT. COLUMBIA INN OUTSIDE WAVERLY'S OFFICE\n\n Waverly and Martha are helping Phil through the door.", "DISSOLVE TO:\n\n MED. CLOSE SHOT - INT. COLUMBIA INN LOBBY - PHIL IN PHONE \n BOOTH - (NIGHT)", "DISSOLVE TO:\n\n INT. DINING ROOM INN - (NIGHT) - MED. CLOSE SHOT -\n\n BETTY AND JUDY", "Bob and Betty tiptoe through the entrance to the inn. In \n the semidarkness of the lobby we hear a \"sst - \", and Susan \n and Martha are revealed having been waiting for them.", "FADE OUT\n\n FADE IN:\n\n LONG SHOT - INT. INN FLOOR - (DAY)", "DISSOLVE TO:\n\n EXT. INN - (DAY) - MED. CLOSE SHOT - WAVERLY, BOB AND PHIL", "Martha and Susan beam; all is well.\n\n DISSOLVE TO:\n\n FULL SHOT - INT. INN FLOOR - (NIGHT)", "The bus comes to a stop and our principals get out, Phil \n staying with the driver for the luggage. The others enter \n the inn.\n\n MED. SHOT - INT. INN", "There is a group of elderly men, among them the hotel owners, \n pitching horseshoes. Waverly is sitting on a bench, ruefully \n looking at the sign.", "(HE GETS UP.)\n I'll bring her over.\n\n He goes, Bob watching, disgusted. NOVELLO, the owner of the \n Waterfront Inn, comes up.", "He turns away and goes to his quarters.\n\n DISSOLVE TO:\n\n MED. SHOT - INT. INN FLOOR - (DAY)", "DISSOLVE TO:\n\n MED. SHOT - WATERFRONT INN - BOB AND PHIL - (NIGHT)", "DISSOLVE TO:\n\n FULL SHOT - INT. INN FLOOR - (NIGHT)", "The last of the supper audience is leaving. We see into a \n room which adjoins the reservation desk and Bob is on the \n phone.\n\n CLOSE SHOT - INT. INN OFFICE", "WAVERLY\n Why here?\n (There is a hint here \n of the General)\n Phil looks to Bob for help as they \n move toward the lobby.", "It is alive with customers; couples are dancing on the floor, \n as a number ends. Bob enters, and is conducted to a ringside \n table by a maitre d'." ], [ "The General smiles; Betty waves a farewell to him and crosses \n to the train, starting up the steps. The notion behind this", "BETTY\n Then we dropped the bags out the \n window and checked them at the depot.\n\n JUDY\n What are we going to do now?", "Betty and Bob shake hands. She holds his handshake a little \n longer than necessary, and Bob is forced to move along with \n the train. Finally she releases him, and Bob looks after", "BETTY\n So was the one in Kansas City, and \n the one in Canton, Ohio, and the one \n in Waco, Texas.", "BETTY\n (Through her tears)\n Where are Judy and Phil?\n\n BOB\n Probably in their rooms, crying.\n\n They start out.", "WAVERLY\n It's always a pleasure to meet an \n expert in any field. Tell me, why \n do you think Betty went to New York?", "Train about to leave. The General is in the foreground \n sitting in the buggy. Betty is saying goodbye to him.\n\n Bob and the porter are taking care of her luggage.", "They dance away. Bob crosses to the piano and picks up the \n package Betty left for him. He opens it up and it is a single", "Betty turns and looks toward her. Since Judy does not see \n her, Betty's expression is a true reflection of how she feels.", "realizes how fond she is of him but that he does not return, \n consciously, her affection. We hear Betty:", "This causes the diffusion to vanish, and Betty gets out of \n bed and puts on her robe.", "Betty is walking over to the dancing couple and deliberately \n cuts in on Rita, who is displeased, but can do nothing but", "Music has underscored this scene. Betty is wide awake.", "There is a drum roll from the orchestra. Betty takes off \n her glasses and puts them in their case, on the bar. The \n bandleader's voice announces:", "PHIL\n I've been looking for you, Judy.\n\n BETTY\n Excuse me.\n\n She goes through the corridor toward the living room.", "Betty looks from the tickets and sees that Judy is covertly \n eyeing Phil. She leans forward.", "GENERAL\n (Shouting over noise \n of train)\n Where are you going to be?\n\n BETTY\n The Carousel.", "JUDY\n That's how I started in Canton, Ohio.\n\n BETTY\n This is Vermont. Nothing can happen \n here.", "putting out his pipe. This is followed by an equally diffused \n figure of Betty, leaving her bed, crossing the furniture,", "Still at the same camera distance, we see Betty turning Phil \n over to Judy.\n\n CLOSE SHOT - PHIL AND JUDY\n\n Judy is a little cool." ], [ "He looks fondly at Judy, taking it for granted she is \n overwhelmed at this method of announcing to her that he is \n going to marry her. He hugs her amidst a general reaction \n of congratulations.", "APPLAUSE follows the song. Phil gets up.\n\n PHIL\n Ladies and gentlemen, I would like \n to make an announcement.", "He hangs up the phone, and proudly, head erect, he walks \n through the lobby, smiling, eyes wet. He lifts the bell on \n the desk with a loud bang. Martha hurries in, startled.", "PHIL\n (Pointing to Bob)\n He was an officer, sir.\n\n WAVERLY\n Only to confuse the enemy.", "JUDY\n (Turning to her)\n I didn't know he was going to make \n that announcement, I swear I didn't.\n\n Betty puts one arm around her.", "The women are becoming very nervous. Suddenly we HEAR off \n scene the most tremendous clatter dorm the stairway and Phil's \n shouting.", "PHIL\n Ma, unhook my bra!\n\n The office door opens behind them, which they do not see. \n The Sheriff steps out, followed by the Landlord and Novello.", "She walks into sight, Bob following. Phil and Judy break, \n embarrassed.\n\n JUDY\n We were rehearsing for the show \n tomorrow night.", "he's written. He'll start in I'm \n only his housekeeper and that I found\n out through some chicanery or \n something.", "PHIL\n (To Judy)\n See you later.\n\n The girls go. Phil goes toward the piano, Bob goes toward \n Martha, who is on the phone, accepting reservations.", "WAVERLY\n (Pushing it aside)\n Never heard of anything so ridiculous.\n (Gets up)", "Bob looks from one to the other and their smiling shyness \n indicates pregnancy.\n\n BOB\n You're kidding!", "BOB\n I'm low man. Bob.\n (He takes her arm, \n indicating Phil and \n Judy)\n Follow that couple.", "She turns away rather abruptly, since she is becoming \n emotional. Bob shakes his head, impressed with what he thinks \n is her devotion.", "Everybody is so engaged, except those actively helping Phil \n and Judy rehearse. The attitude is slightly cool on Judy's \n part, but it is lover's coolness.", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "JUDY\n The way Phil dances, and he's funny. \n It's easy to see yourself married to \n him.", "reaches the second chorus, he starts to dim the lamp on the \n table, Betty, pretending to be sleepy, leans her head toward \n Bob.", "JUDY\n Some people dance closer than others.\n\n Phil is delighted that she is jealous.", "Betty and Bob shake hands. She holds his handshake a little \n longer than necessary, and Bob is forced to move along with \n the train. Finally she releases him, and Bob looks after" ], [ "BOB\n Well, if you say so.\n (Gesturing to the \n waiting Columbia Inn \n bus driver)\n Driver, your sleigh and reindeer.", "BOB\n The train goes tonight.\n (Phil looks \n disconsolately at", "BOB\n Yes, sir.\n (Continuing)\n It certainly was a surprise hearing", "BOB\n (Remembering)\n Oh, I beg your pardon, sir.\n (He pulls the letter", "BOB\n (To Albert)\n How long are we so far?\n\n ALBERT\n An hour and ten minutes.", "It is alive with customers; couples are dancing on the floor, \n as a number ends. Bob enters, and is conducted to a ringside \n table by a maitre d'.", "The boys respond with \"Merry Christmas\".\n\n GENERAL WAVERLY\n (Embarrassed)\n Well -- I guess that's about it - uh - \n uh --", "(Bob gives him his \n letter. There is a \n pause. An attempt \n at being light)", "WAVERLY\n I would think so.\n (He thinks)\n How will they know you're here?\n\n BOB\n Oh, word gets around.", "(Bob, grinning, hastily \n buttons his shirt)\n This division is now under the command \n of General Harold G. Carlton, and I", "BOB\n Now that's very flattering. Tuna \n coming up.\n (He is occupied at", "BOB\n (To the audience)\n Doesn't that bring back memories? \n Remember those terrible, trying days \n in Italy... when we had to beat the \n women off with chocolate bars?", "BOB\n (Carefully)\n Ed, I saw the old man.\n\n ED\n Waverly? Where, in the Pentagon?", "BOB\n Yes, sir.\n (Still trying)\n Still, weather's a funny thing.\n It could snow - overnight.", "This is the prearranged signal for Bob to begin singing WHITE \n CHRISTMAS. Phil accompanies him on a harmonica. Toward the", "BOB\n A civilian M.P.! If the fellows \n ever saw you now! They'd skin you \n alive!", "BOB\n You enjoy them all year round.\n (He looks to Betty)\n We won't get in your way, will we?", "ADJUTANT\n (Turning)\n A little entertainment for the men, \n sir. Tonight's Christmas Eve.", "Bob shakes his head, unhappy at this condition. They look \n at each other.\n\n BOB\n I think well stay a little longer \n than we planned.", "Through the window behind the General we have seen it begin \n to SNOW. The General notices it for the first time, and his \n face brightens." ], [ "The spotlight prepared, pinpoints the General as he enters \n the room, and the music starts. The audience rises and", "The General stands at attention through the first chorus, \n visibly moved. During the second chorus he starts up the", "He turns to the musicians, gives the downbeat. They play \n THE OLD MAN, which is sung by the entire outfit.", "All eyes turn to the lobby entrance, through which the old \n outfit marches, and continues to the stage, and then back to \n their respective tables as the song finishes.\n\n MED. SHOT - WAVERLY", "They look off through the exit and see a moving van unloading \n scenery, as the General arrives in his buggy.\n\n He steps down and looks with amazement at the scenery passing \n by.", "honor. From the lobby we hear the outfit SINGING the opening \n strains of THE OLD MAN.", "He leaves her and goes to the piano and they do WHAT CAN YOU \n DO WITH A GENERAL, solely for Martha.\n\n Toward the end of the song --", "He gets up, opens the office door, and we HEAR their entrance \n music, as before, and the Orchestra Leader's voice, \"The \n Stewart Sisters.\"", "MARTHA\n Yes, sir!\n\n She and the General gaze at the snow falling beyond the lobby \n door which is blown open by the wind.", "Through the window behind the General we have seen it begin \n to SNOW. The General notices it for the first time, and his \n face brightens.", "Underneath all this we have been hearing the introductory \n music to WHITE CHRISTMAS, which is the number now in progress \n on the stage. Waverly now turns and walks into the dining \n room.", "Waverly refuses. Toward the finish of the song, he turns, \n faces the men and salutes them. The men return the salute.", "Not all of this is heard, since the sound effects pick their \n spots, but the attention is on the General, who is watching", "In the exultation, General Waverly places two fingers to his \n lips and blows a whistle of sheer pleasure and approval. We", "The General turns and exits toward the lobby, THE CAMERA \n PANS with him, a lonely figure walking through the lobby, \n the CAMERA STOPPING on a poster advertising tonight's \n performance.", "This is the party later that evening. Some people are \n dancing. Others are grouped about, and there is a general \n home party atmosphere. The General, Martha and Susan are \n seen helping everyone to feel at home.", "WAVERLY\n Well, to put it in one sentence, \n people don't expect major generals \n to carry firewood.\n\n Through the door comes Phil, fast, talking:", "General Waverly comes down the stairs, cutting quite a figure \n in his uniform and decorations. Martha and Susan, waiting \n for him at the bottom, look him over, admiringly.", "The General notices them - motions for them to sit down again, \n indicating he doesn't want attention called to himself.\n\n 5D.\n\n PLATFORM - FULL SHOT", "He straightens up, dusts off his hands, and as he turns to \n take the letters, we see for the first time that he is General" ], [ "Betty looks from the tickets and sees that Judy is covertly \n eyeing Phil. She leans forward.", "BETTY\n Nothing else matters.\n\n JUDY\n We're not going to break up our act.\n\n Phil enters the kitchen.", "Still at the same camera distance, we see Betty turning Phil \n over to Judy.\n\n CLOSE SHOT - PHIL AND JUDY\n\n Judy is a little cool.", "BETTY\n (Through her tears)\n Where are Judy and Phil?\n\n BOB\n Probably in their rooms, crying.\n\n They start out.", "BETTY\n Bob or Phil?\n\n JUDY\n Neither.\n\n BETTY\n You mean both.", "JUDY AND BETTY\n How do you do.\n\n BOB\n (Rising)\n How do you do.", "Bob is on stage supervising the rehearsal. Judy is standing \n across from the piano. Betty is seated on the sidelines \n with her legs stretched over two chairs.", "etc. Bob and Betty are seen singing. Throughout action of \n this number Phil and Judy dance. In addition there is staged", "PHIL\n I've been looking for you, Judy.\n\n BETTY\n Excuse me.\n\n She goes through the corridor toward the living room.", "She walks into sight, Bob following. Phil and Judy break, \n embarrassed.\n\n JUDY\n We were rehearsing for the show \n tomorrow night.", "plays, the boys eat. The table is close to the bar. On two \n stools sit JUDY and BETTY. Betty is wearing her glasses and", "PHIL\n (To Judy)\n See you later.\n\n The girls go. Phil goes toward the piano, Bob goes toward \n Martha, who is on the phone, accepting reservations.", "BOB\n Business, business. Meeting a fellow \n here.\n\n BETTY\n Judy all right?", "Phil enters the shot with Judy and Betty.\n\n PHIL\n Hello, Mister Novello.\n\n NOVELLO\n Good evening, Mister Davis.", "Betty looks up and the CAMERA FOLLOWS her look to Phil, who \n is dancing with Rita. Rita nestles up close to Phil. This \n is seen by Bob and Betty. Bob smiles.", "routine done to lyrics and music. Bob and Phil are end men, \n Betty is interlocutor, and Judy is later introduced as Mandy.", "BETTY\n No. Why?\n\n Bob looks at Phil. The rules are clear between them.\n\n Bob puts his hand out. Phil takes it. They shake.", "BETTY\n (Quietly)\n Ahem.\n (Judy's eyes are toward \n Phil. A little louder)\n Ahem! All right dear, relax.", "BETTY\n You can't have both. There's a law.\n\n JUDY\n Oh, we'll never meet them again, \n what does it matter?", "BETTY\n I'm not the least bit worried.\n (Phil and Judy enter \n from the kitchen)" ], [ "She turns away rather abruptly, since she is becoming \n emotional. Bob shakes his head, impressed with what he thinks \n is her devotion.", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "BOB\n There's nothing to cry about, is \n there?\n\n He looks to Susan and she begins to bawl.", "BOB\n I'm low man. Bob.\n (He takes her arm, \n indicating Phil and \n Judy)\n Follow that couple.", "BOB\n You're a very odd girl.\n\n BETTY\n You're a very odd fellow.", "She is looking toward the window. As the curtains billow \n outward we see a diffused figure of Bob, sitting on a fence,", "and joining Bob. Bob takes her in his arms. At this point \n we are brought back to reality by the wind slamming a shutter.", "BOB\n She's fine. Couldn't be better.\n (Carefully)\n Playing footsie with Phil.", "She walks into sight, Bob following. Phil and Judy break, \n embarrassed.\n\n JUDY\n We were rehearsing for the show \n tomorrow night.", "BOB\n All right, places for the next number!\n (He turns to Sylvia)\n You're next, Sylvia.", "BOB\n (Interpreting this as \n mere selflessness \n for love)\n Well -\n\n BETTY\n There you are - painless.", "BOB\n (Eyeing her)\n They're kind of suited, in a lot of \n ways.\n\n BETTY\n Some people are.", "Something bothers Bob about this story. He looks searchingly \n at Betty, puzzled. He does not notice Waverly, who watches \n him watching Betty.", "BOB\n Hiya, Ed.\n\n ED\n (He knows Betty)\n Betty.\n\n She nods, as Ed sits down.", "Betty looks up and the CAMERA FOLLOWS her look to Phil, who \n is dancing with Rita. Rita nestles up close to Phil. This \n is seen by Bob and Betty. Bob smiles.", "Bob, looking at Betty, mistakenly sees her disappointment.", "Bob takes Martha by the arm and seats her in the middle of \n the room as an audience of one. Phil looks up from the piano, \n puzzled. The sunset is visible through the window and there \n is a mood of quiet.", "This has not fooled Susan. She throws her arms around Bob \n and then Phil.\n\n SUSAN\n I don't know what to say!", "As Phil comes to a portion where he speeds up his steps she \n unconsciously speeds up her knitting, Bob has seen her, and", "Bob and Betty tiptoe through the entrance to the inn. In \n the semidarkness of the lobby we hear a \"sst - \", and Susan \n and Martha are revealed having been waiting for them." ], [ "MED. SHOT - INT. COLUMBIA INN\n\n MARTHA, a sixty year old spinsterish woman, good of heart, \n forbidding exterior, is occupied at the desk.", "DISSOLVE TO:\n\n FULL SHOT - COLUMBIA INN FLOOR - (DAY)", "MED. SHOT - INT. COLUMBIA INN OUTSIDE WAVERLY'S OFFICE\n\n Waverly and Martha are helping Phil through the door.", "Martha at the desk, and her eyes widen in surprise.\n\n MARTHA\n (Happily)\n Welcome to Columbia Inn. How do you \n do?", "BOB\n Well, if you say so.\n (Gesturing to the \n waiting Columbia Inn \n bus driver)\n Driver, your sleigh and reindeer.", "Martha and Susan beam; all is well.\n\n DISSOLVE TO:\n\n FULL SHOT - INT. INN FLOOR - (NIGHT)", "Bob and Betty tiptoe through the entrance to the inn. In \n the semidarkness of the lobby we hear a \"sst - \", and Susan \n and Martha are revealed having been waiting for them.", "There is a group of elderly men, among them the hotel owners, \n pitching horseshoes. Waverly is sitting on a bench, ruefully \n looking at the sign.", "DISSOLVE TO:\n\n MED. CLOSE SHOT - INT. COLUMBIA INN LOBBY - PHIL IN PHONE \n BOOTH - (NIGHT)", "BOB\n Pentagon, nothing. He owns a little \n hotel in a winter resort in Vermont.\n\n ED\n Our old man?", "DISSOLVE TO:\n\n INT. DINING ROOM INN - (NIGHT) - MED. CLOSE SHOT -\n\n BETTY AND JUDY", "(HE GETS UP.)\n I'll bring her over.\n\n He goes, Bob watching, disgusted. NOVELLO, the owner of the \n Waterfront Inn, comes up.", "DISSOLVE TO:\n\n EXT. INN - (DAY) - MED. CLOSE SHOT - WAVERLY, BOB AND PHIL", "The bus comes to a stop and our principals get out, Phil \n staying with the driver for the luggage. The others enter \n the inn.\n\n MED. SHOT - INT. INN", "FADE OUT\n\n FADE IN:\n\n LONG SHOT - INT. INN FLOOR - (DAY)", "JUDY\n That's how I started in Canton, Ohio.\n\n BETTY\n This is Vermont. Nothing can happen \n here.", "PHIL\n (To Judy)\n See you later.\n\n The girls go. Phil goes toward the piano, Bob goes toward \n Martha, who is on the phone, accepting reservations.", "MED. SHOT - WAVERLY TABLE\n\n Waverly, flanked by Susan and Martha, is at a large table. \n The other occupants are local hotel owners and their wives.", "PHIL\n Oh, what guests there are in the \n other hotels. They're pretty bored \n here without snow, and a New York \n show's kind of a novelty in Vermont.", "DISSOLVE TO:\n\n MED. SHOT - WATERFRONT INN - BOB AND PHIL - (NIGHT)" ], [ "The last of the supper audience is leaving. We see into a \n room which adjoins the reservation desk and Bob is on the \n phone.\n\n CLOSE SHOT - INT. INN OFFICE", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "But Bob gets to his feet, and carefully tiptoes to the door \n and exits, closing it softly behind him. After a moment,", "Bob has stopped. He looks at Phil, suspiciously.\n\n BOB\n I thought we watched you every minute.\n\n Phil holds up his hand in \"Scout's honor.\"", "He enters the room, and watches. He looks intently at Phil. \n Phil and Judy dance closer to Bob. They see him. They continue \n dancing, talking as they do.", "COOKE\n (To Bob and Phil)\n New York's on the telephone.\n\n Bob and Phil, with Cooke, go to the backstage telephone.", "Bob, visible in b.g., has been watching. He and Harrison \n exchange knowing glances.\n\n AT HOTEL DESK - MED. SHOT", "BOB\n Yes, sir.\n (Continuing)\n It certainly was a surprise hearing", "Something bothers Bob about this story. He looks searchingly \n at Betty, puzzled. He does not notice Waverly, who watches \n him watching Betty.", "PHIL\n (Into phone)\n Hello.\n (He listens. To Bob \n and Cooke)\n Oscar.", "17A.\n\n CLOSE SHOT - GROUP\n\n Phil is holding the receiver up to Bob. Oscar's VOICE can \n be plainly heard.", "PHIL\n (To Judy)\n See you later.\n\n The girls go. Phil goes toward the piano, Bob goes toward \n Martha, who is on the phone, accepting reservations.", "He hangs up.\n\n GROUP SHOT - PHIL, BOB AND COOKE\n\n Bob hangs up the phone.", "Bob and Betty tiptoe through the entrance to the inn. In \n the semidarkness of the lobby we hear a \"sst - \", and Susan \n and Martha are revealed having been waiting for them.", "Bob sees her emotion through the speech. Betty notices Judy \n upset, shaking off the people around her and running through \n the doorway to the kitchen.", "We HEAR Bob and Betty, off scene, continuing to the end of \n the second chorus, on which Phil, sotto voce, sings the last \n four bars.", "He hangs up the phone, and proudly, head erect, he walks \n through the lobby, smiling, eyes wet. He lifts the bell on \n the desk with a loud bang. Martha hurries in, startled.", "It is alive with customers; couples are dancing on the floor, \n as a number ends. Bob enters, and is conducted to a ringside \n table by a maitre d'.", "She is looking toward the window. As the curtains billow \n outward we see a diffused figure of Bob, sitting on a fence,", "Bob takes Martha by the arm and seats her in the middle of \n the room as an audience of one. Phil looks up from the piano, \n puzzled. The sunset is visible through the window and there \n is a mood of quiet." ], [ "PHIL\n And you were running. What made you \n stop?\n\n RITA\n You're interested in Judy, aren't \n you?", "JUDY\n The way Phil dances, and he's funny. \n It's easy to see yourself married to \n him.", "Still at the same camera distance, we see Betty turning Phil \n over to Judy.\n\n CLOSE SHOT - PHIL AND JUDY\n\n Judy is a little cool.", "He looks fondly at Judy, taking it for granted she is \n overwhelmed at this method of announcing to her that he is \n going to marry her. He hugs her amidst a general reaction \n of congratulations.", "Everybody is so engaged, except those actively helping Phil \n and Judy rehearse. The attitude is slightly cool on Judy's \n part, but it is lover's coolness.", "JUDY\n Some people dance closer than others.\n\n Phil is delighted that she is jealous.", "Phil and Judy are separated by the congratulators.\n\n Betty, hiding her emotion, grips Phil's arm.", "PHIL\n (Helping her up)\n I'm not going to keep calling you \n Miss Stewart.\n\n JUDY\n The name is Judy.", "JUDY\n (Fearful)\n I've never been arrested!\n\n PHIL\n There's nothing to it!", "Betty looks from the tickets and sees that Judy is covertly \n eyeing Phil. She leans forward.", "Phil assumes a pain-stricken face again and Judy throws her \n arms around him. Phil smiles over her shoulder at Waverly.\n\n DISSOLVE TO:", "PHIL\n Well, stop worrying about it. When \n I ask you for a date just turn me \n down. Come on, Judy.", "and Phil, individually. Toward the end of the vocal Phil \n dances Judy out to the terrace overlooking the water. This", "Phil's feet. At the end of the number, which is applauded \n by the witnesses, Judy runs to Phil and hugs and kisses him,", "PHIL\n No.\n\n JUDY\n Yes.\n\n BOB\n (Pulling Phil away)\n No.", "Phil enters the shot with Judy and Betty.\n\n PHIL\n Hello, Mister Novello.\n\n NOVELLO\n Good evening, Mister Davis.", "JUDY\n (Seriously)\n You didn't steal the police car?\n\n PHIL\n No, no. Friend of ours.", "PHIL\n What's the matter?\n\n JUDY\n Nothing is the matter.\n\n PHIL\n This isn't the way you dance.", "PHIL\n 'Bye.\n (He leaves)\n\n JUDY\n We saw your show at the matinee, and \n we liked it very much.", "GIRLS\n (Ad libbing)\n You wouldn't tell us, would you? We \n had to find out ourselves, etc.\n (Phil and Judy are \n among the group)" ], [ "BOB\n Well, if you say so.\n (Gesturing to the \n waiting Columbia Inn \n bus driver)\n Driver, your sleigh and reindeer.", "(HE GETS UP.)\n I'll bring her over.\n\n He goes, Bob watching, disgusted. NOVELLO, the owner of the \n Waterfront Inn, comes up.", "Bob and Betty tiptoe through the entrance to the inn. In \n the semidarkness of the lobby we hear a \"sst - \", and Susan \n and Martha are revealed having been waiting for them.", "It is alive with customers; couples are dancing on the floor, \n as a number ends. Bob enters, and is conducted to a ringside \n table by a maitre d'.", "BOB\n The train goes tonight.\n (Phil looks \n disconsolately at", "Bob takes Martha by the arm and seats her in the middle of \n the room as an audience of one. Phil looks up from the piano, \n puzzled. The sunset is visible through the window and there \n is a mood of quiet.", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "The last of the supper audience is leaving. We see into a \n room which adjoins the reservation desk and Bob is on the \n phone.\n\n CLOSE SHOT - INT. INN OFFICE", "by the falling snow. Also, we see pine trees in the snow \n that are decorated.", "PHIL\n (To Judy)\n See you later.\n\n The girls go. Phil goes toward the piano, Bob goes toward \n Martha, who is on the phone, accepting reservations.", "He enters the room, and watches. He looks intently at Phil. \n Phil and Judy dance closer to Bob. They see him. They continue \n dancing, talking as they do.", "BOB\n I'm low man. Bob.\n (He takes her arm, \n indicating Phil and \n Judy)\n Follow that couple.", "he thinks is unnecessary. Phil, ignoring Bob's hostile look, \n brightly continues with WHITE CHRISTMAS from where the song", "Betty steers Bob to a point directly beneath a sprig of \n mistletoe from which is also hanging the mate to the sock", "They dance away. Bob crosses to the piano and picks up the \n package Betty left for him. He opens it up and it is a single", "EXT. PINE TREE POST OFFICE - FULL SHOT\n\n Bob comes out of the Post Office and mounts a bicycle.", "BOB\n You enjoy them all year round.\n (He looks to Betty)\n We won't get in your way, will we?", "movement by the ensemble. Bob and Betty are on each side of \n the cutout Christmas tree, but it is obvious that Betty is \n preoccupied with some stage business which she is manipulating", "This is the prearranged signal for Bob to begin singing WHITE \n CHRISTMAS. Phil accompanies him on a harmonica. Toward the", "and slipper fellow. That's Bob, \n smoking a pipe and petting a cocker \n spaniel. Still, Phil could learn to" ], [ "Phil and Bob stiffen automatically.\n\n PHIL AND BOB\n Yes, sir!", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "Bob has stopped. He looks at Phil, suspiciously.\n\n BOB\n I thought we watched you every minute.\n\n Phil holds up his hand in \"Scout's honor.\"", "PHIL\n (Pointing to Bob)\n He was an officer, sir.\n\n WAVERLY\n Only to confuse the enemy.", "BOB\n I'm glad I'm well out of it.\n\n Phil looks at him.\n\n PHIL\n Who are we kidding?", "Phil pulls Bob down in time to save him from the shrapnel \n burst. This has also pushed Bob's face into the mud, which", "WAVERLY'S VOICE\n (A bellow)\n ATTENTION!\n\n Automatically, Bob stiffens. Phil does the same.", "BOB\n Really, sir? That's great news!\n\n WAVERLY\n Yes. I miss the Army.", "BOB\n (Taking Phil by the \n arm)\n He isn't. Some business has come", "FULL SHOT - INT. INN FLOOR\n\n Bob and Phil exchange a quick glance.\n\n BOB AND PHIL\n Yes, sir.", "BOB\n The train goes tonight.\n (Phil looks \n disconsolately at", "BOB\n I'm low man. Bob.\n (He takes her arm, \n indicating Phil and \n Judy)\n Follow that couple.", "WAVERLY\n Why here?\n (There is a hint here \n of the General)\n Phil looks to Bob for help as they \n move toward the lobby.", "PHIL\n (Into phone)\n Hello.\n (He listens. To Bob \n and Cooke)\n Oscar.", "BOB\n (Carefully)\n Ed, I saw the old man.\n\n ED\n Waverly? Where, in the Pentagon?", "and slipper fellow. That's Bob, \n smoking a pipe and petting a cocker \n spaniel. Still, Phil could learn to", "PHIL\n Pete!\n\n SHERIFF\n Phil! Bob!\n\n BOB\n Pete!", "PHIL\n Betty get off all right?\n\n BOB\n (Slightly belligerent)\n Certainly.", "BOB\n All right, bubble lover, stand up!\n\n PHIL\n What for? I just sat down.", "BETTY\n (Through her tears)\n Where are Judy and Phil?\n\n BOB\n Probably in their rooms, crying.\n\n They start out." ], [ "BOB\n Phil!\n (He takes a sheet of \n music out of his \n inside pocket)\n Look this over, I want to try \n something.", "Phil evidently was trying to hide this from Bob and is self-\n conscious at being caught.\n\n PHIL\n It's a kind of new dance number.", "PHIL\n (To the girls)\n Shhh!\n (Indicating Bob,", "PHIL\n (To Judy)\n See you later.\n\n The girls go. Phil goes toward the piano, Bob goes toward \n Martha, who is on the phone, accepting reservations.", "BOB\n She's fine. Couldn't be better.\n (Carefully)\n Playing footsie with Phil.", "She walks into sight, Bob following. Phil and Judy break, \n embarrassed.\n\n JUDY\n We were rehearsing for the show \n tomorrow night.", "The curtain is down, the boys come off, the curtain goes up \n on the next number, which is dancing. Phil and Bob are met \n by COOKE, the Company Manager.", "BOB\n I'm low man. Bob.\n (He takes her arm, \n indicating Phil and \n Judy)\n Follow that couple.", "he thinks is unnecessary. Phil, ignoring Bob's hostile look, \n brightly continues with WHITE CHRISTMAS from where the song", "PHIL\n (Into phone)\n Hello.\n (He listens. To Bob \n and Cooke)\n Oscar.", "MED. SHOT - CAFE FLOOR\n\n Bob and Phil stand with their backs to the audience.\n\n They turn, face front, and we realize they are mouthing to a \n record.", "Phil enters the shot with Judy and Betty.\n\n PHIL\n Hello, Mister Novello.\n\n NOVELLO\n Good evening, Mister Davis.", "PHIL\n Never stopped dancing.\n\n Bob turns back to the table.\n\n BOB\n (To the girls)\n Can we help?", "Phil and Bob stiffen automatically.\n\n PHIL AND BOB\n Yes, sir!", "The company is rehearsing as Bob and Phil enter.\n\n BOB\n That's all for today, kids.", "BOB\n The train goes tonight.\n (Phil looks \n disconsolately at", "Bob takes Martha by the arm and seats her in the middle of \n the room as an audience of one. Phil looks up from the piano, \n puzzled. The sunset is visible through the window and there \n is a mood of quiet.", "Phil is excited.\n\n PHIL\n Bob, just leave it to me! He won't \n get near a set if I have to break a \n leg... Goodbye, Bob!", "We HEAR Bob and Betty, off scene, continuing to the end of \n the second chorus, on which Phil, sotto voce, sings the last \n four bars.", "He enters the room, and watches. He looks intently at Phil. \n Phil and Judy dance closer to Bob. They see him. They continue \n dancing, talking as they do." ], [ "He straightens up, dusts off his hands, and as he turns to \n take the letters, we see for the first time that he is General", "As it jounces along. General Waverly is weather-beaten and \n weary; his uniform, while neat, shows the effects of long", "ADJUTANT\n Yes, sir.\n\n Waverly and the Adjutant alight from the jeep.", "In the exultation, General Waverly places two fingers to his \n lips and blows a whistle of sheer pleasure and approval. We", "Through the window behind the General we have seen it begin \n to SNOW. The General notices it for the first time, and his \n face brightens.", "PHIL\n That's just the way he was in the \n army. Always thinking of the other \n fellow.", "WAVERLY\n Well, to put it in one sentence, \n people don't expect major generals \n to carry firewood.\n\n Through the door comes Phil, fast, talking:", "WAVERLY\n At ease!\n\n PHIL\n Oh, sir!\n (Horrified)\n A janitor!", "(Bob, grinning, hastily \n buttons his shirt)\n This division is now under the command \n of General Harold G. Carlton, and I", "BOB\n A civilian M.P.! If the fellows \n ever saw you now! They'd skin you \n alive!", "The Sheriff is in the room. He looks coolly at the boys, \n who are now in their own clothes. He stares at them. They \n stare at him. Recognition comes all at once.", "GENERAL CARLTON\n These men are moving up tonight. \n They should be lined up for full \n inspection!\n\n The jeep has come to a halt.", "BOB\n Really, sir? That's great news!\n\n WAVERLY\n Yes. I miss the Army.", "PHIL\n (Pointing to Bob)\n He was an officer, sir.\n\n WAVERLY\n Only to confuse the enemy.", "Not all of this is heard, since the sound effects pick their \n spots, but the attention is on the General, who is watching", "enlisted men huddled around the tree in a trench, including \n Bob and Phil. One of the men looks at his wristwatch. Now \n another does.", "WAVERLY\n No. But if there was one thing I \n learned in the army it was to be", "WAVERLY\n (He thinks a moment)\n I'll tell you something I haven't \n told my family. I'm going back in \n the Army.", "SERGEANT\n Yes, sir!\n\n The jeep pulls off and makes a half circle. The Adjutant \n makes a gesture, as if to stop it. The General stops him.", "Bob is in the foreground, the General in the background. \n Bob joins the General at the buggy. From Waverly's expression \n we can see that he has decided on a plan of action." ], [ "The cutout tree onstage rises to the flies and now the real \n trees and falling snow in b.g. are completely visible. One \n by one, the trees are lighted.", "They look off through the exit and see a moving van unloading \n scenery, as the General arrives in his buggy.\n\n He steps down and looks with amazement at the scenery passing \n by.", "It is empty and most of the lights are out. At a considerable \n distance from CAMERA Martha extinguishes the last light,", "the rear wall of the stage (two immense barn doors) has \n opened; in b.g. we see the Vermont countryside being covered", "costumes and set. During the applause and bows, we CUT TO:", "Through the huge window behind Susan and Martha we see the \n figure of a man in overalls, bending over an incinerator, \n shoveling the ashes into a wheelbarrow.", "The General turns and exits toward the lobby, THE CAMERA \n PANS with him, a lonely figure walking through the lobby, \n the CAMERA STOPPING on a poster advertising tonight's \n performance.", "the draperies pulled back right and left and a side wall \n pushed back a little farther. There is hammering and painting \n going on in various parts of the room. Trunks have been", "A church bell is framed in the foreground, and, far in the \n distance, we see the town and the Inn and the snow as we\n\n FADE OUT", "The bus winds around another turn in the beautiful green \n surroundings and we pass a ski lift and a ski jumping \n platform.\n\n WIPE TO:", "and Phil, individually. Toward the end of the vocal Phil \n dances Judy out to the terrace overlooking the water. This", "He holds her closely, by force, dancing, smiling and pleased \n with himself.\n\n MED. FULL SHOT - ROOM\n\n The dance music stops. The people disperse.", "Through the window behind the General we have seen it begin \n to SNOW. The General notices it for the first time, and his \n face brightens.", "and quiet in the car, as the music underscoring continues. \n Their faces are occasionally streaked with light flashes \n emanating from the surrounding countryside. Phil turns to", "There is none. The CAMERA MOVES CLOSER to Bob, puzzled.\n\n DISSOLVE TO:", "She starts to sing, COUNT YOUR BLESSINGS. At the conclusion, \n she walks away, leaving him standing there.\n\n FADE OUT\n\n FADE IN:", "The troupe is busy transporting the costumes, etc., from the \n moving van to the dining room auditorium as the above scene \n is played.", "THE CAMERA is now on the train platform, Bob out of sight. \n Betty wipes away a tear. In the background we see the General \n in the buggy noticing this.", "The last of the supper audience is leaving. We see into a \n room which adjoins the reservation desk and Bob is on the \n phone.\n\n CLOSE SHOT - INT. INN OFFICE", "The Landlord and Novello are looking out the window at the \n departing police car, the noise having distracted them from" ] ]

[ "Who is being removed from command?", "What is Freckle Faced Haynes also called?", "Who does Bob take a liking to at the club?", "Who does Phil hit it off with?", "When they go to Vermont, what city are Judy and Betty performing in? ", "What is the name of the musical that Bob and Phil star in? ", "Who is a successful variety show host?", "What is the name of the housekeeper that was eavesdropping? ", "What is the title of Betty's new act? ", "What day does the story begin on?", "What is the name of the newest hit musical by Bob and Phil?", "Who do Bob and Phil receive a letter from the day that their hit musical opens?", "Who is Bob smitten with when they go to see the sisters show?", "Which buddy from the Army does Bob call?", "What state is the Columbia Inn located in?", "What city does Betty depart for the take a job?", "Which character announces a phony engagement?", "What city does Bob invite the 151st Division to come to on Christmas Eve?", "What song does the division sing when the General enters the lodge?", "What is the name of the act Betty and Judy perform when Phi and Bob first go to see them?", "What sister does Bob fall in love with?", "Who runs the Columbia Inn in Pine Tree, Vermont?", "Who was eavesdropping when Bob was talking on the phone?", "Why did Phil and Judy stage a phony engagement?", "Who does Bob invite to the Pine Tree Inn on Christmas Eve?", "What branch of the military was Phil and Bob Inn?", "What is the name of Phil and Bob's new hit musical?", "What position did freckled-face Haynes have in the army?", "When the background set is removed at the end of the movie, what do you see outside?" ]

[ [ "Major General Thomas Waverly", "Major General Thomas Waverly" ], [ "Dog faced boy", "the dog faced boy" ], [ "Betty", "Betty" ], [ "Judy", "Judy" ], [ "Pine Tree", "Pine Tree" ], [ "Playing around", "Playing Around" ], [ "Ed Harrison", "Ed Harrison" ], [ "Emma Allen", "Emma Allen" ], [ "Love, You Didn't Do Right by Me", "Love, You Didn't Do Me Right" ], [ "Christmas Eve", "Christmas Eve" ], [ "Playing Around", "Playing around" ], [ "Freckle-Faced Hynes", "Freckle-Faced Haynes" ], [ "Betty", "Betty" ], [ "Ed Harrison", "Ed Harrelson" ], [ "Vermont", "Vermont" ], [ "New York City", "New York" ], [ "Phil", "Phil" ], [ "Pine Tree", "Pine Tree" ], [ "The Old Man", "The Old Man" ], [ "Sisters", "Sisters" ], [ "Betty", "Betty" ], [ "General Waverly", "General Waverly" ], [ "Bobs housekeeper, Emma Allen", "Emma" ], [ "Judy thought it would help her to commit to a serious relationship", "Because Judy believed Betty would never enter a serious relationship until Judy was in one" ], [ "The veterans of the 151st Division", "Veterans of the 151st Division" ], [ "the army branch", "Army" ], [ "Playing Around", "Playing Around" ], [ "Mess sergeant ", "Mess Sergeant " ], [ "The snow is falling", "Snow falling" ] ]

[ [ "rear of the house. But it were folly to lay any stress on stories of\nthis kind, which are sure to spring up around such an event as that now\nrelated, and which, as in the present case, sometimes prolong", "however, and from impressions often too vaguely founded to be put on\npaper, the writer cherishes the belief that many, if not most, of the\nsuccessive proprietors of this estate were troubled with doubts as to", "nerves took an indefinite alarm from what they had overheard. Looking\nback at the grotesque peaks and shadowy angles of the old mansion, they", "Colonel Pyncheon's sudden and mysterious end made a vast deal of noise\nin its day. There were many rumors, some of which have vaguely drifted", "and trailed its length of trampling footsteps, and most infrequent\nuproar, past the ordinarily quiet House of the Seven Gables. As a mere", "before the action of our story commences. Latterly, there were rumors\n(which few believed, and only one or two felt greatly interested in)", "The girl knew that her two relatives were capable of far greater\noddities than that of shutting themselves up in their old house, as\nthey appeared now to have done. Nevertheless, with indistinct", "Nevertheless, creeping darkly through the places which this excellent\nperson had haunted in his lifetime, there was a hidden stream of\nprivate talk, such as it would have shocked all decency to speak loudly", "shown a kind of cheerfulness glimmering through its dusky windows as\nPhoebe passed to and fro in the interior. Otherwise, it is impossible\nto explain how the people of the neighborhood so soon became aware of", "itself. As regards its interior life, a large, dim looking-glass used\nto hang in one of the rooms, and was fabled to contain within its", "covered by the log-built hut of Matthew Maule, there was much shaking\nof the head among the village gossips. Without absolutely expressing a", "gradually faded out of the world. But, even now, she was supposed to\nhaunt the House of the Seven Gables, and, a great many times,--especially", "concluded that all the old Pyncheons were running riot in the lower\nrooms, especially in Miss Hepzibah's part of the house. But it is very\nquiet now.\"", "was now precisely on a line with it. On either side extended a ruinous\nwooden fence of open lattice-work, through which could be seen a grassy\nyard, and, especially in the angles of the building, an enormous", "past, she had suffered to be a kind of familiar of the house. He was\nan immemorial personage, who seemed always to have had a white head and", "neighbors, particularly the petticoated ones, about what they called\nthe witchcraft of Maule's eye. Some said that he could look into", "\"No children live in this house,\" said a schoolboy, at last. \"Nobody\nlives here but an old maid and an old man. You'll get nothing here!\nWhy don't you go along?\"", "A descriptive paragraph or two, treating of the seven-gabled mansion in\nits more recent aspect, will bring this preliminary chapter to a close.", "doubt whether the stalwart Puritan had acted as a man of conscience and\nintegrity throughout the proceedings which have been sketched, they,\nnevertheless, hinted that he was about to build his house over an", "ghosts--that it was all overgrown with the desolation which watches to\nobliterate every trace of man's happier hours. What was precisely" ], [ "The shock of Judge Pyncheon's death had a permanently invigorating and\nultimately beneficial effect on Clifford. That strong and ponderous", "however awful in itself, an event fruitful of good consequences to\nthem. As I view it, it would have gone far towards obliterating the\nblack stain on Clifford's character.\"", "Jaffrey Pyncheon came to a violent death, and by Clifford's hands.\"", "This was to have been such a busy day. In the first place, the\ninterview with Clifford. Half an hour, by the Judge's reckoning, was", "It was now far too late in Clifford's life for the good opinion of\nsociety to be worth the trouble and anguish of a formal vindication.", "Clifford would, doubtless, have been glad to share their sports. One\nafternoon he was seized with an irresistible desire to blow", "Nevertheless, there was so far a good result of her meditations on\nClifford's character, that, when her involuntary conjectures, together\nwith the tendency of every strange circumstance to tell its own story,", "conclusions as to his hollow integrity. The Judge, on one side! And\nwho, on the other? The guilty Clifford! Once a byword! Now, an\nindistinctly remembered ignominy!", "sleeps. Clifford, ordinarily so destitute of this faculty, had found\nit in the tension of the crisis.", "at the monkey, and went on, without imagining how nearly his own moral\ncondition was here exemplified. Clifford, however, was a being of", "and labor together, to make our dear Clifford happy. Come! why should\nwe make more words about what is both a duty and a pleasure on my part?\nCome to me at once!\"", "convinced--was apparent after his death. Now, I have the best possible\nreasons for believing that your brother Clifford can give me a clew to\nthe recovery of the remainder.\"", "into the street. From all this testimony, I am led to\napprehend--reluctantly, and with deep grief--that Clifford's", "departure. \"Very great wrong! But I forgive it, and will study to make\nyou think better of me. Of course, our poor Clifford being in so", "At last, finding no other pretext for deferring the torture that she\nwas to inflict on Clifford,--her reluctance to which was the true cause", "Hepzibah along with him. A moment afterwards, the train--with all the\nlife of its interior, amid which Clifford had made himself so", "But where was Clifford? Could it be that, aware of the presence of his\nEvil Destiny, he had crept silently down the staircase, while the Judge", "Thus Jaffrey Pyncheon's inward criminality, as regarded Clifford, was,\nindeed, black and damnable; while its mere outward show and positive", "Hepzibah now noticed that Clifford had on a cloak,--a garment of long\nago,--in which he had constantly muffled himself during these days of", "Clifford shivered from head to foot. The wild effervescence of his\nmood--which had so readily supplied thoughts, fantasies, and a strange" ], [ "present owner, Gervayse Pyncheon, was said to have contracted a dislike\nto the house, in consequence of a shock to his sensibility, in early", "past, she had suffered to be a kind of familiar of the house. He was\nan immemorial personage, who seemed always to have had a white head and", "however, and from impressions often too vaguely founded to be put on\npaper, the writer cherishes the belief that many, if not most, of the\nsuccessive proprietors of this estate were troubled with doubts as to", "allowed to make it his home for the time being, in consideration of\nkeeping the premises in thorough repair. So faithfully had this\ncontract been fulfilled, that now, as the carpenter approached the", "Thus the great house was built. Familiar as it stands in the writer's\nrecollection,--for it has been an object of curiosity with him from", "who owns the house, has been murdered; and the city marshal is going to\nlook into the matter. So be off with you, at once!\"", "ghost, it appears,--with the pertinacity which was one of his\ndistinguishing characteristics while alive,--insisted that he was the\nrightful proprietor of the site upon which the house stood. His terms", "Thus early had that one guest,--the only guest who is certain, at one\ntime or another, to find his way into every human dwelling,--thus early\nhad Death stepped across the threshold of the House of the Seven Gables!", "mansion or his own modern residence. The last and youngest Pyncheon\nwas a little country-girl of seventeen, the daughter of another of the", "the old house. She was not at first aware by whom she had been\nadmitted. Before her eyes had adapted themselves to the obscurity, a\nhand grasped her own with a firm but gentle and warm pressure, thus", "Matthew Maule, while building this house, took the opportunity to\nconstruct that recess, and hide away the Indian deed, on which depended", "his way towards the House of the Seven Gables. This noted edifice,\nthough its style might be getting a little out of fashion, was still as\nrespectable a family residence as that of any gentleman in town. The", "the familiar phrase is, in the absence of its ordinary occupants. To\nhim, and to the venerable House of the Seven Gables, does our story now", "The House of the Seven Gables, antique as it now looks, was not the\nfirst habitation erected by civilized man on precisely the same spot of", "with most of the traditionary lore of which the old Pyncheon House,\notherwise known as the House of the Seven Gables, has been the theme.\nWith a brief sketch, therefore, of the circumstances amid which the", "mansion, styled the House of the Seven Gables, against the owner of\nwhich he pretended to hold an unsettled claim for ground-rent. The", "Pyncheon had wrested away the title-deeds. So young Maule went\nstraight to the principal entrance, beneath a portal of carved oak, and", "rear of the house. But it were folly to lay any stress on stories of\nthis kind, which are sure to spring up around such an event as that now\nrelated, and which, as in the present case, sometimes prolong", "dismal old House of the Seven Gables, and take up their abode, for the\npresent, at the elegant country-seat of the late Judge Pyncheon.", "must have mistaken the house.\" She stole softly into the hall, and,\nherself invisible, gazed through the dusty side-lights of the portal at" ], [ "which history, as well as fireside tradition, has preserved the very\nwords. \"God,\" said the dying man, pointing his finger, with a ghastly", "Old Matthew Maule, in a word, was executed for the crime of witchcraft.\nHe was one of the martyrs to that terrible delusion, which should teach", "was fain to turn away his eyes. There was no help for it. It would be\nthe latest impulse to die within him. In his last extremity, the", "conduct towards him, and that he declared himself hunted to death for\nhis spoil. At the moment of execution--with the halter about his neck,", "Matthew Maule, the executed wizard,--\"God hath given him blood to\ndrink!\"", "But he never did revive. With the cool hardihood that always pertained\nto him, the young man continued his search of the drawers, and found a", "darkened through the room as he spoke. \"Nay, then, I must and will see\nhim! What if he should die?\"", "characterized by an iron energy of purpose. Matthew Maule, on the\nother hand, though an obscure man, was stubborn in the defence of what\nhe considered his right; and, for several years, he succeeded in", "\"Best touch her!\" said Matthew Maule \"Shake the girl, and roughly, too!\nMy hands are hardened with too much use of axe, saw, and plane,--else I\nmight help you!\"", "crevices of the rocks, were supposed to be incapable of retaining the\noccupants who had been so hastily thrust into them. Old Matthew Maule,\nespecially, was known to have as little hesitation or difficulty in", "world and to himself. Perhaps again, he required nothing less than the\ngreat final remedy--death!", "Matthew Maule, while building this house, took the opportunity to\nconstruct that recess, and hide away the Indian deed, on which depended", "condemnation of Matthew Maule. It was well known that the victim had\nrecognized the bitterness of personal enmity in his persecutor's", "bring an item of his own personal evidence into play. Though but a\nchild at the time, he either remembered or fancied that Matthew's\nfather had had some job to perform on the day before, or possibly the", "Here ensued a great many words between Matthew Maule and the proprietor\nof the Seven Gables, on the subject which the latter had thus broached.", "an interval as the down-sinking flame of the hearth should quiver again\nup the chimney. On recognizing Matthew Maule, she assumed an air of", "stretched, in order to make it cover the small metes and bounds of\nMatthew Maule. What greatly strengthens such a suspicion is the fact", "\"Matthew Maule,\" replied the carpenter,--\"son of him who built the\nhouse,--grandson of the rightful proprietor of the soil.\"", "the procession, came Matthew Maule, gnashing his teeth, as if he would\nhave bitten his own heart in twain,--the darkest and wofullest man that", "responded only by a broken-hearted murmur, expressive of a\ndetermination not to leave his bed. His sister made no attempt to" ], [ "\"I know the face,\" she replied; \"for its stern eye has been following\nme about all day. It is my Puritan ancestor, who hangs yonder in the", "picture on the wall, and, after thus converting himself into an evil\ndestiny, expects his remotest great-grandchildren to be happy there. I", "And, pray, for what? Why, to see whether the portrait of their ancestor\nstill keeps its place upon the wall, in compliance with his\ntestamentary directions! Is it worth while to come out of their graves", "will--remained affixed to the wall of the room in which he died. Those\nstern, immitigable features seemed to symbolize an evil influence, and", "Judge's New England forefathers--he whose picture still hung upon the\nwall--had given a dead man's silent and stern reception to the throng\nof distinguished guests. From that hour of evil omen until the", "other. A crime, indeed! Since you are a friend of my cousin\nHepzibah's, you should ask her to show you the picture.\"", "itself. As regards its interior life, a large, dim looking-glass used\nto hang in one of the rooms, and was fabled to contain within its", "\"Hepzibah!--Hepzibah!\" cried he with no little force and distinctness,\n\"why do you keep that odious picture on the wall? Yes, yes!--that is", "is safe. The picture is still there. The purpose of his brain has\nbeen kept sacred thus long after the man himself has sprouted up in", "Puritan, her ancestor, and the founder of the house. In one sense, this\npicture had almost faded into the canvas, and hidden itself behind the", "over and over again, and still with no better result. Yet the original\nwears, to common eyes, a very different expression. It would gratify\nme to have your judgment on this character.\"", "and representing a face worthy of no less delicate a pencil. It was\nonce our good fortune to see this picture. It is a likeness of a young", "\"Yes, dear Clifford, the picture shall be covered,\" said Hepzibah\nsoothingly. \"There is a crimson curtain in a trunk above stairs,--a", "bewildering depths. But, in truth, the picture was no more to him at\nthat moment than the blank wall against which it hung. His mind was", "of some very strange behavior on the part of Colonel Pyncheon's\nportrait. This picture, it must be understood, was supposed to be so\nintimately connected with the fate of the house, and so magically built", "Immediately on his death, the shop-door had been locked, bolted, and\nbarred, and, down to the period of our story, had probably never once", "reach the picture. We behold aged men and grandames, a clergyman with\nthe Puritanic stiffness still in his garb and mien, and a red-coated", "All through the foregoing conversation between Mr. Pyncheon and the\ncarpenter, the portrait had been frowning, clenching its fist, and\ngiving many such proofs of excessive discomposure, but without", "\"Phoebe,\" said he, \"do you remember this?\" He put into her hand a\ndaguerreotype; the same that he had shown her at their first interview", "Hepzibah has another picture,--a miniature. If the original is still\nin the world, I think he might defy the sun to make him look stern and\nhard.\"" ], [ "\"Look here; Dixey!\" cried the man. \"This has something to do with\nJudge Pyncheon. See!--here's his name printed on it; and here, I\nsuppose, is some of his handwriting.\"", "Hepzibah's presentiment had not deceived her. It was no other than\nJudge Pyncheon, who, after in vain trying the front door, had now\neffected his entrance into the shop.", "\"What is the matter with you, young woman?\" said Judge Pyncheon, giving\nher one of his harsh looks. \"Are you afraid of anything?\"", "fierce, at this moment, to pass itself off on the innocent score of\nnear-sightedness; and it was bent on Judge Pyncheon in a way that", "\"Because,\" said the artist, \"if the matter can be fairly considered and\ncandidly interpreted, it must be evident that Judge Pyncheon could not", "\"Nothing,--no secrets but my own,\" answered Holgrave. \"I can perceive,\nindeed, that Judge Pyncheon still keeps his eye on Clifford, in whose", "\"And is it possible, my dear,\" rejoined the Judge, with a commiserating\nlook, \"that you have never heard of Clifford Pyncheon?--that you know", "According to this version of the story, Judge Pyncheon, exemplary as we\nhave portrayed him in our narrative, was, in his youth, an apparently", "moment. \"It is Judge Pyncheon! You have shown it to me before!\"", "As regards Judge Pyncheon's invisibility, however, that matter will\nsoon be remedied. The northwest wind has swept the sky clear. The", "through which she had just struggled. Her colloquy with Judge\nPyncheon, who so perfectly represented the person and attributes of the\nfounder of the family, had called back the dreary past. It weighed", "darkening forth, as it were, out of the whole man. To know Judge\nPyncheon was to see him at that moment. After such a revelation, let", "so much terror and agitation in her heart. But Judge Pyncheon's\nevident purpose of forcing a passage was interrupted by a voice from\nthe inner room; a weak, tremulous, wailing voice, indicating helpless", "the man to read. In fact, it was an engraved card of Judge Pyncheon's\nwith certain pencilled memoranda on the back, referring to various", "to Judge Pyncheon, and giving him, of her own accord, the kiss from\nwhich she had so recently shrunk away. It was quite otherwise with", "to be, in Judge Pyncheon's right vest-pocket. Let him go thither, and\nloll at ease upon his moneybags! He has lounged long enough in the old\nchair!", "from what he sees them to be now. Judge Pyncheon! Clifford! What a\ncomplex riddle--a complexity of complexities--do they present! It", "\"I set him free!\" reaffirmed Judge Pyncheon, with the calmest\ncomposure. \"And I came hither now to decide whether he shall retain", "Then, all at once, it struck Phoebe that this very Judge Pyncheon was\nthe original of the miniature which the daguerreotypist had shown her", "But our affair now is with Judge Pyncheon as he stood confronting the\nfierce outbreak of Hepzibah's wrath. Without premeditation, to her own" ], [ "We leave the Judge to his repose. He could not be styled fortunate at\nthe hour of death. Unknowingly, he was a childless man, while striving", "Judge, and do her pretty utmost to make him comfortable. For the Judge\nis a prosperous man. He cherishes his schemes, moreover, like other", "will possess itself of everything. The Judge's face, indeed, rigid and\nsingularly white, refuses to melt into this universal solvent. Fainter", "awfulness of the Judge's death, yet had received the fact into his mind\nwithout any mixture of surprise, but as an event preordained, happening\ninevitably, and so fitting itself into past occurrences that it could", "Such was the case. The vibrations of the Judge's voice had reached the\nold gentlewoman in the parlor, where she sat, with face averted,", "not thriven; it appeared rather to be dying out. The only members of\nthe family known to be extant were, first, the Judge himself, and a\nsingle surviving son, who was now travelling in Europe; next, the", "The Judge has not shifted his position for a long while now. He has\nnot stirred hand or foot, nor withdrawn his eyes so much as a", "The shock of Judge Pyncheon's death had a permanently invigorating and\nultimately beneficial effect on Clifford. That strong and ponderous", "THE sudden death of so prominent a member of the social world as the\nHonorable Judge Jaffrey Pyncheon created a sensation (at least, in the", "vanished, or exist only in fragments, with lukewarm potatoes, and\ngravies crusted over with cold fat. The Judge, had he done nothing", "room. They play over the Judge's figure and show that he has not\nstirred throughout the hours of darkness. They follow the shadows, in", "But where was Clifford? Could it be that, aware of the presence of his\nEvil Destiny, he had crept silently down the staircase, while the Judge", "than pulling up an oak. Thus, as the Judge required an impossibility\nof Clifford, the latter, as he could not perform it, must needs perish.", "The Judge followed his cousin from the shop, where the foregoing\nconversation had passed, into the parlor, and flung himself heavily", "lose much of their truth and freedom by the fatal consciousness of so\ndoing,--there were traditions about the ancestor, and private diurnal\ngossip about the Judge, remarkably accordant in their testimony. It is", "Judge sits immovably upon our soul. Will he never stir again? We shall\ngo mad unless he stirs! You may the better estimate his quietude by the", "Judge's New England forefathers--he whose picture still hung upon the\nwall--had given a dead man's silent and stern reception to the throng\nof distinguished guests. From that hour of evil omen until the", "conclusions as to his hollow integrity. The Judge, on one side! And\nwho, on the other? The guilty Clifford! Once a byword! Now, an\nindistinctly remembered ignominy!", "Is there no other sound? One other, and a fearful one. It is the\nticking of the Judge's watch, which, ever since Hepzibah left the room", "ear, \"it would be no wonder if the Judge has gone into that door and\nnever come out again! A certain cousin of his may have been at his old" ], [ "Jaffrey Pyncheon came to a violent death, and by Clifford's hands.\"", "probable, be it said, that he acted with any set purpose of involving\nClifford in a charge of murder. Knowing that his uncle did not die by", "This was a nephew, the cousin of the miserable young man who had been\nconvicted of the uncle's murder. The new heir, up to the period of his", "convinced--was apparent after his death. Now, I have the best possible\nreasons for believing that your brother Clifford can give me a clew to\nthe recovery of the remainder.\"", "exact similarity in the appearances connected with the death that\noccurred yesterday and those recorded of the death of Clifford's uncle\nthirty years ago. It is true, there was a certain arrangement of", "that, at Clifford's trial, his cousin hardly found it necessary to\nswear to anything false, but only to withhold the one decisive\nexplanation, by refraining to state what he had himself done and", "For a moment, the thought crossed Hepzibah's mind, whether Clifford\nmight not really have such knowledge of their deceased uncle's vanished", "however awful in itself, an event fruitful of good consequences to\nthem. As I view it, it would have gone far towards obliterating the\nblack stain on Clifford's character.\"", "\"They were arranged,\" said Holgrave,--\"at least such has long been my\nconviction,--they were arranged after the uncle's death, and before it", "purposes. Suspicion, unless averted, might fix upon the real offender.\nIn the very presence of the dead man, therefore, he laid a scheme that", "But where was Clifford? Could it be that, aware of the presence of his\nEvil Destiny, he had crept silently down the staircase, while the Judge", "so it was adjudged--of one member of the family by the criminal act of\nanother. Certain circumstances attending this fatal occurrence had\nbrought the deed irresistibly home to a nephew of the deceased", "Clifford Pyncheon. In all probability Hawthorne connected with this,\nin his mind, the murder of Mr. White, a wealthy gentleman of Salem,", "under other names than his own, and by various means, familiar enough\nto capitalists, but unnecessary here to be specified. By Uncle\nJaffrey's last will and testament, as you are aware, his entire", "killed by a man whom his nephew had hired. This took place a few years\nafter Hawthorne's graduation from college, and was one of the", "At last, finding no other pretext for deferring the torture that she\nwas to inflict on Clifford,--her reluctance to which was the true cause", "The shock of Judge Pyncheon's death had a permanently invigorating and\nultimately beneficial effect on Clifford. That strong and ponderous", "conclusions as to his hollow integrity. The Judge, on one side! And\nwho, on the other? The guilty Clifford! Once a byword! Now, an\nindistinctly remembered ignominy!", "\"Should my cousin Clifford,\" continued Judge Pyncheon, wholly\nundisturbed, \"from mere malice, and hatred of one whose interests ought", "Thus Jaffrey Pyncheon's inward criminality, as regarded Clifford, was,\nindeed, black and damnable; while its mere outward show and positive" ], [ "Matthew Maule, while building this house, took the opportunity to\nconstruct that recess, and hide away the Indian deed, on which depended", "possession of some deed, or other document, essential to this claim,\nbut which has since disappeared.\"", "\"This is the very parchment, the attempt to recover which cost the\nbeautiful Alice Pyncheon her happiness and life,\" said the artist,", "shallow nook, between two rocks, near the summit of Gallows Hill.\nAgain, when the lawyers were making inquiry for the missing document,", "understand him, to be able to discover, through your means, a certain\npaper or parchment, which was missing long before your birth. The\nimportance of the document in question renders it advisable to neglect", "of the fair Alice. So ended, for that time, the quest for the lost\ntitle-deed of the Pyncheon territory at the Eastward; nor, though often", "so they are to be called), with a view of discovering the lost\ndocument. It appears to have been his object to convert the mind of", "convinced--was apparent after his death. Now, I have the best possible\nreasons for believing that your brother Clifford can give me a clew to\nthe recovery of the remainder.\"", "\"I consent to your proposition, Maule!\" cried he. \"Put me in possession\nof the document essential to establish my rights, and the House of the\nSeven Gables is your own!\"", "But he never did revive. With the cool hardihood that always pertained\nto him, the young man continued his search of the drawers, and found a", "Pyncheon had wrested away the title-deeds. So young Maule went\nstraight to the principal entrance, beneath a portal of carved oak, and", "possessed a mutual knowledge of the missing document. One of them, in\ntruth,--it was he with the blood-stain on his band,--seemed, unless his", "the discovery of the lost document, and the consequent success of the\nEastern claim. For a long time Matthew Maule is said to have turned a\ncold ear to these propositions. At last, however, with a strange kind", "\"Do you hear me, Jaffrey Pyncheon?\" screamed Hepzibah, as she again\napproached the parlor-door, after an ineffectual search elsewhere.\n\"Clifford is gone.\"", "shape they exist, of the vast amount of Uncle Jaffrey's missing\nproperty. He has the secret. His boast was no idle word. It had a", "\"Look here; Dixey!\" cried the man. \"This has something to do with\nJudge Pyncheon. See!--here's his name printed on it; and here, I\nsuppose, is some of his handwriting.\"", "sheet of parchment. Holgrave opened it, and displayed an ancient deed,\nsigned with the hieroglyphics of several Indian sagamores, and", "allowed to make it his home for the time being, in consideration of\nkeeping the premises in thorough repair. So faithfully had this\ncontract been fulfilled, that now, as the carpenter approached the", "very morning of the Colonel's decease, in the private room where he and\nthe carpenter were at this moment talking. Certain papers belonging to", "For a moment, the thought crossed Hepzibah's mind, whether Clifford\nmight not really have such knowledge of their deceased uncle's vanished" ], [ "Thus the great house was built. Familiar as it stands in the writer's\nrecollection,--for it has been an object of curiosity with him from", "his way towards the House of the Seven Gables. This noted edifice,\nthough its style might be getting a little out of fashion, was still as\nrespectable a family residence as that of any gentleman in town. The", "The House of the Seven Gables, antique as it now looks, was not the\nfirst habitation erected by civilized man on precisely the same spot of", "Sabbath; and, reckoning from that date, the house has stood\nseven-and-thirty years. No wonder if there should be a job to do on\nthe roof.\"", "from what was then the centre of the village. In the growth of the\ntown, however, after some thirty or forty years, the site covered by\nthis rude hovel had become exceedingly desirable in the eyes of a", "A descriptive paragraph or two, treating of the seven-gabled mansion in\nits more recent aspect, will bring this preliminary chapter to a close.", "past, she had suffered to be a kind of familiar of the house. He was\nan immemorial personage, who seemed always to have had a white head and", "century past. On the day set for their departure, the principal\npersonages of our story, including good Uncle Venner, were assembled in\nthe parlor.", "mansion or his own modern residence. The last and youngest Pyncheon\nwas a little country-girl of seventeen, the daughter of another of the", "allowed to make it his home for the time being, in consideration of\nkeeping the premises in thorough repair. So faithfully had this\ncontract been fulfilled, that now, as the carpenter approached the", "rear of the house. But it were folly to lay any stress on stories of\nthis kind, which are sure to spring up around such an event as that now\nrelated, and which, as in the present case, sometimes prolong", "taken a century of sordid life to accumulate--were now transfigured by\na charm of romance. A hundred mysterious years were whispering among", "was now precisely on a line with it. On either side extended a ruinous\nwooden fence of open lattice-work, through which could be seen a grassy\nyard, and, especially in the angles of the building, an enormous", "HALFWAY down a by-street of one of our New England towns stands a rusty\nwooden house, with seven acutely peaked gables, facing towards various", "Matthew Maule, while building this house, took the opportunity to\nconstruct that recess, and hide away the Indian deed, on which depended", "Thus early had that one guest,--the only guest who is certain, at one\ntime or another, to find his way into every human dwelling,--thus early\nhad Death stepped across the threshold of the House of the Seven Gables!", "descendants, in prosperity and happiness, down to an epoch far beyond\nthe present,--under that roof, through a portion of three centuries,\nthere has been perpetual remorse of conscience, a constantly defeated", "however, and from impressions often too vaguely founded to be put on\npaper, the writer cherishes the belief that many, if not most, of the\nsuccessive proprietors of this estate were troubled with doubts as to", "itself. As regards its interior life, a large, dim looking-glass used\nto hang in one of the rooms, and was fabled to contain within its", "the old house. She was not at first aware by whom she had been\nadmitted. Before her eyes had adapted themselves to the obscurity, a\nhand grasped her own with a firm but gentle and warm pressure, thus" ], [ "past, she had suffered to be a kind of familiar of the house. He was\nan immemorial personage, who seemed always to have had a white head and", "allowed to make it his home for the time being, in consideration of\nkeeping the premises in thorough repair. So faithfully had this\ncontract been fulfilled, that now, as the carpenter approached the", "present occupant of the august Pyncheon House, as well as to some of\nher predecessors. The matter is disagreeably delicate to handle; but,", "present owner, Gervayse Pyncheon, was said to have contracted a dislike\nto the house, in consequence of a shock to his sensibility, in early", "inhabitant of the old Pyncheon House. Its master is coming.\"", "mansion or his own modern residence. The last and youngest Pyncheon\nwas a little country-girl of seventeen, the daughter of another of the", "Thus early had that one guest,--the only guest who is certain, at one\ntime or another, to find his way into every human dwelling,--thus early\nhad Death stepped across the threshold of the House of the Seven Gables!", "his way towards the House of the Seven Gables. This noted edifice,\nthough its style might be getting a little out of fashion, was still as\nrespectable a family residence as that of any gentleman in town. The", "the old house. She was not at first aware by whom she had been\nadmitted. Before her eyes had adapted themselves to the obscurity, a\nhand grasped her own with a firm but gentle and warm pressure, thus", "the familiar phrase is, in the absence of its ordinary occupants. To\nhim, and to the venerable House of the Seven Gables, does our story now", "\"No children live in this house,\" said a schoolboy, at last. \"Nobody\nlives here but an old maid and an old man. You'll get nothing here!\nWhy don't you go along?\"", "rear of the house. But it were folly to lay any stress on stories of\nthis kind, which are sure to spring up around such an event as that now\nrelated, and which, as in the present case, sometimes prolong", "ghost, it appears,--with the pertinacity which was one of his\ndistinguishing characteristics while alive,--insisted that he was the\nrightful proprietor of the site upon which the house stood. His terms", "dismal old House of the Seven Gables, and take up their abode, for the\npresent, at the elegant country-seat of the late Judge Pyncheon.", "concluded that all the old Pyncheons were running riot in the lower\nrooms, especially in Miss Hepzibah's part of the house. But it is very\nquiet now.\"", "who owns the house, has been murdered; and the city marshal is going to\nlook into the matter. So be off with you, at once!\"", "then residing with his uncle in the House of the Seven Gables.", "over the apartment. No longer ago than the night before, it had\nresembled nothing so much as the old maid's heart; for there was\nneither sunshine nor household fire in one nor the other, and, save for", "the interior. She was indistinctly aware, however, that the gaunt\nfigure of the old gentlewoman was sitting in one of the straight-backed", "however, and from impressions often too vaguely founded to be put on\npaper, the writer cherishes the belief that many, if not most, of the\nsuccessive proprietors of this estate were troubled with doubts as to" ], [ "criminal's connections, had availed to mitigate his doom from death to\nperpetual imprisonment. This sad affair had chanced about thirty years", "It is essential to say a few words respecting the victim of this now\nalmost forgotten murder. He was an old bachelor, and possessed of", "which we now allude, had reference to matters of no less old a date\nthan the supposed murder, thirty or forty years ago, of the late Judge", "purposes. Suspicion, unless averted, might fix upon the real offender.\nIn the very presence of the dead man, therefore, he laid a scheme that", "murder was committed in the former case. Yet, as the record showed,\nthere were circumstances irrefragably indicating that some person had", "insisting on this interview. At the death, thirty years since, of our\nuncle Jaffrey, it was found,--I know not whether the circumstance ever", "surprise, and indeed terror, she had given vent, for once, to the\ninveteracy of her resentment, cherished against this kinsman for thirty\nyears.", "This was a nephew, the cousin of the miserable young man who had been\nconvicted of the uncle's murder. The new heir, up to the period of his", "There was something very beautiful in the relation that grew up between\nthis pair, so closely and constantly linked together, yet with such a\nwaste of gloomy and mysterious years from his birthday to hers. On", "so it was adjudged--of one member of the family by the criminal act of\nanother. Certain circumstances attending this fatal occurrence had\nbrought the deed irresistibly home to a nephew of the deceased", "killed by a man whom his nephew had hired. This took place a few years\nafter Hawthorne's graduation from college, and was one of the", "Sabbath; and, reckoning from that date, the house has stood\nseven-and-thirty years. No wonder if there should be a job to do on\nthe roof.\"", "thirty years' prisoner, already alluded to, and a sister of the latter,\nwho occupied, in an extremely retired manner, the House of the Seven", "English plan, with a tenantry to make it profitable for him. An\nincident of much greater importance in the story is the supposed murder\nof one of the Pyncheons by his nephew, to whom we are introduced as", "And allowing that, many, many years ago, in his early and reckless\nyouth, he had committed some one wrong act,--or that, even now, the", "It is indeed difficult to imagine that there could have been a serious\nsuspicion of murder, or the slightest grounds for implicating any", "\"Three o'clock!\" said he to himself. \"My father told me that dial was\nput up only an hour before the old Colonel's death. How truly it has", "particular individual as the perpetrator. The rank, wealth, and\neminent character of the deceased must have insured the strictest\nscrutiny into every ambiguous circumstance. As none such is on record,", "persecuted to death, now, by the same man who long ago attempted it!\"", "exact similarity in the appearances connected with the death that\noccurred yesterday and those recorded of the death of Clifford's uncle\nthirty years ago. It is true, there was a certain arrangement of" ], [ "Old Matthew Maule, in a word, was executed for the crime of witchcraft.\nHe was one of the martyrs to that terrible delusion, which should teach", "Matthew Maule, the executed wizard,--\"God hath given him blood to\ndrink!\"", "condemnation of Matthew Maule. It was well known that the victim had\nrecognized the bitterness of personal enmity in his persecutor's", "proposition to surrender his house. There was, at least, an assignable\nmotive for the first stipulation; there appeared to be none whatever\nfor the last. Nevertheless, Matthew Maule sturdily insisted on the", "penny, or, rather, a weighty amount of sterling pounds, from the purse\nof his father's deadly enemy. At all events, Thomas Maule became the", "Maule had been.", "characterized by an iron energy of purpose. Matthew Maule, on the\nother hand, though an obscure man, was stubborn in the defence of what\nhe considered his right; and, for several years, he succeeded in", "Maules had continued to inhabit the town where their progenitor had\nsuffered so unjust a death. To all appearance, they were a quiet,", "He was the grandson of a former Matthew Maule, one of the early\nsettlers of the town, and who had been a famous and terrible wizard in", "Maule had some connection with the mystery of the looking-glass, and\nthat, by what appears to have been a sort of mesmeric process, they", "It seemed to be Maule's impulse, not to ruin Alice, nor to visit her\nwith any black or gigantic mischief, which would have crowned her", "occurred, whether it were not imperative upon him, even at this late\nhour, to make restitution to Maule's posterity. To a man living so", "Matthew Maule understood the insinuated suspicion.", "Now, the wizard's grandson, the young Matthew Maule of our story, was\npopularly supposed to have inherited some of his ancestor's", "Turning half around, he caught a glimpse of Maule's figure in the\nlooking-glass. At some paces from Alice, with his arms uplifted in the", "their moral right to hold it. Of their legal tenure there could be no\nquestion; but old Matthew Maule, it is to be feared, trode downward", "conduct towards him, and that he declared himself hunted to death for\nhis spoil. At the moment of execution--with the halter about his neck,", "Maule's prophecy was probably founded on a knowledge of this physical\npredisposition in the Pyncheon race. Now, there is a minute and almost", "the family of the Maules and these vast unrealized possessions of the\nPyncheons. It was an ordinary saying that the old wizard, hanged", "Matthew Maule, while building this house, took the opportunity to\nconstruct that recess, and hide away the Indian deed, on which depended" ], [ "He was the grandson of a former Matthew Maule, one of the early\nsettlers of the town, and who had been a famous and terrible wizard in", "Now, the wizard's grandson, the young Matthew Maule of our story, was\npopularly supposed to have inherited some of his ancestor's", "Maule had some connection with the mystery of the looking-glass, and\nthat, by what appears to have been a sort of mesmeric process, they", "long kept itself busy with the affair of the old Puritan Pyncheon and\nthe wizard Maule; the curse which the latter flung from his scaffold", "Maule's prophecy was probably founded on a knowledge of this physical\npredisposition in the Pyncheon race. Now, there is a minute and almost", "neighbors, particularly the petticoated ones, about what they called\nthe witchcraft of Maule's eye. Some said that he could look into", "penny, or, rather, a weighty amount of sterling pounds, from the purse\nof his father's deadly enemy. At all events, Thomas Maule became the", "curse had been pronounced upon its members, which continued in force in\nthe time of the romancer; a conviction perhaps derived from the\nrecorded prophecy of the injured woman's husband, just mentioned; and,", "Old Matthew Maule, in a word, was executed for the crime of witchcraft.\nHe was one of the martyrs to that terrible delusion, which should teach", "It seemed to be Maule's impulse, not to ruin Alice, nor to visit her\nwith any black or gigantic mischief, which would have crowned her", "the book which represents a Pyncheon of a former generation as having\npersecuted one Maule, who declared that God would give his enemy \"blood\nto drink.\" It became a conviction with the Hawthorne family that a", "\"Villain!\" cried Mr. Pyncheon, shaking his clenched fist at Maule.\n\"You and the fiend together have robbed me of my daughter. Give her", "continued to regard the memory of the reputed witches. The mantle, or\nrather the ragged cloak, of old Matthew Maule had fallen upon his\nchildren. They were half believed to inherit mysterious attributes;", "here again, we have a correspondence with Maule's malediction in the\nstory. Furthermore, there occurs in the \"American Note-Books\" (August", "Matthew Maule, while building this house, took the opportunity to\nconstruct that recess, and hide away the Indian deed, on which depended", "Turning half around, he caught a glimpse of Maule's figure in the\nlooking-glass. At some paces from Alice, with his arms uplifted in the", "Maule had been.", "Maule. \"Alice, laugh!\"--the carpenter, beside his hearth, would say;\nor perhaps intensely will it, without a spoken word. And, even were it", "At this juncture, Maule turned to Mr. Pyncheon.", "Matthew Maule, the executed wizard,--\"God hath given him blood to\ndrink!\"" ], [ "FROM the inertness, or what we may term the vegetative character, of\nhis ordinary mood, Clifford would perhaps have been content to spend", "But it would be no fair picture of Clifford's state of mind were we to\nrepresent him as continually or prevailingly wretched. On the", "Clifford,--and, oh, what a black shadow. Poor, poor Clifford!\"", "with no other company than a single series of ideas, and but one\naffection, and one bitter sense of wrong. Clifford, the reader may\nperhaps imagine, was too inert to operate morally on his", "Clifford was cut off, at once, from all his scanty resources of\nenjoyment. Phoebe was not there; nor did the sunshine fall upon the", "\"You are not happy, Hepzibah!\" said Clifford apart, in a tone of\napproach. \"You are thinking of that dismal old house, and of Cousin", "Alas, poor Clifford! You are old, and worn with troubles that ought\nnever to have befallen you. You are partly crazy and partly imbecile;", "beneath this unfortunate exterior, and still, so long as she wore the\nguise of woman, she would have shocked Clifford, and depressed him by", "on them. It is, perhaps, true that the public had something reasonably\nto complain of in her deportment; but towards Clifford she was neither", "departure. \"Very great wrong! But I forgive it, and will study to make\nyou think better of me. Of course, our poor Clifford being in so", "At last, finding no other pretext for deferring the torture that she\nwas to inflict on Clifford,--her reluctance to which was the true cause", "Hepzibah now noticed that Clifford had on a cloak,--a garment of long\nago,--in which he had constantly muffled himself during these days of", "Clifford seemed to taste the happiness of a child, the sadder was the\ndifference to be recognized. With a mysterious and terrible Past,", "silent, and irresponsive to her overflow of cordial sentiment--contrived\nto win so much love? And Clifford,--in his abortive decay, with the", "which the world might have been ready enough to offer, coming so long\nafter the agony had done its utmost work, would have been fit only to\nprovoke bitterer laughter than poor Clifford was ever capable of. It", "at the monkey, and went on, without imagining how nearly his own moral\ncondition was here exemplified. Clifford, however, was a being of", "strangeness of his situation, though nobody should afflict him with so\nmuch as a thoughtless word,--what wonder if Clifford were to break into", "\"Dear Clifford,\" said Hepzibah sadly, \"you know it cannot be!\"", "them. With a shivering repugnance at the idea of personal contact with\nthe world, a powerful impulse still seized on Clifford, whenever the", "The shock of Judge Pyncheon's death had a permanently invigorating and\nultimately beneficial effect on Clifford. That strong and ponderous" ], [ "\"And is it possible, my dear,\" rejoined the Judge, with a commiserating\nlook, \"that you have never heard of Clifford Pyncheon?--that you know", "Thus Jaffrey Pyncheon's inward criminality, as regarded Clifford, was,\nindeed, black and damnable; while its mere outward show and positive", "\"My dear cousin,\" said Judge Pyncheon, with a quietude which he had the\npower of making more formidable than any violence, \"since your", "\"No, no, Miss Phoebe!\" said Judge Pyncheon in a voice as deep as a\nthunder-growl, and with a frown as black as the cloud whence it issues.", "The shock of Judge Pyncheon's death had a permanently invigorating and\nultimately beneficial effect on Clifford. That strong and ponderous", "\"Do you hear me, Jaffrey Pyncheon?\" screamed Hepzibah, as she again\napproached the parlor-door, after an ineffectual search elsewhere.\n\"Clifford is gone.\"", "Jaffrey Pyncheon came to a violent death, and by Clifford's hands.\"", "\"Should my cousin Clifford,\" continued Judge Pyncheon, wholly\nundisturbed, \"from mere malice, and hatred of one whose interests ought", "\"Because,\" said the artist, \"if the matter can be fairly considered and\ncandidly interpreted, it must be evident that Judge Pyncheon could not", "\"Judge Pyncheon!\" answered her cousin angrily. \"He will hardly cross\nthe threshold while I live! No, no! But, Phoebe, you shall see the face\nof him I speak of.\"", "selfish ends through evil means. It did but increase the difficulty\nthat Judge Pyncheon was under a delusion as to the secret which he\nsupposed Clifford to possess. Men of his strength of purpose and", "\"What is the matter with you, young woman?\" said Judge Pyncheon, giving\nher one of his harsh looks. \"Are you afraid of anything?\"", "from what he sees them to be now. Judge Pyncheon! Clifford! What a\ncomplex riddle--a complexity of complexities--do they present! It", "your enemy and Clifford's!--try Jaffrey Pyncheon, and you shall find\nhim true, to the heart's core!\"", "\"It is my purpose to see Clifford before I leave this house,\" continued\nthe Judge. \"Do not act like a madwoman, Hepzibah! I am his only", "fierce, at this moment, to pass itself off on the innocent score of\nnear-sightedness; and it was bent on Judge Pyncheon in a way that", "\"Clifford is gone!\" she cried. \"I cannot find my brother. Help,\nJaffrey Pyncheon! Some harm will happen to him!\"", "\"Aha, Cousin Clifford!\" cried Judge Pyncheon. \"What! Still blowing\nsoap-bubbles!\"", "\"I set him free!\" reaffirmed Judge Pyncheon, with the calmest\ncomposure. \"And I came hither now to decide whether he shall retain", "\"Look here; Dixey!\" cried the man. \"This has something to do with\nJudge Pyncheon. See!--here's his name printed on it; and here, I\nsuppose, is some of his handwriting.\"" ], [ "We leave the Judge to his repose. He could not be styled fortunate at\nthe hour of death. Unknowingly, he was a childless man, while striving", "But where was Clifford? Could it be that, aware of the presence of his\nEvil Destiny, he had crept silently down the staircase, while the Judge", "not thriven; it appeared rather to be dying out. The only members of\nthe family known to be extant were, first, the Judge himself, and a\nsingle surviving son, who was now travelling in Europe; next, the", "THE sudden death of so prominent a member of the social world as the\nHonorable Judge Jaffrey Pyncheon created a sensation (at least, in the", "ear, \"it would be no wonder if the Judge has gone into that door and\nnever come out again! A certain cousin of his may have been at his old", "Such was the case. The vibrations of the Judge's voice had reached the\nold gentlewoman in the parlor, where she sat, with face averted,", "vanished, or exist only in fragments, with lukewarm potatoes, and\ngravies crusted over with cold fat. The Judge, had he done nothing", "Judge's New England forefathers--he whose picture still hung upon the\nwall--had given a dead man's silent and stern reception to the throng\nof distinguished guests. From that hour of evil omen until the", "Colonel Pyncheon's sudden and mysterious end made a vast deal of noise\nin its day. There were many rumors, some of which have vaguely drifted", "\"Such as there represented,\" said Holgrave, \"he sits in the next room.\nThe Judge is dead, and Clifford and Hepzibah have vanished! I know no", "awfulness of the Judge's death, yet had received the fact into his mind\nwithout any mixture of surprise, but as an event preordained, happening\ninevitably, and so fitting itself into past occurrences that it could", "Immediately on his death, the shop-door had been locked, bolted, and\nbarred, and, down to the period of our story, had probably never once", "lose much of their truth and freedom by the fatal consciousness of so\ndoing,--there were traditions about the ancestor, and private diurnal\ngossip about the Judge, remarkably accordant in their testimony. It is", "this flight,--it distorts everything! He may be in concealment, near at\nhand. Could we but bring him back before the discovery of the Judge's\ndeath, the evil might be rectified.\"", "in the unlearned peruser of their opinions. The coroner's jury sat\nupon the corpse, and, like sensible men, returned an unassailable\nverdict of \"Sudden Death!\"", "room. They play over the Judge's figure and show that he has not\nstirred throughout the hours of darkness. They follow the shadows, in", "\"And how do you know they're gone to the Judge's?\" asked Mrs. Gubbins.\n\"He's a rich man; and there's been a quarrel between him and Hepzibah", "The Judge followed his cousin from the shop, where the foregoing\nconversation had passed, into the parlor, and flung himself heavily", "estate as the Judge imputed to him. She remembered some vague\nintimations, on her brother's part, which--if the supposition were not", "Judge, and do her pretty utmost to make him comfortable. For the Judge\nis a prosperous man. He cherishes his schemes, moreover, like other" ], [ "covered by the log-built hut of Matthew Maule, there was much shaking\nof the head among the village gossips. Without absolutely expressing a", "\"He talk of Mistress Alice!\" cried Scipio, as he returned from his\nerrand. \"The low carpenter-man! He no business so much as to look at\nher a great way off!\"", "\"Ah!--You don't love to talk about it,\" said Uncle Venner. \"Well,\nwell! we'll say no more, though there's word of it all over town. I", "rear of the house. But it were folly to lay any stress on stories of\nthis kind, which are sure to spring up around such an event as that now\nrelated, and which, as in the present case, sometimes prolong", "shown a kind of cheerfulness glimmering through its dusky windows as\nPhoebe passed to and fro in the interior. Otherwise, it is impossible\nto explain how the people of the neighborhood so soon became aware of", "lose much of their truth and freedom by the fatal consciousness of so\ndoing,--there were traditions about the ancestor, and private diurnal\ngossip about the Judge, remarkably accordant in their testimony. It is", "Maules had continued to inhabit the town where their progenitor had\nsuffered so unjust a death. To all appearance, they were a quiet,", "(with the exception of good Uncle Venner, who was to follow in a few\ndays) proceeded to take their places. They were chatting and laughing", "before the action of our story commences. Latterly, there were rumors\n(which few believed, and only one or two felt greatly interested in)", "Your neighbors have been eye-witnesses to whatever has passed in the\ngarden. The butcher, the baker, the fish-monger, some of the customers", "traditionary gossips of the town to whisper among themselves, \"Here is\nthe old Pyncheon come again! Now the Seven Gables will be", "\"Hush, hush!\" whispered the other. \"It seems like a sin to be the\nfirst to speak of such a thing. But I think, with you, that we had\nbetter go to the city marshal.\"", "continued to regard the memory of the reputed witches. The mantle, or\nrather the ragged cloak, of old Matthew Maule had fallen upon his\nchildren. They were half believed to inherit mysterious attributes;", "Colonel Pyncheon's sudden and mysterious end made a vast deal of noise\nin its day. There were many rumors, some of which have vaguely drifted", "was absurdly hurt, moreover, by the slight and idle effect that her\nsetting up shop--an event of such breathless interest to\nherself--appeared to have upon the public, of which these two men were", "Nevertheless, there was so far a good result of her meditations on\nClifford's character, that, when her involuntary conjectures, together\nwith the tendency of every strange circumstance to tell its own story,", "Nevertheless, creeping darkly through the places which this excellent\nperson had haunted in his lifetime, there was a hidden stream of\nprivate talk, such as it would have shocked all decency to speak loudly", "neighbors, particularly the petticoated ones, about what they called\nthe witchcraft of Maule's eye. Some said that he could look into", "distinctly than heretofore. The town appeared to be waking up. A\nbaker's cart had already rattled through the street, chasing away the", "and ran towards the seated figure; then pausing halfway, he began to\nshriek with terror. The company, tremulous as the leaves of a tree,\nwhen all are shaking together, drew nearer, and perceived that there" ], [ "however awful in itself, an event fruitful of good consequences to\nthem. As I view it, it would have gone far towards obliterating the\nblack stain on Clifford's character.\"", "convinced--was apparent after his death. Now, I have the best possible\nreasons for believing that your brother Clifford can give me a clew to\nthe recovery of the remainder.\"", "\"We shall see,\" said the unmoved Judge. \"Meanwhile, choose whether you\nwill summon Clifford, and allow this business to be amicably settled by", "Nevertheless, there was so far a good result of her meditations on\nClifford's character, that, when her involuntary conjectures, together\nwith the tendency of every strange circumstance to tell its own story,", "distinct recollection of the particulars of our conversation, I am\nthoroughly convinced that there was truth in what he said. Clifford,", "pronounce him, and forbear to say, so guilty,--that our own Clifford,\nin fine, should be given back to life, and its possibilities of", "So it proved with Clifford. He shuddered; he grew pale; he threw an\nappealing look at Hepzibah and Phoebe, who were with him at the window.", "circumstances, seems the stroke of God upon him, at once a punishment\nfor his wickedness, and making plain the innocence of Clifford. But", "conclusions as to his hollow integrity. The Judge, on one side! And\nwho, on the other? The guilty Clifford! Once a byword! Now, an\nindistinctly remembered ignominy!", "At last, finding no other pretext for deferring the torture that she\nwas to inflict on Clifford,--her reluctance to which was the true cause", "Clifford, is about to lead to the investigation of the premises. We\nhave no way but to meet it. Let us open the door at once.\"", "departure. \"Very great wrong! But I forgive it, and will study to make\nyou think better of me. Of course, our poor Clifford being in so", "\"No, I'll be bound you can't!\" cried Clifford, laughing. \"And yet, my\ndear sir, I am as transparent as the water of Maule's well! But come,", "It was now far too late in Clifford's life for the good opinion of\nsociety to be worth the trouble and anguish of a formal vindication.", "that, at Clifford's trial, his cousin hardly found it necessary to\nswear to anything false, but only to withhold the one decisive\nexplanation, by refraining to state what he had himself done and", "The shock of Judge Pyncheon's death had a permanently invigorating and\nultimately beneficial effect on Clifford. That strong and ponderous", "linen; and, by a powerfully welded chain of deductive evidence, the\nguilt of the robbery and apparent murder had been fixed on Clifford,", "and labor together, to make our dear Clifford happy. Come! why should\nwe make more words about what is both a duty and a pleasure on my part?\nCome to me at once!\"", "\"It is my purpose to see Clifford before I leave this house,\" continued\nthe Judge. \"Do not act like a madwoman, Hepzibah! I am his only", "probable, be it said, that he acted with any set purpose of involving\nClifford in a charge of murder. Knowing that his uncle did not die by" ], [ "century past. On the day set for their departure, the principal\npersonages of our story, including good Uncle Venner, were assembled in\nthe parlor.", "taken a century of sordid life to accumulate--were now transfigured by\na charm of romance. A hundred mysterious years were whispering among", "The reader may perhaps choose to assign an actual locality to the\nimaginary events of this narrative. If permitted by the historical\nconnection,--which, though slight, was essential to his plan,--the", "descendants, in prosperity and happiness, down to an epoch far beyond\nthe present,--under that roof, through a portion of three centuries,\nthere has been perpetual remorse of conscience, a constantly defeated", "story would include a chain of events extending over the better part of\ntwo centuries, and, written out with reasonable amplitude, would fill a\nbigger folio volume, or a longer series of duodecimos, than could", "inhabitants. He would be glad, therefore, if-especially in the quarter\nto which he alludes-the book may be read strictly as a Romance, having", "much in the past, and so little in the present, as the secluded and\nantiquarian old bachelor, a century and a half seemed not so vast a", "However just the parallel drawn, in some of the preceding pages,\nbetween his Puritan ancestor and himself, it fails in this point. The\nPyncheon of two centuries ago, in common with most of his", "rich, and even magnificent, in its time; but which now brooded over the\ngirl like a cloud, making a night in that one corner, while elsewhere\nit was beginning to be day. The morning light, however, soon stole", "There was something very beautiful in the relation that grew up between\nthis pair, so closely and constantly linked together, yet with such a\nwaste of gloomy and mysterious years from his birthday to hers. On", "from what was then the centre of the village. In the growth of the\ntown, however, after some thirty or forty years, the site covered by\nthis rude hovel had become exceedingly desirable in the eyes of a", "before whom lay a hundred miles of railroad), had plunged into the\nEnglish scenery and adventures of pamphlet novels, and were keeping", "though it should be a thousand years after his death. It was a wild\nstory, perhaps, but seemed not altogether so incredible to those who\ncould remember what an inflexibly obstinate old fellow this wizard", "in advance of them. At the first glimpse they beheld nothing\nextraordinary: a handsomely furnished room, of moderate size, somewhat\ndarkened by curtains; books arranged on shelves; a large map on the", "It is essential to say a few words respecting the victim of this now\nalmost forgotten murder. He was an old bachelor, and possessed of", "since the reader must needs be let into the secret, he will please to\nunderstand, that, about a century ago, the head of the Pyncheons found\nhimself involved in serious financial difficulties. The fellow", "IN September of the year during the February of which Hawthorne had\ncompleted \"The Scarlet Letter,\" he began \"The House of the Seven", "Immediately on his death, the shop-door had been locked, bolted, and\nbarred, and, down to the period of our story, had probably never once", "beautiful and accomplished in her lifetime, a hundred years ago. The\nfragrance of her rich and delightful character still lingered about the\nplace where she had lived, as a dried rose-bud scents the drawer where", "business of the day, and speculating on the probabilities of the next\nfifteen years. With his firm health, and the little inroad that age\nhas made upon him, fifteen years or twenty--yes, or perhaps" ], [ "Thus the great house was built. Familiar as it stands in the writer's\nrecollection,--for it has been an object of curiosity with him from", "his way towards the House of the Seven Gables. This noted edifice,\nthough its style might be getting a little out of fashion, was still as\nrespectable a family residence as that of any gentleman in town. The", "The House of the Seven Gables, antique as it now looks, was not the\nfirst habitation erected by civilized man on precisely the same spot of", "Sabbath; and, reckoning from that date, the house has stood\nseven-and-thirty years. No wonder if there should be a job to do on\nthe roof.\"", "from what was then the centre of the village. In the growth of the\ntown, however, after some thirty or forty years, the site covered by\nthis rude hovel had become exceedingly desirable in the eyes of a", "A descriptive paragraph or two, treating of the seven-gabled mansion in\nits more recent aspect, will bring this preliminary chapter to a close.", "past, she had suffered to be a kind of familiar of the house. He was\nan immemorial personage, who seemed always to have had a white head and", "century past. On the day set for their departure, the principal\npersonages of our story, including good Uncle Venner, were assembled in\nthe parlor.", "mansion or his own modern residence. The last and youngest Pyncheon\nwas a little country-girl of seventeen, the daughter of another of the", "allowed to make it his home for the time being, in consideration of\nkeeping the premises in thorough repair. So faithfully had this\ncontract been fulfilled, that now, as the carpenter approached the", "rear of the house. But it were folly to lay any stress on stories of\nthis kind, which are sure to spring up around such an event as that now\nrelated, and which, as in the present case, sometimes prolong", "taken a century of sordid life to accumulate--were now transfigured by\na charm of romance. A hundred mysterious years were whispering among", "was now precisely on a line with it. On either side extended a ruinous\nwooden fence of open lattice-work, through which could be seen a grassy\nyard, and, especially in the angles of the building, an enormous", "HALFWAY down a by-street of one of our New England towns stands a rusty\nwooden house, with seven acutely peaked gables, facing towards various", "Matthew Maule, while building this house, took the opportunity to\nconstruct that recess, and hide away the Indian deed, on which depended", "Thus early had that one guest,--the only guest who is certain, at one\ntime or another, to find his way into every human dwelling,--thus early\nhad Death stepped across the threshold of the House of the Seven Gables!", "descendants, in prosperity and happiness, down to an epoch far beyond\nthe present,--under that roof, through a portion of three centuries,\nthere has been perpetual remorse of conscience, a constantly defeated", "however, and from impressions often too vaguely founded to be put on\npaper, the writer cherishes the belief that many, if not most, of the\nsuccessive proprietors of this estate were troubled with doubts as to", "itself. As regards its interior life, a large, dim looking-glass used\nto hang in one of the rooms, and was fabled to contain within its", "the old house. She was not at first aware by whom she had been\nadmitted. Before her eyes had adapted themselves to the obscurity, a\nhand grasped her own with a firm but gentle and warm pressure, thus" ], [ "present owner, Gervayse Pyncheon, was said to have contracted a dislike\nto the house, in consequence of a shock to his sensibility, in early", "who owns the house, has been murdered; and the city marshal is going to\nlook into the matter. So be off with you, at once!\"", "allowed to make it his home for the time being, in consideration of\nkeeping the premises in thorough repair. So faithfully had this\ncontract been fulfilled, that now, as the carpenter approached the", "mansion or his own modern residence. The last and youngest Pyncheon\nwas a little country-girl of seventeen, the daughter of another of the", "present occupant of the august Pyncheon House, as well as to some of\nher predecessors. The matter is disagreeably delicate to handle; but,", "past, she had suffered to be a kind of familiar of the house. He was\nan immemorial personage, who seemed always to have had a white head and", "however, and from impressions often too vaguely founded to be put on\npaper, the writer cherishes the belief that many, if not most, of the\nsuccessive proprietors of this estate were troubled with doubts as to", "ghost, it appears,--with the pertinacity which was one of his\ndistinguishing characteristics while alive,--insisted that he was the\nrightful proprietor of the site upon which the house stood. His terms", "inhabitant of the old Pyncheon House. Its master is coming.\"", "dismal old House of the Seven Gables, and take up their abode, for the\npresent, at the elegant country-seat of the late Judge Pyncheon.", "A descriptive paragraph or two, treating of the seven-gabled mansion in\nits more recent aspect, will bring this preliminary chapter to a close.", "mansion, styled the House of the Seven Gables, against the owner of\nwhich he pretended to hold an unsettled claim for ground-rent. The", "Thus the great house was built. Familiar as it stands in the writer's\nrecollection,--for it has been an object of curiosity with him from", "the old house. She was not at first aware by whom she had been\nadmitted. Before her eyes had adapted themselves to the obscurity, a\nhand grasped her own with a firm but gentle and warm pressure, thus", "his way towards the House of the Seven Gables. This noted edifice,\nthough its style might be getting a little out of fashion, was still as\nrespectable a family residence as that of any gentleman in town. The", "Matthew Maule, while building this house, took the opportunity to\nconstruct that recess, and hide away the Indian deed, on which depended", "the familiar phrase is, in the absence of its ordinary occupants. To\nhim, and to the venerable House of the Seven Gables, does our story now", "at this moment, moreover, his heart was bitter with the sense of\nhereditary wrong, because he considered the great Pyncheon House to be\nstanding on soil which should have been his own. On this very site,", "right anywhere but in this old house, which has a curse on it, and\nwhich, therefore, we are doomed to haunt! And, besides,\" he continued,", "Thus early had that one guest,--the only guest who is certain, at one\ntime or another, to find his way into every human dwelling,--thus early\nhad Death stepped across the threshold of the House of the Seven Gables!" ], [ "Seven Gables, with the antiquated shop-window under its projecting\nstory, and Hepzibah herself, in a gown of rusty black silk, behind the", "Hepzibah's presentiment had not deceived her. It was no other than\nJudge Pyncheon, who, after in vain trying the front door, had now\neffected his entrance into the shop.", "custom of the time, indeed, for merchants to store their goods and\ntransact business in their own dwellings. But there was something\npitifully small in this old Pyncheon's mode of setting about his", "The final pause at the threshold proved so long, that Hepzibah, unable\nto endure the suspense, rushed forward, threw open the door, and led in", "such occasions, have ever looked so terrible as our poor scowling\nHepzibah. But the visitor quietly closed the shop-door behind him,", "Hepzibah, though she had her valuable and redeeming traits, had grown\nto be a kind of lunatic by imprisoning herself so long in one place,", "\"Do, if you please, my dear child,\" answered Hepzibah. \"But put it on\nthe table in the corner of the passage. My eyes are weak; and I can\nseldom bear the lamplight on them.\"", "During the remainder of the day, poor Hepzibah acquitted herself even\nless creditably, as a shop-keeper, than in her earlier efforts. She", "as she could anywise receive. As one of her nearest kindred, she had\nnaturally betaken herself to Hepzibah, with no idea of forcing herself", "\"Well, well, child, perhaps he has!\" said Hepzibah with a sad, hollow\nlaugh; \"but, in old houses like this, you know, dead people are very", "themselves or Miss Hepzibah; nor, on the whole, with an aggregate of\nvery rich emolument to the till. A little girl, sent by her mother to", "his mouth. As he had not been careful to shut the door, Hepzibah was\nat the pains of closing it after him, with a pettish ejaculation or two", "and awe-stricken purchaser in an invisible hand. But Hepzibah had no\nsuch flattering dream. She was well aware that she must ultimately come", "Thus did Hepzibah bewilder herself with these fantasies of the old\ntime. She had dwelt too much alone,--too long in the Pyncheon", "of the room which Hepzibah entered, after descending the stairs. It\nwas a low-studded room, with a beam across the ceiling, panelled with", "But here the shop-bell rang; it was like a sound from a remote\ndistance,--so far had Hepzibah descended into the sepulchral depths of", "Hepzibah's notice. The moment had arrived. To delay longer would be\nonly to lengthen out her misery. Nothing remained, except to take down", "Hepzibah, and why he now chose to lodge in the desolate old Pyncheon\nHouse. Without directly answering her, he turned from the Future,", "\"Do you hear me, Jaffrey Pyncheon?\" screamed Hepzibah, as she again\napproached the parlor-door, after an ineffectual search elsewhere.\n\"Clifford is gone.\"", "All this time, however, we are loitering faintheartedly on the\nthreshold of our story. In very truth, we have an invincible\nreluctance to disclose what Miss Hepzibah Pyncheon was about to do." ], [ "\"My cousin Hepzibah's brother?\" exclaimed Phoebe, surprised at this\nsudden explanation of the relationship between Hepzibah and her guest.\n\"Her brother! And where can he have been?\"", "\"Be quiet yourself, Hepzibah!\" returned her brother. \"No matter what\nthey think! I am not mad. For the first time in thirty years my", "To the guest,--to Hepzibah's brother,--or Cousin Clifford, as Phoebe\nnow began to call him,--she was especially necessary. Not that he could", "\"I tell you, Jaffrey,\" cried Hepzibah impatiently, as she turned from\nthe parlor-door to search other rooms, \"my brother is not in his\nchamber! You must help me seek him!\"", "Clifford returned no answer.\n\n\"Clifford! Dear brother!\" said Hepzibah. \"Shall I come in?\"\n\nA silence.", "\"Do you hear me, Jaffrey Pyncheon?\" screamed Hepzibah, as she again\napproached the parlor-door, after an ineffectual search elsewhere.\n\"Clifford is gone.\"", "\"Hepzibah, my beloved cousin, I am rejoiced!\" exclaimed the Judge most\nemphatically. \"Now, at length, you have something to live for. Yes,", "\"Is this you, Hepzibah?\" he murmured sadly; then, more apart, and\nperhaps unconscious that he was overheard, \"How changed! how changed!\nAnd is she angry with me? Why does she bend her brow so?\"", "\"O Jaffrey,--Cousin Jaffrey,\" cried Hepzibah mournfully, not\npassionately, \"it is you that are diseased in mind, not Clifford! You", "Two or three times, and more, Hepzibah repeated his name, without\nresult; till, thinking her brother's sleep unwontedly profound, she", "\"He is in no danger of death,\" said Hepzibah,--and added, with\nbitterness that she could repress no longer, \"none; unless he shall be", "And then, as if in sympathy with Phoebe's whispered ejaculation, they\nheard Hepzibah's voice more distinctly.\n\n\"Thank God, my brother, we are at home!\"", "\"Hush! hush! He is coming!\" whispered Hepzibah, hastily wiping her\neyes. \"Let him see you first, Phoebe; for you are young and rosy, and", "\"Oh, nothing, sir--nothing in the world!\" answered Phoebe, with a\nlittle laugh of vexation at herself. \"But perhaps you wish to speak\nwith my cousin Hepzibah. Shall I call her?\"", "\"Stay you here! I know the house, and know my cousin Hepzibah, and know\nher brother Clifford likewise.--nor need my little country cousin put", "\"Poor Cousin Jaffrey! This is what deceived him,\" exclaimed Hepzibah.\n\"When they were young together, Clifford probably made a kind of", "\"You cannot see him,\" answered Hepzibah. \"Clifford has kept his bed\nsince yesterday.\"", "Hepzibah's presentiment had not deceived her. It was no other than\nJudge Pyncheon, who, after in vain trying the front door, had now\neffected his entrance into the shop.", "Hepzibah, though she had her valuable and redeeming traits, had grown\nto be a kind of lunatic by imprisoning herself so long in one place,", "his mouth. As he had not been careful to shut the door, Hepzibah was\nat the pains of closing it after him, with a pettish ejaculation or two" ], [ "The shock of Judge Pyncheon's death had a permanently invigorating and\nultimately beneficial effect on Clifford. That strong and ponderous", "This was to have been such a busy day. In the first place, the\ninterview with Clifford. Half an hour, by the Judge's reckoning, was", "departure. \"Very great wrong! But I forgive it, and will study to make\nyou think better of me. Of course, our poor Clifford being in so", "At last, finding no other pretext for deferring the torture that she\nwas to inflict on Clifford,--her reluctance to which was the true cause", "sleeps. Clifford, ordinarily so destitute of this faculty, had found\nit in the tension of the crisis.", "at the monkey, and went on, without imagining how nearly his own moral\ncondition was here exemplified. Clifford, however, was a being of", "conclusions as to his hollow integrity. The Judge, on one side! And\nwho, on the other? The guilty Clifford! Once a byword! Now, an\nindistinctly remembered ignominy!", "however awful in itself, an event fruitful of good consequences to\nthem. As I view it, it would have gone far towards obliterating the\nblack stain on Clifford's character.\"", "on them. It is, perhaps, true that the public had something reasonably\nto complain of in her deportment; but towards Clifford she was neither", "convinced--was apparent after his death. Now, I have the best possible\nreasons for believing that your brother Clifford can give me a clew to\nthe recovery of the remainder.\"", "It was now far too late in Clifford's life for the good opinion of\nsociety to be worth the trouble and anguish of a formal vindication.", "Hepzibah now noticed that Clifford had on a cloak,--a garment of long\nago,--in which he had constantly muffled himself during these days of", "Nevertheless, there was so far a good result of her meditations on\nClifford's character, that, when her involuntary conjectures, together\nwith the tendency of every strange circumstance to tell its own story,", "Thus Jaffrey Pyncheon's inward criminality, as regarded Clifford, was,\nindeed, black and damnable; while its mere outward show and positive", "\"It is my purpose to see Clifford before I leave this house,\" continued\nthe Judge. \"Do not act like a madwoman, Hepzibah! I am his only", "and labor together, to make our dear Clifford happy. Come! why should\nwe make more words about what is both a duty and a pleasure on my part?\nCome to me at once!\"", "\"I hardly know, Hepzibah,\" said Clifford, drawing a long breath. \"Fear\nnothing,--it is over now,--but had I taken that plunge, and survived", "Jaffrey Pyncheon came to a violent death, and by Clifford's hands.\"", "But where was Clifford? Could it be that, aware of the presence of his\nEvil Destiny, he had crept silently down the staircase, while the Judge", "with no other company than a single series of ideas, and but one\naffection, and one bitter sense of wrong. Clifford, the reader may\nperhaps imagine, was too inert to operate morally on his" ], [ "however awful in itself, an event fruitful of good consequences to\nthem. As I view it, it would have gone far towards obliterating the\nblack stain on Clifford's character.\"", "Thus Jaffrey Pyncheon's inward criminality, as regarded Clifford, was,\nindeed, black and damnable; while its mere outward show and positive", "conclusions as to his hollow integrity. The Judge, on one side! And\nwho, on the other? The guilty Clifford! Once a byword! Now, an\nindistinctly remembered ignominy!", "on them. It is, perhaps, true that the public had something reasonably\nto complain of in her deportment; but towards Clifford she was neither", "at the monkey, and went on, without imagining how nearly his own moral\ncondition was here exemplified. Clifford, however, was a being of", "At last, finding no other pretext for deferring the torture that she\nwas to inflict on Clifford,--her reluctance to which was the true cause", "departure. \"Very great wrong! But I forgive it, and will study to make\nyou think better of me. Of course, our poor Clifford being in so", "It was now far too late in Clifford's life for the good opinion of\nsociety to be worth the trouble and anguish of a formal vindication.", "pronounce him, and forbear to say, so guilty,--that our own Clifford,\nin fine, should be given back to life, and its possibilities of", "Nevertheless, there was so far a good result of her meditations on\nClifford's character, that, when her involuntary conjectures, together\nwith the tendency of every strange circumstance to tell its own story,", "convinced--was apparent after his death. Now, I have the best possible\nreasons for believing that your brother Clifford can give me a clew to\nthe recovery of the remainder.\"", "The shock of Judge Pyncheon's death had a permanently invigorating and\nultimately beneficial effect on Clifford. That strong and ponderous", "and labor together, to make our dear Clifford happy. Come! why should\nwe make more words about what is both a duty and a pleasure on my part?\nCome to me at once!\"", "\"For Heaven's sake, dear Clifford, be quiet!\" whispered his sister.\n\"They think you mad.\"", "affection for so much as she had silently given? He owed her nothing.\nA nature like Clifford's can contract no debts of that kind. It is--we", "silent, and irresponsive to her overflow of cordial sentiment--contrived\nto win so much love? And Clifford,--in his abortive decay, with the", "\"It is my purpose to see Clifford before I leave this house,\" continued\nthe Judge. \"Do not act like a madwoman, Hepzibah! I am his only", "So it proved with Clifford. He shuddered; he grew pale; he threw an\nappealing look at Hepzibah and Phoebe, who were with him at the window.", "them, from several windows at the same moment. An imaginary\nClifford--for (and it would have deeply wounded him to know it) he had\nalways been a horror to these small people--stood behind the unreal", "with no other company than a single series of ideas, and but one\naffection, and one bitter sense of wrong. Clifford, the reader may\nperhaps imagine, was too inert to operate morally on his" ], [ "Old Matthew Maule, in a word, was executed for the crime of witchcraft.\nHe was one of the martyrs to that terrible delusion, which should teach", "He was the grandson of a former Matthew Maule, one of the early\nsettlers of the town, and who had been a famous and terrible wizard in", "Matthew Maule understood the insinuated suspicion.", "condemnation of Matthew Maule. It was well known that the victim had\nrecognized the bitterness of personal enmity in his persecutor's", "Now, the wizard's grandson, the young Matthew Maule of our story, was\npopularly supposed to have inherited some of his ancestor's", "stretched, in order to make it cover the small metes and bounds of\nMatthew Maule. What greatly strengthens such a suspicion is the fact", "Matthew Maule, while building this house, took the opportunity to\nconstruct that recess, and hide away the Indian deed, on which depended", "covered by the log-built hut of Matthew Maule, there was much shaking\nof the head among the village gossips. Without absolutely expressing a", "Matthew Maule, the executed wizard,--\"God hath given him blood to\ndrink!\"", "their moral right to hold it. Of their legal tenure there could be no\nquestion; but old Matthew Maule, it is to be feared, trode downward", "Here ensued a great many words between Matthew Maule and the proprietor\nof the Seven Gables, on the subject which the latter had thus broached.", "characterized by an iron energy of purpose. Matthew Maule, on the\nother hand, though an obscure man, was stubborn in the defence of what\nhe considered his right; and, for several years, he succeeded in", "continued to regard the memory of the reputed witches. The mantle, or\nrather the ragged cloak, of old Matthew Maule had fallen upon his\nchildren. They were half believed to inherit mysterious attributes;", "\"Stay a moment, young lady, if you please!\" said Matthew Maule. \"My\nbusiness with your father is over. With yourself, it is now to begin!\"\n\nAlice looked towards her father, in surprise and inquiry.", "proposition to surrender his house. There was, at least, an assignable\nmotive for the first stipulation; there appeared to be none whatever\nfor the last. Nevertheless, Matthew Maule sturdily insisted on the", "\"Matthew Maule,\" replied the carpenter,--\"son of him who built the\nhouse,--grandson of the rightful proprietor of the soil.\"", "\"Your daughter!\" said Matthew Maule. \"Why, she is fairly mine!\nNevertheless, not to be too hard with fair Mistress Alice, I will leave", "\"Very likely,\" said Matthew Maule,--and again, it is said, there was a\ndark smile on his face,--\"but what can a poor carpenter have to do with\nthe grand affairs of the Pyncheon family?\"", "rummaging old records and hearkening to old traditions, he had brought\nhimself, it is averred, to the conclusion that Matthew Maule, the", "As for Matthew Maule's posterity, it was supposed now to be extinct.\nFor a very long period after the witchcraft delusion, however, the" ], [ "Old Matthew Maule, in a word, was executed for the crime of witchcraft.\nHe was one of the martyrs to that terrible delusion, which should teach", "It seemed to be Maule's impulse, not to ruin Alice, nor to visit her\nwith any black or gigantic mischief, which would have crowned her", "condemnation of Matthew Maule. It was well known that the victim had\nrecognized the bitterness of personal enmity in his persecutor's", "Matthew Maule, the executed wizard,--\"God hath given him blood to\ndrink!\"", "Maules had continued to inhabit the town where their progenitor had\nsuffered so unjust a death. To all appearance, they were a quiet,", "penny, or, rather, a weighty amount of sterling pounds, from the purse\nof his father's deadly enemy. At all events, Thomas Maule became the", "slave, in a bondage more humiliating, a thousand-fold, than that which\nbinds its chain around the body. Seated by his humble fireside, Maule", "Maule had been.", "Maule had some connection with the mystery of the looking-glass, and\nthat, by what appears to have been a sort of mesmeric process, they", "occurred, whether it were not imperative upon him, even at this late\nhour, to make restitution to Maule's posterity. To a man living so", "characterized by an iron energy of purpose. Matthew Maule, on the\nother hand, though an obscure man, was stubborn in the defence of what\nhe considered his right; and, for several years, he succeeded in", "He was the grandson of a former Matthew Maule, one of the early\nsettlers of the town, and who had been a famous and terrible wizard in", "Matthew Maule understood the insinuated suspicion.", "Turning half around, he caught a glimpse of Maule's figure in the\nlooking-glass. At some paces from Alice, with his arms uplifted in the", "proposition to surrender his house. There was, at least, an assignable\nmotive for the first stipulation; there appeared to be none whatever\nfor the last. Nevertheless, Matthew Maule sturdily insisted on the", "New England birth at that early period could entirely escape. But, on\nthe other hand, had not a whole community believed Maule's grandfather", "Maule. \"Alice, laugh!\"--the carpenter, beside his hearth, would say;\nor perhaps intensely will it, without a spoken word. And, even were it", "Matthew Maule, while building this house, took the opportunity to\nconstruct that recess, and hide away the Indian deed, on which depended", "Now, the wizard's grandson, the young Matthew Maule of our story, was\npopularly supposed to have inherited some of his ancestor's", "neighbors, particularly the petticoated ones, about what they called\nthe witchcraft of Maule's eye. Some said that he could look into" ], [ "through which she had just struggled. Her colloquy with Judge\nPyncheon, who so perfectly represented the person and attributes of the\nfounder of the family, had called back the dreary past. It weighed", "Maule's prophecy was probably founded on a knowledge of this physical\npredisposition in the Pyncheon race. Now, there is a minute and almost", "the Colonel would be quiet,\" he added, muttering to himself, \"my old\ngrandfather, the wizard, will be pretty sure to stick to the Pyncheons\nas long as their walls hold together.\"", "of his dreams. Years and years after their claim had passed out of the\npublic memory, the Pyncheons were accustomed to consult the Colonel's", "of some very strange behavior on the part of Colonel Pyncheon's\nportrait. This picture, it must be understood, was supposed to be so\nintimately connected with the fate of the house, and so magically built", "Colonel Pyncheon's sudden and mysterious end made a vast deal of noise\nin its day. There were many rumors, some of which have vaguely drifted", "Jaffrey Pyncheon came to a violent death, and by Clifford's hands.\"", "the book which represents a Pyncheon of a former generation as having\npersecuted one Maule, who declared that God would give his enemy \"blood\nto drink.\" It became a conviction with the Hawthorne family that a", "long kept itself busy with the affair of the old Puritan Pyncheon and\nthe wizard Maule; the curse which the latter flung from his scaffold", "a Pyncheon, about a hundred years ago, with circumstances very similar\nto what have been related of the Colonel's exit, was held as giving\nadditional probability to the received opinion on this topic. It was", "whom, as we have already said, was an immemorial heirloom in the\nPyncheon family. In compliance with a whim of Clifford, as it troubled", "The family of Colonel Pyncheon, at the epoch of his death, seemed\ndestined to as fortunate a permanence as can anywise consist with the", "degree of horror. She had heard of the anathema flung by Maule, the\nexecuted wizard, against Colonel Pyncheon and his posterity,--that God", "Pyncheon family history, with which I happen to be acquainted, into the\nform of a legend, and mean to publish it in a magazine.\"", "the family of the Maules and these vast unrealized possessions of the\nPyncheons. It was an ordinary saying that the old wizard, hanged", "at this moment, moreover, his heart was bitter with the sense of\nhereditary wrong, because he considered the great Pyncheon House to be\nstanding on soil which should have been his own. On this very site,", "claim, therefore, resulted in nothing more solid than to cherish, from\ngeneration to generation, an absurd delusion of family importance,\nwhich all along characterized the Pyncheons. It caused the poorest", "anywhere else. During the Revolution, the Pyncheon of that epoch,\nadopting the royal side, became a refugee; but repented, and made his", "Pyncheon. The young man was tried and convicted of the crime; but\neither the circumstantial nature of the evidence, and possibly some", "\"Because,\" said the artist, \"if the matter can be fairly considered and\ncandidly interpreted, it must be evident that Judge Pyncheon could not" ] ]

[ "What rumors surrounded the houses past?", "How long did Clifford serve time for man slaughter ?", "Who originally owned the house?", "What did Matthew do as he died?", "Whos picture hangs on the wall to this day?", "What is Judge Pyncheon looking for?", "How does the Judge die?", "Who actually killed Cliffords uncle?", "Where is the missing deed found?", "In what century was the house built?", "Who was the current resident of the house?", "Who completed 30 years for murder?", "Why was Maule executed?", "Who did Maule laid a curse on?", "Why was Clifford depressed?", "How did Judge Pyncheon threatens Clifford?", "Where did the judge mysteriously die?", "What did the townsfolk begin to gossip about?", "What will prove Clifford's innocence?", "In what century is the novel set?", "In what century was the house built?", "Who is the current owner of the house?", "Why does Hepzibah open up a shop in a side room in the mansion?", "What is the name of Hepzibah's brother?", "How long was Clifford in jail?", "What crime was Clifford imprisoned for?", "What crime was Matthew Maule accused of?", "What punishment did Maule endure for his alleged crime?", "Who placed a curse on the Pyncheon family as a result of Colonel Pyncheon's role in their fate?" ]

[ [ "Witchcraft and Sudden Death.", "It was haunted, accusations of witchcraft, sudden deaths" ], [ "30 years.", "thirty years" ], [ "Matthew Maule.", "Mathew Mule " ], [ "He put a curse on the Pyncheon.", "laid a curse on the family" ], [ "Colonel Pyncheon.", "Colonel Pyncheon" ], [ "The missing deed to land.", "Information about land in Maine. " ], [ "Sitting in the Colonels chair.", "He dies mysteriously in a chair" ], [ "Jaffrey.", "Jaffery. " ], [ "Behind the portrait of the Colonel.", "Behind Colonel Pyncheon's portrait" ], [ "Late 17th century.", "17th Century" ], [ "Hepzibah Pyncheon.", "Hepzibah Pynchon " ], [ "Pyncheon's brother Clifford.", "Clifford" ], [ "Practicing witchcraft.", "He was accused of practicing witchcraft" ], [ "Pyncheon family.", "Pyncheon family" ], [ "He was isolation from humanity and lost his youth in prison. ", "He completed a 30 year murder sentence for something he didn't do" ], [ "With an insanity hearing.", "an insanity hearing" ], [ "Sitting in Colonel Pyncheon's chair.", "Colonel Pyncheon's chair" ], [ "Hepziban and Clifford sudden disappearance.", "Hepzibah and clifford sudden disapperance" ], [ "New evidence in the crime.", "New evidence in the crime" ], [ "Mid-19th century", "mid-19th century" ], [ "The 17th century", "17th century" ], [ "Hepzibah Pyncheon", "Matthew Maule" ], [ "to support her brother", "to support her brother clifford" ], [ "Clifford", "Clifford" ], [ "thirty years", "during his youth" ], [ "murder", "Murder of his Uncle." ], [ "Witchcraft", "practicing witchcraft" ], [ "Execution", "Execution" ], [ "Matthew Maule", "Matthew Maule" ] ]

[ [ "But when once Will had attained his end, and felt that his tale,\nor part of a tale, would be heard by judge and jury; when once he", "It was a good idea, and caught at by the counsel for the defence.\nO'Brien gave just such testimony as was required to clear Will", "Bridgenorth, who had conjectured, when Will had first disturbed the\nawful tranquillity of the life-and-death court, that the witness had", "\"She meant Will, when she spoke of them that could prove him\ninnocent. He was with Will on Thursday night, walking a part of the", "which Will had to give evidence, and the manner in which he had been\npursued, after his ship had taken her leave of the land.", "\"Now I'm clear about this much,\" she continued, \"he was with Will\nwhen the--shot was fired (she could not bring herself to say, when", "\"And you want Will Wilson to prove an _alibi_--is that it?\"\n\n\"Yes--oh, yes--can we not cross now?\"", "know,\" continued she, seeing him look puzzled, \"who is to defend\nJem,--it was as a witness against him--\"", "\"They got one thing as belonged to her,\" replied Will, \"and that I've\noften seen with my own eyes, and I reckon it's a sure proof of the\ntruth of their story; for them that wants proof.\"", "\"Oh! Margaret, do you think he can be saved; do you think they can\nfind him guilty if Will comes forward as a witness? Won't that be a\ngood _alibi_?\"", "from all suspicion. He had witnessed the pursuit, he had heard the\nconversation which took place between the boat and the ship; he had\ngiven Will a homeward passage in his boat. And the character of an", "The counsel to whom etiquette assigned the cross-examination of Will,\ncaught the look on Mr. Carson's face, and in his desire to further", "But the object was accomplished by Will's going up-stairs immediately\non their return to the house, to indulge his mournful thoughts alone.\nAs soon as Jem and his mother were left by themselves, he began on\nthe subject uppermost in his mind.", "\"Oh! Job, and won't you ever believe me when I tell you he's\ninnocent? Indeed, and indeed I can prove it; he was with Will all\nthat night; he was, indeed, Job!\"", "\"And he'll prove that thing for my poor lad, will he? He'll bear\nwitness that Jem were with him? Oh, Job, speak! tell me all!\"", "window, she saw Will Wilson enter the court, and come quickly up to\nher door. She was glad to see him, for he had always been a friend of\nhers, perhaps too much like her in character ever to become any thing", "Wilson. It's a summons to be a witness on Jem's trial--Mrs. Heming\nthinks, to swear to the gun; for, yo see, there's nobbut [47] her", "\"There could be no mistake if they had found it. Look at your name,\ntogether with the very name of this court! And in Jem's hand-writing\ntoo, or I'm much mistaken. Look, Mary!\"", "just as I said. There's O'Brien, the pilot, in court now. Would\nsomebody with a wig on please to ask him how much he can say for me?\"", "\"Why! his mother told me, and I'll get Will to bear witness to it.\nBut, oh! Job\" (bursting into tears), \"it is hard if you won't believe" ], [ "But the object was accomplished by Will's going up-stairs immediately\non their return to the house, to indulge his mournful thoughts alone.\nAs soon as Jem and his mother were left by themselves, he began on\nthe subject uppermost in his mind.", "\"There could be no mistake if they had found it. Look at your name,\ntogether with the very name of this court! And in Jem's hand-writing\ntoo, or I'm much mistaken. Look, Mary!\"", "know,\" continued she, seeing him look puzzled, \"who is to defend\nJem,--it was as a witness against him--\"", "The circumstances of the murder, the discovery of the body, the\ncauses of suspicion against Jem, were as well known to most of", "She was quite unconscious that Jem had kept it secret from his\nmother; she had imagined it bruited abroad as the suspicion against", "\"Never, sir. I was not aware until I heard of the quarrel between\nthem, and what Jem had said to the policeman, and that was after the", "trouble; and who can wonder? Or Jem may have told her he was going,\nby way of a blind.\"", "\"Grandfather wants to see you!\" said she to Jem on his entrance.\n\n\"And I want to see him,\" replied Jem, suddenly remembering his last\nnight's determination to enjoin secrecy on Job Legh.", "One moment of silence, and then the murmurs rose, as the verdict was\ndiscussed by all with lowered voice. Jem stood motionless, his head", "Therefore it came like a blow to Jem when, after years had passed\naway, he gathered his mother's knowledge of the whole affair. From", "And still she never saw Jem. She knew he had returned home. She heard\nof him occasionally through his cousin, who roved gaily from house to", "The clue to this had been furnished by the policeman, who had\noverheard Jem's angry language to Mr. Carson; and his report in the\nfirst instance had occasioned the subpoena to Mary.", "shouted he, through the door. \"He can prove all; and Jem will come\noff as clear as a new-born babe.\"", "had hitherto undergone, as to why she was so certain that Jem was\ninnocent. She feared he was coming; he stepped a little towards the", "dropped words and unconnected sentences, the meaning of which became\nclearer, and yet more clear to her. Jem was suspected. Jem was\nascertained to be the murderer.", "Wilson. It's a summons to be a witness on Jem's trial--Mrs. Heming\nthinks, to swear to the gun; for, yo see, there's nobbut [47] her", "It was not to be. Jem wandered far and wide that night, but never\nmet Esther. The next day he applied to the police; and at last they", "\"No, they won't--they shan't! I see my way a bit now. We mun get Will\nto help; there'll be time. He can swear that Jem were with him. Where\nis Jem?\"", "But when once Will had attained his end, and felt that his tale,\nor part of a tale, would be heard by judge and jury; when once he", "Margaret had still, you see, little or no belief in Jem's innocence;\nand besides, she thought if Mary saw Will, and heard herself from him" ], [ "on it Mary Barton's name, and not only that, but the street in which\nshe lived! True, a letter or two was torn off, but, nevertheless,", "And in an instant Margaret was in the room. Mary had begged Job Legh\nto let her come and sleep with her. In the uncertain fire-light you\ncould not help noticing that she had the groping walk of a blind\nperson.", "watch over Mary and perhaps keep her from harm. So I used to wait\nfor her at nights, and follow her home, often when she little knew\nany one was near her. There was one of her companions I never could", "Then he turned to Mary, who, he felt by the sure instinct of love,\nby which almost his body thought, was present. Her hands were busy", "\"Ay, but it was that, though. They'd got her name quite pat. The man\nhad heard all they said. Mary Barton was her name, whoever she may\nbe.\"", "Mary had been too much engrossed by watching what was passing in the\nstreet to attend very closely to that which Margaret was saying. From", "person quickened step, and touched his arm very lightly. He turned,\nand saw, even by the darkness visible of that badly-lighted street,\nthat the woman who stood by him was of no doubtful profession. It", "Mary, as if she had acquired some new interest to them, since the day\nbefore. Then they began to whisper; and, absorbed as Mary had been in\nher own thoughts, she could not help becoming aware that it was of", "She stopped more from exhaustion than want of words. Mary spoke, but\nin so changed and choked a voice that the old woman almost started.\nIt seemed as if some third person must be in the room, the voice was\nso hoarse and strange.", "Mary stood for a time in silence, watching and listening. Then she\nbent down and reverently kissed Alice's cheek; and drawing Jane", "with Mary; she had wished to impose upon her with her tale of married\nrespectability, and yet she had yearned and craved for sympathy in\nher real lot. And she had imposed upon her well. She should perhaps", "But Mary heard not, she heeded not. She staggered on like one in a\ndream. With hung head and tottering steps, she instinctively chose", "clearer view of Mary's face, so that she might read her emotions, and\nascertain her interests. Then she began:", "She told Mary of it as she entered the court late that evening; and\nMary listened with saddened heart to the strange contrast which such\nwoeful tidings presented to the gay and loving words she had been", "He often looked at Mary, and wished she were not so like her aunt,\nfor the very bodily likeness seemed to suggest the possibility of", "She was really curious to see Mary; her connexion with a murderer\nseemed to have made her into a sort of _lusus naturæ_, and was", "Then Mary came to remembrance. Esther wondered till she was sick of\nwondering, in what way she was taking the affair. In some manner it", "in every possible way). And he was led to inquire first as to the\nextent, and then as to the source of her knowledge. It was Mary\nherself who had told all.", "Yes! Mary had heard, and so she said. But the poor woman's thoughts\nhad gone back to those days, and her little recollections came out,\nwith many interruptions of sighs, and tears, and shakes of the head.", "Mary took her hands away from her eyes, and looked with surprise at\nher aunt's face, as she uttered these words. She _was_ kind after" ], [ "way with him to Liverpool; now the thing is to lay hold on Will and\nget him to prove this.\" So spoke Mary, calm, from the earnestness of\nher purpose.", "Mary told her all that had been done with regard to Mr. Bridgenorth;\nall her own plans for seeking out Will; all her hopes; and concealed", "There was that in his manner which left no doubt of his desire to get\nrid of the visitor, and Will accordingly shook hands with Mary, and", "her there pretty near altogether. So let that be settled. And you\ntake Mrs. Wilson, dear grandad, and let Mary go find Will, and you", "\"Best way will be,\" said Job, \"for me to hunt out Will, early\nto-morrow morning, and yo, Mary, come at after with Jane Wilson. I", "And then, as if she were rousing herself out of some strange stupor,\nshe bethought her of Margaret. Who so likely as Margaret to treasure\nevery little particular respecting Will, now Alice was dead to all\nthe stirring purposes of life?", "Mary, imploring her to see him, which Sally was to back with all\nher powers of persuasion. After parting from him she determined, as", "Mary left off ironing, and came and stood near the fire-place. She\nhad always liked Will; but now it seemed as if a sudden spring of", "All this time, this ten days or so, of Will's visit to Manchester,\nthere was something going on which interested Mary even now, and", "pocket-book) that Will lodged, and where he doubted not he should\nhear both of him and of Mary.", "Mary helped her in all these little offices. They were busy in this\nway when the door was softly opened, and Jem came in, all grimed and", "in every possible way). And he was led to inquire first as to the\nextent, and then as to the source of her knowledge. It was Mary\nherself who had told all.", "Will laughed, too, a little, out of sympathy with Mary's pretty merry\nlaugh. Then he said--\n\n\"Ay, you may laugh, Mary; it only shows you've never been in love.\"", "Margaret had still, you see, little or no belief in Jem's innocence;\nand besides, she thought if Mary saw Will, and heard herself from him", "\"She meant Will, when she spoke of them that could prove him\ninnocent. He was with Will on Thursday night, walking a part of the", "watch over Mary and perhaps keep her from harm. So I used to wait\nfor her at nights, and follow her home, often when she little knew\nany one was near her. There was one of her companions I never could", "It took Job some little time to understand this, from the confused\nuse of the feminine pronoun. Then he inquired how he could best find\nMary.", "one way or the other. Will, you know, will be there, Margaret, to\nhelp a bit in doing for mother.\"", "Mary, and you and Will are to call on him (Will 'special) on Monday\nat two o'clock. Thou'rt taking it in, Mary; thou'rt to call on him in", "\"Ay, ay!\" replied Job, slipping out of the house.\n\nHe went first to Mr. Bridgenorth's, where it had struck him that Will\nand Mary might be all this time waiting for him." ], [ "cleared him outright of the murder; though perhaps the jury were loth\nto hang him. Old Mr. Carson is savage against judge and jury, and\nlawyers and all, as I heard.\"", "murdered Mr. Carson, was her son. Sad thing to have such a reprobate\nin the family.\"", "\"And have I had no suffering?\" asked Mr. Carson, as if appealing for\nsympathy, even to the murderer of his child.", "Carson took some hours, after he had witnessed the death of his son's\nmurderer, to consider his situation.", "discovered, and thus bloodily resented, the attentions which Mr.\nCarson had paid to his daughter; at others, he believed the motive to", "Jem saw with self-upbraiding pain how Mr. Carson winced at these last\nwords, but at each irrepressible and involuntary evidence of feeling,\nthe hearts of the two men warmed towards him. Jem went on speaking.", "\"Did you know Mr. Carson as now lies dead?\" continued the merciless\nwoman. \"Folk say you did, and knew him but too well. And that for the", "unflinchingly, and had carried conviction of his innocence and\ntruthfulness. Mr. Carson felt certain that he had heard all that Jem\ncould tell. Accordingly he turned to Job Legh.", "And when the words were said, John Barton lay a corpse in Mr.\nCarson's arms.\n\nSo ended the tragedy of a poor man's life.", "his beat, that he had had to separate your son from a young man, who\nby his dress he believed to be employed in a foundry; that the man\nhad thrown Mr. Carson down, and seemed inclined to proceed to more", "Carson's murderer; and although the motive was in some measure a\nmystery, yet a whole train of circumstances (the principal of which", "John Barton gasped, but not with fear. It was only that he felt it\nterrible to have inspired such hatred, as was concentrated into every\nword, every gesture of Mr. Carson's.", "\"He's done harm enough now,\" said the man, angry in his turn, \"for\nthere's good evidence he murdered young Carson, as was shot last\nnight.\"", "Events like these would have startled the most thoughtless into\nreflection, much more such a man as Mr. Carson, whose mind, if", "Meanwhile, the younger Mr. Carson had ended his review, and began to\nlisten to what was going on. He finished his breakfast, got up, and", "Mr. Carson was on his feet directly, his face glowing with rage or\nshame.\n\n\"Shall I take him to the lock-ups for assault, sir?\" said the\npoliceman.", "Mr. Carson had listened attentively, never taking his eyes off the\ndead body. When they had ended, he said,\n\n\"Where was he shot?\"", "mind of poor Mr. Carson, as he saw the effect of the young sailor's\nstatement? It never shook his belief in Jem's guilt in the least,", "Carson.\" She blushed for shame at the remembrance of her folly, and\nhid her head on his shoulder while he made answer.", "His son's murderer was discovered; had confessed his guilt; and yet\n(strange to say) he could not hate him with the vehemence of hatred" ], [ "I must tell you; I must put into words the dreadful secret which she\nbelieved that bit of paper had revealed to her.\n\nHer father was the murderer!", "of the murderer. But what I wanted particularly to tell you, sir, is\nthat one of my men has already got some clue, and that another (who", "\"Nay! I have little more to tell you,\" continued that gentleman. \"I\nasked him to inform me in all confidence, how it came to be found", "But now Margaret was drawn into the conversation. Suddenly it flashed\nacross Mary's mind, that the night of the murder was the very night,\nor rather the same early morning, that Margaret had been with Alice.\nShe turned sharp round, with--", "It was over. She was told to go down. But she could no longer compel\nher mother's heart to keep silence, and suddenly turning towards\nthe judge (with whom she imagined the verdict to rest), she thus\naddressed him with her choking voice.", "the murder was committed, when she remembered _who_ it was that, she\nhad every reason to believe, was the taker-away of life). Will can", "about the place where the murder was committed, seeking out for some\ntrace of the murderer. Having said this, they stopped speaking.", "He had returned before his summoned visitors arrived; and had time\nenough to recur to the evening on which John Barton had made his\nconfession. He remembered with mortification how he had forgotten", "And the murderer of his child answered to the appeal, and groaned in\nspirit over the anguish he had caused.", "The murder had been committed early on Thursday night, and between\nthen and the dawn of the following day there was ample time for the\nnews to spread far and wide among all those whose duty, or whose", "a murder, done on Thursday night, when he was with William Wilson.\nAny thing more, missis?\" asked the boat-man of Mary, in a lower\nvoice, and taking his hands down from his mouth.", "Jem alone gathered the full meaning of some of her strange sentences,\nand perceived that by some means or other she, like himself, had\ndivined the truth of her father being the murderer.", "her informants had told her it was supposed by the police that the\nmurderer had lurked while waiting for his victim. There was no sign,\nhowever, that any one had been about the place. If the grass had", "He had named it, she had been sure, all along. He had named it in his\nconversation with her that last, that fatal Thursday evening. She", "But now he knew that he had killed a man, and a brother,--now he knew\nthat no good thing could come out of this evil, even to the sufferers\nwhose cause he had so blindly espoused.", "strange interest in the suspected murderer, implied by Mary's\neagerness to screen him from any thing which might strengthen\nsuspicion against him. She had come, desirous to know the extent of", "one who had spoken to her kindly. The murder, shocking though it was,\nwas an absent, abstract thing, on which her thoughts could not, and", "\"But after your son had left, the man made use of some pretty strong\nthreats. And it's rather a curious coincidence that this scuffle took\nplace in the very same spot where the murder was committed; in Turner\nStreet.\"", "His son's murderer was discovered; had confessed his guilt; and yet\n(strange to say) he could not hate him with the vehemence of hatred", "The circumstances of the murder, the discovery of the body, the\ncauses of suspicion against Jem, were as well known to most of" ], [ "Jem's preference, and full well she knew how above all others he\npreferred Mary. Now she had never thought Mary good enough for Jem,\nand her late neglect in coming to see her still rankled a little in", "But Mary's thoughts were with Jem. How good he had been never to name\nhis dismissal to her. How much he had had to endure for her sake!\n\n\"Tell me all about it,\" she gasped out.", "Yes, Jem knew her. How well, his beating heart could testify!", "Long ago (reckoning time by events and thoughts, and not by clock\nor dial-plate), Jem had felt certain that Mary's father was Harry", "his speech what was the real state of the case. He succeeded so far\nas to comprehend that Jem inclined to believe that Mary loved his\nrival; and consequently, that if the speaker were attached to her", "Mary's heart filled with love at this new proof of Jem's goodness;\nbut she could not talk about it. She took Jane Wilson's hand, and", "Mary said all this in so open and innocent a manner, that Jem felt\nsure she knew not the truth respecting Esther, and he half hesitated\nto tell her. At length he replied,", "Mary went very red, and looked annoyed, although there was a secret\nspring of joy deep down in her heart, at hearing Jem so spoken of.", "\"Dearest Mary,--\"\n\n\"What, Jem?\" exclaimed she, alarmed by his hesitation.", "Mary helped her in all these little offices. They were busy in this\nway when the door was softly opened, and Jem came in, all grimed and", "Mary knew nothing more for many minutes. When she recovered\nconsciousness, she found herself supported by Jem on the \"settle\" in", "his innocence. None but his mother; and there the heart loved more\nthan the head reasoned, and her yearning affection had never for an\ninstant entertained the idea that her Jem was a murderer. But Mary", "despair, too, about Jem. She feared he had ceased to love her; and\nshe--she only loved him more and more for his seeming neglect. And,", "But some remedy to Mary's sorrow came with thinking. If her father\nwas guilty, Jem was innocent. If innocent, there was a possibility of", "but Mary's anxiety that she should not tell was too great, and too\ndecided, to leave a doubt as to her interest for Jem. She grew more", "And Jem Wilson! Oh, Jem, Jem, why did you not come to receive some of\nthe modest looks and words of love which Mary longed to give you, to", "complication of occurrences tending to strengthen the idea of Mary's\nmore than indifference to him; she had loved another, and in her mind\nJem believed that he himself must be regarded as the murderer of him", "Still Jem was not curious. He gave up hope of seeing Mary again by\nher own good free will; and the next best thing would be, to be alone", "she did not like to say any thing of this feeling to Jem, who had all\nalong seemed perfectly unconscious of any love-affair, besides his\nown, in progress.", "wooed by one whom Jem knew to be handsome, gay, and bright, and she\nhad given him her love. That was all! It was the wooer who should" ], [ "\"You must ask Margaret, not me, Will; she's never named your name to\nme.\" His countenance fell. \"But I should say that was a good sign", "\"Her father,\" said Margaret, finishing his interrupted sentence. \"It\nseems strange that a girl like her should be thrown on the bare world", "She stopped, oppressed with the fulness of her heart. Margaret began\nto love her again; to see in her the same sweet, faulty, impulsive,", "\"Help me! she's fainted,\" cried Margaret. But no one heeded. All eyes\nwere directed upwards. At this point of time a rope, with a running", "\"So am I,\" said Margaret. \"And the ship's name was the _John\nCropper_, and he lodged where I told Mary before. Have you got it", "Margaret, having told her tale, leant back with weariness, both of\nbody and mind. Mary hastened to make her a cup of tea; while Job,\nlately so talkative, sat quiet and mournfully silent.", "\"Oh, Margaret!\" said she, \"I see--I feel how wrong you think I have\nacted; you cannot think me worse than I think myself, now my eyes are\nopened.\" Here her sobs came choking up her voice.", "\"No,\" said Margaret, quietly fixing her tearful eyes on Mary; \"I know\nI'm not mistaken. I have felt one going some time, long before I ever", "a blessing sometimes; she was so downhearted when she dreaded it,\nand now she seems so calm and happy when it's downright come. No!\nMargaret's happy, I do think.\"", "Job came in with Margaret, for it was bed-time. He said Esther's\npulse beat a little yet. They carried her upstairs and laid her", "\"Then you give it up, do you? What do you say, mother?\"\n\nJane Wilson thought a moment.\n\n\"Will and Margaret are married?\" asked she.", "But then came in Margaret with her gentleness, like an angel of\npeace, so calm and reasonable, that both felt ashamed of their", "tears. But Margaret, with fixed eye, and earnest, dreamy look, seemed\nto become more and more absorbed in realising to herself the woe she\nhad been describing, and which she felt might at that very moment be", "\"Fergusson,\" said Esther, sadly.\n\n\"Mrs. Fergusson,\" repeated Mary, half unconsciously. \"And where did\nyou say you lived?\"", "from Margaret, very anxious-like. The doctor says the old lady yonder\ncan't last many days longer, and it seems so lonesome for her to die", "kissing, and holding my hand, and all her old childish ways o' loving\nme. Well, they went at last. You know them two letters, Margaret?\"", "Margaret. The old friendly manner came back. With it, may be, more of\ntenderness.", "Margaret had felt the evening long and lonely; and was all but giving\nup the thoughts of Jem's coming that night, when she heard his step\nat the door.", "Margaret, for I am very, very wretched; more wretched than any\none can ever know; more wretched, I sometimes fancy, than I have", "By and bye, Margaret timidly stole near him, as if waiting to\nconsole; and soon his passion sank down to grief, and grief gave way" ], [ "The circumstances of the murder, the discovery of the body, the\ncauses of suspicion against Jem, were as well known to most of", "dropped words and unconnected sentences, the meaning of which became\nclearer, and yet more clear to her. Jem was suspected. Jem was\nascertained to be the murderer.", "Jem. Already they had proved that the gun was his, that he had been\nheard not many days before the commission of the deed to threaten the", "Jem alone gathered the full meaning of some of her strange sentences,\nand perceived that by some means or other she, like himself, had\ndivined the truth of her father being the murderer.", "that's clear enough, from the shape it's crammed into. I was sorry\nfor the murderer, whoever he might be (I didn't then know of Jem's", "\"There could be no mistake if they had found it. Look at your name,\ntogether with the very name of this court! And in Jem's hand-writing\ntoo, or I'm much mistaken. Look, Mary!\"", "about the murder; about Jem's probable guilt; and (it flashed upon\nher for the first time) on the new light they would have obtained\nregarding herself: for until now they had never heard of her giddy", "arrived (better late than never) on whose evidence rested all the\nslight chance yet remaining to Jem Wilson of escaping death. During\nthe commotion in the court, among all the cries and commands, the", "through this part of the case, including the fact of Jem's absence\nfrom home on the night of the murder, and bringing every admission to\nbear right against the prisoner.", "ravelled ideas, and arranged some kind of a plan for action. If Jem\nwas innocent (and now, of his guilt, even his slightest participation\nin, or knowledge of, the murder, she acquitted him with all her", "of the gun, were rapidly deposed to; and then the policeman who had\ninterrupted the quarrel between Jem Wilson and the murdered young\nman was brought forward, and gave his evidence, clear, simple, and", "The clue to this had been furnished by the policeman, who had\noverheard Jem's angry language to Mr. Carson; and his report in the\nfirst instance had occasioned the subpoena to Mary.", "enough. He had evidently got possession of some gun (was it really\nJem's; was he an accomplice? No! she did not believe it; he never,", "murder. To this day I can't make out who told Jem. Oh, sir, may not\nI go down?\"", "notion that Jem here had done it. At times I was as clear of his\ninnocence as I was of my own; and whenever I took to reasoning about", "were found near the body. It's not my own Jem as would go for to kill\nany man, choose how a girl had jilted him. My own good Jem, as was", "But he was far enough from any such thought. Indeed, he had no doubt\nin his own mind that Jem had, in some passionate moment, urged on by", "No. B. 72 pointed out Jem as the man he had seen engaged in a\nscuffle with Mr. Carson, and then the other two stepped forward and", "There was no lack of clue or evidence at the coroner's inquest that\nmorning. The shot, the finding of the body, the subsequent discovery", "with a stinging stroke. An instant afterwards he lay stretched in the\nmuddy road, Jem standing over him, panting with rage. What he would" ], [ "And so day by day, nearer and nearer, came the diseased thoughts of\nJohn Barton. They excluded the light of heaven, the cheering sounds\nof earth. They were preparing his death.", "She died the day after their return from Liverpool. From that time,\nJem became aware that his mother was jealously watching for some word", "Mrs. Wilson was entering on a long and sorrowful explanation of\nhis having once lived there, but of his having dropped down dead;", "poor sister was dead. I suppose I would not think so. I used to watch\nabout the court where John lived, for many and many a night, and", "his wife's daily round of duties; and something in the remembrance\nthat these would never more be done by her, touched the source of\ntears, and he cried aloud. Poor Mary, meanwhile, had mechanically", "to think of her. So, muttering something which he meant to serve\nas an excuse for his sudden departure, he hastily wished John good\nafternoon, and left him to resume his pipe and his politics.", "All night long, others watched by the bed of Death. John Barton had\nrevived to fitful intelligence. He spoke at times with even something\nof his former energy; and in the racy Lancashire dialect he had\nalways used when speaking freely.", "And when the words were said, John Barton lay a corpse in Mr.\nCarson's arms.\n\nSo ended the tragedy of a poor man's life.", "\"Why for Mrs. Ogden as keeps the greengrocer's shop in Oxford Road.\nHer husband drank himself to death, and though she cried over him and", "were getting a bit better o' the fever, and th' babby were born; and\nthen the poor young man took worse and died, and she were not many\nhours behind.'", "She will think I have murdered her lover; she will think\n I have caused the grief she must be feeling. And she must\n go on thinking so. It is hard upon me to say this; but she", "He looked at her for a moment, and in her face he read the truth. His\nson, his only son, was dead.", "wife. She loved her next to me and Mary, and she's never been the\nsame body since poor Tom's death. However, let's go back to them;\nyour old woman may have done her good.\"", "by a jerk on his elbow, but she said quite low, 'For poor little\nJohnnie's sake, Richard.' He did not move or speak again, and after", "you must help me to tell him. Now be quiet, dear! It was no common\ndeath he died!\" She looked in her face as if trying to convey her\nmeaning by her eyes.", "of her lover; but she durst not ask, and Mrs. Wilson's thoughts soon\nreturned to her husband, and their early married days.", "cried aloud, and I was driven to do as others did,--and then Tom\ndied. You know all about that--I'm getting scant o' breath, and\nblind-like.\"", "He had returned before his summoned visitors arrived; and had time\nenough to recur to the evening on which John Barton had made his\nconfession. He remembered with mortification how he had forgotten", "He raised up the powerless frame; and the departing soul looked out\nof the eyes with gratitude. He held the dying man propped in his\narms. John Barton folded his hands as if in prayer.", "She murmured some words, which, though spoken low, as if choked up\nfrom the depths of agony, Jane Wilson caught. \"My heart is breaking,\"\nsaid she, feebly. \"My heart is breaking.\"" ], [ "for her to be left among strangers. To my mind John Barton would\nbe more in the way of his duty, looking after his daughter, than\ndelegating it up and down the country, looking after every one's", "Barton had been roused by his daughter's entrance, both from his\nstupor and from his uncontrollable sorrow. He could think on what was", "show to folk for many a day as John Barton's daughter. Well! God does\nnot judge as hardly as man, that's one comfort for all of us!\"", "She was evidently coming to their house; another moment, and she\ntapped at the door. John Barton gave an anxious, uneasy side-glance.", "where to meet with John Barton on that unfortunate night, which had\nonly produced irritation in him, and a month's imprisonment to her.\nShe had also observed that he was still intimate with the Wilsons.", "once she had been innocent, and hung about the neighbouring streets,\nnot daring to question, so she learnt but little; nothing in fact but\nthe knowledge of John Barton's absence from home.", "John Barton came in. Such a haggard and wildly anxious looking man,\nWill thought he had never seen. He looked at Will, but spoke no word\nof greeting or welcome.", "\"Me, John Barton,\" answered he, in a voice tremulous with agitation.\n\"My missis is in labour, and, for the love of God, step in while I\nrun for th' doctor, for she's fearful bad.\"", "\"Come, women,\" said John Barton, \"you've both walked far enough. My\nMary expects to have her bed in three weeks; and as for you, Mrs.", "There was a knock at the door, and Barton went to open it. It\nwas Mary, who had received a message from her father, through a", "But as Mr. Carson was on the point of leaving the house with no sign\nof relenting about him, he was again stopped by John Barton, who had\nrisen once more from his chair, and stood supporting himself on Jem,\nwhile he spoke.", "He had returned before his summoned visitors arrived; and had time\nenough to recur to the evening on which John Barton had made his\nconfession. He remembered with mortification how he had forgotten", "following in the same downward path to vice. To whom could she speak\nand ask for aid? She shrank from the idea of addressing John Barton\nagain; her heart sank within her, at the remembrance of his fierce", "Among these was John Barton. His parents had suffered, his mother\nhad died from absolute want of the necessaries of life. He himself", "dearly. But the time for his meeting John Barton drew on: and it was\na long way to his house.", "temper he could hardly expect that all allusion to the crime of John\nBarton would be for ever restrained from passing her lips, and he\nknew the deep trial such references would be to Mary. Accordingly he", "knowledge of John Barton's crime. It was many a long day since they\nhad seen any Manchester people who could have revealed the secret\n(if indeed it was known in Manchester, against which Jem had guarded", "All night long, others watched by the bed of Death. John Barton had\nrevived to fitful intelligence. He spoke at times with even something\nof his former energy; and in the racy Lancashire dialect he had\nalways used when speaking freely.", "\"Folks always make one a deal worse than one is,\" said John Barton,\ntestily. \"She came many a time to our house after she left off living", "One of them was John Barton. He would have been ashamed to own the\nflutter of spirits his appointment gave him. There was the childish" ], [ "\"He's done harm enough now,\" said the man, angry in his turn, \"for\nthere's good evidence he murdered young Carson, as was shot last\nnight.\"", "murder of Henry Carson was just commencing. The clerk was gabbling\nover the indictment, and in a minute or two there was the accustomed", "cleared him outright of the murder; though perhaps the jury were loth\nto hang him. Old Mr. Carson is savage against judge and jury, and\nlawyers and all, as I heard.\"", "Harry Carson came on, lightly bounding over the dirty places with\nalmost a lad's buoyancy. To his surprise the dark, sturdy-looking\nartisan stopped him by saying respectfully,", "Carson's murderer; and although the motive was in some measure a\nmystery, yet a whole train of circumstances (the principal of which", "who had revealed, or how he had discovered her acquaintance with\nHarry Carson. It was but too clear, some way or another, he had", "of you regarding the trial of James Wilson, for the murder of Henry\nCarson; that's the long and short of it, only more elegantly put, for", "the circumstances relating to Mary's flirtation with Harry Carson,\nor his murderer; and always when she spoke of John Barton, named\nhim with the respect due to his conduct before the last, miserable,", "And when the words were said, John Barton lay a corpse in Mr.\nCarson's arms.\n\nSo ended the tragedy of a poor man's life.", "employer's will, and that should be enough for the employed. Harry\nCarson did not trouble himself much about the grounds for his\nconduct. He liked the excitement of the affair. He liked the attitude", "\"Did you know Mr. Carson as now lies dead?\" continued the merciless\nwoman. \"Folk say you did, and knew him but too well. And that for the", "murdered Mr. Carson, was her son. Sad thing to have such a reprobate\nin the family.\"", "Mr. Carson had listened attentively, never taking his eyes off the\ndead body. When they had ended, he said,\n\n\"Where was he shot?\"", "The younger men were one and all for an unflinching resistance to\nclaims urged with so much violence. Of this party Harry Carson was\nthe leader.", "Mr. Carson was on his feet directly, his face glowing with rage or\nshame.\n\n\"Shall I take him to the lock-ups for assault, sir?\" said the\npoliceman.", "\"Have you not heard that young Mr. Carson was murdered last night?\"", "as a protection against Harry Carson and his threats; and now she\ndreaded lest he should learn she was alone. Her heart began to", "As such, he ought to ascertain Harry Carson's intentions towards\nher in winning her affections. He would ask him, straightforwardly,\nas became man speaking to man, not concealing, if need were, the\ninterest he felt in Mary.", "\"I think, sir, yo're keeping company wi' a young woman called Mary\nBarton?\"\n\nA light broke in upon Harry Carson's mind, and he paused before he\ngave the answer for which the other waited.", "Mr. Carson left the house. And John Barton lay on the ground as one\ndead." ], [ "you take your mother home, Jem, and stay by her till old Alice is\ngone, and trust me for seeing after Mary.\"", "\"Yes!\" said Jem, catching Mary's sanguine spirit; \"she shall go to\nAmerica with us; and we'll help her to get rid of her sins. I'll go", "But the object was accomplished by Will's going up-stairs immediately\non their return to the house, to indulge his mournful thoughts alone.\nAs soon as Jem and his mother were left by themselves, he began on\nthe subject uppermost in his mind.", "But some remedy to Mary's sorrow came with thinking. If her father\nwas guilty, Jem was innocent. If innocent, there was a possibility of", "Mary mechanically helped Alice in all the duties she performed\nthrough the remainder of that long night, but she did not see Jem\nagain. He remained up-stairs until after the early dawn showed Mary", "It was he who in a firm commanding voice at last told Jem and Mary\nto be off, or they would be too late. Mrs. Sturgis had kept up till", "All that night long Jem wandered up and down the narrow precincts\nof Ben Sturgis's house. In the little bed-room where Mrs. Sturgis", "had hitherto undergone, as to why she was so certain that Jem was\ninnocent. She feared he was coming; he stepped a little towards the", "\"You don't know Jem,\" said Mary, starting from her seat in a hurried\nmanner, \"or you would not say so.\"", "But Mary's thoughts were with Jem. How good he had been never to name\nhis dismissal to her. How much he had had to endure for her sake!\n\n\"Tell me all about it,\" she gasped out.", "\"Grandfather wants to see you!\" said she to Jem on his entrance.\n\n\"And I want to see him,\" replied Jem, suddenly remembering his last\nnight's determination to enjoin secrecy on Job Legh.", "\"You're going to see mother?\" he asked tenderly, placing her arm\nwithin his, and slackening his pace.\n\n\"Yes, and you too. Oh, Jem, is it true? tell me.\"", "trouble; and who can wonder? Or Jem may have told her he was going,\nby way of a blind.\"", "his innocence. None but his mother; and there the heart loved more\nthan the head reasoned, and her yearning affection had never for an\ninstant entertained the idea that her Jem was a murderer. But Mary", "Mary and Alice drew near the fire, and stood in quiet sorrow for some\ntime. Then Alice broke the silence by saying,\n\n\"It will be bad news for Jem, poor fellow, when he comes home.\"", "murder. To this day I can't make out who told Jem. Oh, sir, may not\nI go down?\"", "her father's speech gave Mary the push which she, in this instance,\nrequired; and, accordingly, timing her visit so as to avoid Jem's\nhours at home, she went the following afternoon to Ancoats.", "A new idea and a new fear came into Jem's mind. What if Mary should\nimplicate her father?", "Long ago (reckoning time by events and thoughts, and not by clock\nor dial-plate), Jem had felt certain that Mary's father was Harry", "alone, and never speak to her more.\" Jem's voice quivered with the\nearnestness with which he spoke, and he eagerly waited for some\nanswer." ], [ "All that night long Jem wandered up and down the narrow precincts\nof Ben Sturgis's house. In the little bed-room where Mrs. Sturgis", "Mary mechanically helped Alice in all the duties she performed\nthrough the remainder of that long night, but she did not see Jem\nagain. He remained up-stairs until after the early dawn showed Mary", "But the object was accomplished by Will's going up-stairs immediately\non their return to the house, to indulge his mournful thoughts alone.\nAs soon as Jem and his mother were left by themselves, he began on\nthe subject uppermost in his mind.", "that Jem had not been with him that Thursday night, it would in a\nmeasure break the force of the blow which was impending.", "alone, and never speak to her more.\" Jem's voice quivered with the\nearnestness with which he spoke, and he eagerly waited for some\nanswer.", "One moment of silence, and then the murmurs rose, as the verdict was\ndiscussed by all with lowered voice. Jem stood motionless, his head", "Long ago (reckoning time by events and thoughts, and not by clock\nor dial-plate), Jem had felt certain that Mary's father was Harry", "murder. To this day I can't make out who told Jem. Oh, sir, may not\nI go down?\"", "The circumstances of the murder, the discovery of the body, the\ncauses of suspicion against Jem, were as well known to most of", "When Jem returned home late in the evening succeeding John Barton's\ndeath, weary and oppressed with the occurrences and excitements", "\"He was very restless all night long,\" said Jem, reluctantly\nreturning to the thoughts of that time.", "The sun had not long set, but the first faint shade of twilight was\nover all; and when they opened the door, Jem could hardly perceive\nthe objects within by the waning light of day, and the flickering\nfire-blaze.", "dropped words and unconnected sentences, the meaning of which became\nclearer, and yet more clear to her. Jem was suspected. Jem was\nascertained to be the murderer.", "\"Grandfather wants to see you!\" said she to Jem on his entrance.\n\n\"And I want to see him,\" replied Jem, suddenly remembering his last\nnight's determination to enjoin secrecy on Job Legh.", "It was not to be. Jem wandered far and wide that night, but never\nmet Esther. The next day he applied to the police; and at last they", "Jem alone gathered the full meaning of some of her strange sentences,\nand perceived that by some means or other she, like himself, had\ndivined the truth of her father being the murderer.", "No. B. 72 pointed out Jem as the man he had seen engaged in a\nscuffle with Mr. Carson, and then the other two stepped forward and", "with a stinging stroke. An instant afterwards he lay stretched in the\nmuddy road, Jem standing over him, panting with rage. What he would", "about the murder; about Jem's probable guilt; and (it flashed upon\nher for the first time) on the new light they would have obtained\nregarding herself: for until now they had never heard of her giddy", "His hands.\" He spoke hushed, and low; but the words sank all the more\ninto Jem's heart, and gave him strength to tear himself away." ], [ "\"He's done harm enough now,\" said the man, angry in his turn, \"for\nthere's good evidence he murdered young Carson, as was shot last\nnight.\"", "Carson's murderer; and although the motive was in some measure a\nmystery, yet a whole train of circumstances (the principal of which", "who had revealed, or how he had discovered her acquaintance with\nHarry Carson. It was but too clear, some way or another, he had", "\"Did you know Mr. Carson as now lies dead?\" continued the merciless\nwoman. \"Folk say you did, and knew him but too well. And that for the", "murder of Henry Carson was just commencing. The clerk was gabbling\nover the indictment, and in a minute or two there was the accustomed", "Mr. Carson had listened attentively, never taking his eyes off the\ndead body. When they had ended, he said,\n\n\"Where was he shot?\"", "murdered Mr. Carson, was her son. Sad thing to have such a reprobate\nin the family.\"", "And when the words were said, John Barton lay a corpse in Mr.\nCarson's arms.\n\nSo ended the tragedy of a poor man's life.", "\"Have you not heard that young Mr. Carson was murdered last night?\"", "cleared him outright of the murder; though perhaps the jury were loth\nto hang him. Old Mr. Carson is savage against judge and jury, and\nlawyers and all, as I heard.\"", "the circumstances relating to Mary's flirtation with Harry Carson,\nor his murderer; and always when she spoke of John Barton, named\nhim with the respect due to his conduct before the last, miserable,", "of you regarding the trial of James Wilson, for the murder of Henry\nCarson; that's the long and short of it, only more elegantly put, for", "Harry Carson came on, lightly bounding over the dirty places with\nalmost a lad's buoyancy. To his surprise the dark, sturdy-looking\nartisan stopped him by saying respectfully,", "Carson (poor fellow!). But James Wilson did not speak one way or\nanother. I then went to particulars. I asked him if the gun was his,", "employer's will, and that should be enough for the employed. Harry\nCarson did not trouble himself much about the grounds for his\nconduct. He liked the excitement of the affair. He liked the attitude", "Mr. Carson left the house. And John Barton lay on the ground as one\ndead.", "The younger men were one and all for an unflinching resistance to\nclaims urged with so much violence. Of this party Harry Carson was\nthe leader.", "\"I think, sir, yo're keeping company wi' a young woman called Mary\nBarton?\"\n\nA light broke in upon Harry Carson's mind, and he paused before he\ngave the answer for which the other waited.", "as a protection against Harry Carson and his threats; and now she\ndreaded lest he should learn she was alone. Her heart began to", "discovered, and thus bloodily resented, the attentions which Mr.\nCarson had paid to his daughter; at others, he believed the motive to" ], [ "To return to Mary. Her plan had been, as we well know, to marry Mr.\nCarson, and the occurrence an hour ago was only a preliminary step.", "\"Who is this spark that Mary loves? Tell me his name!\"\n\n\"It's young Carson, old Carson's son, that your father worked for.\"\n\nThere was a pause. She broke the silence.", "To her surprise, a surprise that brought tears of joy into her\neyes, Mary Barton put her arms round her neck, and kissed the", "watch over Mary and perhaps keep her from harm. So I used to wait\nfor her at nights, and follow her home, often when she little knew\nany one was near her. There was one of her companions I never could", "Another year passed on. The waves of time seemed long since to have\nswept away all trace of poor Mary Barton. But her husband still", "And with his path growing clearer and clearer before him the longer\nhe contemplated it, he went to see Mary, and if he judged it fit, to\ntell her what he had decided upon. Margaret was sitting with her.", "with Mary; she had wished to impose upon her with her tale of married\nrespectability, and yet she had yearned and craved for sympathy in\nher real lot. And she had imposed upon her well. She should perhaps", "Mary, as if she had acquired some new interest to them, since the day\nbefore. Then they began to whisper; and, absorbed as Mary had been in\nher own thoughts, she could not help becoming aware that it was of", "The evening came quickly to an end. There was the humble cheerful\nmeal, and then the bustling merry farewell, and Mary was once more in", "Mary stood for a time in silence, watching and listening. Then she\nbent down and reverently kissed Alice's cheek; and drawing Jane", "\"Mary,\"--beginning to speak again,--\"did you ever hear what a poor\ncreature I were when he married me? And he such a handsome fellow!\nJem's nothing to what his father were at his age.\"", "Mary. But it is too late now;--too late,\" she added, with accents of\ndeep despair.", "Mary's heart.) \"But now, if you like, I'll get a licence to-morrow\nmorning--nay, to-night, and I'll marry you in defiance of all the", "Now, the great thing was to reach home, and solitude. Mary loved\nanother! Oh! how should he bear it? He had thought her rejection of", "Mary, to bring matters more to a point. But he had a kind of\ninstinctive dread of hurting Mary's pride of spirit, and durst not\nhint his knowledge in any way of the distress that many must be", "That was just what Mary wanted to know; but what apparently her\nfather was in no mood to tell. He got up without speaking, and", "When it was ended, he swore (an unusual thing for him) that if Jem\nWilson wanted Mary he should have her to-morrow, if he had not a\npenny to keep her.", "glimmered in Mary's heart, and she almost felt glad, for an instant,\nof the occasion which would at last bring them together. Oh! happy\nnight! when would it come? Many hours had yet to pass.", "\"That'll do!\" said she, as the dose he poured into Mary's open mouth\nmade her start and cough. \"Bless the man! It's just like him to be so\ntender and thoughtful!\"", "\"Not my wife!\" said he, mournfully. \"Oh Mary, think awhile! you\ncannot be my friend if you will not be my wife. At least I can never" ], [ "\"Yes!\" said Jem, catching Mary's sanguine spirit; \"she shall go to\nAmerica with us; and we'll help her to get rid of her sins. I'll go", "Mary knew nothing more for many minutes. When she recovered\nconsciousness, she found herself supported by Jem on the \"settle\" in", "Still Jem was not curious. He gave up hope of seeing Mary again by\nher own good free will; and the next best thing would be, to be alone", "There came a fine, bright, balmy day. And Mary tottered once more out\ninto the open air, leaning on Jem's arm, and close to his beating", "Mary helped her in all these little offices. They were busy in this\nway when the door was softly opened, and Jem came in, all grimed and", "After a while they began talking over their plans. In a day or two,\nMary was to give up house, and go and live for a week or so with", "But Mary's thoughts were with Jem. How good he had been never to name\nhis dismissal to her. How much he had had to endure for her sake!\n\n\"Tell me all about it,\" she gasped out.", "Jem entered, looking more awkward and abashed than he had ever done\nbefore. Yet here was Mary all alone, just as he had hoped to find", "Mary mechanically helped Alice in all the duties she performed\nthrough the remainder of that long night, but she did not see Jem\nagain. He remained up-stairs until after the early dawn showed Mary", "\"You don't know Jem,\" said Mary, starting from her seat in a hurried\nmanner, \"or you would not say so.\"", "Jem's preference, and full well she knew how above all others he\npreferred Mary. Now she had never thought Mary good enough for Jem,\nand her late neglect in coming to see her still rankled a little in", "Mary still hovered between life and death when Jem arrived at the\nhouse where she lay; and the doctors were as yet unwilling to", "Mary and Alice drew near the fire, and stood in quiet sorrow for some\ntime. Then Alice broke the silence by saying,\n\n\"It will be bad news for Jem, poor fellow, when he comes home.\"", "Job Legh, until the time of her marriage, which would take place\nimmediately before sailing; they talked themselves back into silence\nand delicious reverie. Mary sat by Jem, his arm round her waist, her", "It was not to be. Jem wandered far and wide that night, but never\nmet Esther. The next day he applied to the police; and at last they", "But some remedy to Mary's sorrow came with thinking. If her father\nwas guilty, Jem was innocent. If innocent, there was a possibility of", "you take your mother home, Jem, and stay by her till old Alice is\ngone, and trust me for seeing after Mary.\"", "\"Jem!\" said Mary to him, one evening as they sat in the twilight,\ntalking together in low happy voices till Margaret should come to", "Jem. As soon as she was fairly away from the house and street, she\nslackened her pace, and began to think. Did Jem really care for Molly", "It was he who in a firm commanding voice at last told Jem and Mary\nto be off, or they would be too late. Mrs. Sturgis had kept up till" ], [ "Mary helped her in all these little offices. They were busy in this\nway when the door was softly opened, and Jem came in, all grimed and", "Jem entered, looking more awkward and abashed than he had ever done\nbefore. Yet here was Mary all alone, just as he had hoped to find", "Mary knew nothing more for many minutes. When she recovered\nconsciousness, she found herself supported by Jem on the \"settle\" in", "\"Jem!\" said Mary to him, one evening as they sat in the twilight,\ntalking together in low happy voices till Margaret should come to", "Long ago (reckoning time by events and thoughts, and not by clock\nor dial-plate), Jem had felt certain that Mary's father was Harry", "Jem's preference, and full well she knew how above all others he\npreferred Mary. Now she had never thought Mary good enough for Jem,\nand her late neglect in coming to see her still rankled a little in", "There came a fine, bright, balmy day. And Mary tottered once more out\ninto the open air, leaning on Jem's arm, and close to his beating", "Mary still hovered between life and death when Jem arrived at the\nhouse where she lay; and the doctors were as yet unwilling to", "Mary and Alice drew near the fire, and stood in quiet sorrow for some\ntime. Then Alice broke the silence by saying,\n\n\"It will be bad news for Jem, poor fellow, when he comes home.\"", "Mary mechanically helped Alice in all the duties she performed\nthrough the remainder of that long night, but she did not see Jem\nagain. He remained up-stairs until after the early dawn showed Mary", "where-abouts, Jem bent his steps towards Mary's house; for he had not\nseen her all that long day of search. He told her of his proceedings", "But Mary's thoughts were with Jem. How good he had been never to name\nhis dismissal to her. How much he had had to endure for her sake!\n\n\"Tell me all about it,\" she gasped out.", "And Jem Wilson! Oh, Jem, Jem, why did you not come to receive some of\nthe modest looks and words of love which Mary longed to give you, to", "As she gently opened the door, Mary, sitting idly by the fire, caught\na glimpse of her,--of Jem's mother,--of the early friend of her dead", "\"You don't know Jem,\" said Mary, starting from her seat in a hurried\nmanner, \"or you would not say so.\"", "her father's speech gave Mary the push which she, in this instance,\nrequired; and, accordingly, timing her visit so as to avoid Jem's\nhours at home, she went the following afternoon to Ancoats.", "about her child I wanted so to see you, Jem. You know Mary Barton,\ndon't you?\" said she, trying to collect her thoughts.", "Still Jem was not curious. He gave up hope of seeing Mary again by\nher own good free will; and the next best thing would be, to be alone", "There seemed to be some pause in the conversation. Mary and Jem stood\nat the half-open door, not daring to stir; hardly to breathe.", "\"Dearest Mary,--\"\n\n\"What, Jem?\" exclaimed she, alarmed by his hesitation." ], [ "One of them was John Barton. He would have been ashamed to own the\nflutter of spirits his appointment gave him. There was the childish", "Among these was John Barton. His parents had suffered, his mother\nhad died from absolute want of the necessaries of life. He himself", "And when the words were said, John Barton lay a corpse in Mr.\nCarson's arms.\n\nSo ended the tragedy of a poor man's life.", "John Barton came in. Such a haggard and wildly anxious looking man,\nWill thought he had never seen. He looked at Will, but spoke no word\nof greeting or welcome.", "Among these few was John Barton. At all times it is a bewildering\nthing to the poor weaver to see his employer removing from house to", "CHAPTER III.\n\nJOHN BARTON'S GREAT TROUBLE.", "son's money. But though \"silver and gold he had none,\" he gave\nheart-service and love works of far more value. Nor was John Barton", "The eyes of John Barton grew dim with tears. Rich and poor, masters\nand men, were then brothers in the deep suffering of the heart; for", "We must return to John Barton. Poor John! He never got over his\ndisappointing journey to London. The deep mortification he then", "One of the good influences over John Barton's life had departed that\nnight. One of the ties which bound him down to the gentle humanities", "John Barton began to speak; they turned to him with great attention.\n\"It makes me more than sad, it makes my heart burn within me, to see", "He had returned before his summoned visitors arrived; and had time\nenough to recur to the evening on which John Barton had made his\nconfession. He remembered with mortification how he had forgotten", "his thoughts to the single want, \"Mammy, mammy.\" With tender address,\nJohn Barton soothed the little laddie, and with beautiful patience he", "But as Mr. Carson was on the point of leaving the house with no sign\nof relenting about him, he was again stopped by John Barton, who had\nrisen once more from his chair, and stood supporting himself on Jem,\nwhile he spoke.", "\"Me, John Barton,\" answered he, in a voice tremulous with agitation.\n\"My missis is in labour, and, for the love of God, step in while I\nrun for th' doctor, for she's fearful bad.\"", "All night long, others watched by the bed of Death. John Barton had\nrevived to fitful intelligence. He spoke at times with even something\nof his former energy; and in the racy Lancashire dialect he had\nalways used when speaking freely.", "dearly. But the time for his meeting John Barton drew on: and it was\na long way to his house.", "Mr. Carson left the house. And John Barton lay on the ground as one\ndead.", "where to meet with John Barton on that unfortunate night, which had\nonly produced irritation in him, and a month's imprisonment to her.\nShe had also observed that he was still intimate with the Wilsons.", "Old Job, however, felt that some one must speak, else all the good\nthey had done in dispelling John Barton's gloom was lost. So after" ], [ "Some weeks after this, there was a meeting of the Trades' Union to\nwhich John Barton belonged. The morning of the day on which it was to", "for work. But at every mill was some sign of depression of trade;\nsome were working short hours, some were turning off hands, and for\nweeks Barton was out of work, living on credit. It was during this", "wondering and began to forget. Barton still attended his club, and\nwas an active member of a trades' union; indeed, more frequently\nthan ever, since the time of Mary's return in the evening was so", "Barton worked short hours; Wilson, of course, being a hand in\nCarsons' factory, had no work at all. But his son, working at an", "Among these was John Barton. His parents had suffered, his mother\nhad died from absolute want of the necessaries of life. He himself", "A little time before this, there had come one of those occasions for\ndeliberation among the employed, which deeply interested John Barton;\nand the discussions concerning which had caused his frequent absence\nfrom home of late.", "John Barton became a Chartist, a Communist, all that is commonly\ncalled wild and visionary. Ay! but being visionary is something. It", "Barton had only a few shillings to rely on; but he had good heart of\nbeing employed at some other mill, and accordingly, before returning\nhome, he spent some hours in going from factory to factory, asking", "Among these few was John Barton. At all times it is a bewildering\nthing to the poor weaver to see his employer removing from house to", "exist in the bitter feuds between the masters and their work-people,\nin which Barton was known to take so keen an interest. But if he had", "The eyes of John Barton grew dim with tears. Rich and poor, masters\nand men, were then brothers in the deep suffering of the heart; for", "Of course, Barton had his share of mere bodily sufferings. Before he\nhad gone up to London on his vain errand, he had been working short", "resolutions, and suggested measures. He wrote out a stirring\nplacard for the walls. He proposed sending delegates to entreat the\nassistance of other Trades' Unions in other towns. He headed the list", "of hands every week, and he was made aware by the remarks of fellow\nworkmen, that a Chartist delegate, and a leading member of a Trades'\nUnion, was not likely to be favoured in his search after employment.", "\"Me, John Barton,\" answered he, in a voice tremulous with agitation.\n\"My missis is in labour, and, for the love of God, step in while I\nrun for th' doctor, for she's fearful bad.\"", "They were all desperate members of Trades' Unions, ready for any\nthing; made ready by want.", "CHAPTER III.\n\nJOHN BARTON'S GREAT TROUBLE.", "Barton. He was dressed in his best, his Sunday suit of course; while\nhis face glittered with the scrubbing he had bestowed on it. His dark", "Barton had been roused by his daughter's entrance, both from his\nstupor and from his uncontrollable sorrow. He could think on what was", "\"My name is Mary,--Mary Barton,\" answered she, anxious to propitiate\none who seemed so willing to exert himself in her behalf, or else" ], [ "Mary must do something. The factories being, as I said, out of the\nquestion, there were two things open--going out to service, and", "thoughts of father and daughter was, as I said before, Mary was to be\na dressmaker; and her ambition prompted her unwilling father to apply", "and where Mary was to work for two years without any remuneration,\non consideration of being taught the business; and where afterwards\nshe was to dine and have tea, with a small quarterly salary (paid", "Mary, as if she had acquired some new interest to them, since the day\nbefore. Then they began to whisper; and, absorbed as Mary had been in\nher own thoughts, she could not help becoming aware that it was of", "clearer view of Mary's face, so that she might read her emotions, and\nascertain her interests. Then she began:", "To return to Mary. Her plan had been, as we well know, to marry Mr.\nCarson, and the occurrence an hour ago was only a preliminary step.", "After a while they began talking over their plans. In a day or two,\nMary was to give up house, and go and live for a week or so with", "with Mary; she had wished to impose upon her with her tale of married\nrespectability, and yet she had yearned and craved for sympathy in\nher real lot. And she had imposed upon her well. She should perhaps", "Mary, imploring her to see him, which Sally was to back with all\nher powers of persuasion. After parting from him she determined, as", "Mr. Carson, as we have seen, persevered in considering Mary's\nrejection of him as merely a \"charming caprice.\" If she were at work,", "Mary went early to her work; but her cheery laugh over it was now\nmissed by the other girls. Her mind wandered over the present", "Now Mary disliked this plan inexpressibly; her dislike was partly\ngrounded on reason, and partly on feeling. She could not bear the", "\"I'll go first thing to-morrow morning, and learn how she is; and\nI'll bring word back before I go to work,\" said Mary.\n\n\"It's a bad job Will's gone,\" said Job.", "\"Oh, let us go, let us go,\" said Mary, feeling that the interview\nmust be, and had better be anywhere than at home, where her father", "That was just what Mary wanted to know; but what apparently her\nfather was in no mood to tell. He got up without speaking, and", "apprentice must (or so Mary thought) be always dressed with a certain\nregard to appearance; must never soil her hands, and need never\nredden or dirty her face with hard labour. Before my telling you so", "Mary shall never work in a factory, that I'm determined on. You see\nEsther spent her money in dress, thinking to set off her pretty face;", "Mary's heart. She often wished he would apply for relief from the\nGuardian's relieving office; often wondered the Trades' Union did", "Job Legh looked about for Mary, now he had gained, and given, some\nidea of the position of things. At last he saw her, standing by a", "that she might sleep, and forget for a time her heavy burden, she\nlooked wistfully after Mary, and whispered," ], [ "To return to Mary. Her plan had been, as we well know, to marry Mr.\nCarson, and the occurrence an hour ago was only a preliminary step.", "As such, he ought to ascertain Harry Carson's intentions towards\nher in winning her affections. He would ask him, straightforwardly,\nas became man speaking to man, not concealing, if need were, the\ninterest he felt in Mary.", "\"I think, sir, yo're keeping company wi' a young woman called Mary\nBarton?\"\n\nA light broke in upon Harry Carson's mind, and he paused before he\ngave the answer for which the other waited.", "One of Mary's resolutions was, that she would not be persuaded or\ninduced to see Mr. Harry Carson during her father's absence. There", "only imagine it a great privilege to lay it at the feet of the loved\none. Harry Carson's mother had been a factory girl; so, after all,\nwhat was the great reason for doubting his intentions towards Mary?", "more handsome, and far more grand, would show him one day that she\nwas good enough to be Mrs. Henry Carson. So temper, or what Mary", "himself, he was not a favoured admirer. The idea came into Mr.\nCarson's mind, that perhaps, after all, Mary loved him in spite of", "Mr. Carson was rich, and prosperous, and gay, and (she believed)\nwould place her in all circumstances of ease and luxury, where want\ncould never come. What were these hollow vanities to her, now she", "\"Who is this spark that Mary loves? Tell me his name!\"\n\n\"It's young Carson, old Carson's son, that your father worked for.\"\n\nThere was a pause. She broke the silence.", "girls had been dazzled and lured by gold, even without the betraying\nlove which she believed to exist in Mary's heart. So she urged young\nMr. Carson, by representations of the want she was sure surrounded", "end,--whether Mary would gain her point of marriage, with her sly\naffectation of believing such to be Mr. Carson's intention in\ncourting her.", "the circumstances relating to Mary's flirtation with Harry Carson,\nor his murderer; and always when she spoke of John Barton, named\nhim with the respect due to his conduct before the last, miserable,", "Carson's complaints that Mary was not keeping her appointments with\nhim, and that unless he detained her by force, he had no chance of\nobtaining a word as she passed him in the street on her rapid walk", "With more freedom than he had ever used before, Mr. Carson put his\narm firmly round Mary's waist, in spite of her indignant resistance.", "Mr. Carson, as we have seen, persevered in considering Mary's\nrejection of him as merely a \"charming caprice.\" If she were at work,", "She had been shocked, of course, at Mr. Carson's death, though at\nthe same time the excitement was rather pleasant than otherwise; and\ndearly now would she have enjoyed the conspicuous notice which Mary\nwas sure to receive.", "Yes! Mary was ambitious, and did not favour Mr. Carson the less\nbecause he was rich and a gentleman. The old leaven, infused years", "as a protection against Harry Carson and his threats; and now she\ndreaded lest he should learn she was alone. Her heart began to", "Poor Esther's experience had led her, perhaps, too hastily to the\nconclusion, that Mr. Carson's intentions were evil towards Mary; at", "who had revealed, or how he had discovered her acquaintance with\nHarry Carson. It was but too clear, some way or another, he had" ], [ "\"Oh! it was that horrible night which is like a dream.\" And she told\nhim of Esther's midnight visit, concluding with, \"We must go and see\nher before we leave, though I don't rightly know where to find her.\"", "\"Why, Esther! Where han ye been this many a year? Where han ye been\nwandering that we none of us could find you out?\"\n\nThe question was asked thoughtlessly, but answered with fierce\nearnestness.", "Then Mary came to remembrance. Esther wondered till she was sick of\nwondering, in what way she was taking the affair. In some manner it", "and bitterly thought of the shock his poor wife had so recently had,\nin the mysterious disappearance of her cherished sister. His feelings\ntowards Esther almost amounted to curses. It was she who had brought", "It was not to be. Jem wandered far and wide that night, but never\nmet Esther. The next day he applied to the police; and at last they", "And Esther! How scanty had been her food for days and weeks, her\nthinly-covered bones and pale lips might tell, but her words should\nnever reveal! So, with a little unreal laugh, she replied,", "Job came in with Margaret, for it was bed-time. He said Esther's\npulse beat a little yet. They carried her upstairs and laid her", "\"Fergusson,\" said Esther, sadly.\n\n\"Mrs. Fergusson,\" repeated Mary, half unconsciously. \"And where did\nyou say you lived?\"", "\"It is Esther!\" exclaimed they, both at once. They rushed\noutside; and, fallen into what appeared simply a heap of white or", "\"I was taking a walk near Turner Street, and I went to see the spot,\"\ncontinued Esther, \"and, as luck would have it, I spied this bit of", "and altered aunt, who so suddenly re-appeared on the scene; and it\nwould have cut Esther to the very core, could she have known how her\nlittle darling of former days was feeling towards her.", "In pursuance of her plan, Esther meant to assume the manners and\ncharacter, as she had done the dress, of a mechanic's wife; but then,", "power of a mother's love; and unconscious of the fact, that she was\nfar superior in sense and spirit to the mother she mourned. Aunt\nEsther was still mysteriously absent, and people had grown weary of", "And he was out of sight! She did not know why, but she had never\nbefore felt so depressed, so desolate. She turned in to Job, who sat", "Barton returned home after his encounter with Esther, uneasy and\ndissatisfied. He had said no more than he had been planning to say", "Among those who listened to the tale of violence was Esther.", "\"Where did you see Esther lately? When? Tell me, love, for you've\nnever named it before, and I can't make it out.\"", "Her father now began to wish Mary were married. Then this terrible\nsuperstitious fear suggested by her likeness to Esther would be done", "of him for Mary's sake. Yet, poor Mary! Death was a terrible, though\nsure, remedy for the evil Esther had dreaded for her; and how would", "It was an unlucky toast or sentiment, as she instantly felt. Every\none thought of Esther, the absent Esther; and Mrs. Barton put down\nher food, and could not hide the fast dropping tears. Alice could\nhave bitten her tongue out." ], [ "Esther's term of imprisonment was ended. She received a good\ncharacter in the governor's books; she had picked her daily quantity", "So the night wore away. The next morning she was taken up to the\nNew Bailey. It was a clear case of disorderly vagrancy, and she was\ncommitted to prison for a month. How much might happen in that time!", "Then Mary came to remembrance. Esther wondered till she was sick of\nwondering, in what way she was taking the affair. In some manner it", "Esther's unsteady, reeling fall, that she was tipsy, he took her\nin her half-unconscious state to the lock-ups for the night. The", "It was over. She was told to go down. But she could no longer compel\nher mother's heart to keep silence, and suddenly turning towards\nthe judge (with whom she imagined the verdict to rest), she thus\naddressed him with her choking voice.", "And Esther! How scanty had been her food for days and weeks, her\nthinly-covered bones and pale lips might tell, but her words should\nnever reveal! So, with a little unreal laugh, she replied,", "encounter with Esther, with so many details that Mary was forced to\nbe convinced, although her heart rebelled against the belief.", "\"Oh! it was that horrible night which is like a dream.\" And she told\nhim of Esther's midnight visit, concluding with, \"We must go and see\nher before we leave, though I don't rightly know where to find her.\"", "\"Well, neighbour,\" said Wilson, \"all that may be very true, but what\nI want to know now is about Esther--when did you last hear of her?\"", "Among those who listened to the tale of violence was Esther.", "In pursuance of her plan, Esther meant to assume the manners and\ncharacter, as she had done the dress, of a mechanic's wife; but then,", "thing out for us. So I believe he asks other policemen; and one on\n'em had seen a wench, like our Esther, walking very quickly, with a", "There was a little strife in Esther's mind for an instant, between\nthe shame of acknowledging herself, and the additional weight to her\nrevelation which such acknowledgment would give. Then she spoke.", "Mary said all this in so open and innocent a manner, that Jem felt\nsure she knew not the truth respecting Esther, and he half hesitated\nto tell her. At length he replied,", "It was not to be. Jem wandered far and wide that night, but never\nmet Esther. The next day he applied to the police; and at last they", "\"It is Esther!\" exclaimed they, both at once. They rushed\noutside; and, fallen into what appeared simply a heap of white or", "of him for Mary's sake. Yet, poor Mary! Death was a terrible, though\nsure, remedy for the evil Esther had dreaded for her; and how would", "thought she should find Esther with us; and when she told her story,\nmy missis set up such a screech, and fell down in a dead swoon. Mary", "Job came in with Margaret, for it was bed-time. He said Esther's\npulse beat a little yet. They carried her upstairs and laid her", "wife spoiled her, it is true, for you see she was so much older than\nEsther she was more like a mother to her, doing every thing for her.\"" ], [ "\"Esther, you may trust to my doing all I can for Mary. That I have\ndetermined on. And now listen to me! you loathe the life you lead,", "Then Mary came to remembrance. Esther wondered till she was sick of\nwondering, in what way she was taking the affair. In some manner it", "\"Oh! it was that horrible night which is like a dream.\" And she told\nhim of Esther's midnight visit, concluding with, \"We must go and see\nher before we leave, though I don't rightly know where to find her.\"", "Mary said all this in so open and innocent a manner, that Jem felt\nsure she knew not the truth respecting Esther, and he half hesitated\nto tell her. At length he replied,", "\"I was taking a walk near Turner Street, and I went to see the spot,\"\ncontinued Esther, \"and, as luck would have it, I spied this bit of", "\"Fergusson,\" said Esther, sadly.\n\n\"Mrs. Fergusson,\" repeated Mary, half unconsciously. \"And where did\nyou say you lived?\"", "CHAPTER XXI.\n\nESTHER'S MOTIVE IN SEEKING MARY.", "loved Esther, if it was only for Mary's sake. Says I, 'Esther, I see\nwhat you'll end at with your artificials, and your fly-away veils,", "of him for Mary's sake. Yet, poor Mary! Death was a terrible, though\nsure, remedy for the evil Esther had dreaded for her; and how would", "\"Yes, I mind her well! But yo are not Esther, are you?\" He looked\nagain into her face, and seeing that indeed it was his boyhood's", "\"Well, neighbour,\" said Wilson, \"all that may be very true, but what\nI want to know now is about Esther--when did you last hear of her?\"", "\"I never did say,\" muttered Esther; then aloud, \"In Angel's Meadow,\n145, Nicholas Street.\"\n\n\"145, Nicholas Street, Angel Meadow. I shall remember.\"", "\"Nay, Mary,\" said Esther, rather reproachfully, \"I am not so bad as\nthat. Oh! Mary, you cannot think I would do that, whatever I may be.\"", "thing out for us. So I believe he asks other policemen; and one on\n'em had seen a wench, like our Esther, walking very quickly, with a", "encounter with Esther, with so many details that Mary was forced to\nbe convinced, although her heart rebelled against the belief.", "Her father now began to wish Mary were married. Then this terrible\nsuperstitious fear suggested by her likeness to Esther would be done", "\"Your poor aunt Esther has no home:--she's one of them miserable\ncreatures that walk the streets.\" And he in his turn told of his", "Mary shall never work in a factory, that I'm determined on. You see\nEsther spent her money in dress, thinking to set off her pretty face;", "In pursuance of her plan, Esther meant to assume the manners and\ncharacter, as she had done the dress, of a mechanic's wife; but then,", "she stand the shock, loving as her aunt believed her to do? Poor\nMary! who would comfort her? Esther's thoughts began to picture her" ], [ "To return to Mary. Her plan had been, as we well know, to marry Mr.\nCarson, and the occurrence an hour ago was only a preliminary step.", "\"Who is this spark that Mary loves? Tell me his name!\"\n\n\"It's young Carson, old Carson's son, that your father worked for.\"\n\nThere was a pause. She broke the silence.", "She had been shocked, of course, at Mr. Carson's death, though at\nthe same time the excitement was rather pleasant than otherwise; and\ndearly now would she have enjoyed the conspicuous notice which Mary\nwas sure to receive.", "\"I think, sir, yo're keeping company wi' a young woman called Mary\nBarton?\"\n\nA light broke in upon Harry Carson's mind, and he paused before he\ngave the answer for which the other waited.", "\"Did you know Mr. Carson as now lies dead?\" continued the merciless\nwoman. \"Folk say you did, and knew him but too well. And that for the", "himself, he was not a favoured admirer. The idea came into Mr.\nCarson's mind, that perhaps, after all, Mary loved him in spite of", "that George Wilson? Mary sickened with terror. She knew he worked for\nCarsons; but at first she had had no idea any lives were in danger;", "\"It's a bad business, I'm afraid, this of Mr. Carson's murder.\"\n\nMary winced a little.\n\n\"I hear Jem Wilson is taken up for it.\"", "\"Well, well, Mary, you're very particular. You know what I meant.\nLook, who is this letter from?\" holding up Henry Carson's letter.", "With more freedom than he had ever used before, Mr. Carson put his\narm firmly round Mary's waist, in spite of her indignant resistance.", "But now Margaret was drawn into the conversation. Suddenly it flashed\nacross Mary's mind, that the night of the murder was the very night,\nor rather the same early morning, that Margaret had been with Alice.\nShe turned sharp round, with--", "\"And you've no clue to the one as is really guilty, if t'other is\nnot?\"\n\nMary did not answer, but trembled all over.\n\nSturgis saw it.", "\"Oh, sir!\" said Mary, springing forward, and catching hold of Mr.\nCarson's arm, \"my father is dying. Look at him, sir. If you want", "discovered, and thus bloodily resented, the attentions which Mr.\nCarson had paid to his daughter; at others, he believed the motive to", "Yet oh! how sorely Mary's heart ached; for more and more the fell\ncertainty came on her that her father was the murderer! She struggled", "complication of occurrences tending to strengthen the idea of Mary's\nmore than indifference to him; she had loved another, and in her mind\nJem believed that he himself must be regarded as the murderer of him", "slighted love and jealousy, been the murderer. And he was strongly\ninclined to believe, that Mary was aware of this, only that, too\nlate repentant of her light conduct which had led to such fatal", "Poor Esther's experience had led her, perhaps, too hastily to the\nconclusion, that Mr. Carson's intentions were evil towards Mary; at", "fierce looks, as if contemplating some deed of violence. Her sympathy\nwas all with them, for she had known what they suffered; and besides\nthis there was her own individual dislike of Mr. Carson, and dread", "the circumstances relating to Mary's flirtation with Harry Carson,\nor his murderer; and always when she spoke of John Barton, named\nhim with the respect due to his conduct before the last, miserable," ], [ "\"Yes!\" said Jem, catching Mary's sanguine spirit; \"she shall go to\nAmerica with us; and we'll help her to get rid of her sins. I'll go", "Still Jem was not curious. He gave up hope of seeing Mary again by\nher own good free will; and the next best thing would be, to be alone", "Job Legh, until the time of her marriage, which would take place\nimmediately before sailing; they talked themselves back into silence\nand delicious reverie. Mary sat by Jem, his arm round her waist, her", "Jem's preference, and full well she knew how above all others he\npreferred Mary. Now she had never thought Mary good enough for Jem,\nand her late neglect in coming to see her still rankled a little in", "Mary knew nothing more for many minutes. When she recovered\nconsciousness, she found herself supported by Jem on the \"settle\" in", "There came a fine, bright, balmy day. And Mary tottered once more out\ninto the open air, leaning on Jem's arm, and close to his beating", "But Mary's thoughts were with Jem. How good he had been never to name\nhis dismissal to her. How much he had had to endure for her sake!\n\n\"Tell me all about it,\" she gasped out.", "\"Jem!\" He was all attention. She paused for an instant. \"When may I\ngo home? To Manchester, I mean. I am so weary of this place; and I\nwould fain be at home.\"", "for his sailing. It was to take place almost immediately: yet much\nremained to be done; many domestic preparations were to be made; and\none great obstacle, anticipated by both Jem and Mary, to be removed.", "Mr. Duncombe did not believe in Jem's guilt, in spite of the silence\nin which he again this day heard the imputation of it; but he agreed\nthat under the circumstances it was better he should leave the\ncountry.", "There was every reason, but one, in favour of her speedy removal\nhome. All Jem's duties lay in Manchester. It was his mother's", "Jem entered, looking more awkward and abashed than he had ever done\nbefore. Yet here was Mary all alone, just as he had hoped to find", "Mary helped her in all these little offices. They were busy in this\nway when the door was softly opened, and Jem came in, all grimed and", "\"Jem!\" said Mary to him, one evening as they sat in the twilight,\ntalking together in low happy voices till Margaret should come to", "Mary still hovered between life and death when Jem arrived at the\nhouse where she lay; and the doctors were as yet unwilling to", "But the object was accomplished by Will's going up-stairs immediately\non their return to the house, to indulge his mournful thoughts alone.\nAs soon as Jem and his mother were left by themselves, he began on\nthe subject uppermost in his mind.", "But some remedy to Mary's sorrow came with thinking. If her father\nwas guilty, Jem was innocent. If innocent, there was a possibility of", "And Jem Wilson! Oh, Jem, Jem, why did you not come to receive some of\nthe modest looks and words of love which Mary longed to give you, to", "She died the day after their return from Liverpool. From that time,\nJem became aware that his mother was jealously watching for some word", "Jem. As soon as she was fairly away from the house and street, she\nslackened her pace, and began to think. Did Jem really care for Molly" ], [ "heart. And Mrs. Sturgis watched them from her door, with a blessing\non her lips, as they went slowly up the street.", "grew fainter and fainter. She muttered low to herself, but no one\nheard her except her neighbour, Mrs. Sturgis; all were too closely", "It was he who in a firm commanding voice at last told Jem and Mary\nto be off, or they would be too late. Mrs. Sturgis had kept up till", "she kept silent, while Mrs. Sturgis (for that was the name of her\nhostess) talked away, and put her tea-things by, and moved about", "It required all Jem's self-control to do what he knew and felt to\nbe necessary, to call Mrs. Sturgis, who was quietly dozing by the", "she was weary of that quiet house, where even Ben Sturgis' grumblings\nonly made a kind of harmonious bass in the concord between him and\nhis wife, so thoroughly did they know each other with the knowledge", "Wilson had about two miles to walk before he reached Mr. Carson's\nhouse, which was almost in the country. The streets were not yet", "\"Come, now,\" said Mrs. Sturgis, \"my master told me to see you to bed,\nand I mun. What's the use of watching? A watched pot never boils, and", "Her father was standing behind his habitual chair, holding by the\nback of it as if for support. And opposite to him there stood Mr.", "All that night long Jem wandered up and down the narrow precincts\nof Ben Sturgis's house. In the little bed-room where Mrs. Sturgis", "with which he saw Mary borne, stiff and convulsed, out of the court,\nin the charge of the kind Mrs. Sturgis, who, you will remember, was\nan utter stranger to him.", "she feared some bodily force would be employed to remove her. So Mrs.\nSturgis just waited patiently by her, every now and then peeping", "unresistingly pumped up and down by his cousin and Job; when one\nwas tired, the other took up the wholesome exercise, while Ben\nSturgis was working off his interest in the scene by scolding Charley", "avenging self-reproach to her memory, as she hung about Mrs. Sturgis,\nwith many tears, which served instead of words to express her\ngratitude and love.", "Mary went up-stairs murmuring thanks and blessings on those who took\nthe stranger in. Mrs. Sturgis led her into a little room redolent of", "of the proceedings, in which, however, they took no part; Job Legh,\nBen Sturgis, and several others were there, amongst whom was Charley\nJones.", "The door was carefully shut, and both sat down, each apparently\nwaiting for the other to begin.\n\nAt last Mr. Carson spoke.\n\n\"You probably have heard that I am a rich man.\"", "Job Legh had carefully avoided any questioning from Mrs. Wilson that\nmorning. Indeed he had not been much in her company, for he had risen", "Mr. Carson was rich, and prosperous, and gay, and (she believed)\nwould place her in all circumstances of ease and luxury, where want\ncould never come. What were these hollow vanities to her, now she", "out-of-door things, and sent Mary up stairs with them. Then came a\nlong whispering, and chinking of money, to which Mr. and Mrs. Wilson" ], [ "To return to Mary. Her plan had been, as we well know, to marry Mr.\nCarson, and the occurrence an hour ago was only a preliminary step.", "\"Who is this spark that Mary loves? Tell me his name!\"\n\n\"It's young Carson, old Carson's son, that your father worked for.\"\n\nThere was a pause. She broke the silence.", "strange interest in the suspected murderer, implied by Mary's\neagerness to screen him from any thing which might strengthen\nsuspicion against him. She had come, desirous to know the extent of", "\"Did you know Mr. Carson as now lies dead?\" continued the merciless\nwoman. \"Folk say you did, and knew him but too well. And that for the", "himself, he was not a favoured admirer. The idea came into Mr.\nCarson's mind, that perhaps, after all, Mary loved him in spite of", "\"I think, sir, yo're keeping company wi' a young woman called Mary\nBarton?\"\n\nA light broke in upon Harry Carson's mind, and he paused before he\ngave the answer for which the other waited.", "cleared him outright of the murder; though perhaps the jury were loth\nto hang him. Old Mr. Carson is savage against judge and jury, and\nlawyers and all, as I heard.\"", "Carson himself. He had felt the necessity of some third person to\ncarry letters and messages, and to plead his cause when he was\nabsent. In a girl named Sally Leadbitter he had found a willing", "She had been shocked, of course, at Mr. Carson's death, though at\nthe same time the excitement was rather pleasant than otherwise; and\ndearly now would she have enjoyed the conspicuous notice which Mary\nwas sure to receive.", "But now Margaret was drawn into the conversation. Suddenly it flashed\nacross Mary's mind, that the night of the murder was the very night,\nor rather the same early morning, that Margaret had been with Alice.\nShe turned sharp round, with--", "the circumstances relating to Mary's flirtation with Harry Carson,\nor his murderer; and always when she spoke of John Barton, named\nhim with the respect due to his conduct before the last, miserable,", "With more freedom than he had ever used before, Mr. Carson put his\narm firmly round Mary's waist, in spite of her indignant resistance.", "slighted love and jealousy, been the murderer. And he was strongly\ninclined to believe, that Mary was aware of this, only that, too\nlate repentant of her light conduct which had led to such fatal", "Carson's murderer; and although the motive was in some measure a\nmystery, yet a whole train of circumstances (the principal of which", "murdered Mr. Carson, was her son. Sad thing to have such a reprobate\nin the family.\"", "\"And you've no clue to the one as is really guilty, if t'other is\nnot?\"\n\nMary did not answer, but trembled all over.\n\nSturgis saw it.", "Poor Esther's experience had led her, perhaps, too hastily to the\nconclusion, that Mr. Carson's intentions were evil towards Mary; at", "discovered, and thus bloodily resented, the attentions which Mr.\nCarson had paid to his daughter; at others, he believed the motive to", "\"You say '_who murdered_,' sir!\" said Mary, indignantly. \"He is only\ntaken up on suspicion, and many have no doubt of his innocence--those\nwho know him, sir.\"", "girls had been dazzled and lured by gold, even without the betraying\nlove which she believed to exist in Mary's heart. So she urged young\nMr. Carson, by representations of the want she was sure surrounded" ], [ "She died the day after their return from Liverpool. From that time,\nJem became aware that his mother was jealously watching for some word", "Mrs. Wilson was entering on a long and sorrowful explanation of\nhis having once lived there, but of his having dropped down dead;", "And so day by day, nearer and nearer, came the diseased thoughts of\nJohn Barton. They excluded the light of heaven, the cheering sounds\nof earth. They were preparing his death.", "wife. She loved her next to me and Mary, and she's never been the\nsame body since poor Tom's death. However, let's go back to them;\nyour old woman may have done her good.\"", "his wife's daily round of duties; and something in the remembrance\nthat these would never more be done by her, touched the source of\ntears, and he cried aloud. Poor Mary, meanwhile, had mechanically", "poor sister was dead. I suppose I would not think so. I used to watch\nabout the court where John lived, for many and many a night, and", "\"Why for Mrs. Ogden as keeps the greengrocer's shop in Oxford Road.\nHer husband drank himself to death, and though she cried over him and", "All night long, others watched by the bed of Death. John Barton had\nrevived to fitful intelligence. He spoke at times with even something\nof his former energy; and in the racy Lancashire dialect he had\nalways used when speaking freely.", "And when the words were said, John Barton lay a corpse in Mr.\nCarson's arms.\n\nSo ended the tragedy of a poor man's life.", "were getting a bit better o' the fever, and th' babby were born; and\nthen the poor young man took worse and died, and she were not many\nhours behind.'", "by a jerk on his elbow, but she said quite low, 'For poor little\nJohnnie's sake, Richard.' He did not move or speak again, and after", "He looked at her for a moment, and in her face he read the truth. His\nson, his only son, was dead.", "\"Besides,\" said Job, \"the reason he gave on his death-bed, so to\nspeak, was enough; 'specially to those who knew him.\"", "One of the good influences over John Barton's life had departed that\nnight. One of the ties which bound him down to the gentle humanities", "to think of her. So, muttering something which he meant to serve\nas an excuse for his sudden departure, he hastily wished John good\nafternoon, and left him to resume his pipe and his politics.", "you must help me to tell him. Now be quiet, dear! It was no common\ndeath he died!\" She looked in her face as if trying to convey her\nmeaning by her eyes.", "\"Is she so very bad?\" asked he.\n\n\"Worse, much worser than ever I saw her before,\" replied John.", "where to meet with John Barton on that unfortunate night, which had\nonly produced irritation in him, and a month's imprisonment to her.\nShe had also observed that he was still intimate with the Wilsons.", "are, and one by one disappear into the grave of his son,--suddenly,\nI say, the thought arose within him that more yet remained to be\nlearned about the circumstances and feelings which had prompted John", "was so terrible thus to see friend after friend depart. Her father,\ntoo, who had dreaded Jane Wilson's death the evening before he set\noff. And she, the weakly, was left behind while the strong man was" ], [ "And now Mary had, as she thought, dismissed both her lovers. But they\nlooked on their dismissals with very different eyes. He who loved her", "To return to Mary. Her plan had been, as we well know, to marry Mr.\nCarson, and the occurrence an hour ago was only a preliminary step.", "\"Who is this spark that Mary loves? Tell me his name!\"\n\n\"It's young Carson, old Carson's son, that your father worked for.\"\n\nThere was a pause. She broke the silence.", "Then he turned to Mary, who, he felt by the sure instinct of love,\nby which almost his body thought, was present. Her hands were busy", "\"I'm sure he likes nothing better than watching over poor Mary; he\nloves her nearly as well as me. But let me go! I have been so full", "concerned a lover, not beloved, but favoured by fancy. A gallant,\nhandsome young man; but--not beloved. Yet Mary hoped to meet him", "\"Mother! you show your own true self to Mary, and she'll love you as\ndearly as I do.\"\n\nSo with some few smiles, and some few tears, and much earnest\ntalking, the evening wore away.", "himself, he was not a favoured admirer. The idea came into Mr.\nCarson's mind, that perhaps, after all, Mary loved him in spite of", "Mary loved another! That idea would rise uppermost in his mind, and\nhad to be combated in all its forms of pain. It was, perhaps, no", "Now, the great thing was to reach home, and solitude. Mary loved\nanother! Oh! how should he bear it? He had thought her rejection of", "Mary was quite indifferent to any action of his. Still he loved on,\nand on, ever more fondly.", "\"But father!\" said Mary, suddenly breaking that delicious silence\nwith the one sharp discord in her present life.\n\nShe looked up at her lover's grave face; and then the message her\nfather had sent flashed across her memory.", "about casting off their lovers. He had too much respect for his\nown heartiness of love to believe himself unworthy of Mary; that\nmock humble conceit did not enter his head. He thought he did not", "watch over Mary and perhaps keep her from harm. So I used to wait\nfor her at nights, and follow her home, often when she little knew\nany one was near her. There was one of her companions I never could", "\"Listen! Mary. Nay, I cannot let you go till you have heard me. I\ndo love you dearly; and I won't believe but what you love me a very", "with Mary; she had wished to impose upon her with her tale of married\nrespectability, and yet she had yearned and craved for sympathy in\nher real lot. And she had imposed upon her well. She should perhaps", "you think I've only room for one love in my heart? I can love you as\ndearly as ever, and Mary too, as much as man ever loved woman.\"", "with this same Mary Barton, and are known to be courting her; and her\nas spoke to me about it, thinks as how Mary loves you. That may be,", "He deeply pitied her; but oh! how he longed to recall her mind to the\nsubject of Mary, and the lover above her in rank, and the service to", "Could this man be a lover of Mary's? And (strange, stinging thought)\ncould he be beloved by her, and so have caused her obstinate" ], [ "In pursuance of her plan, Esther meant to assume the manners and\ncharacter, as she had done the dress, of a mechanic's wife; but then,", "\"Yes, I mind her well! But yo are not Esther, are you?\" He looked\nagain into her face, and seeing that indeed it was his boyhood's", "Then Mary came to remembrance. Esther wondered till she was sick of\nwondering, in what way she was taking the affair. In some manner it", "And Esther! How scanty had been her food for days and weeks, her\nthinly-covered bones and pale lips might tell, but her words should\nnever reveal! So, with a little unreal laugh, she replied,", "Job came in with Margaret, for it was bed-time. He said Esther's\npulse beat a little yet. They carried her upstairs and laid her", "\"It is Esther!\" exclaimed they, both at once. They rushed\noutside; and, fallen into what appeared simply a heap of white or", "Among those who listened to the tale of violence was Esther.", "\"Oh! it was that horrible night which is like a dream.\" And she told\nhim of Esther's midnight visit, concluding with, \"We must go and see\nher before we leave, though I don't rightly know where to find her.\"", "\"Well, neighbour,\" said Wilson, \"all that may be very true, but what\nI want to know now is about Esther--when did you last hear of her?\"", "\"Why, Esther! Where han ye been this many a year? Where han ye been\nwandering that we none of us could find you out?\"\n\nThe question was asked thoughtlessly, but answered with fierce\nearnestness.", "Esther's term of imprisonment was ended. She received a good\ncharacter in the governor's books; she had picked her daily quantity", "\"Where did you see Esther lately? When? Tell me, love, for you've\nnever named it before, and I can't make it out.\"", "They sat by the little round table, facing each other. The candle was\nplaced right between them, and Esther moved it in order to have a", "\"Fergusson,\" said Esther, sadly.\n\n\"Mrs. Fergusson,\" repeated Mary, half unconsciously. \"And where did\nyou say you lived?\"", "\"I was taking a walk near Turner Street, and I went to see the spot,\"\ncontinued Esther, \"and, as luck would have it, I spied this bit of", "Mary shall never work in a factory, that I'm determined on. You see\nEsther spent her money in dress, thinking to set off her pretty face;", "There was a little strife in Esther's mind for an instant, between\nthe shame of acknowledging herself, and the additional weight to her\nrevelation which such acknowledgment would give. Then she spoke.", "Esther went on, without noticing Mary's look. The very action of\nspeaking was so painful to her, and so much interrupted by the hard,", "And all the time poor Esther was swallowing her sobs, and over-acting\nher part, and controlling herself more than she had done for many a", "\"You are so like my little girl, Mary!\" said Esther, weary of the one\nsubject on which she could get no satisfaction, and recurring, with\nfull heart, to the thought of the dead." ], [ "The clue to this had been furnished by the policeman, who had\noverheard Jem's angry language to Mr. Carson; and his report in the\nfirst instance had occasioned the subpoena to Mary.", "which he saw Mr. Carson was going. Jem submitted gloomily, for a few\nsteps, then wrenched himself free. The policeman shouted after him,", "unflinchingly, and had carried conviction of his innocence and\ntruthfulness. Mr. Carson felt certain that he had heard all that Jem\ncould tell. Accordingly he turned to Job Legh.", "No. B. 72 pointed out Jem as the man he had seen engaged in a\nscuffle with Mr. Carson, and then the other two stepped forward and", "\"He's done harm enough now,\" said the man, angry in his turn, \"for\nthere's good evidence he murdered young Carson, as was shot last\nnight.\"", "about whom the policeman deposed that the quarrel had taken place:\nMr. Carson was still excited and irritable; restless in body and\nmind. He made every preparation for the accusation of Jem the", "cleared him outright of the murder; though perhaps the jury were loth\nto hang him. Old Mr. Carson is savage against judge and jury, and\nlawyers and all, as I heard.\"", "Jem saw with self-upbraiding pain how Mr. Carson winced at these last\nwords, but at each irrepressible and involuntary evidence of feeling,\nthe hearts of the two men warmed towards him. Jem went on speaking.", "\"I've getten a note from Mr. Carson,\" exclaimed Job the moment he saw\nJem; \"and man-alive, he wants to see thee and me! For sure, there's", "mind of poor Mr. Carson, as he saw the effect of the young sailor's\nstatement? It never shook his belief in Jem's guilt in the least,", "Mr. Carson had strung up his frame to an attitude of upright\nattention while Jem was speaking; now the tension relaxed, and he\nsank back in his chair, weak and powerless.", "The circumstances of the murder, the discovery of the body, the\ncauses of suspicion against Jem, were as well known to most of", "one young man I cared for another. I never named Jem's name to Mr.\nCarson. Never.\"", "Carson's murderer; and although the motive was in some measure a\nmystery, yet a whole train of circumstances (the principal of which", "discovered, and thus bloodily resented, the attentions which Mr.\nCarson had paid to his daughter; at others, he believed the motive to", "dropped words and unconnected sentences, the meaning of which became\nclearer, and yet more clear to her. Jem was suspected. Jem was\nascertained to be the murderer.", "But he was far enough from any such thought. Indeed, he had no doubt\nin his own mind that Jem had, in some passionate moment, urged on by", "with a stinging stroke. An instant afterwards he lay stretched in the\nmuddy road, Jem standing over him, panting with rage. What he would", "murdered Mr. Carson, was her son. Sad thing to have such a reprobate\nin the family.\"", "Mr. Carson was on his feet directly, his face glowing with rage or\nshame.\n\n\"Shall I take him to the lock-ups for assault, sir?\" said the\npoliceman." ], [ "Mary, as if she had acquired some new interest to them, since the day\nbefore. Then they began to whisper; and, absorbed as Mary had been in\nher own thoughts, she could not help becoming aware that it was of", "Mary must do something. The factories being, as I said, out of the\nquestion, there were two things open--going out to service, and", "Then he turned to Mary, who, he felt by the sure instinct of love,\nby which almost his body thought, was present. Her hands were busy", "After a while they began talking over their plans. In a day or two,\nMary was to give up house, and go and live for a week or so with", "watch over Mary and perhaps keep her from harm. So I used to wait\nfor her at nights, and follow her home, often when she little knew\nany one was near her. There was one of her companions I never could", "They were all silent for a few minutes; each following out the\ncurrent of their thoughts. Then, almost simultaneously, their\nattention fell upon Mary. Sitting on her little stool, her head", "To return to Mary. Her plan had been, as we well know, to marry Mr.\nCarson, and the occurrence an hour ago was only a preliminary step.", "with Mary; she had wished to impose upon her with her tale of married\nrespectability, and yet she had yearned and craved for sympathy in\nher real lot. And she had imposed upon her well. She should perhaps", "Job Legh looked about for Mary, now he had gained, and given, some\nidea of the position of things. At last he saw her, standing by a", "clearer view of Mary's face, so that she might read her emotions, and\nascertain her interests. Then she began:", "and where Mary was to work for two years without any remuneration,\non consideration of being taught the business; and where afterwards\nshe was to dine and have tea, with a small quarterly salary (paid", "Mary helped her in all these little offices. They were busy in this\nway when the door was softly opened, and Jem came in, all grimed and", "It was perhaps four or five days after the events mentioned in the\nlast chapter, that one evening, as Mary stood lost in reverie at the", "That was just what Mary wanted to know; but what apparently her\nfather was in no mood to tell. He got up without speaking, and", "apprentice must (or so Mary thought) be always dressed with a certain\nregard to appearance; must never soil her hands, and need never\nredden or dirty her face with hard labour. Before my telling you so", "\"You don't remember me I see, Mary!\" she began. \"It's a long while\nsince I left you all, to be sure; and I, many a time, thought of", "is. Do come, Mary! I've a terrible wish to make you known to each\nother. She's a genteel-looking lass, too.\"", "\"I'll go first thing to-morrow morning, and learn how she is; and\nI'll bring word back before I go to work,\" said Mary.\n\n\"It's a bad job Will's gone,\" said Job.", "\"No!\" replied Mary, smiling a little, \"she's the only one I know,\nI believe, who seems free from care. Her blindness almost appears", "Mary stood for a time in silence, watching and listening. Then she\nbent down and reverently kissed Alice's cheek; and drawing Jane" ], [ "way with him to Liverpool; now the thing is to lay hold on Will and\nget him to prove this.\" So spoke Mary, calm, from the earnestness of\nher purpose.", "\"But you don't think her fit to go to Liverpool?\" asked Mary, still\nin the anxious tone of one who wishes earnestly for some particular\ndecision.", "uneasy about Mary, too,--very. She's a stranger in Liverpool.\"", "or sign which should betoken his wish to return to Mary. And yet go\nto Liverpool he must and would, as soon as the funeral was over, if\nbut for a single glimpse of his darling. For Job had never written;", "\"Mother! I am going back to Liverpool to-morrow morning to see how\nMary Barton is.\"", "\"Why, Mary!\" said Sally, in unfeigned surprise. \"To be sure you'll\nhave to be in Liverpool, Tuesday, and may be Wednesday; but after", "\"To Liverpool--yes,\" replied he. \"A short journey like that could\nnot fatigue, and might distract her thoughts. Let her go by all\nmeans,--it would be the very thing for her.\"", "They had been rowing a long, long time--half a day it seemed, at\nleast--yet Liverpool appeared still close at hand, and Mary began", "\"Oh, nothing to flurry you so, Mary. I heard you say to mother you\nhad never been in Liverpool before, and if you'll only look up this", "And now they were in the tunnel!--and now they were in Liverpool;\nand she must rouse herself from the torpor of mind and body which\nwas creeping over her; the result of much anxiety and fatigue, and\nseveral sleepless nights.", "She sank back in her chair, quite exhausted by the sudden effort\nshe had made; but if they even offered to speak, she cut them short\n(whatever the subject might be), with the repetition of the same\nwords, \"I shall go to Liverpool.\"", "She died the day after their return from Liverpool. From that time,\nJem became aware that his mother was jealously watching for some word", "\"Well! I ask you this now. To-morrow morning I go to Liverpool to see\nher, who is as my wife. Dear mother! will you bless me on my errand?", "\"Oh, let us go, let us go,\" said Mary, feeling that the interview\nmust be, and had better be anywhere than at home, where her father", "At last a day, fine enough for Mary to travel on, arrived. She had\nwished to go, but now her courage failed her. How could she have said", "all thoughts of going to Liverpool.\" He really had completely changed\nhis opinion, though quite unconsciously; so desirous was he to comply\nwith the wishes of others.", "\"Yo're right, Mary! She's no ways fit to go to Liverpool, poor soul.\nNow I've seen her, I only wonder the doctor could ha' been unsettled", "\"So the old governor is back again, eh? And what does he say to all\nyour fine doings at Liverpool, and before?--you and I know where. You\ncan't hide it now, Mary, for it's all in print.\"", "to Liverpool. I hear you and your plans; and I tell you I shall go\nto Liverpool. If my words are to kill my son, they have already gone", "Mary watched the boatman leave the house, and then, turning her\nsorrowful eyes to the face of her hostess, she attempted feebly to\nrise, with the intention of going away,--where she knew not." ], [ "Harry Carson came on, lightly bounding over the dirty places with\nalmost a lad's buoyancy. To his surprise the dark, sturdy-looking\nartisan stopped him by saying respectfully,", "Harry Carson, meanwhile, instead of attending very particularly to\nthe purpose the man had in addressing him, was trying to gather from", "only imagine it a great privilege to lay it at the feet of the loved\none. Harry Carson's mother had been a factory girl; so, after all,\nwhat was the great reason for doubting his intentions towards Mary?", "who had revealed, or how he had discovered her acquaintance with\nHarry Carson. It was but too clear, some way or another, he had", "as a protection against Harry Carson and his threats; and now she\ndreaded lest he should learn she was alone. Her heart began to", "employer's will, and that should be enough for the employed. Harry\nCarson did not trouble himself much about the grounds for his\nconduct. He liked the excitement of the affair. He liked the attitude", "The younger men were one and all for an unflinching resistance to\nclaims urged with so much violence. Of this party Harry Carson was\nthe leader.", "As such, he ought to ascertain Harry Carson's intentions towards\nher in winning her affections. He would ask him, straightforwardly,\nas became man speaking to man, not concealing, if need were, the\ninterest he felt in Mary.", "One of Mary's resolutions was, that she would not be persuaded or\ninduced to see Mr. Harry Carson during her father's absence. There", "\"He asks me which of them two I liked the best. Perhaps I liked Mr.\nHarry Carson once--I don't know--I've forgotten; but I loved James", "While the men had stood grouped near the door, on their first\nentrance, Mr. Harry Carson had taken out his silver pencil, and had", "Four days had Jem Wilson watched for Mr. Harry Carson without\nsuccess; his hours of going and returning to his home were so", "Meanwhile, the younger Mr. Carson had ended his review, and began to\nlisten to what was going on. He finished his breakfast, got up, and", "\"That's Mr. Carson, the father, sitting behind Serjeant Wilkinson!\"", "Wilson had about two miles to walk before he reached Mr. Carson's\nhouse, which was almost in the country. The streets were not yet", "Union, such resolutions were in themselves sufficiently provocative\nof animosity: but not content with simply stating them, Harry Carson\nwent on to characterise the conduct of the workmen in no measured", "discovered, and thus bloodily resented, the attentions which Mr.\nCarson had paid to his daughter; at others, he believed the motive to", "lane, a road (called, in compliment to the intentions of some future\nbuilder, a street), he encountered Harry Carson, the only person, as\nfar as he saw beside himself, treading the unfrequented path. Along", "the circumstances relating to Mary's flirtation with Harry Carson,\nor his murderer; and always when she spoke of John Barton, named\nhim with the respect due to his conduct before the last, miserable,", "Carson might, but in this grief that seemed no comfort. Mother dead!\nFather so often angry, so lately cruel (for it was a hard blow, and" ], [ "Mr. Duncombe did not believe in Jem's guilt, in spite of the silence\nin which he again this day heard the imputation of it; but he agreed\nthat under the circumstances it was better he should leave the\ncountry.", "There was every reason, but one, in favour of her speedy removal\nhome. All Jem's duties lay in Manchester. It was his mother's", "\"Thank you, sir. No need for seeing the letter to say I'll accept it.\nI must leave Manchester; and I'd as lief quit England at once when\nI'm about it.\"", "Jem felt that it was a relief to have this point settled; and that he\nneed no longer weigh reasons for and against his emigration.", "\"Jem!\" He was all attention. She paused for an instant. \"When may I\ngo home? To Manchester, I mean. I am so weary of this place; and I\nwould fain be at home.\"", "\"No, he's gone to his Union, I suppose.\" Another silence. It was no\nuse waiting, thought Jem. The subject would never be led to by any", "But he was far enough from any such thought. Indeed, he had no doubt\nin his own mind that Jem had, in some passionate moment, urged on by", "His hands.\" He spoke hushed, and low; but the words sank all the more\ninto Jem's heart, and gave him strength to tear himself away.", "Still Jem was not curious. He gave up hope of seeing Mary again by\nher own good free will; and the next best thing would be, to be alone", "But the object was accomplished by Will's going up-stairs immediately\non their return to the house, to indulge his mournful thoughts alone.\nAs soon as Jem and his mother were left by themselves, he began on\nthe subject uppermost in his mind.", "which he saw Mr. Carson was going. Jem submitted gloomily, for a few\nsteps, then wrenched himself free. The policeman shouted after him,", "alone, and never speak to her more.\" Jem's voice quivered with the\nearnestness with which he spoke, and he eagerly waited for some\nanswer.", "It was not to be. Jem wandered far and wide that night, but never\nmet Esther. The next day he applied to the police; and at last they", "But Mary's thoughts were with Jem. How good he had been never to name\nhis dismissal to her. How much he had had to endure for her sake!\n\n\"Tell me all about it,\" she gasped out.", "It so happened that Jem, after much anxious thought, had determined\nthat day to \"put his fate to the touch, to win or lose it all.\" He", "in his mind at th' first. Choose how it goes wi' poor Jem, she cannot\ngo. One way or another it will soon be over, and best to leave her in\nthe state she is till then.\"", "He would not relinquish hope, and yet her coldness of manner was\nenough to daunt any man; and it made Jem more despairing than he\nwould acknowledge for a long time even to himself.", "\"Yes!\" said Jem, catching Mary's sanguine spirit; \"she shall go to\nAmerica with us; and we'll help her to get rid of her sins. I'll go", "Job was a little reassured by Jem's boldness; but still, if the truth\nmust be told, he wished the young man would follow his advice, and\nleave him to sound Mr. Carson's intentions.", "to think of her. So, muttering something which he meant to serve\nas an excuse for his sudden departure, he hastily wished John good\nafternoon, and left him to resume his pipe and his politics." ], [ "All that night long Jem wandered up and down the narrow precincts\nof Ben Sturgis's house. In the little bed-room where Mrs. Sturgis", "But the object was accomplished by Will's going up-stairs immediately\non their return to the house, to indulge his mournful thoughts alone.\nAs soon as Jem and his mother were left by themselves, he began on\nthe subject uppermost in his mind.", "And still she never saw Jem. She knew he had returned home. She heard\nof him occasionally through his cousin, who roved gaily from house to", "\"You're going to see mother?\" he asked tenderly, placing her arm\nwithin his, and slackening his pace.\n\n\"Yes, and you too. Oh, Jem, is it true? tell me.\"", "you take your mother home, Jem, and stay by her till old Alice is\ngone, and trust me for seeing after Mary.\"", "It was not to be. Jem wandered far and wide that night, but never\nmet Esther. The next day he applied to the police; and at last they", "\"Oh, Margaret; do you know Jem came here one night when I were put\nout, and cross. Oh, dear! dear! I could bite my tongue out when I", "\"Grandfather wants to see you!\" said she to Jem on his entrance.\n\n\"And I want to see him,\" replied Jem, suddenly remembering his last\nnight's determination to enjoin secrecy on Job Legh.", "knows. I'm sorry I waited to be reminded, Jem.\" replied Margaret,\nwith some little self-reproach.", "It was he who in a firm commanding voice at last told Jem and Mary\nto be off, or they would be too late. Mrs. Sturgis had kept up till", "\"Do!\" said Margaret, \"and I'll be here till you come. May be, Jem and\nyou could take th' night between you, and Jane Wilson might get a bit", "Jem. As soon as she was fairly away from the house and street, she\nslackened her pace, and began to think. Did Jem really care for Molly", "Again she rapidly turned off, and Jem also went on his way. But\nbefore he reached the end of the street, even in the midst of the", "Margaret did not know he was at home: had he stolen like a thief by\ndead of night into his own dwelling? Depressed as Jem had often and", "Mary mechanically helped Alice in all the duties she performed\nthrough the remainder of that long night, but she did not see Jem\nagain. He remained up-stairs until after the early dawn showed Mary", "Margaret had felt the evening long and lonely; and was all but giving\nup the thoughts of Jem's coming that night, when she heard his step\nat the door.", "\"I know--I see. Thank you, Margaret; you're a kind one, at any\nrate. I take it for Jem; and I'll do my very best with it for him.", "alone, and never speak to her more.\" Jem's voice quivered with the\nearnestness with which he spoke, and he eagerly waited for some\nanswer.", "The sun had not long set, but the first faint shade of twilight was\nover all; and when they opened the door, Jem could hardly perceive\nthe objects within by the waning light of day, and the flickering\nfire-blaze.", "\"Yes!\" said Jem, catching Mary's sanguine spirit; \"she shall go to\nAmerica with us; and we'll help her to get rid of her sins. I'll go" ] ]

[ "Why was it important to have Will testify in court?", "How did Will know about Jem's court case?", "How was Mary related to the street-walker?", "Who helped Mary to track down Will?", "How was Mr. Carson able to forgive his son's murderer?", "Who did the murderer confess to?", "Who knew the other loved them first, between Mary and Jem?", "What does Margaret's last name become by the end of the story?", "What physical evidence tied Jem to the murder?", "Why does John think his wife died?", "Who warns John Barton about his daughter possibly becoming a street walker?", "Who is arreted for killing Harry Carson?", "Where does Mary have to go to prove Jem's innocence?", "Who was Jem with the night of Harry's murder?", "Who actually killed Harry Carson?", "Who does Mary finally marry?", "What country do Mary and Jem move to?", "Where does Mary meet Jem and harry?", "What was John Barton's sons name?", "What is the name of the trade-union movement Barton joins?", "What job did Mary original wish to work?", "Why did Mary wish to marry Harry Carson?", "What became of Esther following her disappearance?", "What charge does Ester face and get jailed for?", "Who is the second person Esther visits on the issue of ensuring Mary does not end up as a streetwalker?", "What complex the Mary have upon realizing who killed Carson?", "Upon leaving England to resettle, what country do Jem and Mary relocate to?", "What did Mr. Sturgis do for a living?", "Who does Mary find to provide an alibi for her lover in regards to the murder of Carson?", "According to John, why did his wife die?", "Which man does Mary truly love?", "What is Ester's occupation?", "Why was Jem arrested for killing Carson?", "What is Mary's occupation?", "Why did Mary travel to Liverpool?", "What does Harry Carson's father do?", "Why does Jem decide to leave England?", "Where do Jem and Margaret end up living?" ]

[ [ "Because he had been with Jem on the night that Harry got shot, and could say the shooter was not Jem.", "Because he was a witness of the crime." ], [ "Mary chases after his ship on a small boat.", "Mary finds him" ], [ "Esther was Mary's aunt.", "the street-walker, Esther, is Mary's siter" ], [ "Margaret's grandfather, Job.", "Job Legh." ], [ "By studying the Bible.", "yes" ], [ "To the victim's father, John Carson.", "John Carson" ], [ "Mary learned it first, because Jem proposed to her.", "Jem" ], [ "Wilson, because she marries Jem's cousin, Will.", "Wilson" ], [ "Jem's gun was found at the scene.", "the gun that was used for the murder was Jem's. " ], [ "Because her sister was missing", "Grief over her sister's disappearance." ], [ "Esther", "Esther" ], [ "Jem Wilson", "Jem Wilson" ], [ "Liverpool", "To a ship" ], [ "Will Wilson", "Will Wilson" ], [ "John Barton", "John Barton" ], [ "Jem Wilson", "Jem" ], [ "Canada", "Canada." ], [ "At the Dressmaker's factory.", "At the dressmakers" ], [ "Tom", "Tom" ], [ "Chartist", "Chartist." ], [ "Factory-worker", "A factory" ], [ "Because he could offer financial stability for she and her father.", "for a comfortable life" ], [ "She became a streetwalker. ", "She became a street walker." ], [ "Vagrancy", "vagrancy" ], [ "Jem Wilson", "Jem." ], [ "How she can pardon her innocent lover of the crime her father committed, while sparing her father of the charge", "Save her lover without giving away her father." ], [ "Canada", "Canada" ], [ "He was a sailor.", "he's a sailor" ], [ "Will Wilson", "Will wilson" ], [ "She was hurt by her sister disappearing.", "she died from grief over the disappearance of their daughter, Esther, who went off to become a street walker. " ], [ "Jem Wilson.", "Jem." ], [ "She's a street walker.", "she is s \"street walker\"/ vagrant" ], [ "His gun was found at the scene of the crime.", "Because his gun was found at the scene of the crime." ], [ "A dressmaker. ", "dressmaker" ], [ "To get an alibi for Jem.", "To find Jem's cousin for an alibi" ], [ "He is a mill worker.", "He forgives Mr. Barton" ], [ "He thinks he won't be able to find a job.", "He had a bad reputation " ], [ "Canada.", "Canada." ] ]

[ [ "That's why I became a woman in the\n first place. I couldn't handle it.\n Figured if I was female, it was\n okay to like guys.", "toward her as Luca's face transforms into Luke.\n \n BY DISCARDED TRUCK CHASSIS", "to touch the exquisite FEMALE FACE reflected there, stands a\n real female, an absolutely FEMALE LUKE.\n \n OUTSIDE THE DOOR", "SYDNEY\n You need to turn all the way into a\n female.\n \n LUKE", "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage.", "Female Luke comes out of the bedroom, wrapped in a sheet.\n \n FEMALE LUKE\n Thank God. I'm starving!", "Luke peers over the dumpster, down at his breasts, with a", "FEMALE LUKE\n Oh, God. Look at me.\n \n Keenan and Janine sit on the edge of the bed, in shock.", "Whether agony or ecstasy, it's a frightening sound.\n \n The door opens.\n \n Luke stands in his shorts, ALL MALE.", "She shrugs, trying to put her finger on it, and when Luke\n rolls up his T-shirt sleeves, she grins.\n \n LUKE (CONT'D)", "The door opens, revealing Female Luke, wrapped in a sheet.\n \n Keenan clutches Janine.", "Luke and Michelle roll on the crabgrass, kissing,\n \n TRANSFORMING as they roll, into Luca and Max and Michelle and", "breasts. I felt 'em.\n \n KEENAN\n Whoa, first date. Definitely the\n 'new Luke!'", "BATHROOM\n \n Luke, a towel around his waist, stares at himself in the\n mirror, horrified.", "Luke, slack-jawed, keeps checking himself. Each time the\n horror of it grows more intense.\n \n LUKE", "Female Luke checks herself out in the mirror.\n \n 42.", "straight. You didn't decide to be\n a woman?\n \n LUKE\n No. Of course not. What?", "seen you naked a hundred times.\n And she's a girl!\n \n Female Luke shyly parts the sheet, revealing her stunning", "JANINE\n Dude.\n \n Female Luke speaks, with an unmistakably female voice.", "LUKE\n Oh, yeah.\n \n He smiles, folds into her." ], [ "LUKE\n Great. You mean to go out, right?\n \n Michelle smiles, and walks out through the squeaky door at", "Now alone with Michelle, Luke lines up his cue stick, then\n catches Michelle's admiring eyes.", "Luca notices Michelle standing nearby.\n \n LUCA\n Michelle.\n \n KEENAN", "EXT. CAFE LUNIZIA - NIGHT\n \n Cheap elegance. Luke and Michelle dine on the patio, strung", "MICHELLE\n You askin' me out?\n \n LUKE", "What about Michelle?\n \n LUKE\n I had to be sure. I am now. Come", "MICHELLE\n And leave me stuck.\n \n He smiles.\n \n LUKE", "Luke sneers, not his favorite compliment.\n \n MICHELLE (CONT'D)", "MICHELLE\n He's actually a really nice guy.\n \n LUKE\n Not sure he's too crazy about me", "MICHELLE\n That's sweet.\n \n LUKE", "Luke peers over the corner pocket, and watches Michelle shoot\n and sink the ball.\n \n LUKE (CONT'D)", "Sydney sits at a bar stool, keeping an eye on Luke and\n Michelle. Jeremy lays out a cocktail napkin, speaks with a\n slight Texas drawl.", "MICHELLE (CONT'D)\n Okay, I'm gonna' break this wide\n open!\n \n LUKE", "Michelle moves off.\n \n ALONGSIDE THE BARN\n \n Luca runs up.", "MICHELLE\n Hi.\n \n LUKE\n Hey. How are you?", "MICHELLE (CONT'D)\n What's the matter?\n \n LUKE", "MICHELLE\n I'm okay. You?\n \n As they talk, Michelle maneuvers to get closer.", "38.\n \n \n \n MICHELLE (CONT'D)", "LUKE\n Sorry.\n \n MICHELLE", "happening.\n \n LUKE\n I love being with Michelle. How\n come I can't control it when she's" ], [ "Luca glares at him. Keenan realizes his mistake...\n \n KEENAN (CONT'D)\n We'll get 'em back.", "Max slides out from under an old car. Seeing Luca, he\n hardens, wiping his greasy hands on a rag.", "His eyes fixed on Luca, he smiles.\n \n MAX\n You in town for a while?\n \n JANINE", "And I don't know what half of who\n the hell I am.\n \n They look to Luca surprised,...", "Oh, Christ, Luke, -Luca: I know who\n you are!\n \n Luca stares, stunned.", "80.\n \n \n \n Luca considers...", "Bye, Luca.\n \n LUCA\n (correcting her)\n Luke.", "LUCA\n Hey.\n \n MAX\n Hey.", "Luca indicates 'no.'\n \n KEENAN (CONT'D)\n Women. God, I'm glad you want to", "Luca moves off, as Max removes his boot, and his sock.\n \n MAX\n For whatever it's worth, I think", "Luca notices Michelle standing nearby.\n \n LUCA\n Michelle.\n \n KEENAN", "Looking up, Luca sees Keenan, staring at them from across the\n floor, incredulous.\n \n Keenan exits out through the giant doors.", "Luca in the blue dress, on roller blades, hockey stick in\n hand.\n \n MAX\n You're about the last person I", "Luca considers, she goes over to the window, peers out\n momentarily, then draws back.\n \n OUTSIDE THE BEDROOM", "Max leans over and KISSES Luca. She responds, tentatively at\n first,\n \n then as she grows more confident,...", "Are you okay?\n \n Luca just stares back at her, nonplussed.\n \n 47.", "LUCA\n I'm part Italian.\n \n MAX\n Cool. I'm part Italian too. The", "No! She just said, she wants sex!\n (to Luca)\n I can't. I'm sorry.", "Luca lies alone in the room, bound and gagged on the bed.\n \n A KNOCK at the door.", "LUCA\n I'm not!\n \n Michelle gestures \"Oh really?!\"" ], [ "SYDNEY\n You need to turn all the way into a\n female.\n \n LUKE", "to touch the exquisite FEMALE FACE reflected there, stands a\n real female, an absolutely FEMALE LUKE.\n \n OUTSIDE THE DOOR", "I mean, it was like a precision-\n guided missile.\n \n Luke unzips and gently digs in his trousers.", "That's why I became a woman in the\n first place. I couldn't handle it.\n Figured if I was female, it was\n okay to like guys.", "turned on. You can change all the\n way when you have an orgasm.\n \n LUKE\n With who?", "LUKE\n Oh, yeah.\n \n He smiles, folds into her.", "seen you naked a hundred times.\n And she's a girl!\n \n Female Luke shyly parts the sheet, revealing her stunning", "Luke peers over the dumpster, down at his breasts, with a", "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage.", "Whether agony or ecstasy, it's a frightening sound.\n \n The door opens.\n \n Luke stands in his shorts, ALL MALE.", "FEMALE LUKE\n Oh, God. Look at me.\n \n Keenan and Janine sit on the edge of the bed, in shock.", "The door opens, revealing Female Luke, wrapped in a sheet.\n \n Keenan clutches Janine.", "Luke shakes his head \"no,\" points toward his crotch, GASPS,\n barely able to make a sound...\n \n LUKE", "She shrugs, trying to put her finger on it, and when Luke\n rolls up his T-shirt sleeves, she grins.\n \n LUKE (CONT'D)", "toward her as Luca's face transforms into Luke.\n \n BY DISCARDED TRUCK CHASSIS", "shirt, with warm, confident eyes.\n \n Luke swallows, wide-eyed, a deer in headlights. He sets\n down the torque-wrench.", "Female Luke comes out of the bedroom, wrapped in a sheet.\n \n FEMALE LUKE\n Thank God. I'm starving!", "Luke and Michelle roll on the crabgrass, kissing,\n \n TRANSFORMING as they roll, into Luca and Max and Michelle and", "(slightly suggestive)\n Good.\n \n Luke smiles, his face REDDENS.", "The electricity between them charges the air.\n \n Luke maneuvers himself closer.\n \n LUKE (CONT'D)" ], [ "SYDNEY\n You need to turn all the way into a\n female.\n \n LUKE", "to touch the exquisite FEMALE FACE reflected there, stands a\n real female, an absolutely FEMALE LUKE.\n \n OUTSIDE THE DOOR", "The door opens, revealing Female Luke, wrapped in a sheet.\n \n Keenan clutches Janine.", "toward her as Luca's face transforms into Luke.\n \n BY DISCARDED TRUCK CHASSIS", "Female Luke nods 'okay.'\n \n MAX (CONT'D)\n I'm Max. You live here too?", "FEMALE LUKE\n Oh, God. Look at me.\n \n Keenan and Janine sit on the edge of the bed, in shock.", "JANINE\n Dude.\n \n Female Luke speaks, with an unmistakably female voice.", "That's why I became a woman in the\n first place. I couldn't handle it.\n Figured if I was female, it was\n okay to like guys.", "Female Luke hesitates.\n \n KEENAN\n Come on. It's not like I haven't", "Female Luke comes out of the bedroom, wrapped in a sheet.\n \n FEMALE LUKE\n Thank God. I'm starving!", "LUKE\n Oh, yeah.\n \n He smiles, folds into her.", "Luke peers over the dumpster, down at his breasts, with a", "Keenan and Luca realize that she's Luca right now, not Luke.\n \n KEENAN\n What does she think?", "straight. You didn't decide to be\n a woman?\n \n LUKE\n No. Of course not. What?", "Luke and Michelle roll on the crabgrass, kissing,\n \n TRANSFORMING as they roll, into Luca and Max and Michelle and", "seen you naked a hundred times.\n And she's a girl!\n \n Female Luke shyly parts the sheet, revealing her stunning", "You become Adulmorphic. Your\n gender locks. You can't just\n change anytime you want.\n \n LUKE", "and her voice begins LOWERING IN PITCH,...\n \n as MICHELLE BECOMES MAX.\n \n MAX", "truth is, you want to be a guy,\n great, but if not...\n \n LUKE\n Don't even say that!", "turned on. You can change all the\n way when you have an orgasm.\n \n LUKE\n With who?" ], [ "LUKE\n I'm goin' to Dr. Catchadourian's\n tonight. To make this stop.", "Should we call Dr. Catchadourian?\n \n FEMALE LUKE\n What for? I did it. Now, I can", "Dr. Sydney Catchadourian. Keenan,\n right?\n \n LUKE\n You know him?!", "The door opens, revealing Female Luke, wrapped in a sheet.\n \n Keenan clutches Janine.", "LUKE\n Oh, yeah.\n \n He smiles, folds into her.", "LUKE\n Thanks, man.\n \n KEENAN\n Oh, God. She's eyeing you. I", "Luke and Sydney begin undressing.\n \n SYDNEY\n Do you like this dress?\n \n LUKE", "Sydney helps Luke FLOP DOWN on the floor. He passes out.\n \n SYDNEY (CONT'D)", "seen you naked a hundred times.\n And she's a girl!\n \n Female Luke shyly parts the sheet, revealing her stunning", "FEMALE LUKE\n Oh, God. Look at me.\n \n Keenan and Janine sit on the edge of the bed, in shock.", "She shrugs, trying to put her finger on it, and when Luke\n rolls up his T-shirt sleeves, she grins.\n \n LUKE (CONT'D)", "They sip from their glasses and drink each other in.\n \n Luke contemplates a kiss,...\n \n but his breathing grows shallow, he GASPS.", "Keenan steals glances at Luke, trying to sort it all out.\n \n KEENAN (CONT'D)\n (aside to Luke)", "No! She just said, she wants sex!\n (to Luca)\n I can't. I'm sorry.", "Inside, ALEXA, thirties, earthy, looks up at him bleary-eyed.\n She nods 'yes.'\n \n LUKE (CONT'D)", "breasts. I felt 'em.\n \n KEENAN\n Whoa, first date. Definitely the\n 'new Luke!'", "LUKE (CONT'D)\n I'm crazy about her.\n \n MAX\n Shrooms, huh?", "Keenan climbs on top of Luca, starts untying her hands,\n straddling her.\n \n KEENAN (CONT'D)", "Female Luke comes out of the bedroom, wrapped in a sheet.\n \n FEMALE LUKE\n Thank God. I'm starving!", "She nuzzles him playfully. Luke glances at the clock, MOANS.\n \n LUKE\n Only place I'm going is back to" ], [ "It's not what you think.\n \n MICHELLE\n Oh, please! What about Max?", "to Max, but I'm in love with\n Michelle? It's like I'm s'posed to\n be both.", "and her voice begins LOWERING IN PITCH,...\n \n as MICHELLE BECOMES MAX.\n \n MAX", "MICHELLE\n I'm okay. You?\n \n As they talk, Michelle maneuvers to get closer.", "38.\n \n \n \n MICHELLE (CONT'D)", "Janine whispers in her ear.\n \n Michelle's jaw drops open, scandalized.\n \n They LAUGH.", "Luca notices Michelle standing nearby.\n \n LUCA\n Michelle.\n \n KEENAN", "12.\n \n \n \n MICHELLE (CONT'D)", "Well, he's a joke alright.\n \n MICHELLE\n Look, I'm not sure this is gonna'", "POLLY\n Works every time.\n (to Michelle)\n Nice to meet you, darling. I hope", "MICHELLE\n Yeah?\n \n JANINE\n So, yes, you can trust him. I'm", "LUCA\n I'm not!\n \n Michelle gestures \"Oh really?!\"", "Max leans over and KISSES Luca. She responds, tentatively at\n first,\n \n then as she grows more confident,...", "MAX\n Keep the fuck away from me! And\n Michelle too!\n \n LUKE", "She stops in her tracks, stares at Max.\n \n Max stares back, intrigued.\n \n MAX", "Yeah, okay. So? Michelle's my\n sister. You gonna' tell me you\n wouldn't like to do her?!", "MICHELLE\n I don't believe this. You slept\n with that guy?!\n \n LUCA", "MICHELLE\n It's just an act. He likes\n pretending he's Joe Cool. Always\n says you gotta' just be whatever", "really know someone, and they know\n you, it makes you whole.\n \n MAX\n No one wants to know who I really", "Michelle stares, incredulous.\n \n MICHELLE\n You're gonna' tell me he's a Z" ], [ "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage.", "Luke punches the bag, harder and faster, a near SEIZURE: ROAD\n RAGE.\n \n He collapses in a heap.", "LUKE (CONT'D)\n Oh.\n \n SYDNEY\n It's a lot to absorb, I know. When", "Keenan steals glances at Luke, trying to sort it all out.\n \n KEENAN (CONT'D)\n (aside to Luke)", "Luke, slack-jawed, keeps checking himself. Each time the\n horror of it grows more intense.\n \n LUKE", "LUKE\n Oh, you can all fuck off!\n \n Luke breaks free of the guys, and moves off.", "Luke lunges for him.\n \n They go at it, wrestling FIERCELY.", "Keenan looks over at Luke...\n \n KEENAN (CONT'D)\n Man, this could be a problem.", "Luke approaches the rack, and flips over the magazine cover.\n \n As he steps away, he glances back at the rack,", "Luke's eyes glaze over...\n \n He weaves, losing his balance...\n \n SYDNEY", "Stillness.\n \n Luke extricates himself from the tent. He runs to the driver-\n side window of the RV.", "LUKE\n It's disgusting!\n \n JANINE\n How can you say that? If I had a", "Luke follows, with a look of concern.\n \n INSIDE STORE ROOM\n \n KEENAN (CONT'D)", "Whether agony or ecstasy, it's a frightening sound.\n \n The door opens.\n \n Luke stands in his shorts, ALL MALE.", "LUKE (O.S.) (CONT'D)\n Oh no. What's happening?\n \n Luke's voice begins RISING IN PITCH...", "Luke's BREATHING grows HEAVIER.\n \n 9.", "He ducks out the service entrance.\n \n \n EXT. PARKING LOT\n By the dumpster, Luke reaches behind his head, WHIPS off his", "Luke goes in the bedroom, SLAMS the door.\n \n Keenan and Janine take up residence outside.", "(to Keenan)\n Don't look at me, -it's your tape.\n \n Keenan keeps his distance from Luke, embarrassed, if turned", "Luke nods, appreciative.\n \n 19." ], [ "LUKE\n Great. You mean to go out, right?\n \n Michelle smiles, and walks out through the squeaky door at", "What about Michelle?\n \n LUKE\n I had to be sure. I am now. Come", "MICHELLE\n And leave me stuck.\n \n He smiles.\n \n LUKE", "LUKE\n Sorry.\n \n MICHELLE", "MICHELLE\n That's sweet.\n \n LUKE", "Now alone with Michelle, Luke lines up his cue stick, then\n catches Michelle's admiring eyes.", "Luke sneers, not his favorite compliment.\n \n MICHELLE (CONT'D)", "Luca notices Michelle standing nearby.\n \n LUCA\n Michelle.\n \n KEENAN", "MICHELLE (CONT'D)\n Okay, I'm gonna' break this wide\n open!\n \n LUKE", "Luke peers over the corner pocket, and watches Michelle shoot\n and sink the ball.\n \n LUKE (CONT'D)", "EXT. CAFE LUNIZIA - NIGHT\n \n Cheap elegance. Luke and Michelle dine on the patio, strung", "MICHELLE\n God. Sorry.\n \n Luke picks the cue ball up off the floor and sets it on the\n table.", "LUCA\n I'm not!\n \n Michelle gestures \"Oh really?!\"", "LUKE\n Oh, yeah.\n \n He smiles, folds into her.", "38.\n \n \n \n MICHELLE (CONT'D)", "MICHELLE (CONT'D)\n What's the matter?\n \n LUKE", "MICHELLE\n I'm okay. You?\n \n As they talk, Michelle maneuvers to get closer.", "Sydney sits at a bar stool, keeping an eye on Luke and\n Michelle. Jeremy lays out a cocktail napkin, speaks with a\n slight Texas drawl.", "12.\n \n \n \n MICHELLE (CONT'D)", "stalker, huh?\n \n MICHELLE\n No.\n \n Luke stares, awkward." ], [ "It stopped. That is what you\n wanted. You're Adulmorphic now.\n The only way to switch is to do it\n with another Z.", "LUKE (CONT'D)\n I think I might be a Zerophiliac.\n \n 37.", "Because I'm a Zerophiliac.\n \n MICHELLE\n Because you can't stand being one!", "You become Adulmorphic. Your\n gender locks. You can't just\n change anytime you want.\n \n LUKE", "think I'm zerophobic, or somethin'.\n \n \n EXT. POLLY WOG'S POOL HALL - NIGHT", "ZEROPHILIA", "SYDNEY\n He's a Z.\n (to Luke)\n You become Morphescent when you get", "What's wrong with him?!\n \n SYDNEY\n He's a Zerophiliac.", "KEENAN (CONT'D)\n That why they call it \"zero-\n philia?\"\n \n LUCA", "LUCA\n You know I'm a Zerophiliac?!\n \n MICHELLE", "Now, you're Morphescent whenever\n you're aroused.\n \n KEENAN", "KEENAN\n You're one too?\n You're a Z?\n You're a guy?!", "Luke and Michelle roll on the crabgrass, kissing,\n \n TRANSFORMING as they roll, into Luca and Max and Michelle and", "one way in the mist. Their cold stone bodies press up\n against each other; nude, indifferent.\n \n A figure peers out between the statues in a long black coat,", "That's why I became a woman in the\n first place. I couldn't handle it.\n Figured if I was female, it was\n okay to like guys.", "He'll be alright. He didn't go all\n the way. When you fall asleep or\n pass out, a Z almost always reverts", "You let me help him, he gets a\n normal body, lives a normal life.\n Now, you his friend or not?!", "millions for all we know, go their\n whole lives without even knowing\n they are one. Nothing ever\n happens. You couldn't keep it from", "Z. Trust me, you need to be tied\n down.\n \n 75.", "Cellular fission kicks in, and,\n well,... you can go Zytusional!\n \n LUKE (O.S.)" ], [ "Because I'm a Zerophiliac.\n \n MICHELLE\n Because you can't stand being one!", "KEENAN (CONT'D)\n That why they call it \"zero-\n philia?\"\n \n LUCA", "What's wrong with him?!\n \n SYDNEY\n He's a Zerophiliac.", "LUKE (CONT'D)\n I think I might be a Zerophiliac.\n \n 37.", "think I'm zerophobic, or somethin'.\n \n \n EXT. POLLY WOG'S POOL HALL - NIGHT", "ZEROPHILIA", "LUCA\n You know I'm a Zerophiliac?!\n \n MICHELLE", "Oh, PLEASE God! What did I DO\n WRONG?!\n \n SYDNEY\n Nothing. You're a Z.", "I mean, it was like a precision-\n guided missile.\n \n Luke unzips and gently digs in his trousers.", "cause.\n \n 18.\n \n \n \n LUKE", "loss. This doctor wrote back, \"Any\n chance your friend, Luke, just lost\n his virginity?\"\n \n LUKE", "KEENAN\n You're one too?\n You're a Z?\n You're a guy?!", "Oh, for Chris' sake! I'm trying to\n help you. That Z chromosome's not\n latent anymore! You don't get", "millions for all we know, go their\n whole lives without even knowing\n they are one. Nothing ever\n happens. You couldn't keep it from", "SYDNEY (O.S.)\n When two Z's do it, the lateral\n hypothalamus gets completely\n overwhelmed,...", "SYDNEY\n I don't know. But I believe there\n may be thousands of Z's out there,", "Panicked, he grabs his crotch, feels it,\n \n Everything's normal.\n \n Or is it?", "The electricity between them charges the air.\n \n Luke maneuvers himself closer.\n \n LUKE (CONT'D)", "They sip from their glasses and drink each other in.\n \n Luke contemplates a kiss,...\n \n but his breathing grows shallow, he GASPS.", "It stopped. That is what you\n wanted. You're Adulmorphic now.\n The only way to switch is to do it\n with another Z." ], [ "Janine sneers. At a loss, Keenan grabs her and kisses her\n passionately.\n \n She walks off rolling her eyes, but secretly loves it.", "KEENAN (CONT'D)\n All I ever did was piss her off.\n I'm not sure she even wants a guy.", "Keenan lunges for Janine.\n \n JANINE (CONT'D)\n Keen!", "Keenan picks up his bike.\n \n KEENAN (CONT'D)\n I'll see ya' round, okay?", "KEENAN\n I had to. You know Janine. She\n knew somethin' was up.\n \n JANINE", "Sorry, man. She talked me into it.\n You know Janine.\n \n Keenan picks up his bike, gets on.", "KEENAN (CONT'D)\n Dude.\n \n LUKE\n It was goin' great. She's amazing.", "KEENAN\n She likes it when I tell her stuff.\n \n JANINE\n Like what?", "KEENAN\n In here.\n \n Keenan opens another door that leads them into a store room.", "22.\n \n \n \n POLLY\n That boy, Keenan, still giving you", "Keenan are strewn across the garage-sale sofa. He munches a\n burrito while watching the game.\n \n LUKE (O.S.)", "Luke follows, with a look of concern.\n \n INSIDE STORE ROOM\n \n KEENAN (CONT'D)", "KEENAN (CONT'D)\n Whoa. I guess I really didn't\n think you were gonna' go this way.\n Okay. Whatever.", "LUKE\n Thanks, man.\n \n KEENAN\n Oh, God. She's eyeing you. I", "KEENAN\n Oh, give me a break! No way!\n Max?! They just had a huge fight.\n He tried to beat the crap out of", "KEENAN\n She's Luke's cousin.\n \n JANINE\n Luca.", "The ivy parts and Keenan peers in.\n \n His eyes GO WIDE.", "Janine glares at him, and Keenan winces.\n \n LUCA\n What am I gonna' do?", "Luca notices Michelle standing nearby.\n \n LUCA\n Michelle.\n \n KEENAN", "KEENAN\n Does he need any help in there?\n \n JANINE\n Not from you." ], [ "JANINE\n Dude.\n \n Female Luke speaks, with an unmistakably female voice.", "seen you naked a hundred times.\n And she's a girl!\n \n Female Luke shyly parts the sheet, revealing her stunning", "Female Luke nods 'okay.'\n \n MAX (CONT'D)\n I'm Max. You live here too?", "to touch the exquisite FEMALE FACE reflected there, stands a\n real female, an absolutely FEMALE LUKE.\n \n OUTSIDE THE DOOR", "LUCA\n He was a woman! I was tricked. I\n didn't know I'd switch.", "JANINE\n No. He doesn't trust me at all.\n Luke. He's a rock.", "thought you might want.\n \n Luke opens it, pulls out a BLUE DRESS.\n \n LUKE", "The door opens, revealing Female Luke, wrapped in a sheet.\n \n Keenan clutches Janine.", "toward her as Luca's face transforms into Luke.\n \n BY DISCARDED TRUCK CHASSIS", "LUKE\n Oh, yeah.\n \n He smiles, folds into her.", "Luke peers over the dumpster, down at his breasts, with a", "FEMALE LUKE\n Oh, God. Look at me.\n \n Keenan and Janine sit on the edge of the bed, in shock.", "LUKE\n Oh. Yeah?\n \n MAX\n You both have practically the same", "being yourself. That's why it's\n crucial we help Luke.\n \n Janine nods, grasping the significance.", "Female Luke checks herself out in the mirror.\n \n 42.", "Keenan steals glances at Luke, trying to sort it all out.\n \n KEENAN (CONT'D)\n (aside to Luke)", "Keenan and Luca realize that she's Luca right now, not Luke.\n \n KEENAN\n What does she think?", "LUKE\n You're one too. Why didn't you\n tell me?\n \n SYDNEY", "SYDNEY\n You need to turn all the way into a\n female.\n \n LUKE", "LUKE\n Thanks, man.\n \n KEENAN\n Oh, God. She's eyeing you. I" ], [ "Keenan steals glances at Luke, trying to sort it all out.\n \n KEENAN (CONT'D)\n (aside to Luke)", "Luke nods, appreciative.\n \n 19.", "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage.", "Oh, Christ, Luke, -Luca: I know who\n you are!\n \n Luca stares, stunned.", "LUKE (CONT'D)\n Oh.\n \n SYDNEY\n It's a lot to absorb, I know. When", "13.\n \n \n \n LUKE", "LUKE\n Oh, yeah.\n \n He smiles, folds into her.", "LUKE\n Believe me, I know.\n \n SYDNEY\n I think you need to try again.", "LUKE\n Oh, you can all fuck off!\n \n Luke breaks free of the guys, and moves off.", "Luke grunts, a smile.\n \n MAX (CONT'D)\n Truth is, I uh, met your cousin.\n Luca.", "5.\n \n \n \n LUKE", "LUKE\n No, he doesn't \"scare\" me. What,\n his struttin' around, thinkin' he's", "LUKE\n Oh. Yeah?\n \n MAX\n You both have practically the same", "Luke glares at Keenan.\n \n KEENAN\n I didn't say a word! I swear! You", "LUKE\n Look! My chest!\n \n Keenan looks, clueless, a little uncomfortable now.", "LUKE\n I changed my mind.\n \n Hoping for a more enthusiastic response, he turns to Keenan,", "Luke lunges for him.\n \n They go at it, wrestling FIERCELY.", "Luke's Semi.\n \n INSIDE POOL HALL\n \n Smoke, ROWDY MUSIC and the CLACK of cue balls.", "LUKE\n You're crazy.\n \n Keenan gives him a look of \"I'm crazy?\"", "LUKE\n Nah, c'mon. You're messin' with\n me.\n \n SYDNEY" ], [ "LUKE\n Sorry.\n \n MICHELLE", "LUKE\n Great. You mean to go out, right?\n \n Michelle smiles, and walks out through the squeaky door at", "Luke sneers, not his favorite compliment.\n \n MICHELLE (CONT'D)", "What about Michelle?\n \n LUKE\n I had to be sure. I am now. Come", "MICHELLE\n And leave me stuck.\n \n He smiles.\n \n LUKE", "38.\n \n \n \n MICHELLE (CONT'D)", "MICHELLE (CONT'D)\n What's the matter?\n \n LUKE", "12.\n \n \n \n MICHELLE (CONT'D)", "MICHELLE\n I don't believe this. You slept\n with that guy?!\n \n LUCA", "stalker, huh?\n \n MICHELLE\n No.\n \n Luke stares, awkward.", "Now alone with Michelle, Luke lines up his cue stick, then\n catches Michelle's admiring eyes.", "MICHELLE\n God. Sorry.\n \n Luke picks the cue ball up off the floor and sets it on the\n table.", "LUCA\n I'm not!\n \n Michelle gestures \"Oh really?!\"", "Luca notices Michelle standing nearby.\n \n LUCA\n Michelle.\n \n KEENAN", "MICHELLE (CONT'D)\n Okay, I'm gonna' break this wide\n open!\n \n LUKE", "Sydney sits at a bar stool, keeping an eye on Luke and\n Michelle. Jeremy lays out a cocktail napkin, speaks with a\n slight Texas drawl.", "MICHELLE\n That's sweet.\n \n LUKE", "MICHELLE\n We just wanted to know if you're\n alright. After last night.\n \n LUKE", "MICHELLE\n Yeah?\n \n JANINE\n So, yes, you can trust him. I'm", "Michelle lines up the cue ball again, as Luke considers,...\n \n with a slow-dawning realization that something, somehow, just\n isn't right." ], [ "LUKE (CONT'D)\n I think I might be a Zerophiliac.\n \n 37.", "I mean, it was like a precision-\n guided missile.\n \n Luke unzips and gently digs in his trousers.", "Luke and Michelle roll on the crabgrass, kissing,\n \n TRANSFORMING as they roll, into Luca and Max and Michelle and", "They sip from their glasses and drink each other in.\n \n Luke contemplates a kiss,...\n \n but his breathing grows shallow, he GASPS.", "It stopped. That is what you\n wanted. You're Adulmorphic now.\n The only way to switch is to do it\n with another Z.", "SYDNEY (O.S.)\n When two Z's do it, the lateral\n hypothalamus gets completely\n overwhelmed,...", "end up with three left breasts,\n behemoth hips and one testicle?!\n \n Luke and Keenan swallow, wide-eyed at the prospect.", "ZEROPHILIA", "Because I'm a Zerophiliac.\n \n MICHELLE\n Because you can't stand being one!", "What's wrong with him?!\n \n SYDNEY\n He's a Zerophiliac.", "a very special and critical time\n for a Z, something you'll\n experience only once in life.\n \n 52.", "Whether agony or ecstasy, it's a frightening sound.\n \n The door opens.\n \n Luke stands in his shorts, ALL MALE.", "Panicked, he grabs his crotch, feels it,\n \n Everything's normal.\n \n Or is it?", "SOUND OF ZYTUSIONAL CLIMAX...\n \n 76.", "LUCA\n You know I'm a Zerophiliac?!\n \n MICHELLE", "millions for all we know, go their\n whole lives without even knowing\n they are one. Nothing ever\n happens. You couldn't keep it from", "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage.", "you, that incredible curve along\n your side,...\n \n They roll on the floor, clothes torn...", "Z. Trust me, you need to be tied\n down.\n \n 75.", "The Net. I found all the symptoms\n right off: panic attacks,\n \"Localized Alopecia\" -that's hair" ], [ "Max slides out from under an old car. Seeing Luca, he\n hardens, wiping his greasy hands on a rag.", "Janine ushers Max out the door and shuts it on him.\n \n Luca ducks into the bedroom, shuts the door.", "His eyes fixed on Luca, he smiles.\n \n MAX\n You in town for a while?\n \n JANINE", "Max leans over and KISSES Luca. She responds, tentatively at\n first,\n \n then as she grows more confident,...", "Luca moves off, as Max removes his boot, and his sock.\n \n MAX\n For whatever it's worth, I think", "Luca notices Michelle standing nearby.\n \n LUCA\n Michelle.\n \n KEENAN", "It's not what you think.\n \n MICHELLE\n Oh, please! What about Max?", "LUCA\n I'm sorry. To you too.\n \n MAX\n For what?", "Luca in the blue dress, on roller blades, hockey stick in\n hand.\n \n MAX\n You're about the last person I", "to Max, but I'm in love with\n Michelle? It's like I'm s'posed to\n be both.", "LUCA\n Hey.\n \n MAX\n Hey.", "you're pretty hot too.\n \n LUCA\n Thanks.\n \n MAX", "MAX\n Thanks.\n \n Luca 'nods', not fully understanding Max's response.", "LUCA\n I'm not!\n \n Michelle gestures \"Oh really?!\"", "MICHELLE\n I don't believe this. You slept\n with that guy?!\n \n LUCA", "IN THE PARTS YARD\n \n Luca manhandles Max, shoving him against a pile of huge\n tires, as Max's face transforms...", "I have incontrovertible proof.\n \n Luca stares at Max, and then down at his ankle, at the TATTOO", "LUCA\n Oh, Jesus...\n \n MAX\n Are you and he...?", "LUCA\n Where'd you learn to speak Italian?\n \n MAX\n Just tourist stuff. \"I'll have the", "Yes! So you can just go fuck\n yourself. -Literally!\n \n LUCA\n Does Max know who I am?" ], [ "toward her as Luca's face transforms into Luke.\n \n BY DISCARDED TRUCK CHASSIS", "Bye, Luca.\n \n LUCA\n (correcting her)\n Luke.", "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage.", "Oh, Christ, Luke, -Luca: I know who\n you are!\n \n Luca stares, stunned.", "Keenan and Luca realize that she's Luca right now, not Luke.\n \n KEENAN\n What does she think?", "What?\n \n SYDNEY\n When he became Luca, was he\n attracted to one of you? You can", "Max slides out from under an old car. Seeing Luca, he\n hardens, wiping his greasy hands on a rag.", "Max leans over and KISSES Luca. She responds, tentatively at\n first,\n \n then as she grows more confident,...", "LUKE\n Oh, yeah.\n \n He smiles, folds into her.", "Luca moves off, as Max removes his boot, and his sock.\n \n MAX\n For whatever it's worth, I think", "I mean, it was like a precision-\n guided missile.\n \n Luke unzips and gently digs in his trousers.", "The entire bed LURCHES back and forth as Luca struggles.\n \n Male Sydney winces, pangs of guilt, which turn to anger...", "LUCA\n Hey.\n \n MAX\n Hey.", "Luke grunts, a smile.\n \n MAX (CONT'D)\n Truth is, I uh, met your cousin.\n Luca.", "80.\n \n \n \n Luca considers...", "And I don't know what half of who\n the hell I am.\n \n They look to Luca surprised,...", "I always thought \"Luca\" was a guy's\n name? Italian or something.\n \n Luca wraps herself more tightly in the sheet.", "Luke and Michelle roll on the crabgrass, kissing,\n \n TRANSFORMING as they roll, into Luca and Max and Michelle and", "nearby, catching their breath, unsure what to say.\n \n Luca gazes up at the moon.\n \n LUCA (CONT'D)", "Luca indicates 'no.'\n \n KEENAN (CONT'D)\n Women. God, I'm glad you want to" ], [ "Luke grunts, a smile.\n \n MAX (CONT'D)\n Truth is, I uh, met your cousin.\n Luca.", "They face off.\n \n LUKE\n Yeah, really.\n \n MAX", "Luke picks up a rag and wipes fingerprints off the fender.\n \n He sits, impatient for Max to return.", "Max slides out from under an old car. Seeing Luca, he\n hardens, wiping his greasy hands on a rag.", "LUKE\n Oh. Yeah?\n \n MAX\n You both have practically the same", "LUKE (CONT'D)\n I'm crazy about her.\n \n MAX\n Shrooms, huh?", "His eyes fixed on Luca, he smiles.\n \n MAX\n You in town for a while?\n \n JANINE", "Keenan steals glances at Luke, trying to sort it all out.\n \n KEENAN (CONT'D)\n (aside to Luke)", "MAX\n You're better than Luke.\n \n LUCA\n I taught him everything he knows.", "Luke's truck idles in the service bay, billowing smoke.\n \n MAX, nineteen, lean, in overalls, with shoulder-length hair", "Female Luke nods 'okay.'\n \n MAX (CONT'D)\n I'm Max. You live here too?", "Luke sits on the running board of his truck, unlacing his\n skates.\n \n Max comes over.\n \n MAX", "incredible girl I ever met!\n \n Max sneers, skeptical.\n \n LUKE (CONT'D)", "LUCA\n Hey.\n \n MAX\n Hey.", "tell Luke?\n \n Max gets fluid, scanning the room for a toehold, infatuated\n by Luca. He seizes on a hockey stick.", "LUKE\n Shit. Can I hold off on that?\n \n MAX\n No skin off my ass. But a few", "JANINE\n Can I help you?\n \n MAX\n I was lookin' for Luke.", "Max really got into it?\n \n LUKE\n Yeah. I kind a' lost it.", "Luke nods 'yes.'\n \n MAX (CONT'D)\n I'll tell her you came by.", "LUKE\n FUCK YOU, man!\n \n Luke SHOVES Max, who SHOVES him right back." ], [ "Oh, for Chris' sake! I'm trying to\n help you. That Z chromosome's not\n latent anymore! You don't get", "LUKE (CONT'D)\n I think I might be a Zerophiliac.\n \n 37.", "chromosome.\n \n The little remaining color in Luke's face now drains away.\n He shakes his head 'no.'", "forty-six: Two X if you're a girl,\n an X and Y if you're a guy. He's\n got forty seven: An X, a Y, and a", "think I'm zerophobic, or somethin'.\n \n \n EXT. POLLY WOG'S POOL HALL - NIGHT", "What're you talkin' about?\n \n SYDNEY\n Chromosomes. Most people have", "KEENAN (CONT'D)\n That why they call it \"zero-\n philia?\"\n \n LUCA", "What's wrong with him?!\n \n SYDNEY\n He's a Zerophiliac.", "Because I'm a Zerophiliac.\n \n MICHELLE\n Because you can't stand being one!", "millions for all we know, go their\n whole lives without even knowing\n they are one. Nothing ever\n happens. You couldn't keep it from", "KEENAN\n You're one too?\n You're a Z?\n You're a guy?!", "Oh, PLEASE God! What did I DO\n WRONG?!\n \n SYDNEY\n Nothing. You're a Z.", "ZEROPHILIA", "LUCA\n You know I'm a Zerophiliac?!\n \n MICHELLE", "SYDNEY\n I don't know. But I believe there\n may be thousands of Z's out there,", "Panicked, he grabs his crotch, feels it,\n \n Everything's normal.\n \n Or is it?", "loss. This doctor wrote back, \"Any\n chance your friend, Luke, just lost\n his virginity?\"\n \n LUKE", "SYDNEY (O.S.)\n When two Z's do it, the lateral\n hypothalamus gets completely\n overwhelmed,...", "You're not s'posed to say that.\n That's a total pathetic, loser\n thing to say. But I'm gonna' take", "The Net. I found all the symptoms\n right off: panic attacks,\n \"Localized Alopecia\" -that's hair" ], [ "LUKE (CONT'D)\n I think I might be a Zerophiliac.\n \n 37.", "loss. This doctor wrote back, \"Any\n chance your friend, Luke, just lost\n his virginity?\"\n \n LUKE", "They're kissing, ROLLING AROUND TOGETHER now,...\n \n KEENAN\n I want to envelop every inch of", "I mean, it was like a precision-\n guided missile.\n \n Luke unzips and gently digs in his trousers.", "think I'm zerophobic, or somethin'.\n \n \n EXT. POLLY WOG'S POOL HALL - NIGHT", "What's wrong with him?!\n \n SYDNEY\n He's a Zerophiliac.", "Before anything, you need to try\n going all the way.\n \n KEENAN\n \"All the way?\"", "Because I'm a Zerophiliac.\n \n MICHELLE\n Because you can't stand being one!", "KEENAN (CONT'D)\n That why they call it \"zero-\n philia?\"\n \n LUCA", "What?!\n \n JANINE\n Oh my God. You got laid.\n Finally! Who is she?", "They sip from their glasses and drink each other in.\n \n Luke contemplates a kiss,...\n \n but his breathing grows shallow, he GASPS.", "Jeremy looks on, aroused. Sydney squints, dismayed, barely\n able to watch.\n \n JEREMY", "SYDNEY (O.S.)\n When two Z's do it, the lateral\n hypothalamus gets completely\n overwhelmed,...", "standing, in shock, and now putting it all together,\n \n she LUNGES for him, nailing him to the ground, kissing him.", "Panicked, he grabs his crotch, feels it,\n \n Everything's normal.\n \n Or is it?", "ZEROPHILIA", "Whether agony or ecstasy, it's a frightening sound.\n \n The door opens.\n \n Luke stands in his shorts, ALL MALE.", "her face REDDENS, she GASPS.\n \n Luca pulls back, self-conscious, confused. She brushes\n sawdust off her dress, stands.", "No! She just said, she wants sex!\n (to Luca)\n I can't. I'm sorry.", "LUCA\n You know I'm a Zerophiliac?!\n \n MICHELLE" ], [ "She shrugs, trying to put her finger on it, and when Luke\n rolls up his T-shirt sleeves, she grins.\n \n LUKE (CONT'D)", "Luke and Michelle roll on the crabgrass, kissing,\n \n TRANSFORMING as they roll, into Luca and Max and Michelle and", "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage.", "toward her as Luca's face transforms into Luke.\n \n BY DISCARDED TRUCK CHASSIS", "LUKE\n Great. You mean to go out, right?\n \n Michelle smiles, and walks out through the squeaky door at", "They sip from their glasses and drink each other in.\n \n Luke contemplates a kiss,...\n \n but his breathing grows shallow, he GASPS.", "LUKE\n Oh, yeah.\n \n He smiles, folds into her.", "The door opens, revealing Female Luke, wrapped in a sheet.\n \n Keenan clutches Janine.", "breasts. I felt 'em.\n \n KEENAN\n Whoa, first date. Definitely the\n 'new Luke!'", "LUKE\n Thanks, man.\n \n KEENAN\n Oh, God. She's eyeing you. I", "Luke peers over the dumpster, down at his breasts, with a", "Luke and Sydney begin undressing.\n \n SYDNEY\n Do you like this dress?\n \n LUKE", "LUKE\n First off, that woman. We didn't\n go all the way, you know?", "LUKE (CONT'D)\n I'm crazy about her.\n \n MAX\n Shrooms, huh?", "She nuzzles him playfully. Luke glances at the clock, MOANS.\n \n LUKE\n Only place I'm going is back to", "Luke goes in the bedroom, SLAMS the door.\n \n Keenan and Janine take up residence outside.", "Luke punches the bag, harder and faster, a near SEIZURE: ROAD\n RAGE.\n \n He collapses in a heap.", "to touch the exquisite FEMALE FACE reflected there, stands a\n real female, an absolutely FEMALE LUKE.\n \n OUTSIDE THE DOOR", "turned on. You can change all the\n way when you have an orgasm.\n \n LUKE\n With who?", "I mean, it was like a precision-\n guided missile.\n \n Luke unzips and gently digs in his trousers." ], [ "Keenan steals glances at Luke, trying to sort it all out.\n \n KEENAN (CONT'D)\n (aside to Luke)", "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage.", "LUKE (CONT'D)\n Oh.\n \n SYDNEY\n It's a lot to absorb, I know. When", "Luke, slack-jawed, keeps checking himself. Each time the\n horror of it grows more intense.\n \n LUKE", "LUKE\n I changed my mind.\n \n Hoping for a more enthusiastic response, he turns to Keenan,", "Luke follows, with a look of concern.\n \n INSIDE STORE ROOM\n \n KEENAN (CONT'D)", "LUKE\n Oh, yeah.\n \n He smiles, folds into her.", "toward her as Luca's face transforms into Luke.\n \n BY DISCARDED TRUCK CHASSIS", "Luke nods, appreciative.\n \n 19.", "Luke lunges for him.\n \n They go at it, wrestling FIERCELY.", "LUKE\n No, he doesn't \"scare\" me. What,\n his struttin' around, thinkin' he's", "He casually touches his hand to his pants.\n \n He pales slightly.\n \n LUKE (CONT'D)", "Luke's face CONTORTS, terrified.\n \n KEENAN\n I'll get some ice.", "Luke punches the bag, harder and faster, a near SEIZURE: ROAD\n RAGE.\n \n He collapses in a heap.", "shirt, with warm, confident eyes.\n \n Luke swallows, wide-eyed, a deer in headlights. He sets\n down the torque-wrench.", "He looks down, SHUDDERS,...\n \n LUKE\n Uh- ah-", "LUKE (CONT'D)\n Look, every day I wish you were\n around, but I swear, if I tell you\n this, you damn well better stay", "She shrugs, trying to put her finger on it, and when Luke\n rolls up his T-shirt sleeves, she grins.\n \n LUKE (CONT'D)", "LUKE\n Believe me, I know.\n \n SYDNEY\n I think you need to try again.", "LUKE\n Look! My chest!\n \n Keenan looks, clueless, a little uncomfortable now." ], [ "LUKE\n I'm goin' to Dr. Catchadourian's\n tonight. To make this stop.", "Dr. Sydney Catchadourian. Keenan,\n right?\n \n LUKE\n You know him?!", "Should we call Dr. Catchadourian?\n \n FEMALE LUKE\n What for? I did it. Now, I can", "Luke follows, with a look of concern.\n \n INSIDE STORE ROOM\n \n KEENAN (CONT'D)", "Keenan steals glances at Luke, trying to sort it all out.\n \n KEENAN (CONT'D)\n (aside to Luke)", "Luke glares at Keenan.\n \n KEENAN\n I didn't say a word! I swear! You", "Keenan rides off, leaving Luke shell-shocked.\n \n \n INT. SYDNEY'S BED & BREAKFAST - NIGHT", "The door opens, revealing Female Luke, wrapped in a sheet.\n \n Keenan clutches Janine.", "Luke's face CONTORTS, terrified.\n \n KEENAN\n I'll get some ice.", "being yourself. That's why it's\n crucial we help Luke.\n \n Janine nods, grasping the significance.", "LUKE (CONT'D)\n I thought you were gonna' kill us.\n But you just looked me right in the", "LUKE\n You're crazy.\n \n Keenan gives him a look of \"I'm crazy?\"", "LUKE\n Screw you. Maybe I caught\n something.\n \n KEENAN", "LUKE (CONT'D)\n Oh.\n \n SYDNEY\n It's a lot to absorb, I know. When", "LUKE\n Oh, yeah.\n \n He smiles, folds into her.", "Sydney helps Luke FLOP DOWN on the floor. He passes out.\n \n SYDNEY (CONT'D)", "Luke nods, appreciative.\n \n 19.", "LUKE\n Oh, you can all fuck off!\n \n Luke breaks free of the guys, and moves off.", "LUKE\n I changed my mind.\n \n Hoping for a more enthusiastic response, he turns to Keenan,", "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage." ], [ "to touch the exquisite FEMALE FACE reflected there, stands a\n real female, an absolutely FEMALE LUKE.\n \n OUTSIDE THE DOOR", "JANINE\n Dude.\n \n Female Luke speaks, with an unmistakably female voice.", "Female Luke checks herself out in the mirror.\n \n 42.", "toward her as Luca's face transforms into Luke.\n \n BY DISCARDED TRUCK CHASSIS", "SYDNEY\n You need to turn all the way into a\n female.\n \n LUKE", "Luke and Michelle roll on the crabgrass, kissing,\n \n TRANSFORMING as they roll, into Luca and Max and Michelle and", "Female Luke nods 'okay.'\n \n MAX (CONT'D)\n I'm Max. You live here too?", "Female Luke comes out of the bedroom, wrapped in a sheet.\n \n FEMALE LUKE\n Thank God. I'm starving!", "Luke peers over the dumpster, down at his breasts, with a", "seen you naked a hundred times.\n And she's a girl!\n \n Female Luke shyly parts the sheet, revealing her stunning", "Female Luke can't stop gazing at herself in the mirror.\n \n 43.", "That's why I became a woman in the\n first place. I couldn't handle it.\n Figured if I was female, it was\n okay to like guys.", "FEMALE LUKE\n Oh, God. Look at me.\n \n Keenan and Janine sit on the edge of the bed, in shock.", "Keenan and Luca realize that she's Luca right now, not Luke.\n \n KEENAN\n What does she think?", "The door opens, revealing Female Luke, wrapped in a sheet.\n \n Keenan clutches Janine.", "Female Luke hesitates.\n \n KEENAN\n Come on. It's not like I haven't", "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage.", "Bye, Luca.\n \n LUCA\n (correcting her)\n Luke.", "FEMALE LUKE\n This is too weird. This is\n freaking me out.\n \n KEENAN", "and her voice begins LOWERING IN PITCH,...\n \n as MICHELLE BECOMES MAX.\n \n MAX" ], [ "SYDNEY\n He's a Z.\n (to Luke)\n You become Morphescent when you get", "LUKE (CONT'D)\n Oh.\n \n SYDNEY\n It's a lot to absorb, I know. When", "Sydney helps Luke FLOP DOWN on the floor. He passes out.\n \n SYDNEY (CONT'D)", "LUKE\n No way!\n \n SYDNEY\n Why're you so resistant? If the", "LUKE\n What?\n \n SYDNEY\n Don't you see? You get to choose.", "LUKE\n Believe me, I know.\n \n SYDNEY\n I think you need to try again.", "SYDNEY\n You need to turn all the way into a\n female.\n \n LUKE", "Luke stands behind the cash register, leafing through \"The\n Outdoors Man.\"\n \n The CHIME BINGS and SYDNEY enters, early thirties, elegant in", "Luke and Sydney begin undressing.\n \n SYDNEY\n Do you like this dress?\n \n LUKE", "SYDNEY\n Here we go...\n \n He and Sydney have to yell to hear over Luke's escalating\n MANTRA...", "SYDNEY\n I'm available.\n \n LUKE\n No way!", "Keenan rides off, leaving Luke shell-shocked.\n \n \n INT. SYDNEY'S BED & BREAKFAST - NIGHT", "LUKE\n You're one too. Why didn't you\n tell me?\n \n SYDNEY", "did what you said.\n \n SYDNEY\n Amazing, huh?\n \n LUKE", "That won't be a problem.\n \n SYDNEY\n Okay then.\n \n LUKE", "Sydney saunters up.\n \n SYDNEY\n Can I buy you a drink?\n \n LUKE", "Maybe I would!\n \n SYDNEY\n Whoa! HANG ON! Right now, Luke\n needs your help. He needs to know", "can really piss you off.\n \n Sydney moves to leave.\n \n LUKE", "SYDNEY\n Luke, if you like this girl, we\n better talk.\n \n LUKE", "LUKE\n It ain't gonna' happen!\n \n SYDNEY" ], [ "Sydney helps Luke FLOP DOWN on the floor. He passes out.\n \n SYDNEY (CONT'D)", "Luke and Sydney begin undressing.\n \n SYDNEY\n Do you like this dress?\n \n LUKE", "LUKE (CONT'D)\n Oh.\n \n SYDNEY\n It's a lot to absorb, I know. When", "Sydney sits at a bar stool, keeping an eye on Luke and\n Michelle. Jeremy lays out a cocktail napkin, speaks with a\n slight Texas drawl.", "LUKE\n Believe me, I know.\n \n SYDNEY\n I think you need to try again.", "Sydney saunters up.\n \n SYDNEY\n Can I buy you a drink?\n \n LUKE", "Luke stands behind the cash register, leafing through \"The\n Outdoors Man.\"\n \n The CHIME BINGS and SYDNEY enters, early thirties, elegant in", "LUKE\n What?\n \n SYDNEY\n Don't you see? You get to choose.", "KEENAN\n She's lyin'.\n \n Male Sydney shakes his head 'no.'", "can really piss you off.\n \n Sydney moves to leave.\n \n LUKE", "Keenan rides off, leaving Luke shell-shocked.\n \n \n INT. SYDNEY'S BED & BREAKFAST - NIGHT", "Luke moves off, sloshing beer. Sydney sighs.\n \n SYDNEY", "SYDNEY\n Luke, if you like this girl, we\n better talk.\n \n LUKE", "Sydney, realizing her mistake, regroups: Plan B.\n \n SYDNEY\n Just testing you. Hold on a", "SYDNEY\n I'm available.\n \n LUKE\n No way!", "LUKE\n No way!\n \n SYDNEY\n Why're you so resistant? If the", "Sydney watches as Keenan and Luke cross the hall toward the\n back.\n \n She flags Jeremy.\n \n SYDNEY", "Sydney wears a stunning black silk evening gown.\n \n Small Greek statues now adorn the room.\n \n LUKE", "Maybe I would!\n \n SYDNEY\n Whoa! HANG ON! Right now, Luke\n needs your help. He needs to know", "LUKE\n Luke.\n \n SYDNEY\n Workin' late, huh? Luke?" ], [ "Hearing something behind him, he turns as Max PUNCHES him in\n the stomach, knocking the wind out of him.", "She stops in her tracks, stares at Max.\n \n Max stares back, intrigued.\n \n MAX", "MAX\n He can't handle this. Us. He\n can't handle who he is.\n \n POLLY", "Max slides out from under an old car. Seeing Luca, he\n hardens, wiping his greasy hands on a rag.", "He examines Max's cap, tries it on. He picks up the torque-\n wrench, swaggers about, trying to look macho, in the manner\n of Max.", "really know someone, and they know\n you, it makes you whole.\n \n MAX\n No one wants to know who I really", "Yes! So you can just go fuck\n yourself. -Literally!\n \n LUCA\n Does Max know who I am?", "MAX\n Sorry.\n \n POLLY\n Everything reminded me of him. So,", "Janine throws it open, Max stands outside.\n \n MAX\n Hey.", "His eyes fixed on Luca, he smiles.\n \n MAX\n You in town for a while?\n \n JANINE", "MAX\n Just 'til Friday.\n \n Max returns to his work.", "and her voice begins LOWERING IN PITCH,...\n \n as MICHELLE BECOMES MAX.\n \n MAX", "Janine ushers Max out the door and shuts it on him.\n \n Luca ducks into the bedroom, shuts the door.", "Max leans over and KISSES Luca. She responds, tentatively at\n first,\n \n then as she grows more confident,...", "Max steps out of the shower, and towels off in the mirror.\n \n \n INT. ORLANDO'S BED & BREAKFAST - NIGHT", "IN THE PARTS YARD\n \n Luca manhandles Max, shoving him against a pile of huge\n tires, as Max's face transforms...", "17.\n \n \n \n MAX\n You son-of-a-bitch, stay the hell", "OF A GREEN BIRD.\n \n Max meets her eyes,\n \n and it finally dawns on Luca,", "MAX\n Stepped on a nail. Damn it!\n \n Max sits on a crate, starts untying his boot.", "MAX\n Yeah? What the hell.\n \n LATER" ], [ "Should we call Dr. Catchadourian?\n \n FEMALE LUKE\n What for? I did it. Now, I can", "That's why I became a woman in the\n first place. I couldn't handle it.\n Figured if I was female, it was\n okay to like guys.", "LUKE\n I'm goin' to Dr. Catchadourian's\n tonight. To make this stop.", "to touch the exquisite FEMALE FACE reflected there, stands a\n real female, an absolutely FEMALE LUKE.\n \n OUTSIDE THE DOOR", "toward her as Luca's face transforms into Luke.\n \n BY DISCARDED TRUCK CHASSIS", "The door opens, revealing Female Luke, wrapped in a sheet.\n \n Keenan clutches Janine.", "Female Luke nods 'okay.'\n \n MAX (CONT'D)\n I'm Max. You live here too?", "SYDNEY\n You need to turn all the way into a\n female.\n \n LUKE", "You become Adulmorphic. Your\n gender locks. You can't just\n change anytime you want.\n \n LUKE", "JANINE\n Dude.\n \n Female Luke speaks, with an unmistakably female voice.", "FEMALE LUKE\n Oh, God. Look at me.\n \n Keenan and Janine sit on the edge of the bed, in shock.", "Female Luke comes out of the bedroom, wrapped in a sheet.\n \n FEMALE LUKE\n Thank God. I'm starving!", "seen you naked a hundred times.\n And she's a girl!\n \n Female Luke shyly parts the sheet, revealing her stunning", "was just turnin' into a girl!\n \n JANINE\n Exactly. He was a girl.", "and her voice begins LOWERING IN PITCH,...\n \n as MICHELLE BECOMES MAX.\n \n MAX", "truth is, you want to be a guy,\n great, but if not...\n \n LUKE\n Don't even say that!", "Luke and Michelle roll on the crabgrass, kissing,\n \n TRANSFORMING as they roll, into Luca and Max and Michelle and", "Female Luke hesitates.\n \n KEENAN\n Come on. It's not like I haven't", "LUKE\n I don't want to choose. I want to\n be a guy.\n \n SYDNEY", "Luke's eyes open, dilated, disoriented. He's lying on the\n ground, shirtless among bits of garbage." ] ]

[ "When does Luke first begin experiencing his transformation into a woman?", "What happens after Luke meets Michelle and begins going out with her?", "Who is Luca?", "How does Luke become aroused enough to make the complete transformation into a woman? ", "Who convinces Luke into making the complete transformation into a woman?", "How does Dr. Catchadourian trick Luke into sleeping with her?", "What is the real relationship between Michelle and Max?", "What issues are Luke forced to deal with due to his condition?", "How does the story end between Luke and Michelle?", "How can a zerophiliac become a-morphic?", "What is the cause of zerophilia?", "What is the name of Keenan's girlfriend?", "Which character earned Luke's trust then tricked him into helping them switch genders?", "What is the name of Luke's best friend and confidante?", "What happened in the story to cause Michelle to feel betrayed by Luke?", "What physiological event triggers transformations in zerophiliacs?", "What secret did Max reveal when Luca visited him for help finding Michelle so he could apologize?", "What did Luke do to fully transition into Luca for the first time?", "Who does Luke believe Max to be after he is first introduced to him?", "Which extra chromosome do people have that are afflicted with zerophilia?", "What happens to a zerophiliac after their first sexual encounter?", "Who is Luke going out with when he experiences his first partial transformations?", "With whom does Luke confide about his initial transformations?", "What does Dr. Catchadourian convince Luke to do?", "What does Luke call himself after he transforms into a female?", "What does Sydney tell Luke is the only way to become a-morphic?", "Why does Sydney lie to Luke and use him for sex?", "Who does Max reveal himself to be?", "How does Luke become a female after being convinced by Dr. Catchadourian to fully transform?" ]

[ [ "After his first sexual encounter with a woman.", "After an encounter with Michelle" ], [ "Luke continues to experience partial transformations into a woman. ", "Partial transformations into a woman" ], [ "Luca is the woman that Luke becomes after he completely transforms into a woman.", "female version of luke" ], [ "By meeting Max, Michelle's attractive brother. ", "by masturbating" ], [ "Dr. Catchadourian.", "Dr. Catchadourian." ], [ "By lying to him and convincing him that sleeping with another zerophiliac like her would stop the transformations. ", "By telling him that she is a zerophiliac and that he can become a-morphic by having sex with her, the only way for him to stop changing his sex." ], [ "They are the same person. ", "They are the same person. Michelle is the female version of Max when he changes sex." ], [ "Issues of gender and sexual identity.", "Questions of gender identity." ], [ "They both reveal that they are zerophiliacs and become a happy couple. ", "They become lovers" ], [ "By having sex with someone else who is also a zerophiliac.", "they cant it was a lie" ], [ "Having an extra Z chromosome", "excess z chromosome" ], [ "Janine", "Janine" ], [ "Dr. Catchadourian", "Sydney" ], [ "Keenan", "Keenan" ], [ "Luke slept with Dr. Catchadourian", "luke slept with dr. catchadourian" ], [ "orgasm", "First full sexual experience" ], [ "That he is a zerophiiac too and is actually Michelle.", "He is Michelle" ], [ "Masterbate", "Masturbation" ], [ "Michelle's brother.", "Michelle brother" ], [ "An extra Z chromosome", "Z." ], [ "They begin to change sex.", "they change sex orientation" ], [ "Michelle.", "kelly le brock" ], [ "Keenan.", "best friend keenan" ], [ "To undergo a full transformation.", "Complete the transformation." ], [ "Luca.", "Luca" ], [ "To have sex with another zerophiliac.", "By sleeping with her." ], [ "So that she can change herself one last time into a man.", "To change into a man" ], [ "Michelle.", "Michelle" ], [ "By masturbating.", "masturbating" ] ]

[ [ "Thus began a friendship which lasted during the lifetime of the good\npriest. Whenever he could do so, Norman of Torn visited his friend,", "Quick to reach decisions and as quick to act, Norman of Torn decided\nthat he liked this girl and that he wished her friendship more than any", "\"He has my friendship, always,\" said the girl, \"but I doubt me if Norman\nof Torn be the man to impose upon it.\"", "Norman of Torn was slow to realize that a woman might look upon him with\nlove. Nor had he a thought of any other sentiment toward her than that\nof friend and protector.", "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "Though the name Norman of Torn be fraught with terror to others, I know\nthat you do not fear him, for you must know the loyalty and friendship\nwhich he bears you.", "Norman of Torn smiled as he did her bidding, and when he smiled thus, as\nhe rarely did, he was good to look upon.", "Norman of Torn, in his ignorance of the ways of women, saw only\nfriendship in the little acts of Joan de Tany. His life had been a hard", "\"You must take my hand in friendship,\" she said, \"for, to my dying day,\nI must ever bless the name of Norman of Torn because of the horror from\nwhich he has rescued me.\"", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "\"Then we shall be friends, Norman of Torn, for albeit I have few\nenemies, no man has too many friends, and I like your face and your", "gladly have your friendship, but I wish it for the man, Norman of\nTorn, with all his faults, as well as what virtues you may think him to\npossess.\"", "that has happened. These who wert thine enemies, Norman of Torn, be thy\nbest friends now--that thou should know, so that thou may rest in peace\nuntil thou be better.\"", "\"They who have looked upon my face, other than my friends,\" replied\nNorman of Torn quietly, \"have never lived to tell what they saw beneath", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "They reached the castle of De Stutevill late in the afternoon, and\nthere, Norman of Torn was graciously welcomed and urged to accept the\nBaron's hospitality overnight.", "As his glance rested upon this woman, whom fate had destined to\nalter the entire course of his life, Norman of Torn saw that she was", "\"It is Norman of Torn, come in peace, and in the service of a De\nMontfort,\" replied Shandy. \"He would enter with one companion, my Lord\nEarl.\"", "Presently he saw his opportunity. Norman of Torn stood beside the body\nof one of his earlier antagonists. Slowly the old man worked around", "As Norman of Torn approached his grim castle home with his five filthy,\nragged cut-throats on the day of his first meeting with them, the old" ], [ "By the time he was twenty, Norman the Devil, as the King himself had\ndubbed him, was known by reputation throughout all England, though no", "\"There be but one sword in all England, nay in all the world that can,\nalone, take Norman of Torn,\" he said, addressing the King, \"and that", "\"Norman of Torn dares ride where he will in all England,\" boasted the\nred giant. \"Will you see him in peace, My Lord?\"", "believed.\" And with his words, the young man flung himself upon Norman\nof Torn with drawn sword.", "\"But remember, Norman of Torn, that the best answer for an Englishman is\nthe sword; naught else may penetrate his thick wit.\"", "upon Norman of Torn. There was a flash of the great sword as the outlaw\nswung it to the full of his mighty strength through an arc that passed", "Norman of Torn; that thou be a French gentleman whose father purchased\nTorn and brought thee hither from France on the death of thy mother,\nwhen thou wert six years old.", "\"Norman of Torn,\" he said, \"so long as thou remain in England, pitting\nthy great host against the Plantagenet King and the nobles and barons of", "As Norman of Torn drew rein beside them, he saw that the leader of the\nparty was a very handsome man of about his own age, and evidently a\nperson of distinction; a profitable prize, thought the outlaw.", "Instantly, the sword of the young Prince leaped from its scabbard, and\nfacing De Montfort and the others, he backed to the side of Norman of\nTorn.", "Norman of Torn lowered his raised sword.\n\n\"It is I, Shandy,\" he said. \"Keep a still tongue in thy head until I\nspeak with thee apart. Wait here, My Lady Joan; these be friends.\"", "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "And so was born that Norman of Torn, whose name in a few short years\nwas to strike terror to the hearts of Englishmen, and whose power in the\nvicinity of Torn was greater than that of the King or the barons.", "Norman of Torn came out of his corner to meet his new-found enemy, and\nthere, in the apartment of the Queen of England in the castle of Battel,", "of age, and thy name be Norman, and so, as this be the ancient castle of\nTorn, thou mayst answer those whom thou desire to know it that thou art", "Although at this time nearly twenty years had passed over the head of\nNorman of Torn, he was without knowledge or experience in the ways of", "indeed have a chance to vanquish the Outlaw of Torn. But they did not\nknow that Norman of Torn was but playing with his victim, that he might", "It was a beautiful spring day in May, 1262, that Norman of Torn rode\nalone down the narrow trail that led to the pretty cottage with which he\nhad replaced the hut of his old friend, Father Claude.", "For five years, he had not crossed foils with Norman of Torn, but he\nconstantly practiced with the best swordsmen of the wild horde, so that", "Taking the parchment from the messenger, Norman of Torn read:\n\nHenry, by Grace of God, King of England, Lord of Ireland, Duke of\nAquitaine; to Norman of Torn:" ], [ "Although at this time nearly twenty years had passed over the head of\nNorman of Torn, he was without knowledge or experience in the ways of", "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "As Norman of Torn drew rein beside them, he saw that the leader of the\nparty was a very handsome man of about his own age, and evidently a\nperson of distinction; a profitable prize, thought the outlaw.", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "Norman of Torn smiled as he did her bidding, and when he smiled thus, as\nhe rarely did, he was good to look upon.", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "Today, as they wound west across the valley, Norman of Torn rode at the\nhead of the cavalcade, which strung out behind him in a long column.", "At the column's head rode Norman of Torn and the little grim, gray,\nold man; and behind them, nine companies of knights, followed by the", "\"Lead me quietly, knave, to the room where My Lord sups,\" said Norman\nof Torn. \"You, Shandy, place your men where they can prevent my being\ninterrupted.\"", "By the time he was twenty, Norman the Devil, as the King himself had\ndubbed him, was known by reputation throughout all England, though no", "believed.\" And with his words, the young man flung himself upon Norman\nof Torn with drawn sword.", "He led her in silence to the courtyard and across the lowered\ndrawbridge, to where they soon discovered a group of horsemen, and in\nanswer to a low challenge from Shandy, Norman of Torn replied that it\nwas he.", "It was a beautiful spring day in May, 1262, that Norman of Torn rode\nalone down the narrow trail that led to the pretty cottage with which he\nhad replaced the hut of his old friend, Father Claude.", "\"The price has been there since I was eighteen,\" answered Norman of\nTorn, \"and yet my head be where it has always been. Can you blame me", "Norman of Torn turned to where one of his captains squatted upon the\nground beside an object covered with a cloth.\n\n\"Come, Flory,\" he said, and then, turning to the waiting Giles, \"lead\non.\"", "Below, on the downs, the column was forming in marching order, and as\nthe two rode out to join it, the little old man turned to Norman of\nTorn, saying,", "Norman of Torn led in the laugh which followed, and of all the company\nhe most enjoyed the joke.", "\"'Tis passing strange,\" said Norman of Torn but that was his only\ncomment. And so they joined the column which moved slowly down toward", "Leybourn nodded his assent, and Norman of Torn turned, with a few words\nof instructions, to one of his men.", "the open by the outlaws, that filled the coffers of Norman of Torn with\nmany pieces of gold and silver, and placed a price upon his head ere he\nhad scarce turned eighteen." ], [ "As his glance rested upon this woman, whom fate had destined to\nalter the entire course of his life, Norman of Torn saw that she was", "Norman of Torn was slow to realize that a woman might look upon him with\nlove. Nor had he a thought of any other sentiment toward her than that\nof friend and protector.", "Norman of Torn smiled as he did her bidding, and when he smiled thus, as\nhe rarely did, he was good to look upon.", "Quick to reach decisions and as quick to act, Norman of Torn decided\nthat he liked this girl and that he wished her friendship more than any", "So Norman of Torn lifted her in his strong arms, and stumbled on\nthrough the darkness and the shrubbery down the center of the ravine. It", "As she spoke, Norman of Torn looked upon her critically for the first\ntime, and he saw that Joan de Tany was beautiful, and that when she", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "Norman of Torn wondered if she were angry with him and then, being new\nat love, he blundered.\n\n\"Joan de Tany,\" he said.", "At the same instant, a scream rang out behind Norman of Torn, and,\nturning, he faced a brightly lighted room in which sat Eleanor, Queen", "Norman of Torn looked up in unfeigned surprise, and then there came back\nto him the scene in the Queen's apartment the night before. It was all a", "It was not love, nor was it allied to love, but a deep longing for\ncompanionship of such as she, and such as she represented. Norman of", "tonight with Norman of Torn, and by the third day, Father Claude shall\nmake us one.\"", "Thus began a friendship which lasted during the lifetime of the good\npriest. Whenever he could do so, Norman of Torn visited his friend,", "Norman of Torn, in his ignorance of the ways of women, saw only\nfriendship in the little acts of Joan de Tany. His life had been a hard", "indeed have a chance to vanquish the Outlaw of Torn. But they did not\nknow that Norman of Torn was but playing with his victim, that he might", "The encounter was short, for Norman of Torn had come to kill, and he had\nbeen looking through a haze of blood for hours--in fact every time he", "As her thoughts wandered back to her brief meeting with him two years\nbefore, she wrote and dispatched her reply to Norman of Torn.", "Slowly, the lids of Norman of Torn lifted with returning consciousness.\nBefore him, on her knees in the blood spattered rushes of the floor,", "For three weeks after his meeting with Bertrade de Montfort and his\nsojourn at the castle of John de Stutevill, Norman of Torn was busy with" ], [ "He stopped from very weakness, and then in another moment, with a final\neffort: \"De--Vac's--revenge. God--damn--the--English,\" and slipped\nforward upon the rushes, dead.", "Henry knelt and peered into the dying face.\n\n\"De Vac!\" he exclaimed.\n\nThe old man nodded. Then he pointed to where lay Norman of Torn.", "as he now is, he murders his victims. I will throw myself before them\nwhile you hasten through the rear doorway to your horse, and make good\nyour escape.\" He spoke in French, and held his hands in the attitude of", "\"To the death,\" cried the little gray man, \"a mort, mon fils.\" Scarcely\nhad the words left his lips ere, as though it had but waited permission,", "He could not win in fair fight against Norman of Torn; that the wily\nFrenchman saw; but now that death was so close upon him that he felt its", "For answer Norman of Torn pointed to the forehead of the dead Earl of\nBuckingham, and there Roger Leybourn saw, in letters of blood, NT.\n\nThe Baron advanced with outstretched hand.", "Slowly and feebly he raised it high above the back of the man on top of\nhim; with a last supreme effort he drove the point downward, but ere it", "De Montfort turned toward the little gray man.\n\n\"He lies,\" shouted he. \"Her kisses be yet wet upon his lips.\"", "\"It's death!\" exclaimed one of the knights, \"he will kill the youth yet,\nBeauchamp.\"", "enemy of organized society, he preyed ever upon his fellows. Life in\nEngland will be safer after this day. Do not weep over the clay of a\nnameless adventurer who knew not his own father.\"", "De Vac clapped his hand over the child's mouth to still his cries,\nbut it was too late. The Lady Maud and her lover had heard and, in an", "At last they saw that he was trying to speak. Weakly he motioned toward\nthe King. Henry came toward him.", "\"Oh God!\" he cried, and buried his head in his arms.\n\nThe Queen had seen also, and with a little moan she sank beside the body\nof her second born, crying out:", "It was the end. Peter of Colfax, cut to ribbons yet fighting like the\nmaniac he had become, was as good as dead, for the mark of the Outlaw of", "efforts became weaker and weaker. The boy talked incessantly to him in\na quiet voice, and there was a shadow of a smile upon his lips. Now", "Again dismounting, he returned to the side of his late adversary, and\nlifting the dead knight's visor, drew upon the forehead with the point\nof his dagger the letters NT.", "As Beauchamp pitched forward across a bench, dead, the little old man\nled Greystoke to where the boy awaited him.", "As the blow fell, the wiry Frenchman clicked his heels together, and\nthrowing down his foil, he stood erect and rigid as a marble statue\nbefore his master. White and livid was his tense drawn face, but he\nspoke no word.", "As De Vac drew his sword from the heart of the Lady Maud, he winced,\nfor, merciless though he was, he had shrunk from this cruel task. Too", "The old man saw it too. He had devoted years of his life to training\nthat mighty sword arm that it might deal out death to others, and" ], [ "De Vac could teach the art, and he had been as conscientious in the\ndischarge of his duties as he had been in his unswerving hatred and\ncontempt for his pupils.", "De Vac had grown old in the service of the kings of England, but he\nhated all things English and all Englishmen. The dead King John, though", "He stopped from very weakness, and then in another moment, with a final\neffort: \"De--Vac's--revenge. God--damn--the--English,\" and slipped\nforward upon the rushes, dead.", "Had a French king struck him, De Vac would have struck back, and gloried\nin the fate which permitted him to die for the honor of France; but an", "De Vac he knew to be too jealous of his fame as a swordsman to permit\nhimself to be overcome by aught but superior skill, and this day Henry\nfelt that he could best the devil himself.", "and the revenge of De Vac has passed from the eyes of the world; though\nin his time it was a real and terrible thing in the hearts of the\nEnglish.", "done him. When, therefore, he found that these grim men were searching\nfor De Fulm, he saw a way to be revenged upon his mistress.", "De Vac had been born in Paris, the son of a French officer reputed the\nbest swordsman in France. The son had followed closely in the footsteps", "But the old woman's threats had already caused De Vac a feeling of\nuneasiness, which would have been reflected to an exaggerated degree in\nthe old woman had she known the determination her words had caused in\nthe mind of the old master of fence.", "In a moment, De Vac had disarmed him, but, contrary to the laws of\nchivalry, he did not lower his point until it had first plunged through", "There were no words, there was no need of words; De Vac's intentions\nwere too plain to necessitate any parley, so the two fell upon each", "as he now is, he murders his victims. I will throw myself before them\nwhile you hasten through the rear doorway to your horse, and make good\nyour escape.\" He spoke in French, and held his hands in the attitude of", "the friendship of De Montfort, but now this act of perfidy has wiped\nclean the score. An' you would go in peace, sirrah, go quickly, ere I\nlose my temper.\"", "The little Prince was now so terrified that he could but tremble and\nwhimper in his fright. So fearful was he of the terrible De Vac that a", "As the blow fell, the wiry Frenchman clicked his heels together, and\nthrowing down his foil, he stood erect and rigid as a marble statue\nbefore his master. White and livid was his tense drawn face, but he\nspoke no word.", "When they reached the wall, De Vac and the Prince were upon the outside,\nand the Frenchman had closed and was endeavoring to lock the gate.", "De Vac clapped his hand over the child's mouth to still his cries,\nbut it was too late. The Lady Maud and her lover had heard and, in an", "So he let De Vac assume to his mind's eye the person of the hated De\nMontfort, and it followed that De Vac was nearly surprised into an early\nand mortifying defeat by the King's sudden and clever attack.", "English King--pooh! a dog; and who would die for a dog? No, De Vac would\nfind other means of satisfying his wounded pride. He would revel in", "As De Vac drew his sword from the heart of the Lady Maud, he winced,\nfor, merciless though he was, he had shrunk from this cruel task. Too" ], [ "Norman of Torn made no reply, his thoughts were in wild confusion, and\nit was with difficulty that he hid the fierce anxiety of his heart or\nhis rage against the perpetrators of this dastardly act which tore his\nwhole being.", "indeed have a chance to vanquish the Outlaw of Torn. But they did not\nknow that Norman of Torn was but playing with his victim, that he might", "So Norman of Torn lifted her in his strong arms, and stumbled on\nthrough the darkness and the shrubbery down the center of the ravine. It", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "The encounter was short, for Norman of Torn had come to kill, and he had\nbeen looking through a haze of blood for hours--in fact every time he", "So saying, Norman of Torn crept boldly across the improvised bridge, and\ndisappeared within the window beyond. One by one the band of cut-throats", "And then Norman of Torn took the man by the neck with one powerful hand\nand, despite his struggles, and the beating of his mailed fists, bent", "Norman of Torn smiled as he did her bidding, and when he smiled thus, as\nhe rarely did, he was good to look upon.", "Norman of Torn looked up in unfeigned surprise, and then there came back\nto him the scene in the Queen's apartment the night before. It was all a", "Norman of Torn sprang to the door, and, reckless of his unarmored\ncondition, leaped to Sir Mortimer's back and spurred swiftly in the\ndirection taken by the girl and her abductor.", "\"One would think they had met the devil,\" muttered Norman of Torn,\nlooking after them in unfeigned astonishment.\n\n\"What means it, lady?\" he asked turning to the damsel, who had made no\nmove to escape.", "\"I know the castle well,\" answered Norman of Torn, and the shadow of\na grim smile played about his lips, for scarce sixty days had elapsed", "When Norman of Torn regained his senses, he found himself in a small\ntower room in a strange castle. His head ached horribly, and he felt", "Presently he saw his opportunity. Norman of Torn stood beside the body\nof one of his earlier antagonists. Slowly the old man worked around", "As Norman of Torn drew rein beside them, he saw that the leader of the\nparty was a very handsome man of about his own age, and evidently a\nperson of distinction; a profitable prize, thought the outlaw.", "As Norman of Torn approached his grim castle home with his five filthy,\nragged cut-throats on the day of his first meeting with them, the old", "At the same instant, a scream rang out behind Norman of Torn, and,\nturning, he faced a brightly lighted room in which sat Eleanor, Queen", "Following a moment or two after Shandy came another figure stealthily\nacross the ladder and, as Norman of Torn and his followers left the\nlittle room, this figure pushed quietly through the window and followed\nthe great outlaw down the unlighted corridor.", "Norman the Devil, with his filthy pack of cut-throats, besieged us for\nten days, and then took the castle by storm and sacked it. Life is no" ], [ "the open by the outlaws, that filled the coffers of Norman of Torn with\nmany pieces of gold and silver, and placed a price upon his head ere he\nhad scarce turned eighteen.", "As Norman of Torn drew rein beside them, he saw that the leader of the\nparty was a very handsome man of about his own age, and evidently a\nperson of distinction; a profitable prize, thought the outlaw.", "By the time he was twenty, Norman the Devil, as the King himself had\ndubbed him, was known by reputation throughout all England, though no", "Although at this time nearly twenty years had passed over the head of\nNorman of Torn, he was without knowledge or experience in the ways of", "Some hours later, fifty men followed Norman of Torn on foot through the\nravine below the castle where John de Fulm, Earl of Buckingham, had his\nheadquarters; while nearly a thousand more lurked in the woods before\nthe grim pile.", "\"Norman of Torn, they call me,\" replied the outlaw.\n\n\"Indeed!\" cried Philip. \"The great and bloody outlaw?\" Upon his handsome\nface there was no look of fear or repugnance.", "The encounter was short, for Norman of Torn had come to kill, and he had\nbeen looking through a haze of blood for hours--in fact every time he", "A few days after, in the summer of 1263, Norman of Torn rode at the head\nof his army of outlaws through the county of Essex, down toward London", "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "indeed have a chance to vanquish the Outlaw of Torn. But they did not\nknow that Norman of Torn was but playing with his victim, that he might", "\"Nay, it was a man upon whose head Your Majesty has placed a price,\nNorman of Torn; and if all of your English highwaymen be as courteous", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "And so was born that Norman of Torn, whose name in a few short years\nwas to strike terror to the hearts of Englishmen, and whose power in the\nvicinity of Torn was greater than that of the King or the barons.", "believed.\" And with his words, the young man flung himself upon Norman\nof Torn with drawn sword.", "It was a beautiful spring day in May, 1262, that Norman of Torn rode\nalone down the narrow trail that led to the pretty cottage with which he\nhad replaced the hut of his old friend, Father Claude.", "Norman of Torn made no reply, his thoughts were in wild confusion, and\nit was with difficulty that he hid the fierce anxiety of his heart or\nhis rage against the perpetrators of this dastardly act which tore his\nwhole being.", "upon Norman of Torn. There was a flash of the great sword as the outlaw\nswung it to the full of his mighty strength through an arc that passed", "For answer Norman of Torn pointed to the forehead of the dead Earl of\nBuckingham, and there Roger Leybourn saw, in letters of blood, NT.\n\nThe Baron advanced with outstretched hand.", "Presently he saw his opportunity. Norman of Torn stood beside the body\nof one of his earlier antagonists. Slowly the old man worked around", "\"The price has been there since I was eighteen,\" answered Norman of\nTorn, \"and yet my head be where it has always been. Can you blame me" ], [ "\"I know the castle well,\" answered Norman of Torn, and the shadow of\na grim smile played about his lips, for scarce sixty days had elapsed", "Two days before the start of the march, Spizo, the Spaniard, reported\nto the old man of Torn that he had overheard Father Claude ask Norman of", "Norman of Torn made no reply, his thoughts were in wild confusion, and\nit was with difficulty that he hid the fierce anxiety of his heart or\nhis rage against the perpetrators of this dastardly act which tore his\nwhole being.", "The encounter was short, for Norman of Torn had come to kill, and he had\nbeen looking through a haze of blood for hours--in fact every time he", "It was a beautiful spring day in May, 1262, that Norman of Torn rode\nalone down the narrow trail that led to the pretty cottage with which he\nhad replaced the hut of his old friend, Father Claude.", "When Norman of Torn questioned him, he learned that De Fulm had ridden\nout early in the day bound for Dover, where Prince Edward then was. The", "Norman of Torn looked up in unfeigned surprise, and then there came back\nto him the scene in the Queen's apartment the night before. It was all a", "indeed have a chance to vanquish the Outlaw of Torn. But they did not\nknow that Norman of Torn was but playing with his victim, that he might", "So Norman of Torn lifted her in his strong arms, and stumbled on\nthrough the darkness and the shrubbery down the center of the ravine. It", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "Until the following Spring, Norman of Torn continued to occupy himself\nwith occasional pillages against the royalists of the surrounding\ncounties, and his patrols so covered the public highways that it became", "hour before the arrival of Norman of Torn, awaiting an opportunity to\nenter unobserved by the servants. It was he who had followed across the\nladder after Shandy.", "Norman the Devil, with his filthy pack of cut-throats, besieged us for\nten days, and then took the castle by storm and sacked it. Life is no", "As they were going into camp that night in Kent, midway between London\nand Rochester, word came to Norman of Torn that the Earl of Buckingham,", "When Norman of Torn regained his senses, he found himself in a small\ntower room in a strange castle. His head ached horribly, and he felt", "Norman of Torn sprang to the door, and, reckless of his unarmored\ncondition, leaped to Sir Mortimer's back and spurred swiftly in the\ndirection taken by the girl and her abductor.", "Presently he saw his opportunity. Norman of Torn stood beside the body\nof one of his earlier antagonists. Slowly the old man worked around", "Norman of Torn did not return to the castle of Leicester \"in a few\ndays,\" nor for many months. For news came to him that Bertrade de\nMontfort had been posted off to France in charge of her mother.", "Some hours later, fifty men followed Norman of Torn on foot through the\nravine below the castle where John de Fulm, Earl of Buckingham, had his\nheadquarters; while nearly a thousand more lurked in the woods before\nthe grim pile." ], [ "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "Norman of Torn; that thou be a French gentleman whose father purchased\nTorn and brought thee hither from France on the death of thy mother,\nwhen thou wert six years old.", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "Norman of Torn made no reply, his thoughts were in wild confusion, and\nit was with difficulty that he hid the fierce anxiety of his heart or\nhis rage against the perpetrators of this dastardly act which tore his\nwhole being.", "So, as Norman of Torn rode down from his mighty castle to visit Father\nClaude, the sunlight playing on his clanking armor and glancing from", "\"I do not know, Father,\" replied Norman of Torn, \"unless it be that I\nam asking myself the question, 'What it is all for?' Why did my father", "\"The good Father Claude does not know Norman of Torn if he thinks he\nruns out the back door like an old woman because a sword looks in at the\nfront door.\"\n\nThen rising he addressed the ruffians.", "For answer Norman of Torn pointed to the forehead of the dead Earl of\nBuckingham, and there Roger Leybourn saw, in letters of blood, NT.\n\nThe Baron advanced with outstretched hand.", "a promise from my father to take thee in the morning and hang thee. What\nshall we do, Norman? Where shall we meet again?\"", "Norman of Torn looked up in unfeigned surprise, and then there came back\nto him the scene in the Queen's apartment the night before. It was all a", "The encounter was short, for Norman of Torn had come to kill, and he had\nbeen looking through a haze of blood for hours--in fact every time he", "\"I am not the Prince,\" said Norman of Torn. \"It is said that Edward is\nin France.\"", "tonight with Norman of Torn, and by the third day, Father Claude shall\nmake us one.\"", "\"Norman of Torn, they call me,\" replied the outlaw.\n\n\"Indeed!\" cried Philip. \"The great and bloody outlaw?\" Upon his handsome\nface there was no look of fear or repugnance.", "\"It shall be by the third day, or not at all,\" replied Father Claude,\nand Norman of Torn, rising to leave, wondered at the moving leaves of\nthe lilac bush without the window, for there was no breeze.", "As Norman of Torn rode out from the castle of De Stutevill, Father\nClaude dismounted from his sleek donkey within the ballium of Torn. The", "Norman of Torn smiled as he did her bidding, and when he smiled thus, as\nhe rarely did, he was good to look upon.", "\"Thou be no son of mine, Norman of Torn,\" retorted the old man. \"Thy\ndays of usefulness to me be past. Tonight thou serve me best swinging", "\"Priest,\" cried the old man, coming immediately to the point, \"Norman\nof Torn tells me that thou wish him and me and Leicester to meet here. I", "\"Be ye Norman of Torn?\" he asked. And, did he try to conceal the hatred\nand loathing which he felt, he was poorly successful." ], [ "\"You may call me Roger,\" he answered. \"Roger de Conde.\"", "He called himself Roger de Conde, but I know nothing of him other than\nthat he looks like a prince, and fights like a devil. I think he has no", "And so, as Joan de Tany was a spoiled child, they set out upon the road\nto London; the two girls with a dozen servants and knights; and Roger de\nConde was of the party.", "\"I be Roger de Conde, gentleman of France, and these be my sisters and\nservants,\" lied the outlaw, \"and were it not that the ladies be with me,", "\"I shall always welcome you, wherever I may be, Roger de Conde,\" replied\nthe girl.\n\n\"Remember that promise,\" he said smiling. \"Some day you may be glad to\nrepudiate it.\"", "\"I be no prince, My Lord,\" he said, \"though some have said that I favor\nthe King's son. I be Roger de Conde, whom it may have pleased your", "\"Take this, Roger de Conde,\" she whispered, dropping a tiny parcel to\nhim, \"and wear it ever, for my sake. We may never meet again, for the", "As Joan de Tany turned again to the encounter before her, she saw fully\ntwenty men surrounding Roger de Conde, and while he was taking heavy", "There was something familiar in the great bulk of Red Shandy; where had\nshe seen that mighty frame before? And now she looked closely at the\nfigure of Roger de Conde. Yes, somewhere else had she seen these two men\ntogether; but where and when?", "He did not answer at once and her heart rose in her breast as it filled\nwith the hope that her brave rescuer might be the same Roger de Conde", "And then the strangeness of another incident came to her mind. Roger de\nConde spoke no English, and yet she had plainly heard English words upon\nthis man's lips as he addressed the red giant.", "Joan de Tany looked in silent wonder upon this grim force that sprang\nout of the shadows of the night to do the bidding of Roger de Conde, a\ngentleman of France.", "Norman of Torn, though it tore the heart from him, did as she bid, and\nthere before her she saw the brave strong face of Roger de Conde.", "\"Take the Lady Mary, John,\" cried Joan, \"I brought Roger de Conde to\nthis pass against the advice of all and I remain with him to the end.\"\n\n\"But, My Lady--\" cried John.", "That afternoon, as Roger de Conde was admitted to the castle of Richard\nde Tany and escorted to a little room where he awaited the coming of", "\"And which would it please ye most that I be?\" he laughed.\n\n\"Neither,\" she answered, \"I be satisfied with my friend, Roger de\nConde.\"", "\"Ah,\" said De Montfort, rising to greet the young knight cordially, \"an\nyou be that Roger de Conde who rescued my daughter from the fellows of", "\"Thrice within the year have I received missives from her,\" replied\nMary. \"In the first two she spoke only of Roger de Conde, wondering why", "Bertrade de Montfort did not know how to answer so ridiculous a\nsophistry; and, truth to tell, she was more than pleased to hear from\nthe lips of Roger de Conde what bored her on the tongues of other men.", "\"Raise your visor, Roger de Conde,\" she commanded. \"I do not take\npleasure in riding with a suit of armor; I would see that there is a man\nwithin.\"" ], [ "Henry knelt and peered into the dying face.\n\n\"De Vac!\" he exclaimed.\n\nThe old man nodded. Then he pointed to where lay Norman of Torn.", "He stopped from very weakness, and then in another moment, with a final\neffort: \"De--Vac's--revenge. God--damn--the--English,\" and slipped\nforward upon the rushes, dead.", "Had a French king struck him, De Vac would have struck back, and gloried\nin the fate which permitted him to die for the honor of France; but an", "In a moment, De Vac had disarmed him, but, contrary to the laws of\nchivalry, he did not lower his point until it had first plunged through", "De Vac he knew to be too jealous of his fame as a swordsman to permit\nhimself to be overcome by aught but superior skill, and this day Henry\nfelt that he could best the devil himself.", "\"To the death,\" cried the little gray man, \"a mort, mon fils.\" Scarcely\nhad the words left his lips ere, as though it had but waited permission,", "as he now is, he murders his victims. I will throw myself before them\nwhile you hasten through the rear doorway to your horse, and make good\nyour escape.\" He spoke in French, and held his hands in the attitude of", "He could not win in fair fight against Norman of Torn; that the wily\nFrenchman saw; but now that death was so close upon him that he felt its", "There was no sound, barely a struggle of the convulsively stiffening old\nmuscles, and then, with a push from De Vac, the body lunged forward into", "De Vac could teach the art, and he had been as conscientious in the\ndischarge of his duties as he had been in his unswerving hatred and\ncontempt for his pupils.", "As De Vac drew his sword from the heart of the Lady Maud, he winced,\nfor, merciless though he was, he had shrunk from this cruel task. Too", "There were no words, there was no need of words; De Vac's intentions\nwere too plain to necessitate any parley, so the two fell upon each", "stand face to face with the real De Montfort; and then, seeing in De\nVac only the creature of his imagination with which he had vested the", "De Vac clapped his hand over the child's mouth to still his cries,\nbut it was too late. The Lady Maud and her lover had heard and, in an", "De Montfort turned toward the little gray man.\n\n\"He lies,\" shouted he. \"Her kisses be yet wet upon his lips.\"", "Richard, recognizing the voice of his favorite uncle, struggled to free\nhimself, but De Vac's ruthless hand crushed out the weak efforts of the", "De Vac had grown old in the service of the kings of England, but he\nhated all things English and all Englishmen. The dead King John, though", "So he let De Vac assume to his mind's eye the person of the hated De\nMontfort, and it followed that De Vac was nearly surprised into an early\nand mortifying defeat by the King's sudden and clever attack.", "the pseudo De Montfort through the heart, to the wild acclaim of his\naudience. For this fell purpose he had backed the astounded De Vac twice", "He looked upon the garden and the playing child, and upon the lovely\nyoung woman beneath him, but with eyes which did not see, for De Vac was\nworking out a great problem, the greatest of all his life." ], [ "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "Although at this time nearly twenty years had passed over the head of\nNorman of Torn, he was without knowledge or experience in the ways of", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "Norman the Devil, with his filthy pack of cut-throats, besieged us for\nten days, and then took the castle by storm and sacked it. Life is no", "The encounter was short, for Norman of Torn had come to kill, and he had\nbeen looking through a haze of blood for hours--in fact every time he", "By the time he was twenty, Norman the Devil, as the King himself had\ndubbed him, was known by reputation throughout all England, though no", "As Norman of Torn rode back to his grim castle in the hills of Derby, he\nhad much food for thought upon the way. Never till now had he realized", "Norman of Torn smiled as he did her bidding, and when he smiled thus, as\nhe rarely did, he was good to look upon.", "Slowly but surely was Norman of Torn cutting Peter of Colfax to pieces;\nlittle by little, and with such fiendish care that, except for loss", "Norman of Torn; that thou be a French gentleman whose father purchased\nTorn and brought thee hither from France on the death of thy mother,\nwhen thou wert six years old.", "It was a beautiful spring day in May, 1262, that Norman of Torn rode\nalone down the narrow trail that led to the pretty cottage with which he\nhad replaced the hut of his old friend, Father Claude.", "At the same instant, a scream rang out behind Norman of Torn, and,\nturning, he faced a brightly lighted room in which sat Eleanor, Queen", "Norman of Torn made no reply, his thoughts were in wild confusion, and\nit was with difficulty that he hid the fierce anxiety of his heart or\nhis rage against the perpetrators of this dastardly act which tore his\nwhole being.", "Presently he saw his opportunity. Norman of Torn stood beside the body\nof one of his earlier antagonists. Slowly the old man worked around", "As Norman of Torn approached his grim castle home with his five filthy,\nragged cut-throats on the day of his first meeting with them, the old", "So Norman of Torn lifted her in his strong arms, and stumbled on\nthrough the darkness and the shrubbery down the center of the ravine. It", "\"I am no king's man,\" replied the boy quietly, \"I am Norman of Torn, who\nhas neither a king nor a god, and who says 'by your leave' to no man.", "So, as Norman of Torn rode down from his mighty castle to visit Father\nClaude, the sunlight playing on his clanking armor and glancing from", "Norman of Torn was slow to realize that a woman might look upon him with\nlove. Nor had he a thought of any other sentiment toward her than that\nof friend and protector." ], [ "De Vac had been born in Paris, the son of a French officer reputed the\nbest swordsman in France. The son had followed closely in the footsteps", "Had a French king struck him, De Vac would have struck back, and gloried\nin the fate which permitted him to die for the honor of France; but an", "Henry knelt and peered into the dying face.\n\n\"De Vac!\" he exclaimed.\n\nThe old man nodded. Then he pointed to where lay Norman of Torn.", "He stopped from very weakness, and then in another moment, with a final\neffort: \"De--Vac's--revenge. God--damn--the--English,\" and slipped\nforward upon the rushes, dead.", "De Vac he knew to be too jealous of his fame as a swordsman to permit\nhimself to be overcome by aught but superior skill, and this day Henry\nfelt that he could best the devil himself.", "There were no words, there was no need of words; De Vac's intentions\nwere too plain to necessitate any parley, so the two fell upon each", "as he now is, he murders his victims. I will throw myself before them\nwhile you hasten through the rear doorway to your horse, and make good\nyour escape.\" He spoke in French, and held his hands in the attitude of", "De Vac could teach the art, and he had been as conscientious in the\ndischarge of his duties as he had been in his unswerving hatred and\ncontempt for his pupils.", "\"Your Highness,\" said De Vac, bowing to the little fellow, \"let old\nDeVac help you catch the pretty insect.\"", "\"Who are you,\" said the gentleman, in French, \"that stops a prince of\nFrance upon the highroad as though he were an escaped criminal? Are you\nof the King's forces, or De Montfort's?\"", "When they reached the wall, De Vac and the Prince were upon the outside,\nand the Frenchman had closed and was endeavoring to lock the gate.", "De Vac clapped his hand over the child's mouth to still his cries,\nbut it was too late. The Lady Maud and her lover had heard and, in an", "\"I am from Normandy,\" he went on quietly. \"A gentleman of France.\"\n\n\"But your name?\" she said peremptorily. \"Are you ashamed of your name?\"", "the pseudo De Montfort through the heart, to the wild acclaim of his\naudience. For this fell purpose he had backed the astounded De Vac twice", "\"Come,\" said the Frenchman, \"I have it. Deposit the money with Isaac the\nJew--thou knowest him?--and he shall hold it together with the deed", "strange and amusing gesticulations. The child was fascinated. Here was\nthe first amusement of his little starved life. He listened intently to\nthe conversation, which was in French.", "had light from three sides. In charge of it was the lean, grizzled,\nleather-skinned Sir Jules de Vac, and it was he whom Henry commanded to", "John of England is not of this story. All the bearing that the life of\nJules de Vac has upon the history of England hinges upon but two of his", "In a moment, De Vac had disarmed him, but, contrary to the laws of\nchivalry, he did not lower his point until it had first plunged through", "He looked upon the garden and the playing child, and upon the lovely\nyoung woman beneath him, but with eyes which did not see, for De Vac was\nworking out a great problem, the greatest of all his life." ], [ "By the time he was twenty, Norman the Devil, as the King himself had\ndubbed him, was known by reputation throughout all England, though no", "A few days after, in the summer of 1263, Norman of Torn rode at the head\nof his army of outlaws through the county of Essex, down toward London", "As Norman of Torn drew rein beside them, he saw that the leader of the\nparty was a very handsome man of about his own age, and evidently a\nperson of distinction; a profitable prize, thought the outlaw.", "\"Norman of Torn dares ride where he will in all England,\" boasted the\nred giant. \"Will you see him in peace, My Lord?\"", "\"What suppose thou would result were Norman of Torn to turn his great\nband of cut-throats, leaderless, upon England? Hast thought on't,\nFather?", "And so was born that Norman of Torn, whose name in a few short years\nwas to strike terror to the hearts of Englishmen, and whose power in the\nvicinity of Torn was greater than that of the King or the barons.", "Some hours later, fifty men followed Norman of Torn on foot through the\nravine below the castle where John de Fulm, Earl of Buckingham, had his\nheadquarters; while nearly a thousand more lurked in the woods before\nthe grim pile.", "the open by the outlaws, that filled the coffers of Norman of Torn with\nmany pieces of gold and silver, and placed a price upon his head ere he\nhad scarce turned eighteen.", "\"To follow Norman of Torn where he may lead, to protect the poor and the\nweak, to lay down your lives in defence of woman, and to prey upon rich\nEnglishmen and harass the King of England.\"", "\"Nay, it was a man upon whose head Your Majesty has placed a price,\nNorman of Torn; and if all of your English highwaymen be as courteous", "So saying, Norman of Torn crept boldly across the improvised bridge, and\ndisappeared within the window beyond. One by one the band of cut-throats", "As Norman of Torn approached his grim castle home with his five filthy,\nragged cut-throats on the day of his first meeting with them, the old", "upon Norman of Torn. There was a flash of the great sword as the outlaw\nswung it to the full of his mighty strength through an arc that passed", "\"Norman of Torn, they call me,\" replied the outlaw.\n\n\"Indeed!\" cried Philip. \"The great and bloody outlaw?\" Upon his handsome\nface there was no look of fear or repugnance.", "\"Norman of Torn,\" he said, \"so long as thou remain in England, pitting\nthy great host against the Plantagenet King and the nobles and barons of", "\"It be Norman of Torn and his fighting men,\" replied the outlaw.\n\nThe faces of the knights blanched, for they were ten against a thousand,\nand there were two women with them.", "Although at this time nearly twenty years had passed over the head of\nNorman of Torn, he was without knowledge or experience in the ways of", "Norman the Devil, with his filthy pack of cut-throats, besieged us for\nten days, and then took the castle by storm and sacked it. Life is no", "his enemies to incite the people against him. Never had Norman of Torn\nlaid violent hand upon a woman, and his cut-throat band were under oath\nto respect and protect the sex, on penalty of death.", "shoulder with the outlawed scion of a noble house. The only requisites\nfor admission to the troop were willingness and ability to fight, and an\noath to obey the laws made by Norman of Torn." ], [ "\"Bertrade!\" he whispered.\n\nThe girl came and knelt beside him, opposite the Queen.\n\n\"Bertrade, tell me thou art real; that thou at least be no dream.\"", "\"Ah, Bertrade, my Bertrade,\" he cried, \"what is this thing that I have\ndone! Forgive me, and let the greatness and the purity of my love for\nyou plead in extenuation of my act.\"", "\"I love him, My Lord King.\"\n\n\"Thou lov'st him, Bertrade?\" asked Philip of France in a low tone,\npressing nearer to the girl.", "none but Bertrade de Montfort.\" And he who had been the Outlaw of Torn\ntook the fair young girl in his arms, adding: \"If she still loves me,\nnow that I be a prince?\"", "\"I do not love him,\" she said, \"and I be glad that you do not, for\nI know that Bertrade does, and that but a short year since, he swore", "\"Farewell, Bertrade.\" Kneeling he raised the hem of her garment to his\nlips.", "\"As for why I fought as I did today,\" he continued, \"it be because the\nheart of Lady Bertrade, your daughter, be upon your side. Had it been", "And these two fought out their battle in the girl's breast. In those few\nbrief moments of bewilderment and indecision, it seemed to Bertrade de", "But the unhappy affair had taught him one thing for certain: to know\nwithout question what love was, and that the memory of Bertrade de", "His stay at the castle of Stutevill was drawn out to three days, and\nthen, on the third day, as he sat with Bertrade de Montfort in an", "\"It is because I love you, Bertrade, that I have come this night. God\nknows that it be no pleasant thing to see the loathing in your very", "The King knelt beside the still form, across the breast of which lay the\nunconscious body of Bertrade de Montfort. Gently, he lifted her to the", "\"My Lady Bertrade and her mother think you be less devil than saint,\"\nsaid the Prince. \"They have told me of how you saved the daughter of De", "\"My Lady Bertrade,\" he said at last, \"I have come to fulfill a promise.\"", "an old man and versed in reading true between the lines, and so I know\nthat thou lovest Bertrade de Montfort. Nay, do not deny it. And now,", "If Bertrade de Montfort loved this handsome French prince, then Norman\nof Torn was his friend; for his love was a great love, above jealousy.", "\"Keep the ring, Norman of Torn,\" she said. \"The friendship of Bertrade\nde Montfort is not lightly given nor lightly taken away,\" she hesitated,\n\"nor is her love.\"", "\"That she loves him be enough for me to know, my gentlemen,\" he said.\n\"Who takes the man Bertrade de Montfort loves must take Philip of France\nas well.\"", "Bertrade de Montfort had regained consciousness almost before Philip of\nFrance had raised her from the floor, and she stood now, leaning on\nhis arm, watching with wide, questioning eyes the strange scene being\nenacted at her feet.", "\"This Peter of Colfax shall be looked to,\" growled Norman of Torn. \"And,\nas you have refused his heart and hand, his head shall be yours for the\nasking. You have but to command, Bertrade de Montfort.\"" ], [ "When the little boy was about six years of age, a strange man came to\ntheir attic home to visit the little old woman. It was in the dusk of", "On the evening of the day preceding that set for the march south,\na little, wiry figure, grim and gray, entered the cottage of Father", "It was a beautiful spring day in May, 1262, that Norman of Torn rode\nalone down the narrow trail that led to the pretty cottage with which he\nhad replaced the hut of his old friend, Father Claude.", "And then she told him the strange story of the little lost prince of\nEngland.\n\nWhen she had finished, he knelt at her feet, taking her hand in his and\nraising it to his lips.", "Here is a story that has lain dormant for seven hundred years. At first\nit was suppressed by one of the Plantagenet kings of England. Later it", "Way back in the uttermost recesses of his little, childish head, he\nseemed to remember a time when his life and surroundings had been very", "\"In a grim old castle in Essex, only last night, a great lord of England\nheld by force the beautiful daughter of a noble house and, when she", "So it was that they set out that night upon their long journey north\ntoward the hills of Derby. For many days they travelled, riding upon", "The little old woman thought for a moment and at last conceded that\nit seemed quite a fair way to arrange the matter. And thus it was\naccomplished.\n\nSeveral days later, the little old woman called the child to her.", "For three years following the disappearance of Prince Richard, a bent\nold woman lived in the heart of London within a stone's throw of the", "In the melee, none had noticed the girl, but presently one of her\nassailants, a little, grim, gray man, discovered that she had put spurs", "There were no words, for there was no need of words here. The two men\nwere upon each other, and fighting to the death, before the girl had", "The girl was about nineteen, full of the vigor and gaiety of youth and\nhealth; and so the two rode on their journey talking and laughing as\nthey might have been friends of long standing.", "On the way back, they found the man who had been disarmed bending over\nhis wounded comrade. They were brothers, named Flory, and one would not", "On one occasion, he chanced upon a hut at the outskirts of a small\nhamlet not far from Torn and, with the curiosity of boyhood, determined", "Once, as they lay in hiding in a dense wood beside a little open glade\nacross which the road wound, the boy saw two knights enter the glade", "Often on these evenings, the company was entertained by stories from the\nwild, roving lives of its own members. Tales of adventure, love, war", "And then Chance carried a little leather ball beneath the window where\nthe old man stood; and as the child ran, laughing, to recover it, De", "\"We start tonight upon a long journey to our new home. Thy face shall\nbe wrapped in many rags, for thou hast a most grievous toothache. Dost\nunderstand?\"", "\"It is naught, my son. But English curs setting upon English swine. Some\nday thou shalt set upon both--they be only fit for killing.\"" ], [ "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "Norman of Torn; that thou be a French gentleman whose father purchased\nTorn and brought thee hither from France on the death of thy mother,\nwhen thou wert six years old.", "Although at this time nearly twenty years had passed over the head of\nNorman of Torn, he was without knowledge or experience in the ways of", "Norman of Torn smiled as he did her bidding, and when he smiled thus, as\nhe rarely did, he was good to look upon.", "And so was born that Norman of Torn, whose name in a few short years\nwas to strike terror to the hearts of Englishmen, and whose power in the\nvicinity of Torn was greater than that of the King or the barons.", "Norman of Torn made no reply, his thoughts were in wild confusion, and\nit was with difficulty that he hid the fierce anxiety of his heart or\nhis rage against the perpetrators of this dastardly act which tore his\nwhole being.", "As Norman of Torn rode back to his grim castle in the hills of Derby, he\nhad much food for thought upon the way. Never till now had he realized", "Norman of Torn looked up in unfeigned surprise, and then there came back\nto him the scene in the Queen's apartment the night before. It was all a", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "Norman of Torn was slow to realize that a woman might look upon him with\nlove. Nor had he a thought of any other sentiment toward her than that\nof friend and protector.", "Norman of Torn had recovered his helmet from one of his men who had\npicked it up at the crossroads, and now he rode in silence with lowered\nvisor, as was his custom.", "Thus began a friendship which lasted during the lifetime of the good\npriest. Whenever he could do so, Norman of Torn visited his friend,", "So Norman of Torn lifted her in his strong arms, and stumbled on\nthrough the darkness and the shrubbery down the center of the ravine. It", "It was a beautiful spring day in May, 1262, that Norman of Torn rode\nalone down the narrow trail that led to the pretty cottage with which he\nhad replaced the hut of his old friend, Father Claude.", "The encounter was short, for Norman of Torn had come to kill, and he had\nbeen looking through a haze of blood for hours--in fact every time he", "\"I know the castle well,\" answered Norman of Torn, and the shadow of\na grim smile played about his lips, for scarce sixty days had elapsed", "indeed have a chance to vanquish the Outlaw of Torn. But they did not\nknow that Norman of Torn was but playing with his victim, that he might", "Slowly, the lids of Norman of Torn lifted with returning consciousness.\nBefore him, on her knees in the blood spattered rushes of the floor,", "That Norman of Torn was an outlaw she might have forgiven, but that he\nwas, according to report, a low fellow of no birth placed an impassable\nbarrier between them." ], [ "the House of Simon de Montfort, and that should you need my arms, they\nare at your service, a thousand strong. Goodbye.\" But as he turned to", "Both De Montfort and the King ceased fighting as they gazed upon this\nbody of fresh, well armored, well mounted reinforcements. Whom might", "the ravages of war throughout the Welsh border provinces, convinces me\nthat he be, by this time, well equipped to resist De Montfort and his\nassociates.\"", "With these formalities was born the Clan Torn, which grew in a few years\nto number a thousand men, and which defied a king's army and helped to\nmake Simon de Montfort virtual ruler of England.", "\"How comes it, Norman of Torn,\" asked De Montfort as they rode together\ntoward Lewes, \"that you threw the weight of your sword upon the side of\nthe barons? Be it because you hate the King more?\"", "\"You have fought well this day, Norman of Torn,\" replied De Montfort.\n\"Verily do I believe we owe our victory to you alone; so do not mar the\nrecord of a noble deed by wanton acts of atrocity.\"", "\"For De Montfort! For De Montfort!\" and \"Down with Henry!\" rang loud and\nclear above the din of battle.", "As they argued, Simon de Montfort and the King had spoken together, and,\nat a word from the former, the soldiers rushed suddenly to the attack", "The great red giant soon returned to say that it was Henry de Montfort,\noldest son of the Earl of Leicester, who had come under a flag of truce\nand would have speech with the master of Torn.", "Henry de Montfort, son of Simon, rode fast and furious at the head of a\ndozen of his father's knights on the road to Stutevill.", "He was John de Fulm, Earl of Buckingham, a foreigner by birth and for\nyears one of the King's favorites; the bitterest enemy of De Montfort\nand the barons.", "\"Not so,\" cried the oldest of the knights. \"Simon de Montfort works for\nEngland's weal alone--and methinks, nay knowest, that he would be first", "who once joined in the councils of De Montfort, and then betrayed his\nfriends to curry favor with the King.\"", "The wily Simon de Montfort had attempted a little ruse which centered\nthe fighting for a time upon the crest of one of the hills. He had", "\"Fear not,\" replied Simon de Montfort, \"the Devil of Torn hath no\nquarrel with me.\" Striding up the little path, he knocked loudly on the", "A word to De Clare, or De Montfort would bring the barons and their\nretainers forty thousand strong to overwhelm the King's forces.", "Simon de Montfort, in Leicester. Provided,\" he added, \"that you will\nwelcome me there.\"", "While Norman of Torn and his thousand fighting men marched slowly south\non the road toward Dover, the army of Simon de Montfort was preparing", "on the side of the royalists early in the day, but by thus eliminating\nhis division after defeating a part of De Montfort's army, it was as\nthough neither of these two forces had been engaged.", "The left wing of the royalist army, under the King of the Romans and his\ngallant son, was not so fortunate, for they met a determined resistance\nat the hands of Henry de Montfort." ], [ "And then she told him the strange story of the little lost prince of\nEngland.\n\nWhen she had finished, he knelt at her feet, taking her hand in his and\nraising it to his lips.", "When the little boy was about six years of age, a strange man came to\ntheir attic home to visit the little old woman. It was in the dusk of", "For three years following the disappearance of Prince Richard, a bent\nold woman lived in the heart of London within a stone's throw of the", "It was a beautiful spring day in May, 1262, that Norman of Torn rode\nalone down the narrow trail that led to the pretty cottage with which he\nhad replaced the hut of his old friend, Father Claude.", "So it was that they set out that night upon their long journey north\ntoward the hills of Derby. For many days they travelled, riding upon", "On the evening of the day preceding that set for the march south,\na little, wiry figure, grim and gray, entered the cottage of Father", "\"In a grim old castle in Essex, only last night, a great lord of England\nheld by force the beautiful daughter of a noble house and, when she", "On one occasion, he chanced upon a hut at the outskirts of a small\nhamlet not far from Torn and, with the curiosity of boyhood, determined", "Way back in the uttermost recesses of his little, childish head, he\nseemed to remember a time when his life and surroundings had been very", "The apartment which they now entered extended across the entire east end\nof the building, and had windows upon three sides. These were heavily\ncurtained. The apartment was lighted by a small cresset hanging from a\nrafter near the center of the room.", "Here they took up their abode. But the bent, old woman was no longer an\nold woman--she had become a straight, wiry, active old man.", "Once, as they lay in hiding in a dense wood beside a little open glade\nacross which the road wound, the boy saw two knights enter the glade", "For nearly a month, the old man haunted the palace, and watched in the\ngardens for the little Prince until he knew the daily routine of his\ntiny life with his nurses and governesses.", "Here is a story that has lain dormant for seven hundred years. At first\nit was suppressed by one of the Plantagenet kings of England. Later it", "\"I have just the thing for madame,\" the stranger was saying. \"It be a\nnoble and stately hall far from the beaten way. It was built in the old", "\"We start tonight upon a long journey to our new home. Thy face shall\nbe wrapped in many rags, for thou hast a most grievous toothache. Dost\nunderstand?\"", "On the way back, they found the man who had been disarmed bending over\nhis wounded comrade. They were brothers, named Flory, and one would not", "The little old woman thought for a moment and at last conceded that\nit seemed quite a fair way to arrange the matter. And thus it was\naccomplished.\n\nSeveral days later, the little old woman called the child to her.", "Again he was forced to change the direction of his march, this\ntime heading northward into Kent. It was dark before he reached his\ndestination, and saw before him the familiar outlines of the castle", "And then Chance carried a little leather ball beneath the window where\nthe old man stood; and as the child ran, laughing, to recover it, De" ], [ "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "Norman of Torn; that thou be a French gentleman whose father purchased\nTorn and brought thee hither from France on the death of thy mother,\nwhen thou wert six years old.", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "So, as Norman of Torn rode down from his mighty castle to visit Father\nClaude, the sunlight playing on his clanking armor and glancing from", "Norman of Torn made no reply, his thoughts were in wild confusion, and\nit was with difficulty that he hid the fierce anxiety of his heart or\nhis rage against the perpetrators of this dastardly act which tore his\nwhole being.", "Norman of Torn smiled as he did her bidding, and when he smiled thus, as\nhe rarely did, he was good to look upon.", "As Norman of Torn rode out from the castle of De Stutevill, Father\nClaude dismounted from his sleek donkey within the ballium of Torn. The", "On this policy of his toward the serfs and freedmen, Norman of Torn and\nthe grim, old man whom he called father had never agreed. The latter was", "\"I do not know, Father,\" replied Norman of Torn, \"unless it be that I\nam asking myself the question, 'What it is all for?' Why did my father", "\"The good Father Claude does not know Norman of Torn if he thinks he\nruns out the back door like an old woman because a sword looks in at the\nfront door.\"\n\nThen rising he addressed the ruffians.", "Norman of Torn looked up in unfeigned surprise, and then there came back\nto him the scene in the Queen's apartment the night before. It was all a", "a promise from my father to take thee in the morning and hang thee. What\nshall we do, Norman? Where shall we meet again?\"", "The encounter was short, for Norman of Torn had come to kill, and he had\nbeen looking through a haze of blood for hours--in fact every time he", "tonight with Norman of Torn, and by the third day, Father Claude shall\nmake us one.\"", "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "\"Norman of Torn, they call me,\" replied the outlaw.\n\n\"Indeed!\" cried Philip. \"The great and bloody outlaw?\" Upon his handsome\nface there was no look of fear or repugnance.", "The Queen and the outlaw had turned at the first words to see the King\nstanding behind them, and now Norman of Torn rose, half smiling, and\ngreeted his father.", "\"Priest,\" cried the old man, coming immediately to the point, \"Norman\nof Torn tells me that thou wish him and me and Leicester to meet here. I", "Although at this time nearly twenty years had passed over the head of\nNorman of Torn, he was without knowledge or experience in the ways of", "Cold and hard, he looked with no love upon the man he still called \"my\nson.\" If he held any sentiment toward Norman of Torn, it was one of" ], [ "De Vac had been born in Paris, the son of a French officer reputed the\nbest swordsman in France. The son had followed closely in the footsteps", "Had a French king struck him, De Vac would have struck back, and gloried\nin the fate which permitted him to die for the honor of France; but an", "De Vac he knew to be too jealous of his fame as a swordsman to permit\nhimself to be overcome by aught but superior skill, and this day Henry\nfelt that he could best the devil himself.", "Henry knelt and peered into the dying face.\n\n\"De Vac!\" he exclaimed.\n\nThe old man nodded. Then he pointed to where lay Norman of Torn.", "De Vac could teach the art, and he had been as conscientious in the\ndischarge of his duties as he had been in his unswerving hatred and\ncontempt for his pupils.", "There were no words, there was no need of words; De Vac's intentions\nwere too plain to necessitate any parley, so the two fell upon each", "He stopped from very weakness, and then in another moment, with a final\neffort: \"De--Vac's--revenge. God--damn--the--English,\" and slipped\nforward upon the rushes, dead.", "De Vac had grown old in the service of the kings of England, but he\nhated all things English and all Englishmen. The dead King John, though", "In a moment, De Vac had disarmed him, but, contrary to the laws of\nchivalry, he did not lower his point until it had first plunged through", "\"Your Highness,\" said De Vac, bowing to the little fellow, \"let old\nDeVac help you catch the pretty insect.\"", "When they reached the wall, De Vac and the Prince were upon the outside,\nand the Frenchman had closed and was endeavoring to lock the gate.", "and the revenge of De Vac has passed from the eyes of the world; though\nin his time it was a real and terrible thing in the hearts of the\nEnglish.", "had light from three sides. In charge of it was the lean, grizzled,\nleather-skinned Sir Jules de Vac, and it was he whom Henry commanded to", "De Vac clapped his hand over the child's mouth to still his cries,\nbut it was too late. The Lady Maud and her lover had heard and, in an", "It was two days before the absence of De Vac was noted, and then it was\nthat one of the lords in waiting to the King reminded his majesty of", "John of England is not of this story. All the bearing that the life of\nJules de Vac has upon the history of England hinges upon but two of his", "He looked upon the garden and the playing child, and upon the lovely\nyoung woman beneath him, but with eyes which did not see, for De Vac was\nworking out a great problem, the greatest of all his life.", "the pseudo De Montfort through the heart, to the wild acclaim of his\naudience. For this fell purpose he had backed the astounded De Vac twice", "So he let De Vac assume to his mind's eye the person of the hated De\nMontfort, and it followed that De Vac was nearly surprised into an early\nand mortifying defeat by the King's sudden and clever attack.", "as he now is, he murders his victims. I will throw myself before them\nwhile you hasten through the rear doorway to your horse, and make good\nyour escape.\" He spoke in French, and held his hands in the attitude of" ], [ "Norman of Torn; that thou be a French gentleman whose father purchased\nTorn and brought thee hither from France on the death of thy mother,\nwhen thou wert six years old.", "Henry knelt and peered into the dying face.\n\n\"De Vac!\" he exclaimed.\n\nThe old man nodded. Then he pointed to where lay Norman of Torn.", "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "De Vac had been born in Paris, the son of a French officer reputed the\nbest swordsman in France. The son had followed closely in the footsteps", "\"I am from Normandy,\" he went on quietly. \"A gentleman of France.\"\n\n\"But your name?\" she said peremptorily. \"Are you ashamed of your name?\"", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "Norman of Torn could scarce repress a smile at this clever ruse of the\nold priest, and, assuming a similar attitude, he replied in French:", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "\"It is Norman of Torn, come in peace, and in the service of a De\nMontfort,\" replied Shandy. \"He would enter with one companion, my Lord\nEarl.\"", "He could not win in fair fight against Norman of Torn; that the wily\nFrenchman saw; but now that death was so close upon him that he felt its", "Father Claude. It was he who taught the boy to read and write in French,\nEnglish and Latin at a time when but few of the nobles could sign their\nown names.", "He spoke in French, and she started slightly at his voice. Before,\nNorman of Torn had always spoken in English. Where had she heard that\nvoice! There were tones in it that haunted her.", "It was a beautiful spring day in May, 1262, that Norman of Torn rode\nalone down the narrow trail that led to the pretty cottage with which he\nhad replaced the hut of his old friend, Father Claude.", "Norman of Torn laughed.\n\n\"Monsieur le Prince thinks, mayhap, that he will make a bad name for\nhimself,\" he said, \"if he rides in such company?\"", "\"The good Father Claude does not know Norman of Torn if he thinks he\nruns out the back door like an old woman because a sword looks in at the\nfront door.\"\n\nThen rising he addressed the ruffians.", "As Norman of Torn rode out from the castle of De Stutevill, Father\nClaude dismounted from his sleek donkey within the ballium of Torn. The", "De Vac could teach the art, and he had been as conscientious in the\ndischarge of his duties as he had been in his unswerving hatred and\ncontempt for his pupils.", "For years, she worked assiduously with the little boy's education. There\nwere three subjects in her curriculum; French, swordsmanship and hatred\nof all things English, especially the reigning house of England.", "\"It is said that you never lie, Norman of Torn,\" spoke the girl, \"and I\nbelieve you, but tell me why you thus befriend a De Montfort.\"", "Norman the Devil, with his filthy pack of cut-throats, besieged us for\nten days, and then took the castle by storm and sacked it. Life is no" ], [ "As Norman of Torn drew rein beside them, he saw that the leader of the\nparty was a very handsome man of about his own age, and evidently a\nperson of distinction; a profitable prize, thought the outlaw.", "\"To follow Norman of Torn where he may lead, to protect the poor and the\nweak, to lay down your lives in defence of woman, and to prey upon rich\nEnglishmen and harass the King of England.\"", "As Norman of Torn approached his grim castle home with his five filthy,\nragged cut-throats on the day of his first meeting with them, the old", "Today, as they wound west across the valley, Norman of Torn rode at the\nhead of the cavalcade, which strung out behind him in a long column.", "Some hours later, fifty men followed Norman of Torn on foot through the\nravine below the castle where John de Fulm, Earl of Buckingham, had his\nheadquarters; while nearly a thousand more lurked in the woods before\nthe grim pile.", "And so was born that Norman of Torn, whose name in a few short years\nwas to strike terror to the hearts of Englishmen, and whose power in the\nvicinity of Torn was greater than that of the King or the barons.", "Norman of Torn turned to where one of his captains squatted upon the\nground beside an object covered with a cloth.\n\n\"Come, Flory,\" he said, and then, turning to the waiting Giles, \"lead\non.\"", "He led her in silence to the courtyard and across the lowered\ndrawbridge, to where they soon discovered a group of horsemen, and in\nanswer to a low challenge from Shandy, Norman of Torn replied that it\nwas he.", "So saying, Norman of Torn crept boldly across the improvised bridge, and\ndisappeared within the window beyond. One by one the band of cut-throats", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "Norman of Torn led in the laugh which followed, and of all the company\nhe most enjoyed the joke.", "Presently he saw his opportunity. Norman of Torn stood beside the body\nof one of his earlier antagonists. Slowly the old man worked around", "\"I be your master and ye be my men,\" said Norman of Torn. \"Me ye shall\nserve in fairer work than ye have selected for yourselves, but with\nfighting a-plenty and good reward.\"", "Leybourn nodded his assent, and Norman of Torn turned, with a few words\nof instructions, to one of his men.", "Norman the Devil, with his filthy pack of cut-throats, besieged us for\nten days, and then took the castle by storm and sacked it. Life is no", "When Norman of Torn had assured himself that no human power could now\nsave the doomed pile, he ordered that the march be taken up, and the", "\"'Tis passing strange,\" said Norman of Torn but that was his only\ncomment. And so they joined the column which moved slowly down toward", "A few days after, in the summer of 1263, Norman of Torn rode at the head\nof his army of outlaws through the county of Essex, down toward London", "\"It be Norman of Torn and his fighting men,\" replied the outlaw.\n\nThe faces of the knights blanched, for they were ten against a thousand,\nand there were two women with them.", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father." ], [ "Thus began a friendship which lasted during the lifetime of the good\npriest. Whenever he could do so, Norman of Torn visited his friend,", "\"Priest,\" cried the old man, coming immediately to the point, \"Norman\nof Torn tells me that thou wish him and me and Leicester to meet here. I", "\"Come back to the good priest's hut, and we shall see what he may say,\"\nreplied Norman of Torn.", "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "Norman of Torn could scarce repress a smile at this clever ruse of the\nold priest, and, assuming a similar attitude, he replied in French:", "As Norman of Torn ceased speaking, the priest sat silent for many\nminutes.", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "\"I do not know, Father,\" replied Norman of Torn, \"unless it be that I\nam asking myself the question, 'What it is all for?' Why did my father", "Entering the priest's study, Norman of Torn removed his armor and lay\nback moodily upon a bench with his back against a wall and his strong,\nlithe legs stretched out before him.", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "tonight with Norman of Torn, and by the third day, Father Claude shall\nmake us one.\"", "that has happened. These who wert thine enemies, Norman of Torn, be thy\nbest friends now--that thou should know, so that thou may rest in peace\nuntil thou be better.\"", "\"He has my friendship, always,\" said the girl, \"but I doubt me if Norman\nof Torn be the man to impose upon it.\"", "The priest was a large man with beaming, kindly eyes, and a round jovial\nface. There was no bite in the tones of his good-natured retort, and so,\nsmiling, the boy raised his visor.", "\"You must take my hand in friendship,\" she said, \"for, to my dying day,\nI must ever bless the name of Norman of Torn because of the horror from\nwhich he has rescued me.\"", "Though the name Norman of Torn be fraught with terror to others, I know\nthat you do not fear him, for you must know the loyalty and friendship\nwhich he bears you.", "\"Since you laid me low in the hut of the good priest, I have served you\nwell, Norman of Torn. You should know my loyalty by this time and that", "and, by a long subterranean passage, had reached the quarters of some\npriests without the lines of Norman of Torn. By this time, he was", "Norman of Torn smiled as he did her bidding, and when he smiled thus, as\nhe rarely did, he was good to look upon.", "Father Claude. It was he who taught the boy to read and write in French,\nEnglish and Latin at a time when but few of the nobles could sign their\nown names." ], [ "Norman of Torn had determined that he would see Bertrade de Montfort\nonce again, and clear his conscience by a frank avowal of his identity.", "\"There is no other woman, Bertrade,\" said Norman of Torn. \"I have\nno wife; nor within the limits of my memory have my lips ever before\ntouched the lips of another, for I do not remember my mother.\"", "\"It be the cruel truth, My Lady Bertrade,\" said Norman of Torn sadly.\nAnd, then, as she turned away from him, burying her face in her raised", "If Bertrade de Montfort loved this handsome French prince, then Norman\nof Torn was his friend; for his love was a great love, above jealousy.", "But Norman of Torn knew the word that she would have spoken had he dared\nto let her. He did not, for there was always the vision of Bertrade de", "\"My Lady Bertrade, I be Norman of Torn,\" said the visored knight with\nquiet dignity.", "understand that a prince does not wed rashly, and so let us forget what\npassed between Bertrade de Montfort and Norman of Torn.\"", "\"Keep the ring, Norman of Torn,\" she said. \"The friendship of Bertrade\nde Montfort is not lightly given nor lightly taken away,\" she hesitated,\n\"nor is her love.\"", "\"Bertrade!\" he whispered.\n\nThe girl came and knelt beside him, opposite the Queen.\n\n\"Bertrade, tell me thou art real; that thou at least be no dream.\"", "And then there came to him as in a vision another fair and beautiful\nface--Bertrade de Montfort's--and Norman of Torn was still more puzzled;", "As she spoke, Norman of Torn looked upon her critically for the first\ntime, and he saw that Joan de Tany was beautiful, and that when she", "\"What promise did Norman of Torn e'er make to Bertrade de Montfort?\" she\nasked. \"I do not understand you, my friend.\"", "\"To no other--woman, man, king, God, or devil--has Norman of Torn bent\nthe knee. If ever you need him, My Lady Bertrade, remember that his\nservices are yours for the asking.\"", "Norman of Torn turned to a flickering torch and, breaking the seals,\nread the message from the woman he loved. It was short and simple.\n\nTo Norman of Torn, from his friend always, Bertrade de Montfort.", "Scarcely had Bertrade de Montfort left him ere Norman of Torn heard the\ntramping of many feet. They seemed approaching up the dim corridor that\nled to the little door of the apartment where he stood.", "\"This Peter of Colfax shall be looked to,\" growled Norman of Torn. \"And,\nas you have refused his heart and hand, his head shall be yours for the\nasking. You have but to command, Bertrade de Montfort.\"", "Norman of Torn made no attempt to deny the reason for his visit, but\nasked bluntly if she heard aught of Bertrade de Montfort.", "Norman of Torn looked up in unfeigned surprise, and then there came back\nto him the scene in the Queen's apartment the night before. It was all a", "\"I mean,\" she answered, \"that, Roger de Conde or Norman of Torn,\ngentleman or highwayman, it be all the same to Bertrade de Montfort--it\nbe thee I love; thee!\"", "\"Think thee what thou art saying, Bertrade?\" he cried. \"Dost forget that\nI be a low-born knave, knowing not my own mother and questioning even" ], [ "Henry knelt and peered into the dying face.\n\n\"De Vac!\" he exclaimed.\n\nThe old man nodded. Then he pointed to where lay Norman of Torn.", "He stopped from very weakness, and then in another moment, with a final\neffort: \"De--Vac's--revenge. God--damn--the--English,\" and slipped\nforward upon the rushes, dead.", "De Vac clapped his hand over the child's mouth to still his cries,\nbut it was too late. The Lady Maud and her lover had heard and, in an", "De Vac could teach the art, and he had been as conscientious in the\ndischarge of his duties as he had been in his unswerving hatred and\ncontempt for his pupils.", "There was no sound, barely a struggle of the convulsively stiffening old\nmuscles, and then, with a push from De Vac, the body lunged forward into", "In a moment, De Vac had disarmed him, but, contrary to the laws of\nchivalry, he did not lower his point until it had first plunged through", "De Vac had grown old in the service of the kings of England, but he\nhated all things English and all Englishmen. The dead King John, though", "Had a French king struck him, De Vac would have struck back, and gloried\nin the fate which permitted him to die for the honor of France; but an", "As De Vac drew his sword from the heart of the Lady Maud, he winced,\nfor, merciless though he was, he had shrunk from this cruel task. Too", "as he now is, he murders his victims. I will throw myself before them\nwhile you hasten through the rear doorway to your horse, and make good\nyour escape.\" He spoke in French, and held his hands in the attitude of", "\"To the death,\" cried the little gray man, \"a mort, mon fils.\" Scarcely\nhad the words left his lips ere, as though it had but waited permission,", "De Vac he knew to be too jealous of his fame as a swordsman to permit\nhimself to be overcome by aught but superior skill, and this day Henry\nfelt that he could best the devil himself.", "There were no words, there was no need of words; De Vac's intentions\nwere too plain to necessitate any parley, so the two fell upon each", "Richard, recognizing the voice of his favorite uncle, struggled to free\nhimself, but De Vac's ruthless hand crushed out the weak efforts of the", "De Montfort turned toward the little gray man.\n\n\"He lies,\" shouted he. \"Her kisses be yet wet upon his lips.\"", "The little Prince was now so terrified that he could but tremble and\nwhimper in his fright. So fearful was he of the terrible De Vac that a", "and the revenge of De Vac has passed from the eyes of the world; though\nin his time it was a real and terrible thing in the hearts of the\nEnglish.", "the pseudo De Montfort through the heart, to the wild acclaim of his\naudience. For this fell purpose he had backed the astounded De Vac twice", "He looked upon the garden and the playing child, and upon the lovely\nyoung woman beneath him, but with eyes which did not see, for De Vac was\nworking out a great problem, the greatest of all his life.", "English King--pooh! a dog; and who would die for a dog? No, De Vac would\nfind other means of satisfying his wounded pride. He would revel in" ], [ "Norman of Torn; that thou be a French gentleman whose father purchased\nTorn and brought thee hither from France on the death of thy mother,\nwhen thou wert six years old.", "\"I be your master and ye be my men,\" said Norman of Torn. \"Me ye shall\nserve in fairer work than ye have selected for yourselves, but with\nfighting a-plenty and good reward.\"", "It was doubtless due to his unremitting labors with the youthful Norman,\nduring the period that the boy's character was most amenable to strong", "Shortly after he had reached his cottage, a loud knock sounded at the\ndoor, which immediately swung open without waiting the formality of\npermission. Father Claude looked up to see the tall figure of Norman of", "He could not win in fair fight against Norman of Torn; that the wily\nFrenchman saw; but now that death was so close upon him that he felt its", "Norman of Torn could scarce repress a smile at this clever ruse of the\nold priest, and, assuming a similar attitude, he replied in French:", "Norman of Torn smiled as he did her bidding, and when he smiled thus, as\nhe rarely did, he was good to look upon.", "indeed have a chance to vanquish the Outlaw of Torn. But they did not\nknow that Norman of Torn was but playing with his victim, that he might", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "believed.\" And with his words, the young man flung himself upon Norman\nof Torn with drawn sword.", "As Norman of Torn drew rein beside them, he saw that the leader of the\nparty was a very handsome man of about his own age, and evidently a\nperson of distinction; a profitable prize, thought the outlaw.", "\"It is Norman of Torn, come in peace, and in the service of a De\nMontfort,\" replied Shandy. \"He would enter with one companion, my Lord\nEarl.\"", "\"The good Father Claude does not know Norman of Torn if he thinks he\nruns out the back door like an old woman because a sword looks in at the\nfront door.\"\n\nThen rising he addressed the ruffians.", "So saying, Norman of Torn crept boldly across the improvised bridge, and\ndisappeared within the window beyond. One by one the band of cut-throats", "\"Here,\" he said, \"My Lord,\" and turning left them.\n\nNorman of Torn touched the panel with the mailed knuckles of his right\nhand, and a low voice from within whispered, \"Enter.\"", "Norman of Torn lowered his raised sword.\n\n\"It is I, Shandy,\" he said. \"Keep a still tongue in thy head until I\nspeak with thee apart. Wait here, My Lady Joan; these be friends.\"", "And then Norman of Torn took the man by the neck with one powerful hand\nand, despite his struggles, and the beating of his mailed fists, bent", "\"Norman of Torn, they call me,\" replied the outlaw.\n\n\"Indeed!\" cried Philip. \"The great and bloody outlaw?\" Upon his handsome\nface there was no look of fear or repugnance.", "\"I know the castle well,\" answered Norman of Torn, and the shadow of\na grim smile played about his lips, for scarce sixty days had elapsed", "\"I am from Normandy,\" he went on quietly. \"A gentleman of France.\"\n\n\"But your name?\" she said peremptorily. \"Are you ashamed of your name?\"" ], [ "Norman of Torn looked up in unfeigned surprise, and then there came back\nto him the scene in the Queen's apartment the night before. It was all a", "For answer Norman of Torn pointed to the forehead of the dead Earl of\nBuckingham, and there Roger Leybourn saw, in letters of blood, NT.\n\nThe Baron advanced with outstretched hand.", "indeed have a chance to vanquish the Outlaw of Torn. But they did not\nknow that Norman of Torn was but playing with his victim, that he might", "Henry knelt and peered into the dying face.\n\n\"De Vac!\" he exclaimed.\n\nThe old man nodded. Then he pointed to where lay Norman of Torn.", "Norman of Torn lowered his raised sword.\n\n\"It is I, Shandy,\" he said. \"Keep a still tongue in thy head until I\nspeak with thee apart. Wait here, My Lady Joan; these be friends.\"", "Norman of Torn made no reply, his thoughts were in wild confusion, and\nit was with difficulty that he hid the fierce anxiety of his heart or\nhis rage against the perpetrators of this dastardly act which tore his\nwhole being.", "\"I am not the Prince,\" said Norman of Torn. \"It is said that Edward is\nin France.\"", "\"There is nothing to fear, Joan,\" reassured Norman of Torn. \"Dead men\nwield not swords, nor do they move, or moan. The wind, I think, and rats\nare our only companions here.\"", "He could not win in fair fight against Norman of Torn; that the wily\nFrenchman saw; but now that death was so close upon him that he felt its", "Both turned to discover a mail-clad figure standing in the doorway where\nNorman of Torn had first appeared.\n\n\"Roger!\" shrieked Claudia Leybourn, and swooned.", "\"Norman of Torn, they call me,\" replied the outlaw.\n\n\"Indeed!\" cried Philip. \"The great and bloody outlaw?\" Upon his handsome\nface there was no look of fear or repugnance.", "At the same instant, a scream rang out behind Norman of Torn, and,\nturning, he faced a brightly lighted room in which sat Eleanor, Queen", "The Queen and the outlaw had turned at the first words to see the King\nstanding behind them, and now Norman of Torn rose, half smiling, and\ngreeted his father.", "Norman of Torn looked at the speaker and, beneath the visor that was now\npartly raised, he saw the features of the man whom, for twenty years, he\nhad called father.", "\"They be no lies, Simon de Montfort. An I tell thee that Roger de Conde\nand Norman of Torn be one and the same, thou wilt know that I speak no\nlie.\"\n\nDe Montfort paled.", "Toward morning, Norman of Torn fell into a quiet and natural sleep;\nthe fever and delirium had succumbed before his perfect health and\niron constitution. The chirurgeon turned to the Queen and Bertrade de\nMontfort.", "Norman of Torn laughed.\n\n\"Monsieur le Prince thinks, mayhap, that he will make a bad name for\nhimself,\" he said, \"if he rides in such company?\"", "\"They be sorry jokes, Sire,\" he said. \"Methinks it had been better had\nRichard remained lost. It will do the honor of the Plantagenets but\nlittle good to acknowledge the Outlaw of Torn as a prince of the blood.\"", "Norman of Torn back for a bare step--it was enough. The outlaw's foot\nstruck the prostrate corpse; he staggered, and for one brief instant his", "\"Sh! What was that?\" as a rustling noise broke upon their ears close\nupon their right; and then there came a distinct moan, and Joan de Tany\nfled to the refuge of Norman of Torn's arms." ] ]

[ "Who befriends Norman?", "What age is Norman considered the best swordsman in England?", "What is Norman leading at age 19?", "Who does Norman become involved with?", "What does Vic reveal as he dies?", "What does Frenchman de Vac have against his former employee?", "Who had kidnapped Norman?", "What age was Norman when there was a bounty on his head?", "When had Norman been kidnapped?", "Who is supposed to be Norman's father?", "Who does Roger de Conde become involved with?", "What does de Vac admit when he dies?", "What happens by the time Norman is 17?", "Who is the Frenchman de Vac?", "At what age is Norman the head of the largest band of thieves in England?", "Who wins the hand of Bertrade?", "When is the story set?", "How was Norman raised?", "Why does the civil war turn in favor of de Montfort?", "Where and when is the story set? ", "Who is Norman's father?", "Who was Frenchman de Vac? ", "How does Frenchman de Vac raise Norman? ", "Who does Norman become the leader of? ", "What does the priest who befriends Norman teach him? ", "Who does Bertrade think Norman resembles? ", "When de Vac is dying what does he reveal? ", "How did the fencing master obtain Norman? ", "What happens when they find out Richard/Norman is not really dead? " ]

[ [ "A priest.", "A priest" ], [ "At 17.", "17" ], [ "The biggest band of thieves in all of England.", "A large band of thieves " ], [ "Bertrade.", "Bertrade" ], [ "He reveals Norman is Richard, the long lost son of King Henry and the Queen, and the brother to Prince Edward.", "He revealed that Norman was Richard and the long lost son of King Henry and Queen Eleanor" ], [ "A grudge.", "A grudge" ], [ "The fencing master.", "De Vac" ], [ "Age 18.", "18" ], [ "When he was a child.", "As a child" ], [ "The Frenchman de Vac", "de Vac" ], [ "Bertrade de Montford", "Bertrade" ], [ "that Norman is Richard the son of King Henry and Queen Eleanor", "Norman is really Richard" ], [ "he's the best swordsman in all of England", "He is the best swordsman in England." ], [ "a fencing master who kidnapped Norman in a plot against the king", "the king's fencing master" ], [ "Eighteen", "19" ], [ "Norman/Richard", "Norman" ], [ "13th century England", "13th Century" ], [ "to be a brutal killing machine", "To be a killing machine who hates all things English" ], [ "Norman joins his side", "As Norman takes part in the Civil was" ], [ "13th Centruy England. ", "13th century" ], [ "Frenchman de Vac", "King Henry" ], [ "The King's past fencing master. ", "the king's fencing master" ], [ "To be a killing machine and to hate anything English. ", "As a brutal killing machine and a hatred for all things English" ], [ "The largest band of thieves in England. ", "A band of thieves" ], [ "His letters and chivlary towards women. ", "his letters and chivalry" ], [ "The King's son, Prince Edward. ", "Prince Edward" ], [ "That Norman really is Richad, the long lost son of the King and Queen. ", "He revealed that Norman Was Richard and the long lost son of King Henry and Queen Eleanor" ], [ "He kidnapped him to get revenge on the King. ", "He kidnapped him" ], [ "He is reconciled with his family. ", "He marries Bertrade." ] ]

[ [ "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "CARLITO\n Chevy.\n \n CHEV\n Hey boss.", "CHEV (V.O.)\n I kill people. I'm a professional hitman.\n I freelance for a major West Coast crime\n syndicate.", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "CARLITO\n I'm surprised to see you.\n \n CHEV", "CHEV\n Carlito ordered this?\n \n HOOD #1\n (ignoring it)", "friend.\n \n CHEV\n What can I say. Look, Carlito, I need", "CARLITO nods.\n \n \n \n \n (CONTINUED)", "I\n t's CHEV, fully dressed. He meets CARLITO face to face\n underwater and points up with his index finger.", "CARLITO\n C I'm sorry.\n \n UT TO CHEV and CARLITO'S legs treading water to keep their", "CHEV (CONT'D)\n What's the matter?\n \n CARLITO\n (shrugs)", "97.\n CONTINUED: (3)\n \n \n CARLITO", "CHEV\n Then you know what happened?\n \n CARLITO\n Word travels fast. You amaze me, my", "CARLITO scrambles away from the table and grabs one of his\n GOONS, using him as a shield as he makes his way behind the", "CARLITO is climbing in as CHEV clambers up and GRABS HIM FROM\n BEHIND. CARLITO spins; CHEV shoves the gun in his face.", "CONTINUED:\n \n \n CARLITO\n (shaken for once)", "CHEV\n No shit.\n \n CARLITO\n Why don't you sit down?", "CHEV nods. CARLITO places the device carefully on the table.\n \n CARLITO (CONT'D)\n (bemused)" ], [ "We see him sitting on CHEV'S bed ... CHEV is visible in the\n frame, unconscious behind VERONA. Pale nicotine sunlight", "CHEV finds himself drifting into a dream state.\n \n FLASH CUT TO:\n \n INT CAB, TIME UNKNOWN", "An IV bag bubbles, a portable HEART MONITOR beeps. The\n CAMERA follows the drip down to CHEV'S arm. He's lying on", "He crawls/stumbles into ...\n \n INT CHELIOS LIVING ROOM, CONTINUOUS", "CHEV collapses to his knees, breaks it open and snorts it\n right out of the bag like a pig on his elbows and knees. The\n BROTHERS find this hilarious.", "5\n INT CHELIOS LIVING ROOM, CONTINUOUS\n \n ... the living room, toward the telephone where he spots a", "The HOOD drops to his knees, eyes rolling back in his head,\n blood rushing from his nose. CHEV glances quickly around for\n witnesses - then backs into the hallway, letting the door", ".. and has the gun removed from his hand by CHEV, who has\n climbed onto the landing skids, hooking his dead arm inside\n the passenger space, going up with them.", "CHEV CHELIOS, wakes up in his apartment to a RINGING CELL\n PHONE, groggy, vision doubled ...", "The COPS continue down the hall. Behind them, from the door\n they checked, CHEV tiptoes out wearing a blue hospital\n johnnie, tied in the back with his ass hanging out, trying to", "to poison you in your sleep. Yeah, you\n heard me...\n \n We stay with CHEV'S POV as he flashes a frantic glance around", "fifth of an injection will do.\n \n CHEV tries to remember all this while zoning in and out of", "The sliding doors to the ER swoosh open as a gurney is\n wheeled in by paramedics. CHEV walks quickly in behind them,", "CHEV begins to fade again. He slumps back, looking as though\n he might pass out. One of the BROTHERS catches him, holds", "e kicks him in the ribs, knocking him over.\n \n CHEV (CONT'D)\n You feel like talking to me? Where's", "He rounds a corner and freezes in his tracks: three COPS are\n at the admissions counter ... a NURSE is gesturing in CHEV'S\n direction. They look up toward him.", "CHEV\n Yo! Right here!\n \n CUT TO:", "CHEV, still drying, hair all fucked up and walking\n erratically, enters the restaurant. Everyone turns to look\n at the crazy man, nervously.", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "The busy ER is buzzing with activity. CHEV looks around\n desperately. The COPS are right on his tail.\n \n Suddenly the entrance doors BURST OPEN ... a patient is" ], [ "CHEV collapses to his knees, breaks it open and snorts it\n right out of the bag like a pig on his elbows and knees. The\n BROTHERS find this hilarious.", "CHEV (V.O.)\n I kill people. I'm a professional hitman.\n I freelance for a major West Coast crime\n syndicate.", ".. and has the gun removed from his hand by CHEV, who has\n climbed onto the landing skids, hooking his dead arm inside\n the passenger space, going up with them.", "THE SYRINGE RIGHT TO THE HILT INTO THE BACK OF HIS NECK.\n \n CHEV drops to his knees. His HEARTBEAT is deafening,", "Yeah. Just ... die.\n \n CHEV'S HEARTBEAT starts to slow. The wooden elevator starts\n down. He looks around, making eye contact with the other", "to poison you in your sleep. Yeah, you\n heard me...\n \n We stay with CHEV'S POV as he flashes a frantic glance around", "fifth of an injection will do.\n \n CHEV tries to remember all this while zoning in and out of", "CHEV gets to his feet, pulls out his gun, puts it to the back\n of ALEX'S head.\n \n CHEV pulls the trigger twice.", "The HOOD drops to his knees, eyes rolling back in his head,\n blood rushing from his nose. CHEV glances quickly around for\n witnesses - then backs into the hallway, letting the door", "An IV bag bubbles, a portable HEART MONITOR beeps. The\n CAMERA follows the drip down to CHEV'S arm. He's lying on", "it is. All I know is once it binds with\n your blood cells, you're fucked, baby...\n and believe me, it's done binded. By now", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "CHEV grabs a box of trash bags, rips it open and takes one\n out. He opens the bag and starts dumping CAFFEINE in: Jolt,", "And the other part?\n \n CHEV\n The poison? Yeah, that's true too.", "the tube from CHEV's back - CHEV winces in pain. His\n HEARTRATE starts to slow almost immediately.\n \n CARLITO", "f you want, I can load you up with\n something, you'll go out in a beautiful\n dream.\n \n CHEV", "idiot. Now you're dead for sure.\n \n CHEV\n Right.", "CHEV'S moment of weakness passes. His face goes grim with\n vengeance as the mean bastard inside him kicks in. He looks\n DOC MILES in the eye.", "CHEV begins to fade again. He slumps back, looking as though\n he might pass out. One of the BROTHERS catches him, holds", "e kicks him in the ribs, knocking him over.\n \n CHEV (CONT'D)\n You feel like talking to me? Where's" ], [ "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "CHEV (CONT'D)\n What's the matter?\n \n CARLITO\n (shrugs)", "CONTINUED:\n \n \n CARLITO\n (shaken for once)", "CARLITO\n C I'm sorry.\n \n UT TO CHEV and CARLITO'S legs treading water to keep their", "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "friend.\n \n CHEV\n What can I say. Look, Carlito, I need", "CHEV nods. CARLITO places the device carefully on the table.\n \n CARLITO (CONT'D)\n (bemused)", "CARLITO nods.\n \n \n \n \n (CONTINUED)", "CARLITO squirts a little of the MILKY LIQUID.\n \n CHEV\n Is that what I think it is?", "CARLITO\n I'm surprised to see you.\n \n CHEV", "I know. But things have changed. There's\n an antidote. I can make a deal for it,\n but I've got to go alone.", "CARLITO\n Chevy.\n \n CHEV\n Hey boss.", "CHEV\n No shit.\n \n CARLITO\n Why don't you sit down?", "CHEV\n Then you know what happened?\n \n CARLITO\n Word travels fast. You amaze me, my", "CHEV\n Carlito ordered this?\n \n HOOD #1\n (ignoring it)", "CARLITO scrambles away from the table and grabs one of his\n GOONS, using him as a shield as he makes his way behind the", "CARLITO is climbing in as CHEV clambers up and GRABS HIM FROM\n BEHIND. CARLITO spins; CHEV shoves the gun in his face.", "CARLITO\n re you disrespecting me, Chev? Is that\n what you're doing?" ], [ "KAYLO (CONT'D)\n Chev?\n \n CHEV\n Uh huh.", "KAYLO looks up at his captors, miserably, as the phone clicks\n off. The CAMERA instantly flashes down to a low wide angle,", "9.\n \n \n \n INT KAYLO'S HOUSE - SIMULTANEOUS", "31.\n CONTINUED:\n \n \n KAYLO\n Chev?", "KAYLO\n I've got Verona.\n \n We see that KAYLO is duct taped to an office chair in what", "Kaylo?\n \n KAYLO (V.O.)\n I've got Verona, man.", "downtown, looking furtively over his shoulder as he talks.\n \n KAYLO\n Chev!", "CHEV\n Present from Kaylo.\n \n But just as he's about to pull the trigger, he FREEZES...", "KAYLO\n Where are we?\n \n Silence.", "Kaylo. My man. So, where were you last\n night?\n \n SPLIT SCREEN WITH:", "KAYLO (O.S.)\n Hello?\n \n CHEV", "ALEX rises up, staggering, and advances on KAYLO, who drops\n the ROLLING PIN and cowers amidst the trash cans.", "KAYLO\n What?\n \n CHEV", "e shakes his head to clear it.\n \n KAYLO\n What?\n \n CHEV", "I'd get out of here if I were you.\n \n He splits, leaving KAYLO with the body, the hand, etc. KAYLO", "16 16\n KAYLO is late 20's, slightly plump, hispanic, with gelled", "Ricky Verona. Anyone sees him you call\n me.\n \n KAYLO puts his hands up in the air, dumbfounded.", "CHEV\n Yeah I am. Where's Kaylo?\n \n HOOD #2", "his pocket and tosses the hand to a disgusted KAYLO, who\n tries to get away from it ...\n \n CHEV (CONT'D)", "HEV pulls KAYLO around the corner, out of sight of the\n restaurant.\n \n CHEV\n motioning to the restaurant)" ], [ "positions himself on top of her. EVE is completely out of\n her head, eyes closed, legs up in the air like a porn star.\n E", "EVE (CONT'D)\n (incredulously)\n Tell me you're joking. Now you can't get", "CHEV grabs the back of EVE'S purse and turns it upside down,\n spilling the contents all over the concrete. She spins\n around, just missing C", "EVE\n (screaming after him)\n YOU'LL BURN IN HELL FOR THIS!!!\n \n CHEV", "EVE (CONT'D)\n Get off! Are you kidding me?\n \n CHEV\n Take your clothes off.", "his pink, smoking hand and jams it under his armpit, hopping\n up and down.\n \n EVE (O.S.)", "OMAN (V.O.)\n Hey, this is Eve ...\n \n CHEV", "EVE\n OK.\n \n Confused, she pads off to the bedroom to change.", "He breaks away running, leaving EVE stranded half naked in\n the street, holding her torn dress up amidst a sea of gaping\n Chinese.", "EVE\n (coldly)\n That was just totally uncalled for.\n \n CHEV", "EVE (CONT'D)\n Take me right here in front of everyone.\n \n CHEV'S HEARTBEAT starts to pick up. He lifts her dress and", "CHEV sits across from EVE in a tiny restaurant. An equally\n tiny VIETNAMESE WOMAN brings them menus.", "EVE\n Help what?\n \n He starts grabbing at her. She pushes his hands away.", "INT. EVE'S CAR - DAY\n \n EVE gets herself turned upright and stares at CHEV, hair full\n of windshield glass.", "EVE\n No.\n \n CHEV\n Make love to me.", "EXT. REAR EXIT, EVE'S BUILDING - CONTINUOUS\n \n From overhead, the CAMERA CORKSCREWS CLOCKWISE as CHEV", "her hand and yanks her along.\n \n He spots EVE'S CAR parked BACKWARDS across the street and", "EVE\n (furious, in disbelief)\n What's the matter with you?!!", "Five BANGS on the door barely distract her.\n \n EVE (CONT'D)\n Just a minute.", "58.\n CONTINUED:\n \n \n EVE" ], [ "CHEV'S moment of weakness passes. His face goes grim with\n vengeance as the mean bastard inside him kicks in. He looks\n DOC MILES in the eye.", "to poison you in your sleep. Yeah, you\n heard me...\n \n We stay with CHEV'S POV as he flashes a frantic glance around", "THE SYRINGE RIGHT TO THE HILT INTO THE BACK OF HIS NECK.\n \n CHEV drops to his knees. His HEARTBEAT is deafening,", "CHEV gets to his feet, pulls out his gun, puts it to the back\n of ALEX'S head.\n \n CHEV pulls the trigger twice.", "back to normal. He hands CHEV a vial of liquid.\n \n HAITIAN CABBIE (CONT'D)", "CHEV collapses to his knees, breaks it open and snorts it\n right out of the bag like a pig on his elbows and knees. The\n BROTHERS find this hilarious.", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "The HOOD drops to his knees, eyes rolling back in his head,\n blood rushing from his nose. CHEV glances quickly around for\n witnesses - then backs into the hallway, letting the door", "The busy ER is buzzing with activity. CHEV looks around\n desperately. The COPS are right on his tail.\n \n Suddenly the entrance doors BURST OPEN ... a patient is", "We see him sitting on CHEV'S bed ... CHEV is visible in the\n frame, unconscious behind VERONA. Pale nicotine sunlight", "An IV bag bubbles, a portable HEART MONITOR beeps. The\n CAMERA follows the drip down to CHEV'S arm. He's lying on", "e kicks him in the ribs, knocking him over.\n \n CHEV (CONT'D)\n You feel like talking to me? Where's", "This scene plays out as a continuous POV shot, right up\n until CHEV's face is revealed for the first time.)", "The COPS continue down the hall. Behind them, from the door\n they checked, CHEV tiptoes out wearing a blue hospital\n johnnie, tied in the back with his ass hanging out, trying to", "A second later THE DOOR BLOWS OFF IT'S HINGES as CHEV is\n tossed, upside down, through it to land on the cement in a", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "He rounds a corner and freezes in his tracks: three COPS are\n at the admissions counter ... a NURSE is gesturing in CHEV'S\n direction. They look up toward him.", "fifth of an injection will do.\n \n CHEV tries to remember all this while zoning in and out of", "CHEV begins to fade again. He slumps back, looking as though\n he might pass out. One of the BROTHERS catches him, holds", "straight ahead. Suddenly a curious look comes over him.\n \n CHEV (CONT'D)\n How much of this stuff did he say to" ], [ "VERONA whips the gun around as the bird rises, intending to\n .\n finish CHEV off from the air ...", "escape, skips the next floor up, gets onto the roof.\n \n C", "51.\n CONTINUED:\n \n \n VERONA looks up at his CREW, gathered nervously around the", "The PILOT starts to lift off in a blue panic. VERONA shoves\n CHEV aside and hops into the back seat, pointing his gun at", "VERONA rolls his eyes.\n \n VERONA\n Give me a fucking break...", "into the back seat as VERONA tries desperately to push him\n out.\n \n NEWS HELICOPTERS hover around the midair struggle like wasps,", "VERONA (CONT'D)", "For a beat, no one knows quite how to react. VERONA chuckles\n nervously.\n \n VERONA", "73.\n \n \n \n EXT ROOF, SECONDS LATER", "go limp, fall backwards ...\n \n Then, with a final rush of adrenaline, he grabs VERONA by the\n neck and pulls him along.", "VERONA'S eyes bulge in disbelief. CHEV continues to strangle\n him until VERONA goes limp, glassy eyed ... CHEV finally lets", "VERONA (CONT'D)\n (shaking his head in disbelief)\n It's him. Alright, shut up.", "CONTINUED:\n \n \n VERONA\n lever. Snappy. Did you pretty good,", "VERONA pantomimes jacking off for the boys.\n \n VERONA\n Alright.", "HEV grabs the gun. They make for the fire escape.\n \n EXT FIRE ESCAPE, SECONDS LATER", "4.\n CONTINUED: (2) VERONA(CONT'D)", "corners. The whole floor has been cleared out - they've got\n the place all to themselves.\n \n VERONA", "He clicks off, then sits there, seething.\n \n VERONA (CONT'D)\n (to the BOYZ)", "one hand ... VERONA manages to work his up to CHEV'S\n shoulder, where the steel needle still pokes through. He", "VERONA\n Oh, the antidote, huh?\n \n VERONA makes eye contact with his CREW, covering the" ], [ "VERONA (CONT'D)", "VERONA (CONT'D)\n ... I fucking poisoned you in your sleep.\n How sick is that?... for the satisfaction", "Verona, that little bitch ...\n \n ORLANDO\n I understand that. You've made that", "4.\n CONTINUED: (2) VERONA(CONT'D)", "VERONA'S eyes bulge in disbelief. CHEV continues to strangle\n him until VERONA goes limp, glassy eyed ... CHEV finally lets", "51.\n CONTINUED:\n \n \n VERONA looks up at his CREW, gathered nervously around the", "VERONA rolls his eyes.\n \n VERONA\n Give me a fucking break...", "VERONA (CONT'D)\n Hey, it's been real. Probably should've\n thought twice before you whacked Don Kim.", "VERONA (CONT'D)\n (shaking his head in disbelief)\n It's him. Alright, shut up.", "CONTINUED:\n \n \n VERONA\n lever. Snappy. Did you pretty good,", "come find me after all. Fucked up that\n you killed your own brother.\n \n VERONA\n You -", "He clicks off, then sits there, seething.\n \n VERONA (CONT'D)\n (to the BOYZ)", "For a beat, no one knows quite how to react. VERONA chuckles\n nervously.\n \n VERONA", "VERONA whips the gun around as the bird rises, intending to\n .\n finish CHEV off from the air ...", "He answers.\n \n VERONA (CONT'D)\n What's up, corpse.", "VERONA (CONT'D)\n ... asshole.\n 5A 5A", "VERONA\n I'm nobody's little bitch, you hear me?\n He'll pay what I tell him to pay...!", "the PILOT'S head.\n \n VERONA (CONT'D)\n That's right, motherfucker! FLY!", "VERONA pantomimes jacking off for the boys.\n \n VERONA\n Alright.", "VERONA\n WHO'S THE BITCH NOW?\n \n He blows CARLITO away with three shots." ], [ "Ricky Verona. Anyone sees him you call\n me.\n \n KAYLO puts his hands up in the air, dumbfounded.", "Ricky Verona ...\n \n CHEV\n (more to himself)\n Who would've thought that little bastard", "CARLITO and RICKY VERONA sit side by side at the table. An\n iced bucket of champagne, good cigars. GOONS chill in the", "What? What? You heard me. That son of\n a bitch Ricky Verona.\n \n AYLO", "Anselmo job. In fact, Ricky Verona owes\n me seventy five hunna dollars.\n \n CHEV", "may actually be the last thing I do,\n understand that? Copy me on that?\n \n KAYLO\n Ricky Verona?", "CHEV\n Look, I got to find Ricky Verona ...\n \n ORLANDO\n Why would I know where ... ?", "it is. So you see, I don't know where\n Ricky Verona is. Because if I knew where\n he is, I would probably be there right", "pretense. Ricky Verona and myself did\n not \"pull the Anselmo job together.\" In\n fact, Ricky Verona fucked me on the", "OK. I am not affiliated with Ricky\n Verona.\n \n CHEV\n (starting to lose it again)", "RICKY VERONA and his CREW are in the back, watching a noisy\n satellite feed on dual plasma TV screens. A JAPANESE GIRL in", "VERONA\n arlito? That's funny, I guess you\n didn't know... Carlito's my boy now,\n we're tight.", "How about the jewelry I got off your\n faggot brother, you cocksucker?\n \n This stings VERONA. He pulls the phone away from his face,", "5A 5A\n It's RICKY VERONA on the SCREEN, a young, irritatingly slick", "51.\n CONTINUED:\n \n \n VERONA looks up at his CREW, gathered nervously around the", "VERONA rolls his eyes.\n \n VERONA\n Give me a fucking break...", "KAYLO\n Chev! I just saw Verona's brother going\n into Charlie O's.", "VERONA (CONT'D)", "VERONA\n (sarcastic)\n Oh ... you think? Jesus ...\n \n His cell phone rings. He checks it.", "t RINGS. RICKY VERONA answers.\n \n VERONA (O.S.)\n Talk to me, bro." ], [ "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "CHEV'S moment of weakness passes. His face goes grim with\n vengeance as the mean bastard inside him kicks in. He looks\n DOC MILES in the eye.", "CHEV (CONT'D)\n (under his breath)\n Some pills, Doc.", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "The sliding doors to the ER swoosh open as a gurney is\n wheeled in by paramedics. CHEV walks quickly in behind them,", "Fine, yes, please let the doctor know\n that Chev Chelios is a dead man if he\n can't call me back within the hour... got", "I know. But things have changed. There's\n an antidote. I can make a deal for it,\n but I've got to go alone.", "DOC MILES\n But you're cold.\n \n CHEV\n Check.", "Doctor Miles' office, may I help you?\n \n CHEV\n Let me talk to him.", "CHEV\n Yeah.\n \n DOC MILES (O.S.)", "H\n ello?\n \n DOC MILES\n Chevy! Holy shit, man, I've been trying", "The busy ER is buzzing with activity. CHEV looks around\n desperately. The COPS are right on his tail.\n \n Suddenly the entrance doors BURST OPEN ... a patient is", "CHEV\n 25A 25A\n Yeah.\n \n DOC MILES (V.O.)", "CHEV (V.O.)\n I kill people. I'm a professional hitman.\n I freelance for a major West Coast crime\n syndicate.", "DOC MILES\n Chest is on fire.\n \n CHEV\n Check.", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "DOC MILES\n Alright, slow down. You say you've been\n poisoned. Can you describe the symptoms?", "He rounds a corner and freezes in his tracks: three COPS are\n at the admissions counter ... a NURSE is gesturing in CHEV'S\n direction. They look up toward him.", "The COPS continue down the hall. Behind them, from the door\n they checked, CHEV tiptoes out wearing a blue hospital\n johnnie, tied in the back with his ass hanging out, trying to", "The HOOD drops to his knees, eyes rolling back in his head,\n blood rushing from his nose. CHEV glances quickly around for\n witnesses - then backs into the hallway, letting the door" ], [ "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "CARLITO\n Chevy.\n \n CHEV\n Hey boss.", "CHEV (V.O.)\n I kill people. I'm a professional hitman.\n I freelance for a major West Coast crime\n syndicate.", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "CARLITO scrambles away from the table and grabs one of his\n GOONS, using him as a shield as he makes his way behind the", "CHEV\n Carlito ordered this?\n \n HOOD #1\n (ignoring it)", "CARLITO\n C I'm sorry.\n \n UT TO CHEV and CARLITO'S legs treading water to keep their", "CARLITO is climbing in as CHEV clambers up and GRABS HIM FROM\n BEHIND. CARLITO spins; CHEV shoves the gun in his face.", "CARLITO\n I'm surprised to see you.\n \n CHEV", "friend.\n \n CHEV\n What can I say. Look, Carlito, I need", "I\n t's CHEV, fully dressed. He meets CARLITO face to face\n underwater and points up with his index finger.", "CHEV (CONT'D)\n What's the matter?\n \n CARLITO\n (shrugs)", "97.\n CONTINUED: (3)\n \n \n CARLITO", "CARLITO nods.\n \n \n \n \n (CONTINUED)", "CHEV\n Then you know what happened?\n \n CARLITO\n Word travels fast. You amaze me, my", "CARLITO thinks quick, grabbing one of his GOONS - a 265\n pounder - from behind...\n \n CARLITO", "CONTINUED:\n \n \n CARLITO\n (shaken for once)", "CHEV climbs out of the pool. CARLITO NARROWS HIS EYES,\n watching him leave. The BODYGUARD motions to follow, CARLITO" ], [ "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "5\n INT CHELIOS LIVING ROOM, CONTINUOUS\n \n ... the living room, toward the telephone where he spots a", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "e kicks him in the ribs, knocking him over.\n \n CHEV (CONT'D)\n You feel like talking to me? Where's", "CHEV CHELIOS, wakes up in his apartment to a RINGING CELL\n PHONE, groggy, vision doubled ...", "She turns the corner and there's CHEV - he's propped up in\n the middle of an aisle in front of a bin of NAILS, HAMMER in", "downtown, looking furtively over his shoulder as he talks.\n \n KAYLO\n Chev!", "He pushes her head back down.\n \n CHEV'S heart is POUNDING like a jackhammer. He's got himself", "The THUGS are into it; VERONA is rolling. One of them comes\n up beside the bed and plants a big kiss on CHEV'S unconscious\n head.", "CHEV is waiting by the door, blocking her view of the front\n entrance, smiling somewhat crazily.\n \n CHEV", "A LOOK OF DETERMINATION comes over her. She reaches for his\n crotch.\n \n CHEV (CONT'D)", "CHEV sits across from EVE in a tiny restaurant. An equally\n tiny VIETNAMESE WOMAN brings them menus.", "Orlando?\n \n RLANDO\n ou a persistent motherfucker, Chev\n Chelios, I'll give you that.", "CHEV\n (pointing at her)\n Stay.", "didn't I, Chelios? Come on, you can admit\n it.\n \n CHEV\n We'll see.", "CHEV meets her gaze.\n \n CHEV\n I promise.", "CHELIOS?\n \n CHEV\n That's right, bro. You wanna guess how I", "CHEV'S HEARTBEAT is slamming, he's really giving it to her,\n making full eye contact with the busload of tourists the\n entire time.", "CONTINUED: CHEV(CONT'D)\n We get on a plane together and leave all\n this shit behind. Never come back.\n shrugs)", "Whoa, Chelios. You good, man?\n \n CHEV\n his shit's not working." ], [ "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "97.\n CONTINUED: (3)\n \n \n CARLITO", "CARLITO nods.\n \n \n \n \n (CONTINUED)", "CONTINUED:\n \n \n CARLITO\n (shaken for once)", "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "CARLITO scrambles away from the table and grabs one of his\n GOONS, using him as a shield as he makes his way behind the", "CARLITO\n I said that's enough.\n (calmly)\n It's been a long day. But in the end, you", "CARLITO thinks quick, grabbing one of his GOONS - a 265\n pounder - from behind...\n \n CARLITO", "CARLITO is climbing in as CHEV clambers up and GRABS HIM FROM\n BEHIND. CARLITO spins; CHEV shoves the gun in his face.", "Still in the same shot, pulling back, CARLITO puts down the\n cigar, stands up and dives into the pool. The camera drops", "As the hand holding the cigar brings it up for a drag the\n CAMERA pulls back, revealing CARLITO, an imposing 6'1\", 225", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "grandmother, blah blah blah. What do you\n think Carlito is going to think when he\n finds out what you did? Your whole crew\n is history.", "CARLITO\n C I'm sorry.\n \n UT TO CHEV and CARLITO'S legs treading water to keep their", "Well you don't have to be so damn cool\n about it.\n \n CARLITO\n What do you expect me to do?", "CARLITO'S and DON KIM'S MEN have backed into opposite corners\n of the room, and are firing back and forth.", "CARLITO\n Chevy.\n \n CHEV\n Hey boss.", "VERONA\n arlito? That's funny, I guess you\n didn't know... Carlito's my boy now,\n we're tight.", "I\n t's CHEV, fully dressed. He meets CARLITO face to face\n underwater and points up with his index finger." ], [ "downtown, looking furtively over his shoulder as he talks.\n \n KAYLO\n Chev!", "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "EXT STREET, CHINATOWN, SAME TIME\n \n CHEV'S demeanor changes to an icy slow burn. He holds EVE", "The COPS continue down the hall. Behind them, from the door\n they checked, CHEV tiptoes out wearing a blue hospital\n johnnie, tied in the back with his ass hanging out, trying to", "CHEV\n Then you know what happened?\n \n CARLITO\n Word travels fast. You amaze me, my", "CUT TO:\n \n EXT ALLEY, SAME TIME\n 50 50\n CHEV", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "hey pull up to the sidewalk in front of a run down, 40's era\n warehouse building at the outskirts of the LA Garment\n District. CHEV gets out.", "stocky, is leaning over the edge of the building on the\n opposite side, looking for something - presumably CHEV -\n holding a cell phone up to his ear. His folded jacket and", "5\n INT CHELIOS LIVING ROOM, CONTINUOUS\n \n ... the living room, toward the telephone where he spots a", "e kicks him in the ribs, knocking him over.\n \n CHEV (CONT'D)\n You feel like talking to me? Where's", "CHEV CHELIOS, wakes up in his apartment to a RINGING CELL\n PHONE, groggy, vision doubled ...", "EXT - ALLEY, SAME TIME\n 50B 50B\n CHEV\n Out.", "She turns the corner and there's CHEV - he's propped up in\n the middle of an aisle in front of a bin of NAILS, HAMMER in", "CHEV\n ... right, I know, you don't know where\n he is, but you're going to tell me where", "KAYLO\n Chev! I just saw Verona's brother going\n into Charlie O's.", "friend.\n \n CHEV\n What can I say. Look, Carlito, I need", "it from his coat pocket and clicks a speed dial.\n \n CUT TO:\n \n S", "CHEV takes off, walking faster, around the corner. The COPS\n head after him.\n T" ], [ "Ricky Verona. Anyone sees him you call\n me.\n \n KAYLO puts his hands up in the air, dumbfounded.", "Ricky Verona ...\n \n CHEV\n (more to himself)\n Who would've thought that little bastard", "What? What? You heard me. That son of\n a bitch Ricky Verona.\n \n AYLO", "may actually be the last thing I do,\n understand that? Copy me on that?\n \n KAYLO\n Ricky Verona?", "it is. So you see, I don't know where\n Ricky Verona is. Because if I knew where\n he is, I would probably be there right", "CARLITO and RICKY VERONA sit side by side at the table. An\n iced bucket of champagne, good cigars. GOONS chill in the", "RICKY VERONA and his CREW are in the back, watching a noisy\n satellite feed on dual plasma TV screens. A JAPANESE GIRL in", "Anselmo job. In fact, Ricky Verona owes\n me seventy five hunna dollars.\n \n CHEV", "CHEV\n Look, I got to find Ricky Verona ...\n \n ORLANDO\n Why would I know where ... ?", "pretense. Ricky Verona and myself did\n not \"pull the Anselmo job together.\" In\n fact, Ricky Verona fucked me on the", "OK. I am not affiliated with Ricky\n Verona.\n \n CHEV\n (starting to lose it again)", "VERONA\n (sarcastic)\n Oh ... you think? Jesus ...\n \n His cell phone rings. He checks it.", "How about the jewelry I got off your\n faggot brother, you cocksucker?\n \n This stings VERONA. He pulls the phone away from his face,", "5A 5A\n It's RICKY VERONA on the SCREEN, a young, irritatingly slick", "t RINGS. RICKY VERONA answers.\n \n VERONA (O.S.)\n Talk to me, bro.", "51.\n CONTINUED:\n \n \n VERONA looks up at his CREW, gathered nervously around the", "VERONA'S eyes bulge in disbelief. CHEV continues to strangle\n him until VERONA goes limp, glassy eyed ... CHEV finally lets", "VERONA (CONT'D)\n ... I fucking poisoned you in your sleep.\n How sick is that?... for the satisfaction", "CONTINUED: (4)\n \n \n CHEV\n Forget it. I just gotta find Ricky", "VERONA rolls his eyes.\n \n VERONA\n Give me a fucking break..." ], [ "97.\n CONTINUED: (3)\n \n \n CARLITO", "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "CONTINUED:\n \n \n CARLITO\n (shaken for once)", "CARLITO scrambles away from the table and grabs one of his\n GOONS, using him as a shield as he makes his way behind the", "CARLITO'S and DON KIM'S MEN have backed into opposite corners\n of the room, and are firing back and forth.", "CARLITO nods.\n \n \n \n \n (CONTINUED)", "grandmother, blah blah blah. What do you\n think Carlito is going to think when he\n finds out what you did? Your whole crew\n is history.", "CARLITO\n Chevy.\n \n CHEV\n Hey boss.", "CARLITO is climbing in as CHEV clambers up and GRABS HIM FROM\n BEHIND. CARLITO spins; CHEV shoves the gun in his face.", "VERONA\n arlito? That's funny, I guess you\n didn't know... Carlito's my boy now,\n we're tight.", "CARLITO thinks quick, grabbing one of his GOONS - a 265\n pounder - from behind...\n \n CARLITO", "CARLITO and RICKY VERONA sit side by side at the table. An\n iced bucket of champagne, good cigars. GOONS chill in the", "CARLITO\n I said that's enough.\n (calmly)\n It's been a long day. But in the end, you", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "As the hand holding the cigar brings it up for a drag the\n CAMERA pulls back, revealing CARLITO, an imposing 6'1\", 225", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "friend.\n \n CHEV\n What can I say. Look, Carlito, I need", "CHEV\n Then you know what happened?\n \n CARLITO\n Word travels fast. You amaze me, my", "CUT TO:\n \n EXT ROOFTOP OF CARLITO'S BUILDING, MINUTES LATER", "I\n t's CHEV, fully dressed. He meets CARLITO face to face\n underwater and points up with his index finger." ], [ "VERONA (CONT'D)", "VERONA (CONT'D)\n ... I fucking poisoned you in your sleep.\n How sick is that?... for the satisfaction", "come find me after all. Fucked up that\n you killed your own brother.\n \n VERONA\n You -", "He clicks off, then sits there, seething.\n \n VERONA (CONT'D)\n (to the BOYZ)", "4.\n CONTINUED: (2) VERONA(CONT'D)", "Verona, that little bitch ...\n \n ORLANDO\n I understand that. You've made that", "VERONA (CONT'D)\n (shaking his head in disbelief)\n It's him. Alright, shut up.", "51.\n CONTINUED:\n \n \n VERONA looks up at his CREW, gathered nervously around the", "How about the jewelry I got off your\n faggot brother, you cocksucker?\n \n This stings VERONA. He pulls the phone away from his face,", "VERONA whips the gun around as the bird rises, intending to\n .\n finish CHEV off from the air ...", "He answers.\n \n VERONA (CONT'D)\n What's up, corpse.", "Verona? That's just a small time punk.\n But... that's not to say there isn't an\n opportunity here.", "CONTINUED:\n \n \n VERONA\n lever. Snappy. Did you pretty good,", "VERONA rolls his eyes.\n \n VERONA\n Give me a fucking break...", "Look, forget about Verona. We'll take\n care of him. The best thing for you to\n do is to find a nice, dark, quiet place", "VERONA'S eyes bulge in disbelief. CHEV continues to strangle\n him until VERONA goes limp, glassy eyed ... CHEV finally lets", "VERONA\n WHO'S THE BITCH NOW?\n \n He blows CARLITO away with three shots.", "VERONA\n I'm nobody's little bitch, you hear me?\n He'll pay what I tell him to pay...!", "VERONA (CONT'D)\n ... asshole.\n 5A 5A", "VERONA (CONT'D)\n Hey, it's been real. Probably should've\n thought twice before you whacked Don Kim." ], [ "A PILOT is standing by in CARLITO'S personal HELICOPTER,\n waiting on the roof.\n \n PILOT", "CARLITO'S HELICOPTER drops down into view, roiling up the\n water...\n \n CARLITO makes a break for it.", "CARLITO scrambles away from the table and grabs one of his\n GOONS, using him as a shield as he makes his way behind the", "revealing an elaborate pool area on the rooftop. CARLITO is\n sitting by the pool in a velvet robe.", "CARLITO thinks quick, grabbing one of his GOONS - a 265\n pounder - from behind...\n \n CARLITO", "CUT TO:\n \n EXT ROOFTOP OF CARLITO'S BUILDING, MINUTES LATER", "CARLITO\n I said that's enough.\n (calmly)\n It's been a long day. But in the end, you", "CARLITO is climbing in as CHEV clambers up and GRABS HIM FROM\n BEHIND. CARLITO spins; CHEV shoves the gun in his face.", "CONTINUED:\n \n \n CARLITO\n (shaken for once)", "97.\n CONTINUED: (3)\n \n \n CARLITO", "As the hand holding the cigar brings it up for a drag the\n CAMERA pulls back, revealing CARLITO, an imposing 6'1\", 225", "CARLITO nods.\n \n \n \n \n (CONTINUED)", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "DON KIM watches the HELICOPTER rise as his MEN finish off the\n last of CARLITO'S GOONS...", "CARLITO\n Chevy.\n \n CHEV\n Hey boss.", "CHEV climbs out of the pool. CARLITO NARROWS HIS EYES,\n watching him leave. The BODYGUARD motions to follow, CARLITO", "CARLITO'S and DON KIM'S MEN have backed into opposite corners\n of the room, and are firing back and forth.", "gun sit on the ledge beside him.\n \n We recognize the HOOD from CARLITO'S place; he was one of the", "CARLITO\n C I'm sorry.\n \n UT TO CHEV and CARLITO'S legs treading water to keep their" ], [ "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "CHEV CHELIOS, wakes up in his apartment to a RINGING CELL\n PHONE, groggy, vision doubled ...", "5\n INT CHELIOS LIVING ROOM, CONTINUOUS\n \n ... the living room, toward the telephone where he spots a", "CHEV (V.O.)\n I kill people. I'm a professional hitman.\n I freelance for a major West Coast crime\n syndicate.", "Whoa, Chelios. You good, man?\n \n CHEV\n his shit's not working.", "The COPS continue down the hall. Behind them, from the door\n they checked, CHEV tiptoes out wearing a blue hospital\n johnnie, tied in the back with his ass hanging out, trying to", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "CHELIOS?\n \n CHEV\n That's right, bro. You wanna guess how I", "didn't I, Chelios? Come on, you can admit\n it.\n \n CHEV\n We'll see.", "Orlando?\n \n RLANDO\n ou a persistent motherfucker, Chev\n Chelios, I'll give you that.", "in a bathrobe walks by.\n V\n ERONA\n Who is this? Chelios? IS THIS FUCKING", "e kicks him in the ribs, knocking him over.\n \n CHEV (CONT'D)\n You feel like talking to me? Where's", "D-E-A-D. Chelios... got it?\n \n CHOCOLATE\n Yes sir...", "downtown, looking furtively over his shoulder as he talks.\n \n KAYLO\n Chev!", "he COP starts after it, then stops short as he sees CHEV\n dart past him and hop onto his still idling motorcycle. He\n kicks up the stand and REVS IT.", "He rounds a corner and freezes in his tracks: three COPS are\n at the admissions counter ... a NURSE is gesturing in CHEV'S\n direction. They look up toward him.", "I'll kill you for this, Chelios!\n \n CHEV\n Too late!", "CHEV hangs up, turns off the phone, and pockets it.\n Immediately he's on to the next thought.", "CHEV takes off, walking faster, around the corner. The COPS\n head after him.\n T", "He crawls/stumbles into ...\n \n INT CHELIOS LIVING ROOM, CONTINUOUS" ], [ "CHEV (V.O.)\n I kill people. I'm a professional hitman.\n I freelance for a major West Coast crime\n syndicate.", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "5\n INT CHELIOS LIVING ROOM, CONTINUOUS\n \n ... the living room, toward the telephone where he spots a", "CHEV CHELIOS, wakes up in his apartment to a RINGING CELL\n PHONE, groggy, vision doubled ...", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "CHEV'S moment of weakness passes. His face goes grim with\n vengeance as the mean bastard inside him kicks in. He looks\n DOC MILES in the eye.", "CHEV gets to his feet, pulls out his gun, puts it to the back\n of ALEX'S head.\n \n CHEV pulls the trigger twice.", "CHEV\n Your life, jackass.\n (beat)\n A hundred grand wants you dead, so sooner", "I'll kill you for this, Chelios!\n \n CHEV\n Too late!", "to poison you in your sleep. Yeah, you\n heard me...\n \n We stay with CHEV'S POV as he flashes a frantic glance around", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "e kicks him in the ribs, knocking him over.\n \n CHEV (CONT'D)\n You feel like talking to me? Where's", "Seems like some Chinese assholes hired\n him to kill me...\n \n ORLANDO\n Ah, so this is about the Don Kim", "starts circling around him with the gun beaded on ORLANDO'S\n forehead.\n \n CHEV\n (out of his mind)", "Beat. CHEV'S gun is still trained on ORLANDO'S head.\n \n ORLANDO (CONT'D)\n Now Chevy here has something he would", "now, beating his Gucci ass down.\n S\n tandoff. CHEV holds the gun with an unsteady hand, studying", "CHEV hangs up, turns off the phone, and pockets it.\n Immediately he's on to the next thought.", "didn't I, Chelios? Come on, you can admit\n it.\n \n CHEV\n We'll see.", "Chev. Maybe this can even the score for\n the Don Kim hit, which was perhaps ill-\n advised.\n \n CHEV" ], [ "CHEV collapses to his knees, breaks it open and snorts it\n right out of the bag like a pig on his elbows and knees. The\n BROTHERS find this hilarious.", ".. and has the gun removed from his hand by CHEV, who has\n climbed onto the landing skids, hooking his dead arm inside\n the passenger space, going up with them.", "fifth of an injection will do.\n \n CHEV tries to remember all this while zoning in and out of", "CHEV CHELIOS, wakes up in his apartment to a RINGING CELL\n PHONE, groggy, vision doubled ...", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "5\n INT CHELIOS LIVING ROOM, CONTINUOUS\n \n ... the living room, toward the telephone where he spots a", "An IV bag bubbles, a portable HEART MONITOR beeps. The\n CAMERA follows the drip down to CHEV'S arm. He's lying on", "to poison you in your sleep. Yeah, you\n heard me...\n \n We stay with CHEV'S POV as he flashes a frantic glance around", "CHEV gets to his feet, pulls out his gun, puts it to the back\n of ALEX'S head.\n \n CHEV pulls the trigger twice.", "CHEV'S moment of weakness passes. His face goes grim with\n vengeance as the mean bastard inside him kicks in. He looks\n DOC MILES in the eye.", "The COPS continue down the hall. Behind them, from the door\n they checked, CHEV tiptoes out wearing a blue hospital\n johnnie, tied in the back with his ass hanging out, trying to", "back to normal. He hands CHEV a vial of liquid.\n \n HAITIAN CABBIE (CONT'D)", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "CHEV (CONT'D)\n (under his breath)\n Some pills, Doc.", "CHEV begins to fade again. He slumps back, looking as though\n he might pass out. One of the BROTHERS catches him, holds", "The HOOD drops to his knees, eyes rolling back in his head,\n blood rushing from his nose. CHEV glances quickly around for\n witnesses - then backs into the hallway, letting the door", "91.\n CONTINUED:\n \n \n CHEV takes a small bottle of PILLS from his coat pocket and", "e kicks him in the ribs, knocking him over.\n \n CHEV (CONT'D)\n You feel like talking to me? Where's", "CHEV finds himself drifting into a dream state.\n \n FLASH CUT TO:\n \n INT CAB, TIME UNKNOWN", "the tube from CHEV's back - CHEV winces in pain. His\n HEARTRATE starts to slow almost immediately.\n \n CARLITO" ], [ "Whoa, Chelios. You good, man?\n \n CHEV\n his shit's not working.", "didn't I, Chelios? Come on, you can admit\n it.\n \n CHEV\n We'll see.", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "CHELIOS?\n \n CHEV\n That's right, bro. You wanna guess how I", "I'll kill you for this, Chelios!\n \n CHEV\n Too late!", "5\n INT CHELIOS LIVING ROOM, CONTINUOUS\n \n ... the living room, toward the telephone where he spots a", "D-E-A-D. Chelios... got it?\n \n CHOCOLATE\n Yes sir...", "CONTINUED: CHEV(CONT'D)\n We get on a plane together and leave all\n this shit behind. Never come back.\n shrugs)", "Orlando?\n \n RLANDO\n ou a persistent motherfucker, Chev\n Chelios, I'll give you that.", "CHELIOS\n (barely comprehensible)\n Whathufuck?", "CHEV hangs up, turns off the phone, and pockets it.\n Immediately he's on to the next thought.", "CHEV loses his mind.\n \n He SLAMS THE BRAKES to put the car into a SLIDE, exposing his", "CHEV'S moment of weakness passes. His face goes grim with\n vengeance as the mean bastard inside him kicks in. He looks\n DOC MILES in the eye.", "CHEV\n Your life, jackass.\n (beat)\n A hundred grand wants you dead, so sooner", "BACK TO:\n \n CHEV\n (under his breath)\n Shit!", "CHEV CHELIOS, wakes up in his apartment to a RINGING CELL\n PHONE, groggy, vision doubled ...", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "in a bathrobe walks by.\n V\n ERONA\n Who is this? Chelios? IS THIS FUCKING", "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?" ], [ "CONTINUED:\n \n \n CARLITO\n (shaken for once)", "CARLITO scrambles away from the table and grabs one of his\n GOONS, using him as a shield as he makes his way behind the", "97.\n CONTINUED: (3)\n \n \n CARLITO", "CARLITO nods.\n \n \n \n \n (CONTINUED)", "CARLITO thinks quick, grabbing one of his GOONS - a 265\n pounder - from behind...\n \n CARLITO", "CARLITO'S and DON KIM'S MEN have backed into opposite corners\n of the room, and are firing back and forth.", "CARLITO is climbing in as CHEV clambers up and GRABS HIM FROM\n BEHIND. CARLITO spins; CHEV shoves the gun in his face.", "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "VERONA\n arlito? That's funny, I guess you\n didn't know... Carlito's my boy now,\n we're tight.", "grandmother, blah blah blah. What do you\n think Carlito is going to think when he\n finds out what you did? Your whole crew\n is history.", "CARLITO\n I said that's enough.\n (calmly)\n It's been a long day. But in the end, you", "DON KIM stands amidst the chaos, completely unperturbed.\n \n CARLITO\n (from behind the bar)", "CUT TO:\n \n EXT ROOFTOP OF CARLITO'S BUILDING, MINUTES LATER", "CARLITO and RICKY VERONA sit side by side at the table. An\n iced bucket of champagne, good cigars. GOONS chill in the", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "CARLITO\n Chevy.\n \n CHEV\n Hey boss.", "As the hand holding the cigar brings it up for a drag the\n CAMERA pulls back, revealing CARLITO, an imposing 6'1\", 225", "CHEV\n Then you know what happened?\n \n CARLITO\n Word travels fast. You amaze me, my", "CARLITO'S POV descends beneath the water - his breath\n releases.\n \n CUT TO:", "A PILOT is standing by in CARLITO'S personal HELICOPTER,\n waiting on the roof.\n \n PILOT" ], [ "CARLITO is climbing in as CHEV clambers up and GRABS HIM FROM\n BEHIND. CARLITO spins; CHEV shoves the gun in his face.", "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "I\n t's CHEV, fully dressed. He meets CARLITO face to face\n underwater and points up with his index finger.", "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "As the hand holding the cigar brings it up for a drag the\n CAMERA pulls back, revealing CARLITO, an imposing 6'1\", 225", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "CARLITO scrambles away from the table and grabs one of his\n GOONS, using him as a shield as he makes his way behind the", "CARLITO\n I'm surprised to see you.\n \n CHEV", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "CARLITO\n Chevy.\n \n CHEV\n Hey boss.", "CONTINUED:\n \n \n CARLITO\n (shaken for once)", "CARLITO squirts a little of the MILKY LIQUID.\n \n CHEV\n Is that what I think it is?", "CHEV climbs out of the pool. CARLITO NARROWS HIS EYES,\n watching him leave. The BODYGUARD motions to follow, CARLITO", "97.\n CONTINUED: (3)\n \n \n CARLITO", "friend.\n \n CHEV\n What can I say. Look, Carlito, I need", "CARLITO thinks quick, grabbing one of his GOONS - a 265\n pounder - from behind...\n \n CARLITO", "CHEV nods. CARLITO places the device carefully on the table.\n \n CARLITO (CONT'D)\n (bemused)", "We CUT TO CARLITO'S reaction. He follows CHEV up.\n \n heir heads rise just above the water, like heads on a", "CHEV (CONT'D)\n What's the matter?\n \n CARLITO\n (shrugs)", "CARLITO nods.\n \n \n \n \n (CONTINUED)" ], [ "THE SYRINGE RIGHT TO THE HILT INTO THE BACK OF HIS NECK.\n \n CHEV drops to his knees. His HEARTBEAT is deafening,", "CHEV gets to his feet, pulls out his gun, puts it to the back\n of ALEX'S head.\n \n CHEV pulls the trigger twice.", ".. and has the gun removed from his hand by CHEV, who has\n climbed onto the landing skids, hooking his dead arm inside\n the passenger space, going up with them.", "to poison you in your sleep. Yeah, you\n heard me...\n \n We stay with CHEV'S POV as he flashes a frantic glance around", "CHEV'S moment of weakness passes. His face goes grim with\n vengeance as the mean bastard inside him kicks in. He looks\n DOC MILES in the eye.", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "back to normal. He hands CHEV a vial of liquid.\n \n HAITIAN CABBIE (CONT'D)", "The COPS continue down the hall. Behind them, from the door\n they checked, CHEV tiptoes out wearing a blue hospital\n johnnie, tied in the back with his ass hanging out, trying to", "We see him sitting on CHEV'S bed ... CHEV is visible in the\n frame, unconscious behind VERONA. Pale nicotine sunlight", "The HOOD drops to his knees, eyes rolling back in his head,\n blood rushing from his nose. CHEV glances quickly around for\n witnesses - then backs into the hallway, letting the door", "e kicks him in the ribs, knocking him over.\n \n CHEV (CONT'D)\n You feel like talking to me? Where's", "An IV bag bubbles, a portable HEART MONITOR beeps. The\n CAMERA follows the drip down to CHEV'S arm. He's lying on", "Just then, behind him, CHEV emerges from the kitchen with the\n BUTCHER KNIFE.", "CONTINUED:\n \n \n He comes up behind him, transfers his gun and cell phone to", "CHEV collapses to his knees, breaks it open and snorts it\n right out of the bag like a pig on his elbows and knees. The\n BROTHERS find this hilarious.", "CHEV begins to fade again. He slumps back, looking as though\n he might pass out. One of the BROTHERS catches him, holds", "uses ALEX'S finger to pull the trigger twice and blows him\n away. ALEX hits the ground with a THUD.\n \n CHEV (CONT'D)", "91.\n CONTINUED:\n \n \n CHEV takes a small bottle of PILLS from his coat pocket and", "starts circling around him with the gun beaded on ORLANDO'S\n forehead.\n \n CHEV\n (out of his mind)", "slides it out and stabs at CHEV'S face ... CHEV catches his\n wrist in time to hold him off, but his grip is slipping ..." ], [ "CUT TO:\n \n EXT ROOFTOP OF CARLITO'S BUILDING, MINUTES LATER", "CARLITO scrambles away from the table and grabs one of his\n GOONS, using him as a shield as he makes his way behind the", "CARLITO is climbing in as CHEV clambers up and GRABS HIM FROM\n BEHIND. CARLITO spins; CHEV shoves the gun in his face.", "revealing an elaborate pool area on the rooftop. CARLITO is\n sitting by the pool in a velvet robe.", "A PILOT is standing by in CARLITO'S personal HELICOPTER,\n waiting on the roof.\n \n PILOT", "CONTINUED:\n \n \n CARLITO\n (shaken for once)", "Still in the same shot, pulling back, CARLITO puts down the\n cigar, stands up and dives into the pool. The camera drops", "escape, skips the next floor up, gets onto the roof.\n \n C", "CARLITO thinks quick, grabbing one of his GOONS - a 265\n pounder - from behind...\n \n CARLITO", "been holding his gun awkwardly in his armpit; now he whips it\n out. A few flights above he hears the door bang open as the\n COPS pick up the chase.", "73.\n \n \n \n EXT ROOF, SECONDS LATER", "97.\n CONTINUED: (3)\n \n \n CARLITO", "HEV grabs the gun. They make for the fire escape.\n \n EXT FIRE ESCAPE, SECONDS LATER", "As the hand holding the cigar brings it up for a drag the\n CAMERA pulls back, revealing CARLITO, an imposing 6'1\", 225", "CARLITO'S HELICOPTER drops down into view, roiling up the\n water...\n \n CARLITO makes a break for it.", "CARLITO nods.\n \n \n \n \n (CONTINUED)", "CHEV climbs out of the pool. CARLITO NARROWS HIS EYES,\n watching him leave. The BODYGUARD motions to follow, CARLITO", "CARLITO'S POV descends beneath the water - his breath\n releases.\n \n CUT TO:", "gun sit on the ledge beside him.\n \n We recognize the HOOD from CARLITO'S place; he was one of the", "He begins to hop around maniacally, taunting the COP, as\n everyone panics and tries to reverse out of the traffic" ], [ "CHEV\n What, so that's it?\n \n CARLITO\n Honestly, you should be dead already.", "CARLITO nods.\n \n \n \n \n (CONTINUED)", "97.\n CONTINUED: (3)\n \n \n CARLITO", "CONTINUED:\n \n \n CARLITO\n (shaken for once)", "CARLITO scrambles away from the table and grabs one of his\n GOONS, using him as a shield as he makes his way behind the", "Still in the same shot, pulling back, CARLITO puts down the\n cigar, stands up and dives into the pool. The camera drops", "Don Carlos wants you off the street.\n \n CHEV\n (stunned)\n Carlito?", "CARLITO\n I said that's enough.\n (calmly)\n It's been a long day. But in the end, you", "CARLITO is climbing in as CHEV clambers up and GRABS HIM FROM\n BEHIND. CARLITO spins; CHEV shoves the gun in his face.", "CARLITO'S POV descends beneath the water - his breath\n releases.\n \n CUT TO:", "CARLITO thinks quick, grabbing one of his GOONS - a 265\n pounder - from behind...\n \n CARLITO", "CARLITO\n C I'm sorry.\n \n UT TO CHEV and CARLITO'S legs treading water to keep their", "Well you don't have to be so damn cool\n about it.\n \n CARLITO\n What do you expect me to do?", "CARLITO\n (chuckling despite himself)\n Chelios... what a fucking mess you are.", "grandmother, blah blah blah. What do you\n think Carlito is going to think when he\n finds out what you did? Your whole crew\n is history.", "Whatever, psycho...\n \n CARLITO\n I'm afraid the Houdini act is over,\n Chelios.", "As the hand holding the cigar brings it up for a drag the\n CAMERA pulls back, revealing CARLITO, an imposing 6'1\", 225", "CARLITO\n Chevy.\n \n CHEV\n Hey boss.", "to know that my death can be of some use\n to you.\n \n CARLITO\n Don't be difficult.", "CHEV\n Then you know what happened?\n \n CARLITO\n Word travels fast. You amaze me, my" ], [ "EVE\n (coldly)\n That was just totally uncalled for.\n \n CHEV", "EVE\n (screaming after him)\n YOU'LL BURN IN HELL FOR THIS!!!\n \n CHEV", "CHEV is still going through the motions with EVE, but his\n attention has shifted 100% to the voice on the phone.\n \n CHEV", "Flustered, EVE picks up the phone.\n \n EVE\n Hello?\n \n T", "CHEV gives her a LOOK that says it all.\n \n EVE\n I had to see if you were telling the", "INT. EVE'S CAR - DAY\n \n EVE gets herself turned upright and stares at CHEV, hair full\n of windshield glass.", "CHEV sits across from EVE in a tiny restaurant. An equally\n tiny VIETNAMESE WOMAN brings them menus.", "CHEV\n Yeah.\n \n EVE (O.S.)\n (sleepy)", "CHEV turns his attention back to EVE.\n \n CHEV\n I have to go. Please understand.", "CHEV CHELIOS, wakes up in his apartment to a RINGING CELL\n PHONE, groggy, vision doubled ...", "CHEV shoves the HOOD'S body into a dumpster just as EVE\n turns... CHEV snatches up the first thing he sees - a grime", "CHEV leans back in his chair and slams one of the legs down\n onto his foot. EVE flinches.\n \n CHEV", "EVE\n No.\n \n CHEV\n Make love to me.", "EVE\n What?\n \n CHEV\n Come on. I think it'll help.", "EVE is rifling through her purse as they run. Naturally CHEV\n assumes she's looking for the CAR KEYS.\n \n EVE", "He catches up to her and grabs her arm.\n \n CHEV\n Eve... baby... please!", "ith the crowd cheering and traffic stopped, CHEV gets a shot\n of adrenaline and goes for broke. EVE shrieks like a banshee\n as he enters her.", "CHEV grabs the back of EVE'S purse and turns it upside down,\n spilling the contents all over the concrete. She spins\n around, just missing C", "right?\n \n EVE\n No. Why?\n \n CHEV", "CHEV'S eyes flash to the rearview mirror and GO WIDE. He\n grabs the back of EVE'S head and PUSHES IT DOWN INTO HIS LAP -" ] ]

[ "Who does Carlito contract Chelios to kill?", "Where is Chelios when he is injected with a drug?", "How does the drug Chelios is injected with eventually kill people?", "What does Carlito say when Chelios asks him for an antidote?", "Who is Kaylo?", "Who is Eve?", "Which twist is revealed right before Chelios will be injected with a second dose of the drug?", "How does Verona try to escape from the rooftop battle?", "How does Verona die?", "What is Ricky Verona's brother's name?", "Who is the mafia doctor that Chelios calls for an antidote?", "Who does Carlito hire Chelios to kill?", "What is the name of Chelios girlfriend?", "Who is it that kills Carlito?", "What was the name of Chelios' street informant?", "How did Ricky Verona find out his brother dies?", "What is the name of the rival group that Carlito is having problems with?", "What did Verona do to avenge his brother's murder?", "Who stops Carlito, on the hotel's rooftop, before he can flee aboard his helicopter?", "What is Chelios' job?", "Who is Chelios contracted to kill?", "What does Chelios have to do after being injected with a drug?", "Who was Chelios planning to retire for?", "Who was kidnapped by Carlito's men?", "Who appears as Carlito is about to inject Chelios with another syringe?", "Who eventually injects Chelios with the second syringe?", "How does Carlito try to escape the rooftop?", "How does Carlito die?", "Why did Chelios call Eve?" ]

[ [ "mafia boss Don Kim", "Don Kim" ], [ "His apartment", "A rooftop." ], [ "inhibits adrenalin flow, slows heart and brings on death", "It inhibits adrenaline and slows the heart until it stops." ], [ "It doesn't exist.", "He says there there is no antidote. " ], [ "A transvestite that helps Chelios find Alex.", "A transvestite" ], [ "Chelios' girlfriend", "Chelios' girlfriend" ], [ "Having been spared by Chelios, Don Kim is alive.", "Don Kim is alive and arrives" ], [ "Via helicopter", "with carlito's helicopter" ], [ "Chelios snaps his neck.", "Broken neck. " ], [ "Alex", "Alex" ], [ "Doc Miles", "Doc Miles" ], [ "Don Kim", "Don Kim" ], [ "Eve", "Eve." ], [ "Ricky Venora", "Verona" ], [ "Kaylo", "Kaylo" ], [ "Chelios calls him, using Verona's brother's phone.", "From Chelios." ], [ "The Traids", "Triad" ], [ "He sends his men to get Eve.", "He goes after Eve" ], [ "Carlios", "Cheelios" ], [ "Hitman", "Hitman." ], [ "Don Kim", "Don Kim. " ], [ "Keep his adrenaline up", "keep his adrenaline pumping" ], [ "Eve", "Eve. " ], [ "Kaylo", "Kaylo" ], [ "Don Kim", "Don Kim" ], [ "Verona", "Carlito" ], [ "Helicopter", "in his helicopter" ], [ "Verona shoots him", "Verona shoots him to death." ], [ "To apologize for not coming back ", "To apologize for not coming back" ] ]

[ [ "happened to look round at a new house some one was putting up, and I\nsaw the whole family in the window. It appears that Mr. Lapham is\nbuilding the house.\"", "When the spring opened Colonel Lapham showed that he had been in\nearnest about building on the New Land. His idea of a house was a", "Then he told of his encounter with the Lapham family in their new\nhouse. At the end his mother merely said, \"It is getting very common\ndown there,\" and she did not try to oppose anything further to his\nscheme.", "Lapham started the mare up and drove swiftly homeward. At last his\nwife stopped crying and began trying to find her pocket. \"Here, take", "\"I suppose we might as well go on,\" said Mrs. Lapham at last, as they\nreturned to the buggy. The Colonel drove recklessly toward the", "LAPHAM and his wife continued talking after he had quelled the\ndisturbance in his daughters' room overhead; and their talk was not\naltogether of the new house.", "to these new acquaintances, and wrought them into the novel point of\nview which they were acquiring. When Mrs. Lapham returned home, she", "delighted and secretly surprised to find the fellow there; and at\nsomething Seymour said the talk spread suddenly, and the pretty house\nhe was building for Colonel Lapham became the general theme. Young", "for the family at Lapham. Penelope was always ashamed of her\nengagement there; it must seem better somewhere else and she was glad", "Mrs. Lapham was silent a while. \"No,\" she said finally; \"we've always\ngot along well enough here, and I guess we better stay.\"", "The foreman went about with Mrs. Lapham, showing her where the doors\nwere to be; but Lapham soon tired of this, and having found a pine", "There was not really a great deal to look at when Lapham arrived on the\nground in his four-seated beach-wagon. But the walls were up, and the", "Lapham which she would have found hard to bear; but now she almost\nwelcomed them. At the end of three days Lapham returned, and his wife", "Irene bustling about in the compartment, making her mother comfortable\nfor the journey; but Mrs. Lapham did not lift her head. The train\nmoved off, and he went heavily back to his business.", "their differences of opinion and all their disputes about the house.\nHe knew just where to insist upon his own ideas, and where to yield.\nHe was really building several other houses, but he gave the Laphams", "AFTER a week Mrs. Lapham returned, leaving Irene alone at the old\nhomestead in Vermont. \"She's comfortable there--as comfortable as she", "At breakfast she said casually: \"Girls, how would you like to have your\nfather build on the New Land?\"\n\nThe girls said they did not know. It was more convenient to the\nhorse-cars where they were.", "Nothing gave Lapham so much satisfaction in the whole construction of\nhis house as the pile-driving. When this began, early in the summer, he", "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham.", "Up to a certain point in their prosperity Mrs. Lapham had kept strict\naccount of all her husband's affairs; but as they expanded, and ceased" ], [ "\"Tom needn't earn his living,\" said Mrs. Corey, refusing her husband's\njest. \"There's still enough for all of us.\"", "\"I'm afraid it wouldn't matter to Tom if he didn't; and I don't know\nthat I should care,\" said Corey, betraying the fact that he had perhaps", "dependent money-wise upon Tom Corey; but the mother had come, without\nknowing it, to rely upon his sense, his advice in everything, and the", "Bromfield Corey. If Tom Corey had ever said a witty thing, no one\ncould remember it; and yet the father had never said a witty thing to a", "more sympathetic listener than his own son. The clear mind which\nproduced nothing but practical results reflected everything with\ncharming lucidity; and it must have been this which endeared Tom Corey", "\"If Tom must go into such a business,\" said Mrs. Corey, \"I'm glad James\napproves of it.\"", "in support of the life of idleness. It appears that he wishes to do\nsomething--to do something for himself. I am afraid that Tom is\nselfish.\"", "Or, take up law or medicine. No Corey yet ever proposed to do\nnothing.\" \"Ah, then, it's quite time one of us made a beginning,\" urged", "got young Corey into business with you, in hopes of our getting into\nsociety with his father, you better ship him at once. For I ain't\ngoing to have it on that basis.\"", "\"I hinted nothing,\" said Mrs. Corey, descending to the weakness of\ndefending herself. \"But I saw quite enough to convince me that the\ngirl is in love with Tom, and the mother knows it.\"", "Corey's face. \"But don't be annoyed by it, Tom. It isn't a family\ndinner, you know, and everything can be managed without embarrassment.", "business. He was going to be obviously master in his own place to\nevery one; and during the hours of business he did nothing to\ndistinguish Corey from the half-dozen other clerks and book-keepers in", "\"That is what I have sometimes urged upon Tom. I have proved to him\nthat with economy, and strict attention to business, he need do nothing", "\"I don't wish to help it, Tom,\" said Mrs. Corey, with a cheerfullness\nwhich the thought of the Laphams had never brought her before. \"I am", "excellences. Some of the more nervous and excitable said that Tom\nCorey was as sweet as he could live; but this perhaps meant no more\nthan the word alone. No man ever had a son less like him than", "He started toward the door of the drawing-room to take leave of the\nladies; but Tom Corey was at his elbow, saying, \"I think Mrs. Lapham is", "Lapham's advice, and by means of his recommendation, was perhaps the\nColonel's proudest consolation. Corey knew the business thoroughly,", "The elder Corey knocked the ash of his cigarette into the holder at his\nelbow. \"I am more and more convinced, the longer I know you, Tom, that", "\"No,\" said Corey, with a sick look, \"that doesn't follow. You may\ndenounce yourself, if you will; but I have my reasons for refusing to", "that would bring up the dinner again. Corey did not recur to it, and\nLapham avoided the matter with positive fierceness. He shunned talking\nwith Corey at all, and suffered in grim silence." ], [ "\"I hinted nothing,\" said Mrs. Corey, descending to the weakness of\ndefending herself. \"But I saw quite enough to convince me that the\ngirl is in love with Tom, and the mother knows it.\"", "\"I'm afraid it wouldn't matter to Tom if he didn't; and I don't know\nthat I should care,\" said Corey, betraying the fact that he had perhaps", "\"Why, I don't know exactly what you mean, mother. I suppose he likes\nme.\"\n\nMrs. Corey could not say just what she meant. She answered,\nineffectually enough--", "more sympathetic listener than his own son. The clear mind which\nproduced nothing but practical results reflected everything with\ncharming lucidity; and it must have been this which endeared Tom Corey", "\"It seems to me that the way has been found already. Tom has told his\nlove to the right one, and the wrong one knows it. Time will do the\nrest.\"", "He started toward the door of the drawing-room to take leave of the\nladies; but Tom Corey was at his elbow, saying, \"I think Mrs. Lapham is", "\"Yes,\" said Bromfield Corey. \"Tom has had the pleasure which I hope\nfor of seeing you all. I hope you're able to make him useful to you", "\"You make me very happy,\" said Bromfield Corey. \"Very happy indeed.\nI've always had the idea that there was something in my son, if he", "hands, now open and now shut, and breathing hard. He heard quiet\ntalking beyond the portiere within, and presently Tom Corey came out.", "\"Yes,\" said Mrs. Corey.\n\n\"Well,\" demanded her husband, at their first meeting after her\ninterview with their son, \"what did you say to Tom?\"", "\"Yes, it has; it has continued the same,\" said Mrs. Corey, again\nexpressing the fact by a contradiction in terms. \"I think I must ask\nTom outright.\"", "\"Yes--yes, she is,\" said Mrs. Corey, at some cost.\n\n\"She's good, too,\" said Corey, \"and perfectly innocent and transparent.\nI think you will like her the better the more you know her.\"", "conscience against it, and I rather like him for it. I married for\nlove myself,\" said Corey, looking across the table at his wife.", "\"If Tom must go into such a business,\" said Mrs. Corey, \"I'm glad James\napproves of it.\"", "\"Oh! I know it,\" sighed Mrs. Corey. \"I wish Tom would be a little\nopener with me.\"", "rocks, and his heart swelled in his breast. He had always said that he\ndid not care what a man's family was, but the presence of young Corey", "\"That is true,\" answered Corey, with meek conviction. \"I never thought\nof that.\"", "age. He knew, of course, who Corey was, and he had waited for a man\nwho might look down on him socially to make the overtures toward", "Corey's face. \"But don't be annoyed by it, Tom. It isn't a family\ndinner, you know, and everything can be managed without embarrassment.", "I hope it will come out all right,\" Corey said, with a lover's vague\nsmile, and left her. When his father came down, rubbing his long hands" ], [ "him into the business. Ten years ago he, Silas Lapham, had come to\nBoston a little worse off than nothing at all, for he was in debt for", "WHEN Bartley Hubbard went to interview Silas Lapham for the \"Solid Men\nof Boston\" series, which he undertook to finish up in The Events, after", "\"Silas Lapham is a fine type of the successful American. He has a\nsquare, bold chin, only partially concealed by the short reddish-grey", "\"Well, then, I'll tell you just what it is, Silas Lapham. He came\nhere\"--she looked about the room and lowered her voice--\"to see you\nabout Irene, and then he hadn't the courage.\"", "Mrs. Lapham dropped into a chair, and watched his bulk shaken with\nsmothered laughter. \"Silas Lapham,\" she gasped, \"if you try to get off\nany more of those things on me----\"", "\"Well, Silas Lapham,\" returned his wife, \"I do believe you've got\nmineral paint on the brain. Do you suppose a fellow like young Corey,", "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham.", "\"So you want another partner after all?\" Mrs. Lapham could not forbear\nsaying.\n\n\"Yes, if that's your idea of a partner. It isn't mine,\" returned her\nhusband dryly.", "\"You know as well as I do, Silas,\" said Mrs. Lapham, with an inquiring\nlook at him for what lay behind his words.", "His wife began, \"Why, it's just this, Silas Lapham!\" and then she broke\noff to say, \"Well, you may wait, now--starting me wrong, when it's hard\nenough anyway.\"", "\"No. But it puts him where he can make the advances without demeaning\nhimself, and it puts you where you can't. Now, look here, Silas Lapham!", "relief that was almost triumph, lapsed again into severity. \"Silas\nLapham, if you was to die the next minute, is this what you started to\ntell me?\"", "\"Pshaw! YOU scared, Silas Lapham?\" cried his wife proudly. \"I should\nlike to see the thing that ever scared you; or the knockdown that YOU\ncouldn't pick up from!\"", "\"Don't you suppose I can see through you I declare, Silas Lapham, if I\ndidn't know different, I should say you were about the biggest fool!", "\"Who is that girl you've got in your office, Silas Lapham?\" she\ndemanded, when her husband entered.\n\n\"Girl in my office?\"", "\"Spend it, then,\" said his wife; \"don't throw it away! And how came\nyou to have so much more money than you know what to do with, Silas\nLapham?\" she added.", "\"Well, Silas Lapham, if you can't see NOW that he's after Irene, I\ndon't know what ever CAN open your eyes. That's all.\"", "The colossal fortune of Colonel Silas Lapham lay at the bottom of a\nhole which an uprooted tree had dug for him, and which for many years", "Mrs. Lapham had a woman's passion for fixing responsibility; she could\nnot help saying, as soon as acquitted, \"I warned you against him,\nSilas. I told you not to let him get in any deeper with you.\"", "\"All right, Silas,\" said Mrs. Lapham; \"I suppose you know what you're\nabout. Don't build on it for me, that's all.\"" ], [ "something, when he had thought it worth nothing; and when the\ntransaction was closed, he asked the purchaser rather eagerly if he\nknew where Rogers was; it was Lapham's secret belief that Rogers had", "said Lapham. \"All I had to do was to keep quiet about that other\ncompany. It was Rogers and his property right over again. He liked", "Rogers, but had heard of the patent in another way; and Lapham was\nastonished in the afternoon, when his boy came to tell him that Rogers\nwas in the outer office, and wished to speak with him.", "After a moment Mrs. Lapham asked, \"Is it--Rogers?\"\n\n\"It's Rogers.\"\n\n\"I didn't want you should get in any deeper with him.\"", "It was true that Lapham had defied Rogers to bring on his men, and had\nimplied his willingness to negotiate with them. That was before he had", "Rogers came promptly at the appointed time, and Lapham handed him the\nletter. He must have taken it all in at a glance, and seen the", "Lapham laughed, but she urged so many reasons for her belief in Rogers\nthat Lapham began to rekindle his own faith a little. He ended by", "Once more Lapham turned his back, and Rogers, after looking\nthoughtfully into his hat a moment, cleared his throat, and quietly\nwithdrew, maintaining to the last his unprejudiced demeanour.", "should like to know.\" But as Rogers made no sign of gratifying his\ncuriosity, and treated this last remark of Lapham's as of the", "\"I knew that Mrs. Lapham would know what was going on,\" said Rogers\nmore candidly, but not more virtuously, for that he could not, \"and I", "Lapham faced about once more, and sat looking up into the visage of\nRogers in silence. \"I wonder what you're up to,\" he said at last; \"I", "Lapham had expected this answer, and he had expected or intended to\nbreak out in furious denunciation of Rogers when he got it; but he only\nfound himself saying, in a sort of baffled gasp, \"I wonder what your\ngame is!\"", "place between him and Penelope. When Rogers came in about time of\nclosing, and shut himself up with Lapham in his room, the young man\nremained till the two came out together and parted in their", "Lapham said nothing about Rogers and the Englishmen. He believed that\nhe had acted right in that matter, and he was satisfied; but he did not\ncare to have Bellingham, or anybody, perhaps, think he had been a fool.", "of Rogers, now familiar to Lapham's clerks, showed itself among them.\n\"Has Colonel Lapham returned yet?\" he asked, in his dry, wooden tones,\nof Lapham's boy.", "delicate, aesthetic pleasure in the heroism with which Lapham had\nwithstood Rogers and his temptations--something finely dramatic and\nunconsciously effective,--wrote him a letter which would once have", "had dealt fairly by his partner in money; he had let Rogers take more\nmoney out of the business than he put into it; he had, as he said,\nsimply forced out of it a timid and inefficient participant in", "\"I guess you're lying, Rogers,\" said Lapham, without looking round.\n\n\"Well, all that I have to ask is that you will not act hastily.\"", "\"You lie,\" said Lapham, as quietly as if correcting him in a slight\nerror; and Rogers took the word with equal sang froid. \"You knew the", "He went out, and Lapham remained staring at the door which closed upon\nhim. This was his reward for standing firm for right and justice to\nhis own destruction: to feel like a thief and a murderer." ], [ "them. You're a thief, Milton K. Rogers, and you stole money I lent\nyou.\" Rogers sat listening, as if respectfully considering the", "When do you want I should begin to build on Beacon Street?\" He handed\nher the new cheque, where she stood over him, and then leaned back in\nhis chair and looked up at her.", "the day they had driven out to Brookline. \"Milton K. Rogers is a\nrascal, if you want to know; or else all the signs fail. But I guess", "He obeyed, and they walked silently on and on. In their aimless course\nthey reached the new house on the water side of Beacon, and she made", "himself at Nantasket with the event so perceptibly on his mind that his\nwife asked: \"Well, Silas, has Rogers been borrowing any more money of", "After a moment Mrs. Lapham asked, \"Is it--Rogers?\"\n\n\"It's Rogers.\"\n\n\"I didn't want you should get in any deeper with him.\"", "Once more Lapham turned his back, and Rogers, after looking\nthoughtfully into his hat a moment, cleared his throat, and quietly\nwithdrew, maintaining to the last his unprejudiced demeanour.", "The matter dropped, and the Laphams lived on as before, with joking\nrecurrences to the house on the water side of Beacon. The Colonel", "\"No; you're requested to ring at the rear door, all the way down Beacon\nStreet and up Commonwealth Avenue. It's rather a blank reception for\nthe returning prodigal.\"", "\"No; we have left Chicago. Mrs. Rogers has merely remained to finish\nup a little packing.\"\n\n\"Oh, indeed! Are you coming back to Boston?\"", "\"We are building a house,\" she said, with a meaningless laugh.\n\n\"Oh, indeed,\" said Mr. Rogers, looking up at it.\n\nThen no one spoke again, and she said helplessly--", "the state of the business would not bear looking into. He could raise\nfifteen thousand on his Nankeen Square house, and another fifteen on\nhis Beacon Street lot, and this was all that a man who was worth a", "out of the ruin into which he was slipping. When she remembered that\nnight when Rogers came, she hated the place. Irene accepted her\nrelease from the house eagerly, and was glad to go before and prepare", "something, when he had thought it worth nothing; and when the\ntransaction was closed, he asked the purchaser rather eagerly if he\nknew where Rogers was; it was Lapham's secret belief that Rogers had", "trouble. He's harassed to death, and he was awake half the night,\ntalking about it. That abominable Rogers has got a lot of money away", "\"Well,\" said his wife; and while they were making their way across the\ncity to the Milldam she answered certain questions he asked about some\npoints in the new house.", "Rogers, but had heard of the patent in another way; and Lapham was\nastonished in the afternoon, when his boy came to tell him that Rogers\nwas in the outer office, and wished to speak with him.", "A WEEK after she had parted with her son at Bar Harbour, Mrs. Corey\nsuddenly walked in upon her husband in their house in Boston. He was", "\"We must, Si,\" returned his wife, with gentle gratitude. Lapham\ngroaned. \"Where does he live?\" she asked.\n\n\"On Bolingbroke Street. He gave me his number.\"", "edifice on the water side of Beacon Street, it was just now the latter.\nSometimes, in driving in or out, he stopped at the house, and made" ], [ "\"I suppose we might as well go on,\" said Mrs. Lapham at last, as they\nreturned to the buggy. The Colonel drove recklessly toward the", "Lapham started the mare up and drove swiftly homeward. At last his\nwife stopped crying and began trying to find her pocket. \"Here, take", "Irene bustling about in the compartment, making her mother comfortable\nfor the journey; but Mrs. Lapham did not lift her head. The train\nmoved off, and he went heavily back to his business.", "Lapham had no need to walk down through the crowd, gazing and\ngossiping, with shouts and cries and hysterical laughter, before the\nburning house, to make sure that it was his.", "Mrs. Lapham was silent a while. \"No,\" she said finally; \"we've always\ngot along well enough here, and I guess we better stay.\"", "went and dropped them into the fire. When Mrs. Lapham came into the\nroom in the morning, before he was down, she found a scrap of the", "Lapham which she would have found hard to bear; but now she almost\nwelcomed them. At the end of three days Lapham returned, and his wife", "AFTER a week Mrs. Lapham returned, leaving Irene alone at the old\nhomestead in Vermont. \"She's comfortable there--as comfortable as she", "He went out, and Lapham remained staring at the door which closed upon\nhim. This was his reward for standing firm for right and justice to\nhis own destruction: to feel like a thief and a murderer.", "They said that nothing remained of the building but the walls; and\nLapham, on his way to business, walked up past the smoke-stained shell.\nThe windows looked like the eye-sockets of a skull down upon the", "By the time this letter came, Lapham had gone to his business, and the\nmother carried it to Penelope to talk over. \"What do you make out of", "\"Never mind that now. What about Irene?\"\n\n\"She says she's going to Lapham to-morrow. She feels that she's got to\nget away somewhere. It's natural she should.\"", "happened to look round at a new house some one was putting up, and I\nsaw the whole family in the window. It appears that Mr. Lapham is\nbuilding the house.\"", "the house at Nankeen Square, with everything else he had, into the\npayment of his debts, and Mrs. Lapham found it easier to leave it for", "Then he told of his encounter with the Lapham family in their new\nhouse. At the end his mother merely said, \"It is getting very common\ndown there,\" and she did not try to oppose anything further to his\nscheme.", "the Laphams when they entered. The Coreys had once kept a man, but\nwhen young Corey began his retrenchments the man had yielded to the", "Mrs. Lapham reported to her husband when he came home at night--he had\nleft his business to go and meet her, and then, after a desolate dinner", "for the family at Lapham. Penelope was always ashamed of her\nengagement there; it must seem better somewhere else and she was glad", "The foreman went about with Mrs. Lapham, showing her where the doors\nwere to be; but Lapham soon tired of this, and having found a pine", "to think what would happen to him if he lost it. I know one thing,\"\nconcluded Mrs. Lapham. \"He shall not go back to the office to-day.\"" ], [ "\"I hinted nothing,\" said Mrs. Corey, descending to the weakness of\ndefending herself. \"But I saw quite enough to convince me that the\ngirl is in love with Tom, and the mother knows it.\"", "more sympathetic listener than his own son. The clear mind which\nproduced nothing but practical results reflected everything with\ncharming lucidity; and it must have been this which endeared Tom Corey", "\"Why, I don't know exactly what you mean, mother. I suppose he likes\nme.\"\n\nMrs. Corey could not say just what she meant. She answered,\nineffectually enough--", "\"Yes--yes, she is,\" said Mrs. Corey, at some cost.\n\n\"She's good, too,\" said Corey, \"and perfectly innocent and transparent.\nI think you will like her the better the more you know her.\"", "\"Yes,\" said Bromfield Corey. \"Tom has had the pleasure which I hope\nfor of seeing you all. I hope you're able to make him useful to you", "and he waited in jealous impatience to see if Tom Corey would offer his\narm to Irene. He gave it to that big girl they called Miss Kingsbury,", "He started toward the door of the drawing-room to take leave of the\nladies; but Tom Corey was at his elbow, saying, \"I think Mrs. Lapham is", "\"Yes,\" she said.\n\n\"They're very simple, nice girls,\" pursued Corey. \"I think you'll like\nthe elder, when you come to know her.\"", "\"I'm afraid it wouldn't matter to Tom if he didn't; and I don't know\nthat I should care,\" said Corey, betraying the fact that he had perhaps", "and Tom had both begged that there might be nothing of that kind; and\nthough none of the Coreys learned to know her very well in the week she", "Corey's face. \"But don't be annoyed by it, Tom. It isn't a family\ndinner, you know, and everything can be managed without embarrassment.", "\"Oh! I know it,\" sighed Mrs. Corey. \"I wish Tom would be a little\nopener with me.\"", "\"But that drawing-room,\" pursued Corey; \"really, I don't see how Tom\nstands that. Anna, a terrible thought occurs to me! Fancy Tom being", "These things continually happen in novels; and the Coreys, as they had\nalways promised themselves to do, made the best, and not the worst of\nTom's marriage.", "\"Oh yes,\" sighed Mrs. Corey. \"It's natural, and it's right.\" But she\nadded, \"I suppose they're glad of him on any terms.\"", "Bromfield Corey. If Tom Corey had ever said a witty thing, no one\ncould remember it; and yet the father had never said a witty thing to a", "When you come to know her. The words implied an expectation that the\ntwo families were to be better acquainted.\n\n\"Then she is more intellectual than her sister?\" Mrs. Corey ventured.", "\"Corey? Oh!\" said Lapham, affecting not to have thought she could mean\nCorey. \"He proposed it.\"\n\n\"Likely!\" jeered his wife, but with perfect amiability.", "\"All boys of that tender age are noble,\" said Corey, \"and look like\nanybody you wish them to resemble. Is Leslie still home-sick for the\nbean-pots of her native Boston?\"", "\"I've been reading that book since you were down at Nantasket.\"\n\n\"Book?\" repeated Corey, while she reddened with disappointment. \"Oh\nyes. Middlemarch. Did you like it?\"" ], [ "that there had been no engagement between Corey and Penelope, and that\nit was she who had forbidden it. In the closeness of interest and\nsympathy in which their troubles had reunited them, they confessed to", "from the misery to come--the misery which had come already to Penelope\nand herself, and that must come to Irene and her father. She started\nwhen she definitely thought of her husband, and thought with what", "\"Well,\" said Penelope, \"his friend couldn't call often from Texas. You\nneedn't ask Mr. Corey to trouble about me, 'Rene. I think I can manage\nto worry along, if you're satisfied.\"", "\"Oh, just some nonsense of hers with Mr. Corey. He gave it to her at\nthe new house.\" Penelope did not choose to look up and meet her\nmother's grave glance.", "\"I hinted nothing,\" said Mrs. Corey, descending to the weakness of\ndefending herself. \"But I saw quite enough to convince me that the\ngirl is in love with Tom, and the mother knows it.\"", "facts as she could from Penelope. She did not reproach him. Here was\na case in which his self-reproach must be sufficiently sharp without", "\"Yes, that's true,\" she admitted, with a conscious flush. \"I hope he\nwon't think Pen's known about it all this while.\"\n\n\n\nXXIV.", "In this view it did seem improbable, and Mrs. Lapham was shaken. She\ncould only say, \"Penelope felt just the way I did about it.\"", "and questioning his face with a bewildered gaze. \"You MUST know--she\nmust have told you--she must have guessed----\" Penelope turned white,", "Penelope were engaged to Corey that very minute, he would make her\nbreak with him.", "dinner engagement. If she believed that Penelope would not finally\nchange her mind and go, no doubt Mrs. Lapham thought that Mrs. Corey", "When they were alone again, Irene made a feint of scolding her for\nleaving her to entertain Mr. Corey.\n\n\"Why! didn't you have a pleasant call?\" asked Penelope.", "\"Oh, I AM, Pen. When do you suppose he'll come again?\" Irene pushed\nsome of Penelope's things aside on the dressing-case, to rest her elbow", "to supper. His wife could not help condoning the sin of disobedience\nin him at such a time. Penelope said that between the admiration she", "Penelope recoiled from this terrible courage; she did not answer\ndirectly, and Irene went on, \"Because if you did, I'll thank you to", "\"O Pen!\" she whispered, with her heart in her face; and Penelope had no\ntime for mockery before he was at the steps.", "\"I will obey you, Penelope.\"\n\n\"As if you were never to see me again? As if I were dying?\"", "\"I've wished a hundred times they hadn't asked us; but it's too late to\nthink about that now. The question is, what are we going to do about\nPenelope?\"", "\"He is a great admirer of your house,\" said Mrs. Corey, keeping her\neyes very sharply, however politely, on Penelope's face, as if to", "to them, she was sure. She glanced at her daughter for support, but\nPenelope was looking at Mrs. Corey, who doubtless saw her from the" ], [ "\"Oh, it was nothing. They sent a fellow down here to interview me, and\nhe got everything about as twisted as he could.\"", "at the beginning of the interview. \"Oh! All right!\" he added, in\nresponse to something the young man said.", "\"Oh yes, it will,\" returned Bartley, unabashed. \"You'll see; it'll\ncome out all right.\" And in fact it did so, in the interview which\nBartley printed.", "\"That's going into the interview, Mr. Lapham, if nothing else does.\nGot a wife myself, and I know just how you feel.\" It was in the dawn of", "\"Tell me about it, mamma,\" said Irene, dropping into a chair.\n\n\nMrs. Corey described the interview to her husband on her return home.\n\"Well, and what are your inferences?\" he asked.", "\"They seem to be having rather a long interview with the carpenter\nto-day,\" said Irene, looking vaguely toward the ceiling. She turned", "with a solid bulk, which on the day of our interview was\nunpretentiously clad in a business suit of blue serge. His head droops\nsomewhat from a short neck, which does not trouble itself to rise far", "\"I don't know as I know just where you want me to begin,\" said Lapham.\n\n\"Might begin with your birth; that's where most of us begin,\" replied\nBartley.", "a leading question will draw out a whole line of facts that a man\nhimself would never think of.\" He went on to put several queries, and\nit was from Lapham's answers that he generalised the history of his", "\"Oh yes, I did,\" said Bartley. \"That's what I want. Tell all there is\nto tell, and I can boil it down afterward. A man can't make a greater", "there for the purpose of interviewing his ancestry. But Bartley had\nlearned to practise a patience with his victims which he did not always", "with her mother alone, and they were in the house, interviewing the\ncarpenter as before, when the Colonel jumped out of his buggy and cast", "\"I guess you may put me down at the Events Office, just round the\ncorner here. I've got to write up this interview while it's fresh.\"", "\"Oh, well, if you say he hasn't, what's the use of my telling you who?\"\n\n\"Oh, how can you treat me so!\" moaned the sufferer. \"What do you mean,\nPen?\"", "\"Well, Persis is. I don't know as you saw an interview that fellow\npublished in the Events a while back?\"\n\n\"What is the Events?\"", "The story made its impression, and Lapham saw it. \"Now I say,\" he\nresumed, as if he felt that he was going to do himself justice, and say", "\"I should think she might have been,\" said Bartley, while he made a\nnote of the appearance of the jars.\n\n\"I don't know about your mentioning it in your interview,\" said Lapham\ndubiously.", "\"It seems very delightful,\" said Corey, \"and very original.\"\n\n\"Yes, sir. That fellow hadn't talked five minutes before I saw that he\nknew what he was about every time.\"", "\"I thought they were on fire. Well, I'll tell you what's happened.\"\nShe rose, and then fell back in her chair. \"Lock the door!\" she", "The girl lifted herself on her elbow. \"What's that you say about\nfather?\" she demanded eagerly. \"Is he in trouble? Is he going to lose\nhis money? Shall we have to stay in this house?\"" ], [ "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham.", "\"Mr. Lapham,\" he wrote, \"passed rapidly over the story of his early\nlife, its poverty and its hardships, sweetened, however, by the", "Up to a certain point in their prosperity Mrs. Lapham had kept strict\naccount of all her husband's affairs; but as they expanded, and ceased", "out. Then, besides, Lapham has been into several things outside of his\nown business, and, like a good many other men who try outside things,", "prosperity had been so gross and palpable; and he had now a burning\ndesire to know exactly how, at the bottom of his heart, Lapham still", "appeared, Lapham had regarded it with very mixed feelings. At first it\ngave him a glow of secret pleasure, blended with doubt as to how his", "and works at Lapham. The transfer relieved Lapham of the load of debt\nwhich he was still labouring under, and gave him an interest in the", "\"Silas Lapham is a fine type of the successful American. He has a\nsquare, bold chin, only partially concealed by the short reddish-grey", "a leading question will draw out a whole line of facts that a man\nhimself would never think of.\" He went on to put several queries, and\nit was from Lapham's answers that he generalised the history of his", "\"I should think I had,\" said Lapham. \"I've used up about a hundred and\nfifty thousand dollars trying.\"", "Lapham was proud of his wife, and when he married her it had been a\nrise in life for him. For a while he stood in awe of his good fortune,", "horses, and Lapham spent it; his wife spent on rich and rather ugly\nclothes and a luxury of household appointments. Lapham had not yet", "interesting to the public than if you hadn't a dollar; and you know\nthat as well as I do, Mr. Lapham. There's no use beating about the\nbush.\"", "Mrs. Lapham told her husband of the arrival of the paper, treating the\nfact with an importance that he refused to see in it.\n\n\"How do you know the fellow sent it, anyway?\" he demanded.", "himself, but out of the dust, alone knows when that struggle will end.\nThe time had been when Lapham could not have imagined any worldly\nsplendour which his dollars could not buy if he chose to spend them for", "him into the business. Ten years ago he, Silas Lapham, had come to\nBoston a little worse off than nothing at all, for he was in debt for", "As Sewell afterwards told his wife, he could see that the loss of his\nfortune had been a terrible trial to Lapham, just because his", "\"Tom,\" cried his mother, \"why do you think Mr. Lapham has taken you\ninto business so readily? I've always heard that it was so hard for\nyoung men to get in.\"", "He said all this, and much more, to Mr. Sewell the summer after he sold\nout, when the minister and his wife stopped at Lapham on their way", "WHEN Bartley Hubbard went to interview Silas Lapham for the \"Solid Men\nof Boston\" series, which he undertook to finish up in The Events, after" ], [ "happened to look round at a new house some one was putting up, and I\nsaw the whole family in the window. It appears that Mr. Lapham is\nbuilding the house.\"", "When the spring opened Colonel Lapham showed that he had been in\nearnest about building on the New Land. His idea of a house was a", "to these new acquaintances, and wrought them into the novel point of\nview which they were acquiring. When Mrs. Lapham returned home, she", "their differences of opinion and all their disputes about the house.\nHe knew just where to insist upon his own ideas, and where to yield.\nHe was really building several other houses, but he gave the Laphams", "delighted and secretly surprised to find the fellow there; and at\nsomething Seymour said the talk spread suddenly, and the pretty house\nhe was building for Colonel Lapham became the general theme. Young", "\"I suppose we might as well go on,\" said Mrs. Lapham at last, as they\nreturned to the buggy. The Colonel drove recklessly toward the", "Lapham started the mare up and drove swiftly homeward. At last his\nwife stopped crying and began trying to find her pocket. \"Here, take", "Irene bustling about in the compartment, making her mother comfortable\nfor the journey; but Mrs. Lapham did not lift her head. The train\nmoved off, and he went heavily back to his business.", "Then he told of his encounter with the Lapham family in their new\nhouse. At the end his mother merely said, \"It is getting very common\ndown there,\" and she did not try to oppose anything further to his\nscheme.", "The foreman went about with Mrs. Lapham, showing her where the doors\nwere to be; but Lapham soon tired of this, and having found a pine", "Nothing gave Lapham so much satisfaction in the whole construction of\nhis house as the pile-driving. When this began, early in the summer, he", "Up to a certain point in their prosperity Mrs. Lapham had kept strict\naccount of all her husband's affairs; but as they expanded, and ceased", "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham.", "from the cottage. A hospitable smell of supper filled the air, and\nMrs. Lapham was on the veranda, with that demand in her eyes for her", "Mrs. Lapham was silent a while. \"No,\" she said finally; \"we've always\ngot along well enough here, and I guess we better stay.\"", "horses, and Lapham spent it; his wife spent on rich and rather ugly\nclothes and a luxury of household appointments. Lapham had not yet", "There was not really a great deal to look at when Lapham arrived on the\nground in his four-seated beach-wagon. But the walls were up, and the", "LAPHAM and his wife continued talking after he had quelled the\ndisturbance in his daughters' room overhead; and their talk was not\naltogether of the new house.", "Lapham which she would have found hard to bear; but now she almost\nwelcomed them. At the end of three days Lapham returned, and his wife", "hardly known it till the summer before this story opens, when Mrs.\nLapham and her daughter Irene had met some other Bostonians far from\nBoston, who made it memorable. They were people whom chance had" ], [ "Bartley saw his opportunity at the word paint, and cut in. \"And you\nsay, Mr. Lapham, that you discovered this mineral paint on the old farm\nyourself?\"", "\"Well, Silas Lapham,\" returned his wife, \"I do believe you've got\nmineral paint on the brain. Do you suppose a fellow like young Corey,", "\"Probably carousing with the boon Lapham somewhere. He left me\nyesterday afternoon to go and offer his allegiance to the Mineral Paint\nKing, and I haven't seen him since.\"", "him into the business. Ten years ago he, Silas Lapham, had come to\nBoston a little worse off than nothing at all, for he was in debt for", "\"Well, what is it, Silas?\" asked his wife when the time came. \"Any\nmore big-bugs wanting to go into the mineral paint business with you?\"\n\n\"Something better than that.\"", "paint. And Mis' Lapham was with me every time. No hang back about\nHER. I tell you she was a WOMAN!\"", "but this scheme of going into the mineral-paint business shows that you\nhave inherited something of my feeling for colour.\"", "he could put in a certain sum for this purpose, they would go in with\nhim. He should run the works at Lapham and manage the business in", "\"I shouldn't at all mind its having a little mineral paint on it. I'll\nuse my influence with Colonel Lapham--if I ever have any--to have his\npaint scraped off the landscape.\"", "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham.", "instinctively kept out of everything of the kind. But he has got to do\nsomething. What shall he do? He says mineral paint, and really I don't", "what I think it is, I'm going to work it. And if father hadn't had\nsuch a long name, I should call it the Nehemiah Lapham Mineral Paint.", "roared Bartley. \"It's PAINT! It's mineral paint--Lapham's paint!\"", "that didn't have 'Lapham's Mineral Paint--Specimen' on it in the three\ncolours we begun by making.\" Bartley had taken his seat on the", "other mineral paint out of the market. Why' says he, 'it'll drive 'em\nright into the Back Bay!' Of course, I didn't know what the Back Bay", "By the time this letter came, Lapham had gone to his business, and the\nmother carried it to Penelope to talk over. \"What do you make out of", "Lapham lifted his head and looked at the young man, deeply moved.\n\n\"It's the best paint in God's universe,\" he said with the solemnity of\nprayer.", "paint, might recover and he could start again. Lapham had not agreed\nwith him. When his reverses first began it had seemed easy for him to", "With that competition, you know what your plant at Lapham would be\nworth, and what the shrinkage on your manufactured stock would be.\nBetter sell out to them,\" he concluded, \"if they will buy.\"", "and talked paint with Mr. Lapham till midnight. We didn't settle\nanything till this morning coming up on the boat.\"" ], [ "\"I hinted nothing,\" said Mrs. Corey, descending to the weakness of\ndefending herself. \"But I saw quite enough to convince me that the\ngirl is in love with Tom, and the mother knows it.\"", "\"No, no, my dear,\" he argued; \"merely imaginative. And I can even\nimagine that little thing finding Tom just the least bit slow, at", "\"She is very pretty, and she is well-behaved; but there is nothing of\nher. She is insipid; she is very insipid.\"\n\n\"But Tom seemed to like her flavour, such as it was?\"", "praises one woman, you still think he's in love with another. Do you\nmean that because Tom didn't praise the elder sister so much, he HAS\nspoken to HER?\"", "\"It seems to me that the way has been found already. Tom has told his\nlove to the right one, and the wrong one knows it. Time will do the\nrest.\"", "\"We can't ignore Tom's intimacy with them--it amounts to that; it will\nprobably continue even if it's merely a fancy, and we must seem to know", "\"I wish you were. And yet I can't say that I do. Those things are\nvery serious with girls. I shouldn't like Tom to have been going to\nsee those people if he meant nothing by it.\"", "\"Oh, she'll be an affectionate little thing with Tom too, you may be\nsure,\" said Nanny. \"And that characterless capability becomes the most", "certain sort of bringing up. I should prefer Tom to marry a girl with\nanother sort, and this business venture of his increases the chances\nthat he won't. That's all.\"", "\"Oh, I'm sure of that, Tom. I'm sure that we shall all be fond of\nher,--for your sake at first, even--and I hope she'll like us.\"", "\"Tom doesn't get on with such people.\"\n\n\"Oh, you wish him to marry her, I see.\"\n\n\"No, no.\"", "\"Yes,\" said Bromfield Corey. \"Tom has had the pleasure which I hope\nfor of seeing you all. I hope you're able to make him useful to you", "\"I don't see how. I dare say Mamma Lapham knows whether Tom is in love\nwith her daughter or not; and no doubt Papa Lapham knows it at second", "in support of the life of idleness. It appears that he wishes to do\nsomething--to do something for himself. I am afraid that Tom is\nselfish.\"", "\"Oh, she's a merry little grig, you can see that, and there's no harm\nin her. I can understand a little why a formal fellow like Tom should", "all follow. He dangles because he must, and doesn't know what to do\nwith his time, and because they seem to like it. I dare say that Tom", "These things continually happen in novels; and the Coreys, as they had\nalways promised themselves to do, made the best, and not the worst of\nTom's marriage.", "money for her charity, and then seeming to drop it. Besides, it seemed\nto her that she ought somehow to recognise the business relation that\nTom had formed with the father; they must not think that his family", "and he waited in jealous impatience to see if Tom Corey would offer his\narm to Irene. He gave it to that big girl they called Miss Kingsbury,", "more sympathetic listener than his own son. The clear mind which\nproduced nothing but practical results reflected everything with\ncharming lucidity; and it must have been this which endeared Tom Corey" ], [ "himself. He perceived how far apart in all their experiences and\nideals the Lapham girls and his sisters were; how different Mrs. Lapham", "\"Perhaps he has, after all.\"\n\n\"No,\" said Mrs. Lapham. \"She pleases him when he sees her. But he\ndoesn't try to see her.\"", "\"I don't see how. I dare say Mamma Lapham knows whether Tom is in love\nwith her daughter or not; and no doubt Papa Lapham knows it at second", "\"I fancy that's the way with the Lapham family,\" said the young man,\nsmilingly. \"But they are very good people. The other daughter is\nhumorous.\"", "both have preferred to have Tom marry in his own set; the Laphams are\nabout the last set we could have wished him to marry into. They ARE", "\"Well,\" said Lapham, tacitly granting this point, and leaning back in\nhis chair in supreme content. \"Did you ever see much nicer girls\nanywhere?\"", "\"She is very pretty, and she is well-behaved; but there is nothing of\nher. She is insipid; she is very insipid.\"\n\n\"But Tom seemed to like her flavour, such as it was?\"", "talk like her.\" She gave the shaving a little toss from her, and took\nthe parasol up across her lap. The unworldliness of the Lapham girls", "straight, I don't know what would become of me.\" \"My other daughter,\"\nsaid Lapham, indicating a girl with eyes that showed large, and a face", "\"Tom,\" cried his mother, \"why do you think Mr. Lapham has taken you\ninto business so readily? I've always heard that it was so hard for\nyoung men to get in.\"", "\"I hinted nothing,\" said Mrs. Corey, descending to the weakness of\ndefending herself. \"But I saw quite enough to convince me that the\ngirl is in love with Tom, and the mother knows it.\"", "\"Well, then, I'll tell you just what it is, Silas Lapham. He came\nhere\"--she looked about the room and lowered her voice--\"to see you\nabout Irene, and then he hadn't the courage.\"", "\"Well, mother,\" he said promptly, \"I have made an engagement with Mr.\nLapham.\"\n\n\"Have you, Tom?\" she asked faintly.", "\"Tchk!\" Mrs. Lapham fell back against the carriage cushions. \"I\ndeclare, to see her willing to take the man that we all thought wanted\nher sister! I can't make it seem right.\"", "\"I do,\" said Mrs. Lapham. \"And I want him to see her without any of\nyour connivance, Silas. I'm not going to have it said that I put my", "\"Then, of course, it will be very handsome. I suppose the young ladies\nare very much taken up with it; and Mrs. Lapham.\"", "Mrs. Lapham did not hasten to return to her guest. In her own girlhood\nit was supposed that if a young man seemed to be coming to see a girl,", "Lapham glanced at the bay-window in the reception-room, where he sat\nwith his girls on the trestles when Corey first came by; and then he", "\"Yes, it's about Miss Lapham. I am greatly attached to her--you'll\nexcuse my saying it; I couldn't excuse myself if I were not.\"", "They were people who could value Lapham's behaviour as Tom reported it\nto them. They were proud of him, and Bromfield Corey, who found a" ], [ "that there had been no engagement between Corey and Penelope, and that\nit was she who had forbidden it. In the closeness of interest and\nsympathy in which their troubles had reunited them, they confessed to", "\"Yes, that's true,\" she admitted, with a conscious flush. \"I hope he\nwon't think Pen's known about it all this while.\"\n\n\n\nXXIV.", "from the misery to come--the misery which had come already to Penelope\nand herself, and that must come to Irene and her father. She started\nwhen she definitely thought of her husband, and thought with what", "\"Oh no. He hasn't fallen in love with Irene at all. If he had, it\nwouldn't matter about the intellect.\"\n\nPenelope let the self-contradiction pass.", "facts as she could from Penelope. She did not reproach him. Here was\na case in which his self-reproach must be sufficiently sharp without", "\"I haven't seen Pen so much like herself since it happened. I declare,\nwhen I see the way she came out to-night, just to please you, I don't\nknow as I want you should get over all your troubles right away.\"", "\"It has indeed! But there's no mistake about my loving you, Penelope,\"\nhe said; and the old-fashioned name, at which she had often mocked, was\nsweet to her from his lips.", "In this view it did seem improbable, and Mrs. Lapham was shaken. She\ncould only say, \"Penelope felt just the way I did about it.\"", "He was silent; then he said desperately--\n\n\"Penelope, she is very young; and perhaps--perhaps she might meet----\"", "more ever since. She hasn't mind enough.\" \"I didn't know that a man\nfell in love with a girl's intellect,\" said Penelope quietly.", "and questioning his face with a bewildered gaze. \"You MUST know--she\nmust have told you--she must have guessed----\" Penelope turned white,", "\"Wait. We must understand each other,\" said Penelope, rising from her\nseat to prevent an advance he was making from his; \"I want you to", "\"No, no, my dear,\" he argued; \"merely imaginative. And I can even\nimagine that little thing finding Tom just the least bit slow, at", "the car; and whenever he was going to say yes, he could not open his\nlips. At the same time he could not help feeling that Penelope had a", "\"O Pen!\" she whispered, with her heart in her face; and Penelope had no\ntime for mockery before he was at the steps.", "\"He hasn't kept coming a great deal, yet,\" suggested Penelope.\n\n\"No; I know he hasn't. But if he--if he should?\"\n\n\"Then I should think he wanted to.\"", "\"I've wished a hundred times they hadn't asked us; but it's too late to\nthink about that now. The question is, what are we going to do about\nPenelope?\"", "\"Well, Pen, I wouldn't use you so,\" she whimpered.\n\nPenelope threw herself on the bed beside her.", "the comfort we had in the beginning; we can't help ourselves; and we\nshould only make bad worse by trying. Unless we can look to Tom's\ninamorata herself for help.\"", "myself the other night that they were not to be dreaded.\" She rose, and\nput her arm round his neck. \"And I wish you joy, Tom! If she's half as" ], [ "them. You're a thief, Milton K. Rogers, and you stole money I lent\nyou.\" Rogers sat listening, as if respectfully considering the", "the day they had driven out to Brookline. \"Milton K. Rogers is a\nrascal, if you want to know; or else all the signs fail. But I guess", "Rogers. And I told him so last night.\"", "Rogers, but had heard of the patent in another way; and Lapham was\nastonished in the afternoon, when his boy came to tell him that Rogers\nwas in the outer office, and wished to speak with him.", "The Colonel laughed scoffingly. \"Well, when Milton K. Rogers don't\nknow which side his bread's buttered on! I don't understand,\" he added", "After a moment Mrs. Lapham asked, \"Is it--Rogers?\"\n\n\"It's Rogers.\"\n\n\"I didn't want you should get in any deeper with him.\"", "\"If you think I'm going to help you whip the devil round the stump,\nyou're mistaken in your man, Milton Rogers,\" said Lapham, lighting a", "have made anybody else rich. But you can't make Milton K. Rogers rich,\nany more than you can fat a hide-bound colt. It ain't in him. He'd", "it's going to build car-works right by those mills, and it may want\nthem. And Milton K. Rogers knew it when he turned 'em in on me.\"", "meetings. He went back to his first connection with Rogers, and he put\nbefore Sewell hypothetically his own conclusions in regard to the\nmatter.", "arranged the whole thing with Rogers, and I hope you'll be satisfied to\nknow that he owes me twenty thousand dollars, and that I've got", "Rogers looked compassionately at him, but he answered, with unvaried\ndryness, \"I did not think that necessary.\"", "\"Oh, indeed!\" said Rogers; \"I think he will see ME!\" and he pressed\nforward.", "something, when he had thought it worth nothing; and when the\ntransaction was closed, he asked the purchaser rather eagerly if he\nknew where Rogers was; it was Lapham's secret belief that Rogers had", "about Rogers, I might trust you a little. But I see I can't. I presume\nas long as you live you'll have to be nosed about like a perfect--I\ndon't know what!\"", "trouble. He's harassed to death, and he was awake half the night,\ntalking about it. That abominable Rogers has got a lot of money away", "Rogers came promptly at the appointed time, and Lapham handed him the\nletter. He must have taken it all in at a glance, and seen the", "desperate pretext to see Penelope; but when he opened the door he saw,\nwith a certain absence of surprise, that it was Rogers. He was", "\"I'm glad to be let live,\" said Lapham stubbornly, \"but I hadn't\nanything to make up to Milton K. Rogers. And if God has let me live\nfor that----\"", "It was perfectly true. Any lawyer would have told him the same. He\ncould not help admiring Rogers for his ingenuity, and every selfish" ], [ "\"I do,\" said Mrs. Lapham. \"And I want him to see her without any of\nyour connivance, Silas. I'm not going to have it said that I put my", "After a moment Mrs. Lapham asked, \"Is it--Rogers?\"\n\n\"It's Rogers.\"\n\n\"I didn't want you should get in any deeper with him.\"", "Lapham laughed, but she urged so many reasons for her belief in Rogers\nthat Lapham began to rekindle his own faith a little. He ended by", "\"You know as well as I do, Silas,\" said Mrs. Lapham, with an inquiring\nlook at him for what lay behind his words.", "\"I knew that Mrs. Lapham would know what was going on,\" said Rogers\nmore candidly, but not more virtuously, for that he could not, \"and I", "Mrs. Lapham had a woman's passion for fixing responsibility; she could\nnot help saying, as soon as acquitted, \"I warned you against him,\nSilas. I told you not to let him get in any deeper with you.\"", "This answer satisfied Mrs. Lapham rather with the fact than with her\nhusband. \"Well, I guess I wouldn't brag, Silas,\" she said.", "\"Perhaps he has, after all.\"\n\n\"No,\" said Mrs. Lapham. \"She pleases him when he sees her. But he\ndoesn't try to see her.\"", "Mrs. Lapham was silent a while. Then she said: \"Well, I hope you're\nsatisfied now.\"", "\"Truly, Si? Well, I'm satisfied,\" said Mrs. Lapham, with a deep\ntremulous breath. \"The Lord has been good to you, Silas,\" she", "Mrs. Lapham rose and said, with her face from him, as she turned\ntowards the door, \"It's all right, Silas. I shan't ever bring it up\nagainst you.\"", "\"Well, I should think it would be a pleasure to him,\" said Mrs. Lapham\njudicially.", "\"Well, then, I'll tell you just what it is, Silas Lapham. He came\nhere\"--she looked about the room and lowered her voice--\"to see you\nabout Irene, and then he hadn't the courage.\"", "\"All right, Silas,\" said Mrs. Lapham; \"I suppose you know what you're\nabout. Don't build on it for me, that's all.\"", "Si,\" said Mrs. Lapham, recurring to the parlance of her youth in her\npathos at her husband's kindness. She sighed anxiously, for she felt", "\"And I'm set she shall,\" said Lapham with the loud obstinacy of a man\nwhose women always have their way.\n\nMrs. Lapham was not supported by the sturdiness of his proclamation.", "This seemed to satisfy Mrs. Lapham as to her husband, and she said in\ndefence of Corey, \"Why, I don't see what HE'S done. It's all been our\ndoing.\"", "Mrs. Lapham sat discomfited. All that she could say was, \"Well, I want\nyou should ask yourself whether Rogers would ever have gone wrong, or", "said Lapham. \"All I had to do was to keep quiet about that other\ncompany. It was Rogers and his property right over again. He liked", "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham." ], [ "\"No; you had better face the truth, Silas. It was no chance at all.\nYou crowded him out. A man that had saved you! No, you had got greedy,", "Silas. You had made your paint your god, and you couldn't bear to let\nanybody else share in its blessings.\"", "As Sewell afterwards told his wife, he could see that the loss of his\nfortune had been a terrible trial to Lapham, just because his", "as the last expression of his sense of success. \"O Silas!\"", "After a silence which he did not seem inclined to break, \"Silas,\" she\nasked, \"who is 'Mrs. M.'?\"\n\nHe stared at her. \"I don't know what you're talking about.\"", "\"No. You didn't want I should press him either; and I had to do one or\nthe other. And so I got in deeper.\"\n\n\"Silas,\" said his wife, \"I'm afraid I made you!\"", "In the middle of the night she called to him, in a voice which the\ndarkness rendered still more deeply troubled: \"Are you awake, Silas?\"\n\n\"Yes; I'm awake.\"", "She tore it in two. \"I will take a cheque for a hundred, Silas,\" she\nsaid.\n\n\"Why?\" he asked, looking up guiltily at her.", "himself at Nantasket with the event so perceptibly on his mind that his\nwife asked: \"Well, Silas, has Rogers been borrowing any more money of", "The colossal fortune of Colonel Silas Lapham lay at the bottom of a\nhole which an uprooted tree had dug for him, and which for many years", "\"O Silas,\" she faltered, \"they'll think you set it on fire to get the\ninsurance!\"", "\"We must, Si,\" returned his wife, with gentle gratitude. Lapham\ngroaned. \"Where does he live?\" she asked.\n\n\"On Bolingbroke Street. He gave me his number.\"", "He went out, and Lapham remained staring at the door which closed upon\nhim. This was his reward for standing firm for right and justice to\nhis own destruction: to feel like a thief and a murderer.", "\"Oh, let me cry, Silas! It'll help me. I shall be all right in a\nminute. Don't you mind.\" She sobbed herself quiet. \"It does seem too", "\"Well, then, I'll tell you just what it is, Silas Lapham. He came\nhere\"--she looked about the room and lowered her voice--\"to see you\nabout Irene, and then he hadn't the courage.\"", "Perhaps because the process of his ruin had been so gradual, perhaps\nbecause the excitement of preceding events had exhausted their capacity\nfor emotion, the actual consummation of his bankruptcy brought a", "\"Spend it, then,\" said his wife; \"don't throw it away! And how came\nyou to have so much more money than you know what to do with, Silas\nLapham?\" she added.", "\"Silas,\" she asked, after a long gaze at him, \"why didn't you tell me\nyou had Jim Millon's girl there?\"", "relief that was almost triumph, lapsed again into severity. \"Silas\nLapham, if you was to die the next minute, is this what you started to\ntell me?\"", "perfectly bewitched with that fellow! You've lost your head, Silas\nLapham, and if you don't look out you'll lose your money too.\"" ], [ "happened to look round at a new house some one was putting up, and I\nsaw the whole family in the window. It appears that Mr. Lapham is\nbuilding the house.\"", "When the spring opened Colonel Lapham showed that he had been in\nearnest about building on the New Land. His idea of a house was a", "neighbourhood in to tea, as her mother had done in the country in her\nyounger days. Lapham's idea of hospitality was still to bring a", "delighted and secretly surprised to find the fellow there; and at\nsomething Seymour said the talk spread suddenly, and the pretty house\nhe was building for Colonel Lapham became the general theme. Young", "their differences of opinion and all their disputes about the house.\nHe knew just where to insist upon his own ideas, and where to yield.\nHe was really building several other houses, but he gave the Laphams", "Nothing gave Lapham so much satisfaction in the whole construction of\nhis house as the pile-driving. When this began, early in the summer, he", "Then he told of his encounter with the Lapham family in their new\nhouse. At the end his mother merely said, \"It is getting very common\ndown there,\" and she did not try to oppose anything further to his\nscheme.", "Mrs. Lapham was silent a while. \"No,\" she said finally; \"we've always\ngot along well enough here, and I guess we better stay.\"", "\"Well, I don't want to build on Beacon Street, Si,\" said Mrs. Lapham\ngently.\n\n\"Just as you please, Persis. I ain't in any hurry to leave.\"", "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham.", "from the cottage. A hospitable smell of supper filled the air, and\nMrs. Lapham was on the veranda, with that demand in her eyes for her", "hardly known it till the summer before this story opens, when Mrs.\nLapham and her daughter Irene had met some other Bostonians far from\nBoston, who made it memorable. They were people whom chance had", "\"I suppose we might as well go on,\" said Mrs. Lapham at last, as they\nreturned to the buggy. The Colonel drove recklessly toward the", "The foreman went about with Mrs. Lapham, showing her where the doors\nwere to be; but Lapham soon tired of this, and having found a pine", "of the house, and he showed himself such a master in regard to all the\npractical details that Mrs. Lapham began to feel a motherly affection", "were going directly into the country instead of to the seaside first;\nbut Lapham, who usually remained in town long after they had gone, knew\nall the difference. For his nerves there was no mechanical sense of", "not care to have the broker name him or describe the house definitely\nunless parties meant business. Again the broker said yes; and he\nadded, as a joke Lapham would appreciate, that he had half a dozen", "There was not really a great deal to look at when Lapham arrived on the\nground in his four-seated beach-wagon. But the walls were up, and the", "\"We must, Si,\" returned his wife, with gentle gratitude. Lapham\ngroaned. \"Where does he live?\" she asked.\n\n\"On Bolingbroke Street. He gave me his number.\"", "him now, and the fellow did nothing to disturb this impression. He\nentered into that brief but intense intimacy with the Laphams which the\nsympathetic architect holds with his clients. He was privy to all" ], [ "him into the business. Ten years ago he, Silas Lapham, had come to\nBoston a little worse off than nothing at all, for he was in debt for", "\"Silas Lapham is a fine type of the successful American. He has a\nsquare, bold chin, only partially concealed by the short reddish-grey", "\"Well, Silas Lapham,\" returned his wife, \"I do believe you've got\nmineral paint on the brain. Do you suppose a fellow like young Corey,", "WHEN Bartley Hubbard went to interview Silas Lapham for the \"Solid Men\nof Boston\" series, which he undertook to finish up in The Events, after", "\"Well, then, I'll tell you just what it is, Silas Lapham. He came\nhere\"--she looked about the room and lowered her voice--\"to see you\nabout Irene, and then he hadn't the courage.\"", "The colossal fortune of Colonel Silas Lapham lay at the bottom of a\nhole which an uprooted tree had dug for him, and which for many years", "\"Spend it, then,\" said his wife; \"don't throw it away! And how came\nyou to have so much more money than you know what to do with, Silas\nLapham?\" she added.", "\"No. But it puts him where he can make the advances without demeaning\nhimself, and it puts you where you can't. Now, look here, Silas Lapham!", "Mrs. Lapham dropped into a chair, and watched his bulk shaken with\nsmothered laughter. \"Silas Lapham,\" she gasped, \"if you try to get off\nany more of those things on me----\"", "anywhere, five minutes a day are something in the course of a year.\nSimple, clear, bold, and straightforward in mind and action, Colonel\nSilas Lapham, with a prompt comprehensiveness and a never-failing", "\"Pshaw! YOU scared, Silas Lapham?\" cried his wife proudly. \"I should\nlike to see the thing that ever scared you; or the knockdown that YOU\ncouldn't pick up from!\"", "His wife began, \"Why, it's just this, Silas Lapham!\" and then she broke\noff to say, \"Well, you may wait, now--starting me wrong, when it's hard\nenough anyway.\"", "\"Don't you suppose I can see through you I declare, Silas Lapham, if I\ndidn't know different, I should say you were about the biggest fool!", "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham.", "relief that was almost triumph, lapsed again into severity. \"Silas\nLapham, if you was to die the next minute, is this what you started to\ntell me?\"", "prosperity had been so gross and palpable; and he had now a burning\ndesire to know exactly how, at the bottom of his heart, Lapham still", "Up to a certain point in their prosperity Mrs. Lapham had kept strict\naccount of all her husband's affairs; but as they expanded, and ceased", "As Sewell afterwards told his wife, he could see that the loss of his\nfortune had been a terrible trial to Lapham, just because his", "Bartley saw his opportunity at the word paint, and cut in. \"And you\nsay, Mr. Lapham, that you discovered this mineral paint on the old farm\nyourself?\"", "\"Mr. Lapham,\" he wrote, \"passed rapidly over the story of his early\nlife, its poverty and its hardships, sweetened, however, by the" ], [ "They were people who could value Lapham's behaviour as Tom reported it\nto them. They were proud of him, and Bromfield Corey, who found a", "This seemed to satisfy Mrs. Lapham as to her husband, and she said in\ndefence of Corey, \"Why, I don't see what HE'S done. It's all been our\ndoing.\"", "\"Corey? Oh!\" said Lapham, affecting not to have thought she could mean\nCorey. \"He proposed it.\"\n\n\"Likely!\" jeered his wife, but with perfect amiability.", "\"I hinted nothing,\" said Mrs. Corey, descending to the weakness of\ndefending herself. \"But I saw quite enough to convince me that the\ngirl is in love with Tom, and the mother knows it.\"", "\"I don't wish to help it, Tom,\" said Mrs. Corey, with a cheerfullness\nwhich the thought of the Laphams had never brought her before. \"I am", "Lapham gathered himself together as well as he could. He had not yet\nforgiven Corey for Mrs. Lapham's insinuation that he would feel himself", "\"They're distant acquaintances of mine,\" returned Mrs. Lapham quietly;\n\"and this young Corey is a clerk of yours. And I want we should hold", "both have preferred to have Tom marry in his own set; the Laphams are\nabout the last set we could have wished him to marry into. They ARE", "\"Perhaps he has, after all.\"\n\n\"No,\" said Mrs. Lapham. \"She pleases him when he sees her. But he\ndoesn't try to see her.\"", "\"I don't see how. I dare say Mamma Lapham knows whether Tom is in love\nwith her daughter or not; and no doubt Papa Lapham knows it at second", "and the handsome old fellow whom Mrs. Corey had introduced as her\ncousin took Irene out. Lapham was startled from the misgiving in which", "\"I don't believe young men can tell whether girls are conscious or\nnot,\" said Mrs. Corey. \"But I am not saying the Miss Laphams are", "Lapham,\" but Mrs. Lapham had her doubts whether it would not be a\nservile imitation to say \"Dear Mrs. Corey\" in return; and she was", "\"Oh, that was nothing!\" cried Lapham. \"There's nothing Mrs. Lapham\nlikes better than a chance of that sort. Mrs. Corey and the young\nladies well?\"", "\"Well, Silas Lapham,\" returned his wife, \"I do believe you've got\nmineral paint on the brain. Do you suppose a fellow like young Corey,", "He was in this successful mood when word came to him that Mrs. Lapham\nwas going; Tom Corey seemed to have brought it, but he was not sure.", "Lapham silently turned his whip over and over in his hand and waited.\n\n\"Did you suppose,\" she asked at last, \"that that young Corey had been\ncoming to see Irene?\"", "When the latter turned from Irene to make one of these excursions into\nthe general talk, young Corey talked to her; and Lapham caught some", "\"Yes,\" said Mrs. Corey, without assenting.\n\n\"I mean the Colonel and myself,\" explained Mrs. Lapham.\n\n\"Oh yes--yes!\" said Mrs. Corey.", "\"Oh yes, I began it,\" confessed Mrs. Lapham. \"Pen,\" she broke out,\n\"what do you suppose he means by it?\"\n\n\"Who? Mr. Corey's father? What does the Colonel think?\"" ], [ "\"I hinted nothing,\" said Mrs. Corey, descending to the weakness of\ndefending herself. \"But I saw quite enough to convince me that the\ngirl is in love with Tom, and the mother knows it.\"", "\"I'm afraid it wouldn't matter to Tom if he didn't; and I don't know\nthat I should care,\" said Corey, betraying the fact that he had perhaps", "He started toward the door of the drawing-room to take leave of the\nladies; but Tom Corey was at his elbow, saying, \"I think Mrs. Lapham is", "more sympathetic listener than his own son. The clear mind which\nproduced nothing but practical results reflected everything with\ncharming lucidity; and it must have been this which endeared Tom Corey", "\"Why, I don't know exactly what you mean, mother. I suppose he likes\nme.\"\n\nMrs. Corey could not say just what she meant. She answered,\nineffectually enough--", "\"Yes,\" said Bromfield Corey. \"Tom has had the pleasure which I hope\nfor of seeing you all. I hope you're able to make him useful to you", "\"Yes--yes, she is,\" said Mrs. Corey, at some cost.\n\n\"She's good, too,\" said Corey, \"and perfectly innocent and transparent.\nI think you will like her the better the more you know her.\"", "conscience against it, and I rather like him for it. I married for\nlove myself,\" said Corey, looking across the table at his wife.", "\"Yes, it has; it has continued the same,\" said Mrs. Corey, again\nexpressing the fact by a contradiction in terms. \"I think I must ask\nTom outright.\"", "\"If Tom must go into such a business,\" said Mrs. Corey, \"I'm glad James\napproves of it.\"", "\"You make me very happy,\" said Bromfield Corey. \"Very happy indeed.\nI've always had the idea that there was something in my son, if he", "\"Yes,\" said Mrs. Corey.\n\n\"Well,\" demanded her husband, at their first meeting after her\ninterview with their son, \"what did you say to Tom?\"", "These things continually happen in novels; and the Coreys, as they had\nalways promised themselves to do, made the best, and not the worst of\nTom's marriage.", "\"Oh! I know it,\" sighed Mrs. Corey. \"I wish Tom would be a little\nopener with me.\"", "\"It seems to me that the way has been found already. Tom has told his\nlove to the right one, and the wrong one knows it. Time will do the\nrest.\"", "\"I've been reading that book since you were down at Nantasket.\"\n\n\"Book?\" repeated Corey, while she reddened with disappointment. \"Oh\nyes. Middlemarch. Did you like it?\"", "\"Tom needn't earn his living,\" said Mrs. Corey, refusing her husband's\njest. \"There's still enough for all of us.\"", "excellences. Some of the more nervous and excitable said that Tom\nCorey was as sweet as he could live; but this perhaps meant no more\nthan the word alone. No man ever had a son less like him than", "hands, now open and now shut, and breathing hard. He heard quiet\ntalking beyond the portiere within, and presently Tom Corey came out.", "\"That is true,\" answered Corey, with meek conviction. \"I never thought\nof that.\"" ], [ "\"Tom,\" cried his mother, \"why do you think Mr. Lapham has taken you\ninto business so readily? I've always heard that it was so hard for\nyoung men to get in.\"", "paint, might recover and he could start again. Lapham had not agreed\nwith him. When his reverses first began it had seemed easy for him to", "him into the business. Ten years ago he, Silas Lapham, had come to\nBoston a little worse off than nothing at all, for he was in debt for", "Lapham lifted his head and looked at the young man, deeply moved.\n\n\"It's the best paint in God's universe,\" he said with the solemnity of\nprayer.", "\"I guess he believes in something else besides the paint,\" said Mrs.\nLapham.\n\n\"What do you mean?\"", "\"Well, Silas Lapham,\" returned his wife, \"I do believe you've got\nmineral paint on the brain. Do you suppose a fellow like young Corey,", "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham.", "paint. And Mis' Lapham was with me every time. No hang back about\nHER. I tell you she was a WOMAN!\"", "\"What then?\" echoed Lapham. \"Well, then, the fellow set down and told\nme, 'You've got a paint here,' says he, 'that's going to drive every", "Bartley saw his opportunity at the word paint, and cut in. \"And you\nsay, Mr. Lapham, that you discovered this mineral paint on the old farm\nyourself?\"", "Lapham acquiesced in the return to business. \"I didn't discover it,\"\nhe said scrupulously. \"My father found it one day, in a hole made by a", "\"There ain't money enough in this country to buy out my paint,\" said\nLapham, buttoning up his coat in a quiver of resentment. \"Good", "he could put in a certain sum for this purpose, they would go in with\nhim. He should run the works at Lapham and manage the business in", "Lapham which she would have found hard to bear; but now she almost\nwelcomed them. At the end of three days Lapham returned, and his wife", "By the time this letter came, Lapham had gone to his business, and the\nmother carried it to Penelope to talk over. \"What do you make out of", "\"We're about ninety miles from Brandon. The Brandon's a good paint,\"\nsaid Lapham conscientiously. \"Like to show you round up at our place\nsome odd time, if you get off.\"", "business. What is he afraid of?\" demanded Lapham angrily. \"Does he\nthink I'm going to jump at a chance to get in with him, if he gives me", "in support of the life of idleness. It appears that he wishes to do\nsomething--to do something for himself. I am afraid that Tom is\nselfish.\"", "Lapham gathered himself together as well as he could. He had not yet\nforgiven Corey for Mrs. Lapham's insinuation that he would feel himself", "\"Don't hurry,\" said Lapham. \"Sit still! I want to tell you about this\npaint,\" he added, in a voice husky with the feeling that his hearer" ], [ "\"I fancy that's the way with the Lapham family,\" said the young man,\nsmilingly. \"But they are very good people. The other daughter is\nhumorous.\"", "straight, I don't know what would become of me.\" \"My other daughter,\"\nsaid Lapham, indicating a girl with eyes that showed large, and a face", "himself. He perceived how far apart in all their experiences and\nideals the Lapham girls and his sisters were; how different Mrs. Lapham", "American Woman, and to redeem it from the national reproach of Daisy\nMillerism. Of Colonel Lapham's family, we will simply add that it\nconsists of two young lady daughters.", "Mrs. Lapham could not help putting in on behalf of her daughters: \"I\nguess if it was left to the girls to say, we shouldn't leave it at all.\"", "Lapham?\" she said, shaking hands in quick succession with Mrs. Lapham\nand Irene, and now addressing herself to him.", "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham.", "talk like her.\" She gave the shaving a little toss from her, and took\nthe parasol up across her lap. The unworldliness of the Lapham girls", "\"Mrs. Lapham, yes. I don't think the young ladies care so much about\nit.\"", "years. If Mrs. Lapham had rung in the parlour, her second girl would\nhave gone to the street door to see who was there. She went upstairs", "Mrs. Lapham attempted to say something, and could not. She went out\nand opened Irene's door. The girl lifted her head drowsily from her", "It was she and her daughters who would be chiefly annoyed by the Lapham\nconnection; she knew that. But she had to begin to bear the burden by", "\"No,\" said his mother. \"Is Mrs. Lapham well? And her daughter?\"", "\"I don't think that is exactly the case with the Lapham family,\" said\nthe son, smiling. \"The father and mother rather apologised about not\ngetting time to read, and the young ladies by no means scorned it.\"", "Lapham which she would have found hard to bear; but now she almost\nwelcomed them. At the end of three days Lapham returned, and his wife", "hardly known it till the summer before this story opens, when Mrs.\nLapham and her daughter Irene had met some other Bostonians far from\nBoston, who made it memorable. They were people whom chance had", "\"Irene Lapham.\"", "LAPHAM and his wife continued talking after he had quelled the\ndisturbance in his daughters' room overhead; and their talk was not\naltogether of the new house.", "Lapham,\" but Mrs. Lapham had her doubts whether it would not be a\nservile imitation to say \"Dear Mrs. Corey\" in return; and she was", "\"Penelope?\" asked Mrs. Lapham, eased a little. \"She is at home. I\nwill go and call her.\" The Laphams had not yet thought of spending" ], [ "happened to look round at a new house some one was putting up, and I\nsaw the whole family in the window. It appears that Mr. Lapham is\nbuilding the house.\"", "\"We must, Si,\" returned his wife, with gentle gratitude. Lapham\ngroaned. \"Where does he live?\" she asked.\n\n\"On Bolingbroke Street. He gave me his number.\"", "When the spring opened Colonel Lapham showed that he had been in\nearnest about building on the New Land. His idea of a house was a", "Then he told of his encounter with the Lapham family in their new\nhouse. At the end his mother merely said, \"It is getting very common\ndown there,\" and she did not try to oppose anything further to his\nscheme.", "Lapham started the mare up and drove swiftly homeward. At last his\nwife stopped crying and began trying to find her pocket. \"Here, take", "from the cottage. A hospitable smell of supper filled the air, and\nMrs. Lapham was on the veranda, with that demand in her eyes for her", "LAPHAM and his wife continued talking after he had quelled the\ndisturbance in his daughters' room overhead; and their talk was not\naltogether of the new house.", "delighted and secretly surprised to find the fellow there; and at\nsomething Seymour said the talk spread suddenly, and the pretty house\nhe was building for Colonel Lapham became the general theme. Young", "\"I suppose we might as well go on,\" said Mrs. Lapham at last, as they\nreturned to the buggy. The Colonel drove recklessly toward the", "Mrs. Lapham repeated their name. Lapham nodded his head. \"Do you know\nthem? What business is he in?\"\n\n\"I guess he ain't in anything,\" said Lapham.", "years. If Mrs. Lapham had rung in the parlour, her second girl would\nhave gone to the street door to see who was there. She went upstairs", "By the time this letter came, Lapham had gone to his business, and the\nmother carried it to Penelope to talk over. \"What do you make out of", "\"Well, I don't want to build on Beacon Street, Si,\" said Mrs. Lapham\ngently.\n\n\"Just as you please, Persis. I ain't in any hurry to leave.\"", "\"Then, of course, it will be very handsome. I suppose the young ladies\nare very much taken up with it; and Mrs. Lapham.\"", "not care to have the broker name him or describe the house definitely\nunless parties meant business. Again the broker said yes; and he\nadded, as a joke Lapham would appreciate, that he had half a dozen", "Lapham which she would have found hard to bear; but now she almost\nwelcomed them. At the end of three days Lapham returned, and his wife", "The matter dropped, and the Laphams lived on as before, with joking\nrecurrences to the house on the water side of Beacon. The Colonel", "Mrs. Lapham suffered him to enjoy the sight twenty or thirty times\nbefore she said, \"Well, now drive on, Si.\"", "AFTER dropping Bartley Hubbard at the Events building, Lapham drove on\ndown Washington Street to Nankeen Square at the South End, where he had", "There was not really a great deal to look at when Lapham arrived on the\nground in his four-seated beach-wagon. But the walls were up, and the" ], [ "\"I fancy that's the way with the Lapham family,\" said the young man,\nsmilingly. \"But they are very good people. The other daughter is\nhumorous.\"", "When you come to know her. The words implied an expectation that the\ntwo families were to be better acquainted.\n\n\"Then she is more intellectual than her sister?\" Mrs. Corey ventured.", "straight, I don't know what would become of me.\" \"My other daughter,\"\nsaid Lapham, indicating a girl with eyes that showed large, and a face", "himself. He perceived how far apart in all their experiences and\nideals the Lapham girls and his sisters were; how different Mrs. Lapham", "\"Perhaps he has, after all.\"\n\n\"No,\" said Mrs. Lapham. \"She pleases him when he sees her. But he\ndoesn't try to see her.\"", "\"Well,\" said Lapham, tacitly granting this point, and leaning back in\nhis chair in supreme content. \"Did you ever see much nicer girls\nanywhere?\"", "The next day, at the first moment of finding herself alone with her\neldest daughter, Mrs. Lapham asked, as if knowing that Penelope must", "talk like her.\" She gave the shaving a little toss from her, and took\nthe parasol up across her lap. The unworldliness of the Lapham girls", "Mrs. Lapham smiled ruefully. \"She isn't really equal to him, Pen. I\nmisdoubted that from the first, and it's been borne in upon me more and", "\"She's got sense enough. But she ain't so practical as Irene. She's\nmore up in the clouds--more of what you may call a dreamer. Irene's", "than she had been, and helpfuller with him and her mother. Now and\nthen Lapham opened his troubled soul to her a little, letting his", "Mrs. Lapham could not help putting in on behalf of her daughters: \"I\nguess if it was left to the girls to say, we shouldn't leave it at all.\"", "The whole family joined in the discussion, and it appeared that they\nall had their opinions of the plays and actors. Mrs. Lapham brought\nthe talk back to literature. \"I guess Penelope does most of our\nreading.\"", "any of them; she was just as bright; and Lapham was aware that Irene\nwas not as bright, though when he looked at her face, triumphant in its", "Bartley laughed. \"That's the sort most of us marry.\"\n\n\"No, we don't,\" said Lapham. \"Most of us marry silly little girls\ngrown up to LOOK like women.\"", "years. If Mrs. Lapham had rung in the parlour, her second girl would\nhave gone to the street door to see who was there. She went upstairs", "It was she and her daughters who would be chiefly annoyed by the Lapham\nconnection; she knew that. But she had to begin to bear the burden by", "By the time this letter came, Lapham had gone to his business, and the\nmother carried it to Penelope to talk over. \"What do you make out of", "\"I don't think that is exactly the case with the Lapham family,\" said\nthe son, smiling. \"The father and mother rather apologised about not\ngetting time to read, and the young ladies by no means scorned it.\"", "Penelope had gone to her room, without waiting to be asked to advise or\ncriticise; but Irene had decided upon the paper, and on the whole, Mrs.\nLapham's note made a very decent appearance on the page." ], [ "\"I fancy that's the way with the Lapham family,\" said the young man,\nsmilingly. \"But they are very good people. The other daughter is\nhumorous.\"", "\"Well,\" said Lapham, tacitly granting this point, and leaning back in\nhis chair in supreme content. \"Did you ever see much nicer girls\nanywhere?\"", "straight, I don't know what would become of me.\" \"My other daughter,\"\nsaid Lapham, indicating a girl with eyes that showed large, and a face", "\"Then, of course, it will be very handsome. I suppose the young ladies\nare very much taken up with it; and Mrs. Lapham.\"", "\"Perhaps he has, after all.\"\n\n\"No,\" said Mrs. Lapham. \"She pleases him when he sees her. But he\ndoesn't try to see her.\"", "talk like her.\" She gave the shaving a little toss from her, and took\nthe parasol up across her lap. The unworldliness of the Lapham girls", "himself. He perceived how far apart in all their experiences and\nideals the Lapham girls and his sisters were; how different Mrs. Lapham", "Mrs. Lapham could not help putting in on behalf of her daughters: \"I\nguess if it was left to the girls to say, we shouldn't leave it at all.\"", "answered, with what composure she could, \"I will take your sisters,\"\nand then she made some natural inquiries about Lapham's affairs. \"Oh,", "American Woman, and to redeem it from the national reproach of Daisy\nMillerism. Of Colonel Lapham's family, we will simply add that it\nconsists of two young lady daughters.", "The next day, at the first moment of finding herself alone with her\neldest daughter, Mrs. Lapham asked, as if knowing that Penelope must", "Lapham leaned a little toward Mrs. Corey, and said of a picture which\nhe saw on the wall opposite, \"Picture of your daughter, I presume?\"", "than she had been, and helpfuller with him and her mother. Now and\nthen Lapham opened his troubled soul to her a little, letting his", "the inevitable. I think a Lapham dinner would be delightful.\" He\nlooked at her with delicate irony in his voice and smile, and she", "years. If Mrs. Lapham had rung in the parlour, her second girl would\nhave gone to the street door to see who was there. She went upstairs", "beautiful, as pretty as all the rest of them put together, but she was\nnot talking, and Lapham perceived that at a dinner-party you ought to", "When you come to know her. The words implied an expectation that the\ntwo families were to be better acquainted.\n\n\"Then she is more intellectual than her sister?\" Mrs. Corey ventured.", "\"She's a wonderful complexion,\" said the son unsatisfactorily. \"I\nshall want to be by when father and Colonel Lapham meet,\" he added,\nwith a smile.", "There was a barb in this that rankled after the ladies had gone; and on\ncomparing notes with her daughter, Mrs. Lapham found that a barb had\nbeen left to rankle in her mind also.", "and Mrs. Lapham, while keeping a more youthful outline, showed the\nsharp print of the crow's-foot at the corners of her motherly eyes, and" ], [ "them. You're a thief, Milton K. Rogers, and you stole money I lent\nyou.\" Rogers sat listening, as if respectfully considering the", "the day they had driven out to Brookline. \"Milton K. Rogers is a\nrascal, if you want to know; or else all the signs fail. But I guess", "The Colonel laughed scoffingly. \"Well, when Milton K. Rogers don't\nknow which side his bread's buttered on! I don't understand,\" he added", "Rogers, but had heard of the patent in another way; and Lapham was\nastonished in the afternoon, when his boy came to tell him that Rogers\nwas in the outer office, and wished to speak with him.", "have made anybody else rich. But you can't make Milton K. Rogers rich,\nany more than you can fat a hide-bound colt. It ain't in him. He'd", "After a moment Mrs. Lapham asked, \"Is it--Rogers?\"\n\n\"It's Rogers.\"\n\n\"I didn't want you should get in any deeper with him.\"", "it's going to build car-works right by those mills, and it may want\nthem. And Milton K. Rogers knew it when he turned 'em in on me.\"", "Rogers. And I told him so last night.\"", "\"If you think I'm going to help you whip the devil round the stump,\nyou're mistaken in your man, Milton Rogers,\" said Lapham, lighting a", "\"I'm glad to be let live,\" said Lapham stubbornly, \"but I hadn't\nanything to make up to Milton K. Rogers. And if God has let me live\nfor that----\"", "\"Oh, indeed!\" said Rogers; \"I think he will see ME!\" and he pressed\nforward.", "Rogers looked compassionately at him, but he answered, with unvaried\ndryness, \"I did not think that necessary.\"", "about Rogers, I might trust you a little. But I see I can't. I presume\nas long as you live you'll have to be nosed about like a perfect--I\ndon't know what!\"", "meetings. He went back to his first connection with Rogers, and he put\nbefore Sewell hypothetically his own conclusions in regard to the\nmatter.", "arranged the whole thing with Rogers, and I hope you'll be satisfied to\nknow that he owes me twenty thousand dollars, and that I've got", "Rogers came promptly at the appointed time, and Lapham handed him the\nletter. He must have taken it all in at a glance, and seen the", "It was perfectly true. Any lawyer would have told him the same. He\ncould not help admiring Rogers for his ingenuity, and every selfish", "something, when he had thought it worth nothing; and when the\ntransaction was closed, he asked the purchaser rather eagerly if he\nknew where Rogers was; it was Lapham's secret belief that Rogers had", "\"Please to sit down,\" he said; \"he'll see you pretty soon;\" and, with\nan air of some surprise, Rogers obeyed. His sere, dull-brown whiskers", "Lapham laughed, but she urged so many reasons for her belief in Rogers\nthat Lapham began to rekindle his own faith a little. He ended by" ] ]

[ "Where does the Lapham family build their new home?", "What does Tom Corey do in order to no longer rely on his fathers's savings?", "Who does Tom Corey reveal he loves?", "Who is Silas Lapham's former business partner?", "What happens as a result of Lapham's dealings with Rogers?", "What happens to the new home on Beacon Street after Milton K. Rogers reappears asking for money?", "Where do the Laphams have to move after the new home burns down?", "Who does everyone think Tom Corey is attracted to?", "Who does Penelope fear she will betray if she acts on her feelings for Tom Corey?", "Who is being interviewed at the beginning of the story?", "In what profession does Lapham gain his wealth?", "Where do the Laphams build their new home?", "Who joins the mineral paint business with the Laphams?", "Who does everyone assume Tom is romantically interested in?", "Which of the Lapham girls is Tom really interested in?", "Why does Penelope fear becoming romantically involved with Tom?", "Who is Milton Rogers?", "Why does Mrs. Lapham encourage Silas to financially support Rogers' endeavors?", "What causes Silas significant financial loss at the end of the story?", "What neighborhood did the Laphams decide to build theiir house in?", "How did Silas Lapham make his fortune?", "Who do the Laphams think Tom Corey is attracted to?", "Who does Tom Corey profess his love for?", "Who joins the Lapham's paint business in order to not rely on his father's support?", "What are the names of the Lapham's daughters?", "What street will the Lapham's new house be located on?", "Which of the Lapham's daughters is described as being more intelligent?", "Which of the Lapham's daughters is said to be the more comely of the two?", "Who is Milton K. Rogers?" ]

[ [ "The Back Bay neighborhood ", "Back Bay" ], [ "Joins the Lapham's paint business", "Works for the Laphams" ], [ "Penelope", "Penelope." ], [ "Milton K. Rogers", "Milton K Rogers" ], [ "He suffers financial loss", "substantial financial loss." ], [ "It burns down before completion ", "It burns down" ], [ "Their ancestral home in the countryside ", "Their ancestral home in the countryside. " ], [ "Irene", "Irene." ], [ "Her sister, Irene ", "her sister" ], [ "Silas Lapham.", "Silas Lapham." ], [ "The mineral paint business.", "Mineral plant business" ], [ "The Back Bay area.", "Back Bay" ], [ "Tom Corey.", "Tom Corey" ], [ "Irene Lapham.", "The younger daughter, Irene " ], [ "The older Penelope Lapham. ", "Penelope." ], [ "Because her sister Irene has developed a romantic interest in Tom. ", "She does not want to hurt her sister" ], [ "A former partner of Silas.", "Silas Lapham's former business partner. " ], [ "Because she believes that Silas wronged Rogers in previous business matters.", "They were business partners but Silas pushed Rogers out of the company." ], [ "His financial contributions to Rogers.", "Lapham's business dealings with Rogers." ], [ "Back Bay", "Back Bay." ], [ "In the mineral paint business", "he made his fortune in the mineral paint business" ], [ "Irene Lapham", "Irene." ], [ "Penelope Lapham", "Penelope" ], [ "Tom Corey", "Tom Corey " ], [ "Penelope and Irene", "Penelope and Irene" ], [ "Beacon Street", "Beacon Street" ], [ "Penelope", "Penelope" ], [ "Irene", "Penelope, the eldest" ], [ "Silas Lapham's ex-business partner", "Silas Lapham's business partner." ] ]